HOLIDAY OF BULLS IN MADRID
The broad circus fills
Of clamorous multitude
That attends to seeing in the sand
The bloody doubtful fight,
And everything in wheel resounds
The beautiful Zaida occupied
His golden viewing-points
That the art filigreed
And with mirrors and flowers
And damasks to it adorned
None to the risk submits
And the fixed bull is in way,
When a herdsman who comes
Of the door of the Vega,
It pushed in the knee, and said:
On a horse alazano
Cutlery of shows and gold,
Demand licenses urban
To spear a bull A Christian gentleman.
jueves, 25 de noviembre de 2010
TEXTS AND AUTHORS DESTACADOS
-NICOLÁS FERNANDEZ OF MORATÍN: YOU WORK: " Holidays of bulls in Madrid " " and the ships of Politely destroyed ".
-JUAN MELÉNDEZ VALDÉS:
You act: Lyric Poetry, The dove of Filis, Of the snow, The illusions of the absence, Rosana in the fires and the Morning of San Juan.
-MANUEL JOSE QUINTANA:
YOU ACT: Poetry, Pantheon of the Dump, To Spain after the revolution of March, To the Spanish expedition to spread the vaccine in America.
EXAMPLE: Nicolás Fernandez de Moratín belonged to the Gathering of the inn of San Sebastian. Someone of his poetical compositions they were the artists' literary sources of his epoch as francisco of Goya. In his poetical production there are odes, sonnets, an epic poem, between others.
-NICOLÁS FERNANDEZ OF MORATÍN: YOU WORK: " Holidays of bulls in Madrid " " and the ships of Politely destroyed ".
-JUAN MELÉNDEZ VALDÉS:
You act: Lyric Poetry, The dove of Filis, Of the snow, The illusions of the absence, Rosana in the fires and the Morning of San Juan.
-MANUEL JOSE QUINTANA:
YOU ACT: Poetry, Pantheon of the Dump, To Spain after the revolution of March, To the Spanish expedition to spread the vaccine in America.
EXAMPLE: Nicolás Fernandez de Moratín belonged to the Gathering of the inn of San Sebastian. Someone of his poetical compositions they were the artists' literary sources of his epoch as francisco of Goya. In his poetical production there are odes, sonnets, an epic poem, between others.
THE NEOCLASSIC LITERATURE
THE LITERATURE OF THE 18TH CENTURY: NEOCLASSICISM
In literature the Neoclassicism was imposed: the illustrated authors b stirrup-straps of improvement of the company, of application of the racionalist thought and of spreading of the knowledge. This explains that there should triumph the classic beginning, based on the harmony and the balance, and that should reject the excesses of the imagination and of the expression that they had characterized to the baroque literature. As it had happened in the Renaissance, the classic art there turned into the model of the ilustrados.uscaron newly aesthetic model who was answering to his aspirations.
LITERARY FORMS
POETRY
The Spanish Neoclassicism searches his models in France and Italy. But the written Neoclassicism is not almost non-existent in Spain, so the same poets who take refuge in his procedure connect also with the creative luxuriance of the Renaissance Spanish literature of the 16th century or take refuge in the taste prerromántico.
The poets of this epoch register in two schools: the Salamancan and the Madrillera. Of the first one Meléndez Valdés and Churches stand out. To the group of Madrid there belong the Moratín father and son, Iriarte, Samaniego, Arriaza and the count of Nonscab.
THE LITERATURE OF THE 18TH CENTURY: NEOCLASSICISM
In literature the Neoclassicism was imposed: the illustrated authors b stirrup-straps of improvement of the company, of application of the racionalist thought and of spreading of the knowledge. This explains that there should triumph the classic beginning, based on the harmony and the balance, and that should reject the excesses of the imagination and of the expression that they had characterized to the baroque literature. As it had happened in the Renaissance, the classic art there turned into the model of the ilustrados.uscaron newly aesthetic model who was answering to his aspirations.
LITERARY FORMS
POETRY
The Spanish Neoclassicism searches his models in France and Italy. But the written Neoclassicism is not almost non-existent in Spain, so the same poets who take refuge in his procedure connect also with the creative luxuriance of the Renaissance Spanish literature of the 16th century or take refuge in the taste prerromántico.
The poets of this epoch register in two schools: the Salamancan and the Madrillera. Of the first one Meléndez Valdés and Churches stand out. To the group of Madrid there belong the Moratín father and son, Iriarte, Samaniego, Arriaza and the count of Nonscab.
NEOCLASSIC POETRY
The 18th century I initiate with the new ideas of the illustration. The writers were doing re unions specialized so called gatherings, to exchange opinions and to express his critiques of everything related to the culture and the literature.
The neoclassic poetry I develop in the 18th century inspired by ideal Frenchmen of the illustration; these there were proposing the return lyric models of the classic Antiquity (odes and eclogues).
CHARACTERISTICS
We can consider four general characteristics of the neoclassic poetry:
- Lack of originality in the poets. The classic models were imitated (Greeks and Latin people) and he was named the prominent figures by names of classic heroes.
- lack of real emotion. One was not finding the depth and energy of the poets of previous centuries.
- use of a very light or too rhetorical and artful language.
- treatment of topics like the love, the political satire and the praise of some progresses of the epoch.
The 18th century I initiate with the new ideas of the illustration. The writers were doing re unions specialized so called gatherings, to exchange opinions and to express his critiques of everything related to the culture and the literature.
The neoclassic poetry I develop in the 18th century inspired by ideal Frenchmen of the illustration; these there were proposing the return lyric models of the classic Antiquity (odes and eclogues).
CHARACTERISTICS
We can consider four general characteristics of the neoclassic poetry:
- Lack of originality in the poets. The classic models were imitated (Greeks and Latin people) and he was named the prominent figures by names of classic heroes.
- lack of real emotion. One was not finding the depth and energy of the poets of previous centuries.
- use of a very light or too rhetorical and artful language.
- treatment of topics like the love, the political satire and the praise of some progresses of the epoch.
SPANISH POETRY: GIVE TORIGINS TO THE CURRENT IMPORTANCEHE
CHARACTERISTICS:
- THE BRIEFNESS: The lyric texts are in the habit of being brief. In any case more brief than the narrative ones.
- THE LYRIC TEXT DOES NOT HAVE HISTORY: In the poetry everything is to the service of what the poet wants to express. Prominent figures can appear in a time and a space, but not that appear in a plot, since in the narrative texts, but in order that across them the poet could express.
-THE LANGUAGE OF THE POETRY: It is, especially, suggestive, since it appeals to the feelings of the recipient.
CHARACTERISTICS:
- THE BRIEFNESS: The lyric texts are in the habit of being brief. In any case more brief than the narrative ones.
- THE LYRIC TEXT DOES NOT HAVE HISTORY: In the poetry everything is to the service of what the poet wants to express. Prominent figures can appear in a time and a space, but not that appear in a plot, since in the narrative texts, but in order that across them the poet could express.
-THE LANGUAGE OF THE POETRY: It is, especially, suggestive, since it appeals to the feelings of the recipient.
lunes, 22 de noviembre de 2010
NICOLAS FERNANDEZ DE MORATIN
FIESTA DE TOROS EN MADRID
El ancho circo se llena
De multitud clamorosa
Que atiende a ver en la arena
La sangrienta lid dudosa,
Y todo en torno resuena
La bella Zaida ocupó
Sus dorados miradores
Que el arte afiligranó
Y con espejos y flores
Y damascos a adornó
Ninguno al riesgo se entrega
Y está en medio el toro fijo,
Cuando un potrero que llega
De la puerta de la Vega,
Hincó la rodilla, y dijo:
Sobre un caballo alazano
Cubierto de galas y oro,
Demanda licencia urbano
Para alancear un toro
Un caballero cristiano.
TEXTOS Y AUTORES DESTACADOS
-NICOLÁS FERNÁNDEZ DE MORATÍN:
OBRAS: “Fiestas de toros en Madrid” “y las naves de Cortés destruidas”.
-JUAN MELÉNDEZ VALDÉS:
Obras: Poesías Liricas, La paloma de Filis, De la nieve, Las ilusiones de la ausencia, Rosana en los fuegos y la Mañana de San Juan.
-MANUEL JOSÉ QUINTANA:
OBRAS: Poesías, Panteón del Escorial, A España después de la revolución de marzo, A la expedición española para propagar la vacuna en América.
EJEMPLO: Nicolás Fernández de Moratín perteneció a la Tertulia de la fonda de San Sebastián. Alguna de sus composiciones poéticas fueron las fuentes literarias de artistas de su época como francisco de Goya. En su producción poética hay odas, sonetos, un poema épico, entre otros.
LA LITERATURA NEOCLÁSICA
LA LITERATURA DEL SIGLO XVIII: NEOCLASICISMO
En literatura se impuso el Neoclasicismo: los autores ilustrados buscaron un nuevo modelo estético que respondiera a sus aspiraciones de mejora de la sociedad, de aplicación del pensamiento racionalista y de divulgación del conocimiento. Esto explica que triunfaran los principios clásicos, basados en la armonía y el equilibrio, y que se rechazaran los excesos de la imaginación y de la expresión que habían caracterizado a la literatura barroca. Al igual que había sucedido en el Renacimiento, el arte clásico se convirtió en el modelo de los ilustrados.
FORMAS LITERARIAS
POESÍA
El neoclasicismo español busca sus modelos en Francia e Italia. Pero el neoclasicismo escrito no es casi inexistente en España, pues los mismos poetas que se acogen a sus normas enlazan también con la lozanía creativa de la literatura renacentista española del siglo XVI o se acogen al gusto prerromántico.
Los poetas de esta época se inscriben en dos escuelas: la Salmantina y la Madrillera. De la primera destacan Meléndez Valdés e Iglesias. Al grupo de Madrid pertenecen los Moratín padre e hijo, Iriarte, Samaniego, Arriaza y el conde de Noroña.
LIRICA NEOCLÁSICA
El siglo XVIII inicio con las nuevas ideas de la ilustración. Los escritores hacían reuniones especializados llamadas tertulias, para intercambiar opiniones y expresar sus críticas de todo lo relacionado con la cultura y la literatura.
La lirica neoclásica se desarrollo en el siglo XVIII inspirada en ideales franceses de la ilustración; estos proponían el retorno modelos liricos de la Antigüedad clásica (odas y églogas)
CARACTERÍSTICAS
Podemos considerar cuatro características generales de la lirica neoclásica:
- Falta de originalidad en los poetas. Se imitaron los modelos clásicos (griegos y latinos) y se denominaba los personajes con nombres de héroes clásicos.
-Falta de emoción verdadera. No se encontraba la profundidad y energía de los poetas de siglos anteriores.
-Uso de un lenguaje muy ligero o demasiado retorico y artificioso.
-Tratamiento de temas como el amor, la sátira política y el elogio de algunos progresos de la época.
LIRICA ESPAÑOLA DE LOS ORIGENES A LA ACTUALIDAD
LIRICA ESPAÑOLA: DE LOS ORIGENES A LA ACTUALIDAD
CARACTERISTICAS:
-LA BREVEDAD: Los textos líricos suelen ser breves. En cualquier caso más breves que los narrativos.
-EL TEXTO LIRICO NO TIENE HISTORIA: En la lírica todo está al servicio de lo que el poeta quiere expresar. Pueden aparecer personajes en un tiempo y un espacio, pero no que aparezcan en una trama, como en los textos narrativos, sino para que a través de ellos el poeta pueda expresarse.
-EL LENGUAJE DE LA LÍRICA: Es, sobre todo, sugestivo, ya que apela a los sentimientos del receptor.
-LA MAYORÍA DE LOS TEXTOS LÍRICOS ESTÁN ESCRITOS EN VERSO: Pues este permite una mayor sonoridad gracias, fundamentalmente, al ritmo.
-EL RITMO: El ritmo es un elemento fundamental en la creación del lenguaje lírico.
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