I. Miguel de Fuenllana, Madrid, siglo XVI, de Orfénica Lira.
Orphenica Lyra is a classic work in vihuela repertoire. Miguel de Fuenllana among the greatest players to have used it. He wrote a lovely introduction in this book which we have translated in another entry. Here are the Latin poems in praise of Fuenllana, and a sonnet in Castilian by Dingus. (Please note that the Latin text has lyra with a meaning of vihuela, this was a deliberate connotation made during the Spanish Renaissance, connecting the Spanish vihuela with the Grecian Lyre: I have translated as vihuela, when the reference is aimed at Fuenllana himself and left it as lyre when the context is purely Greco-Roman). Vale.
Poems in praise of Miguel de Fuenllana, translations, Richard Pollard.
Martini a Montesdoca1 carmen in laudem
Michaelis a Fuenllana artis musicae, & lyrae peritissimi, qui Divinam potius,
quam Orphaeam condidit lyram
Orphea, dixerunt fidibus traxisse, poëtae,
Flumina, ligna, homines, Tartara, monstra, feras.
Aequore delphinas mulsisse et Ariona dulci
pectine: praesentem dum gemit ille necem.
Et struxisse lyrae modulatu Amphiona Thebas,
De tribus his mendax fabula nota manet.
Tu tamen ó Michael citharae doctissimus artis,
Cuius honorandum musica nomen amat,
Qui rapis humanum pectus dulcedine rara,
Cum chelys argutae consona fila moves,
Vera tuae reddis celebris praeconia famae,
sic ut opus laudet Zoilus ipse tuum.
Alius eiusdem ad musicos
Musice, quisquis amas citharam, tibi misit ab alto
Aethere Divinam Cynthius ecce lyram,
Quae scatet ambrosia, et coelestia pabula praebet
Mentibus humanis, nectareumque melos.
Et licet Ismario nomen sibi sumpsit ab Orpheo,
Orphaeis multo dulcior est fidibus.
Hanc fecit Fuenllana lyram miro ordine dulcem,
Autorem dixi, dicere plus nequeo
(English)
Martinus de Montesdoca, a song in praise of Miguel de Fuenllana, most skilled in the art of music and vihuela, who fashioned a divine lyre rather than an Orphean2 one.
Poets said that Orpheus, with his strings, drew
rivers, trees, men, the underworld, monsters, and beasts.
They claimed he soothed dolphins on the waves, like Arion3,
with his sweet plectrum as he lamented impending death.
And that Amphion4 built Thebes by the modulation of his lyre.
Of these three, the fable known to us remains a falsehood.
But you, O Miguel, most learned in the art of the vihuela,
whose name music honours with reverence,
you seize the human heart with a rare sweetness,
when you move through the harmonious strings of your melodious vihuela,
you truly deliver on the illustrious praises bestowed on your celebrated fame,
so much so that even Zoilus5 himself would commend your work."
Another by the same [author], addressed to musicians [in general].
Music, whoever loves the lyre, behold,
Cynthius6 sends to you from the high heavens a Divine lyre,
which flows with ambrosia and provides
heavenly nourishment to human minds, a nectar-like melody.
And though it has taken the name of Orpheus from Ismarus7,
it is much sweeter than Orpheus' strings.
This vihuela, made sweet in miraculous order by Fuenllana,
I have named the creator; I can say more.
Ioannis Chirosii praebyteris Carmen
Qui legis attractos citharae dulcedine montes,
Atque Amphionia saxa coisse lyra:
Delphinasque hominem dorso subiisse canentem
Permulsos fidibus voceque monstra legis:
Ecce Camenarum Michael nutritus in antris,
Doctus et arguta currere fila manu.
Reddere quem stolidis dulci testudine sensus,
et sanis mentes eripuisse, putes.
At si prisca tibi placeant mendacia, dices,
Credere portentis, qui videt ista, potest.
(English)
By Iuan de Quirós8, a hymn dedicated to musicians
You, who read of mountains drawn by the lyre's sweetness,
And rocks formed by Amphion's melody:
Of dolphins bearing a man on their back while he sang,
And monsters soothed by strings and voice—these things you read.
Behold Miguel, nurtured in the caves of the Muses,
Skilled to run through the strings with a deft hand.
One who, with a sweet vihuela, restores sense to the foolish,
And who, it seems, snatches minds even from the sane.
Yet if ancient lies delight you, you will say:
'Only those who believe in wonders can see such things.'"
(al castellano)
"Tú, que lees sobre montañas
dibujadas por la dulzura de la lira,
Y rocas formadas por la melodía de Anfión:
De delfines llevando a un hombre en su espalda mientras cantaba,
Y monstruos calmados por cuerdas y voz—estas cosas lees.
He aquí Miguel, criado en las cuevas de las camenas,
Hábil para recorrer las cuerdas [trastes en realidad] con una mano diestra.
Uno que, con una dulce vihuela, devuelve el sentido común a los estultos,
Y que, parece, arrebata las mentes incluso de los cuerdos.
Sin embargo, si las mentiras antiguas te deleitan, dirás:
"Solo aquellos que creen en maravillas pueden ver tales cosas".
Ioanis Çumetae patricii Hispalensis.
Carmen
Divinos, Fuenllana, modos miratus Apollo,
Cum pulsas dulcis consona fila lyrae,
Sic ait, occultus latet hic, latet anguis in herba,
Abditus hic caecus grandior adstat amor.
Me, venit, ut vincat plectro, qui vincit et arcu:
Hinc fuge Phoebe procul, omnia vincit amor.
Ioannis Çumetae, a Patrician of Seville.
A song.
Admiring your divine melodies, Fuenllana, Apollo himself speaks,
When you strike the sweet harmonious strings of the vihuela.
Thus he says: Hidden here, hidden lies the serpent in the grass,
Concealed here stands blind, greater love.
He comes to conquer me with his plectrum, who once conquered with his bow:
Hence, flee far away, Phoebus, for love conquers all.
(Al castellano)
Admirando tus divinas melodías,
Fuenllana, Apolo mismo habla,
Cuando tocas las dulces y armoniosas cuerdas de la lira.
Así dice: Aquí escondida, oculta yace la serpiente en la hierba,
Aquí se encuentra oculta, ciega, el amor más grande.
Viene a conquistarme con su plectro, quien antes conquistó con su arco:
Por lo tanto, huye lejos, Febo, porque el amor lo conquista todo.
Apéndice:
Soneto de Benedito Arias Montano9
Quien quiere acá del cielo ver la muestra,
y de los suaves bienes que gozando
están los que del vicio se apartando
allá subieron por la senda diestra,
oiga al grande Fuenllana, que él nos muestra
cuando las dulces cuerdas va tocando
una Divina sombra, que escuchando
a aquella eterna luz el alma adiestra.
Cierto en el cielo acueste fue enseñado,
que en este val de revoltosa guerra
cosa no vemos de tan alta lista.
Y porque10 este gran don que le había dado
no lo menguase en tractos de la tierra
lo privó Dios de la corpórea vista.
(English)
A sonnet by Benedito Arias Montano
Who wishes here to see a sign of Heaven,
and of the gentle goods that are enjoyed
by those who, leaving vice behind,
ascended there by the right-hand path,
let him hear the great Fuenllana, who shows us
when his sweet strings are played,
a Divine shadow, which, by listening,
guides the soul to that eternal light.
Indeed, it must have been taught in Heaven,
for in this valley of tumultuous war,
we see no thing of such high rank.
And so that this great gift given to him
might not be diminished by earthly dealings,
God deprived him of corporeal sight.
De la “Edición A”
Soneto de Juan Iranzo11
Dos hombres han los Dioses castigado
que robaron su corte soberana,
el uno fue Prometheo – otro Fuenllana
que su fuego y su música han hurtado.
Quitan al uno el ver, otro ligado
dejan por cebo a un águila inhumana.
Uno daba a las piedras vida humana,
otro en piedras los hombres ha tomado.
Apollo fue el que tuvo más porfía
en darle aquel castigo, con recelo
que viese cómo del él aprendía.
Y a los Dioses les dijo (aunque con celo),
Fuenllana ha mejorado la harmonía
que no estaba tan dulce acá en el cielo.
(Al inglés)
A Sonnet by Juan Yranzo
Two men have been punished by the gods
for stealing from their sovereign court:
one was Prometheus—the other, Fuenllana,
who stole fire and music from them.
They deprived one of sight, the other they left bound
as bait for an inhuman eagle.
One gave stones human life,
the other has drawn men into the stones.
Apollo was the most relentless in delivering
that punishment, with trepidation
that he might see how he was being learned from.
And he told the gods (though with jealousy),
"Fuenllana has improved the harmony
that was never so sweet here in heaven".
De “Edición B”
Orpheus cui cedit, cedit stupefactus Arion,
Thebanus fidicen, Inachiusque Linus.
Hactenus orba fuit citharae dulcedine tellus,
Clamet Io, cum iam venit amoena lyra."
(English)
Orpheus, to whom Arion yields in awe,
Theban lyrist, and also Inachian12 Linus.
Until now, the earth was bereft of the lyre's sweetness;
Let Io rejoice, for the melodious lyre now has arrived!
From Edición B, another version of
Martini a Montesdoca13 carmen in laudem (ex editione B)
Michaelis a Fuenllana artis musicae, & lyrae peritissimi, qui Divinam potius,
quam Orphaeam condidit lyram
Finally this sonnet by Montesdoca, from Edición B
"Musice, quisquis amas citharam, tibi misit ab alto
aethere Divinam Cynthius ecce lyram,
Orpheus cui cedit, cedit stupefactus Arion,
Thebanus fidicen, Inachiusque Linus.
Quae scatet ambrosia, et caelestia pabula praebet
mentibus humanis, nectareumque melos.
Hactenus orba fuit citharae dulcedine tellus,
clamet Io, cum iam venit amoena lyra.
Et licet Ismario nomen sibi sumpsit ab Orpheo,
Orpheis fidibus dulcior una sonat.
Manu fecit Fuenllana lyram miro ordine dulcem,
Auctorem dixi, dicere plus nequeo."
(English)
Sonnet by Montesdoca, from Edición B
Music, whoever loves the lyre, behold,
Cynthius sends to you from the high heavens a Divine lyre.
Orpheus yields to it, as does Arion in awe,
the Theban lyrist and Inachian Linus as well.
It brims with ambrosia and offers heavenly sustenance
to human minds, a nectar-like melody.
Until now, the earth was bereft of the lyre's sweetness;
let Io rejoice, for now the melodious lyre has arrived.
And though it has taken its name from Orpheus of Ismarus,
it plays more sweetly than Orpheus' strings.
By his hand, Fuenllana crafted the lyre (vihuela), sweet and miraculous in class.
I have named the creator; I can say no more.
(al castellano)
Música, quienquiera que ame la cítara,
mira cómo Cintio te envía desde los altos cielos una lira divina.
Orfeo cede ante ella, y también cede asombrado Arión,
el músico tebano y Lino de Ínaco.
Que mana ambrosía y ofrece sustento celestial
a las mentes humanas, una melodía como néctar.
Hasta ahora, la tierra había estado privada de la dulzura de la cítara;
que Io clame de alegría, pues ahora ha llegado la melodiosa lira.
Y aunque tomó su nombre de Orfeo de Ismaro,
una sola de sus notas suena más dulce que las cuerdas de Orfeo.
Con su mano, Fuenllana creó la lira, dulce en un orden milagroso.
He nombrado al creador; no puedo decir má.
(Al castellano)
Canto de Martín de Montesdoca en alabanza de Miguel de Fuenllana, peritísi-
mo en el arte de la música y de la lira (vihuela), quien construyó una lira más
divina que la de Orfeo.
Los poetas dijeron que Orfeo arrastraba con las cuerdas
a los ríos, al fuego, a los hombres, al Tártaro, a los monstruos y fieras.
y que Arión había acariciado a los delfines con el agua y con su dulce plectro
mientras llora su presente desgracia,
y que Anfión había construido Tebas con la modulación de su lira.
Es conocida la falsa fábula de estos tres.
Sin embargo, tú, Miguel, expertísimo en el arte de la lira,
cuyo nombre la música quiere que sea honrado,
tú, que raptas el pecho humano con una rara dulzura
cuando mueves las consonantes cuerdas de la melodiosa tortuga (vihuela)
haces verdaderos los elogios de tu célebre fama,
hasta el punto de que el mismo Zoilo alaba te alaba.
1Martín de Montedosca. Printer active in Seville during the mid-16th century. He is known for producing significant works, including music books such as Orphenica Lyra by Miguel de Fuenllana in 1554. Montesdoca's contributions to the printing and dissemination of music and literature were notable during the Spanish Renaissance.
2A mortal non-divine lyre is understood here.
3Arion
was a celebrated as a legendary musician and poet. He is most famous
for his miraculous escape from pirates, a tale that intertwines
music and divine intervention.
According to the myth, Arion was
a gifted kitharode (lyre player) who won great riches in a musical
competition. On his return voyage, the sailors plotted to kill him
and steal his wealth. Arion, realizing their intent, requested to
sing one last song. As he played his lyre, dolphins were drawn to
the ship by the beauty of his music. After finishing his song, Arion
leapt into the sea, where one of the dolphins carried him safely to
shore.
4Amphion is a figure from Greek mythology, celebrated for his extraordinary musical abilities. He was the son of Zeus and Antiope, and the twin brother of Zethus. Together, Amphion and Zethus are famous for building the walls of Thebes. According to legend, Amphion's music was so powerful that it caused the stones to move and arrange themselves into the city's fortifications.
5Zoilus was a Greek grammarian, philosopher, and literary critic who lived around 400–320 BCE. He is most famously known as "Homeromastix," meaning "Scourge of Homer," due to his harsh critiques of Homer's works. Zoilus questioned the plausibility and moral aspects of the Homeric epics, earning a reputation for being a severe and often controversial critic. His name became synonymous with overly harsh or malicious criticism, and the term "Zoilism" was later coined to describe this kind of critique. Despite his notoriety, none of his writings have survived, leaving his legacy largely shaped by the accounts of others.
6Cynthius is an epithet of the Greek god Apollo, derived from Mount Cynthus on the island of Delos, where Apollo and his twin sister Artemis were said to have been born. The name connects Apollo to his birthplace and emphasizes his divine origins. Similarly, Artemis is sometimes referred to as Cynthia for the same reason.
7Location mentioned in Homer's Odyssey. It was a city of the Cicones, situated in ancient Thrace on the southeastern coast near the Aegean Sea2. According to the epic, Odysseus and his men landed there after the fall of Troy. They plundered the city, but their lingering led to a counterattack by the Cicones, resulting in heavy losses for Odysseus' crew. The region around Ismarus was known for producing highly esteemed wine, which is referenced in classical texts. The mountain and lake near Ismarus also bear its name, though the exact location of the city remains uncertain.
8Juan
de Quirós (Rota, Cádiz, c. 1487–Sevilla, 1562) fue un poeta y
humanista en la Sevilla de tiempos del emperador Carlos V. Probably
Juan de Quirós (Rota, Cádiz, c. 1487–Sevilla, 1562), poet and
humanist in Seville during the era of Emperor Charles V. He lived
during a vibrant period of cultural and intellectual flourishing,
often referred to as the Spanish Renaissance, which was marked by
humanist thought and artistic achievement. Regarding Juan Sánchez de Zumeta (o Çumeta), all I could decipher about him was that he was a local town councilor in Seville (called a veinticuatro in 16th century Andalucía at the time), and, apparently, a poet.
9Benito Arias Montano (or Benedictus Arias Montanus; 1527–1598). Spanish orientalist and polymath who was active mostly in Spain. He was also editor of the Antwerp Polyglot. He reached the high rank of Royal Chaplain to King Philip II of Spain. His work was censured by the Spanish Inquisition when rabbinical references were included into his Antwerp Polyglot Bible.
10«porque»: para que.
11 Juan de Iranzo: Poeta activo en Sevilla durante la segunda mitad del siglo XVI, de cuya vida se conocen muy pocos datos.
12Inachus is a figure from Greek mythology, known as the first king of Argos and a river god. He was said to be the son of the Titans Oceanus and Tethys, making him one of the ancient river gods. The river Inachus in Argos was named after him, and he played a significant role in mythological stories. One notable tale involves Inachus acting as a judge in a dispute between Poseidon and Hera over the dominion of Argos. Inachus sided with Hera, which angered Poseidon, who then dried up the river as punishment. Inachus is also connected to the myth of Io, his daughter, who was transformed into a cow by Zeus to protect her from Hera's wrath. His lineage and stories are deeply intertwined with the early mythological history of Argos.
13Martín
de Montedosca. Printer active in Seville during the mid-16th
century. He is known for producing significant works, including
music books such as Orphenica Lyra by Miguel de Fuenllana
in 1554. Montesdoca's contributions to the printing and
dissemination of music and literature were notable during the
Spanish Renaissance.
Gallery
Spanish Renaissance, and a record of one of its greatest musicians.
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