Love, Imagination and Society in Amor de don Perlimplín and La zapatera prodigiosa
1986; Liverpool University Press; Volume: 63; Issue: 3 Linguagem: Inglês
10.1080/1475382862000363235
ISSN1469-3550
Autores Tópico(s)Comparative Literary Analysis and Criticism
ResumoClick to increase image sizeClick to decrease image sizeBSS Subject Index: AMOR DE DON PERLIMPLÍN CON BELISA EN SU JARDÍN [F. GARCÍA LORCA]GARCÍA LORCA, FEDERICO (1898–1936)LOVE [AS LITERARY/CULTURAL THEME]*SOCIETY/SOCIAL CONDITIONS/SOCIAL HISTORY [AS LITERARY/CULTURAL THEME]ZAPATERA PRODIGIOSA, LA [F. GARCÍA LORCA] Notes 1. Francisco Garcia Lorca, Federico y su mundo (Madrid: Alianza, 1980), 318. 2. Francisco Ruiz Ramón, Historia del teatro español, 2: Siglo XX (Madrid: Alianza, 1971), 191. 3. See Introduction to Federico García Lorca, La casa de Bernarda Alba, ed. Allen Josephs and Juan Caballero (Madrid: Cátedra, 1976). 4. Jean-Paul Borel, Théâtre de l’Impossible (Neuchâtel: Éditions de la Baconnière, 1963). Rafael Martínez Nadal, El público: amor, teatro y caballos en la obra de Federico García Lorca (Oxford: Dolphin, 1970), 133–92. 5. Federico García Lorca, Obras completas (Madrid: Aguilar, 1980), II, 6. All references to Lorca's texts will be from this edition. 6. Federico García Lorca, El público y comedia sin título, Introducción, transcripción y versión depurada por R. Martínez Nadal y M. Laffranque (Barcelona: Seix Barral, 1978), 234. 7. Josephs and Caballero, ‘Introduction’, 22–29. 8. Statements made by Lorca to La Nación, 30 November 1933, reproduced in I, 1173. 9. See Borel, 32–39. 10. See Helen Grant, ‘Una aleluya erótica de Federico García Lorca y las aleluyas populares del siglo XIX’ in Actas del primer congreso de hispanistas (Oxford, 1964). 11. He is described as ‘Grandioso, en la puerta’ (II, 351). 12. Lorca confirms the deliberately ambivalent nature of Perlimplín's motives in the following comment on the play: ‘Teatro de monigotes humanos, que empieza en burla y acaba en trágico. El héroe, o antihéroe, a quien hacen cornudo, es español y calderoniano; pero no quiere reaccionar calderonianamente, y de ahí su lucha, la tragedia grotesca de su caso’ (II, 990). 13. Francisco García Lorca, 318. 14. This is broadly the line taken by John Street in his Introduction to La zapatera prodigiosa (London: Harrap, 1962) and by Gwynne Edwards in his Lorca: The Theatre beneath the Sand (London: Boyars, 1980). 15. Lorca refers to the ‘cinturón de espinas y carcajadas’ which surrounds La Zapatera (I, 1173). 16. See especially pages 21 and 29 of J. Street's Introduction to La zapatera prodigiosa. 17. Consult Carlos Rincón, ‘La zapatera prodigiosa de Federico García Lorca: ensayo de interpretación’, Iberoromania (Munich), II (1970), 290–313. This very illuminating essay came to my attention only after completing the first draft of my article. It arrives at conclusions very similar to my own about the role of society and on a number of other points in La zapatera, although the roads we travel are, I believe, sufficiently different to justify the amount of duplication involved. 18. Support for this view can be derived from a lecture given by Lorca in 1928 on Imaginación, inspiración, evasión (I, 1064–70) which he defines as the three ascending stages in the poet's progress beyond reason and reality into the uncharted regions of the universe. Two main points emerge from this discussion: (1) that the imagination (and here I use the term in its general sense, not with the more restricted definition given by Lorca in his lecture) is directed not towards a deeper penetration into what we think of as ‘reality’, but towards wisdom via breaking the mould of our assumptions, rational framework and mental structures and achieving new and unsuspected perspectives on entering the ambient mystery surrounding human life; (2) that this process of liberation from logic and reality involves love and faith: ‘Pero el poeta que quiere librarse del campo imaginativo, no vivir exclusivamente de la imagen que producen los objetos reales, deja de soñar y deja de querer. Ya no quiere, ama. Pasa de la ‘imaginación’, que es un hecho del alma, a la ‘inspiración’, que es un estado del alma. Pasa del análisis a la fe’ (I, 1067).
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