Spanish Literary Modernism and the Generation of ’98
Modernism and the Generation of ’98: A Literary Revolution
Modernism represented a complete break from the Spanish literary tradition up to that point. It also signified the emergence of writers born in Latin America, not on the Iberian Peninsula, thus initiating a parallel literary tradition that used Castilian Spanish as its vehicle of expression. Modernism was so prolific that, while originating as a literary trend, it manifested in all branches of art, not just literature. Alongside Modernism as a movement was the Generation of ’98; both are different sides of the same coin. The Generation of ’98 promoted a change in mentality and protested against decadent Spain.
Technical Aspects of Modernism
The Symbol: Modernism was an avant-garde movement that promoted the indirect representation of things through hidden symbols.
The Generation of ’98
The Generation of ’98 was an intellectual movement (not only literary but also historical, philosophical, artistic, and even scientific) parallel to Modernism. It emerged when Spain lost its last overseas colonies. The Generation of ’98 was a peninsular current in which intellectuals from various parts of the country analyzed how Spain had lost its primacy from the Renaissance era, when it was a supreme world power, to the present day, lacking historical, political, and even cultural importance.
A key poetic form was the *cuaderna vía* or *tetrástrofo monorrimo* (single rhyme), consisting of quatrains with the same rhyme, all verses being of art, particularly hendecasyllabic (11 syllables), dodecasyllabic (12 syllables), and Alexandrine (14 syllables).
Characteristics of the Generation of ’98
- Europeanism and Appreciation for the *Castizo* (Authentically Spanish): Initially, the Generation of ’98 believed that Spain’s problems could be solved by opening up to innovative currents from the rest of Europe.
- Idealization of the Landscape: The Castilian landscape became a constant symbol of the Spanish soul, capable of regenerating itself from the present crisis.
- Subjectivism: The idealization and zeal to solve the crisis led them to intimate positions, each trying to rediscover the Spanish soul.
- Philosophical Reflection: The internalization of the crisis was also examined from philosophical standpoints, especially existentialist ones.
- The Essay as a Vehicle of Expression: The concern for Spain’s problems led them to enhance the essay, a form already established in the country since the French Enlightenment.
- Sobriety: The language used in these essays tended toward clarity and a dry prose, though not without the trappings of Modernist rhetoric.
Rubén Darío: A Key Figure of Modernism
Born in Metapa, a village in Nicaragua, Rubén Darío’s real name was Félix Rubén García Sarmiento. He began his literary activity in 1885, combining it with journalism. He traveled to Chile, Argentina, and Spain, where he met writers such as Valle-Inclán and Juan Ramón Jiménez. He died in León, Nicaragua. Rubén Darío pursued formal novelty in literature through an aesthetic break with previous approaches.
*Azul…* (Blue…) and *Prosas Profanas* (Profane Prose)
Darío’s first books reflect Modernist themes and developments. *Azul…*, published in 1888, combines verse and prose.
*Cantos de Vida y Esperanza* (Songs of Life and Hope)
Darío employed new themes and a more personal, intimate, and philosophical approach. He reflected on themes such as the passage of time, the loss of youth, and the meaning of existence. He reaffirmed Hispanic culture, suggesting the union of the American people against US imperialism.