His time in Spain, where he resided from 1914 to 1924, was considered his best creative period and when he became a great writer and master of literature.

In Spain, where he experienced financial difficulties, he dedicated himself to literature and combined it with journalism.
He worked in the Centro de Estudios Históricos (Historical Study Center) of Madrid under the direction of Ramón Menéndez Pidal.
In 1919, he was named the Mexican commission secretary "Francisco del Paso y Troncoso", the same year that Cantar de mio Cid was put into prose.

Many of his friends insisted that he was a natural in Spanish and should pursue a career in politics, but he declined to do so.
One time he was presented with an offer to teach, but he rejected it.
He was more interested in the aesthetics of Benedetto Croce.
He published numerous essays about poetry of the Spanish Golden Age, such as Baroque y Góngora; on top of that he was one of the first writers to study poetry of Juana Inés de la Cruz.
From 1917 he produced Cartones de Madrid, his small masterpiece, Visión de Anáhuac, El suicida, and in 1921, El cazador.
He was a collaborator of the magazines of "Revista de Filología Española", Revista de Occidente and "Revue Hisanique".
His works about Spanish literature, older classical literature and aesthetics are notable, and among the more notable of that time, "Cuestiones estéticas" (1911).
In Spain he organized a ceremony on 11 September 1923 in the Real Jardín Botánico de Madrid (Real Botanical Garden of Madrid) to honor the memory of the symbolic poet Stéphane Mallarmé.

After 1924 he developed a diplomatic and social life in Paris, Buenos Aires and Rio de Janeiro.
He translated a Mallarmé and edited his own literary mail, "Monterrey," publishing it in 1930.
He wrote to friends abroad in every part of the world and gave talks, spoke at conferences and contributed to homages and cultural events.

He published among others, "Cuestiones gongorinas" (1927), "Capítulos de literatura española" (1939–195), "Discurso por Virgilio" (1931).
His poetic works reveal a profound knowledge of the formal means, notably "Ifigenia cruel" (1924), "Pausa" (1926), "5 casi sonetos" (1931), "Otra voz" (1936) and "Cantata en la tumba de Federico García Lorca" (1937).

Reyes left a left a legacy of work as a translator (Laurence Sterne, G.K. Chesterton, Anton Chekhov) and as an editor (Ruiz de Alarcón, Cantar del mio Cid, Lope de Vega, Baltasar Gracián, Juan Ruiz, Francisco de Quevedo).
His time in Spain, where he resided from 1914 to 1924, was considered his best creative period and when he became a great writer and master of literature.
In Spain, where he experienced financial difficulties, he dedicated himself to literature and combined it with journalism. He worked in the Centro de Estudios Históricos (Historical Study Center) of Madrid under the direction of Ramón Menéndez Pidal. In 1919, he was named the Mexican commission secretary "Francisco del Paso y Troncoso", the same year that Cantar de mio Cid was put into prose.
Many of his friends insisted that he was a natural in Spanish and should pursue a career in politics, but he declined to do so. One time he was presented with an offer to teach, but he rejected it. He was more interested in the aesthetics of Benedetto Croce. He published numerous essays about poetry of the Spanish Golden Age, such as Baroque y Góngora; on top of that he was one of the first writers to study poetry of Juana Inés de la Cruz. From 1917 he produced Cartones de Madrid, his small masterpiece, Visión de Anáhuac, El suicida, and in 1921, El cazador. He was a collaborator of the magazines of "Revista de Filología Española", Revista de Occidente and "Revue Hisanique". His works about Spanish literature, older classical literature and aesthetics are notable, and among the more notable of that time, "Cuestiones estéticas" (1911). In Spain he organized a ceremony on 11 September 1923 in the Real Jardín Botánico de Madrid (Real Botanical Garden of Madrid) to honor the memory of the symbolic poet Stéphane Mallarmé.
After 1924 he developed a diplomatic and social life in Paris, Buenos Aires and Rio de Janeiro. He translated a Mallarmé and edited his own literary mail, "Monterrey," publishing it in 1930. He wrote to friends abroad in every part of the world and gave talks, spoke at conferences and contributed to homages and cultural events.
He published among others, "Cuestiones gongorinas" (1927), "Capítulos de literatura española" (1939–195), "Discurso por Virgilio" (1931). His poetic works reveal a profound knowledge of the formal means, notably "Ifigenia cruel" (1924), "Pausa" (1926), "5 casi sonetos" (1931), "Otra voz" (1936) and "Cantata en la tumba de Federico García Lorca" (1937).
Reyes left a left a legacy of work as a translator (Laurence Sterne, G.K. Chesterton, Anton Chekhov) and as an editor (Ruiz de Alarcón, Cantar del mio Cid, Lope de Vega, Baltasar Gracián, Juan Ruiz, Francisco de Quevedo).
Alfonso Reyes