Evolution of Spanish Poetry: Post-War to 1970s
I. Post-War Poetry (1940s)
The early post-war period witnessed a resurgence of poetry, marked by the influence of the “Generation of ’36.” This group, categorized by Damaso Alonso, largely followed two poetic paths:
1. Rooted Poetry (Garcilaso)
This group, inspired by the poet Garcilaso de la Vega, sought perfection, balance, and clarity. Their optimistic worldview reflected an orderly and serene existence. Thematically, they focused on intimate subjects like love, leisure, landscapes, and beauty, often infused with religious sentiment. Stylistically, they favored classical forms, particularly the sonnet.
Representatives: Luis Rosales, Luis Felipe Vivanco, Leopoldo Panero, Dionisio Ridruejo
2. Uprooted Poetry (Espadaña)
This group, associated with the magazine “Espadaña,” presented a contrasting perspective. They viewed existence as chaotic, marked by anxiety, hopelessness, and suffering. Their themes echoed existentialist thought, exploring humanity’s struggle against a hostile world. Their religiosity was tinged with despair and doubt. Stylistically, they favored direct and harsh language, prioritizing content over formal beauty.
Representatives: Carlos Bousoño, Vicente Gaos, Gabriel Celaya, Blas de Otero
3. Other Trends
Beyond these two main currents, other trends emerged. The post-surrealist movement, led by Carlos Edmundo de Ory, embraced freedom of expression, playfulness, and imagination, drawing inspiration from Dadaism and Surrealism. The “Canción de Córdoba” group cultivated intimate poetry with aesthetic rigor. Individual figures like Carmen Conde and Gloria Fuertes also made significant contributions.
II. Social Poetry (1950s-1960s)
By the mid-1950s, the uprooted, existentialist poetry evolved into social poetry. Poets shifted their focus from personal struggles to societal issues. Pioneered by figures like Vicente Aleixandre, Blas de Otero, and Gabriel Celaya, this movement viewed poetry as a tool for social transformation.
Themes: Social injustice, alienation, the desire for freedom, and the overarching theme of Spain.
Style: Simple, direct, and often prosaic language, prioritizing content over aesthetics.
While impactful, social poetry’s reach was limited by the public’s unpreparedness for this form of expression. However, it gained wider recognition during the democratic transition through musical adaptations by singer-songwriters.
III. Towards a New Poetry (1960s-early 1970s)
Not all poetry of this era was dominated by social realism. Some poets explored different paths, maintaining a concern for humanity and social nonconformity but with greater skepticism. Their poetry became more personal and intimate, with renewed interest in aesthetic values and refined form, foreshadowing the avant-garde experimentation of the coming years. The 1970 anthology “Nueve novísimos poetas españoles” introduced the “Generation of ’68,” poets born in the 1940s who drew inspiration from pre-war art, particularly surrealism. Their focus was on renewing poetic language, prioritizing imagery and metaphor.