Warning: it impossible to hang here the poems attached to this text, I refer the interested reader or reader / aa: sites.google.com / site / casildarodriganez where this hangs text accompanying the poems mentioned.
In our classic literature are abundant romances, serranillas, and even plays with the actors to the mountain, sometimes also called 'cowboy' it bred cows (such as the Archpriest of Hita in the Segovia area (attachment 1) or the Marquis of Santillana Finojosa (attached 2)). These were women who lived 'in the wilderness', ie in the mountains, in caves or huts.
In the plays of Lope de Vega, Velez de Guevara or Tirso de Molina, the ratio of women to go live with 'wilderness' was the resentment caused by a felony for a man suffering, despair that leads a general attitude against men and a desire for revenge against the other sex. Their lives in the mountains were devoted to banditry, to attack people, steal, Suresh and even kill them.
Leonarda The mountain of Vera de Lope, was as robust as beautiful, driving arms, pulling the bar, regal horses legs better than a rider with a mouthful, and had hobbies mannish ... Leonarda being attacked and humiliated by a man, is raging and takes an oath to always live in the wilderness, to hate men / and dealing with the beasts, / of hitting the road / and to make notable offense; / - killing and injuring many , / you have to aquesta slopes / many crosses as you kill, / so much blood as oleander ...
The mountain of the work of Velez de Guevara, the mountain is called Gila, and also swears revenge live in town and kill as many men are. Fulfilling his promise, lives among rocks to gorge on all those who approach him in hopes to enjoy her favors. Baltasar
Enciso, also writes a sacramental The mountain of Vera or The Montañesa (1618), and Lope touches the subject in The two shoulder straps. Tirso de Molina brings his work Countess-strap or Nymph sky, and there is another Calderón entitled attributed to the shoulder of Italy or The enemy of mankind.
(I have not read any of these plays, which I quote is contained in the Encyclopedia Espasa, which gives a source: Menéndez Pidal and Goiri M. Menendez Pidal, Theatre Old English)
This image of highland robber Manslayer and contrasts with the image that gives us Góngora (Attachment 3) in letrilla, a bucolic picture of women dancing in a circle.
Júcar In the pine forests of the mountain women
saw her dance to the sound of water on the stones are
and the wind in the branches is not white
chorus of nymphs
from which water settles,
or those
followers worship the forest of Diana
mountain basin were
(honor of that mountain)
two rivers whose foot kiss, to kiss her
plants. Alegres
outcry wove, white
holding hands of friendship, perhaps fearing that the barter
moves.
How well they dance the mountain!
How well they dance!
Luis de Gongora y Argote
In a ballad of Gil Vicente (attachment 4) (which collected folk songs and inserted in his plays), we have perhaps the key
case I say I do not want
husband, no. But I want to live safely
nesta saw my ease,
Do not be at random
If you marry well or not ...
Mother will not be married to live life not tired, or perhaps misused
the grace that God gave me.
... It is not, nor is born
this to be my husband;
and that I have known since the flower
SO I,
say I do not want to marry me
husband, no.
shown
Where to live in 'wilderness' was a choice that women have, something that was within their means, and that it was a reaction of hatred and revenge against an evil turn, which does not mean also sometimes the case, and that if a woman things went wrong with the husband, then decided to move to the mountains. Only by giving women a choice of male dominance Altena, it is understood that the mountain would be exterminated. It is also understood to be made the myth of the robber and Manslayer mountain for defacing. Gongora
The letrilla also shows us that they were not individual cases, but there was a relationship between them (plus a playful), which means what she says of the ballad of Gil Vicente who does not want to be married ' for not living life tired' . The aspect of sexual preference also note: do not misused the grace that God gave me , to which then adds that the flower SO I .
not be entirely accurate picture of the mountain man eager to get to bed, because, for example, the cowboy of the Finojosa the Marquis de Santillana, who was also a mountain as is clear from what he says gives this answer to the insinuations of the knight: Non
is willing to love, nor expected
denim aquesa
of Finojosa
The story of the Archpriest of Hita in his meetings with four mountain cowboy
(the Chata Malangosto, Gadea de Riofrio, Menga Lloriente Cornejo and Tablada Aldara) offers a wealth of concrete details that can have an idea, especially their relationships with men who appeared from their territories. Input the man usually shows rather humble and respectful, asking inn please, and accompanying his request and kind words of flattery, perhaps because they knew that in the field of physical confrontation had to lose (the mountain were known as good fighters , mentions the skillful management of the Cudgel and deep, such as weapons), and because they knew that the good and paying it because they would not have problems. In the stories of the Archpriest is also clear that the mountain used require payment of a toll to pass through their ways, or show them to travelers who were lost in the mountains. The truth is that they seem to have been controlled saws. A ballad collected by Gil Vicente (Attachment 4) says: " saw pass by do / gentle brown mountain?
The description of the development of the matches is very similar in almost all cases (except in the romance The mountain of Vera, at least in the version collected by Menendez Pidal (attachment 5), which gives a cruel image of a mountain). In general the meeting begins with a sort of trial and error to reach mutual agreement on the price still has to pay the man (in general species: beads, 'jewels' dresses, shoes, satchels, etc.) in exchange for shelter, food, bed and indications of where to walk the walk sometimes no treatment or because they distort or because they like and go together without treatment. But it seems that the deal was so common and normal. In general, the issue of sexual encounter is usually always featured in the story as something agreeable to both parties. Sometimes it is he who shows more interest, sometimes it is the mountain. But both the Archpriest and Santillana, Gil Vicente and Gongora give a nice image of the mountain. The Archpriest describes them as strong, capable, resourceful, hospitable and deep, condescending and treatment easy.
The ballad of Gil Vicente saw pass by do , has the characteristics of children's songs run, in which almost everything is said between the lines.
description also have a way of life, the equipment they had, the handicrafts and livestock they did, their ability to hunt and to move through the rough spots etc.
This issue of the mountain can better understand the process by which they were subtracting female sexual habits, and all the talk about the circle games and belly dancing. (See the book with pleasure Pariremos paper and feminism one recovery).
The hunt for the mountain by the Holy Inquisition continues the process of the early solar heroes, which is certainly not only killed imaginary dragons. In the popular ceramics disappear in the seventeenth century drawings of women, fish, dragons, birds with eggs and uterine crosslinked forms, etc.., As anyone can observe on a visit to the museums of ceramics, for example, Pedralbes in Barcelona or Valencia.
This persecution lasted, as the potters who had begun to recover ancient drawings that refer to symbols of female sexuality, are facing more than difficulties. To complete this
first step, in the voice 'Serranilla' the Espasa Encyclopedia says: lyrical composition of matter villanesca or rustic, and most of the time, erotic writing, usually in meters short .
As interesting and exciting for me has been the discovery of our Iberian Amazon, and here I hang on these lines. As I said at the beginning, I refer those who want to read the poems in relation to: sites.google.com / site / casildarodriganez.
La Mimosa, April 2010
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