Rubén Darío
Rubén Darío | |
---|---|
Born | Félix Rubén García Sarmiento 18 January 1867 Metapa, today known as Ciudad Darío, Matagalpa, Nicaragua |
Died | 6 February 1916 León, Nicaragua | (aged 49)
Occupation |
Resident Minister of Foreign Affairs in Spain, Consul of Colombia in Buenos Aires, Consul of Nicaragua in Paris, France, Consul of Paraguay in Paris, France |
Literary movement | Modernismo |
Notable works | Azul, Prosas Profanas y otros poemas, Cantos de vida y esperanza, Canto a la Argentina y otros poemas |
Spouse |
|
Signature | |
Félix Rubén García Sarmiento (18 January 1867 – 6 February 1916), known as Rubén Darío (US: /dɑːˈriːoʊ/ dah-REE-oh,[1][2] Spanish: [ruˈβen daˈɾi.o]), was a Nicaraguan poet who initiated the Spanish-language literary movement known as modernismo (modernism) that flourished at the end of the 19th century. Darío had a great and lasting influence on 20th-century Spanish-language literature and journalism.
Life
His parents, Manuel García and Rosa Sarmiento were married on 26 April 1866, in León, Nicaragua, after obtaining the necessary ecclesiastic permissions since they were second degree cousins. However, Manuel's conduct of allegedly engaging in excessive consumption of alcohol prompted Rosa to abandon her conjugal home and flee to the city of Metapa (modern Ciudad Darío) in Matagalpa where she gave birth to Félix Rubén. The couple made up and Rosa even gave birth to a second child, a daughter named Cándida Rosa, who died a few days after being born. The marriage deteriorated again to the point where Rosa left her husband and moved in with her aunt, Bernarda Sarmiento. After a brief period of time, Rosa Sarmiento established a relationship with another man and moved with him to San Marcos de Colón, in Choluteca, Honduras.
Rubén Darío was born in Metapa, Matagalpa, Nicaragua. Although, according to his baptism, Rubén's true surname was García, his paternal family had been known by the surname Darío for many years. Rubén Darío explained it as follows in his autobiography:
According to what some of the old people in that town of my childhood have referred to me, my great-grandfather had Darío as his nickname or first name. In this small town he was known by everyone as "Don Darío" and his entire family as the Daríos. It was in this way that his and all his family last name began to disappear to the point where my paternal great-grandmother already replaced it when she signed documents as Rita Darío; becoming patronymic and acquiring legal stand and validity since my father, who was a merchant, carried out all his businesses as Manuel Darío...[3]
Darío spent his childhood in the city of León Nicaragua. He was brought up by his mother's aunt and uncle, Félix and Bernarda, whom Darío considered, in his infancy, to be his real parents. (He reportedly, during his first years in school, signed his assignments as Félix Rubén Ramírez.) He rarely spoke with his mother, who lived in Honduras, or with his father, who he referred to as "Uncle Manuel". Although little is known about his first years, it is documented that after the death of Félix Ramírez, in 1871, the family went through rough economic times and they considered sending young Rubén as a tailor's apprentice. According to his biographer Edelberto Torres, he attended several schools in León before going on, during 1879 and 1880, to be educated by the Jesuits. [citation needed]
A precocious reader (according to his own testimony, he learned to read when he was three years old[4]), he soon began to write his first verses: a sonnet written by him in 1879 is conserved, and he published for the first time in a newspaper when he was thirteen years old. The elegy, Una lágrima, which was published in the daily El Termómetro (Rivas) on 26 July 1880. A little later he also collaborated in El Ensayo, a literary magazine in León, garnering attention as a "child poet". In these initial verses, according to Teodosio Fernández,[5] his predominating influences were Spanish poets contemporary to José Zorrilla, Ramón de Campoamor, Gaspar Núñez de Arce and Ventura de la Vega. His writings of this time display a liberalism hostile to the Roman Catholic Church, as documented in his essay, El jesuita, which was written in 1881. Regarding his political attitude, his most noteworthy influence was the Ecuadorian Juan Montalvo, whom he deliberately imitated in his first journalistic articles.[6]
Around December 1881 he moved to the capital, Managua, at the request of some liberal politicians that had conceived the idea that, given his gift for poetry, he should be educated in Europe at the expense of the public treasury. However, the anti-clerical tone of his verses did not convince the president of congress, the conservative Pedro Joaquín Chamorro Alfaro, and it was resolved that he would study in the Nicaraguan city of Granada, but Rubén opted to stay in Managua, where he continued his journalistic endeavor collaborating with the newspapers El Ferrocarril and El Porvenir de Nicaragua. In the capital, he fell in love with an eleven-year-old girl, Rosario Emelina Murillo, whom he wanted to marry. He traveled to El Salvador in August 1882, at the petition of his friends who wanted to delay his marriage plans. It wasn’t uncommon for people of Darío’s age of 14 to marry.[citation needed]
In El Salvador
In
In Chile
After making a name for himself with love poems and stories, Darío left Nicaragua for Chile in 1886, and disembarked in Valparaiso on 23 June 1886. In Chile he stayed with Eduardo Poirier and a poet by the name of Eduardo de la Barra, together they co-authored a sentimental novel titled Emelina, with which they entered in a literary contest (although they did not win). It was because of his friendship with Poirier that Darío was able to obtain a job in the newspaper La Época, in Santiago in July 1886.
During his stay in Chile, Darío had to endure continuous humiliation from the Chilean aristocracy that scorned him for his lack of refinement and for the color of his skin.[citation needed] Nonetheless, he managed to forge a few friendships, like the one with the son of the then president, the poet Pedro Balmaceda Toro. Soon after he published his first piece, Abrojos, in March 1887. He lived in Valparaiso for several months until September 1887 where he participated in several literary contests. In the month of July 1888, Azul, the key literary work of the modernist revolution that had just begun, was published in Valparaiso. [citation needed]
Azul... is a compilation of a series of poems and textual prose that had already been published in the Chilean media between December 1886 and June 1888. The book was not an immediate success, but was well received by the influential Spanish novelist and literary critic Juan Valera, who published in the Madrid newspaper El Imparcial, in October 1888, two letters addressed to Darío, in which, although reproaching him for the excessive French influence in his writings (Valera's used the expression "galicismo mental" or 'mental Gallicism'), he recognized in Darío "[a] un prosista y un poeta de talento" ("a prose writer and poet of talent").[citation needed]
Journey in Central America
The newly attained fame allowed Darío to obtain the position of newspaper correspondent for La Nación of
He decided to leave El Salvador despite job offers from the new president. He moved to Guatemala at the end of June, while his bride remained in El Salvador. Guatemalan president Manuel Lisandro Barillas was making preparations for a war against El Salvador. Darío published, in the Guatemalan newspaper El Imparcial, an article titled Historia Negra in which he denounced Ezeta's betrayal of Menéndez. In December 1890 he was tasked with directing a newly created newspaper, El Correo de la Tarde. That same year the second edition of his successful book Azul..., substantially expanded, and using Valera's letters, which catapulted him to literary fame, as prologue (it is now customary that these letters appear in every edition of this book), was published in Guatemala. In January 1891 his wife reunited with him in Guatemala and they were married by the church on 11 February 1891. Three months later, the periodical which Darío was editing, El Correo de la Tarde, ceased receiving government subsidies, which forced it to close. He moved to Costa Rica and installed himself in the country's capital, San Jose, in August 1891. While in Costa Rica, he was haunted by debt despite being employed and was barely able to support his family. His first son, Rubén Darío Contreras, was born on 12 November 1891. [citation needed]
Travels
In 1892, he left his family in Costa Rica, and traveled to Guatemala and Nicaragua, in search for better economic prospects. Eventually, the Nicaraguan government named him a member of the Nicaraguan delegation to Madrid, where events were going to take place to commemorate the fourth centennial of the discovery of America. During the trip to Spain, Darío made a stop in
At the onset of 1893, Ruben remained in Managua, where he renewed his affairs with Rosario Murillo, whose family forced Darío to marry her.[8][9][10]
In Argentina
Darío was well received by the intellectual media of Buenos Aires. He collaborated with several newspapers: in addition to La Nación, to which he was already a correspondent, he published articles in La Prensa, La Tribuna and El Tiempo, to name a few. His position as the Colombian consul was merely honorific, since, as Darío has stated in his autobiography: "no había casi colombianos en Buenos Aires y no existían transacciones ni cambios comerciales entre Colombia y la República Argentina."[11] In the Argentinian capital he led a bohemian life-style and his abuse of alcohol led to the need for medical care in several occasions. Among the personalities with whom he dealt were the politician Bartolomé Mitre, the Mexican poet Federico Gamboa, the Bolivian poet Ricardo Jaimes Freyre and the Argentinian poets Rafael Obligado and Leopoldo Lugones.
His mother, Rosa Sarmiento, died on 3 May 1895. In October 1895, the Colombian government abolished its consulate in Buenos Aires depriving Darío of an important source of income. As a remedy, he obtained a job as Carlos Carlés's secretary, who was the general director of the institution handling mail and telegrams in Argentina. In 1896, in Buenos Aires, Darío published two of his most crucial books: Los raros, a collection of articles about the writers that most interested him, and second, Prosas profanas y otros poemas, the book that established the most definite consecration of Spanish literary modernism. However popular it became, though, his work was not initially well received. His petitions to the Nicaraguan government for a diplomatic position went unattended; however, the poet discovered an opportunity to travel to Europe when he learned that La Nación needed a Correspondent in Spain to inform about the situation in the European country after Spain's disaster of 1898. It is from the United States military intervention in Cuba that Rubén Darío coined, two years before José Enrique Rodó, the metaphorical opposition between Ariel (a personification of Latin America) and Calibán (a monster which represents the United States of America.)[12] On 3 December 1898, Darío decamped to Europe, arriving in Barcelona three weeks later.
Between Paris and Spain
Darío arrived in Spain committed to sending four chronicles per month to La Nación about the prevalent mood in the Spanish nation after the defeat it suffered to the United States of America, and the loss of its colonial possessions; Cuba, Puerto Rico, the Philippines, and Guam. These chronicles would end up being compiled in a book that was published in 1901, titled España Contemporánea. Crónicas y retratos literarios. In the writings, he expresses his profound sympathy towards Spain, and his confidence in Spain's revival, despite the state of despair he observed. In Spain, Darío won the admiration of a group of young poets who defended Modernism (a literary movement that was not absolutely accepted by the most established writers, especially those belonging to the
In 1899, Rubén Darío, who was still legally married to Rosario Murillo, met Francisca Sánchez del Pozo in the Casa de Campo of Madrid. Francisca was from Navalsauz in the province of
During the first years of the 20th century, Darío lived in Paris, where in 1901 published the second edition of Prosas profanas. That same year Francisca and Rubén had a daughter. After giving birth she traveled to Paris to reunite with him, leaving the baby girl in the care of her grandparents. The girl died of smallpox during this period, without her father ever meeting her. In March 1903 he was appointed as consul by Nicaragua. His second child by Francisca was born in April 1903, but also died at a very young age. During those years, Darío traveled through Europe, visiting, among other countries, the
Eres los Estados Unidos, |
You are the United States |
In 1906 he participated as secretary of the Nicaraguan delegation to the Third Pan-American Conference held in Rio de Janeiro where he was inspired to write his poem "Salutación del águila", which offers a view of the United States very different from that offered in prior poems:
Bien vengas, mágica águila de alas enormes y fuertes |
Come, magic eagle with the great and strong wings |
This poem was criticized by several writers who did not understand Ruben's sudden change of opinion with respect to the United States' influence in Latin America. In Rio de Janeiro, the poet was involved in an obscure romance with an aristocrat, believed to be the daughter of the Russian ambassador in Brazil. It seems that he then conceived the idea of divorcing Rosario Murillo, from whom he had been separated for years. On his way back to Europe, he made a brief stop in Buenos Aires. In Paris, he reunited with Francisca and together they spent the winter of 1907 on the island of
Ambassador in Madrid
After two brief stops in New York and Panama, Darío arrived in Nicaragua where he was given a warm welcome. Regardless of the tributes offered to him, he failed to obtain a divorce. In addition, he was not paid what was owed to him from his position as consul; this left him unable to return to Paris. After a few months he managed to be named resident minister in Madrid for the Nicaraguan government of José Santos Zelaya. He had economic problems since his limited budget barely allowed him to meet all of his delegation's expenses, and he had much economic difficulty while he was Nicaraguan ambassador. He managed to get by, partly with his salary from La Nación and partly with the help of his friend and director of the magazine Ateneo, Mariano Miguel de Val, who, while the economic situation was at its toughest, offered himself as secretary to the Nicaraguan delegation at no charge and offered his house, number 27 Serrano street, to serve as the diplomatic quarters of the Nicaraguan delegation. When Zelaya was overthrown, Darío was forced to resign his diplomatic post on 25 February 1909. He remained loyal to Zelaya, whom he had heavily praised in his book Viaje a Nicaragua e Intermezzo tropical, and with whom he had collaborated in the writing of Estados Unidos y la revolución de Nicaragua. In that work the United States and the Guatemalan dictator Manuel Estrada Cabrera were accused of planning the overthrow of the Zelaya government. During his time as ambassador, there was a rift between Darío and his former friend Alejandro Sawa, whose requests for economic assistance went unheard by Darío. The correspondence between them gives room to interpret that Sawa was the real author of several of the articles that Darío had published in La Nación.[13]
Last years
In 1910, Darío traveled to Mexico as a member of a Nicaraguan delegation to commemorate a century of Mexican independence. However, the Nicaraguan government changed while Darío was abroad, and Mexican dictator Porfirio Díaz refused to receive the writer, an attitude that was probably influenced by United States diplomacy. Darío, however, was well received by the people of Mexico, who supported Darío and not the government.[14]
In his autobiography, Darío relates those protests with the Mexican Revolution, which was about to occur:
For the first time in thirty three years of absolute control, the house of the old Caesarean emperor had been stoned. One could say that that was the first thunder of the revolution that brought the dethronement.[15]
In light of the slight by the Mexican government, Darío left for La Habana, where, under the effects of alcohol, he attempted to commit suicide, perhaps triggered by the way he had been scorned. In November 1910 he returned to Paris, where he continued being a correspondent for La Nación and where he took a position for the Mexican Ministry of Public Instruction (Ministerio de Instrucción Pública) which may have been given to him as a compensation for the public humiliation inflicted upon him.
In 1912 he accepted an offer from the Uruguayan businessmen Rubén and Alfredo Guido to direct the magazines Mundial and Elegancias. To promote said publications, he went on tour in Latin America visiting, among other cities,
After ending his journey due to the end of his contract with the Guido brothers, he returned to Paris and in 1913, invited by Joan Sureda, he traveled to Mallorca and found quarters at the Carthusian monastery of Valldemosa, where many decades into the past figures such as Chopin and George Sand had resided. It was in this island where Ruben began writing the novel El oro de Mallorca, which was a fictionalization of his autobiography. The deterioration of his mental health became accentuated, however, due to his alcoholism. In December he headed back to Barcelona, where he lodged at General Zelaya's house. Zelaya had taken Darío under his wing when he was president of Nicaragua. In January 1914 he returned to Paris, where he entered a lengthy legal battle with the Guido brothers, who still owed him a large sum of money for the work he had done for them. In May he moved to Barcelona, where he published his last important work of poetry, Canto a la Argentina y otros poemas, which includes the laudatory poem he had written to Argentina, which had been made to order for La Nación. [citation needed]
Death
Darío died on February 6, 1916, aged 49, in
Poetry
Range
Darío wrote in thirty seven different metrical lines and 136 different stanza forms.[16]
Influences
French poetry was a determinant influence in Darío's formation as a poet. In the first place, the
In the section "Palabras Liminares" of Prosas Profanas (1896) he had already written a paragraph that reveals the importance of French culture in the development of his literary work:
The old Spaniard with a white beard points towards a series of illustrious portraits: "This one—he says—is the great
Francisco de Quevedo y Villegas. Then I say: "Shakespeare! Dante! Hugo...! (and in my head: Verlaine...!)"
Then, when saying goodbye: "-Old man, it is important to say: my wife is from my land; my mistress is from Paris."[18]
Los raros is an illustrative volume regarding literary tastes, which he published on the same year as Prosas profanas, and dedicated to briefly glossing some of the writers and intellectuals towards whom he felt profound admiration. Amongst those in the book we find
Assessment
Roberto González Echevarría considers him the beginning of the modern era in
Evolution
The evolution of Darío's poetry is marked by the publication of the books in which scholars have recognized his fundamental works: Azul... (1888), Prosas profanas y otros poemas (1896) y Cantos de vida y esperanza (1905). Before Azul... Darío wrote three books and a great number of loose poems which make up what is known as his "literary prehistory" ("prehistoria literaria".) The books are Epístolas y poemas (written in 1885, but published until 1888, under the title Primeras notas), Rimas (1887) and Abrojos (1887). In the first of these works his readings of Spanish classics is patent, as is the stamp of Victor Hugo. The metric is classic[20] and the tone is predominantly romantic.
In Abrojos, published in Chile, the most acknowledged influence is that from the Spaniard
Azul... (1888) has as many tales in prose as poems, which caught the critics' attention through their metric variety. It presents us some of the preoccupations characteristic of Darío, such as his expression of dissatisfaction towards the bourgeoisie.
Legacy
- Rubén Darío appears as a character in the Ramón María del Valle-Inclán.
- In honor of the centenary of Darío's birth in 1867, the government of Nicaragua struck a 50 cordoba gold medal and issued a set of postage stamps. The commemorative set consists of eight airmail stamps (20 centavos depicted) and two souvenir sheets.
- There is a Rubén Darío street and a Rubén Darío museum, and his face appears on statues, paintings, and lottery tickets in his homeland of Nicaragua.[24] The National Library of Nicaragua Rubén Darío was renamed in his honour.
- There is a Rubén Darío Plaza and a Rubén Darío metro station in Madrid, Spain.
- The Spanglish novel Yo-Yo Boing! (1998) by Giannina Braschi features an argument about Rubén Darío's genius versus that of other Spanish language poets Quevedo, Góngora, Pablo Neruda, and Federico García Lorca.[25]
- There is a Rubén Darío train station in the General Urquiza Railway in Buenos Aires, Argentina.
- There is a Ruben Dario avenue in the eastern side of Cochabamba, Bolivia going from north to south right under the big Cristo de la Concordia.
- On 18 January 2013, Google Doodle[26] celebrated Rubén Darío’s 146th Birthday.[27]
Further reading
English:
- Poet-errant: a biography of Rubén Darío/Charles Dunton Watland., 1965
- Rubén Darío centennial studies/Miguel Gonzalez-Gerth, 1970
- Critical approaches to Rubén Darío/Keith Ellis, 1974
- "Rubén Darío and the romantic search for unity"/Cathy Login Jrade, 1983[28]
- Beyond the glitter: the language of gems in modernista writers/Rosemary C. LoDato, 1999
- An art alienated from itself: studies in Spanish American modernism/Priscilla Pearsall, 1984
- Modernism, Rubén Darío, and the poetics of despair/Alberto Acereda, 2004
- Darío, Borges, Neruda and the ancient quarrel between poets and philosophers/Jason Wilson, 2000
- The meaning and function of music in Ruben Dario a comparative approach/Raymond Skyrme, 1969
- Selected Poems of Rubén Darío/Lysander Kemp, trans., 1965. ISBN 978-0-292-77615-9
- 'Four Melancholic Songs by Rubén Darío', Cordite Poetry Review, 2013
Spanish:
- Rubén Darío. Biografía/Julio Chiappini, 2012
- Miradas críticas sobre Rubén Darío/Nicasio Urbina, 2005
- La poesía de Rubén Darío: ensayo sobre el tema y los temas del poeta/Pedro Salinas, 2005
- Luis Cernuda y Rubén Darío: modernismo e ironía/James Valender, 2004
- Rubén Darío visto por Juan de Dios Vanegas/Juan de Dios Vanegas, 2003
- Rubén Darío, puente hacia el siglo XXI y otros escritos/Carlos Tünnermann Bernheim, 2003
- Rubén Darío y su vigencia en el siglo XXI/Jorge Eduardo Arellano, 2003
- Paralelismo entre Rubén Darío y Salomón de la Selva/Nicolás Navas, 2002
- Bases para una interpretación de Rubén Darío/Mario Vargas Llosa, 2001
- La angustia existencial en la poesía de Rubén Darío/Roque Ochoa Hidalgo, 2001
- Rubén Darío, addenda/José María Martínez Domingo, 2000
- Aproximación a Rubén Darío/Teodosio Muñoz Molina, 2000
- "Calibán: icono del '98. A propósito de un artículo de Rubén Darío", Revista Iberoamericana 184–185 (1998): 441–455 by Carlos Jáuregui
- "Calibán: icono del '98. A propósito de un artículo de Rubén Darío" y "El triunfo de Caliban" edicion y notas
- "Rubén Darío y la búsqueda romántica de la unidad: El recurso modernista de la tradición esotérica"/Cathy Login Jrade, 1984
- Sus Mejores Poemas/Rubén Darío, 1929 (NOTE: freely, openly available with page images and full text from the Digital Library of the Caribbean here)
Notes
- ^ See, for example, the tale "El rey burgués"
References
- ^ "Darío". The American Heritage Dictionary of the English Language (5th ed.). HarperCollins. Retrieved 23 July 2019.
- ^ "Darío". Merriam-Webster.com Dictionary. Retrieved 23 July 2019.
- ISBN 84-397-1711-3); p. 3
- Don Quijote, the Bible and works by Leandro Fernández de Moratín (ref. Rubén Darío, op. cit., p. 5)
- ISBN 84-7679-082-1), p. 10
- ^ Rubén Darío, op. cit., p. 18
- ^ Francisco Gavidia's influence on Darío was decisive since it was him who introduced Darío to French poetry. The Nicaraguan wrote, in Historia de mis libros:
Años atrás, en Centroamérica, en la ciudad de San Salvador, y en compañía del poeta Francisco Gavidia, mi espíritu adolescente había explorado la inmensa salva de Víctor Hugo y había contemplado su océano divino en donde todo se contiene... (English: Years ago, in Central America, in the city of San Salvador, and in the company of the poet Francisco Gavidia, my adolescent spirit had explored the immense promise of Victor Hugo and had contemplated his divine ocean where everything is contained...)
- ^ His biographer, Edelberto Torres, narrates the events in the following way:
It is Rosario's brother, a man completely lacking in scruples, Andrés Murillo; he knows his sister's intimate drama, which rendered her incapable of marrying any punctilious gentleman. Furthermore, Rosario's 'case' has become public knowledge, so Andres conceives a plan to marry his sister with Darío. He knows the poet's spineless character, and the state of apathy to which he is reduced under the influence of alcohol. He informs his plan to his sister and she accepts. At dawn of some ill-fated day, Rubén has innocently and honestly given himself to the amorous flirts with Rosario, in a house located in front of the lake. Suddenly, Andrés, who pulls out a revolver and with insolent words threatens Darío with death if he does not marry his sister. The poet, confused and scared, accepts. Since everything is prepared, a priest arrives at the house of Francisco Solórzano Lacayo, one of Andrés' brothers in law: who has made sure Rubén had plenty of whiskey and in this drunken state he proceeds to the religious marriage, the only type allowed in Nicaragua, on 8 March 1893. The poet has no idea about the 'yes' he has uttered. His senses are completely dulled, and when he wakes up the next morning and regains consciousness, he is in his conjugal bed with Rosario, under the same blanket. He does not protest or complain; but he realizes that he has been the victim of a perfidy, and that this event would go down as a burden of disgrace during his lifetime.
- ^ "Cronología". Archived from the original on 29 November 1999. Retrieved 20 July 2016.
- ^ "Dariana". Archived from the original on 16 September 2015. Retrieved 20 July 2016.
- ^ English translation: "there were hardly any Colombians in Buenos Aires and there were no transactions or commercial exchanges between Colombia and the Argentinian Republic." (Source: Rubén Darío, op. cit., p. 74)
- ^ "Calibán, icono del 98. A propósito de un artículo de Rubén Darío" Jauregui, Carlos A. Revista Iberoamericana 184–185 (1998) last accessed August 2008
- ^ Teodosio Fernández, op. cit., p. 126
- ^ Teodosio Fernández, op. cit., p. 129
- ^ Translation of: "Por la primera vez, después de treinta y tres años de dominio absoluto, se apedreó la casa del viejo Cesáreo que había imperado. Y allí se vio, se puede decir, el primer relámpago de la revolución que trajera el destronamiento." taken from: Rubén Darío, op. cit., p. 127
- ^ González Echevarría, Roberto (25 January 2006). "The Master of Modernismo". The Nation. Retrieved 25 March 2019.
Tomás Navarro Tomás, the most accomplished expert on Spanish versification in modern times, offered the following statistic after having surveyed the corpus of Darío's poetry: He used thirty-seven different metrical lines and 136 different stanza forms! Some of the metrical and rhyme schemes were of his own invention.
- ISBN 84-338-3842-3.)
- ^ El abuelo español de barba blanca me señala una serie de retratos ilustres: "Éste—me dice—es el gran don Miguel de Cervantes Saavedra, genio y manco; éste es Lope de Vega, éste Garcilaso, éste Quintana." Yo le pregunto por el noble Gracián, por Teresa la Santa, por el bravo Góngora y el más fuerte de todos, don Francisco de Quevedo y Villegas. Después exclamo: "¡Shakespeare! ¡Dante! ¡Hugo...! (Y en mi interior: ¡Verlaine...!)"
Luego, al despedirme: "—Abuelo, preciso es decíroslo: mi esposa es de mi tierra; mi querida, de París. Taken and translated from Prosas profanas - ^ Roberto González Echevarría, The Master of Modernismo, The Nation, posted January 25, 2006 (February 13, 2006 issue, pp. 29–33)
- ^ décimas, romances, estancias, tercetos encadenados, en versos predominantemente heptasílabos, octosílabos y endecasílabos
- ^ Rafael Soto Vergés: "Rubén Darío y el neoclasicismo (La estética de Abrojos), in Cuadernos Hispanoamericanos, nº 212–213 (agosto-septiembre de 1967).
- ^ (estrofas de pie quebrado, anaphoras, antithesis, etc.)
- ISBN 84-376-0643-8); pp. 603–32)
- ^ "Los Alamos Daily Post". March 2015.
"There is a Rubén Darío street and a Rubén Darío museum, and his face appears on statues, paintings, postage stamps and lottery tickets."
- ISBN 0-935480-97-8.
- ^ "Rubén Darío's 146th Birthday". Retrieved 18 January 2013.
- ^ "18 January: Remembering Rubén Darío on Birthday". Observer Voice. Retrieved 17 January 2023.
- ^ Login Jrade, Cathy (1 January 1983). "Rubén Darío and the romantic search for unity: the modernist recourse to esoteric tradition". University of Texas Press. Retrieved 20 July 2016.
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Sources
- Acereda, Alberto and Rigoberto Guevara. "Modernism, Rubén Darío, and the Poetics of Despair". [ISBN missing]
- Orringer, Nelson R. (2002). "Introduction to Hispanic Modernisms", Bulletin of Spanish Studies LXXIX: 133–148.
- Ramos, Julio (2001). Divergent Modernities: Culture and Politics in Nineteenth-Century Latin America trans. John D. Blanco, Duke University Press, Durham, NC, ISBN 0822319810
- OCLC 54179225
- Rivera-Rodas, Oscar (1989). "El discurso modernista y la dialéctica del erotismo y la castidad" Revista Iberoamericana 146–147: 45–62
- Rivera-Rodas, Oscar (2000). "'La crisis referencial' y la modernidad hispanoamericana" Hispania 83(4): 779–90
- Schulman, Iván A. (1969). "Reflexiones en torno a la definición del modernismo" In Schulman, Iván A. and Gonzalez, Manuel Pedro (1969) OCLC 304168Martí, Darío y el modernismo Editorial Gredos, Madrid
- Crow, John A. (1992). The Epic of Latin America. London: University of California Press
- Skidmore, Thomas E. & Smith, Peter H. (2005). Modern Latin America. New York: Oxford University Press
Further reading
- Fiore, Dolores Ackel. Rubén Darío in Search of Inspiration: Graeco-Roman Mythology in His Stories and Poetry. New York: La Amėricas Publishing Co., 1963.
- Morrow, John Andrew. Amerindian Elements in the Poetry of Rubén Darío: The Alter Ego as the Indigenous Other. Lewiston: Edwin Mellen Press, 2008.
- O'Connor-Bater, Kathleen, translator. 2015. A Bilingual Anthology of Poems by Ruben Dario 1867–1916: Annotations and Facing Page Translations. Edwin Mellen Press.
External links
- Works by Rubén Darío at Project Gutenberg
- Works by or about Rubén Darío at Internet Archive
- Works by Rubén Darío at LibriVox (public domain audiobooks)
- Ruben Dario Papers 1882-1945 at https://repository.asu.edu/collections/147