Summary
Line 1
The initial aspect of "Gacela of the Dark Death" that stands out is its title. A gacela is a poem with roots in Persian literature, characterized by strict technical rules, including a particular metrical structure, and often features an erotic theme. Although Lorca does not adhere to the traditional form of a gacela, by labeling a piece "Gacela of the Dark Death" as a love poem, he establishes a link between love and death, a theme that grows in significance. The title also prompts readers to consider the complexities of translation; the Spanish title does not specifically point to a singular death, leading to translations like "Gacela of Dark Death," which introduces ambiguity between universal and personal themes. Additionally, it is crucial to recognize that oscura can mean both "obscure" and "dark," a distinction that becomes significant when examining Lorca’s perception of death.
The opening line presents a speaker yearning for "el sueño de las manzanas" (the sleep of apples), an image that represents both the concept and the antithesis of death. The apple is primarily associated with the Garden of Eden in the Bible, suggesting a longing for the lost paradise of Adam and Eve. However, apples also symbolize the cause of the fall from Eden, and the poem's more sorrowful, somber aspect is highlighted in Lorca’s "Casida de los ramos" ("Casida of the Branches"): "At Tamarit there’s an apple tree / with an apple of sobs."
Line 2
The second line reveals the speaker's desire to be, in his sleep, distant from what he refers to as the "uproar" of the resting place for the deceased. This notion seems paradoxical, as cemeteries are typically associated with silence rather than chaos. However, Andrew Anderson, in his book Lorca’s Late Poetry: A Critical Study, provides insight into this duality in Lorca’s concept of death by translating a passage from Lorca’s Alocución al pueblo de Fuente Vaqueros (Address to the Town of Fuente Vaqueros): “there exist millions of men who speak, live, look, eat, but who are dead. More dead than stones and more dead than the true dead who sleep their sleep under the earth, because their soul is dead.” For Lorca, death and cemeteries lack the serene tranquility the poem's speaker seeks.
Lines 3–4
These lines introduce a deeper layer to the imagery of sleep, expressing a desire to rest like a child who once wished to remove his heart while at sea. The child symbolizes innocence, potential, and the paradise hinted at by the "sleep of apples." However, the violence in line four emphasizes the contrast between tranquility and chaos. There is also ambiguity since the child merely "wanted" to remove his heart, suggesting he might not have acted on this desire. Instead, he might simply wish to pour his passion into the sea, which Lorca views as a symbol of rebirth and the womb. A key aspect of these lines is their implicit erotic connection, as "that boy" could also denote a lover. Anderson supports this interpretation by referencing a letter where Lorca refers to his lover during this time as "aquel niño" (that boy).
Lines 5–8
In the second stanza, the poem transitions to contemplating death. The speaker expresses an aversion to hearing about various images of death, which for Lorca signifies a lifeless absence of passion. The image of the dead not losing blood in line five initially seems cryptic but becomes clearer alongside line six. These lines refer to those mentioned earlier, individuals who are alive yet spiritually dead. Here, "blood" relates back to the child cutting out his heart...
(This entire section contains 1320 words.)
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in line four, with death depicted not as casting one's heart into the sea, but as retaining blood and decaying from a lack of water. Likewise, the water in line six echoes the regenerative sea water from line four. The speaker appears to understand the specific sorrow of this stanza, and his wish to avoid hearing about it is futile as the sadness intensifies in lines seven and eight.
The speaker expresses a desire to avoid hearing about martyrdoms bestowed by "grass" or the moon's mysterious "work" before dawn. For Lorca, grass is linked to death and decay, which is significant in understanding the phrase "martirios que da la hierba," translating to "martyrdoms that the grass gives," though martirios can also mean "torments." The "snakemouthed moon" in line eight, much like the "sleep of apples," brings to mind the Garden of Eden due to the serpent's temptation. In Lorca's work, the moon is a complex, recurring symbol, but here, as in his play Blood Wedding, it seems to represent a force of death carrying out its mysterious, malevolent acts in the final hours before dawn.
Lines 9–14
In the third stanza, the speaker shifts focus to his desires, expressing a wish to sleep for a specific period, whether a brief moment or a whole century. In Spanish, this is listed as "un rato / un rato, un minuto, un siglo," evoking both the passage of time and a sense of timelessness.
Line eleven serves as a pivotal moment in the poem, highlighted by the word "pero" (but). The speaker insists that everyone understand he is not dead but merely asleep, elaborating on this state with three lines that convey what he wants people to know about his "sleep of apples." This emphasis on self-awareness is significant, as it marks the first instance in the poem where Lorca underscores the act of expression and perspective.
The first characteristic of the speaker's desired sleep is "un establo de oro" (a stable of gold) on his lips. This might allude to Jesus's birthplace, the Nativity, yet it also suggests the wildness of horses and the purity of gold, reflecting the poem's paradoxical imagery. Line thirteen's "pequeño amigo del viento Oeste" (little friend of the West Wind) recalls the young boy from the first stanza, as the West Wind symbolizes spring and renewal. The darker aspect of the "sleep of apples," closely tied to the poem's notion of "muerte oscura" (dark death), appears in line fourteen, where the speaker as a shadow of his tears evokes the transient and shadowy nature of living sleep.
Lines 15–18
In the fourth stanza, the speaker asks to be covered with a veil to shield him from dawn's swarm of ants and sprinkled with "agua dura" (hard water) to guard against dawn's "scorpion's sting." This imagery is enigmatic, as it's unclear how a veil could protect against ants or how water could fend off a scorpion. Dawn is portrayed as a malevolent force, linking back to the "snake-mouthed moon" of line eight that "works before dawn." This may subtly reference death; a veil suggests a burial shroud, while ants and scorpions hint at decay and burial. Shoes, often a symbol of death in Lorca's poetry, add to this imagery, though the meaning of "hard water" and its application to shoes remains ambiguous.
Lines 19–22
The final stanza, which mirrors the first one closely, starts with the refrain “Porque quiero dormir el sueño de las manzanas” (Because I want to sleep the sleep of apples). This repetition, along with the repeated use of words related to sleep, “dormir” and “sueño,” defines the “lament” in the following line. This lament aims to purify him from earthly ties (or a lifeless death) and lead him to a state of tranquil sleep and “life.”
The concluding lines reflect lines three and four but introduce two significant changes. The speaker desires to “vivir” (live) with the child who is now “oscuro” (dark or obscure), and, as mentioned in the opening lines, “wanted to cut his heart out on the sea.” This imagery, while conveying the complex and enigmatic darkness of his sleep, also brings an essential uplift to the poem. By using the pivotal verb “vivir,” Lorca emphasizes that by experiencing the “sleep of apples,” the speaker is indeed full of life.
