18th-Century Literature: Social Change and Literary Evolution
Diaries, memoirs, and travel books are important. These kinds of writings are abundant and serve well to tell of the social relations of a given time. They also have reformist ambitions, are converted to texts that collect ideas, and therefore are also part of the literature of ideas. Examples include Moratín’s Trip to Italy, or the memoirs of Lorenzo da Ponte, who wrote librettos for Mozart, toured Europe, and included many details in his memoirs. Casanova, remembered as a model seducer, wrote a memoir of his life in his old age that shows a portrait of that time, traveling half of Europe. It demonstrates the interest of the elites in France, Italy, Spain, and Poland.
The Evolution of Seduction: Don Juan vs. Casanova
The character of Don Juan in the 17th century is an asocial character who defies God through deception, with a challenge to honor. He does not care about women, only his ego. Casanova, on the other hand, is seen as a born seducer. Women fall into his arms after an elegant seduction, but he does not have the same kind of trickery. He just wants to fall in love, conquer, and make friends with them. This change of attitude is very important because it marks a clear change of era.
Two Phases of the 18th Century
There is a taste that will vary, marking France around 1750. After this, the rest of Europe will join in, except the English who, in some cases, anticipated the change and, in others, simply followed.
Phase One: Early 18th Century
The first phase, the first half of the 18th century, is characterized by a philosophical sense and monitoring of the classic canons of taste. Philosophers will rise against the principle of authority. The empirical, scientific system will be settled, ending with national values in favor of internationalism, secular values, and looking at how classic models of French culture had settled in the late 17th century. There is a return to the humanism of the 16th century, with a more detailed knowledge of the classics, and these models reach many authors. Language should facilitate the transmission of ideas, finding a parallel between the structure of thought and expression, always with the idea that literature, although not devoted to research, must pass on knowledge.
The roots of Orientalism begin, with a fascination with the Eastern world. This fascination is not given direct attention but is absorbed by the West and reworked in terms of fantasy, luxury, and the erotic. The climax is the adaptation Galland made of The Thousand and One Nights, a work very popular in the Arab world but despised by high literature. The discovery of this work and its use as a reference book in the West influenced its appreciation in the Muslim world. It is an adaptation in which we see a transposition of the situations to the European courts.
Phase Two: Mid-18th Century Onward
In the second phase, around 1750, we see the triumph of the philosophers and the emergence of pre-Romantic sensitivity in certain regions, such as England and Germany. This gives rise to both an early and a late Romantic neoclassicism. The alliance between intellectuals and power has strengthened, and they are free to attack corruption and bad attitudes of government. We see a climate of tension that is preparing for what will be the French Revolution.
Shifting Perspectives: Materialism, Naturalism, and the Enlightened Prince
As for the human condition, materialism will be defended. The position of naturalism will be radicalized, with a struggle against superstition that connects with Erasmus’s battle against false relics and false experiences of religion and faith. Somewhat typical is the consideration of control exercised by religious orders over the faithful and the psychological sensitivity of young women. There is a special fascination for an enlightened prince character who protects them so they can perform their work without hindrance, as power is not put into question at all.
Literary Transformation: Sentiment and the Mysterious
As for the literary transformation, it should be added that it will receive progressive taste, with a valuation of the sentimental. There is renewed interest, but not like in the Baroque, to drag the readers to where we want, with emotion and feeling, a controlled passion. An interest in the mysterious and inexplicable begins to be detected. There is an assessment of the enthusiastic, paying attention to new English or German works, where passion is already overwhelmed. For example, in Goethe’s world, we find intrigue in a world of passion where tragedy is the only solution.