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螡蟿慰蠀苇谓蟿蔚
韦慰 魏蔚委渭蔚谓慰 纬喂伪 蟿慰 "谓蟿慰蠀苇谓蟿蔚" (duende) 蟺蟻慰苇蟻蠂蔚蟿伪喂 伪蟺蠈 蟿畏谓 未喂维位蔚尉畏 蟺慰蠀 苇未蠅蟽蔚 慰 螞蠈蟻魏伪 蟿慰谓 螣魏蟿蠋尾蟻喂慰 蟿慰蠀 1934 蟽蟿慰 螠蟺慰蠀苇谓慰蟼 螁喂蟻蔚蟼, 魏伪蟿维 蟿畏谓 未喂维蟻魏蔚喂伪 蟿畏蟼 蟺蔚蟻喂慰未蔚委伪蟼 蟺慰蠀 苇魏伪谓蔚 蟿蠈蟿蔚 蟽蟿畏谓 螞伪蟿喂谓喂魏萎 螒渭蔚蟻喂魏萎. 韦慰 魏蔚委渭蔚谓慰 蟺蔚蟻喂位伪渭尾维谓蔚蟿伪喂 蟽蟿伪 维蟺伪谓蟿伪 蟿慰蠀 螞蠈蟻魏伪, 蟺慰蠀 蔚魏未蠈胃畏魏伪谓 渭蔚蟿维 蟿慰谓 胃维谓伪蟿蠈 蟿慰蠀. 螣 蟺慰喂畏蟿萎蟼 未蔚谓 蟿慰 蔚委未蔚 蟺慰蟿苇 未畏渭慰蟽喂蔚蠀渭苇谓慰.
韦慰 谓蟿慰蠀苇谓蟿蔚 蔚委谓伪喂 渭喂伪 伪蟺蠈 魏蔚委谓蔚蟼 蟿喂蟼 位苇尉蔚喂蟼 蟺慰蠀 蠁苇蟻谓慰蠀谓 伪渭畏蠂伪谓委伪 蟽蔚 位蔚尉喂魏慰纬蟻维蠁慰蠀蟼, 蠁喂位慰蟽蠈蠁慰蠀蟼 魏伪喂 蟺蟻慰蟺伪谓蟿蠈蟼 渭蔚蟿伪蠁蟻伪蟽蟿苇蟼, 纬喂伪蟿委 蔚委谓伪喂 未蠉蟽魏慰位慰 蠈蠂喂 渭蠈谓慰谓 谓伪 渭蔚蟿伪蠁蟻伪蟽蟿慰蠉谓, 维位位伪 魏伪喂 谓伪 慰蟻喂蟽蟿慰蠉谓 渭苇蟽伪 蟽蟿伪 蟺位伪委蟽喂伪 蟿畏蟼 未喂魏萎蟼 蟿慰蠀蟼 纬位蠋蟽蟽伪蟼. 螘委谓伪喂 伪蟺蠈 蟿伪 未畏渭喂慰蠀蟻纬萎渭伪蟿伪 蟿畏蟼 喂未喂伪委蟿蔚蟻畏蟼 蔚魏蔚委谓畏蟼 渭伪蟿喂维蟼 魏伪喂 蟺蟻蠈蟽位畏蠄畏蟼 蟿慰蠀 魏蠈蟽渭慰蠀 蟺慰蠀 魏维胃蔚 位伪蠈蟼 伪蟺慰蟿蠀蟺蠋谓蔚喂 蟽蟿畏 纬位蠋蟽蟽伪 蟿慰蠀, 蟺慰蠀 伪蟺慰蟿蔚位蔚委 维位位蠅蟽蟿蔚 魏伪喂 蟿畏谓 伪蟺慰魏蟻蠀蟽蟿伪位位蠅渭苇谓畏 蟽蠀谓蔚委未畏蟽畏 魏伪喂 蟽魏苇蠄畏 蟿慰蠀 蟺慰位喂蟿喂蟽渭慰蠉 蟿慰蠀. 螕喂' 伪蠀蟿蠈 维蠁畏蟽伪 蟿慰 "谓蟿慰蠀苇谓蟿蔚" 伪渭蔚蟿维蠁蟻伪蟽蟿慰. 螌位蔚蟼 慰喂 纬位蠋蟽蟽蔚蟼 苇蠂慰蠀谓 蟺伪蟻蠈渭慰喂蔚蟼 位苇尉蔚喂蟼路 伪蟼 伪谓伪位慰纬喂蟽蟿蔚委 魏伪谓蔚委蟼 渭蔚蟻喂魏苇蟼 蔚位位畏谓喂魏苇蟼, 蠈蟺蠅蟼 渭蔚蟻维魏喂, 蠁喂位蠈蟿喂渭慰, 位蔚尾蔚谓蟿喂维... 螣喂 位苇尉蔚喂蟼 苇蠂慰蠀谓 蟺蟻蠅蟿委蟽蟿蠅蟼 蠂蟻萎蟽蔚喂蟼, 蠈蠂喂 苇谓谓慰喂蔚蟼.
韦慰 魏蔚委渭蔚谓慰 伪蠀蟿蠈 未蔚谓 蔚委谓伪喂 伪蠀蟽蟿畏蟻萎 伪喂蟽胃畏蟿喂魏萎 蟺蟻伪纬渭伪蟿蔚委伪. 螘委谓伪喂 渭维位位慰谓 苇谓伪 伪蟺蠈 蟽蟿萎胃慰蠀蟼 蔚谓胃慰蠀蟽喂伪蟽蟿喂魏蠈 未慰魏委渭喂慰 纬喂伪 蟿畏谓 魏伪位位喂蟿蔚蠂谓喂魏萎 未畏渭喂慰蠀蟻纬委伪, 纬喂伪 蟿畏谓 未畏渭喂慰蠀蟻纬委伪 蔚谓 纬苇谓蔚喂, 纬喂伪 蟿慰谓 蔚谓胃慰蠀蟽喂伪蟽渭蠈 蔚谓 纬苇谓蔚喂, 蟺慰蠀 蟺伪蟻伪蟺苇渭蟺蔚喂 蟽蟿畏谓 伪蟻蠂喂魏萎 蔚蟿蠀渭慰位慰纬委伪 蟿畏蟼 位苇尉畏蟼 (蔚谓 + 胃蔚蠈蟼 + 慰蠀蟽委伪). 螠喂伪 伪蟺蠈蟺蔚喂蟻伪 纬喂伪 蠄畏位维蠁喂蟽畏 蟽蟿伪 位喂纬蠈蟿蔚蟻慰 蟽蠀谓蔚喂未畏蟿维 蔚蟺委蟺蔚未伪 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 未畏渭喂慰蠀蟻纬喂魏蠈蟿畏蟿伪蟼, 蠈蟺慰蠀 伪蟺慰魏伪位蠉蟺蟿蔚蟿伪喂 畏 尾伪胃蠉蟿蔚蟻畏 蟽蠂苇蟽畏 蟺谓蔚蠉渭伪蟿慰蟼 魏伪喂 蠁蠉蟽畏蟼.
(伪蟺蠈 蟿伪 蟺蟻慰位蔚纬蠈渭蔚谓伪 蟿慰蠀 螕喂蠋蟻纬慰蠀 螕蔚蠅蟻纬慰蠉蟽畏)
韦慰 谓蟿慰蠀苇谓蟿蔚 蔚委谓伪喂 渭喂伪 伪蟺蠈 魏蔚委谓蔚蟼 蟿喂蟼 位苇尉蔚喂蟼 蟺慰蠀 蠁苇蟻谓慰蠀谓 伪渭畏蠂伪谓委伪 蟽蔚 位蔚尉喂魏慰纬蟻维蠁慰蠀蟼, 蠁喂位慰蟽蠈蠁慰蠀蟼 魏伪喂 蟺蟻慰蟺伪谓蟿蠈蟼 渭蔚蟿伪蠁蟻伪蟽蟿苇蟼, 纬喂伪蟿委 蔚委谓伪喂 未蠉蟽魏慰位慰 蠈蠂喂 渭蠈谓慰谓 谓伪 渭蔚蟿伪蠁蟻伪蟽蟿慰蠉谓, 维位位伪 魏伪喂 谓伪 慰蟻喂蟽蟿慰蠉谓 渭苇蟽伪 蟽蟿伪 蟺位伪委蟽喂伪 蟿畏蟼 未喂魏萎蟼 蟿慰蠀蟼 纬位蠋蟽蟽伪蟼. 螘委谓伪喂 伪蟺蠈 蟿伪 未畏渭喂慰蠀蟻纬萎渭伪蟿伪 蟿畏蟼 喂未喂伪委蟿蔚蟻畏蟼 蔚魏蔚委谓畏蟼 渭伪蟿喂维蟼 魏伪喂 蟺蟻蠈蟽位畏蠄畏蟼 蟿慰蠀 魏蠈蟽渭慰蠀 蟺慰蠀 魏维胃蔚 位伪蠈蟼 伪蟺慰蟿蠀蟺蠋谓蔚喂 蟽蟿畏 纬位蠋蟽蟽伪 蟿慰蠀, 蟺慰蠀 伪蟺慰蟿蔚位蔚委 维位位蠅蟽蟿蔚 魏伪喂 蟿畏谓 伪蟺慰魏蟻蠀蟽蟿伪位位蠅渭苇谓畏 蟽蠀谓蔚委未畏蟽畏 魏伪喂 蟽魏苇蠄畏 蟿慰蠀 蟺慰位喂蟿喂蟽渭慰蠉 蟿慰蠀. 螕喂' 伪蠀蟿蠈 维蠁畏蟽伪 蟿慰 "谓蟿慰蠀苇谓蟿蔚" 伪渭蔚蟿维蠁蟻伪蟽蟿慰. 螌位蔚蟼 慰喂 纬位蠋蟽蟽蔚蟼 苇蠂慰蠀谓 蟺伪蟻蠈渭慰喂蔚蟼 位苇尉蔚喂蟼路 伪蟼 伪谓伪位慰纬喂蟽蟿蔚委 魏伪谓蔚委蟼 渭蔚蟻喂魏苇蟼 蔚位位畏谓喂魏苇蟼, 蠈蟺蠅蟼 渭蔚蟻维魏喂, 蠁喂位蠈蟿喂渭慰, 位蔚尾蔚谓蟿喂维... 螣喂 位苇尉蔚喂蟼 苇蠂慰蠀谓 蟺蟻蠅蟿委蟽蟿蠅蟼 蠂蟻萎蟽蔚喂蟼, 蠈蠂喂 苇谓谓慰喂蔚蟼.
韦慰 魏蔚委渭蔚谓慰 伪蠀蟿蠈 未蔚谓 蔚委谓伪喂 伪蠀蟽蟿畏蟻萎 伪喂蟽胃畏蟿喂魏萎 蟺蟻伪纬渭伪蟿蔚委伪. 螘委谓伪喂 渭维位位慰谓 苇谓伪 伪蟺蠈 蟽蟿萎胃慰蠀蟼 蔚谓胃慰蠀蟽喂伪蟽蟿喂魏蠈 未慰魏委渭喂慰 纬喂伪 蟿畏谓 魏伪位位喂蟿蔚蠂谓喂魏萎 未畏渭喂慰蠀蟻纬委伪, 纬喂伪 蟿畏谓 未畏渭喂慰蠀蟻纬委伪 蔚谓 纬苇谓蔚喂, 纬喂伪 蟿慰谓 蔚谓胃慰蠀蟽喂伪蟽渭蠈 蔚谓 纬苇谓蔚喂, 蟺慰蠀 蟺伪蟻伪蟺苇渭蟺蔚喂 蟽蟿畏谓 伪蟻蠂喂魏萎 蔚蟿蠀渭慰位慰纬委伪 蟿畏蟼 位苇尉畏蟼 (蔚谓 + 胃蔚蠈蟼 + 慰蠀蟽委伪). 螠喂伪 伪蟺蠈蟺蔚喂蟻伪 纬喂伪 蠄畏位维蠁喂蟽畏 蟽蟿伪 位喂纬蠈蟿蔚蟻慰 蟽蠀谓蔚喂未畏蟿维 蔚蟺委蟺蔚未伪 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 未畏渭喂慰蠀蟻纬喂魏蠈蟿畏蟿伪蟼, 蠈蟺慰蠀 伪蟺慰魏伪位蠉蟺蟿蔚蟿伪喂 畏 尾伪胃蠉蟿蔚蟻畏 蟽蠂苇蟽畏 蟺谓蔚蠉渭伪蟿慰蟼 魏伪喂 蠁蠉蟽畏蟼.
(伪蟺蠈 蟿伪 蟺蟻慰位蔚纬蠈渭蔚谓伪 蟿慰蠀 螕喂蠋蟻纬慰蠀 螕蔚蠅蟻纬慰蠉蟽畏)
78 pages, Paperback
First published January 1, 1933
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About the author
Federico Garc铆a Lorca
1,461听books2,935听followersBorn in Fuente Vaqueros, Granada, Spain, June 5 1898; died near Granada, August 19 1936, Garc铆a Lorca is one of Spain's most deeply appreciated and highly revered poets and dramatists. His murder by the Nationalists at the start of the Spanish civil war brought sudden international fame, accompanied by an excess of political rhetoric which led a later generation to question his merits; after the inevitable slump, his reputation has recovered (largely with a shift in interest to the less obvious works). He must now be bracketed with Machado as one of the two greatest poets Spain has produced in the 20th century, and he is certainly Spain's greatest dramatist since the Golden Age.
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Displaying 1 - 30 of 87 reviews
September 13, 2023
This work has a slightly ironic and casual tone at the beginning to stir up sentences and a reality that wants to be (which is) deep, unexpected lighting and comparisons, the beauty of the images.
It develops in digressions and divergent orientations to better define the essential.
We find, in addition to Socrates and Descartes, V茅lasquez, Zurbar脿n, Goya, of course, and Keats, bullfighters, Goethe, Paganini, Manuel Torres, "great artist of the Andalusian people" (who does not have it), Nietzsche, C茅zanne, Saint Theresa ( d 'Avila of course). Rimbaud, "dark Hispanic genius," with Ignacio Espeleta, "handsome as a Roman turtle," and Elvira la Caliente, "noble whore of Sevilla," Quevedo, Vald猫s L茅al, dancers and dancers, and a boy from Salamanca killed by a bull, and others, and by night, plants.
It develops in digressions and divergent orientations to better define the essential.
We find, in addition to Socrates and Descartes, V茅lasquez, Zurbar脿n, Goya, of course, and Keats, bullfighters, Goethe, Paganini, Manuel Torres, "great artist of the Andalusian people" (who does not have it), Nietzsche, C茅zanne, Saint Theresa ( d 'Avila of course). Rimbaud, "dark Hispanic genius," with Ignacio Espeleta, "handsome as a Roman turtle," and Elvira la Caliente, "noble whore of Sevilla," Quevedo, Vald猫s L茅al, dancers and dancers, and a boy from Salamanca killed by a bull, and others, and by night, plants.
April 19, 2017
韦喂 蔚委谓伪喂 蟿慰 谓蟿慰蠀苇谓蟿蔚;
螖蔚谓 蔚委谓伪喂 畏 渭慰蠉蟽伪 蟺慰蠀 蔚蟺喂魏伪位慰蠉谓蟿伪谓 慰喂 伪蟻蠂伪委慰喂 未蟻伪渭伪蟿慰蠀蟻纬慰委 魏伪喂 蠈位慰喂 慰喂 魏伪位位喂蟿苇蠂谓蔚蟼鈥�
螖蔚谓 蔚委谓伪喂 慰 维纬纬蔚位慰蟼 蟺慰蠀 魏蟻蠉尾蔚蟿伪喂 渭苇蟽伪 蟽蔚 蠈位蔚蟼 蟿喂蟼 未畏渭喂慰蠀蟻纬委蔚蟼鈥�
螘委谓伪喂 畏 苇谓蠅蟽畏 蟿畏蟼 蟿苇蠂谓畏蟼 渭蔚 蟿慰 渭慰谓慰蟺维蟿喂 蟿慰蠀 胃伪谓维蟿慰蠀, 蔚委谓伪喂 蟿慰 蟿蟻伪纬慰蠉未喂 蟺慰蠀 尾纬伪委谓蔚喂 蟽伪谓 蟽喂谓蟿蟻喂尾维谓喂 伪委渭伪蟿慰蟼 渭苇蟽伪 伪蟺蠈 蟿慰蠀蟼 蟿蟻伪纬慰蠀未喂蟽蟿苇蟼 蟿慰蠀 蠁位伪渭苇谓魏慰 蟿畏谓 蠋蟻伪 蟺慰蠀 慰喂 蟽蠀蠂谓蠈蟿畏蟿蔚蟼 蟿慰蠀蟼 蟽蠀谓蟿慰谓委味慰谓蟿伪喂 渭蔚 伪蠀蟿苇蟼 蟿蠅谓 蠂慰蟻未蠋谓 蟿畏蟼 魏喂胃维蟻伪蟼鈥�
韦慰 谓蟿慰蠀苇谓蟿蔚 蟿慰蠀 未畏渭喂慰蠀蟻纬慰蠉 蟺蔚蟻谓维蔚喂 蟽蟿慰谓 蔚魏蟿蔚位蔚蟽蟿萎. 螚 渭慰蠉蟽伪 胃伪 蟺伪委尉蔚喂 蟿慰谓 蟻蠈位慰 蟿畏蟼 蠈渭蠅蟼 胃伪 蟺蟻苇蟺蔚喂 芦谓伪 尾纬蔚喂 伪蟺蠈 蟿慰 蟺伪蟻维胃蠀蟻慰禄. 韦慰 谓蟿慰蠀苇谓蟿蔚 蔚委谓伪喂 蟿慰 螁纬喂慰 螤谓蔚蠉渭伪, 蟿慰 蟺谓蔚蠉渭伪 蟺慰蠀 味蔚喂 渭苇蟽伪 渭伪蟼, 慰 未伪委渭慰谓伪蟼. 韦慰 未伪喂渭蠈谓喂慰 蟺慰蠀 蟺蟻慰蟽蟺维胃畏蟽蔚 慰 危蠅魏蟻维蟿畏蟼 谓伪 蔚尉畏纬萎蟽蔚喂 魏伪喂 蟿蔚位喂魏维 蟿慰谓 魏伪蟿维蟽蟿蟻蔚蠄蔚.
螣 螞蠈蟻魏伪 纬蟻维蠁蔚喂 纬喂伪 蟿慰 谓蟿慰蠀苇谓蟿蔚. 螕蟻维蠁蔚喂 尾喂蠅渭伪蟿喂魏维 伪蟺蠈 蟿喂蟼 蔚渭蟺蔚喂蟻委蔚蟼 蟿慰蠀 蟽蟿畏谓 蟿苇蠂谓畏 魏伪喂 蟿畏谓 伪纬维蟺畏 蟿慰蠀 蟽蟿伪 蟺伪蟻伪未慰蟽喂伪魏维 蠁位伪渭苇谓纬魏慰 魏伪喂 蟿喂蟼 蟿伪蠀蟻慰渭伪蠂委蔚蟼. 螘委谓伪喂 螒谓未伪位慰蠀蟽喂伪谓蠈蟼 魏伪喂 伪谓蟿喂位伪渭尾维谓蔚蟿伪喂 蠈蟺蠅蟼 魏伪谓苇谓伪蟼 维位位慰蟼 蟿畏谓 苇谓蠅蟽畏 蟿畏蟼 蟿苇蠂谓畏蟼 渭蔚 蟿慰谓 胃维谓伪蟿慰.
螒谓 蔚委蟽伪喂 蔚蟽蠉 畏 伪纬伪蟺畏渭苇谓畏 渭慰蠀,
螕喂伪蟿委 未蔚谓 渭蔚 魏慰喂蟿维味蔚喂蟼 蟺蔚蟼 渭慰蠀
螝维蟺慰蟿蔚 蔚委蠂伪 渭维蟿喂伪 谓伪 蟽蔚 未蠅,
韦蠋蟻伪 蟽蟿畏谓 蟽魏喂维 蟿伪 鈥樝囅� 未慰蟽渭苇谓伪
5/5.. 螁蟻蠅渭伪 螒谓未伪位慰蠀蟽委伪蟼 魏伪喂 喂蟽蟺伪谓喂魏萎蟼 魏慰蠀位蟿慰蠉蟻伪蟼鈥�
螤蟻慰蟽蠅蟺喂魏维 苇蠂慰谓蟿伪蟼 蟺蔚蟻蟺伪蟿萎蟽蔚喂 蟽蟿伪 蟽慰魏维魏喂伪 蟿畏蟼 螕蟻伪谓维未伪蟼 魏伪喂 蟿畏蟼 螝维谓蟿喂胃, 渭蟺慰蟻蠋 谓伪 魏伪蟿伪位维尾蠅 蟿畏谓 渭蔚纬维位畏 伪纬维蟺畏 蟿慰蠀 螞蠈蟻魏伪 纬喂伪 蟿畏谓 魏慰蟻蠉蠁蠅蟽畏 蟿畏蟼 蟿苇蠂谓畏蟼 渭苇蟽伪 渭伪蟼鈥�
违螕: 螚 渭伪纬蔚委伪 蟿蠅谓 蟿伪蠀蟻慰渭伪蠂喂蠋谓 蟽蟿畏谓 巍蠈谓蟿伪 魏伪喂 蟿蠅谓 蠁位伪渭苇谓魏慰 蟽蟿喂蟼 蟽蟺畏位喂苇蟼 蟿慰蠀 危伪魏蟻伪渭蠈谓蟿慰 渭蟺慰蟻慰蠉谓 伪渭蠁蠈蟿蔚蟻伪 谓伪 未畏渭喂慰蠀蟻纬萎蟽慰蠀谓 谓蟿慰蠀苇谓蟿蔚 蟿蠈蟽慰 蟽蟿慰谓 魏伪位位喂蟿苇蠂谓畏/蟿伪蠀蟻慰渭维蠂慰 蠈蟽慰 魏伪喂 蟽蟿慰谓 伪蟺位蠈 胃蔚伪蟿萎...
螖蔚谓 蔚委谓伪喂 畏 渭慰蠉蟽伪 蟺慰蠀 蔚蟺喂魏伪位慰蠉谓蟿伪谓 慰喂 伪蟻蠂伪委慰喂 未蟻伪渭伪蟿慰蠀蟻纬慰委 魏伪喂 蠈位慰喂 慰喂 魏伪位位喂蟿苇蠂谓蔚蟼鈥�
螖蔚谓 蔚委谓伪喂 慰 维纬纬蔚位慰蟼 蟺慰蠀 魏蟻蠉尾蔚蟿伪喂 渭苇蟽伪 蟽蔚 蠈位蔚蟼 蟿喂蟼 未畏渭喂慰蠀蟻纬委蔚蟼鈥�
螘委谓伪喂 畏 苇谓蠅蟽畏 蟿畏蟼 蟿苇蠂谓畏蟼 渭蔚 蟿慰 渭慰谓慰蟺维蟿喂 蟿慰蠀 胃伪谓维蟿慰蠀, 蔚委谓伪喂 蟿慰 蟿蟻伪纬慰蠉未喂 蟺慰蠀 尾纬伪委谓蔚喂 蟽伪谓 蟽喂谓蟿蟻喂尾维谓喂 伪委渭伪蟿慰蟼 渭苇蟽伪 伪蟺蠈 蟿慰蠀蟼 蟿蟻伪纬慰蠀未喂蟽蟿苇蟼 蟿慰蠀 蠁位伪渭苇谓魏慰 蟿畏谓 蠋蟻伪 蟺慰蠀 慰喂 蟽蠀蠂谓蠈蟿畏蟿蔚蟼 蟿慰蠀蟼 蟽蠀谓蟿慰谓委味慰谓蟿伪喂 渭蔚 伪蠀蟿苇蟼 蟿蠅谓 蠂慰蟻未蠋谓 蟿畏蟼 魏喂胃维蟻伪蟼鈥�
韦慰 谓蟿慰蠀苇谓蟿蔚 蟿慰蠀 未畏渭喂慰蠀蟻纬慰蠉 蟺蔚蟻谓维蔚喂 蟽蟿慰谓 蔚魏蟿蔚位蔚蟽蟿萎. 螚 渭慰蠉蟽伪 胃伪 蟺伪委尉蔚喂 蟿慰谓 蟻蠈位慰 蟿畏蟼 蠈渭蠅蟼 胃伪 蟺蟻苇蟺蔚喂 芦谓伪 尾纬蔚喂 伪蟺蠈 蟿慰 蟺伪蟻维胃蠀蟻慰禄. 韦慰 谓蟿慰蠀苇谓蟿蔚 蔚委谓伪喂 蟿慰 螁纬喂慰 螤谓蔚蠉渭伪, 蟿慰 蟺谓蔚蠉渭伪 蟺慰蠀 味蔚喂 渭苇蟽伪 渭伪蟼, 慰 未伪委渭慰谓伪蟼. 韦慰 未伪喂渭蠈谓喂慰 蟺慰蠀 蟺蟻慰蟽蟺维胃畏蟽蔚 慰 危蠅魏蟻维蟿畏蟼 谓伪 蔚尉畏纬萎蟽蔚喂 魏伪喂 蟿蔚位喂魏维 蟿慰谓 魏伪蟿维蟽蟿蟻蔚蠄蔚.
螣 螞蠈蟻魏伪 纬蟻维蠁蔚喂 纬喂伪 蟿慰 谓蟿慰蠀苇谓蟿蔚. 螕蟻维蠁蔚喂 尾喂蠅渭伪蟿喂魏维 伪蟺蠈 蟿喂蟼 蔚渭蟺蔚喂蟻委蔚蟼 蟿慰蠀 蟽蟿畏谓 蟿苇蠂谓畏 魏伪喂 蟿畏谓 伪纬维蟺畏 蟿慰蠀 蟽蟿伪 蟺伪蟻伪未慰蟽喂伪魏维 蠁位伪渭苇谓纬魏慰 魏伪喂 蟿喂蟼 蟿伪蠀蟻慰渭伪蠂委蔚蟼. 螘委谓伪喂 螒谓未伪位慰蠀蟽喂伪谓蠈蟼 魏伪喂 伪谓蟿喂位伪渭尾维谓蔚蟿伪喂 蠈蟺蠅蟼 魏伪谓苇谓伪蟼 维位位慰蟼 蟿畏谓 苇谓蠅蟽畏 蟿畏蟼 蟿苇蠂谓畏蟼 渭蔚 蟿慰谓 胃维谓伪蟿慰.
螒谓 蔚委蟽伪喂 蔚蟽蠉 畏 伪纬伪蟺畏渭苇谓畏 渭慰蠀,
螕喂伪蟿委 未蔚谓 渭蔚 魏慰喂蟿维味蔚喂蟼 蟺蔚蟼 渭慰蠀
螝维蟺慰蟿蔚 蔚委蠂伪 渭维蟿喂伪 谓伪 蟽蔚 未蠅,
韦蠋蟻伪 蟽蟿畏谓 蟽魏喂维 蟿伪 鈥樝囅� 未慰蟽渭苇谓伪
5/5.. 螁蟻蠅渭伪 螒谓未伪位慰蠀蟽委伪蟼 魏伪喂 喂蟽蟺伪谓喂魏萎蟼 魏慰蠀位蟿慰蠉蟻伪蟼鈥�
螤蟻慰蟽蠅蟺喂魏维 苇蠂慰谓蟿伪蟼 蟺蔚蟻蟺伪蟿萎蟽蔚喂 蟽蟿伪 蟽慰魏维魏喂伪 蟿畏蟼 螕蟻伪谓维未伪蟼 魏伪喂 蟿畏蟼 螝维谓蟿喂胃, 渭蟺慰蟻蠋 谓伪 魏伪蟿伪位维尾蠅 蟿畏谓 渭蔚纬维位畏 伪纬维蟺畏 蟿慰蠀 螞蠈蟻魏伪 纬喂伪 蟿畏谓 魏慰蟻蠉蠁蠅蟽畏 蟿畏蟼 蟿苇蠂谓畏蟼 渭苇蟽伪 渭伪蟼鈥�
违螕: 螚 渭伪纬蔚委伪 蟿蠅谓 蟿伪蠀蟻慰渭伪蠂喂蠋谓 蟽蟿畏谓 巍蠈谓蟿伪 魏伪喂 蟿蠅谓 蠁位伪渭苇谓魏慰 蟽蟿喂蟼 蟽蟺畏位喂苇蟼 蟿慰蠀 危伪魏蟻伪渭蠈谓蟿慰 渭蟺慰蟻慰蠉谓 伪渭蠁蠈蟿蔚蟻伪 谓伪 未畏渭喂慰蠀蟻纬萎蟽慰蠀谓 谓蟿慰蠀苇谓蟿蔚 蟿蠈蟽慰 蟽蟿慰谓 魏伪位位喂蟿苇蠂谓畏/蟿伪蠀蟻慰渭维蠂慰 蠈蟽慰 魏伪喂 蟽蟿慰谓 伪蟺位蠈 胃蔚伪蟿萎...
February 1, 2011
I have a new appreciation of Lorca after reading this book, which situates some of his best poems in the context of some stunningly well-written prose essays that spell out his ars poetica. Before I read this book, I confess I often felt frustrated by Lorca's insistence that poetry must be mysterious: the wispy, allusive, fragmentary feel of some of his poems (especially the short ones) made them feel incomplete to me; I wanted to see a fuller development of the themes he was setting up, not just a ritualistic naming of a few poetic-sounding nouns ("death," "balcony," "oranges," "wheat") followed by the exclamatory repetition of a refrain that I had only just begun to understand. Reading the beautifully clear essays in this book gave me a better understanding of what Lorca was aiming to achieve in his poetry; moreover, the three poems at the end of this collection are true masterpieces that demonstrate exactly how mystery, in the hands of a talented poet, can be an asset rather than a liability to a poem.
July 9, 2013
A must read for all artist of all type. Dig deep down into your bowels, be courageous and honest even if you feel exposed.
May 13, 2021
Risvolto
芦Billie Holiday e Tennessee Williams ce l'avevano. Ella Fitzgerald quasi, ma non proprio. E Miles Davis forse non aveva altro禄 (Kenneth Tynan). Il discorso che ha mostrato per la prima volta quale demone accomuni i toreri, i ballerini di flamenco e alcuni artisti.
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Si tratta del testo preparato da Garc铆a Lorca per una conferenza tenuta a Buenos Aires, nel salone della Sociedad de los Amigos del Arte nel 1933, pochi anni prima di venir fucilato dalla polizia franchista.
Confesso: non ho recepito tutto, perch茅 contiene numerosi richiami ad opere ed autori che non conosco. Ma a me interessava capire cosa fosse questo benedetto duende che spesso mi attraversa la strada. Non 猫 una musa, non 猫 un angelo, ma 猫 pur sempre qualcosa che si impossessa, ma che sta gi脿 dentro, nelle pi霉 recondite stanze del sangue.
鈥淚l duende non sta nella gola; il duende monta dentro, dalla pianta dei piedi. Vale a dire, non 猫 questione di capacit脿 ma di autentico stile vivo; vale a dire, di sangue; di antichissima cultura, e, al contempo, di creazione in atto鈥�. Insomma qualcosa di demoniaco che possiede il senso della morte, qualcosa con cui lottare.
鈥淧er cercare il duende non c鈥櫭� mappa n茅 esercizio. Si sa solo che brucia il sangue come un tropico di vetri, che estenua, che respinge tutta la dolce geometria appresa, che rompe gli stili, che si appoggia al dolore umano inconsolabile, che fa s矛 che Goya, maestro dei grigi, degli argenti e dei rosa della miglior pittura inglese, dipinga con le ginocchia e i pugni con orribili neri bitume鈥�.
E鈥� un folletto, una voce nuova, un vento mentale: i toreri, i ballerini di flamenco, e chi altro? E鈥� qualcosa con cui si nasce, e che poi cresce, che si nutre di conflitto. Brahms non lo possedeva, Bach s矛 (e su questo non sono d'accordo: anche Brahms lo possedeva, lo possedeva eccome).
Non troverete una definizione, qui, anche perch茅 definirlo significherebbe ingabbiarlo e i folletti non s'ingabbiano. Un鈥檃nalogia evidente semmai 猫 con il d谩imon greco, a met脿 strada tra ci貌 che 猫 divino e ci貌 che 猫 umano. Una disposizione con cui si nasce, non si acquisisce, n茅 si impara. Un fluido, una forza, un qualcosa che parte da dentro come un demone che si impossessa del corpo dell鈥檃rtista. Daimon, appunto, come lo chiamer脿 anche lo psicoanalista James Hillman ne "Il codice dell鈥檃nima".
芦Billie Holiday e Tennessee Williams ce l'avevano. Ella Fitzgerald quasi, ma non proprio. E Miles Davis forse non aveva altro禄 (Kenneth Tynan). Il discorso che ha mostrato per la prima volta quale demone accomuni i toreri, i ballerini di flamenco e alcuni artisti.
---------------
Si tratta del testo preparato da Garc铆a Lorca per una conferenza tenuta a Buenos Aires, nel salone della Sociedad de los Amigos del Arte nel 1933, pochi anni prima di venir fucilato dalla polizia franchista.
Confesso: non ho recepito tutto, perch茅 contiene numerosi richiami ad opere ed autori che non conosco. Ma a me interessava capire cosa fosse questo benedetto duende che spesso mi attraversa la strada. Non 猫 una musa, non 猫 un angelo, ma 猫 pur sempre qualcosa che si impossessa, ma che sta gi脿 dentro, nelle pi霉 recondite stanze del sangue.
鈥淚l duende non sta nella gola; il duende monta dentro, dalla pianta dei piedi. Vale a dire, non 猫 questione di capacit脿 ma di autentico stile vivo; vale a dire, di sangue; di antichissima cultura, e, al contempo, di creazione in atto鈥�. Insomma qualcosa di demoniaco che possiede il senso della morte, qualcosa con cui lottare.
鈥淧er cercare il duende non c鈥櫭� mappa n茅 esercizio. Si sa solo che brucia il sangue come un tropico di vetri, che estenua, che respinge tutta la dolce geometria appresa, che rompe gli stili, che si appoggia al dolore umano inconsolabile, che fa s矛 che Goya, maestro dei grigi, degli argenti e dei rosa della miglior pittura inglese, dipinga con le ginocchia e i pugni con orribili neri bitume鈥�.
E鈥� un folletto, una voce nuova, un vento mentale: i toreri, i ballerini di flamenco, e chi altro? E鈥� qualcosa con cui si nasce, e che poi cresce, che si nutre di conflitto. Brahms non lo possedeva, Bach s矛 (e su questo non sono d'accordo: anche Brahms lo possedeva, lo possedeva eccome).
Non troverete una definizione, qui, anche perch茅 definirlo significherebbe ingabbiarlo e i folletti non s'ingabbiano. Un鈥檃nalogia evidente semmai 猫 con il d谩imon greco, a met脿 strada tra ci貌 che 猫 divino e ci貌 che 猫 umano. Una disposizione con cui si nasce, non si acquisisce, n茅 si impara. Un fluido, una forza, un qualcosa che parte da dentro come un demone che si impossessa del corpo dell鈥檃rtista. Daimon, appunto, come lo chiamer脿 anche lo psicoanalista James Hillman ne "Il codice dell鈥檃nima".
December 29, 2009
in search of duende is a slim collection of expository essays in which garc铆a lorca considers the inspiring force of the duende, and its effects upon three differing art forms. this hard to define concept is made clear (or as clear as such a concept can be made) by the spanish poet through example and thoughtful consideration. "deep song" and "play and theory of the duende" are the highlights of this work. interspersed throughout are some of garc铆a lorca's poems, including the stunning "lament for ignacio s谩nchez mej铆as." though less than 100 pages, in search of duende is a powerful and sweeping insight into the roots of artistic creation.
the duende, then, is a power, not a work. it is a struggle, not a thought. i have heard an old maestro of the guitar say, "the duende is not in the throat; the duende climbs up inside you, from the soles of your feet." meaning this: it is not a question of ability, but of true, living style, of blood, of the most ancient culture, of spontaneous creation.
the duende.... where is the duende? through the empty arch comes a wind, a mental wind blowing relentlessly over the heads of the dead, in search of new landscapes and unknown accents; a wind that smells of baby's spittle, crushed grass, and jellyfish veil, announcing the constant baptism of newly created things.
the duende, then, is a power, not a work. it is a struggle, not a thought. i have heard an old maestro of the guitar say, "the duende is not in the throat; the duende climbs up inside you, from the soles of your feet." meaning this: it is not a question of ability, but of true, living style, of blood, of the most ancient culture, of spontaneous creation.
the duende.... where is the duende? through the empty arch comes a wind, a mental wind blowing relentlessly over the heads of the dead, in search of new landscapes and unknown accents; a wind that smells of baby's spittle, crushed grass, and jellyfish veil, announcing the constant baptism of newly created things.
May 12, 2009
This little book is filled with the writings, by Frederico Garcia Lorca, about duende. Difficult to define, Lorca says of duende: "an inexplicable power of attraction, the ability, on rare occasions, to send waves of emotion through those watching and listening to them. Lorca says: "The duende does not come at all unless he sees that death is possible . . . With idea, sound, or gesture, the duende enjoys fighting the creator on the very rim of the well."
Lorca talks about the differences between the muse, the angel, and the duende, with regard to certain types of creative expression: poetry spoken out loud, a primitive dance with ancient roots performed by spanish gypsy's and music, called "deep song."
He says there are at least four elements that can be isolated in duende: "irrationality, earthiness, a heightened awareness of death, and a dash of the diabolical. The duende is a demonic earth spirit who helps the artist see the limitations of intelligence ..."
Through lectures and poetry Lorca conveys this intense and deeply emotional place that few artists reach. A deep and thought-provoking read.
Lorca talks about the differences between the muse, the angel, and the duende, with regard to certain types of creative expression: poetry spoken out loud, a primitive dance with ancient roots performed by spanish gypsy's and music, called "deep song."
He says there are at least four elements that can be isolated in duende: "irrationality, earthiness, a heightened awareness of death, and a dash of the diabolical. The duende is a demonic earth spirit who helps the artist see the limitations of intelligence ..."
Through lectures and poetry Lorca conveys this intense and deeply emotional place that few artists reach. A deep and thought-provoking read.
January 29, 2023
Beautiful verse and well articulated essays. The prose in the collection represents Lorca's work well; I wish some of his love drunk poems were included, but the collection reads well anyway.
February 15, 2008
Le铆 esto, como todo lo de Garc铆a Lorca, en espa帽ol, pero no tienen el t铆tulo ni la fotito del libro cDm.
And it's Garc铆a Lorca, not just "Lorca", btw.
And it's Garc铆a Lorca, not just "Lorca", btw.
April 22, 2009
Trough the metaphore of Spain and the figures of the angel, the muse and the duende, Lorca tries to analyse what in his opinion makes the diference between a good art piece and and this specific and magical moment when creation can simply shake your body and soul. If you see this text as something more then just the first plain level of reading, it becomes real poetry. Duende is what I tried to get to all these years without being able to name it properly.
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January 23, 2018El concepto de duende que explica Garc铆a Lorca me recuerda al de artista poseso o dionis铆aco de Nietzsche (en El origen de la tragedia), en contraposici贸n con el artista art铆fice o apol铆neo.
El duende es "el misterio, las ra铆ces que se clavan en el limo que todos conocemos, que todos ignoramos, pero de donde nos llega lo que es sustancial en el arte. [...] es un poder y no un obrar, es un luchar y no un pensar. [...] no es cuesti贸n de facultad, sino de verdadero estilo vivo; es decir, de sangre; es decir, de viej铆sima cultura, de creaci贸n en acto". Compara su duende (que mueve a Espa帽a) con otras fuentes de inspiraci贸n: El 谩ngel (propio de Italia) da luces y, al estar por encima del ser humano, deslumbra y derrama su gloria y el artista realiza la obra sin esfuerzo pues ya est谩 predestinado. La musa (com煤n en Alemania) da formas: dicta y a veces sopla, est谩 relacionada con la inteligencia (que es enemiga de la poes铆a) y Lorca parece asociarla a lo r铆gido y lo pretencioso. Pero para encontrar al duende no hay mapa ni ejercicio, con 茅l uno lucha, el duende quema la sangre, agota, rompe los estilos. Rimbaud, Jorge Manrique, Lautr茅amont y los gitanos y andaluces "saben que no es posible ninguna emoci贸n sin la llegada del duende". No tiene que ver con facultades, t茅cnica o maestr铆a, sino con lo genuino, lo fresco, lo despojado de formas y seguridades. "Todas las artes son capaces de duende, pero donde encuentra m谩s campo, como es natural, es en la m煤sica, en la danza y en la poes铆a hablada, ya que estas necesitan un cuerpo vivo que interprete, porque son formas que nacen y mueren de modo perpetuo". Un rasgo peculiar del duende es que no se repite nunca, revela siempre lo in茅dito, como "las formas del mar en la borrasca".
Se detiene a explicar la 铆ntima relaci贸n que tiene Espa帽a con la muerte, en sus dos costados: el 谩spero y el l铆rico. El duende est谩 vinculado con la muerte, y mientras la musa y el 谩ngel se lamentan, 茅l lucha y hiere (y es una herida que no se cierra nunca en el artista).
"En Espa帽a (como en los pueblos de Oriente, donde la danza es expresi贸n religiosa) tiene el duende un campo sin l铆mites sobre los cuerpos de las bailarinas de C谩diz, [...] sobre los pechos de los que cantan, [...] y en toda la liturgia de los toros, aut茅ntico drama religioso donde, de la misma manera que en la misa, se adora y se sacrifica a un Dios". Dice Garc铆a Lorca que el duende se resume "en esta fiesta perfecta, exponente de la cultura y de la gran sensibilidad de un pueblo que descubre en el hombre sus mejores iras, sus mejores bilis y su mejor llanto. Ni en el baile espa帽ol ni en los toros se divierte nadie; el duende se encarga de hacer sufrir por medio del drama [...]".
Intertextualidad
Menciones directas:
* Conversaciones con Eckermann de Johann Wolfgang von Goethe (Sacro Imperio Romano Germ谩nico, 1827) (cita).
* Sue帽o del Juicio Final o El sue帽o de las calaveras de Francisco de Quevedo (Espa帽a, 1605).
* Canci贸n "La sangre de mis entra帽as...", an贸nima (Espa帽a, s. XVII) (cita).
* Balada "Si t煤 eres mi linda amiga...", an贸nima (Espa帽a, ?) (cita).
* Poema "Dentro del vergel...", an贸nimo (Espa帽a, ?) (cita).
* C谩ntico espiritual de Juan de la Cruz (Espa帽a, 1578) (cita).
* Menci贸n al episodio del mono parlante en Don Quijote de la Mancha de Miguel de Cervantes (Espa帽a, 1615).
* Menci贸n al demonio o genio maligno de Descartes postulado en sus Meditaciones metaf铆sicas (Francia, 1641).
* Menci贸n a Geri贸n, el gigante monstruoso de tres cuerpos de la mitolog铆a griega, a quien Heracles rob贸 y mat贸 como parte de sus doce trabajos, cuya primera menci贸n de que se tiene registro est谩 en la Gerioneida de Estes铆coro (Grecia, s. VI a. C.).
* Menci贸n al personaje Pleberio de La Celestina de Fernando de Rojas (Espa帽a, ca. 1499).
* Menci贸n a los escritores Friedrich Nietzsche (Alemania, s. XIX), Ren茅 Descartes (Francia, s. XVII), Guillaume Apollinaire (Francia, s. XX), Juan de la Cruz (Espa帽a, s. XVI), Jacinto Verdaguer (Espa帽a, s. XIX), Jorge Manrique (Espa帽a, s. XV), Arthur Rimbaud (Francia, s. XIX), Conde de Lautr茅amont (Uruguay/Francia, s. XIX), Pedro Soto de Rojas (Espa帽a, s. XVII), Ioannes Climacus/Juan Cl铆maco (Siria, s. VII), Jos茅 de Valdivielso (Espa帽a, s. XVII), Jos茅 de Sig眉enza (Espa帽a, s. XVI-XVII), Lucrecio (Roma, s. I a. C.), John Keats (Inglaterra, s. XIX), Alfonso 脕lvarez de Villasandino (Espa帽a, s. XIV-XV), Fernando de Herrera (Espa帽a, s. XVI), Gustavo Adolfo B茅cquer (Espa帽a, s. XIX), Juan Ram贸n Jim茅nez (Espa帽a, s. XX), Teresa de Jes煤s (Espa帽a, s. XVI), Marcial (Roma, s. I), Juvenal (Roma, s. I-II), Lope de Vega (Espa帽a, s. XVII), Luis de G贸ngora (Espa帽a, s. XVI-XVII), Garcilaso de la Vega (s. XVI), Gonzalo de Berceo (Espa帽a, s. XIII), Arcipreste de Hita (Espa帽a, s. XIV) y Jean-Jacques Rousseau (Francia, s. XVIII).
El duende es "el misterio, las ra铆ces que se clavan en el limo que todos conocemos, que todos ignoramos, pero de donde nos llega lo que es sustancial en el arte. [...] es un poder y no un obrar, es un luchar y no un pensar. [...] no es cuesti贸n de facultad, sino de verdadero estilo vivo; es decir, de sangre; es decir, de viej铆sima cultura, de creaci贸n en acto". Compara su duende (que mueve a Espa帽a) con otras fuentes de inspiraci贸n: El 谩ngel (propio de Italia) da luces y, al estar por encima del ser humano, deslumbra y derrama su gloria y el artista realiza la obra sin esfuerzo pues ya est谩 predestinado. La musa (com煤n en Alemania) da formas: dicta y a veces sopla, est谩 relacionada con la inteligencia (que es enemiga de la poes铆a) y Lorca parece asociarla a lo r铆gido y lo pretencioso. Pero para encontrar al duende no hay mapa ni ejercicio, con 茅l uno lucha, el duende quema la sangre, agota, rompe los estilos. Rimbaud, Jorge Manrique, Lautr茅amont y los gitanos y andaluces "saben que no es posible ninguna emoci贸n sin la llegada del duende". No tiene que ver con facultades, t茅cnica o maestr铆a, sino con lo genuino, lo fresco, lo despojado de formas y seguridades. "Todas las artes son capaces de duende, pero donde encuentra m谩s campo, como es natural, es en la m煤sica, en la danza y en la poes铆a hablada, ya que estas necesitan un cuerpo vivo que interprete, porque son formas que nacen y mueren de modo perpetuo". Un rasgo peculiar del duende es que no se repite nunca, revela siempre lo in茅dito, como "las formas del mar en la borrasca".
Se detiene a explicar la 铆ntima relaci贸n que tiene Espa帽a con la muerte, en sus dos costados: el 谩spero y el l铆rico. El duende est谩 vinculado con la muerte, y mientras la musa y el 谩ngel se lamentan, 茅l lucha y hiere (y es una herida que no se cierra nunca en el artista).
"En Espa帽a (como en los pueblos de Oriente, donde la danza es expresi贸n religiosa) tiene el duende un campo sin l铆mites sobre los cuerpos de las bailarinas de C谩diz, [...] sobre los pechos de los que cantan, [...] y en toda la liturgia de los toros, aut茅ntico drama religioso donde, de la misma manera que en la misa, se adora y se sacrifica a un Dios". Dice Garc铆a Lorca que el duende se resume "en esta fiesta perfecta, exponente de la cultura y de la gran sensibilidad de un pueblo que descubre en el hombre sus mejores iras, sus mejores bilis y su mejor llanto. Ni en el baile espa帽ol ni en los toros se divierte nadie; el duende se encarga de hacer sufrir por medio del drama [...]".
Intertextualidad
Menciones directas:
* Conversaciones con Eckermann de Johann Wolfgang von Goethe (Sacro Imperio Romano Germ谩nico, 1827) (cita).
* Sue帽o del Juicio Final o El sue帽o de las calaveras de Francisco de Quevedo (Espa帽a, 1605).
* Canci贸n "La sangre de mis entra帽as...", an贸nima (Espa帽a, s. XVII) (cita).
* Balada "Si t煤 eres mi linda amiga...", an贸nima (Espa帽a, ?) (cita).
* Poema "Dentro del vergel...", an贸nimo (Espa帽a, ?) (cita).
* C谩ntico espiritual de Juan de la Cruz (Espa帽a, 1578) (cita).
* Menci贸n al episodio del mono parlante en Don Quijote de la Mancha de Miguel de Cervantes (Espa帽a, 1615).
* Menci贸n al demonio o genio maligno de Descartes postulado en sus Meditaciones metaf铆sicas (Francia, 1641).
* Menci贸n a Geri贸n, el gigante monstruoso de tres cuerpos de la mitolog铆a griega, a quien Heracles rob贸 y mat贸 como parte de sus doce trabajos, cuya primera menci贸n de que se tiene registro est谩 en la Gerioneida de Estes铆coro (Grecia, s. VI a. C.).
* Menci贸n al personaje Pleberio de La Celestina de Fernando de Rojas (Espa帽a, ca. 1499).
* Menci贸n a los escritores Friedrich Nietzsche (Alemania, s. XIX), Ren茅 Descartes (Francia, s. XVII), Guillaume Apollinaire (Francia, s. XX), Juan de la Cruz (Espa帽a, s. XVI), Jacinto Verdaguer (Espa帽a, s. XIX), Jorge Manrique (Espa帽a, s. XV), Arthur Rimbaud (Francia, s. XIX), Conde de Lautr茅amont (Uruguay/Francia, s. XIX), Pedro Soto de Rojas (Espa帽a, s. XVII), Ioannes Climacus/Juan Cl铆maco (Siria, s. VII), Jos茅 de Valdivielso (Espa帽a, s. XVII), Jos茅 de Sig眉enza (Espa帽a, s. XVI-XVII), Lucrecio (Roma, s. I a. C.), John Keats (Inglaterra, s. XIX), Alfonso 脕lvarez de Villasandino (Espa帽a, s. XIV-XV), Fernando de Herrera (Espa帽a, s. XVI), Gustavo Adolfo B茅cquer (Espa帽a, s. XIX), Juan Ram贸n Jim茅nez (Espa帽a, s. XX), Teresa de Jes煤s (Espa帽a, s. XVI), Marcial (Roma, s. I), Juvenal (Roma, s. I-II), Lope de Vega (Espa帽a, s. XVII), Luis de G贸ngora (Espa帽a, s. XVI-XVII), Garcilaso de la Vega (s. XVI), Gonzalo de Berceo (Espa帽a, s. XIII), Arcipreste de Hita (Espa帽a, s. XIV) y Jean-Jacques Rousseau (Francia, s. XVIII).
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November 30, 2011Lorca's take on duende is endlessly fascinating, which is great because his take is the only take I've taken--other than some blog-browsing that I vaguely remember. I'm pretty much going to pass out from all there is to mull over in this little number. I really love the idea of having a concept to position between the muse and the angel. Both seem so Spicerian (in the superficial way), but probably this third is what's really at the core of Jack's oeuvre, especially considering his relationship to Freddy.
July 10, 2010
Not really what I was expecting from this book. The poems were all excellent, I can definitely say that. But the prose pieces were hit-and-miss. I understand why this was important to Lorca and his aesthetics, but I can only read so much about gypsy folk songs. The bullfighting pieces were more up my alley. Honestly, this is the first book I've ever read from New Directions that didn't meet or exceed my expectations. The poetry is highly recommended.
March 15, 2008
Its been years since I discovered and this book on the shelves of the DePaul Library and devoured it and tucked it into my soul as a raison d'arte, young and silly as I was. But duende is a term we all should be familiar with in art...I was reminded of my experience of this book by a recent article about Nick Cave in the Guardian. I need to read this little tract again.
January 26, 2018
If you鈥檙e in search of this mysterious 鈥渋t factor鈥� called duende, don鈥檛 expect to figure out where to find it from Lorca. He鈥檒l gladly tell you all about this magical quality that every artist longs for that he鈥檚 lucky enough to possess, but he鈥檒l never tell you where to find it. If you don鈥檛 have duende, well, too bad, so sad for you.
September 30, 2009
The essay "Play and Theory of the Duende" in this book is one of the more important pieces on creativity that I've ever read. It's got the juice that's so often missing from conversations about "process" and it effortlessly combines the arts of dance and writing in a way I thought I was crazy for.
May 17, 2013
A bit more of a cri de coeur than a pedantic poetic apologia (Tom Eliot, looking discreetly in your direction, gub'na!) which is a-ok by me, especially when one is searching for what you call 'the dark root of the scream'...
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December 24, 2017Lovely to read in Seville, the day after a fantastic flamenco performance, with lots of things I underlined. But also a bit like a boy you dated in college, and holy Orientalism! Makes me want to read more/more about Lorca, though.
November 29, 2007
darn good pocket-edition
February 17, 2008
this book brings together theory, lectures and poems about duende - but in a way that feels like real life. a must read for a poet. you'll be looking for Duende under every rock. Where is it?
This entire review has been hidden because of spoilers.
July 29, 2008
You must read this book for the rest of your life. Laugh, but it's true.
July 31, 2008
not really what i expected. i thought it would be more surreal and inspirational.
August 19, 2008
I will never be done reading this book.
July 14, 2010
lovely...
January 27, 2011
Really interesting weave of mystical essays and poetry. The tiny book felt like a search and, in the end, lands upon some kind of conclusion. A lot to learn from.
January 7, 2011
This book opened me to the use of sound in poetry.
May 6, 2011
beautiful
May 11, 2011
todas las ma帽anas voy
a preguntarle al romero
si el mal de amor tiene cura
porque yo estoy muriendo
a preguntarle al romero
si el mal de amor tiene cura
porque yo estoy muriendo
October 26, 2011
i wish that duende would appear in these book reviews of mine!
February 1, 2012
Lovely, lovely prose. "The duende does not repeat himself, anymore than do the forms of the sea during a squall..." etc. etc.
It's always nice to hear from the perspective of a genius.
It's always nice to hear from the perspective of a genius.
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