Culteranismo and Conceptismo: Spanish Baroque Poetry
Culteranismo and Conceptismo: Two Pillars of Spanish Baroque Poetry
Culteranismo
This current in Spanish Baroque poetry is characterized by its emphasis on elaborate and ornate language, known as “cultismos.” Its creator was Luis de Góngora. Key features include:
- Extensive use of *cultismos* (words borrowed from Latin or Greek).
- Latinized syntax.
- Rich musicality.
- Abundant use of rhetorical devices, especially metaphors.
Conceptismo
Conceptismo, in contrast, focuses on ingenious and surprising associations of ideas and words. Francisco de Quevedo is a major representative of this style. Its style is based on:
- Witty and unexpected connections between concepts.
- A more rationalist approach, using lexical and logical trends.
- Revaluation of emotional expression.
- Creation of new words through unexpected composition and derivation.
- Use of rhetorical devices.
Key Figures of Spanish Baroque Poetry
Luis de Góngora
Features
Góngora’s poetry possessed a pictorial sense, creating vivid, sensorial descriptions of landscapes. He blended cultism with popular elements, incorporating religious themes, satire, and panegyrics.
Themes
His work covers a wide range of themes.
Style
Góngora’s style is known for its difficulty, challenging the reader’s intellect and sensibility. He frequently used *cultismos*, hyperbaton, alliteration, and other figures of speech.
*Cultismo* (in detail)
The use of words of Latin origin, hyperbaton, syntactic flexibility, and mythological allusions are hallmarks of Góngora’s *cultismo*.
Works
- Popular Poems: Compositions in short meters, such as *romances* and *letrillas*, dealing with various themes.
- *Letrillas*: Generally satirical compositions.
- Cult Poems: Major works include *Fábula de Polifemo y Galatea*, *Soledades*, and *Fábula de Píramo y Tisbe*.
- Other works: *Panegírico al Duque de Lerma*.
Francisco de Quevedo
Themes
Quevedo delved into the human condition and his own inner world. He possessed a strong intellect and vast knowledge, reflected in a wide variety of themes.
Style
Quevedo’s style is characterized by:
- Traditional and unusual metaphors.
- Intensifying resources.
- Superlatives.
- Wordplay.
- Hyperbole.
- Transfers of meaning.
- Neologisms (creation of new words).
- Antithesis.
- Oxymoron.
- Epithets.
- Paronomasia.
- Varied metrics.
Work
- Metaphysical Poems: Often essays.
- Moral Poems: Sonnets containing reflections on fortune, power, and vices.
- Religious Poems: Expressing Catholic faith, contempt for earthly life, and preparation for death and eternal life.
- Love Poems: Exploring love and reconciliation with life.
- Satirical Poems: Using satire to express bitterness and disappointment, employing linguistic games.
- Circumstantial Poems: Addressed to characters from the past or present.
Lope de Vega
Themes
Lope de Vega’s compositions often focused on personal matters, especially love and passionate relationships.
Style
His poetry reflects his personal life, both human and divine love. There’s a close relationship between his life and his poetry, expressed naturally and without excessive artifice. His *romances* are characterized by their speed and lack of ornamentation, contrasting with lyrical ballads and traditional forms.
Work
His work is extensive, particularly his *romances* and sonnets. Three poetry collections stand out:
- *Rimas*: Lyrical poems from his youth, including *romances* and sonnets.
- *Rimas sacras*: Odes on religious themes.
- *Rimas humanas*: A collection where Lope creates a literary alter ego (Tomé de Burguillos).
Baroque Poetry: General Themes
- Metaphysical and Religious Poetry: Many authors wrote poems reflecting their concerns and reflections on the conception of life. There’s a disillusionment with the humanization of religious feeling.
- Love Poetry: Love poetry was abundant, surviving the cuts and Petrarchan influences. The conception of love seems tied to the mentality of the time.
- Satirical Poetry: Satire provides a differentiating nuance, defining poetry with a moral and burlesque root. Its variety is shown in its use of Italian and Castilian verses, as well as its means of expression.