Spanish Poetry After the Civil War: From Exile to Renewal

Spanish Poetry of the Francoist Exile

The Spanish Civil War led to the exile of many intellectuals from the Francoist regime. In the productions of these exiled poets, certain thematic constants emerge: the memory of a beloved homeland, the fight against injustice, and the inexorable passage of time. The poets went into exile, either voluntarily or because they knew that staying in Spain could mean prison or death.

Poetry of the 1940s

Rooted Poetry (Poesía Arraigada)

In the immediate post-war years, a propagandistic poetry of the victors was imposed. With the approval of the regime, two magazines were prominent:

• Escorial: A purely Falangist publication.
• Garcilaso: A somewhat more open magazine, founded by José García Nieto, which evolved the formal and thematic style of Garcilaso de la Vega toward a more intimate tone.

In their work, hope for a regenerating homeland abounds. These authors preferred classical metrical forms (sonnets, décimas, tercets) and traditional topics such as love, landscape, and religion.

Uprooted Poetry (Poesía Desarraigada)

This movement expressed disagreement with the surrounding world, showing signs of existential uprooting and social and political protest. This poetry would decisively influence the direction of Spanish poetry during the 1950s, the so-called "social poetry."

Key Figures:

• Vicente Aleixandre: He remained in Spain despite being a Republican whose life was threatened. He played a crucial role in mentoring and promoting new poets, acting as an incubator outside the official regime. He was instrumental in challenging the official poetic image of Spain with a large dose of anxiety, publishing works like Sombra del paraíso (Shadow of Paradise).
• Dámaso Alonso: He published Hijos de la ira (Children of Wrath), his first mature book of poetry, which revolutionized the Spanish poetry scene with its pathetic depiction of reality. It broke with the formal language of the regime's poets.

A leading journal emerged that favored breaking with the formalism of the Garcilaso line, claiming that poetry should be realistic and express real problems.

Social Poetry of the 1950s

Continuing the work of many post-war poets, social poetry was characterized by:

• A simple, colloquial language.
• A greater concern for content over aesthetics.
• A narrative and deliberate tendency toward prose-like simplicity (prosaísmo).

Literature was intended for the vast majority, aiming to contribute to social change. Key authors include Blas de Otero, Gabriel Celaya, and José Hierro.

The Mid-Century Generation of the 1960s

This period saw the decline of social realism. The formal structure, style, and language were renewed, and literature was no longer used primarily as a political weapon. Poets turned inward, looking into their personal experiences and reflecting on states of consciousness. These authors sought to break new poetic ground following the depletion of social poetry. Social realism was replaced by a poetry focused on communication, experience, and knowledge.

Common Themes:

• Everyday life
• Nostalgic evocation of childhood and adolescence
• Loss
• Denunciation of social injustices

The "Novísimos" (The Newest Poets)

This later movement was defined by:

• Absolute formal freedom.
• A cosmopolitan literary background with foreign influences.
• A taste for the decadent and exquisite.
• Experimental language.