Abstract
The doubt about the origin of the jacara gender can throw different perspectives on its function and characteristics in the works of Quevedo. Initially, the jacara does not necessarily have a theatrical origin, but rather a lyrical one, when the poet begins its regeneration and strengthening. Just years later, with the intervention, among others, of Calderon de la Barca, the jacaras become fully dramatic and acquire the theatrical values that are few, if not null, in the difficult texts of Quevedo.
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