THE LYRICAL ONE BAROQUE SPANISH

KAREN D. SÁNCHEZ HERNÁNDEZ
JERINA ORTEGA GAMARRA
JULIANA ORTEGA SANEZ
JULIETH ORTEGA SANEZ
MARÍA JOSÉ SANTOS ROMERO
Grade. 10º
Area. INGLES
Lic. SILVIA VITAL

INSTITUTION EDUCATIONAL TECHNIQUE SAINT ROSE DE FILES
SAN PEDRO SUCRE
2010

THE LYRICAL ONE BAROQUE SPANISH

The Baroque was one period that happened to the rebirth, among final of the XVI and final century of the XVII century, it impregnated all the cultural and artistic European manifestations and he/she also extended to the Spanish American countries.
As preparatory stage that coincides chronologically with the rebirth and the Baroque, it should be kept in mind the manierismo. The word Baroque made a pejorative sense originally, bound with the extravagancy and the exaggeration that he/she still stays in certain topics of the non specialized language. It is said that the term derives of the Baroque (Castilian barrueco) Portuguese that means 'irregular pearl.' He/she is usually related also with baroco, name that he/she receives a figure of the syllogism. The Baroque expresses the conscience of a crisis, visible in the social sharp contrasts, the hunger, the war, the misery. A distinction usually settles down between the Baroque of the Protestant countries and that of the Catholic (Baroque of Contrarreforma) countries.
In the case of Spain, although without losing of view the European context, José Antonio Maravall has enumerated a series of matters and literary topics that define an image of the world and of the man: the madness of the world; the melancholy of R. Burton, is of 1621. the sensation of the men's uncertainty and the volatility of the things; the revitalization of the topic of the world the other way around and the comic's figure in the Spanish theater as one of its representatives (I am "the one that says the other way around / all the things that he/she speaks", The best mayor's character, Lope de Vega king says); the world like labyrinth, as great square or tavern; the concord of the opposed (our life is "concerted of bewilderments", he/she tells the Spanish conceptista Baltasar Gracián) ones; the world like war and the man's man wolf.
From the aesthetic point of view, they stand out the search of the novelty and of the surprise; the pleasure for the difficulty, linked with the idea that if anything is stable, everything should be deciphered; the tendency to the artifice and the genius; the notion that in the unfinished thing the ideal supreme court of an artistic work resides. The search of the novelty and of the strange thing he/she explains the admiration of the Baroque for flamenco painters as Bosco, Arcimboldo and Brueghel the Old one: they demonstrate this way it, among other texts, the Spanish writer's Dreams Francisco of Quevedo. 
MAIN AUTHORS AND SPANISH WORKS OF THE LYRICAL ONE  Among the authors of the Spanish American Baroque, they highlighted (the Inca) Garcilaso de la Vega (1539 -1616) in Peru; Sister Juana Inés de la Cruz, mainly for their First Dream (of white it influences gongorina for their formal audacity) and The divine Narcissus (whose antecedent is Echo and Narcissus, of the Spanish playwright Pedro Calderón de la Barca), and Fernando of Alva author of a History chichimeca and translator of poetry náhuatl in Mexico; Martin of the Ship Centenera (Argentina and Conquest of the River Plate), extremeño that he/she lived more than twenty years in America; Pedro of Oña and Arauco tamed in Chile; the canary Silvestre of Balboa and Mirror of patience in Cuba, and Hernando Domínguez Camargo, to the one who the poet Gerardo Diego mentions in its poetic anthology in honor of Góngora, and that he/she lived in Colombia.
The poetry of the Spanish Baroque takes to the end the expressive forms of the rebirth and it divides the poets in two currents that, although different, they are not opposed completely: the Gongorism (or Gongorism) and the conceptismo (or quevedismo)
As for the topics, the lyrical of the Baroque can be divided in four groups:
- Homages to the friends
- Poetry of ruins and disappointments
- Lyrical gallant and loving
- Satirical and humorous poetry
GONGORISM. The Gongorism and the conceptismo are opposed styles, but the certain thing is that both look for the formal complication. The Gongorism intensifies the sensorial elements worried by the preciosity and the formal artificiosidad through the metaphor, the adjectival use, the forced hyperbaton or the rhythmic and musical effects of the language; to this tendency Luis of Góngora and Argote belong, Lope de Vega, Calderón de la Barca Pedro Soto of Red. The critic points out as more significant example of the Gongorism the Fable of Polifemo and Galatea of Góngora in whose first verse all the procedures culteranos appear.
CONCEPTISMO owes its name to the spiritual Concepts (1600 -1612) of Alonso of Ledesma. Their formal game is based on the expressive condensation and for it is served it as the polisemia, the ellipses, the oppositions of contrary or antithesis, the paradoxes, all that demands a conceptual sharpness and it counts among its main representatives to Francisco of Quevedo, Luis Vélez of Guevara and The devil cojuelo, the prose of type moralist and satirical of Baltasar Gracián and authors of companies or emblems like Diego of Saavedra Fajardo.
DIFFERENTIAL ELEMENTS

GONGORISM CONCEPTISMO 1. He/she has bigger validity in the lyrical poetry.
2. It uses cultismos (select, not very usual words, derived of Latin)  It is used more in the prose
Not it uses cultismos. 

3. Latiniza the morphology and the syntax (it breaks the logical construction of the sentence, by means of the use of the hyperbaton) Not it appeals to the morphology, neither to the Latin syntax. 

4. The metaphor looks for the embellishment and it separates, intellectually, the real term and the metaphoric one.  The metaphor can have a pejorative function. 

5. He/she is distinguished for the verbal wealth. He/she is distinguished for the conciseness of concepts. 

6. It looks for the musicality and the one stimulates of the senses.  It looks for the sharpness of thoughts, by means of the use of misunderstandings, games of words, antithesis, comparisons and retruécanos. 

7. It appeals to constants mythological references.  It parodies the mythology. 

8. It is more important the form that the bottom. It is more important the bottom that the form. 
REPRESENTATIVES OF THE LYRICAL BAROQUE POETRY

CULTERANOS  CONCEPTISTAS 
- Luis of Góngora and Argote. Small poems: romances, carols, sonnets and songs. As the fable of Polifemo and Galatea that it is the maximum expression of the Gongorism to be strange, free and of exquisite beauty.
- Lope De Vega. Dragontea, Circe. Lope uses conceptual sentences that modify his writings.
- Calderón De La Barca. The great theater of the world, the life is dream. This is one of their works but highlighted by the sentences that it uses.
- Others. Count of medium Villa, Juan of Jáuregui.  - Francisco of Quevedo. Poetry: Spanish Parnassus.
Prose: the politics of God, government of Christ and tyranny of Satan.
- Baltasar Gracián and Morales. It works: the Faultfinder, the discreet one, the hero.