{"id":28734,"date":"2025-06-13T08:56:50","date_gmt":"2025-06-13T06:56:50","guid":{"rendered":"https:\/\/educationalevidence.com\/?p=28734"},"modified":"2025-06-13T08:57:14","modified_gmt":"2025-06-13T06:57:14","slug":"eugenio-dors-defender-of-azorin","status":"publish","type":"post","link":"https:\/\/educationalevidence.com\/en\/eugenio-dors-defender-of-azorin\/","title":{"rendered":"Eugenio d\u2019Ors, Defender of Azor\u00edn"},"content":{"rendered":"

Eugenio d\u2019Ors, Defender of Azor\u00edn<\/h1>\n
\"\"
Jos\u00e9 Mart\u00ednez Ruiz “Azor\u00edn”. \/ Wikimedia. Author: Isidro Fern\u00e1ndez Fuertes<\/span><\/a><\/span>\u00a0–\u00a0(1914-04-25<\/span>). “Literatos espa\u00f1oles<\/a>“.\u00a0La Esfera<\/a><\/i>\u00a0(17).\u00a0ISSN<\/span><\/a><\/span>\u00a01577-0389<\/a>. From\u00a0Biblioteca Virtual de Prensa Hist\u00f3rica (CC BY 4.0)<\/a><\/span><\/figcaption><\/figure>\n

License Creative Commons <\/a><\/p>\n

\"\"<\/p>\n

 <\/p>\n

Andreu Navarra<\/strong><\/a><\/p>\n

 <\/p>\n

In May 1915, Eugenio d\u2019Ors<\/strong> published a significant essay in the Madrid-based magazine La Lectura<\/em>, aimed at vindicating and honouring the literary figure of Jos\u00e9 Mart\u00ednez Ruiz, known as \u201cAzor\u00edn\u201d<\/strong>. Yet, the essay opens in a distinctly eccentric manner, with one of those characteristic digressions\u2014radical as ever\u2014which function like sleight-of-hand, understood only by the most attentive reader.<\/p>\n

The first image presented is a portrayal of Joan Maragall<\/strong>\u2019s study, where two portraits hang: one of Giner de los R\u00edos<\/strong>, and the other, dedicated, of Miguel de Unamuno<\/strong>. This is followed by an exploration of the Krausism espoused by one of Maragall\u2019s mentors, Josep Soler i Miquel<\/strong>. Why begin here? To trace the embryonic stirrings of Novecentismo<\/em> classicism present in Maragall\u2019s oeuvre, and by parallel, in that of Azor\u00edn, his contemporary:<\/p>\n

“No one will comprehend the moral history of Europe in recent times without beginning from the premise that the Nineteen-Hundreds represents a violent reaction against what was called\u2014and rightly should continue to be called by its proper name\u2014\u2018Fin de Si\u00e8cle\u2019. Yet much will escape those who fail to recognise that within the \u2018Fin de Si\u00e8cle\u2019 the Novecentismo was already feverishly gestating…”<\/p>\n

Thus, the digression serves as a subtle entr\u00e9e to the core thesis: Azor\u00edn, like Maragall, was a proponent of Novecentismo<\/em> ideals<\/strong>, albeit initially through a symbolist lens. Was this judgement misplaced? It seems not, given Azor\u00edn\u2019s subsequent influence on rationalist narrators, ultraist1<\/sup> poets, and the ramonismo<\/em> current. D\u2019Ors regards Azor\u00edn\u2019s style as one of absolute modernity<\/strong>, purified of romantic haze and post-romantic whimsy:<\/p>\n

“In sum, a fresh and delightful manifestation of the same design, a revelation of that ardent cult of light without shadow, of the passion for the living, clear, and bare, of the will\u2014ever alert to perceive, capture and fix the flashes of meaning\u2014is found in the exegetical system of the classics devised by Azor\u00edn. He too pricks the thought of the old author he examines, in three or four of his moments of swiftest current, most revealing trajectory”.<\/p>\n

D\u2019Ors even goes so far as to consider Azor\u00edn a kindred spirit<\/strong>. He aligns Azor\u00edn\u2019s precision with his own predilection for miniaturism2<\/sup>, brevity, and conceptismo3<\/sup><\/em> characteristic of his glosas4<\/sup><\/em>:<\/p>\n

“He too omits\u2014knows how to omit, with supreme economy\u2014the outpouring in which thought slumbers; rather, he spills it anew down an unforeseen slope, where it can most swiftly approach our modern sensibility, refined by the subtlest experiences and stirred by the finest cultures”.<\/p>\n

Having just published, Marginal Notes to the Classics,<\/em> Azor\u00edn\u2019s rationalist and succinct methodology deeply resonates with d\u2019Ors, who feels compelled to connect it with Azor\u00edn\u2019s distinctive style:<\/p>\n

“Those brief texts, which together might fit within a couple of pages\u2014scattered verses, dispersed phrases\u2014expand, acquire broad significance, come to wound us, to work upon us, to unsettle our concerns, our desires, our last-minute passions”.<\/p>\n

For Eugenio d\u2019Ors, the Peque\u00f1o Fol\u00f3sofo (Little Philosopher) was more than a stylist; he was a thinker. Hence, d\u2019Ors delves into the ultimate meaning behind Azor\u00edn\u2019s artistic refinement. The \u201cdanger\u201d he perceives in his friend\u2019s criticism is the risk of succumbing to subjectivism<\/strong>: the characters Azor\u00edn examines begin to resemble him too closely, since he essentially regards them as mirrors.<\/p>\n

How had these two writers arrived at 1915? What preoccupations and circumstances defined them? D\u2019Ors had recently suffered an unjust failure in his professorial examinations in Barcelona in 1914. Ortega and Azor\u00edn invited him to Madrid to be honoured and to deliver a lecture at the Residencia de Estudiantes\u2014 De la amistad y del di\u00e1logo (On Friendship and Dialogue)<\/em>, one of his most memorable and celebrated essays. Azor\u00edn had steadfastly defended an Allied stance since the outset of the Great War, whereas d\u2019Ors preferred to portray himself as an unwavering neutralist, though he sympathised with the Germans and espoused a pacifist position, viewing the conflict as a civil war within a single European \u201cEmpire\u201d, in which Germany would inevitably take the lead.<\/p>\n

D\u2019Ors had sought to transfer (unsuccessfully, due to excessive financial demands) to the magazine Espa\u00f1a<\/em>, and attempted to resign from all his administrative posts in Catalonia, failing again as Prat de la Riba<\/strong>\u2014a confirmed Germanophile\u2014refused to accept his resignation. Azor\u00edn had, in recent years, shifted towards the conservative right, severed ties with Maura<\/strong>, and publicly acknowledged La Cierva<\/strong> as his patron and benefactor. Many criticised him, arguing that reactionary politics had undermined his rebellious spirit and literary style. Yet d\u2019Ors came to his friend\u2019s defence, writing:<\/p>\n

“Why does Azor\u00edn sometimes condescend to his detractors by attributing a change of stance to a shift in principle? \u2018Yesterday I was a revolutionary,\u2019 the beloved and suffering writer tells us on such occasions; \u2018today I am a conservative: such is the work of life upon me…\u2019 Why not say instead: Yesterday I was, and today I am, a man in whom the values of sensibility have become supreme. Injustice and disorder alike offend my sensibility. Tell me one day to express my irritation at injustice; now I prefer to express my irritation at disorder?”.<\/p>\n

This insight was later elucidated by the Baroja and Azor\u00edn specialist Francisco Fuster<\/strong> in his recent biography of the Alicantine writer.<\/p>\n

In his article\u2014actually a series of nine glosas<\/em>\u2014d\u2019Ors set out not only to vindicate his friend (as his friend had done for him the previous year), but also to renew his own aesthetic proposal, to diagnose the character of an already seminal body of work, and to disseminate Azor\u00edn\u2019s philosophy.<\/p>\n

Ultimately, d\u2019Ors casts Azor\u00edn as a mirror reflecting the virtues of Novecentismo<\/em><\/strong>, striving to discern the keynotes of the Alicantine\u2019s oeuvre:<\/p>\n

“Exclusive modernity. Nostalgic Europeanism. Love of cultivated nature. Love of elemental labour. Gentle sociability. Epicurean simplicity. Protest against injustice. Protest against disorder…”<\/p>\n

Such lengthy and exhaustive orsian<\/em> essays were unusual. Yet, as ever, his sagacity and capacity for synthesis remain undeniable.<\/p>\n

___<\/p>\n

1 <\/sup>Ultraist poets were members of an early 20th-century Spanish literary movement called Ultra\u00edsmo<\/em>, which emerged around 1918 as a reaction against Modernism and a response to European avant-garde trends like Futurism, Dadaism, and Imagism. Among its key figures were Jorge Luis Borges, Guillermo de Torre, and Gerardo Diego.<\/p>\n

2<\/sup> A style characterised by brevity and precision<\/em>.<\/p>\n

3<\/sup><\/em> a Baroque literary style characterised by wit, brevity, and conceptual density<\/em>, often associated with Quevedo.<\/p>\n

4<\/sup> In Spanish literary tradition\u2014particularly as developed by figures like Eugenio d\u2019Ors\u2014glosas<\/em> are short, reflective prose pieces that combine philosophical insight, stylistic precision, and literary elegance. These texts are typically brief, aphoristic meditations on cultural, aesthetic, or moral themes.<\/p>\n

\n

Source:\u00a0educational EVIDENCE<\/strong><\/p>\n

Rights:\u00a0Creative Commons<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

In May 1915, Eugenio d\u2019Ors published a significant essay in the Madrid-based magazine La Lectura, aimed at vindicating and honouring the literary figure of Jos\u00e9 Mart\u00ednez Ruiz, known as \u201cAzor\u00edn\u201d. 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