Quevedo, Gracián and Origins of Peninsular Theater
Quevedo’s Satirical Prose
Quevedo’s satirical prose includes works on political, philosophical, and moral-satirical themes. Dreams (moral-satirical), published in 1627 and re-edited in a series of stories in 1631, features social satire that exemplifies reprehensible individual behaviors.
- Sueño del Juicio Final: All characters representing different social classes and types are raised and submitted to the final trial.
- Sueño del Infierno: A beautiful natural area gives birth to two paths. One is the narrow path of virtue, full of thorns, which few people choose. The other is the wide path of pleasure, which is the path of sin, and is chosen by many, thus condemning them to hell.
- El Mundo por Dentro: Heartbreak, personified as an elder, leads the author through the streets of hypocrisy, where the world is revealed as it truly is.
- Sueño de la Muerte: Social types parade along the path to Death. Real people appear, others unknown, but contemporary to the time.
Gracián’s Didactic Prose
Gracián’s didactic prose, with secular works published under pseudonyms, is addressed to a minority of learned individuals. Its purpose is to teach rules based on reason and prudence. Among his major titles, Agudeza y Arte de Ingenio stands out, as well as El Criticón.
El Criticón
Published in three parts, El Criticón represents an allegory of human life. Gracián equates the ages of man with the seasons of the year. The book contains numerous allegorical and satirical episodes, moral reflections, and digressions of various kinds. The story takes a back seat to the lessons it teaches. In the plot, Critilo, an old sailor, is rescued by Andrenio. Together, they embark for Spain, and during the journey, Critilo tells Andrenio about his life. Critilo represents virtuous opinion and experience, while Andrenio represents ignorance and instinct. The work offers a pessimistic vision and criticizes the world: man, selfish and cruel, but trained to think and decide, can only save himself through the pursuit of virtue and goodness.
Origins of Peninsular Theater
Medieval dramatic production is scarce. In Castile, during the Middle Ages, there was no dedicated space for theatrical performances; these were held in communal places like temples or the streets.
The Medieval Drama
The oldest preserved Castilian dramatic text is Auto de los Reyes Magos, from the mid-12th century. It is a fragment believed to have been staged during the festival of the Epiphany, written in Castilian, though with Romandalusian influences. Medieval drama revolved around two key dates, Christmas and Easter, gradually giving rise to a germ of profane theater.
Renaissance Drama
- Religious: Allegory gains relevance, leading to the Baroque auto sacramental.
- Italianate Theater, Classical, Nationalist: The theme is national history.
- Popular: Lope de Rueda created the pasos, short pieces that introduce theatrical fun through entanglements and intrigues.
Mysteries (Mystery Plays)
While Castile had a poor sacred medieval drama, mysteries developed in the eastern peninsular region.
The Theater of Cervantes
First Stage: 1580-87, is more serious. Tragicomedies such as Los tratos de Argel and Numancia stand out.
Second Stage: 8 comedies, 8 entremeses, never represented (work). Comedies followed different models. Entremeses: reworked the typology of characters feigned by Lope de Rueda.