JUAN See also:

• JUAN RUIZ (c. 1283-c. 1350)

RUIZ (c. 1283-c. 1350)  , See also:

• SPANISH

Spanish poet, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born probably at See also:

• ALCALA (Moorish al Kala, the " Fortress " or " Castle ")

Alcala de Henares, and became See also:

• ARCH
• ARCH, JOSEPH (1826– )

arch-See also:

• PRIEST (Ger. Priester, Fr. pretre)

priest of See also:

• HITA, GINES PEREZ DE (1544?-16o5?)

Hita . Though he draws his See also:

• PHYSICAL

physical portrait in the Libro de buen amor, he gives no exact See also:

• BIOGRAPHICAL

biographical details . It may be inferred from his writings that he was not an exemplary priest, and one of the See also:

• MANUSCRIPT

manuscript copies of his poems states that he was imprisoned by See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order of Gil See also:

• ALBORNOZ, GIL ALVAREZ DE

Albornoz, See also:

• ARCHBISHOP (Lat. archiepiscopus, from Gr. apxceatorcoros)

archbishop of See also:

• TOLEDO
• TOLEDO, COUNCILS OF (Concilia toletana)

Toledo . It is not known whether he was sentenced for his irregularities of conduct, or on See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of his satirical reflections on his ecclesiastical superiors . Nor is it possible to See also:

• FIX, THEODORE (180o-1846)

fix the precise date of his imprisonment . Albornoz nominally occupied the see of Toledo from 1337 to 1368, but he See also:

• FELL
• FELL, JOHN (1625-1686)

fell into disgrace in 1351 and fled to See also:

• AVIGNON

Avignon . A See also:

• CONSIDERATION (from Lat. considerare, to look at closely, examine, generally taken to be from con-, and the base seen in sidus, sideris, a star, the word being supposed to be originally an astrological or astronomical term)

consideration of these circumstances points to the probable conclusion that See also:

• RUIZ, JUAN (c. 1283-c. 1350)

Ruiz was in See also:

• PRISON (derived through the Fr. from the Lat. prehensio, seizure)

prison from 1337 to 1350, but this is conjecture . What seems established is that he finished the Libro de buen amor in 1343 while in See also:

• GAOL, or JAIL

gaol, and that he was no longer arch-priest of Hita in See also:

• JANUARY

January 1351; it is assumed that he died shortly before the latter date . Ruiz is by far the most eminent poet of See also:

• MEDIEVAL

medieval See also:

• SPAIN
• SPAIN (Espana)

Spain . His natural gifts were supplemented by his varied culture; he clearly had a considerable knowledge of colloquial (and perhaps of See also:

• LITERARY

literary) Arabic; his classical See also:

• READING

reading was apparently not extensive, but he knew by See also:

• HEART
• HEART, LUNG

heart the Disticha of See also:

• DIONYSIUS
• DIONYSIUS (c. 432–367 B.C.)

Dionysius See also:

• CATO, DIONYSIUS
• CATO, MARCUS PORCIUS (234—149 B.c.)
• CATO, MARCUS PORCIUS (95-46 B.c.)
• CATO, PUBLIUS VALERIUS

Cato, and admits his indebtedness to See also:

• OVID [PUBLIUS OvID1us NASO] (43 B.C.–A.D. 17)

Ovid and to the De Amore ascribed to See also:

• PAMPHILUS
• PAMPHILUS (1st century A.D.)

Pamphilus; his references to . Blanchefleur, to See also:

• TRISTAN
• TRISTAN, or TRISTRAM

Tristan and to Yseult, indicate an acquaintance with See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French literature, and he utilizes the fabliaux with remarkable deftness; lastly, he adapts fables and apologues from See also:

• AESOP (Gr. Aivwvros)

Aesop, from Pedro Alfonso's Discipline clericalis, and from medieval bestiaries . All these heterogeneous materials are fused in the substance of his versified autobiography, into which he intercalates devout songs, parodies of epic or forensic formulae, and lyrical digressions on every aspect of See also:

• LIFE

life .

Ruiz, in fact, offers a See also:

• COMPLETE

complete picture of See also:

• PICARESQUE

picaresque society in Spain during the first See also:

• HALF

half of the 14th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, and his impartial See also:

• IRONY (Gr. dipaweLa, from eipwv, one who says less than he means, eiepees, to speak)

irony lends a deeper See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone to his See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich colouring . He knows the weaknesses of both See also:

• CLERGY (M.E. clergie, O. Fr. clergie, from Low Lat. form clericia [Skean, by assimilation with O. Fr. clergie, Fr. clerge,from Low Lat. clericatus)
• CLERGY, BENEFIT OF

clergy and laity, and he dwells with equal complacency on the amorous adventures of See also:

• GREAT

great ladies, on the perverse intrigues arranged by demure nuns behind their See also:

• CONVENT (Lat. conventus, from convenire, to come together)

convent walls, and on the simpler instinctive animalism of See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country lasses and Moorish dancing-girls . In addition to the See also:

• FACULTY (through the French, from the Lat. facultas, ability to do anything, from facilis, easy, facere, to do; another form of the word in Lat. facilitas, facility, ease, keeps the original meaning)

faculty of genial observation Ruiz has the See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift of creating characters and presenting types of human nature: from his See also:

• DON
• DON (anc. Tanais)

Don Fur6n is derived the hungry See also:

• GENTLEMAN (from Lat. gentilis, " belonging to a race or gens," and " man "; Fr. gentilhomme, Span. gentil hombre, Ital. gentil huomo, in its original and strict signification, a term denoting a man of good family, the Lat. generosus (its invariable transl

gentleman in Lazarillo de Tormes, in Don See also:

• MELON (Late Lat. melo, shortened form of Gr. p XoaEawv, a kind of gourd; µijXov, apple, and a- brow, ripe)

Melon and Dona Endrina he anticipates Calisto and Melibea in the See also:

• CELESTINA, LA

Celestina, and Celestina herself is See also:

• DEVELOPED

developed from Ruiz' Trotaconventos . Moreover, Ruiz was justly proud of his metrical innovations . The Libro de buen amor is mainly written in the cuaderna via modelled on the French alexandrine, but he imparts to the measure a variety and rapidity previously unknown in Spanish, and he experiments by introducing See also:

• INTERNAL

internal rhymes or by shortening the See also:

• FOURTH

fourth See also:

• LINE

line into an octosyllabic See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse; or he boldly recasts the See also:

• FORM (Lat. forma)

form of the See also:

• STANZA (Low Lat. stantia, Ital. stantia or stanza)

stanza, extending it to six or seven lines with alternate verses of eight and five syllables . But his technical skill never sinks to triviality . All his See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing bears the See also:

• STAMP (from " to stamp," to strike or tread heavily, hence to impress, O. Eng. stempen, Du. stampen, Ger. stampfen, whence, O. Fr. estamper, mod. etamper)

stamp of a unique See also:

• PERSONALITY (from Lat. persona, originally an actor's mask, from personare,1 to sound through)

personality, and, if he never attempts a See also:

• SUBLIME (Lat. sublimis, exalted)

sublime See also:

• FLIGHT

flight, he conveys with contagious force his See also:

• ENTHUSIASM

enthusiasm for life under any conditions—in See also:

• TOWN

town, country, vagabondage or gaol . His See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence is visible in El Corbacho, the See also:

• WORK

work of another jovial See also:

• GOLIARD

goliard, See also:

• ALPHONSO

Alphonso Martinez de Toledo, arch-priest of Talavera, who wrote more than half a century before the Libro de buen antor was imitated by the author of the Celestina . Ruiz is mentioned with respect by See also:

• SANTILLANA

Santillana, and that his reputation extended beyond Spain is proved by the surviving fragments of a Portuguese version of the Libro de buen amor . By some See also:

• STRANGE, SIR ROBERT (1721-1792)

strange See also:

• ACCIDENT
• ACCIDENT (from Lat. accidere, to happen)

accident he was neglected, and apparently forgotten, till 1790, when an expurgated edition of his poems was published by Tomas See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio See also:

• SANCHEZ

Sanchez; from that date his fame has steadily increased, and by the unanimous See also:

• VERDICT (O. Fr. verdit, Lat. vere dictum, truly said, used in Late Latin in one word with its present significance)

verdict of all competent See also:

• JUDGES, THE BOOK OF

judges he is now ranked as the greatest Spanish poet of his century . An accurate edition of his See also:

• WORKS

works was published by M . See also:

• JEAN

Jean Ducamin at See also:

• TOULOUSE
• TOULOUSE, LOUIS ALEXANDRE DE BOURBON, COUNT OF (1678-1737)

Toulouse in 1901, and he is the subject of Sr .

D . Julio Puyol y Alonso's See also:

• CRITICAL (in alphabetical order of authors)

critical study, El Arcipreste de Hita (See also:

• MADRID

Madrid, 1906) . (J .