Spanish Literature: Generation of ’98 and Pre-1936 Narrative
Spanish Literature: The Generation of ’98 and Pre-1936 Narrative
Valle-Inclán and the Generation of ’98
Encompassing Valle-Inclán within the Generation of ’98 should be done with caution. While there are features that link him to other writers of the group, many aspects set him apart. These include his tendency towards aestheticism, his conception of the purity of art, his reactionary political views, his initial idealized vision of the rural universe, and his second stage, exemplified by the trilogy “The Carlist War.” The final stage of his work is dominated by a very personal aesthetic which he called “the grotesque,” characterized by the grotesque distortion of characters.
Pío Baroja: Spontaneity and Philosophical Reflection
Pío Baroja’s novel is an open genre, encompassing philosophical reflection, adventure, humor, and criticism. He disregarded formal composition, prioritizing invention, imagination, and observation as the supreme qualities of a novelist. His style aligns with his ideal of narrative spontaneity, placing him outside the anti-rhetorical tendency of other ’98 authors. Among his works are “Tierra Vasca,” which includes “Zalacaín the Adventurer,” and “La Raza,” which includes “The Tree of Knowledge.”
Baroja’s novels express his ideology and worldview. The Tree of Knowledge is largely autobiographical. The action unfolds over an extended narrative, allowing the fictional plot to develop in different settings, such as urban and rural Spain. The structure of the work consists of seven parts, divided into two cycles of the protagonist’s life: the first cycle narrates his sentimental education, and the second cycle begins with his experiences as a doctor in Alcolea del Campo and ends with the experience of having a son. The characters and environments form a mosaic of Spanish life at the time.
Pre-1936 Narrative: A Shift from Realism
During the last years of the 19th century and the early 20th century, a renewal of realist narrative was attempted by the Generation of ’98. During the second decade of the century, the desire for totality, epic narratives, the representation of social conflicts, and the in-depth analysis of characters were largely abandoned. This shift favored a novel devoid of sentimentality, with greater attention given to reflection, memory, and the defense of ideas. In the 1920s, narrative was often reduced to simple verbal games and wit.
The Generation of ’98: The Dawn of Literary Modernity
The Generation of ’98 initiated an innovative path, moving away from the totalizing concept of the realist novel. This movement culminated in the following years and decades, representing the beginning of literary modernity in Spain. It signified a rupture with the traditional realist narrative, manifesting in several ways:
- Emphasis on subjectivism and fragmentation
- Focus on character development
- Extensive use of reflections and conversations between characters
Azorín: Blurring the Lines Between Novel and Essay
Azorín was one of the great innovators of the genre in this century. In his novels, he blurs the boundary between the novel and the essay, bringing the former closer to the latter. His style is slow and melancholic, emphasizing accuracy and clarity. One of his notable works is “Will.”
Unamuno: The “Nivola” and Existential Conflicts
Unamuno was regarded as the ideological guide of the Generation of ’98. He humorously termed his novels “nivolas,” acknowledging that his creations did not conform to traditional novelistic models. In these works, he minimizes descriptions of settings, presenting the plot through the characters, whose names are often symbolic. His production revolves around the existential conflicts of the characters:
- The conflict between rationality and faith
- The rejection of death
- The struggle between conscience and instinct