La Araucana

The poem

Structure

La Araucana consists of 37 cantos that are distributed across the poem's three parts. The first part was published in 1569; the second part appeared in 1578, and it was published along with the first part; the third part was published with the first and second parts in 1589. The poem shows Ercilla to be a master of the octava real (that is Italian ottava rima), 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.

Subject matter

The work describes the initial phase of the Arauco War 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 Chile at the core of his poem, because the author was a participant in the conquest and the story is based on his experiences there.

Development

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 La Araucana is a kind of Iliad 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 – cf. Montaigne's essay "Des Canibales", 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.

Influences

La Araucana is deliberately literary and includes fantastical elements reminiscent of medieval stories of chivalry. The narrator is a participant in the story, at the time a new development for Spanish literature. Influences include Orlando furioso by Ludovico Ariosto. Also features extended description of the natural landscape. La Araucana’s successes—and weaknesses—as a poem stem from the uneasy coexistence of characters and situations drawn from Classical sources (primarily Virgil and Lucan, both translated into Spanish in the 16th century) and Italian Renaissance poets (Ludovico Ariosto and Torquato Tasso) with material derived from the actions of contemporary Spaniards and Araucanians.

The mixture of Classical and Araucanian motifs in La Araucana 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 brave—only lacking, as their Classical counterparts did, the Christian faith. Caupolicán, 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 La Araucana 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 Caupolicán elevates La Araucana 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 poem unity and strength.

The story is considered to be the first or one of the first works of literature in the New World (cf. Cabeza de Vaca's Naufragios—"Shipwrecked" or "Castaways") for its fantastical/religious elements, it is arguable whether that is a "traveler's account" or actual literature; and Bernal Díaz del Castillo's Historia verdadera de la conquista de Nueva España (The Conquest of New Spain). La Araucana’s 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 La Araucana 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.