Miguel Hernández and Spanish Poetry After 1936

Posted on Apr 5, 2025 in Latin

The Generation of ’36 and Miguel Hernández

The period from 1936-1939 saw the development of ideological propaganda literature, often lacking in literary quality. However, Miguel Hernández stands out.

Miguel Hernández (1910-1942)

He bridges the Generation of ’27 and the Generation of ’36. His work typically explores three main themes:

  • The tragic sense of life
  • Love
  • Social commitment

His poetry utilizes both traditional verse forms and free verse. He employs symbols, including erotic (belly, pain), feminine (arms, wrists), and death-related (darkness, night).

Poetic Stages:

  1. Early Work: Characterized by a baroque tone, exemplified by Perito en lunas.
  2. Consolidation: El rayo que no cesa explores passionate, yet constrained, love for his future wife, moving away from the baroque style towards ‘impure poetry’. Also includes the Elegía a Ramón Sijé.
  3. Civil War Poetry: Combat poetry like Viento del pueblo, reflecting the pain of war, and El hombre acecha.
  4. Final Stage: Stark and profound, mostly written in prison: Cancionero y romancero de ausencias, intertwining memories of love and the war’s aftermath.

Spanish Poetry After the Civil War (Post-1936)

Context: Political cleansing, rationing, strict censorship, gradually changing by the 1950s.

Early Postwar Poetry (1940s)

Poetry centered around three main currents often associated with magazines:

  • Escorial: Featured poets from the Generation of ’36, focusing on intimate themes and traditional forms (sometimes termed ‘arraigada’ or rooted poetry).
  • Garcilaso: State-supported review, promoting regime ideals, a positive view of reality, technical mastery; also considered ‘arraigada’ poetry.
  • Espadaña: Focused on human and existential content, reflecting harsh reality; known as ‘desarraigada’ (uprooted) poetry. Key works emerged like Dámaso Alonso’s Hijos de la ira and Vicente Aleixandre’s Sombra del paraíso.

Alongside rooted and uprooted poetry, ‘Postismo’ (led by figures like Miguel Labordeta) attempted to link with pre-war avant-garde (surrealism), focusing on desire.

Social Poetry (1950s)

Characterized by social commentary and denunciation of injustice, aimed at the common person (an ‘aesthetics of poverty’). Key poets include:

  • José Hierro: Tierra sin nosotros, Quinta del 42, Cuanto sé de mí.
  • Gabriel Celaya: Tranquilamente hablando, Cantos Íberos. Viewed poetry as a tool for change.
  • Blas de Otero: Two stages: Existential (Ángel fieramente humano, Redoble de conciencia – later collected in Ancia) and Social (Pido la paz y la palabra, En castellano).

Poetry of the 1960s and 1970s

Context: Increased openness, end to censorship, social protests.

The 1960s: Poetry as Knowledge

Emphasis on language development, critical perspective, and didactic purpose.

  • Ángel González: Palabra sobre palabra. Presented everyday characters and events critically.
  • Jaime Gil de Viedma: Poetry as experience, based on personal life. His collected work is Las personas del verbo. Includes books like Compañeros de viaje, Moralidades, and Poemas póstumos. Also wrote A favor de Venus.
  • José Ángel Valente: Poetry seeking the absolute. Evolved from existentialism towards metaphysical themes. Works include Poemas a Lázaro, La memoria y los signos, El inocente.

The 1970s: The ‘Novísimos’ (Culturalists)

Also known as ‘culturalist’ poetry. Often seen as elitist, breaking with immediate predecessors, drawing inspiration from mass media (film, comics), and diverse cultural references. Key authors: Guillermo Carnero, Pere Gimferrer, Manuel Vázquez Montalbán.

Spanish Poetry from 1975 Onwards

Context: Post-Franco era. The ‘Novísimos’ remain influential, but new trends emerge:

  • Return to classical roots/tradition: Sometimes called ‘hidden poets’ (‘poetas encubiertos’). Examples: Juan Luis Panero, Antonio Colinas (Sepulcro en Tarquinia), Antonio Carvajal.
  • Neosurrealism: Example: Blanca Andreu (De una niña de provincias que se vino a vivir en un Chagall).
  • Minimalism/Essentialism: Following poets like Jorge Guillén. Example: Jaime Siles.
  • Poetry of Experience (‘Poesía de la Experiencia’): Focus on shared, relatable experiences. Examples: Julio Llamazares, Andrés Trapiello, Luis García Montero.