The nature and theme of the poetry of Jorge Guillén

Item Type text; Thesis-Reproduction (electronic)

Authors Palley, Julian

Publisher The University of Arizona.

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Link to Item http://hdl.handle.net/10150/319020

THE NATURE AND THEME OF THE POETRY OF JORGE GUILliN

byJulian Palley

A Thesis submitted to the faculty of the

Department of Spanish and Portuguese In partial fulfillment of the requirements for the degree of

MASTER OF ARTS in the Graduate College, University of Arizona

1953

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This thesis has been submitted in partial fulfillment of requirements for an advanced degree at the Univer­sity of Arizona and is deposited in the library to be made available to borrowers under rules of the Library. Brief quotations from this this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for per­mission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the dean of the Graduate College when in their judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author•

SIGNED:

% // '.Table of

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Chapter if 0 The Btrueture. of Gantico aaoonaaortaa<-,aaYI

Chapter ¥» -A Hot® o&: CniJii^h4:s erse.»„.„ ^ o :0:<>o'?. »^0

.Cha.pt©h fit, Theme and ■ Suh=,tiiemee0 „ 0..0<ia 0 „ 0 * = <,»6 =^2

Chapter f xX^ • ■ 0*tixXXea a-siti f aiSry0 9 e „•, * 0 © .*,* o-o:»»»»»o»5

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‘BihXiograph^0 © e ©»» o> ©■ o o © o»o,© «.•»■ #-,o © ©.»:©.o © ©■? ©»»© © *.© ©'o;>«.#73 •

; ' / . . ■ - . Intrsauctlon,V ;

V'V v/feder-io© Garoia Lorea, ’Rafa©! a M Jorge: ' % : '.Guiilen ar© 0©nsid.©red the. exitstandlag- figures of- that - ;amazing geaeratien of/ Spanish poets xwhioh was . most aotiv©.' /., betwasn If 2? anh i936'» ..Leroa ' 'explored', espeeially . the : folk«. ’ lorlo vela, Alberti was prefdn&Xy infliaeneed by surreaiiE®j,while Jorge Guillen Is ,the Eiiest. Ihtelieetual ef the three „ /„a poet 'of '.BMmnmB and, ’cenoliion^ wh©; has; tried t© aehieve v..the ideal that some:eaiX pure poetry^ fhe intelleetual element In Guillin : derives - in' part- from Paul 8' but the.,

;.wellsprlh|s:: of■ his--hadenbe Itoages; are:/ to be;/fouM; in- ; /:;-traditional Spanish p©©trye / The central topics, of this Ini. v©s'tlg,atIon. f o m ,, an' Inquiry into /the Origins of Jorge Gni-/■ / /:,/lien® S.; poetry'/the 'n a t ^ poetry, the poet0 0/ view': /'' /of reality,' hi®, treatment of; metaphors, the poet is them®. ./ i, and subuthemes,/ and ;hl©:. relatloh to Paul ?aliry6 . .1 approach;/ the:..task humbly^ cognliaai \ o t ::my .own/, shortoeiaings,' and/'of : the / dif fieulties ih-leh' criticism ©aopunters in analysing and s: / plaining th# work of a great p©et6.. ' . ,;/■/. ' '/ :::.'Jorge Guillen-ha® /publ on©' M b k s O^ntice.- his. l'l%/\work* The final'and'ebmpiett-editlhh-of Oahtioo appeared ■/ in Buenos'.Aire® in 1950, and' it;' ebmtains 35^ pb©MS6. All of -' •tty references to Cant loo will apply 'to * this ‘edition* it / /''> represents., thirty - years- of work by, -the poet, and if is - /•/ •',’

. preceded bj three earll#r eaitiona» Revlg.ta de Oceldeat®.,■ . Sadrid:?V192S? 75 poemsgCruz'y Raya, Madrid, .1 9 3 6, 125 p4@me . and Litoral, l6Ei<h©>.-■19 5# ' 270 poems* ': .With eaehv'sueoessi^eedltloh, the W o k has'heen expanded and' improved; .hut the

:'essential nature of;;Sti.illSn8s poetry; is present from th©.. ''start* ;,Fpr this reason, % will not include a edmparktiv© ''■■;• ' study ©f the various editionsi which, although of Interest,

- Is, - not Indispemsable to the study of his p o e t r y ■: ' ; •fhere have ■ appeared to det© , three '• maj©r studies of

: G-uillin8s: worko They, are: . JorR© Gullldn: Odatloo, by . ..' Joaquin .Cas'alduero ■ CGruk, del.Sur,';l^fi) ® / The Poetry of ; ■ J&me 6ulll€ni b^ Franoes, Ple&k (Princeton, 19^2) 5 and ' . ■. ; La g@esia-.de Jorge Guillen by G-ulMn and Blecua (Baragoza,

j: 19^9)* All three':works' are ezoelleht,. 'but;;in the. present ■ ' Study I'l'bave tried-'to '.avoid ref erring : to-: them, in' order to 'keep this thesis as'original:as possible* I have tried to , .emphasi.ze' points:;,which wer©'motvesiphBSizediin:::thevpretlous'.• studies, although' 1: cannot deny- that: ■ they have --influenced ... -

: -my thinkingo .; ‘ -f,:' i. ' ' v" -: Jorge Guillen- was born at f-alladolid on .the eighteenth-:- of January, 1893®': : ' in '192# he redelved the Docto'rat@ 'In Le%, ters In Madrid,' and. he: has taught in universities in Spain,

■ ■ Prance, Sngland -and the, Dhited . Statesv - At present: te^.irf / ; .-''.:.profeBSor of Bpamlsh. at WelieWley , 0ollege* . With.-the last -; edition, hi a, book GXnMoo , ' according t© the word ©f , the ' .. ’

■ ■ : y ■himself ,: Is .el-osed-,* Jo^ge7 Sulllin is 'k Wleh. he will call glSiaQff. •,aha: .which will

sitiras, elegias.y poemas social©®*M •:' ■ ' . I 'partlGulahly'; wam% to thahk Professor' l«gs f Barnard Gollege > / and the Oasa. HlepSniea ©f O'olumMa

, f©r: their immeasurable assistance in the the Bibliography6 ; 'i ? : '.; . ; : ■

wltb Bustaw. Mdlf© ; • :Bi'eqt2,@r» : we might e'¥@tt say -that Bi'equer brought poetrybaak, to Spain.0/ Ixeept for a few minor voieis ilk© He«,

poetry; hadvBi:@4:vlh; #pklm with ' t h e '

y. Galderdn Be la Barea la :l6Sl0 . Between that Bate andthe appearance of the Rlmae in .187-1, / there; was only the ..moralising of Quintana-and ;Jovellanos„ the breastsbeating@f igpronBeBa,: the ewifying of .Eorrilla^ amB th®.' prosaih'hmoriim ©f Oampoaraor© Poetry had beeome purely .e'xtemal,-an ad Juno t , of. philosophy,, politids 9 religion^ the -•. moral and the novella tlo narrati¥@.0 ;■ Poetry' was'used to . '. express every-.faoet./of Ilf® but -the .poetie6. . - A Bllene© oftwo- hundred years was broken about the game time that ' -Spaniard,®, stung-by . the military .defeat of-1898 . and the ''loss- of the last ye®tig© of. the:; Spanish -Impire'p began tolool into. thems©ly©s'>":: heir past. -and . their /yalueSo "'; About ■'the same time as the work Of F-raneiseo Bluer d© leg Biosand ;Angel Ganiyet, the precursors of the Generation of 698was -to,■ he heaxd; the quiet but tenaoious ..yoie@: of Beoquer.i.: - r \ ' v . yolyerah ihs ©seur®s' golondritiag /: ■ : . i v e -

. ' . • d# tu baleSn; sus : nldos a eolgaro & 0. : J 'Such lines'had not been heard in Spain ainee the days ofFray luls Be Le<Sn. and San Juan de la GraSp ;/ Beequer /l-oofcedInward Instead ©f outward» he"elImiaateB the bombast that

px»@eeded him/.-and'produc©d>-a .poetry' r l # in : andimageSj, -naked of non-essentials a poetry that did not shoyt,, 'hut whisperedo Beequsr was within the limits ©f . . ■rbmantioisBie,'; ::He, ■'in faotj ■ its' mPBt ' authentio v.QlG . ' '7hut:' he for©east the new poetr#';; that;was; to follow »hime y;': - fhe .HiQaraguan R u M n ..Parfo deseendea. like & bombshell; on the Bpanish poetry . of, the last, two- deemde's of the nlme«= -. teehth eehthry^ - Se; horrowed; the attitudes and the. foms ■"

;':W ' the great FreWh master#: of that ethtpry:: , above all integrating them into Spanish thought and. etOU.. ..tares and -he also gave new life' to the' rhythms of Spain6 s

7 'primitive.■ poetSe : i8Fuf ^aqasOg faSs, qpe: un innoyador, t m ^ ; Sabi© reepastraetor„ 'Vsaid the '-Meicieah; peet-. huis R'rhime. © ■ Innovator, . renovator and reeonstrue ter f ©1 aelehtopixlmo de ...RuMn Barfo f W eomo hispahlaar euant©s . elementos,

: de: yalo.r permaneht© habfa eneontrado en eactranas I Iteratur®s ■■ : Be gave a .he#{ and weloom fpr% '' after- the;' .endless romances and . endeeasiiaboa of -,the nine-/ ; ■■ teeath 'century-; but perhaps even more, important than M e -•

' renovation; and; liberation of forHij, - was'hi® introduction of. >;:hes/iaeas„' i-sabjeet;::EatWr:;;@$$d.: attitudeg to pe-e try//a# 'well as- the . bold use of voeabulary heretofore unheard in Spanish

- verse8 Dario the sensual8 .the optisBisS, . the def iant, the . indefatigable..e.xperlmentePj,, .swept- away with the. force of his

6’ ,all lof #i# ;oM boa^#ptS' .of, .' r '."■ Gentmry p@@tEy °:, '' he - &1& f p#@%py p r ® e w h m t :

Joaquin.. Gos-ta: and Q-aniwt were trying te d® la education - ' vV anS. poll ties» I©1 bleaF1©#." the: field and. prhf ld©S the tools• . ;

■ :■.' : and % #ateh%alB,: for th# % poe te who.. w@r #' to'; W 11 $ a g^eat • new V: - poetry^' HI# mhwment was glwn-. 4 name« modernism0 ;;Se: was.. . ..

; not the' flrsts There :W@h@. minor' wiees ' whleh' were trying: . ’: t® a,o‘: the same things . Saifador Rueda (who .has 'been ealled ..■v : -: his "Bdsein) and; in. - Latin imeri©as. ...0utidrres Silera . and, :, ; . .' :';:'i

'Aaunbidn Silva,..;affiong' btli@rs& But:’Dario6 s -was the . ' : . . ■ • ::•■ .. most -powerful foiee^ th© on© ;13aat every poet in Spain and. I ' • ;

: \ Lhtln Amerioa listened to and was affected by«, ....Around Dario grew a. large group of poets. who-'-’were' ; .. ' -e- :'

. . ■: called the' Moderaisis.i among: them were Fraheisqo' f-illa^ : . , ■' > ; esp@sas Smilio -Garrere., Iduardo Marquina, foinas Morales^' ■ . ;;. c .; . Manuel. #aohad©>:. Snrique -de Mesa,,; Enrique D£ea Caned©$ and . ... , : ... , ■ ■ :■ .the inimitable ‘fall®: Inelih*;'■ .'..fhese men, followed the pr@«=.-::; ' . eepts'' pf ru behiemo fairly dlos.elyl': They sought,' ■ ■ 'above #11 p'

,. for beauty ©f .sound's . “De'/lia' musique aranb tout© eh@s@<* . : , ■, Th# Cult of ' Beautis,; ' .Their ..poetry9. lih© that of Rub©h, was:.. ':

v .brlliian'% .-.. but iached, in#i#it.and.'depth,' :Th©; wdepth*^ how^ ' ./f .f l ..' e%$r was sooh t© be' suqpXieds 1 if ' : . ' ■ . ; : " f

' , In the wake ®f the modernist Graze*- there arose threegreat poet#^. profoundly affected by modern!am, but rejecting ' "-

;.., ■ ,11 ■ .firmly, and looking• elsewhere for ■ Inspiration,,. ..We .could ; " ;

\aall them .P©et Modernist©* M b b way „; they shares the ideals:, of the G@Ber®tl@n .of 8 9S j ■ the. desire, to look inward? :t© . • \ ■■'reoonsiderf'Spain8 ,s odltures::. :;©re.a,tlng new. mluesi a new'se™/- :;,.v aousaes e whieh was; b©1._; priseit; 1m the; .Mcide rnl et#a : : The' thre,ex; '' poets were Miguel de: Unamunos MatoBi© iaehad© ; and 'Juan Ramda

The poetry of Unamuno was the .-antithesis of modermimm* Where ®6d@rn:ism;.:s0.ughtyfor' perf©etioh,;3aad’•tie@mty;'pf/fomg. .the;

i:verse\'0 f-:;U nMuabM© of ten rough'and uamusioale He •attached ■ 'importancej, hot to, _mu@lcallty/ hut to Idease His', is a - poetry', of ide.aSj of.,religious questionihge „ of the, search for 1hl»

■ ffiprtality' (.althou# tlie heautif ul. image, and; the polished',' phras.e' arf: ;n@t eoB^lWtely: ahsent;' in his ;rerse ) Thus Unamun© . .'Contributed to th® .new poetry a seriousness, a conesrn with ideas, and-, the seareh for truth and values0. , ■ ; ; ,

Antonio ■ lachadr Sas ; :M r h ;in - Andalusia, but,he ; cohsidered • v. /himself, a poet of exfraordlnary deliGaGy:,'intlaaey and profundity« above ..all, M was the.: poet of the Oastilian-.landgGape CU-uillin considers Machado to, be one of - Spain8e greatest- pd®t8or3:l; Ifechado/stdod apart from, the' poets, of.his time® he formed ho school'and had h©/direct followers«• '.What, influence he had was on the _spirlt,, (. intimaey, 'delicacy/ • .love: of landscape)!'rslher -than oh:' the form of ./the poets who- followed. hi®9 ■ His 'Spirit was. essentially. Oast Ilian, .that is .'.’

;Mpisay,/nak^ as. ...opposed /tothe".Attdaiusi@n,:';: ;., /

. which is usually prof bar-oqae ,. ' .:. . v v: ' 1 :: ; Of th© thfee/pQets,/the laost Influential was .Juan-.' B.asiiS'n J l m i n e z c . He stands in the baekground, ©f all e©ntempo«=

. / M r y :Spanish p 'ther© :i@ - hardly:.a,_:pd©t- who , not. im» . ■.... flu©need by him0 ; Among;;the:-first to: fejsot moderni^aj, he

:1; pereelyed, nearly all the possibilities' @-f the language which was a legacy of Dario and his fellos,S©deTOists0 . Be -set,te> : .

. % -W and apent-;a ' whol© - lif etime' developing and ©xpiorihg ' p . --th©'ie, passlbiliSies^; He spfke.d;’ steadily.' froia hl#: .'ybuth o.n ,1 ' experimenting, changing,., and purifying his style* He .has

" - . assdelated. himself with :n o '©ehool '©r - iSEi as- he himself saidi ' ,5lwluel'6n ddnseient©^ ■ s©guidafil.r©spomable f ;de' la ■personalidad

avd© -: ©eeuelas h ' tendenclaSe ' Odio . phofuhdd a y trucps0 8 1. '■ ;'I- ■ ;

1 . Jlmeneg was born at Spguerr hi© andaluGlsmo has played, tm importaht .part, in .:hls poetry& It is hot. the ..external' vv"andaluolsiao , of'-SorrlllS ■'and :the Qulmteros, but rather :'the' ' internal Andaluof.a of Gdhgofa, Francisco de Rioja, 'Bidquer, -

: and G-arcia Loreai 8Nada hay • @n Jim^nes, ya se v e ^ r q m '

a la nocl6n vulgar, sabre: M mediodla de Espaha* ; . ;de":lh;: Indaiuela ■plntdresca/ etiya tradicidn ■ 0e.;-r©mohta:. : ;:

;• ■', ® los, romances>:/ a-' los: cuentos moriscos/ y dura todavia s m . . - gla llteratura del patio y .de la re ja/ de la mantilla ;y la ■

. gultarra«, Pero si. hay much® de. la reedhdita, que; existe , ' rent© .©xterlor.,:,f rente a la .;

&1 p&reeer” @a;v©rda,d8 odmpletahdolE:f J. supemnaolao18 ;Jimenez,,. like 'An^mio Maohado,. brou^S slspllelty; to V c

CipanisE poetry, after the laborious and' intrio ate poems' of' . the :loa.eimistSa Hi®, work ‘is usually divided into two major periodss .the- first, musical, eiiaple.,.:'often. b a s M on folk’

■ - H® venido. porria senda, _ ' -% . -r• • eon un rami to de r©@S@ ..

. : d®l - eampOo ■■.: " ' ' " ■ 'v'; : :' ■'•. : llirat la l.una es de plata . , >

. , " .. . aobre l o g jeranlb® rosas? • : ■ ' . .. -:: :% : ■' ■ ■■■ ■'m i r % :;iiar£a, l a 'luna Q , ; . . . v '■ ■■ , ' . y es .d^ plata mel.ahd%lea»^ ;. . -; : v;. . .

and th©; famoust ■ V ■ : . :

' , , ' ; Dios 'esM asulQ La flauta y . el ■ tambor ;v'.;,/ , : amMeian. ya la enis: d@ la pri5iayera0 ; . . -

: j W m n las rssas, las rosas' del /amor., ; . .- : i .;■ ■ ■'' ©htrs.M ^erdor -@%m 'S#l-‘;de'-,la'' ;prad@rs2.-,. ,;

' . • ■ : . s&onoi'Val caapo per romero.,' . ' :-; Wmome# - / - ; '

' : . .. - per romer® y por aEgr0 r:, ' .;1 ; : - . .As we .'.shall . see''later, in,: this style were'.the .seeds .of theearly, Q-areia' Loro&: and. Raf ael, A l b e r t - I n ' hi# -gepond- periodth®: ©3£t@rnal:/musieallty ' Is. .elltilnated«; there: is.: still; an .Internal .musical ity, and a - profundity,' sharpness, a eons era :; .with: the striking - Image; it Is ; a ' naked; poetry, pure, poetry:. -' ::.'i ;8h' pa@l%^d# ml : I::;'' 7;:'•. - desnmda,. mia para slemprej io ■-fh® ifork. which :1s probalbly ' most representative of his later ..period 'is EtermideA®® 11916^191?)# : In this. b®©k. he reduced

poetry to its bares*;;ossen^i^lsi v - '- ■ SI,, dormir.e© domo-'un pupate ’ ' ; ?

/ :.:v; ,q#@ ,?a.:del :my ' # ^ : ; : 'toomov^s:^u©W '.

'r a 8 l a 6 m ‘ v . , • ■

: :' Later we /shall ;0t»s©w@ gOaw W :-the origins /of: t M 'poetry of Pedro Salinas jorge^ Q-ulllrfa; in this later period of J l m $ m z a ' ,But first I should like to diseuss the t»; @1# ter movement#-. ,1#, Span poetry whioh arose 'ahout; the.: ©am© time:. thet .dlfflineZ 'Ws writings ^ and oreaoiohiam®* In. order to understand these . moireEents, it is,.necessary to glanoe :at the ranguardigt literary, . movements of. Europe iihieh eontrthuted; in large part, to-’ ■ their rnhkeup^v 1 .shall; list’ 'them:' rapidly$ ■ ;■ -

CuMgyga , Its leading eipomnts were’ G-ulllaume: naire and Jean. Oo@tmu6. ■; It tried to do for poetry what, etihlssm had .done ill'■paintihgi•' the Intellectuall%atlon of-, :the. poemji :th©.reduotion: t©; ahstrao tloasthe .removal: of..: :.:: external :M.ementsand ,th© ; iBiportanc@ of typography Cttte purely visual 'element» . the way the poem appeared, ©n paper')

Expressionigla .:. • Basically a ' German;movement concerned with ;the etyiisation d.fir©al.ltyo:": ' :. :;. ; ;. ■ - F u M g l s % .‘- A .moveme'ht started; in;italy hy Marinetti,, '

which accentuated and .saw -heauty :ln the machine,, speed 1 and violence#' :

Dad©,, aM'.'lts, inora . important manifestation. ■.eurr©alisaft Surrealism' later played .an. important role in the poetry of ■ Rafael' Alhe rti. and. fieentS ■ AleixandreF Dada. wa#- a purely n©gatiy@r and destructive fcree whieh' Itself created nothing of valuej, but payed the way for surrealism^ The surrealist .; EoyeEBent: was fcunded /in Paris in 1^2^ .by Aa&rl Breton,, mho defined it; thus:' 118Automatisso psiqtiioonpur© „ -eh ■ virtud del' eual uno se propone expre sar el funolonamlento real del v pehsaailentOe ; Die tad o del - pessamiento eon. ausenei© de todo /. ;. control ej,erc Ido" por. la y al 'ffiargen :de' :tod.a.;'prepcupa^';.; ■eidn egtitica y morale M The surrealists looked, upon Rimbaud/ nd Lautr^amont as precursors,., and its leaders were ■'Breton/and/:pwi'.Elusrde- . / ',■ " i ■ ■ /.'' ■, • It is/ interesting tO/,ndt<|. , ih this regard, that Paul . Valery, ■■ who exerted so. much ■ influence on Jorge/ Guillen, , held ■;A,positiph'. precisely contrary to that of /the.,surreal-; . /'/ .istse. .iifhereaS'/the .surrealista sought, to/writ@■ poetry in: . a ' state; ©frelaxation .and■/intoxication's Valery looked upon /.• • the writing' of. poetry • am . appurely intellectual, matter/, a : question of';toEthematlcs;/'ap§: ;ohdmistry>'/.and: haid that even /.../ if/in' a'; dream, state., M could.' writ# a .masterpiece, he would ;not Bcoept -it as>his:/'oW/ . ' /-t'/: ; ■/,...

': /' /Wr-returav now'to; Spain: ultrafsmo'and,' ereaelonismo ' . " .were..the results- -of the impact, that, these movemehts: had' , on -the young writers of. The Hani'f ie.i-to .of "the';

'. «ltrai.i§tas- was published in the press ©f Madrid in January - - of 1919)' , and signed ‘ by; the following® Gullxerm© de Torre.' ; ; '■ ■ J« Rlya#/ :'?ahe#^ 3.#rOr\Q-arfias' Odim'e't : t i r " r.: ■ stated "in 'parts : •"Respetando ia1 ©hra';r©alisacla per la@; , ' v' ' grandes figure.a de esa ^poea .nos sentimog son anhelo de - ; V■ : rebasar - ia. met a aieansads:'P®?: eilas. j : proclamamds ' 1 & me©^ '

;:' Bided, de un ultralsmoy: d® un - mis allK juvehll. y; llberador# ' '• • *' , Like the imagist movement 'In the United States/ t,his moi?e« ! ' 1 .

\ m@nt: ■ at taehed : great. importanee t o : the: Image and;: the meta«=, '; i,/'', , :, vpiw^: Its; aim M s stated hrldfly/.By Jorge Luis Borgeski: --

' on© .of its. founders” ‘’LayredueOidh' d@ la xfrie.a- a su' ©le= V ; :. . ■..: menS@: primordials la :®@t5fbm0 ,f It sought to eliminate

'v’diesents# 11012,':It ‘'donsid®red 'nonue'ssential::■'to:;'poetry;s and ' ii-k-■ ' • k - partieuiarly.. ihyeighed: against the . us© ©f: rhymee

Greacioniimo, mhose founder' was .?ioent© Hu'idohm?/ and k . .- -whieh n M acU. k;'i v

k . V : . herent®»; M s really ' qnit© similar to - ultraisibo e hut It pro^elalmed some rather mystleal .Ideas. pf its own ahdut poetry». / -

;..kJk 1 % tQ. oreate- a poera that la,::to,give it; k ., :;;v/•, . , : ' a Ilf ' of its m m ,,. independent ;of reailty0 : S&iakBuldohro f : V : -’• : . i^or qMieantiis Mirosa^ ;;ohi':;p o e . t a . s ? ' ,• :

- ' . .'.'k;,., ,, k. k gHaeedla'-floreeer eh, elvpoemali 'k'' k ^ . ; -' ; -, ■■ :■ . ./It'vis' Interesting to note • th®-*» with . the■ .expeption; of kk /. ; :k ■

Berardo Dlegbg these movements produced no outstandlngv.;k": k ■ : ■, figures^' and that, the iea.ding poets shied away from identic f l.cation. with. them# As we ^hall; note. later ,.", It. is beoauae,; ■ •: k,

131m 'the 'vlol&mGe' of : •turned .ttielr.' attention too exeXuslfel^ to. the metaphor* -.@■0vei*theless,,, thee® moweoients unquestionahiy had a pro**/.:f ouhd Bnd'vlastlng ef f:e:o:t on the ' more,, important younger / /' ;/ poets* .. It would he-. ;B,.mi8t.ahe;/to:'asBUmi0'',they'-'-w@.re;';.mere. shots, in "the dark#' that disappeared without a tr'aoe When the.movements a.iedo/ A#. Damas# Alonso put it:r "MIo se.le /' 'hao e/JUs.tie la a este- mowimieatoprodujo nada durable*1' Pero sin ■ #1#. dif £eilmehte s@ puede . escpiiear la poesia, posterior* .'■■ Una part© del- phblleo • reclia- /.fara ‘ siempre lo , 11 terariament® het#rodo%o: o /inmov&dor#..- ' / sin eomprender. qu® sin esas saeudid&s.. la wida d©'laS” letras: s@: ©nmoheo©# que aun p.arh' la' ■. renoyae ion &@ la/111eratura # dentro de: Ies:. eaue@s■:tradieional©s # son. heeesarias#"d© vem

..

. . ' Out of the work Of- Juan Bamdn dlmenea cam® i

streams '©t: infltienee#/ which went into :■the formation of' thi most important elements'of the poetry of 1920 to I936d O m

stream was, the popular#' fdlklorio#: 'Andalusian,# whieh had ah enormous influene© on Oarela Lorei,, and -the early. Z U iberti, ' The other was the ' hare#.; intimate , reduction . to esSentlaiS'.of the later, period# whioh oPntrihute'd to the / formation, of Pedro Salinas and Jorg® Q-ulll^p Well as

M f M e aelng Bikasd i3,0BS:©9,;Luis Oermida^; ama otliers ''of the Miabr - pdetSo. : : ' . v: \ .. 5 -: ,■ : Attheugh Barela Lorea was ■ probably a greater, poet. '

: .thah::Jiiaenes9 his debt tb . the latter was 'tr©ii@Mous& Just-to mention two ©sample#: the well-known poem. of. Jlmenes, ;Ver&e .V.eydefdl. for its Tspetltlsh of the word .-vegda *: ;:1s Wmitelseeht: ,©f :;Lorcarg , : '" . : Verde gne'te ghlerB^verde* . 1 ;

Verde Vient©tt ferdes mmas^ ‘ ,And Jlmdhe^5 lines,. V :.- : - . ■ ■: flento hegroij, :luzia-:blanoa0 v

’ ' moow- d@; t@deB i.©@ santose , . . . ■ - .reeall. to, mind -Lorea5 s Ganeld’n del Jlnete; ■' .

: :: :v : ; : I . ; 19 ' ■ :. la. a like faghlon,, as can be easily verified'^ ;

.bertl9@.: early peMdd (Maglner© @n Tierrm) tms .inspired by the f irst perl@d:;:.9f Jlto4mse>: - : ^ -■■ ' , ' • ; ' / , ■■■ ■''' ' In the witime ybf c Jiffiines - called Iternldadts- may be ,seen most.clearly the accent that Pedro Salinas later

. ■ , - ■■ ■ ; ''. Wongbt # Its .hlgheet: perf®ctlong Its : most ezgaieite ; ,,,qti.lst@MSeneeg;.r ■';lt, ' is, an.^aaceBt of prof bmnd Intimacy „ del-leaey and mystery,'In which every element not essentialto :;@zpres@ioh rhyme, me.ter,: even.; Images -. has. been, re- ; 'movedg, .it :1s s pbethy : In which the. line that separates / 'prose from, verse is barely perceptible, but. where others :

1.5wsuld-., have prQd.uoei,' prose 5, shes© poets partleular « proaueed exquisite poetry* W©. poems, the first. % Jimemem, th

, vlia f ragiient) 1

Ilffift« ttrtvss aHNs”! A is ’> A

■■*■ 20

!,s in ,t|i©s©

Ant® ml esta@.,Ifas me ©Iiridd de, t£ , . Pensandb.'.. ©n tl#

©Si

Or., thie little

m pregunto.-il a© eatoy. : v:... si" tfe; w & : eet^S; :auseh-6@f .:SI W ve#. ■ ■■'". , ‘ \ -ir y wiiirj 3*- .'■ ; • ' .X.C ■:pb@m' of : jim^neZp v h i e h : is all

} £ .Sallnass . . -al

lo lluAlnaW , „ estahas :ti, ml a ml ..lad© , ^

in ;ge,"berl©6:e.e - . d2 .-’S v:v.<:.%h©'' suggestiqa of Jorge: .4u|llia: Is alsor to: be:. in the work of JlWhes, although, perhaps not 'quit® .1 Qlearly.'as that' of ; Salinas* . In the following - lines 'Jl'menem (from Pledra y Clelo) we f ind the .e.ss.ential .spirit'- .of §nill-©n? a poetry, and ineidentally, with regard - to f ©rm ;■ - the.: euartetog -, with.: m gonanse' t h # S'Uill^.vhses. so subeesifullyi . - ' . ; ’

'SI' ©ro ohorreante. : : ..v /.-l '-i,-./ . ..'' ..-v'-- ai| hoy^/ pur#'.y..'B'i#ro#''.' ' :, : 1 .

.-' ...- :. ■.|Oh slempre present®, aiempre '- ' . :. este s©l. ' 5;e, .este

.d#W;j#B ehiPero . en. la taMe, -ml. alma sin 23

6©mpar@ ’ tii® atoir© lines with: tWa® from d-uill&i8s Mis : '■ AUi! . . ; : ; ■ - ■ ; ■'

: . ; tot® mi fes, sotere ega . v. . v:--. ■ ?!#?£% ©n ese--:Jard£a.e ■. : , .

' ■ :Z ©©h'dBpnJ® heneMdg : : . .iflmeaelas amaht'es . v - -.el,: s&graa© P u ] ■ ■ ;

?##mt@''per&urahle v:.,,,: - ..;.There oan h® - .in both poets a delight.-la the 'basie mahif©statl@h@ a;:tree, a : flower,, ® .,gar&#hj,' abote all 9;-iight^ . /blarlt^^' :Be:te also ^::;th©' Import&ne.© given •t@, the moment- the' present, and its’quality of: immortality#iieh 'Is so" essential t© duillih^i: poetry^ ' . ' say.pt:, wfe# slempr©' present#, elempra/ , ,,

@ol, :de , est©:; aMiSj,61 Miile,'Qtaillih .speaks 1 of the-®s*..B sagTado/Pregente ;pe^ti,rable6.111■ 1 vera# eon;sol ■ . ' , : / ;

' ^ Y ^ r - M sintetiras ml aftep ' ^ '- , • ' , ■ a;fin <1© goza 1© toaa9' ■ . > pe" '1 - - v •: .

:: '' ' haoerme on tad©' ibmortal! " P .. .pays; dimines, expreesing 'an id®aj’ a ’feeliagv whleh w@■;#iJc.ount©r ’ constantly ' in 'duill/ng ' ' : ' :- • •; ', , ■ / ■ ■ . ■ . ■••.• ■ . ' ' : , - . r . , 1 ■ , . 1 ■' ‘ . . ■ ■ . ■. ■ , , , ■ \‘ v' : ' . ■'■ , v ’ •' 'v' ■■ * : ■' - , , ' , D/C . • ' - - Z*;■ . Prisa d@ vivir;masiv ’ ’ .t : ’ • ; •

: . ’ : Destinoi: quiem @er* . ■ ■, : :;. ’ ' VSer; mad# W s . Y baeta* ^ : _ : :

;; ; ; .y' ::::Es';la- absolQt# d i © ^ ;; : ■ ' , : v. - The -main -differenee between :Sh®two poets „ ©veh when :they are most similar, is one of 'attitudes . imene^ isrest

17less,, seapohlBg^: eh&ng©aW>@| ■ there - Is always a; not®, ©f 'Jv :dlsiatlsfaptlon,;: eyexi; . #^pars@a%.-l©ys3S .d-al#. : ll#a,:' ©# the ether hanS,,; satisfied and even d® .lights in things 'a® they are; . v-v ' .

f Q que: el' pie oamlnant® slent# , , , ;- ;■la” integriaad iel- planetae- V

' 7 i - > H g £ g £ m $ 2 m Y -

' ■;:; le: hay®.: trae-M 'M©derh poetry fros B'&qner to the four p©ets whoffl 1 eonsider-. the most important of the , - ©®at@mporari@S|-: .Lorca, ■ Mherti ,. -Salinas .and Q-uille‘hte

we;:,shall p l&#r, : th#'poetry; ofis*.in part.'the result1 of: the 'coming together of two - literary sohOQlsi . . one is that ©f the traditional Spart* ish-poetry,. from Aecquer'. and- W r & . 'down to ; .. , ■ the :;.ather- ' is/ that: of - the'* Preheh: $©e t ,' •SBul .Val^rys ' y:. ' -.;:

. fhs poetry 'of;. J©2°g@; is ■usuaU.y assoe.iated. : .: #t%h - the ##re@@lom i- piare' poe try, ifal,6li wae;: eoined^ it '; : ■ /appears ■•■ ,by - fal^ry# < fhat is pure, ‘ poetry? It is : . ',;, lasually defined■ /by aegatisnsi "..pure poetry is not this . : ■"or the; other*/'YeJifry defihea It in sueh a way» and . . . .;. O-uillin himself,,. Im,:a letter; i© Feimahdo. Vela, wrote:. ■ .’*11 rnism.©. :Vsil4W>:»e:/l0 ;r6p©tiai unav VeS;' mis-, eierta '; V:' -manana, ©n; la rtie di; VIll©'just@, -$,6#s£a pura @® tod©' 3,© ■: que .pepmBneee eh' el poem® despuia de haher ©llminad© ...• tod© 1© qu@ zio'eaVpbesfe^;®: . Remove,' then, from . . ,, poetry, all. ‘."whioh j & wjEterna' t d , It /i 'history, legend,' , I-/;. '

;ideas, sentiEento, aneedotes,' phll'esophy, ©t©0 and . the: reaul t . Will ope of the. defenders of pure poetry, s o u M :,,' g©, evem farther than that &.,'fSa Impure ®n nn 'poema ' puede ooupar' ■;..;‘ iaa.ediatament® ■ megthafl aotivldades d® ■•superf lei®, 1mm, ; "•'felaadltfn e stnslMlldad, lo qye el. po.eta ezpresa © 0tu ; gier©, ©1 a@uht@5 @1 sentMO d# -eada' fra@@, las ..d.e@0rip«* .clones, las emoelones, .las. imagenes, las meMfora#*'*. ; , But' w h a t have; we def t af ter' all this: has "been removed?' ■ .';Mot mueha . i,; %ys;t@ri©us fluid86; ^ 0 6les, dihris d 1 oa-he.-aalt

gi»a.nd Jenxg, ® Q v P as lti Bremond later ;put it/ ’- ^Le;poea^# pura es ;sii,©nci'oe ” . But we o^n6 % aak^ .■ . .

■:\v'-',':;/poetr7 ^dut/of';silb^ee>.. ox»: ewn,.put'of-,th@ ‘"mygterlous : ; .v. f'iuss*:w. im the' aem®/'tte'r^; - •■ ; t M © @s©' : 'don su fantasflaa metaf &io© © inefatoe ■ ■;/

■ de i© poesfa pura$ segtm 1 & i 4 v j 9 segxfn Po©;,. o segtiri lo.s .. '' ■ . lownes d© aqul e d@ .alii0 El punto, d® vista'del ifbaSe \

. '' / :;Br@Ebnd no;pu©d©e®r sis opuesto ai de eualquler; poesia:; : / v - p w pomo;'m© ' deelarhaoe rpoeae' semsn&a '©3. ..propa#.lalirye- 'vv ' / ■ ■/ v:: ■ ;JB,hay 'mis poesla.'qu© la realisada en .el'poem,;-y de ■ V/ •

- : Ringifn modo puede, opondree al poem© un. eatad© inefabl© ' ■ ■ 'que s@ porrompe.;.al;v.. ializaree,,V'j':i @'-pd v;j®dlaS^0' ' -

. ; ' ' ai cuerpo poejaatidOj, lo-que ■ ©X, buen abate iXasia ednfu'Sa=, ■y '. - r imag©nes>: videas,, ; Aq tuiaiXy» ; ■ . ■;/■ ;,:v ,■

Br-emond wanted tovreduo® poetry - to musie p was .the .. X ideal J o t _ f erlaln© and - the symbolists e , But the question t

.: : t ; r; remainei - ;wh©t is pure poetry? . ; . . ; , :-:.H: . in: order t o ®hswer;. i t , w® will first'' have' t© 'decide . : " '

mature',: of: poetry itseiC precieely what' .ie..; I}; -left, af ter we tak#' awa# the 'external; elements0 :-, 1 will ; ' ": ': .

... ) . attempt/ therefore^, to define poetry, and by this means . ’ , ’1 : •■'to arrive at-a definition' of .pure -poetry^ I- , ' / ■' '

'■ v:; Balnting is .i m a g e and its m@dium''is .the; brush, pencil '- :.■X. f •’ ■ .■Music' is. .so.uhd w and its Eedium. is’, the .musical, instrument^./

Pog'.try--is- ■a.otupft' aad ImageV. am& i%#' meaitim .is -werig^ . fhus poetry ©dablne'S' i;h© qualitieB of , the otiier arts»' and. adds . those things' which can be expressed only; through

■;WOrdsti v Because; .the; p©ssihii,liies ©f.. escpres'siott have , wider' teahdariee; : poetry: Is 'a more' eompl#^ and diffioult ':' art than painting^; sculpture,, br music; sihee Its m@&*U :: urn is words, ilk®.words.it embraces all of human existence The musician cannot, express: images., or eoiors through hi® :artnor can the painter 'create ■ s o u n d s . ■ the, poet.-: m the;; other .Ihandp - can:create' verbal image's^ recreating line ’’' and'color to they-extent ..ttiat: words, and by' the use of r h y W g "'rhythm^ "alii teratlons'and onomatopoeia,, etce he can, in a' very "'real! fsews. - -ereate b u s ie^ .: Th© .

. 'musician," when h® prepare#' to,;writ®; musie, has only the notes of , the scale to. -use as- raw'- materialf. the painter,;-when, he begins to. paint, has. only the- colors of his pal«. #tte;to.mork with; while the poet, when he sets about to write -a-poem-, is' confronted with the,complex and ihu •

.'-finite : world of Words« . Out.;bf' 'the ' thousands' of words in ,• his : language, .h® must heieef- and- combine a- few• to express : the. poem within -hlm^' ' . ' -

’. Poetry is;'image and sound, and its medium is.words; words, however,' always 'Imply ideas ’(.I will arbitrarily . define, idea#; as. - .abstrac t .quaht % ties l. hope., jby, freedom.

death, etOc;) >nd are never entirely separable from Ideas; So' Ideas always eater Into, poetry,’: but. they are; not esu ' .Seatihi- to It#' "/LIKewlS©,- arh^tiwe' and ;deserIptton,of■ ten' @ii|@rInto -pp©try, but they .are , not essential to lte.. ' -'':iaeas>.''narrative and deserlption are, however, ■ essential t# prosee;- ■ Prose ■ expresses'.'Mia®', ' not sound or Image* : ■; ideas :are:\':the 'm bualh®ss of .prose*; fhu@,! essentially,/ppetry Is; not reducible to prose, sinee you;cannot reduce .sound: and Image'to ideas* ■ fhere - Is, .ofl opurse, poetic ’ prose,, just, as /there Is prosale poetry i,’. but. I am speaking phly : of'‘ the.k@h;s#htial; 'qualitle®" of ,the#@', forms*' ■ Poetic prose very often.'I# poetry, and'/prohale po.etry is often -

/•kg,:v 'ito idea or /a narration often '.serves'/ as - the ■-frame,the core,.' about which a, poem is built, serving to give ’it fom-and hold it together, in the same, way a scalp tor,first makes, a wire figure. to .hold his -clay in place*. Let/us/.take an 'examble's the/ Romance BonAbulo of, Barela ;;/Lorca* ; It is .tied together, by a very thin line of storyia smuggler«. ■' wounded „ with Guahdla Qi.vli pursuing him, ' •comes' to the house of his beloved, to. spend the -last hours,.'.of: his 'life 'sith::her, / and he;/find#: her dead * it. /begins *■ •:/,. • . ., dr©r-d@. que t© .qu'iero: v®rde6 ■ / ' : ' ■ . /. / -' : '

: ' . / Verde :vlentOi.: ; Verdes ramas* ; , '' ‘‘’SI/bargo sabre la mar ':/. ./

y: el. caballo eh.ia montala* ■ ,/ ,

22The .poem dontinues with a series of beautiful image.s which create- the - atmosphere P. the subs tance p; of the.' poem0 The smuggler arriw®' and speaks So thegirl.*# father: • '

r qtiler© c, , ■ : ■. /ml ' aafcalM:. por ‘tu. -casa,, V : ;;

and :>h© begs M m to take . Mm; to: tils beldved^ T h i j

oend. to the Naitas b&r&ndaap'' - %Sobre #1 .ros,trp: del aljibe ,

.. f-d©/::cmrnet;::pelo.;terde „:,/: -: e o n / d e : ff£a plata6 . - '. IJii bard’mban© d@ ,luna la sostlene sobre' el @;gua0 ■ '

And .the..poem, .e#' // fbrde que te qulero wrd©.^ ' /

: Verde vlentQa.. ' Verdee. ramas» 0» » . : ’ - ■ /'images/ and music b the . music of- the-nverse./-.

are wlthout doubt the ..substahee of this poetrys Remove ,them, and the poem will disappear® remsnr# the /limes ;v • : _

ehref:er■ pniy/to the story, and. th#'-ph#m, although.will r e m a i W / / : / ; : '/'•■// :; : /.f -' .' ;. ■ . /

' As/some•poems-ar© built around am aneedot©> there areo thers' which are./bullt around .am idea^ . For ; -@ sample if Mat-thew Arnold * :a Dover Beach is an .authentic: piece of poetrybuilt/ around am ldea& /.-The/ Idea' i# the'. lack of faith; the';/feeding/Of. chaos;and Insecuritys'the mal du 'of the./him@t#emth century,/ - -.Xm.-iphih w#:' f imd, it in -T

and Hune's te AreOd: . In AfBOld9s poem, the idea is.,expressed; ■ through some werj. beautiful.viBagea| - ' • . /

'''-'A ' treating to the breath \ -- ■ ■■■ : : , ■ of the nighfcwlnd: .down the vast., edges: drear : ■v:'; .. ' ■ • and mked, 'Shingles ©£ ■ the wrlie,: ; ' V .

V -. : e se.And we .are her® as. on a darkling, plain: . ', ' • ' . ; : Swept with- eonfused aXarsas. of ■ struggi©-’and ■flight,; : Where ignorant armies' diash. by., night»' ' ' ' '

. fake away these; Imagesand there will be little left; of . ■■;

- •, : ' Poets hate' trleS p. but' f ailed to . eliminate the " musical. :,element from poetry # . Re call .the . ideal.:.of the ultmigfaar '

■ , to reduce, pdefry . to pure metaphor*. In this they may have , ' . 'succeeded.hut:tWih;. moyement p.roduaed .no significant fig- . ■' ;.v. -urese. Qerardp,p'iego'eh#'.at', first, embraced creaci'omlsmo.'

later abandoned itj, and wrote traditional verse with meter ' • , ‘and rhymeg ' . - ■•., / J- .. . f .' ' .;: , . ,. f h@ mistake: of the. modernists, xfas. that : they placed , too, '

f v; : /muoh effiphasls. 0n;;:mu sic * th#;: miBtak® ,of, the uitraists^ag-;: ..: . - .' that they gave,:,too'muoh importance, to. the image. 6 ■ In. a poet.’• ■ ■ - like Jorge Quillen there is a perfect balance "between mu- : "'' ; ' ■ sicality and image» And similarly moat of .'the best .contem-'

porary poets « Lorca., Alberti/1 Jimenez, hachado - have. v ■ '.; - united .music ('rhythm .and rhymp):,,with. image,, removing, as / • \

. much as. possible/' th®. external elements9 to produce a pure, , •; V ■ '' essential poetry »■ or .as- G'uill^h^ called if, ..^poesia / : - ' . ,//:'.'■-:':/'; 'hastanfe• f ^ a , ; r '/'".;y:'/"":',':;.; , V %'; :'//,:,

•: It may 'be that In other epochs other.,-phases' of poetry, were givim' more.^mpor$&hce;:: W t : It ■undeniable that In . the twentieth eefttury/ ‘the Image.has occupied poets more \" ; than rhythms s 'music-Ideas . or . riarratlte^ ,5.3. 'Remember the ';■''importance givem to' W ' Said. IBftlllermo ’d@ Torre g %a. Imagea es el prbtoplasraa. primordial p la :substanela celular del nnevo.©rganlsmo;llrle©^ ' La Ima^ ■ 'geh.::es.:.®l; resort,e , d® - ;la. -..e mocicfe, f mgante; ■ j de - la, visiin; ' ;■:/Inesperada v v.el: reaetlvo eolorante d© Ids preoipitados . qti£mice«=,llrlcoSe1,3 . . : - ' ' -

image - is - the: generic termj the me taphor is a. kind ©f ' ' . :ii|ag@. and:' there,are of .metaphors : SBtaphor „ ' ■etymologlehllymeans a transfer» from met®, t beyond. ever: •and phereirn to' bring ,or bear^ , '.Metaphor implies move.meht;It.' i& m transfer ..from ;bne:'image •,to: another, a combination . :' ©f.twor:images:: tdv'produ©e ■ & ; thlpde■: :'ttLa..metafora puede : hi'', deflnlrse 'com©, la identifieaei^n .voluntaria, lirloa y m©«= -mentaiiea-.'de doa- @ mas ■ coneeptos dis tintos a . con la ' f inalidad de Susoitar nuew@. drdenes'de: relac iones. y emoolpnes an l a .,, mente. del lector*,'! To illustrate with «' metaphor from .:;.

- / I ' bn Gar6 bano de luna . ■ :y . . ■ •' la;1 sostiene sobre. el aguae ■ ''';• . '

The mind of the reader swiftly assQeMtes' the ray of m@oa«,• • ■ ' k-'i:,: . : ■ • , :' ...light- with the' Ibidle*, #hd. arrives at, the image of -am lolole^(moonlight) sustaining, th® gypsy gi^l'on the surfao® of. the- :

' ' , • • ■'. ' .. ' ' ' ' • ■ ' ■ cietern, - "'"r: - ■. : ■ . : : .. ■ . •■ ' letaphors 'can b® simple ©r ■highly oompl®.x0 The mets^ .

phors of Lioraa. are: generally .hrllliaht„ sharp' and ■ simplehased... often, on folk •sneeoh® -The; metaphors of Gulll^h,. like -those:.of;■ Sdngora?: are ;often highly complex and, intellectual»For emmple, this one from.Whgora; ' ■ ':.:: ■ ;■ v : ': 6s, b slno- grulias/yeleras^ ■. . ; ■ : :; ; 'v.1.1 't: ■■

thl. vem ■ ofeelehdOg. tat:' menguando' lunas' ' "■■ : -t ; /:' ’ sus distant©@ extremo#! t ■ ; \ :■ . t ' caraeteres tat vet ;f ormando alados, ■ '■ : - ... ®n el papel diifane del ■ eiel©

' ; ' I;. las plumas-, de .su imelov::. An. ihoredlhly cpmplex, yet beautiful -imaget 'the..tswiftt''•, flying; eraneS': (gfullas vetef&sl. 'their e xtremltles- like'. ■'. ... increasing or deefeasing moons, the feathers, of their

, flight1 forming' •winged eharaoters';. on th© diaphanous paper . .of ' the ' .sky.*:53 i There -are ,at - least' iflye ietaphor® Ihvotyed . viV in this on©:' tremendous imagee ;;The metaphors - of Jorge ;v.' . 1 ;: .6ulli^n are more;, subdued ■„ MS-, some time s. just as eomplex* Guiiiih” " :

Z Guando ©1 espaoip sin ,perf ll resume : , : .■ ■ ■ Con uaa nube . ‘ '. • : -Su :vaeta lnd@ol©lon: a'la derlya. ., ' ■ ■

. . • " «,|Pdnde la orills? - Hlentras el: r£o don: e'l rumbo ea curva

Se perpetia. ' c, . . : ' ; . '

Buscsmd© eesgo .a sesgo^ dlbujante,' ■ Su aes@n3.aoeg / v' 1 .V:: .

': ■ MlentrsB @1.: agua auraraentf v/ysra© .\/ , • Hiega snS peces ; ■

: Baj© .@:2 profundo ©quivoop refle jo . 7 .:.V ■ , .• Bevun: air®- .trimul©*#.#6 ' / J * ■

VI,@@s,-sliaiipg'■ :m©re impyeealdnlgtlo; than t W image ©f G-dngom, :thls .'..will., however,'' offer .the' -aaai©-difficulties to the in-attent ly@ readerp - Guillen, her® Is: deserlhlng ;a, river by - a 'seAe# ©f, yehy' l©y@iy 'm@#ph©rs ::r' hbbyei thegpk# '“wittoet?: -:: prefile® its 'iniedisioa. ln? a- elomd" .:. yhile the riy©r ' v: ■with, its N curved reut© 1111 perpetuates itself .seeking oon- sttotly its 'oehbluslbh'by"■ drawing^giahted^ilhes' Csesg© a 'V’. & m m ) i while the. • gr-eeri':Water.: is sb dark •that ©he cannot see the f-ish:. that it ebntaiij®-.,.:' under -the ©und ambig*. ,■ uous 1 Wflee tibn’1 bf - fthe' ■ Wefflul@»s h a w more 'to say,later; on -the kinship, of the poetry of Guilldn andedngo^aj . ■■■ ' ...■■■• v.k. V'-V-'■ v' /Gtiilierm©' de Tprr# deB.orlbesi.f#ur k l M PlrsK the shift from ©me. sense tb another^ Example:'

: Las banddras oantarbn. sus oolores^ - . ' - /ovyi . ' :(J, L^rBorges)

Btdbnd.„. the shift from a''statih 'State a dytiasiei . ■: ■ . i Q , m alaeridad de moz© : : . : , n

. . . ■ '.@n el. espaei© airosol : . ' o■ " I . . ■ ■■ : '

Third, .-the attributing 'of ■ the qualities©f ©nimat© • bbjeots■ t© inanimat® ob'jeots ' (what -Torre calls metagogia. and what

•is knoTO' as the Apathetic fallacy!l r oircles)

Ind:fourth. tMse metaphoreewhieh. utilize heavenly 'oz* geo^i KraDhio^i elememta aimilar't#' metamagl&) % ; . ; \ : ; - ■ y

.' ■ •. laa lusia: yiuo lS;f.i?aguB. e‘ ■ •;:e: : h ' ■ 1/C9n pc)lisSl;: fl,®:/'na,rdos;0• > ' .;v a ..": .:, '._ :• i; •; V; a .... /

All ■ these type s are to tie f.o und in atiuMane e , in the.' p • ■ p 'i- poetry of. &uill. nB -.,,Fof

'EhtbneeS' s@: ensdrde.een ■. : L@@ sojatiras per loti ’sufog,

Static to .dynamic i; ■ '1 .• • • . 1 ' Wehas. de ' e Bpaclo s.-viri•’lasaiMit- ' ;.

' 'S'onreido va @1 . f oi..

40

41.■ lateria - en relaoi@ti|.geavenly elements: ;' : ,y '-Pv :: . Altior ' ll' ,tioris@tite:. ■PP.'. : ' ■entrsatitie sus .'i' : • . j - empiesa a ver@ ' ' 42 p -Pppp :

But aside : from 'these: types,,, and bthere,, there is: a kind .of . ; ..iaetaphOr' T/hioh (3-uillin is'particularly fond ,,of P and which . perhaps 'Slstinguishes his work from that,:of' other -patetev;It is a metaphof '©f:,th©:Vatistra®tiono: G-uilld’n ” s poetry is': ;v full ©f 'abstractions0: ’ Not'those'relating to; human.qua!Ities

28

tet," f f i o s e ; t e i - y . : ■ ’■:." eisel^,; to naWre.. and; natural piienomenai spaoe, clapltj,,1 v -time, darkness, profundity, plenitude, height,' length, - -@3# @e tat ion, the . iiBimediate > the- present, the future,Spring,

. April:, ' sf teraoohi; ; meaning, ■:eyehing,':: S©1 itude, vhoM, gr©fsw . "'■hess,. eto»;; Quit# often he uses abstraetions simply,' with=-■ ©ut metaphorsi : '-x: ’ , . . dlarldad de eorrient©', .■■ ■:. . : ,Glrcul©s de la rosai / i : ^ ;■ -Enigmas de la nleve; ^Oiaridad., ' ofrouios. • enigma#.' ail abstractions^ ;■. But much ■ '"more ■, often - he use,s' abstradtions m@taptior 1 eally ® . he-: oon - ;'. rerts abstractions to ©onorete .■images., or giTes them / v ' ■hhlaiat©'" g u a l i t i e ,,:;3hls; is ’ m t :new» we say, -fiies, g w© are using this type of .metaphore' But With:;6 '; - Buillenthis metaphorical twist is extraordinarily impor­tant to hi® poetry| ' he.' ■uses it with.' a daring,. abundance, -. : Vpr#eiSiOh and 'beauty never before eeen lm poetry^: : /Indeed„: "it is vdiff ioult' to 1 rOaiS; :ten: lines of Gnillin -without coming- : across & metaphbr^ or, at' least the: auggestioh of. a metaphor, of the abs.traetione - All of the following examples '.are: f m m th©;?first .poem' of CAtlog, 'l'-: : :.y;i\ i n t a c t © . adh, '-enorm®,. . - •':'/I;' . - Rodea el- tieiapefi '■ : ■' '- . i llentri® van presehti’ndose ' '%

. . foda® las conslstenolaB - ..

: - - Que al" disp.enerse -@n. cosas . '■: Me limitan, m#. centrah!;; ; . • - :. ;

eimde,aplema

' ’ , X a®_mafaa :p#ia, ■ . ; . ' "-V■ ■ - v-y ml# V .;■ ■ .

: - : : .: :fOf: salTando #1 p^essat©s . T - -': -Eteraldad en vilo,A 6i@:gas^. aeutoal©: ' •' - ' .' ' ' ' - ' ';:

; ,. qulero g @ % . :;' ; ,. v: . :: C:'-'' \ X @1 a i ^ a ■;;; : , :V'"V v. /';v: . :y ^ ::\y .

V v •' ' ' -V "- 'ttegegy -anehos^ pf^fundbs- : ’ ,:; ;;- lalimaj ^ bmwsa^ r ■ ' ; • ■ ;' ■ '

• : ' :: " -Syena ; a ©rills 4e abrll - _ . - . . ,. •,V : De .©ss lustr©' qta© .©free© .. ;

;;;• ;. : M s s l ^ a @y •rapt©^• ■'■ : ' ;:y ,#@%al 'aegp@r%ar@#/.y# hembr# ' ' .

: y y x ;■y ' : ■'. ; ■ ;y. - . . ./■ ;: / C l t a l i e s ' .'y

#bi# poemg. @f; h a w :giv©p onlj 'f;x»agmepft§ ®%pr@@#e@- W©x pe©i|9'sv':j©y .at ,awateiiii|g;. in; :th® ■ miarniag» in; tfa© -realiSa^,'■ tiohj, ' thB'; eomeloyinesayef -Msx © m being„ after the. ©hads - vof'sleepi ,.yt , 1 ^ ■. :■■■; - y U . \ : _.■ /:, .. .. . Me ■■■■•.:•': '... 'y ’'

. . ,Ae«todSx ; - ..y -V.;Sotie© the' abstmetlons In the. above example®: .intact .and enormous,' ©neompasses. me; the consisftnet#®C no tic e Q-ulll4n8 ,s preferenee for selentif le p ©xaet -terms)'

: ©n me t a M o n r l W ?; ;, extenels itself |' the .s-plendog ©ruehe# -%® "ins iaiwtea' m©rsi«».ing® the pr-esses -and vibrates ©n my ; @yes| the . .'.: peeamt.'. eternity, is the air» 1 aeetamlat© destiny="Reality ' invents : me $ r-l©hg, ■ wide / i»bf©una enigma# *: *n the ■: shere ©f April; ; the■ deelged is' offered t@ th©;' raptor^ and:;' ©n awakening« a man flings .aolitMe to a tnmmlt ©f ehorfls^1,8 ': V:: lotiee:; that,,iii most:■ eases 'the: ..metaphor 1% formed by::'. ':th@ use:'©f a verb which .would;hormaily apply t©' coneret® ; ©Meots/.rather than to .abstractionss • '®©xt©ndes crashes .pressesy ‘ vibrates, aceumlates,;!:Inters, . flioggs” The rnetam. 'gogia: Is efteh Presen#: % a reaiidad' m® itiwhta^e9'. In hhe: '' case, the metaphor 'If formed by a&jectlv®#:. wl©ng,. wide, profound enigmas„83 But throu^iouf: there .isv&: desire t@‘ ©Qnerftise. ■ abstraetiohf* It: is. ;a:';irlew ©f reality .which,; : because of,1 Its: novei ty, - has' of tea pulzled the reader, and ,. led him ;,tp; believe . that this, poetry Is. ® @ o M 61 and' obgeure, 63 which it most certainly is not6 ' If the reader keeps lm, :\

attltud®: towardto , 'the most . : ,-^difficult® part of -th&: poetry will. be' @verc©Ees • ' .•;. Her® are some other . metaphors of this nature , picked , -

almost atlrandom': from .@^mti0O. s ; ■ ;, ' -■ ; ‘ I .La. tarde m tan alta| ^ ,

; .;' \ S© eiera© 1© Iraaedlato . .: . ■ , ' . ' R®#u#to. en"'l#jania#". ■ ■ .

' Haoia, elv- @@1^ /?@n::;:wa:mdas$: La pleMltttg.'s© ;e8eap®6 .Las mis olaras dlstamelas-,, staen&n Xo.. .Vevdaaero^.; ... -T.figil.^taero jOTCn,,,

- E k J S S M ma# ©Xai3®* ^.Oantari ©1 mise&t 3 . - $m : la . la e-ipa ;

log remaa''^' . ; ■

©n. ppoftmEMaai ©stB' .ea jar41aesfl, W . e # # M® # #&& la* se-,tis@ada» ^. 'la e@ ' $##:': am ipS®g'$©g» .:;. ':; ; - "5 ,. .

wXaaegasy ;. : :aeseisna©n' y@ vigias' ;. - : . . ' ;pgr . lanta 1mm ## .. . , . . . :'

tensapentr @e el@^n©ae ' -'Dlfioll 4,@lgaasm:| ' r ’ . . V|Mse@-el mwdo .-mm; .Manes,s : • .. .total, Derma® .amsehGlaf ; . ■ ■: -:.v;:: - '. toarlllea,;-■ ' v -

izWyii, c%. ' 'faeeate ;sgbre la. areaa^ ' ^ . v % .oo^edonao1 Jfegsa* &' .

■ S©1b sllM i.' dsslima • •.' ; 'l a l o n & l ^ dal oamlno __ X:,'. r :©l epaia®^ \ ; . : 55. - ■ :■Bor mzm .r#^ <e r m i S c s s ' . ;■, ' ; ;;.>;:oXWisims. d<8 la: tsrde _/ ■?aa aamotas dellelas ^ ■ . ■ : ■

- % # #1 emr#@ del ■ i'ngtaate se depora r? AentlilP© p" cartWSJ ©fiapc^ad#* ', . 51

,g1!h© Immediate soara, r©g©iwd .into "digtaao'e % plenitude • ©scapes'j iji flighty tdward. til©' ©toj the nightizigale i ill : :sing OB. the- peak;of.: deeige r slender Spring betwSen- the ' - ' •■oars of the Watmen: - ,tim® :'ih profttndl'ty; ■watehfnl ■ - aititdde: ■ the pldiaag© of cold movee tenseiy |, » does, . the world seek a white,, tdtai^ perennial ahsence?t round ...Bow; ' 'the longitude of the road whistles and slides ;', there . IS 'Sueh, plenitude, in .this tranquil hour, whleh. lies he tween:■ the .-palms.; of some F’atey ' that ■ the ' course of the- instant , ■ -’ pauseg.'■slowlyy cpur'teously^ ezmmiored^ ” This ;xa;et .image - is espeeiai-ly' heauti'f ul ? eailiBg.- to . mind sdngora,. Again we find .the. ©xteBSlea of. .the metagogia. giving human.traits'. ■; abstractidnst. *Agiiep handeome , youngs meat clear -hold; ; % the Qleareet, distances: dream the fru©| yeiidwing and im», \ mobile STOeotafion lies, on the sand0ir ' r. : The poet is .essentially - a. seerc H© sees farther and :

more cleariy, than:-otherej; . h© 'perceives relationships, tha't ;' dthers ,dd hot pereeivei ’ G-uilien. sees things .which w . oon=»",;'hv

s ider;abstracfiohs «» time, 'profundicold;^' Spring «=. as-"- eono re t@ '■ image a $ , tha % ■ take :fora$ ;me ver . and ac.% . .and sorne.. times -poes.ess" :humah characteris;tics# In this5-;f ashion- .he-;:. brings reality ''closer,, organises, .it j controls-’its : It ' is -'; his most:, personal view, his , vision hf reality „ where . ;.doubts .beepin© certainties, idiere there is harmony and ordere: ■’

'It Is this vision which'h® offers to us to enjoy aise6'.'Whar .oah ■ say . that he is mistaken? .Remember that .to the 'prisoner® of Plato5® oayei the only apparent .reality .; ■was' that ©f the shadows 0 / ■ 1 ■ . .., - ■: ;St. times ;Gruill©n1s metaphor# be try a certain influu: ■@nee. of. surrealism (Indeed, 'few contemporaries have a=. • .'.#id@d ;thi@ influence ';fthtlr £:y),i:;;.; Per .:.emr#lef: ■'l'' . . ". • La ius pienea .... ' ' : v: L ' : k . colore^neohkuh afAa v. '.-v •:' ' " 'f.ino y cruel^ - ;: ■ : : n - ^' *.ThW light' thlhkimg:. eolhrs With' #':f ine ■ and- bruel;-seal.* ■■seetas. to exceed' :'the. 1 imlts of .the, . »logical.^ metaphor^ki . i\- V/k; .v The. following; three: metaphors also show some'' surrealist :: Ihfluericei, ■ ;'v. : : ,■ :k i . ;:.ki

' 2 5 - 2 L M t p 5 ? AO ■ •■■■ :• .uti presentimient©; - Rtt' . .; : ' ' : .• ' ■ .; : V ' Brisa 'de sombra sensible ■ - ' .. .k i.:. 6 6 / . ■: v ' i de -xm .alma, en Scydh W eSpem^ : ■ :.■ ■. '.V: '. . . . jihl : per: fin aesde el f#n# - . . ' .: . '

lop suegoe de W algae ,. XX:'. .::X - '

' ; a. la noche, iluialharie;' • • A •" He. does not: always aehleye elarify;' mor is it importtshtv that anyThe. element, of mystery., cannot be ,separated' from .poetryQ ;;. ' " 6uill&® s 'variations o f s and- experiments' Withs: the 'f ■ .'metaphsr’ a w .©xtreordlnaryw^ . at times ..so "abstract:. that they'.:seem: to lose contact■ with': real ity as. this, on® •.

"..' ' . i pap :un filo; esousio^ ; w-.; ■ ; -0 ®i amop 4® un® SttPm :

; ; Be asa, la : © n @ p g £ ® ' V,,-" • Be plenittad '8dM@e . - 1 v -' ;■ , : Mi: - aiitige .'pgeai,..:li;: gWamtlal:.- i@ yedHsti’ueted’ . eM :ane ;

metaphor in W ieh .th@ vpo@t compares t$a@ spring' to a girl t. ■ lirad hieni '{Aharai :.;;v .

' : : • Blaheupa®';eh' eurm. ■ : . ■ " ' " . , . 'i z :: • ifrlunfalmeht© w m , v . . ::: . y Freseor M e l a forma ^ ■ , . ; . ; ■

' ■ , . . \■ ; - Pop entr© el tumulS©: 1 ' .

'■ ' ' ; Pria,ig©.#: faturh ' ■ .. .{r .

v ■"'1 : : : . a g m disaud® ' " - - v : ■: ■ 6'e desntia® mis*: ; ., z_ ais? . misl - daraal. - S®"ahgM®$ 'se;,@pw^ :V ■■ ■ ' . • \ ..

Iseorsova® pi@rn®s8:■ : .■;■.■ ■ : :■f©rmsol S.® gtai jai^ ;; , ' \Y emerg#;^ eompaGtm ' Del ri@ ;cpe p W # - ■.... / . ■:'f©da la mohaoha* 1 ' bj

Bulileh and @6ngor®

■ ,:W©;: find .in qdlt®' of-tea; :the -earns ty'p© of.' ahstraetion=,metaphor. wbieh dl@.tlBgni.Bh©@ Builldn11 s poetry*E®re are' eome examples from the-'.floiodad' Pgimerai ■'

i- ' 'y' i ' y-'i ■ ■'' :'- v , ::vv , # v Vv y ;: r: -:: /: /: / entre: egpinaa, erspdmsnlo# -pigando. . ,::-y y

■ ; • ■ ' ' 10' one llor^ la ahrora ^;■ ,■ oma. memerl® m Imltrs d® psgarss ^

■ ; : ; : : 'dsM® i M a m p m - :' , 67.. : . ' ; ■ : ■ to eal^eAa mbrll®# j m m m ** f ; :■'■ 'fh# last' metaphoi3 Is partietilar-l.y stri!cingti S^ngara h@r@ . ■, - uiitss ' th^e®; tl©as Bpriiagv • April and My'w- # ':'\ ,a.aingl@ eoner®t@ Mage^ , ,::;':v . ;; ■ .. . ; : "

; It is; la this senSS Cthat • ©f' ®@taphops) that Bgn' Lu-ls :; : d@ #ihg®ya earn. W @ t he \#e#m a@ , poetle - aaGegter ©f #rg#' •/vEveh moy®' ; m thaa- Mlliem, Clengom . was - • ; ■ -:/ with setsiphers^1 . Lik® tMse ©f Guill&t;, as a©ted - before, ; , • ■- ' M s .metaphops w#; sustalaed @a& hike (hilllih,

-;". he;; ekpeirMehtel1 - with' e w r y .. ©©aeelyabi,®' tarp® ■ of; iietaghors..; ;; •'Q-engpra ooaverted ewrj phase ©f reality that oAme before . -

• ' Ills eyes : t© 'Betaiti©re>:;:vfhe table :w&s •; for him m eaadrado ;’ ■ z:;

lips % 0 r a l e @ ^ M #edr# Baliaag peinted out, d&goraispoetry was' m %xaltati@a"©f reality*;1 1 5 ; y .; . ■' . ■

y ; :Sai;;' ther©;:;Is■ a©- :betWr;vWi!,y hf aeserlbihg^ .the peetry df - ., : v Q-uillln| in a© gpaaigh; poet. sine®;: cidngora do .we find' reality

' :exalted as it I# la .poetry ': F@r .O-engom.. the . ;;'.tam& ouMrAao it .1st '■ .■■•' ■ 7 ". :

y ;7;'';/ 7'y - A v:-,,:7 -'' -.,3':; '' • ■ eohf laclb 1 a ■ 8us Budbs ’ . . . ■ ■ '. ; ; . i - , y retas,: a @u maeh© . - . ' ■ y ■ y

■•'...; '. v ■•■■■: . ■■ , . tiemp© d® potestad ■■ ■ . . y ' ■ ■reeonoentrad'a,en est©. ' , .: vigor imm#!!, heeh© .

■ . , ■l: ■ ' Eateria-a® tablef-© f y : . 6 $ ' : . ■' ' : vglemprey sieEprs' siiyestrel j ■ •;.

. -'": ^ - . / ' . ' ' ' c :'' /:: ; #

F#r duilllkj,' the - slmplee.t objects ■. are maravlllas coriere^ '

v --t • : . - ; El 'balb^a, lo# cristaleg , t'\- ;’■■ : Unoa libroe, la mesa» ■ V- v:’ ':■v,;::; v'^lada mis est@f Si, ' - -:':: }': .

. ; .-• Maravllla# conbhetae*; : •. \ ; ■ ,: ' . ' . - S ' ■ - • : / V - , • : : ' . " ■ ■■ ' ' : \ ■' ' ' ' : " ' : t . : : '

;■■■ • SWvlertb'eB Stxperftoie t J-' ; ISasa-flesta a m e iteims . - . 1C. - ■:/' ■ fristes, ' sl@mpre invisibles^ ' '

. ;;tod ftoW his1 61bl@SBea. srssSiBir»:® he exalts: the ©Kcellenoe' ' ■of the .world. ' - ' . . ' . \ \

■ ■ jBeato'si;ll<lal: La veasa " ■ ; ; 7.t, : - .. : v . gerrbbora; su ppesehcia. : ' ' y - ' '. . - ■ Oon la waga .interiBitenbia ?' : .

V , v : . ' - De :bu iBfpcaeida en: masa • ■ ■ • ■ ’ : 'v / : ■ v . - -' ■ k la membria#:. 'lo pa#a:: , ' ■ -'- vA: - ' Y ' :) ''' A /' -::: ,: W # ©jps vem, ' ■ '■ ' , t ; z

. SabeBg ■ Si -mana© e s M :biea. ■; ■ . ' ■ . . ■ , ,' ; ; , ' HeehOe . 'Bi- instaate 1© exalta : : •

• A' ffiarea, 4® tan altay . . ■ : ■ ■ • , ': : , ■ • De tan. alta-j, fin vaiv^% ! z •. ■.. :

■ ■ ' , • :4 ;;? : .■■;-• ':• v vV/; .:; •

The last -eflltloa of Gfetle#'MI five mala&1, Aire '<1® th V w l o ,: Lme Horas iltuadag, $1 Pajare ®n la . ."' Mam#. 8gr* , # 1 # sui3a.ivisShna> t m e c : " ■:wor i' is di.Tlded ■ into ® t#t@l sf ,thirteen s@etionsb Eaoh,of 'th© thirteen sedtions,. except' the last/ opens with a ■poem :er;pe:#ms wh to /dQ, with . awakenings the morning. :dara*;; and most #f the ; seotloh#' end' with a poem which deals’with the'nighta sunset* or sleep* Bj this.arrangement* 1' : /think the author 'wanted to. suggest: that eaoh se©tion d#m«, -

. prises '^ay; ' admlBg.At#' night.6- :: ■ ' . :. ."■’■'0; The -first part begins with the poem. Mrfa Alld. whioh '

, in a way’sotis up the entire hooka . The poet Is awakened , ■suddenly*. .and the Mght inyades his : Mwhole beings1 : ; >/'' • ■ 1 v: . :' (si alsa: welveAal' ouerpo* ;: ' ■ :' ■ ' ,.■ ■ .■ , ," S© dirlg© a i©.s ojes .

'. " Y ch6ea0) -■ :iL,uz|. Me invade 7j3. /..,‘ A Tod© mi sers :|Asombr#i '

The -sebtion. ©pds’;'with, the. po@m. Advenlmlento .■ which evidently: describes a ni^t: boenes A --.a ';':A % A - ' ' ' ' . ■ : ' :' ■ 7■A . :A: v.':-; .; foh luna, . buantO'abril*’ A A 7 : ,: . , . ■ ' 4ud,ivasto. y dulee el airel ■ -- ' ;a ...

7 'A ' . : Todo 1# #e'p©rdi,, , / 73 ,■ A ' : ■ .yolvbra ■ e m las; av©®^ ; (< ■ '■■■ -.aa. a-.:'; a,’; A;.'

.The seooM'; part ; begins ■ With'the poem Alborada: ' ' ; aa ;.

/v 'S>;: V' ' -w’ • W'-eiamdp,: : smarpc : ■ V",': , / ': Mfmtaziae . los. aibbr©s-,,. ' : ■:;

and it ends with:the. poem Deeeanio. en;d a r d f n -whioh d@&scribes;: a night,scene» of great;: serenity, in. .a cemetery:: ' y ehtr®: ' '' ; ;';v;

. :v'';r .;V. Nubahrohe's : ; f ' ' '' , Haela @1 tiltime J®rd£n ' ' ;'■

•. -; '.v.. Losas,, 'flores e ' ' - 'the ;thi*d/part begingj with':#' morning:poem» . ■' ; ' ■

P e m elY . el Teciiln naeido^ *D ' :.But the /section ends with the :magnificent,love poem,

n .'de "la .Bhimavera / • P- v,; ' ■■' //;' .Las Horns. .81 tuadas begins .with -Paso a .la Aurora: ©nee ’

again, the theme pf dawhf .... . 'en tahtaillnvlsg/ 77:

, nn&iime . f ragor: de /creacl^n: . diluvial . ' '

and it 'ends ' with ;.the night p©es„ Boohe de Lunaa-: •'; The, first. .paht': of; 11 B^iaro e h .la:' Sano

■four' Meimas, 'beginningagain; . with the dawn| .A .eso de las cuatr© vino, '■

' Atin gris»ffl.o Magna;,tentativa .. . . . : • De 'fasc .iQui faa? lira el Bin©'/ 'v:;/-'': '1'':;'! - ; Q m ieh @ntre.iae:/Bdmbras;■ iba,1 "'P/;'. -Apenas alboreadof;And the /series conOid.de©' with the. nights

i / , B#che@%.., de -di& 'en..Con. htfd sbl rpebi©to s Lumbre ddcili •/ 79

3?

fh@ secon# part' iDegins with the morning poem Pe (SI : alhaj ' todo me

^. She; third aeotl## 'oOnthing ; twenty^twe (#anet@,. all

traditionally PetrareMaa in f©rad .She sehem© "before., notes,. .;ts;:.'foll©w©di.: the sedtlon begins .sith the. sonnet Amanesei - ■' Aifflaneaob .(dami) *» and ends with ■..the. sonnet .Sneno' Aba Jo.' . .:,\(#ghtL', -.i;:,. ' ■ the fourth; fwtioir begin®:wl-th .the poem Buenos .Diaas

; " .:■' 'T ' ienaseo,: : ■'. ■ - ■:; T " ' ; : ' ' :: ; . . • '' ■ . id-raeias| ' ; . . vi i ■' '■■;■■:'":. . % ; : /: . ' U n -slibido ... ' &Q; : ■ . Se. desilsa agmaandose, w Io b, haeia - la aurdrEs .; and ■■.it;:' ends with, eeveral night- po©ast': Phofumdo Anooheoer , ..Aobl^n de Graoia,B. and Lo# Fi.eje#' Amante®« She. fifth see«»;

- t-ion begins' with several dawn poems (31 f ia.le $ Ahora s£.;. _; # h a _ m m r n « ) :snr>na:@ with. ^

.. -1 . think we' /haw giiren suf£iei®nt ©zamples to '..indicate,-the:: general scheme , of -; "moiml'ng . to .nighty118 -She book' ends, .

rhowewr. .with: .neither ;ths "dswh .ixdr: the', evening„ ■ but with the only poem ..in: th®, book in which the author confronts

. #M': discusses, the external .politic#, and so.eiel, reality:

f ambi^h : M y ) >. and .ien# : with the

A Sot®, on Verse

: stibjeet. of/f orm in..'OaatiGQ W # beea-'fistlly a M ' \

©Quateiy- treated; bv ttaraael Biebuas ; 1 will not &!#=, ,isus© it In detail tier®9Vexeept to make a few general o M e r ^ ..

With regard1 to "form, Guillen tends toward the elasaibal- and traditional^. His rerse is oarefuily wrought , and p@=, ,listiedf . GuilliB,:, 1 1 1 © Valery,-. I©. m- perfe@ti@nlst in this ': setiSWy :■ Comparihg the gueb#^#lv®.;:|ditlbns of ■ S^ntie© w® ’ ;.may observe slight change@ made in individual poemsg , .a - .comma added here, . ah exclamation point t h e r e a word changed ; and't som© f imes an' 6xtr% 'strophe aSS-bd ' or removed't, t'

' ' Guillen' makes use '©f almost every traditional- metrical type in Spanish poetryi ; the sonnet» d€eiman . romanc®. qnat- ..sitoia:' '•;r#endilla. ,eto : ..H® u©@s : verses;;of almost any; .; ;-t. syllabi®'' l#ng#i hp to fourteen, inoluding the Alexandrine,

,;, ■ ' 'His & t £ ® X m m a. wHieh are In ' the main tradi tional/ #l'th: some 'influenoe of ¥a3, ry, - are perhaps. his mo® t st rl&ing '.. ■eeh’trifeationj Fn0tV@o laieh ;iiith regard to 'ferm,,F .,## #i$h :: •regard.. to &. brilliant and original ' treatment ©t sn ©Id . forma ' Hi®, d&lmaB Chis other poetry also ■: but the Moimas in' partieular)have -a oonpieenes®, , movement? vapi.- :. F'■■ ■ intensity entirely new - to;Spanish poetry0 & M Mdloation of/their vigor; is' the /©ztent rtp: whloh/th®y 'have „been edpSed by:'the;w s t 'reeent; gewratlon of Spanish poet.©* ' . F 4 good examples already #ete'd^ 'is Beato BiildSL"- ' , ' .

4g

•" We had deeMed thit poe.t^j is sound and image» that .Ideas v a W ;;not;;thd main husIn@@© ’ of. poetry; : "but although - ;;.: „ ''. always 'subsidiary# ideas/ ar©- inseparable from, poetry) \ from . words# fliey ero'p up. In the . most uaexpeeted plaees = in the . purlstiiaagist;poem;'sn'idea-:wiir . b s ' l u r f c i n g # ';

■ idea, m y be- quite; gen@ra4 a : as beauty: or naturej, but it is - not entirely e@©apable>';' £ poet fl@ theme is ®n idea that • ■ ’ reetirS;.again and again' in hie 'work;' it appear#'.to' be the ;:/.babie ' impulse' that' ##§ him' writing# ' Pedro Salinas, believes ' that every great poet has his; theme » he. says speaking of " ,$mWn. Dario g wg.ad&. Imeo eon" au tern#, dice ■ el'-pefran# ■ & & £ ] , ■ ■

■ igualmen*©) eada gran poet® eon e l : suy® s ©I tem&' vltti, qu# -■■■■■ ' .■■;■ 'x f ' . . - ; '' . • .''. ■■'.■■ ,desd®.lo'S; adeBtro'S:."'pre'Sld# mistsriosBmente sobre. los otros•• temaslots HtemrieSa, S® presehta;en la vid.a ..espirituBl ' • .•del au tor bon mas per si's ten© ia qu'e log dema®#-: . X';.e©n mayorfreouenoia que los ■ demas;' s® represents @n ®u ©bra a 1® quo .' slrve: de. ;r©eiradit© eentre de Irmdlacl^n*, do. priheipio :- oomtsntementb. 'aetivb) - para ■ sus: tarias:: o r e a e w 'fg viv :;?

:; fhn# 'most poets have had. their .theme®i dareilas©1 s ;'wap h o m I in the, Renal#same® and - Piatonis - sense s '' with. ; .:;Fray'liuis: d©:' L©-&: ih m m , dbfbtlbn to 'nature : and 'with San • ■

Juan ae la .Oral It m s a myetiq, religious l m e » : ;Dante 1# was medieml, 0it1i@li©lsiBs and /Shakespeare9 @ ;;was B©nals@ame.fflan0.B^equer°s theme wag again-Lot®.s ' '■thiB't ia@ Bomaatlti =1 Rubin Dario8 s: tliem® „ ' as ; Saliiiai. ,, . . . . pointed gut ,^3 . was Erotlgis^'with tmgl# .implieatlons / , as H® ,eail©d-,its lo erotloo aWaie'e. the struggle between:;- . : Dap&:%: bMs$W: eretidisiavaM M s Olir 1 e t M n b i e of guilty Antonie Maelmdo^e. theme- was basle&ily'Oaitllla^.

• It.is Teff mueh more dlffleult te.ieoBte the theme -. ' ■of-SOM# ©ther poets^ W a t was Songoru^s them©? las It, ' as #©' noted, the' ^exaltation of seaoual realltyf ® That _ is a: littl® :T©gue# . W a t :w s.''Saidia s. them©? Was itDeath# It. i@; very;;dlff leult to put on©-9 s f lag®r @n it/ in .' the- :oas©; ;Of: Lorqa, :##- well -a@ that - ©f-,'Alberti y - Jlsinik

. Perhaps Sailnae was: El-stahen - when h© insisted: . that ;- eTeff. .poet has M s th©m©?; But; -there is n© doubt that. Jorge’:GuiliStf^: 'Ilk©SalihaS Mimself, ;ciS4;a.'poet' 'Wltliv a, them®i :/' What Is G u i l l e n tema vital, .as iallnas-galled it,the theme which reours wlth.m@@t persistenej, which 1#- the.mainspring of . his -workf. \ It' M- there, pre.senS right -from-.:.the start, - summed - up In his -poem- . Mas AXlls ;■ -■ . : :6&»eii©r@:s|r@ ■ - :

. ; Bad® ®4s6 ' I ^ ; -- ' - S.s'la absgluta dl©bag -s^ ' ; ,

' n®thing:..morae- it is the' abselut©, felleit^e51: i ■. i '

' - .'. ■ . ■'

Y"V -.::;. ^ : ' ■ ' " - ■ ; y ; '% am '» or better/ I as. I n & ■ re©is@; time:, and .plsee Ce@t@i)^ ® He eontimess ; '.i:,•- i>':' ;:: no-'aueS»e Vigor. :■ •■ : ' '. D®:,:6l?M61©n ##56111^# . ■' / ' . '" ' ' '. ' - .#n ;par#i#e. a # i - 1 :. ' •

' ■ ■ Fentaiab.m d© c©stuffihr@a ' ;V i % eat® #®r : ' , ' '

/ , -. R®g0l%i#de@e ,@a form# ;;; ' ' i: - „ v9e :V:w r i # l i n de almoh#a, ; i;-:.. . :

’: v. i:;v:ln‘Slahetira. de/;li@a2©r .v - ;" ' Em man# mbre . ' gg . . ' ' - ' ' ■ -■< '• •• Sa ©1 tended© c w p @ ei»*..

The 'poet walm§» • ,th© wguedad z3®s©;l<res -itself in fores $the pill@u„' the whiteness of the linen, hi® hand © n themeet- and the ©utstretehed- :V:... v r ' j : '',. ■

'' : (El almar # ® 1 we - @1- emerp© ' : ;: .■■■;.'■■ ■: ' : ' " ; it airipe a l©s ojoe. . ' ::’ ' Y © h o e ® ) ; ;;:Me Invad# v'' : \ ' T@de .ai € ® r 9 \ jAs@EtedS; ' " . ; ■■■'■

■ T i L e .'-eotai returns to.-the. bodyj; .the light: invade® hla. #el@-' .^ i n g ■-» he is; astonished^ ; , Mavh# ::%® no t dreaming; ' he feels. that' ,l©ia©ati9n1 s ylgar .edneludes its paradise herew « herewith ' present'' reality],, lightV ;pill€!Ws sheet, , -is; paradise:y.:: :.aeiights : - ■; to ; theiie of W n t i # ' i@ simplf delight in b e l W i" ' ■in being -aiiTO,, in being in ©ontaet; with reality:

%

nada ' Y bafts*Is la absoluta .dioha"»

:ButJ,:, at : #@m@ tiBSs ■ M s ,b©Attg, ,©%• r@al.dty g that 'is the m £ ® alia. * the >ealitY ytliieh is: ©utsid© ,:©f xhiroself i ;

■ ;/ •' Oh perf.efaidni:. dep@ndo" ' :. ■' : 7-'- v. / . Del total M e ^ tv.-:,^ ' ; .

: ■ ' ; Depeofl® ae:,;lw,.:eoaas|- ..88 ' :Here w e .•h.8v@; /the priaoipal 'Sif ferehee betwea .Shillea^s •poetry: snd; the poetry of tb@ :aineteenth esnturfe: T# the.aimt'eenth century' poet s-: his -1 „ ■ was tit* e:m t erof the universes a-tragic fere# about which' everything ©Is©-revolved 11 all els©-.ms subsidiary t©. it# : But to" (iulll^n''and other eonlempamri©#,-' the 1 is -merely a part of reality*and quite- dspeMehS oh;-Ite>; Part /Of : th® ieyfthlett: the poet ' ”-empress##, is. in feeling himself part of the greater . reality fy:,: ,... - ' '. ; - ^ -i" '■ : : . 'th#- beyernd : Q u i l l # s t a t b i -'that ■r*hlity-::in¥enti ' ,; .M»;:: : ; ' : 1 i r : . \: '■ /- . : ' L© profund© e# #1 alr#^ ' - ■.: - , - - ' . 'i ,

La- realidad me invent®, gq . ..... iiv. Soy eu leyenda* fSalve! - .i;- I-:;;:: ;

®I am Its legend @ - Sail 1.9 fhis, removes. 'th@ i from the ... ' • “center':0f. the picStirf; altoge^er# Without, reality*.. ' there .; ..is M J 6 ' ’ '..HI#' theme but hie being : ' v;is d©pend-®at on reality; on th® maS - alld .. .. . .. ' @t@,: Sheme recurs.: throu^sut the bo©K . In the poem,,

Muohag -Graeias, - M i d # „ the.'.poet .has been; and he is .pleased.: So- @©e th# dol@rY-&.1®n@ leaving hi# body*- leaving

: - '''- rv ' ■ • El serj, ai s®s .: .. Imtegre* i M a el elaa' ' , , ' ' ■ , ■ -

. - "KaSviiom© ; ^ r ’ ■ .V • ■ V . ' #mbmm©/. ' . .' ■v' ,;. ; fmelw. 1® ,pag? z .&ijeffl® ; • ■ '. • . :■: f. : ■ . Resm-eltsa® . ger' .• ,.Qn, ■■■ ' ' ;■: . -

■ ■ Beate1® : d@ .is$S' 'pf-ea©ate» ; : - - :- ' ::V'-'la Oima 4# la-vBelAeigt W ; see 'tM© :p©et0a in teiagi

. ' (Oima la d 6 1 l o W ; '■ ■ '•. . : t@d@ ea : @l 'alTO. ©i ,pa|Me>9 ^ ■ -; | a # e . v-; ";■' • . '' v:;.;■ v ' Per a:c$til ha paaM®' 4^a©l0 ' ' ' > ■ ..: ; . . |%?a #1 @#r' al m # fl@l| ' , , . '.■■■' : ': ' ■■'• • ■ :■., is : :aFi°eE6ltm. impioleat© . ■ ' a h -; ':.v ■ ; . ' Ij®:v@Mad9l.''., IteMaf©.- el, 'present©|: V^ ;■ . ■.

Among the a^elmaig ., • ' *” ;, : . : ■ , ;. Qaeda e m r w @1 fimaEdnt© , , - . .

: • • , Oompaeto. asml:,, „spW@ el d£ae ■ , ' ' ;. ■ Ss @1 reaendcaaient® ■

■' - - \ eopi endcrs:: -fmedleam^' v ^: V ' ,; v '%## ©s eipaiu@ «: a # p e # ■ ■ ■ .. '■;. . ■•■:

. ■■', '■■ ' / ; : Central,' sla:; querer/'v'la "resap, : '' . . . . k m . b@1 @n. ©@nl|'snjetSfi ,

. ’ ; ' .X tant© se &a el- presente ■ ■' # # @1- pi® eamlnantsslent* ' ■'

: , . : : a ? l Pl ^ a„ ; jIn ewrr :p@fn'- w@ :.see the p©#t*@" i m - i n ’b m l n k * Thelast , part ef - the; hook. ;is :eall©&. g'lano 0®r . and it:,pp®a©.vA.m m e romahd® ^ 7 7'';;v: ’ '; - . >■;■■■•/■;

■ ■ . 1 - Be ..proBtsy sin:; queref1 $ :'7 : ''■Heme jl® 7s©y f'aatassial . 7.; -

' . . '7 ■ '; Hallinaom© w d y - ® . a m s , . ; .-;v, 7 : ,. - VSghedsd-qn# #e: . • . .. . ;:. .. ' .

' : Bma e'gp®©3»@ d© indoienela : ' ' , . .v Dond© .sstdije, iYe|, ^ulpa -oijLid®. , / ::■ . Del gil@B6l© ee' levantam , '' / Kurimllofti^; ;sil©n©l»# ■ : ■ ■ '. Sa.tr© . tlBleSlas^ ©atre .siMnas - ' : :' Fermaaee© ©lemental ' . . . . , ;

'' -Urn :.©©Btle©iiine S© B n t m & . v ". . . HI- s©r.:ea;s£ sere Z@::@@y,s ., :

U-V Xo, . gemaoleaela .grat©e. • .y: -,. - i . G a # t a © a ' gggmir, qg " . . : y : v

v \ ' ^"X am; Mbei'ng pen©:trat©S ' iat©' mj- .’beings I % pleasant

: aemaeleW#.'.' How 'sweet it is • td' • dontinu©, • t@ .perseverei.®■ $li©. them®_ ©f.: 3©y:, ia 'being pervade© the book- f beglaalag - to eadg ' previdiag a. harmen#: and Baity to. the- wrka ■ Oiatie© is ©a© works : ©a#.;" ymito,:: fh® .pirts m@k® up the whole and d m m t ::be:;: sepamtedfi©6 :■ fhat ■ la ;:why the pbet,-.pr##,, . ferred .to pnblieh snee®ssii-e -augminted editiens of :th@ same. work with ■ the . same titi©„ 'rather than-' e@Xl@e t his later peemS'■:'tand©'r; neif: titles»' ■ ai'thdugh:;this; latter' ;might have netted him more' Immediate^ fame and 'profit .' ■ -; - ;There is an important snb^theme.' which is ;intimately :;

related..-to the raaia theme^ It is eohtalndd. in- .th@.. follow :

. mg:'.line® from ■; ■ ' :v V ; : - ;'£. '' ' :' ' ; X sobre lbs, in@tant@s. ■ - - ' - ' . :.- . ■

. Qu® pasan de eont.im©.; '. . ': M : H : ; h r sente®- ■ . . ■

■ GmllWn Delight in being: aliv®g ■ in being- 1m contact 'with r ©all tys; the - delight: ‘may last-'for enly a moment, but it doesn't matter: .

, . ■ T@di8i ©sti eeaeesttrado r : ;• ;r::.: . for eigloa :

■. ; Dentrs de ©Et©;:aimt© :

Other ..poets3 h&%@: 'lamented th® pas:sag© :of the

'hrevi#: of;; ;@|2istehe©ls:'' V-let' io; ; F#r

of d eligh t whieh' he has ei^erieneed. is: isp@rl.sha.lDle, a

. part of him4: Kill,:|s.leOne©ntrated,t3arough"penturl@S o f v

root, within eternal and mina." I t Is a new,.':,

/p o sitiv e , ■ joyous Yim?''Of r e a lity 0 His poetry,.:as we sh a ll

see.,;. aoe'eptS' the ev il, as well'% a#', the good in I l f eg hut h#

. i s more inelined t© praiee .the good than to 'lament the ...

# h a m h@#©se :h#ed to ' poets: iho e#r®#e ''their. :,':. angtilsh. 'Before r e a lity .§ is n 6 t .'dtiillih9s attitud© of . 4pgr**,-. ,©us-.aeceptihee se r f profoundly s@.nsl"bl© than: that' of eouht^

.:,leg8f p©#ag - past -and - rend

their . garments over th® impoesihlef The surprising ' " •.

thing IB the o r ig in a lity of S u i l l i ’ii6 s a ttitu d e , simple ,

; and ;imalp;. as i t 1 m & ,' h©®. ■: fartiquM rly' in Engl isb/,:' I dan :' ''' think, of fhand, of ,Mlf.' on® p m t , - . who, .like Guillen, ' prai Bed, • ' and did not .lamentThat poet le ;Gerard 'Mshly/:Hopklhs|:,:and. ah in tere stin g ppmparlson' comld be" mad® of., the" work,. .

of the two poets, ■ ■' " . .

', The 'concept, of the' imperishable quality of the moment

i s again found quit© frequently through Oamtioot In th© .

• poemy-cMllea ; Lon.Tres Tlemposl h ■; .1

' - miew© f ImpatiiWKeiS •: :::' ' .' ■ Lo b :.g@ees fie Byer.; ■ ‘ . '

' . : . ' / ■ ' ' in 1(9@ la:M © s ; e@a i®4 a/? ' - • '; . ■ . fan pe^-'Eey a : siempre® - . .

^Yesterday6 s pl^asmr,es .pass . thr©»gli to Always*18

: ■ ; v : ■':r ' ■ .' . . v .FtilsaaO j, sonai®' sstee . ■ ■ ■ -

.. /: : v '■ ,/fantai; ©iasMaij Qy - ' ■■.■•v . ; Sn: sastirr© ss: reeoge* ■ ■ ■

' t p w a : &' # # # % ! attermeom .'im .W,0 $2&i-isst : '.v: /:: - ;■ . y ■ v';-. 'yy;' 1 : lets ;’1be a n t i g w V

Fmrn Losy Jayain@i.g - ■ -:; ., -■■■■ ; ; ' ; . ■ V;;•ootiQui’ transparenoia . / A ;

■ ■ ;. :y: ' . D® mmehas yWm&esy para mlempr® :juntas|f gOBt B©mto'

o o eli aiTOdo esti "bien:.'Bedbo* 11, ■ instant© io emits „.A ..iBare@V "d® tsm al.ta, • ^QO'D® tan alta/ sm.:.valy@ne' '., :

And from Qi® poem, g^^ggeol&ogiipar@sfr:yen el B©n ,; l*:t ' .<Y @@r'y#ntyie &©s ^l-fidogl .Asombrog 'sez1 m ' instant® y . - .« - SI- oonseguldo-'.^m - esstint© . '■ : -y",

fatal' j meta^ ■ -A'yy' Lo dtiarno en m : - pofifrf© •v ■ ■•Mti rewelado, m £ i :: W a i , ■ ' :Mae ajeh© a ml tellri®, % • ■ ' •. \ -> © W dentro d®. 41,; ©olmdndel©# „m Lans^ha©!© haola am .estlOe ■

vf; /: 'TWr@': mp# bth@r #«me@ ^ t ■ it ■■'ia.■ & ' ■.'■ •'■• '■beolt; whi@h ©neompasees. n r n T l j all of ■ life0 s p M @ e E 0 • ■' -thire Is Death aeeepted st@leally8 without passion # * :; -;t u : th®;::h0@ u t l f 8 ;SffiS®™S3 S=M i 2i?: . ;: :' ; ^

, ' ' a a;oT: uh :di®. ©ntre; los .Mas el mis - tr.ist®: ' '.Seris)' femSerse deberi la man©. . • /

■ ' - Sia- afia^ ' % aostand® el lamineat©,' I - : ' ' ; : esahis t# g .; .:: : ;;:

;: ' ' jtista. f atalMW@‘,-: SI, toro eah@. : : V '10»a -■ ■': .'fa;a .lmp©m#gm# @u ley,, mo'eu aeeM@mt©fe, Ki;

^deme, . just fatality^ fhe white wall Cdeath) will impose; -.;:its::iBir, ;:sot lt6:;:&eoM®aSa_cl:; 1 ■•k''V- -i

' •. ■ fhere Is l©f©,.«=» Buaam add, pasiiomat© «# ih the, poem' - ■' l' -' V ''- V ' ,. SalTOoloa :de ,1a. Prlmavera It 1# a long and ferverous ;

poem,; whieh . never loses, - its . or inwpiratioh,; "hut;fhioh neveifv::falls ■into';. romSntio •:plati'®nd©s0. Here 'are |Ke

t Btanaa@i': ■ - , : : ■ V - V ^" -'■ rSu-i, M „■ ''tol ineesant®, -

' ' ' ' ^ d m a v e r a ' ^i flo ■&© wr&or '■ ■.. : ■ . --v -"; . '" 1

f®4p vemtama a I© &!ifano$:'1 ' (r,#ml dim, - , ■. : ;

roS'Aj. vvl; - ■lad d©

ista. del.; horlmmte^/Bomlemt# moeh#,,:•

Sa de' ©amp©,,

- v : : - v #

.-If mis,aiai:■. M. @ m m :■1 :; ;-v ■ -a$6,' aln. 'palabms tot®:Siiigmlar desftudeg . in% ' • ‘ - ■ - . .tfaleaij, tt* ta’, solal \ •. / ; : : \

■;v ^is atASom©- leagth Sa to @xplM@:.;oaee.' - . '. and for mil the;#Tth. of Smillenls. ®e,@ldaeisS s It. hms al^ ■ .V: ’ : . ready bees ezpldted.' Ibj Bleey,® and Oasalduer© bat ;ii©#t of; , :, ■ ' ail by the poetry itself , . ■’• . ; .fhe theae.. ©f Shildhoid appears . ia several poem#, es.*' j ;peoI®ily; la II lafaate /a# la' phloh IS M 'tribute:-.to- his seai ' : V:; ' V ■ ' .

■ V,'V , ■ ■ . @©®@ el verse po%lbie - ■ ■: . : , ";:v;':: , fc. ;Mse@ 0 ■: ;■ i ■ .■;0 ; ' : '... ■ : : - ;;y . :-/v: ■: ; G-meias a tip f Igara ae:,:@i amor' "bajo el'ASol's. '

B e s t i t ia i t o •a : --a/ ■ ■ • ." • $@a@' a @sa l u i - y #oa slm® f l i i M e a t l. : " ; , Limpid©e .. 104 a. • . 1

■litttre .in its; aaay forma .appears, throughout'the' books : ' iAutuaay.; Spring],' the ; rivers : the f®uht&las the ar«..V. rdyOj, birdB of all; kinds^; the• rose^ /rain* mow, the .pine,

; ; ,::the :h ig h tt ': and ;ahpye a l l , th e .tedrhing, Ada®h&;; . s '

: being O.astilian plays .a sl^lfloaBt ;r@i® ihLhiS'vattituae :: .-Mward natureg the light and elarityV of t M Sastilima- . , a; :#Mt©au. 1#. reprdduG.ed'Alm. .his' p as ,.;;A,#brey' .Bell, suggested^ tfo,® pd@t :;@f: pE#tile^ la- the way . :

,' ;■ • :that Antdhis- ffiashads is" such a ''peet1 p@#$ry, ' .; : describes'm- particular plac#, er 'tim®; rather it tends,' tomrd, the'unlye Bal ,. .: ' ,]'A;;/:A\/';., A::,';

52

■ ': AS th@ end. Qf .'She M g s tm find- a Shem®. am? f@$? ' •\ ■ :G-uiiilns .ia the' pgeas: Ca»aa a Oaha« ' Her® the 'he&t ©©nfronts „ the efUs of . the-:-extefaal ,teutalitjp 'diiofd©^ .••

.,,v' The poet orie# ontf); : . ■ - ; : v: ■ ' ; ;,' : - ; V-'' ; Oh del lent® mnohednmbpe , ’ '- :: ^ i ' I l S S j l S d ^ s ; ^ ' i0[5 ■ - ■ .:

; ::;.V:.;:v:;:-' ':;v: - : llos tamblea.,: a zei rostrpe - 105 . - . :: ■ Se aoeepts- the’ e^ilsi they fee 'alog^-taihbhlkr the : w © ' - ,;;:■ :i'his:,:: TOspgasalbllife .'alsOe 'v'- '- ■'" :; ; ' Las fareass .las' vieleaoiag, .' .■•■■'■ - , -

■ ' v : ; - . Las pol'itieas/ 1#@'mfero# -: " . ■ v ;.v..' - ■; M E @ a ©6 del animai ' irtifi:’ ■ •

: : v ; . //Oialeament© wfeio'ig , , .. :X; ■ ' . : :'- fhis 'is perhaps .the only pla@@ l# ,the -#ok that the p@©S ' depfets from his attitad# of joy; and -aee®ptane.@0 ■ Emi\ does :

v -v ■ : 1©, . abandphp. . ■■. ' ; % ; : . ;• ..Beed®. el :©enfe@;del esefedslo ■ ' • • ■ •

Y© sufrir# oon l©s potoe* ■ ;': ; ; •Hem®;, fete: la nealidad, ' ' ■

' . ■ v ■ / ■, - 6fea' a - o f e i ^ 1© 'ai@;restiohd©» 'fe .Slg© fe mis tree@g -Ml oe# ^^7 'Ml' eedsr#, , J ; - . ; ,

G’Uill^h is mot a dwellef’"@f the ' Iveny: t©Wrto : H@ sill fae® ■- reality | he, sill ifefer: witB.' thi; '.rothSn /:iht -Wat" is' M s :..Vife' v, - ■ ' . - ■ • ■ ' -final ansi?ert ■•' ' \ , - y / /-

- SarfilfiWistale • A,' hingiffiX-':.:" '■ ' . Rioo-fefmglo m# .hwjfe z ' ' • . -

. ■ ^

' His: M s ' ' is '.in: % M glsgs of-' aMlBdmi'y t M ‘palpable' reality : which' he lows,, -and #iieh has ereeated M e * , ' ■ ..

. , 'Biit ;the predomimnt Jhtm# „ the tema v ita l .:, of 6^ ,' tlbo . Ae. .delight: la M ing; am# i t ' i s : perhaps: mwhere ■

. .better e^PMSseS . than ia : th®. peeBv- • iaM g a Vidas -. •

\ i ■ ".i--:' H # :fa,; eiel© 'per ' , :. : :' . Qu©. so. r08piipao. ' ' . ,'

--■v '. y ■ BeWpir©?• -flot©'■ eh Wnttimsy •::' ■ - ,:y \y:;po^ . : : ' % /: :v . ..

:: ■ ' - '' ■ , .tas @l®gsia@: de pn; homhre - .' :.: -'."' ■y • : ' . v, : '. S® : ehphdan fixem espa^eidas,® ' ■ ' : • ■ ' ' . .:

,: , y: :'y:'y',': :.;y r,': - y.: %6y@Py'felim ®m los: W b oles,: . i : ':':y': ■ :y:'. - Eh el..e®lors @n.l» %mbrfa« y:.':!/:. 'r ':

/Aveatiamsf. H# la s e@m' - ' y ' - ■ ■. y -:,, ' ' m eab@r£ae : y ; : .

- Seogo ooa ©l mia##.@#1 / -' .

L a o to m a o lta *

'"'•' * * : ~ ' y: ' :i.;Aetaaiidad.$ 'fah fy.gas ' '.y ' ' • : ;-■ . En M oogoll® saiga-' Regala a mi . le n t i t u i . ; .: ■ y ■■. : v ,i-i V'ii'l'y/yv-'yV :, $1 @mm#: aWr 0 • y : . ' 1 / ':' : '' ■: ;; : : iheaW -Sl:alma.''lehtb# paso# '. :'y

V : ■ . SB oomp^alaS • . . . L: . i la g ler ia posible nunoay , ' ' yy y • : ' ' :lum a':aM idLalv. .,' . ;■109 :

■ ■ ■ .Th@Bpaniard is 'abo^e all, a ; fflan of. the seas@ee' He i- . profound-ly. distrusts the, a . priori' twrld of philosohhleal':- fationafism0\;; W Slstf’tists' asf*thing 'wMeh .q'annot' fee seen,, v /f eit;\or -hea^&e ffee ghgiisfa,, eoheept: of 'the. gho'et. is .knomi. la: Spalhy a@'a.re the legends of .the type- we find , in- aermahlo mythplogy' % e .Spaniard,' is sometimes; a mysticV

' hut'his my st io.isa always derives: frofai vd.irect sehsory im= ' • ,;vpreesionsffl ' • His ::yeiig£on;; is profoundly: sehsu&i . (1 ue®1 the, r , term in/ Its: Ofdgihai: s.ezi#®)«: based om a .ritual., which sp-a 'peals to the 8ehses $; - the m©st' important part df' whioh -Is '"the Holy Communiong In which"the abstraet$. mysf leal feeing ■ '■ ., ■: is ' eonyerted - int©': efehdrefe 'reality in. a most drsmatlc . ■ . , '■-.;;f ashiont: fhat iS 'rihy. philosophy ■ and\ seientie which:are :,r "based: on a'' .priori-. thinking^ ' have, never made much headway ' in Spaihp and why Spain has' always, excelled in poetry and '.palhtihgy 'which, are hased on direct sensory, perception,, ■ V V;; ■'■''■:;^heCttraditidhal'. eoheept pf-: Spanish Heallste' is falla- ■' Clou,# 'heeause . 'net .gp; f®r enough^ ', The Spanish1, artist '■does notmerely imltat® ..reality g he usee reality /as the ... ,

.’ sfarting, .point, always, ■ hut he • proceeds to give it . hi# own.■ personal' ■ inte'rpretafi6n0 Or, like ;Satt Juan de la Crus, :h#1'''' 'uses reality .;as - a hprihgtooard i'tO : mysticisait^el&ques' .1®' • "

•is Wa artist6s personal -yielon .of- a eallty» . of • Bdyrse„ thiS'■.':, Is, even raor©.: true of SI (Jreco; anft •Goya,,' ' " . : - :.: ; -In: the. best Spanish :po@Wy w@...f ’f ir@tK; a .depemdeneeon physical • realj,ty*: ; ana, seeend^ a Se.sire te? g© . beyond :the; reality itself^ ; to ; the uBkmowm go®tie world that ’ • ;lies beneath, 'ite' bhliK Saglisli and' Sreneh poetas,: ■ , :; the: SpmBiaM 'always.' starts with r*©llty0.v I would liM: :t© I:# o # this' pereeptit©, A.eeeriptl©a: by• , fread -oflthe .. . . . :

; - - ' / . ' / yil.' ■■■■' : V ' ■' . Vr - >'..pmtfj wt ■ Juan• Ramon .JImenesi •; . WH© seems .gradually t©. b#«ddme aware.-':of the -forse ,.©f’;'’i ture,'.r©siding'..ln'.all-/;thingsV' ..lii: a- t r e e a asowtaiB, er a ..weimn;, and he might s®ya". '/ - :.like the ' Ghlnes# phllesephery, that '6: almeBd. tree or a : ; . , 'Mooaiit .moumtalm' ean: 'be.. allye net like a. man' or ..an aiil« 'mal ©r 'a .trees,. but:aliw'with, a:life:rpr©per;to it = -and; that'.thi<p©®m: will be,'-.ali*e"s: -too,, if any'of. the ©esmle ' 'fore®',, .■"the' ta©' is in iteM ■ ':u." Thus .the poets, starting with ,. : : .natures, diseovers . the mysterious lif© within, ' i t ^ , .. . .- - i think .a. history of - Spanish poetry eould: be . written /

in 'ffiioh -the Importame® .of sensory, pereeptidn eoutd b©: ■ -. ;•;traeed, throu^i the -works-@f @11:':,thi8. great poets* i. Begin-- 1. '. Bing with. the Old/ :;ire: ean: obserwe. that the hero ie -a. man ;,- ©f -fleah';:azad' Mo@d> with a wife, and' a family.,...and .deeldedly 'human' needs s, passions .and faalSs* ' Hew. different he is from ; ;th®' Freneli- H@land9 .who is as'almost figure^ oapahl®; :';©f .muperhuman -and;Ineredlhle;:feats» Clhsr© :W © Ghatoon ., 1

a ® : R©IaM aad- B eem alf f u l l @ f: fa n S a sti© m daste^g, •

l a th e - 010,, ' thep® ’tire ©ill j cr^ d ih l® :, humaB M ing@ tf '

the- freaqh'man.©r t h e 'I n g lls l im a n ^ th e Spaniard wouM n e t

.W l.l#?#: th a t wMeh M s se n s e s dia,; n o t i e r l f y a Mote the ■

■ f e e l i n g _f © r'■ p r e s l s e , 4© t a l l in ' th e O lds' - : ' .

.V ... - . . non- sev.abre . la puer.ta e a M en e r a eer m d a. . . :' .ytina/Mn®; 6e. n e p f , ands .; - - a ©|® a® parmfa,^ ' : ’

1®. a M /tpM:: th e preels© - age o f th e . l l t t l ® g i r l ; . '

ou t t© warn, 'the Olds.v n in e y e a r s e : fh e f i r s t m etaphor ■'

need In th e poem, and psrlmpS"'.the f i r s t i n S p a n ish -p o e tr r . V: r : .■. -Ig- ehd th a t , a p p ea ls v i o l e n t l y t e th # sen a est . .the Old

p art# 'from h ie w i f e .

; : ' r # ' i # ha m®. * ' . . . v /L iv : ■ = :

' $h® Eoiaaneer®: l ik e w is e . 'p resen ts hundreds o f exam ples o f

fe e liE ig 'fo r - th e p r e a ls e ' d e t a i l s .'Ahenamr t e l l s u s th a t .

vWe iB eriM iO ; # # e d . 'ln\:: th@ ia h a iib r a .:.; Me i s h ■ d@"blas; ' -

a l d la s - - AM from -th® 0#r#© d# M o r a : .. ■ 1 : " ■ ,

: ' . ’ : , " • . :' .f i ^ a t e s im ro s .y ;m©ras ■ ■ : : - .•:::.. to d e# : t e i r a l; .o a sM . -

; : / '.; la@ 'mor»#.'':':ll#'wh@h r©pa - V" : - - . 'l o s moros h a r in a f ■ .trig©'r: ■ .■ :.■ :.'

■: : . ' . ■ j , l a s mdras. de .• quin© ®, an@s . '.. • ; ■ / /• ' ' l le r a b a n s i ©ro fln<9g : , .■ ■ ■ ■ ■.;

: ' :v y'lOS;:B©ri0©S;:,p@qU©hoS . . . . ; : ; z. "

, : ■:/';v l le fa h a n .S a p a s a e l , h lg o * .. ;.; .<■ ;

,'fe ar@ . t o l d p r e e i s e l y ,. w h a t: ea eh group ©f: Moors earrl.ed to

: t h e . © a s t le =,. dpim' .t© l o s ' m o rleo i ':p®quefioo, ■ who p a r r ie d th e

■ .fig s: and: r a ls lt tS e a'men. p f ' th@ RenalSBane®!, . ,

\ # 1# W :l,iflaiietita ■ - to; the : pies® M f M m .- :: M t his starting . point ' was always. the airee tl j, peredptibls'.nature that he'lovedi ’ . . ' . . ' ;. ; ;terl©ntes'ag»ss2 p u w > ; erlstalinas'i' : :

' '. arholes qtie ' os'estii©' Tirana© '.enellagee 9' : :':Fray 'Luis de. Leon' sought relief from the mundanal' ruido 'in the ; quiet and beauty .of real, physleel. nature;!: / ; ' ’: •I": -■ v,T/' D e l B m h t © , : eh 1® le&eMi. ; " '> -

^ / tehgo un huerte ' : ■■'v''I..--q © 'dshtl.a-'Pr’imavsra - / ;

: : ;v f d© Wll a flor eublert©: - ’ ’ •- 'y, ya auestra ©s : esperatisa el -f rut® ol@rt©#

A#: for w e ^ h ^ k e - already noted' that ■ M s poetry.': :: ;; ■eomM;'-be desorlMd as am: ;9a#3cait@ti@n■:@f sensual reality*18;.fhe mystleal, poetry ef . San: Juan '&© .la. Orug iia paradozi^,;‘ eally,.. - prof ouMly 1 s.ensmal * .: He ■• aeserlbes my#tie : -; '■world through strikingly sensual, issages g; ■ .' ' ; . SI aire del almena3' :: :

• euando.: y® sue' oabellos ..espareCay ' , ; ' ■

.; ■ y ; t@d©@ mis ssntMos. @usp@nMae - . •■ • - . .. . . ' (Canolones del • Alma. - 1 ) . ;

:, <:$he Wenettiaapi © n :the pther hand, is a ere&tnre ©f ' ' Reas@n0; fh® frenefi .Have-.alwayi admired la r & i s m above all' things:it has: always been -the . center of their life, art, ..and' thoughto. It wa@v'a-I'renohman who said, je pens'e. done j@ guigy and proceeded' 'to.eenstruot a-philosophic®!.- .system ' Cwhere, a Spaniard might' have; said .1# sena with. as v; ' muGh.. juatlfleatl©W)' . :.f@.::?qSet@: f r o s , :■;. “fara el •

sus .aetos* Ssta tendeneia1 i.e. Imollma a menoepreeiar li imipertahola die lbs vinstinSes y d@: ioai.laipuisos' at"1'" as.i eomo' la fuersa de la Intuleloh* II tlmdm dietos i e s ibi.;©b- pi enaj. Idav aimabpade

fueraa vital -ha d@ justlficarse a „su@ ©jos aegtin el que iteme "^aSe. e^t® ;iu^:ilateieetual0 :i::

Aside from the. more evident proponents of reasea in ilt'eratuh# => ..:V0italr,@ .and the dlghteenth eehtahy . , ^

IniIghtenment ~ it,' could he shown that behind the orchestral beauty of 8.acin@gs verse 'was the. guldlhg force of reason» and evidently .th©- satire of Mdliire vms directed by the

Intel#ctual0 , The reaction against reason,in. theid, Hugo and I ?.e does not bell®

.the. thesis-i* .H@ither: a man nor a nation Is all' of one- Color;,,> and ; the" w r y ■ fact' that there' was ■ sueh a violent . and conscious , reaction against: it , ‘corroborates, the pr©<® ■donilnaho© of ,r@asdni ih Frehch. emltur© 0. Even In that esu, ' travagantly romatitlo nineteenth century, we find such stal.

, ■ wart defehders :bfi the. Intelilgehde as Anatoie' France; and Emil® Zqla, Y. % i - " . : ' : „ ' . . v ■i" yy Rimbaud -ims - a leybit against Intelligence, so -Paul ValSry .represented,a- swing back in the other direction, a reaffirmation,■■■of :• the supremacyi of the Intielllgencee. , ...

Valery.'.sought to write poetry with .his intelleet .alon© .; ■' ''' ..deellningVthe ^asslstanse" of I h t h l t o r ' inspirhtibni if his intellect proved. - incapable-he preferred' to keep. ■ ■ 'silent. '.If we would- Pel ier er - hiswordsy only the. mastery; ' ..■ of. the intellect was important to him. not the ooetfy it- self 0. ; . H®:.:aeserted .once; that. "i;,, »las bbras Son log residues muertogv'de loa. aetos vitales de an creadpre V How -; different from - the’ .attitude-of 'Jorg© &uiix@h;».; for whpm.,i.a ohraAis: his ilf ©.? • ■: ifpd©. hacia:;©1' poemal-: And; yet:Valery , '; as We. .shall see 9 -exerted a : pouerful influence on G-ulileiio ■As : we.' suggedted, earlier in this,::paper, ■ G-ulllen represents',. ■ ‘to; some extent,.the- meeting of the sensory tradition of Spani.sh; poe-try with' the Preneh intellectual, tradition,.. @x-= empllfled by Paul ValeryP ' - - - - ’’

o . ; "Philosopher ; eh .rers> o@' fut, et c • est-: ehbdre, youloir-iouer a,ux e checs. - $ el o n 1 eh r'lgles du ■ j eu ■ dhh; damei 0 ;1.

: That statement was ;made by Valery = and yet: Valery,0s major- r poems are ■precisely that V ptiliosopher. en. Wrs,, ..' ha Jeun©

. Parque is a; long phiibsophlpal discourse, of ■ the soul; and ■ h®' Oimeti&re Marin is' a ':eofflp’ar.lgon-' of ephemeral man with timeless' nat:uf.e0 . In these poems, Vailry°s ends are philo-= . VOphieai 'rather than -p0etl©o Vaidry hasviolated his Omr -.. definition of pur© poetry'by.injecting'into .poetry things; - V;Mich are :forelgh':.tb5lta.:ilthihvfof'tM that many ■

' ;,qratios' have fbyma :v e W e " b e ■ aey.d‘ aM, o^eeure«,'" This Was the same oharge: that was made against G-uiU^n3 ' but .'With so.toe juatifieation in -the case of ¥aidryf5 This, how-

; /ev®rs.7. is hot. . i ■■T of "great heauty in faiiry^ - \ •. > - , -

;But where.:.Vai4rg. has 5, in part, failed to create 'tfnf. ■ . poetry y Jorge Guili6n^ using some of! the same ..materials- and, attitudes^f has .siioceSiSeda Let us examine Le Glmeti&re 'Marine T The poet,. resting hy j&: eemeteryvWhich faces the ' f- ;;' sea^ the;lihoEanges^e " aspects of - hatup© , they shy,//t ' •-.the sea, the suns. " ; , . - . - : :

, / / :11 .yy ;'Ouirrages purs d 9une eterhelXe ' cause ;- 'hut' he ' is sad&eheE - hy '.'the thohgh t that; he. him© elf, uni ilce nature, is not unchangeable, and. will soon dissolve into; ■ -y the-:e a r ^ - /v; \ V ' / v i ■ . . ' TX;'.Tv'- V.V7- . v:; ;V: Je hume - ici.Tma fu'tur v ' '' ;x;V v,': ■' In anguish: h® cries to heaven; ' ;':.: '.;;v.x

y ; ::,x;;.' ' ■ Beau n ie i ,- v ra i; ciel^:; regardevmoi # 1 , changej '' ■

Like V illon and. ffianriq:u@t.. h e . Biourns the passing' of earthly

-x :'; : . V; .:'x:'V.'. ; V;' ; -V. :V ; ; x;:': v- ''. - :7x7., x';;.: ..Ou, eont: d©.®;'morts7iehiphrsses; familieres, ™ ;7 v;;-y7 ’7 7 . % * $ & % 'personnelx;7i@g 4iae.s.-ainguiiiirestx ;77; {

:and he declines the uncertain consolation, of • immortalityd'Biit .'suddenly; there -1#''a change;), y he. takes from his: philo-; sophleai reverie, and, immersing himself again ih\nature,,'.

: ; ■ ' - . / ; : ' ... 61

he 'geeke to enj©y the /-present mometit., the present .beauty/ . dashing the ’’pale caat of thoughtagainst the: waves and

,. : . y ' yy; . .y-y\ y; . ; Ho b 5 ':noa|e »@Bebgu11 ' Dans:l8ire igueeesslTel ': :'

■ BriseSj, :man yeorps/eetSe feme p®BSi¥@l . .y:Bur®&s. mon. selm^ La naisssne® fisa. vemtl

■ Un@": - f mldheut",. de i'a. mes?-: «$M14© # •• ' . ■'■■■' le % w a E@a Smsea 6 Q puissaace • sal^@|y 11e? .‘ "Oourens i, I 6dnaeyen rsJaillli^yiViwantj :■/

7 , y y ■ '■ :;' “'Shatterj, : -my Wdy, that pensive form| Drinks my hreastg ythe surge, of, the-wlndl A freshness., exhaled,from the sea,gives, "back to :me. By soul o’?, The poem end® with the words®■ 11' faut tehter de. .vlvreh^ f .;&hd with a. call to ■ the ' :•waves to joyously • break the stillness of "the sdene and thesadness of his thoughts^ : ■ '.. • * •- y- ..

; A writer in the- R@viatay d® • 0oeldent#'' has • demorih®d -- yyy . ,y\'-: '■ ' ■ . ".'■ ,y ' ,

the, poem, thus! • • 86E1 poema- ( Gimetlere Marin) esy en .def 1==;'nitivas un hizmb a la vida^/al trlumfo de io mom©ntaneo?ensalzahdp, al yhdmhre : efitoerd. f rente ;.a. la eterhidadg ■: at; sefcy'.fugas frente, al hOe-ser ..eternoe 11 H 9 ; .8© the Joy ' in presentreality triumphs over introspee'tion, and the ephemeralmomeht' triumphs over, eternity; yitself yh@coming eternal^.y . . ' • y';-.^ ::'' y'-y y - y / y y-.yi /' y'-.': : '. , ■■■■These ideas which conclude Valery/s poem, we., have, already • yseen, to be the most important themes of the poetry of1 Jorge ■ G-uillini' .. delight in being and the eternal quality- .- l-yy'': ' - yyy-'IVVvy' v:,y.: y^ y'yyV'.'of .the moment o The • conelusiony vihl'eh ythe I’reneh poet.reached in Le OlmetlBre ter in served as the starting point .

‘for the' ■aa.titiOTr 'fal^ryis' wa' th'©-‘sttgges-tioaja u il l^ x i, th e ' '

: Mother poem-.of Valiry ihioh- is ;sighifleant in. the■ fl-ti*aLy:'of;' Gmili&h Mrore / W i o h /Inifoaue®b- th0-::-book# .■ Ghame# ,C1982IV :. hike g -M @ Alla'. ’ it is. a poemof .Wakening/ o f . the pp#t% emergeno#: from sleep,. • M s ... .awar erie# s . of; the; r^al it$'- iihieh' tirromnis;' hi mi;. < ' :: . ^

V %: ' . La /eemf nmlon ‘morose . . - - - .v. ... ; ■ ■ ;. ‘ # 1 me mervalt &# gemmeil, •

S@:,dis.@ip;e:. des Id -ms©':; . . ;" ' ' : ‘ ' i,ppar©noe du soleile •. ■ ; ‘ ; - .;...

■■ ■; ■ ■■ G ^ @ s t p r e M i S r © oral son I' ' ' . ; -' ■ . A p®in@ s@rti dei sables, . ‘ - /, '.. ;.... , j© fais. a®s pas adMirahles- 1 P n - :

.Dans les. pas d®;m® ;raisen& . ^cy‘ Compare: thisVwiS the: opealng of ‘ :: ' :

v . • ; v . fSl tima'TOelT©'al.euerp©, .. - ■' .■ ,, '■■ ' 'Se dirig© a' los. ©jo® . .. ■

• ‘ ■, : • % ehooa;) j L»»S M# Invade .' :. • $@d©:mi ■ ser .; :•iAs©iaW©|: ; ,

Intact© adn, enorme,.. -'' "X • ■ . . . . % SOdea :©1 tiesp©0 do -RnM©® : . ./ ' : , . | saltam - . . j. . ' - Sotee los• amrillos ^ :

:.•',':S; ;.. ,v.;;fodav£a::» agudos.:v: i . . .'x'- Se nn ;S©1 .tiecte-terntara :■ . '; ■ ■ '

‘K- : '. De m y © al'boreado ■ ; \ •.' ‘ ‘; ' ■‘ v ; P a M estanela difusa,.. :

41 though • the guhjeo$@& ar#; identical, notio® how,-much .■ sore hllve' -aiid rich in images; i@ .‘the;,'.poem: of ; @613,16% ' ' Sill®. ^©bT" #ie: astonishment of the poet '

.. . ; ^

■ ; toefoi0®' the stidtiea. sttrge' of - reality,.' la Valery we M v @ ' ^;; -Otily he/matteruof^faet' ytstemen'S ;ef3M@ ©tentp mp,,,:; as ■■;•'•; :.;alw6ys. falepy,, the: :edheera with th© inteHee.t:' . ■ ' :::

\ ^ dea pas' admirables / Sang- le© pas de ma- raison0 M/' Later 1b the poem we- f:ind smth©B ©4te@'

/ ■; .:::*o0©t :mi@:,^©rehant^'^^v ;. ; v: , ? : . : :Dana ma foret sensuelleLei/©radleS ' :de vmdht,;ehant*:'. :

' ' -Strel UMvereelle ©reiileQ ■ ., H@ seareh© g;. in .Mg senguai forest for the oradles of his

■.;': :s©ng*''; Md: theas. ; .“tltref • (IJhSverg^iae oreiile a ®.;; J&£g*\; ’ ■:.S6r -fh©'; gearoh, for and affirmation of. heing ;t!mt w . ■ '

• : f i M ; tnronghout Oantioo ■' faldry- is far more; ambiguous' : - than ©uiliiBj, but: 'th@.: suggestion ..is there^ umistakably»

'these^suggestlonSj, Wes®''ideas:':$fhioh' f;@, iry, :evelved within the/Frehoh intellectual tradition^ that

. ., - @iiill.iB took, h ® M : ©.f .afti: adapted to • th© Spanish sensory .■;•. tradition^ making ou t o f :S * / tfhe - .iand.: e s sentlai:;poetry,B.x:; - ■

: •' -With petard to we have @@em how JorgeO-uill^B is im the ' maim ./stream: of Spanish poeti j ■ of : the sensory tradition with reference ©specially to (mngora: and. more Immediately s :h©w: he is -'M : a^,rge: part a produc t . of that movement which was foreeast /byVBecquer^ ©sMhded ; ; hy Dario, and given 'Its usmistaMhl© form by Jtian Hamda • Jiatenez*: :.:w@ have.: seen slso how the' Intellectualtradl^- tl@h of: Prenoh ^etryy- through its: gppkegman .Pay! ? a M r y s-■ affected profoundly, the ideas and outlook W BylXl<iB0; :We may conclude therefore', that G-uillin represehts a, m©et»* Ihgvof ': i0se two: ■ traditions', the 1-mtelleetual -mmd' the' , sensory, . with -W® latter p r e d o m i n a n t ' - .

fh® W : 1 s lps©ver .one fa®t o r t h e most ' important ;, factor .of all, which, the .critic, a®..matter'how acute h® -. .. ,;v may, he , ■ ean: never entlrely..-espl®in0 fhat is the alchemic magic of .th@ peet. which, converts the-,lead- of Ideas, - trends an§? ihfIhihees:;i n W . the; llvimg h # :• unlqae- pom|' • the magic of ereationV ■ W ^ q h in ;lit@mtur©, as in biology, transeends thevMaiSs of science„v . ... ; ■ ' ' ; .; - fith, ;r@gard to. the m a t u r e °s' poetry and hih. view: of: reality 'w© have'observed:.: CIf . that CMllilh has . ::''tried .to achiov# th©;.:id@al of pur® :poetryk which we hair©

:;:p: ' : : v::. defIned: as; a ■ -reauetibn of.po'etry to its i@8:@ntial v;-■ : ; •.el'ementSg' mQSio ana; image, azi#. that;he has sy.eoe@a©d . ..... .. - - ..i& . m i s . g a # ^ijs ''g©ne^afi©ti» v --'. 5:

anS < 2) 'we M w ■ 0i)Eerre4 also^ She ,&mpor^■ tanoe . given t© t W # # # h o ^ In hi#, poetry r above all that : type: 'hf metaphor 'whloh la ©s-iglnal."'with ,;the:. -" ' . ,. Gastilian poeti.- the metapho^ whleh p m v M e s abstrae^'/ tlons: sith' eonerete' :a M .visml’ -

' Finally, with regard to themed we have observed .•-- that y althoiieh gan'tie®. -eiabraoea nearly all of lihiaaa exiBtenee,; the single theme whieh stands out and .pr®«» ' :.vide# nhity-'t© the' wdrh' is that of delight in be ism t .:: ' ■•' and. assooiated with it is the them© of, the eternal. "

' T - :; Above; ally we have, observed : that' fiuill^n0 s poetry , is pQaltlve. rather than negative in bntlook;., that he ; :a6d©pfs .life ..ioyongly^ rather: thaa ;rejeetlhg if- ih/ the;: i;" ' ^manner, of : many poets;:past; and present| ■ and that;tfith ' : Siaillin, • the. ■ % is n©-longer :®5©. e enter of .the- uni vers©, but an;integral parf:'of; reailtyi: :: -: • ;:: ;

V . A; very interesting study eould be made ©n.,why, .'in this twentieth-bentury, wheh death, disgust and des** --pair' seem to be' the pervading "‘themes .of most /western literature, /the 'Spanish .writers have emerged . with an

«83#&ading.*, positlw© / |©y@us, view., of life: mad.; :.Perlisps ' they are ,f ©r . the' f irst time 'exper'iene.ihg their ainaissanee/ thelrV:r@leai@' from the Me@3,@g|esl;' straits jaeket of Oetholieisa^. ®M1® at: the gam® time retaining the, aeathetie 'insights of tia@; tra'ditloml; z>@ligio:n:0 fhi®j, however, is m t , the place .to explore ' that -‘p&ru '. tlGmlar pr##em^; ' 1 havej tried,; rather,' to extend, - in ’ aome small: Way.„: .th# appreolBtidn of this .contemporary .. movement,in.-Spanish poetry,;and t© interpret the.wrk ©f. Jorg#■ ©n@: ■ of its:nohl.est:' expr-essloiis^,/ : : '

Hotes

X ;e G-uiXXiti,. :ia EX': BogoMg December

•Pederieo GarXbs Bainz d@ Robles, Hlstoria jCastellan©.l a ' ' :

Ibid

Madrid„

■ 5- .Mllanriqueg.^uill^alios^petas'-da-'EspaSa^.. ■ :EX'fiaiapd„ oltf>

0 From: -a statement made. by Jtian Ramdn. Jimdhegj, quo ted on the flyleaf of Eternldades (Editorial Losada;; 1944) * -

;Redr© Helarlquen UreSaj. MPoesX@S‘ de Juan Ramdn Jimtez/l CuXtiira, ;X?,- m * : :2;»;:.l#xieq:.(1923)t,:. - ; , . . , ;; ' ^ Juan Ramdn Jim^h#2,. Segunda Antolo.1 fa Po^tica. .(CoXecoidn.Universal, ■ Madrid^Baroelona,"'X920TT^P» 31 &; ::9,■i -: 10'

■ ,,xx;

■ ;''13 ;

a PPo Citof Po XbftGuillermo de Torre, Literatures Europeas •'&© ?an^

Caro Baggio, Madrid., 19^5) a p0 H30o: : : ■■' . . Vt''

X;bid0 ,v Po b0tm *

poranea. Puerto: del;,, Sol;g Madrid;

x5 Dimaso

Valfcuena Prat, La-.Poesia Sspahbla, Gonfexn,Americana de Publicaoiones.

g :Pt> _______ ^obre poesia Ei__

yista de; Oecldente, Buenos Aires, 19%) g pQ i!40:: .16 ope ;eite 9v. pe:;J. X/ ■ p@a.erieo' Care la Lorca j: B.omanc®ro Gitahcr

Buenos Aires, ,194#):,, Po. _25o '

s i

' ^ SeKiiaaa Antolojia Poe’tlca,, op0 c:it0i, p 0 380■ : .. ■Feaer.ieo (iBrcia: Lorca^ Cano lone s (Loeada, Buenos ■

- - ^ ^ ;' 'r - v:' ; y;: ~ I -'.:',f ; 7: Sternlda,cles0 op6 clt0 3, p 0 62c ■ /7 7 ,'' ;: :'

■ ^ His tor la: y Antolo^ia de la Poesia Castellana, o d 0•;elta?vPo . 7: ; ■-v, \ ^ ,,7, v/;:. ::' prj ■ • ' :'7;; - Etermiaaae s; - - ©p : •elt0; 2$®.:"; ' 7'7;V ' ' />

■ 7 . V ^ SefeuMa AntGlojfa Poetloa, oon '316,.: ^ Jorge Quillen,, Cgtntlcog Primer a Edloltfh Gompleta '

■ (Editorial Bxidamerloanag, Buenos Aires., 1^50) ,:: p0 85© . : . .7 Vv;:d 7: 7 ^ .-''Seminda ■Antoidl^a.:Boi|%le'ia;aopP- eitc , p 6 315 ,' ' p -iV-- r

' ; 7 - .dantibo „ - 2t> 0- 7 ' 7, ; 7 . - 7- . 7 71 ■ 7 '. , ' 7 imdo, po X7i : : ■' . . 7 , : .. ;: 7',77 7::P M -Retlsta. de Oobident.e, i926'p;-Po. 83^© 7P:7yP '777:\d. ' The following is tne' & ^ e s t 'tiling we: n a m ' to a definition a •■7 7 ■ 7 di’pure .poetry W ; 8aui ifalir^g ' (he;vzanted to remoire from . '. 7

poetry) “todo aquelio qua puede ser dioho, • sin perjulclo, ■ 7■ en. prosat. todo 107.que, s 1 endo hlstoriap ieyenda, aWo= ; 7'data,'. moralidad. Inclusive f lloeof fs^ exists por si miSEO., ' ’

77’ain el-donourso. nepesarlo' del 7eanto0,fl Quoted from 'indddrier.7:'/^eflwre.'SntretieBi" av©e.-Paul.:Valery!f (Be Llfret farlB.. 198017.

in GuilleVfflo de Torre, La Aventura y El OrdeiTTLosada,- r a777: ■Buenos A i r e s , ■ -P/; .. ■ v ■ '7

29 Revieta de Ocoldentea. op^ cit6, 22g0 7 PP” 7 1 7

H i w ' :' , 32 Q are fa Lorca, Romancero Q-ltanol op0 oitD,. p0 25 ' and. . v oontlnuatidnp' . . " .P7 .. . - P' . 7. 'q.. 7 _7--; P 7 ' ‘ P;:;.,7 ,.-:P. 7:: 33 7 : Antonio Esplna^agrees :in part with ; my 7 P'' •

the sis o' 'Referring to -pure poetry, ’ h e ’writes, in the article■ . by Fernando Vela (Re vis fa de Gooiaente, Hovail 192b).?, 7 7,.7 7. RTieme,. ••pu'es, la- p o i i W un principio activo verdadero7 ■ alcaloide . = que obra 00mo eatfmulo de emocilfn, .'indepen* . . ,

■: •• diente del. argumento y de - la sonorxdad del :poemac- En/ . - - •

.ultlsg'anillsis^ este alcaloid®;, estie princlpio aotivo, t.@©r-ia virtual de la. poes ia,a es la imagenB ' Reducir to do a ' los^'@l©iaentM poeBitiesS: a la ; imagen o IMgenes, es sltuar la'' poesla;: en :le estrlxsta ,'eategorla-; que ie pe'rteneceo n But : liKe the UitrMste^ h© underestimates the 'iaiporta,iice ;of: ; v r%thm 'and ; ' ^ . a R - ' -

^ Litemtur&a. Suropeaa de ?anguardia„ eit„ „ ’ .v ■ t v ; r v ; - / : ■ ■

;: . n ;ibia0 . Pc ^ . .

Soledad Prlmera. lines 6ld^6l9n. . . Vv ' ,v-' '

/ - M'' Literaturag ’ EuWpeas':d#' Vanguard la, Qpa .;citn.■pp»: 'Jib^i7 .„ , ■ /.r. .

3 9 ; Gintico,, Pa,; 45.40 ;Pti;4S0:*'41 Ihido '.Pi; •22* •4%: Ibid., 26*4-3 ;i5ia6>:Pa 27o# Ibide,:^ . PPa .'i'Swsi% ''1 6#46 ibid;,. p o ;35oJ'^7- Ibid. ;Pe 75o

Ibid., :Pa':49 ;ibia0, ■Po'50 Ibid.., •Po -in*51 'ibidoV':,Po: 315452 Ibid.-, Po :mXd;53 Ibid., Po 494*54 Ibid*/::Pb'.:224o'

" ' , BW

55 GantiCQn p B S'S -c Ibid,* , #

' vlbid^, ;ptiPe ,:gST»;;: ::::

59\lMd09 Vp» . gS* . - V ■

■6X Ibid0? .'ps : 211 '' O'. . :'6 p ■ ; :■ • ■ : ■ . ' / '.p0 21* :. " • ■:■■

6H- --»■ ppimera. 'line 4g

:lbi& 9 y lines’ g3^S4(Sali-nas

dohns,-HopSihs:

C^ntieOj, p* $;pl.7° .lbid.0» p* :21#: .

. :-' 5 v

71'■ihid*:. p«:2i5<;'72 Ibldo, -P.o'■16*.71; PP; # o7%:Olbid*:/OW;' 50* -75 Ibid*, Pv 65o760Olbid*, PA 6 s*77 Ibid»7'';Po'::1Q7*7^:Ibid*, ■ppO 222*

, V:.;-.,:;;,: ' ■ -V;; '71;

: :iy Qdntloo. p»; 245;o - : ;

;;s o i m 0, ::p» ;2So- ^ Ricardo. Gkzlldn y JOa4 Ma&uel ■ Blecua, La Roesia

: de Jorm G-uiXldn (SSitudios L item rios, Zaragoza. ”T5^5T»

- " •. ^ Pedro Salinas ."La-Po e s ' " d.e Ruben ■ - Dario / (Sdito^: r ia l .Lo®adas .BubnpE ■Mx»es:, 1 9 4 - 8 ) , ' '■ '

a- 85 Ipidi, . ■: ^ a&itioo, b „ 17, ■. ■. ■ ' ■

. ; V' 85 lbM„„, p„ IS. ■ ■ ;86 Ibid., P. 19. ■ - ■ '■ ;■

; ■ 87 I W . „ Pe ;; ■ ' : ■ / - ■ :■■ 88 iMa,, p. ,2 3 ;; v >■. ; : : . .. ■

■ 89 xbld0, p. 18. ■ ■ V : ■"■:■ : 90 Ibid.;, p6;7 2. '■ . ' ' : ■. ■ ■ . . ■ .■■-:;■ 9 1 ;ibis..:, p6: 7 5 , : . ' :■ ; ’ 7 . .' :■:'. 92 ibia,, p„ Isa, . - :

< 9 ) ib ia . , p, 240, : ■ : ■ . ■■ -■ '■: .■ ' ibid.,:,p, : W . ; V : ,

95ibid., p. 1 7,. . . 96 ibid., p. 4i. :: / ; v .

V'.S ' 97 Ibid,, p„ 62, ■ .. 98 Ibid., p. 78, ’ : ". 99 Ibid.,, p, 315, . v; ; ' ; .

100 ib id ,, p„ 235.: ■ 7 ^ ■. ■■ : ■ ; ■;■:■ ;'■ ■ ’

■ ; l°2:Ibid.,:ps:281, .. -./.i,/, V i

72,103.

106 : '1 0 7:■ 106 ' 109

T b m * ! . fi ; i03o- .:; ■ Ibia^y - 1

l M a 0 ; p4<'5 i6 & : V' 1 P*:. 5 l 6 v .

twa** p*Itda* ; P* 521* : ;ima}^ p»;-5i»; i-':

> Juaa Eam?Sn. ;195Q:)>

»g. BO , Spaalsh

'Ss.pafioies:P»;37V:,;: 112

113

Salvador &e Madariaga, Ingleses» Franoeg©.®, (Editorial ;Stida®@rlea,$ Buenos M r e s ,

Ouillem® do ^orre,. La Iventura f el Orden, Losada, • BuetioS' Air®#, 1 3 ^ & } ^

aul Val^r.y; Tel Opel -11: Bhmabi3), P, 155* ;T'.. ..■; . ■

, i m 'eratpre

115p».; :l466 ;: .

p-1 1 6 -

/: 116 :: : 1 1 9 '

. : 120':

See' Sitse" and Bargasa^ ___S d lt'193S ),. p* 801;

;Ibld0,p^.PI,,:Ibia0., Pe ' ibid., p ;''R©¥igta-.d®. O'eeldente „r ¥0X4

1 9 5 0)

' p» . 397<

Gnllien ■' sobeffi® have the/I 1 2 1:'

: 122

Valery, Bles, opb cit0 m ilo'te thatborrowed; the traditional French M o i m § a with the. aboedeed:,. for 20 of his t4 ,d€Gimas« IDhe rest traditional Spanish seheme abba&eodde0' ; • . V :Gan bjeo „ pp. oito, p» Po^siegy - opd,' oit : ,' p* : 87

4daras^ Nicholson' B* .3 The Heritage "of • Spain„ Hew: Yorkp 'topnr Holt,..19»3,,p»;88t... V -v;:.- N

Alonso, Imado s Jorm Gmillin,. poet a eaenclal.' ■ ia Nac ldn„ ; •;k ''■■Bnshos A p r i l ' ' , v - ; ' : ; :■ ■; '■

Buenoi-;lle¥iata d© Oool&^ht©» 19.46,

. Alonsoj, B^maao^ .ffaaldh' elemental ©n la poesia\ '% 111# 1, , . y

Anon0,9 ■ Sobre Sadf ldy' 'Reirlsta d©Occident©, 1930,; XLVi,- .'p%,

Anon6, ■. La Botsia .'d©;''11935, ITV .p0: ,217-2220"

Dos Mnndos-s- Foesla, 'ABO,.. -Madrid, July 10„ 19290', Madrid, Jam*.' 17.r ■-

OlarendonBell, Aubrey F0- Si. Oaatlllan Literature, „

Literaria, Msd© Jor^©: h& Saeeta"

Jan* 1 ,Blepda,I' Joi^. :lamel:,.’-ISlv-Tlempo: en la

. Brioxij,' Mi ,f 8obr@: 0^btioo. l e e Mouvelles

: ;:Sli5tim£rea-' ' p & H * ; # l y 1 9 3 6» : . .

By. n& W #:O A iti#, '. W' -Libgrta&:;:Madria,:V,:

:':''^ & T l^ 29y .' ''' ' : 9 '"'3':' ': y., ''-y v:v:-;:.: . ■Oay&oma Pena,

9-;.; iOottf ;B2»v l$50yv

Qa.Mdna ^PeSs. Alfredo» 'Sotos

El Ifa.eional', ' Mexlooy,

ico, Ediclones Litoral^ ;:3El Pliego, ?6;i-;;fp&

_ Cruz del Sur; EaWldhe'r#^:''. : Qdntioo de

: ; H l e o V 1 ^ 6 , . I l k m * % p .

[. Mex-

da tforgg Qttilifa.

s Santiago d©y :

O' "@6 '©1 -: sogando , ■Jtian,, Puerto .

:;Parl@,: dune;'I,'' X9B9* / y/3;'-y :Oassou, Jean, Panorama,de la lltt^ratur® egpagnol© eofe

. '. v i ^ B 2S a l m y ^ W s>'X 176=177:0 : y: ; ' '‘■-Oastrb>■: ;Sa^rloo Q^ntloo d@' jorga dulllen. -inauia,' : lV::BOo; 1, PP. 1^ 27/ .. '; : 'wg: :'; ■Gastroy Am^rleo„ - latroductIon tb:Pleakg They;:iy:i->/yy o y ; - - a ; 7 ' y

JorgeGuilldn (Princeton University Press)6Oirr©? Jos^ PrBnclseo, Forma ySspfrltu. de una.

panola . MexicoGriflea Panamerloana,, 1950,

Francisco d®. 8obreg C/ntieo, ABCs Madridj -'/»rch ' \ ' ^fag^Plaj ay;: Cul$ltef,iaQ> ; -LA. lirlca :iBare®,; ; l@na,: 'taBr/1937^ / ; ■ v"' ::

.Diego,' Gerard©, Madr.id, iign© ?

£es=;Caned0 > Enrique, LlWoB de 19S^i'.m'Sol;, Madridv Jante::'10>:'1929<> : "

i)qfflehcMna:„r J J & y La,'. Boeeia de Jorge Guillen,. ins Ordnieas v .: 'de; Cerardo BiW^a, Madrid, ' I935i 75^24'; ■ - :Florit, Eugenio, MOtas; sofere la poesfa d® Jorge; Guillen, .-■■; -, :;EOvista SlspAnloailqderna, M0Za 19^6, ' :XXI, pp0 ;; 267^ 2 7 1,,

a ■ Loreal faderico^ ' Eomanc®ro' ditano,' Buenos Alres^v Editdrlii;Logada, 19^ ; : '■ :' v ■ -

1 Lorca,: Federico,,'' Cano lone.#'.' Buenos Aires, Editorial ./# -’j, nueiya :.: B.i: Jorge G-ua in

■;' La T 6 z a Madrid» «Jan="- 21.a, ■ Eadrid,.; .■S,:,.RUl&7

;. ':^P®gaeO, 272^7^: :% ;; - -I' .Cuillin,.:. JOrg®^ G inti co. He vista deOceidente, Madrid,. 1 9 2 & ,

Culll^n, dorge, :Cantle0 g.: Edielones del; irbol, Madrid, 1956 „ ’Cuiilfe. dor^e Cfeticos;: F© de - Vidal Mexico, % L1 toral,'§uillin, Jorge9, CfetlcO, Brimera’ Sdicltfn Qompleta „ Buenos

Aires, Editorial Sudamerieana, 1950c

; Y ;; : ; : v. ^ ' 76

G-ullon, RieardOy;, and Jo si lanuel: Bleoua, L®" foegia d®.. . ' aarge ■ Zaragoza^ Es^udibB. M t e m M 1# % 'J l m ^ a e z : ' E^ermldad@8« 'BuWos. Aire# -Editorial: ;:: :LOS8a a , 19^Jisine.g*: Juan Ramdn^ ibgunda Antolojfa Po^tlea. .Madrids ; . 'rBareelon®, OaleaeiA. Bnlv&rbal^ '1920'*-: - ';;v f v ;/;.v. ■ ' -Jlm6nez,: Juan Ramdna, Joggg. guiia^n5 ■ 8 # e # l # ai 1932, ■ 1IC ; D@fevr@g :Fred^rlG,,• Er3.tretiana. ©o Paul: Valery.' Le' Llvre,.

■MadaMag&d 'Salvador: d©., Xngl®abay. g r a n o w a . Eapagbl©# .' ■19^^# :

' MaurlGl#^ Lulgp L o b m e t m ©8panol©g?, Jdrg® Aaill&L Sl:. , iempoij, yBogetij, ^ai 19^ : •'V' ; ' ■. ‘ -

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D#0y, Fed,@rl#'. de, •ln%olog£a d© la poesfa ©ipanbla .® -'.. .hlepanoaiaerlcana, Madrid, Centro d© Estudio;® filstd®

Bleak. FrAnG## A v e r F ^ bf-; Jorg© 6dlll#m/, ' ■.• • tfo,,; by; ■'Jffldyidp " CastroPritiG©t©n».v;PriaG©toa;tJnlv6p:-= ;•

■ .La 3oe#i& Qomtemporah## '(1941 ).■,» • '

■ MontevMeOj, M o . lonteverd©^ .3,94:2* -, •, Eosello^Poreel, B 0 „ W t a s a Guill^a. Madrid, Guadernoe ; v, •. ’.de .la;:Faemltad:;de Siliesofia , y :.Letr®s, 1936^ " ■■_ ;

BalmK de. Eobies', Federidb. Garlos, Historia y :Aatolo^la •; ' " d® la- goeaia Oastgllana, Madrid, Agmilar, 19 -6 0 ' {

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- Salinas, Fedro.- La -gbesia de-: E n W m Dariel Buenos. Aires ,, ' - Editorial Loeada, 19% o ' . -

: • forre'g ' Gkiillerm© de , La Poesia d® JorR@ Guill'en„ Qdntloo,1 ■.nuevament® entonad#,■ :E1 Sol, Madrid, Feb» 23, 1936,@

:: ' :|:f©rre, .;:attilieriHp; da> ,:p . fMadrlS:, Rafael' 0aro.:Raggi©V 3»925 .'■ ■ : ■ ..forra. g-uill®rmo del La Aventura w el Orden, Baexioa Aires,

" : ;;;Sditorial'Posada, :19% » : ; ;: , . V;":' ;; furnbtill,' Eleanor: :' Gentemporary' 'Spanlsb:.Poetry',i?er^ ;■ :

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)>; ppe ;ll3»llSe ' V : ' 9: ■ : ■:■'■■ ■"•.'.■ : V ’Limi®, #6 La Poegja de Jorge Crulll^n,

a, dan»: 26, ';19294 :: v9V / ' : ,5; ’ '

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Wilson,: Sdward iieryan^ Two -' Modern Spanish . Poe ts a Boeksaan,