{"id":105,"date":"2024-05-20T12:49:50","date_gmt":"2024-05-20T16:49:50","guid":{"rendered":"https:\/\/www.citadel.edu\/elcid\/?p=105"},"modified":"2024-05-29T16:55:39","modified_gmt":"2024-05-29T20:55:39","slug":"lorca-the-generation-of-27-and-romancero-gitano","status":"publish","type":"post","link":"https:\/\/www.citadel.edu\/elcid\/2024\/05\/lorca-the-generation-of-27-and-romancero-gitano\/","title":{"rendered":"Lorca, The Generation of 27, and Romancero Gitano\u00a0"},"content":{"rendered":"\n

Michele Mileusnich
Florida International University
2024 Ignacio R. M. Galbis. Award<\/em><\/p>\n\n\n\n

Romancero gitano<\/em> is considered one of Federico Garc\u00eda Lorca\u00b4s greatest works and one of Spain’s greatest works from the Generation of 1927. Lorca’s use of traditional Spanish poetry fused with the new aesthetics of the Avant Garde period helped create 18 poems that formed Romancero gitano.<\/em> Lorca took a stand to give voice to the \u201cGitano\u201d also known as the \u201cGypsy\u201d community to show the suffering and persecution they have endured for centuries. I will argue that pain, fear, and death are all elements that follow the Gitano community from birth until death. Lorca used specific symbols and themes to portray the hardships that the Gitanos faced and continue to face while living in Spain.\u00a0<\/p>\n\n\n\n

Federico Garc\u00eda Lorca was born on June 5, 1898. Lorca’s work was deeply rooted in the geographical area where he grew up in Fuente Vaqueros, Granada, Spain, in the autonomous community of Andalusia. The influence \u201cen la poes\u00eda lorquiana [es] todo un aspecto que atiende al mundo concreto, natural, provinciano, andaluz, que es el de su infancia y juventud\u201d (Duran 764). He had a strong connection to Granada and its people and \u201cdesde ni\u00f1o am\u00f3 a la tierra y se sinti\u00f3 ligado a ella en todas sus emociones\u201d (Duran 764).\u00a0 At the young age of eight or nine years old, the landscapes, customs, and culture of Granada and \u201cese amor a la tierra motiv\u00f3 su primer encuentro con una manifestaci\u00f3n art\u00edstica\u201d (Duran 764). Lorca\u00b4s future avant garde writing and this literary movement would later become \u201cel defensor de los gitanos contra el abuso, la persecuci\u00f3n y la injusticia\u201d (Ambrosini 10).\u00a0 Lorca was not a Gitano, but believed that \u201cThe Roma (Gitano) is the most basic, most profound, the most aristocratic of my country, as representative of their way and whoever keeps the flame, blood, and the alphabet of the universal Andalusian truth\u201d (Ambrosini 10).\u00a0<\/p>\n\n\n\n

As a boy, Lorca \u201cacquired the feeling for the dynamics of nature that comes through in so many of his works, and likewise he assimilated the rural speech, customs, beliefs, superstition, and most of all the traditional lyrics, songs, and music which so frequently and prominently as part of his literary palette\u201d (gale.com). Lorca knew the traditional romances and the folklore of his native Andalusia. These personal experiences helped to make Lorca one of Spain’s most distinguished writers of the twentieth century.\u00a0<\/p>\n\n\n\n

Lorca\u00b4s worldview from \u201csu nacimiento en un peque\u00f1o pueblo de la provincia, su inmersi\u00f3n en la naturaleza y el contacto continuo con la cultura popular y tradicional, constituyeron para el joven aprendiz de poeta una primera visi\u00f3n del mundo\u201d (Duran 765). The daily life of the Gitano people in Andalusia came to be the focal point in Lorca’s Romancero gitano<\/em> where \u201cla mayor parte de los romances tienen como fundamento la an\u00e9cdota de la vida cotidiana del pueblo andaluz incluso la muerte la violencia y la represi\u00f3n\u201d (Ambrosoni 2).\u00a0\u00a0<\/p>\n\n\n\n

As a young man, Lorca moved from rural Granada to the city of Madrid. Madrid played a major role in the contacts that Lorca made in the avante-garde world. Lorca \u201cse gozaba en recitar sus poemas, empezando ya cuando estuvo en la universidad de Madrid, volviendo en ese sentido a ser un juglar moderno que cantaba sus propias canciones\u201d (Arno Werle 18). It was not until Ortega\u00b4s La deshumanizaci\u00f3n del arte <\/em>was published in the year 1925 that \u201clos nuevos amigos de Lorca en Madrid, en la Residencia de Estudiantes, en especial Dal\u00ed y Bu\u00f1uel lo impulsan hacia estos estilos m\u00e1s abstractos que Ortega y las olas de los <ismos> ahora, el cubismo y sobre todo el surrealismo colocan en lo m\u00e1s excelso del esfuerzo literario moderno\u201d (Duran 767). These writers who would later become known as the Generation of 1927, wanted to combine the universal works with the Spanish classics. They were open to learning about art and music in Europe but wanted to remain loyal to traditional Spanish folkloric poetry.\u00a0\u00a0<\/p>\n\n\n\n

The Generation of 1927 was a group of poets and writers who rose to prominence in the 1920s and derived their name from the year in which several of the writers produced their most important works. The gathering of poets took place in Seville on December 16 and 17 in the year 1927, as a way to commemorate the 300th anniversary of the death of the Andalusian baroque poet Luis de G\u00f3ngora y Argote. It was the last generation of authors before the Spanish Civil War. Once Francisco Franco took over the country, there was an attempt to wipe out the cultural and literary life of Spain for the duration of the dictatorship. However, Spain’s most important works of the 20th century were produced during Franco’s dictatorship. These writers were influenced by greater European movements, including Symbolism, Futurism, and Surrealism. They wanted to reject the use of the traditional meter and rhyme to discard anecdotal treatment and logical descriptions in their poetry. Metaphors and words were used to create images in their poetry to convey their personal experiences. Traditionally the romance \u201cfunctioned as did the epic from which it derived, to narrate historical and contemporary events, and to preserve national values or propagandize even as it entertained\u201d (Blackwell 35). Lorca changed this concept by creating his new aesthetic by writing about topics that were important to him, such as the Gitanos and their folklore, even if they were not considered important to the rest of Spanish society. Lorca used the Gitanos as the focal point of his poetry; it \u201crepresented the inversion of the function of the romance as the transmitter of Spain’s great historical moments and personages\u201d (Blackwell 36) because the Gitano were a marginalized group of people. Lorca was given the \u201cgreatest poetic freedom within traditional poetic forms while the dreamscape imagery of surrealism simultaneously allowed him to escape into the poem\u00b4s realistic dimensions by subverting its implied requirement to narrate cohesively\u201d (Blackwell 36).\u00a0<\/p>\n\n\n\n

This group of intellectuals and \u201cLas influencias vanguardistas, que resonaron en algunos escritores de la Generaci\u00f3n del 27, capitalizaron el surgimiento de una est\u00e9tica innovadora del sue\u00f1o, del deseo, de la insatisfacci\u00f3n, del miedo, de la muerte, con el argumento de revolucionar la vida, la literatura y las artes como un todo\u201d (de Silva Bola 1174). The Generation of 27 did not reject the work of writers from the previous generations, rather they synthesized the old with the new to create one of the richest and most admirable movements in Spanish art and poetry. Lorca had an \u201coverwhelming impulsion to supplement the written word by a union of various artistic media, and despite the consequences to which this led him, he succeeded in remaining primarily a poet\u201d (Honig 32). It was a balance between tradition and renovation remaining close to the classics. Lorca wanted to make art for both the majority and the minority. This new movement wanted to \u201crebel against the strictures of realism by deconstructing traditional forms into their most basic elements\u201d (Blackwell 31).\u00a0<\/p>\n\n\n\n

Romancero gitano <\/em>is a collection of poems that was \u201cthe culmination of Spanish letters of this artistic rebellion\u201d (Blackwell 31) because Lorca focuses on \u201cstartling imagery rather than the storyline\u201d (Blackwell 31). Lorca rejected the traditional narrative convention in favor of the metaphor. Romancero gitano<\/em> is an avant-garde poetry collection that was first published in 1928 and is considered Lorca\u00b4s best-known work. It is a collection of 18 romances that mix the lyrical with the narrative while using metaphors and the personification of inanimate elements. It was innovative because not only was avante garde a new way of art and writing but Lorca chose to write about the minority group of the Spanish Gitanos that had been discriminated against for hundreds of years. While the main characters of the ballads are the Gitanos, the main ideas include love, death, passion, freedom, and the frustration humans face. The poems are written in ballad style and reveal the obsessive concerns that Lorca and all people face during life\u2019s journey. The poems would \u201ctell of the gypsies as a race, to make known the actions, beliefs, values, superstition, and psychology of a persecuted minority about whom the world was woefully ignorant\u201d (Larkins 14). Lorca became part of folklore within folklore which is why Romancero gitano<\/em> is an important piece of poetry for the history of Spain and the Gypsy world.\u00a0\u00a0<\/p>\n\n\n\n

In Spain, for the first time, \u201cLa vanguardia literaria que en todas las literaturas occidentales en la primera mitad del siglo veinte estaba cambiando las reglas del juego po\u00e9tico\u201d (Duran 764). Lorca learned about this new way of thinking and writing and studied other writers and artists of the time. He was able to integrate this \u201cestilo nuevo, intensificador y simplificador, a su estilo anterior, sin cambiar demasiado el rumbo, unificando con ello su obra\u201d (Duran 766). <\/p>\n\n\n\n

\u00a0This movement along with Lorca’s life experience and travels made Romancero gitano<\/em> \u201cuno de los libros m\u00e1s c\u00e9lebres de la poes\u00eda europea de este siglo, libro que sigue siendo el m\u00e1s le\u00eddo por los admiradores de Lorca, el m\u00e1s comentado por sus cr\u00edticas, el m\u00e1s traducido, el que m\u00e1s versiones de ballet, suites musicales, ilustraciones pl\u00e1sticas, ha inspirado\u201d (Duran 767). His writing \u201cRomance son\u00e1mbulo\u201d signified \u201ca critical reaction to the multiple social and political changes that were shaping and changing Lorca\u00b4s world in the turbulent 1920s\u201d (Blackwell 32).\u00a0<\/p>\n\n\n\n

Lorca\u00b4s Romancero gitano<\/em> \u201ccompensa los temas tradicionales y las an\u00e9cdotas dram\u00e1ticas con una serie de im\u00e1genes y met\u00e1foras vanguardistas muy atrevidas y bien logradas\u201d (Duran 768). Lorca\u00b4s central focus of his work was Andalusia, the Gitanos, folklore, tradition, and the injustices people face in the work. Lorca used a new synthesis between the popular ballad tradition and the poetry of Spain with the new use of avante-garde imagery. Drama in the poetry was used with subtle references. For Lorca, \u201cThese ballads are all pictorial: they contain nothing discursive, they never strive toward meaning, yet their meaning is always there\u201d (Mallan 1). Lorca writes about the \u201cstrange contradictions deep in the Spaniards\u00b4 temperament: cruelty and tenderness, sensuality and grandeur, metaphysics, and folklore all fused into a kind of weeping arrogance\u201d (Mallan 1) against the Gitano race.\u00a0\u00a0<\/p>\n\n\n\n

The Gitano people come from the Iberian Cale Romani subgroup and established themselves in Andalusia in the 15th century \u201cpero siempre han sido una poblaci\u00f3n n\u00f3mada, as\u00ed que viv\u00edan al exterior de los pueblos y de los grandes centros urbanos\u201d (Ambrosoni 9). By the 18th century \u201clos gitanos han comenzado a adaptarse a la vida andaluza y desde entonces las dos culturas se cruzan\u201d (Ambrosoni 9). These traditional Andalusian principles that are present in Lorca ‘s work \u201cabren camino a cuestiones universales, que comprenden lo inc\u00f3gnito, lo m\u00edtico, lo sensual, la frustraci\u00f3n, la tr\u00e1gica fatalidad y la muerte\u201d (de Silva Bola 1774). Romancero gitano<\/em> shows \u201cthe repression, mistreatment and the life of gypsies, a people that has always been on the fringes of society and that is relegated and qualified with bad or negative adjectives for their lifestyle\u201d (actualidadliteratura.com<\/a>) in Spain. The symbol of the Gitano served as \u201cla representaci\u00f3n de un pueblo marginado dentro de la sociedad, adquiere un tono sobresaliente de la tem\u00e1tica lorquiana\u201d (de Silva Bola 1774). Lorca used his writing to \u201cdeclarar simpat\u00eda por un pueblo de historia secular, humilde y excluido\u201d (de Silva Bola 1774). Lorca wanted to serve as a voice for the powerless and for the cruel treatment of the Gitano people to be showcased around the world.\u00a0\u00a0<\/p>\n\n\n\n

Although in Spain, the Gitano people were discriminated against, Lorca wrote about them in a positive light to prove that they formed \u201cparte de la historia y que sigue viva a pesar de la resistencia y del malestar social que provoca\u201d (de Silva bola 1778). The Gitanos were marginalized because of their traditions and Cal\u00f3 language. Cal\u00f3 is a mixed language based on Romance grammar and Romani lexical items. For Lorca, \u201cEl Romancero gitano <\/em>no es gitano m\u00e1s que en alg\u00fan trozo al principio. En su esencia es un retablo andaluz de todo el andalucismo. Es un canto andaluz en el que los gitanos sirven de estribillo\u201d (Aguirre 78). Romancero gitano<\/em> therefore became \u201cun tema folcl\u00f3rico y costumbrista de Andaluc\u00eda\u201d (bxscience.edu<\/a>).\u00a0 The life of the Gitanos \u201ces un mundo aparte, un mundo diferente el que nos muestra: los gitanos con sus leyendas, sus costumbres, violencias, supersticiones, vitalidad\u201d (Franco Carillero 1771). Numerous themes can be seen throughout Romancero gitano<\/em> which help to show the extent of which Gitanos suffer in Spanish society. Lorca wanted to show that there was a clear opposition between the Spanish and the Gitanos because of their \u201cdos culturas muy diferentes con dos formas de ver la vida\u201d (bxscience.edu). Between the Spanish and the Gitanos there has always been \u201cun choque entre ambas, la mayorista domina a la otra, que tiene problemas, porque se siente amenazada\u201d (bxscience.edu<\/a>). There is a prejudice against the Gitanos for living in Spain but having a different culture and belief system. They are seen as outcasts who fail to conform to Spanish society. Lorca gives \u201clife and voice to a little known and very discredited society\u201d (actualidadliteratura.com<\/a>).\u00a0\u00a0<\/p>\n\n\n\n

A major theme present in Romancero gitano<\/em> is existentialism. It focuses on \u201cthe tragic destiny and the frustration of things desired but not obtained, guilt for feeling and doing certain things\u201d (actualidad literatura.com) There is a frustration that can be seen because \u201clos personajes de la obra nunca ven cumplidos sus deseos, no son personajes que se desarrollan\u201d (bxscience.edu<\/a>). Since the Gitanos are marginalized by Spanish society, they are not given opportunities to advance socially or economically. Many are illiterate due to lack of schooling and the jobs they do have involve unskilled labor. They know from birth that their options in life are limited.\u00a0<\/p>\n\n\n\n

Lorca also makes space for women, who were marginalized inside an already marginalized community. In his work, 5 of the 18 poems show the struggles that women face in society but even more so in the world of the Gitanos. Purity, discrimination, and frustration are more drastic for women who have even less rights than Gitano men. There is a constant state of suffering for Gitano women and \u201chay una frustraci\u00f3n ya que viv\u00edan rodeadas de una cultura machista que las imped\u00eda realizarse personalmente\u201d (bxscience.edu<\/a>). The women are expected to live and act a certain way and be dominated by the men. They do not have the option of living on their own or having any sort of career. They are dependent on either their father or their husband. They have little to no say in the society that they are living in. For example, la monja gitana \u201crecoge la habilidad de las mujeres en las tareas laborales\u201d (bxscience.edu<\/a>) rather than having an actual career. The nun dreams of a freedom that she will never have. She’s \u201cuna figura de la tradici\u00f3n popular pero tambi\u00e9n el arquetipo rom\u00e1ntico de la juventud frustrada apartada del mundo en el claustro para el cual tiene poca vocaci\u00f3n\u201d (Ambrosini 5). Lorca rebelled \u201cagainst the limits of a conservative, repressive society, with its antiquated morality as taught by the Catholic Church\u201d (Blackwell 34). \u201cLa casada infiel\u201d<\/em> talks about the story of \u201cun gitano que se lleva al r\u00edo a una gitana que le asegura ser soltera aunque en realidad estaba casada, para tener una aventura sexual\u201d (bxscience.edu<\/a>). This was looked down upon by society because the woman was to always be loyal to her husband, while it was acceptable for men to commit adultery. In the Gitano community, upon marrying, a woman has to complete a cloth ceremony with several witnesses to prove her honor and virginity to society, or her pure state, once again having her rights violated against her will and being discriminated against for being a woman. Never is a man’s virginity taken into question during the ceremony.\u00a0<\/p>\n\n\n\n

Lorca had a fascination with colors, and it can be seen throughout the 18 ballads of Romancero gitano<\/em>. There are many references to color in the poems because \u201cen primer lugar Federico no solamente fue escritor, sino que tambi\u00e9n pintor aficionado y como tal ciertamente deb\u00eda poner su atenci\u00f3n en los colores\u201d (Arno Werle 35). The color white is important in the poems because \u201cse habla de la blancura y pureza respecto a la gitana pero al final del poema se transforma en sucia de besos y arena aclarando que no es una mujer merecedora de ser amada por su comportamiento (bxscience.edu<\/a>). The color white is associated with women and their purity of being virginal. In the poem, \u201cLa casada infiel\u201d the woman is condemned for not being pure and for having relations with numerous men. \u201cLa casada infiel\u201d shows how \u201cla mujer es la que incita al hombre y que no se puede amar a una mujer no virgen, si no se considera como una prostituta\u201d (Ambrosini 12).\u00a0\u00a0<\/p>\n\n\n\n

Black pain <\/em>or La pena negra<\/em> is another reference to color. La pena negra \u201ces un dolor caracter\u00edstico de Andaluc\u00eda, es un dolor de gitano de ansiedad sexual y sensual que se sabe que ser\u00e1 frustrada, es una necesidad de superar la muerte por medio de la fecundidad\u201d (bxscience.edu<\/a>). Women are pressured to marry at a young age, remain a virgin, and find a husband to care for. Many times, these women are left alone for months at a time. It is also a part of Spanish \u201ccostumbrismo\u201d because the poem discusses \u201cla soltera de los pueblos de Espa\u00f1a abandonadas por los hombres que buscan trabajo en las ciudades\u201d (Ambrosino 5-6) and the struggle of the Gitana women staying at home taking care of the house and her children while their husband is away. In the poem, the woman Soledad is told to \u201cfrenar las pasiones porque si no conducen a la muerte\u201d (bxscience.edu<\/a>). Men are everywhere and women are meant to turn and look the other way not acknowledging any man other than her husband. Sex is seen as taboo for women but acceptable by men. Romancero gitano<\/em> was considered \u201cdaring\u201d for its time because of its exploration of sexual themes.\u00a0<\/p>\n\n\n\n

Green is another important color in \u201cRomance son\u00e1mbulo\u201d <\/em>that represents desire. The poem begins with Verde, que te quiero verde\/verde viento, verdes ramas<\/em>.\u00a0 \u201cRomance son\u00e1mbulo\u201d discusses two lovers. The narrator sees green everywhere. Everything in the poem is green and it is the object of the speaker\u00b4s attraction. Green symbolizes what the narrator wants but cannot attain. It is a sign of longing that will never be fulfilled. Green is the color of pleasure and pain in this poem. Green is associated with hard work, suffering, and the death of the Gitano people. It is a longing for a new life and new possibilities that will never happen. The color green is used in repetition to create the imagery of nostalgia in the poem. When the Guardia Civil come knocking on the door in their green uniforms, the readers know that violence is about to occur.\u00a0<\/p>\n\n\n\n

Besides personal struggles, the Guardia Civil are the biggest threat for the future of the Gitanos. The Gitanos have to adhere \u201cincre\u00edbles sufrimientos que est\u00e1n provocando a esta poblaci\u00f3n a trav\u00e9s de persecuciones, mutilaciones y matanzas\u201d (Ambrosini 9). Young people are marginalized and discriminated against in romance son\u00e1mbulo, \u201cLa frustraci\u00f3n es especialmente presentada en personajes j\u00f3venes, como algo irracional, triste y violento\u201d (bxscience.edu<\/a>). The Gitanos know that even if they are not doing anything illegal, they will most likely be arrested and jailed by the Guardia Civil just for being Gitano. In Spain \u201cthese Guards were felt to be almost a mythical presence, a protection for the citizens but a threat for gypsies\u201d (Cobb 789). Youngsters witness the disadvantages that people face in their community and see no way to make a better life for themselves. For example, in \u201cAnto\u00f1ito el Camborio\u201d, the young boy\u00a0 \u201ciba a ver los toros, tranquilamente, cuando de repente, y como en muchos poemas, aparece la guardia civil y se lo lleva sin explicar el motivo\u201d (bxscience.edu<\/a>). The poem paints a visual picture of all of the \u201caspectos socio-culturales de la tragedia del mundo gitano\u201d (Ambrosini 13).\u00a0<\/p>\n\n\n\n

The Guardia Civil symbolizes death in all of the ballads where they are mentioned in Romancero gitano<\/em>. People of authority such as \u201cla guardia civil es el mayor enemigo de los gitanos, por lo tanto se asocia con la muerte\u201d (Ambrosoni 15). This can be seen in the poems of \u201cPrendimiento de Anto\u00f1ito el Camborio en el camino de Sevilla\u201d, \u201cMuerte de Anto\u00f1ito de Camborio\u201d and \u201cRomance de la Guardia Civil Espa\u00f1ola\u201d.\u00a0 For the Gitanos, \u201cla guardia civil, adem\u00e1s de ser el eterno e innato enemigo del gitano representa un s\u00edmbolo de destrucci\u00f3n y de muerte para este pueblo\u201d (Ambrosini 17). Throughout the poems, there is a clear persecution of the Gitanos by the Guardia Civil, many times without probable cause. When the Gitanos see the Guardia Civil they know that they are about to \u201cface a tragic fate that is in store for them\u201d (actualidadliterature.com<\/a>) if sentenced to jail. In the poem, \u201cRomance de la Guardia\u201d Civil Espa\u00f1ola, the Guardia Civil\u201d the Civil Guards \u201cataca, persigue, mutila y mata a los gitanos en Jerez de la Frontera, la ciudad de los gitanos\u201d (Ambrosini 8) during a party. The Gitanos try to seek refuge inside a church while the Guardia Civil destroy the city looking for Gitanos to arrest. This poem has components of Spanish \u201ccostumbrismo\u201d because there are the religious references and the \u201cenemistad tradicional entre los dos grupos que se contraponen\u201d (Ambrosini 8).\u00a0<\/p>\n\n\n\n

The struggles of loss and love are themes that can be seen throughout Romancero gitano<\/em>. Lorca ‘s words explain that as long as there is love there will also be loss and there cannot exist one without the other. For example, el \u201chombre ama y eso es causa de una perdici\u00f3n, tanto si es correspondido, como si no lo es, ya que la espera interminable le consume\u201d (bxscience.edu<\/a>). People lose at love whether it be by death, a breakup, or infidelity. Pain is something that cannot be avoided in love because \u201cel dolor est\u00e1 siempre presente al amar a alguien\u2026en las poes\u00edas de Lorca el inocente siempre cae en las redes del amor o es v\u00edctima de las pasiones de otro\u201d (bxscience.edu<\/a>). Romancero gitano<\/em> is a representation \u201cdonde la pena est\u00e1 expresada no en la Andaluc\u00eda que se ve, pero si la que se siente. Es un libro antiflamenco. Hay un solo personaje real, que es la pena que se filtra\u201d (Aguirre 78). Pain is the love that the Gitanos have for Andalusia and the pain that they receive while living there.\u00a0<\/p>\n\n\n\n

The obsession between life and death appears constantly as a fundamental theme \u201ccomo un gran obst\u00e1culo en el desarrollo personal de las personas\u201d (bxscience.edu<\/a>). Symbols that represent death include \u201cla luna, la noche, el verde, el negro, el rojo\u201d (bxscience.edu<\/a>).\u00a0 Night symbolizes \u201cel escenario preferido por Garcia Lorca para situar sus personajes\u201d (Aguirre 80). Life is symbolized by \u201cel sol, el agua, los colores vivos y el caballero en la monta\u00f1a\u201d (bxscience.edu<\/a>). The moon is personified as \u201cun ser viviente, habla, mueve sus brazos, tiene senos, etc.\u201d (bxscience.edu<\/a>).\u00a0 In Romancero gitano,<\/em> \u201cel verdadero personaje principal del Romancero no es Andaluc\u00eda ni Granada sino la muerte misma que protagoniza la tragedia del hombre universal\u201d (Salvatore 430).\u00a0\u00a0<\/p>\n\n\n\n

In Romancero gitano<\/em>, Lorca paid close attention to details to combine \u201clo cl\u00e1sico del romance tradicional y la t\u00e9cnica moderna\u201d (Arno Werle 6). During the time of his work there was political unrest in Spain when Lorca \u201calcanz\u00f3 su mayor fama precisamente durante una \u00e9poca en que su patria pasaba por una crisis pol\u00edtica y en la se vio envuelto pasivamente\u201d (Arno Werle 15). One of the major themes that can be seen throughout is the idea of violence. The first instance of violence can be seen in \u201cRomance son\u00e1mbulo\u201d where \u201cel amor ardiente de ambos enamorados requiere la uni\u00f3n m\u00e1s \u00edntima entre hombre y mujer. Sin embargo, esa deseada uni\u00f3n est\u00e1 dificultada por tantos obst\u00e1culos que terminan finalmente en el suicidio de la novia desesperada y en la muerte del novio a causa de heridas violentas sufridas\u201d (Arno Werle 29). \u201cRomance son\u00e1mbulo\u201d is a poem that \u201csuggests an artistic reaction against Spain\u00b4s stagnant, deeply conflicted traditional provincial society\u201d (Blackwell 33).\u00a0\u00a0<\/p>\n\n\n\n

Mythology is another theme in Lorca’s work because the \u201cgypsy of the twentieth century engages hopelessly in and against a civilization that he did not create\u201d (Larkins 21). The Gitano people \u201cthrough songs and dance live in the present moment, by performing art through spontaneity, the gypsy people complete their quest in life\u201d (Chen 112) because the reality of Gypsy people in poetry is dream-like. The Gitanos \u201clive in a mythical world where the nature scenes, saints, and martyrs are merged. The supernatural world of the gypsies is full of mythical figures such as the moon, the black pain, death, saints, and martyrs, and the ultimate ruler of this mythical world is the duende \u2014the artistic inspiration of the gypsies that only appears when death is present” (Chen 112).\u00a0 \u201cRomance de la luna,<\/em> luna preciosa y el aire\u201d and \u201cReyerta\u201d have a mythological base. \u201cRomance son\u00e1mbulo\u201d has themes of \u201ccostumbrismo\u201d and mythology throughout. The animals that appear in the 18 poems play an important role in the mythical presentation. Lorca used the five animals to \u201cavail himself of the mythological character of certain creatures to reinforce the mythical character of certain creatures to reinforce the mythological nature of his work \u201c(Larkins 14). Lorca drew from several traditions to fuse culture artistically into his work. He wanted to show the relationship of a myth upon a myth. Once again, the male side of gitano power is presented in a negative way having spontaneous and violent instincts.\u00a0\u00a0<\/p>\n\n\n\n

\u00a0The first animal represented is the dove that appears in the ballad \u201cSan Gabriel\u201d. It shows \u201cLorca\u00b4s interest in the positive and reverent significance of the dove\u201d (Larkins 14) in the narrative that is a burlesque of the \u201cbiblical Annunciation related on the level of Andalusian gypsies\u201d (Larkins 14). In the ballad, Gabriel is called \u201cel domador de palomas\u201d (Larkin 14) as he tells Anunciaci\u00f3n de los Reyes that she will bear a child. The dove is a symbol of divine presence and Gabriel is the symbol of the bearer of good news. The dove serves as a positive symbol in <\/em>\u201cSan Miguel\u201d but serves as a negative symbol in \u201cTamar y Amn\u00f3n\u201d. <\/em>There is a prophetic note about the dove when they are seen frozen at Tamar\u00b4s feet, foreshadowing harm or death. In \u201cTamar y Amn\u00f3n\u201d there are biblical references, but the ballad is more of a tragic story of crime and heartbreak.\u00a0\u00a0<\/p>\n\n\n\n

The bear is the second mythological symbol that appears in \u201cLa monja gitana\u201d. The silent church is said to \u201cgru\u00f1e a lo lejos como un oso panza arriba\u201d (Larkins 16). The church\u00b4s moan is a warning for the nun against the temptation that will soon be coming. The bear is seen as a faithful animal and even a savior for the nun. Throughout history, the bear has been associated with warning and temptation. In this situation, the nun is threatened to make the right choice. In the ballad \u201cthe temptation that the nun experiences is momentarily very strong, as nature itself seems to strive to overpower her feelings\u201d (Larkin 17). The nun is saved and the church can be silent once again.\u00a0\u00a0<\/p>\n\n\n\n

A third animal mythologically symbolized in Romancero gitano<\/em> is the unicorn. In Lorca’s poem, \u201cDon Pedro\u201d the unicorn can symbolize either the hunter or the hunted; it is up to the reader to decide because \u201cel unicornio de ausencia rompe en cristal su cuerno\u201d (Larkins 18). Throughout history, the unicorn was considered a puzzling animal that usually symbolized death, and in the ballads is forced to break its horn since it’s now powerless. In Lorca\u00b4s ballads, \u201cthe fabled animal, endowed with magical powers throughout its long history, is defeated in the Romancero gitano by a mere burla\u201d (Larkin 19).\u00a0<\/p>\n\n\n\n

\u00a0The fourth animal is the satyr, which is always connected to malevolence, and makes its appearance in \u201cPreciosa y el aire\u201d. In this ballad, the Gitana is threatened by the wind that threatens to lift her dress. The wind represents masculinity in the form of something negative or dominant. It is a form of evil in the poem that terrorizes the young girl. The girl drops her musical instrument, the tambourine, when the breeze of the wind comes, and she goes running for help. In mythology, the satyrs were considered an aspect of Saturn but in the poem, its power is embodied in the wind. Again, the Gitano figure of a girl or woman is threatened for no apparent reason, in this instance, by natural causes.\u00a0<\/p>\n\n\n\n

The fifth and last mythological animal seen in Romancero gitano<\/em> is the dog. The dog is present in \u201cLa casada infiel\u201d and in \u201cMuerto de amor\u201d. In \u201cLa casada infiel\u201d the \u201chorizonte de perros que ladra muy lejos del r\u00edo\u201d\u00a0 warns the man that the woman he thought was a virgin has a husband (Larkins 19). In \u201cMuerto de amor\u201d, there is a reference to \u201cperros que no la conocen\u201d (Larkins 20) or unknown men and their intentions with women. The theme of the poem is a blood battle between the gypsies. The dog symbolizes the power over life and death having \u201clife-giving and life-taking deities\u201d (Larkins 20).\u00a0<\/p>\n\n\n\n

The theme of religion is seen in the group of poems including: \u201cSan Miguel de Granada\u201d, \u201cSan Rafael de C\u00f3rdoba\u201d and \u201cSan Gabriel de Sevilla\u201d that \u201cevocan tres grandes ciudades andaluzas a trav\u00e9s de los arc\u00e1ngeles que las representan\u201d (Ambrosini 3). Another form of religion not related to Christians but is related to the Gitanos is \u201cEl mito del Pan\u201d (Ambrosini 4) and San Crist\u00f3bal who is Christian but the Gitanos paganize. The angels in the poems serve as messengers to bring good news to the Gitanos who are constantly in a state of suffering. Lorca’s last three ballads are called \u201cRomances Historicos\u201d <\/em>which include: \u201cMartirio de Santa Olalla\u201d, \u201cBurla de Don Pero a caballo\u201d and \u201cThamar y Amn\u00f3n\u201d. The ballad of \u201cDon Pedro\u201d is an allegory of Saint Peter\u00b4s three renunciations of Christ. \u201cMartirio de Santa Olalla\u201d is an embellishment of the martyrdom of Saint Eulalia in Merida. \u201cThamar y Amn\u00f3n\u201d is about the incest of Samuel. All three have historical references but the \u201creligiousness of these ballads is questionable” (Orringer). In Spain, during this time, \u201cartists reacted against what they perceived as the antiquated morality of the Catholic Church and the anachronistic and moribund nobility that supported the dictatorship\u201d (Blackwell 33).\u00a0<\/p>\n\n\n\n

Romancero Gitano<\/em> was Federico Garcia Lorca\u00b4s way to include the Gitanos in society because he believed that the Gitanos represent the Andalusian culture and customs in its purest form. Lorca was able to combine poetry, drama, and deep song to express the \u201cdeep feelings and sorrow of the Andalusians\u201d (Chen 97). Ambiance played an important role in each of his ballads because they were full of music, culture, and the customs of Spanish Gitano society. Romancero gitano <\/em>was Lorca’s way to explore the depth of humanity of the gitano people and their encounters with desire, love, identity, beauty, artistic creation, fear, and most of all death.\u00a0\u00a0<\/p>\n\n\n\n

\n\n\n\n
Works Cited\u00a0<\/h5>\n\n\n\n

Aguirre, J.M. \u201cZorilla y Garc\u00eda Lorca: Leyendas y Romances Gitanos.\u201d Bulletin Hispanique<\/em>, vol. 81, no. 1, ser. 2, 1979. 2<\/em>.\u00a0\u00a0<\/p>\n\n\n\n

Ambrosini, Sara. \u201cLa Raza Protagonista En El Romancero Gitano<\/em> De Federico Garcia Lorca.\u201d Universita degli studi di Bergamo<\/em>.  <\/p>\n\n\n\n

Blackwell, Freda H. \u201cDeconstructing Narrative Lorca’s Romancero Gitano<\/em> and the Romance Son\u00e1mbulo.\u201d Revista De Filolog\u00eda y su Did\u00e1ctica<\/em>.  <\/p>\n\n\n\n

Chen, Nanyu. \u201cThe Gypsy in the Poetry of Federico Garcia Lorca.\u201d Foreign Language Studies<\/em>, vol. 4, June 2006, pp. 93\u2013115. <\/p>\n\n\n\n

Cobb, Carl W. \u201cFederico Garc\u00eda Lorca and a Rejected Gypsy Ballad.\u201d Hispania<\/em>, vol. 69, no. 4, Dec. 1986.  <\/p>\n\n\n\n

Da Silva Boia, Monica. \u201cLa Muerte En La Poes\u00eda De Federico Garc\u00eda Lorca.\u201d Academia Militar<\/em> das Agulhas Negras e Associacao Educacional Dom Bosco<\/em>.  <\/p>\n\n\n\n

Dur\u00e1n, Manuel. \u201cLorca y Las Vanguardias.\u201d Hispania<\/em>, vol. 69, no. 4, 1986, pp. 764\u201370. JSTOR<\/em>, https:\/\/doi.org\/10.2307\/342593.  <\/p>\n\n\n\n

\u201cFederico Garc\u00eda Lorca.\u201d Gale<\/em>, https:\/\/www.galw.com\/intl\/databases<\/a>explored\/literature\/federico- garcia-lorca.  <\/p>\n\n\n\n

Franco Carriliero, Maria Francisca. \u201cElementos Visionarios En El Romancero Gitano<\/em>.\u201d Universidad de Murcia<\/em>, 1989.  <\/p>\n\n\n\n

Honig, Edwin. \u201cDimensions of Imagery and Action in the Work of Garc\u00eda Lorca.\u201d Poetry<\/em>, vol. 63, no. 1, 1943, pp. 32\u201344. JSTOR<\/em>, http:\/\/www.jstor.org\/stable\/20583614.  <\/p>\n\n\n\n

Larkins, James E. \u201cMyth upon Myth: Five Animals of the Romancero Gitano<\/em>.\u201d Hispania<\/em>, vol. 64, no. 1, 1981, pp. 14\u201322. JSTOR<\/em>, https:\/\/doi.org\/10.2307\/340325.  <\/p>\n\n\n\n

Mallan, Lloyd. \u201cWeeping Arrogance.\u201d New York Times<\/em>, 14 June 1953.  <\/p>\n\n\n\n

Orringer, Nelson. \u201cAndalusia\u00b4s Cultural Spirit and the Historical Ballads of Romancero<\/em> Gitano<\/em>.\u201d Decimononica<\/em>, vol. 9, no. 1, 2012.  <\/p>\n\n\n\n

Poeta, Salvatore. \u201cAproximaci\u00f3n a La Teatralidad Del Romancero Gitano<\/em> De Federico Garc\u00eda Lorca.\u201d Villanova University<\/em>, 2000.  <\/p>\n\n\n\n

Werle, P. Arno. \u201cTemas Velados Del Romancero Gitano<\/em> De Federico Garc\u00eda Lorca.\u201d Loyola University<\/em>, 1966.  <\/p>\n","protected":false},"excerpt":{"rendered":"

Michele MileusnichFlorida International University2024 Ignacio R. M. Galbis. Award Romancero gitano is considered one of Federico Garc\u00eda Lorca\u00b4s greatest works and one of Spain’s greatest works from the Generation of 1927. Lorca’s use of traditional Spanish poetry fused with the new aesthetics of the Avant Garde period helped create 18 poems that formed Romancero gitano. 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