Realism and Modernism in Spanish Literature
Realism (1859)
As seen in Europe, a gradual estrangement emerges from forms of life and mentality characterized by Romantic subjectivism, idealism, and disagreement with the surrounding world.
Among the notable changes is the social domination of the bourgeoisie and the rise of positivism (which rejects anything not derived from experience).
In France, the term “Realism” initially appeared as a pejorative term for paintings depicting simple, everyday scenes. Realism is often presented as the antithesis of Romanticism, but this is inaccurate, as Realism develops from elements existing within Romantic literature.
Realism evolved from Romanticism by eliminating some of its facets: combating subjectivism, slowing the imagination, rejecting the fantastical, and tempering emotional outbursts. The author’s gaze shifts from the picturesque to the everyday, abandoning the Romantic’s fondness for evoking the past.
In return, Realism’s fundamental trait is the observation of life, applied to two areas: the depiction of manners and the exploration of character (psychological novel). These technicalities are often accompanied by a moral or social purpose, making the novel frequently argumentative.
From a narrative perspective, noteworthy developments include the ideal of objectivity, where the novelist adopts the role of a chronicler and tends to disappear (though not always). There’s also a progressive elimination of grand Romantic rhetoric, favoring a sober prose adapted to the characters (reflecting, for example, popular speech).
Realism in Spain
Despite foreign influences, Spanish Realism never fully conformed to European canons. While the increased focus on documentation was adopted, Spanish realists sought inspiration in Spanish life and land, leading to the dominance of the regional novel (e.g., Valera in Andalusia, Galdós in Madrid).
Major Authors
- Fernán Caballero: Represents the transition from Romanticism to Realism (The Seagull).
- Pedro Antonio de Alarcón: Begins and ends as a Romantic realist (The Shadow of the Tropic).
- José María de Pereda: Fully realistic, follows a traditional line, attached to the rural (The Montálvez).
- Galdós
- Valera
- Clarín
Genres in Realism
Realism primarily revolves around the novel, the genre best suited to its factual focus. However, poetry and theater were also cultivated. Compared to the novel’s evolution towards objectivism, these genres remained steeped in Romanticism. Poetry is marked by the dominant bourgeois mentality, focusing on idealistic assumptions and lacking lyrical impulses. Two directions emerge: prosaic features (Campoamor) and hollow civic-philosophical rhetoric (Núñez de Arce). Alongside this, two poets, Bécquer and Rosalía de Castro, achieved heights of Romantic lyricism.
Theater of this time is full of Romantic remnants. Realist theater shows a preference for contemporary issues, approachable characters, and temperate language (“high comedy”: Adelardo López de Ayala). Simultaneously, a gesticulating neoromanticism develops in Echegaray’s dramas.
Modernism (1888-1920)
Modernism is an artistic movement arising from the depletion of old aesthetics and the emergence of a distinct American voice. It draws influence from various literary schools (Pre-Raphaelite, Symbolism, Parnassianism) and introduces new approaches (metrical renewals, lexical innovations). Its diverse topics include exoticism, politics, social issues, and mythology. Unifying this syncretism is a renewed sensitivity and the language to express it.
A key characteristic is the emphasis on experimentation and the renewal of literary language.
Other characteristics include:
- Evasion and Exoticism: Creating an ideal world as an escape from routine.
- Cosmopolitanism: Pursuing a cosmopolitan ideal.
- Renewal of Language and Versification: Creating unique and surprising poetic language.
- Syncretism: Drawing on and encompassing everything.
Besides Rubén Darío (Azul), many Spanish poets of the late 19th and early 20th centuries reflect Modernism’s influence. Those who assimilated it most include Salvador Rueda (Ninety Estrophes), Francisco Villaespesa (The Sick Muse), and Manuel Machado (Alma). Modernist elements also appear in the early works of Juan Ramón Jiménez (Violet Soul) and Antonio Machado (Soledades).