18th Century Spanish Literature: Enlightenment and Neoclassicism
The Enlightenment in Spain
During the eighteenth century, Europe was strengthened by the Enlightenment, whose fundamental principle is the defense of reason as a source of knowledge. Initially, it was not as welcome in Spain as in other countries. In addition to a new form of government, the enlightened despot, whose motto was “Everything for the people, but without the people,” emerged. New schools were created, while the development of the sciences was shielded. The Enlightenment reduced the power of the nobility, promoted agriculture, commerce, and industry, and increased the dissemination of the press. Institutions like the National Library, the SAR, and the Museo del Prado were born.
The eighteenth century is the era of Neoclassicism, but it also produced many literary phenomena: Post-Baroque was reduced to an extravagant art without content; Neoclassicism saw authors submit to authority, hindering the expression of honest feelings in literature; the Illustration and rationalist criticism introduced the notions of equality, intellectual independence, and self-criticism; and finally, Pre-Romanticism, with the concepts of fraternity and humanitarianism, favored the idea that progress and civilization corrupt man.
Prose
Eighteenth-century prose comes from Baroque tendencies, especially in the narrative genre. The picaresque novel ends with “The Life of Don Diego Torres y Villarroel.” Its chief representatives are: Feijoo, Cadalso, and Jovellanos.
Feijoo
Feijoo’s works were controversial but enjoyed enormous prestige and royal protection. His most important work is contained in the eight volumes of “Universal Critical Theatre.” His style is simple and natural because his intention is more scientific than aesthetic teaching.
Cadalso
The most important work of Cadalso is the “Moroccan Letters.” Cadalso provides a comprehensive overview of the country, justifying the failure of Spain in the ruin caused by continuous wars, the sluggish nature of its citizens, scientific challenges, and bad manners. Despite some noted skepticism, Cadalso trusts in man and progress. Therefore, he believes that Spain should follow the example of more advanced nations.
Jovellanos
Jovellanos represents better than anyone the synthesis of current thinking of the time. He was an observer of the Spanish reality and dedicated his life to solving the problems of the moment in a practical way. His most important work is: “Report on the Agrarian Law.” In his works, the didactic intention is premium.
Poetry
Eighteenth-century poetry is a continuation of the Baroque. Later, Neoclassical art would triumph with Luzán’s aesthetic poetry, imposing a model based on reason and good taste. Poems were to be balanced to avoid sentimental confession.
Fables
The confluence of thought and literature of the time, didacticism and criticism, is perceived in a very characteristic genre, namely the fable. Prominent among its cultivators are Samaniego and Tomás de Iriarte. Samaniego was a fan of the classics of the genre, so he wrote the “Moral Fable.” Irony and a prosaic tone are the dominant features in these texts. The “Literary Fables” by Tomás de Iriarte present greater variety and their morals are found in the aesthetic concerns of the time.
Meléndez Valdés
Meléndez Valdés represents the synthesis of the two poetic movements of the time: Anacreontic poetry and philosophical and social poetry. Anacreontic poetry is made up of compositions with themes of love in pastoral settings, in which women are exalted and the pleasures of life are celebrated. It is a joyous and sentimental poetry, in which nature is prominent. The “Epistle to his friend Jovino, from Salamanca” led Meléndez Valdés to develop a moral and philosophical poetry. Topics of agriculture, education, etc., became prominent.
Salamanca School
At the beginning of the second half of the eighteenth century, the Salamanca school of poetry had already started its creative work. The genre most cultivated by the poets was Anacreontic poetry. The featured authors are: Nicasio Álvarez de Cienfuegos and Manuel José Quintana.
Seville School
In the late eighteenth century, Seville is home to “The Academy of Humanities,” whose aim was to restore the tradition of the poetry of Fernando de Herrera in Seville.
Theater
During the first half of the century, the theater maintained the forms of the previous century, accentuating the Baroque features of the language and focusing on elaborate stage design. Later, trends changed, looking to French classical theater. The work had to serve to spread reformist ideas and educate viewers. Some standards to be met by the works were: respecting the rule of three unities, offering a plausible argument, maintaining decorum in the characters, sticking to one genre, and not mixing tragedy and comedy.
Tragedy and Neoclassical Comedy
Within the tragedy genre, Leandro Fernández de Moratín and Vicente García de la Huerta, author of “Raquel,” stand out. Moratín’s dramatic production is exclusively composed of comedies, believing that it was the best genre to represent national customs, vices, etc. His works have a clear didactic purpose and fully represent the Neoclassical moral code. The themes developed are two: the freedom of choice in marriage and equality of spouses. Some of his most important works are “The Old Man and the Girl,” “The Yes of the Girls,” etc.
Ramón de la Cruz and the Sainetes
Ramón de la Cruz represents the traditional line in the eighteenth-century theater. His sainetes (short, one-act farces) collect the customs and popular taste of Madrid at the time. The farce is closely related to the interlude of traditional theater, performed between acts of the great tragedies and major works. The sainetes are works by Ramón endowed with great dynamism, with frequent scene changes and the introduction of songs and dances. Romance predominates as a verse form. Some of his most important works are: “Don’t Touch Me Roque’s House,” “Manolo,” etc.