VOICE DUE TO IT
A. - THE POETRY OF SALINAS:
Poetry is for him a way to deeper understanding of reality, a form of access to the essence of reality.
Between 1923 and 1931 published his first books Salinas: Omens, Random Security. Fable and sign. It recorded in pure poetry, under the predominant influence of J. Ramón Jiménez. They appear sometimes is where topics unrelated to the future: electricity, machine, radiator. But in these poems is able to find a deeper meaning, hidden in objects. After these beginnings are their two masterpieces: The voice you due (1933) and love Reason (1936). Both give Salinas the size of the great poet of love. Indeed, few matched the subtlety with which he was to deepen the feeling of love. Again, beyond the pure quintessence anecdotes to find more joyful relationships. "Obviously anti-romantic, el amor es -en vez de sufrimiento- una prodigiosa fuerza
que da plenitud a la vida y sentido al mundo. Es enriquecimiento del propio ser y enriquecimiento de la persona amada. Es un acontecimiento jubiloso:
"¡Qué alegría, vivir-sintiéndose vivido...!" El amor hace amar la vida, decir que sí al mundo.
B.- CARACTERÍSTICAS:
1.- Poesía amorosa constant presence of the pronouns "you ( referred to his beloved) and" I ( the poet himself).
2 .- The poems cause a sense of dialogue ( or monologue) intimate, which reminds Becquer.
3 .- Garcilaso's literary influences: the title phrase "The voice you due" comes from Eclogue III also is higher than the beloved poet: he is " shadow ", it causes" light "and life ( its abandonment in the later poems the poet leaves in shades) and Petrarch: the love of it is a source of joy and pain ( especially in the later poems) . Moreover, the search for the beloved and the identification of the infinitely perfect height reminds San Juan de la Cruz.
4 .- Most critics divide the poems into three groups, but these are linear and give hops:
a. - Omen of love with a feeling of joy and jubilation of the author .
b. - the poet's anguish at not being able to consummate that love before the love of her coldness.
c. - pain at the neglect and loneliness turn unwanted.
seems the happiest moments are at the top and darker at the end.
5 .- The beloved appears as being split in two: the real, who does not know the poet is constantly looking though ( 3, 41, 58, 59, 12, 14 ...) and imagined by the poet, who never materializes ( n º 41, 50, 53 ...). Often, he is passive and she who chooses ( No 62) and the one that does not happen at all ( No. 49); of its decisions depends the happiness of the poet ( No. 4) and can never be doubted ( No. 1) .
6 .- The topics that appear are: the time referred to from the poem 2 (" Today or tomorrow, or in / of a thousand years (... )") and is constant throughout the book (No. 66: " still air / water still ", n º 13 ...); the " you" and "I " and concern for the names of things ( 9: " Why did you name yourself, / day, Wednesday? ", No 7, 13 ...).
7 .- The objectives of the book are:
a. - The discovery of the true personality of the beloved. ( n º 52)
b. - 's desire to consummate the love he feels.
c. - The lovers salvation through love.
8 .- It is a kind of poetry concepts, with the presence of metaphors for the beloved and love (the " mirrors " (no. 4), the " shadow " (# 1, 5 ...)), of paradoxes ( " And let me live another being behind undeath" (No. 21, p. 152), exclamations of joy (No, 4: "If you call me, yes / if you call me! "), along with personifications: " (...) I do not bite the pain " (no. 5), " You know the winds / their names (...) " (No. 9) ..., and rhetorical questions: n º 13, 9 ...
9 .- The metric that dominates Voice ... are heptasílabos rhyming assonance.
C-READING GUIDE THE VOICE DUE TO IT :
1:
1 .- To whom is the poet in the 1 and how is this "you" referred?
2 .- Notes the metaphor of the last stanza and indicates its significance.
2:
3 .- The presence of love is evident in the number 2, enter the event.
3:
4 .- Shows the fundamental action of the poet in the first three stanzas of the poem 3, and then points out the key action the last stanza.
No. 4:
5 .- The joy / joy is typical of the first poems in which there is a possibility of love. Indicates how it manifests this joy at No. 4.
- In the same poem is a time reference. Write your appointment.
- Finally, explains the verses of the last stanza: "Never from lips to kiss you / ever / from the voice that says:" Do not go "
5:
6 .- Notes, at No. 5, the date on which the poet tells us that love lived was real and he remember.
- Time is one of the fundamental issues of Salinas. Words of the poem stresses that manifest.
- On the other hand, it appears the issue of "you" and concern by the name of things. Indicates the appointments. Looking for the poem " Intelligence" by Juan Ramón Jiménez, a teacher of the Generation of 27, indicating its influence in Salinas.
7 .- In the same poem, points out paradoxes and metaphors relating to love and explains its meaning.
No. 6:
8 .- Who identifies the beloved?
9 .- How expresses doubts Salinas? What are these?
No. 7:
10 .- What time reference occurs and what effect it has on the poet? Notes the appointment.
11 .- Write the final metaphor of the poem refers to " morning."
8:
12 .- Indicates the event you see who it is who decides at the beginning of the poem, and the event in which submission indicates that he expects it once known.
No. 9:
13 .- What is the most repeated word in the poem? What is the issue? What connects literary movement?
14 .- Explain the metaphor of the last stanza: Name: what dagger / chest amid a candid / that would be our long / it not for his name. "
No. 10:
15 .- Lists elements that the poet was considered lost.
16 .- Indicates the metaphors referring to the beloved of verses 4 and 5.
No. 11:
17 .- What is the beloved? Relate your response to the poetry of Salinas.
18 .- Notes the most significant metaphors.
No. 12:
19 .- Explain the metaphor: "(...) you, Amazon in the spark" (p. 132)
20 .- How do you know the poet to his beloved? Who should be " darkness" and who " light? (P. 131)
21 .- Justify why this poem can be considered belonging to the first group ( poetry of joy).
No. 13:
22 .- Enter the date on which the author brings his three themes: time, "you " and "I " and the name of things.
23 .- The poem has a certain futuristic. Indicates why
24 .- Notes literary figures and explains the meaning of these verses:
- "verbs, undecided, / eyes watching you / like faithful dogs, / trembling " ( p. 134)
- "(...) prepared and the body / for pain and kiss, / with the blood in place, / I, hoping ( ...) " (p. 135)
No. 14:
25 .- How would you like to be the life the poet? How do you want the beloved?
26 .- How do you intend to appear before the beloved? What kind of poetry and poet connects?
No. 15:
27 .- Points to the internal structure of the poem ( parties for their content.)
28 .- What is the noun that performs all the actions? It also indicates the verbs.
No. 16:
29 .- The metrics of the poem, is typical of Salinas?
30 .- What causes happiness of the poet? What is the "one ?
No. 17, 18 and 19:
31 .- Looking for a paradox at No. 17.
32 .- In these three poems appear conceptual games referring to time ( enemy of lovers). Indicates some of them.
No. 20 and 21:
33 .- What should the poet want?
34 .- What effect does the beloved?
No. 22 and 23:
35 .- What is the only point at which the beloved does not change?
36 .- What do you most want to Salinas? Why can not possible?
No. 24:
37 .- The poem is divided into two parts:
- The first is full of imperatives. Prepare them.
- The second is indicative present. What should be the verbal change?
No. 25:
38 .- Indicates what he wants and he does not want the poet.
No. 27:
39 .- What has changed in his conception of love in this poem? What is the difference between sleep and wakefulness of the poet?
# 28:
41 .- Notes personifying metaphor in which time appears as an enemy of the beloved.
No. 29:
41 .- Indicates a paradox.
42 .- What can it mean: "I left over / eyes and lips / in this world of yours " (p. 167).
30:
43 .- Here the poet trying to express his love to the adding of feelings. Why do you want the poet to his beloved "horizontal ? Why do you say "Surrender / a great final truth" ?
No. 31:
44 .- In this poem, indicates where the imperatives prevail, where the future and where the present indicative. Search also the verb clauses and explains their meanings.
No. 32, 33 and 34:
45 .- In at # 32 and # 34, the poet is passive activity against it . Notes appointments.
46 .- At No. 33, the author, distraught over his doubts, what she accuses her lover?
- Find a sonnet by Garcilaso de la Vega (S. XVI). What are common features and Garcilaso Salinas?
No. 35, 36, 37, 38 and 39:
47 .- Looking at No. 35 and No. 38 paradoxes and metaphors.
48 .- At No. 36, how many parts is the poem? How much prefer the poet? How do you know?
49 .- At No. 37 and 39, said appointments to express the despair felt by the poet not to feel totally loved. Indicates also, at No. 39, parallelistic structure.
No. 40:
50 .- Look for the event in which the poet expresses his doubts.
51 .- Points to the event in which the poet tries to find the ideal woman that he seeks in his beloved.
# 41:
52 .- This is a poem fundamental. In other poems we have seen the presence of high as sublime perfection, the influence of San Juan de la Cruz ( S Mystic XVI). Notes the appointment.
53 .- Search also the appointment where we see the poet, like JR Jiménez, aims to create a new perfect lover.
No. 42, 43 and 44:
54 .- What is the theme of the poems 42 and 43?
55 .- Indica, at No. 44, the parallelism. What meaning can have profound "mirrors, water" ?
No. 45 and 46:
56 .- The coldness, lack of delivery of the beloved seems to be the subject of these poems. Write quotes to confirm it.
No. 47 and 48:
57 .- Stresses the metaphors and explains their meanings.
No. 49 and 50:
58 .- Match the following verses to the poetry of Salinas, for it please read man of his poetry features:
- "You can not love me: / you're high, what up! " (p. 203, No. 49) and " You are looking at the other. / It looks like you: / steps, the same frown, / the same high heels / all stained stars (p. 205, No 50)
- "I live / shadows, the shadows / (...)" (p. 203, No. 49).
# 51:
59 .- indicates common features between the poem and what we know from the poetry of Garcilaso and San Juan de la Cruz.
No. 52 and 53:
60 .- poem imperatives Notes No 52.
61 .- Indicates appointments of the two poems in which the poet says one of the objectives of the book: the discovery of the true personality of your beloved.
N ° 54:
62 .- Through which the poet uses metaphor to indicate the intellectual coldness of it?
# 55:
63 .- The poems, you see, are increasingly negative and dark elements the poet used more frequently. Write quotes to prove it.
64 .- It also highlights a paradox at the end of the poem.
# 56:
65 .- To continue to love, the poet needs to "kill" to replace it by a loved and idealized. Indicates appointments.
No. 58 and 59:
66 .- At No. 58, where Salinas seeks the beloved? Where, finally found it?
67 .- The number 59 is the continuation of the previous poem. The "I " is here passive. Notes verbs whose subject is the poet. What actions did the beloved?
No. 60:
68 .- It's a painful poem because this reflects on the distance between "I " and "you . " What is unable to make your loved? What have you learned the poet?
# 61:
69 .- The tone of this poem is petrarchean because love causes him pain while. Find citations.
N ° 62:
70 .- The poet began the book in the " shadow "(p. 107)," you "gives life, and now, after the failure and frustration, the shadow becomes anonymous. Stresses significant events of the poem in which you see this evolution.
71 .- appear, also referred to the time symbol and theme of the names of things. Indicates where.
# 63:
72 .- Where does the union petrarchean of love and pain?
No. 64, 65 and 66:
73 .- Explain what it means and what literary figure is:
- "Rock rests on rock / bodies lie in cribs, / in tombs (...)" (No. 64)
- "(...) false paradises, / floating on water." ( n º 64)
74 .- Look at the three poems allusions to the passage of time.
75 .- What are the tone poems? Why?
No. 67, 68, 69 and 70:
76 .- Notes on the poems allusions to the "shadow " and "light . " What do you want the shadows mean now?
77 .- Look, at No. 67, which means "still air, still water" (p. 238)
78 .- Why is poem number 68 as exclamation ? What does the evolution "(...) of bodies to the shadows "? (p. 240)
79 .- What is "the immense distances bed" from # 70 (p. 244). What "(...) the death of shadows, which is nothing" ? ( p. 245)
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