1 year ago

I'll try to summarize, more harm than good, the introduction wfn of Damaso Alonso on the song "traditional type". Probably the most important idea that reflects the writing wfn is lost: the delicacy and fragility of texts lost in modern arrangements and reworkings. A phrase inserted in a song or sometimes just the impression that the origin of a tune is much older than you think. Like old wine in new barrels mixed still maintains its presence. But above all, perfection in form, content and emotion of a song that the people (meaning this word in its broadest sense) made his perfecting over the centuries to get to an emotional realization sometimes overwhelming as few lyrics have seen. Damaso said: The world was unaware of even the existence of this treasure of our poetry. Menéndez Pelayo began to glimpse what to study theater Lope, but I could never know or appreciate as a whole. We speak of an immense treasure of medieval poemillas that survive and even grow in number in the sixteenth and seventeenth centuries. Lope uses this treasure in his theater. The gloss, tweak it and sometimes imitates. Is this popular poetry? The river has its original source, but then is filtered and filtered again to get lost in the sands and debugged. Human river as the meeting is the people, over time, of all social and cultural levels. The truth is that it is a very different poetry of the educated. To avoid these questions the term "traditional" is used. A great number wfn of songs which we have no evidence traditionalism, although clear evidence. The poets of the Golden Age tirelessly applied to gloss the old choruses and composing other according to old formulas. That was the question until a few years ago were discovered Mozarabic jarchas: the greatest discovery of all Romance literature of the twentieth century. Our literature wfn began in the epic Cantar del Cid, the twelfth wfn century. But now they have a delightfully lyrical beginning: the simplest of love songs written in Mozarabic dialect woman involving the lyric oldest Romance language. A series of coincidences made it possible came into our hands this treasure. wfn Religious Jewish and Arab poets, the oldest of the eleventh century, wfn put in some type of compositions with a jarcha or estrofilla end, not in Hebrew or Arabic, like the rest of the poem, but in the Spanish dialect spoken Mozarabic. The Hebrew writers of these poems have acted as prodigious alcohol bottles where creatures keep these lyrics XI century. And come to us warm, softly lit from a daily light and the beauty of which we knew nothing. Tant'amare, tant'amare, habib, tant'amare! Enfermeron Olios nidios, and dolen as male. So much love, so much love, friend, much love! They ill [my] bright eyes and hurt either.
My heart goes mí. Oh me God, will he shall turn? As strong pain my beloved! Sick is, when will it heal?
After jarchas, we can look to traditional wfn song: perhaps the most delicate flowers of all Spanish poetry. All had an author, but the people helped them, filtering them, throughout the centuries. A high lyric, brief, brief, indefinite cry that touches us and let us dream impregnated and nostalgia. Heron was badly wounded in love, one goes and cries gave. Where the heron makes its nest, ribericas of that river, and cries alone will give. What heron? What flight? What is love? What bank? A cry of love has curdled, embodied in a brief timeless gem. At dawn come, good friend, wfn come at dawn. Friend whom I most wanted, come at the dawn of day. Friend whom I loved most, come to the light of dawn. You come to the light of day, not bring company; You come to the light of dawn, not bring large compaña. The most simply beautiful of Spanish poetry. The strength and rhythmic impetus: the rose I come my mother come from rosale! With a sensual and tragic background: In the rose garden wfn is born, quiérome go there for watching how the nightingale sang. On the banks of the river take the lemons virgo, quiérome go there ...
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