Francisco de Quevedo: Life, Themes, and Style

Most of his work (1648) was published in The Spanish Parnassus. A nephew published other poetic texts in 1670, but also with various disorders.
The abundant poetry is often grouped according to themes: philosophical, moral, religious, loving, satirical-burlesque, and serious poems. His Baroque style typically addresses issues such as death, the brevity of life, the fleeting nature of time, censorship of various defects, or deception, usually from a perspective that merges Neostoicism. His Christianity and love poetry are impregnated with Petrarchan and Neo-Platonism, though often the ideal love is marred by death. The satirical-burlesque poems clearly demonstrate his capacity for wit and linguistic ingenuity. The objects of his satire are varied: women, deceived husbands, Jews, doctors, etc.

Many literary topics are always printed with his personal stamp. His serious-tone love poems are clearly indebted to the courtly tradition. He was unable to express language, ideology, and emotions that had originally inspired. Petrarchism courtly lyric became an excellent vehicle for the expression of metaphysical concerns and Baroque disappointment. A poetry of extraordinary intensity emerges, both aesthetically and spiritually. At the center of his love poetry and lyrical meditations on death is the anguish of loneliness.
Since everything is in constant motion, reality is changing and contradictory. What is deceptive is appearance, starting with disappointment in love itself. Quevedo, who takes the form of laughter, caricature, or bloody mockery, transcends the specific circumstances of the individual and his socio-historical environment.

Constant puns, misunderstandings, dilogy, polysemy, paronomasia, hyperbole, antithesis, paradox, grotesque deformities, etc., dominate the language in its most diverse records. The rhetorical resources of lyric poems renacentista.se are a warning to his consummate mastery of the various forms utiliza.Ésta is perhaps an extreme difference between poetry and prose prosa.su always gives the impression of a succession of unconnected scenes in which the author develops his immense deliriously language ability, the existence d q metric structure makes its excess default language has to conform to a pattern because the poet fijado.El passion is poured into their texts through the abundance of prayers questions, exclamations, and appeals through direct calls to the reader or by frequent use of diminutive and augmentative afectivo.El character temper, restless, violent and tormented, and abruptly emerges sporadically in his poetry, breaking the harmony and balance specific to the Renaissance traditional motifs and forms part of the writer