Spanish Poetry After 1936: Trends, Authors, and Works
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 in 1955, Spain entered the UN and received foreign economic aid. Opposition movements, trade unions, and underground parties started organizing. Living standards improved, but inflation caused 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 Góngora, aligning with the Generation of ’27. Perito en lunas (1934).
- Stage of Classical and Humanized Poetry: The poet explores themes of love, life, and death. El rayo que no cesa (1936).
- Last Stage: Written during the Civil War, this stage reflects social history through poignant and emotive language, as seen in Viento del pueblo (1937) and El hombre acecha (1939). Cancionero y romancero de ausencias, published posthumously, shows an evolution towards intimacy.
Postwar Poetry
Rooted Poetry
Cultivated by authors of the Generation of 36 who were complacent with the new regime. It adopts a classic and heroic tone, using a glorious past to praise the present. It also includes intimate themes, extolling the beauty of the land or religious sentiment. The authors gathered around journals like Garcilaso and Escorial. Some of these authors include José García Nieto (Poesía a Nerea, 1940).
Uprooted Poetry
Reflects the particular circumstances of human beings in times of distress, pain, and lack of faith in the future. This poetry collection is found in the journal Espiga, which appeared after the publication of Hijos de la ira (1944) by Dámaso Alonso. Colleagues (Leopoldo Panero, Gabriel Celaya, Blas de Otero, among others) argued that reality and daily life should be central to their poetry, showcasing existence as a struggle against the environment or the inner world.
The language used is raw and heavily influenced by Miguel Hernández.
Other Trends
- Postismo: Proposed to continue the surrealist poetry movement (Eduardo Chicharro).
- Grupo Cántico: Sensual and baroque poetry (Pablo García Baena, Ricardo Molina).
Social Poetry
Defining Features
Existentialist literature leads to social realist literature (1950-1964). The authors move beyond their inner anguish and attempt to objectively present Spanish collective life. From 1950 onwards, authors address exclusion, unemployment, and lack of freedom, demanding peace and justice for Spain. They strive to share their poetry with the people.
Most Important Authors and Works
These are the same authors who developed existentialist or uprooted poetry:
- Gabriel Celaya: Energetic social commitment, advocating for engaged prose. In his existentialist stage: Tranquilamente hablando (1947).
- Blas de Otero: A major postwar poet. His work summarizes the evolution of Spanish poetry since 1939:
- Existentialist stage: Raw tone, focuses on the search for God, love, and the meaning of human existence. Ángel fieramente humano (1950).
- Social stage: Commitment and solidarity, bearing witness to Spain’s collective problems. Pido la paz y la palabra (1955).
- Experimental phase: Hojas de Madrid.
- José Hierro: Begins with existentialist poetry in Tierra sin nosotros (1947) and Alegría (1947), characterized by intensely personal lyrics and projection. Later integrated into social poetry with Quinta del 42 (1953).
The Generation of 50
This group of poets began publishing in the 1950s, alongside the social poets. They share a critical vision of reality, including concerns about humanity’s relationship with the environment, dissent and denunciation, realistic references to daily life, and a sense of solidarity and commitment.
A key feature is their humanist attitude and concern for the problems of being human. Most of them strive for a conscious style and meticulous care for language.
Authors
- Ángel González: His poetry alternates between committed social poetry and more intimate and personal themes. Grado elemental (1962).
- José Ángel Valente: Intellectual and symbolic tone. Starts with everyday life but transcends it through extreme purification of language. A modo de esperanza (1955).
- Jaime Gil de Biedma: A major influence on the current generation and the trend known as poetry of experience. His poetry is ironic, and his enunciation is very close to the everyday. Las personas del verbo (1975).
- Claudio Rodríguez: His poetry blends surreal imagery, formal classicism, and the transparency of the landscape. Conjuros (1958).
- Antonio Gamoneda: Critical poetry rooted in personal experience and biography, reflecting a painful imbalance with the outside world. Sólo luz (2004).
The Newest Generation
Two dates are noteworthy when discussing this stage: 1966, when Pere Gimferrer published Arde el mar, which broke with previous poetic trends, and 1970, when José María Castellet published Nueve novísimos poetas españoles, an anthology that gave the generation its name. The “novísimos” presented themselves as an avant-garde movement, introducing a new language and adopting a formalistic attitude.
Features
- Disregard for traditional formulas and formal freedom.
- Automatic writing, modern and elliptical techniques.
- Introduction of exotic and artificial elements.
In terms of content, they shift their focus to other times, cultural and historical origins, and assimilate a frivolous mythology from movies, music, or comics.
Formal aspects reflect a particularly surreal and exuberant language, alternating opaque and visionary images with other novel aspects.
Representatives
- Pere Gimferrer: Arde el mar
- Guillermo Carnero: Dibujo de la muerte
- Antonio Colinas: Truenos y flautas en un templo
- Luis Alberto de Cuenca: Elsinor
- Manuel Vázquez Montalbán: Una educación sentimental
- Leopoldo María Panero: Teoría