599:
have hit him hard because he did not speak very good
English and he remained very attached to his Spanish background. But biographical references in his poems remain elusive. There is in this edition an increase in the number of poems that deal with pain and death. He also oscillates between extremes in a new and different way; some poems are stridently affirmative of his values while others are far more meditative and tranquil than hitherto. There are poems that deal with simple domestic pleasures, such as the home, family life, friendship and parenthood, which do not have any counterpart in the earlier editions.
567:
flashes of ecstasy, the pursuit of plenitude and essence is an ongoing quest. The poetry continues to avoid anecdotal narrative but the greater circumstantial and temporal definition of the longer poems gives this edition an enhanced awareness of human contact with the real world. There is in addition a far more detailed examination of big themes such as love – "Salvación de la primavera" – and death – "Muerte a lo lejos" – although the poet takes a very detached view of death. It will happen one day and until then, he can enjoy life in the present.
618:, in this edition it is tempting to see references to the protracted illness and frequent hospital visits of his wife before her death in 1947, as well as the poet's own bouts of ill health. In "Su persona", he argues that loneliness is not to be defeated by turning to memories of shared joys, because they are merely phantasms. Instead, you have to face reality and find the good that exists there. In this edition, Guillén acknowledges that reality has a dark side but affirms that it can be resisted and must be resisted.
1734:
642:, el cerro de San Cristóbal, a hill outside Valladolid which he visited in 1949 to see his sick father. It is a meditation on the significance of this place, from which he began his journey towards reality and from which he still takes his bearings. It adds a new dimension to Guillén's poetry – history. The protagonist is also a product of history and he has to come to terms with the good and the bad sides of his culture's history, just as he has to accept the good and bad of the reality that faces him.
57:
453:
his major objectives but he also seemed to wish to avoid obvious self-revelation and any hint of sentimentality. Lorca's reaction in a postcard to Guillén written on 27 December 1928 captures the elements that dominate most critical responses to the latter's poetry: an opposition between the jubilant, physical celebration of reality that his poems try to capture and, on the other hand, its extreme technical purity, which can seem cold and overly intellectual.
708:. The continued optimism and delight in life that the poet had shown despite the upheavals in his personal life and the turmoil of world events must have begun to seem an inadequate response. So there are poems such as "Los intranquilos" which use much simpler, less distanced language and convey a sense of unease, dissatisfaction, uncertainty. In this poem, the only escape from all this is into the oblivion offered by drink or the television. In
725:
individual has completed his part of the work of that machine. As time goes by, the sight of tables on a café terrace remind him that there is after all a human component to this machine. The conclusion that emerges is again resignation to the inevitability of death but there is no sense of consolation, merely an unconvincing stoicism of a man journeying from nothingness to nothingness. It is a very different feel to "A vista de hombre".
480:
an aesthetician or philosopher presenting things for the reader's edification. In "La salida", the only verbs that occur are infinitives. This means that what is described has no specific agent or time, again helping Guillén to become anonymous and guard against sentimentality. Like Valéry, he also writes poems that reflect upon poetry itself, for example "El ruiseñor" and "La rosa", both written in Guillén's favourite form, the
340:. He became a regular correspondent of the latter and, on the occasion of a visit by Lorca to the Arts Club of Valladolid in April 1926, Guillén delivered an introduction to a poetry reading which was a considered and sympathetic appraisal of a man whom he considered to be already a poetic genius, although he had only published one collection.
559:
40-50 lines, such as "Viento saltado" and "El desterrado", most of which were written or started during Guillén's period of residence at Oxford. The collection is grouped into 5 sections, frequently book-ended by these longer poems, so that it has a more formally pleasing shape. The versification is also more varied; there are many more
551:– there were no signs of personal upheaval or radical change in Guillén's approach to poetry. Instead there is a deepening of the approach to reality contained in the first edition. Reality is potentially perfect. All it requires is the active participation of an onlooker to raise it to its full potency as explained by Ortega in the
394:. In 1958 in Florence he married Irene Mochi-Sismondi, his first wife having died in 1947. He continued to give lectures at Harvard, Princeton and Puerto Rico, and for a spell was Mellon Professor of Spanish at the University of Pittsburgh, until he broke his hip in a fall in 1970. In 1976 he moved to the city of
610:, whom Guillén admired for his humility and faith. In the poem "Equilibrio", there is a plainness of syntax, compared with earlier poems, that seems to suggest that he is trying to emulate this. There are poems which suggest that Guillén feels that he is now living in an alien environment, such as "Vida urbana".
586:. This is perhaps explained most fully in "Viento saltado", which he began in Oxford in 1931. It is a clear example of one of Guillén's stylistic characteristics, the use of exclamations. Everything in the poem is an exclamation as he displays an almost childlike delight at being buffeted by a blustery wind.
779:
poems often have a rarefied quality and tend not to deal with "particulars", readily identifiable people and places. However, they did differ in many respects as exemplified by the titles they gave to their published lectures on
Spanish poetry. At Johns Hopkins, Salinas published a collection called
653:
Reality is depicted in the poem, but not described in its external likeness. Reality, not realism. And feeling, without which there is no poetry, has no need of gesticulation. …..This restraint in the displaying of emotions retains their vehemence, and indeed doubles their intensity. But for ears
613:
There is also the emergence of the theme of pain and suffering. Sometimes pain prevents the realization of plenitude, as in "Muchas gracias, adiós"; sometimes awareness of pain and death can help to remind the poet of the importance of fighting for life. Although there are very few autobiographical
558:
There is stylistic development as well in that some of the new poems are lengthy; "Salvación de la primavera" amounts to 55 quatrains (220 lines) and "Más allá", which eventually became the very first book in the collection, consists of 50 quatrains. There are also more medium-length poems of around
598:
in Mexico in 1945. By now the book had more than doubled in size, to 270 poems. A reader would expect events such as the mysterious death of his friend García Lorca, the
Spanish Civil War, exile to the USA and the Second World War to have an effect on Guillén's poetry. Exile in particular seems to
479:
Even in his earliest poems, such as "Gran silencio", the language is impersonal; the poet does not make any appearance in the poem. His poems offer an ecstatic reaction to the geometrical forms or the objects they describe but this is a generic reaction not Guillén's personal response. He is like
436:
and
Federico García Lorca. As early as 1923 Pedro Salinas urged him to publish a collection but he would not be hurried. Two of his key character traits are revealed by this long gestation period: his quest for perfection and an innate reserve. He was in fact the last of the major figures of the
431:
Although a glimpse at the collected poems of Guillén suggests that he was a prolific poet, he was slow to get started. He only seems to have started writing poems when he was in Paris in 1919 when he was already 25. Over the next 10 years he published quite frequently in the small magazines of the
626:
The completed version contained 334 poems and was published in Buenos Aires. Amongst the new poems are ten very long ones that exemplify Guillén's search for clarity and cohesion. "A vista de hombre", for example, was begun in a New York hotel and deals with a view of an unnamed metropolis from a
566:
The longer poems are inevitably less abstract and impersonal but they do not show any real break with his approach to poetry. In place of the concentrated focus on one object or small group of objects, the longer poems have scope for a more comprehensive assessment of exterior reality. Instead of
382:
in July 1936 he was back in
Valladolid and was briefly imprisoned in Pamplona for political reasons. He returned to his post in Seville and continued there until July 1938, when he decided to go into exile in the USA together with his wife and two teenage children. Apart from the turmoil in Spain
778:
These two poets have often been compared to each other. To some extent this is because they were good friends and slightly older than most of the other leading members of their generation, as well as sharing similar career-paths, but they also seemed to share a similar approach to poetry. Their
452:
Correspondence with García Lorca shows just how painstaking he was, spending months polishing, revising and correcting poems that he had already written and published, to a point where they were practically unrecognisable from the way they had first appeared in public. Clarity and coherence were
720:
and not just because both poems are sonnets. In the earlier poem, death was somewhere in the future and life was to be enjoyed. In the later poem, the poet looks back to his past where the good memories are. He then clings to the present but cannot avoid the sense of a future that is shrinking
514:
For Valéry, poetry is a process of self-discovery, an exercise in consciousness, working out what it means to be an individual poet exploring reality. Guillén accepts reality for what it is and he wants to show what he has in common with other humans in the timeless experience of being. It is a
791:
and the comparisons between them are instructive. Salinas seems to want to show us the poetic reality behind or beyond appearances, to educate us into how to see whereas Guillén gives us an account of the thoughts and sense-impressions going through his own mind: the reader is a viewer of this
749:
poetry, recording Guillén's readings, his friends, places visited, favourite painters etc. It also contains translations of French, Italian, German, English and
Portuguese poetry. However, there are also more personal reflections. "Al márgen de un Cántico", for example, shows his response to
724:
In "Viviendo", the poet is in the city, walking in the twilight surrounded by the hum of traffic. The poet feels part of a machine that is slowly ticking away time. He reaches the realization that the individual can die without the machine either slowing or stopping, regardless of whether the
631:
or countless other poets, the city is not inhuman, cold, abstract. The emphasis is on the mass of humanity it holds. The city is a mix of good and evil, man's heroic endeavours and barbarity – a reality that has to be embraced in totality even when you cannot understand it. The poet is both an
754:
among others. "Historia inconclusa" recalls some of the writers who have meant most to him, including a subtle tribute to García Lorca. And there are also poems which show a new-found resignation or acceptance of life, free from the ambiguities and uncertainties of "Viviendo".
654:
that hear not, harmonies such as these are almost confused with silence. That is why some of these poets were tried and found wanting for their coldness, even though they were dedicated to declaring their enthusiasm for the world, their fervour for life, their love for love.
460:. Valéry was closely associated with the ideal of pure poetry and Guillén later recalled him saying that "Pure poetry is what is left after the elimination of everything that is not poetry." He was also inspired by Valéry's belief that a poet should only write one book –
796:
recalled visiting
Salinas and finding him at his desk with his daughter on one knee and his son on the other and stretching out a hand clutching a pen to shake hands with his visitor. Although he was also devoted to his family, Guillén probably worked in a secluded study.
728:
In "Modo paterno", lacking any definite faith in God or an afterlife, the poet tells himself that something of his will be saved and projected into the future by his children. This belief acts as a counterbalance to the sadness and pessimism of most of the collection.
574:, such as "El desterrado". He might have come across Whitman during his time in France but his interest seems to have been consolidated during his Oxford period. There are overlaps between Whitman's poetry and the thinking of Ortega as enshrined in his famous formula
300:
from 1917 to 1923. While in Paris, he met and, in 1921, married
Germaine Cahen. They had two children, a son Claudio born in 1924 who became a noted critic and scholar of comparative literature, and a daughter Teresa who married the Harvard professor Stephen Gilman.
331:
He continued to visit the
Residencia de Estudiantes although his academic responsibilities limited his attendance to vacations. This allowed him to make the acquaintance of the younger members of the Generation – such as
370:
that Lorca led. On 12 July 1936 he was present at a party in Madrid that took place just before García Lorca departed to
Granada for the last time before his murder. It was there that Lorca read his new play
1485:
2237:
627:
skyscraper. It develops the poet's thoughts on his relationship with the mass of people living and working in this city until it closes with the poet retiring to his bed. Unlike García Lorca in
635:
Others of the new poems also echo this theme, showing that Guillén does not want to reject modern urban life but instead to find a way of incorporating it into his affirmative scheme.
563:(octosyllabic lines with assonance in the even-numbered lines); Guillén starts to write sonnets; he introduces longer lines and also the assonantal quatrains of the longer poems.
645:
In this final edition, Guillén completes his task of showing that human life is charged with structure and meaning which we need to explore in all its fullness. A passage from
2252:
1676:
2292:
2247:
2084:
1467:
737:
It seems that this collection, although published in 1967, gathers together poems written between 1949–66, so it overlaps with the final stages of the writing of
2242:
2146:
2287:
347:
that he was supposed to edit, however, was never completed but he did give a reading of some of his own poems at an event in Seville with great success.
476:, he also recorded a debt to the poetic rigour of Góngora, showing that he could trace this concern for stylistic purity back much further than Valéry.
269:
where he spent his childhood and adolescence. From 1909 to 1911 he lived in Switzerland. He studied at the universities of Madrid – lodging in the
543:– in 1936. While many members of his generation had suffered some form of crisis towards the end of the 1920s – amongst them Alberti, Garcia Lorca,
484:, typically a stanza of 10 octosyllabic lines rhyming ABBAACCDDC, although he used many variations, such as a rhyme scheme borrowed from the French
1669:
495:
read and reread with great devotion by the Castilian poet, was a model of exemplary elevation of subject matter and of exemplary rigor of style,
697:
suggest that the bulk of the work was done in the 1950s especially in view of the number of poems that were added to the two later editions of
1443:
2178:
2282:
2262:
2257:
1662:
406:
198:
2267:
1602:
1583:
1541:
1522:
2232:
1974:
472:
in 1968. He also translated four of Valéry's poems, including the celebrated "Le Cimetière marin," into Spanish. However, in
324:
from 1925 to 1929, where, with Juan Guerrero Ruiz and José Ballester Nicolás, he founded and edited a literary magazine called
250:
202:
1564:
366:. In August 1933, he was able to attend performances at the Magdalena Palace in Santander by the travelling theatre company
2194:
1641:
2272:
2070:
716:, dawn brings a desire to sink back into sleep and find oblivion. "Del trascurso" compares with "Muerte a lo lejos" from
238:
20:
2077:
2277:
1230:
410:
638:
Although various poems evoke Murcia, Oxford and Manhattan, "Luz natal" contains the only place name in the whole of
1915:
1826:
1779:
1471:
464:- a remark that makes sense of Guillén's career, both of the accretive process that led ultimately to the finished
2094:
1862:
1686:
1649:
1076:
402:
270:
254:
1903:
689:
in 1963. It is not clear when he started work on these collections. The long gap between the final edition of
2162:
1086:
751:
337:
1998:
1856:
1733:
1945:
293:
1110:
1785:
1023:
359:
2122:
1832:
2227:
2222:
321:
231:
206:
249:. The final lecture was a tribute to his colleagues in the Generation of '27. In 1983, he was named
56:
2039:
1962:
1850:
1820:
788:
297:
712:, there were many poems about awakening and how wonderful it is to return into consciousness. In
540:
2130:
2106:
2062:
1844:
1803:
1749:
1461:
1027:
793:
544:
390:
and stayed there as the Professor of Spanish from 1941 to his retirement in 1957. He retired to
242:
2138:
2051:
305:
183:
1486:"Stamp Shows Jorge Guillen Alvarez Editorial Stock Photo - Image of portrait, jorge: 145374633"
468:, and also of the impulse that led him to combine all his published poetry into one collection
2154:
2004:
1992:
1980:
1797:
1719:
1598:
1579:
1560:
1537:
1518:
1449:
1439:
607:
387:
379:
355:
1654:
2033:
1927:
1891:
1713:
1707:
1553:
1049:
1031:
1008:
433:
286:
222:
194:
432:
day and began to build a name for himself amongst the members of his generation, including
343:
He also participated in the Tercentenary celebrations in honour of Góngora. The volume of
516:
446:
362:
in 1932. On 8 March 1933, he was present at the premiere in Madrid of García Lorca's play
2170:
2114:
1897:
762:
to the compilation of his three great poetry books prior to 1968. He would later publish
2045:
1986:
1868:
1838:
1791:
1773:
1767:
1091:
1039:
1019:
990:
981:
972:
963:
954:
945:
936:
927:
918:
909:
900:
891:
882:
873:
864:
855:
846:
837:
828:
819:
810:
678:
457:
333:
2216:
2016:
1968:
1939:
1909:
1874:
1723:
1081:
1043:
282:
1921:
1761:
1035:
1015:
571:
548:
27:
584:
I am the sum of my individual self and the things that surround me/that I perceive
312:. This was also the period when his first poems were starting to be published in
1438:. Aldama, Frederick Luis, 1969-, O'Dwyer, Tess. Pittsburgh, Pa. 27 October 2020.
1066:
The Spanish government has issued postage stamps featuring his portraits in 1993.
304:
He took his doctorate at the University of Madrid in 1924 with a dissertation on
1933:
1755:
1205:
2010:
1453:
266:
88:
512:
determination to treat poetry as creation, a poem as a world in quintessence.
1012:
1433:
405:, the most prestigious prize for Spanish-language writers, and in 1977 the
395:
107:
606:, one of the lectures is about the prosaic language of the mediaeval poet
1517:. Berkeley and Los Angeles: University of California Press. p. 323.
665:
It was seven years before Guillén published another collection of poems,
594:
A lot happened in Guillén's life before he published the next edition of
383:
itself, the fact that his wife was Jewish might have caused him concern.
309:
1231:
Jorge Guillen Is Dead at 91; A Spanish Poet and Teacher - New York Times
274:
31:
1435:
Poets, philosophers, lovers : on the writings of Giannina Braschi
1056:, which stands outside National Sculpture Museum in Valladolid, Spain.
441:- at this stage a collection of 75 poems – which was published by the
1616:. Cambridge, Mass.: Harvard University Press. p. 293. 60-15889.
437:
generation to gather together a collection, the first instalment of
669:
in 1957. This was the start of his second portmanteau collection,
1018:(1998) features a debate about the creators versus the masters of
632:
isolated individual in a hotel room and a member of this society.
456:
During his time in Paris, Guillén had come under the influence of
409:. He died in Málaga in 1984, aged 91 and was buried there in the
391:
226:; 18 January 1893 – 6 February 1984) was a Spanish
750:
critics who had accused him of writing in abstractions – such as
506:
can be defined negatively as the antithesis of Valéry's Charmes.
308:'s notoriously difficult and, at that time, neglected long poem
281:
in philosophy in 1913. His life paralleled that of his friend
227:
2066:
1658:
358:
from 1929 to 1931, and was appointed to a professorship at the
320:. He was appointed to the chair of Spanish Literature at the
234:, a university teacher, a scholar and a literary critic.
2238:
Exiles of the Spanish Civil War in the United States
2025:
1954:
1883:
1812:
1741:
1693:
190:
179:
115:
96:
70:
47:
1552:
1026:. The debate discusses Jorge Guillén along with
783:, whereas Guillén's Norton lectures were called
649:seems to sum up his poetics in this collection:
1597:. London: Grant & Cutler Ltd. p. 123.
890:, Palma de Mallorca, Papeles de Sons Armadans,
787:. Both devoted single lectures to Góngora and
245:, which were published in 1961 under the title
38: and the second or maternal family name is
19:For the Spanish Olympic basketball player, see
1059:Luis Santiago Pardo created a monument called
2078:
1670:
1410:
1408:
1281:
1279:
1277:
899:, Florencia/Santander, Graf. Hermanos Bedia,
8:
1134:
1132:
1130:
989:, Ferrol, Sociedad de Cultura Valle-Inclán,
704:This collection is almost the antithesis of
1534:Spanish Poetry of the Grupo poetico de 1927
1240:
1238:
1217:
1215:
2253:Academic staff of the University of Murcia
2085:
2071:
2063:
1677:
1663:
1655:
1595:Cantico - Critical Guides to Spanish Texts
1466:: CS1 maint: location missing publisher (
1146:
1144:
570:Some of the new poems have epigraphs from
535:contained 125 poems. It was published by
65:in los Jardines del Poniente de Valladolid
55:
44:
2248:Academic staff of the University of Paris
1618:(Library of Congress Catalog Card Number)
915:Clamor. A la altura de las circunstancias
462:Un, qui est le bon et le seul de son être
1578:. London: Faber and Faber. p. 551.
908:, Puerto Rico, Editorial Universitaria,
673:. The other two constituent parts were
247:Language and Poetry: Some Poets of Spain
2293:Burials at the English Cemetery, Málaga
1536:. Oxford: Pergamon Press. p. 214.
1102:
933:Aire nuestro: Cántico, Clamor, Homenaje
139: 1924; died 1947)
1459:
935:, Milán, All'Insegna del Pesce d'oro,
926:, Milán, All'Insegna del Pesce d'oro,
809:(75 poems), M., Revista de Occidente,
781:Reality and the Poet in Spanish Poetry
602:There are stylistic innovations. In
221:
7:
2179:Prince Bernhard of Lippe-Biesterfeld
1515:The Lost Grove (trans Gabriel Berns)
1206:"Centre for Study of Hispanic Exile"
836:(334 poems), Bs. As., Sudamericana,
872:, Málaga, Col. A quien conmigo va,
449:) in 1928. He was by this time 35.
792:process not a participant in it.
407:Premio Internacional Alfonso Reyes
199:Premio Internacional Alfonso Reyes
14:
2288:20th-century Spanish male writers
2243:Burials in the Province of Málaga
996:Horses in the Air and Other Poems
879:Clamor... Que van a dar en la mar
687:A la altura de las circunstancias
499:Guillén concludes by saying that
411:Anglican Cemetery of Saint George
1732:
683:Coplas por la muerte de su padre
515:phenomenology that derives from
2202:Eugenio Asensio Barbarín (1985)
1262:Valéry Oeuvres vol 1 pp 1560-61
237:In 1957-1958, he delivered the
159:
136:
1559:. Cambridge University Press.
1052:created the monument entitled
944:, Cambridge, Halty Eferguson,
827:(270 poems), México, Litoral,
818:(125 poems), M., Cruz y Raya,
1:
1555:A Generation of Spanish Poets
239:Charles Eliot Norton lectures
1975:José Manuel Caballero Bonald
1642:The Jorge Guillén Foundation
1063:in Poniente Gardens in 1998.
576:Yo soy yo y mi circunstancia
401:In 1976, he was awarded the
251:Hijo Predilecto de Andalucía
203:Hijo Predilecto de Andalucía
169:
30:, the first or paternal
2195:José Manuel Blecua Teijeiro
1061:Jorge Guillén and Childhood
852:Del amanecer y el despertar
519:as exemplified in his work
253:. He was nominated for the
186:, Teresa Gilman née Guillén
2309:
2283:20th-century Spanish poets
2263:Harvard University faculty
1780:Gonzalo Torrente Ballester
1532:Connell, Geoffrey (1977).
924:Homenaje. Reunión de vidas
897:Las tentaciones de Antonio
491:However, although Valéry,
265:Jorge Guillén was born in
25:
21:Jorge Guillén (basketball)
18:
2258:Wellesley College faculty
2101:
1863:Guillermo Cabrera Infante
1730:
1687:Miguel de Cervantes Prize
1077:Miguel de Cervantes Prize
917:, Bs. As., Sudamericana,
881:, Bs. As., Sudamericana,
863:, Bs. As., Sudamericana,
403:Miguel de Cervantes Prize
285:, whom he succeeded as a
271:Residencia de Estudiantes
255:Nobel Prize in Literature
54:
2268:Premio Cervantes winners
2163:Archer Milton Huntington
2147:Jacobo Fitz-James Stuart
2093:Honorary members of the
1513:Alberti, Rafael (1976).
693:and the first volume of
521:Meditaciones del Quijote
373:La Casa de Bernarda Alba
2233:Writers from Valladolid
1916:Rafael Sánchez Ferlosio
1650:Poetry of Jorge Guillén
1612:Guillen, Jorge (1961).
1593:Havard, Robert (1986).
1054:Homage to Jorge Guillén
1046:, as the great masters.
758:Guillén gave the title
675:Que van a dar en la mar
378:On the outbreak of the
2095:Real Academia Española
622:1950 the final edition
539:– a journal edited by
508:
497:
223:[ˈxoɾxeɣiˈʎen]
219:Spanish pronunciation:
1786:Antonio Buero Vallejo
1622:Valery, Paul (1957).
1576:Federico García Lorca
1470:) CS1 maint: others (
1393:Guillen L and P p 205
1285:Guillen L and P p 208
1111:"Nomination Database"
1024:Latin American poetry
504:
493:
445:(a journal edited by
386:He joined Salinas at
360:University of Seville
338:Federico García Lorca
215:Jorge Guillén Álvarez
75:Jorge Guillén Álvarez
1574:Gibson, Ian (1989).
962:, Bs. As., Muchnik,
745:. It contains much
531:The next edition of
443:Revista de Occidente
417:Analysis of his work
322:University of Murcia
277:, where he took his
207:Ollin Yoliztli Prize
149:Irene Mochi-Sismondi
2040:Cristina Peri Rossi
1946:José Emilio Pacheco
1904:José Jiménez Lozano
1821:Adolfo Bioy Casares
1626:. Paris: Gallimard.
1614:Language and Poetry
789:San Juan de la Cruz
785:Language and Poetry
774:Guillén and Salinas
647:Language and Poetry
629:Poeta en Nueva York
604:Language and Poetry
510:Guillén stresses a
474:Language and Poetry
375:for the last time.
298:University of Paris
294:Collège de Sorbonne
2278:Spanish male poets
2131:Marco Aurelio Soto
2123:Luís I of Portugal
2107:Pedro II of Brazil
1845:Mario Vargas Llosa
1833:Dulce María Loynaz
1804:Augusto Roa Bastos
1750:Juan Carlos Onetti
1551:Morris, C (1969).
1115:www.nobelprize.org
1087:Juan Ramón Jiménez
1028:Vicente Aleixandre
861:Clamor. Maremagnun
794:Vicente Aleixandre
752:Juan Ramón Jiménez
677:(a quotation from
243:Harvard University
230:, a member of the
2273:Generation of '27
2210:
2209:
2155:Jacinto Benavente
2060:
2059:
1993:Fernando del Paso
1981:Elena Poniatowska
1857:José García Nieto
1720:Jorge Luis Borges
1685:Laureates of the
1445:978-0-8229-4618-2
843:Huerto de Melibea
608:Gonzalo de Berceo
582:, in other words
388:Wellesley College
380:Spanish Civil War
356:Oxford University
232:Generation of '27
212:
211:
2300:
2203:
2198:
2190:
2182:
2174:
2166:
2158:
2150:
2142:
2134:
2126:
2118:
2110:
2087:
2080:
2073:
2064:
2034:Francisco Brines
1963:Ana María Matute
1928:Antonio Gamoneda
1892:Francisco Umbral
1851:Camilo José Cela
1736:
1708:Alejo Carpentier
1679:
1672:
1665:
1656:
1648:
1640:
1627:
1617:
1608:
1589:
1570:
1558:
1547:
1528:
1500:
1499:
1497:
1496:
1482:
1476:
1475:
1465:
1457:
1430:
1424:
1421:
1415:
1412:
1403:
1400:
1394:
1391:
1385:
1382:
1376:
1373:
1367:
1364:
1358:
1355:
1349:
1346:
1340:
1337:
1331:
1328:
1322:
1319:
1313:
1310:
1304:
1301:
1295:
1292:
1286:
1283:
1272:
1269:
1263:
1260:
1254:
1251:
1245:
1242:
1233:
1228:
1222:
1219:
1210:
1209:
1202:
1196:
1193:
1187:
1184:
1178:
1175:
1169:
1166:
1160:
1157:
1151:
1148:
1139:
1136:
1125:
1124:
1122:
1121:
1107:
1050:Eduardo Chillida
1032:Vicente Huidobro
1009:Giannina Braschi
888:Historia Natural
741:as well as with
225:
220:
195:Premio Cervantes
173:
171:
163:
161:
140:
138:
103:
84:
82:
59:
45:
2308:
2307:
2303:
2302:
2301:
2299:
2298:
2297:
2213:
2212:
2211:
2206:
2201:
2193:
2185:
2177:
2169:
2161:
2153:
2145:
2139:Rafael Zaldívar
2137:
2129:
2121:
2113:
2105:
2097:
2091:
2061:
2056:
2052:Luis Mateo Díez
2021:
1999:Eduardo Mendoza
1950:
1879:
1827:Francisco Ayala
1808:
1737:
1728:
1689:
1683:
1646:
1638:
1635:
1630:
1621:
1611:
1605:
1592:
1586:
1573:
1567:
1550:
1544:
1531:
1525:
1512:
1508:
1503:
1494:
1492:
1484:
1483:
1479:
1458:
1446:
1432:
1431:
1427:
1422:
1418:
1413:
1406:
1401:
1397:
1392:
1388:
1383:
1379:
1374:
1370:
1365:
1361:
1356:
1352:
1347:
1343:
1338:
1334:
1329:
1325:
1320:
1316:
1311:
1307:
1302:
1298:
1293:
1289:
1284:
1275:
1270:
1266:
1261:
1257:
1252:
1248:
1243:
1236:
1229:
1225:
1220:
1213:
1204:
1203:
1199:
1194:
1190:
1185:
1181:
1176:
1172:
1167:
1163:
1158:
1154:
1149:
1142:
1137:
1128:
1119:
1117:
1109:
1108:
1104:
1100:
1073:
1013:Spanglish novel
1005:
1003:Popular culture
942:Guirnalda civil
906:Según las horas
870:Lugar de Lázaro
803:
776:
735:
663:
624:
592:
529:
517:Ortega y Gasset
447:Ortega y Gasset
429:
424:
419:
364:Bodas de sangre
263:
218:
184:Claudio Guillén
175:
168:
165:
162: 1958)
157:
153:
150:
142:
134:
130:
127:
111:
105:
101:
100:6 February 1984
92:
86:
85:18 January 1893
80:
78:
77:
76:
66:
50:
43:
24:
17:
12:
11:
5:
2306:
2304:
2296:
2295:
2290:
2285:
2280:
2275:
2270:
2265:
2260:
2255:
2250:
2245:
2240:
2235:
2230:
2225:
2215:
2214:
2208:
2207:
2205:
2204:
2199:
2191:
2183:
2175:
2167:
2159:
2151:
2143:
2135:
2127:
2119:
2111:
2102:
2099:
2098:
2092:
2090:
2089:
2082:
2075:
2067:
2058:
2057:
2055:
2054:
2048:
2046:Rafael Cadenas
2042:
2036:
2029:
2027:
2023:
2022:
2020:
2019:
2013:
2007:
2005:Sergio Ramírez
2001:
1995:
1989:
1987:Juan Goytisolo
1983:
1977:
1971:
1965:
1958:
1956:
1952:
1951:
1949:
1948:
1942:
1936:
1930:
1924:
1918:
1912:
1906:
1900:
1894:
1887:
1885:
1881:
1880:
1878:
1877:
1871:
1865:
1859:
1853:
1847:
1841:
1839:Miguel Delibes
1835:
1829:
1823:
1816:
1814:
1810:
1809:
1807:
1806:
1800:
1798:María Zambrano
1794:
1792:Carlos Fuentes
1788:
1782:
1776:
1774:Ernesto Sabato
1770:
1768:Rafael Alberti
1764:
1758:
1752:
1745:
1743:
1739:
1738:
1731:
1729:
1727:
1726:
1716:
1710:
1704:
1697:
1695:
1691:
1690:
1684:
1682:
1681:
1674:
1667:
1659:
1653:
1652:
1644:
1634:
1633:External links
1631:
1629:
1628:
1619:
1609:
1603:
1590:
1584:
1571:
1565:
1548:
1542:
1529:
1523:
1509:
1507:
1504:
1502:
1501:
1477:
1444:
1425:
1416:
1404:
1395:
1386:
1377:
1368:
1359:
1350:
1341:
1332:
1323:
1314:
1305:
1296:
1287:
1273:
1264:
1255:
1246:
1234:
1223:
1211:
1197:
1188:
1179:
1170:
1161:
1152:
1140:
1126:
1101:
1099:
1096:
1095:
1094:
1092:Spanish poetry
1089:
1084:
1079:
1072:
1069:
1068:
1067:
1064:
1057:
1047:
1004:
1001:
1000:
999:
993:
984:
980:, B., Barral,
975:
971:, M., Turner,
966:
960:Y otros poemas
957:
948:
939:
930:
921:
912:
903:
894:
885:
876:
867:
858:
854:, Valladolid,
849:
845:, M., Ínsula,
840:
831:
822:
813:
802:
799:
775:
772:
764:Y otros poemas
734:
731:
685:) in 1960 and
679:Jorge Manrique
662:
659:
658:
657:
655:
623:
620:
614:references in
591:
588:
528:
525:
488:, ABABCCDEED.
428:
425:
423:
420:
418:
415:
350:He became the
334:Rafael Alberti
262:
259:
210:
209:
192:
188:
187:
181:
177:
176:
155:
151:
148:
147:
146:
145:
132:
128:
126:Germaine Cahen
125:
124:
123:
122:
119:
117:
113:
112:
106:
104:(aged 91)
98:
94:
93:
87:
74:
72:
68:
67:
60:
52:
51:
48:
15:
13:
10:
9:
6:
4:
3:
2:
2305:
2294:
2291:
2289:
2286:
2284:
2281:
2279:
2276:
2274:
2271:
2269:
2266:
2264:
2261:
2259:
2256:
2254:
2251:
2249:
2246:
2244:
2241:
2239:
2236:
2234:
2231:
2229:
2226:
2224:
2221:
2220:
2218:
2200:
2196:
2192:
2188:
2187:Jorge Guillén
2184:
2180:
2176:
2172:
2168:
2164:
2160:
2156:
2152:
2148:
2144:
2140:
2136:
2132:
2128:
2124:
2120:
2116:
2112:
2108:
2104:
2103:
2100:
2096:
2088:
2083:
2081:
2076:
2074:
2069:
2068:
2065:
2053:
2049:
2047:
2043:
2041:
2037:
2035:
2031:
2030:
2028:
2024:
2018:
2017:Joan Margarit
2014:
2012:
2008:
2006:
2002:
2000:
1996:
1994:
1990:
1988:
1984:
1982:
1978:
1976:
1972:
1970:
1969:Nicanor Parra
1966:
1964:
1960:
1959:
1957:
1953:
1947:
1943:
1941:
1937:
1935:
1931:
1929:
1925:
1923:
1919:
1917:
1913:
1911:
1910:Gonzalo Rojas
1907:
1905:
1901:
1899:
1895:
1893:
1889:
1888:
1886:
1882:
1876:
1875:Jorge Edwards
1872:
1870:
1866:
1864:
1860:
1858:
1854:
1852:
1848:
1846:
1842:
1840:
1836:
1834:
1830:
1828:
1824:
1822:
1818:
1817:
1815:
1811:
1805:
1801:
1799:
1795:
1793:
1789:
1787:
1783:
1781:
1777:
1775:
1771:
1769:
1765:
1763:
1759:
1757:
1753:
1751:
1747:
1746:
1744:
1740:
1735:
1725:
1724:Gerardo Diego
1721:
1717:
1715:
1714:Dámaso Alonso
1711:
1709:
1705:
1703:
1702:Jorge Guillén
1699:
1698:
1696:
1692:
1688:
1680:
1675:
1673:
1668:
1666:
1661:
1660:
1657:
1651:
1645:
1643:
1637:
1636:
1632:
1625:
1620:
1615:
1610:
1606:
1604:84-599-1630-8
1600:
1596:
1591:
1587:
1585:0-571-14224-9
1581:
1577:
1572:
1568:
1562:
1557:
1556:
1549:
1545:
1543:0-08-016950-3
1539:
1535:
1530:
1526:
1524:0-520-02786-8
1520:
1516:
1511:
1510:
1505:
1491:
1487:
1481:
1478:
1473:
1469:
1463:
1455:
1451:
1447:
1441:
1437:
1436:
1429:
1426:
1420:
1417:
1414:Connell p 172
1411:
1409:
1405:
1402:Connell p 171
1399:
1396:
1390:
1387:
1381:
1378:
1372:
1369:
1363:
1360:
1354:
1351:
1345:
1342:
1336:
1333:
1327:
1324:
1318:
1315:
1309:
1306:
1300:
1297:
1291:
1288:
1282:
1280:
1278:
1274:
1268:
1265:
1259:
1256:
1250:
1247:
1241:
1239:
1235:
1232:
1227:
1224:
1218:
1216:
1212:
1207:
1201:
1198:
1192:
1189:
1183:
1180:
1174:
1171:
1168:Alberti p 254
1165:
1162:
1156:
1153:
1147:
1145:
1141:
1138:Connell p 168
1135:
1133:
1131:
1127:
1116:
1112:
1106:
1103:
1097:
1093:
1090:
1088:
1085:
1083:
1082:Pedro Salinas
1080:
1078:
1075:
1074:
1070:
1065:
1062:
1058:
1055:
1051:
1048:
1045:
1044:Pedro Salinas
1041:
1037:
1033:
1029:
1025:
1021:
1017:
1014:
1010:
1007:
1006:
1002:
997:
994:
992:
988:
985:
983:
979:
976:
974:
970:
967:
965:
961:
958:
956:
953:, M., Visor,
952:
949:
947:
943:
940:
938:
934:
931:
929:
925:
922:
920:
916:
913:
911:
907:
904:
902:
898:
895:
893:
889:
886:
884:
880:
877:
875:
871:
868:
866:
862:
859:
857:
853:
850:
848:
844:
841:
839:
835:
832:
830:
826:
823:
821:
817:
814:
812:
808:
805:
804:
800:
798:
795:
790:
786:
782:
773:
771:
769:
765:
761:
756:
753:
748:
744:
740:
732:
730:
726:
722:
719:
715:
711:
707:
702:
700:
696:
692:
688:
684:
680:
676:
672:
668:
660:
656:
652:
651:
650:
648:
643:
641:
636:
633:
630:
621:
619:
617:
611:
609:
605:
600:
597:
589:
587:
585:
581:
577:
573:
568:
564:
562:
556:
554:
550:
546:
542:
541:José Bergamín
538:
534:
526:
524:
522:
518:
513:
507:
503:
502:
496:
492:
489:
487:
483:
477:
475:
471:
467:
463:
459:
454:
450:
448:
444:
440:
435:
434:Dámaso Alonso
426:
421:
416:
414:
412:
408:
404:
399:
397:
393:
389:
384:
381:
376:
374:
369:
365:
361:
357:
353:
348:
346:
341:
339:
335:
329:
327:
326:Verso y Prosa
323:
319:
315:
311:
307:
302:
299:
295:
291:
288:
284:
283:Pedro Salinas
280:
276:
272:
268:
260:
258:
256:
252:
248:
244:
240:
235:
233:
229:
224:
216:
208:
204:
200:
196:
193:
189:
185:
182:
178:
174:
144:
143:
121:
120:
118:
114:
109:
99:
95:
90:
73:
69:
64:
63:Jorge Guillén
61:Sculpture of
58:
53:
49:Jorge Guillén
46:
41:
37:
33:
29:
22:
2186:
2171:Júlio Dantas
2115:Cesare Cantù
1922:Sergio Pitol
1898:Álvaro Mutis
1762:Luis Rosales
1701:
1647:(in Spanish)
1639:(in Spanish)
1623:
1613:
1594:
1575:
1554:
1533:
1514:
1493:. Retrieved
1489:
1480:
1434:
1428:
1419:
1398:
1389:
1384:Havard p 118
1380:
1375:Havard p 106
1371:
1362:
1353:
1344:
1335:
1326:
1317:
1308:
1299:
1290:
1267:
1258:
1249:
1226:
1200:
1191:
1182:
1173:
1164:
1159:Gibson p 162
1155:
1118:. Retrieved
1114:
1105:
1060:
1053:
1036:Luis Cernuda
1016:Yo-Yo Boing!
995:
987:La expresión
986:
977:
968:
959:
950:
941:
932:
923:
914:
905:
896:
887:
878:
869:
860:
851:
842:
833:
824:
815:
806:
784:
780:
777:
767:
763:
760:Aire nuestro
759:
757:
746:
742:
738:
736:
727:
723:
717:
713:
709:
705:
703:
698:
694:
690:
686:
682:
674:
670:
666:
664:
646:
644:
639:
637:
634:
628:
625:
615:
612:
603:
601:
595:
593:
590:1945 edition
583:
580:Meditaciones
579:
575:
572:Walt Whitman
569:
565:
560:
557:
553:Meditaciones
552:
536:
532:
530:
527:1936 edition
520:
511:
509:
505:
500:
498:
494:
490:
485:
481:
478:
473:
470:Aire nuestro
469:
465:
461:
455:
451:
442:
438:
430:
427:1928 edition
400:
385:
377:
372:
367:
363:
351:
349:
344:
342:
330:
325:
317:
313:
303:
289:
279:licenciatura
278:
264:
257:four times.
246:
236:
214:
213:
167:
102:(1984-02-06)
62:
39:
35:
28:Spanish name
16:Spanish poet
2228:1984 deaths
2223:1893 births
1934:Juan Gelman
1869:José Hierro
1756:Octavio Paz
1366:Havard p 93
1357:Havard p 90
1348:Havard p 84
1339:Havard p 68
1330:Havard p 51
1321:Havard p 42
1312:Havard p 41
1303:Havard p 39
1294:Havard p 25
1271:Havard p 14
1244:Havard p 11
1221:Havard p 67
1195:Gibson p442
1186:Gibson p359
1177:Gibson p348
1150:Havard p 18
969:Convivencia
801:Poetic work
766:(1973) and
721:every day.
537:Cruz y Raya
458:Paul Valéry
172: 1984
2217:Categories
2011:Ida Vitale
1940:Juan Marsé
1566:0521294819
1506:References
1495:2020-10-23
1490:Dreamstime
1454:1143649021
1253:Havard p 9
1120:2017-04-19
747:occasional
667:Maremágnum
545:Aleixandre
368:La Barraca
267:Valladolid
89:Valladolid
81:1893-01-18
1462:cite book
951:Al margen
578:from the
261:Biography
1071:See also
770:(1982).
733:Homenaje
561:romances
318:La pluma
310:Polifemo
180:Children
26:In this
1624:Oeuvres
1040:Alberti
1020:Spanish
834:Cántico
825:Cántico
816:Cántico
807:Cántico
739:Cántico
718:Cántico
710:Cántico
706:Cántico
699:Cántico
691:Cántico
640:Cántico
616:Cántico
596:Cántico
549:Cernuda
533:Cántico
501:Cántico
466:Cántico
439:Cántico
422:Cántico
345:Octavas
306:Góngora
296:in the
292:at the
287:Spanish
275:Granada
164:
156:
152:
141:
133:
129:
116:Spouses
110:, Spain
91:, Spain
40:Álvarez
36:Guillén
32:surname
2197:(1982)
2189:(1978)
2181:(1957)
2173:(1955)
2165:(1954)
2157:(1947)
2149:(1914)
2141:(1885)
2133:(1883)
2125:(1881)
2117:(1880)
2109:(1873)
2050:2023:
2044:2022:
2038:2021:
2032:2020:
2015:2019:
2009:2018:
2003:2017:
1997:2016:
1991:2015:
1985:2014:
1979:2013:
1973:2012:
1967:2011:
1961:2010:
1944:2009:
1938:2008:
1932:2007:
1926:2006:
1920:2005:
1914:2004:
1908:2003:
1902:2002:
1896:2001:
1890:2000:
1873:1999:
1867:1998:
1861:1997:
1855:1996:
1849:1995:
1843:1994:
1837:1993:
1831:1992:
1825:1991:
1819:1990:
1802:1989:
1796:1988:
1790:1987:
1784:1986:
1778:1985:
1772:1984:
1766:1983:
1760:1982:
1754:1981:
1748:1980:
1718:1979:
1712:1978:
1706:1977:
1700:1976:
1601:
1582:
1563:
1540:
1521:
1452:
1442:
1423:Morris
998:, 1999
743:Clamor
714:Clamor
695:Clamor
671:Clamor
661:Clamor
486:dizain
482:décima
396:Málaga
352:lector
314:España
290:lector
273:– and
191:Awards
108:Málaga
2026:2020s
1955:2010s
1884:2000s
1813:1990s
1742:1980s
1694:1970s
1098:Notes
978:Final
768:Final
392:Italy
158:(
154:
135:(
131:
1722:and
1599:ISBN
1580:ISBN
1561:ISBN
1538:ISBN
1519:ISBN
1472:link
1468:link
1450:OCLC
1440:ISBN
1022:and
991:1981
982:1981
973:1975
964:1973
955:1972
946:1970
937:1968
928:1967
919:1963
910:1962
901:1962
892:1960
883:1960
874:1957
865:1957
856:1956
847:1954
838:1950
829:1945
820:1936
811:1928
336:and
316:and
228:poet
97:Died
71:Born
1011:'s
681:'s
354:at
241:at
34:is
2219::
1488:.
1464:}}
1460:{{
1448:.
1407:^
1276:^
1237:^
1214:^
1143:^
1129:^
1113:.
1042:,
1038:,
1034:,
1030:,
701:.
555:.
547:,
523:.
413:.
398:.
328:.
205:,
201:,
197:,
170:d.
166:–
160:m.
137:m.
2086:e
2079:t
2072:v
1678:e
1671:t
1664:v
1607:.
1588:.
1569:.
1546:.
1527:.
1498:.
1474:)
1456:.
1208:.
1123:.
217:(
83:)
79:(
42:.
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
