Symbolism and Imagery in the Poetry of Miguel Hernandez
Early Works and the Influence of Orihuela
A prominent aspect of Miguel Hernandez’s poetry is the recurring presence of vivid imagery and symbolism. To understand this, let’s examine his various works. In his early poems, Hernandez draws inspiration from his surroundings in Orihuela, incorporating images of lemons, figs, agave plants, and patios. These symbols are evident in poems like “Insomnia.” The recurring image of the shepherd, deeply connected to Hernandez’s identity, is beautifully depicted in scenes of milking.
Love, Desire, and the Female Form
“Lust” and “Your Mouth Is” are two poems from this early stage that explore themes of love and desire. “Lust” portrays erotic longing within a pastoral setting. “Your Mouth Is” presents a fragmented image of a woman’s face through metaphors, contrasting softness and gentleness with coldness, hardness, and sharpness. This use of antithesis echoes the style of Vicente Aleixandre.
Perito en Lunas: Gongora’s Influence and Symbolic Riddles
Perito en Lunas, written in Gongora’s style, features 42 octaves. The influence of the renowned poet is evident in several quotes and the final verse. The poems resemble lyrical riddles, with solutions hidden in the titles (which were absent in the first edition). Among the prominent symbols is the bull, representing sacrifice and death. The palm tree, a Mediterranean landscape element, is compared to a jet.
Symbolism in El rayo que no cesa: Love, Desire, and Frustration
This early work also features imagery and symbols reflecting Hernandez’s time, reminiscent of Lorca’s Poeta en Nueva York. The recurring theme of love and desire persists, transforming symbols. The ray, representing fire and desire, connects to literary tradition. Blood symbolizes sexual desire, the shirt represents masculinity, and the lemon, the female breast, as seen in the sonnet “I Threw a Lemon, and Bitter.” The poet’s frustration stemming from the elusiveness of his beloved is a central theme. The beloved is depicted through contrasting metaphors: soft or harsh imagery. These themes culminate in “As the Bull I Was Born for Mourning,” a symbolic parallel between the poet and the bull, highlighting their shared tragic fate of pain, death, and virility. Some poems suggest a more physical relationship, leading some critics to speculate that they refer not to Josefina Manresa but to a brief affair with the painter Maruja Mallo, as hinted at in “My Name Is Mud Miguel Even Call Me.”
Viento del pueblo: War, the People, and Social Contrast
Viento del pueblo exemplifies war poetry, using poetry as a weapon for struggle. The poet’s focus shifts from the self to others. The wind becomes the voice of the people, embodied in the poet. The cowardly and resigned are identified with the ox, while the lion represents rebellion and nonconformity. The poet’s gaze turns towards solidarity with the suffering, as seen in poems like “The Child Yuntero.” The contrast between rich and poor is depicted in the poem “Hands,” symbolizing the two Spains according to Hernandez. The poet describes “some are pure hands of workers” and others as “livid stone hands and avaricious.”
Later Works: Maternity, Hope, and the Scars of War
After marrying Josefina Manresa, the focus shifts from desire to maternity. The belly becomes a central symbol, representing the future child as an extension of the couple and a hope for a better Spain. El hombre acecha evokes the Latin maxim “homo homini lupus,” exploring the theme of man as beast. Claws symbolize the beast, and the beast itself represents man’s regression to animalistic tendencies due to war and hatred, as seen in “First Song.”
Themes of War, Death, and Patriotism
El hombre acecha echoes the themes of war’s devastation. The two Spains, locked in conflict, are depicted in “The Hunger.” Blood in “The Lightning That Does Not Stop” no longer signifies desire but pain. Death is symbolized by a train stopping only at hospitals, representing human suffering. Patriotism is evident in “Mother Spain,” expressing the poet’s deep connection to his nation. The collection concludes with “Last Song,” a tribute to Quevedo.
Cancionero y romancero de ausencias: Loss, Hope, and Longing
The posthumous work Cancionero y romancero de ausencias begins with elegies for the poet’s first child, Manuel Ramon, who died in 1938. However, hope resurfaces with the arrival of a new child, Manuel Miguel, to whom the poignant “Nanas de la cebolla” is dedicated. Even in prison, Hernandez yearns for his beloved. In conclusion, the presence of imagery and symbolism is crucial for understanding Miguel Hernandez’s work. It elevates his poetry to the highest levels of contemporary Spanish literature.