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The Baroque period immediately following the historical and cultural rebirth. had its highest representation in the Spanish literature and esplandor crowned the golden age which had launched a revival. historical and social context: the Baroque in Spain covering the period of so-called Habsburg children: Philip III, Philip IV, Charles II, when characterized by historical crisis, "the financial crisis wasted the opportunity by not investing adequately dla wealth coming from the new world. decay-Spanish: Spain lost weight in Europe. -emigration to America: depopulated parts of Spain. -a new mysticism and a new sense of religion, created by the disaster situation. characteristics of Baroque Renaissance optimism disappeared in the Baroque: ideals were shattered and art of balance, serenity and anxiety disappeared was inserted into the society. Baroque literature assumed and repeated Renaissance topics. loss of faith in man and the devaluation of their world. between Renaissance and Baroque there was not a complete break but a change a natural evolution. ideology and attitudes: Baroque thinking clearly expressed his disappointment to the world. three positions can be seen with the decline: 1) the clash, rebellion and nonconformity, visible in moral and political treaties, and an important part of poetry. 2) avoidance through the content inherited from the Renaissance and the various forms of Beauty. 3) conformity and coexistence with the situation who performed the majority of the theater. The aesthetics of literature: key themes of the baroque: "epic, romantic and mythological. -religious, moral and political. "mischievous and satirical. -historical and legendary. Baroque writers sought above all originality, creative individuality, surprise rhetoric "retaliation. -wit. -create a new art or artifice. culteranismo concept and "the concept is more concerned about content and resorted to rhetorical figures of thought as the antithesis, paradoxes, puns. -culteranismo beauty and expression of the form. The poetry of the Baroque: culterano or concepts. reached some peaks hardly equaled in the history of Spanish poetry. issues, "the major themes of rebirth, love, nature and mythology, with its logical evolution. -moralistic themes reflected on the brevity of life and the transience of earthly things. Renaissance themes developed in accordance with the baroque attitude: 1) love with transcendent meaning. 2) the nature transformed into an object moralizing. 3) the mythology, beauty and rhetorical game. Baroque themes were the result of disillusionment and pessimism: 1) the time and transience, the brevity of life and the presence of death. 2) the dream became a symbol of life. 3) the mirror became a symbol of disappointment. 4) the problem of Spain. Tendencies learned poetry: verse heroic verse, suitable for lyrical expression, and the sonnet and song. poets formed two distinct groups: "those who broke the classical balance between content and expression. lope of view, both trends harmonized. -those who maintained the aesthetic ideal of naturalness and proper selection of Renaissance classicism. Baroque poetry often distinguished in three trends: culto, concepts and classicist.Culto poetry. Luis de Gongora: poetry or Gongorine culterano was the best picked up the Renaissance heritage. culto poets conceived the opera as a complex web of formal and strong contrasts in a risky rhetorical. was a way of trying to create artificial worlds and perfect. among its most notable features can be noted: "perfect use of the verses and great musicality. "masterful treatment of metaphor. -impeccable poetic transformation through the cultism and rhythmic sound. -empowerment of mythological themes. syntactic-exquistita complication. its leader was fónfora louis Cordoba y Argote, whose life was spent in court, in contact with the literary circles and among diehard fan and no less attacks on his poetry. His work constitutes a constant glorification of idealized reality, but defined by their sensible qualities. poetic expression can be defined as a combination of ornamental and sensory exuberance with complex concepts. two styles are distinguished in poetry, the short yards of cultured or culterano, called dark Gongora. -Gongora was a master in the art of the sonnet. sonnets covered a very wide subject, going through the Petrarchan loving in nature. Polyphemus-in recreated the mythological subjects of love of the Cyclops Polyphemus towards galatea Ninga. poem's beauty is incomparable, but Gongora recreated with such skill. -solitude was the culmination of culterano style. it is an unfinished work of the four parties which formed the project, wrote only two: the first loneliness. in the second alone. conceptista poetry. Francisco de Quevedo: association by similarity or contradiction between objects forming a concept was not new. what made peculiar to the concept of S XVII was the intense accumulation in the poems of wit verbal semantic games and ellipses. conceptistas poets shaped their style with some very specific resources "rhetorical figures of thought. -all possible variety of word games. -phonics games. -syntactic devices. -intensifier or renewal procedures. the greatest figure of poetic conceits was Madrid's Francisco de Quevedo y Villegas. preteneciente to a noble family, lived his entire life on the borderline between literature and political ambitions. Quevedo was not a peaceful man, passionate and violent. his verse covered the extreme nuances of the human soul. quevedo these characteristics are a product of his own condition, moving in two directions, in their continuing concern for the idealization and the superhuman world. -in your interest in the subhuman world and plebeian. A second reading of his work may reveal another very different perspective in Quevedo. Quevedo's poetry, thematically can be grouped under four headings: metaphysics, moral, loving, satirical-burlesque and politics. the moral poetry: the poems hosts of a character moralizing and reflective, metaphysical or religious. its key issues are for consideration by the passage of time.'s love poetry: from quevedo sion established the paradoxical production of the author. satirical and burlesque poetry: the best known and popular. in this poem relaiza an abundance of rhetorical figures.political poetry: it was much lower than that already discussed. quevedo the virulent aggressiveness was shown in all its dimensions. harmonizing poetry. Lope de Vega: Lope de Vega requires special mention because they resorted to different forms. Gongora and Quevedo shared with greatness, lope yours a life full of anxieties, provocandos by their passions of love, human or religious. he melted into a life i really poetry. his extensive poetic work was very barium cultured cultivated poetry, epic poetry and the poetry of the traditional type, "the lyrical poetry of great formal beauty synthesis of tradition and cultured of songbooks Latinizing the Renaissance. -epic poetry. -satirical and burlesque poetry and rhymes are human and divine the lawyer took from burguillos. -the lyric of a popular kind of rich rhythm and perfection in simplicity and spontaneity. classicist poetry: the classicist trend welcomed all those poets that outside influences Gongora and Quevedo, sought to maintain formal and aesthetic ideals Renaissance poetry. this trend poets wrote of the squalor of Seville: "francisco de Rioja: known for his silvas dedicated to flowers. -rodrigo expensive. -Angel Fernandez de Andrada who barely been heard. in another group are:-John Jeffries. -Lupercio Leonardo de Argensola anterrior brother. the traditional and popular poetry: the enormous importance of poetry in the Baroque cultured was not for poets ppoesía cultivate a kind of heir to the traditional song and ballad, "the traditional lyric: were common in the work of the great poets of the meters short of the carols, seguidillas or religious-themed songs. -the ballad again formed by the set of ballads written by the learned poets of the baroque. its content and themes coincided with those of the old ballads.

Baroque theater: if poetry and prose hardly reached comparable peaks in the S XVII, the theater presented the most radical changes with respect to rebirth. the legacy of the renaissance: after the medieval religious drama and the beginning of the second half the S XV. the renaissance brought a little drama. in the first half of S XVI stressed gilvicente Torres Navarro and still largely dependent on the classical mandatory in half seugnda lope in the popular theater. also highlighted the cave and juan cervantes. the new comedy: the renovation and consolidation of Baroque theatrical formula. was conducted by Lope de Vega. it was realized that the Spanish theater was separated from the classical imitation and start your own path through a new art. the ability of Lope de Vega was exemplary: "aligned the profitable from this skit, with a freer forms that deviated from the classical norm. -offered the public a nearby theater and family in their affairs and content, mostly drawn from the chronicles. -monarchist sentiment embodied the pride Nacinal and religious orthodoxy. agility-provided stage movement equipped with amenities creating stories, interest, grace, playfulness and theatricality summary passionate attitude. -conceived the play as a total spectacle, song, and the evolutions of a key character funny. with success and audience response turned professional theater and enjoyed the pens of comedies, which were not theaters with seating, but neighborhood yards.technical innovations of the new comedy: the renewal of lope not limited to the attitude to content and works matters. Europe first in a literary movement departed from the Aristotelian concept of imitation and reacted against the rigid rules of classicism. technical changes were:-reduction to three acts of five who presented the classic comedy. -conception of comedy as an imitation incessant intrigue in motion scenes. inobservacia-infringement and the Aristotelian rule of the three unities (place, time, action) that requires the maintenance of one place or stage area. -mix of the tragic and the comic who was a new form of tragicomedy or drama. -reaction to the metric unit of work. -variety of stanzas according to the development of the action. -expressive decorum. comedy-configuration around a fixed structure of characters. -convergence of the dramatic action in the feeling of love and that of honor. the theme of honor and honor: Lope de Vega became the theme of honor and the honor in one of the main drivers of his plays: "the honor was the privilege of the nobles. matched in the new comedy honor, and his defenses of his success there as both lords and commoners and villains. the honor was "a personal virtue that is not inherited and which was based on the view that others have of oneself. the honor and therefore yours in honor of Spanish baroque comedy an absolute value comparable to life. shame had to be cropped up with life, and social order was restored by revenge. the two years of the new comedy: usually grouped the classic Spanish baroque theater in two cycles or schools around the two top representatives: lope de Vega and Calderon de la Barca. differences between the two cycles were determined by personality and stylistic differences. Lope de Vega: Felix Lope de Vega was ordained after two marriages and a hectic social life. enjoyed so prodigious creativity, he wrote a set of 1,800 plays and 400 authors sacramentals. all their produce about 500 works are preserved. the themes of his plays, alternating between divine love and human passion. lope between the followers of great dramatists emphasized, "Guillen de Castro. "Juan Ruiz de Alarcon. -Luis Velez de Guevara. -Antonio Mira de Amescua. Calderon de la Barca Pedro Calderon de la Barca, he studied at the universities of Alcala and Salamanca. was a Knight of the Order of Santiago and was always connected with the court. calderón the culmination of the theater's golden age. collected in a first style lope renewals, even using the same themes but with a very personal treatment. the theme of honor. in a second style of the teacher moved away and deepened his philosophical concerns, which synthesized the baroque idea of disappointment and free will in the sgimundo character, one of the great myths of universal theater. Calderon's contemporaries and followers were, "Francisco Rojas Zorrilla. -Agustín Moreto.

Text comment: (as to compete with your hair): "The poem deals with the topic (Colligan, virgo, rosas). that binds to the carpe diem necessarily Gongora garcilaso mode invites a girl to take the duration of their beauty. the key content is observed in the adverbs of time introducing each of the quartets and is repeated at the beginning of each odd quartet versons.the signigicado the meantime while adverbio.mientras indicates the beginning of this sonnet and the garcilaso (sonnet XXIII) are exactly the same because the authors have used synonyms. that key content is continuous with the imperative to open the s first triplet (enjoys). physical features chosen by the author are: · first quatrain: blond hair in lines 1y2 the whiteness of his face and a 2 and 4. b) · second quartet: the lips in verse 5 and neck in verses 7 and 8. -internal structure of the poem could correspond with: • Verses 1-8: Development of topic virgo Colligo roses, describing and praising those qualities that manifest in her the beauty of your youth. "verses 9-13 (until the 3rd syllable verses where it ends (2 -3) is an exhortation to the lady, urging her to enjoy those granted ddones in nature before the time advances relentlessly and wither her beauty." verses 13 (from the 4th Silava) and 14: completely negative and pessimistic conclusion of the sonnet. is the last line which ascribes the poem to the Baroque with the enumeration of 5 elements to provide a bleak imgage the end that awaits all human beings : dead returned to earth to become dust and with it a shadow then we are only a memory in someone's mind but this little formula for immortality ends with the death of that person and then we are nothing. "for the common concern over time is an issue typically baroque was expressed in a new topic tempus fugit retake the Baroque poets concerns already expressed by Jorge Manrique, the transience of life and presence of death. all these poems gives a fundamental difference with the poetry Renaissance: the deep pessimism and disillusionment in the Baroque compositions.


The theater of the S: XVI-XVII: Theater S: XVI: the first companies sprang up in imitation of Italian companies of the commedia dell 'arte. The office of the comic: two kinds of companies "real companies: they had official permission and acted only in one city. -comic country: traveled the country representing their works in the villages. popular theater comes from the comics, then moved to the pens of comedies. three genera dramatic: the steps, the interludes, the plays. the steps: a brief theatrical composition with a simple argument based on folktales. -the center of the action is the trick. -the characters are fixed masks. the most repeated is the fool, with that claim comic effects. -dialogue prose is colloquial. develops a step-humorous detail of everyday life, warped dramatically, to amuse the public. (the passing of the olives, Lope de Rueda.) appetizers: born in the middle of the S: XVI is a piece of comic theater that presented between the acts of a serious character work has no connection with the rest of argument representation traits: CIMIC and soon: the fool-the simplezsa becomes foolishness or gullibility. a lexicon, appears marginal, typical of thugs and thieves. -are resources that defeat frcuentes ingenuity. character-parody and ridicule another form of talk and minorities.'s theater national issue: in the second half of the century for the first time incorporates the themes of the epic tradition. reaches the stage of the ballad herois facilitate the way to the theater of Lope de Vega because they lead to the scene of the heroes of the comic tradition and reduced to four days and five acts of classical theater.cervantes playwright: his works except the interludes ax. were not appreciated in his time. is est, to produce a struggle between following the rules of classical drama and new comedy adoptation of defending Lope de Vega. Classicism versus theater, the public success was with the new comedy, which blends the tragic and the comic, prefers the eight-syllable verses and does not respect the three units, "Fowler home. the work must have unity of action (only one story). -unit time (the story can not include more than 24 h. "unity of place (it can only develop in a space her features are the psychological depth of the characters and the variety of topics, reflecting the life experiences of the author. The altarpiece of wonders.

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