Post-War Spanish Poetry: From Isolation to Innovation
Post-War Spanish Poetry: 1940-1970
After the Spanish Civil War, the nation’s political and cultural landscape was defined by international isolation and the repression of those who opposed the regime. Beginning in the 1950s, Spain gradually opened to the outside world, experiencing economic development and improved living conditions. However, political change remained elusive under the dictatorship until 1975.
Post-War Poetry: The 1940s
The war left a devastating mark on Spanish culture, resulting in death, exile, and widespread silencing. 1939 marked a turning point; figures like Unamuno, Lorca, and Machado were dead, while others such as Miguel Hernández, Salinas, Alberti, Cernuda, Guillén, and Juan Ramón Jiménez were forced into exile. The second golden age of Spanish poetry had ended. This era saw some poets working within the constraints of the regime. Miguel Hernández stands out for his unique voice.
Miguel Hernández’s Poetic Evolution: His work can be divided into three phases:
- Phase 1 (1933-1936): Inspired by Góngora and the avant-garde aesthetics of the Generation of ’27 (Proficient in windows and That does not stop Ray).
- Phase 2 (1937-1938): Politically committed poetry supporting the Republicans (Wind of the people and The man lurks).
- Phase 3 (1938-1949): Poems written in prison, collected in Ballad Songbook and absences.
Themes and Style: Hernández’s central themes reflect his life and social commitment: love, grief, and a sense of tragic fate. His style is characterized by a refined poetic language, the use of symbols, metaphors, and dramatic imagery.
Early Post-War Poetry
Poesía Arraigada
This group, associated with the Garcilaso journal, presented a coherent and organized worldview, emphasizing traditional values: love, family, religion, and a positive view of Spain. Style and Metrics: They favored classical forms, particularly the sonnet, with an emphasis on rhyme, sound, and rich language. Notable authors include Leopoldo Panero and Luis Rosales.
Poesía Desarraigada
The publication of Hijos de la Ira by Dámaso Alonso and Shadows of Paradise by Vicente Aleixandre (1944) marked a turning point. These works challenged the artificial harmony of the Garcilaso poets, introducing themes of anxiety, isolation, and rebellion against God. The language is violent and rhetorical, breaking with traditional metrics. These poets expressed anguish and desolation, reflecting existentialist philosophy. They found a voice in the Espadaña journal.
Postismo
In 1945, Postismo emerged as a new art movement. It championed reason, free association, and absurd logic, drawing inspiration from Surrealism and Dada. Postismo represented a rebellious stance against the prevailing literary trends. Key figures included Eduardo Chicharro and Edmundo de Ory.
Social Poetry of the 1950s
This movement aimed to depict the true social reality of human experience. Poetry was seen as a tool for social change, denouncing injustice, inequality, and political repression. It focused on economic hardship, alienation, and the struggles of the working class. The Spanish Civil War remained a significant reference point. The language was straightforward and accessible.
Key Figures of Social Poetry
Gabriel Celaya
Celaya’s work progressed through several stages, from Surrealism to existentialism and, finally, social poetry. His most significant work falls within the social poetry of the 1950s, where he engaged with community issues, critiqued the political and social situation, and advocated for social change. Iberian Songs (1951) is a representative work. His later work shows a move towards formal experimentation.
Blas Otero
Otero’s early collections, such as Fiercely Human Angel (1950), reflect existential themes: tragedy, fear of death, and spiritual desolation. With Ask for Peace and Gantry (1955), he joined the social poetry movement, focusing on community issues, human problems, and social injustice. Spain’s identity and future, along with the power of words to bring peace, became central themes. Later, he also experimented with poetic form.
The 1960s
The concept of poetry shifted; it was no longer solely about communication. Poetry became a means of understanding reality, illuminating aspects of human experience and the world often overlooked. While influenced by social poets and figures like Antonio Machado, many of these authors opposed Franco’s regime from positions close to communism. However, while maintaining social realism, their work increasingly focused on individual experience. Everyday life entered poetry, often treated with irony and skepticism. The colloquial language was elevated to an artistic level. Leading authors included Jaime Gil de Viedma, José Ángel Valente, Ángel González, and Claudio Rodríguez.
The Arrival of the”Novíssimo”
The late 1960s saw a radical break from previous aesthetics with the emergence of the Novíssimos, including Pere Gimferrer, Leopoldo María Panero, and Vázquez Montalbán. Characteristics: Emphasis on language and form; aestheticism; revaluation of luxurious, exotic, and decadent settings; playful poetry; frequent use of intertextuality; references to mass media (film, detective fiction, pop music); experimental techniques (line breaks, absence of punctuation, collage); and a recovery of irrational elements in language.