The Poetical Works of Federico García Lorca

by Federico Garcia Lorca

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Federico García Lorca stands as one of the most remarkable poets of the 20th century, and Christopher Maurer’s editorship of his works in "The Poetical Works of Federico García Lorca" makes them accessible for a broader audience. This volume presents a near-complete collection of Lorca's poetry in both Spanish and English, offering insight into the core of his poetic inspiration. To truly grasp the essence of this compilation, one must delve into Lorca's theories on the nature of poetry itself, particularly his concept of the "duende."

The Sources of Poetic Inspiration

In his influential essay "Play and Theory of the Duende," Lorca outlines three potential sources of poetic inspiration: the angel, the muse, and the duende. He explains that the angel "dazzles" with an ethereal grace, bestowing inspiration effortlessly. In contrast, the muse "dictates and sometimes prompts," guiding poets with unseen whispers. Poetry born of the muse is characterized by its pursuit of beauty and form. However, Lorca urges poets to surpass both the angel and the muse, seeking instead the visceral power of the duende. For Lorca, "The true fight is with the duende."

Understanding the Duende

The term "duende" implies a mischievous, sprite-like spirit, akin to a "gremlin" in English. Yet, Lorca's interpretation expands beyond this, perceiving the duende as a fervent spirit of passion and intensity. This conviction imbues Lorca's poetry with a profound emotional depth, a quality that transcends mere spiritual beauty.

The Essence of the Duende in Lorca's Work

Central to understanding Lorca's duende is its embodiment of "black sounds," which he quotes from Manuel Torre to imply a rooted mystery inherent in true art. Duende, therefore, is less about reaching spiritual heights and more about delving into soulful depths. This intensity "burns the blood like a poultice of broken glass," evoking an indefinable presence felt in the passionate cries of Spanish culture, such as the "Olé!" of flamenco and the bullfight.

The Duende and Spanish Tradition

For Lorca, the bullfight represents "an authentic religious drama," where the duende is intimately tied to the proximity of death. "The duende does not come at all unless he sees that death is possible," Lorca asserts, highlighting Spain's unique relationship with death as a cultural spectacle. This connection permeates Spanish art, from the paintings of El Greco and Velasquez to the mysticism of Teresa of Avila and the literature of Cervantes.

Duende in Lorca's Poetry

One of Lorca's most famous poems, "Lament for Ignacio Sánchez Mejías," commemorates a bullfighter's tragic end. Translated by Alan Trueblood, this poem requires the reader to immerse themselves in a foreign cultural context. The poem's first part, "Goring and Death," repeats "at five in the afternoon" to imprint the tragedy's moment on the reader's mind, much like a refrain in a ritual.

Only the bull with upbeat heart
  at five in the afternoon.
When snow-cold sweat began to form
  at five in the afternoon.
when iodine had overspread the ring
  at five in the afternoon.
death laid eggs in the wound
  at five in the afternoon.At five in the afternoon.At exactly five in the afternoon.

This chant-like repetition evokes a liturgical feel, yet it diverges from traditional liturgy by lingering on death itself, urging the reader to confront it repeatedly. The poem's second section, "The Spilled Blood," shifts to a more reflective tone, yet the bullfighter remains ever-present in his encounter with fate.

Exploring the Presence and Absence of Duende

In "Presence of the Body," Lorca continues his elegiac exploration of death's physical reality. The poem culminates in the "Absence of the Soul," where Lorca acknowledges the inevitable fading of memory,...

(This entire section contains 822 words.)

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using a softer refrain to mourn his friend's permanent departure from life.

Translation and the Duende

The challenge of translating Lorca's work lies in capturing the essence of the duende. While Trueblood's version excels in musicality and intensity, other translations, like those by Stephen Spender and J.L. Gili, offer alternative interpretations. Trueblood's "shouldering his full death" conveys a potent imagery akin to the passion of Christ, contrasting with the more literal "with all his death on his shoulders."

Final Reflections on Lorca's Legacy

While the bullfight may not resonate with English sensibilities, Lorca saw it as a profound sacrifice, reminiscent of Shakespeare's notion of sport in "King Lear." Lorca's poetry aligns with ancient religious themes, as noted by critics, evoking an archaic, magical worldview in a contemporary setting.

Despite some translation missteps, such as the informal tone in Rothenberg's rendition of "In Motion," most of these translations by Maurer maintain the ancient gods' presence and the duende's deep resonance in Lorca's collected works. His poetry remains a testament to the enduring power of art to evoke profound emotion and timeless truths.

Sources for Further Study

Library Journal. CXVII, March 15, 1992, p. 92.

The New York Review of Books. XXXIX, July 16, 1992, p. 36.

Out/Look. IV, Spring, 1992, p. 81.

St. Louis Post-Dispatch. March 1, 1992, p. C5.

San Francisco Chronicle. February 2, 1992, p. REV1.

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