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In the mid-19th century <\/span>the historical novel<\/strong> <\/span>was the fashionable literary genre. A multitude of authors cultivated it following in the footsteps of V. Hugo, A. Dumas and especially W. Scott, whose works, optimistic and encouraging of the social promotion of the protagonists, fit perfectly with liberal ideology. <\/p>\n In the <\/span>historical novels<\/strong> <\/span>of Spanish Romanticism, the selection of the subject was generally guided by the possibility of establishing parallels with contemporary problems. The extensive list of works that have medieval faction struggles as a backdrop, for example, are clearly related to the Carlist wars, in the same way as the frequent appearance of problems raised by the dissolution of the Order of the Temple have to do with the confiscation processes undertaken by the liberal state. <\/p>\n The genre evolved towards an <\/span>ever greater care for the settings<\/strong>. The increasing and more critical use of historical sources helped to give plausibility and solidity to the plot of the stories, but also, very frequently, there was a tendency to fall into mere exercises in style and a taste for excessively archaeological reconstructions. <\/p>\n Following the Scottian model, the narratives tended to be <\/span>led by imaginary characters<\/strong> <\/span>supported by other, secondary characters, taken from historical documentation. However, it was not uncommon for there to be blatant <\/span>anachronisms<\/strong> <\/span>in their behaviour, especially when they reveal their emotional state.<\/p>\n Another characteristic feature of the Spanish historical novel of Romanticism is the tendency of the narrator to <\/span>introduce his own opinions<\/strong> into <\/span>the story, preventing the reader, who has become a theatrical spectator, from getting involved in the events, which, in passing, generated an inevitable separation between past and present.<\/p>\n Apart from Pedro Monteng\u00f3n’s precedent, El Rodrigo. Romance \u00e9pico (1793), which Sebold considers to be the first romantic historical novel, the period appears to be dominated by a series of more or less successful imitations of foreign authors, especially W. Scott. <\/p>\n Rafael de H\u00famara y Salamanca<\/strong> is <\/span>considered to be the first to cultivate the historical novel in Spain according to the successful scheme proposed by Scott with Ramiro, conde de Lucena (1823), in which its author expresses nostalgia for a Christian and chivalrous Middle Ages, full of traditional values.<\/p>\n Telesforo de Trueba y Coss\u00edo<\/strong> <\/span>(1799-1835) is another early example of this type of work. His novel <\/span>G\u00f3mez Arias or the moors of the Alpujarras<\/em> <\/span>(1828, traducida al castellano en 1831), about the rebellion of the Moriscos, is based on the chronicle by Luis V\u00e9lez de Guevara and on the work of the same name by Calder\u00f3n de la Barca. Its influence is clearly Scottian, and its Alhambra style is striking <\/span>The castilian<\/em> <\/span>(1829), about the struggles between Pedro I el Cruel and Enrique de Trastamara, is not very different. Scottian influence is also evident in it, especially in its use of the average hero as the protagonist, relegating the characters of the chronicles to a secondary role. Trueba is also <\/span>The Romance of History: Spain<\/em> <\/span>(1830), a collection of 24 stories on historical and legendary themes.<\/p>\n Of the prolific <\/span>Ram\u00f3n L\u00f3pez Soler<\/strong> <\/span>(1806-1836) it is worth highlighting his work <\/span>Los bandos de Castilla or el caballero del cisne<\/em> <\/span>(1830), about the rivalries between Juan II and the princes of Aragon, also clearly influenced by Scott, and in which one can appreciate a deliberate attempt to fuse historical truth and moral truth. His is also Kar-Osm\u00e1n, which deals with the loves of a Greek captain and a Spanish noblewoman. In addition <\/span>to Jaime el Barbudo<\/em>, set in the time of Fernando VII, and the adventure novel <\/span>El pirata de Colombia<\/em> <\/span>(1832), L\u00f3pez Soler wrote two other novels with greater historical content: <\/span>Enrique de Lorena<\/em> <\/span>(1832), set in the time of Enrique III de Francia, and <\/span>El primog\u00e9nito de Alburquerque<\/em> <\/span>(1833-1834), about the loves of Pedro I el Cruel and la Padilla.<\/p>\n Estanislao de Kotska Vayo y Lamarca<\/strong> <\/span>(1804-1864) was the author of a couple of sentimental novels, <\/span>El Voyleano o exaltaci\u00f3n de las pasiones<\/em> <\/span>(1827) and <\/span>Los terremotos de Orihuela o Enrique y Florentina<\/em> <\/span>(1829), as well as some others with a more costumbrist orientation, such as <\/span>Aventuras de un elegante<\/em> <\/span>(1832). Cultiv\u00f3 la novela hist\u00f3rica en numerosas ocasiones, empezando por <\/span>La conquista de Valencia por el Cid<\/em> <\/span>(1831), in which the correctness of his prose and style stands out, despite its certain affectation. His other titles are <\/span>Los expatriados o Zulema y Gazul<\/em> <\/span>(1834), <\/span>Juana y Enrique, reyes de Castilla<\/em> <\/span>(1835) and <\/span>La hija del Asia<\/em> <\/span>(1848).<\/p>\n The best stories were published during this period, proof of the definitive consolidation achieved by then by the genre.<\/p>\n M<\/span>ariano Jos\u00e9 de Larra<\/strong> (1809<\/span>–1837<\/span>) wrote El doncel don Enrique el Doliente<\/em> (1834<\/span>), a work based on the life of the legendary troubadour Mac\u00edas, which follows closely, once again, the schemes of W. Scott.<\/p>\n Jos\u00e9 de Espronceda<\/strong> (<\/span>1808-1842) wrote the unfortunate<\/span> Sancho Salda\u00f1a o el castellano de Cuellar <\/em>(<\/span>1833-1834), a clear imitation of W. Scott’s Ivanhoe, where the most interesting thing is perhaps the autobiographical background with which the author colors the work.<\/p>\n Juan Cortada y Sala<\/strong> <\/span>(1805-1868) generously cultivated the historical novel. His dedication to the teaching of History is evident in <\/span>Tancredo en el Asia<\/em>. <\/span>Historical romance of the time of the Crusades<\/em> <\/span>(1835), a call to attention on the need to faithfully reconstruct the settings and the historical context that frames the action. After <\/span>La heredera de Sangumi. Original romance of the 12th century <\/em> <\/span>(1835) and <\/span>El rapto de do\u00f1a Almoldis, Daughter of the Count of Barcelona Berenguer III<\/em> <\/span>(1836), his best known <\/span>El templario y la villana. Chronicle of the 15th Century <\/em> <\/span>(1840) constitutes a complete defence of the Order against the accusations, still very widespread at that time, of necromancy.<\/p>\n Patricio de la Escosura<\/strong> <\/span>(1807-1878) cultivated the historical novel on several occasions, for example, in <\/span>El conde de Candespina<\/em> <\/span>(1832), , set in the time of Do\u00f1a Urraca and Alfonso VII. The very Scottian <\/span>Ni rey ni Roque<\/em> <\/span>revolves around Gabriel de Espinosa, the pastry chef from Madrigal, a plot that also inspired J. de Cuellar, Fern\u00e1ndez y Gonz\u00e1lez, Zorrilla, etc. Finally, <\/span>La conjuraci\u00f3n de M\u00e9xico<\/em> <\/span>(1850) deals with the attempt to name a son of Hern\u00e1n Cort\u00e9s king of that country.<\/p>\n E<\/span>ugenio de Ochoa<\/strong> (<\/span>1815-1872) wrote<\/span> El auto de fe<\/em> (<\/span>1837), a severe criticism of the monarchy and the Inquisition with the dark death of Don Carlos, son of Felipe II, as the central axis of the action.<\/p>\n F<\/span>rancisco Mart\u00ednez de la Rosa <\/strong>(<\/span>1787-1862) wrote<\/span> Isabel de Sol\u00eds, reina de Granada<\/em> (<\/span>1837), a novel full of erudition, excessive at times, dominated by Alhambraism.<\/p>\n The short Cristianos y moriscos. Novela lastimosa (1838), a sentimental and costumbrista story, but with a careful setting, is a work by the Arabist, bibliophile and numismatist <\/span>Seraf\u00edn Est\u00e9banez Calder\u00f3n<\/strong> <\/span>(1799-1867), <\/span>in which he addresses the theme of the ill-fated love affair between a Christian soldier, <\/em> <\/span>Don Lope, and Zaida, a Moorish woman from the Serran\u00eda de Ronda, in the time of Charles V.<\/p>\n Enrique Gil y Carrasco<\/strong> (1815-1846), a follower of Chateaubriand, Lamartine, Byron, Scott and Manzini, published two short novels, <\/span>Anochecer en San Antonio de la Florida<\/em> <\/span>(1838) and <\/span>El lago de Carucedo<\/em> <\/span>(1840), the latter built on a popular tradition that the author places in the 15th century. Of much greater significance is <\/span>El se\u00f1or de Bembibre<\/em> <\/span>(1844), one of the masterpieces of Spanish historical fiction of all time, in which, in the opinion of some critics, the author uses the theme of the struggles that followed the disappearance of the Order of the Temple in the time of Ferdinand IV as a critique of the process of confiscation undertaken by Mendiz\u00e1bal.<\/p>\n This last period, already distanced from the influence of W. Scott, is characterized by the abundance of erudition shown by the authors and the careful setting that the works usually exhibit, the product of a greater archaeological sense and a more refined work of documentation.<\/p>\n The prolific <\/span>Manuel Fern\u00e1ndez y Gonz\u00e1lez<\/strong> <\/span>(1821-1888) is responsible for a good number of historical novels, concentrated in his first literary stage. <\/span>El doncel don Pedro de Castilla<\/em> <\/span>(1838) is the first of them, followed by <\/span>La mancha de sangre<\/em> <\/span>(1845), <\/span>Obispo, casado y rey<\/em> <\/span>(1850), <\/span>El cocinero de Su Majestad. Memorias del tiempo de Felipe III <\/em> <\/span>(1857) and <\/span>El pastelero de Madrigal<\/em> <\/span>(1862). En todas ellas descuella su facilidad para armar la trama y desarrollar la intriga. <\/p>\n Francisco Navarro Villoslada<\/strong> <\/span>(1818-1895) evolved from his beginnings as a liberal follower of Espartero to positions fully embedded in the most intransigent Carlist ideology. He owes his fame to three novels with a regionalist tone and careful setting <\/span>Do\u00f1a Blanca de Navarra<\/em> <\/span>(1846), <\/span>Do\u00f1a Urraca de Castilla. Memoria de tres can\u00f3nigos <\/em> <\/span>(1849) and, above all, <\/span>Amaya o los vascos en el siglo VIII<\/em> <\/span>(1877), about the attempts of Garc\u00eda Jim\u00e9nez, the first Navarrese monarch, to unite Basques and Goths in their resistance against the Muslim invader.<\/p>\n Very committed to the Catalan Reinaxen\u00e7a,<\/span> Antonio Ribot y Fontser\u00e9<\/strong> (<\/span>1813-1871) wrote two notable historical novels,<\/span> Juan I de Castilla<\/em> o<\/span> las dos coronas (1852) and <\/span>El quemadero de La Cruz<\/em> (<\/span>1869).<\/p>\n Many more authors and titles could be added, most of them halfway between the historical novel and the sentimental serial with a historical setting. It is enough to cite <\/span>La Sigea<\/em> <\/span>(1854) by <\/span>Carolina Coronado<\/strong> <\/span>(1823-1911), <\/span>Los hijosdalgo de Monforte de Benito Vicetto<\/em> <\/span>(1824-1876), <\/span>Don Juan de Serrallonga<\/em> <\/span>(1862) by <\/span>V\u00edctor Balaguer<\/strong> <\/span>(1824-1901), <\/span>Don Juan de Austria<\/em> <\/span>(1847) by <\/span>Juan Ariza<\/strong> <\/span>(1816-1870), <\/span>El hechicero de Sancho el Bravo<\/em> <\/span>by <\/span>Alfonso Garc\u00eda Tejero<\/strong>, <\/span>El brazo de Dios or memorias del conde de Albornoz<\/em> <\/span>by <\/span>Jos\u00e9 Vel\u00e1zquez y S\u00e1nchez<\/strong>, <\/span>Las hijas del Cid<\/em> <\/span>(1859) by <\/span>Antonio de Trueba<\/strong> <\/span>(1819-1889), <\/span>La espada de San Fernando by Lu\u00eds Ergu\u00edlaz<\/em> <\/span>(1830-1874) or <\/span>Ave Maria Stella<\/em> <\/span>(1877) by <\/span>Am\u00f3s de Escalante<\/strong> <\/span>(1831-1902).<\/p>\n In the first decades of the 19th century,<\/span> the Gothic or horror novel<\/strong>, which had already been cultivated for decades, enjoyed a notable boom.<\/span> T. Smollett<\/strong> a<\/span>nd<\/span> H. Walpole<\/strong> p<\/span>roposed a model, imitated and repeated on many occasions, which would end up filling the novels with gruesome scenes and crude descriptions that did not spare the reader any macabre or bloody details, of castles, cemeteries and ruined churches, with a profusion of crypts, passages, dungeons and secret doors, where ghosts and specters appeared and disappeared among storms and gloomy nocturnal landscapes.<\/p>\n The Hispanic production of this type of novels, marked by the irrational, supernatural and mysterious, was scarce. However, the successful <\/span><\/h4>\n
First period (1823\/1827-1833)<\/h4>\n
Secon period (1834-1844)<\/h4>\n
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Third period (since 1844)<\/h4>\n
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OTHER NARRATIVE FORMS<\/h3>\n
The gothic or horror novel<\/h4>\n