Garcia lorca poet

February 29,
Lorca's Poetic Drama
By LLOYD MALLAN

FROM LORCA'S THEATRE
Five plays of Frederic García Lorca, in the authorized English translation by Richard L. O'Connell and James Graham L., with a foreword by Stark Young.

ust around the time that the Spanish Civil War broke forth in all its fury García Lorca's interest in the theatre became the most intense.

In fact, the young poet from Granada had almost decided to completely devote himself to the drama. He was 37 years old then and was busy putting the final touches to La Casa de Bernarda Alba, the third play in his great dramatic trilogy of country life. This play was never produced, has not yet even been published in Spanish; a few short months after it was finished García Lorca was brutally murdered by the fascist police, the Civil Guard, in the suburbs of the city of Granada.

"From Lorca's Theatre" is the first book-length translation of Lorca's dramatic pieces to appear in the English language. It contains the second play of the great trilogy, "Yerma," and four others: "The Shoemaker's Prodigious Wife," "The Love of Don Perlemplin," "If Five Years Pass," "Dona Rosita, the Spinster." These make up approximately one half of all the plays written by Lorca.

"Yerma" is a poetic tragedy based upon the simple theme of a woman whose only desire is to have a son. Unlike other girls she knew, who entered into marriage fearfully, she joyously went with the man her parents chose for her.

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Federico Garcia Lorca is primarily known for his poetry and plays, which opened Spanish literature of the early twentieth century to influences from the wider European literary movements, such as symbolism and surrealism. Born near Granada, he attended university there and in Madrid. His early interest in painting, music and literature led to both his first attempts at a poetic language and his deep interest in Spanish folk music and lore, and the Gypsy Ballads of , expressing this interest, is perhaps his best known and most evocative collection of poems. His later poetry, escaping to some extent from this folk tradition, which he viewed as artistically limiting, expresses the vicissitudes of love and longing, and a degree of personal anguish. His mature plays, translated here, expressing socially liberal views, made him a target for the increasingly powerful right-wing forces that led to the Franco regime, and resulted in his execution by Nationalist militia in August , probably on the grounds of both his socialist politics and his sexuality.

And she found him to be sterile! She is doomed to be faithful to this man she hates, since for the same traditional reason that she desires a son, she also desires to maintain her family honor. Her husband is frail, a weakling, and the tragedy finally comes to a climax when she strangles him with her own hands.

She says:

"Barren, barren, but sure. Now I really know it for sure. And alone.

Poems by garcia lorca: She was the third of the García Lorca siblings. She was born in , in Fuente Vaqueros. Her childhood, like that of her siblings, was spent in the Vega of Granada and was marked by its landscapes and its people. She had an extroverted character, similar to Federico.

(She rises. People begin to gather.) Now I can sleep without waking up anxious to see if I feel in my blood another new blood. . .because I have killed my son. I have killed my son myself!"

"The Shoemaker's Prodigious Wife" is a farce in Two Acts about an old shoemaker who marries a young girl of In parts it becomes almost ballet.

Genuine little Andalusian folksongs are cleverly interwoven with the story.

"The Love of Don Perlemplin" was originally subtitled by Lorca himself as an Erotic Allelujah in Four Scenes. It is a satirical comedy in which a man's housekeeper convinces him he should marry, because she is growing old and worries that there will be no one to care for him after she is gone.

In the entire collection the most striking piece is the poetic fantasy, "If Five Years Pass." This work is as difficult to summarize in a few words as it would be to definitively analyze a great symphony.

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  • The translators, trying to describe it in their introduction, state:

    Songs and music are indicated all through the play. Snatches of old refrains interweave with the verse. . .

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    . In Act I occurs the dialogue of the Dead Child and the Dead Cat: Both are afraid to be buried and they talk of this fear while they wander in a naive terror. . . .

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  • They are one of the play's recurring motives. In Act II there is another dialogue, that of the Mannikin and the Young Man. All the sorrow of an unfulfilled betrothal is sung in a trembling freshness of pain. . . . Act III. . . .

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    is sheer ballet, harlequinade.

    "Dona Rosita, The Spinster" is a play about the Granada of It is quaint and charming in its manner, consciously over-sentimentalized and overornamented. And there is an allegorical counter-theme in verse, that tells of a rose's life:

    When it opens in the morning red as blood it is.

    The dew does not dare touch it for fear that it will burn.

    Throughout the play the life of this rose parallels Dona Rosita's own.

    All of these plays are rich in elements of painting, the dance, and music. Above everything else they are pure theatre. They are the kind of theatre that does not pretend to be anything else; they all frankly make use of the stage to develop poetic imagery.

    They are violently original, and the least of them is strangely beautiful.

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    James Graham and Richard O'Connell have done a brilliant job on the translation; they have almost miraculously brought over into English the spirit of Lorca. The only fault that might be found--and it occurs in a minimum of places--is their occasional forcing of a rhyme, where the rhyme for its own sake is not at all necessary.

    The book contains a brief but pertinent foreword by Stark Young and twenty-five pages of "Notes on the Playwright" by the translators.

    For the most understanding approach to Lorca's works, these notes must be read first.

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