18th Century Spanish Literature: Trends and Analysis
1. Eighteenth-Century Literary Trends in Spain
The 18th century in Spain was not a homogeneous period, making it difficult to establish the chronological limits of an ideological and aesthetic “transition.” The first stage saw the continuation of Baroque literature.
1.1 Classicism
This period was characterized by the development of a rational and sensualist vision. Enlightenment ideas sparked an interest in pleasure and a return to classical models. In poetry, a frivolous spirit associated with the Rococo emerged.
1.2 Preromanticism
Social concerns and a desire for freedom intensified. In this context, a philosophical literature emerged, aiming to captivate the reader with appeals to sensibility. One aspect that caused the most concern was aesthetic criteria.
The proposed model was a return to the classics:
- In lyrical poetry: Proportion had to combine beauty and symmetry to achieve a harmonious and balanced effect.
- In theater: The educational purpose had to be restored.
2. The Essay in the Eighteenth Century
In the 18th century, the term “essay” was not yet clearly defined. Some authors followed the epistolary technique, others autobiography or memoirs. Sometimes they opted for the report or the travelogue. The essay, in its various forms, became the preferred genre for disseminating Enlightenment principles.
2.1 Feijoo’s Essays
Feijoo was a central figure of the essay in Spain. With his texts, he intended to educate the people.
Themes:
Feijoo attempted to prove the falsity of certain superstitions and folk beliefs through rational arguments that encouraged critical thinking. He used the observation of nature and experience. Convinced of the need to combat cultural errors, he debunked the existence of fantasy creatures and criticized the belief in miracles. Regarding the Church, he blamed individual behavior and institutional issues, rejecting the opposition of new intellectuals.
Works:
Feijoo did not delve too deeply into complex issues. He incorporated rigorous standards of analysis while remaining entertaining and often resorted to common sense as a reliable criterion. His educational task is reflected in the following essayistic works:
- Teatro crítico universal: Composed of nine volumes in which the author discusses a variety of topics and addresses issues related to science and the reality of the time.
- Cartas eruditas y curiosas: Consists of five volumes that share the same objective: to combat the errors accepted by the majority.
Style:
His prose has a degree of simplicity and clarity that contrasts with Baroque writers.
2.2 Jovellanos and the Essay
Jovellanos’s work encompasses poetry, drama, and essays. Unlike Feijoo, his non-fiction texts, which presented his reform proposals, were addressed to the ruling classes and not the general public.
Themes:
In his essays, he expressed deep concern about the main problems of the society of his time: agriculture, industry, and education. He suggested reform measures in response, showing a strong interest in educational issues. He defended humanistic training for scientists as a means of intellectual development and integrative thinking. He advocated learning languages to enable access to knowledge.
Works:
The author’s works that best reflect his concerns are as follows:
- Informe sobre la Ley Agraria: Jovellanos calls for the repeal of laws that prevent the creation of a framework of freedom for the development of the agricultural economy. He points out causes such as the lack of ownership of land, poor communications, etc.
- Memorias sobre espectáculos públicos: This book defends the existence of entertainment for the people. In the case of theater, he proposes measures such as establishing an acting school and staging didactic works.
On many occasions, Jovellanos used his own life as a thematic resource for his work, as demonstrated in “Descripción del Castillo de Bellver,” in the “Diarios,” and in the “Cartas del viaje de Asturias.”
Style:
He was critical of Baroque literature and advocated a simple style. His prose is characterized by simplicity and great clarity. Sometimes he used technical language required by the subject matter. In some texts, a certain subjectivity is noted, which often anticipates Romanticism: the exterior landscape is shown from the perspective of the author’s perception.
3. Poetry in the Eighteenth Century
In eighteenth-century poetry, different trends are observed: the sensuality of Rococo poetry, the social and didactic purpose of Enlightenment poetry, and the melancholy and sentimentality of pre-Romantic poetry.
3.1 Rococo Poetry
Rococo poetry, whose greatest representative was Juan Meléndez Valdés, develops the themes of love and feminine beauty in a frivolous, flirtatious, and celebratory atmosphere. Nature serves as a backdrop: naive landscapes with fountains and birds. The Anacreontic influence highlights the presence of sensual elements: alongside love, other pleasures such as courtship and parties are linked.
3.2 Enlightenment Poetry
For the enlightened, poetry should aim to instruct and educate:
- Social Poetry: Part of Enlightenment poetry focuses on social criticism, the defense of fraternity, the denunciation of poverty, etc. A variant of this trend was satirical poetry, whose most prominent representative was Jovellanos. In some of his works, he questions the conduct of the nobles and their lack of culture. Social poetry was also cultivated by Valdés and José Quintana, seeking freer metrics like the silva or the loose hendecasyllable (without rhyme).
- Didactic Poetry: The educational intention of the Enlightenment found in the fables of Aesop and La Fontaine the right model. This poetry should be easily understood. In Spain, the most prominent fabulists were Iriarte and Samaniego.
3.3 Pre-Romantic Poetry
During the course of the century, interest in sensitivity, the expression of feelings, and the prelude to Romanticism arose. “Jovino a sus amigos de Sevilla” stands out.
4. Theater in the Eighteenth Century
In the first half of the eighteenth century, the production of Baroque works continued, inheriting the legacy of the dramas of Lope de Vega and Calderón de la Barca. Comedies of intrigue, magic, and saints were frequent and very popular, in addition to short plays. This type of work was cultivated by playwrights like Cañizares and Zamora. In the middle of the century, there is a shift towards neoclassical theater, which will be more evident in the 1770s and especially in the 1780s. The proposals of neoclassical writers were coldly received by the public, but Leandro Fernández de Moratín and his followers would achieve success in the nineteenth century. Parallel to these two trends, a theater of manners developed, whose most prominent expression was the sainetes, short plays that showed typical and picturesque aspects of life in the eighteenth century, with Ramón de la Cruz as a prominent figure. The authors of sacramental plays remained active throughout the century until they were eventually banned by a royal decree. The same fate befell the comedies of saints.
4.1 Neoclassical Theater
The works of neoclassical theater should be structured following the rule of the three unities: unity of action (a single story), unity of place (in one location), and unity of time (over a period not exceeding twenty-four hours). It was thought that this structure would prevent the viewer’s attention from being diverted towards secondary details. The presence of few characters on stage also contributed to this.
Neoclassical Tragedy:
Although it was considered the most appropriate genre for didactic theater, no great works of this genre were created. It aimed to convey an ethical ideal in defense of freedom and opposed to tyranny. Vicente García de la Huerta’s tragedy “Raquel” stands out.
Neoclassical Comedy:
While it had precedents in Jovellanos, it was Moratín who succeeded in creating a new form in which satire was combined with sentimental elements that contributed to the outcome.
4.2 Leandro Fernández de Moratín
He began by writing neoclassical poetry, but his main literary activity developed in the theater. Moratín is the author of three plays in verse: El viejo y la niña, La mojigata, and two in prose: La comedia nueva o el café and El sí de las niñas. While La comedia nueva o el café addresses the excesses of Baroque theater of the time, the other four pieces deal with the issue of freedom of choice in marriage and the desirability of similar ages between spouses.
El sí de las niñas:
Written in 1801, but premiered in 1806 at the Teatro de la Cruz in Madrid with great success. In El sí de las niñas, Moratín criticizes the education of women at the time and the abuse of parental authority to which they were subjected. The comedy follows the neoclassical rules because, in addition to its clear didactic purpose, it respects the three dramatic unities: a single place for the development of a single action, which, as Moratín himself indicates in the initial stage directions, begins at seven in the evening and ends at five in the morning. The three acts of the play correspond to dusk, dawn, and daybreak, which symbolically frame the action. The masterful characterization of the characters, including the servants, stands out. The selfish and talkative Doña Irene and Don Diego are particularly noteworthy. The prose is natural and simple, and the dialogues have a raw agility. The serious and emotional moments avoid exaggeration, and the comedic ones do not fall into vulgarity, which contributes to the sobriety and moderation of the piece. Some critics have noted that “El sí de las niñas” registers early characteristics of Romanticism and even Realism.