Spanish Literature in the 17th Century: Picaresque Novels and Key Authors
Spanish Prose in the 17th Century
The Decline of 16th-Century Genres
Many narrative genres from the 16th century practically disappeared in the 17th century, such as books of chivalry and pastoral novels. However, others, like the picaresque novel, experienced significant development. The Italian novella also gained importance, following the publication of Cervantes’ *Novelas Ejemplares* in 1613. In fact, the most relevant figure of 17th-century Spanish prose is precisely Cervantes, who published most of his work in this century.
Characteristics of the Picaresque Novel
Picaresque novels share a number of features already present in *Lazarillo de Tormes* and *Guzman de Alfarache*. These features include:
- The use of autobiography to tell a series of adventures serving several masters.
- The narrative’s justification of the protagonist’s ignoble origins.
- The character’s evolution from childhood to maturity.
- A singular point of view, as the facts are always recounted from the perspective of the rogue narrator.
- Alternating fortunes and adversities in the life of the protagonist.
- Frequent travel by the rogue, placing the action in different locations.
A peculiar feature of these novels is the existence of a fictitious recipient to whom the rogue’s story is addressed in a written letter. The rogue attempts to convince this recipient, and the intended readers, of the reasons for his or her attitude, using various excuses to justify their behavior. As for the character of the rogue, they are characterized by their ambition to succeed socially as a way to escape their miserable condition.
Picaresque novels portray the social plight of Spanish cities in the 17th century, with abundant beggars, unemployed individuals, and homeless people.
*Guzman de Alfarache* by Mateo Aleman
Many and varied picaresque narratives were published in the 17th century. The most important are *Guzman de Alfarache* and Quevedo’s *El Buscon*. *Guzman de Alfarache* was published in two parts: the first in 1599 and the second in 1604. Its author, Mateo Aleman, a native of Seville, led a difficult life. He was imprisoned several times and finally immigrated to Mexico in 1608 with his lover, where he likely died. *Guzman* was a great success from its publication, and its importance was significant, not only as a model for the picaresque genre but also for the further development of the novel. It was widely read during the 17th and 18th centuries in France and England.
The novel has a typically picaresque plot: Guzmanillo, the son of a rogue trader and an adulterous woman, becomes a consummate thief. He repents and then relapses several times in a succession of scams, frauds, and cheating, ultimately being condemned to the galleys. There, he again claims to repent and writes his life story as an example of what not to do.
The Prose of Lope de Vega
Lope de Vega wrote several works following various narrative models:
- A pastoral book, *Arcadia* (1598).
- Another pastoral narrative of a religious nature, *Los Pastores de Belen* (1612).
- A novel of complicated adventures, *El Peregrino en su Patria* (1604).
- Four Italian-style short stories, *Novelas a Marcia Leonarda* (1621-1624), dedicated to his last love, Marta de Nevares.
La Dorotea (1632) is particularly interesting. Related to *La Celestina*, it is also written extensively in dialogue, intended to be read rather than performed. Many consider it Lope’s masterpiece. *La Dorotea*, like other writings from the end of his life, is dominated by bitterness, disappointment, and melancholy. Lope, an old man, recalls episodes from his biography, blending the present with the past and life with literature.