Menéndez Pelayo was the first to point out the Goliardic character of the work, although he denied that there was any attack against dogmas or insurrection against authority, which others later confirmed to be an attitude characteristic of Goliardish poetry. Specialists have also discussed the possible didactic nature of the Book of Good Love. Authors such as José Amador de los Ríos, Leo Spitzer or María Rosa Lida de Malkiel defend didacticism as an inseparable part of the work. However, authors such as Américo Castro and Sánchez Albornoz deny it, and consider Juan Ruiz to be more cynical than moralistic and more hypocritical than pious. Juan Luis Alborg, in turn, analogizes the work to the way in which Cervantes used chivalric novels to shed his own irony and personal vision; similarly, Juan Luis Alborg asserts that "the Archpriest is contained within medieval didactic forms.” His work reflects the multiculturalism of Toledo of his time. Among the various women he tries to make love to (the only case in which he has carnal relations occurs when the mountain-dweller "La Chata" assaults him, although the savage mountain-dwellers were characters of a highly typified literary genre) there is a Moor, and he boasts of his talent as a musician, composing music for Andalusian and Jewish dance. Also during the battle between Don Carnal and Doña Cuaresma he travels to the “aljama” or town hall of Toledo, where the butchers and rabbis invite him to spend a "good day." María Rosa Lida de Malkiel wanted to see the influence of the genre of narrative in rhymed prose, the maqāmat, cultivated by several peninsular authors in Arabic and Hebrew during the XII-XIV centuries. The book also contains a passage in which a Goliardish-type protest is presented against the position of Gil de Albornoz who intended to extend the papal doctrine of compulsory celibacy to his diocese. This clashed with the Hispanic tradition of the barraganía or contract of coexistence of a priest with a woman, a custom more established in a multicultural territory such as the diocese of Toledo, once the source of the heresy of Elipando's adoptionism, generated by the coexistence between Jews, Muslims and Christians. This is expressed in the "Canticle of the clerics of Talavera,” where he angrily protests against the provisions of the archbishop against the barraganía in the archdiocese. Such a protest was the one that could lead to the