Spanish Literature: Generation of ’98 and Valle-Inclán
The Generation of ’98 Novel
The nineteenth century ended with the Disaster of ’98, which meant the loss of the last Spanish colonies, Cuba and the Philippines, to the United States. This event served as a harsh wake-up call, making the nation aware of its declining status.
At that time, a group of young people in their thirties reacted to the political unrest and moral crisis, sometimes taking contradictory positions, in an effort to renew Spanish consciousness. They analyzed the ills of Spain (its backwardness) and proposed solutions (reconstruction of agriculture, education, and economics; integration of Spain into Europe, etc.).
Miguel de Unamuno
Miguel de Unamuno was a professor at the University of Salamanca. Due to his opposition to the Dictatorship of Primo de Rivera, he suffered banishment. His work is marked by philosophical concerns, a great fear of death, and a longing for eternal life and God. Notable novels include San Manuel Bueno, mártir (the story of a priest who has lost his faith) and Niebla (a novel he termed ‘nivola’).
Azorín
Azorín (José Martínez Ruiz) was dedicated to journalism and literature. He focused on Spain’s problems, particularly those of Castile. His style is elegant and elaborate, yet simple (short sentences, varied and precise vocabulary). He is a master of description, using an impressionistic technique to convey meaning through significant details. His work Castilla is particularly notable.
Pío Baroja
Pío Baroja trained as a doctor but dedicated his career to literature. He was a solitary and independent figure. His view of Spain was bitter and pessimistic. His style is dynamic: it prioritizes simplicity and expressiveness over strict grammatical correctness. His characters are often rebellious and fearless, contrasting with his own personality. Notable novels include El árbol de la ciencia (often translated as The Tree of Knowledge or The Search), Zalacaín el aventurero, and the trilogy La lucha por la vida (The Struggle for Life), which includes La busca (The Search), Mala hierba (Weed), and Aurora roja (Red Dawn).
Ramón María del Valle-Inclán
Ramón María del Valle-Inclán defies easy classification, bridging Modernism, bohemianism, and the Generation of ’98. He is an essential figure, especially in theater, where he created the esperpento. His primary concerns were aesthetic rather than social or political. Outstanding works include Tirano Banderas (novel) and Luces de bohemia (theater).
Antonio Machado
Antonio Machado was a thoughtful teacher. He married Leonor Izquierdo, who was much younger than him and died prematurely. His grief over her loss is reflected in his landscape descriptions, particularly in Campos de Castilla.
Valle-Inclán’s Work in the Early 20th Century
Valle-Inclán is a versatile author who cultivated poetry, drama, and fiction. He began his career with works influenced by Modernism but also shows characteristics of the Generation of ’98. Luces de bohemia clearly demonstrates this mixture: while the work can be formally framed in Modernism (for example, its stage directions are not merely instructions for representation but are beautiful and multi-sensory images), its content, which references classical heroes (often to deform them), aligns better with the mindset and political malaise following the Disaster of ’98 (the loss of the last Spanish overseas colonies).
Additionally, the work reflects the decadent intellectuals of the time (who frequented the bars near the Ateneo).
Luces de bohemia is the play in which Ramón María del Valle-Inclán develops the concept of the esperpento. For this reason, and its subsequent influence, it is considered one of the key works in Spanish drama. The language incorporates expressions from Modernism and the characteristic slang of Madrid at the time.
The concept of the esperpento is illustrated by Max Estrella and Don Latino during a drunken night: Max explains that viewing classical heroes (like El Cid, for example) through a concave or convex mirror (like those still found in the Callejón del Gato in Madrid) produces a burlesque and distorted image.
The play ends with a cruel twist of fate for the impoverished Max, who dies just after winning the lottery. This serves as an esperpento metaphor for the impossibility of living in an oppressive, unjust, and decadent country.