Title: Poetic evening in the Hispanic Institute in Paris
Duration: 11 min., 18 seg.
Sound collection: Radio Paris. Ramírez/del Campo
Summaries: Velada poética en el Instituto Hispánico de la Sorbona de París: poemas tradicionales anónimos y poemas extraídos del Cante jondo de Federico García Lorca
It is not true that poetry was the most affected literary genre by the Francoist censorship. In fact, in absolute terms, the novelistic production was more severely punished by the censors. Nevertheless, there was a widespread perception that the Franco regime pursued poetry with special viciousness, due to three key factors: the existence of certain poets openly opposed to the Franco regime; the problems of certain publishing houses to publish works by great figures of the exile, as well as novel authors socially and politically critical with the reality of their time (the "generation of the 1950s", for example); and thirdly, the huge vacuum left by the Civil War and the subsequent exile (ABELLÁN, Manuel l., 1980, pp.84). In fact, much of the so-called "generation of the 27" had to leave Spain; of the 17 poets included in the anthology of contemporary poetry which Gerardo Diego published in 1932, ten of them were exiled: Antonio Machado, Juan Ramón Jiménez, José Moreno Villa, Pedro Salinas, Jorge Gillén, Juan Larrea, Emilio Prados, Luis Cernuda, Manuel Altolaguirre and Rafael Alberti, along with other major figures of the lyrical poetry as León Felipe, Enrique Díaz-Canedo, Ernestina Chapourcín, Josep Carner and Ventura Gassol (RIQUER, Borja de 2010; pp. 300). Not to mention those who perished reprisals, such as Federico García Lorca and Miguel Hernández.
In short, poetry was not persecuted as a genre itself, but especially the identified as "troublesome" - or authors considered "problematic" - with the ideological and moral postulates of the Franco regime. The reality is that the work of the great poets of the "generación del 27" was systematically censored by Franco's regime, although sporadically allowed the publication of some that another anthology of court less combative as a form of propaganda.
As in everything else, it was a selective persecution, and generally arbitrary. In front of this, and both for exile as for internal dissendence, poetry was regarded as an instrument of fundamental political awareness, combined with the use of the vernacular languages. There were various forms of penetration and dissemination of subversive poetry, of which three can stand out. First of all, clandestine editions (as they were imported from exile or published in the interior) were fundamental. A second track, more innovative and characteristic of the 1960s, was constituted by the lyrics of the genre of the "New Song". And a third way (linked above) was carried out precisely by exile stations, among which "Radio Paris" played an essential role. Indeed, various recitals are preserved throughout the catalog:
-Poetic evening in the Hispanic Institute in Paris
University of Alicante. University Library. Music Library