HIGH SCHOOL

SOLUTIONARY
12. Literature of the 11th to the 14th century BACHILLERATO

Initial reading: The origins of Castilian medieval prose

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Open response. Example:
Beginnings of Castilian literature
First words in the margins of the Emilian and Silens documents.
1035-1109: creation of the kingdom of Castile.
1109-1170: construction of an independent system of thought in the kingdom of
Castile.
1170-1230: unification of Castile and León and the configuration of a cultural model.
Initial decades of the centuryXIIIfirst written testimonies in Spanish

2. The first manifestations appear first in verse, due to the me-

for the disposition and ease of the verse for oral transmission. Literary prose
the artistic talent takes longer to develop.

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Literature of the 11th to 14th century BACHILLERATO

1First literary texts

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Both poems are brief, written in Mozarabic, in which a woman expresses
his love. They are, therefore, love songs: in the first, the beloved waits for
'Nando to the beloved; the second poetess the suffering of heartbreak or abandonment'
of the loved one.

In both poems, the even verses rhyme consonantly.

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2. a) The Play of the Three Kings, from the 12th century, is the only theatrical piece that has been preserved in
Castilian language before the 15th century.
b) It refers to the celebration of the adoration of the Three Wise Men to Jesus, the Epiphany before the
Three Kings' Day (January 6).
c) Open response. Example:
The text depicts the meeting of the three kings after seeing the star. In their
they go to where the Child is, visit Herod.
3. a) Raise your hands to the sky and stroke your beard, he raised his hands above for the
beard to pull (v. 2). He laments his death saying, 'My nephew is dead,'
the good man Don Roldán!(v. 5)
A minstrel, who sings or recites his verses (listen) before an audience eager to hear him.
in any village, square or castle.
c) Already in verses 4-5, the minstrel introduces the words that King Charlemagne is going to say.
not to his nephew Roldán, who lies on the ground lifeless. Speak then, Charlemagne.
by the mouth of the minstrel.

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Literature from the 11th to the 14th century BACHILLERATO

The Song of My Cid

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4. a) To the first: sing of the exile.
Crying with his eyes.
Presence of the religious world: El Cid, his family, and his warriors attend a
mass in the temple: After the prayer, the mass finished, / they left the church.
The Cid also entrusts his daughters to God: I commend you to God and to the Father
spiritual.
Invocation to those present: He addresses the listeners with the expression as if not to...
such things, to emphasize the strength of the crying in the farewell.
c) Although it is a modernized text, it can be seen that the meter is irregular. For
for example, the second verse has 14 syllables (7 + 7) and the sixth has 10 (5 + 5).
d) The poet sings in this verse that they separate from one another, like the nail from the
meat, to indicate, on one hand, the intense pain that it causes everyone the dis-
request, just as if the nail were torn from the flesh; but also to express
the separation of something so united, like the nail to the flesh.

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Literature from the 11th to the 14th century BACHILLERATO

Origins of prose
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5.a) Respuesta abierta. Ejemplo:
The study is a meeting of teachers and students to learn. There are two ti-
postgraduate studies: the general, led by a teacher and authorized by a pope,
emperor or king, and the particular, in which a master meets with a few
schoolchildren in a remote village, and which can be authorized by the bishop or the
popular assembly of that town.
b) Guidelines for the response:
For example, the copulative conjunction (and of students, and understanding), with va-
reaction (and this study); the conservation of the initial (fact, do); the counter-
the occurrence of the preposition of and the pronoun it (of it), the coexistence of different forms
(study, studio), the spelling conceived (establishing), etc.

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Literature from the 11th to the 14th century BACHILLERATO

The craft of clerics

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6.a) The four verses rhyme in consonant (-ir). They are verses of fourteen syllables or
Alejandrinos, composed of two hemistichs of seven syllables each; in the
second, when ending in an acute word, one more syllable must be counted:

However, they could not say it in any way.

what the glorious mother would love to discover
to tame a party, / to cease insisting
and the Lord who wanted / they let him live.

b) Berceo uses a simple, clear language, full of popular voices and dialectical turns.
such as to reach the common people. The poem also highlights the realism
me and the rural environment.
c) The poem aims to spread Marian devotion (Holy Mary, Glorious Mother,
Mother so merciful.
In the first part of the poem, which encompasses the first three stanzas, it recounts
the miracle; in the second part, the last two stanzas, Berceo makes a praise of
the Virgin Mary.

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7.a) Respuesta abierta.
b) The four verses of each stanza rhyme in consonance.
c) As noted in the last stanza, when we have something secure and earned,
we should not leave it for something that we don't even know if we will be able to have it, for
a vain care.

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12. Literature from the 11th to the 14th century BACHILLERATO

Don Juan Manuel

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8. a) I. a) The narrator begins by introducing Count Lucanor and Patronio: Another
One time, while Count Lucanor was speaking with Patronio, his counselor, he said to him thus.

b) The count presents a problem and seeks advice: from Patronio, a relative
I beg you to advise me on what I should do.
c) After some words, Counselor Patronio is ready to tell a tale:
from Lord Count Lucanor — answered Patronio — until The count asked him
what had happened to him.
II. a) Narration of the example: from Lord Count Lucanor — said Patronio —until
lost the companion.
III. a) After finishing the example, Patronio gives his advice, in accordance with the teaching that
It emanates from the tale itself: from you, sir count, if you fear with reason...
tamuráis later.
b) The count accepts the advice, which he proposes to put into practice: The count
He took this advice as good, put it into practice, and it went well for him.
c) Don Juan Manuel, who intervenes as a character, finds the example good,
He commands to write and condenses his teaching in a distich: Seeing
Don Juan said that this story was good until the end.
b) Teaching has a clear practical dimension. As it is read at the end in the dís-
it is safer to flee from the dangers that may lurk in life than
Confront them with the help of others (relatives or friends): Fleeing from danger is greater.
security / that which no friend can provide.
c) Open response.

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12. Literature from the 11th to the 14th century BACHILLERATO

Analysis of a text
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The verses correspond to the third part of the Song, the affront of Corpes. It will be
precisely this episode of the lion that originates the revenge of the infants, their
insult to doña Elvira and doña Sol, the daughters of the Cid.
2. The infant of Carrión, Fernán González, filled with fear, did not see where to hide there.
and in the end he hides under the bench where the Cid was sleeping. Diego Gonzá-
he, also very fearful and cowardly, runs out the door and hides
after a beam of the winepress. On the contrary, the Cid awakens and, when he sees what is happening,
he approaches the lion, which, upon seeing him, becomes fearful and lowers its head. The Cid grabs it
by the neck and leads it back to the cage.
3. People are amazed by what they have witnessed: They are amazed by how many
there they are.
4. Open response. Example:
When the Cid was resting in Valencia with his company and the infante
from Carrión, a lion escaped from the cage. The children of Carrión, filled with fear,
they hid. El Cid woke up and approached the lion, which lowered its head and allowed that
El Cid returned him to the cage. The people in the court comment on what happened and the infantes.
The Carrión feel offended by the mockery that their behavior generates.
5. For example, the contrast between the bravery of the Cid and the cowardice of the infantes of
Carrión.
6. Part I. Exposition to situate the facts: vv. 1-4.
Part II. Conflict that occurs: vv. 5-19.
Part III. Resolution of the action: vv. 20-final.
7.a) Open response. (It is important to remember what has already been expressed in the topic, as the idea of
showing some cowardly and fearful infants, on one hand, and a brave Cid
and decided, on the other hand, it is what drives the author to imagine and invent this event.
b) Open response.
8. It is a common place to point out the sobriety of the language of the song. Thus, for example, it
you can check that the adjectivation is very scarce: 'bad surprise', 'big mie-
do, open camera, good men, etc.; and in some cases included in forms
own nicknames for the Cid: 'he who was born in good time', 'honorable lord'.
The author does not linger on the description of the elements, but rather seeks the substance.
aiming at the essence of the facts.
9. The poet addresses the listeners to gather their attention: know.
The absence of an introductory verb when a character is about to speak: In this he woke up
he who was born at a good time; / saw the seat of his good men surrounded: / "What is this,
"Are you afraid, or what do you want?" / "Oh, honorable sir, the lion startled us!"
The use of introductory verb to present the words of the characters: Diego
González left through the door, / saying with his mouth: 'I will not see Carrión!'.
The use of various forms to name the protagonist: The Cid; the Champion; the
that he was born at a good hour; honorable sir; my Cid; my Cid Lord Rodrigo.
10. With the exception of some presents to bring the events closer (they take, they approach...), the ma-
The verbs are in the past, a time characteristic of narration: imperfect.
(it was, slept) and above all indefinite or simple perfect (happened, left, untied...).
11. Narrative. In fact, as we pointed out in the previous question, the majority of the
verbs are in the past, the appropriate time for narration.
12. The narrative character of the poem supports the referential function, by which we are trans-
how information is stated or refers to a process ('In
Valencia was the Cid", "he hid under the bench, he was so scared...". The function
emotive is present in the interventions of Diego González and the people of Cid
"I won't see Carrión!", "Oh, honorable sir, the lion gave us a fright!" The function cona-
it becomes evident in the fourth verse ("know"). The poetic function is manifested
in the composition of verses and rhyme, but also in the use of some resources,
for example, the pleonasm (saying with his mouth) or personification (the lion when
he saw it, and he was so embarrassed.
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