A Journey Through Spanish Literature: 17th to 20th Century
XVII Century
On Whether the Nins by Leandro Fernández de Moratín
This play is considered the prototype of neoclassical comedy in Spain. Apart from its social and moralizing intention, it brought two interesting new features to the theater: the attempt to describe daily life with ordinary characters and the emergence of colloquial language in simple, unadorned conversations.
The comedy adheres to a rigid structure, subject to the unities of time, place, and action. It centers around the love story between Francisca and Don Carlos, which is hindered by the proposed marriage of the young woman with Don Diego, Don Carlos’s uncle. The story unfolds in a humble inn in Alcalá de Henares between one afternoon and the following evening.
Moratín addresses a serious social problem: the rigid and authoritarian education of the time, which prevented young people from freely deciding their future. He satirizes the figure of the mother and the absurd beliefs and conventions of a backward society. Don Diego becomes the spokesperson for the author’s reformist ideas, demonstrating the wisdom necessary for a progressive society.
The moral of the play is conveyed through a pleasant sentimental element, connecting with a wide audience moved by the love of the young couple and the dedication of Don Diego, who resolves the conflict by ensuring that truth prevails.
XIX Century
Clarín (Leopoldo Alas): Stories
In the late nineteenth century, the Spanish short story blossomed as a genre, and its development is largely due to Clarín. The author preferred to set his stories in provincial towns, Madrid, resorts in northern Spain, and the Asturian countryside.
“La Regenta” belongs to the first group, and “¡Adiós, Cordera!” represents the vulnerability of the protagonist, a poor outcast who longs to interact with his peers. The Asturian countryside recreates the isolation in which Doña Berta lives, while in Madrid, she is run over by a tram, representing the dehumanization of the city.
The stories range from satirical and burlesque visions to lyrical contemplation of unjust situations and rural or humble characters. The narrator is involved, using irony and humor to denounce injustices and project empathy onto certain characters. Religious stories reflect his spiritual concerns.
The language follows the realist tradition and is characterized by naturalism, with the use of dialects, colloquialisms, and sayings, effectively conveying emotional expression.
First Half of the XX Century
The House of Bernarda Alba (1936) by Federico García Lorca
This play was not performed until 1945. Subtitled “Drama of the Women in the Villages of Spain,” it has a rural setting, although Lorca transcends the genre in many ways. Following the death of her husband, Bernarda imposes a long and rigorous mourning period on her five daughters. The play focuses on the clash between authority and freedom.
Bernarda represents authoritarianism, and her daughters embody a range of attitudes from passive submission to rebellion. Several themes are related to the central conflict: traditional moral and social pressure on individuals, social differences, and the status of women in Spanish society at the time.
By developing the action within an enclosed space, Lorca creates a conflict that builds to moments of maximum tension. The setting is loaded with symbolism, such as the river representing the life force and the well symbolizing death. Adela’s green dress is also significant.
Lorca’s mastery of dialogue is evident, blending reality and poetry. He captures the richness of popular language without resorting to slang, using metaphors and comparisons effectively.
Second Half of the XX Century
The Family of Pascual Duarte (1942) by Camilo José Cela
This novel was the first major literary event after the Spanish Civil War. Its success was partly due to its violent plot and its poetic and intense prose. It marked the beginning of “tremendismo,” a literary movement characterized by its focus on violence and cruelty.
The novel illustrates the concept of man as a creature dragged down by the double pressure of heredity and social environment. Pascual is an unhappy man who feels doomed, reflecting the author’s existential pessimism.
The harshness and bitterness of the narrative are tempered by a warm lyricism, a human element that persists even in the worst moments. Pascual’s behavior is dominated by instinct, violence, and a mix of emotions. The chaplain’s report, which closes the novel, is a meditation on good and evil and the difficulty of judging human actions.
The language is striking for its precision, expressiveness, and rich vocabulary. Cela’s first novel reveals him as a skilled storyteller and a master of prose.