20th Century Spanish Poetry: From Existentialism to Social Realism
20th Century Spanish Poetry
Literary Currents in the Late 20th Century
In the latter half of the twentieth century, Marxism and the Frankfurt School continued to influence many writers. Existentialism, with thinkers like Jean-Paul Sartre and Albert Camus, explored the absurdity of existence and the failures of humanism. The early 1980s saw the rise of postmodern thought (Vattimo and Lyotard), challenging the rationalist projects of previous decades. This era also witnessed the emergence of feminist, ecological, and sexual liberation movements. Structualism gained prominence as a research method.
Miguel Hernández
Although chronologically part of the Generation of ’36, Miguel Hernández’s work aligns closely with the Generation of ’27. His debut, Perito en Lunas (1933), reflects his early influences: Góngora, Bécquer, Darío, Gabriel Miró, and Juan Ramón Jiménez. El Silbo Vulnerado marks a turning point where Hernández finds his voice, deeply rooted in nature. El Rayo Que No Cesa (1936) represents his artistic maturity, featuring notable sonnets and the elegy Elegía a Ramón Sijé, considered one of the finest elegies in the Spanish language. Three major themes emerge in his poetry: love, life and death, and nature. Influences from San Juan de la Cruz, Quevedo, Neo-Romanticism, and Surrealism are evident. Viento del Pueblo (1937), subtitled Poetry in the War, expresses his love for Spain and solidarity with the humble. Direct and immediate, it conveys suffering, fear, hatred, and the brutality of war. His final work, Cancionero y romancero de ausencias, published posthumously, comprises poems from 1938-1939. These poems explore the cosmos with direct diction and a transparent worldview. A profound sadness permeates the verses, capturing the essence of absence.
The Generation of ’36
This group includes poets like Luis Rosales, Juan Gil-Albert, and Leopoldo Panero. In 1935, Luis Rosales called for a new approach to poetry and life, advocating for unadorned language and an emphasis on poetic imagery. They revived elements of the historical avant-garde, prioritizing human experience over ideology, leading to a focus on religious themes. During the Spanish Civil War, they aligned with the Republican cause, resulting in two opposing poetic tendencies: poesía arraigada and poesía desarraigada.
Poets in Exile: Juan Gil-Albert
Gil-Albert combined the beauty of reflective, serene, and vital poetry with a commitment to the Republic. His notable works include Calor (1936) and Fuentes de la constancia (1972).
The 1940s
Poesía Arraigada
By the mid-1940s, disillusioned with politics, some poets distanced themselves from official ideologies. They celebrated 16th-century Spanish culture, drawing inspiration from the Escorial and magazines like Garcilaso. They advocated for”pure poetry” characterized by classical forms like the sonnet and an avoidance of contemporary realities. Luis Rosales, a key figure, explored daily life in his long narrative poem La casa encendida, using transparent language and a conversational lexicon, occasionally incorporating surrealist imagery. Leopoldo Panero focused on themes of land, family, and religion in La estancia vacía (1944). Dionisio Ridruejo addressed everyday issues and biographical elements in Sonetos a la piedra (1943) and Elegías (1948).
Poesía Desarraigada
This group, rejecting harmony and serenity, embraced social protest. Emerging from existentialism, Dámaso Alonso’s Hijos de la ira (1944) and Vicente Aleixandre’s Sombra del paraíso expressed the anguish of postwar Spain. This poetry, often published in magazines like Espadaña, featured free verse, angry expression, a rehumanization of poetry, and a rejection of formalism. They used realistic language, close to prose, and addressed the silenced masses. Key figures include: Dámaso Alonso, Vicente Aleixandre, Victoriano Crémer, Eugenio de Nora, José Luis Hidalgo, Ramón de Garciasol, Carlos Bousoño, José María Valverde, Rafael Morales, Leopoldo de Luis, and Ángela Figuera.
Postism and the Cántico Group
These movements emerged in the 1940s, distinct from the officialist trends. In the magazine Postismo, poets like Carlos Edmundo de Ory, Eduardo Chicharro, and Silvano Sernesi championed the avant-garde, particularly Surrealism. The Cántico group, centered around the magazine of the same name in Cordoba, included poets like Pablo García Baena, Ricardo Molina, and Juan Bernier. They sought to reconnect with the Generation of ’27, emphasizing culturalism, formal refinement, precise language, baroque expression, sensual pleasure, and hedonism.
Social Poetry
This new wave viewed poetry as a tool for ethical and political engagement, particularly from a leftist perspective. It focused on social and historical realities, using a language accessible to the masses. Two groups emerged: the poets of the 1940s (Gabriel Celaya, Blas de Otero, José Hierro) and the mid-century generation.
Gabriel Celaya
Celaya’s early work was more personal, dealing with the historical reality of postwar Spain, as seen in Las cartas boca arriba (1949). His political commitment and criticism of injustice and lack of freedom intensified in later works like Paz y concierto (1953) and Cantos iberos (1955). He famously declared,”Poetry is a weapon loaded with the future”
Blas de Otero
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