The Poetry of Antonio Machado: Themes, Style, and Evolution
The Poetry of Antonio Machado
Early Influences and Style
Antonio Machado’s poetry began within the intimate modernism movement, drawing heavily from Symbolism—with the symbol being a prominent feature of his first book—and the romanticism of Spanish poet Gustavo Adolfo Bécquer. However, Machado’s modernism differed from the vibrant and exotic world of Rubén Darío. As seen in Campos de Castilla, his poetry shifted towards realism, culminating in a commitment to both himself and society.
Machado’s Definition of Poetry
Machado defined poetry as a “keyword in time,” meaning poetry serves as a witness to humanity’s experience of life. This idea contrasts with the escapist and aesthetic approach of the modernists. The poet, according to Machado, must bear witness not only to their own experiences but also to those of others. This evolution from the “inner self” to the “collective us” is called otherness, acknowledging the existence of the “I” within the “other.”
Major Themes and Symbols
Time and Experience
Machado was interested in time and experience, not from a metaphysical perspective, but as the framework within which human life unfolds. The passage of time evokes anxiety in the poet, a struggle between existing within time while simultaneously being consumed by it. Time becomes an inexorable path towards life and death. In his later works, time is not only a source of anxiety but also a reflection of the “collective us.” Poetry then becomes a dialogue between humanity and its time.
Important temporal symbols include:
- Evening: Evokes the decline of human life, associated with sadness and melancholy.
- Water: A complex symbol representing the flow of life, ranging from joy (springing, running water) to death (stagnant water, reminiscent of Jorge Manrique’s Coplas).
- The Way/Road: Also associated with Manrique, symbolizing the journey of life, both the past (road traveled) and the future.
- Landscape elements: Serve as witnesses to the passage of time, such as the lemon tree (childhood), the poplar (youth), or the oak (past greatness of Castile).
Memory and Sleep
Memory and sleep can be seen as equivalent in Machado’s poetry, as both offer a more accurate and revealing form of knowledge than direct observation of reality. For example, in “Yesterday I dreamed I saw God,” the dream becomes the only way for the poet, driven by his need to believe, to connect with God.
Memory and dreams recall moments that remain alive in consciousness and, therefore, in the present of the poem and the poet. Key symbols associated with this theme include:
- The Spring/Fountain: Evokes memory, but like memory (Manrique’s “any past was better”), it carries a sense of sadness and loss.
- The Garden: Represents the illusion of childhood memory and conveys happiness.
- The Orchard: Contrasts with the garden, symbolizing the subjugation of nature by humans.
Autobiography
Machado reflects on his life, from his childhood in Seville to the anxieties of his present. It’s an autobiography of the soul, not a mere recounting of events. The focus is on how his soul has evolved over time, from childhood happiness to adult skepticism. This theme often unfolds in a dialogue form, with the poet conversing with himself, the “I” unfolding into the “you.” Dreams intertwine with the autobiographical theme, offering a unique perspective on the external world.
Symbols of autobiography include:
- Crystal: Represents poetry itself, clear and transparent, presented to the world without deception.
- Mirror: Reflects the poet, allowing him to confront his past and present.
Love
Love in Machado’s poetry is often melancholic, reflecting his relationship with Leonor. It’s not overtly erotic; he speaks of his limited success in love. There’s an underlying sadness stemming from a lack of love. However, love manifests in different ways throughout his work: disappointment and sadness in Solitudes, painful experience in Campos de Castilla due to Leonor’s death, and a dignified and ennobling feeling in Songs to Guiomar.
Death
Death is closely linked to time; it’s the ultimate end of the road. The poet confronts death with anxiety, though sometimes with rebellion, as seen in his poems after Leonor’s death. Symbols of this anguish and emptiness include the sea, sunset, autumn, and shadow.
God
God, for Machado, is a human construct, unattainable and impossible to fully believe in. However, Christ represents the triumph over death. Machado’s faith is characterized by a yearning to believe, even when belief remains elusive. This theme, along with the following one, is prominent in Campos de Castilla.
Spain
Machado’s poetry reflects the concerns of the Generation of ’98, particularly the idea of regenerating Spain, exemplified by Castile. He incorporates the Castilian landscape into his poetry, associating it with the past glory of the Spanish people. However, the people inhabiting this landscape are depicted as dormant and in need of awakening. The landscape often serves as a starting point for intimate reflections on the future of both Spain and his own existence.
Machado’s Poetic Evolution
Machado’s poetic journey can be traced through his works:
- Solitudes (1903, expanded in 1907 as Solitudes, Galleries, and Other Poems): Reveals his intimate modernist style, using symbols to explore his inner search for meaning and reflections on time, life, and death. Melancholy and dialogue with personified elements (seasons, night) are characteristic of this period.
- Campos de Castilla (1912): Shows a shift towards referentiality, using language to directly designate reality. It’s a diverse collection, ranging from intimate poems dedicated to Leonor to narrative poems like “The Legend of Alvargonzález.” Notable developments include the poet’s engagement with social and political ideas and his passionate descriptions of the Castilian landscape, contrasting its beauty with the passivity of its people. God and human destiny also feature prominently.
- New Songs (1924): Explores a more classical style with mythological themes, echoing popular lyricism. It features descriptive poetry alternating between Castile and Andalusia.
- Songs to Guiomar: Testify to a new and late love.
- Poems of War (1936): Reflects his commitment to the Republic, characterized by a sober and anti-rhetorical language.
Machado’s Poetic Language and Style
Machado’s language is known for its sobriety and rejection of rhetoric. His metrics are varied, ranging from formal, artistic verses in his early work to simpler forms in his later poems. While he moves away from pure Symbolism, certain symbols, like the river or the road representing life and the sea symbolizing death, remain significant throughout his work.