Spanish classicism and French romanticism--Their influence in America--Modernism--The work of Ruben Dario--The novel--The _conte_ or short story
The ancient Spanish colonies, freed from the political authority of Spain, still followed her in the matter of literature; republican autonomy and intellectual subjection were not incompatible. Towards 1825 writers in prose and verse were by no means imitating France, although she gave them her declamatory politics and her revolutionary code. Educated in Spain, the best minds were seeking their inspiration in the Spanish literature of the eighteenth century: the works of the classic Quintana, of Moratin, Gallego, Lista, and Jovellanos dominated the American schools.
A lasting divorce, this of a romantic politics and a classic literature. When letters were invaded by romanticism, with its lyric lamentations, a sane realism--the realism of men preoccupied with finances or laborious codifications--struggled against the swamping waves of all this rhetoric. Literary forms, long out of fashion in France and even in Spain, still aroused enthusiasm in America; the American author adopted the realism of the naturalistic novel when the French schools were already given over to symbolism, and at a later date he became first { 250} a modernist and then a decadent, while in France a classic restoration had set in. To the real current of European literature South America has preferred ephemeral excesses, and the work of coteries, which she has imitated with enthusiasm. It is barely ten years since South American letters began to reflect--curiously behind the times--the direction taken by French poetry. The literature of the new continent, to-day invaded by books and ideas, follows a path parallel to that followed by French and Spanish letters. Every novelty finds an echo, and the very diversity of imitation ought before long to give rise to a final originality.
Poets, both romantic and classic, threw themselves into the social conflicts of the time; whence that kinship between poetry and eloquence, already recognised by Brunetière in France.[1] In American poetry we find the civic accent, eulogies of liberty, odes to civilisation and the mother-country, rather than elegies or "states of soul." Tyrtæus would be popular there rather than Anacreon; Béranger would be imitated rather than De Musset. Classicism thus takes the form of a civic poetry; calm and mannered, it sings of political subjects, of progress, independence, and the victories of liberty over theocracy.