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Poemas de amor y de guerra
Contiene los siguientes poemas:
Tristes guerras
POEMAS DE AMOR
Soneto
Es tu boca
AMOR-frutal
A mi gran Josefina adorada
El silbo de la llaga perfecta
PRIMERA LAMENTACIÓN-de la carne
Mi corazón no puede con la carga
Era cano y moreno
Fuera menos penado si no fuera
Tengo estos huesos hechos a las penas
¿Qué quiere el viento de encono...
Me tiraste un limón, y tan amargo
Umbrío por la pena, casi bruno
Silencio de metal triste y sonoro
Yo sé que ver y oír a un triste entada
¿Recuerdas aquel cuello, haces memoria...
¿No cesará este rayo que me habita...
Una querencia tengo por tu acento
Soneto final
Elegía (a Ramón Sijé)
Canción del esposo soldado
Carta
Canción última
Antes del odio
El último rincón
La boca
Yo no quiero más luz que tu cuerpo ante el mío
Hijo de la luz y de la sombra
Vals de los enamorados y unidos para siempre
Por la voz de la herida
Cantar
Mi cuerpo
Tus ojos se me van
El sol y la luna quieren
Sobre el cuerpo de la luna
Como el toro he nacido para el luto
Besarse, mujer
Menos tu vientre
Orillas de tu vientre
Nanas de la cebolla
El amor ascendía entre nosotros
Casida del sediento
POESÍA SOCIAL Y DE GUERRA
Vientos del pueblo me llevan
Rosario, dinamitera
Jornaleros
Aceituneros
Campesino de España
Llamo a la juventud
Ceniciento Mussolini
Los cobardes
Memoria del 5° Regimiento
Pueblo
El herido
Guerra
Tristes guerras
POEMAS DE AMOR
Soneto
Es tu boca
AMOR-frutal
A mi gran Josefina adorada
El silbo de la llaga perfecta
PRIMERA LAMENTACIÓN-de la carne
Mi corazón no puede con la carga
Era cano y moreno
Fuera menos penado si no fuera
Tengo estos huesos hechos a las penas
¿Qué quiere el viento de encono...
Me tiraste un limón, y tan amargo
Umbrío por la pena, casi bruno
Silencio de metal triste y sonoro
Yo sé que ver y oír a un triste entada
¿Recuerdas aquel cuello, haces memoria...
¿No cesará este rayo que me habita...
Una querencia tengo por tu acento
Soneto final
Elegía (a Ramón Sijé)
Canción del esposo soldado
Carta
Canción última
Antes del odio
El último rincón
La boca
Yo no quiero más luz que tu cuerpo ante el mío
Hijo de la luz y de la sombra
Vals de los enamorados y unidos para siempre
Por la voz de la herida
Cantar
Mi cuerpo
Tus ojos se me van
El sol y la luna quieren
Sobre el cuerpo de la luna
Como el toro he nacido para el luto
Besarse, mujer
Menos tu vientre
Orillas de tu vientre
Nanas de la cebolla
El amor ascendía entre nosotros
Casida del sediento
POESÍA SOCIAL Y DE GUERRA
Vientos del pueblo me llevan
Rosario, dinamitera
Jornaleros
Aceituneros
Campesino de España
Llamo a la juventud
Ceniciento Mussolini
Los cobardes
Memoria del 5° Regimiento
Pueblo
El herido
Guerra
- GenresPoetry
133 pages, Hardcover
First published January 1, 2003
4 people are currently reading
60 people want to read
About the author
Miguel Hernández
260 books184 followersMiguel Hernández, born in Orihuela (Alicante Province), was a leading 20th century Spanish poet and playwright.
Hernández was born to a poor family and received little formal education; he published his first book of poetry at 23, and gained considerable fame before his death. He spent his childhood as a goatherd and farmhand, and was, for the most part, self-taught, although he did receive basic education from state schools and the Jesuits. He was introduced to literature by friend Ramon Sijé. As a youth, Hernández greatly admired the Spanish Baroque lyric poet Luis de Góngora, who was an influence in his early works. Like many Spanish poets of his era, he was deeply influenced by European vanguard movements, notably by Surrealism. Though Hernández employed novel images and concepts in his verses, he never abandoned classical, popular rhythms and rhymes. Two of his most famous poems were inspired by the death of his friends Ignacio Sánchez Mejías and Ramon Sijé.
Hernández campaigned for the Republic during the Spanish Civil War, writing poetry and addressing troops deployed to the front.
During the Civil War, on the ninth of March in 1937, he married Josefina Manresa Marhuenda, whom he had met in 1933 in Orihuela. His wife inspired him to write most of his romantic work. Their first son, Manuel Ramon, was born on 19 December 1937 but died in infancy on 19 October 1938. Months later came their second son, Manuel Miguel (b. 4 January 1939, d. 1984).
Unlike others, he could not escape Spain after the Republican surrender and was arrested multiple times after the war for his anti-fascist sympathies, and was eventually sentenced to death. His death sentence, however, was commuted to a prison term of 30 years, leading to incarceration in multiple jails under extraordinarily harsh conditions until he eventually succumbed to tuberculosis in 1942. Just before his death, Hernández scrawled his last verse on the wall of the hospital: Goodbye, brothers, comrades, friends: let me take my leave of the sun and the fields. Some of his verses were kept by his jailers.
While in prison, Hernández produced an extraordinary amount of poetry, much of it in the form of simple songs, which the poet collected in his papers and sent to his wife and others. These poems are now known as his Cancionero y romancero de ausencia (Songs and Ballads of Absence). In these works, the poet writes not only of the tragedy of the Spanish Civil War and his own incarceration, but also of the death of an infant son and the struggle of his wife and another son to survive in poverty. The intensity and simplicity of the poems, combined with the extraordinary situation of the poet, give them remarkable power.
Perhaps Hernández's best known poem is "Nanas de cebolla" ("Onion Lullaby"), a reply in verse to a letter from his wife in which she informed him that she was surviving on bread and onions. In the poem, the poet envisions his son breastfeeding on his mother's onion blood (sangre de cebolla), and uses the child's laughter as a counterpoint to the mother's desperation. In this as in other poems, the poet turns his wife's body into a mythic symbol of desperation and hope, of regenerative power desperately needed in a broken Spain.
Hernández was born to a poor family and received little formal education; he published his first book of poetry at 23, and gained considerable fame before his death. He spent his childhood as a goatherd and farmhand, and was, for the most part, self-taught, although he did receive basic education from state schools and the Jesuits. He was introduced to literature by friend Ramon Sijé. As a youth, Hernández greatly admired the Spanish Baroque lyric poet Luis de Góngora, who was an influence in his early works. Like many Spanish poets of his era, he was deeply influenced by European vanguard movements, notably by Surrealism. Though Hernández employed novel images and concepts in his verses, he never abandoned classical, popular rhythms and rhymes. Two of his most famous poems were inspired by the death of his friends Ignacio Sánchez Mejías and Ramon Sijé.
Hernández campaigned for the Republic during the Spanish Civil War, writing poetry and addressing troops deployed to the front.
During the Civil War, on the ninth of March in 1937, he married Josefina Manresa Marhuenda, whom he had met in 1933 in Orihuela. His wife inspired him to write most of his romantic work. Their first son, Manuel Ramon, was born on 19 December 1937 but died in infancy on 19 October 1938. Months later came their second son, Manuel Miguel (b. 4 January 1939, d. 1984).
Unlike others, he could not escape Spain after the Republican surrender and was arrested multiple times after the war for his anti-fascist sympathies, and was eventually sentenced to death. His death sentence, however, was commuted to a prison term of 30 years, leading to incarceration in multiple jails under extraordinarily harsh conditions until he eventually succumbed to tuberculosis in 1942. Just before his death, Hernández scrawled his last verse on the wall of the hospital: Goodbye, brothers, comrades, friends: let me take my leave of the sun and the fields. Some of his verses were kept by his jailers.
While in prison, Hernández produced an extraordinary amount of poetry, much of it in the form of simple songs, which the poet collected in his papers and sent to his wife and others. These poems are now known as his Cancionero y romancero de ausencia (Songs and Ballads of Absence). In these works, the poet writes not only of the tragedy of the Spanish Civil War and his own incarceration, but also of the death of an infant son and the struggle of his wife and another son to survive in poverty. The intensity and simplicity of the poems, combined with the extraordinary situation of the poet, give them remarkable power.
Perhaps Hernández's best known poem is "Nanas de cebolla" ("Onion Lullaby"), a reply in verse to a letter from his wife in which she informed him that she was surviving on bread and onions. In the poem, the poet envisions his son breastfeeding on his mother's onion blood (sangre de cebolla), and uses the child's laughter as a counterpoint to the mother's desperation. In this as in other poems, the poet turns his wife's body into a mythic symbol of desperation and hope, of regenerative power desperately needed in a broken Spain.
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Displaying 1 - 8 of 8 reviews
April 6, 2023
Poco podrán las armas: les falta corazón.
Separarán de pronto dos cuerpos abrazados,
pero los cuatro brazos avanzarán buscándose
enamoradamente.
💔
Espejo de mi carne, sustento de mis alas,
te doy vida en la muerte que me dan y no tomo.
Mujer, mujer, te quiero cercado por las balas,
ansiado por el plomo.
Sobre los ataúdes feroces en acecho,
sobre los mismos muertos sin remedio y sin fosa
te quiero, y te quisiera besar con todo el pecho
hasta en el polvo, esposa.
Separarán de pronto dos cuerpos abrazados,
pero los cuatro brazos avanzarán buscándose
enamoradamente.
💔
Espejo de mi carne, sustento de mis alas,
te doy vida en la muerte que me dan y no tomo.
Mujer, mujer, te quiero cercado por las balas,
ansiado por el plomo.
Sobre los ataúdes feroces en acecho,
sobre los mismos muertos sin remedio y sin fosa
te quiero, y te quisiera besar con todo el pecho
hasta en el polvo, esposa.
June 13, 2021
"Si me muero, que me muera
con la cabeza muy alta.
Muerto y veinte veces muerto,
la boca contra la grama,
tendré apretados los dientes
y decidida la barba.
Cantando espero a la muerte,
que hay ruiseñores que cantan
encima de los fusiles
y en medio de las batallas."
"Jornaleros que habéis cobrado en plomo
sufrimientos, trabajos y dineros.
Cuerpos de sometido y alto lomo
jornaleros.
[...]
Esta España que habéis amamantado
con sudores y empujes de montaña,
codician los que nunca han cultivado
esta España.
[...]
Jornaleros: España, loma a loma,
es de gañanes, pobres y braceros.
¡No permitáis que el rico se la coma,
jornaleros!"
con la cabeza muy alta.
Muerto y veinte veces muerto,
la boca contra la grama,
tendré apretados los dientes
y decidida la barba.
Cantando espero a la muerte,
que hay ruiseñores que cantan
encima de los fusiles
y en medio de las batallas."
"Jornaleros que habéis cobrado en plomo
sufrimientos, trabajos y dineros.
Cuerpos de sometido y alto lomo
jornaleros.
[...]
Esta España que habéis amamantado
con sudores y empujes de montaña,
codician los que nunca han cultivado
esta España.
[...]
Jornaleros: España, loma a loma,
es de gañanes, pobres y braceros.
¡No permitáis que el rico se la coma,
jornaleros!"
July 21, 2022
Un poemario para entender mejor los crudos momentos que trajo consigo la Guerra Civil española. Está dividido, como bien indica su nombre, en poemas de amor y poemas de guerra, siendo la cantidad de los primeros mayor.
La calidad de toda la obra es exquisita. La naturaleza y los orígenes rurales del maestro quedan entrelazados con la dureza de la vida. En sus versos se expresa un amor sincero e inquebrantable hacia su familia, sus amigos y su pueblo. La musicalidad de las estrofas acuna al lector, haciendo entender cómo actúa el devenir del tiempo en su realidad. Gracias a los años orientativos que señalan cuándo posiblemente fue escrito cada poema, podemos relacionarlos con el contexto que envuelve al país.
Es una lectura amena y profunda con la que reflexionar sobre los conflictos bélicos y su repercusión en la vida de cada persona. También nos aporta una visión social de esta guerra que tanto a marcado a nuestro país.
Como conclusión, es una lectura indispensable para cualquier amante de la poesía.
La calidad de toda la obra es exquisita. La naturaleza y los orígenes rurales del maestro quedan entrelazados con la dureza de la vida. En sus versos se expresa un amor sincero e inquebrantable hacia su familia, sus amigos y su pueblo. La musicalidad de las estrofas acuna al lector, haciendo entender cómo actúa el devenir del tiempo en su realidad. Gracias a los años orientativos que señalan cuándo posiblemente fue escrito cada poema, podemos relacionarlos con el contexto que envuelve al país.
Es una lectura amena y profunda con la que reflexionar sobre los conflictos bélicos y su repercusión en la vida de cada persona. También nos aporta una visión social de esta guerra que tanto a marcado a nuestro país.
Como conclusión, es una lectura indispensable para cualquier amante de la poesía.
January 14, 2022
Seguramente no esté mal y simplemente la poesía y yo no somos compatibles
October 16, 2025
Perfecto. 😍
May 29, 2013
En esta recopilación se puede ver la evolución de la poesía de Miguel Hernández, que va ganando enteros según se simplifica, llegando a la perfección absoluta en poemas de la última etapa de su vida en la cárcel, como "Menos tu vientre", "Las nanas de la cebolla".
February 21, 2014
Sin duda alguna me quedo con la poesía social y de guerra.
Los poemas de amor, quitando alguno que otro, no me han gustado demasiado.
Los poemas de amor, quitando alguno que otro, no me han gustado demasiado.
Displaying 1 - 8 of 8 reviews