Spanish Poetry After the Civil War: 1936-1950s

The Generation of '36: Poetry Post-War (1936)

In the 1940s and early 1950s, a number of poets, more or less the same age as M. Hernández, formed what is known as the Generation of '36. This group began writing in the years immediately preceding the war, addressing very human issues. Some had to continue their work in exile, while those who remained in Spain were oriented in various ways, which Dámaso Alonso categorized into two types: rooted poetry and uprooted poetry.

Rooted Poetry

This poetry belonged to those who held faith in something that ordered the world, such as political, religious, or loving ideas. Among them was a group calling itself Youth Creating, grouped around a magazine named Garcilaso. General characteristics of the Garcilasistas included emerging from the war with an optimistic outlook, clarity, and a pursuit of perfection, conveying a calm and consistent vision of the world around them.

Key Topics:

• Religious feelings
• Love
• Country
• Privacy

Typical Forms:

Classical forms such as sonnets, décimas, and terza rima.

Notable Authors:

• Luis Rosales
• Dionisio Ridruejo

Uprooted Poetry

Uprooted poetry presented a worldview distinct from rooted poetry. For these poets, the world was a maze of debris, invaded by suffering, anguish, and frustration. Their poetry adopted a tragic and bitter tone, often termed "alarmist." A significant work that embraced poets of this trend was Belfry (1944). They were also influenced by Dámaso Alonso's book, Hijos de la Ira (Children of Wrath). This dramatic and uprooting style featured a more direct, simple, and violent expression. They favored free verse and were less concerned with traditional forms.

Notable Authors:

• Gabriel Celaya
• Blas de Otero

The 1950s: Social Poetry

By the mid-1950s, what was known as social realism became consolidated. Key works from this period include:

• Cantos Ibéricos (Gabriel Celaya) - 1955
• Pido la Paz y la Palabra (Blas de Otero)

In these books, both poets shifted from the previous stage's focus to place poetry's concerns within a social context. These and other poets chose to transform the "I" into "we." The poets reported on collective realities and bore witness to injustices. They sought a more just society and believed that poetry could be an instrument for achieving it. They gave greater priority to content over aesthetic considerations.

Key Topics:

The overarching theme was Spain. Specific issues within this theme included:

• The world of work
• Social injustice
• Lack of freedom

Style Characteristics:

The style was conditioned by its subjects. They aimed to reach the vast majority, and this desire led them to abandon aesthetic concerns. In many cases, the forms were simplified as they sought a clear, straightforward, prosaic, and conversational language. Consequently, they avoided striking imagery. Rhyme and isosyllabism were abandoned.

In general, social poetry did not achieve its goals of reaching the majority or transforming the world. Book editions were very limited, and people were not widely able to read this poetry. Furthermore, both Celaya and Blas de Otero became disillusioned because their work was still poorly understood.