Culteranismo and Conceptismo: Baroque Literary Styles

Posted on Feb 7, 2025 in Arts and Humanities

Culteranismo and Conceptismo

In Baroque literature, culteranismo and conceptismo represent distinct approaches to writing, each characterized by unique features such as sensory richness and a taste for Latinate influences. Baroque writers often sought originality through hyperbolic exaggeration and the juxtaposition of contrasting ideas.

These features manifest in two primary trends, both emphasizing complexity of expression, either at the expense of content (conceptismo) or form (culteranismo).

Culteranismo (Gongorism)

This poetic style is named after Luis de Góngora, a leading figure known for his pursuit of formal beauty.

  • Extensive use of cultismos (borrowings from Latin and Greek).
  • Complex Latinate syntax and a colorful lexicon.
  • Use of rhetorical devices such as metaphors, alliteration, and hyperbaton.

Conceptismo

Conceptismo emphasizes subtlety in thought, conveying much with few words. This poetic style relies on witty and surprising associations of ideas and words. Key proponents include Francisco de Quevedo and Baltasar Gracián.

  • Use of a rationalist vocabulary that prioritizes logic over emotional tendencies, seeking meaning rather than emotion.
  • Creation of words through unexpected composition and derivation.
  • Use of rhetorical devices such as metaphors, antithesis, paradox, and double meaning.

Oxymoron: Opposition between two words in the same line that have different meanings.

Common Themes in Baroque Plays

  • Honor: The concept of honor was a central theme.
  • Love: Often depicted as the conquest of a lady by a lover (or vice versa).

Types of Plays

  • Historical and Legendary Comedies: Examples include Fuenteovejuna.
  • Comedias de Maquinaria (Device Plays): These plays feature elaborate staging and were often performed in court theaters, accompanied by song and dance. Example: Neither Love Nor Love Escapes by Calderón.
  • Philosophical and Religious Dramas: Exploring themes such as destiny, individual liberty, and divine power. Example: Life is a Dream.
  • Dramas of Honor: Centered on problems of honor. Example: The Physician of His Honor by Calderón.
  • Autos Sacramentales (Sacramental Plays): Spectacular performances addressing matters of faith.

Common Characters

  • The King: If young, a superb leading man, sometimes unfair; if old, prudent and necessary to restore justice.
  • The Galán (Gallant): Possesses all virtues, driven by love, jealousy, and honor.
  • The Antagonist: Usually a noble who abuses his power, an evil tyrant.
  • The Queen: Often a woman disguised as a man to perform male actions, such as defending her honor.
  • Father of the Lady: A figure defending honor.
  • The Gracioso (Funny Man): The quintessential type in Spanish comedy, clever, cowardly, loves money and food. Often paired with the lady’s maid, their interventions break the tension and drama.
  • The Maid:

Key Authors

  • Lope de Vega: The Dog in the Manger, Fuenteovejuna.
  • Tirso de Molina: The Trickster of Seville, Don Gil of the Green Pants.
  • Calderón de la Barca: Life is a Dream, The Mayor of Zalamea.