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M a n u e l Gutiérrez Nájera Gutiérrez Nájera w a s one of the first Modernists to recognize that the stultification of Spanish verse stemmed not from inherent linguistic limitations but rather from a resistance to change fostered by Spain's cultural isolationism. H e advocated greater artistic freedom parallel to the cultural openness evident in his beloved M e x i c o City and in his famous p o e m " L a D u q u e s a J o b . " A s in this revealing piece, the imported models of elegance and grace by w h i c h M e x i c a n society w a s beginning to judge itself were never proposed as substitutes for uniquely Spanish A m e r i c a n attributes.

His poetry is graceful, fresh, elegant, and responsive to the n e w tendencies that came from abroad, from the Parnassians, Bécquer, D ' A n n u n z i o , and Nietzsche, to name just a few. Salvador D í a z M i r ó n , on the other hand, stands out for his poetic production. Since 1886 w h e n he published his early verse, his presence w a s felt a m o n g modernist writers such as D a r í o , w h o praised his dynamic, freedom-loving poetry in one of the " M e d a l l o n e s " of the 1890 edition of Azul...

M o d e r n i s t authors responded to the resulting vacuity of everyday exis­ tence w i t h w h a t had become another tradition, namely, the expression of defiantly hostile antibourgeois attitudes. T h i s expression t o o k many forms including "art for art's s a k e , " eccentricity, dandyism, and Decadentism. T h e idea of "l'art pour l'art" as conceived by the Parnassian T h é o p h i l e Gautier ( 1 8 1 1 - 1 8 7 2 ) appealed to the poetic imaginations of the early Modernists. W i t h this rallying call they summarized the artist's renunci­ ation of vulgar utilitarianism.

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