This is a discussion of the topic that considers the 18th century as a time not favorable for the light of creativity, due to an excessive confidence in universality and the infallibility of normative reason, and the imposition of rules and precepts. The 18th century conception of the aesthetic preceptive in obligatory combination with inspiration and the natural born genius. The sensibility trained by the culture of the connoisseurs, raison d'être of the "taste" given by the cult sociability. The normative extreme of the Neoclassicism as a consequence of and educating or reforming itch that considered literature as a school of traditions, whose message could reach those lacking intellectual and moral receptivity to the doctrinal rigor, in agreement with a helpful delight formula. Theatre, the main object of the didactic normative; the concept of theatrical illusion as the key concept. The transgression of the dogmatic rigor in its subjection to the sensorial pleasure and the free flight of imagination in the opera: the case of Tomás Iriarte. The overcoming of the distinction between tragedy and comedy, and the birth of dramatic modernity: the example of Diderot. The conflict between normative ecumenism and trait of the national literature. The Neoclassic opposition to profane and religious theatre in the Golden Age. The controversy about Shakespeare and Le Tourneur's translation. The controversy between the Ancient and the Moderns. Their precedents in Renaissance and its hatching in the times of Louis XIV. Veneration and imitation of classicality in confrontation with historical relativism, and spiritual and aesthetic perfection. The attitudes of Nicolás Boileau and Charles Perrault. Conclusion and recapitulation: diversity and hue of the aesthetic thought of the Century of Lights.