In the work of Vicente Aleixandre’s first period, the poet is interested primarily in terrible mythic elements of nature without people; he is chaotic, delirious, and grotesque. His is a kind of rebellion against the middle class that hems him in, but he is not yet aware that to save himself from its oppression he must transform his blind, ineffective rebellion into a conscious, efficient one. In his middle period, although Aleixandre continues to take refuge in myth to escape the horrible realities of the day, he faces them as he recalls his family and past, realizing that he cannot remain aloof from history, politics, and other realities when people believe in him. Finally, in his later work, the poet becomes academic, literary, cultured, and decorative. Gradually, finding historical and telluric man and his own dialectical reality, Aleixandre identifies with the public, and the amorous solidarity of the man and poet with all creation is complete.
The idea that love equals death is the leitmotif of almost all Aleixandre’s poetry; it appears most clearly in his recurring images of the sea. In addition to repressed sexuality, a neurotic and somewhat limited group of fantasies recur throughout his oeuvre, many of them associated with the sea. His early years in Málaga impressed the sea on his consciousness, so that it became for him a symbol of youth, equated in turn with innocence, happiness, and his mother (in psychoanalytic dream interpretation, the sea often symbolizes the mother). His desire to return and merge with that happiness and all it represents implies his death as an individual, as he is absorbed by a larger unit. Intrauterine life, being premortal (except to the Church), is easily equated with postmortal life—life before birth equals life after death.