Comment: Epistolar, Satirical And Censoria

Comment: epistolar, satirical and censoria

Introduction

Francisco de Quevedo, as mentioned in other works, belongs to an aristocratic family for what is closely linked to the Court. This allowed him to observe firsthand the political and public weaves in which he actively involves and addresses from a very critical perspective;which has earned her fame and the legend that circulates around it.

He studied theology in Valladolid and Alcalá, his knowledge often collide with the rise of scientific thoughts that occurred in Europe;Although he far from declining them tried to understand them, studying them, analyzing them critically. What, added to the wobbly political situation, could explain the contradictions that we often observe in Quevedo. 

Developing

A figure that was not static thoughts, but varying as it aged, and that saw a refuge of the absurd and convulsive, as well as a battle tool, literature. He made writings that cover all public and political areas, as well as managed within various literary styles.

His convoluted, burlescas and ingenious lyrics have earned him the title of maximum exponent of the Spanish Golden Age within the Baroque. Period in which, despite coinciding with a political stage in decline and a palpable crisis that extended through several areas, there is a splendor in the culture and art of Hispanic territories.

Text comment

We could overcome the origins of the Renaissance epistle to the finding of Francesco Petrarca of the “ad-family epistulae” of Cicero, which show a more personal and intimate version of the Roman politician, jurist and philosopher.

During the Renaissance, which covers mainly from the fifteenth to sixteenth century, the epistolary style becomes fashionable. And the rise of humanism promotes the creation of a model of writing letters in modernity as a means to boost and exchange the boiling of thoughts that arise at this time.

In this case, we see this epistolary style intermingled with the characteristic satirical temperament and critical eye of Quevedo;Who, as mentioned in other works, is a character that develops in a changing and convulsive world, where there are continuous clashes of ideas and cultures. A world that costs him to assimilate and against which he loads hard through his writing either in prose or verse.

 Actively maintaining in the center of the political and social hurricane of the time, coinciding with the reign of the also mentioned Felipe IV and the government of his minister Gaspar de Guzmán, to whom he directs this letter. Finding us, far from that intimate portrait that pretends of the epistolary genre, a letter predominated by the satirical and flooded aspect of the nostalgia and discontent that Quevedo suffers.

The writing could be taken as a clear revelation of restless pessimism and disappointment of the author of the Golden Age. I have not to shut up, no matter how finger, already touching my mouth, or already the forehead, silence, or threatens fear. The letter begins with a hard criticism against the censorship of a truth, that for him, it is the language of God and always comes to light even if we try to silence because, as he says, it is the language of God and never silent that it isLanguage The Truth of Severe God and the language of God was never mute.

Through its characteristic convoluted language and rhetorical elements, it shows the discontent and penalty for the decline that observes and palpates in the society in which it is inserted. He regrets the loss of, we could say, old Castilian glories that now fall into the hands of a court, under his trial, a court corrupted by the vices and loss of customs, and of a society that mimics his steps. 

With disgust among the other people I name the one who of his person, without decorum, more wants to give to give astonishment. He shows himself as a disappointed knowledgeable of reality in whose hand is the duty to notice all the evils that lurk the stability of the crown, which begins to collapse.

conclusion

In fact, he closes his letter appealing to the figure of Pelayo, known for curbing Muslim expansion through the north and who launches to what has traditionally been called "reconquest" of the Iberian Peninsula and that ends with the Catholic Monarchs,saying in one of his verses: that you have to restore more than Pelayo. 

Perhaps Quevedo evoked this figure that began the structure of the political organization of the Peninsula, as a criticism and warning of the need for a change or reform for the survival of a political entity that began to show a lame. In short, we find a particular satirical epistle, very typical of this author, who again manages to show his discontent, disappointment, and criticism of a society and politics in full decline with his acuity and linguistic ingenuity.