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This document is designed to help teachers and students of AP® Spanish Literature and Culture understand the range of literary terms used in the course. Please note that this is not an exhaustive list, but rather a representative list of terms that appear in various anthologies and instructional materials for
Poetry continued to be Romantic, while prose and theater adhered more to Realism. Romantic poetry slowly lost some of its popularity due to its concentration on emotive forces. Narration declined in favor of lyricism, and poems became more personal and intimate.
- “Romance Sonámbulo” by Federico García Lorca. Federico García Lorca, one of Spain’s most celebrated poets, penned this mesmerizing poem. “Romance Sonámbulo” (Sleepwalking Ballad) depicts a passionate tale of love, tragedy, and destiny.
- “Rima XI” by Gustavo Adolfo Bécquer. Gustavo Adolfo Bécquer, a key figure of Spanish Romanticism, crafted this melancholic sonnet. In “Rima XI,” the poet explores themes of love and unrequited longing, weaving together delicate verses that evoke deep emotions and introspection.
- “Viento, agua, piedra” by Octavio Paz. “Viento, agua, piedra” by Octavio Paz is a profound and contemplative poem that explores the interconnectedness of nature, time, and the human experience.
- “Cultivo una rosa blanca” by José Martí. This Spanish poem by José Martí is a poignant and emblematic poem that speaks of the poet’s commitment to cultivating purity, truth, and freedom amidst a world tainted by deceit and oppression.
It was also at the fin de siècle that a significant number of Spanish poets and novelists renewed Spanish letters by producing literary texts deeply influenced by Parnassianism, Symbolism, Pre-Raphaelitism, and decadentism.
Apr 25, 2024 · Spanish literature refers to written or spoken material produced in Spain, encompassing a range of genres from epic poetry and plays to novels and essays. It reflects the rich history, culture, and diverse influences of the Spanish people.
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Beyond a doubt, the [Romantic] renovation of poetry and criticism was extremely salutary; but it erred among us for precisely the same reason that the doctrine in correctly called classical had erred in practice and even in theory, albeit more in the former than in the latter; that is, because it was a plant brought from abroad to our