Spanish Poetry: From Modernism to the Avant-Garde
Antonio Machado
Solitudes (1903)
Machado’s first book, Solitudes, reflects the modernist style with intimate and symbolist poetry from the period of 1889-1902. Published when Machado was 27, this short collection of 42 poems showcases his early poetic development. The tone is distinctly modernist, with strong intimist elements. The landscape becomes a projection of the poet’s mood, utilizing symbolism that would become a hallmark of his style—the park, the fountain, the evening. The passage of time is another recurring theme, explored through reflections on lost childhood and youth. The afternoon symbolizes boredom and death.
Solitudes, Galleries and Other Poems (1907)
Presented as a second edition of Solitudes, this book is essentially a new collection. The galleries introduce a new symbol, representing hidden pathways through which the poet explores his own identity. Sleep, and the poetic creation it allows, enables the poet to navigate the galleries of his soul, his subconscious. The central theme of the Solitudes cycle is a sense of melancholy and sadness emanating from within the poet. This is primarily expressed through symbolism, which becomes a crucial tool for Machado’s expression. Sadness and melancholy are associated with three main symbols: the fountain, the park (especially in the afternoon), and the afternoon itself. The fountain, a classic modernist symbol, evokes sadness with its stagnant water and monotonous sound. Running water represents the transience of life. The garden or park is linked to melancholy, with its flowers symbolizing the lost joy of childhood. The afternoon, a favored time for Machado’s solitary reflections, becomes a time for introspection and melancholy. This melancholy stems from various sources: memories of childhood, lost youth, anguish, death, or lost loves.
Life is represented by the river and the road, while the passage of time is depicted through the sound of clocks or bells. The theme of family appears in two ways: the poet recalls childhood dreams and the monotony of the family living room, where his dreams began. Another aspect is the loss of youth and the absence of love, a melancholy that pervades the book until the arrival of Leonor Izquierdo. Death is also a source of anxiety for the poet and appears in these first two books.
Campos de Castilla (1912)
Machado’s third book, Campos de Castilla, marks a shift in his poetic focus. The experience of Soria allows him to discover the essence of Castile, and he feels the need to escape from himself and capture the popular spirit, the eternal human element, of the Castilian people. He focuses on the daily life of a community rather than grand historical events. The landscape becomes an objective entity, separate from the poet’s inner world. Castile is captured through both experiential and cultural lenses.
The Landscape in Campos de Castilla
Machado seeks an opening to the outside world, and Soria represents purity and sensuality. Soria embodies Castile, and Castile represents Spain. He discovers a landscape that resonates deeply within him. At one point, the memory of the Castilian land merges with the memory of his wife, Leonor. An important group of poems in the 1917 edition of Campos de Castilla deals with patriotism and Machado’s concern for Spain, aligning with the Generation of ’98. These poems go beyond criticism to express love for the nation and philosophical reflections on Spain and the Spanish people.
The Lexicon in Campos de Castilla
Machado employs concrete nouns and a rich and varied lexicon. Predominant colors are gray (brown, gray), yellow (golden, caramel, saffron), white, black, purple, and green. Bees symbolize the incessant bubbling of his thoughts. The sea represents death. Poplars and nightingales symbolize youth and love. The elm represents the relentless passage of time. The oak symbolizes the firm and immutable countryside, humility, and spiritual poverty. Nobility represents hardness and war.
The Metric in Campos de Castilla
Machado utilizes a wide variety of metrical forms, predominantly simple forms mixed with popular and cultured elements. The preferred stanza is the assonanced silva, reflecting the influence of Bécquer.
Juan Ramón Jiménez
Arias Tristes (1903)
Considered the starting point of contemporary Spanish poetry, Arias Tristes connects poetry with music. The color white is prominent, and the poems explore themes of loneliness, melancholy, and the passage of time. This collection, along with Gardens Afar, primarily uses octosyllabic verse.
Gardens Afar (1904)
This collection presents a lyrical tone and inner musicality, emphasizing the profound beauty of things. It features original metaphors.
Diary of a Newlywed Poet (1916)
This work marks the beginning of Jiménez’s”naked poetr” stage (1916-1936), characterized by a rejection of unnecessary ornamentation, including rhyme. Poetry becomes concise and focused on the concept itself. It is abstract and stripped of anecdote. From this point onward, Jiménez’s poetry becomes more challenging due to its intellectual content. The sea emerges as a symbol of life, loneliness, joy, the longing for eternity, and salvation from death.
Eternities (1916-1917)
In Eternities, Jiménez announces his dissatisfaction with his previous poetry, which he now considers overly ornate. He declares that his muse is now intelligence, and his task is to capture the exact name of things. A sense of self-pride and contentment prevails. This marks the beginning of his second, intellectual stage.
Animal de Fondo (1949)
Published in 1949, Animal de Fondo represents a more spiritual and intimate phase in Jiménez’s poetry. The poems explore the soul’s transcendent desires and the yearning to unite with beauty. These poems mark moments of happiness and belong to his intellectual stage.
The Total Season (1946)
Published in 1946, The Total Season features a more spiritual poetry, delving into the soul’s transcendent desires and the yearning to unite with beauty. These poems mark moments of happiness and belong to his intellectual stage.