Poetry from 1933
Introduction
In the post -war Spanish poetry we find various trends from which the most generalized were Dámaso Alonso classified as rooted and uprooted poetry, although its overcoming cannot be considered sharp.
The entrenched or Garcilasista poets are those who, in the ideological space of the victors, express an optimistic and hopeful world vision, although not always exempt from an intimate anguish. His traditional themes are love, love and religion.
The misguided or existentialist poets;In 1944 Dámaso Alonso publishes children of anger, which expresses a torn and bleak vision of the human condition, with long verses and a violent and unusual language, serves as a revulsive against Garcilasists and inaugurates a new poetic poetic sensitivity. The poet’s style is rough, abrupt, direct with colloquial turns and more concerned with causing emotions than for aesthetic perfection.
Although there is a great diversity of trends, the publication of three books, history of the heart of Vicente Alaixandre, in 1954;I ask for peace and the word of Blas de Otero and Iberian songs of G. Celaya, in 1955, indicated the passage of existential anguish to social concern. The misguided poets go from self to us. The dominant tendency is, therefore, social realism, which aims to respond to a here and a now, to which you have to take sides. Poetry is communication and wants to be a critical testimony of the time and erect into an instrument to remedy the humble and transform the world. The poet addresses the vast majorAesthetic values of the daily language and with them the revaluation of Antonio Machado and Miguel Hernández will arrive.
The generation of half a century, a poetic group of the 50s or second generation of postwar.
They consider that poetry is not communication but, above all, knowledge or personal experience. Therefore, from us to a self that in a society, but also an intimate self and a poetic self that is revealed in language. The frequent issues will be the evocation of childhood, and adolescence as lost paradise, the flow of time, love, eroticism, friendship, and also political matters and metapoesy. His poetic language, very refined, maintains, a conversational tone, plagued by humor and irony. In its poems, of very elaborate structure, the free verse predominates although they also cultivate classical forms. Among its very broad cultural referents, the figure of Luis Cernuda stands out.
conclusion
In 1970, poets proclaim the autonomy of art again, reject traditional metric and seek formal and linguistic experimentalism sometimes with surrealist techniques. On the other hand, they advocate culturalism and aestheticism, so their poems are filled with artifice and cultural references. It now reappears for the taste for the decadent, the exquisite and the refined and, at the same time that the elitist culture, introduce the contemporary myths of cinema, comic, politics, sport … poetry is again a minority art.
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