Literary Journey of Spain’s Generation of ’27
Stages of the Generation of ’27
It is difficult to separate the stages, but until the Civil War, three distinct periods can be observed:
Stage of Youth (until 1925)
During this period, some poets, like Gerardo Diego, were already known, while others were just beginning, seeking their own poetic style.
Late 1920s
All poets (with the exception of Miguel Hernández) had published important books and emerged as a generation of young poets. This is best seen with the integrating impulse of the ’27 poets.
1930s
Some poets, such as Alberti or other prominent figures, adopted a position of political commitment.
Impact of the Civil War
The Spanish Civil War marked the dispersal of the poets and the dissolution of the Group of ’27 as a cohesive entity. Federico García Lorca was murdered. All, except Gerardo Diego, Dámaso Alonso, and Vicente Aleixandre, went into exile. Miguel Hernández was imprisoned by Franco’s regime, where he later died.
Those who remained continued their poetic lives independently, often reflecting in their verses memories of past times and the land lost during the war years.
Key Authors of the Generation of ’27
Pedro Salinas (1892-1951)
Born in Madrid in 1892, Pedro Salinas was a professor of literature. After the war, he went into exile in the U.S., where he died. He wrote both poetry and drama.
Poetic Stages:
Initial Stage
Characterized by aesthetic purity and futuristic elements, this stage includes three books: Presagios (Omens), Seguro azar (Sure Chance), and Fábula y signo (Fable and Sign).
Artistic Maturity Stage
This period includes La voz a ti debida (The Voice Owed to You), Razón de amor (Reason of Love), and Largo lamento (Long Lament). These three works form a cycle of love poetry.
Stage in Exile
Featuring contemplative works like Todo más claro (All Clearer) and Confianza (Trust), this period blends intellectual and sentimental themes. Moving away from romantic pathos, Salinas sought to delve into deep emotions, finding hidden symbols and futuristic elements in everyday objects.
Jorge Guillén (1893-1984)
Born in Valladolid in 1893, Jorge Guillén was a professor of literature. He was imprisoned in Seville before going into exile in 1938. He returned to Málaga after Franco’s death, where he passed away. He produced an abundant body of poetry.
His first major work, Cántico (Song), was published in 1928. Later works include Clamor (Outcry) and Homenaje (Tribute), which, along with Cántico, were collected in the single volume Aire nuestro (Our Air). His poetry is characterized by its order and coherence within a single overarching work.
Guillén is considered one of the most faithful exponents of the Generation of ’27’s ideal of pure poetry, meticulously crafting his language.
Gerardo Diego (1896-1987)
Born in Santander in 1896, Gerardo Diego was one of the main promoters of the Group of ’27, notably by compiling anthologies that showcased the works of his generation’s poets. He died in Madrid in 1987. His extensive poetic work is marked by formal and thematic variety, alternating between avant-garde styles, Neopopularism, and classical forms.
Avant-garde Works:
- Limbo
- Manual de espumas (Manual of Foams)
- Fábula de esquís (Fable of Skis)
Traditional Poetry:
- Romancero de la novia (Ballads of the Bride)
- Soria
- Versos humanos (Human Verses)
Vicente Aleixandre (1898-1984)
Born in Seville in 1898, Vicente Aleixandre spent his childhood in Málaga and Madrid, where he lived his entire life, often suffering from chronic illness. He was a Republican sympathizer and was awarded the Nobel Prize in Literature in 1977. He died in Madrid in 1984.
Poetic Stages:
- Pre-Civil War Poetry
- First Decade of Post-War Poetry
- Poetry of Senescence (Later Years)
Key works include Ámbito (Scope), Pasión de la tierra (Passion of the Earth), Espadas como labios (Swords Like Lips), and La destrucción o el amor (Destruction or Love).
With the exception of Ámbito, his other works are heavily influenced by Surrealism. His poetry expresses a longing for oneness with nature, a passion for the land, and often sings to the human subject. He frequently employed long lists, accumulation of images and metaphors, anaphora, and repetition.
After the Civil War, his works often evoked an uncontaminated childhood and a pure life. In his later stage of senescence, reflection and meditation predominated.