Spanish Poetry After 1936: Trends, Key Authors, and Works

Posted on Sep 26, 2024 in Latin

Spanish Poetry After 1936

1. Historical and Social Context

Franco’s dictatorship began amidst international isolation and internal hardship. In 1945, the UN condemned the Franco regime, yet in 1955, it received foreign economic aid. Opposition movements, trade unions, and underground parties began to organize. Living standards improved, but inflation led to widespread strikes.

2. Miguel Hernández

Born in Orihuela, Miguel Hernández participated in the Spanish Civil War and died in prison. A follower of the Generation of ’27, his work is divided into three stages:

  • Avant-garde or Góngora Stage: Imitating Góngora’s style, close to other Generation of ’27 members. Perito en lunas, 1934
  • Classical and Humanized Poetry Stage: Exploring themes of love, life, and death. El rayo que no cesa, 1936
  • Final Stage: Social and historical poetry written during the Civil War, characterized by poignant and emotive language. Viento del pueblo, 1937; El hombre acecha, 1939; Cancionero y romancero de ausencias (posthumous), showing an evolution towards intimacy.

3. Post-War Poetry

Rooted Poetry

Cultivated by authors of the Generation of ’36, it embraced the new regime. Employing a classical and heroic tone, it glorified the past to praise the present, often extolling the beauty of the land or religious sentiment. Authors were associated with journals like Garcilaso and Escorial. Examples include José García Nieto (Elegía a Ramón Sijé, 1940).

Uprooted Poetry

Reflecting the distress and pain of the era, and a lack of faith in the future. This poetry appeared in the journal Espadaña, following Dámaso Alonso’s Hijos de la ira (1944). Authors like Nora Eugenio, José Hierro, and José María Valverde focused on daily life and the struggle against the environment and inner turmoil. The language was raw, heavily influenced by Miguel Hernández.

Other Trends

  • Postismo: Continued the surrealist tradition. (Eduardo Chicharro)
  • Grupo Cántico: Sensual and baroque poetry. (Pablo García Baena, Ricardo Molina)

4. Social Poetry

Defining Features

Existentialist literature gave way to social realist literature (1950-1964). Authors explored their inner anguish while objectively portraying Spanish collective life. From 1950 onwards, they addressed issues of exclusion, unemployment, and lack of freedom, demanding peace and justice.

Important Authors and Works

  • Gabriel Celaya: Energetic social commitment. La poesía es un arma cargada de futuro (1960)
  • Blas de Otero: A major post-war poet. His work reflects the evolution of Spanish poetry since 1939:
    • Existentialist stage: Ángel fieramente humano, 1949
    • Social stage: Pido la paz y la palabra, 1955
    • Later works: Redoble de conciencia
  • José Hierro: Began with existentialist poetry (Con las piedras, desolación y la lluvia, 1947; Alegría, 1947), later moving towards social poetry (Quinta del 42, 1952).

5. The Generation of 1950

Poets who began publishing in the 1950s, sharing a critical vision of reality. Key features include a humanist attitude, concern for human problems, a conscious style, and careful attention to language.

  • Ángel González: Combined social and personal poetry. Grado elemental (1962)
  • José Ángel Valente: Intellectual and symbolic, with a focus on language. A modo de esperanza (1955)
  • Jaime Gil de Biedma: Influential, with everyday language. Las personas del verbo (1975)
  • Antonio Gamoneda: Critical poetry blending personal experience with the outside world. Sólo la luz (2000)
  • Francisco Brines: Surrealism, classicism, and landscape. Conjuros (1958)

6. The Newest Generation

Two key dates mark this period: 1966 (Pere Gimferrer’s Arde el mar, breaking with previous poetic styles) and 1970 (José María Castellet’s Nueve novísimos poetas españoles, an anthology giving its name to the generation). This avant-garde movement used a new language and formalistic approach.

Features: disregard for traditional forms, automatic writing, modern and elliptical techniques, exotic and artificial elements. Content often focused on other times and cultures, incorporating elements from film, music, and comics. The language was surreal and exuberant, alternating opaque and visionary images.

Representatives: Pere Gimferrer (Arde el mar); Guillermo Carnero (Ilustración 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).