Spanish Literature: Golden Age Prose and Theater

Posted on Oct 27, 2024 in Latin

Francisco de Quevedo

Prose Works

  • Works Festive: A set of short works of comic character, giving a distorted view of reality. (e.g., Letters from Knight Terrace, Letter from a fleshy to another)
  • Moral-Satirical Works: Quevedo criticizes all sectors of society. (e.g., Dreams, which exposes abuse, addictions, and delusions)
  • Narrative Works: (e.g., The Buscón)
  • Doctrinal Prose: Christian doctrine (e.g., Constancy and Patience of Job)
  • Literary Criticism: Criticizes the culto style, imitating and mocking it. (e.g., The Compass Cults)

Baltasar Gracián

One of the most interesting figures of the Spanish Golden Age. A priest whose order only allowed him to write religious works, but he wanted to explore more themes. He sought freedom and influence, later inspiring German existentialists. He faced problems with his order in Valencia and moved to Huesca, where he met an editor who published his works under the pseudonym Lorenzo Garcia Morlanes. In Madrid, he was known for his eloquence while saying Mass. After further problems, he attempted to change orders but died before he could. Baltasar Gracián is famous for his:

Ideas

  • Baroque Pessimism: Despite his pessimism, he held some hope for improvement, not through religious impositions.
  • Double Value of Things: He believed that things have a double meaning.
  • Life as a Struggle: He saw life as a struggle for moral improvement.
  • Meritocratic Government: He believed that the government should be led by those qualified for the position.
  • Stylistic Concepts: He employed antithesis, puns, and irony.
  • Brevity and Quality: “What is good, if brief, is twice as good.”

Works

  • Works for Rulers: (e.g., Heroes, Political Don Fernando, which proposes Ferdinand as a model ruler)
  • The Criticón: Characters are defined by their kindness and journey through different locations, criticizing established norms and corruption while praising reason and virtue.
  • Sharpness of Wit and Art: Deals with the devices of wit and concept.

Theater of the Golden Age (Spanish Theater)

Item 15: Pre-Lope de Vega Theater

This refers to the theater produced by Spanish dramatists throughout the 16th century leading up to the emergence of Lope de Vega.

First Half of the 16th Century

Two important figures, Torres Navarro and Gil Vicente, did not develop original theatrical works but influenced Juan de la Encina. They initiated a small change in theater but lacked a strong plot and scene structure to create a revolution like Lope de Vega.

  • Torres Navarro: Worked in Italy, presenting his works at the papal court. His production is limited to eight works, six of which are in Propalladia. He classified them as comedies, including news (e.g., Soldiers’ Facts) and fantasy comedy (e.g., Hymen and Seraphina).
  • Gil Vicente: Important in the court of Charles V, he wrote partly in Castilian Spanish and partly in Portuguese. He had two styles: one mimicking Juan de la Encina’s pastoral dialogues (e.g., Trilogy das Barcas, related to death and Charon) and a comedic style (e.g., The Tragicomedy of Don Durados).

Second Half of the 16th Century

Two main currents emerged:

  • Popular Theater:
    • Lope de Rueda: His works are mainly comedies and pasos, which evolved into modern-day appetizers (short, comic pieces to entertain between acts). His characters were simple (e.g., the fool, the handsome man, the black man). Notable works include Olives, The Servants.
    • Juan Timoneda: Creator of the term “starter.”
  • Humanistic Drama:
    • Cervantes: Only The Siege of Numancia and Treatment of the Angel survive from his early works, though he wrote many more. He started writing theater before Lope de Vega and mocked him in Don Quixote for not following classical forms. Cervantes later recognized Lope’s success and adapted to the new comedic style. Notable works from this period include The Baths of the Angel, The Great Sultana, and appetizers like The Altarpiece of Wonderland, Be Careful (rivalry between a knight and a clerk), which reflects the idea that a bad marriage is better than a good divorce, and political critique (e.g., The Election of the Mayors of Daganzo), all with a fine irony.
    • Fray Jerónimo Bermúdez, Cristóbal de Virués, Lupercio Leonardo de Argensola, and Juan de la Cueva.

The Comedy of the Golden Age (Spanish Baroque Theater)

The word “comedy” is a generic term for all theatrical production during the Golden Age. Lope de Vega’s New Art of Making Comedies revolutionized theater.

Features

Recurring Themes

  • Honor: The defense of honor and honra (public image). Many works deal with the loss of honor, often leading to revenge.
  • Love: Linked to honor, it often involves a nobleman attempting to seduce a woman, leading to conflict with her family. Comedies often feature young lovers whose marriage is opposed, leading to tricks and schemes to achieve it.
  • Religion: Focuses on morality, with works dealing with miracles, salvation, and the struggle against sin. Religious themes are prominent in the works of Lope de Vega, Calderón de la Barca, and Tirso de Molina.