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Federico García Lorca was a prominent 20th-century Spanish poet, playwright, and theater director. He published numerous volumes of poetry during his lifetime, beginning with Impresiones y paisajes (approximately translated “Impressions and Landscapes”) (Paulino Ventura Traveset, 1918), and many were published posthumously.
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Poems, readings, poetry news and the entire 110-year archive...
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Poems, readings, poetry news and the entire 110-year archive...
- Dreamwalking Ballad
Dreamwalking Ballad. By Federico García Lorca. Translated By...
- Two Evening Moons
Lorca's poetry is marked by its vibrant imagery, often drawing inspiration from Andalusian folk traditions, flamenco music, and the stark beauty of the Spanish landscape.
Biography and the most beautiful poems by Federico Garcia Lorca in English: Romance Sonambulo, The City That Never Sleeps, The Faithless Wife, Arbole, Arbole.
- Spain
- Fuente Vaqueros
- Overview
- Early years
- Early poetry and plays
- Romancero gitano
In a career spanning just 19 years, Federico García Lorca resurrected and revitalized the most basic strains of Spanish poetry and helped inaugurate a second Golden Age of the Spanish theater. Lorca was the most important Spanish poet and playwright of the 20th century, and his work still influences writers and artists throughout the world.
What was Federico García Lorca’s childhood like?
The eldest of four children born to a wealthy landowner and his schoolteacher wife, Federico García Lorca grew up in rural Andalusia amid images and social conditions that later influenced his work. At age 10 he moved with his family to Granada, where he attended a private, secular institute and a Roman Catholic public school.
Where was Federico García Lorca educated?
Federico García Lorca enrolled in the University of Granada but was a hapless student best known for his extraordinary talents as a pianist. He took nine years to complete a bachelor’s degree.
What did Federico García Lorca write?
The eldest of four children born to a wealthy landowner and his schoolteacher wife, Lorca grew up in rural Andalusia, surrounded by images and social conditions that influenced his work lifelong. At age 10 he moved with his family to Granada, where he attended a private, secular institute in addition to a Catholic public school. Lorca enrolled in the University of Granada but was a hapless student best known for his extraordinary talents as a pianist. He took nine years to complete a bachelor’s degree. Despite plans to become a musician and composer, he turned to writing in his late teens. His first experiments in prose, poetry, and drama reveal an intense spiritual and sexual malaise along with an adolescent devotion to such authors as Shakespeare, Goethe, the Spanish poet Antonio Machado, and the Nicaraguan poet Rubén Darío, father of Hispanic Modernismo, a late and decadent flowering of Romanticism.
In 1919 Lorca moved to the Residencia de Estudiantes in Madrid, a prestigious and socially progressive men’s residence hall. It remained his home in the Spanish capital for the next decade. His fellow residents included the filmmaker Luis Buñuel and the artist Salvador Dalí, who later became a close companion. In Madrid, Lorca also befriended the renowned older poet Juan Ramón Jiménez and a circle of poets his own age, among them Rafael Alberti, Jorge Guillén, and Pedro Salinas.
A consummate stylist, Lorca sought throughout his career to juxtapose and meld genres. His poems, plays, and prose often evoke other, chiefly popular, forms of music, art, and literature. His first book, Impresiones y paisajes (1918; Impressions and Landscapes), a prose work in the modernista tradition, chronicled Lorca’s sentimental response to a series of journeys through Spain as a university student. Libro de poemas (“Book of Poems”), an uneven collection of predominantly modernista poems culled from his juvenilia, followed in 1921. Both efforts disappointed Lorca and reinforced his inherent resistance to publication, a fact that led to frequent delays in the publication and production of his work. Lorca preferred to perform his poems and plays, and his histrionic recitations drew innumerable admirers.
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The Spanish stage director Gregorio Martínez Sierra premiered Lorca’s first full-length play, El maleficio de la mariposa (The Butterfly’s Evil Spell in Five Plays: Comedies and Tragi-Comedies, 1970), a symbolist work about a lovesick cockroach, in Madrid in 1920. Critics and audiences ridiculed the drama, and it closed after four performances. Lorca’s next full-length play, the historical verse drama Mariana Pineda (written 1923; Eng. trans. Mariana Pineda), opened in 1927 in a production with sets by Dalí and received mixed notices.
In the early 1920s, Lorca began experimenting with short, elliptical verse forms inspired by Spanish folk song, Japanese haiku, and contemporary avant-garde poetics. He wrote a prodigious series of brief poems arranged in thematic “suites,” later collected and published in 1983 under the title Suites. (Virtually all of Lorca’s poetry—that contained in the volume under discussion and in the other Spanish volumes mentioned in this biography—has been translated in Collected Poems, 1991). In 1922 Lorca collaborated with the eminent Andalusian composer Manuel de Falla on a festival of cante jondo (“deep song”) in Granada. The endeavour heightened Lorca’s interest in popular Andalusian song, and in a blaze of inspiration he wrote a series of poems based on songs of the Andalusian Gypsies (Roma). Even more compressed than Suites, Poema del cante jondo (written 1921–25, published 1931; Poem of the Deep Song), offers a radical synthesis of the traditional and the avant-garde. The series signaled Lorca’s emergence as a mature poet. His collaboration with Falla further prompted Lorca to investigate the Spanish puppet theatre tradition, and in 1923 he wrote Los títeres de Cachiporra (“The Billy-Club Puppets”), the first of several versions of a puppet play inspired by the classic Andalusian Grand Guignol.
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The publication in 1928 of Romancero gitano (written 1921–27; Gypsy Ballads), a poetry sequence inspired by the traditional Spanish romance, or ballad, catapulted Lorca into the national spotlight. A lyrical evocation of the sensual world of the Andalusian Gypsy, the collection enthralled Spanish readers, many of whom mistook Lorca for a Gypsy. The book’s first edition sold out within a year. Throughout the work’s 18 ballads, Lorca combines lyrical and narrative modes in fresh ways to form what he described as a tragic “poem of Andalusia.” Formally, the poems embrace the conventions of medieval Spanish balladry: a nonstanzaic construction, in medias res openings, and abrupt endings. But in their wit, objectivity, and metaphorical novelty, they are brazenly contemporary. One of the collection’s most famous poems, “Ballad of the Spanish Civil Guard,” reads, in part:
Los caballos negros son.
Las herraduras son negras.
Sobre las capas relucen
manchas de tinta y de cera.
Tienen, por eso no lloran,
Federico García Lorca - The Academy of American Poets is the largest membership-based nonprofit organization fostering an appreciation for contemporary poetry and supporting American poets. Federico García Lorca is one of the most important Spanish poets and dramatists of the twentieth century.
García Lorca wrote little poetry in this last period of his life, declaring in 1936, "theatre is poetry that rises from the book and becomes human enough to talk and shout, weep and despair." [30] Bust of Federico García Lorca in Santoña, Cantabria
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Dreamwalking Ballad. By Federico García Lorca. Translated By Sarah Arvio. Dreamwalking Ballad (3 versions) for Gloria Giner and Fernando de los Ríos. Green I want you green. green wind green branches. Boat on the sea and. horse on the mountain.