Generation of ’27: Lorca and the Spanish Avant-Garde
Generation of ’27: The Spanish Avant-Garde
Federico García Lorca and his Contemporaries
The Generation of ’27 refers to a group of Spanish poets who emerged in the 1920s, coinciding with the rise of the avant-garde movement. The name originates from the year they participated in a tribute commemorating the death of Luis de Góngora. Prominent members include Jorge Guillén, Federico García Lorca, Dámaso Alonso, Luis Cernuda, and Rafael Alberti.
Despite their individual styles, these poets shared common characteristics:
- Similar age and a strong literary and intellectual curiosity.
- Privileged family backgrounds.
- Liberal political attitudes and, with the exception of Gerardo Diego, support for the Republic.
- Connections formed in Madrid, particularly at the Residencia de Estudiantes.
- Collaboration in cultural events and journals like Revista de Occidente, La Gaceta Literaria, and Litoral.
- Development of a generational language, emphasizing style, metaphor, and the aesthetic aspects of poetry.
Synthesis of Tradition and Modernity
A defining feature of the Generation of ’27 was the fusion of tradition and modernity. They reconciled seemingly opposing influences, drawing inspiration from both popular literature and the works of Góngora, Bécquer, and Juan Ramón Jiménez. Jiménez’s “pure poetry” served as a model for a period. They incorporated traditional and free verse forms into their work. The avant-garde movement contributed a focus on innovation, originality, wit, and creative freedom.
Career Stages
Initial Stage (until 1927): Early works reveal influences of Bécquer and modernism. The poets embraced “pure poetry” and avant-garde aesthetics. Lorca and Alberti incorporated elements of neo-popularism.
From 1928 to the Spanish Civil War: Surrealism influenced a rehumanization of lyric poetry, particularly in the works of Vicente Aleixandre, Lorca, and Cernuda. As the war approached, social and political themes gained prominence, reaching a peak during the Second Republic.
Final Stage (post-Civil War): The assassination of Lorca and the exile of many members dispersed the generation. Exile, nostalgia, and political protest became recurring themes. Dámaso Alonso and Aleixandre emerged as leading figures in postwar poetry, while Gerardo Diego’s work evolved towards religious and classical themes.
Federico García Lorca
Federico García Lorca, initially pursuing a law degree, dedicated himself to literature early on. In 1919, he moved to Madrid and became associated with the Residencia de Estudiantes, where he met Juan Ramón Jiménez. He traveled to New York and Cuba in 1929-30. His assassination at the outset of the Spanish Civil War tragically symbolized the conflict’s devastating impact.
Lorca’s early works showcased a strong affinity for the popular themes of his native Andalusia, evident in Poema del cante jondo and Romancero gitano. His style blended popular and cultured elements. His time in New York inspired Poeta en Nueva York, a fragmented vision of the metropolis as a symbol of a selfish, inhuman, and unjust modern society, employing surrealist techniques.
Among his later poems, Llanto por Ignacio Sánchez Mejías stands out, an elegy combining surreal imagery with echoes of Jorge Manrique’s Coplas. During his final six years, Lorca focused on theater. He directed La Barraca, a traveling theater group that performed Spanish classics and modern plays throughout the country.
Lorca’s plays can be categorized into three stages:
- Early Stage: Puppet shows and farces, with an underlying tone of frustration and social critique (e.g., Mariana Pineda).
- Surrealist Influence: “Impossible comedies” exploring themes of inner frustration and the power of dreams (e.g., Así que pasen cinco años).
- Rural Dramas: Works like Yerma and La casa de Bernarda Alba, featuring women as symbols of exclusion and exploring the tragic consequences of societal constraints.
Lorca’s plays consistently depict the confrontation between individuals and their environment, often leading to tragedy. He portrays tragic destinies shaped not only by external forces but also by social conventions that individuals struggle to overcome.