Spanish Poetry After the Civil War: From Existentialism to Social Change
Spanish Poetry After the Civil War
The Aftermath of Conflict (Post-1936)
The state of Spanish poetry after the Civil War was significantly impacted by the conflict. Authors were divided: some had died (like those associated with LARC), while others were exiled (like León Felipe).
Exiled poets continued on separate paths, but recurring themes emerged, such as the loss of their homeland. Initially, their works evoked the struggle and lost illusions of the war, later transitioning to a sense of nostalgia.
Among the poets who remained in Spain, a clear division existed between the victors and the vanquished:
- The victors, publishing in journals like ‘Garcilaso’ and ‘Escorial’, produced triumphant poetry, often referred to as “embedded” poetry.
- The “losers” cultivated a poetry of uprootedness. 1944 became a pivotal year with the publication of Dámaso Alonso’s Sons of Wrath and Vicente Aleixandre’s Shadows of Paradise. These works, along with the emergence of magazines like ‘Espadaña’, marked the beginning of a poetic renewal in Spain.
This “poetry of uprootedness” featured existential fear of death and the passage of time. It was a metaphysical poetry that delved into personal pain and evolved into social poetry in the hands of authors like Blas de Otero in the 1950s.
Social Poetry (1950s)
Poetry in this period sought to situate human problems within their social context. Poets felt compelled to address the problems of humanity and the world around them, using poetry as a tool for social transformation. Alongside Blas de Otero, José Hierro’s work also emphasized social issues.
Beyond Social Poetry (Late 1950s Onwards)
At the end of the 1950s, new poets emerged, signaling a shift beyond social poetry. They shared a determination to overcome established norms and expressed skepticism about the social function of poetry. This new lyricism focused on personal experience and demonstrated a fundamental concern for humanity.
There was a renewed emphasis on form, style, and the poetic word itself. Poets like Claudio Rodríguez, Ángel González, and Jaime Gil de Biedma explored the possibilities of language and aesthetic values.
The “Novísimos” (1970s)
In 1970, the anthology Nine Newest Spanish Poets was published, representing authors writing within a consumer society and adopting a new sensibility. These poets, considered a new avant-garde, prioritized aesthetics and content, undertaking a formal renewal. They focused on literature itself, rather than aiming to change the world. Important figures in this movement included Pere Gimferrer, Leopoldo María Panero, and Ana María Moix.
Early 20th Century Poetry: Renewal and Avant-Garde
Modernismo (Late 19th – Early 20th Century)
Early signs of renewal in Spanish poetry appeared at the end of the 19th century with the emergence of Modernismo, a movement originating in Latin America. Reacting against the bourgeois sensibilities of the time, it sought an exquisite, aristocratic aesthetic, rejecting the vulgar and the everyday.
Modernismo emphasized a fervent cult of beauty and the expression of inner feelings. It favored escapism into unreal and exotic environments, embracing the concept of “art for art’s sake.” Key figures included Rubén Darío, Antonio Machado, Manuel Machado, and Ramón del Valle-Inclán.
Generation of ’14 / Novecentismo (Early 20th Century)
Modernismo gradually declined, giving way to a more refined and intellectual poetry with the “Generation of ’14” or “Novecentismo.” This movement emphasized precise language and a rigorous pursuit of beauty through intellectualism. A key figure was Juan Ramón Jiménez.
The Avant-Garde (1920s)
Around 1920, a period of intense cultural and artistic experimentation arose. The avant-garde movements sought new poetic paths and rebelled against art based on the imitation of reality. Despite their diverse approaches, these “isms” shared common features that impacted literature: a rejection of realism, the autonomy of art, irrationality, and a desire for originality and experimentation.
In Spain, Ultraism and Creationism were prominent avant-garde movements. Alongside these, the Generation of ’27 emerged, a group that benefited from the legacy of modern art and avant-garde rhetoric. They sought a balance between tradition and innovation in their poetry.
Their themes ranged from human concerns (love, the universe, fate, death) to reflections on the city, nature, and the commitment to life and art. Stylistically, they employed vivid imagery and renewed poetic language. Notable figures included Pedro Salinas, Jorge Guillén, Gerardo Diego, Federico García Lorca, Rafael Alberti, and Vicente Aleixandre.