The Generation of ’14 and the Avant-Garde in Spain
The Generation of ’14 (Novecento)
The Generation of ’14 refers to a group of Spanish writers who chronologically fall between the Modernism movement, the Generation of ’98, and the Generation of ’27. Their primary objective was to aesthetically renew the literature and art of their time, moving towards a more modern style characteristic of the 20th century. These writers explored various fields of knowledge, not limiting themselves exclusively to literature. Essayists played a crucial role in this early 20th-century movement.
The social, political, and cultural perspectives shared by this group of writers included advocating for social and political reforms and viewing Spain as an integral part of Europe. In the literary field, they shared common characteristics such as the pursuit of pure art and fair play, incorporating influences from other movements, and employing efficient language.
The most representative authors of the Noucentista novel, characterized by precise prose and a critical attitude, were Ramón Pérez de Ayala, who crafted intellectual novels, and Gabriel Miró, who established a formalist and lyrical style of novel writing.
The most representative essayists of the Noucentista movement, known for their efforts to Europeanize Spain and their pursuit of pure art, include José Ortega y Gasset and Eugenio d’Ors. They were known for a type of essay called “glosa” (gloss), which consisted of short, journalistic commentaries in which the author examined the cultural and political environment of the time.
The Avant-Garde
The Avant-Garde encompasses a set of diverse artistic movements that gained prominence in Europe after World War I. The main features of these movements are:
- A break with the past
- An obsession with experimentation: exploring new, often eccentric and unconventional forms
- A desire for originality: rejecting traditional values and forms of expression
The Avant-Garde period is generally considered to have ended after the 1929 economic crisis, with the exception of Surrealism. The major Avant-Garde movements included Expressionism, Futurism, Cubism, Dadaism, and Surrealism.
These movements quickly reached Spain, sparking discussions in literary circles and finding expression in literary magazines such as Revista de Occidente and Prometeo. Ramón Gómez de la Serna and his “greguerías” introduced the Avant-Garde to Spain. While Futurism didn’t establish a school in Spain, its themes appeared in the works of many Generation of ’27 writers, including poems dedicated to light bulbs, airplane wings, and soccer.
However, two movements did take root in Spain: Creationism and Ultraism.
The Generation of ’27
Contextualization
Alfonso XIII’s endorsement of Primo de Rivera’s dictatorship created a strong climate of public opinion against the monarchy, which ultimately led to the establishment of the Second Republic. The final years of Primo de Rivera’s rule were marked by a decrease in political repression and economic expansion. The new republican government embarked on an ambitious political agenda that provoked the hostility of the most powerful sectors of society. Additionally, the economic crisis of 1929 exacerbated the ideological polarization between fascism and communism. Most intellectuals, including members of the Generation of ’27, openly supported the Republic.
Despite the turbulent social and political climate, a group of young intellectuals known as the Generation of ’27 emerged, revitalizing the Spanish literary scene. This group of writers blended the Spanish literary tradition with the new Avant-Garde trends arriving from Europe.
The characteristics that united these writers include:
- Birth dates close in time
- A shared admiration for Luis de Góngora and his poetry
- Strong literary backgrounds, as many worked as teachers
- Close friendships
- Shared experiences, particularly at the Residencia de Estudiantes (Student Residence)
- Collaboration in various literary magazines
- Common teachers, such as Ortega y Gasset and Juan Ramón Jiménez
- Inclusion in anthologies
This generation shared the following characteristics:
- Similar aesthetic tastes, with an interest in aesthetic purity linked to human nature, blending cultured and popular elements
- Diverse literary influences, drawing inspiration from various authors
- A particular interest in popular culture, combined with a desire for renewal and modernity
- Poetic innovation, seeking a unique lexicon, reinventing metaphors, extensively developing free verse, and reviving classical rhyme schemes
- Influence of the Avant-Garde, embracing foreign literary trends, especially Surrealism
Recurring themes in the works of this generation include the city, nature, love, and social commitment. Although each member possessed unique literary traits, literary criticism has traditionally identified three stages in their development:
- Initial Stage: Influenced by popular lyricism, traditional poetry, and admiration for the classics, following the style of Juan Ramón Jiménez.
- Pre-Civil War Stage: Marked by a strong influence of Surrealism.
- Post-Civil War Stage: The war deeply impacted the Generation of ’27, leading to a poetry characterized by existential anguish and reflecting the tragic consequences of the conflict.
Pedro Salinas
Pedro Salinas was born in Madrid in 1891. He lived in Paris with his wife and later obtained the Chair of Spanish Literature in Seville, where he taught Luis Cernuda. He also taught in the United States, where he died in exile in Boston in 1951. His poetry is notable for:
- A deep admiration for classical Spanish poetry, stemming from his extensive knowledge as a specialist and scholar of Spanish literature. His poetry also reflected the unique charm of Seville and the intertwined influences of Castilian and Andalusian poetry.
- The influence of modern French poetry, which he discovered through Enrique Díez-Canedo and during his three years as a lecturer of Spanish at the Sorbonne in Paris. There, he developed a taste for the arts, honed his spontaneous wit as a conversationalist, and embraced the joys of city life. These experiences infused his poetry with a witty, refined, and worldly tone, although its effortless ease sometimes masked the depth of his inner dialogue.