Life, Poetry, and Legacy of Miguel Hernández
1. Life of Miguel Hernández: A Vital Path
Early Life and Influences
Miguel Hernández was born on October 30, 1910, in Orihuela, Alicante, Spain. He came from a humble family and his formal education ended early, forcing him to work as a shepherd and milk delivery boy. However, he was a voracious reader of Spanish classics, which deeply influenced his poetic development. He was largely self-taught and began publishing his poems in a local newspaper, El Pueblo, in 1929.
Literary Beginnings and Personal Life
In 1931, Hernández moved to Madrid to pursue his literary ambitions but faced initial setbacks. Upon returning to Orihuela, he met his future wife, Josefina Manresa, with whom he had two children. Sadly, their first child died in infancy, and their second son, Manuel Miguel, was born during Hernández’s imprisonment.
Hernández’s early poetry blended avant-garde elements with traditional forms. His first book, Perito en lunas (1933), showcased a baroque style reminiscent of the poet Góngora. In 1934, he published the religious play Quien te ha visto y quién te ve y sombra de lo que eras in the journal Cruz y Raya. He also collaborated with his friend Ramón Sijé, publishing religious compositions in El Gallo Crisis. During this period, he wrote a series of poems known as El silbo vulnerado, exploring themes of faith and doubt.
Shift Towards Social Commitment
Influenced by poets like Vicente Aleixandre and Pablo Neruda, Hernández embraced Surrealism and the concept of committed poetry. The death of his friend Ramón Sijé in 1935 led him to write a poignant elegy, which he later included in El rayo que no cesa (1936). This collection also features love poems inspired by his unrequited affection for the poet Maruja Mallo.
The Spanish Civil War and Its Impact
The outbreak of the Spanish Civil War in 1936 profoundly impacted Hernández’s life and poetry. He became a cultural commissioner in the Republican army and actively supported the Loyalist cause. His wartime experiences are reflected in Viento del pueblo (1937), a collection of poems marked by a direct and epic tone. He also wrote plays like Teatro en la guerra (1937) and El labrador más aire (1937), further demonstrating his commitment to the Republican cause.
As the war progressed, Hernández’s poetry shifted from combative enthusiasm to pessimism and pain. He began working on his second war collection, El hombre acecha, which was published in 1939. This collection reflects the harsh realities of war and the poet’s growing disillusionment.
Imprisonment and Death
Following the Republican defeat, Hernández was imprisoned and endured harsh conditions in various jails. During this time, he wrote a series of poems that were posthumously published as Cancionero y romancero de ausencias (1938-1941). These poems express his longing for his wife and son, his reflections on war and loss, and his enduring hope for a better future. One of the most famous poems from this period is Nanas de la cebolla, a heartbreaking lullaby dedicated to his second son.
Miguel Hernández died of tuberculosis in prison on March 28, 1942, at the age of 31. His complete works were published in Buenos Aires in 1961, solidifying his legacy as one of Spain’s most important 20th-century poets.
2. Poetic Evolution of Miguel Hernández
Generational Context and Recurring Themes
Miguel Hernández’s work is often associated with the Generation of ’27 and the Generation of ’36, both of which significantly influenced his poetic development. Throughout his career, three fundamental themes permeate his poetry:
- The tragic sense of life: Pain and suffering are central to his understanding of human existence.
- Love: Expressed in various forms, from passionate eroticism to the tender love for his wife and son.
- Social and political commitment: Deeply rooted in his experiences during the Spanish Civil War.
Four Poetic Stages
Hernández’s poetic trajectory can be divided into four distinct stages:
1st Stage: Baroque and Avant-Garde Influences (1925-1933)
This stage is characterized by a baroque style, evident in Perito en lunas. The collection features 40 octaves influenced by Góngora and avant-garde movements like Cubism and Ultraism. This early poetry embraces”pure poetry” emphasizing aesthetic beauty and intricate imagery.
- Gongorism: Hernández adopts Góngora’s metrical schemes, syntactic formulas, and complex metaphors.
- Avant-garde elements: Cubist and Ultraist influences contribute to the enigmatic and innovative nature of his imagery.
- Intense lyricism: The poems often resemble”poetic riddles” playing with wit, surprise, and emotion, while drawing inspiration from the landscapes of his native Orihuela.
Transitional Period: El silbo vulnerado (1933-1935)
This period marks a shift towards maturity and can be divided into several sub-stages within El silbo vulnerado:
- First Silbo vulnerado: A strong religious component influenced by Ramón Sijé.
- Second Silbo vulnerado: A move towards”impure poetr” under the influence of Surrealism and the Generation of ’27. Hernández begins to distance himself from Sijé’s purist approach and embraces a more socially engaged poetics.
- Third Silbo vulnerado or Imagen de tu huella: A prelude to El rayo que no cesa, showcasing the growing influence of Pablo Neruda and Vicente Aleixandre.
2nd Stage: Love and Passion in El rayo que no cesa (1936)
Published in 1936, El rayo que no cesa centers on the theme of love. The collection primarily consists of sonnets, following the tradition of Quevedo, but also includes poems in other forms like silvas, quatrains, and chained tercets.
This stage explores the complexities of love, drawing inspiration from his relationships with Josefina Manresa, Maruja Mallo, and Mary Cegarra. Hernández’s style is influenced by Garcilaso, Quevedo, Aleixandre, Neruda, and Guillén.
3rd Stage: War and Social Commitment (1937-1939)
The outbreak of the Spanish Civil War propelled Hernández towards a poetry of witness and social engagement. He used his poetry as a weapon to fight for the Republican cause. Viento del pueblo reflects this commitment, featuring poems written during the war.
Hernández’s wartime poetry is characterized by:
- Directness and orality: He sought to create a poetry that resonated with the people.
- Epic tone: Reflecting the heroic struggle against fascism.
- Embracing social and political themes.
As the war progressed, his poetry became more pessimistic, reflecting the brutal realities of conflict. El hombre acecha, written between 1937 and 1938, marks a shift towards introspection and a focus on the human cost of war.
4th Stage: Naked Poetry and Deep Emotion (1938-1941)
The poems in Cancionero y romancero de ausencias, written mostly in prison, represent Hernández’s final poetic stage. These poems are characterized by:
- Nakedness and intimacy: Stripped of rhetoric and artifice, they express raw emotion.
- Tragic tone: Reflecting the poet’s imprisonment, illness, and the loss of loved ones.
- Themes of love, life, and death: Exploring the fundamental aspects of human existence in the face of adversity.
Nanas de la cebolla, a poignant lullaby dedicated to his son, exemplifies the depth of emotion and the tragic beauty of this final stage.
3. Tradition and Avant-Garde in Hernández’s Poetry
Fusion of Influences
The fusion of tradition and modernity is a hallmark of Hernández’s poetry, aligning him with the Generation of ’27. This fusion is evident in his engagement with:
a) Literary Tradition
- Golden Age Classics: Hernández drew inspiration from poets like San Juan de la Cruz, Fray Luis de León, Garcilaso de la Vega (sonnets and eclogues), Quevedo, and Lope de Vega.
- Neopopularismo: A cultured reinterpretation of Spanish folk poetry, blending classical and popular elements.
b) Influence of the Preceding Generation
- Rubén Darío: Hernández was influenced by Darío’s symbolist and modernist poetry.
- Juan Ramón Jiménez: Jiménez’s”naked poetr” and emphasis on”pure poetr” guided Hernández’s early career. However, he later moved away from the dehumanizing aspects of”pure poetr” associated with Novecentismo.
c) Literary Avant-Garde
- Metaphor and Innovation: Hernández embraced the avant-garde’s focus on metaphor and experimentation, but without completely abandoning the”humanize” aspects of poetry.
- Surrealism: In the 1930s, Surrealism’s emphasis on the subconscious and the irrational led to a”rehumanization of ar” and the emergence of”impure poetry”
- Ramón Gómez de la Serna: Hernández was influenced by Gómez de la Serna’s greguerías, which combined metaphor and humor to create unexpected and conceptual imagery.
4. Recurring Themes: Love, Life, and Death
Intertwined Themes
Three central themes dominate Hernández’s poetry: love, life, and death. These themes are often intertwined, creating a complex and dynamic interplay. As critic Cano Ballesta noted, in Hernández’s poetic world,”Love + Life = Death, Death = Life + Love, Love = Death + Life”
4.a. Love in Hernández’s Poetry
Eroticism and Nature
The theme of love in Hernández’s poetry is often linked to eroticism and the natural world. His early work, particularly Perito en lunas, reflects the influence of Góngora, Jorge Guillén, and Federico García Lorca. Avant-garde movements, especially Surrealism, also shaped his approach to love poetry, resulting in vibrant imagery that blends Levantine nature with human sensuality.
Love, Loss, and Identity
In El rayo que no cesa, the theme of love deepens, exploring the pain of unrequited affection and the impact of loss on the individual’s sense of self. The poet experiences a crisis of identity, feeling incomplete without the beloved.
Love as Redemption
Despite the pain of separation and loss, Hernández views love as a redemptive force. In poems like La boca, he celebrates the power of love to transcend physical limitations and offer solace in times of adversity.
Symbols of Love and Life
Hernández employs various symbols to represent love and life, including:
- Water: Symbolizing life, fertility, and the quenching of thirst, both physical and emotional.
- The womb: Representing the source of life and the nurturing power of love.
- The house: Symbolizing both a place of refuge and a space for love and family.
- The dove: Representing peace, love, and fidelity.
4.b. Life and Death in Hernández’s Poetry
From Celebration to Tragedy
Hernández’s poetic journey begins with a celebration of life and nature. In his early poems, he expresses a deep appreciation for the natural world, imbuing even inanimate objects with a sense of vitality. However, the specter of death is always present, foreshadowed by images of sunsets and the inevitable cycle of life and decay.
Love, Death, and the Wounds of Existence
In El rayo que no cesa, the theme of death becomes more prominent, intertwined with the experience of love and loss. Love itself is described as a wound, a source of both pain and ecstasy. Hernández uses the symbols of the bull and blood to represent the wounds of love and the inevitability of death.
Friendship, Loss, and Elegy
The death of Ramón Sijé leads Hernández to write a powerful elegy, expressing his grief and rage at the loss of his friend. This elegy foreshadows the more profound explorations of death that will emerge in his later work.
War, Heroism, and the Victims of Conflict
In Viento del pueblo, Hernández’s wartime poetry initially celebrates the heroism of those fighting for the Republican cause. Death is seen as a sacrifice for a noble ideal. However, as the war drags on, his perspective shifts towards a focus on the victims of conflict and the brutal realities of war. El hombre acecha reflects this change, highlighting the suffering and disillusionment caused by war.
Imprisonment, Absence, and the Enduring Power of Love
In his final collection, Cancionero y romancero de ausencias, Hernández confronts his own mortality and the pain of separation from his loved ones. The poems are filled with a sense of absence and loss, but they also express an enduring hope for the future and the power of love to transcend even the harshest circumstances. The cycle of life and death comes full circle, with love as the ultimate source of solace and redemption.
5. Social and Political Commitment in Hernández’s Poetry
From Personal Crisis to Social Engagement
Hernández’s second trip to Madrid in 1934 marked a turning point in his life and poetry. He became immersed in the intellectual and political ferment of the capital, experiencing a personal crisis that led him to embrace a more socially engaged poetics. El rayo que no cesa reflects this shift, showcasing a move towards”impure poetr” and a departure from purely aesthetic concerns.
The Spanish Civil War and the Poet as a Voice for the People
The outbreak of the Spanish Civil War in 1936 galvanized Hernández’s political commitment. He joined the Republican army and used his poetry as a weapon to fight for the Loyalist cause. Viento del pueblo embodies this commitment, expressing solidarity with the oppressed and using poetry as a tool for social change.
Solidarity and the Poetic Voice
Hernández believed in the power of poetry to give voice to social and political issues. Viento del pueblo is a testament to this belief, expressing his empathy for the suffering of the people and his condemnation of injustice. He assumes the role of a prophet, denouncing oppression and calling for social justice.
Three Dominant Tones in Wartime Poetry
Hernández’s wartime poetry is characterized by three dominant tones:
- Exaltation: Celebrating the heroism of those fighting for freedom and justice (e.g., El sudor).
- Lamentation: Mourning the victims of oppression (e.g., Aceituneros).
- Curse: Condemning the enemies of the people (e.g., Los cobardes).
From Exaltation to Disillusionment
Viento del pueblo initially expresses a fervent enthusiasm for the Republican cause. Hernández identifies with the Spanish people and glorifies their strength and resilience. However, as the war progresses, his tone shifts from exaltation to disillusionment. El hombre acecha reflects this change, focusing on the brutal realities of war and the loss of innocence.
The Enduring Legacy of Miguel Hernández
Miguel Hernández’s poetry continues to resonate with readers today because of its powerful blend of personal experience, social commitment, and artistic innovation. He remains a vital voice in Spanish literature, reminding us of the importance of fighting for justice, celebrating the power of love, and confronting the complexities of human existence with honesty and courage.