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that exalts the heroism, pride, and contempt of pain and death of the legendary
Araucanian leaders and makes them national heroes today. Thus we see Ercilla appealing to the concept of the "noble savage," which has its origins in classical authors and took on a new lease of life in the renaissance â
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above the poem's structural defects and prosaic moments, which occur toward the end when
Ercilla follows Tasso too closely and the narrative strays from the author's lived experience. Ercilla, the poet-soldier, eventually emerges as the true hero of his own poem, and he is the figure that gives the
173:), the complicated stanza in which many other Renaissance epics in Castilian were written. A difficult eight-line unit of 11-syllable verses that are linked by a tight rhyme scheme abababcc, the octava real was a challenge few poets met. It had been adapted from Italian only in the 16th century.
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for leading the revolt of the
Araucanians (thanks to betrayal by one of their own); the encounter with a sorcerer who takes the narrator for a flight above the earth to see events happening in Europe and the Middle East; and the encounter with an Indian woman (Glaura) searching for her husband
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often strikes the modern reader as unusual, but
Ercilla's turning native peoples into ancient Greeks, Romans, or Carthaginians was a common practice of his time. For Ercilla, the Araucanians were noble and braveâonly lacking, as their Classical counterparts did, the Christian faith.
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is one of the works which the men spare from the flames, as "one of the best examples of its genre", entirely
Christian and honorable, and is proclaimed to be among the best poems in the heroic style ever written, good enough to compete with those of Ariosto and Tasso.
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Ercilla embodied the
Renaissance ideal of being at once a man of action and a man of letters as no other in his time was. He was adept at blending personal, lived experience with literary tradition. He was widely acclaimed in Spain. There is an episode in
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On scraps of paper in the lulls of fighting, Ercilla jotted down versified octaves about the events of the war and his own part in it. These stanzas he later gathered together and augmented in number to form his epic. In the minds of the
Chilean people
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amongst the dead after a battle. This last is an indicator of the humanist side of
Ercilla, and a human sympathy which he shows towards the indigenous people. The narrator claims that he attempted to have the life of the Indian chieftain spared.
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was much more critical, describing the poem as rambling and directionless and calling the author more barbarous than the
Indians whom it is about. He does, however, express admiration for the speech in Canto II, which he compares favorably to
422:(also known as Araucanian) Indians. Ercilla blames Valdivia for his own death, having mistreated the natives who had previously acquiesced to Spanish rule and provoking them into rebellion. However, having previously accepted the rule of
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is rarely read except by specialists and students of
Spanish and Latin American literatures, and of course in Chile, where it is subject of special attention in the elementary schools education both in language and history.
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which evolved from the Spanish conquest attempt of southern Chile. The war would come to shape the economics, politics and social life of Chile for centuries. Ercilla placed the lesser conquests of the Spanish in
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grandeur, as does the poem's exaltation of the vanquished: the defeated Araucanians are the champions in this poem, which was written by one of the victors, a Spaniard. Ercilla's depiction of CaupolicĂĄn elevates
216:, and was destined to have wide literary currency in European literature two centuries later. He had, in fact, created a historical poem of the war in Chile which immediately inspired many imitations.
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with him as king. The de Tounens gained the support of a few Mapuche leaders who proclaimed him king but his kingship and kingdom was never recognized by Chile, Argentina or the European states.
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of Chile, he joined the adventurers. He distinguished himself in the ensuing campaign; but, having quarrelled with a comrade, he was condemned to death in 1558 by his general,
318:âs more dramatic moments also became a source of plays. But the Renaissance epic is not a genre that has, as a whole, endured well, and today Ercilla is little known and
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300:—"Shipwrecked" or "Castaways") for its fantastical/religious elements, it is arguable whether that is a "traveler's account" or actual literature; and
277:, the Indian warrior and chieftain who is the protagonist of Ercilla's poem, has a panoply of Classical heroes behind him. His valour and nobility give
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141:). It was translated into English in 1945 by Paul Thomas Manchester and Charles Maxwell Lancaster for Vanderbilt University Press.
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at the core of his poem, because the author was a participant in the conquest and the story is based on his experiences there.
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373:, when a priest and barber inspect Don Quixote's personal library, to burn the books responsible for driving him to madness.
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231:. The narrator is a participant in the story, at the time a new development for Spanish literature. Influences include
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consists of 37 cantos that are distributed across the poem's three parts. The first part was published in
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Key events include the capture and execution of Pedro de Valdivia; the death of the hero Lautaro in the
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The story is considered to be the first or one of the first works of literature in the New World (cf.
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is deliberately literary and includes fantastical elements reminiscent of medieval stories of
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The historicity of some events and characters have been put into question. Historian
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354:(14 December 1558). He was then exiled to Peru and returned to Spain in 1562.
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Alonso de Ercilla y ZĂșñiga, Spanish soldier and poet, EncyclopĂŠdia Britannica.
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Alonso de Ercilla y ZĂșñiga, Spanish soldier and poet, EncyclopĂŠdia Britannica.
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Alonso de Ercilla y ZĂșñiga: La Araucana (in Spanish).
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Alonso de Ercilla y ZĂșñiga: La Araucana (in Spanish).
306:Historia verdadera de la conquista de Nueva España
268:The mixture of Classical and Araucanian motifs in
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683:. Macmillan Publishing House. pp. 23â35.
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414:A revolt starts when the conqueror of Chile,
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579:Zuniga, Alonso de Ercilla y (2021-04-30).
16:Epic poem of the Spanish conquest of Chile
69:Learn how and when to remove this message
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32:This article includes a list of general
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617:Alonso de Ercilla, BiografĂas y Vidas.
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449:, and the execution of CaupolicĂĄn the
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461:has argued that the female character
670:. New York: Robert Appleton Company.
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661:"Alonso de Ercilla y ZĂșñiga"
442:, have proved the most memorable.
404:kingdom of AraucanĂa and Patagonia
38:it lacks sufficient corresponding
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658:Herbermann, Charles, ed. (1913).
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677:"Don Alonso de Ercilla y Zuniga"
334:was born into a noble family in
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1183:The Tale of Igor's Campaign
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679:. In Solé, Carlos A (ed.).
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398:In 1858, the French lawyer
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630:Essai Sur la Poesie Epique
418:is captured and killed by
131:Captaincy General of Chile
103:(also known in English as
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502:GarcĂa Hurtado de Mendoza
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348:GarcĂa Hurtado de Mendoza
311:The Conquest of New Spain
287:poem unity and strength.
302:Bernal DĂaz del Castillo
125:. It was considered the
724:EncyclopĂŠdia Britannica
53:more precise citations.
681:Latin American Writers
675:Lerner, Isias (1989).
367:âs 17th-century novel
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1257:Epic poems in Spanish
667:Catholic Encyclopedia
492:Francisco de Villagra
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1068:La Chanson de Roland
497:JerĂłnimo de Alderete
121:, about the Spanish
109:) is a 16th-century
1111:The Siege of Sziget
854:Book of Dede Korkut
764:National epic poems
447:Battle of Mataquito
434:, the old and wise
365:Miguel de Cervantes
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1252:Spanish literature
643:Diego Barros Arana
459:Diego Barros Arana
400:Antoine de Tounens
135:Spanish Golden Age
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1195:Cantar de mio Cid
978:Epic of Gilgamesh
954:Hikayat Seri Rama
940:Hikayat Hang Tuah
928:Phra Lak Phra Lam
592:978-0-8265-0304-6
487:Pedro de Valdivia
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389:'s speech in the
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897:Mahabharata
842:Sasna Dzrer
796:La Araucana
375:La Araucana
370:Don Quixote
344:Araucanians
320:La Araucana
316:La Araucana
284:La Araucana
279:La Araucana
270:La Araucana
247:La Araucana
225:La Araucana
201:La Araucana
194:Development
171:ottava rima
155:La Araucana
100:La Araucana
88:La Araucana
51:introducing
1277:1578 books
1272:1569 books
1267:Arauco War
1246:Categories
1044:Kalevipoeg
984:Tamil Nadu
848:Azerbaijan
690:0684185970
534:References
522:CaupolicĂĄn
507:Arauco War
428:CaupolicĂĄn
327:The author
297:Naufragios
275:CaupolicĂĄn
220:Influences
183:Arauco War
34:references
1135:LÄÄplÄsis
966:Shahnameh
866:Trai Bhet
812:O Uraguai
778:Argentina
440:Galvarino
358:Reception
212:'s essay
210:Montaigne
150:Structure
111:epic poem
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1212:Ethiopia
1153:Portugal
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1003:Thailand
934:Malaysia
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860:Cambodia
819:Caramuru
771:Americas
527:Colocolo
480:See also
463:Janequeo
436:Colocolo
382:Voltaire
229:chivalry
145:The poem
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1099:Odyssey
1074:Germany
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1038:Estonia
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972:Sumer
891:India
790:Chile
451:Toqui
392:Iliad
340:Spain
255:Lucan
208:c.f.
205:Iliad
188:Chile
1224:Mali
1165:Rome
960:Iran
922:Laos
829:Asia
685:ISBN
587:ISBN
472:and
261:and
253:and
167:1589
163:1578
159:1569
721:".
314:).
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237:by
117:by
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476:.
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338:,
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756:e
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693:.
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