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Ντουέντε
Όσο η ποίηση λιγοστεύει, όσο η έλλειψή της ξεραίνει τα τελευταία φύλλα που βλάσταιναν ακόμα μέσα μας, τόσο η νοσταλγία για τον ποιητή μεγαλώνει. Kι ας μην το ομολογούμε. Aς μην το ξέρουμε καν. Aυτή ακριβώς η νοσταλγία φουντώνει όλο και πιο δυνατά καθώς, βήμα προς βήμα, όλο και πιο θαμπωμένοι και με την ανάσα δύσκολη από τη συγκίνηση, ανακαλύπτουμε την άδολη και περήφανη ποίηση που ανασταίνεται μπρος στα μάτια μας μέσα από κάθε πρόταση του "Nτουέντε".
44 pages, Paperback
First published January 1, 1933
46 people are currently reading
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About the author
Federico García Lorca
1,574 books3,072 followersBorn in Fuente Vaqueros, Granada, Spain, June 5 1898; died near Granada, August 19 1936, García Lorca is one of Spain's most deeply appreciated and highly revered poets and dramatists. His murder by the Nationalists at the start of the Spanish civil war brought sudden international fame, accompanied by an excess of political rhetoric which led a later generation to question his merits; after the inevitable slump, his reputation has recovered (largely with a shift in interest to the less obvious works). He must now be bracketed with Machado as one of the two greatest poets Spain has produced in the 20th century, and he is certainly Spain's greatest dramatist since the Golden Age.
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Displaying 1 - 30 of 95 reviews
July 3, 2025
This work has a slightly ironic and casual tone at the beginning to stir up sentences and a reality that wants to be (which is) deep, unexpected lighting, comparisons, and the beauty of the images.
It develops in digressions and divergent orientations to better define the essential.
We find, in addition to Socrates and Descartes, Vélasquez, Zurbaràn, Goya, of course, and Keats, bullfighters, Goethe, Paganini, Manuel Torres, "great artist of the Andalusian people" (who does not have it), Nietzsche, Cézanne, Saint Theresa ( d 'Avila of course). Rimbaud, "dark Hispanic genius," with Ignacio Espeleta, "handsome as a Roman turtle," and Elvira la Caliente, "noble whore of Sevilla," Quevedo, Valdès Léal, dancers and dancers, and a boy from Salamanca killed by a bull, and others, and by night, plants.
It develops in digressions and divergent orientations to better define the essential.
We find, in addition to Socrates and Descartes, Vélasquez, Zurbaràn, Goya, of course, and Keats, bullfighters, Goethe, Paganini, Manuel Torres, "great artist of the Andalusian people" (who does not have it), Nietzsche, Cézanne, Saint Theresa ( d 'Avila of course). Rimbaud, "dark Hispanic genius," with Ignacio Espeleta, "handsome as a Roman turtle," and Elvira la Caliente, "noble whore of Sevilla," Quevedo, Valdès Léal, dancers and dancers, and a boy from Salamanca killed by a bull, and others, and by night, plants.
April 19, 2017
Τι είναι το ντουέντε;
Δεν είναι η μούσα που επικαλούνταν οι αρχαίοι δραματουργοί και όλοι οι καλλιτέχνες…
Δεν είναι ο άγγελος που κρύβεται μέσα σε όλες τις δημιουργίες…
Είναι η ένωση της τέχνης με το μονοπάτι του θανάτου, είναι το τραγούδι που βγαίνει σαν σιντριβάνι αίματος μέσα από τους τραγουδιστές του φλαμένκο την ώρα που οι συχνότητες τους συντονίζονται με αυτές των χορδών της κιθάρας…
Το ντουέντε του δημιουργού περνάει στον εκτελεστή. Η μούσα θα παίξει τον ρόλο της όμως θα πρέπει «να βγει από το παράθυρο». Το ντουέντε είναι το Άγιο Πνεύμα, το πνεύμα που ζει μέσα μας, ο δαίμονας. Το δαιμόνιο που προσπάθησε ο Σωκράτης να εξηγήσει και τελικά τον κατάστρεψε.
Ο Λόρκα γράφει για το ντουέντε. Γράφει βιωματικά από τις εμπειρίες του στην τέχνη και την αγάπη του στα παραδοσιακά φλαμένγκο και τις ταυρομαχίες. Είναι Ανδαλουσιανός και αντιλαμβάνεται όπως κανένας άλλος την ένωση της τέχνης με τον θάνατο.
Αν είσαι εσύ η αγαπημένη μου,
Γιατί δεν με κοιτάζεις πες μου
Κάποτε είχα μάτια να σε δω,
Τώρα στην σκιά τα ‘χω δοσμένα
5/5.. Άρωμα Ανδαλουσίας και ισπανικής κουλτούρας…
Προσωπικά έχοντας περπατήσει στα σοκάκια της Γρανάδας και της Κάντιθ, μπορώ να καταλάβω την μεγάλη αγάπη του Λόρκα για την κορύφωση της τέχνης μέσα μας…
ΥΓ: Η μαγεία των ταυρομαχιών στην Ρόντα και των φλαμένκο στις σπηλιές του Σακραμόντο μπορούν αμφότερα να δημιουργήσουν ντουέντε τόσο στον καλλιτέχνη/ταυρομάχο όσο και στον απλό θεατή...
Δεν είναι η μούσα που επικαλούνταν οι αρχαίοι δραματουργοί και όλοι οι καλλιτέχνες…
Δεν είναι ο άγγελος που κρύβεται μέσα σε όλες τις δημιουργίες…
Είναι η ένωση της τέχνης με το μονοπάτι του θανάτου, είναι το τραγούδι που βγαίνει σαν σιντριβάνι αίματος μέσα από τους τραγουδιστές του φλαμένκο την ώρα που οι συχνότητες τους συντονίζονται με αυτές των χορδών της κιθάρας…
Το ντουέντε του δημιουργού περνάει στον εκτελεστή. Η μούσα θα παίξει τον ρόλο της όμως θα πρέπει «να βγει από το παράθυρο». Το ντουέντε είναι το Άγιο Πνεύμα, το πνεύμα που ζει μέσα μας, ο δαίμονας. Το δαιμόνιο που προσπάθησε ο Σωκράτης να εξηγήσει και τελικά τον κατάστρεψε.
Ο Λόρκα γράφει για το ντουέντε. Γράφει βιωματικά από τις εμπειρίες του στην τέχνη και την αγάπη του στα παραδοσιακά φλαμένγκο και τις ταυρομαχίες. Είναι Ανδαλουσιανός και αντιλαμβάνεται όπως κανένας άλλος την ένωση της τέχνης με τον θάνατο.
Αν είσαι εσύ η αγαπημένη μου,
Γιατί δεν με κοιτάζεις πες μου
Κάποτε είχα μάτια να σε δω,
Τώρα στην σκιά τα ‘χω δοσμένα
5/5.. Άρωμα Ανδαλουσίας και ισπανικής κουλτούρας…
Προσωπικά έχοντας περπατήσει στα σοκάκια της Γρανάδας και της Κάντιθ, μπορώ να καταλάβω την μεγάλη αγάπη του Λόρκα για την κορύφωση της τέχνης μέσα μας…
ΥΓ: Η μαγεία των ταυρομαχιών στην Ρόντα και των φλαμένκο στις σπηλιές του Σακραμόντο μπορούν αμφότερα να δημιουργήσουν ντουέντε τόσο στον καλλιτέχνη/ταυρομάχο όσο και στον απλό θεατή...
February 1, 2011
I have a new appreciation of Lorca after reading this book, which situates some of his best poems in the context of some stunningly well-written prose essays that spell out his ars poetica. Before I read this book, I confess I often felt frustrated by Lorca's insistence that poetry must be mysterious: the wispy, allusive, fragmentary feel of some of his poems (especially the short ones) made them feel incomplete to me; I wanted to see a fuller development of the themes he was setting up, not just a ritualistic naming of a few poetic-sounding nouns ("death," "balcony," "oranges," "wheat") followed by the exclamatory repetition of a refrain that I had only just begun to understand. Reading the beautifully clear essays in this book gave me a better understanding of what Lorca was aiming to achieve in his poetry; moreover, the three poems at the end of this collection are true masterpieces that demonstrate exactly how mystery, in the hands of a talented poet, can be an asset rather than a liability to a poem.
July 9, 2013
A must read for all artist of all type. Dig deep down into your bowels, be courageous and honest even if you feel exposed.
May 13, 2021
Risvolto
«Billie Holiday e Tennessee Williams ce l'avevano. Ella Fitzgerald quasi, ma non proprio. E Miles Davis forse non aveva altro» (Kenneth Tynan). Il discorso che ha mostrato per la prima volta quale demone accomuni i toreri, i ballerini di flamenco e alcuni artisti.
---------------
Si tratta del testo preparato da García Lorca per una conferenza tenuta a Buenos Aires, nel salone della Sociedad de los Amigos del Arte nel 1933, pochi anni prima di venir fucilato dalla polizia franchista.
Confesso: non ho recepito tutto, perché contiene numerosi richiami ad opere ed autori che non conosco. Ma a me interessava capire cosa fosse questo benedetto duende che spesso mi attraversa la strada. Non è una musa, non è un angelo, ma è pur sempre qualcosa che si impossessa, ma che sta già dentro, nelle più recondite stanze del sangue.
“Il duende non sta nella gola; il duende monta dentro, dalla pianta dei piedi. Vale a dire, non è questione di capacità ma di autentico stile vivo; vale a dire, di sangue; di antichissima cultura, e, al contempo, di creazione in atto”. Insomma qualcosa di demoniaco che possiede il senso della morte, qualcosa con cui lottare.
“Per cercare il duende non c’è mappa né esercizio. Si sa solo che brucia il sangue come un tropico di vetri, che estenua, che respinge tutta la dolce geometria appresa, che rompe gli stili, che si appoggia al dolore umano inconsolabile, che fa sì che Goya, maestro dei grigi, degli argenti e dei rosa della miglior pittura inglese, dipinga con le ginocchia e i pugni con orribili neri bitume”.
E’ un folletto, una voce nuova, un vento mentale: i toreri, i ballerini di flamenco, e chi altro? E’ qualcosa con cui si nasce, e che poi cresce, che si nutre di conflitto. Brahms non lo possedeva, Bach sì (e su questo non sono d'accordo: anche Brahms lo possedeva, lo possedeva eccome).
Non troverete una definizione, qui, anche perché definirlo significherebbe ingabbiarlo e i folletti non s'ingabbiano. Un’analogia evidente semmai è con il dáimon greco, a metà strada tra ciò che è divino e ciò che è umano. Una disposizione con cui si nasce, non si acquisisce, né si impara. Un fluido, una forza, un qualcosa che parte da dentro come un demone che si impossessa del corpo dell’artista. Daimon, appunto, come lo chiamerà anche lo psicoanalista James Hillman ne "Il codice dell’anima".
«Billie Holiday e Tennessee Williams ce l'avevano. Ella Fitzgerald quasi, ma non proprio. E Miles Davis forse non aveva altro» (Kenneth Tynan). Il discorso che ha mostrato per la prima volta quale demone accomuni i toreri, i ballerini di flamenco e alcuni artisti.
---------------
Si tratta del testo preparato da García Lorca per una conferenza tenuta a Buenos Aires, nel salone della Sociedad de los Amigos del Arte nel 1933, pochi anni prima di venir fucilato dalla polizia franchista.
Confesso: non ho recepito tutto, perché contiene numerosi richiami ad opere ed autori che non conosco. Ma a me interessava capire cosa fosse questo benedetto duende che spesso mi attraversa la strada. Non è una musa, non è un angelo, ma è pur sempre qualcosa che si impossessa, ma che sta già dentro, nelle più recondite stanze del sangue.
“Il duende non sta nella gola; il duende monta dentro, dalla pianta dei piedi. Vale a dire, non è questione di capacità ma di autentico stile vivo; vale a dire, di sangue; di antichissima cultura, e, al contempo, di creazione in atto”. Insomma qualcosa di demoniaco che possiede il senso della morte, qualcosa con cui lottare.
“Per cercare il duende non c’è mappa né esercizio. Si sa solo che brucia il sangue come un tropico di vetri, che estenua, che respinge tutta la dolce geometria appresa, che rompe gli stili, che si appoggia al dolore umano inconsolabile, che fa sì che Goya, maestro dei grigi, degli argenti e dei rosa della miglior pittura inglese, dipinga con le ginocchia e i pugni con orribili neri bitume”.
E’ un folletto, una voce nuova, un vento mentale: i toreri, i ballerini di flamenco, e chi altro? E’ qualcosa con cui si nasce, e che poi cresce, che si nutre di conflitto. Brahms non lo possedeva, Bach sì (e su questo non sono d'accordo: anche Brahms lo possedeva, lo possedeva eccome).
Non troverete una definizione, qui, anche perché definirlo significherebbe ingabbiarlo e i folletti non s'ingabbiano. Un’analogia evidente semmai è con il dáimon greco, a metà strada tra ciò che è divino e ciò che è umano. Una disposizione con cui si nasce, non si acquisisce, né si impara. Un fluido, una forza, un qualcosa che parte da dentro come un demone che si impossessa del corpo dell’artista. Daimon, appunto, come lo chiamerà anche lo psicoanalista James Hillman ne "Il codice dell’anima".
December 29, 2009
in search of duende is a slim collection of expository essays in which garcía lorca considers the inspiring force of the duende, and its effects upon three differing art forms. this hard to define concept is made clear (or as clear as such a concept can be made) by the spanish poet through example and thoughtful consideration. "deep song" and "play and theory of the duende" are the highlights of this work. interspersed throughout are some of garcía lorca's poems, including the stunning "lament for ignacio sánchez mejías." though less than 100 pages, in search of duende is a powerful and sweeping insight into the roots of artistic creation.
the duende, then, is a power, not a work. it is a struggle, not a thought. i have heard an old maestro of the guitar say, "the duende is not in the throat; the duende climbs up inside you, from the soles of your feet." meaning this: it is not a question of ability, but of true, living style, of blood, of the most ancient culture, of spontaneous creation.
the duende.... where is the duende? through the empty arch comes a wind, a mental wind blowing relentlessly over the heads of the dead, in search of new landscapes and unknown accents; a wind that smells of baby's spittle, crushed grass, and jellyfish veil, announcing the constant baptism of newly created things.
the duende, then, is a power, not a work. it is a struggle, not a thought. i have heard an old maestro of the guitar say, "the duende is not in the throat; the duende climbs up inside you, from the soles of your feet." meaning this: it is not a question of ability, but of true, living style, of blood, of the most ancient culture, of spontaneous creation.
the duende.... where is the duende? through the empty arch comes a wind, a mental wind blowing relentlessly over the heads of the dead, in search of new landscapes and unknown accents; a wind that smells of baby's spittle, crushed grass, and jellyfish veil, announcing the constant baptism of newly created things.
May 12, 2009
This little book is filled with the writings, by Frederico Garcia Lorca, about duende. Difficult to define, Lorca says of duende: "an inexplicable power of attraction, the ability, on rare occasions, to send waves of emotion through those watching and listening to them. Lorca says: "The duende does not come at all unless he sees that death is possible . . . With idea, sound, or gesture, the duende enjoys fighting the creator on the very rim of the well."
Lorca talks about the differences between the muse, the angel, and the duende, with regard to certain types of creative expression: poetry spoken out loud, a primitive dance with ancient roots performed by spanish gypsy's and music, called "deep song."
He says there are at least four elements that can be isolated in duende: "irrationality, earthiness, a heightened awareness of death, and a dash of the diabolical. The duende is a demonic earth spirit who helps the artist see the limitations of intelligence ..."
Through lectures and poetry Lorca conveys this intense and deeply emotional place that few artists reach. A deep and thought-provoking read.
Lorca talks about the differences between the muse, the angel, and the duende, with regard to certain types of creative expression: poetry spoken out loud, a primitive dance with ancient roots performed by spanish gypsy's and music, called "deep song."
He says there are at least four elements that can be isolated in duende: "irrationality, earthiness, a heightened awareness of death, and a dash of the diabolical. The duende is a demonic earth spirit who helps the artist see the limitations of intelligence ..."
Through lectures and poetry Lorca conveys this intense and deeply emotional place that few artists reach. A deep and thought-provoking read.
January 29, 2023
Beautiful verse and well articulated essays. The prose in the collection represents Lorca's work well; I wish some of his love drunk poems were included, but the collection reads well anyway.
February 15, 2008
Leí esto, como todo lo de García Lorca, en español, pero no tienen el título ni la fotito del libro cDm.
And it's García Lorca, not just "Lorca", btw.
And it's García Lorca, not just "Lorca", btw.
April 22, 2009
Trough the metaphore of Spain and the figures of the angel, the muse and the duende, Lorca tries to analyse what in his opinion makes the diference between a good art piece and and this specific and magical moment when creation can simply shake your body and soul. If you see this text as something more then just the first plain level of reading, it becomes real poetry. Duende is what I tried to get to all these years without being able to name it properly.
Read
January 23, 2018El concepto de duende que explica García Lorca me recuerda al de artista poseso o dionisíaco de Nietzsche (en El origen de la tragedia), en contraposición con el artista artífice o apolíneo.
El duende es "el misterio, las raíces que se clavan en el limo que todos conocemos, que todos ignoramos, pero de donde nos llega lo que es sustancial en el arte. [...] es un poder y no un obrar, es un luchar y no un pensar. [...] no es cuestión de facultad, sino de verdadero estilo vivo; es decir, de sangre; es decir, de viejísima cultura, de creación en acto". Compara su duende (que mueve a España) con otras fuentes de inspiración: El ángel (propio de Italia) da luces y, al estar por encima del ser humano, deslumbra y derrama su gloria y el artista realiza la obra sin esfuerzo pues ya está predestinado. La musa (común en Alemania) da formas: dicta y a veces sopla, está relacionada con la inteligencia (que es enemiga de la poesía) y Lorca parece asociarla a lo rígido y lo pretencioso. Pero para encontrar al duende no hay mapa ni ejercicio, con ��l uno lucha, el duende quema la sangre, agota, rompe los estilos. Rimbaud, Jorge Manrique, Lautréamont y los gitanos y andaluces "saben que no es posible ninguna emoción sin la llegada del duende". No tiene que ver con facultades, técnica o maestría, sino con lo genuino, lo fresco, lo despojado de formas y seguridades. "Todas las artes son capaces de duende, pero donde encuentra más campo, como es natural, es en la música, en la danza y en la poesía hablada, ya que estas necesitan un cuerpo vivo que interprete, porque son formas que nacen y mueren de modo perpetuo". Un rasgo peculiar del duende es que no se repite nunca, revela siempre lo inédito, como "las formas del mar en la borrasca".
Se detiene a explicar la íntima relación que tiene España con la muerte, en sus dos costados: el áspero y el lírico. El duende está vinculado con la muerte, y mientras la musa y el ángel se lamentan, él lucha y hiere (y es una herida que no se cierra nunca en el artista).
"En España (como en los pueblos de Oriente, donde la danza es expresión religiosa) tiene el duende un campo sin límites sobre los cuerpos de las bailarinas de Cádiz, [...] sobre los pechos de los que cantan, [...] y en toda la liturgia de los toros, auténtico drama religioso donde, de la misma manera que en la misa, se adora y se sacrifica a un Dios". Dice García Lorca que el duende se resume "en esta fiesta perfecta, exponente de la cultura y de la gran sensibilidad de un pueblo que descubre en el hombre sus mejores iras, sus mejores bilis y su mejor llanto. Ni en el baile español ni en los toros se divierte nadie; el duende se encarga de hacer sufrir por medio del drama [...]".
Intertextualidad
Menciones directas:
* Conversaciones con Eckermann de Johann Wolfgang von Goethe (Sacro Imperio Romano Germánico, 1827) (cita).
* Sueño del Juicio Final o El sueño de las calaveras de Francisco de Quevedo (España, 1605).
* Canción "La sangre de mis entrañas...", anónima (España, s. XVII) (cita).
* Balada "Si tú eres mi linda amiga...", anónima (España, ?) (cita).
* Poema "Dentro del vergel...", anónimo (España, ?) (cita).
* Cántico espiritual de Juan de la Cruz (España, 1578) (cita).
* Mención al episodio del mono parlante en Don Quijote de la Mancha de Miguel de Cervantes (España, 1615).
* Mención al demonio o genio maligno de Descartes postulado en sus Meditaciones metafísicas (Francia, 1641).
* Mención a Gerión, el gigante monstruoso de tres cuerpos de la mitología griega, a quien Heracles robó y mató como parte de sus doce trabajos, cuya primera mención de que se tiene registro está en la Gerioneida de Estesícoro (Grecia, s. VI a. C.).
* Mención al personaje Pleberio de La Celestina de Fernando de Rojas (España, ca. 1499).
* Mención a los escritores Friedrich Nietzsche (Alemania, s. XIX), René Descartes (Francia, s. XVII), Guillaume Apollinaire (Francia, s. XX), Juan de la Cruz (España, s. XVI), Jacinto Verdaguer (España, s. XIX), Jorge Manrique (España, s. XV), Arthur Rimbaud (Francia, s. XIX), Conde de Lautréamont (Uruguay/Francia, s. XIX), Pedro Soto de Rojas (España, s. XVII), Ioannes Climacus/Juan Clímaco (Siria, s. VII), José de Valdivielso (España, s. XVII), José de Sigüenza (España, s. XVI-XVII), Lucrecio (Roma, s. I a. C.), John Keats (Inglaterra, s. XIX), Alfonso Álvarez de Villasandino (España, s. XIV-XV), Fernando de Herrera (España, s. XVI), Gustavo Adolfo Bécquer (España, s. XIX), Juan Ramón Jiménez (España, s. XX), Teresa de Jesús (España, s. XVI), Marcial (Roma, s. I), Juvenal (Roma, s. I-II), Lope de Vega (España, s. XVII), Luis de Góngora (España, s. XVI-XVII), Garcilaso de la Vega (s. XVI), Gonzalo de Berceo (España, s. XIII), Arcipreste de Hita (España, s. XIV) y Jean-Jacques Rousseau (Francia, s. XVIII).
El duende es "el misterio, las raíces que se clavan en el limo que todos conocemos, que todos ignoramos, pero de donde nos llega lo que es sustancial en el arte. [...] es un poder y no un obrar, es un luchar y no un pensar. [...] no es cuestión de facultad, sino de verdadero estilo vivo; es decir, de sangre; es decir, de viejísima cultura, de creación en acto". Compara su duende (que mueve a España) con otras fuentes de inspiración: El ángel (propio de Italia) da luces y, al estar por encima del ser humano, deslumbra y derrama su gloria y el artista realiza la obra sin esfuerzo pues ya está predestinado. La musa (común en Alemania) da formas: dicta y a veces sopla, está relacionada con la inteligencia (que es enemiga de la poesía) y Lorca parece asociarla a lo rígido y lo pretencioso. Pero para encontrar al duende no hay mapa ni ejercicio, con ��l uno lucha, el duende quema la sangre, agota, rompe los estilos. Rimbaud, Jorge Manrique, Lautréamont y los gitanos y andaluces "saben que no es posible ninguna emoción sin la llegada del duende". No tiene que ver con facultades, técnica o maestría, sino con lo genuino, lo fresco, lo despojado de formas y seguridades. "Todas las artes son capaces de duende, pero donde encuentra más campo, como es natural, es en la música, en la danza y en la poesía hablada, ya que estas necesitan un cuerpo vivo que interprete, porque son formas que nacen y mueren de modo perpetuo". Un rasgo peculiar del duende es que no se repite nunca, revela siempre lo inédito, como "las formas del mar en la borrasca".
Se detiene a explicar la íntima relación que tiene España con la muerte, en sus dos costados: el áspero y el lírico. El duende está vinculado con la muerte, y mientras la musa y el ángel se lamentan, él lucha y hiere (y es una herida que no se cierra nunca en el artista).
"En España (como en los pueblos de Oriente, donde la danza es expresión religiosa) tiene el duende un campo sin límites sobre los cuerpos de las bailarinas de Cádiz, [...] sobre los pechos de los que cantan, [...] y en toda la liturgia de los toros, auténtico drama religioso donde, de la misma manera que en la misa, se adora y se sacrifica a un Dios". Dice García Lorca que el duende se resume "en esta fiesta perfecta, exponente de la cultura y de la gran sensibilidad de un pueblo que descubre en el hombre sus mejores iras, sus mejores bilis y su mejor llanto. Ni en el baile español ni en los toros se divierte nadie; el duende se encarga de hacer sufrir por medio del drama [...]".
Intertextualidad
Menciones directas:
* Conversaciones con Eckermann de Johann Wolfgang von Goethe (Sacro Imperio Romano Germánico, 1827) (cita).
* Sueño del Juicio Final o El sueño de las calaveras de Francisco de Quevedo (España, 1605).
* Canción "La sangre de mis entrañas...", anónima (España, s. XVII) (cita).
* Balada "Si tú eres mi linda amiga...", anónima (España, ?) (cita).
* Poema "Dentro del vergel...", anónimo (España, ?) (cita).
* Cántico espiritual de Juan de la Cruz (España, 1578) (cita).
* Mención al episodio del mono parlante en Don Quijote de la Mancha de Miguel de Cervantes (España, 1615).
* Mención al demonio o genio maligno de Descartes postulado en sus Meditaciones metafísicas (Francia, 1641).
* Mención a Gerión, el gigante monstruoso de tres cuerpos de la mitología griega, a quien Heracles robó y mató como parte de sus doce trabajos, cuya primera mención de que se tiene registro está en la Gerioneida de Estesícoro (Grecia, s. VI a. C.).
* Mención al personaje Pleberio de La Celestina de Fernando de Rojas (España, ca. 1499).
* Mención a los escritores Friedrich Nietzsche (Alemania, s. XIX), René Descartes (Francia, s. XVII), Guillaume Apollinaire (Francia, s. XX), Juan de la Cruz (España, s. XVI), Jacinto Verdaguer (España, s. XIX), Jorge Manrique (España, s. XV), Arthur Rimbaud (Francia, s. XIX), Conde de Lautréamont (Uruguay/Francia, s. XIX), Pedro Soto de Rojas (España, s. XVII), Ioannes Climacus/Juan Clímaco (Siria, s. VII), José de Valdivielso (España, s. XVII), José de Sigüenza (España, s. XVI-XVII), Lucrecio (Roma, s. I a. C.), John Keats (Inglaterra, s. XIX), Alfonso Álvarez de Villasandino (España, s. XIV-XV), Fernando de Herrera (España, s. XVI), Gustavo Adolfo Bécquer (España, s. XIX), Juan Ramón Jiménez (España, s. XX), Teresa de Jesús (España, s. XVI), Marcial (Roma, s. I), Juvenal (Roma, s. I-II), Lope de Vega (España, s. XVII), Luis de Góngora (España, s. XVI-XVII), Garcilaso de la Vega (s. XVI), Gonzalo de Berceo (España, s. XIII), Arcipreste de Hita (España, s. XIV) y Jean-Jacques Rousseau (Francia, s. XVIII).
Read
November 30, 2011Lorca's take on duende is endlessly fascinating, which is great because his take is the only take I've taken--other than some blog-browsing that I vaguely remember. I'm pretty much going to pass out from all there is to mull over in this little number. I really love the idea of having a concept to position between the muse and the angel. Both seem so Spicerian (in the superficial way), but probably this third is what's really at the core of Jack's oeuvre, especially considering his relationship to Freddy.
July 10, 2010
Not really what I was expecting from this book. The poems were all excellent, I can definitely say that. But the prose pieces were hit-and-miss. I understand why this was important to Lorca and his aesthetics, but I can only read so much about gypsy folk songs. The bullfighting pieces were more up my alley. Honestly, this is the first book I've ever read from New Directions that didn't meet or exceed my expectations. The poetry is highly recommended.
March 15, 2008
Its been years since I discovered and this book on the shelves of the DePaul Library and devoured it and tucked it into my soul as a raison d'arte, young and silly as I was. But duende is a term we all should be familiar with in art...I was reminded of my experience of this book by a recent article about Nick Cave in the Guardian. I need to read this little tract again.
January 26, 2018
If you’re in search of this mysterious “it factor” called duende, don’t expect to figure out where to find it from Lorca. He’ll gladly tell you all about this magical quality that every artist longs for that he’s lucky enough to possess, but he’ll never tell you where to find it. If you don’t have duende, well, too bad, so sad for you.
September 30, 2009
The essay "Play and Theory of the Duende" in this book is one of the more important pieces on creativity that I've ever read. It's got the juice that's so often missing from conversations about "process" and it effortlessly combines the arts of dance and writing in a way I thought I was crazy for.
May 17, 2013
A bit more of a cri de coeur than a pedantic poetic apologia (Tom Eliot, looking discreetly in your direction, gub'na!) which is a-ok by me, especially when one is searching for what you call 'the dark root of the scream'...
Read
December 24, 2017Lovely to read in Seville, the day after a fantastic flamenco performance, with lots of things I underlined. But also a bit like a boy you dated in college, and holy Orientalism! Makes me want to read more/more about Lorca, though.
November 29, 2007
darn good pocket-edition
February 17, 2008
this book brings together theory, lectures and poems about duende - but in a way that feels like real life. a must read for a poet. you'll be looking for Duende under every rock. Where is it?
This entire review has been hidden because of spoilers.
July 29, 2008
You must read this book for the rest of your life. Laugh, but it's true.
July 31, 2008
not really what i expected. i thought it would be more surreal and inspirational.
August 19, 2008
I will never be done reading this book.
July 14, 2010
lovely...
January 27, 2011
Really interesting weave of mystical essays and poetry. The tiny book felt like a search and, in the end, lands upon some kind of conclusion. A lot to learn from.
January 7, 2011
This book opened me to the use of sound in poetry.
May 6, 2011
beautiful
May 11, 2011
todas las mañanas voy
a preguntarle al romero
si el mal de amor tiene cura
porque yo estoy muriendo
a preguntarle al romero
si el mal de amor tiene cura
porque yo estoy muriendo
October 26, 2011
i wish that duende would appear in these book reviews of mine!
February 1, 2012
Lovely, lovely prose. "The duende does not repeat himself, anymore than do the forms of the sea during a squall..." etc. etc.
It's always nice to hear from the perspective of a genius.
It's always nice to hear from the perspective of a genius.
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