Jose Cadalso and 18th-Century Spanish Theater: A Deep Dive
Jose Cadalso: A Literary Figure of the 18th Century
Jose Cadalso stands as one of the most interesting figures of 18th-century Spanish literature, both as a man and a writer. Like many others of his time, Cadalso’s work spanned various genres, but it is in prose where he truly made his mark. Born into a wealthy family of Basque origin in Cadiz in 1741, he died in Gibraltar in 1782. As a teenager, he made many trips to Europe, acquiring knowledge of several languages. He joined the army, where he reached the rank of colonel.
Cadalso was well-known for his satirical writings against the rules of the militia and false erudition. He is the author of two books that have brought him just fame. Two works were published posthumously, the most notable being *Moroccan Letters*. This latter work is considered his most important. In general, the letters were praised by his contemporaries, such as Melendez Valdes, who had proposed to publish them. Some neoclassicists thought that Cadalso’s adherence to certain rules restricted his free speech and prevented him from developing the full potential of his talent. However, there were also commentators who considered the letters to be a rightful critique of national issues and praised their style and implicit meaning.
As the name implies, the *Moroccan Letters* are written in the form of letters, ninety in total, exchanged between two Moroccans and a Spaniard. This format reflects the widespread Orientalism in Europe at the time. Montesquieu’s *Persian Letters* provided the classic model for the genre. It is considered that the *Moroccan Letters* reflect the concern of the Spanish about the nature and status of their country, a theme that would later be called “the problem of Spain”.
The People’s Theater in the 18th Century
As in other genres, the influence of the Baroque survived well into the 18th century. Works from this period continued to be represented with relative success, particularly those with motifs from Calderon’s Baroque plays. Comedies proliferated, including those dealing with magic, saints, and heroic figures, cultivated in the first half of the century by authors such as Jose de Canizares and Antonio de Zamora. These works often featured many special effects and characters.
They usually presented cases of sudden changes in fortune and social ascension, satisfying the audience’s desire for advancement. Sometimes, these plays led to sequels, much like successful films today. Another genre that enjoyed great popularity in the second half of the 18th century was the *sainete*. This was a short piece displayed during the intermissions of comedies, reflecting popular local types, customs, and language, although it could sometimes lean towards moralization or satire.
Neoclassical Theater in the 18th Century
A debate continued between the enlightened supporters of neoclassical theater and the advocates of popular theater. The former accused the latter of copying French models and slavishly following classical rules, which they believed stifled creativity. The proponents of popular theater, in turn, censured the low technical preparation of actors and the dramatizations of the neoclassical plays. They argued that neoclassical theater only sought easy success by appealing to the primary tastes of the public and exciting their imagination and emotions with spectacular, implausible, and nonsensical events.