Modernism and the Generation of ’98: Key Figures & Themes
Modernism and the Generation of ’98
The Generation of ’98 is formed by a group of writers with similar intellectual and stylistic approaches, breaking with previous literary traditions. This development is influenced by the Disaster of 1898 and the spiritual guidance of Miguel de Unamuno. Valle-Inclán is a prominent writer belonging to this generation.
Valle-Inclán’s extensive work spans narrative, poetry, and drama, often defying genre conventions and showcasing a profound evolution parallel to his ideological shifts. His style transitions from refined, nostalgic modernism to a critical stance expressed through a radically new, fragmented style.
The transformation from modernist prose to the grotesque begins with “The Crusaders of the Cause” and other works in the trilogy, culminating in the narrative absurdity of “Tirano Banderas” (1926), a scathing critique of an archetypal Latin American dictatorship, and the unfinished series “The Iberian Roll” (1927-28), which offers a grotesque vision of Queen Elizabeth II and her court.
Valle-Inclán also published horror and mystery short stories, collected in books like Jardín umbrío, which showcase a Symbolist aesthetic. In general, the Sonatas and the stories are firmly rooted in modernist aesthetics, appreciating “a taste for the exotic, the picturesque, and the rare, exquisite, and elaborate.” Valle-Inclán’s modernist prose initially embraces Parnassian “art for art’s sake” and “the symbolic worship of reference and feeling.” There is a continuous pursuit of musicality in the style of Rubén Darío, a key figure of the Generation of ’98, and a conscious rejection of realism and utilitarianism.
Max Estrella: A Bohemian Light
Max Estrella is the protagonist of Luces de Bohemia, which depicts his last night of life: a journey through Madrid accompanied by Don Latino de Hispalis. The character’s name is symbolic: “light” in Luces de Bohemia represents intelligence and lucidity. Max’s surname alludes to the poet’s ability to reach the truth and illuminate a world where most people keep their eyes closed. His blindness, a traditional symbol of wisdom, further emphasizes this connection to truth.
His name also evokes fame and brilliance, as Don Latino de Hispalis calls him “Shining Star.” However, this positive connotation is overshadowed when Max reveals his nickname: “My name is Max Estrella. My pseudonym, Mala Estrella (Bad Star).” Max is a dreamer lost in an unjust and absurd Madrid, his life headed towards doom like the heroes of ancient tragedy. He undergoes continuous degradation, beginning in the first scene and culminating in his death, even after which his dignity is stripped away as he is mistaken for being drunk or in a trance.
Don Latino de Hispalis: The Guide
Don Latino de Hispalis is Max’s guide through the streets of Madrid, echoing the journey in Dante’s Divine Comedy. He is an unfair, cynical scoundrel who flaunts his pedantry, as seen in his insistence on his full name: “And always my nickname Latino Hispalis.” However, his name is distorted when Max tells the Moon: “Take me to a bench to wait for that pig from Seville.” He is portrayed as an old asthmatic who sells bad literature and, as a bohemian, clings to the heroic Max.