Cante jondo offered “a powerful distillation of those elemental issues (birth, love, time, death) by which our experience is defined.” This echoed the “two main and obsessive themes” in the work of Lorca: “on the one side love, hope and joy on the other side grief, frustration and death.” In Poema del cante jondo we see a recurrent theme which Lorca was later to single out as the sole character of his subsequent, much-lauded Gypsy Ballads: “… pena without recourse the black pain from which there is no escape but death.” What Lorca saw in cante jondo, suggests Grande, was an expressive tradition “en donde todo es terriblemente verdardero, desconsoladamente verdadero, y en donde sin embargo esa verdad se transfigura en unas músicas que nos ofrecen un consuelo verdadero también, terriblemente verdadero.” “For Lorca,” writes Morris, “ the rich Andalusian heritage of music and song constituted a starting point rather than an end in itself.” Ī theocracy in the early 20 th century, Spain was immersed in a Catholic past that was simply unavoidable. The key difference lies in that: “it is a communication of a dark soul rather than an exuberant entertainment.” Lorca, a member of the avant garde Generación del 27 with their recognition of poetic forefathers such as Góngara, had grown up emersed in the rich and mystical character of his native Andalusia so these “verses that condensed momentous events of human experience into a few, resonant words” held an obvious appeal for the young poet. Ĭante jondo is the forerunner of the flamenco, explains Hobbs. Instead, he suggests that: “ Book of Poems was Lorca’s initial lyrical statement of existential conflict, and Poema del cante jondo is its subsequent symbolic expression.” Indeed Maurer makes the point that Lorca, and Manuel de Falla, whilst arguing against opposition to their 1922 folk festival, insisted that cante jondo was not simply folklore but “living proof of Granada’s ‘universality’”. (Kışlanın avlusunda dört muhafız çingeneyi döver.As Loughran bemoans: “Too often general commentaries on Lorca’s poetry point to Poema del cante jondo as an example of the ‘folkloric’…”. (Guardia sivil yarbayının sütlü kahveden ve tütünden olma ruhu pencereden çıkıp gider.) ÇİNGENE: Ocak ayında portakal çiçeğim var. ÇİNGENE: Aslında uçmak için kanada da ihtiyacım yok. ÇİNGENE: Uçmak için kanatlar icat ettim ve uçuyorum. ÇAVUŞ: Emrinizdeyim Sivil Muhafaza Yarbayım! Lorca'dan bir bilmece! Cevabı ve daha da fazlası kitapta. Reading the “Poema del cante jondo” in Castilian is a remarkable journey through the unique colors, smells and senses of that soul. And beyond that, the poetry is rooted perfectly in the soul of Andalucía. Those themes are what call me back into Lorca’s poetry every so often.
In its most fundamental perspective, Lorca’s poetry deals with the universal themes of love, death and alienation. It was from Professor Alonso, himself a poet, that I gained a deeper understanding of Lorca and of Lorca’s works.
Both, also, were part of the group known as the Generation of ’27-a number of poets linked by their explorations with the avant-garde. Professor Alonso had known Lorca as a friend and colleague starting in their youth when both were students at the progressive Residencia de Estudiantes in Madrid. My first exposure to it was in the late 1960’s in Madrid where I audited a course on García Lorca’s poetry and theatre taught by Damaso Alonso.
This is not my first reading of “Poema del cante jondo”. I do not, as a rule, venture beyond a handful that I encountered among the well known and even then, they lie fallow for years, remembered only in brief reflection and not in a re-reading.Īnd about Lorca’s works-his poetry and his theatre-I am enthusiastic. I have a few poets whom I have read off and on. It is not a genre that I turn to with preference.
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