Lorca
Page 74
Three Tragedies;
José Méndez, “Las dos raices de Laura García Lorca,”
ABC. Semanal
(Madrid), June 9, 1985, 6–8.
“Yes … life is hard”:
Francisco García Lorca,
Poesía
, ed. Mario Hernández (Madrid: Editora Nacional / Libros de Poesía-9, 1984), 90.
“If I don’t go”:
EC, 545.
“write to me”:
Emilio Aladrén to FGL (summer 1925), AFFGL.
“I knew you wouldn’t come”:
Emilio Aladrén to FGL (January 6, 1928), AFFGL.
“ten or twelve conflicts”:
EC, 548–49.
“emotional conflicts” and “cleansed”:
EC, 543.
FGL begins ode to Christ:
EC
, 550; FM, 156; Miguel García-Posada, introduction to FGL,
Oda y burla
, 51; Martín,
Federico García Lorca, heterodoxo
, 264; Auclair, 159; Javier Herrero, “The Father Against the Son: Lorca’s Christian Vision,” in
Essays in Hispanic Literature in Honor of Edward Diley
, ed. Jennifer Low and Phillip Swanson (Edinburgh: Department of Hispanic Studies, 1989), 170–99.
“Here I am in Pitres”:
EC, 555, trans. FGL,
Selected Letters
, 129–30.
“erotic feeling … inviolable heights”:
OC, III, 72–73, trans. FGL,
Deep Song
, 81.
FGL writes and publishes “Two Norms”:
FGL,
Divan del Tamarit
, 95, 171–72; Martínez Nadal,
Cuatro lecciones
, 104.
FGL rereads Plato’s
Symposium
, “If oneness,”
and “We are born”:
Rafael Martínez Nadal,
El público, amor y muerte en la obra de Federico García Lorca
, 2nd ed. (Mexico City: Joaquín Mortiz, 1974), 87. FGL owned a 1923 edition of Plato’s
The Banquet (El banquete o del amor);
the volume, inscribed “Federico García Lorca,” is heavily underlined, including the passage that begins “We are born with one type of love,” from Pascal’s “Discourse on the Passions of Love” (Fernández-Montesinos García, “Descripción,” 85, 167).
“between Russian and Tahitian”:
Martínez Nadal,
Cuatro lecciones
, 28–29.
Emilio Aladrén, background:
Penón, 105–6;
G, I
, 544–47, 561–62; Madrid, Universidad Complutense, School of Fine Arts, Records of Emilio Aladrén, no. 1.266; Martínez Nadal,
Cuatro lecciones
, 28–30; author interview with Santiago Ontañón.
“Federico, I’d like to be frank … put up with me”:
Emilio Aladrén to FGL (n.d.), AFFGL, in
G, I
, 548–49.
“fabulous” and “Russian temperament”:
G, I
, 544–45.
“my springtime friend”:
Emilio Aladrén to FGL (n.d.), AFFGL.
Aladrén performs circus stunts:
Martínez Nadal,
Cuatro lecciones
, 29–30.
“I’d like it to be a surprise”:
EC
, 580.
“one of the most brilliant”:
Unidentified article by Valentin Alvarez Cienfuegos, AFFGL.
“Isn’t it true”:
Emilio Aladrén to FGL (n.d.), AFFGL, in
G, I
, 548–49.
“You’re a Christian tempest”:
Salvador Dalí escribe a Federico García Lorca
, 86. Dalí, who knew and disliked Aladrén, nicknamed him “Aladreniño” (
G, I
, 546), 1.
FGL travels to
Zamora:
G, I
, 550; Christopher Maurer, introduction to
Federico García Lorca escribe a su familia
, 11; “Coral Zamora. Ciclo de conferencias. Soto de Rojas visto por el poeta granadino don Federico García Lorca,”
Diario Católico
(Zamora), July 11, 1928, AFFGL.
“like a flower,” “volcano of joy,” and “Look! Look”:
Author interview with José Antonio Rubio Sacristán.
“You know that in Zamora … against bitterness”:
EC, 573.
“reached [Federico’s] heart”:
Author interview with José Antonio Rubio Sacristán.
FGL confronts Ortega y Gasset:
EC, 563.
“I think it will be beautiful”:
EC, 567.
“congealed blood”:
Juan Chabás, review of
Romancero gitano, La Libertad
(Madrid), September 1, 1928, 6–7.
Gypsy Ballads
published:
Flernández, introduction to FGL,
Romancero gitano
, 10–14, 188; FGL,
Autógrafos
I, 257n. The book’s official title was
First Gypsy Ballads
. While it is possible FGL was contemplating the publication of a “second” ballad book, there is little evidence to support this. More likely, he simply meant to emphasize that the collection was the first of its kind.
“I believe in your authentic poetry”:
Vicente Aleixandre to FGL (September 7, 1928), AFFGL.
Reviews of
Gypsy Ballads:
Ricardo Baeza, “Los ‘Romances gitanos’ de Federico García Lorca,”
El Sol
(Madrid), July 29, 1928, 2, and “Poesía y gitanismo,”
El Sol
(Madrid), August 3, 1928, 1; Miguel Pérez Ferrero, “Un libro de García Lorca. Romancero gitano,”
La Gaceta Literaria
(Madrid), August 15, 1928, 2; Luis Montanyá, “‘Romancero gitano’ de Federico García Lorca,”
L’Amic de les Arts
(Sitges), October 31, 1928, 226–27.
“Although the book”:
EC, 570.
“I want and rewant”:
EC, 577.
FGL’s hatred of “The Unfaithful Wife”:
Auclair, 315; Neruda,
Confieso
, 73; Ontañón.”
“greatest proof”:
Neruda,
Confieso
, 73.
“‘poem’ of Andalucía” and “sorrow”:
OC, III, 179.
“is a drama in brief”:
Ricardo Baeza, “Poesía y gitanismo,”
El Sol
(Madrid), August 3, 1928, 1.
Gypsy Ballads:
All quotations are taken from OC, I, 415–54, trans. FGL,
Collected Poems
.
“Andalusian altarpiece … crimes” and “truest and purest thing”:
OC, III, 179.
“wild unruly hair” and “big eyes”:
Morris,
Son of Andalusia
, 312.
“ragged and dirty”:
“El recital de García Lorca i Margarida Xirgu a la Residencia,”
La Humanitat
(Barcelona), October 12, 1935, 5.
“harmonize the
mythological Gypsy”:
EC
, 334, trans. FGL,
Selected Letters
, 73.
“who calls me by name”:
OC, III, 184.
FGL and Camborio:
Couffon, 31; Higuera Rojas, 168; Morla Lynch, 23–24; C. Brian Morris, “Granada in García Lorca’s
Romancero gitano,” Siglo XX/
20th Century 6, 1–2 (1988–89), 21.
FGL
and Civil Guard:
Binding, 60; FGL,
Autógrafos
I, 256n; Auclair, 372; Mora Guarnido, 26–30; and EC, 330–31. For an account of the episode FGL and Angeles Ortiz witnessed in 1919, see Rodrigo,
Memoria
, 169–71, and “Gitanos y civiles. Los guardias asesinados en Ugíjar. Como se realizó el crímen,”
El Sol
(Madrid), November 5, 1919, 1.
“Molière was right”:
Alardo Prats, “Los artistas en el ambiente de nuestro tiempo,”
El Sol
(Madrid), December 15, 1934, in OC, III, 546.
“How can that be?”:
author interview with José Antonio Rubio Sacristán.
“The Gypsies are a theme”:
EC, 414, trans. FGL,
Selected Letters
, 94.
“I am not a Gypsy”:
Giménez Caballero.
“glory and end,” “washed up,” “passé,” and “pure … poet”:
Martínez Nadal,
Cuatro lecciones
, 32–33. On FGL’s refusal to attend Alberti’s reading, see Pedro Salinas / Jorge Guillén, 94.
“a vision of trees”:
EC, 571.
“I am
tormented”:
EC
, 579.
“beset
by love”:
EC
, 581.
“fast and furiously”:
EC
, 590.
“sheer willpower,” “I’m going through … should never see it,” “reasons of discipline,” and “eroticism”:
EC
, 582.
“I am a slave”:
Quoted in Jack J. Spector,
Delacroix: The Death of Sardanapalus
, in the series Art in Context, ed. John Fleming and Hugh Honour (London: Allen Lane, 1974), 61–91.
“Ode … Sesostris and Sardanapalus”:
OC, I, 744–47; Miguel García-Posada, introduction to FGL,
Oda y burla;
Paul Verlaine,
Selected Poems
, trans. C. F. Mclntyre (Berkeley: University of California Press, 1948), 3.
“full of humor”:
EC
, 579.
“the exact opposite”:
EC
, 590.
“I’m going through”:
EC
, 576.
“You’ll always be”:
EC
, 586.
“Don’t get involved … Don’t stop writing”:
EC
, 575.
“They’ll bring me,” “I love you,” and “As for E”:
Jorge Zalamea to FGL, AFFGL, cited in
G, I
, 558.
“I too have had”:
EC, 587.
“I want to be”:
EC, 589.
“internal conflicts … all of it is shit”:
Martínez Nadal,
Federico García Lorca. Mi penúltimo libro
, 219.
“unconscious erotic inspiration”:
G, I
, 571.
Dalí criticizes
Gypsy Ballads”:
Salvador Dalí escribe a Federico García Lorca
, 88–94, translated in Gibson, et. al.,
Salvador Dalí: The Early Years
, 36–38.
Dali’s “Reality and Surreality”:
Jaime Brihuega,
Manifiestos, proclamas, panfletos y textos doctrinales. Las vanguardias artísticas en España
. 1910–1931 (Madrid: Ediciones, 1979), 295–302.
13. Rain from the Stars: 1928–29
“intelligence, grace, and acuity”:
Martínez Nadal,
Federico García Lorca. Mi penúltimo libro
, 52.
“sharp and arbitrary letter” and “It died”:
EC, 585.
“All day long,” “vein-opening poetry,” and “which gives me life”:
EC, 587.
“my new
spiritualistic
manner”:
EC, 588.
“another ism”:
Sebastian Gasch, “Superrealismo,” in Jaime Brihuega,
Manifiestos, proclamas, panfletos y textos doctrinales. Las vanguardias artísticas en España
. 1910–1931 (Madrid: Ediciones, 1979), 304.
FGL delivers “Imagination, Inspiration, Escape”:
Mario Hernández, “De la correspondencia epistolar lorquiana,” unpublished typescript, 23; Laffranque,
Les Idées Esthétiques
, 171; Maurer, introduction to FGL,
Poet in New York
, xvi-xvii. All passages from this lecture are taken from OC, III, 98–112.
“If you ask me why I wrote”:
OC, III, 105–8.
“a complete aesthetic theory”:
“Vida cultural. El Ateneo de Granada inaugura el curso 1938–1929: Conferencia de Federico García Lorca,”
Defensor de Granada
, October 12, 1928.
gallo
Night:
“Gallismo,”
Defensor de Granada
, September 21, 1928; “En el Ateneo-Noche de ‘Gallo,’”
Defensor de Granada
, October 28, 1928, 1; Christopher Maurer, “Adios a este
gallo,”
in
gallo. revista de granada
. 1928, facsimile ed. (Granada: Comares, 1988), xxx-xxii; EC, 595. On the proposed third issue of
gallo
see correspondence from Joaquín Amigo to FGL, AFFGL, and EC, 579.
“Sketch of the New Painting”:
OC, III, 88–97; Christopher Maurer, introduction to C, I, 20; Laffranque,
Les Idées Esthétiques
, 116; María Clementa Millán, “Líneas de una biografía,” in FGL,
Dibujos;
and Mario Hernández, “Ronda de los autorretratos con animal fabuloso y análisis de los dibujos neoyorquinos,” in FGL,
Dibujos
.
“great tribute … I hope to go”:
EC, 595.
“more affected”:
Jorge Guillén to Germaine Guillén (November 24, 1928), papers of Jorge Guillén, Wellesley College Archive.
“What do you mean”:
Ontañón and Moreiro,
Unos pocos amigos
, 122.
FGL gives talk on lullabies:
[Residencia de Estudiantes], 115; Francisco García Lorca to parents (December 1928), AFFGL; and Margarita Ucelay, “Homenaje a Federico García Lorca,” talk given at Instituto Internacional, Madrid (March 11, 1986). All passages from the lecture are taken from OC, III, 113–31.
FGL interview:
Giménez Caballero.
“the faggot poets”:
Buñuel,
Obra literaria
, 30.
“son of a bitch” and “pederastic news”:
Josep Playà Maset and Victor Fernández, “Buñuel escribe a Dalí,”
La Vanguardia
(Barcelona), Culture and Entertainment section, April 1, 1996.
Buñuel collaborates with Dalí:
Alberti,
La arboleda perdida
,
277;
Aub,
Conversaciones
, 67; Rodrigo,
Lorca-Dalí
, 209; Buñuel,
Mi último suspiro
, 102–3; Buñuel,
Obra literaria
, 40; and Sánchez Vidal,
Buñuel, Lorca, Dalí
, 183–89.
“complete”:
Buñuel,
Mi último suspiro
, 102–3.
“stupendous screenplay” and “Dalí and I are closer”:
L
uis Buñuel to Pepín Bello (February 10, 1929), in Santos Torroella,
Dalí residente
, 218.
FGL and Aladrén separate:
Martínez Nadal,
Cuatro lecciones
, 32–33; Peñón, 186;
G, I
, 594.
Cipriano Rivas Cherif, background:
Enrique de Rivas Ibáñez, introduction to Cipriano Rivas Cherif,
Retrato de un desconocido. Vida de Manuel Azaña
, ed. Enrique de Rivas
Ibáñez (Barcelona: Grijalbo, 1980); Josep Pla,
Madrid—El advenimiento de la República
(Madrid: Alianza, 1986), 24; Antonina Rodrigo,
Margarita Xirgu y su teatro
, 167; Cipriano Rivas Cherif,
Heraldo de Madrid
, August 7, 1926, 4; Cipriano Rivas Cherif, “El teatro de la Escuela Nueva,”
La Pluma
(Madrid), April 1921, 236–44; and “Conferencia de Cipriano Rivas Cherif,”
Defensor de Granada
, April 7, 1929, 3.
FGL attends rehearsals for
Don Perlimplín:
Margarita Ucelay, “Amor de don Perlimplín con Belisa en su jardín, de Federico García Lorca. Notas para la historia de una obra: textos, ediciones, fragmentos inéditos,” in
Essays on Hispanic Literature in Honour of Edmund L. King
(London: Tamesis, 1983), 233–39.
Don Perlimplín:
All quotations are taken from OC, II, 238–64; see also FM, 314–20; Fernández Cifuentes, 117; Miguel García-Posada, introduction to FGL,
Teatro
I (Madrid: Akal, 1980), 52; Ucelay, “De las aleluyas de Don Perlimplín a la obra de Federico García Lorca,” in
Federico García Lorca. Saggi critici nel cinquantenario della morte
, ed. Gabriele Morelli (Fasano: Schena, 1988), 96–104; and J. G. Cummins, ed.,
The Spanish Traditional Lyric
(Oxford: Pergamon, 1977).
“human puppet play,” “grotesque tragedy,” “anti-hero,” and “lot of fun”:
“Un estreno de García Lorca en el Español en gran función de gala,”
Heraldo de Madrid
, April 4, 1933, in
OC
, III, 406.
Don Perlimplín
cancelled:
G, I
, 591; Río, “Federico García Lorca,” 203;
FM
, 313; Rivas Cherif, January 27, 1957.
“And this”:
G,
II
, 383.
“This is a mockery!”:
Río, “Federico García Lorca,” 203.
FGL signs open letter:
José Ortega y Gasset,
Obras completas
XI (Madrid: Ediciones de la Revista de Occidente, 1969), 102–6; EC, 607–10.
“piece of shit” and “Buñuel’s made a shit of a film”:
Buñuel,
Mi último suspiro
, 101, 154.
Dalí refrains from publishing FGL letter:
L’Amic de les Arts
(Sitges), March 31, 1929; Sebastian Gasch,
L’Expansió de l’art catala al mon