Poem of the Deep Song

By Federico Garcia Lorca

The magic of Andalusia is crystallized in Federico Garcia Lorca's first significant paintings, Poem of the Deep music, written in 1921 whilst the poet was once twenty-three years outdated, and released a decade later. during this staff of poems, in response to saetas, soleares, and siguiriyas, Lorca captures the passionate flamenco cosmos of Andalusia's Gypsies, ""those mysterious wandering folks who gave deep music its definitive form.

Cante jondo, deep track, comes from a musical culture that built between peoples who fled into the mountains within the fifteenth century to flee the Spanish Inquisition. With roots in Arabic tools, Sephardic ritual, Byzantine liturgy, local people songs, and, specially, the rhythms of Gypsy existence, deep music is characterised through excessive and profound emotion.

Fearing that the precious history of deep track may well vanish from Spain, Lorca, in addition to Manuel de Falla and different younger artists, was hoping to maintain ""the inventive treasure of a whole race."" In Poem of the Deep track, the poet's personal lyric genius supplies cante jondo a distinct type of immortality.

Carlos Baur is the translator of García Lorca's the general public and Play with no identify: Posthumous performs, and of Cries from a Wounded Madrid: Poetry of the Spanish Civil struggle. He has additionally translated the paintings of Henry Miller and different modern American writers into Spanish.

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AMARGO: Inasmuch as it’s uninhabited. RIDER: You’ve acknowledged it. AMARGO: It makes me lose desire. Ay yayayay! RIDER: simply because should you get there, what’ll you do? AMARGO: What’ll I do? RIDER: A nd should you have been the place you belong, why do you need to get there? 127 AMARGO: ^Para q u e? JINETE: Yo m onto este caballo y ven d o cuchillos, pero si no lo hiciera, ^que pasaria? AMARGO: ^Q ue pasaria? (Pausa. ) JINETE: Estamos llegando a G ranada. AMARGO: ^Es posible? JINETE: Mira como relumbran los miradores. AMARGO: Si, ciertamente. JINETE: Ahora no te negaras a montar conmigo. AMARGO: Espera un poco. JINETE: jVamos, sube! Sube de prisa. Es necesario llegar antes de que amanezca. . . Y toma este cuchillo. jTe lo regalo! AMARGO: jAy yayayay! (El Jinete ayuda al Am argo. Los dos emprenden el camino de G ranada. L a sierra del fondo se cubre de cicutas y de ortigas. ) 128 AMARGO: Why? RIDER: I trip throughout in this horse promoting knives, yet if I didn ’t, what could ensue? AMARGO: What might take place? (Pause. ) RIDER: We’re getting with reference to Granada. AMARGO: Is that attainable? RIDER: glance how the balcony home windows are glittering. AMARGO: definite, that’s actual. RIDER: Now you won’t refuse to experience with me. AMARGO: Wait it slow. RIDER: C om e on, jum p on! Clim b up speedy. We’ve acquired to get there ahead of day b re ak s. . . A nd take this knife. I’ll supply it to you! AMARGO: Ay yayayay! (The rider is helping A m argo up. the 2 of them trigger in the direction of G ranada. The sierra within the historical past turns into coated, with cactus and nettles. ) 129 CANCION DE los angeles MADRE DEL AMARGO Lo llevan puesto en mi sabana mis adelfas y mi palma. Dia veintisiete de agosto con un cuchillito de oro. l. a. cruz. jY vam os andando! period moreno y amargo. Vecinas, dadm e una jarra de azofar con limonada. los angeles cruz. N o llorad ninguna. El A m argo esta en los angeles luna. nine de julio, 1925 a hundred thirty SO N G O F A M A R G O ’S M different they bring about him positioned upon my sheet, upon my oleander and my palm leaves. The twenty-seventh day o f August, with a tiny little knife of gold. The pass. A nd quite a bit for that! He used to be so darkish and so very sour. N eighbor women, deliver me a brass pitcher stuffed jam-packed with lemonade. The pass. D on ’t anyone weep. For A m argo is now within the moon. July nine, 1925 131 TRANSLATOR’S NOTES web page forty-one. “A rchers,” line three. Lorca m eans “open to the ocean. ” The G uadalquivir is navig­ capable the entire method as much as Sevilla. web page forty seven. “ Procession," ultimate line. Durandarte was once initially the identify o f R oland’s sword; later, a personality in legends o f Spanish literature. the following Lorca seems to be touching on Don Quixote, half II, C h ap ­ ter XXIII, the place D urandarte’s tale is stated. D uran­ darte requested his pal, Montesinos, to chop out his center with a dagger and take it to girl Belerma. “ . . . a livid O rlando" is an allusion to Lodovico A riosto’s fam ous poem Orlando Furioso. web page seventy seven. “Portrait o f Silverio Franconetti” Franconetti (1825-1893) was once the main im portant singer o f the nineteenth century. His father used to be Italian and his mom was once from Moron de l. a. Frontera. His cabaret, Cafe Silverio, becam e the point of interest o f deep track in the course of these years.

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