Comprehensive Study Notes on 20th-Century Spanish Literature: Poetry, Theater, and the Post-War Novel
The Committed Poetry of Miguel Hernández
Miguel Hernández, a pivotal figure in Spanish literature, underwent a significant poetic evolution dictated by his personal experiences and the political climate of Spain. During his first trip to Madrid, he wrote "Perito en Lunas," a work characterized by its vanguardist and baroque style. This early stage was heavily influenced by the Generation of $27$ and the baroque style of Góngora, focusing on the idealization of seemingly insignificant objects such as a hole, a snake, or a bull. The poetry from this period is described as dark and hermetic, essentially a series of riddles that the reader must decipher. Structurally, he employed the "octava real" during this phase.
His second trip to Madrid brought him into contact with the poets of the Generation of $27$ and Pablo Neruda, leading to a "rehumanization" of his work. This transition is best exemplified in "El rayo que no cesa," a book primarily centered on themes of love, passion, pain, and death. He was inspired by his wife, and much of the work draws from the "Cancioneros" of the Middle Ages, utilizing simpler language combined with images of high poetic intensity. A notable inclusion at the end of this book is the "Elegía a Ramón Sijé," dedicated to his close friend.
With the advent of the Second Republic and the Spanish Civil War, Hernández's poetry became deeply committed to social and political causes. He enlisted in the war on the losing side and was eventually arrested. During this stage of "Social and Combat Poetry," he wrote "Viento del pueblo" and "El hombre acecha," aimed at encouraging military troops and idealizing the fighting populace through leftist tropes. While in prison, he wrote "Nanas de la cebolla" as a response to a letter from his wife, who informed him that she and their son had nothing to eat but onions. His final stage, "Prison and Death," is characterized by fatalism, seen in works like "Cancionero y romancero de ausencias," which reflects on love and the harshness of his incarceration.
The Evolution of Spanish Theater:
The Spanish theater scene between and was divided between commercial successes and innovative, critical works. Jacinto Benavente emerged as the most talented representative of "teatro burgués" (bourgeois theater). In his youth, Benavente attempted to create a critical theater, but after facing public rejection, he pivoted to commercial theater. He premiered a large number of comedies that satirized the vices and defects of society with irony, though without true bitterness. His works, such as "Los intereses creados" and "La malquerida," are noted for their witty, colloquial dialogue and the psychological depth of their characters.
Contrasting the bourgeois theater was the innovative and experimental theater that challenged conservative tastes. This movement sought to move beyond mere entertainment to address political and social problems. Valle-Inclán was a leader in this transition. Initially influenced by Modernism—seen in his "Sonatas," short novels exalting the Galician landscape and pre-industrial society—he underwent a radical change around , moving from Carlist sympathies to Republican and Marxist ideas. He abandoned the pursuit of traditional beauty in favor of the "Esperpento."
Valle-Inclán and the Technique of the Esperpento
The "Esperpento" is defined as a systematic deformation of reality, influenced by expressionism. Valle-Inclán used this technique to reflect the grotesque reality of Spanish society in the first of the century. It utilizes literary devices like hyperbole, caricature, and degrading metaphors to strip characters of their moral and ethical values, effectively dehumanizing them. The genre is a hybrid, mixing tragedy (death) with comedy (humor) and acid, mocking satire. Often described as a theater of puppets or marionettes, the language used ranges from a high literary and poetic register to the vernacular of the streets and taverns ("caló"). Key works of the Esperpento include "Luces de bohemia," which is considered a foundational text, along with "Las galas del difunto" and "La hija del capitán."
Federico García Lorca: From Puppet Theater to Surrealism
Federico García Lorca's theatrical career began with limited success with "El maleficio de la mariposa." He later moved into historical drama with "Mariana Pineda," a play written in both verse and prose focusing on the themes of tragic love and liberty. This early stage also included puppet theater and farces like "La zapatera prodigiosa" and "El retablillo de don Cristóbal." Lorca then ventured into surrealist and experimental theater with works such as "Así que pasen cinco años" and "El público." These plays, characterized by irrational symbols of dreams and complex themes like sexual identity, were not performed during his lifetime due to their difficulty and controversial subject matter.
Lorca's final theatrical phase focused on rural tragedies with realistic plots that reflected the moral situation of rural Spain, primarily through female protagonists. Despite their apparent realism, works like "Yerma" (focusing on frustrated motherhood), "Bodas de sangre" (exploring a war of instincts and tragic love), and "La casa de Bernarda Alba" are heavily laden with symbolic significance and poetic emotion. These plays use women's struggles to critique the rigid social structures of the time.
Post-War Narrative: Existentialism and Tremendismo
Following the Civil War, the Spanish novel initially followed traditional realism under a conservative, Falangist ideology. However, the saw the first signs of renewal despite the constraints of censorship, which prevented a deep exploration of problematic social realities. The literature of this era often transmitted a sense of hopelessness, contradicting official Francoist propaganda. Two major trends emerged: the Tremendist novel and the Existential novel.
Camilo José Cela's "La familia de Pascual Duarte" is the definitive example of "Tremendismo," a style that depicts a harrowing and cruel reality. At the same time, Carmen Laforet's "Nada" introduced the existential novel, focusing on the emptiness and disillusionment of the post-war generation. These works had a significant impact due to their rupture with previous literary styles and their focus on internal and external human suffering.
Social Realism and the Committed Novel
In the , the "Social Novel" emerged, characterized by a Marxist perspective and a commitment to socio-political denunciation. These works critiqued capitalism and depicted the class struggle using an austere literary style. The literature of this period featured collective protagonists rather than individual heroes, and the narrator often took the role of a neutral observer. The narrative time was typically linear and condensed, while the settings were urban, working-class, or rural. Dialogue and meticulous description were prioritized over complex plot structures. Notable examples include "Dos días de Septiembre" by José Manuel Caballero Bonald.
The Life and Work of Miguel Delibes
Miguel Delibes was a journalist for "El Norte de Castilla," a profession that honed his ability to observe human realities and contributed to his concise literary style. His work evolved through several stages that mirrored the general evolution of the Spanish narrative, moving from traditional realism and "tremendismo" to experimental social themes. His early stage included "La sombra del ciprés es alargada," followed by a more critical traditional realism in "El camino." His third stage embraced social and critical realism with works like "Cinco horas con Mario" and "Los santos inocentes," where he employed experimental techniques such as interior monologue and limited physical action.
Delibes shared a deep connection with the Generation of through his dedication to the Castilian landscape. He championed the "Myth of Arcadia," opposing unrestrained technological development and capitalist consumerism, which he believed destroyed the rural world. His themes included the human experience of death, the transition from childhood to the adult world (often involving a loss of innocence), and a fierce defense of the weak against the cruelty and selfishness of the marginalized. He critiqued the complacent bourgeoisie and the unjust social order, including labor exploitation. His defense of nature against industrial capitalism makes his thought highly relevant today within the ecological and sustainable development movements. Linguistically, Delibes was a master of precision, utilizing various registers including the rural and urban speech of Castile, hunting jargon, and the language of children.