Miguel Hernández: Poetry, Politics, and Social Commitment

Early Poetic Period and Conservative Views

In the initial stage of Miguel Hernández's career, characterized by religious expression and conservatism, the poet advocated for hard work and the voluntary renunciation of worldly passions. His first published play, Quién te ha visto y quién te ve y sombra de lo que eras (Who Has Seen You and Who You See and Shadow of What You Were), is a religious work. This play critically examines the revolutionary actions of peasants, anarchists, communists, and labor unions.

The prevailing social and political situation of the time mirrored that of the late 19th century: a powerful territorial oligarchy, a conservative clergy, and an authoritarian military class. Despite this, Miguel Hernández did offer suggestions for societal improvement in his writings. His strong commitment was evident in his defense of the land, his efforts to dignify the man of the field, and his dedication to raising awareness of their rights.

Transformation and Political Awakening

The causes of Hernández's transformation were multifaceted, including his new life in Madrid, significant policy changes, and the formation of new friendships. This period marked the beginning of a new phase focused on advocating for the rights of working people.

Hernández experienced tremendous historical events, such as the fall of the monarchy, the advent of the Second Spanish Republic, and the outbreak of the Civil War. This profound social and political crisis led to poetry being identified with 'impurity'—a departure from earlier, more traditional forms.

In 1935, Hernández abandoned 'pure' and Catholic poetry, embarking on a period of 'impure' poetry. This new style was defined by its close alignment with the defense of freedom and universal human values.

Poetry During the Spanish Civil War

Hernández unequivocally sided with the Republican cause, cultivating a poetry of propaganda and encouragement that resonated deeply within the trenches. His work from this period also powerfully conveyed social unrest and expressed hope for the future generation.

The two most significant poetry collections from this stage are Viento del pueblo (Wind of the People) and El hombre acecha (Man in Waiting). Both books are dominated by his epic voice, yet they differ significantly: the first embodies optimism and hope for victory in the struggle, while the second reflects the pessimism of defeat and a sense of neutrality regarding the war's outcome. However, the poet concludes El hombre acecha with a glimmer of hope in"Última Canció" (Last Song), with lines like: «Pintada no vacía: mi casa es pintada...» (Painted, not empty: my house is painted...).

Themes of Social Justice and Humble Origins

All of Miguel Hernández's work profoundly reflects social content, deeply rooted in his humble origins. As he famously wrote: «Si me muero, que me muera con la cabeza muy alta...» (If I die, let me die with my head held high...).

One of the most crucial aspects of his poetry was his concern for labor, wage exploitation, poverty, and hunger. This is powerfully demonstrated in social poems such as El niño yuntero (The Plowboy Child). In Las abarcas desiertas (The Deserted Sandals), he adds a layer of tenderness, which is then transformed into fierce indignation in Aceituneros (Olive Pickers).

Soviet Influence and Enduring Legacy

Following his trip to the Soviet Union (USSR), Hernández wrote poems exalting Soviet policy, including those about Stalin. Notably, his poem Canto a Rusia (Song to Russia) praises Lenin and depicts a country of happy workers.

While these overtly political poems may be considered less aesthetically compelling today, they firmly establish Miguel Hernández as a model man of letters committed to freedom, justice, and the popular literacy of the people.