Spanish Baroque Literature: Poetry and Prose Evolution

Spanish Baroque Poetry

Poetry inherits and enhances certain features of the Renaissance, but also breaks many classic molds of earlier literature.

Metric and Structure

The metric still utilizes Italian forms (hendecasyllable verses and stanzas such as the silva, octava, and sonnet), but with new content. Together with these, Castilian metrics remain (such as the redondilla and quatrain), which now establish the structure of the décima. It gives new life to lyric forms (letrillas, romances) and theater verses (seguidillas), all aiming to reflect the public's sensibilities.

Key Themes and Topics

Topics are diversified and fit the new conception of the time. Contrasts are accentuated: for example, between the severe Baroque and disillusioned reflections of Quevedo and festive, satirical, or burlesque poems. The thematic variety is vast:

• Amorous or Sentimental: Continuing the Petrarchan legacy, passed and renewed with strength by poets like Lope de Vega and Quevedo.
• Moral and Metaphysical: Issues such as the withdrawal from life, the passage of time, and ephemeral beauty.
• Christian: Moved by devotion and piety, as shown by various poets like Lope.
• Satirical-Burlesque: Where they question and parody various subjects.

Prose and the Picaresque Novel

In addition to the picaresque novel, other forms are distinguished in this century:

• Short Stories: Started by Cervantes' Exemplary Novels, this form was cultivated with success in the first half of the 17th century (e.g., María de Zayas).
• Byzantine: Some works can be understood as deriving from the previous century's Byzantine novel (e.g., Lope de Vega's The Pilgrim in His Own Country).
• Allegorical and Costumbrista: Reflects environments, types, custom characters, and ways of life (e.g., Luis Vélez de Guevara's The Limping Devil).
• Picaresque: Initiated with Lazarillo de Tormes (e.g., Quevedo's El Buscón).

Features of the Picaresque

• The narration is done in the first person.
• It features an open narrative structure; the adventures narrated are independent of the facts.
• It is realistic regarding the rogue's dishonorable and ignoble origins, often due to their parents' lack of honor.
• Despite being vigorously pursued, the rogue's state does not usually improve or increase their social status.
• Their dealings, often made to live at the expense of others, frequently end badly. The rogue is often a victim of his own actions.
• In picaresque works, certain moralistic tones can be observed.