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1.3 the Literary and Civil Commitment of Carles Riba

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1.3 the Literary and Civil Commitment of Carles Riba Journal of Catalan Intellectual History (JOCIH) Online ISSN 2014-1564 DOI: 10.1515/jocih-2016-0003 https://www.degruyter.com/view/j/jocih Received 26/12/2016 / Accepted 05/03/2017 “Remaining for the moment without an audience”: The Literary and Civil Commitment of Carles Riba Jordi Malé* (Universitat de Lleida) [email protected] orcid.org/0000-0003-1097-0708 Abstract. Carles Riba (1893–1959) wrote several articles in which he showed his commitment to literature and reflected on the role of literature in society, as “Socrates in front of the judges” (1926), “Politicians and Intellectuals” (1927), “Literature and Rescuing Groups” (1938) and the presentations of the Revista de Catalunya (1939 and 1955). Many of these texts were written in turbulent political contexts: the dictatorship of Primo de Rivera (1923–1929), the Spanish Civil War (1936–1939) and the post-war period under Franco (1939–1959). The aim of this paper is to study these articles and analyse Riba’s view of writers and intellectuals. Keywords: commitment, intellectual, literature, criticism, Carles Riba 1 Introduction: juvenile impulses “I started [writing]”, recalled Carles Riba in 1953, already 60 years old, “for external motives: for it was in fashion among my teenage fellows, for some of my first essays had gained some success, for I wanted to say certain things in a certain way I deemed more efficient, etc” (Riba, 1986: 254)1. The first known poems by Riba date, indeed, from his adolescence, from when the writer was 15 years old: mainly love, or rather infatuation, poems as well as circumstance poems, like the ones that other teenagers wrote and have always written both to delight their litterateur colleagues and to captivate a girl (Malé, 2010: 15–18). But, at the same time, this young poet also took on the translation of Virgil’s Eclogues (1911), an endeavour that went beyond simple amusement or the sheer fashion of a few well-composed lines. His version of Virgil revealed a firm literary vocation that would not take long to be confirmed by time. Also proof of this incipient vocation is the speech that Riba read, when he was not yet 19 years old, at the Floral Games Literary Awards in 1912. Beneath a bunch of impassioned romantic ideas about poets and poetry, the novel writer outlined the stages that, according to him, the “poet-adolescent” went through from his first chant, * Jordi Malé i Pegueroles is Professor of Catalan Literature at the University of Lleida. His areas of teaching and research interest are contemporary literature, both in the field of creation and in history and literary criticism. He has published papers and books on classical influences on Catalan Literature, on women poets, and on Carles Riba, Josep Carner, Marià Manent, J.V. Foix and Joan Brossa, among other authors. 1 “Vaig començar [a escriure] per motius externs: moda dins un grup d’adolescents companys, un cert èxit, entre ells, dels primers assaigs, ganes de dir unes certes coses d’una certa manera que m’apareixia més eficaç, etc.” 33 Brought to you by | Universitat Autònoma de Barcelona Authenticated Download Date | 11/17/17 5:36 PM JOCIH (2016) pp.33-42 DOI: 10.1515/jocih-2016-0003 the most turbulent of them being that of “theorisation”, that is, the stage where the poet becomes aware of his poetic minstrelsy. This stage becomes sharper after visiting the “master poet” – young Riba had met Joan Maragall – because, in spite of the enlightened ways to follow shown by him, the “poet-adolescent” cannot help but feel the rebellious spirit characteristic of youth; and he exclaimed: Accepting at twenty what is established because it is established —somebody has highlighted— gives away a lack of vitality and even some degree of selfishness of spirit [...]. He who does not libel all of what his ancestors have constituted, and does not throw new formulas of perfection into the world, implicitly assumes the uselessness of his coming. (Riba, 1988: 11–12)2 The “new formulas” were, once the juvenile poems and the poems of Maragall’s influence were left behind, the poems of Estances (Stanzas), with which young Riba materialised – as we have seen him recall around 40 years later – his will “to say certain things in a certain way I deemed more efficient”. He wished for his own original way, with topics and poetic procedures different from the ones used by the authors of his generation and the preceding one, away from the sentimentalism and realism characteristic of many of them. 2 The quest for clarity These first and juvenile impulses towards writing were qualified by Riba in 1953 as “external motives”. Another one would be the social and political atmosphere of the first quarter of the 20th century, ideologically led by Enric Prat de la Riba (until his death in 1917), who – with the cooperation of Eugeni d’Ors – encouraged the intellectuals of the time, of Josep Carner’s generation and the younger of Riba’s generation, to participate in an ambitious project for culture and the country. But the involvement of the writers in such a project did not result in the creation of a literary group or movement. Each one of them – Josep Carner, Josep Lleonart, Josep M. López-Picó, Guerau de Liost, among those born in the 1980s; Riba, Joaquim Folguera, Carles Soldevila, J.V. Foix, among those born in the 1990s; and many others – followed their own and unique literary trajectory. Nevertheless, most of them converged on some synthesisable aspects in Ors’s idea of the “well-made work”. They also converged, with their writings, on the cooperation with the task of language depuration and reform led by Pompeu Fabra – one of the axes of Prat de la Riba’s national project – in the common aspiration to create a literary form of Catalan, which would be “a modern language, the living expression of a spirit both modern and alive”, as Riba claimed in 1918 (Riba, 1985: 81)3. It is worth insisting that the participation of the writers in the mentioned project did not lead to the creation of a literary current, tendency or programme. Their commitment consisted, instead, in establishing publishing companies and producing magazines, carrying out translations and writing manuals, teaching courses and getting involved with the new institutions being created – besides the strictly political commitment some of them made. A few years later, in 1922, Eugeni d’Ors – recently removed from the administration – gave a speech in Castelló d’Empúries, where he denounced the state of prostration and decadence that, according to him, the culture in Catalonia started to experience. Riba, in a letter to his friend Josep M. López-Picó on the 3rd October of that year, berated Ors for his lack of self-examination and for not contemplating his share of liability, as an ideologist, for the failure to attain the desired goals; and he reminded him of the role of pioneering and transition they had to assume as a generation in order to build a culture comparable to the other European cultures: “There’s few of us in Catalonia, but if we want our grandchildren to walk free of shame on the forum or under the Brandenburg Gate, then the few of us need to sacrifice and make manuals bound in boards and translations 2 “Acceptar als vint anys el que ja és establert, per tal que és establert —ha remarcat algú— acusa una manca de vitalitat i àdhuc un cert egoisme en l’esperit [...]. Qui als vint anys no injuria tot el que els antecessors han constituït, i no llença al món noves fórmules de perfecció, reconeix implícitament la inutilitat de la seva vinguda”. 3 “un idioma modern, expressió viva d’un esperit així mateix modern i viu”. 34 Brought to you by | Universitat Autònoma de Barcelona Authenticated Download Date | 11/17/17 5:36 PM JOCIH (2016) pp.33-42 DOI: 10.1515/jocih-2016-0003 for a daily wage and copies of historic and literary archives. This is pure Ors doctrine, in which we have all believed” (Guardiola, 1990: 210)4. With the establishment of the dictatorship of Primo de Rivera in 1923, Riba and many other intellectuals were forced to stop teaching at the Universitat de Barcelona and the Escola de Bibliotecàries (School of Librarians): “I have been dismissed from my post as a teacher”, he wrote to his mentor Karl Vossler in 1924, “not just me, but a hundred others too; but I had the honour to be among the first. The purpose? Fighting Catalan nationalism where it holds not only its maximum strength but also its maximum raison d’être: culture” (Guardiola 1990, 285)5. This did not make him give up his commitment, and the cultural construction in Catalonia did not stop either, despite all the impediments imposed by the dictatorship. Also in 1923, for instance, the Fundació Bernat Metge, created the previous year, and where Riba was one of the first collaborators, started the publication of translations of the Greek and Latin classics. Because, just as it was happening contemporarily in a great deal of the Western countries, one of the mainstays of the new culture to be built had to be the return to the Greco-Latin Antiquity as an “educating force and principle”, in Riba’s words, written with complete conviction (Riba, 1988: 125)6. It will be precisely the Fundació Bernat Metge where Riba will be able to retake his work as a teacher in 1925, of classical Greek, with the objective to prepare new translators. However, in his classes, he did not restrict himself to teach the Greek language but he made time with the more advanced students to discuss some of the most relevant works by the Attic writers, like The Apology of Socrates by Plato.
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