27.
Homenaje a Lorca
. 1915/193 6, exhibition catalog (Madrid: Ministry of Culture, 1986), 39.
“While a cathedral”:
OC, III, 113, trans. FGL,
Deep Song
, 8.
“magnificent poetry”:
“García Lorca presenta hoy tres canciones populares escenificadas,”
Crítica
(Buenos Aires), December 15, 1933, in FGL,
La zapatera prodigiosa
, 188.
“much calmer … all memories”:
EC
, 143.
Silverio Franconetti anecdote:
Luis Rosales, “Evocación de Federico,”
Cuadernos Hispanoamericanos 475
(January 1990), 32.
“festival full of dirty”:
Antonio Gallego Morell, “El concurso de Cante Jondo en la Granada de 1922,”
ABC
(Madrid), November 5, 1960.
“poor, badly constructed lecture”:
This and all subsequent quotations from FGL’s deep song lecture are taken from OC, III, 33–52, trans. FGL,
Deep Song
, 23–41. In the 1930s FGL shortened the title of this talk to “Architecture of the Deep Song.”
“grand success”:
“Centro Artístico: Conferencia sobre el ‘cante jondo’,”
Noticiero Granadino
, February 21, 1922, 4.
“some family storms” and “so much beauty”:
FGL to Adolfo Salazar (February 2, 1922), in María Teresa Babín,
Federico García Lorca. Cincuenta años de gloria
(1936–1986) (San Juan, Puerto Rico: Biblioteca de Autores Puertorriqueños, 1986), 41–43. On Buñuel’s telegram, see EC, 142.
“caprice and fantasy”:
EC
, 233.
“Andalusian character … master of my soul”:
EC
, 141.
FGL begins
Poem of the Deep Song:
In fact, FGL wrote the first of his “deep song” poems, the six “Viñetas flamencas,” in August 1921. During this same period he composed the six-part suite “Remansos.” It is difficult to know whether he originally intended to include “Viñetas” in his
Suites
or in the later
Poem of the Deep Song
. He does not seem to have fully conceived of the idea of a “deep song” collection until November of 1921 (Mario Hernández, “Ocho cartas inéditas [Comentario],”
Trece de Nieve
1–2, 2nd series, 2nd. ed. [Madrid, December 1976], 45; Belamich, 29; FGL,
Poema del cante jondo
, 193; Morris,
Son of Andalusia
, 185–250.
“the little golden roof tiles,” “distinct from sublime songs” and “another orientation… never
touched
this theme”:
EC
, 136–37.
“Malagueñas, soleares”:
Morris,
Son of Andalusia
, 193–94.
“we can do nothing”:
C, I, 71–72, trans. FGL,
Poem of the Deep Song
, 33–34. See also Maurer, introduction to FGL,
Collected Poems
, xliii-xliv.
“a terrible cry … measured silence”:
OC, III, 36.
“The Silence”:
This and all subsequent passages from
Poem of the Deep Song
are taken from OC, I, 305–43, trans. FGL,
Collected Poems
.
“The olive trees”:
G, I
, 306. For FGL’s use of anecdotal material in this collection see
FM
, 40–41.
FGL and Andalusia:
Many critics have written extensively on this topic; see, for example, Morris,
Son of Andalusia;
Miguel García-Posada, introduction to FGL,
Poesía I
, 2nd ed. (Madrid: Akal, 1982), 83–87; Allen Josephs,
White Wall of Spain: The Mysteries of Andalusian Culture
(Ames, Iowa: Iowa State University Press, 1983); Umbral, 13.
FGL reads poems to Gypsies:
Hernández, introduction to FGL,
Poema del cante jondo
, 2–372.7.
“distinguished and aristocratic” and “Granada has a poet … glory”:
“En el Palace Hotel,”
Defensor de Granada
, June 8, 1922.
“all of its detractors”:
FGL, “Cuartilla García Lorca,”
Noticiero Granadino
, June 18, 1922, in OC, III, 357.
Deep Song Competition of
1922: Auclair, 121; “De Granada: El ‘cante jondo’,”
Defensor de Granada
, June 21, 1922; ‘“El cante jondo’,”
Defensor de Granada
, June 9, 1922, 1; “El ‘cante jondo’,”
Noticiero Granadino
, June 8, 1922.
“knows nothing”:
OC, III, 45.
“wound from a traitor’s”:
Bernardo Morales Pareja, “La fiesta de la raza,”
Defensor de Granada
, June 23, 1922, 1.
“festival of great Truth”:
Antonio Gallego Burín, “El concurso de ‘cante jondo’,”
Noticiero Granadino
, June 15, 1922.
“I told you … bullfight”:
FGL, “Cuartilla García Lorca,”
Noticiero Granadino
, June 18, 1922, in OC, III, 357.
“very happy’pianissimo of gold’”:
EC
, 147.
“little plaintive … unhappy heart” and
“You have no idea … pregnant”:
EC, 155, trans. FGL,
Selected Letters
, 35.
“calm and serene”:
EC
, 148.
“admirable book … water obsession I suffer!”:
EC
, 155–56, trans. FGL,
Selected Letters
, 35–36.
“Enough of Castille!”:
EC
, 148.
Falla’s enthusiasm for puppet theater:
EC
, 138;
Casa Museo Manuel de Falla
, 50;
G, I
, 281; Rodrigo,
Memoria
, 120–21.
“our own invention … faultless art”:
EC
, 153, trans. FGL,
Selected Letters
, 29,
“backbone”:
FGL, “Diálogo del poeta y don Cristóbal,”
Crítica
(Buenos Aires), March 26, 1934.
“dream of my youth”:
EC
, 138.
“represents the joy of free living”:
This and all subsequent quotations from
The Billy Club Puppets
are taken from OC, II, 40–79.
“Then my
Señor Papá”:
EC
, 162.
“that dandyish”:
EC
, 150, trans. FGL,
Selected Letters
, 21.
“My father’s so funny!”:
Altolaguirre,
Obras completas
I, 282.
“terribly happy … with a child’s enthusiasm”:
EC
, 165.
Lanz’s enthusiasm for puppet show:
Hermenegildo Lanz Archive, Granada.
“curls and ribbons”:
FGL, “Diálogo del poeta y don Cristóbal,”
Crítica
(Buenos Aires), March 26, 1934.
“upon that roomful”:
FM
, 275, trans.
GM
, 147.
108
1923 puppet play:
For descriptions of this event see Francisco García Lorca, introduction to FGL,
Five Plays
, 10–12; Hernández, “Retablo de las maravillas”; FM, 270–75; José Mora Guarnido, “Crónicas granadinas. El teatro ‘Cachiporra’ de Andalucía,”
La Voz
(Madrid), January 19, 1923; author interviews with Enrique Lanz and Manuel Fernández Montesinos; and Hermenegildo Lanz Archive, Granada.
Press coverage of puppet show:
Hernández, “Retablo de las maravillas”; José Mora Guarnido, “Crónicas granadinas. El teatro ‘Cachiporra’ de Andalucía,”
La Voz
(Madrid), January 19, 1923; José Francés, “Los bellos ejemplos. En Granada resucita el Guignol,”
La Esfera
(Madrid), X, 475, February 10, 1923.
“six, eight, or ten”:
Hermenegildo Lanz Archive, Granada.
“the State … spider”:
Altolaguirre,
Obras completas
I, 280–82; Manuel Altolaguirre, “Recuerdos de Federico García Lorca,”
Previsión y Seguridad
(Monterey, 1944), 601; Auclair, 73.
FGL completes university degree:
FM
, 93–102; Torre, “Federico García Lorca,” 58–63.
8. Garden of Possibilities: 1923–24
FGL and Francisco García Lorca travel to Madrid and “enormous number of friends”:
EC
, 171–72. See also Vicenta Lorca to Federico García Rodríguez (March 19, 1923), AFFGL, and
GM
, xvi and xviii.
“feted and pursued”:
EC
, 176.
“little poet… torpor”:
Andrew A. Anderson, “Adolfo Salazar, El poeta forastero: Una evocación olvidada de Federico García Lorca,”
BFFGL
4 (December 1988), 114–19.
“unbelievably kind”:
GM
, xvii.
“Paco” and “Pico”:
Mario Hernández, “García Lorca y Vicente Aleixandre: Papeles perdidos, líneas halladas,” in Soria Olmedo, 229.
“lively, fresh, and spontaneous”:
Pedro Salinas / Jorge Guillén, 40.
“Czechoslovak painter”:
Buñuel,
Miú último suspiro, 66
.
“savior”:
Dalí,
Vida secreta
, 4.
“like mad… I am sure of it”:
Gibson, et al.,
Salvador Dalí: The Early Years
, 21; Gibson, “Salvador Dalí,” 61.
“In a short time … with myself”:
Gibson, “Salvador Dalí,” 61.
FGL meets Dalí:
Buñuel,
Mi último suspiro, 66;
Santos Torroella,
Dalí residente
, 23; Dalí,
Vida secreta
, 188–89;
G, I
, 334, 370; Vázquez Ocaña,
García Lorca: Vida
, 103.
“Should I be liking this?”:
José María Moreiro, “Dalí, en el centro de los recuerdos,”
El País Semanal
(Madrid), October 23, 1983, 17.
“almost mute”:
Moreno Villa,
Vida en claro
, III.
“I’ll say … very interesting painter”:
José Maria Moreiro, “Dalí, en el centro de los recuerdos,”
El País Semanal
(Madrid), October 23, 1983, 19.
“nothing more than Lorca’s echo”:
[Residencia de Estudiantes], 120.
“We drank lousy local champagne”:
Dalí,
Vida secreta
, 212.
“that plays …
fifteen days”:
EC
, 188.
Master Peter’s Puppet Show:
Master Peter’s Puppet Show
premiered on a puppet stage in the home of the Princesse de Polignac, an American heiress who had underwritten the cost of the production. In the audience were Paul Valéry, Igor Stravinsky, and Pablo Picasso (Juan Bustos, “Hermenegildo Lanz, el gran desconocido,”
Diario de Granada
, June 24, 1983, 16–17). See also Falla correspondence to FGL and Francisco García Lorca, AFFGL.
“Even if you don’t:
Vicenta Lorca to FGL (
c
. March 1923), AFFGL, excerpted in
EC
, 180n.
“in love”:
EC
, 250.
“put his hands”:
EC
, 239.
“control … real artist”:
EC
, 192n.
“My fear”:
Gregorio Martínez Sierra to FGL (August 31, 1923), AFFGL.
Vicenta Lorca tries to hide guitar:
EC
, 206.
“I’m going through a feverish”:
EC
, 198.
“feverishly,” “pin it down … fugitive and
alive”:
EC
, 196.
“penetrated … not Lorca!”:
EC, 193–94.
“I feel a real panic”:
EC, 198–200.
“Garden of the Lunar Grapefruits”:
All passages from this poem are taken from OC, I, 270–71, trans. in FGL,
Collected Poems
, 352–90.
“garden of possibilities”:
EC, 196–97.
“My unborn children”:
EC, 202.
“Now I’ve discovered,” “none of the dead hours … going to be born”:
EC
, 158. The dating of this letter is problematic: Marie Laffranque suggests FGL wrote it in 1925 (introduction to FGL,
Teatro inconcluso
, 20); Christopher Maurer suggests. September 1922 (EC, 157–58n). Thematically, the letter reflects many of the concerns that were preoccupying FGL in the fall of 1923.
“and what great pleasure”:
EC, 200.
FGL and others invent Capdepón:
C. B. Morris, “Granada in García Lorca’s Romancero gitano,”
Siglo
XX/2oth Century 6, 1–2 (1988–1989), 20;
FM
, 106–12; Andrés Soria Olmedo, “Más sobre don Isidoro Capdepón, personaje lorquiano,” in
Federico García Lorca. Saggi critici nel cinquantenario della morte
, ed. Gabriele Morelli (Fasano: Schena, 1988), 137–42; AFFGL.
FGL begins sketching:
FM
, 433; FGL,
Dibujos
, 119–25.
“The Lyrical World of García Lorca”:
Melchor Fernández Almagro, “El mundo lírico de García Lorca,”
España
(Madrid), 391, October 13, 1923, 7–8.
“I know that you love me”:
EC, 256.
“When I’m not on close terms”:
EC, 197.
“strolled through the secret”:
EC, 208, trans. FGL,
Selected Letters
, 44. For an insightful discussion of FGL’s deviation from the facts of the original Mariana Pineda story, see Morris,
Son of Andalusia
, 108–15.
“symbol of a revolutionary ideal”:
Pinto.
“exalt”:
OC
, III, 358.
“very close to the event”:
OC
, III, 359.
“at the age of nine”:
EC
, 208.
“a few notes … understand?”:
EC
, 187.
“absurd”:
EC, 188.
“poetry”
and
“emotion”:
OC, III, 490–92.
“Since childhood … meet her …”:
EC, 208.
“Mariana the lover”:
OC, III, 361.
“Juliet without Romeo”:
EC
, 209.
“poetic truth”:
Melchor Fernández Almagro to FGL (September 15, 1923), AFFGL.
119
1923 coup d’état:
Military coups were nothing new to Spain. From 1814 to 1923 no fewer than forty-three took place; the bloodless coup, in fact, was the country’s preferred form of changing government. The system did not change until 1981, six years after Franco’s death, when King Juan Carlos boldly defied a military insurrection to preserve the country’s fledgling democratic government.
“The political circumstances”:
Melchor Fernández Almagro to FGL (September 15, 1923), AFFGL.
“a man’s movement”:
ABC
(Madrid), September 14, 1923, in Díaz-Plaja,
El siglo XX
, 9.
“People, King and Military”:
“Primo de Rivera escribe sobre Mussolini,”
El Sol
(Madrid), February 9, 1924, 1.
“step backward”:
Melchor Fernández Almagro to FGL (September 15, 1923), AFFGL.
“strident politics”
and
expulsion of Unamuno:
El Sol
(Madrid), February 22, 1924, in Díaz-Plaja,
El siglo XX
, 33–35. Unamuno went into exile in France.
De los Ríos prosecuted:
El Sol
(Madrid), March 1–3, 1924.
FGL signs
1924 manifesto:
G, I
, 381, citing Pedro Sainz Rodríguez,
Testimonio y recuerdos
(Barcelona: Planeta, 1978), 345–46. In the spring of 1924, FGL told his parents, “The political situation is the same if not worse; because in Africa I think they’re eating us alive” (EC, 229). On his dislike of “official documents” see EC, 260.
FGL attends Pirandello play:
Juan Gutiérrez Cuadrado, “Crónica de una recepción: Pirandello en Madrid,”
Cuadernos Hispanoamericanos
333 (March 1978), 347–86.
“a reality more real”:
Heraldo de Madrid
, December 24, 1923.
FGL and new literary generation:
For instance, poems by five members of the generation—Lorca, José Bergamín, Jorge Guillén, Gerardo Diego, and Pedro Salinas—appeared in an issue of the
Berliner Tageblatt
(December 1924) devoted to “young literature of the different European nations” (“El ‘Berliner Tageblutt.’ La joven literatura español en Alemania,”
El Sol
[Madrid], December 11, 1924, 5).
“tremendous dark laugh”:
Vicente Aleixandre, “Federico,”
Lorca Page 70