Poetic Evolution of Miguel Hernández
His Work: Production and Poetic Evolution
Stages of His Poetry
.
Let’s set the poetry of Miguel Hernandez path following a chronological point of view:
1930-1931: Youth Work. First steps in literature. Is your stage of training in which exercises in metric and popular styles, and cults. It has a romantic inspiration Becquerian linking modern resonance.
1932: Madrid and neogongorina Stage. Practice the ideal of purity in a cultured and hermetic poetry. The external world, nature and everyday life, relations with the pure poetry and religion, are initial attempts poems leading to loose, Proficient in windows and in both plays Who has seen and who sees you and shadow of you were, and the most courageous bullfighter. Perito on moons (42 stanzas) is an artistic recreation of the rustic, the vulgar and the everyday. Contemplation of daily life and country that worships the material and the humble lemon, pomegranate, the bull, the palm, the scarecrow, the Ferris wheel … The common thread of the book is the metaphor of the LUNA, which is the behavioral model of nature: exaltation of life, fertility, female fertility.
1933-34: Stage religious neocatólico sign. Influence of Ramon Sijé. In his spiritual commitment Miguel Hernandez defends a Christian realism. In 1934 he wrote violated the whistle and the hiss of affirmation in the village, defending it against the urban rustic. There is a preponderance of self and a progressive withdrawal of the religious element.
1934-1935: Stage of poetry that reflects his inner world is a poetry of anguish and “blood” that emerges from an internalization, the fruit of love for Josephine, who is revealed in existential angst and the feeling of love as self-destruction . In 1935, influenced by Neruda, moves toward impure poetry that explores the people and their realities, writes The ray does not stop, love poems with reworking of earlier poems, and plays Children of the stone and the more air labrador. The beam that continues reveals for the first time, an interior village of concerns and misgivings. It is a time of ideological and aesthetic crisis, tensions which exploits the passion, grief and despair. Evolves from the literary tradition of poetry “unclean” and torn and love that accent takes passion, is unfulfilled longing, desire for possession, expressing a deep love experience, honest and irrepressible. The feeling grows more and more images to direct and vigorous as the TORO (loneliness, grief, pain, strength and virility), indomitable and sincere.
Life, love and death are concentrated, therefore, on issues, stressing, above all, love as desire vitalist facing all, although it is a vitalism tragic foreboding. The sonnet, which promotes the synthesis emotional and expressive, extends for almost the entire book (“Sino bloody”, “Neighbor of death”). It also stresses the “Elegy to Ramon Sijé” lyrical high concentration by the expression of grief at the death.
1936-37: Again the outside, now in the social aspect. Stage committed poetry, social, and political fighting. It links the people deeply, making his poetry in humanizing combat weapon (“Calling All Poets”). It proposes a poetics of the natural and social reality and the reporting (“Sitting on the dead” and “Gather the Voice”), and is reunited with the folk tradition. Wind Write village, Man Theatre and drama lurks in the war and the pastor of death. “Poets are wind of the people: we are born to go blowing through your pores and lead their eyes and their feelings towards the most beautiful summits,” writes Miguel Hernández.
Of the two books of poetry in the war (Wind of the people and the man lurks), Wind of the people (1937) is the most virile and passionate. Expresses the most intense human tremor war and ardent spirit.
This is a more committed stage of poetry, a book of speeches, combat, reporting and social concern where there is also sorrow for the tragedy of war. Optimism, hope, joy for a better future together with love it seized (“Oath of Joy”, “Song of a soldier husband.”) But the hardships of the people and also the need to tear off the protest (“Song of child yuntero). These heats will be turned off with a more sober language and intimate, less rhetoric, lurks Man (1939), showing the brutal reality of the course of the war. In both books, however, the language is clear and direct, without compromising stylistic achievements.
1938-1941: The final stage of the internal world, I like the intimacy of love and social transcript. Time of the prison, and human issues, anxiety and intimacy, of pain. Dominates the nudity and the concentration stylistic focus on two topics:
- The absence: of love, freedom, hope and the outside world. This will cause loneliness.
- Love, brotherly and women. Search the absolute love in a reality that denies it.
Other topics will be the I plus U.S.. It’s time to Songbook and Ballads of absences and other uncollected poems. Songbook and ballads of absences represents the maturity of the writer and man. The “light” of the earlier books gave way to gloomy, sad and tragic color. The poet focuses on privacy, burning memories and experiences, hopes entusiasmosy, appearing his greatest obsessions: love and pain of absence, anxiety and mistrust, suspicion of the fratricidal war and the passions it has created muddy in man.
At this time born and dies her first child (“Child of Light and Shadow”) and then the day and night, masculine and feminine forces collide in their poems with cosmic power. The theme of imprisonment appears as something incomprehensible, unjust, depriving it of all the most beautiful in life. It is poetry of terrible visions, nightmares, hatred, resentment …