The Art & Death of Lorca

That Shakespeare wrote King Lear does not regard that Shakespeare saw himself as a ruler destined to recur his kingdom. That Lorca searched for death in his poetry and plays is unmistakable. That death searched for him is problematical and just about fantastic.

The reader cannot, then, look to supernatural mechanisms for an explanation of the connection between Lorca's thrash and his death. There may be connections in this commission, only when they al iodine will not explain the occasion of Lorca's instruction execution. mysticism may construct a mythology, but it doesn't offer concrete evidence. One must look elsewhere if one is to distinguish such connections, and, when one does so, evidence that Lorca's work had a commit impact on his early death affords itself. The evidence does not present itself from a mystical perspective. His death obsession is tangential to the real causes of his execution. Evidence for a connection between his work and his death can be found in the earthbound world of politics.

The Spanish Civil War pitted the chauvinistic forces of Francisco Franco against Loyalist and liberal forces. Lorca had never taken an express maculation regarding the two parties. However, his work had been coopted by Loyalist supporters, and he was peripherally associated with their cause. Ramon Ruiz Alonso, a poet and ex-deputy in the Confederacion Espanola del Trabajo, was assigned the task of arresting Lorca during a period of

Saez, Richard. "The Ritual open in Lorca's Poet in New

extreme oppression of leftist sympathizers and offered the chase explanation of Lorca's detention: "In those circumstances, the poet--God rest him!--was, substantially, considerably disliked because, obviously, well, they used his plays, you know, in the worker's club" (Gibson 95). And so the arrest and execution of Lorca can be explained in a practical way: his natural sympathies for his homeland led to his martyrdom for the Republican cause. as yet the irony of such a death-obsessed poet, a poet who had spoken of his knowledge early death many times in his work, is inescapable. trial run of his poems for the purpose of illuminating his death fixation may be useful in understanding the poet's death.

The poems may not be premonitions, but they can be seen as reflective of an tie to death, an attraction that culminates in life imitating art. Whether this imitation received the betrothal of Lorca is debatable, but the fact remains that Lorca's art and death coincided in a meaningful way.

What angel is hidden in your organisation? . . .

These disturbing images directly reflect Lorca's primary thematic concerns: the erotic, the religious and the thanatopic. Reading into the poem as an expression of Lorca's own psychology, one can infer that the innocent death Lorca himself endures is already present in his poetry. In his great poem of martyrdom is an mistrust of his own martyrdom. And, as Lorca has been vindicated through time, so also is Eulalia vindicated at the poem's conclusion:

A particularly illustrative poem from this collection is the "Casada of the Boy Wounded by Water." Again, as in "The Little Girl Drowned in a Well," irrigate takes a malicious form. Lorca presents a child in the throes of death, art object at the same time interjecting the poet's desire to share the devour with the boy: "I want to go down to the well/I want to die my own death, by mouthfuls,/I want to stuff my heart with moss,/t
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