Spanish Poetry After 1936: A Comprehensive Overview
Spanish Poetry After 1936: Trends, Key Features, Most Significant Authors, and Works
Historical and Social Context
Franco’s dictatorship began amidst international isolation and internal misery. In 1945, the UN condemned the Franco regime, but by 1955, Spain was admitted to the UN and began receiving foreign economic aid. Opposition movements, trade unions, and underground parties started to organize. Living standards improved, but inflation led to a massive work stoppage.
Miguel Hernández
Born in Orihuela, Miguel Hernández participated in the Civil War and died in prison. He is considered a follower of the Generation of ’27. His work can be divided into three stages:
Avant-Garde or Gongora Stage
Hernández imitates the style of Luis de Góngora, aligning with the Generation of ’27. Perito en Lunas (Expert in Moons), 1934
Stage of Humanized and Classical Poetry
The poet explores themes of love, life, and death. El rayo que no cesa (The Unceasing Lightning), 1936
Last Stage
Written during the Civil War, this stage reflects a social history in poetry, characterized by poignant and emotive language. Examples include Viento del pueblo (Wind of the People), 1937, and El hombre acecha (Man Stalks), 1939. Cancionero y romancero de ausencias (Songbook and Ballad Book of Absences), published posthumously, reveals an evolution towards intimacy.
Postwar Poetry
Rooted Poetry
Cultivated by authors of the Generation of 36, this style aligned with the Franco regime. It adopted a classic and heroic tone, using a glorious past to praise the present. It also explored intimate themes, extolling the beauty of the land or religious sentiment. Authors associated with this trend published in journals like Garcilaso and Escorial. Notable authors include José García Nieto (Tregua (Truce), 1940).
Uprooted Poetry
This trend reflects the distress, pain, and lack of faith in the future experienced during this period. It found a platform in the journal Espadaña, which emerged after the publication of Dámaso Alonso’s Hijos de la ira (Sons of Wrath) (1944). Poets like Nora Eugenio, José Hierro, and José María Valverde argued for a poetry centered on reality and daily life, portraying existence as a struggle against the environment or the inner world. The language used was often fragmented, influenced by Miguel Hernández.
Other Trends
- Postismo: Proposed a continuation of surrealist poetry. (Eduardo Chicharro)
- Grupo Cántico: Characterized by sensual and baroque poetry. (Pablo García Baena, Ricardo Molina)
Social Poetry
Defining Features
Existentialist literature paved the way for social realism (1950-1964). Authors moved beyond their inner anguish to objectively present the collective life of Spain. From 1950 onwards, they addressed social issues like exclusion, unemployment, and lack of freedom, demanding peace and justice for their beloved Spain. They sought to connect with the people through their poetry.
Most Important Authors and Works
Many of the prominent figures were associated with uprooted or existentialist poetry:
- Gabriel Celaya: Known for his energetic social commitment and direct prose. In his existentialist phase, he published Tranquilamente hablando (Speaking Quietly) (1947).
- Blas de Otero: Considered the greatest poet of the postwar era, his work reflects the evolution of Spanish poetry since 1939.
- Existentialist stage: Characterized by a tormented tone, focusing on the search for God, love, and the meaning of human existence. Ángel fieramente humano (Fiercely Human Angel), 1949
- Social stage: Marked by commitment and solidarity, addressing the collective problems of Spain. Pido la paz y la palabra (I Ask for Peace and the Word), 1955
- Later phase: Hojas de Madrid (Madrid Sheets)
- José Hierro: Began with existentialist poetry in works like Tierra sin nosotros (Earth Without Us) (1947) and Alegría (Joy) (1947), characterized by intensely personal lyrics. He later embraced social poetry with Quinta del 42 (The ’42 Group) (1952).
The Generation of 50
This group of poets emerged in the 1950s, sharing a critical view of reality with the social poets. Their work explored themes like the individual’s relationship with their environment, dissent, denunciation, realistic depictions of daily life, and a sense of solidarity and commitment. A key characteristic was their humanist perspective and concern for the human condition. They emphasized a conscious style and meticulous attention to language.
Authors
- Ángel González: His poetry alternated between committed social themes and more intimate, personal reflections. Grado elemental (Elementary Grade) (1962).
- José Ángel Valente: Known for his intellectual and symbolic approach, he transcended everyday life through a highly refined language. A modo de esperanza (As a Kind of Hope) (1955).
- Jaime Gil de Biedma: A major influence on later generations, particularly the trend known as poetry of experience. His poetry is characterized by irony and a conversational tone, close to everyday speech. Las personas del verbo (The People of the Verb) (1975).
- Antonio Gamoneda: His poetry is marked by a critical perspective, personal experience, and a painful imbalance between the self and the outside world. Sólo luz (Only Light) (2000).
- Claudio Rodríguez: His work blends surreal imagery, formal classicism, and the clarity of landscape. Conjuros (Incantations) (1958).
The Newest Generation
Two key dates mark this stage: 1966, with the publication of Pere Gimferrer’s Arde el mar (The Sea is on Fire), which broke with previous poetic conventions, and 1970, when José María Castellet published Nueve novísimos poetas españoles (Nine Newest Spanish Poets), an anthology that gave the generation its name. The”Novísimo” presented themselves as an avant-garde movement, introducing a new language and formalistic approach.
Features
- Rejection of traditional forms and embrace of formal freedom
- Use of automatic writing, modern, and elliptical techniques
- Introduction of exotic and artificial elements
In terms of content, they shifted their focus to different eras, cultural and historical origins, and incorporated elements from popular culture like movies, music, and comics. Their language was often surreal and exuberant, alternating between opaque and visionary images and novel aspects.
Representatives
:
Pere Gimferrer. Arde sea; Guillermo Carnero. Illustration of death, Antonio Colinas. Thunder and flutes in a temple, Luis Alberto de Cuenca. Elsinore, Manuel Vázquez Montalbán. A sentimental education, Leopoldo María Panero. Theory.