Draft:Viento del pueblo (Wind of the people)

Source: Wikipedia, the free encyclopedia.
Viento del pueblo

Viento del pueblo (Wind of the people)(1937) it is a collection of poems by

class struggle: winning the war meant defending the revolution; Thus, its social commitment owes its ferocity to a radical assumption of Marxism and its way of thinking about History based on the dialectics of exploiter/exploited, rich/poor, masters/slaves[2]
.

It has gone from I (individual poetic speaker), from lyrical intimacy, to we (collective poetic speaker), to social, warlike and political commitment with an ideology that will serve as propaganda. This book includes poems as emblematic as Aceituneros (Olive growers) y El niño yuntero (Ploughboy).

The work is accompanied by eighteen photographs that highlight the poet's intention to create a cultural product with a vocation to remain in History, but subject to it. This emphasizes the physical and material values ​​to confirm that the War is a tangible reality, that the text is not merely a literary composition or a fetishistic object.

Review

It lacks a precise structure, its predominant metric form is romance, and it stands out for its direct and propagandistic language.

Leopoldo de Luis divides the poems in this book into three thematic units:

  • Those that refer to combat: among them elegies, harangues and hymns. In them the heroism of the Republican combatants is highlighted and the opponent is demonized.
  • Those who focus on the rear: in these poems, the towns and cities in which the struggle continues economically and morally are exalted.
  • Those who develop the intimate feelings of the poet, who sees war as a symptom of man's degradation

Symbols

  • Sweat: It becomes something honorable, since it is a symbol of work. It dignifies the farmer, who earns his bread with it, compared to the exploiting bourgeois who extracts the surplus value.
  • The hands: with a symbolism similar to that of sweat, he uses them to confront the bourgeois class.
  • The wind: Appears as a symbol of the people in struggle; in later works it will evolve into a symbol of destruction.
  • The bull and the oxen: The bull (along with other animals in tradition such as the lion and the eagle) is a symbol of courage and rebellion in opposition to the oxen, tame animals that are satisfied with their situation and prefer to remain under the yoke. of their dominators, who provide them with sustenance. The bestiary finds its parallel in the position of the people regarding the War.

Critics such as Agustín Sánchez Vidal have seen in this work the influence of Vicente Aleixandre and Nicolás Guillén and their ideas about war poetry and the need for it to be imbued with combat experience on the front.[3] Jointly, the influence exerted by Pablo Neruda and Raul González Tuñón to produce their ideological break with the bourgeoisie and fascism has been highlighted.[4]

References

  1. ^ Becerra Mayor, David (2014). Miguel Hernández. Del fascismo al comunismo. Madrid: Ediciones del Orto. p. 32.
  2. ^ García, Miguel Ángel (2012). La literatura y sus demonios. Leer la poesía social. Madrid: Castalia. p. 253.
  3. ^ Escolano Benito, Agustín (1993). Introducción al estudio de la obra de Miguel Hernández. Madrid: Vicens Vives. p. XX.
  4. ^ Martín, Eutimio (2010). El oficio de poeta. Miguel Hernández. Madrid: Aguilar.

Bibliography

  • Sánchez Vidal, Agustín y Otero Toral, Manuel. Miguel Hernández. Antología poética. Barcelona: Vicens Vives, 2010 [1993].

External links

Wikisource has original text related to this article:

Category:Books of 1937 Category:Works of Miguel Hernández Category:Anti-Francoist art

Retrieved from "https://en.wikipedia.org/w/index.php?title=Draft:Viento_del_pueblo_(Wind_of_the_people)&oldid=1218931636"