Spanish Poetry: Machado (Gen '98) & Jiménez (Novecentismo)

Generation of '98 and Antonio Machado

While other authors of the Generation of '98, such as Unamuno, also cultivated poetry, Antonio Machado is often seen as the representative poet of the Generation. However, his relationship with the group was complex; some consider him an epigonal member, as the theme of Spain only prominently features in his work starting with Campos de Castilla. His training and early work align more closely with Modernism.

Machado's poetic style is notable for its economy of expression: concise, refined, sober, and conceptually dense. In this aspect, he converges with other artists of his time and generation who professed an open anti-rhetoricism. Regarding his works, we can cite:

• Soledades (1903), revised and expanded in 1907 as Soledades, Galerías y Otros Poemas, removing most Modernist features from the 1903 version. However, the metrical forms and symbols remain Modernist.
• Campos de Castilla (1912): His most characteristic work of the Generation of '98 ('noventayochista'). It describes a real landscape, specifically that of Castile, and through this description reflects on the reality of Spain.
• Other lyrical works: Nuevas Canciones (1924), dominated by aphorisms (i.e., maximum conceptual and philosophical expression). His later poems show commitment to the Republican cause.

Novecentismo and Juan Ramón Jiménez

Around 1910, another generation emerged—Novecentismo—more scientific and methodical than the fin de siècle movements. Renovations and changes extended not only to the field of essays but also gave rise to novelists like Ramón Pérez de Ayala and Gabriel Miró, and poets like Juan Ramón Jiménez. The movement declined after 1930 with new political and cultural directions in the country.

Juan Ramón Jiménez's work encapsulates the various currents running through Spanish poetry since Modernism. He introduced into Spanish lyric poetry almost all the expressive innovations that would culminate in the Generation of '27 poets.

Three stages are apparent in his work: the sensitive stage, the intellectual stage, and the sufficient or true stage:

1. Sensitive Stage (1900-1915): This stage involves his beginnings, accompanied by Neoromantic influences (like Bécquer) with intimate and melancholy themes. Later, he received the influence of Modernism (Elegías, Laberinto, and Platero y yo). Modernist features appear, such as bright colors or adjectives, but his tone is intimate, oriented toward contemplation and sentimental confession.
2. Intellectual Stage (1916-1936): With Diario de un poeta recién casado (1916), a new phase opens in his work. It is marked by the search for a new poetic language with two interests: precision (i.e., accuracy) and communicative effectiveness. Juan Ramón labeled his stage "intellectual" and did not believe in art for the masses.
3. Sufficient or True Stage (1936-1958): Of the works written during his American exile, two have deserved special attention: En el otro costado (1936-1942) and Dios deseado y deseante.