1. SPANISH LITERATURE
Sharmaine Manuel
Sheila Sembrano
Adelyn Gayondato
Gerald Bagarinao
Ava Mae Andrade
Part Two of Don Quixote is often regarded as the birth of modern literature, as it explores the concept of a character understanding that he is being written abou

2. INTRODUCTION
Spain
 was a sovereign state and member of European
Union
 Located at South western Europe on Iberian
Peninsula
 has about 1000 Spanish literature
 - spanish includes number of works written by
spanish citezen living outside of spain during cil war

3. TROUBADOURS

4. TROUBADOURS
 people sang for the people in the village
square and nobility in castle and royal courts
 entertained pilgrim
 medieval lyric poet composing and singing in
Provencal in the 11th to 13th
centuries, especially on the theme of courtly
love.

5. TROUBADOURS
 wrote and sang long poems, called epics
about Christian heroes
 The epics were composed mainly in a poetic
style known as mester de juglaria (craft of
the troubadour).

6. EL CANTAR DEL MIO CID
 (The Poem of the Cid) is the oldest Spanish
epic poem preserved
 based on the true story of Rodrigo Díaz de
Vivar, known as El Cid capeador(the Lord
champion)
 narrative work of the Spanish literature
written in a Romance language, and it was
composed around 1200.

8. 'CANTAR DEL MIO CID'
 • revolves around the topic of the restoration of lost
honor.
 division of the Cantar in three parts:
 • In the first part, Cid is banished from Castile and
leaves his daughters and wife at home to begin his
military campaign to restore his honor.
 • In the second part, Cid conquers Valencia and his
daughters are wed to the Infants of Carrión, even though
Cid doesn't trust them.
 • In the third and last part, the Infants of Carrión leave
Cid's daughters beaten in the middle of the country. He
asks the King for a trial against the Infants and he wins.
His daughters are promised then to the Infants of Navarre
and Aragón.

10. WORKS OF CHIVALRY AND ROMANCE
 Chivalric novels are all about the knight-errant adventured in order to
demonstrate their chivalry.
 These works were immensely popular and mixed the themes of epic
heroism with figures from the reconquest.
 One of the best works in 14th-century written down by Garci Rodriguez
de Montalvo in 1508 is Amadis de Gaula (Amadis of Gaul).

11. PASTORAL POETRY
 It is about a depicted man and woman who retired to the country and
search for a simple life.
 Spanish pastoral poets imitated the sonnet, tercet and other verse forms
often used in Italian pastoral works by Juan Boscan Almogaver and
Garcilaso de la Vega.

12. RELIGIOUS POETRY
 Religious poetry gained intensity near the middle of the 16th
century, partly as a consequence of the Counter Reformation.
 This writing expressed attitudes of spiritual devotion, the state of the
soul, and the desire to withdraw from the world.
 Three Writters:
 - Augustinian monk Luis Ponce de León
 - Carmelite monk Juan de Yepes y lvarez
 - Carmelite mystic Saint Teresa of Avila

13. LUIS PONCE DE LEON, O.E.S.A (Order of St. Augustine)
JUAN DE LA CRUZ (JOHN OF THE CROSS)
Teresa of Ávila

14. LUIS PONCE DE LEO,O.E.S.A(ORDER OF ST.
AUGUSTINE)
(BELMONTE, CUENCA, 1527 – MADRIGAL DE LAS
ALTAS, CASTILE,SPAIN- 23 AUGUST 1591)

15. IMPRISONMENT
IN 1571 DOMINICAN PROFESSORS BARTOLOME DE
MEDINA AND CASTRO PUT FORTH SEVENTEEN
PROPOSITIONS TO THE INQUISITION DOCUMENTING FRAY
LUIS’ALLEGEDLY HERETICAL OPINIONS.
AT THE END OF 1576, THE TABLES TURNED, AND FRAY
LUIS WAS CLEARED OF ALL CHARGES AND RELEASED FROM
PRISON WITH AN ADMONISHMENT TO BE MORE CAREFUL
AND RESERVED IN HIS PUBLICATIONS AND SPEECH.

16. AS A WRITER
BETWEEN 1583 AND 1585 HE PUBLISHED THE THREE BOOKS OF HIS
CELEBRATED TREATISE, THE NAMES OF CHRIST, WHICH HE HAD WRITTEN IN
PRISON. IN 1583 ALSO APPEARED THE MOST POPULAR OF HIS PROSE
WORKS, THE PERFECT WIFE.
FRAY LUIS STOPPED FROM PUBLISHING HIS POEMS, WHICH WERE NOT
EDITED TILL 1631, WHEN QUEVEDO PRINTED THEM. THE CANON OF FRAY LUIS'S
POETRY, AS FIXED BY HISPANISTS, CONSISTS OF TWENTY-NINE POEMS. APART
FROM THOSE, HE WROTE MAINLY PROSE, MOST NOTABLY, THE NAMES OF CHRIST
AND THE PERFECT WIFE. HE ALSO TRANSLATED HORACE'S ODES INTO SPANISH.
MAJOR WORKS
LA PERFECTA CASADA (THE PERFECT WIFE)
IT ADVISES ALL YOUNG WOMEN ON THE PROPER BEHAVIOR AND
DUTIES OF A MARRIED WOMAN, BOTH IN REGARD TO HER HUSBAND AND HER
CHILDREN.

17. DE LOS NOMBRES DE CRISTO (THE NAMES OF CHRIST)
IT IS WRITTEN IN DIALOGUE FORM ABOUT THREE FRIENDS WHO DISCUSS
FOURTEEN OF THE SCRIPTURAL NAMES OF CHRIST.
CANTAR DE LOS CANTARES (TRANSLATION OF SONG OF SONGS)
IN 1561, HE BEGAN TRANSLATING THE SONG OF SONGS, A BOOK OF THE OLD
TESTAMENT, INTO SPANISH FOR HIS COUSIN, ISABEL OSORIO, A NUN WHO COULD
NOT READ THE LATIN TEXT, AND WROTE AN ACCOMPANYING COMMENTARY.
EXPOSICIÓN DEL LIBRO DE JOB (COMMENTARY ON THE BOOK OF JOB)
THE STORY TELLS OF JOB'S PATIENCE AND SUFFERING, AND ALSO SERVES AS A
CORRECTIONAL GUIDE TO MAN'S BEHAVIOR. IT IS WRITTEN IN BOTH VERSE AND
DIALOGUE, TO MAKE IT BOTH ENJOYABLE AND INFORMATIVE.

18. TWO OF HIS MOST WELL-KNOWN EXAMPLES: THE LIFE REMOVED AND ODE TO
SALINAS.
THE LIFE REMOVED
IN THE POEM THE LIFE REMOVED, FRAY LUIS, FOLLOWING THE BEATUS ILLE
THEME INTRODUCED BY HORACE, EXPOUNDS UPON THE NOTION OF CHOICE AND
ITS CONSEQUENCES.
ODE TO SALINAS
THEY FREQUENTLY SPOKE ABOUT ART AND POETRY, AND LISTENED TO MUSIC
TOGETHER. SALINAS WAS AN ORGANIST AND COMPOSER, WHO SHARED FRAY
LUIS'S BELIEF THAT MUSIC CAN MAKE ONE MORE RELIGIOUS, AND THAT IT
INSPIRES MAN TO CONTEMPLATE SPIRITUAL MATTERS.

19. JUAN DE LA CRUZ (JOHN OF THE CROSS)
(24 JUNE 1542 — 14 DECEMBER 1591), BORN JUAN DE YEPES ALVAREZ, WAS A
MAJOR FIGURE OF THE CATHOLIC REFORMATION, A SPANISH MYSTIC, AND
CARMELITE FRIAR AND PRIEST.

20. ACHIEVEMENT
HE WAS A REFORMER OF THE CARMELITE ORDER AND IS
CONSIDERED, ALONG WITH SAINT TERESA OF ÁVILA, AS A FOUNDER OF THE
DISCALCED CARMELITES. HE IS ALSO KNOWN FOR HIS WRITINGS. BOTH HIS
POETRY AND HIS STUDIES ON THE GROWTH OF THE SOUL ARE CONSIDERED THE
SUMMIT OF MYSTICAL SPANISH LITERATURE AND ONE OF THE PEAKS OF ALL
SPANISH LITERATURE. HE WAS CANONIZED AS A SAINT IN 1726 BY POPE
BENEDICT XIII. HE IS ONE OF THE THIRTY-THREE DOCTORS OF THE CHURCH.
THE SPIRITUAL CANTICLE AND DARK NIGHT OF THE SOUL ARE WIDELY
CONSIDERED TO BE AMONG THE BEST POEMS EVER WRITTEN IN SPANISH, BOTH
FOR THEIR FORMAL STYLISTIC POINT OF VIEW AND THEIR RICH SYMBOLISM AND
IMAGERY.
THE THIRD WORK, ASCENT OF MOUNT CARMEL IS A MORE SYSTEMATIC STUDY OF
THE ASCETICAL ENDEAVOUR OF A SOUL LOOKING FOR PERFECT
UNION, GOD, AND THE MYSTICAL EVENTS HAPPENING ALONG THE WAY.

21. JOINING THE REFORM OF TERESA OF JESUS
JOHN WAS ORDAINED A PRIEST IN 1567, AND THEN INDICATED HIS
INTENT TO JOIN THE STRICT CARTHUSIAN ORDER, WHICH APPEALED TO HIM
BECAUSE OF ITS ENCOURAGEMENT OF SOLITARY AND SILENT CONTEMPLATION. A
JOURNEY FROM SALAMANCA TO MEDINA DEL CAMPO, PROBABLY IN SEPTEMBER
1567.
28 NOVEMBER 1568, THE MONASTERY,[16] WAS ESTABLISHED, AND ON
THAT SAME DAY JOHN CHANGED HIS NAME TO JOHN OF THE CROSS.
ONE DAY (1574 AND 1577), JOHN HAD A VISION OF THE CRUCIFIED
CHRIST, WHICH LED HIM TO CREATE HIS FAMOUS DRAWING OF CHRIST "FROM
ABOVE." . THIS DRAWING INSPIRED THE ARTIST SALVADOR DALI'S 1951
WORK, CHRIST OF SAINT JOHN OF THE CROSS.

22. IMPRISONMENT, WRITINGS, TORTURE, DEATH AND RECOGNITION
ON THE NIGHT OF 2 DECEMBER 1577, A GROUP OF CARMELITES
OPPOSED TO REFORM BROKE INTO JOHN’S DWELLING IN AVILA, AND TOOK HIM
PRISONER. JOHN WAS ACCUSED OF DISOBEYING THE ORDINANCES OF
PIACENZA. DESPITE JOHN'S ARGUMENT THAT HE HAD NOT DISOBEYED THE
ORDINANCES, HE RECEIVED A PUNISHMENT OF IMPRISONMENT.
THEY DECIDED TO DEMAND FROM THE POPE THEIR FORMAL
SEPARATION FROM THE REST OF THE CARMELITE ORDER. JOHN WAS APPOINTED
SUPERIOR OF EL CALVARIO, AN ISOLATED MONASTERY OF AROUND THIRTY
FRIARS IN THE MOUNTAINS ABOUT 6 MILES AWAY.
ON 22 JUNE 1580 POPE GREGORY XIII SIGNED A DECREE, TITLED PIA
CONSIDERATIONE, WHICH AUTHORISED A SEPARATION BETWEEN THE CALCED
AND DISCALCED CARMELITES.

23. DURING THIS IMPRISONMENT, HE COMPOSED A GREAT PART OF HIS
MOST FAMOUS POEM SPIRITUAL CANTICLE, AS WELL AS A FEW SHORTER POEMS
WHILE AT EL CALVARIO HE COMPOSED HIS FIRST VERSION OF HIS COMMENTARY
ON HIS POEM, THE SPIRITUAL CANTICLE, PERHAPS AT THE REQUEST OF THE
NUNS IN BEAS.
JOHN WAS REMOVED FROM HIS POST IN SEGOVIA, AND SENT BY DORIA
IN JUNE 1591 TO AN ISOLATED MONASTERY IN ANDALUSIA CALLED LA PEÑUELA.
THERE HE FELL ILL, AND TRAVELED TO THE MONASTERY AT ÚBEDA FOR
TREATMENT. HIS CONDITION WORSENED, HOWEVER, AND HE DIED THERE ON 14
DECEMBER 1591, OF ERYSIPELAS.[7]

24. VENERATION
HE WAS INITIALLY BURIED AT ÚBEDA, BUT, AT THE REQUEST OF THE
MONASTERY IN SEGOVIA, HIS BODY WAS SECRETLY MOVED THERE IN 1593.
THE SUPERIORS OF THE DISCALCED CARMELITES DECIDED THAT THE
MONASTERY AT ÚBEDA WOULD RECEIVE ONE LEG AND ONE ARM OF THE CORPSE
FROM
A HAND AND A LEG REMAIN VISIBLE IN A RELIQUARY AT THE ORATORY
OF SAN JUAN DE LA CRUZ IN ÚBEDA, A MONASTERY BUILT IN 1627 THOUGH
CONNECTED TO THE ORIGINAL DISCALCED MONASTERY IN THE TOWN FOUNDED
IN 1587.
THE HEAD AND TORSO WAS RETAINED BY THE MONASTERY AT SEGOVIA.
THERE, THEY WERE VENERATED UNTIL 1647.
PROCEEDINGS TO BEATIFY JOHN BEGAN WITH THE GATHERING OF
INFORMATION ON HIS LIFE BETWEEN 1614 AND 1616, ALTHOUGH HE WAS ONLY
BEATIFIED IN 1675 BY POPE CLEMENT X, AND WAS CANONIZED BY BENEDICT XIII
IN 1726.

25. EDITIONS OF HIS WORKS
THE SPIRITUAL CANTICLE AND THE DARK NIGHT OF THE SOUL ARE
WIDELY CONSIDERED MASTERPIECES OF SPANISH POETRY, BOTH FOR THEIR
FORMAL STYLISTIC POINT OF VIEW AND THEIR RICH SYMBOLISM AND IMAGERY..
THE POEM THE SPIRITUAL CANTICLE, IS AN ECLOGUE IN WHICH THE
BRIDE (REPRESENTING THE SOUL) SEARCHES FOR THE BRIDEGROOM
(REPRESENTING JESUS CHRIST), AND IS ANXIOUS AT HAVING LOST HIM; BOTH
ARE FILLED WITH JOY UPON REUNITING.
THE DARK NIGHT (FROM WHICH THE SPIRITUAL TERM TAKES ITS NAME)
NARRATES THE JOURNEY OF THE SOUL FROM HER BODILY HOME TO HER UNION
WITH GOD.
THE ASCENT OF MOUNT CARMEL IS A MORE SYSTEMATIC STUDY OF THE
ASCETICAL ENDEAVOUR OF A SOUL LOOKING FOR PERFECT UNION, GOD, AND
THE MYSTICAL EVENTS HAPPENING ALONG THE WAY.

26. TERESA OF ÁVILA
SAINT TERESA OF JESUS, BAPTIZED AS TERESA SÁNCHEZ DE CEPEDA Y
AHUMADA, (MARCH 28, 1515 – OCTOBER 4, 1582)

27. HONORED IN ROMAN CATHOLIC CHURCH , LUTHERAN CHURCH , ANGLICAN
COMMUNION
BEATIFIED : APRIL 24, 1614, ROME BY POPE PAUL V
CANONIZED : MARCH 12, 1622, ROME BY POPE GREGORY XV
MAJOR SHRINE : CONVENT OF THE ANNUNCIATION, ALBA DE TORMES, SPAIN
FEAST : OCTOBER 15
ATTRIBUTES : HABIT OF THE DISCALCED CARMELITES, BOOK AND QUILL, ARROW-
PIERCED HEART
PATRONAGE : BODILY ILLS; HEADACHES; CHESS; LACEMAKERS; LACEWORKERS;
LOSS OF PARENTS; PEOPLE IN NEED OF GRACE; PEOPLE IN RELIGIOUS ORDERS;
PEOPLE RIDICULED FOR THEIR PIETY; POZEGA, CROATIA; SICK PEOPLE;
SICKNESS; SPAIN

28. ACTIVITIES AS REFORMER
AFTER SEVERAL YEARS HER PLEADINGS BY LETTER WITH KING PHILIP II
OF SPAIN SECURED RELIEF. AS A RESULT, IN 1579, THE PROCESSES BEFORE THE
INQUISITION AGAINST HER, GRACIAN, AND OTHERS WERE DROPPED, WHICH
ALLOWED THE REFORM TO CONTINUE.
(3 YRS OF HER LIFE), TERESA FOUNDED CONVENTS AT VILLANUEVA DE
LA JARA IN NORTHERN ANDALUSIA (1580), PALENCIA (1580), SORIA
(1581), BURGOS, AND GRANADA (1582). IN TOTAL SEVENTEEN CONVENTS, ALL
BUT ONE FOUNDED BY HER, AND AS MANY MEN'S CLOISTERS WERE DUE TO HER
REFORM ACTIVITY OF TWENTY YEARS.
SHE WROTE THE "AUTOBIOGRAPHY", "EL CAMINO DE PERFECCIÓN ", ―EL
CASTILLO INTERIOR",
"RELACIONES", ―CONCEPTOS DEL AMOR" ("CONCEPTS OF LOVE") AND
"EXCLAMACIONES"
THE KERNEL OF TERESA'S MYSTICAL THOUGHT THROUGHOUT ALL HER WRITINGS
IS THE ASCENT OF THE SOUL IN FOUR STAGES: MENTAL PRAYER, PRAYER OF
QUIET, DEVOTION OF UNION , DEVOTION OF ECSTASY OR RAPTURE.

29. DON QUIXOTE
DE LA MANCHA

30. DON QUIXOTE DE LA MANCHA
Fully entitled as The Ingenious
Gentleman Don Quixote of La
Mancha
Originally titled as El Ingenioso
hidalgo don Quijote de la Mancha
A novel written by Miguel de
Cervantes Saavedra (1547-1616)

31. Part I published in 1605
Part II published in 1615
Translated to English in 1885
by John Ormsby (1829-
1895)
Illustrated by Gustave Dore
(1832-1883)

32. It isn't just a story about a lunatic
who thinks a windmill is a giant.
Social
problems, history, mores, and
politics are interwoven into the
story. It is a perfect time capsule
of a period of time in Spain's
history.

33. Theme of the idealistic, insane
knight and the devoted, down to
earth squire to portray many
complex themes through a
plethora of unforgettable
incidents, tragic and comic, in a
blend of great variety and colour.

34. Cited as the first classic model of
the modern romance or novel, and
it has served as the prototype of the
comic novel.
Considered the most influential
work of literature from the Spanish
Golden Age and the entire Spanish
literary canon.

35. In a 2002 list of the best
books of all time, Don
Quixote was cited as the
"best literary work ever
written".

36. Setting:
On the plains of La
Mancha, specifically
the comarca of Campo de
Montiel.

37. CHARACTERS:
 Alonso Quijano – a fifty year
old gentleman who goes insane
and decides to become a knight.
Sancho Panza– Don Quixote’s
neighbour and squire.
Rocinante – Don Quixote’s horse

38. CHARACTERS:
 Dulcinea del Toboso – the new name
Quixote gives to a woman he once
loved named Aldonza Lorenzo, whom
he makes his lady love at the beginning
of his journey

39. PLOT:
PART 1

40. THE FIRST SALLY
 Alonso Quijano, the protagonist of the
novel, is a retired country gentleman nearing
fifty years of age, living in an unnamed
section of La Mancha with his niece and
housekeeper. While mostly a rational man of
sound reason, his reading of books of
chivalry in excess has had a profound effect
on him, leading to the distortion of his
perception and the wavering of his mental
faculties. In essence, he believes every word
of these books of chivalry to be true
though, for the most part, the content of

41.  books is clearly fiction. Otherwise, his wits
are intact. He decides to go out as a knight-
errant in search of adventure. He dons an old
suit of armour, renames himself "Don
Quixote de la Mancha," and names his
skinny horse "Rocinante". He designates a
neighboring farm girl as his lady
love, renaming her Dulcinea del
Toboso, while she knows nothing about this.

42.  He sets out in the early morning and ends up at an
inn, which he believes to be a castle. He asks the
innkeeper, whom he thinks to be the lord of the castle, to
dub him a knight. He spends the night holding vigil over his
armor, where he becomes involved in a fight
with muleteers who try to remove his armor from the horse
trough so that they can water their mules. The innkeeper
then dubs him a knight to be rid of him, and sends him on
his way. Don Quixote next "frees" a young boy who is tied to
a tree and beaten by his master by making his master swear
on the chivalric code to treat the boy fairly. The boy's
beating is continued as soon as Quixote leaves. Don
Quixote has a run-in with traders from Toledo, who "insult"
the imaginary Dulcinea, one of whom severely beats Don
Quixote and leaves him on the side of the road. Don
Quixote is found and returned to his home by a neighboring
peasant.

43. THE SECOND SALLY
 While Don Quixote is unconscious in his bed, his
niece, the housekeeper, the parish curate, and the
local barber secretly burn most of the books of
chivalry, and seal up his library pretending that a
magician has carried it off. After a short period of
feigning health, Don Quixote approaches his
neighbor, Sancho Panza, and asks him to be his
squire, promising him governorship of an island. The
uneducated Sancho agrees, and the pair sneak off in
the early dawn. It is here that their series of famous
adventures begin, starting with Don Quixote's attack
on windmills that he believes to be ferocious giants.
The two next encounter a group of friars
accompanying a lady in a carriage.

44.  . They are heavily cloaked, as is the lady, to
protect themselves from the hot climate and
dust on the road. Don Quixote takes the friars to
be enchanters who hold the lady captive. He
knocks a friar from his horse, and is immediately
challenged by an armed Basque traveling with
the company. As he has no shield, the Basque
uses a pillow to protect himself, which saves
him when Don Quixote strikes him. The combat
ends with the lady leaving her carriage and
demanding those traveling with her to
"surrender" to Don Quixote.

45. THE PASTORAL WANDERINGS

46.  Sancho and Don Quixote go on, and fall in with a
group of goatherds. Don Quixote tells Sancho and
the goatherds about the "Golden Age" of
man, reminiscent of both Ovidand the
later Rousseau in which property does not exist, and
men live in peace. The goatherds invite the Knight
and Sancho to the funeral of Grisóstomo, once a
student who left his studies to become a shepherd
after reading Pastoral novels, seeking the
shepherdess Marcela. At the funeral Marcela
appears, delivering a long speech vindicating herself
from the bitter verses written about her by
Grisóstomo, claiming her own autonomy and freedom
from expectations put on her by Pastoral clichés.

47.  She disappears into the woods, and Don
Quixote and Sancho follow. Ultimately giving
up, the two stop and dismount by a pond to
rest. Some Galicians arrive to water their
ponies, and Rocinante (Don Quixote's horse)
attempts to mate with the ponies. The
Galicians hit Rocinante with clubs to
dissuade him, which Don Quixote takes as a
threat and runs to defend Rocinante. The
Galicians beat Don Quixote and Sancho
leaving them in great pain.

48. THE ADVENTURES
WITH CARDENIO AND
DOROTEA

49.  After Don Quixote frees a group of galley
slaves, The Knight and Sancho wander into
the Sierra Morena, and there encounter the
dejected Cardenio. Cardenio relates the first part of
his story, in which he falls deeply in love with his
childhood friend Luscinda, and is hired as the
companion to the Duke's son, leading to his
friendship with the Duke's younger son, Don
Fernando. Cardenio confides in Don Fernando his
love for Luscinda and the delays in their
engagement, caused by Cardenio's desire to keep
with tradition. After reading Cardenio's poems
praising Luscinda, Don Fernando falls in love with
her. Don Quixote interrupts when Cardenio
suggests that his beloved may have become

50.  In the course of their travels, the protagonists meet
innkeepers, prostitutes, goatherds, soldiers, priests,
escaped convicts, and scorned lovers. These
encounters are magnified by Don Quixote’s
imagination into chivalrous quests. Don Quixote’s
tendency to intervene violently in matters which do
not concern him, and his habit of not paying his
debts, result in many privations, injuries, and
humiliations (with Sancho often getting the worst of
it). Finally, Don Quixote is persuaded to return to
his home village. The author hints that there was a
third quest, but says that records of it have been
lost.

51. PART 2

52. THE THIRD SALLY
 Although the two parts are now published as
a single work, Don Quixote, Part Two was a
sequel published ten years after the original
novel. While Part One was
mostly farcical, the second half is more
serious and philosophical about the theme of
deception.

53.  As Part Two begins, it is assumed that the
literate classes of Spain have all read the first
part of the history of Don Quixote and his
squire. Cervantes's meta-fictional device was to
make even the characters in the story familiar
with the publication of Part One, as well as with
an actually published fraudulent Part Two. When
strangers encounter the duo in person, they
already know their famous history. A Duke and
Duchess, and others, deceive Don Quixote for
entertainment, setting forth a string of imagined
adventures resulting in a series of practical
jokes. Some of them are quite sadistic, and they
put Don Quixote's sense of chivalry and his
devotion to Dulcinea through many tests.

54.  Even Sancho deceives him at one point. Pressured
into finding Dulcinea, Sancho brings back three dirty
and ragged peasant girls, and tells Don Quixote that
they are Dulcinea and her ladies-in-waiting. When
Don Quixote only sees the peasant girls, Sancho
pretends that their derelict appearance results from
an enchantment. Sancho later gets his comeuppance
for this when, as part of one of the duke and
duchess's pranks, the two are led to believe that the
only method to release Dulcinea from her spell is for
Sancho to give himself a surplus of three thousand
lashes. Sancho naturally resists this course of action,
leading to friction with his master. Under the duke's
patronage, Sancho eventually gets a governorship,
though it is false, and proves to be a wise and
practical ruler; though this ends in humiliation as well.

55.  Near the end, Don Quixote reluctantly sways
towards sanity: an inn is just an inn, not a
castle.
 The lengthy untold "history" of Don Quixote's
adventures in knight-errantry comes to a close
after his battle with the Knight of the White
Moon, in which we the readers find him
conquered. Bound by the rules of chivalry, Don
Quixote submits to prearranged terms that the
vanquished is to obey the will of the
conqueror, which in this case, is that Don
Quixote is to lay down his arms and cease his
acts of chivalry for the period of one year (a
duration in which he may be cured of his
madness). Defeated and dejected, he and

56. Part Two of Don Quixote is often
regarded as the birth of modern
literature, as it explores the concept
of a character understanding that
he is being written about. This is a
theme much explored in writings of
the 20th Century.

57.  Upon returning to his village, Don Quixote announces
his plan to retire to the countryside and live the
pastoral existence of shepherd, although his
housekeeper, who has a more realistic view of the
hard life of a shepherd, urges him to stay home and
tend to his own affairs. Soon after, he retires to his
bed with a deathly illness, possibly brought on by
melancholy over his defeats and humiliations. One
day, he awakes from a dream having fully recovered
his sanity. Sancho tries to restore his faith, but Alonso
Quixano, for that is his true name, can only renounce
his previous existence and apologize for the harm he
has caused. He dictates his will, which includes a
provision that his niece will be disinherited if she
marries a man who reads books of chivalry. After
Alonso Quixano dies, the author emphasizes that
there are no more adventures to relate, and that any
further books about Don Quixote would be spurious.

58. LOPE DE VEGA
 Full name: Félix Arturo Lope de Vega y
Carpio (1562 –1635)
 A Spanish playwright and poet
 One of the greatest Spanish poets of his time
 Nicknamed as "The Phoenix of Wits" and "Monster of
Nature" (because of the sheer volume of his work)
by Miguel de Cervantes
 At least 80 of his plays are considered masterpieces
 At the age of five he was already reading Spanish
and Latin, by his tenth birthday he was translating
Latin verse, and he wrote his first play when he was
12.

59. EXILE
 He went into exile undaunted, in the
company of the 16-year-old Isabel de
Urbina, the daughter of a prominent advisor
at the court of Philip II, whom he was
subsequently forced to marry. A few weeks
after their marriage, however, Lope signed
up for another tour of duty with the Spanish
navy: this was the summer of 1588, and
the Armada was about to sail
against England.

60.  Lope's luck again served him well, and his
ship, the San Juan, was one of the few vessels
to make it home to Spanish harbors in the
aftermath of that failed expedition. Back in
Spain, he settled in the city of Valencia to live
out the remainder of exile and to
recommence, as prolifically as ever, his career
as a dramatist.
 In 1590 he was appointed to serve as the
secretary to the Duke of Alba, which required
him to relocate to Toledo.

61. RETURN
 In 1595, following Isabel's death in childbirth, he
left the Duke's service and – eight years having
passed – returned to Madrid. There were other
love affairs and other scandals: Antonia Trillo de
Armenta, who earned him another lawsuit, and
Micaela de Luján, an illiterate but beautiful
actress, who inspired a rich series
of sonnets and rewarded him with four children.
In 1598 he married Juana de Guardo, the
daughter of a wealthy butcher. Nevertheless, his
trysts with others – including Micaela –
continued.

62.  The 17th century were the years when Lope's
literary output reached its peak. He was also
employed as a secretary, but not without various
additional duties, by the Duke of Sessa. Once
that decade was over, however, his personal
situation took a turn for the worse. His favorite
son, Carlos Félix (by Juana), died and, in 1612,
Juana herself died in childbirth. Micaela also
disappears from the history around this point.
Deeply affected, Lope gathered his surviving
children from both unions together under one
roof.

63.  His writing in the early 1610s also assumed
heavier religious influences and, in 1614, he
joined the priesthood.[2] The taking of holy
orders did not, however, impede his romantic
dalliances, although it is somewhat unclear what
role his employeer the duke, fearful of losing his
secretary, played in this by supplying him with
various female companions. The most notable
and lasting of his relationships during this time
was with Marta de Nevares, who would remain
with him until her death in 1632.

64.  Further tragedies followed in 1635 with the
loss of Lope, his son by Micaela and a
worthy poet in his own right, in a shipwreck
off the coast of Venezuela, and the abduction
and subsequent abandonment of his beloved
youngest daughter Antonia. Lope de Vega
took to his bed and died of Scarlet fever, in
Madrid, on 27 August of that year.

65. WORKS

66. WORKS
 Lope's nondramatic works begin with those published
in Spain under the title Obras Sueltas (Madrid, 21
vols., 1776–79). The more important elements of this
collection include the following:
 La Arcadia (1598), a pastoral romance;
 La Dragontea (1598), a fantastic history in verse of
Sir Francis Drake's last expedition and death;
 El Isidro (1599), a narrative of the life of Saint
Isidore, patron saint of Madrid, composed in
octosyllabic quintillas;
 La Hermosura de Angélica (1602), in three books, is
a quasi sequel to Ariosto's Orlando Furioso.

67. PLAYS
 Listed here are some of the better-known of Lope's plays:
 El maestro de danzar (1594) (The Dancing Master)
 El acero de Madrid (The Steel of Madrid)
 El perro del Hortelano (The Gardener's Dog, a variation
of The Dog in the Manger fable)
 La viuda valenciana (The Widow from Valencia)
 Peribáñez y el comendador de Ocaña
 Fuenteovejuna
 El anzuelo de Fenisa (Fenisa's Hook)
 El cordobés valeroso Pedro Carbonero
 El mejor alcalde, el Rey (The Best Mayor, The King)
 El Nuevo Mundo descubierto por Cristóbal Colón (The New
World Discovered by Christopher Columbus)

68.  El caballero de Olmedo (The Knight of Olmedo)
 La dama boba (The Stupid Lady; The Lady-Fool)
 El amor enamorado
 El castigo sin venganza (Justice Without Revenge)
 Las bizarrías de Belisa
 El mayordomo de la duquesa de Amalfi (The
Duchess of Amalfi's Steward)
 Lo Fingido Verdadero (What you Pretend Has
Become Real)
 El niño inocente de La Guardia (The Innocent Child
of La Guardia)

69. OPERA
 La selva sin amor (18 December 1627) (The
Lovelorn Forest), first
Spanish operetta / zarzuela

70. POEMS
 La Dragontea (1598) ("Drake the Pirate")
 El Isidro (1599) ("Isidro")
 La hermosura de Angélica (1602) ("The Beauty
of Angelica")
 Rimas (1602) ("Rhymes")
 Arte nuevo de hacer comedias (1609)
 Jerusalén conquistada (1609)
 Rimas sacras (1614)
 La Filomena (1621)

71.  La Circe (1624)
 El laurel de Apolo (1630)
 La Gatomaquia (1634)
 Rimas humanas y divinas del licenciado
Tomé de Burguillos (1634)

72. PROSE FICTION
 Arcadia (published 1598) (The
Arcadia), pastoral romance in
prose, interspersed with verse
 El peregrino en su patria (published 1604)
(The Pilgrim in his Own Country), adaption of
Byzantine novels
 La Dorotea (published 1632)

73. PEDRO CALDERÓN DE LA BARCA
 Full name: Pedro Calderón de la Barca y
Barreda González de Henao Ruiz de Blasco y
Riaño
 A dramatist, poet and writer of
the Spanish Golden Age.
 Regarded as one of Spain's foremost dramatists
and one of the finest playwrights of world
literature.
 Recognized as the foremost Spanish dramatist
of the age after Lope de Vega’s death
 A perfectionist who often revisited and reworked
his plays, even long after they debuted.

74.  Calderón wrote 120 "comedias", 80 "autos
sacramentales" and 20 short comedic works called
"entremeses".
 Some of the most common themes of his plays were
heavily influenced by his Jesuit education.
 His themes tended to be complex and
philosophical, and express complicated states of
mind in a manner such as few playwrights have
been able to do.
 his plays usually show his vital pessimism, that is
only softened by his rationalism and his faith in God;
the anguish and distress usually found his oeuvre is
better exemplified in one of his most famous
plays, Life is a Dream

75. SELECTED PLAYS
 Amor, honor y poder (Love, Honor and Power) (1623)
 El sitio de Breda (The Siege of Breda) (1625)
 La dama duende (The Phantom Lady) (1629)
 Casa con dos puertas (The House with Two Doors)
(1629)
 La vida es sueño (Life is a Dream) (1629–1635)
 El mayor encanto, amor (Love, the Greatest
Enchantment) (1635)
 Los tres mayores prodigios (The Three Greatest
Wonders) (1636)
 La devoción de la Cruz (Devotion to the Cross) (1637)
 El mágico prodigioso (The Mighty Magician) (1637)

76.  El médico de su honra (The Surgeon of his
Honor) (1637)
 El pintor de su deshonra (The Painter of His
Dishonor) (1640s)
 El alcalde de Zalamea (The Mayor of Zalamea)
(1651)
 Eco y Narciso (Eco and Narcissus) (1661)
 La estatua de Prometeo (Prometheus' Statue)
 El prodigio de Alemania (The Prodigy of
Germany) (in collaboration with Antonio Coello)

77. AUTOS SACRAMENTALES (SACRAMENTAL
PLAYS)
La cena del rey Baltazar (The
Banquet of King Balthazar)
El Gran Teatro del mundo (The Great
Theater of the World)
El Gran Mercado del mundo (The
World is a Fair)