Nature, Tradition, and Avant-Garde in Miguel Hernández’s Poetry
Miguel Hernández and Nature
The three main themes of his poetry, as declared in his songbook and ballads, are life, death, and love. To these, we must add the theme of nature.
The Theme of Nature
In 1926, he compiled his poems in a notebook. His widow, Josefina, stated he “never wrote at home, always in the fields or mountains.” His early writings reveal a deep connection between his poetry and daily life. Miguel sang of his experiences; his poetry is steeped in sentimentality. Nature, in these early works, is a colorful, scented, Levantine landscape. This is when the theme of nature is most prominent. He meticulously describes Orihuela, the city that inspires his muses. Sex and eroticism are present through symbols like oranges, grapes, orchards, and roses. The lemon, initially an inspiration, later becomes a symbol of heartache.
In his first book, Perito en Lunas (Expert on Moons), there’s a shift away from direct nature depictions, though elements like the rooster, sea, river, and pomegranate still appear. The fig tree becomes a symbol of masculinity and virility. Rain, thunder, lightning, and wind storms also feature in his poems. The earth, seen as a mother and source of inspiration, highlights his deep connection with nature. Even during the war, nature remained present in his work, albeit more subtly.
Tradition and Avant-Garde
His early poetry is richly sonic, with varied rhythms and lengths, demonstrating a keen perception of the pastoral world and the feelings evoked by his homeland’s landscape. While lacking originality, it features mythological and oriental scenes.
Towards Modernity and the Avant-Garde
In November 1931, his first trip to Madrid marked a shift towards avant-garde movements. He renewed his language, technique, and style, embracing metaphor. The commemoration of Luis de Góngora’s death further influenced his adoption of hendecasyllables, octaves, tenths, and elaborate metaphors, evident in Perito en Lunas.
Following Gómez de la Serna and other avant-garde poets, he focused on real-life scenes—roosters, bulls, rockets, watermelons, sheep, goats, snakes, gypsies, wells, wheels, palms—and developed a unique lunar iconography.
El rayo que no cesa (The Unending Ray) reveals influences from Quevedo and Garcilaso, particularly in his use of sonnets. This period marks a clear shift towards “impure poetry.”
Revolutionary Poetry
His wartime poetry, seen in Viento del pueblo (Wind of the People) and El hombre acecha (Man Stalks), reveals a poet deeply rooted in the people. As a soldier-poet, his work is filled with metallic imagery of weapons. Influences from Neruda and Aleixandre are evident, with surreal and unreal imagery.
El hombre acecha is pessimistic and negative, lacking the earlier passion and enthusiasm, tinged with pain.
Prison and Death
Cancionero y romancero de ausencias (Songbook and Ballad of Absences), reflecting on personal events like his son’s death, the birth of his second child, and separation from his wife, showcases his poetic maturity. Metaphors reach their peak, and superfluous elements are stripped away. His poetry seeks human truth, presented with minimal artifice.