18th Century Spanish Literature: From Baroque to Neoclassicism
During the 18th century, Europe was invigorated by the Enlightenment, a movement fundamentally grounded in reason as the primary source of knowledge. However, the Enlightenment’s embrace in Spain was initially more restrained compared to other European nations. This period saw the rise of enlightened despotism, a new form of government operating under the motto, “Everything for the people, but without the people.” This era witnessed the establishment of new schools, a focus on scientific development, a reduction in the nobility’s power, and the promotion of agriculture, commerce, and industry. The dissemination of information through the press increased, and institutions like the National Library, the SAR, and the Museo del Prado were founded.
The 18th century marked the era of Neoclassicism, yet it also gave rise to a variety of literary phenomena. Postbarroquismo, an extravagant yet shallow art form, eventually gave way to Neoclassicism. Preceptist authors, adhering to established authority, often stifled the expression of genuine emotions in their works. The influence of the Enlightenment and rationalist criticism introduced concepts of equality, intellectual independence, and self-criticism. Finally, pre-romanticism emerged, emphasizing fraternity and humanitarianism, and exploring the idea that progress and civilization could corrupt human nature.
Prose
comes from the baroque tendencies, especially in the narrative genre. The picaresque novel ends with “The Life of Don Diego Torres y Villarroel. Its chief representatives are: Feijoo, Gallows and Jovellanos.
Feijoo’s works were controversial, but enjoyed enormous prestige and real protection. His most important work is contained in the eight volumes of “universal critical Theatre.” His style is simple and natural, because its intention is more scientific than aesthetic teaching.
The most important work of Gallows are the “Letters Morocco.” Scaffold provides a comprehensive overview of the country, justifying the failure of Spain in the ruin caused by the continuous wars, the sluggish nature of its citizens, you challenge scientific and bad manners. Despite some skepticism noted, Scaffold trusts in man and in progress. Therefore believes that it should follow the example of more advanced nations.
Jovellanos represent better than anyone the synthesis of current thinking of the time. Was an observer of the Spanish reality, dedicated his life to solving a practical way the problems of the moment. His most important work is: “Report on the Land Law.” In his works, the didactic intention premium.
Eighteenth-century poetry is a continuation of the Baroque. Later triumph neoclassical art will Luzán aesthetic poetry, poetry by imposing a model based on reason and good taste. Be balanced to avoid a poem sentimental confession.
The confluence of thought and literature of the time, the didacticism and criticism, gender is perceived in a very characteristic, namely the fable. Prominent among its cultivators Samaniego and Tomas de Iriarte. Samaniego was a fan of the classics of the genre, so he wrote the “moral fable.” Irony and prosaic tone are the dominant features in these texts. The “Literary Fables” by Tomas de Iriarte measure and present the greatest variety found in their morals aesthetic concerns of the time.
Meléndez represent the synthesis of the two poetic movements of the time: poetry and poetry Anacreontic philosophical and social. Anacreontic poetry is made up of compositions environments theme of love in pastoral, in which women are exalted and the pleasures of life. It is a joyous and sentimental poetry, in which nature is governed in prominence. The “Epistle of their friends Jovino Salamanca, Meléndez led to develop a moral and philosophical poetry. Become topics of agriculture, education, etc.
At the beginning of the second half of the eighteenth century, the Salamanca school of poetry had already started his creative work. The genre most cultivated by the poets was Anacreontic poetry. The featured authors are: Nicasio Alvarez and Manuel José Quintana.
In the late Sevilla is based on “The academy of the humanities, whose aim was to restore the tradition of the poetry of Fernando de Herrera Seville.
During the first half of the century, the theater remains the forms of the previous century, accentuating the Baroque features of the language and looking at all the cash escenografito. Later trends changed, putting eyes on the French classical theater. The work had to serve to spread the reformist ideas and educate viewers. Some standards to be met by the works were: respecting the rule of three units, offering a plausible argument to maintain decorum in the characters, stick to one genre and not to mix tragedy and comedy. Within the genus grown in the tragedy highlighted Moratín and Vicente Garcia de la Huerta, author of “Rachel.” Moratín dramatic production is exclusively composed of comedies, believing that was the best genre that could best represent the national customs, vices, etc. His works have a clear didactic purpose and moral code repoden fully Neoclassical. The themes developed are two: the freedom of choice in marriage and equality of spouses. Some of his most important works are “The Old Man and the Girl,” “The girls if”, etc.
Ramon de la Cruz is the traditional line in the eighteenth century theater. His sketches collect customs and popular taste Madrid at the time. The farce is closely related to the interlude of traditional theater. It was between act and act of the great tragedies and major works. The sketches are works of Ramón endowed with great dynamism, with frequent scene changes and the introduction of songs and dances. As estrofitas forms predominate romance. Some of his most important works are: “Touch me Roque’s house,” Manolo “, etc.