The Renaixença is a cultural and literary movement of Catalan in the nineteenth century (1833-1892). Its name arises from the desire to revive Catalan as a literary and cultural language after centuries of dijosia with respect to Spanish (a period generically called Decadence).
The concepts of language and homeland are equated by Herder with German romanticism.
The Renaixença is consolidated around a cultured bourgeoisie that finds in romanticism an interest in its past. A glorious past is claimed during the formation of the different European nations, in the Middle Ages. In the course of the movement we know as Renaixença, this term is rarely used before Renaixença, to refer to language, literature and the homeland. The first time there is evidence of the use of the term is when Pere de Rosselló makes a speech as secretary of the 1869 Floral Games. In 1871, the fortnightly magazine La Renaixença was founded, but in its articles the word Renaissance is still used to refer to the homeland and Catalan letters.
The Renaixença is the literary period from the end of the Decadence to Modernism, framed by a broader cultural movement and nationalist awareness (encompassing all cultural manifestations), which emerged within the bourgeoisie as a result of the transformations brought about by the Industrial Revolution. Thus, the Renaixença is clearly identified with the Catalan cultural direction and, above all, with the recovery of the language.
Historical Context:
Absolutism will have the last of its episodes during the reign of Isabel II. Conflicts took place throughout the nineteenth century. The three Carline wars, the events of 1835 with the first mass burning of convents and the insurrection of Barcelona towards Espartero in 1843, the Jamancia, are the most tragic episodes. It was the prelude to nationalism that became visible at the end of the nineteenth century. It developed in a period marked by great transformations.
The style of the Renaixença is close to European Romanticism, with a predominance of feelings, patriotic exaltation and historical themes. The language used mixes cultisms and neologisms with words from popular culture. The Renaixença is identified with the Catalan cultural direction and, above all, with the recovery of the language. The Renaixença programme aims above all at the full identification between language and homeland. In order for the bourgeoisie to become aware, the movement demands these points:
The Reneixança, Catalonia, Majorca
- The discovery and dissemination of the Greco-Roman classics and all the literature of oral tradition.
- The creation of Catalan literature (in any genre) driven by a standardised language.
- The creation of new institutions that promote the new literary dynamic (publishers, press...) and the reinforcement of existing institutions (Royal Academy of Good Letters of Barcelona...).
Two poets are the ones who mark the beginning and the program of the Renaixença: BUENAVENTURA CARLES GUINGUETA and JOAQUIM RUBIÓ I ORS. The publication of Aribau's ODE TO THE FATHERLAND, in 1833, established and popularized the symbolic link between language and homeland. Compacted by THE CITY COUNCIL and intended for Gaspar de Remisa – its patron saint – the work nostalgically evokes the homeland when both are in Madrid. The use of Catalan reaffirms the link in that exile. From February 1839 to November 1840, RUBIÓ I ORS published nineteen poems in the Diari de Barcelona, which were collected in a collection of poems (Lo Gayté del Llobregat) in 1841. The prologue is considered a milestone of the Renaixença and even the manifesto among the rest of the compatricios and the desire to spread this feeling. RUBIÓ I ORS in this prologue also claims the need to re-establish the Floral Games and the Consistory of Gay Knowledge to regain the literary importance that the Catalan language had held.
The main authors are:
Poetry:
BUENAVENTURA CARLOS GUINGUETA
MANUEL MILÀ I FONTANALS
JOAQUIM RUBIÓ ORS
JACINT VERDAGUER I SANTALÓ, father of poetry and the modern Catalan language.
Theatre:
VICTOR BALAGUER
FREDERIC SOLER
ÀNGEL GUIMERÀ I JORGE, playwright who gave a universal dimension to Catalan theatre.
Narrative:
ANTONI DE BOFARULL
NARCÍS OLLER I MORAGAS, novelist from the Catalonia that emerged from the industrial revolution.
La Renaixença in Mallorca
The Renaixença in Mallorca, as in the rest of the countries with a Catalan language and culture, is the socio-cultural movement that in the second half of the nineteenth century proposes the literary recovery of the Catalan language and that, consequently, will lead to the full dignification of the language and culture itself as essential steps in the national recovery of the Balearic Islands. Valencian Community and Catalonia.
Mallorca against La Renaixença:
Main articles: JOAQUIM MARIA BOVER DE ROSSELLÓ, JOAN JOSEP AMENGUAL I REUS, and TOMÀS JUNCOSA I CORTÈS
In the mid-nineteenth century, Mallorcan society was in the midst of a process of economic and cultural change, although this change was hegemonized by a diverse social bloc where landowners, aristocracy and large merchants were the most influential sectors and marked their conservative imprint. The Mallorcan Economic Society of Friends of the Country had been a good example of Bourbon cultural reformism and, at that time, a group of intellectuals and scholars had deployed their activity (JAUME PUJOL, PERE ANDREU, MIQUEL MORAGUES, ANTONI FURIÓ and still Catalan), JOAQUIM MARIA BOVER, among other possibilities. JOAN JOSEP AMENGUAL I REUS, on the other hand, from liberal positions had made use of Catalan in political polemics, wrote poetry, formed a dictionary and published a Grammar of the Mallorcan language (1835). Although AMENGUAL was still far from being a Renaissance man, he did not participate in the Castilian and elitist project that represented the Mallorcan Economic Society of Friends of the Country.
But the culture of Mallorca, and official life, in the mid-nineteenth century was strongly Castilian. The intellectual elites had not considered that the language of the people could be useful for literary creation. However, it is worth noting the existence of authors such as TOMÀS JUNCOSA I CORTÈS, author of the Rondaia de rondaies (1815) and the Fables in Mallorcan verse (1846) as well as an interlude in verse Més loses the avaricious than the abundant (1851).
TOMÁS JUNCOSA Y FORTEZA (Palma, 1812-1884) is considered one of the initiators of La Renaixença literary Mallorca. In 1832 he published his first poem, the ode "A la conquista de Mallorca". He came into contact with the most conservative romantic currents that were prevailing throughout Europe (CHATEAUBRIAND, MANZONI, WALTER SCOTT...). A collaborator of JOSEP Mª QUADRADO, TOMÀS JUNCOSA was a friend of Rubió I ORS, who encouraged him to write in Catalan. JUNCOSA dedicated A LONG STUDY TO RUBIÓ, published in L'estrella balear (1841). The book Poesías fantásticas en mallorquín (1852) is important, with a clear romantic echo of Germanic inspiration in its grandeur and mystery. Other poems, not as ambitious but more popular in tone, show an interesting sense of humor and use a lively and expressive language. From the linguistic point of view, as LLOMPART INDICATES, JUNCOSA represents a popular and at the same time elegant option, far from medievalizing adherence, which shows at in Mallorca the language had been preserved purer, more expressive than on the continent, and, therefore, Mallorcan writers found themselves with a more effective instrument than the Catalans.
JERONI ROSSELLÓ, born in Palma in 1827, was also a disciple of RUBIÓ I ORS. His Catalanist training did not begin until 1843, when he began his studies as a lawyer at the University of Barcelona. He combined the work of miser with erudition and poetry. A close friend of VÍCTOR BALAGUER, he was for years the most representative figure of the Sagastino party in Mallorca. He is the prototype of the Romantic Renaissance. Unlike TOMÀS JUNCOSA, ROSSELLÓ opted for the cultist and archaic language, exaggeratedly medievalizing and distant from popular language. He collaborated in the magazines of Mallorca and in the Catalan Calendar and Lo Gay Saber of Barcelona, especially with versions of foreign poets. In 1859, ROSSELLÓ began publishing the works of RAMON LLULL.
MARIANO JUNCOSA I FUSTER, cousin of TOMÀS JUNCOSA I FORTEZA, his biographical career is characterised by a great passion for the Catalan language. He also studied law in Barcelona and was a friend of Pau Piferrer I RUBIÓ I ORS. He collected traditional songs and words from the Catalan Countries to carry out the dictionary of the language. His work resulted in the Romancero popular de la tierra catalana, the Cancionero de las abretas in our mother tongue most widely disseminated. In 1860 he edited Catalogue of works in Catalan printed from 1474 to 1760. In 1925 his Complete Poems were published. Somewhat following TOMÁS JUNCOSA, his poetry has a popular tone, manifest in the themes, the lexicon and the style. Another feature that defines MARIANO JUNCOSA's poetry and way of thinking is patriotism. He was aware of the need to restore the language of the people to the highest levels of culture. MARIÀ JUNCOSA'S POETRY is aimed at the people and some of her poems – such as S'estrella de s'auba – have become popular poetry.
JOSEP LLUÍS PONS GALLARZA, born in Sant Andreu del Palomar (Barcelona) in 1823, was a professor at the Balearic Institute in Palma, where he died in 1894. It had an important influence on the young generation. According to JOSEP MARIA LLOMPART, from a literary point of view he is the most solid and enduring figure of the island's romanticism. His poetry contains the defining elements of later Mallorcan poetry: elegance, classicism, serenity, containment of feeling, symbolic interpretation of the landscape, taste for perfect form and refined language. It is worth mentioning poems such as Los naranjos de Sóller or El olivo mallorquina, poems that have not aged despite time.
Mallorcan Romanticism was generally conservative and historicist in nature. According to the motto of the Floral Games Patria, Faith, Love, these were the themes that Mallorcan romantic poets dealt with the most. What he frequented most was the patriotic theme. But perhaps with the exception of PONS AND GALLARZA, the erudite solemnity of the minor Mallorcan romantics sounds empty. More vivid is the romance about traditions or popular fallacies. Sometimes, romantic patriotism takes the form of admiring contemplation of the landscape. Religious poetry is inferior in quality and does not exceed the category of devout poetry. Love was the most scarcely and cautiously treated subject. Within these themes, a group of poets who wrote between 1859 (the year of the restoration of the Floral Games) and 1875 (the year of the publication of the Pi de Formentor) made poetry. In addition TO PEDRO DE ALCÁNTARA PEÑA, who is a writer who avoids romantic floralism, we can mention MIQUEL TARONGÍ and RAMON PICÓ I CAMPAMAR.
Viquipedia
The Mallorcan school
The Renaixença in Mallorca did not participate in the same historical and social circumstances as in the Principality. In Mallorca, as in Valencia, there was a lack of a bourgeoisie that emerged from the industrial revolution to promote the movement of political and cultural recovery.
The first reference to the term "Mallorcan School" or "Balearic School" appeared in 1873 in the "Revista Balear" (1872-74), directed by JOSÉ EP LLUÍS PONS I GALLARZA, a key man of the Mallorcan Renaixença who developed a whole programme of cultural action.
For the first theorists of the School, PONS Y GALLARZA and, later, his disciple of THE SAINTS OLIVER, it began in 1840, the year in which J.M. OUADRADO had historically revalued the local past. The name "Mallorcan School" has embraced literary production, and occasionally cultural, in Mallorca until 1951: These more than one hundred years of literary history could be divided into the following periods
The precedents: 1840-1873. These were years in which the term had an essentially cultural abx, with a regionalist historicist conception of the differentiating fact and the almost exclusive use of the Spanish language.
Theoretical Formulations, 1873-1903. After the theoretical formulations of PONS AND GALLARZA and until 1936, the concept of "Mallorcan School" was used in two different senses, as a global cultural contribution of Mallorca within Catalan culture and as a Mallorcan poetic trend. During this period, most authors wrote alternating the use of Spanish and Catalan. MARIANO JUNCOSA was the only one who did so exclusively in Catalan. The concepts of language and nationality were not sufficiently clarified. In 1903 a book by M. DE LOS SANTOS Oliver appeared. Literature in Mallorca (1840-1903), basic to understanding La Renaixença mallorquina. This first generation of the School was formed by poets such as GIV COSTA I LLOBERA, JOAN ALCOVER, MARIA ANTÒNIA SALVÀ, MONTSERRAT FERRÂ and LLORENÇ RIBER. They were all conservatives and defenders of a Mallorcan personality who, although he was already nationalist, remained disconnected from the progressive movements of the Principality. It was an ideology based on rural tradition, religiosity and a nationalist possibilism. GABRIEL ALOMAR was the only island writer with liberal ideas who openly connected with Catalanism.
Consolidation, 1903-1921. A stage where the term "Mallorcan School" was fully accepted as a distinctive feature of a poetic manifestation carried out by Mallorcan poets in Catalan. All the authors mentioned in the previous period participated more or less intensely together with the so-called second generation: MONTSERRAT FORTEZA (1888-1969), GUILLEM COLOM (1890-1979) and JOAN PONS i MARQUÈS (1894-1971).
Three differences between Mallorca and Catalonia: 1921-1936. In this period, two magazines appeared, "Almanaque de las Letras" (1921-1936) and "Nuestra Tierra" (1928-1936). In both of them, most of the authors have collaborated so far; However, the two publications showed a tendency to defend a Mallorcan personality different from the Catalan one.
The new generation 1936-1950. Around the Spanish Civil War, a new generation began to take shape, the third. Together with poets such as ÁNGEL DULCE (1912) and MARIAN VILLANGÓMEZ (1913), who were faithful to the canons of the School, BARTOMEU ROSSELLÓ-PÓRCEL, who made the first attempts to renew the island's poetry, which were cut short by his premature death.
From 1950, with the appearance of the anthology Los poetas insulares de posguerra (1951) by the Valencian MANUEL SANCHIS GUARNER, the aesthetic orthodoxy of the School fragmented. A new stage of Mallorcan poetry began.
The literary aesthetics of the Mallorcan School were based on containment and balance with classical roots, on a demanding rigour for form and on a theme normally limited to the song of landscape and nature. The models of foreign writers they followed most closely were CARDUCCI AND LEOPARDI, who also influenced some modernists. However, in the case of the Mallorcans, the dissolving aspects of the Italians' aesthetics had passed through the sedan of the Christian thought of the majority of the islanders. The classical humanism and the Mediterranean landscape framework that runs through most of the works of Mallorcan authors connected them with the Noucentista aesthetic.
Authors:
The two key figures of this period are MIQUEL COSTA I LLOBERA and JOAN ALCOVER, both born in Mallorca (Pollença and Palma) in 1854. We will write a specific letter for each of them.
Other authors:
MIGUEL DE LOS SANTOS OLIVER (Campanet, 1864 - Barcelona, 1920). Journalist, essayist, poet and narrator. In 1916 he published his volume Poesías, where, according to Folguera, "he plays with verses and likes to evoke the old Mallorca of the stately palaces".
MARIA ANTÒNIA SALVÀ (the city of Mallorca, 1869 - Llucmajor, 1958) was a poet and translator. He concentrated his poetry on the landscape, to which he gives a marked elegiac tone. The most important poems are collected in Poesías (1910), Espigas en flor (1926) and El retorno (1934).
GABRIEL ALOMAR (Ciutat de Mallorca, 1873 – Cairo, 1941). Poet and prose writer. He was one of the few island intellectuals with liberal ideas. His most notable work is The Pillar of Fire (1911), with which he followed the Parnassian aesthetic and the influence of CARDUCCI AND D'ANNUNZIO.
LLORENÇ RIBER (Campanet, 1882-1958). Poet, narrator and humanist. He revealed himself to be a good connoisseur of the classics. According to Fuster, "COSTA's Horatian economy becomes virolated incontinence to Monsieur RIBER". His most notable poetic works are Sol ixent (1912), Las coronas (1917) and A Sol alto (1931).
(the city of Mallorca, 1885-1947). Poet, critic, journalist and translator. He is the author of a short poetic work collected halfway (1926), characterised by the idealisation of Mallorcan lands and by intimacy.
Solc. Editions 62. Barcelona
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