recognition of the rights of women to be treated like their male companions. It could be said that de Champourcín suffered the bad luck of the so-called " third ways ", since she was not clearly on the right or left, as was also the case in very different circumstances, with Ortega y Gasset, who was rejected by some as an atheist and by others as an elitist, and simultaneously accused of being on the right and being on the left. Emilio Lamo d'Espinosa also considers that Champourcín's position can also be ascribed to her own personality, her independence, and her will to not be typified, categorized, or reified. Even though we can consider Champourcín as the only woman who really was in a situation of equality with the other poets today called the Generation of ‘27, her recognition in Spain was slow in coming. Her admirers had to wait until 1989, when she was awarded the Euskadi Prize for Literature in Castilian in the Poetry modality is granted to her (1989), which was followed by the Progressive Woman Prize, her nomination to the Prince of Asturias Prize for Letters in 1992 and the Medal for Artistic Merit of Madrid City Council in 1997. Stages in her poetry First stage: poetry of human love Ernestina's work is divided into three stages, two of which are very clear. A first stage, that of the poetry of human love, includes the four books published before the civil war: from En silencio (1926) to Cántico inútil (1936). In these works the author evolves from origins that could be described as pertaining to late-romanticism and modernism to a “pure poetry” very close to that of Juan Ramón Jiménez. Second stage: poetry of divine love This stage is separated from the previous stage by a period characterised by a gap in her writing at the beginning of her exile in Mexico, resulting from her need to work to earn a living. After this period of literary silence came the stage of the poetry of divine love (1936–1974) . This begins with Presencia a oscuras (1952), a work that represents a new thematic focus in her poetry. The theme shifts from human love to divine love. During this period, the protagonist of El nombre que me diste... (1960), Cárcel (1964), Hai-kais espirituales (1967), Cartas cerradas (1968) and Poemas del ser y del estar (1972), expresses deep