In our century the sympathy for D. is much more evident in the great writers. In Rubén Dario (1867-1916) memories of D.’s works and personality emerge, as well as verbal and metaphorical suggestions. D. has a more massive cultural presence in the work of Miguel de Unamuno (1864-1936), who often quotes the poet, frames him among other great men of humanity and creates poems in which initial Dante quotes are then freely developed.
A work by RM del Valle-Inclán (1869-1936), Luces de Bohemia, has also been interpreted as a partial parody attempt on some character or situation in the Comedy. In addition to the spontaneous insertion of Dante’s phrases or phrases in his writings, Antonio Machado (1875-1939) manages to create very short compositions in which aulically Dante’s elements and other colloquial and everyday elements are humorously blended. Juan Ramón Jiménez (1881-1958) entitled a lyric of his to Dante, born from the reading of a sonnet from Vita Nuova. JM Pemán entitles one of his poems Vita Nuova, and the same title comes to fruition prose in the novel by R. Sáchez Mazas La vida nueva de Pedrito de Andía (1951). The memory, the exaltation or the devotion to D. are also present in other poets, from F. Villaespesa and E. Marquina to León Felipe;
According to clothingexpress.org, criticism and cultural quotation lead us to a different sphere. An essayist like Juan Maragall (1860-1911) often remembers D. in a series of articles from the early years of the century, and not only in those with significant titles (Vida nueva, Beatriz), but above all in De la poesía, where he quotes verses from the Comedy and where he tries to give them a personal interpretation. However, the greatest contribution of Spain to Dante’s studies is undoubtedly represented by the Arabist M. Asín Palacios (1871-1944), whose monograph on the Muslim sources of the Comedy opened a new horizon of cultural exchanges, reinforced later with discoveries that demonstrate the fruitfulness of the thesis. In the wake of a philosophical literature, the names of Eugenio D’Ors (1882-1954) and J. Ortega y Gasset (1883-1955). The first often names D. but more for his human and political meaning than for his poetic one; Ortega, on the other hand, has D. present in an important part of his writings, whether he cites him directly or uses it for his reflections or echoes him in his refined prose, which demonstrates a true assimilation of Dante’s expression. Some theatrical works by Jacinto Benavente (1866-1954) also bring us back to the cultural citation. As for the editions, almost all the translations of Dante’s works of the late nineteenth century are now printed and reprinted relentlessly. At least fifty translations of the Comedy were published between 1900 and 1970. Among the new recent versions in Castilian we must include the one in loose hendecasyllables by the poet Fernando Gutiérrez (1960) and another, in prose, by AJ Onieva (1965). But in addition to the editions of Spanish translations in Latin American countries, the Catalan versions must be noted, from the one in loose hendecasyllables by Narcís Verdaguer (1912), to that of JM de Sagarra in triplets (1947) through that of the Marquis of Balanzò (1923-1924). And there is no lack of the edition of the complete works (1956 and 1965) or of other works separately, the Convivio and the Monarchia; the primacy after the Comedy belongs to the Vita Nuova with almost thirty translations, including reprints and the one in Catalan by M. de Montoliu (1903 and 1937). edition of the complete works (1956 and 1965) nor of other works separately, the Convivio and the Monarchia; the primacy after the Comedy belongs to the Vita Nuova with almost thirty translations, including reprints and the one in Catalan by M. de Montoliu (1903 and 1937). edition of the complete works (1956 and 1965) nor of other works separately, the Convivio and the Monarchia; the primacy after the Comedy belongs to the Vita Nuova with almost thirty translations, including reprints and the one in Catalan by M. de Montoliu (1903 and 1937).
Dante’s two centenaries of our century have not passed unnoticed in Spain: from 1921 there remain isolated critical contributions and translations that testify to a more marked fervor in Catalonia (M. Casella made an accurate review of “Studies d.”). In 1965 there were magazines that dedicated special issues to the Italian poet (“Revista de la Universidad de Madrid”, “Atlántida”, the Spanish edition of Dante’s homage to “Books Abroad”); there was the translation of Onieva with the beautiful illustrations by J. Vaquero Turcios and other contributions. Since then, there has been no lack of new elements of relationships: remember a small volume of poems by Manuel Padorno which bears the title Papè Satàn (1970). And in collecting all his poetic production (with already some memories of D.), in 1971 Angel Crespo entitled his volume En medio del camino, a title that is linked not only to an already distant composition in triplets by A. Cánovas del Castillo, La mitad de la vida (1863), but also to the collection of LF Ardavín, A mitad del camino (1944). And by Angel Crespo himself, the translation of Hell into chained triplets is very recent (1973), followed by those of the other two canticles.