18th-Century Poetry and Neoclassical Theater: Key Features
Eighteenth-Century Poetry and Theater
In the 18th century, three main currents emerged in theater:
- The Baroque tradition, which gradually gave way to neoclassical ideals.
- A return to the classics, emphasizing Enlightenment ideas and didacticism.
- The Pre-Romantic movement, focusing on social concerns and freedom.
Poetry of this era also displayed diverse trends: Rococo, Pre-Romantic, and Enlightenment styles. The Enlightenment style embraced Enlightenment ideals, aiming to educate and uplift, resulting in a simple and clear style, free from Baroque ornamentation. Key themes included critiques of social issues, advocacy for fraternity, denunciation of poverty, and exaltation of the common person.
Neoclassical Theater Features
The 18th century saw three distinct theatrical approaches, each based on different conceptions of theater and supported by different audiences:
- First Half: The Baroque tradition continued, inherited from Lope de Vega and Calderón, providing entertainment with complex plots, varied metrics, and surprising staging.
- Subsequently: Neoclassical theater developed, prioritizing education over entertainment. Its primary goal was to educate the audience and foster rational thinking. Other features included:
- Focus on everyday issues.
- Strict separation of genres (comedy and tragedy).
- Few characters on stage.
- Structuring works according to the three unities (action, time, and place).
Neoclassical Tragedy
Neoclassical tragedy, exemplified by Raquel by Vicente García de la Huerta, was considered the most suitable form for teaching. However, Spanish works often failed due to strict adherence to neoclassical standards, a lack of theatrical sense (plays written by writers, not playwrights), and the absence of a strong tradition and audience. Historical tragedies featured characters serving as moral examples, undergoing trials that tested virtue, patriotism, and nobility. These plays often depicted historical heroes and a world of lofty sentiments, with characters from high social classes and unhappy endings. Raquel tells the story of King Alfonso VIII’s love for the Jewish woman Rachel.
Neoclassical Comedy
Leandro Fernández de Moratín was the most significant neoclassical playwright. He successfully created valuable comedies by fusing urban comedy and satire. His work combined intellectual critique, highlighting societal flaws, with sentimental emotion, championing truth and virtue. This approach fulfilled the educational purpose of neoclassical theater. His characters were relatable to the audience, depicting the middle class. Moratín often explored inauthenticity as a way of life, using sub-themes such as arranged marriages, authoritarian education (especially for girls), and popular comedy. Notable works include The Old Man and the Girl, The Baron, The Prude (in verse), The New Comedy or Coffee, and The Other Girl (in prose). His plays often revolve around the unequal marriage of Don Diego, an old man, and Dona Francisca, a young woman in love with Don Carlos. Moratín criticized familial obsession with lineage and superficial religiosity, leading to problems with the Inquisition. He respected the three dramatic unities. The triumph of feelings in his works, allowing young lovers to marry, foreshadowed the Romanticism to come.
Theater of Manners
The most prominent form was the skit, a short, funny, and sometimes satirical or burlesque piece. This genre often showed contempt for the Enlightenment. The most important author was Ramón de la Cruz.