Naturalism and Romanticism in 19th-Century Spanish Literature
Naturalism in Late 19th-Century Spanish Literature
In the late 19th century, Realism gave rise to a new literary current: Naturalism. Its creator was Émile Zola, with works such as “The Experimental Novel” and “Evenings in Médan.”
Key Ideas:
- The naturalist writer is an observer and experimenter.
- Themes are related to social issues like alcoholism, corruption, mental illness, heredity, and marginalization.
- There’s an interest in sad, miserable environments and characters who are psychopathic, alcoholic, or otherwise flawed.
- Naturalist techniques include documentation and observation, taken to extremes with maximum rigor.
- The writer’s attitude must be impartial.
- The novel’s end is partial: the writer aims to improve society.
In Spain, there is debate about the existence of pure Naturalism. However, writers were influenced by this movement, notably Emilia Pardo Bazán and Blasco Ibáñez.
- Emilia Pardo Bazán is considered the most representative of Spanish Naturalism. She emphasizes the description of settings and characters in works like “The Tribune,” “The House of Ulloa,” and “Mother Nature.”
- Blasco Ibáñez addresses social class and environmental pressure on characters in his novels. His works include “La Barraca,” “Cañas y barro,” “Arroz y tartana,” etc.
Poetry in the Second Half of the 19th Century
The second half of the 19th century moved away from subjectivism. New theories on poetry were published, such as those by Campoamor. Two trends emerged:
- The prosaism of Ramón de Campoamor and his “Humoradas,” short didactic poetry.
- The convoluted poetry of Gaspar Núñez de Arce, with writings inspired by civic and political themes. His “Gritos del combate” (“Battle Cry”) stands out.
Theater in the Second Half of the 19th Century
A new realism emerged, reflecting the state of contemporary society. Three tendencies are identified:
- High Comedy: Followed the tastes of the gentry. Notable authors include Benavente de la Vega with “The Man of the World” and Tamayo y Baus with “Snowball.”
- Neo-Romantic Drama: With José Echegaray and works like “The Mad God,” this theater features a rhetorical style.
- Social Drama: Characters are not from the bourgeois classes. Authors include Enrique Gaspar and Joaquín Dicenta.
- Popular Theater: The farce recreates middle-class environments and introduces traditional genres like the *zarzuela*.
Romantic Theater
Drama is the subgenre most characteristic of Romanticism. Romantic theatrical drama was born in Germany with Schiller but appeared in Spain in 1834 with the premiere of “The Conspiracy of Venice” by Martínez de la Rosa. “The Traitor,” in 1849, is considered the last work of the genre.
Key Features:
- The central theme is impossible love, which leads to death.
- The intention of Romantic drama is not to educate but to reach the viewer’s sensitivity.
- Two main protagonists stand out: the hero and the Romantic heroine.
- The hero is a mysterious being and a lover of freedom in search of elusive happiness.
- The heroine is sweet and a passionate lover.
- The settings for the plays are abrupt, lonely landscapes.
- Romantic drama breaks with the neoclassical structure.
Notable Authors:
- Duque de Rivas: His work “Don Álvaro, or the Force of Destiny” signified the triumph of Romanticism in Spain. The main theme is the fatality that pursues the protagonist, destroying him. This work does not respect dramatic unities.
- José Zorrilla: His most famous work, “Don Juan Tenorio,” mixes the myth of Don Juan by Tirso de Molina and “The Student of Salamanca” by Espronceda. The play is set in Seville and is divided into two parts: the first with four acts and the second with three.
Furthermore, in the second half of the century, the comedy of manners continued.