LYRICAL OF THE GENERATION OF THE 98
For Spain the XIX century it finishes with a serious crisis: the end of their colonial empire in 1898. This Event provoked a wave of indignation and of protests that showed in literature through the writers of the Generation of the one 98.
Not it is properly a literary movement, but a group of writers arisen after the disaster of the 98 that you/they represent a political and social renovation desire connected with the regeneracionistas. They coincide in their topics: the Castilian landscape, the interest for the daily life of the town and the return to the classics.
Historical context
The years understood between 1875 and 1898 are of creative boredom due to the project of the Restoration of Cánovas. When Spain loses in 1898 the colonies the society it puts the finger in the wound of the Revolution of the Glorious one again. The literature of the Realism is paralyzed and, in spite of its stability, the political life is corrupted by the oligarchy, the caciquism and the régime of shift of parties that he/she is breaking down in internal banderías in the breast of the big progressive and conservative parties, while a third great party, the democratic one, remains excluded and ninguneado for the allotment canovista of the power. The professional perspectives of the writer’s noventayochistas had reached their summit (or they were making it). The oldest come closer to the age of Galdós and the youngest to that of Unamuno. This means, in contrast with the generation of the 98 that you/they had been formed spiritually in the times of the Revolution of September.
You form literary
Lyrical: it is the natural form that is served in the expressive way of the language (representative function). The poet is the only one that talks about his life and previous experience claiming interest. If there is dialogue the poet it always intervenes. The name comes from the Lira, musical instrument.
Epic poetry: the function referential, the writer is used it defines what happens outside of itself, it uses narration and dialogue but in this the poet never intervenes, in verse or in prose. Their speech is objective.
Dramatic: function appellative, the author disappears in his narrator function, the characters are expressed by themselves, the text appears substituted by a representation of a fragment of life.
Characteristic
The authors of the generation maintained, at least at the beginning, a narrow friendship and they opposed you to Spain of the Restoration; Pedro Salinas has analyzed to what extent they can truly be considered a generation historiográficamente speaking. The unquestionable thing is that they share a series of points in common:
·1. They distinguished between a real miserable Spain and another official false and apparent Spain. Its concern for the identity of the Spanish thing is in the origin of the call it debates on the Being from Spain that even continued in the following generations.
·2. They feel a great interest and love for miserable Castile of the abandoned and powdery towns; they revalue their landscape and their traditions, their pure and spontaneous language. The two plateaus travel writing books of trips and they resuscitate and the myths literary Spaniards and Romancero study.
·3. They break and they renovate the classic molds of the literary goods, creating new forms in all them. In the narrative, the nivola unamuniana, the impressionist and lyrical novel of Azorín that experiences with the space and the time and he/she makes live to the same character in several times; the open and disintegrated novel of Baroja, influenced by the melodrama, or the almost theatrical and film novel of Valley-Inclán. In the theater, the sight and the expressionism of Valley-Inclán or the philosophical dramas of Unamuno.
·4. They reject the aesthetics of the Realism and their style of wide sentence, of rhetorical elaboration and of character tripe and retailer, preferring a nearer language to the language of the street, of shorter syntax and character impressionist; they recovered the words traditional and pure peasants.
·5. They tried to acclimatize in Spain the philosophical currents of European Irracionalismo, in particular of Friedrich Nietzsche (Azorín, Maeztu, Baroja, and Unamuno), Arthur Schopenhauer (especially in Baroja), Sören Kierkegaard (in Unamuno) and Henri Bergson (Antonio Machado).
·6. The pessimism is the most average attitude between them and the critical and discontented attitude he/she makes them sympathize with romantic as Mariano José of Larra, to which you/they dedicated homage.
·7. Ideologically they share the theses of Regeneracionismo, in particular of Joaquín Costa that you/they illustrate in an artistic and subjective way.
YOU WORK AND OUTSTANDING AUTHORS
The main components of the generation are: Miguel of Unamuno, Valley-Inclán, Antonio Machado, Pious Baroja and Azorín. Last both didn't cultivate the poetry.
Miguel of Unamuno
He/she is the most representative writer of the one 98. Their literary production is very extensive, he/she played all the literary goods and through them expressed its philosophical concerns: the anguish in the face of the death, the desire of eternity, the search of the faith, etc.
Its poetry, of very personal character, serves him/her as vehicle to manifest its religious restlessness; its interest for Castile: landscapes, inhabitants, cities; their love for the family; their feelings before the artistic expression.
Although he/she wrote poetries from very young, it didn't publish them until very late for what was good known as novelist or essayist that I eat poet.
Their first liberate Poetries, it is impregnated of mystic restlessness, of affection to the homeland, of art visions. Rosario of lyrical sonnets and The Christ of Velázquez continue, considered as their poetic best work, it is about a very extensive poem that he/she is born of the view of the Spanish painter's square. It is an exaltation of the divine love, centered in Christ's image, source of love and of pardon. Teresa, is a romantic poem where is perceptible Bécquer's influence.
Ramón Marie of the Valley-Inclán
The importance of their work as playwright and novelist makes that her poetry passes desapercibida. Nail lyrical it is the title with which picks up most of their poetic production.
Their first liberate legend Aromas it is very near to the aesthetics of the Sonatas, with the skillful vision of the Galician landscape. In The passenger it reflects the decadentismo of their time. Their work teacher is The kif pipe, where the modernist elements are deformed until the grotesque thing, what matches this book with their theatrical sights. The last poem of the book, The store of the herbalist, is an exaltation to what Cernuda would call the artificial paradises later.
Antonio Machado
He/she is the great poet of the generation and one of the Spanish most important poets in all the times.
Although their first poems are near to the aesthetics of the modernism, soon he/she leaned toward a modernism intimate, of tones becquerianos, plagued of symbols and of formal great simplicity. Its ownership to the Generation of the 98 is manifested by the revaluation of the landscape, the anguish before the step of the time, the concern for the Spanish situation and for its future, the skepticism and the statement of the supremacy of the spiritual thing on the material thing.
Three are the main topics of their work: the poet's intimacy: memories, dreams, feeling of the step of the time; the landscape: Castile and Andalusia, Castilian people, the historical past, the current reality the reality national view with critical sense; and lastly, the love.
Example.
". I want to be me, to be me!, I want to live! .. and he/she cried him/her the voice."
". Con que not, hey? .. Did he/she tell me., con que not? Not you want to allow me to be me, to leave the fog, to live, to live, to live, to see me, to hear me, to play me, to feel, to hurt me, to be I: doesn't con que want it?, must con que die entity of fiction? Because well, my gentleman creative don Miguel, you will also die, also you, and he/she will become to he/she swims her that it left...! God will stop to sound him/her! You will die, yes, he/she will die, although he/she doesn't want it; you will die and all will die those that read my history, all, all, all without being one! Entities of fiction as me; the same thing that me! All, all, all will die. I tell it to you, Augusto Pérez, fictitious entity as you, novelesque the same thing that you. Because you, my creator, my don Miguel, is not you more than another novelesque entity, and in his readers, the same thing that me that Augusto Pérez that his victim..."
That is to say, it is about the life of somebody that fights against the divine determinism but that it ends up, after one period revulsivo, accepting the destination that has been marked him/her:
"This supreme court effort of passion of life, of longing of immortality, left him/her exhausted poor Augusto"
"And I pushed to the door, for which came out crestfallen. Then it was sounded as if already doubts of their own existence."
AROYO RIVERA MARIA
CAMPO RETAMOZA ADRIAN
GAMARRA IMITOLA EDELMIRA
GOMEZ TOVAR MELISSA
ROMERO HERNANDEZ DANIEL
