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Antología
foreword………………………………………………………………………………………….página 2
introduction…………………………………………………………………………………página 3
historical frame……………………………………………………………………………pagina 4 a5
biography……………………………………………………………………………………..página 6 a 8
Poems………………………………………………………………………………………..página 9 a 24
epilogue ……………………………………………………………………………….pagina 25
Bibliography………………………………………………………………………………..página 26
Dedication
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foreword
Here it appreciates a small part of Gustavo Adolfo Bécquer's life, narrates a
few his poems and there is given us a small part of his biography this way to
understand a bit his past and to know everything what he had to spend in
order that to bequeath to being remembered here nowadays
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Introduction
Here you will be able to find Gustavo Adolfo Bécquer's poema as a small part
of his life showing his biography, if you are interested in it you can continue
reading this and to discover many things.
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Historical frame
The 19th century starts gathering the fruits of the great effort that has
realized the Spanish company to approach to Europe in the last century.
Nevertheless it is necessary to create a system that adjusts to the new
reality. A middle class has been promoted, but a place has not been given
him in the power, since this would imply breaking the absolutist monopoly
and introducing the parlamentarismo.
The War of the Independence (1808-1814) is the historical event with which
this traffic begins. It is in the habit of saying that in Spain a Romanticism
existed lived before that literary.
*El on May, two, 1808, the people of Madrid has a visceral reaction on having
interpreted the tears of the king Fernando VII when it goes out of palace to
go to France as expression of his anger and his impotence before the
invasion.
* In 1814, ended the war and turned the king Fernando VII, restores an
absolutist monarchy of conservative sign.
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* The constitutional system recovers a decade later thanks to the
pronouncement of the lieutenant colonel Rafael Riego, which it inaugurates
the period that is known as Liberal Triennium (1820-23). Nevertheless, the
Holy Alliance will go out in help of the king sending an army of 132.000
French soldiers (the " hundred thousand children of San Luis ") who puts end
to the freedoms.
Or 1833: To the death of the king, we are present at the Regency of Maria
Cristina (1833-1840) marked by the first War Carlist, a civil war between the
supporters of the infante Carlos Maria Isidro de Borbón, absolutists, and
those of Isabel II, liberal. The victory will correspond to the above mentioned.
* After the Esparto seller's Regency (1840-43), Isabel II accedes to the throne,
though it will not bring the peace. The tensions will continue in the second
half of the century with new civil clashes and a great waste of value and
energies, often sterile.
This historical situation in Spain provokes that the Romanticism appears later
than in the rest of Europa. The ideological censorship during the absolutist
reign of Fernando VII (1814-1833), was the reason of this lag and was not up
to the death of the king when our romantic literature triumphed, coinciding
with the return of the exiled writers.
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Biography
Gustavo Adolfo Bécquer
( Gustavo Adolfo Domínguez Bastida; Seville, 1836 - Madrid, 1870) Spanish Poet. Together
with Rosalía of Castro, he is the maximum representative of the poetry posromántica,
trend that took the subject matter as distinctive features intimist one and an apparent
expressive simplicity removed from the rhetorical vehemence of the romanticism.
Bécquer's work exercised a strong influence in later figures as Rubén Darío, Antonio
Machado, Juan Ramon Jiménez and the poets of the generation of 27, and the critique it is
judged by the initiator of the Spanish contemporary poetry. But more than a great name
than the literary history, Bécquer is especially an alive, popular poet in every sense of the
word, which verses, of affected voice and winged beauty, have enjoyed and enjoy the
predilection of million readers.
Son and brother of painters, remained orphan at the age of ten and his infancy and his
adolescence lived in Seville, where he studied humanities and painting. In 1854 it moved
to Madrid, with the intention of doing literary career. Nevertheless, the success him did
not smile; his ambitious project to write a History of the temples of Spain was a failure,
and only it managed to publish a volume, years later. To be able to live he had to devote
himself to the journalism and to make adjustments of plays foreign, principally of the
Frenchman, in collaboration with his friend Luis García Luna, adopting both the
pseudonym of "Adolfo García".
During a stay in Seville in 1858, it was nine months in bed because of a disease; probably it
was a question of tuberculosis, though some biographers are praised by the syphilis.
During the convalescence, in which it was taken care by his brother Valeriano, published
his first legend, The commander of the red hands, and it knew Julia Espín, according to
certain critics the muse of some of his Heaps, though for a long time one thought
erroneously that it was a question of Elisa Guillén, with whom the poet would have
supported relations until she left it in 1860, and that it would have inspired the most bitter
compositions of the poet.
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In 1861 there married with Caste Esteban, daughter of a doctor, with whom it had three
children. The marriage was never happy, and the poet sheltered in his work or in the
company of his brother Valeriano, in the elopements of this one to Toledo to do. The most
fruitful stage of his career was from 1861 to 1865, years in which it composed most of his
Legends, wrote journalistic chronicles and wrote the literary Letters to a woman, where it
exposes his theories on the poetry and the love. A season that happened in Veruela's
monastery in 1864 him inspired Letters from my cell, a set of beautiful landscape
descriptions.
Economically the things improved for the poet from 1866, year in which there obtained
the employment of official controller of novels, which allowed him to leave his journalistic
chronicles and to center in his Legends and his Heaps, published partly in the weekly The
universal museum. But with the revolution of 1868, the poet lost his work, and his wife
left it the same year.
It moved then to Toledo with his brother Valeriano, and there it had just reconstructed
the manuscript of the Heaps, which first original one had disappeared when his house was
plundered during the revolution septembrina. Again in Madrid, there was nominated the
director of the magazine The Illustration of Madrid, at which also his brother was
employed as draftsman. The death of this one, in September, 1870, depressed
extraordinarily the poet, who, sensing beforehand his own death, delivered his original
ones to his friend Narciso Campillo in order that it was taking charge of them after his
death, which would happen three months after that of Valeriano.
Bécquer's immense literary reputation is based on his Heaps, which initiated the romantic
current of poetry intimist one inspired in Heine and objected to the rhetoric and verbosity
of the previous romantic poets. The literary critique of the moment, nevertheless, did not
receive well his poems, though his reputation would not stop growing in the following
years.
The Heaps, as they have come up to us, add a total of eighty six compositions. Of them,
seventy six were published by time first in 1871 at the expense of the friends of the poet,
who introduced some corrections in the text, suprimieron some poems and altered the
order of the original manuscript (the so called Book of the sparrows, today guarded in the
National Library of Madrid).
The content of the heaps has been divided in four groups: the first one (heaps I the XIth) is
a reflection on the poetry and the literary creation; the second one (the XIIth the XXIXth),
treats of the love and of his effects in the soul of the poet; in the poems of the third group
(the XXXth the LIst) they predominate over the dislike and the disillusion; and those of the
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quarter (the LIInd the LXXXVIth) show to the poet faced the death, disappointed of the
love and of the world. The Heaps appear habitually preceded of the " symphonic
Introduction " that, probably, Bécquer prepared as prologue to all his work.
His prose stands out, as his poetry, for the great musicality and the simplicity of the
expression, loaded with sensibility; following E.T.A's steps. Hoffmann and Edgar Allan Poe,
his Legends recreate environments fantastic and wrapped in a supernatural and
mysterious atmosphere. They stand out for this environment of unreality, of mystery,
placed always on a royal plane that deforms and talks nonsense. This way, in The white
Corza, where the protagonist transforms by night in the mentioned animal; or in The
mount of the souls, in that the same scene of a loving walk transforms in the field of the
ghostly horror and in that the terror comes up to the best defended and adorned
bedroom; or, finally, in The green and, eyes especially, The beam of moon, where the
unreal thing, faced the reality, makes choose the protagonists for the dream, for the
madness in which they want to live what the reality denies to them. The descriptions of
environments are achieved: el barullo de la entrada en la catedral en Maese Pérez, el
organista, el silencio del claustro en El rayo de luna o las procesiones fantasmales de La
ajorca de oro y El Miserere.
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Poems
Volverán las Oscuras Golondrinas
Volverán las oscuras golondrinas
Jugando llamarán.
¡esas... no volverán!.
¡Esas... no volverán!
9
Volverán del amor en tus oídos
¡Así... no te querrán!
10
Verde el color del que espera,
Es tu mejilla temprana
Y sin embargo,
Sé que te quejas
Pues no lo creas.
Es tu boca de rubíes
Y sin embargo,
11
Sé que te quejas
Pues no lo creas.
Y sin embargo,
Sé que te quejas
Pues no lo creas.
12
Porque son, niña, tus ojos
Se tornasen, lo sintieras.
Tu Pupila es Azul...
Tu pupila es azul y, cuando ríes,
13
Asomaba a tus Ojos...
Asomaba a sus ojos una lágrima
Taparon su cara
Y unos sollozando,
Otros en silencio,
De la triste alcoba
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Todos se salieron.
Ardía en el suelo,
Al muro arrojaba
Veías a intervalos
Dibujarse rígida
Despertaba el día,
Y, a su albor primero,
Despertaba el pueblo.
De vida y misterio,
De luz y tinieblas,
Yo pensé un momento:
De la casa, en hombros,
Lleváronla al templo
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Y en una capilla
Dejaron el féretro.
Allí rodearon
De amarillas velas
Y de paños negros.
El toque postrero,
Y el santo recinto
Quedose desierto.
De un reloj se oía
Compasado el péndulo,
Y de algunos cirios
El chisporroteo.
Todo se encontraba
16
¡Dios mío, qué solos
Se quedan los muertos!
De la alta campana
La lengua de hierro
Le dio volteando
Su adiós lastimero.
Amigos y deudos
Cruzaron en fila
Formando el cortejo.
Oscuro y estrecho,
Abrió la piqueta
El nicho a un extremo.
Allí la acostaron,
Tapiárosle luego,
Y con un saludo
Despidiese el duelo.
La piqueta al hombro
El sepulturero,
Se perdió a lo lejos.
La noche se entraba,
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El sol se había puesto:
Yo pensé un momento:
El fuerte aguacero,
De la pobre niña
A veces me acuerdo.
Allí la combate
Tendida en el hueco,
¡Acaso de frío
18
¿Vuelve el polvo al polvo?
podredumbre y cieno?
la luna plateada,
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Cuando en sombras la iglesia se envolvía,
de su ojiva calada,
vi el fulgor de la lámpara!
de la torre silbara,
el paso aceleraba.
dijese a la mañana,
se movían a rastras;
veíase el arpa.
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que le diga: «¡Levántate y anda!».
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arrebatado entre la niebla oscura,
habrá poesía.
palpiten encendidas,
perfumes y armonías,
¡habrá poesía!
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Mientras la ciencia a descubrir no alcance
no sepa a dó camina,
¡habrá poesía!
a nublar la pupila;
batallando prosigan,
¡habrá poesía!
¡habrá poesía!
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Epilogue
This anthology speaks about the life of Gustavo Adolfo Bécquer and of the poems that are the
following ones Los Suspiros son Aire..., Volverán las Oscuras Golondrinas, Asomaba a tus Ojos...,
Del Salón en un ángulo..., Tu Pupila es Azul..., No Digáis que Agotado..., No digáis que, agotado su
tesoro, Porque son Niña tus Ojos, Cuántas Veces al Pie..., Olas Gigantes que ... y Cerraron sus Ojos.
Of the life he speaks wherefrom it lived, where hiso his studies, where it was his deaths and which
were his poems mas famous.
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Bibliography
Marco histórico: https://diverletras.wordpress.com/2014/01/23/el-romanticismo-en-espana-
marco-historico/
Biografía: ttps://www.biografiasyvidas.com/biografia/b/becquer.htm
Poemas: http://www.los-poetas.com/a/beq1.htm#RIMA%20IV
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