524:, Northampton, Mass. In 1932, she spent her summer vacation in Madrid, where she met Salinas and they fell in love. A few weeks later, she returned to Northampton. She returned to spend the academic year 1934â5 in Madrid where they picked up their affair. However, on learning that Salinas's wife had discovered what was happening and had tried to commit suicide, she broke off relations. A sporadic correspondence continued afterwards but she married another man and the affair was over. The very shortness of the affair, two summers and an academic year, perhaps explains why it seems to have gone unsuspected by his close friends. The intensity of his feelings, however, are captured in the letters and, above all, in these collections of poetry. GuillĂ©n seems to have been the person who tracked down what had happened.
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interesting. Most of the characteristics of the poet's mature style are captured here: basically simple and colloquial language used to depict everyday things in surprising ways in order to bring out the appearance/reality duality. He tended not to use traditional
Spanish verse-forms in his poetry but neither did he write free verse. There is usually some kind of assonance scheme or metrical pattern underpinning the whole. His poems also tend to be short â less than 20 lines long â and playful in tone. One of the longer poems in this collection of untitled poems is
511:, was not published during the poet's lifetime, only appearing in full in 1971. For many years, it was assumed that these poems were rhetorical exercises - poems that use the techniques and devices of his earlier poems but focused on an imaginary love affair. Among the people who knew him well at the time, Cernuda thought that they were playful exercises, not seeing any great significance in them. Guillén, on the other hand, takes them very seriously but gives no sign that they might have been based in reality, real feelings. He even quotes the view of the critic
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latter, Salinas goes a step further and tries to restore a sense of wonder to an everyday object by translating it to a mythological or legendary world. He develops the conceit of the filament of an electric light as a princess locked in a glass prison, guarded by rays of sunshine. He can only free her at night, by pressing a switch. In "Quietud", he writes a poem about the challenge of the blank sheet of paper â a theme explored by
Mallarmé, and by Cernuda as well. However, for Salinas, perfection can be achieved by a poem remaining incomplete.
568:; the second comprises eight long poems with individual titles. The subject-matter and approach is much the same as in the earlier collection but there is more assurance in the handling of the poetry. Again there is an emphasis on the inability of language to convey what the poet feels. "Beso serĂĄ" develops the conceit that things that the lovers see and feel whilst they are apart, the "appearances" of trees, breezes, leaves etc., become the "reality" of the kiss when the lovers are reunited. They only become real when the lovers meet again.
467:"Nivel preferido" is a key poem for understanding Salinas's choice of subject-matter. He grew up in the capital city and is arguably more of an urban person than most of his generation, who tended to come from provincial capitals. His poems rarely feature landscapes and wide, open spaces: this is because such views have largely been catalogued so that anyone with a Baedeker or travel guide can interpret them. What Salinas likes are little unobserved details, which abound in uncatalogued urban scenes.
658:"Nocturno de los avisos". The last poem in the collection, "Cero", is a long lament expressing his horror and sadness that the pinnacle of scientific ingenuity, which should be a progressive force, has been to create something as destructive as the atomic bomb. The only consolation that he can find is revealed in "Lo inĂștil". Impractical, immaterial, unsought among the values of the modern world, doing no harm to others, "useless" poetry is what makes life worthwhile for him.
667:
to any particular set of historical circumstances and therefore able to outlast them. The final poem is the one that was used to provide a title for the collection. It consists of a string of adverbial subjunctive clauses with the main subject continually suppressed â the implication being that it is poetry itself that will survive as long as certain things continue to happen or exist.
585:
groups of texts, 3 found in Gilman Hall at the Johns
Hopkins campus and the other 2 amongst the poet's papers in his house in Newland Road, Baltimore. The state of the manuscripts varied between finished and properly typed up, finished by the poet but not properly typed up, and draft. Amongst the drafts, there were some that the editor felt were complete enough to merit publication.
479:. "La otra" is an intriguing poem about a girl who decides to commit suicide but not by poison, shooting or strangulation: instead, she lets her soul die. She continues to be photographed and mentioned in the gossip-columns and nobody notices that she is dead. This shows the development of a more serious tendency in Salinas to go with the playful way he had drawn on
247:. In April 1926, he was present at the gathering in Madrid where the first plans to celebrate the tercentenary of GĂłngora's death were laid. Salinas was to edit the volume devoted to the sonnets: a project that never came to fruition. While at Cambridge, his translation of the first two volumes and part of the third of
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These last poems were published in 1954, three years after his death, and suggest that the attitude of his previous two collections was only a passing phase. There is a return to the optimism that characterises most of his work. He reasserts his belief in the most enduring factors of life, not tied
644:
The collection shows signs of a new approach to the city and urban life that had been foreshadowed in a few poems such as "La otra" but which was outweighed by his fascination with incidental flashes of beauty and harmony. In "VariaciĂłn XII" he sets up an opposition between the purity of the sea and
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or maybe
Mallarmé. In the former poem, it is easy to jump to the conclusion that this is a poem about a pair of lovers. Only in the final line is it made clear that the poet is addressing his poem to a car, which he has stopped for a moment to contemplate the view from a high mountain pass. In the
393:
often have a rarefied quality and tend not to deal with "particulars", readily identifiable people and places. Nevertheless, 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
388:
There is a crucial difference between the world of everyday appearance and the deeper reality that the poet sees and tries to convey to his readers. Salinas writes as if he is the first person to see a particular object or feel a certain emotion and he tries to convey to the reader this sense of the
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that his daughter Solita brought out in 1971, she restored the original title and gathered together 21 poems. In the 1981 edition, she added a further 26 poems, considerably expanding the size of the collection. The manuscript, which existed almost entirely in typescript, was made up of 5 distinct
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A key poem is "VocaciĂłn". Its first stanza is almost a paraphrase of GuillĂ©n's view of poetry as a contemplation of something in the world â saying the right words brings reality alive. The central stanza shows that
Salinas questions this approach, which seems to give the poet no role beyond that
187:
until 1917, when he received his doctorate. He had married
Margarita BonmatĂ, a Spanish girl of Algerian descent whom he had met on his summer holidays in Santa Pola, Alicante, in December 1915. She had been born in 1884. They had two children, Soledad (always referred to as Solita) born in 1920
486:
In "Lo nunca igual", it is possible to see again the essential difference between
Salinas and Guillén. The latter, on waking up, welcomes the return of familiar things. Salinas, on the other hand, on returning to familiar surroundings, welcomes the novelty added by his absence: these are not the
381:
Poetry always operates on reality. The poet places himself before reality like a human being before light, in order to create something else, a shadow. The shadow is the result of the interposition of a body between light and some other substance. The poet adds shadows to the world, bright and
657:
Published in 1949, this collection gathers poems written between 1937 and 1947. Although
Salinas was never a political poet, in his American exile he saw the development of the machine-civilisation, enslaving its citizens to a world of commerce, figures and senseless advertising slogans â as in
405:
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
392:
Salinas has often been compared with Guillén. 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 following similar career-paths, but they also seemed to share a similar approach to poetry. Their poems
450:
This book gathers together poems written between 1924 and 1928. The title is hard to render in
English â sure or certain chance â but it seems to allude to the poet's confidence or certainty that he will find random moments of beauty or wonder in everyday life. The title might also suggest a
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did the main editorial work - Salinas showed him a collection of 50 poems and it was Jiménez who organised them, placing three sonnets to form a central axis as well as adding an introductory essay. The title can be translated as presages, omens, prophesies and it suggests why this book is
268:
In 1928 he became a researcher at the Centro de Estudios HistĂłricos in Madrid before becoming director of studies for foreigners at the University of Madrid. In 1930, he became a professor of Spanish literature at Madrid and doubled up as originator, organiser and secretary-general of the
342:. In the summer of 1949 he returned to Europe for the last time to visit Italy and France and to work for UNESCO. At the beginning of 1951 he began to exhibit signs of ill-health, which turned out to be an incurable cancer. He died on 4 December 1951. At his request he was buried in
410:
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.
490:
This collection also includes one of his most anthologised poems, "Underwood girls". This is another of those riddle poems that mythologise the everyday. The "girls" are the keys of a typewriter awaiting the touch of an operator to awaken them from centuries of slumber.
374:
His poetry falls naturally into three periods: the first three books, the love poetry, and the poetry of exile. However, there are more continuities between these phases than such an analysis would suggest. In his published Johns Hopkins lectures he remarked:
637:, GuillĂ©n says, "Even a SalinasâŠcomposed an occasional sonnet" but it is not until this work that he showed any sustained signs of interest in formal metrical structures. The vocabulary is more florid than in earlier works and there are even occasional uses of
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of a mere spectator. In the final stanza, he gives his own conception of poetry, in which he closes his eyes and sees how blurry and incomplete the observed world is until a poet comes along to supply what is lacking to make it something perfect.
551:
In the section "Por quĂ© tienes nombre tĂșâŠ" the poet shows his frustration at the inadequacy of words to capture the wonder he finds in the things they designate. If his lover did not have a name then he would feel that he was creating her.
458:
In "Navecerrada, abril" and "35 bujĂas", Salinas uses a riddle technique which becomes a signature device in later collections. The actual subject of the poem is only identified at the end of the poem - a technique that could derive from
434:, which deals with the apparently independent life of the poet's shadow. Eventually, the fact that he cannot control it makes him commit "fratricide" by retreating indoors, to a shadow-free zone. In such poems, the influence of the
269:
International Summer School of Santander between 1933 and 1936. This school was set up to accommodate 200 Spanish students (approximately 4 from each of the established universities in Spain) and an international teaching staff.
555:
In "TĂș no las puedes verâŠ" he uses the riddle technique, holding back the banal word "tears" to the end to emphasise its inability to capture all the thoughts that have gone through his mind on seeing them and kissing them.
515:
that this is love poetry where the beloved is a phenomenon created by the poet, whilst asserting that this point of view is fundamentally mistaken. However, in 2002, Enric Bou published a set of letters sent by Salinas to
167:
in 1908 and in 1910 started to study history concurrently. He graduated successfully in both courses in 1913. During his undergraduate years, he began to write and publish poems in small circulation journals such as
424:
It was at the relatively late age of 32 that Salinas published his first collection in 1923 â both GuillĂ©n, at the age of 35, and he were the oldest of the generation to get collections published. It seems that
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548:, such as paradox and conceits, are drawn upon again perhaps in more complex ways than before because he is dealing with abstract concepts such as love. The language, however, remains very simple.
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592:
and poems that seem to embody the title given to this collection: long lament. This title does not actually appear in any of the manuscripts: it only comes from letters to his Argentinian friend
286:. and on 12 July he was present at a party in Madrid that took place just before GarcĂa Lorca departed to Granada for the last time before his murder. It was there that Lorca read his new play
956:
The painter Carlos Marichal considered his grandfather Pedro Salinas to be a mythic cultural figure. Marichal's illustration of Salina's poetry is in the permanent collection of the
140:, as well as a university teacher, scholar and literary critic. In 1937, he delivered the Turnbull lectures at Johns Hopkins University. These were later published under the title
338:
but in 1940 he took up a permanent post at Johns Hopkins where he remained for the rest of his life, including long spells of travel in South America and a period of 3 years at the
475:
This collection appeared in 1931 and presents the culmination of this phase of Salinas's poetry â it is in effect a continuation and extension of themes and techniques found in
1681:
641:. These features are characteristic of the style of GĂłngora and lead the reader to wonder whether this is not his long-delayed contribution to the Tercentenary celebrations.
617:
Although this was published in 1946, the poems were inspired by the sea at Puerto Rico during his stay in 1943â44. It bears an epigraph from Guillen's 1945 edition of
315:, Baltimore, on Poet and Reality in Spanish Literature (published 1940). In the summer of that year (and in many subsequent years), he taught in the Spanish faculty of
1671:
564:
This book takes its title from a poem from the early 13th century and falls into two sections. The first consists of untitled and unnumbered poems like those of
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growing self-confidence inside the poet. The appearance/reality conflict is now increasingly illustrated by examples gathered from life in a modern metropolis.
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His love poetry is generally considered to be the highest peak of his achievement as a poet. It was written between 1933 and 1939 and was published in
1626:
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and it is indeed conceived as a single poem whose various episodes do not have individual titles or numbers. It takes its title from the third
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Nevertheless, there are two distinct types of poems included in this collection - poems that seem like a continuation of the mood and style of
1631:
1616:
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The poems that form this collection were written between 1936 and 1939. A selection from them had been published in 1957 under the title
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621:â again emphasising the strong links between the two men â on the subject of light being the best guide. The book also has a subtitle
50:
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in the academic year 1919â20, to whom he gave special encouragement. He urged him to read modern French literature, in particular
164:
361:, which was released in 1976. His daughter edited his poetry and incorporated an introduction by his old friend Jorge Guillén.
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278:. In August 1933, he was able to host performances at the Magdalena Palace in Santander by the travelling theatre company
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957:
722:, Baltimore, The Johns Hopkins Press, 1938 (bilingual anthology with unpublished poems. Trad. de Eleanor L. Thurnbull).
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544:. An ever new "I" eagerly pursues an ever new "you" but there is always something that eludes him. The devices of
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that Lorca led. On 20 April 1936, he attended the launch party in Madrid for Luis Cernuda's new collection
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and Jaime born in 1925. His academic life seemed to act as a model for his slightly younger contemporary
180:
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and the most noticeable aspect of these variations is the use of strict Spanish metrical forms such as
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luminous shadows like new lights. All poetry operates on one reality for the sake of creating another.
163:, both close by the church. His father, a cloth-merchant, died in 1899. He began to study law at the
980:
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was seen by Guillén in 1938 but was subsequently put aside by the author, as was the continuation of
137:
1318:
307:, Mass., which he held until 1937. In the spring of 1937, he delivered a series of lectures as the
938:
402:
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184:
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316:
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the ugliness of the city of commerce. The city is described in terms reminiscent of Lorca's
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155:. Salinas lived his early years in the heart of the city and went to school first in the
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20:
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He had been dividing his time between the faculties of Wellesley, Middlebury, and
272:
On 8 March 1933, he was present at the premiere in Madrid of GarcĂa Lorca's play
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He was born in Madrid in the Calle de Toledo, 1891, in a house very close to the
1035:
512:
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136:(27 November 1891 – 4 December 1951) was a Spanish poet, a member of the
638:
216:
1330:
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In 1918 he was appointed Professor of Spanish Language and Literature at the
876:, ediciĂłn de Soledad Salinas de Marichal, Madrid, Alianza Editorial, 1986.
49:
1387:. Berkeley and Los Angeles: University of California Press. p. 323.
1364:
1351:
880:
Cartas a Katherine Whitmore. Epistolario secreto del gran poeta del amor
670:
His work as a playwright is little-known in the English-speaking world.
224:
24:
239:, where he got to know the leading lights of his generation, such as
89:
70:
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into Spanish was published. And in 1925, his modernised version of
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conference in New York, representing the writers of the (Second)
1472:
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things he left behind but new discoveries, despite appearances.
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is apparent and this becomes more marked in future collections.
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Salinas was the father-in-law of Spanish historian and writer
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and he held the post until 1928, although he spent 1922â23 as
1534:
Cernuda, Luis (1994). Derek Harris and Luis Maristany (ed.).
1284:
PoesĂas completas - Nota preliminar a la 2a ediciĂłn, p 31-33
1467:. Cambridge, Mass.: Harvard University Press. p. 293.
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1024:
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1010:
1502:
Salinas, Pedro (1981). Solita Salinas de Marichal (ed.).
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992:
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768:, Barcelona, Barral, 1971. (includes the posthumous work
357:. Marichal would later publish Salinas' complete works,
1545:
Tongue Ties: Logo-Eroticism in Anglo-Hispanic Literature
1506:(Second ed.). Barcelona: Seix Barral. p. 931.
746:, Madrid, Aguilar, 1955 (includes the posthumous work
295:
On 31 August 1936, shortly after the beginning of the
227:. He continued to publish poems in magazines such as
1156:"The Canary Islands mourn the death of Juan Marichal"
299:, he moved to the US, to take up the position of the
1642:
Exiles of the Spanish Civil War in the United States
1352:"La TeologĂa oriental en la Gran Enciclopedia RIALP"
944:
El hombre se posee en la medida que posee su lengua.
235:. In vacations, he spent time as a lecturer at the
1592:
Burials at Santa MarĂa Magdalena de Pazzis Cemetery
756:, Madrid, Aguilar, 1956 (ediciĂłn de Juan Marichal).
123:
115:
101:
78:
56:
40:
1490:
1422:
520:between the years 1932â47. She taught Spanish at
649:, which is a major change in Salinas's outlook.
397:, whereas Guillén's Norton lectures were called
596:and Jorge Guillén. The original conception of
401:. Both devoted single lectures to GĂłngora and
31: and the second or maternal family name is
1055:Cernuda: OCP Historial de un libro vol 1 p 627
1014:Salinas PoesĂas completas Biographical summary
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1232:
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1220:
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389:wonder hidden behind familiar, banal things.
192:with whom he struck up a friendship in 1920.
8:
1074:
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1682:Academic staff of the University of Seville
1404:Spanish Poetry of the Grupo poetico de 1927
1125:"Historian and Essayist Juan Marichal Dies"
762:, MilĂĄn, All'insegna del pesce d'oro, 1957.
1350:Garijo Guembe, Miguel MarĂa (1976-01-01).
1245:Cernuda: OCP vol 1 Salinas y Guillén p 199
916:Reality and the Poet in Spanish Literature
48:
37:
1363:
922:Jorge Manrique o tradiciĂłn y originalidad
1448:. London: Faber and Faber. p. 551.
1032:"Pedro Salinas - People - Exile Remains"
904:El desnudo impecable y otras narraciones
344:Santa Maria Magdalena de Pazzis Cemetery
106:Santa Maria Magdalena de Pazzis Cemetery
1672:People educated at Instituto San Isidro
1406:. Oxford: Pergamon Press. p. 214.
1254:GuillĂ©n intro to PoesĂas completas p 11
968:
161:Instituto Nacional de Segunda Enseñanza
142:Reality and the Poet in Spanish Poetry.
1568:(Spanish, P. Salinas' poem collection)
1493:Reality and the Poet in Spanish Poetry
1317:Escosura, Luis P. de la (1988-06-19).
1210:GuillĂ©n intro to PoesĂas completas p 2
874:Cartas de amor a Margarita (1912â1915)
734:, MĂ©xico, Nueva Floresta; Stylo, 1946.
395:Reality and the Poet in Spanish Poetry
319:, Vermont and was awarded a doctorate
207:. One of his students in Seville was
1521:Harguindey, Ăngel S. (6 April 2002).
688:, Madrid, Revista de Occidente, 1929.
323:. In May 1939, he participated in a
7:
1385:The Lost Grove (trans Gabriel Berns)
716:, MĂ©xico, Imp. Miguel N. Lira, 1938.
740:, Buenos Aires, Sudamericana, 1949.
1293:Guillen: Language and Poetry p 213
888:, Alianza Editorial, Madrid, 2002.
406:process not a participant in it.
14:
1662:20th-century Spanish male writers
1497:. Baltimore: Johns Hopkins Press.
837:La estratosfera. Vinos y cervezas
1627:Johns Hopkins University faculty
706:, Madrid, Ediciones del Ărbol;
580:. In the first edition of his
1543:PĂ©rez Firmat, Gustavo (2003).
1429:. Cambridge University Press.
578:Volverse sombra y otras poemas
1:
1425:A Generation of Spanish Poets
1130:Latin American Herald Tribune
910:Literatura española. Siglo XX
738:Todo mĂĄs claro y otros poemas
728:, Buenos Aires, Losada, 1942.
507:(1936). A third collection,
359:Three Voices of Pedro Salinas
1632:University of Seville alumni
1538:. Madrid: Ediciones Siruela.
1523:"The Secret Love of Salinas"
1484:. Madrid: Ediciones siruela.
1168:. 2010-08-11. Archived from
1133:. 2010-08-09. Archived from
958:Museum of Art of Puerto Rico
882:, Barcelona, Tusquets, 2002.
825:CaĂn o Una gloria cientĂfica
532:This book has the sub-title
23:, the first or paternal
1617:Literary critics of Spanish
732:El contemplado (Mar; poema)
153:San Isidro church/cathedral
1698:
1657:20th-century Spanish poets
1612:FrenchâSpanish translators
1536:Obra completa Prosa 2 vols
1482:Obra completa Prosa 2 vols
1402:Connell, Geoffrey (1977).
1263:The Secret Love of Salinas
720:Lost Angel and Other Poems
18:
694:, Madrid, Plutarco, 1931.
370:Stylistic characteristics
340:University of Puerto Rico
237:Residencia de Estudiantes
47:
1647:20th-century translators
1383:Alberti, Rafael (1976).
928:La poesĂa de RubĂ©n DarĂo
313:Johns Hopkins University
289:La casa de Bernarda Alba
172:. In 1914 he became the
1489:Salinas, Pedro (1966).
1463:Guillen, Jorge (1961).
760:Volverse y otros poemas
682:, Madrid, Ăndice, 1923.
205:University of Cambridge
157:Colegio Hispano-Francés
134:Pedro Salinas y Serrano
1677:20th-century essayists
1667:Spanish male essayists
1480:Cernuda, Luis (1994).
843:La fuente del arcĂĄngel
813:La cabeza de la medusa
700:, Madrid, Signo, 1933.
284:La realidad y el deseo
254:In Search of Lost Time
1547:. Palgrave Macmillan.
1446:Federico Garcia Lorca
708:Cruz y Raya (revista)
518:Katherine R. Whitmore
197:University of Seville
1444:Gibson, Ian (1989).
935:Fray Luis de Granada
623:Tema con variaciones
542:Garcilaso de la Vega
263:Revista de Occidente
1607:Spanish translators
1597:Writers from Madrid
1465:Language and Poetry
1365:10.36576/summa.1559
983:on October 1, 2012.
939:San Juan de la Cruz
647:Poeta en Nueva York
635:Language and Poetry
438:stylistic tendency
403:San Juan de la Cruz
399:Language and Poetry
301:Mary Whiton Calkins
292:for the last time.
259:El Poema de MĂo Cid
185:University of Paris
181:CollĂšge de Sorbonne
165:Universidad Central
1652:Spanish male poets
1421:Morris, C (1969).
1166:Canary Island News
898:La bomba increĂble
807:La isla del tesoro
801:La bella durmiente
795:Ella y sus fuentes
698:La voz a ti debida
674:Poetry collections
594:Guillermo de Torre
566:La voz a ti debida
528:La voz a ti debida
501:La voz a ti debida
483:in earlier works.
427:Juan Ramón Jiménez
408:Vicente Aleixandre
317:Middlebury College
309:Turnbull Professor
215:and the poetry of
1637:Generation of '27
1622:Spanish academics
1602:Spanish essayists
1504:Poesias Completas
1356:Diålogo Ecuménico
1319:"Carlos Marichal"
892:VĂsperas del gozo
831:Judit y el tirano
754:PoesĂas completas
744:PoesĂas completas
582:PoesĂas completas
325:PEN International
305:Wellesley College
297:Spanish Civil War
261:was published by
138:Generation of '27
131:
130:
119:Margarita BonmatĂ
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1044:
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1034:. Archived from
1028:
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985:
984:
979:. Archived from
973:
766:PoesĂa completas
714:Error de cĂĄlculo
329:Spanish Republic
159:and then in the
85:
67:27 November 1891
66:
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38:
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1358:(42): 573â576.
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977:"Johns Hopkins"
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954:
952:Popular culture
947:El rinoceronte.
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608:Poetry of exile
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275:Bodas de sangre
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82:4 December 1951
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1201:Connell p 168
1198:
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1172:on 2020-05-16
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560:RazĂłn de amor
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522:Smith College
519:
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509:Largo lamento
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355:Juan Marichal
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336:Johns Hopkins
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321:honoris causa
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190:Jorge Guillén
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102:Resting place
100:
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94:Massachusetts
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42:Pedro Salinas
39:
34:
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22:
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1526:
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1355:
1345:
1334:. Retrieved
1322:
1312:
1289:
1280:
1259:
1250:
1241:
1206:
1185:
1174:. Retrieved
1170:the original
1159:
1150:
1139:. Retrieved
1135:the original
1128:
1119:
1110:
1101:
1092:
1083:
1060:
1051:
1040:. Retrieved
1036:the original
981:the original
971:
955:
933:Editions of
927:
921:
915:
909:
903:
897:
891:
885:
879:
873:
860:
854:
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842:
836:
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824:
819:Sobre seguro
818:
812:
806:
800:
794:
788:
782:
769:
765:
759:
753:
747:
743:
737:
731:
726:PoesĂa junta
725:
719:
713:
707:
703:
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685:
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503:(1933), and
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241:GarcĂa Lorca
232:
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209:Luis Cernuda
200:
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176:
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133:
132:
84:(1951-12-04)
32:
28:
21:Spanish name
16:Spanish poet
1587:1951 deaths
1582:1891 births
1114:Gibson p442
1105:Gibson p432
1096:Gibson p359
1087:Gibson p348
886:El defensor
868:Other works
791:(1942â1943)
789:El parecido
783:El director
686:Seguro azar
546:conceptismo
513:Leo Spitzer
495:Love poetry
481:conceptismo
477:Seguro azar
461:conceptismo
446:Seguro azar
440:conceptismo
415:First phase
1576:Categories
1436:0521294819
1376:References
1336:2020-10-23
1176:2010-08-21
1141:2010-08-21
1042:2012-10-13
849:Los santos
639:hyperbaton
436:Golden Age
280:La Barraca
217:Baudelaire
213:André Gide
63:1891-11-27
1562:(Spanish)
1331:1134-6582
855:El precio
748:Confianza
662:Confianza
420:Presagios
147:Biography
1566:poesi.as
1473:60015889
680:Presagio
631:romances
348:San Juan
233:La Pluma
221:Mallarmé
170:Prometeo
124:Children
110:San Juan
19:In this
1527:El PaĂs
1323:El PaĂs
930:(1948).
924:(1947).
918:(1940).
912:(1940).
906:(1951).
900:(1950).
894:(1926).
710:, 1936.
619:CĂĄntico
538:Eclogue
225:Rimbaud
203:at the
183:in the
179:at the
174:Spanish
73:, Spain
33:Serrano
29:Salinas
25:surname
1510:
1471:
1452:
1433:
1410:
1391:
1329:
1189:Morris
863:(1947)
857:(1947)
851:(1946)
845:(1946)
839:(1945)
833:(1945)
827:(1945)
821:(1945)
815:(1945)
809:(1944)
803:(1943)
797:(1943)
785:(1936)
633:. In
627:silvas
365:Poetry
229:España
201:lector
177:lector
116:Spouse
96:, U.S.
90:Boston
71:Madrid
964:Notes
777:Plays
534:Poema
1508:ISBN
1469:LCCN
1450:ISBN
1431:ISBN
1408:ISBN
1389:ISBN
1327:ISSN
629:and
243:and
231:and
223:and
79:Died
57:Born
1360:doi
540:of
346:in
311:at
251:'s
108:in
27:is
1578::
1525:.
1354:.
1321:.
1298:^
1268:^
1229:^
1215:^
1194:^
1164:.
1158:.
1127:.
1069:^
1019:^
989:^
960:.
937:y
750:).
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432:31
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1362::
1339:.
1179:.
1144:.
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941:.
772:)
127:2
65:)
61:(
35:.
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