The Poetic Evolution of Miguel Hernández
The Poetic Evolution of Miguel Hernández
First Phase (Until 1936)
. At this time, its lyrical production is characterized by the pursuit of poetic language itself and the conservative influence of Ramón Sijé. To this period belong the poems published in the magazine El Gallo Crisis Expert and works on moons and lightning that never stops. Perito en lunas (1933) brings together forty eighths Gongora real influence and edgy. The author sees this poem as an ineffable experience, akin to mysticism, in which the secrecy is essential. In the poems, incorporating the gender of the riddle and riddles proposed by elaborate descriptions of everyday objects or parts of the nature. The ray that does not stop (1936), Miguel Hernández reworked poems from an earlier text, violated the whistle . The underlying theme of the poetry book is a love that can not be complete because the moral standards to prevent access to their beloved erotic passion. The beam that is constantly highlighted by the formal perfection of his sonnets. Hernandez also handles the song in the introductory poem A carnivore knife, and chained in the famous triplets Elegy Sijé Ramon, focused on the power of friendship and is one of the most beautiful poems of the Spanish lyric. Second stage (1937 -38). The second stage of production Hernandiana is marked by the influence of Neruda and his conception of poetry impure, committed to the reality. After a personal crisis, and following the events of the time, Miguel Hernandez becomes a social poet of the people militante.Con Wind (1937), dedicated to Aleixandre, feels that his poetry is the voice of the people, whose sense need to understand and share. His verses are loaded with anxiety and angry protest against the suffering of the poor and dedicating children.The man lurking (1938) is addressed to Neruda. The burning of the previous book is tinged with disappointment and sadness at the turn taken by events. The war is revealed in its most terrible and bloody discover the true nature of Man. this stage, the classic verses alternate with long verse: the free or the Alexandrian hendecasyllable
Last Poems (1938 – 1941). The last poems of Miguel Hernández, written in prison, collected the Song and Ballad of absences. These compositions revolve around the sense of absence: that of her first child, who has died, the second and his wife, who can not see, and also the lack of freedom. Pain fills his verses, and again appears hungry, give or apply one of his most beautiful poems: the onion Nanas. In these compositions, Miguel Hernández recalls a war that has only caused hatred that has engulfed the man in the sadness. But still, raises the flag of love is hope: love the child, which means the future, and love to the wife, with whom he has come to the emotional and erotic fulfillment.Miguel Hernández between two generations: that of the 27 and 36. it is a process that was defined as the “dehumanization of art” . There are two roads that come together in this movement: Avant-garde: avant-garde gatherings come under the influence different europea.que give way to formal experimentation. Dadaism, Futurism, Cubism … in Spain have their ECO.L experiments will profoundly influence the Avant-garde in the early works of young people. 27 Pure poetry: it starts at the symbol and its motto is “art for art “. The flight of the emotional and social issues and the pursuit of formal perfection that is pure poetry is a teacher in Spain, Juan Ramon Jimenez, who will mark the first steps of the poets of 27. The emergence in 1916 of his poems Diary of a Newlywed Poet will be a milestone in the improvement of Modernism and will be the beginning of the canon of “pure poetry. The poetry of the” Group of 27 “really marked the beginning of contemporary poetry Spanish and involved a true fusion between tradition and modernity. The historical and social convulsions that swept the world after the crisis of 29 lead to a “re-humanization ART” which, in the field of Vanguard, will be based in Surrealism . With the entry of the thirties, that Spain will the arrival of the 2 nd Republic and the Civil War, will begin what Neruda called his poetry “green horse for poetry” poetry “unclean” sweat-stained, tears and humanity. Aleixandre, whose poems Destruction or Love (1935) marks a milestone in Spanish Surrealism. And soon, with the threat and the arrival of the Civil War, many of the poets of 27 make their “impure poetry” in “poetry compromised,” a compromise that will lead many into exile. Miguel Hernández, born in 1910, belongs chronologically to the Generation of 36, however, for his poetic evolution, summarized in his short literary career path 27.Comenzó poets of his training in his native Orihuela of the priest’s hand Almarcha, with the classics of our Golden Age As a teenager, began to meet the poets of the 27 that took him to see the work of Gongora. Those who do not will be ignored and their sponsors in the way of poetic maturity and during his stay in Madrid will be Pablo Neruda and Vicente Aleixandre. He goes and Miguel Hernandez in the path of poetry “unclean” Surrealism and the “re-humanization of art” always merged with the tradition of the Renaissance and Oro.Con the advent of war and political commitment, Miguel Hernandez poetry enters committed to wind people and, later, the man lurking. It is here already perceived similarities with the generation of 36, much more concerned about social and existential issues. In prison, Miguel Hernández find the most original and mature, intimate folk poetry and poetry, is very human and purified, and romances of the Cancionero absences.