Jacint Verdaguer: A Catalan Literary Icon

Jacint Verdaguer is considered the most important and representative Catalan writer of the 19th century. His significant contribution to the Renaixença movement, spanning epic and lyrical poetry, oratory, and narrative prose, was crucial for the consolidation of Catalan language and literature. Verdaguer's work became a symbol of Catalonia, gaining popularity and universal fame through translations into various languages.

Verdaguer, a highly ambitious poet, aimed to elevate Catalan literature to the level of the best universal literature. He revitalized the Catalan language by incorporating elements of popular spoken language from rural areas, creating a literary language capable of expressing a wide range of themes and emotions, from the epic to the intimate and lyrical.

Verdaguer played a pivotal role in the Renaixença movement, providing foundational myths through poems like 'Canigó' and books such as 'Els que dedica Montserrat.' His work contributed to the revival of Catalan society, culture, and religiosity, giving Catalan literature an international dimension by quickly being translated into many languages.

Verdaguer, primarily a poet, faced personal, religious, and professional challenges that led him to confront ecclesiastical and social hierarchies. His willingness to stand up against authority made him beloved by the people, who saw him as a persecuted poet. This, along with the acceptance of his work, ensured his enduring presence in collective memory.

Jacint Verdaguer i Santeló was born in Pulgaroles, a village in the Plana de Vic, on May 17, 1845. He was the third of eight siblings, with only the first three surviving. His parents, modest farmers with some education, influenced his future as a writer. Verdaguer began his education at the village school before attending the Seminary of Vic as an external student in 1855.

At the age of 18, Verdaguer lived at Can Tona, where he worked as a tutor and occasionally helped with farm work. In this idyllic setting, he experimented with various literary genres, including cultured poems on love, pastoral themes, and patriotism. He also composed epic poems like 'Dos màrfirs de ma pàtria' and engaged in prose and verse writing.

Verdaguer's poem 'La fira de Vic' captures the essence of the countryside fair in Vic with vivid imagery. The poem portrays a bustling marketplace filled with people, animals, and vibrant colors, depicting the lively atmosphere of rural life. Verdaguer's detailed descriptions bring to life the sights and sounds of the fair.

At just 20 years old, Verdaguer participated in the Jocs Florals de Barcelona in 1865, dressed as a peasant. He received two awards at the event, providing him with a public platform to showcase his talent and establish himself as a promising young writer.

Verdaguer quickly becomes the leader of a successful literary group called Espart de Vic, proposing outdoor meetings near Cantona to discuss literature and Catalan culture. On June 19, 1867, he delivers the inaugural speech for the Espartades, emphasizing the importance of discussing songs, heroes, and the past and future of Catalonia.

After some hesitation, the young seminarian decides to celebrate his first mass on October 7, 1870, at the Hermitage of Sant Jordi de Puigdeslloses near Pulgaroles. This location, with both a church and a dolmen, symbolizes the duality of Verdaguer's poetry, blending Christian and pagan themes.

In 1874, Verdaguer wins the Viola d'Or in Barcelona and embarks on a journey to La Habana for health reasons. Suffering from anemia, he abandons his parish life and becomes a chaplain for the Transatlantic Company, making multiple trips between Spain and Cuba. During these travels, he writes the poem 'L'Emigrant,' expressing his longing for Catalonia.

In May 1877, Verdaguer wins the Extraordinary Prize at the Jocs Florals de Barcelona for 'L'Atlàntida,' completed during his ocean voyages. This award marks a significant achievement for the poet, solidifying the literary renaissance and establishing him as a renowned poet both locally and internationally. His work is seen as a symbol of Catalan language's recognition in the literary world.

Verdaguer shared with many poets of his time an interest in heroic poetry and epic themes, aiming to create poems that would elevate both literature and the author. He initially attempted epic poetry following classical Renaissance models and Mistral's romantic themes.

Verdaguer dedicated many years obsessively to the themes of Columbus, the discovery of America, and the punishment of the Atlanteans in the sinking of Atlantis. These themes were later consolidated in his poem 'L'Atlàntida,' which won an award in 1877 and was published in its final version in 1878.

In 'L'Atlàntida,' Verdaguer introduced lyrical elements that added a sense of modernity, aligning with the poetic trends of his contemporaries like Víctor Higó. The poem's solid and colossal structure combined descriptive power with imaginative beauty.

'L'Atlàntida' consists of ten cantos with an introduction and conclusion. The narrative begins with Columbus, a shipwreck survivor, being told the story of Atlantis by a hermit, setting the stage for a grand epic tale.

The poem narrates how Hercules, heir of Queen Virena of Spain, acquires rights in Atlantis, leading to a series of catastrophes and the submersion of Atlantis. The vivid descriptions of the destruction and chaos are depicted with powerful imagery.

Since its publication, 'L'Atlàntida' has been recognized for its significant contribution to Catalan literature. Despite being a work of universal interest, it garnered attention and numerous translations due to its poetic imagery and language. The poem continues to captivate readers with its adventurous narrative and remains a timeless piece for literature and poetry enthusiasts.

In 1878, Verdaguer became the chaplain for the Marquès de Comillas' family. The Marquès took charge of publishing 'L'Atlàntida,' including a Spanish translation of the poem, further expanding the reach and impact of Verdaguer's work.

A year later, Verdaguer published 'Idilis i Cants Místics' with a prologue by Milà i Pintenals. This collection of poems expresses love for the divine, inspired by mystical Spanish writers like Sant Joan de la Creu and Santa Teresa de Jesús.

In 1880, during the millennium celebration of the Foundation of Montserrat, Verdaguer played a significant role in promoting the monastery and the Muraneta, recently declared the patroness of Catalonia by Pope Leo XIII.

Verdaguer's ode to Barcelona won an award at the Jocs Florals de 1883, leading to the City Council publishing 100,000 copies. The composition echoed the grandeur of Atlantis, now applied to the history of Catalonia's capital.

In March of the same year, Verdaguer accompanied the Marquess of Comillas on a Mediterranean cruise, visiting Morocco, Algeria, and Mallorca. This leisure trip inspired Verdaguer to write about the African coast, later included in his first travel-themed prose book titled 'Excursions i Viatges.'

Verdaguer embarked on a month-long journey to major European cities in the spring of 1884, including Paris, Geneva, Berlin, and Saint Petersburg. Accompanied by industrialist Eusebi Güell, he documented his impressions, interacted with publishers and translators, and offered conservative Catholic perspectives on the visited countries.

Verdaguer undertook long hikes in the Pyrenees during the summers of 1882 and 1883, including ascending Aneto and revisiting Canigó. He meticulously documented his experiences in a diary, later publishing them in the Bigatà weekly and the Barcelona magazine La il·lustració catalana.

The primary goal of Verdaguer's excursions was to compose his epic poem 'Canigó,' which was eventually published in late 1885. This work aimed to counterbalance the perceived Spanish influence of his previous epic, 'Atlàntida,' by delving into Pyrenean legends from the time of the reconquest.

Verdaguer's 'Canigó' stands out as one of his greatest poetic works, showcasing a blend of historical and legendary narratives. Through intertwining these two realms, Verdaguer masterfully conveys his poetic intentions, exploring themes of homeland, providence, and nature.

Verdaguer vividly describes Canigó as a majestic symbol of Catalan identity, surrounded by mythical creatures like fairies, swans, and eagles. The mountain is depicted as a grand spectacle of nature, embodying religious and nationalistic sentiments.

Verdaguer's 'Canigó' delves into themes of religiosity, Catalan identity, and a deep connection with nature. The poem roots Catalonia's origins in the faith that mobilized Christian people against Saracen invasions, blending historical elements with fantastical characters like fairies to create a rich narrative.

Verdaguer skillfully navigates between narrative, lyrical, and descriptive passages in 'Canigó,' seamlessly transitioning between real and fantastical elements. This narrative technique allows him to convey both the plot's progression and emotional depth effectively.

Gentil's song in 'Canigó' stands out as one of the most poetic and romantic sections of the poem. The lyrical verses capture the beauty of nature and the emotional depth of the characters, adding a layer of sentimentality to the epic narrative.

The two bell towers that currently conclude the poem Canigó are considered one of Verdaguer's most remarkable works, dense in thought and rich in expression. They symbolize history and nature, revealing the essence of our homeland. Verdaguer reflects on historical signs amidst the ruins of great monasteries like Sant Martí del Canigó and Sant Miquel de Cuixart, emphasizing the destruction of significant landmarks in the 19th century. With the disappearance of these historical symbols, Verdaguer questions the persistence of the homeland. He ultimately asserts that nature, embodied by the majestic Canigó mountain, will endure as the potent symbol of Catalonia.

Verdaguer mourns the loss of Romanesque altars and the Bisentine cloister, emphasizing the destruction of religious images and the separation of their splendor like a fading star that will never shine again on Canigó. Only two bell towers remain standing, representing the monks of Arrés facing the final collapse of their altars. Despite storms, turmoil, hatred, and war, the Canigó mountain stands resilient, a lasting monument to God.

Verdaguer's concept of homeland is intricate and sometimes ambiguous. He explores various genres and thoughts to express his sense of patriotism. Notably, he acknowledges the industrialization and economic changes in Catalonia during the late 19th century, highlighting these as distinguishing factors. Verdaguer's poem reflects his concern for preserving Catalan identity amidst external pressures to exploit natural resources and conform to foreign influences.

In 1888, Berdeguer published a collection of patriotic poems titled 'Pàtria,' which he had been sharing for over twenty years. This work is considered one of the most representative books of Berdeguer's poetry. The poem 'El lupí de les tres branques' clearly expresses the idea of a homeland formed by Catalonia, Valencia, and the Balearic Islands.

Shortly after the publication of 'Canigó' and being crowned in Ripoll by Bishop Morgades, the poet of Catalonia, Verdaguer embarked on a two-month journey to Terra Santa and Egypt. His interest in experiencing the settings of Jesus Christ's life and death firsthand led him to write the compelling 'Diari d'un Pelegrí a Terra Santa,' which detailed his pilgrimage.

Verdaguer's extensive travel narratives through North Africa, Palestine, and Europe, culminating in Russia, transformed him into not only a renowned national poet but also the first significant Catalan journalist of modern times. His vivid and functional prose elevated Catalan to the level of international reportage, influencing subsequent generations of journalists. Verdaguer's impact on Catalan journalism is evident in the recognition by Josep Pla, who considered him a master of modern reportage in Catalan.

Following his emotionally tumultuous journey to Palestine and Egypt, Verdaguer returned profoundly affected, viewing his travels as a true pilgrimage. From 1890 onwards, he dedicated himself fully to priestly duties, engaging in social work in Barcelona and serving as the almoner for the Marquess. His involvement in charitable activities, exorcisms, and the distribution of alms to the poor raised concerns among the aristocracy, particularly alarming the Marquess of Comillas.

In May 1893, the writer Verdaguer leaves Barcelona and spends some time in Vic at the palace of his bishop. He then settles at the Sanctuary of la Gleba for two years on the advice of his superiors to rest and improve his health. During his stay, he resumes writing poetry and publishes the trilogy 'Jesús Infant' inspired by his trip to the Holy Land.

In April 1895, against his bishop's orders, Verdaguer leaves the Sanctuary of la Gleba and moves to Barcelona to live with the Duran family, a widow and her two daughters, whom he had befriended earlier. This decision raises eyebrows among the people, leading to accusations of disobedience and attempts by the Barcelona police to arrest him.

On June 17, 1895, Verdaguer issues a statement to the press declaring himself a victim of unjust persecution. He expresses his frustration at being treated like a criminal and asserts his rights to seek justice and protest against the mistreatment he has faced. This public outcry marks a turning point in his personal struggle.

Following his defiance of the bishop's orders, Verdaguer is prohibited from celebrating mass and performing priestly duties by Morgades. In response, Verdaguer launches a series of impactful articles defending himself, sparking a public controversy that extends beyond the ecclesiastical realm to involve influential figures like the Marquess and Verdaguer's close associates.

The Verdaguer controversy becomes a focal point of social and political interests with contrasting views. His series of articles titled 'En defensa pròpia' marks a significant shift in Catalan opinion journalism, departing from the traditional doctrinal and academic style to a more dynamic and persuasive approach. This transformation influences subsequent generations and even draws parallels with international journalism trends of the time.

In addition to his journalistic endeavors, Verdaguer's poetic output during this period, particularly in 'Flors del Calvari,' showcases some of his most poignant verses. His writing not only captures the essence of his personal struggles but also leaves a lasting impact on Catalan literature, influencing later generations like Maragall during the Setmana Tràgic.

The poem 'Subvernis' from the collection 'Flors del Calvari' by Verdaguer is highlighted as one of his best works, characterized by modern form with free verse, beautiful imagery, and a sense of deep emotional turmoil. The poet expresses feelings of being cornered, trampled, and offended, declaring himself as a worm that everyone can and has stepped on. Despite insults and mockery, each attack adds a pearl to his crown or a step closer to the heaven he deeply believes in. The poem conveys a sense of absolute vulnerability and defiance, recommending multiple readings for its moving imagery and emotional depth.

In the poem 'Subvernis,' there is a profound sense of pride underlying the deep humiliation expressed by Verdaguer. Despite the intense humiliation, there is an underlying belief in his greatness as a poet, contrasting his public image of insignificance. Facing numerous enemies, Verdaguer resumed writing articles in the press in the summer of 1897 with a series titled 'Un sacerdot perseguit.' The years 1896 and 1897 were the most painful in Verdaguer's life, being persecuted by various authorities and suspended as a priest, leading to financial struggles and lack of support from powerful friends.

During a period of intense persecution and humiliation, Verdaguer wrote the famous poem 'Localse i l'arpa,' asserting his identity as a poet despite being suspended as a priest. The poem symbolizes his unwavering pride and defiance, stating that while authorities can take away his role as a priest, they cannot take away his identity as a poet symbolized by the harp. The harp represents his eternal and free poetic spirit, unaffected by external circumstances. Through his poetry, Verdaguer finds solace and strength to endure challenging times, emphasizing his unwavering commitment to his artistic calling.

Verdaguer found support and a literary society among young writers of his time, including publications like l'Atlàntida, la Creu del Montseny, and Pensament Català. These magazines provided him with a platform to express his ideas and engage with the youth, influencing and being influenced by the modernist movement.

Verdaguer's work, particularly 'Aires del Montseny,' had a significant impact on Antoni Gaudí, influencing the symbolism and artistic forms in Gaudí's architectural designs. Gaudí drew inspiration from Verdaguer's symbolic world, incorporating elements from the 'Atlàntida' and other works into his own creations.

In 1898, Verdaguer moved to Madrid and, after a written retraction accepted by the Bishop of Vic, was allowed to return to Barcelona. He became a priest at the Church of Badlem, resuming his writing career. However, his health deteriorated, and he faced financial struggles, leading a secluded life surrounded by a few loyal, young friends who saw him as a misunderstood artist.

Verdaguer's final years were marked by illness, leading to his confinement in Vila Joana de Valldireta. He passed away at the age of fifty-seven on June 10, 1902. His funeral procession was attended by around 300,000 people, and he was laid to rest at the Montjuïc cemetery. Verdaguer's legacy lives on through his poetic works, which continue to inspire and resonate with readers.