Headed by the anti-juanramoniana dedication of "the vast majority", this brilliant and combative collection of poems linked to the social conscience of a generation "uprooted without more destination that shore up the ruins"; to achieve this purpose, the Bilbao poet renounces the religioso-existencialista cry of earlier books and assumes a new voice, more free of fanfare rhetoric and less accommodating to the efforts inside her privacy, which cry out against the injustice of daily suffering by the man in the street, without giving up hope: "I believe in the man.
And I believed. I believe in peace. I believe in you, homeland. The birth of this civic-mindedness in the poet of the spiritual angst and religious doubt that until then had been Blas de Otero agreed - as already noted above - with their stay in Paris and his subsequent visits to Havana and different cities of the Soviet Union and China. Already immersed in the direct and daily struggle of social poetry, four years after the publication of call peace and the word Blas de Otero gave to the press in France a new volume of verses in identical register thematic and ideological, presented under the title of in Spanish Paris, , in which the cry of protest is even more vehement and angry impulses: "He fell asleep in the kitchen like a rag.
As you can be easily seen in the reading of these verses, the poetic language of Blas de Otero has already been stripped of the Baroque fussing from its inception, and has been slimming to the beat of his anger to a direct and colloquial tone fully adjusted to the simple and everyday truths is proclaiming. Following the publication in Argentina of an interesting selection of spiky poems between lyric corpus that had been edited to date--to the vast majority Buenos Aires: Losada, -, Blas de Otero gave to the press in Puerto Rico this is not a book Puerto Rico: University of Puerto Rico, , work in which magazine goes to the history of Spainsome times from a strictly personal perspective, and sometimes from a collective approach.
In General, the style of Blas de Otero distinguishes for his astounding ability to resort to the most varied linguistic games without being distracted by this to the reader of the conceptual depth of content.
Highlighted by its masterful use of the hiperbaton or alteration of the usual syntactic order and, above all, by his constant appeal to the most innovative and radical encabalgamientos, which managed to take old molds estroficos, as a great connoisseur of the classics, mastered to perfection of novelty and originality the sonnet, as already mentioned, but also the romance and the Quartet.
His cry, always passionate and angry - either in their settling scores with that God refuses to hear him, or the bitter complaint of social injustices - cobra renewed forces with the abrupt and surprising foreshortenings introduced by these encabalgamientos, but also with the wise management of other traditional resources like alliteration says in a verse, referring to Spain : "Here, ahead of Europe prenadamente in punta" and parallelism as well, including many in the poem entitled "Land": "humanly speaking, is a torture [ Sometimes, the rhythm of their poetry is certainly hard; but a fruitful and illuminating hardness that runs to the pungency of the expressed thing.
When called upon, in the end, free verse or verse, the complexity of their expressive resources gives way to other more plain and colloquial words games, more consistent also with the less rigid structure of the poem thus occurs, v.
I do not remember. The wind. The sea. This is why moral individualism is postulated: each one must be responsible for his own actions and decide his ethical code. So there is no objective basis for defending moral decisions; the greatest good for an individual is to find his own unique calling. It is a critique of the metaphysical "beyond" to focus on the "more here"; an alternative to philosophies that analyze objective knowledge and systematic conceptions of the world to focus on man, his life and death.
A very important current within existentialism, and one that probably marks Oterian poetics more than any other, is the one initiated by Jean Paul Sartre : a primarily moral philosophy that denounces man's commitment to his own freedom. There is no predestination, there are no gods or souls: each one is responsible for his own actions, he is alone, without more.
That feeling of existential loneliness is one of the pillars of this poetic stage of Otero. Sartrian existentialism is inscribed within Marxism , differing from it in a denial of all totalitarianism: man must have freedom to be whatever he sees fit.
In Blas de Otero existentialism appears in a transitional stage, as a response to the spiritual crisis of during which he lost faith. Through it he reaches what will be the definitive stage of his poetics, social poetry.
However, this stage has its own entity and value in itself. After the attempts at mystical union of the religious stage, the poetic self is left alone and begins the agonizing search for a new faith or a reason to live. Man is a being destined for death in a context of desolation and ruins; eager to survive, not to lose himself in nothingness, he seeks God.
What used to be a call is now a shouting question. However, he only gets silence as an answer; in that silence his heart fills with fear, fear of death that imprisons him and condemns him that all the things he is doing are useless. In this poetics, as in the previous one, there are only two people: me the poet and you God. But the roles have changed: the you is absent. Tired of shouting without an answer, the self turns its gaze to its own interior and finds it destroyed, broken, ruined, like a city devastated by a war.
He looks for human salvation in poetry, something that integrates vital fullness with mortal humanity. Neither within himself is the answer that alleviates the terrible suffering of the poet's voice. By becoming aware of its own tragedy, the self acknowledges the existence of other men with the same problem as itself.
After a long process of poetic search, which goes from "you" to "me" and from "me" to "others", he begins to glimpse the exit of the long tunnel: you do not have to give up anything for a future life nor is there than denying one's humanity. What must be done is to accept one's own destiny, and thus find a new absolute of life.
In this way he finds two tables of salvation: love and poetry. The theme of love in Blas de Otero is present throughout all his work with different manifestations: towards God, towards women, towards others; his poetry is sometimes spiritual, sometimes carnal and sometimes human, but above all loving.
Spiritual love appears above all in its first stage; the human, in the third. Carnal love is shown throughout his poetic work, but it is especially during the existential epoch in which it serves as a bridge that connects love for the Absolute with love for the mundane; it is one of the lyrical tools that lead the poet's voice to solidarity with his fellow men. The love that the poet feels looks for a recipient to whom he can be given entirely; but divine love only restores silence; the carnal is temporary and ends; However, love of neighbor, which begins to be sensed, it seems to offer what the self is looking for.
Thanks to this intuition, the poet is able, after accepting his own finiteness and limitations, to direct his gaze towards others and create a new poetic person: the "we" that will configure the third and final period of his poetry. The three existentialist works by Blas de Otero maintain the same thematic line, with the same starting point, development and goal, although different treatment of the same issues, a certain degree of content and, above all, a different structure.
Angel fiercely human consists of 18 sonnets and 16 free or semi-free compositions; in general, the poems that compose it maintain a certain formal classicism.
Its structure is of introduction presenting the existential problem and the poet's state of mind , development the poetic search for a new vital reason and conclusion it is necessary to accept one's own mortality; man has value in itself, and is to him and not God to whom poetry should be addressed.
Redoble de conscience consists of 14 sonnets and 8 free or semi-free compositions. This work is also marked by formal classicism and has a structure almost equivalent to that of Fiercely Human Angel. Ancia is made up of 32 of Angel's fiercely human poems , all those of Redoble de conscience and 49 new poems.
The structure is also tripartite, but the different order in which the compositions appear offers a different reading: the introduction reiterates the defense of a collective character, and the epilogue the acceptance of the nature of man in general and the poet in particular. The development is divided into four parts: the first develops the confrontation between man and God; the second deals with the salvation of man in the love of woman; the third demystifies and ironic about religion; the fourth intensifies the historical-political reality of the poet, Spain and Europe.
In Ancia Humanist questions are reinforced and the approach to metaphysical and theological problems is weakened: it is the proclamation of the poetic position in favor of man.
Regarding the form, although traditional and classicist poems continue to appear, there are other compositions of a new type: prose poems and short verses and poemillas couplets, aphorisms, jokes The main step that existential poetry takes to become social is the change of person, from "me" to "us. The poet defends the humanist utopia because he no longer has a religious faith: there is no perfect afterlife to aspire to, but, although man is condemned to come from nowhere and walk towards it, he must fight to make his life become dignified and happy.
The poet becomes a prophet who points out the errors of the present in order to overcome them and access a better future; Otero is still obsessed with absolute values, but now he looks for them in the historical present. Thus, three poetic times are distinguished:. Formally, the social poetry of Blas de Otero presents very marked features of its own. Otero perfectly manages all expressive possibilities, from the most traditional resources to the most complex linguistic experimentalism; uses free verse , verse and semi-free forms; academic and avant-garde verses appear in his work; prose and verse; some, long poems, compared to other very brief ones, such as the well-known couplet «Poetics», the shortest poem in Spanish:.
In general terms, it could be said that there is a trend towards increasingly free models according to the order of composition: I ask for peace and the word and In Spanish they are more traditional than What about Spain. This section provides access to all the contents in a personalised way, according to your own particular interests and socio-demographic profile.
Born in Bilbao in , he moved to Madrid with his family when he was still a child. A lawyer by training, throughout his life he had to reconcile his literary activity with different jobs to ensure the livelihood of his family. His early works are marked by a deep religious feeling which expresses his spiritual distress at the indifference of a distant and cruel God.
Based on his religious preoccupations, his poetry took a more existentialist turn, which also includes feelings of love. After the s his religious concern gave way to social concern, which coincides with his entry into the Communist Party. He died in Majadahonda Madrid in June A collection of poetry by Blas de Otero where his raises his peace-making modernising voice against reactionary Francoism. Calendar Plan your trip Favourites. Styles In this section you can search all our contents throughout the different stages in the history of art in Spain, to find styles such as Baroque, Gothic, Mudejar and many, many more.
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