Spanish Baroque Literature: Poetry and Theater Mastery

Spanish Baroque: An Era of Social and Political Crisis

The 17th century, known as the Baroque era, was a period defined by social and political crisis. While the bourgeoisie social class became increasingly important, an absolute monarchy was maintained to prevent them from seizing power. This era was marked by a lack of work, leading to a rise in rogues and beggars, and a deeply pessimistic view of life. Literature of this time reflects an obsession with the passage of time and the inevitability of death.

17th Century Poetry: Quevedo and Luis de Góngora

Baroque poetry evolved from earlier stages without a complete rupture, focusing instead on originality and complexity. Key trends included:

• A taste for artificial difficulty.
• Descriptive poetry becoming a central subject.
• A focus on satirical, burlesque, and philosophical themes.

Culteranismo and Luis de Góngora

Culteranismo, led by Góngora, sought the embellishment of reality through the use of metaphors, hyperbaton (changing the natural order of words), cultisms, and frequent allusions to classical mythology. Góngora's work includes:

• Popular Poems: Romances and letrillas.
• Cultured Poems: Songs and sonnets.
• Major Works: Fábula de Polifemo y Galatea, Soledades, and Panegírico al Duque de Lerma.

Conceptismo and Francisco de Quevedo

Conceptismo, championed by Quevedo, focused on the "concept" and intricate wordplay, such as paronomasias and puns. Quevedo demonstrated a great mastery of language across various genres:

• Metaphysical Poems: Meditations on human existence, the brevity of life, and carpe diem.
• Moral Poems: Reflections on vices, virtues, and wealth.
• Religious Poems: Dedicated to Old and New Testament circumstances.
• Panegyric and Funeral Poems.
• Love Poems: Notably those dedicated to Lisi.
• Satirical Poems: Critiques of societal defects.
• Prose: El Buscón (picaresque), Los Sueños, and La hora de todos.

The Evolution of Spanish Theater

The 16th and 17th centuries saw the development of religious (morality plays), courtier (palace), and popular theater. Popular theater flourished in Corrales de Comedias—fixed sites where women sat in the "cazuela," nobles had private rooms, and the lower classes stood or sat on small benches.

Lope de Vega and the New Art of Writing Plays

To satisfy public demand, Lope de Vega revolutionized the stage with his work, The New Art of Making Comedies. His theatrical renewal included:

• Tragicomic Mix: Blending tragic and comic elements.
• Rupture of the Three Units: Breaking the traditional constraints of Time (extending beyond 24 hours), Action (multiple conflicts), and Place (multiple locations).
• Structure: Dividing the work into three acts: exposition (planteamiento), knot (nudo), and outcome (desenlace).
• Language and Metrics: Adapting language to the character's status and using a variety of metric forms.

Character Archetypes and Themes

Lope de Vega utilized specific stereotypes: the Noble (often the antagonist), the Lady (the center of conflict), the Knight (the protector of honor), the Villain (a kind man of the people), the Gracioso (the comedian), and the King (the provider of justice). The primary purpose of his theater was "deleitar aprovechando" (to delight while teaching), focusing on themes of Love and Honor.

Masterpieces: Fuenteovejuna and Collective Honor

Alongside Lope de Vega, Calderón de la Barca stands as a titan of the era. One of the most significant works is Fuenteovejuna, which tells the story of a village revolting against the abuses of a commander. When the King investigates the commander's murder, the entire town protects the culprit by claiming "Fuenteovejuna did it," leading the King to forgive the people collectively.