Lorca
Page 72
“one of the latest inventions”:
Fernando Vela, “El suprarealismo,” in Fernando Vela,
Inventario de la modernidad. Ensayos
(Gijón: Biblioteca de la Quintana, 1983), 49–54.
“dream and reality”:
Reprinted in C. W. E. Bigsby,
Dada and Surrealism
23,
The Critical Idiom
, gen. ed. John D. Jump (London: Methuen, 1972), 37.
“Foreign waters”:
EC, 319.
“all the news”:
EC, 308.
“the best one!” and “rare, surprising
unity”:
EC
, 329.
“In four months time”:
FM
, xxii, trans. in
GM
, xxii.
“of creating a great” and “I have seen
completed”:
EC
, 330, trans.
GM
, xxii.
FGL writes “The Unfaithful Wife”:
FGL,
Romancero gitano
, 173–75;
EC
, 334.
“You can’t say”:
EC, 338.
“I want to be a Poet”:
EC, 319.
“poetic transcription”:
This and subsequent passages from Torre’s review of the ode appear in Guillermo de Torre, “Federico García Lorca: Boceto de un estudio crítico inconcluso,”
Defensor de Granada
, March 13, 1927, 1.
“Ode to Salvador Dalí”:
Quotations from the “Ode to Salvador Dalí” are taken from FGL,
Collected Poems
, 588–95.
“must be clear”:
OC, III, 75.
“almost ARITHMETIC”:
Salvador Dalí escribe a Federico García Lorca
, 32.
Ortega’s “Dehumanization of Art”: José Ortega y Gasset, “The Dehumanization of Art,” trans. Helene Weyl, in
The Dehumanization of Art and Other Essays on Art, Culture and Literature
, 2nd ed. (Princeton, N.J.: Princeton University Press, 1972).
“I’ll never forget”:
EC
, 330.
FGL’s lecture on Góngora:
On the writing and delivery of the lecture see Maurer, introduction to C, I, 18; EC, 333–34; and “En el Ateneo: ‘La imágen poética de don Luis de Góngora.’ Conferencia de García Lorca,”
Defensor de Granada
, February 14, 1926, 1. On the lecture itself see Belamich, 97–98, and Laffranque,
Les Idées Esthétiques
, 119–30. Quotations from the lecture are taken from OC, III.
“brilliant dissertation … emotion”:
“En el Ateneo: ‘La imágen poética de don Luis de Góngora.’ Conferencia de García Lorca,”
Defensor de Granada
, February 14, 1926, 1.
“My voice … old age!” and “You tell me”:
EC, 334.
“as I believe I will”:
EC, 255.
“that bastard” and “Will anyone want”:
EC, 331–32.
“deadly”:
EC
, 346.
“few friends”:
OC, III, 82.
“We must love Granada” and “a joyful, lively”:
OC, III, 190.
“is a symbol of youth”:
“Una comida literaria: Gallo y sus simpatizantes en la Venta de Eritaña,”
Defensor de Granada
, March 9, 1928, 1.
“I’ll make you all the covers”:
Salvador Dalí escribe a Federico García Lorca
, 34.
FGL visits Madrid, April
1926: EC, 340–42; and Jorge Guillén,
Federico en persona. Carteggio
,
96
.
“total
admiration”: EC, 416.
“I’m not intelligent”:
EC, 438.
“to the Poet Federico García Lorca”:
Jorge Guillén to FGL (August 1925), AFFGL.
“clean and beautiful,” and “excessively cerebralgift of tears”:
EC
, 415–16.
“I have too much chiaroscuro”:
EC
, 333.
Guillén introduces FGL in Valladolid:
Guillén, “Federico en persona.”
“almost adolescent” and “whisper his songs”:
Francisco de Cossío, “Ensayos. Una lectura,”
El Norte de Castilla
(Valladolid), April 11, 1926, 1. The
Defensor de Granada
reprinted Cossío’s account on
page 2
of its April 13, 1926, edition.
“well taken care of … gratis”:
EC
, 344.
“We think of you constantly” and “another hug”:
Salvador Dalí escribe a Federico García Lorca
, 40. On FGL’s probable encounter with Dalí in Madrid, see also EC, 349n.
Dalí meets Picasso:
“I’ve come to see you first, before visiting the Louvre,” Dalí told Picasso in Paris. “You’ve done well,” replied the Andalusian (Dawn Ades,
Dalí
[London: Thames and Hudson, 1982], 32).
Dalí expelled from Academy:
Dawn Ades,
Dalí
(London: Thames and Hudson, 1982), 29; Rodrigo,
Lorca-Dalí
, 85–87.
“definitively seize power”:
Dalí,
Vida secreta
, 218.
“the
harshest
criticism … enthusiastic”:
Gibson, et al.,
Salvador Dalí: The Early Years
, 27.
“Little son!”:
Salvador Dalí escribe a Federico García Lorca
, 32.
“Do you love me?”:
Salvador Dalí escribe a Federico García Lorca
, 36.
“This business of dealing”:
EC
, 346.
“slightest worry” and “That’s how I’ve freed myself”:
EC, 351–52
“delicious agony” and “Saint Objectivity”:
Salvador Dalí escribe a Federico García Lorca
, 42–46; Dawn Ades, “Morphologies of Desire,” in
Salvador Dalí: The Early Years
, 140.
“love, effort, and
renunciation”:
EC
, 370.
“In the country”:
EC, 355.
Buñuel writes to FGL from Paris:
AFFGL.
“a lyrical headache”:
EC, 367.
The Huerta de San Vicente:
The word huerta literally means “vegetable” or “kitchen” garden. Don Federico García Rodríguez purchased the Huerta de San Vicente in July of 1925 and took possession of the property on October 30, 1925 (Registro de la Propiedad de Granada, no. 7, bk. 635, fol. 182).
“the most beautiful”:
EC, 587.
“divinely unbreathable”:
EC, 363.
“I was in the city … direct reality”:
OC, III, 472;
FM
, 305.
“was like slamming my fist”:
La Razón
(Buenos Aires), November 28, 1933, in OC, III, 468.
“as though I were holding”:
OC, III, 472.
“the exceedingly tiresome,” “I know her mother died,” and “My parents see”:
EC, 365.
“disastrous venture,” “badfaith… with my family,” and “W
hat do I do …
drowning”:
EC
, 384.
“For the first time”:
EC, 375.
“I think I have a vocation”:
EC, 366.
“You have to start”:
Guillén,
Federico en persona. Carteggio
, 110.
“What fantastic notes”:
EC, 375.
“Because I need to have a job … imminent?”:
EC, 369.
Concha García Lorca announces engagement:
Don Federico insisted that Concha secure her brother Paco’s permission to marry Montesinos, and she did so. It is not known whether she also consulted FGL (Concha García Lorca to Francisco García Lorca [June 26, 1926], AFFGL).
“a tranquil and sweet life”:
FGL,
Cristo. Tragedia religiosa
, AFFGL.
“Let me stay”:
EC, 367. The childhood rhyme appears in EC, 367n.
“Paris would be ideal … good for nothing!)”:
EC, 375.
“My private opinion”:
Pedro Salinas to FGL (October 2, 1926), AFFGL, in Pedro Salinas,
Dos cartas a Federico García Lorca
, facsimile ed. (Fuente Vaqueros: Casa-Museo Federico García Lorca, 1991).
“You won’t take examinations”:
Salvador Dalí escribe a Federico García Lorca
, 44.
“Federico (incorrigible poet)”:
EC, 375.
Litoral press:
Altolaguirre,
Obras completas
I, 231; Morris,
A Generation
, 8; Alberti,
La arboleda perdida
, 231. In a letter to FGL, Pepín Bello snidely referred to Litoral as a “pederast press,” because of the presumed sexual orientation of its owners (Pepín Bello to FGL [December 2, 1926], AFFGL).
Emilio Prados visits Granada:
Hernández, introduction to FGL,
Canciones
, 19; Santos Torroella,
Dalí residente
, 154;
EC
, 378–83.
“paradise closed to many”:
OC, III, 83.
“twenty thousand unknown”:
Emilio Prados to Jorge Guillén, in Maurer, “De la correspondencia,” 68. On the state of FGL’s manuscripts in general, see Hernández, notes to FGL,
Libro de poemas
, 243, and AFFGL.
“more than ten!” and “After all”:
EC, 415.
“It’s disgusting”:
EC, 391. On Xirgu’s presumed reason for producing the play, see Andrew A. Anderson, “¿Entre prodigio y protegido? El joven Lorca en Madrid (1919–1920),”
BFFGL
17 (June 1995), 100.
“peripheral to my work”:
EC, 435.
“just where it wants …”:
EC, 430.
“I’m happy … not of worth”:
EC, 418.
“surprises for many”:
EC, 427.
Songs
published:
FM
, xxiv; Hernández, introduction to FGL,
Canciones
. All quotations from
Songs
are taken from FGL,
Collected Poems
, 412–515.
“my three weaknesses”:
EC
, 417.
“book of friends”:
EC, 416.
Guillén praises
Songs:
Jorge Guillén to Germaine Guillén, papers of Jorge Guillén, Wellesley College Archive.
“new, new, new”:
Lluís Montanyá, “Canciones de Federico García Lorca,”
L’Amic de les Arts
(Sitges), July 31, 1927, 55–56.
“the higher algebra”:
José Ortega y Gasset, “The Dehumanization of Art,” trans. Helene Weyl, in
The Dehumanization of Art and Other Essays on Art, Culture and Literature
, 2nd ed. (Princeton, N.J.: Princeton University Press, 1972), 32.
FGL’s “Three Portraits with Shadow”:
See D. Gareth Walters, “‘Comprendi. Pero no explico.’ Revelation and Emcealment in Lorca’s
conciones,” Bulletin of Hispanic Studies
. LXVII (1991), 265 79.
“everything … true person”:
EC
, 395.
“genuine anguish” and “The songs remain girded”:
EC, 417.
“a poetry of codes and arabesques”:
Ricardo Baeza, “De una generación y su poeta,”
El Sol
(Madrid), August 24, 1927, 1.
“pure poetry”:
Luis Montanyá, “Canciones de Federico García Lorca,”
L’Amic de les Arts
(Sitges), July 31, 1927, 55–56.
“penetrating poetic vision”:
Enrique Díez-Canedo, [Canciones],
La Nación
(Buenos Aires), August 28, 1927.
“a nickel-plated motor,” “delightful songs,” and “Your songswe already know!”:
Salvador Dalí escribe a Federico García Lorca
, 58–59. Lindbergh’s crossing took place on May 21, 1927, four days after the publication of
Songs
.
11. Celebrity: 1927
1926
Dalí exhibition: Ana María Dalí, 131–132;
G, I
, 465.
“Carísimo amigo … our hunger!”:
Salvador Dalí escribe a Federico García Lorca
, 48.
“I’m saying goodbye”:
EC, 475.
FGL’s financial problems:
EC, 469–70; Aub,
Conversaciones
, 99.
“Send me fifty pesetas”:
EC, 218.
“You know that we want”:
Vicenta Lorca to FGL (March 29, 1921), AFFGL.
“more than repay … upsetting you”:
EC
, 469–70.
“exuded ‘south’” and “I’m from the Kingdom”:
Gasch, “A la luz del recuerdo,” 39.
“shrewdly intuited”:
EC
, 496.
“sophisticated sentimentality”:
Rafael Moragas, “Durante un ensayo, en el Goya, de Mariana Pineda, cambiamos impresiones con el poeta García Lorca y el pintor Salvador Dalí,”
La Noche
(Barcelona), June 23, 1927, 3.
FGL attends
tertulias
at Barradas apartment:
Rodrigo,
Lorca-Dalí
, 122–26; Mario Verdaguer,
Medio siglo de vida íntima barcelonesa
(Barcelona: Barna, 1957), 295–97; Gasch, “A la luz del recuerdo,” 36–37.
“so terribly interesting impulsive character”:
Gasch, “A la luz del recuerdo,” 38.
FGL’s mood swings:
Luis Capdevila, “Unas horas de la vida de Federico,”
La Vanguardia
(Barcelona), December 1, 1972, 55; Rodrigo,
García Lorca: El amigo
, 342. On FGL’s general moodiness see Sánchez Vidal, 53; Auclair, 16; Celaya, 145; Penón, 178, 185.
“aroma … olive”:
Gasch, “A la luz del recuerdo.”
“nervously, easily”:
Joaquín Montaner, “Discos. Recuerdos de García Lorca,”
El Día Gráfico
(Barcelona), December 20, 1935, 1.
“these old things” and “Perhaps”:
Rafael Moragas, “Durante un ensayo, en el Goya, de Mariana Pineda, cambiamos impresiones con el poeta García Lorca y el pintor Salvador Dalí,”
>
La Noche
(Barcelona), June 23, 1927, 3.
“picturesque”:
EC, 496.
“wonderful”:
Heraldo de Madrid
, October 15, 1927.
Xirgu spends money on
Mariana:
EC
, 488.
FGL’s first meeting with Xirgu:
Rodrigo,
García Lorca
, 58–60.
Margarita Xirgu, background:
Antonina Rodrigo,
Margarita Xirgu y su teatro
(Barcelona: Planeta, 1974); [Trillas Blásquez], “Hablando con Margarita Xirgu, que se va a América y recuerda su vida,”
Crónica
(Madrid), December 22, 1935.
“the actress who breaks”:
“En el hotel Alhambra Palace. En homenaje a Margarita Xirgu y a Federico García Lorca,”
Defensor de Granada
, May 7, 1929, 1, in
OC
, III, 194.
“Even the old folks”:
Antonina Rodrigo,
Margarita Xirgu y su teatro
(Barcelona: Planeta, 1974), 144.
“But without speaking”:
Rodrigo,
Lorca-Dalí
, 120.
“Huge success”:
EC, 489.
FGL telegraphs family:
Francisco García Lorca to FGL (n.d.), AFFGL.
“luminous”:
“Goya: La obra de un poeta granadino,”
El Día Gráfico
(Barcelona), June 25, 1927, 11. On the quality of FGL’s verse, see also
El Noticiero Universal
(Barcelona), June 25, 1927, 4.
“delicate and sentimental”:
M. Rodríguez Codolá, “Mariana Pineda, romance popular en tres estampas, en verso, original de don Federico García Lorca,”
La Vanguardia
(Barcelona), June 26, 1927, 15.
“with nothing more”:
Doménec Guansi, “El teatre,”
La Publicitat
(Barcelona), June 26, 1927, 6.
“now join the list”:
Francisco Madrid, “Teatro Goya. Se estrenó, con éxito, ‘Mariana Pineda,’ romance en tres estampas de FGL, por la compañía de Margarita Xirgu,”
La Noche
(Barcelona) June 25, 1927, 3.
“the most important daily”:
Collection of William Layton, displayed in the exhibition
Federico García Lorca y su teatro
, Teatro Español, Madrid, 1984–85.
FGL’s family cannot tolerate stains:
Author interview with José Caballero.
“aphrodisiac”:
Salvador Dalí, “Federico García Lorca: Exposició de dibuixos colorits (Galeries Dalmau),”
La Nota Revista
III, 9 (Barcelona, September 1927), 84–85.
FGL shows drawings at Dalmau Galleries:
Rodrigo,
Lorca-Dalí
, 140; Mario Verdaguer,
Medio siglo de vida íntima barcelonesa
(Barcelona: Barna, 1957), 303; Helen Oppenheimer,
Lorca: The Drawings. Their Relation to the Poet’s Life and Work