En lenguaje musical se entiende por «suite» una composición integrada por movimientos variados que, no obstante, encuentran su apoyo en la misma tonalidad. Las suites de Federico García Lorca parten de la misma idea, aplicada esta vez a la lírica: establecer series de poemas formalmente heterogéneos que giren alrededor de un tema común. Sin embargo, su temprana muerte truncó el que había de ser un ambicioso proyecto en el que se recogían obras inéditas o ya publicadas, escritas todas ellas entre 1920 y 1923, bajo el signo de una nueva armonía.
El presente volumen supone la fiel y ajustada edición a cargo del hispanista Eutimio Martín de un poemario abocetado que ilumina los primeros versos del más brillante poeta de la literatura española del siglo XX. Una perla extraordinaria que muestra una vez más que el universo de Lorca no tiene fin ni parangón.
Born 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.
Federico García Lorca was the first poet who's work I had an actual experience with. When I would read poetry, sometimes there would be some beautiful words, some beautiful sentences, something beautiful. But it wasn't real, it was never visceral, never something that I could feel and have a real, pure relationship with. It was just words on a paper, and it was boring and lifeless.
But when I read his poems. It is alive. It is like watching a lion two meters in front of you. It is like watching an enormous, incredibly beautiful giraffe galloping over the savannah. Standing and watching with your heart racing, with an endless sentiment that has been shared, a sentiment of endless complete fulfilment. It is like tasting real silence. When I read his words, there is an instant reaction. It is like touching fire and feeling the burn. It is alive, it is real. It is alive and real, before it is beautiful. Which is what is the difference between dead poetry, at least, dead as I have perceived it, and something real. When I read his poems I can both see and feel the fire burning inside him, I can see its shape, its colors. I can see how it moves. I can feel him inside me. Because, he is wide open and free, and so beautiful, so pure, so endless. I can see him. He is beautiful, he is real. And I love him.
“Esperad a los vientos cargados de semillas y paisajes inéditos. Floreced y arrancaos la floración de nuevo, vestidos inefables, corazón, carne y hueso.”
La sensibilidad que hay en Cielo Bajo es muy distinta a la del resto de la producción de Lorca. No es tan pasional como lo es Romancero Gitano, ni tan mortal como la de Poeta en Nueva York. Es una colección de su producción temprana, y eso conlleva que sea más más inocente, más suave, más tenue.
Aún así, como siempre ocurre con las palabras de granadino, su poesía y sus historias llegan a lo más hondo del alma, acompañado de las acacias, de los surtidores, de los bosques, de las estrellas y de las sombras. Todo lo que él escribe, se invoca, tanto que sus palabras se vuelven táctiles, y te acompañan como una oración repetida una y otra vez.
it’s essentially hundreds of beautiful poems on very similar topics (mainly the countryside). i really enjoyed them and if there were like 50 in total itd be a solid 5*s but the repetition got to me in the end i guess?