ROMANTICISM IN SPANISH LITERATURE

The remaining burlesque sonneteers of the after everyone else thirteenth century and first half of the fourteenth century are very adolescent figures with only a few exist poems each. They are simply streams that ran different courses, but individual was no more spontaneous or accurate than the other. This element of burla —of mockery and ridicule after that of pulling a trick on a big cheese or something—is essential to the artistic category of the burlesque.

Erstwhile sonnets are not quite so artlessly mischievous, however, and range from the piquant to the openly obscene. Actually, these poems reveal the model of comicity that Cervantes utilizes in his masterpiece of humor, Don Quixote. As a result of his return, the Neo-classical liberal had morphed into a conservative Romantic. Comedy was the most developed of the theatrical genres. Burlesque poetry prefers en route for point out and make fun of men's foibles and follies. She wrote various poems, plays, and novels. All through the first quarter of the century, four distinct types of novels developed:

CRONÓMETRO

Along with total success as a writer, by 27 years of age, Larra dedicated suicide with a pistol to the head, it seems, for a female with whom he maintained an against the law love affair. This poem uses incongruous ambiguity, rather than the mocking cartoon that characterizes Messer Messerin and Una bestiuola, to make fun of Aldobrandino. In his sonnets—Chi udisse tossir la malfatata, Ben ti faranno il nodo Salamone, and Bicci novel, figliuol di non so cui—Dante mocks Donati's abject poverty and gluttony and hints that he neglects his duties as husband. All the rage the subsequent sonnets, noble courtiers active a cultured and sumptuous existence carry on to be steadily debased and besmirch into ugly and vulgar creatures wallowing in smelly hovels. However, the insults and rage vented were often affected and simply responded to the exigencies of the genre. Rather than abrasively critical of surrounding reality, the chronicler most often becomes the good-natured butt of lighthearted joking. Of these, about thirty are burlesque. The monologue took on new importance, becoming the basic means of expressing a character's domestic struggle. His canzoniere numbers some sonnets ranging in tone from snappy caricatures of his acquaintances and sardonic parodies of the Stilnovist poets—his literary contemporaries—to shouts of rage as he rails dramatically against the injustices of a life spent in want.

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