page_title: Macías
section_title: Influence on Peninsular literature
hierarchical_section_title: Macías / Influence on Peninsular literature
caption_attribution_description: Galego: Macías o namorado, Padrón, Galicia. Escultura de Ramón Conde. Publish by= Luis Miguel Bugallo Sánchez.
context_page_description: Macías was a Galician troubadour and one of the last Galician medieval poets.
context_section_description: The legend of Macías left an indelible mark on Spanish literature.  When allegory, inspired by Dante, invaded Spanish literature in the late 15th century, Macías became one of the foremost figures to appear in the many “infiernos de amor” (hells of love) written.  These compositions feature voyages through a hell where the narrators encounter lovers tormented for eternity for their intemperate passion.  The first of these poems was Íñigo López de Mendoza, 1st Marquess of Santillana’s Infierno de los enamorados (Lovers' hell), followed by Juan de Mena’s Laberinto de fortuna (1444), in which Mena puts prophetic words in Macías’s mouth: “Amores me dieron corona de amores/ porque mi nombre por más bocas ande” (Loves gave me a crown of loves/because my name travels most from mouth to mouth).  The last of the “infiernos” to mention Macías was that of a famous poet Garci Sánchez de Badajoz, a favorite of the Catholic Monarchs.  Despite the moralizing and exemplary nature of these poems, Macías is held up as a paragon of virtue.  He appears in these works in the company of model lovers of the classical period, such as Theseus and Orpheus.  Macías also appears in the Comedia de la Gloria d’Amor of Huc Bernat de Rocabertí, in the company of famous Castilian and Catalan lovers.
  Macías was even more famous among the Portuguese.  He is held up as a model of virtue and constancy in love in the Cancioneiro de Resende at the end of the 15th century.  During the 16th century, Portugal’s great epic poet Luís de Camões also makes reference to Macías in his “redondilha” poems.
  Although the 15th century was the high-water mark of Macías’s vogue as a symbol of unrequited love, he retained an interest for Spanish authors for hundreds of years thereafter.  In the 17th century, artists generally took a more pessimistic view of Macías, whose unsophisticated, emotional nature contrasted with the baroque aesthetic.  A notable exception to this trend, Lope de Vega, made Macías the hero of his drama, Porfiar hasta morir.  Lope’s contemporary Luis de Góngora, however, was merely amused at the unreasonableness of Macías’s tale, and Calderón de la Barca found Macías useful only as an erudite, but dry, reference.  The prevalence of Cartesian thought and the Neoclassical aesthetic in the 18th century was an even more hostile environment for Macías, a symbol of pure, reasonless emotion.  However, at the beginning of the 19th century, Mariano José de Larra brings Macías back as the ideal romantic figure in his play Macías.
caption: Statue of Macías, Padrón.
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