847:. Subsequently, DĂĄmaso Alonso recalled that there was a lively discussion about a certain writer - probably Rafael Alberti - who had become deeply involved in politics. "He'll never write anything worthwhile now," was Lorca's comment. This is probably an unduly sweeping comment to make. Alberti's political commitment manifested itself in two distinct ways: an unoriginal party-line verse whose only saving grace is the technical skill and fluency that he could bring to bear even on such routine exercises, and a far more personal poetry in which he draws from his memories and experience to attack the forces of reaction in a more direct, less opaque way than in his earlier collections.
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in my own rubble, feeling my insides to be torn and splintered? And then there was a kind of angelic revelation â but not from the corporeal, Christian angels found in all those beautiful paintings and religious icons, but angels representing irresistible forces of the spirit who could be moulded to conform to my darkest and most secret mental states. I released them in waves on the world, a blind reincarnation of all the cruelty, desolation, terror and even at times the goodness that existed inside of me but was also encircling me from without.
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799:. The key to understanding this collection is probably the poem "Muerte y juicio" (âDeath and Judgmentâ). The child has lost his innocence and belief in a way that was almost predestined before his birth. He recalls one specific incident from his schooldays, when the day-boys played truant and went to the beach to bathe naked and masturbate. They were spotted by a Jesuit teacher and subjected to agonising and humiliating sermons convincing them that they would lose their souls by doing such things.
895:(âOn Paintingâ) (1945- ). During his exile, Alberti took up painting again and began a series of poems to draw together his thinking on this subject, to which he continued to add over a period of many years. He wrote a series of sonnets about the raw materials â the retina, the hand, the canvas, the brush etc.; a series of short poems in free verse about colours; and finally a series of poems in homage to various painters such as
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707:. More significantly, there is a sense of unease hanging over the whole collection. Traditional values â myths, religion, convention â are found wanting, but more modern values such as speed, freedom and iconoclasm are also found to be hollow. The nymphs, shepherdesses and mythological figures of renaissance and Baroque poetry are brought into contact with department stores and other aspects of modern life only to appear banal.
919:(âBallads and Songs of the ParanĂĄâ) (1955). These collections contain poems of memory and nostalgia in a highly lyrical style. Once again he recalls his schooldays but this time in a mood of sadness. He also recalls his mother, his friends â especially Vicente Aleixandre who was too ill to leave Madrid during the Civil War - the death of Lorca and he also supplies a moving tribute to his wife.
782:(1927-8) consists almost entirely of poems on the loss of love and the poet's consequent feeling of being emptied. The metres are short and contain many irregular lines while still retaining an overall regularity of assonance and rhythm. The central section explores a sense of betrayal by religion. His childhood beliefs were dispelled very early by his fanatical aunts and the Jesuits of the
543:
226:. As a result, Alberti's father was no more than a commercial traveller for the company, always away on business, as the general agent for Spain for brands of sherry and brandy that had, before, only been exported to the UK. This sense of belonging to a "bourgeois family now in decline" was to become an enduring theme in his mature poetry. At the age of 10, he entered the
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excitement and novelty of the cinema with the boredom of lessons, the conventions of traditional literature and ideas with the revolution of radio, the aeroplane, the telephone. In the confusion caused by the clash of old and new values, the poet has a premonition of the feelings of emptiness and desolation that were soon to assail him but he decides to align with the new.
853:(âFrom One Moment to the Nextâ) (1932-8) contains the poem "Colegio (S.J.)" which yet again revisits his memories of his schooldays. Here, however, the Jesuitsâ treatment of the day-boys is analysed in a way that shows the poet's newly acquired class consciousness â it is depicted as a systematic way of indoctrinating a sense of inferiority.
250:, where he spent many hours copying paintings and sculptures. It was as a painter that he made his first entries into the artistic world of the capital. For example, in October 1920, he was invited to exhibit in the Autumn Salon in Madrid. However, according to his memoirs, the deaths in 1920 in quick succession of his father, the matador
687:, on the other hand, was written mainly during holidays he spent with two of his married sisters in MĂĄlaga and Rute, a claustrophobic Andalusian mountain village. He had by now met GarcĂa Lorca and seems to be trying to emulate him. However, what in Lorca is tragic, violent and death-laden tends to seem false and melodramatic in Alberti.
703:. He had been placed in charge of collecting the poems dedicated to GĂłngora as part of the Tercentenary celebrations and there are many signs of GĂłngora's influence on this work. Alberti's technical versatility comes to the fore as he writes sonnets, ballads, tercets and even a pastiche of the intricate style of the
758:, a friend's suicide, and a full awareness of his own position at the age of 25, misunderstood by his family, penniless, still living at home (it was only after he met MarĂa Teresa that he finally moved out) and with no other way of earning a living other than through his poetry. In this black mood,
424:. For Alberti, it became a religion in all but name and there is evidence that suggests that some of his friends tired of his unceasing attempts to "convert" them. As a Party emissary, he was finally freed from financial dependence on his family and he made several trips to northern Europe. But when
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as well as poems about the peasant-soldiers that can come across at times as patronising. Alberti himself saw little or no action â he was either abroad or in the comparative safety of offices or broadcasting-studios â but there are some forceful poems for reciting to the troops that might have been
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but he still needs to find something to believe in to dispel his feelings of emptiness and rootlessness. The third and final section sees a radical change of style. The short lines of the previous sections give way to much longer lines that grow into the tangled webs of surreal imagery that he was
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What was I to do? How was I to speak or shout or give form to that web of emotions in which I was caught? How could I stand up straight once again and extricate myself from those catastrophic depths into which I had sunk, submerging and burying myself more and more in my own ruins, covering myself
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as a charity day-boy. During his first year, Alberti was a model student but his growing awareness of how differently the boarders were treated from the day-boys, together with the other ranking systems operated by the
Jesuits, inspired in him a desire to rebel. In his memoirs, he attributes it to
651:; along with traces of Ultraism. Linking these various influences together are the poetâs facility â writing poetry seems to come to him very easily â and an air of naivety and innocence that are in fact carefully contrived. When the book was submitted for the Premio Nacional, the book was called
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He enjoyed great success over the next few years in the sense of artistic prestige: he was still financially dependent on his family. The new literary magazines were eager to publish his works. He was also starting to make friends with the people who would eventually get grouped together as the
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with five characters: Man with his Five Senses in allegorical reincarnation, The Maker, The Wife of Man, and
Temptation, the last-named a woman who plots the downfall of both protagonists in complicity with the Senses. On the opening night, 26 February 1931, it met with a stormy reception from a
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The most significant poem in the collection is probably the final one, "Carta abierta" (âOpen Letterâ). He makes it clear that he is writing as Rafael
Alberti, child of the Bay of CĂĄdiz and the twentieth century. He contrasts the confinement of the classroom with the freedom of the seashore, the
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was reserved for one single series of poems inside the whole collection. This is the most close-knit series of poems in the entire collection and deserves consideration as a single long poem. It also introduces two enduring themes in his work â his love of his native sea and nostalgia for his
909:(âMaritime Shoreâ) (1953). This is a collection dedicated to CĂĄdiz, in recognition of its antiquity. The poems take as their subject-matter the historical and mythological past of the city â Hercules, the Carthaginians etc. â as well as bringing into play the poet's childhood across the bay.
754:(âemptyâ). An unhappy love affair seems to have been the immediate catalyst but the pit of despair into which Alberti plunged was peopled also by deeper-rooted shadows of his life, notably recollections of his rebellious childhood and the hell-fire sermons of the Jesuits at the
876:(âBetween the Carnation and the Swordâ) (1939â40). This collection gathers the poems that Alberti wrote in France and Argentina at the start of his long exile. It marks a change in style, the feel for a need to regain his discipline as a poet. As a result, it resembles
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when he was invited by his brother, who had succeeded their father as a wine-salesman, to take a trip with him to the
Cantabrian coast. Alberti had never before visited northern Spain and the car-trip through the villages and mountains made a strong impression on him. In
859:(â13 Stripes and 48 Starsâ) (1935). During the 1930s, Alberti was able to make many journeys under the sponsorship of the Communist Party. This book is an account of a visit to the Caribbean and the US, which gave him ample scope to write poems denouncing capitalism.
238:. He began to play truant and defy the school authorities until he was finally expelled in 1917. However, his family was then at the point of moving to Madrid which meant that the disgrace did not register on Alberti or his family as strongly as it might have done.
944:, an army captain who had tried to launch a coup to establish a Spanish Republic in December 1930 and who was executed by firing-squad. Alberti converted the ballad into a play which was performed during June 1931, again to sharply mixed reactions.
805:(1929â31) was neither clearly conceived as a unified work nor ever completed. It consists of poems in free verse, full of complex surrealist imagery that is almost impenetrable. They convey an atmosphere of helplessness and total desolation.
326:. He was known to have a rocky relationship with him, since Lorca was gay and Alberti didnât approve of his sexuality. They werenât best of friends, but when Lorca finally died, in 1936, he dedicated a poem to him. During further visits to the
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There is a sense in this collection that
Alberti is writing in this collection as himself, not as the sailor, the troubadour or the tourist of his earlier books. He even wrote a poem about a heroic performance by the goalkeeper of
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They lived in
Argentina until 1963. Amongst other activities â he worked for the Losada publishing house and continued writing and painting - Alberti worked in the Argentinian film industry, notably as the adaptor of a play by
400:(âThe Empty Manâ), all showed signs of a psychological breakdown which, to the surprise of everyone who knew him, had overwhelmed Alberti and from which he was only saved by his elopement with the writer and political activist
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865:(âCapital of Gloryâ) (1936-8). This collects the poems that he wrote in commemoration of the siege of Madrid during the Spanish Civil War. It includes heartfelt but dull tributes to various Republican generals and to the
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The family moved to Calle de Atocha in Madrid in May 1917. By the time of the move, Alberti had already shown a precocious interest in painting. In Madrid, he again neglected his formal studies, preferring to go to the
674:(1926) followed in quick succession. These early works were influenced by traditional songs and folklore. Alberti had settled on a style and was writing fluently within it. He was working on the poems which would form
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699:(1926-8), is a big departure. He rejects some of the folkloric influences of the previous two works and picks up again the baroque forms, such as the sonnets and tercets, and also the Ultraist thematic material of
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At one desperate moment Platko was attacked so furiously by the players of the Real that he was covered with blood and lost consciousness a few feet from his position, but with his arms still wrapped around the
388:(âConcerning the Angelsâ), a book that showed a complete change of direction in the poetry of not only Alberti, but also the whole Group, and is generally considered his masterpiece. His next collections,
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Alberti was not especially interested in writing for the theatre but he managed to make a big impact with at least two plays. The first was one of the outputs of his breakdown at the end of the 1920s,
2268:. A comprehensive article of Angeliki Kavallierou in the "EI" Magazine of European Art Center (EUARCE) of Greece. First part, issue 6/1994, p. 20,26-33. Second part, issue 7/1994, p. 21-23
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377:(âQuicklime and Plainsongâ). Alberti himself was present at the meeting at a Madrid cafe in April 1926, when the plans for the tercentenary were first sketched out - along with Pedro Salinas,
683:, his brother is replaced by the figure of an imaginary girl-friend and he assumes the persona of a troubadour, writing short and generally light-hearted verses about the sights they saw.
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and released in August 1936 when the island returned to
Republican control. By November 1936 he was in Madrid having commandeered an aristocrat's palace (Palacio de ZabĂĄlburu) near
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and other Golden Age writers. He began to write poetry in earnest and submitted a few, successfully, to various avant-garde magazines. The book that resulted from this activity,
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etc. Morris has been able to track down some of the specific scenes that inspired these poems but the poems themselves are still in the dense style that
Alberti had adopted.
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829:('With My Shoes On I Must Die') (1930) â a quote from CalderĂłn â is his final work in this style. Written in the aftermath of the exhilaration of being involved in the anti-
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Tercentenary he began to write in a style that was not only more formally demanding but which also enabled him to be more satirical and dramatic. The result was
51:
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416:, in the process that converted the easy-going, carousing bohemian of the early books into the committed Communist of the 1930s. The establishment of the
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childhood. The poems in this sequence are nearly all written in lines of irregular length and irregular assonances and derive most obviously from the
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559:(âThe Ghost Ladyâ) in 1945. They then moved to Rome. On 27 April 1977 they returned to Spain. Shortly after his return Alberti was elected deputy for
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riots, whilst still impenetrably dense at times, it shows the beginning of the socially aware poetry that would be the next direction he would take.
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218:, the other from Ireland. However, at some point, while they were handing down the business to the next generation, bad management resulted in the
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884:-style poems etc. A key theme that emerges in this collection is a deep and abiding nostalgia for Spain, the land from which he has been exiled.
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in the constituent
Congress of the Spanish parliament on the Communist Party Ticket. His wife died on 13 December 1988 from Alzheimer's disease.
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He died at the age of 96 from a lung ailment. His ashes were scattered over the Bay of CĂĄdiz, the part of the world that mattered most to him.
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457:. During the Spanish Civil War, Alberti became the poetic voice of the left and he made frequent broadcasts from the capital during the
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750:, Alberti now begins to mine a vein of deep and anguished introspection. He has lost his youthful high spirits and finds himself
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There is a Rafael
Alberti Museum that operates as a legacy foundation in the poet's hometown of El Puerto de Santa MarĂa, CĂĄdiz.
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421:
175:
290:, at that time a poet rather than the formidable critic he would become, and it was he who introduced Alberti to the works of
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district. It was probably in October 1924 â Alberti's memoirs are vague on this and many other details â that he met
210:. Alberti was born there in 1902, to a family of vintners who had once been the most powerful in town, suppliers of
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619:(âGyroscopeâ), having been lost, although it seems probable that some of its contents were included in a volume of
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inspiring. It is also worth noting that this collection shows a return to more tightly disciplined verse forms.
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323:
163:
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running a large country house as a hotel, at which many Republicans gathered considering exile. These included
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The inference from his memoirs is that she played a key role, along with his continuing bitter memories of the
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armies, composing poems in praise of the defenders of the city. He published them in a magazine entitled
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In 1921, he was diagnosed with tuberculosis and he spent many months recuperating in a sanatorium in the
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to the crowned heads of Europe. Both of his grandfathers were Italian; one of his grandmothers was from
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307:
267:
207:
147:
82:
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There is a Rafael Alberti bookstore in the centre of Madrid, in the ArgĂŒelles district, since 1975.
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Before the Tercentennial celebrations were over, Alberti was starting to write the first poems of
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on the Bay of CĂĄdiz was, as now, one of the major distribution outlets for the sherry trade from
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811:(1929) is Alberti's homage to the American silent comedians whose films he admired so greatly â
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on the Quai de l'Horloge. They lived in Paris until the end of 1940 working as translators for
370:
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1707:
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is generally referred to as Alberti's first book, it was in fact his second; an earlier book,
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488:
438:
279:
189:(âThe Lost Groveâ) in 1959 and this remains the best source of information on his early life.
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635:, to which Alonso had introduced him; a highly organised, formal, baroque style derived from
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came to power in 1933, the violent attacks that Alberti launched against him in the magazine
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347:
335:
287:
227:
171:
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963:('A Night of War in the Prado Museum', 1956), as well as adaptions and other short pieces.
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shows a compendium of different influences: the style of Gil Vicente and the mediaeval
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1595:[The Generation of '27 Again in 'Litoral': Reunion With JosĂ© MarĂa Hinojosa].
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820:
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1244:, Roma, Riuniti, 1972 (Bilingual Italian/Spanish. Anthology with unpublished poems).
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816:
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396:(â I was a fool and what I have seen has made me two foolsâ), together with a play
22:
2091:. Aldama, Frederick Luis, 1969-, O'Dwyer, Tess. Pittsburgh, Pa. 27 October 2020.
1593:"La Generacion del 27 de nuevo en 'Litoral': Reencuentro con JosĂ© MarĂa Hinojosa"
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in 1931 was another factor that pushed Alberti towards Marxism and he joined the
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479:, which did not contain one of his poems. In early 1939 he and his wife were in
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1226:, MĂ©xico, JoaquĂn Mortiz, 1968 (2nd augmented edition - MĂĄlaga- Litoral- 1974).
1204:, ParĂs, Librairie du Globe, 1966 (Compilation of all Alberti's social poetry).
434:(âOctoberâ), which he had founded with MarĂa Teresa, led to a period of exile.
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310:. He already knew DĂĄmaso Alonso and, on one of his returns to Madrid, he met
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Mainer habla sobre "La Edad de Plata de la literatura española" âą ELPAĂS.com
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1130:, Montevideo, Pueblos Unidos, 1949 (2nd expanded edition). Illustrations by
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462:
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1737:
1186:, Bs. As., Jacobo Muchnik, 1958 (in collaboration with MarĂa Teresa LeĂłn).
150:. He is considered one of the greatest literary figures of the so-called
2292:
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2146:. Berkeley and Los Angeles: University of California Press. p. 323.
1192:, Bs. As., Losada, 1962 (2nd expanded bilingual edition Spanish/Italian).
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1608:
1592:
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His other plays did not achieve such fame or notoriety. They include:
594:, the Spanish literary world's highest honour. In 1998, he received the
453:(Alliance of Anti-Fascist Intellectuals), which became a second home to
2721:
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1016:, originally published in various numbers of La Gaceta Literaria, 1929.
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which he cofounded with his wife. There was scarcely an edition of the
167:
26:
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Poets, philosophers, lovers : on the writings of Giannina Braschi
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in either 1929 or 1930 â again his memoirs are not clear on the date.
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896:
215:
211:
158:, and he won numerous prizes and awards. He died aged 96. After the
330:- it seems that he never actually became a member himself - he met
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568:
541:
442:
247:
103:
1681:(50th Anniversary ed.). London: Penguin Books. p. 368.
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480:
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2357:
998:, Santander, 1927 (Printed privately by JosĂ© MarĂa de CossĂo).
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Alberti also wrote several volumes of memoirs under the title
940:
Shortly afterwards, he began to write a ballad on the life of
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In July 1936, there was a gathering to hear GarcĂa Lorca read
2062:"La FundaciĂłn Rafael Alberti - Web Oficial de Rafael Alberti"
1162:
Ora marĂtima seguido de Baladas y canciones del ParanĂĄ (1953)
1002:
Domecq (1730â1928). Poema del Ilmo. Sr. Vizconde de AlmocadĂ©n
986:, M., Biblioteca Nueva, 1925 (Premio Nacional de Literatura).
3231:
Spanish people of the Spanish Civil War (Republican faction)
1452:"Mariano Peñalver Simó - De febrero de 1984 a junio de 1986"
586:
for the year 1964 - after lobbying from Pablo Neruda - and
298:(Sailor on Dry Land), submitted at the last minute, won the
1355:
features a debate about the creators versus the masters of
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Maravillas con variaciones acrĂłsticas en el jardĂn de MirĂł
369:(âDawn of the Wallflowerâ) â but with the approach of the
1891:
1889:
1876:
1874:
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Los 8 nombres de Picasso y no digo mĂĄs que lo que no digo
1100:, Bs. As., Losada, 1941. Illustrations by Rafael Alberti.
1146:, Bs. As., Losada, 1952. Illustrations by Attilio Rossi.
1014:
Yo era un tonto y lo que he visto me ha hecho dos tontos
809:
Yo era un tonto y lo que he visto me ha hecho dos tontos
598:
for his lifetime contribution to international writing.
394:
Yo era un tonto y lo que he visto me ha hecho dos tontos
3201:
Members of the constituent Congress of Deputies (Spain)
2312:
Poemas en torno a la creación poética de Rafael Alberti
1738:"The Russian Revolution and Spanish Communists, 1931â5"
1216:
3rd augmented edition, M., Aguilar, 1968 (Prologue by
771:
I had lost a paradise, the Eden of those early yearsâŠ.
725:
The violence displayed by the Basques was unbelievable
1214:
A la pintura. Poema del color y la lĂnea (1945â1967)
1122:
A la pintura. Poema del color y la lĂnea (1945â1948)
408:
Marriage, conversion to Marxism, civil war and exile
170:
beliefs. On his return to Spain after the death of
3128:
3057:
2986:
2915:
2844:
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Alberti, entre poesĂas y paseos al enemigo fascista
1316:, MĂĄlaga, LibrerĂa Anticuaria El Guadalhorce, 1987.
1310:, MĂĄlaga, LibrerĂa Anticuaria El Guadalhorce, 1987.
1170:, (Buenos Aires, 9 de marzo de 1953). Included in
915:(âMemories of the Living Distanceââ) (1948â52) and
109:
92:
65:
42:
2223:
2200:
746:Picking up on the sense of unease that hangs over
932:('The Empty Man', 1930). This is like a modern
3256:20th-century Spanish dramatists and playwrights
1062:13 bandas y 48 estrellas. Poemas del mar Caribe
1004:, Jerez de la Frontera, Jerez Industrial, 1928.
361:was also employed in two further collections â
33: and the second or maternal family name is
3271:Struga Poetry Evenings Golden Wreath laureates
2327:La poesĂa de Rafael Alberti. Parte de su Obra.
1706:. London: Bloomsbury Publishing. p. 131.
1597:Anales de la literatura española contemporånea
1363:. The debate places Rafael Alberti along with
1242:Disprezzo e meraviglia (Desprecio y maravilla)
1046:, M., Ediciones del Ărbol( Cruz y Raya), 1935.
515:radio and as announcers for the broadcasts of
2773:
2369:
1645:
1643:
1460:(in Spanish). 20 January 2006. Archived from
1158:2nd augmented edition, Bs. As., Losada, 1953.
970:. Portions have been published in English as
627:) that he compiled during his time in Rome.
342:along with many other cultural icons such as
202:El Puerto de Santa MarĂa at the mouth of the
8:
3281:Exiles of the Spanish Civil War in Argentina
2266:Rafael Alberti "Todo el mar" ("All the sea")
1857:. USA: Oxford University Press. p. 11.
1415:"Alberti vuelve a ParĂs medio siglo despuĂ©s"
1118:, Bs. As., Imprenta LĂłpez (Private edition).
573:Monument to Alberti in Puerto de Santa MarĂa
185:He published his memoirs under the title of
2163:Spanish Poetry of the Grupo poetico de 1927
1855:Oxford Illustrated Encyclopedia Of The Arts
499:and the disbandment of the Republic by the
142:(16 December 1902 â 28 October 1999) was a
3286:Exiles of the Spanish Civil War in Uruguay
2780:
2766:
2758:
2376:
2362:
2354:
2119:: CS1 maint: location missing publisher (
1140:(1945â1956), Ist edition Seix Barral 1979,
1056:Verte y no verte. A Ignacio SĂĄnchez MejĂas
507:and moved into an apartment together with
50:
39:
3236:Exiles of the Spanish Civil War in France
1839:
1837:
951:('From One Moment to Another', 1938â39),
588:Laureate Of The International Botev Prize
2298:Rafael Alberti, Centro Virtual Cervantes
2249:. London: Faber and Faber. p. 551.
1074:De un momento a otro (PoesĂa e historia)
270:where he read avidly among the works of
178:in 1983 and Doctor Honoris Causa by the
3221:Spanish male dramatists and playwrights
2184:. London: Souvenir Press. p. 364.
2165:. Oxford: Pergamon Press. p. 214.
1988:
1976:
1955:
1925:
1895:
1880:
1828:
1405:
1098:Entre el clavel y la espada (1939â1940)
827:Con los zapatos puestos tengo que morir
621:PoesĂas anteriores a Marinero en tierra
451:Alianza de Intelectuales Anti-fascistas
130: 1932; died 1988)
2270:https://catalogue.nlg.gr/Record/j.6938
2112:
503:, Alberti and MarĂa fled to Paris via
1168:Redoble lento por la muerte de Stalin
961:Noche de guerra en el Museo del Prado
590:in 1981. In 1983, he was awarded the
7:
3276:Illustrious Citizens of Buenos Aires
3196:Communist Party of Spain politicians
3186:People from El Puerto de Santa MarĂa
2344:Rafael Alberti - ColecciĂłn de poemas
2144:The Lost Grove (trans Gabriel Berns)
643:- and ultimately from the poetry of
286:writers. At this time, he also met
3261:Recipients of the Lenin Peace Prize
1413:CĂĄdiz, Diario de (9 October 2020).
1266:Coplas de Juan Panadero (1949â1977)
1236:Canciones del Alto Valle del Aniene
1052:, MĂ©xico, Edit. Defensa Roja, 1935.
1302:Los hijos del drago y otros poemas
1128:Coplas de Juan Panadero. (Libro I)
880:in its formal approach â sonnets,
56:Andalusian poet Rafael Alberti in
14:
3191:Spanish people of Italian descent
2500:Sachchidananda Vatsyayan 'Ajneya'
1040:, M., La tentativa poética, 1933.
1010:, M., Revista de Occidente, 1929.
102:El Puerto de Santa MarĂa, CĂĄdiz,
2835:
2182:Memoirs (trans Hardie St Martin)
1280:, Sevilla, Calle del Aire, 1978.
1202:El poeta en la calle (1931â1965)
1082:, M., Edic. 5Âș Regimiento, 1938.
1064:, M., Manuel Altolaguirre, 1936.
1026:El poeta en la calle (1931â1935)
917:Baladas y canciones de la ParanĂĄ
3246:Spanish people of Irish descent
1742:Journal of Contemporary History
1262:'s work - Opus 117 LA MENINA II
1255:Casi Malagueñas de la Menina II
787:to use in his next few works â
655:(âSea and landâ) and the title
647:, Pedro Espinosa, and possibly
497:Spanish Republican Armed Forces
127:
2207:. Cambridge University Press.
2199:Morris, C (22 February 1979).
1390:Museo FundaciĂłn Rafael Alberti
1308:Accidente. Poemas del Hospital
1178:Baladas y canciones del ParanĂĄ
258:inspired him to write poetry.
1:
2203:A Generation of Spanish Poets
1853:Norwich, John Julius (1990).
1736:Lisa A. Kirschenbaum (2017).
1591:Girgado, Luis Alonso (1984).
1224:Roma, peligro para caminantes
1198:, M., Afrodisio Aguado, 1964.
392:(âSermons and mansionsâ) and
3078:José Manuel Caballero Bonald
1351:(1998) by Puerto Rican poet
1304:, Granada, DiputaciĂłn, 1986.
937:sharply polarised audience.
727:, he wrote in his memoirs.
176:Hijo Predilecto de AndalucĂa
25:, the first or paternal
2022:de Miguel GarcĂa-Posada en
1172:Obras completas. PoesĂa III
1144:Buenos Aires en tinta china
1076:, M., Europa-América, 1937.
959:('The Disaster', 1944) and
874:Entre el clavel y la espada
578:Other awards that he earned
525:German occupation of France
3307:
3251:20th-century Spanish poets
2883:Gonzalo Torrente Ballester
2161:Connell, Geoffrey (1977).
1704:The International Brigades
1290:Versos sueltos de cada dĂa
1150:Retornos de lo vivo lejano
1038:Un fantasma recorre Europa
913:Retornos de lo vivo lejano
742:and the works of breakdown
553:Pedro CalderĂłn de la Barca
495:. After the defeat of the
20:
3291:Spanish magazine founders
2966:Guillermo Cabrera Infante
2833:
2790:Miguel de Cervantes Prize
2393:
2275:11 September 2018 at the
1258:, 1976 poem dedicated to
1210:, Roma, Eutro edit, 1966.
793:Con los zapatos puestosâŠ.
379:Melchor FernĂĄndez Almagro
324:Residencia de Estudiantes
49:
3266:Premio Cervantes winners
2482:Hans Magnus Enzensberger
2317:Poemas de Rafael Alberti
2303:Portal de Rafael Alberti
2142:Alberti, Rafael (1976).
1754:10.1177/0022009417723974
1702:Tremlett, Giles (2020).
1292:, B., Seix Barral, 1982.
1286:, B., Seix Barral, 1980.
1274:, MĂĄlaga, Litoral, 1977.
1238:, Bs. As., Losada, 1972.
1180:, Bs. As., Losada, 1954.
1164:, Bs. As., Losada, 1953.
1156:A la pintura (1945â1952)
1138:Poemas de Punta del Este
1124:, Bs. As., Losada, 1948.
1112:, Bs. As., Losada, 1946.
1106:, Bs. As., Losada, 1944.
1094:, Bs. As., Losada, 1940.
1058:, MĂ©xico, N. Lira, 1935.
1028:, Aguilar, Madrid, 1978.
992:, MĂĄlaga, Litoral, 1926.
857:13 bandas y 48 estrellas
844:La casa de Bernarda Alba
473:XV International Brigade
422:Communist Party of Spain
231:Colegio San Luis Gonzaga
79:El Puerto de Santa MarĂa
3226:Spanish communist poets
3019:Rafael SĂĄnchez Ferlosio
2332:1 November 2009 at the
2322:Poema de Rafael Alberti
1298:, M., Villamonte, 1986.
1272:Cuaderno de Rute (1925)
719:" - in a match against
449:as headquarters of his
418:Second Spanish Republic
3211:Writers from Andalusia
3206:Politicians from CĂĄdiz
2386:Struga Poetry Evenings
2230:. University of Hull.
2180:Neruda, Pablo (2006).
1250:, B., PolĂgrafa, 1975.
1068:Nuestra diaria palabra
867:International Brigades
574:
547:
357:poetry he had used in
353:The kind of folkloric/
146:poet, a member of the
140:Rafael Alberti Merello
58:Casa de Campo (Madrid)
2889:Antonio Buero Vallejo
2452:LĂ©opold SĂ©dar Senghor
2398:Robert Rozhdestvensky
2247:Federico Garcia Lorca
2123:) CS1 maint: others (
1726:Tremlett (2020) p.359
1679:The Spanish Civil War
1677:Thomas, Hugh (2012).
1421:(in European Spanish)
1379:as masters of poetry.
1361:Latin American poetry
1328:, M., HiperiĂłn, 1989.
1326:Canciones para Altair
1196:Abierto a todas horas
930:El hombre deshabitado
778:The first section of
695:His next collection,
572:
546:Rafael Alberti (1968)
545:
477:Volunteer for Liberty
441:he was imprisoned in
398:El hombre deshabitado
365:(âThe Mistressâ) and
320:Federico GarcĂa Lorca
300:National Poetry Award
278:, as well as various
244:CasĂłn del Buen Retiro
2674:Mongane Wally Serote
2446:Fazıl HĂŒsnĂŒ DaÄlarca
2339:ColecciĂłn de Poemas
2245:Gibson, Ian (1989).
2226:This Loving Darkness
2066:www.rafaelalberti.es
1464:on 14 September 2009
1457:Universidad de CĂĄdiz
1268:, M., MayorĂa, 1977.
1174:. Seix Barral. 2003.
949:De un momento a otro
863:Capital de la gloria
851:De un momento a otro
645:Garcilaso de la Vega
582:He was also awarded
437:At the start of the
314:, a resident of the
268:Sierra de Guadarrama
208:Jerez de la Frontera
180:Universidad de CĂĄdiz
3143:Cristina Peri Rossi
3049:José Emilio Pacheco
3007:José Jiménez Lozano
2924:Adolfo Bioy Casares
2680:José Emilio Pacheco
2530:Desanka MaksimoviÄ
2307:Miguel de Cervantes
2305:Biblioteca Virtual
1843:Morris "Generation"
1783:Thomas (2012) p.880
1774:Thomas (2012) p.678
1232:, B., KairĂłs, 1970.
1104:Pleamar (1942â1944)
1092:PoesĂas (1924â1938)
1086:PoesĂas (1924â1937)
1050:Versos de agitaciĂłn
968:La arboleda perdida
625:Marinero en tierra'
381:and Gerardo Diego.
256:Benito PĂ©rez GaldĂłs
187:La Arboleda perdida
3216:Spanish male poets
2948:Mario Vargas Llosa
2936:Dulce MarĂa Loynaz
2907:Augusto Roa Bastos
2853:Juan Carlos Onetti
2746:Jean-Pierre Siméon
2602:Edoardo Sanguineti
2542:Justo Jorge PadrĂłn
2506:Andrei Voznesensky
2222:Morris, C (1980).
1618:– via JSTOR.
1365:Vicente Aleixandre
1278:Los 5 destacagados
1218:Vicente Aleixandre
1110:PoesĂa (1924â1944)
1088:, M., Signo, 1938.
1080:El burro explosivo
1070:, M., HĂ©roe, 1936.
1044:PoesĂa (1924â1930)
984:Marinero en tierra
978:Poetry collections
955:('Clover', 1940),
878:Marinero en tierra
803:Sermones y moradas
789:Sermones y moradas
672:El alba del alhelĂ
657:Marinero en tierra
613:Marinero en tierra
575:
548:
390:Sermones y moradas
367:El alba del alhelĂ
312:Vicente Aleixandre
296:Marinero en tierra
276:Juan Ramón Jiménez
222:being sold to the
156:Spanish Literature
3241:Generation of '27
3163:
3162:
3096:Fernando del Paso
3084:Elena Poniatowska
2960:JosĂ© GarcĂa Nieto
2823:Jorge Luis Borges
2788:Laureates of the
2755:
2754:
2734:ShuntarĆ Tanikawa
2632:William S. Merwin
2626:Vasco Graça Moura
2620:Tomas Tranströmer
2524:Tadeusz RĂłĆŒewicz
2384:Laureates of the
2098:978-0-8229-4618-2
1946:Morris "Darkness"
1713:978-1-4088-5398-6
1688:978-0-141-01161-5
1022:, M., CIAP, 1929.
1020:Sobre los ĂĄngeles
996:El alba de alhelĂ
953:El trébol florido
837:Poetry of the 30s
797:Yo era un tontoâŠâŠ
780:Sobre los ĂĄngeles
740:Sobre los ĂĄngeles
584:Lenin Peace Prize
527:they sailed from
439:Spanish Civil War
402:MarĂa Teresa LeĂłn
386:Sobre los ĂĄngeles
308:Generation of '27
160:Spanish Civil War
148:Generation of '27
137:
136:
116:MarĂa Teresa LeĂłn
3298:
3137:Francisco Brines
3066:Ana MarĂa Matute
3031:Antonio Gamoneda
2995:Francisco Umbral
2954:Camilo José Cela
2839:
2811:Alejo Carpentier
2782:
2775:
2768:
2759:
2662:Lyubomir Levchev
2494:Nichita StÄnescu
2458:EugĂšne Guillevic
2422:Miodrag PavloviÄ
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2037:"Rafael Alberti"
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1369:Vicente Huidobro
1353:Giannina Braschi
1314:Cuatro canciones
1296:Golfo de Sombras
1190:Poemas escénicos
1152:, Bs. As., 1952.
934:auto sacramental
592:Premio Cervantes
131:
129:
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87:Kingdom of Spain
76:16 December 1902
75:
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2728:Carol Ann Duffy
2710:Adam Zagajewski
2698:Margaret Atwood
2668:Mateja Matevski
2644:Mahmoud Darwish
2536:Thomas Shapcott
2476:Miroslav KrleĆŸa
2464:Artur Lundkvist
2440:Eugenio Montale
2404:Bulat Okudzhava
2389:
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2334:Wayback Machine
2293:PoesĂa - Poetry
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1320:El aburrimiento
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831:Primo de Rivera
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623:(âPoems before
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459:Siege of Madrid
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272:Antonio Machado
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166:because of his
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2518:Allen Ginsberg
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2512:Yiannis Ritsos
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1967:Gibson p 442-3
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1500:Alberti p 58-9
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1395:Spanish poetry
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1095:
1089:
1083:
1077:
1071:
1065:
1059:
1053:
1047:
1041:
1035:
1029:
1023:
1017:
1011:
1005:
999:
993:
987:
979:
976:
972:The Lost Grove
924:
921:
889:
886:
838:
835:
776:
775:
773:
768:
766:
743:
737:
723:in May 1928.
692:
689:
608:
605:
603:
600:
579:
576:
557:La dama duende
489:Enrique LĂster
409:
406:
263:
262:Life in Madrid
260:
236:class conflict
199:
196:
194:
191:
135:
134:
123:
119:
114:
113:
111:
107:
106:
100:(aged 96)
94:
90:
89:
67:
63:
62:
55:
47:
46:
44:Rafael Alberti
43:
15:
13:
10:
9:
6:
4:
3:
2:
3303:
3292:
3289:
3287:
3284:
3282:
3279:
3277:
3274:
3272:
3269:
3267:
3264:
3262:
3259:
3257:
3254:
3252:
3249:
3247:
3244:
3242:
3239:
3237:
3234:
3232:
3229:
3227:
3224:
3222:
3219:
3217:
3214:
3212:
3209:
3207:
3204:
3202:
3199:
3197:
3194:
3192:
3189:
3187:
3184:
3182:
3179:
3177:
3174:
3173:
3171:
3156:
3152:
3150:
3146:
3144:
3140:
3138:
3134:
3133:
3131:
3127:
3121:
3120:Joan Margarit
3117:
3115:
3111:
3109:
3105:
3103:
3099:
3097:
3093:
3091:
3087:
3085:
3081:
3079:
3075:
3073:
3072:Nicanor Parra
3069:
3067:
3063:
3062:
3060:
3056:
3050:
3046:
3044:
3040:
3038:
3034:
3032:
3028:
3026:
3022:
3020:
3016:
3014:
3013:Gonzalo Rojas
3010:
3008:
3004:
3002:
2998:
2996:
2992:
2991:
2989:
2985:
2979:
2978:Jorge Edwards
2975:
2973:
2969:
2967:
2963:
2961:
2957:
2955:
2951:
2949:
2945:
2943:
2939:
2937:
2933:
2931:
2927:
2925:
2921:
2920:
2918:
2914:
2908:
2904:
2902:
2898:
2896:
2892:
2890:
2886:
2884:
2880:
2878:
2874:
2872:
2868:
2866:
2862:
2860:
2856:
2854:
2850:
2849:
2847:
2843:
2838:
2828:
2827:Gerardo Diego
2824:
2820:
2818:
2817:DĂĄmaso Alonso
2814:
2812:
2808:
2806:
2805:Jorge Guillén
2802:
2801:
2799:
2795:
2791:
2783:
2778:
2776:
2771:
2769:
2764:
2763:
2760:
2747:
2744:
2741:
2738:
2735:
2732:
2729:
2726:
2723:
2720:
2717:
2716:Ana Blandiana
2714:
2711:
2708:
2705:
2704:Charles Simic
2702:
2699:
2696:
2693:
2690:
2687:
2684:
2681:
2678:
2675:
2672:
2669:
2666:
2663:
2660:
2657:
2656:TomaĆŸ Ć alamun
2654:
2651:
2648:
2645:
2642:
2639:
2638:Nancy MorejĂłn
2636:
2633:
2630:
2627:
2624:
2621:
2618:
2615:
2612:
2609:
2608:Seamus Heaney
2606:
2603:
2600:
2597:
2596:Yves Bonnefoy
2594:
2591:
2588:
2585:
2582:
2579:
2576:
2573:
2570:
2567:
2564:
2561:
2560:Gennadiy Aygi
2558:
2555:
2554:Ferenc JuhĂĄsz
2552:
2549:
2546:
2543:
2540:
2537:
2534:
2531:
2528:
2525:
2522:
2519:
2516:
2513:
2510:
2507:
2504:
2501:
2498:
2495:
2492:
2489:
2488:BlaĆŸe Koneski
2486:
2483:
2480:
2477:
2474:
2471:
2468:
2465:
2462:
2459:
2456:
2453:
2450:
2447:
2444:
2441:
2438:
2435:
2432:
2429:
2426:
2423:
2420:
2417:
2414:
2411:
2408:
2405:
2402:
2399:
2396:
2395:
2392:
2388:Golden Wreath
2387:
2379:
2374:
2372:
2367:
2365:
2360:
2359:
2356:
2350:
2347:
2345:
2342:
2340:
2337:
2335:
2331:
2328:
2325:
2323:
2320:
2318:
2315:
2313:
2310:
2308:
2304:
2301:
2299:
2296:
2294:
2291:
2289:
2288:Archivio Conz
2286:
2285:
2281:
2279:
2278:
2274:
2271:
2267:
2258:
2256:0-571-14224-9
2252:
2248:
2243:
2239:
2233:
2228:
2227:
2220:
2216:
2210:
2205:
2204:
2197:
2193:
2191:0-285-64811-X
2187:
2183:
2178:
2174:
2172:0-08-016950-3
2168:
2164:
2159:
2155:
2153:0-520-02786-8
2149:
2145:
2140:
2139:
2134:
2126:
2122:
2116:
2108:
2104:
2100:
2094:
2090:
2089:
2082:
2079:
2067:
2063:
2057:
2054:
2042:
2038:
2032:
2029:
2025:
2024:ABC Literario
2021:
2015:
2012:
2009:Alberti p 299
2006:
2003:
2000:Alberti p 289
1997:
1994:
1990:
1985:
1982:
1978:
1973:
1970:
1964:
1961:
1958:, p. 20.
1957:
1952:
1949:
1943:
1940:
1934:
1931:
1927:
1922:
1919:
1916:Alberti p 259
1913:
1910:
1907:Alberti p 262
1904:
1901:
1897:
1892:
1890:
1886:
1882:
1877:
1875:
1871:
1866:
1860:
1856:
1849:
1846:
1840:
1838:
1834:
1830:
1825:
1822:
1819:Alberti p 163
1816:
1813:
1810:Alberti p 158
1807:
1804:
1801:Neruda p. 204
1798:
1795:
1789:
1786:
1780:
1777:
1771:
1768:
1763:
1759:
1755:
1751:
1747:
1743:
1739:
1732:
1729:
1723:
1720:
1715:
1709:
1705:
1698:
1695:
1690:
1684:
1680:
1673:
1670:
1667:Gibson p. 440
1664:
1661:
1658:Alberti p 287
1655:
1652:
1649:Alberti p 234
1646:
1644:
1640:
1634:
1631:
1628:Alberti p 162
1625:
1622:
1610:
1606:
1602:
1598:
1594:
1587:
1584:
1581:Alberti p 191
1578:
1575:
1572:Alberti p 150
1569:
1566:
1563:Alberti p 144
1560:
1557:
1554:Alberti p 138
1551:
1548:
1545:Alberti p.133
1542:
1539:
1533:
1530:
1524:
1521:
1515:
1512:
1506:
1503:
1497:
1494:
1488:
1485:
1479:
1476:
1463:
1459:
1458:
1453:
1447:
1444:
1441:
1436:
1433:
1420:
1416:
1409:
1406:
1400:
1396:
1393:
1391:
1388:
1387:
1383:
1378:
1377:Jorge Guillén
1374:
1373:Pedro Salinas
1370:
1366:
1362:
1358:
1354:
1350:
1347:
1343:
1340:
1337:
1336:
1332:
1327:
1324:
1321:
1318:
1315:
1312:
1309:
1306:
1303:
1300:
1297:
1294:
1291:
1288:
1285:
1284:Fustigada luz
1282:
1279:
1276:
1273:
1270:
1267:
1264:
1261:
1257:
1256:
1252:
1249:
1246:
1243:
1240:
1237:
1234:
1231:
1228:
1225:
1222:
1219:
1215:
1212:
1209:
1206:
1203:
1200:
1197:
1194:
1191:
1188:
1185:
1182:
1179:
1176:
1173:
1169:
1166:
1163:
1160:
1157:
1154:
1151:
1148:
1145:
1142:
1139:
1136:
1133:
1129:
1126:
1123:
1120:
1117:
1114:
1111:
1108:
1105:
1102:
1099:
1096:
1093:
1090:
1087:
1084:
1081:
1078:
1075:
1072:
1069:
1066:
1063:
1060:
1057:
1054:
1051:
1048:
1045:
1042:
1039:
1036:
1033:
1030:
1027:
1024:
1021:
1018:
1015:
1012:
1009:
1006:
1003:
1000:
997:
994:
991:
988:
985:
982:
981:
977:
975:
973:
969:
964:
962:
958:
954:
950:
945:
943:
938:
935:
931:
922:
920:
918:
914:
910:
908:
904:
902:
898:
894:
887:
885:
883:
879:
875:
871:
868:
864:
860:
858:
854:
852:
848:
846:
845:
836:
834:
832:
828:
824:
822:
821:Harry Langdon
818:
814:
813:Buster Keaton
810:
806:
804:
800:
798:
794:
790:
785:
781:
774:
772:
769:
767:
765:
761:
760:
759:
757:
753:
749:
741:
738:
736:
732:
731:
726:
722:
721:Real Sociedad
718:
714:
708:
706:
702:
698:
690:
688:
686:
682:
677:
673:
669:
665:
663:
658:
654:
650:
646:
642:
638:
634:
630:
626:
622:
618:
614:
606:
601:
599:
597:
596:America Award
593:
589:
585:
577:
571:
567:
564:
562:
558:
554:
544:
540:
538:
534:
530:
526:
522:
521:Latin-America
518:
517:Paris-Mondial
514:
510:
506:
502:
501:rebel faction
498:
494:
490:
486:
482:
478:
474:
470:
469:
464:
460:
456:
452:
448:
444:
440:
435:
433:
432:
427:
423:
419:
415:
407:
405:
403:
399:
395:
391:
387:
382:
380:
376:
372:
368:
364:
360:
356:
351:
349:
348:Salvador DalĂ
345:
341:
340:Gerardo Diego
337:
336:Jorge Guillén
333:
332:Pedro Salinas
329:
325:
321:
317:
313:
309:
303:
301:
297:
293:
289:
288:DĂĄmaso Alonso
285:
281:
277:
273:
269:
261:
259:
257:
253:
249:
245:
239:
237:
232:
229:
225:
221:
217:
213:
209:
205:
197:
192:
190:
188:
183:
181:
177:
173:
169:
165:
161:
157:
153:
149:
145:
141:
117:
112:
108:
105:
95:
91:
88:
84:
80:
68:
64:
59:
53:
48:
41:
36:
32:
28:
24:
19:
3025:Sergio Pitol
3001:Ălvaro Mutis
2870:
2865:Luis Rosales
2469:
2434:Pablo Neruda
2265:
2264:
2246:
2225:
2202:
2181:
2162:
2143:
2087:
2081:
2069:. Retrieved
2065:
2056:
2044:. Retrieved
2040:
2031:
2026:, 11-3-1989.
2023:
2014:
2005:
1996:
1989:Connell 1977
1984:
1977:Connell 1977
1972:
1963:
1956:Connell 1977
1951:
1942:
1937:Alberti p 54
1933:
1926:Connell 1977
1921:
1912:
1903:
1896:Connell 1977
1881:Connell 1977
1854:
1848:
1829:Connell 1977
1824:
1815:
1806:
1797:
1792:Neruda p.126
1788:
1779:
1770:
1745:
1741:
1731:
1722:
1703:
1697:
1678:
1672:
1663:
1654:
1637:Gibson p 139
1633:
1624:
1612:. Retrieved
1600:
1596:
1586:
1577:
1568:
1559:
1550:
1541:
1532:
1527:Alberti p 42
1523:
1518:Alberti p 39
1514:
1509:Alberti p 21
1505:
1496:
1491:Alberti p 19
1487:
1482:Alberti p 20
1478:
1466:. Retrieved
1462:the original
1455:
1446:
1435:
1423:. Retrieved
1418:
1408:
1349:Yo-Yo Boing!
1325:
1319:
1313:
1307:
1301:
1295:
1289:
1283:
1277:
1271:
1265:
1253:
1247:
1241:
1235:
1229:
1223:
1213:
1208:Il mattatore
1207:
1201:
1195:
1189:
1184:SonrĂe China
1183:
1177:
1171:
1167:
1161:
1155:
1149:
1143:
1137:
1132:Toño Salazar
1127:
1121:
1116:A la pintura
1115:
1109:
1103:
1097:
1091:
1085:
1079:
1073:
1067:
1061:
1055:
1049:
1043:
1037:
1031:
1025:
1019:
1013:
1007:
1001:
995:
989:
983:
971:
967:
965:
960:
956:
952:
948:
946:
942:FermĂn GalĂĄn
939:
929:
926:
916:
912:
911:
907:Ora Maritima
906:
905:
893:A la pintura
892:
891:
881:
877:
873:
872:
862:
861:
856:
855:
850:
849:
842:
840:
826:
825:
817:Harold Lloyd
808:
807:
802:
801:
796:
792:
788:
783:
779:
777:
770:
762:
755:
751:
747:
745:
739:
733:
728:
724:
713:FC Barcelona
709:
700:
696:
694:
684:
680:
675:
671:
667:
666:
661:
656:
653:Mar y tierra
652:
632:
628:
624:
620:
616:
612:
610:
581:
565:
556:
549:
533:Buenos Aires
523:. After the
516:
509:Pablo Neruda
493:Juan Modesto
485:La Pasionara
476:
468:El Mono Azul
466:
436:
429:
413:
411:
397:
393:
389:
385:
383:
374:
366:
362:
358:
354:
352:
327:
315:
304:
295:
284:Vanguardista
283:
265:
240:
230:
219:
201:
186:
184:
151:
139:
138:
98:(1999-10-28)
34:
30:
23:Spanish name
18:
16:Spanish poet
3181:1999 deaths
3176:1902 births
3037:Juan Gelman
2972:José Hierro
2859:Octavio Paz
2650:Fatos Arapi
2578:Makoto Ooka
2428:W. H. Auden
2410:LĂĄszlĂł Nagy
1614:26 February
1034:, M., 1933.
1008:Cal y canto
957:El adefesio
923:Other works
888:Later works
752:deshabitado
748:Cal y canto
697:Cal y canto
670:(1925) and
664:tradition.
637:RubĂ©n DarĂo
633:cancioneros
475:newspaper,
447:Retiro Park
375:Cal y canto
344:Luis Buñuel
292:Gil Vicente
3170:Categories
3114:Ida Vitale
3043:Juan Marsé
2590:Liu Banjiu
2566:Ted Hughes
2416:Mak Dizdar
2237:0197134408
2214:0521294819
2135:References
2107:1143649021
2071:23 October
2046:23 October
1748:(4): 895.
1425:19 October
882:cancionero
715:- "Oda a
662:cancionero
641:Modernismo
537:SS Mendoza
529:Marseilles
455:Gerda Taro
426:Gil Robles
355:cancionero
328:Residencia
198:Early life
152:Silver Age
72:1902-12-16
2115:cite book
2018:VĂ©ase la
1762:159939003
1032:Consignas
990:La amante
705:Soledades
681:La amante
668:La amante
617:GirĂłscopo
611:Although
463:Francoist
363:La amante
316:Salamanca
302:in 1925.
182:in 1985.
2330:Archived
2273:Archived
1609:27741673
1384:See also
1260:Berrocal
901:El Greco
701:Marinero
691:Maturity
629:Marinero
359:Marinero
280:Ultraist
252:Joselito
246:and the
234:growing
224:Osbornes
21:In this
2722:Amir Or
2692:Bei Dao
1468:8 April
1357:Spanish
1322:, 1988.
784:Colegio
756:Colegio
685:El alba
676:El alba
649:GĂłngora
535:on the
461:by the
431:Octubre
414:Colegio
371:GĂłngora
322:in the
220:bodegas
168:Marxist
144:Spanish
132:
124:
120:
35:Merello
31:Alberti
27:surname
3153:2023:
3147:2022:
3141:2021:
3135:2020:
3118:2019:
3112:2018:
3106:2017:
3100:2016:
3094:2015:
3088:2014:
3082:2013:
3076:2012:
3070:2011:
3064:2010:
3047:2009:
3041:2008:
3035:2007:
3029:2006:
3023:2005:
3017:2004:
3011:2003:
3005:2002:
2999:2001:
2993:2000:
2976:1999:
2970:1998:
2964:1997:
2958:1996:
2952:1995:
2946:1994:
2940:1993:
2934:1992:
2928:1991:
2922:1990:
2905:1989:
2899:1988:
2893:1987:
2887:1986:
2881:1985:
2875:1984:
2869:1983:
2863:1982:
2857:1981:
2851:1980:
2821:1979:
2815:1978:
2809:1977:
2803:1976:
2748:(2024)
2742:(2023)
2736:(2022)
2730:(2021)
2724:(2020)
2718:(2019)
2712:(2018)
2706:(2017)
2700:(2016)
2694:(2015)
2688:(2014)
2682:(2013)
2676:(2012)
2670:(2011)
2664:(2010)
2658:(2009)
2652:(2008)
2646:(2007)
2640:(2006)
2634:(2005)
2628:(2004)
2622:(2003)
2616:(2002)
2610:(2001)
2604:(2000)
2598:(1999)
2592:(1998)
2586:(1997)
2584:Adunis
2580:(1996)
2574:(1995)
2568:(1994)
2562:(1993)
2556:(1992)
2550:(1991)
2544:(1990)
2538:(1989)
2532:(1988)
2526:(1987)
2520:(1986)
2514:(1985)
2508:(1984)
2502:(1983)
2496:(1982)
2490:(1981)
2484:(1980)
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