Romancero Gitano

Front Cover
EDAF, Sep 1, 2002 - Family & Relationships - 152 pages
8 Reviews
  

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Review: Romancero gitano

User Review  - Sara - Goodreads

These poems were excellent. I'm out of practice reading poetry, so it took me a while to get into the rhythm, especially because I thought it was important to muddle through the original Spanish to ... Read full review

Review: Romancero gitano

User Review  - Jim - Goodreads

Not being satisfied with the sparseness of my initial review, I went out and bought the book (I have to return the library book soon) and plan to revisit the poems sooner rather than later ... Read full review

Contents

Primer Romancero Gitano 1 Romance de la luna luna
15
Preciosa y el aire
21
Reyerta
29
Romance sonámbulo
35
La monja gitana
43
La casada infiel
49
Romance de la pena negra
55
San Miguel
61
Muerte de Antoñito el Camborio
87
Muerto de amor
93
Romance del Emplazado s
99
Romance de la Guardia Civil Española
105
Tres Romances Históricos 16 Martirio de Santa Olalla
119
Burla de Don Pedro a caballo
127
Thamar y Amnón
135
Cronología
143

San Rafael
67
San Gabriel
73
Prendimiento de Antoñito el Camborio en el camino de Sevilla
81

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About the author (2002)

Garcia Lorca is perhaps the best known of modern Spanish writers, partly because of his brutal execution outside Granada by Franco's army at the beginning of the civil war, but primarily because of his genius for poetry and drama. In 1928 Lorca published Gypsy Ballads, which won him immediate success and is considered one of the most important volumes of poetry of the century. Attracted to the gypsies for their exotic folklore, sexual vitality, and their status as a group on the fringe of Spanish society, Lorca enlarged the gypsy people and their traditions to mythical proportions. Nature takes on human form while reality acquires a dreamlike quality in this powerful transformation of the world into a myth. The verse is colorful, rhythmic, dramatic, symbolic, and suggestive. Lorca visited New York in 1929, experiencing a deep despair about a mechanical and dehumanized society; he saw in blacks the only hope for revitalization of that world. The volume Poet in New York (1929) shows the influence of Negro spirituals and the poets Walt Whitman and T. S. Eliot. Although Garcia Lorca was interested in drama throughout his life, he did not produce much of significance until the 1930s. Most important is his trilogy of Spanish rural life, Blood Wedding (1933), Yerma (1934), and The House of Bernarda Alba (1936), all tragedies with women as protagonists. In each play, the fall of the heroine, and of those around her whom she pulls down, is caused by frustrations produced by society. Blood Wedding demonstrates the sterility of the traditional code of honor. Yerma reveals the emptiness of a traditional marriage in which the woman must bear her husband children to prove her fidelity, and The House of Bernarda Alba dramatizes the destructive nature of Bernarda's dictatorial rule over her house, a microcosm of Spain. The Butterfly's Evil Spell (1919) is Lorca's first play; The Shoemaker's Prodigious Wife (1931) and Don Perlimplin (1931) are farces; The Billy-Club Puppets (1931) is a puppet play.

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