Lyric Licence in Early Modern Spain

Abstract

The lyric poet, according to Sidney, “raiseth up his voice to the height of the heavens” in order to praise God. In the Tridentine milieu, however, such ascension could appear to be suspicious ambition, a rebellious exercise of licence to see what is up there for oneself. Many long reputed as ‘Counter-Reformation writers’ in Spain — many of the canonized — were investigated or punished for rarefied imagination as much as dubious association and doctrinal dissent. In some cases, lyric — fresh versions of the Song of Songs — served as an impetus for (Luis de León) or a solace during (Juan de la Cruz) incarceration. The Fourth Session of the Council of Trent sought to “renew the moral character of the Church” (instaurandis in ecclesia moribus) by means of a flinty uniformity —delimiting the scriptural canon, accepting the vulgate translation only, declaring an interpretative monopoly, and even forbidding the quotation of scripture for deviant purposes. This paper examines how early modern Spanish writers conceived of an alternative to the Church’s method of institutional renovation, one predicated on the power of poiesis, and the lyric voice in particular, to justify interpretation, authorize spiritual knowledge, and sustain allegiance.