The Pillars of the Generation of ’98: Unamuno, Baroja, and Azorín
The Generation of ’98: Key Figures and Literary Contributions
Miguel de Unamuno (1864–1936)
Born in Bilbao, Unamuno lived most of his life in Salamanca, where he worked at the university as a professor of Greek and later as rector. Between 1924 and 1930, he lived in exile in France and Fuerteventura because he was subjected to criticism for his opposition to the dictatorship of Primo de Rivera. Although he initially supported the Republic, he evolved into a critical position toward both the Republic and the military uprising led by General Franco.
Unamuno cultivated all literary genres: poetry, novel, drama, and the problem essay. The problem of Spain was one of Unamuno’s central topics, leading him to analyze all aspects that had resulted in the nation’s state of prostration. The description of the Castilian landscape became one of his fundamental objectives.
Key Essays and Philosophy
Driven by this concern, Unamuno wrote several essays on the subject, such as Around the Purity, Land of Portugal and Spain, and The Life of Don Quixote and Sancho. We also highlight two other essays on different themes, The Tragic Sense of Life and The Agony of Christianity, whose central concern is the search for the meaning of life.
Novels and Style
The novels of this author are among the most important of the Generation of ’98, though the genre he highlighted was the nivola (or short novel). His first novel was Peace in War (1897). In 1931, he published his great masterpiece: San Manuel Bueno, Martyr.
Unamuno is one of the great masters of the Spanish language. He utilizes a sober, intense, and living language with the aim of revitalizing the meaning of words. He is considered one of the pillars of 20th-century Spanish language.
Pío Baroja (1872–1956)
Born in San Sebastián, Baroja spent part of his life studying medicine in Madrid. He eventually abandoned his medical career to dedicate himself fully to literature. He made frequent trips throughout Spain and Europe, and in 1935, he was named an academic of the Royal Spanish Academy.
Baroja was a true loner, a radical pessimist, and critical of many things, often characterized as a misanthrope.
The Novel and Literary Style
Baroja dedicated himself fully to the novel. For its cultivation, he valued spontaneity and improvisation, which sometimes led to criticism regarding the composition of his writing. He favored prose composed of short sentences and created incredibly authentic dialogues between characters, which is a great merit.
The great influence of the 19th-century realist novel is very present in Baroja’s works. His novels feature characters who are often in conflict with society. Secondary characters are numerous and contribute significantly to the narrative.
Major Works
His major novels include:
- The Search
- Zalacaín the Adventurer
- The Tree of Science
- Concerns of Shanti Andía
Azorín (1873–1967)
Born in Monóvar (Alicante), he studied in Yecla (Murcia). He dedicated most of his life in Madrid to journalism, contributing to the major newspapers of his time. In 1904, he adopted the nickname Azorín, the name of a character in one of his first novels.
Azorín gradually evolved into conservative positions. Towards the end of his life, he defended a strong Catholicism and traditionalism, adding to his theme of the transience of time. He reacted to this nostalgia through his observations found in his writings.
Literary Style and Themes
His work style is simple, clear, and precise. He uses short sentences and avoids subordination. He also incorporates lyrical descriptions of the landscape in his narrations. He utilizes many adjectives, metaphors, and other literary devices that give his arguments a perfect, practical expression.
Azorín’s arguments are consistent, often lyrical-descriptive, incorporating intimate memories of his childhood and youth, and descriptions of the inhabitants of the Castilian soil. Fragments of his prose works are often classified as highly poetic.
Essays and Drama
Notable essays include The Route of Don Quixote and Antonio Azorín. Our author’s drama did not succeed due to its low stage presence and lack of a sense of action in the plots.