Spanish Golden Age Literature: Conceptism, Theater, and the Pícaro

Spanish Baroque Literary Styles

Conceptism and Rhetorical Devices

The Baroque period, characterized by Conceptism (or Culteranismo), focused on the ingenious association of ideas, words, and concepts. This required great acuity of thought (agudeza de pensamiento).

• Dilogia: Word games utilizing multiple meanings.
• Paronomasias: Phonetic similarities used for playful effect.
• Antithesis (Puns): The contraposition of words and phrases.

Francisco de Quevedo: Satire and Desengaño

Quevedo is a central figure of the Baroque, known for his profound Conceptism.

• Desengaño (Disillusionment): Characterized by dualism, balancing a serious tone with a satirical side.
• Variety: Wide range of meters and themes.

Quevedo's Poetry Groups

His poetry is generally divided into three thematic groups:

1. Ascetic life, the fleeting nature of property, and false appearances.
2. Poetry concerning the decline of Spain.
3. Amorous Poetry: Rooted in the Petrarchan and Renaissance tradition, but infused with originality and deep emotion.
4. Satirical-Burlesque Poetry: Extreme use of conceptism applied to both important and trivial matters.

Lope de Vega: Vitality and Poetic Variety

Lope de Vega is known for his characteristic optimism and vitality.

• Themes: Extremely varied, often highlighting interruptions in his own love life.

Lope de Vega's Lyrical Poetry

Lope cultivated both narrative and lyrical forms:

• Folk-Lyric: Includes the Romance (pastoral and Moorish themes), focusing on life and sentimentality, characterized by transparency and musicality.
• Educated-Lyric: Composed over 3,000 sonnets, inspired by the Renaissance but featuring clear originality. He frequently sought out complex metaphors.

The 17th Century Picaresque Novel

The Picaresque novel was the most developed prose genre of the 17th century.

• Model: The pícaro (rascal), an innocent figure who becomes a scammer or criminal.
• Tone: Cruel satire combined with pessimism, pain, and distrust.
• Context: Narratives often feature the protagonist serving many masters, suffering hunger, and belonging to a low social class.

Key Picaresque Works

• Guzmán de Alfarache (1599) by Mateo Alemán: Follows a rogue between Spain and Italy.
• El Buscón (1626) by Francisco de Quevedo: Features Pablo, who is shipped to America to change his life.
• Vida del Escudero Marcos de Obregón (1618) by Vicente Espinel.
• El Diablo Cojuelo (1640) by Luis Vélez de Guevara.
• La Pícara Justina (1605) by Francisco López de Úbeda.

Lope de Vega's Theater Revolution

Lope de Vega revolutionized Spanish theater, creating the Comedia Nueva.

Features of the New Comedy

• Artistic Freedom: Lope rejected the three classical dramatic unities (action, time, and place), resulting in tragicomedies.
• Structure: Division into three acts or 'days':
  1. Introduction of characters and setting.
  2. Entanglement (rising action).
  3. Resolution (desenlace).
• Diversity: Wide variety of arguments and plots.
• Themes: Primarily focused on love, honor, and social harmony.

Character Roles in Lope's Theater

The characters represent a harmonic image of society:

• Galán and Dama: The ideal center of the intrigue.
• Servant (Gracioso): Often the servant of the Galán or Dama.
• Father: Custodian of family honor and avenger of offenses.
• King: The maximum authority, representing the ideal of respect and justice.
• Villain: Typically of high social class.
• Others: Secondary characters supporting the plot.

Theater and Poetic Decorum

The drama was written in verse, utilizing different stanzas appropriate to the social quality or level of the character (poetic decorum).

Theatrical Representation: Corral de Comedias

The theatrical representation took place in the Corral de Comedias (a neighborhood yard), providing maximum spectacle.

• Scenario: A simple stage with a single curtain, lacking elaborate scenery, built on a wooden platform.
• Audience Sections:
  • Central Courtyard: Occupied by the Mosqueteros (standing male audience).
  • Cazuela: Reserved for women.
  • Apartments: Boxes reserved for important people.

Structure of the Performance

The performance followed a specific structure:

• Loa: A short piece designed to capture attention.
• 1st Act + Entremés (Appetizer/Interlude).
• 2nd Act + Entremés (Appetizer/Interlude).
• 3rd Act + Mojiganga (Masquerade/Farce).

Lope de Vega's Major Thematic Ideas

Lope's works defended the monarchy, vindicated honor, and promoted Spanish pride and religiosity. His style was characterized by clarity of exposition and development, creating a poetic atmosphere through intrigue.

Notable Works by Lope de Vega

• Fuente Ovejuna
• El Caballero de Olmedo
• Peribáñez y el Comendador de Ocaña
• La Dama Boba
• El Perro del Hortelano (The Dog in the Manger)

Tirso de Molina: Deepening Female Roles

Tirso de Molina was the most important follower of Lope de Vega and the third great playwright of the century. He particularly deepened the complexity of female characters.

Notable Works by Tirso de Molina

• El Burlador de Sevilla y el Convidado de Piedra (The Trickster of Seville and the Stone Guest)
• El Palacio Confuso (The Confused Palace)
• Don Gil de las Calzas Verdes (Gil of the Green Tights)

Calderón de la Barca: Philosophy and Culteranism

Calderón adopted Lope's dramatic scheme but introduced more philosophical and profound characters.

• Style: Highly Culterano language, characterized by expressive complications, making it often difficult to understand.
• Scenic Elements: Increased use of elaborate stagecraft.

Notable Works by Calderón de la Barca

• La Vida es Sueño (Life is a Dream)
• El Alcalde de Zalamea (The Mayor of Zalamea)
• El Médico de su Honra (The Doctor of his Honor)