Political beliefs or gay orientation: why Federico Garcia Lorca was executed. Brief biography of Federico Garcia Lorca

(1898-1936) Spanish poet and playwright

Federico García Lorca was one of those figures of Spanish culture who are called the “generation of ’98.” He entered literature at a time when Spanish culture turned to its own great roots. None of the Spanish writers of the 20th century. did not use the poetic and musical folklore of his country as widely and variedly as the famous poet did.

He was born in the small village of Fuente Vaqueros, located near Granada, the center of Andalusia, and was the eldest son of a wealthy tenant, Federigo Garcia Rodriguez. The poet's mother, Dona Vicenta Lorca, worked as a teacher at a local school before her wedding. She was the second wife of Federigo Rodriguez. His first wife died three years after the wedding, without giving birth to his child. Therefore, Federico was not only the eldest, but also the most beloved son in the family. His father did not change his attitude towards him even when his unconventional inclinations became obvious.

The Lorca family was known for its musicality: the poet's father and grandfather played the guitar and sang at all village festivals, his mother and grandmother were recognized performers of folk songs and romanceros in the area. From the age of three, Federico participated in family concerts; he turned out to be the most musical of all the children. His mother taught him to read and play the piano.

When the boy was six years old, the family moved to the neighboring village of Askeros. There was a private school there, to which Federico’s father sent him, as the eldest son in the family. Soon the teacher confirmed the boy's musical abilities and began to study music with him. When Federico finished fifth grade, his father moved the family to Granada to send his son to a prestigious boarding school at the Convent of the Sacred Heart of Jesus. Federico was one of the best students and graduated from school in two departments at once - literature and music.

However, his future fate became the subject of family disputes. Federico's teacher, the Spanish composer A. Segura, advised the young man to enter the conservatory, and his parents demanded that he get a “respectable” profession and become a lawyer. Not daring to speak out against his family, Federico entered two faculties of the University of Granada at once - legal and literary-philosophical, but already from the second year he made the final choice in favor of literature. At the university, Federico Lorca did not give up his music studies; he even performed small concerts in front of his friends, performing works by Mozart and Chopin.

The capable young man was noticed by literature professor M. Berrueta, who headed the student literary and artistic center. Soon Lorca’s poems appeared in the center’s “Bulletin,” and then the article “Symbolic Fantasy,” dedicated to the anniversary of the great Spanish poet José Cerilla.

Together with his professor, Federico Lorca travels around Spain, recording folklore and sightseeing. During the trip, Berrueta introduces Lorca to his friends - the writer Miguel de Unamuno and the poet Antonio Machado.

Returning to Granada, Federico Lorca publishes a book of essays and travel notes, “Impressions and Pictures” (1918). Her exit leads to a conflict with her father, who demands that Federico give up literature and continue to practice law. Lorca again submits to the dictates of the family, however, on the advice of Berrueta, he leaves Granada and moves to Madrid. He settles on the university campus and attends lectures at the law faculty, but devotes all his free time to literature.

During the summer months, Federico García Lorca returns to Granada. Every year he travels to the surrounding villages and records folk songs, dances and fairy tales. In 1920, the young writer wrote a fairy tale play “The Witchcraft of the Butterfly” and, with the help of Antonio Machado, transferred it to the Madrid puppet theater “Eslava”. The play was accepted for production, and its premiere took place on March 22, 1920. For several weeks the play was constantly sold out. The name Lorca becomes known to the general public for the first time. A collection of his poems, published simultaneously with the play, received favorable reviews from critics.

Inspired by the success, Federico Lorca took his play to Granada, and soon it was performed triumphantly on the stage of the local theater. While working on the production, the playwright met composer Manuel de Falla. They begin working on a collection of cante jondo - ancient Andalusian folk songs. In July 1922, Lorca and de Falla organized a festival in Granada, which brought together cante jondo performers from all over Andalusia. At the opening of the festival, Federico Lorca gives a lecture on cante jondo, which he then publishes in the form of a brochure.

At the same time, he meets the famous Spanish artist Salvador Dali, and soon friendships begin between them. Lorca repeatedly visits Dalí at his home in the town of Cadaqués. Under the influence of the artist, he begins to study graphics and creates a series of etchings.

At the same time, he continues to process folklore and, based on the collected texts, publishes a collection of poems, “Poem about Cante Jondo” (1923). In it, Federico Lorca combined folk songs into a coherent work. The heroine becomes the gypsy Petenera, she wanders around the world, finding solace in songs. Each chapter of the poem is built on the basis of one of the varieties of cante jondo.

The proceeds from the sales of the collection allow Lorca to gain long-awaited financial independence. At the end of August 1923, he completed his education and received a licentiate in law from the University of Granada. The poet is full of creative plans, but on September 13, a coup d'etat takes place in the country, and dictator Primo de Rivera comes to power. Together with other figures of Spanish culture, Lorca opposes the dictatorship, which abolished all civil liberties. Lorca's poems, which contain the theme of spontaneous protest, turn out to be in tune with what is happening in the country.

Gradually, a new book was compiled from individual poems - “Songs” (1927). The publication's circulation immediately sold out, and soon Lorca's poems began to be heard not only in Granada, but also in other cities of the country. Now the poet no longer copies folklore works, but creates works that are independent in terms of genre. In them he reflects his own poetic world.

Simultaneously with the book of poems, Federico Lorca completed his first major dramatic work - the folk drama-romancero “Maria Pineda”. The plot was based on a legend about the sad fate of a girl who ran away with her lover. When she was caught, she was declared a witch and sentenced to be burned at the stake. Through S. Dali, Lorca conveys his play to the famous Spanish actress M. Xirga. Soon she informs the young author that she will stage the play in her theater in Barcelona.

On July 25, 1927, the play premiered in Barcelona. At the same time, an exhibition of etchings by Dali, who painted the scenery for the play, is taking place. And just a few weeks later M. Xirgu brings the play to the capital. There, the performance turns into a demonstration, and the authorities rush to ban the public showing of Lorca's play.

In the capital, the poet is among the largest representatives of Spanish culture of the 20th century. In the house of the artist Rafael Alberti, he meets the famous Spanish bullfighter I. Mejias. The image of a brave bullfighter inspires Lorca to create a cycle of poems. At the beginning of 1928, Lorca's largest book of poetry, “The Gypsy Romancero,” was published. In it, the author creates his own poetic world, filled with images of Spanish folklore. Subsequently, many poems from this collection will become folk songs. Federico Lorca also tries to write prose: several of his stories appear in the magazine Gallo.

At the beginning of 1929, Federico García Lorca traveled outside Spain for the first time. Together with several friends, he goes to Paris, then to London, and from there to New York. The poet spent several months in the USA, he even completed English courses and attended lectures at Columbia University.

Returning to Spain at the end of 1930, Lorca created a kind of triptych - a book of poems, “The Poet in New York,” and the plays “The Public” and “When Five Years Pass.” In the style of these works, he follows the traditions of the European avant-garde.

Federico Lorca greets with delight the news of the fall of the military dictatorship and the restoration of democratic freedoms. The Federation of Spanish Students invites him to head the student theater, and the traveling group “La Bar-Raka” (“Balagan”) appears, with which the poet travels throughout the country. He writes a series of works for the theater under the general title “Andalusian Tragedies”. The plays “Bloody Wedding”, “Jerma”, “Dona Rosta, the Maiden, or the Language of Flowers” ​​and “The House of Bernarda Alba” are built on acute romantic conflicts. Each of them features a heroine who opposes ridiculous prohibitions and prejudices.

Lorca's plays are performed on the best stages in Spain, the writer travels a lot around the country, giving lectures and reading poetry, and in September 1933 he leaves for Argentina. In Buenos Aires he is received as an honored guest. For the first time he tries his hand as a director - he stages his own vaudeville play “The Wonderful Shoemaker” and the comedy “The Fool” by Lope de Vega. Returning to Spain, Lorca learns about the fatal wound of his friend I. Mejias during a bullfight and dedicates the poem “Lament for Ignacio Mejias” to his memory.

At this time, a wave of strikes rises in the country. Federico García Lorca speaks out in support of miners in Andalusia and organizes a fundraiser for the strikers. He transfers to them the funds received from the publication of books and from theatrical productions. For the first time, Federico Lorca clearly defines his political position and acts as a supporter of the left. Before the parliamentary elections, he again travels around the country and campaigns for the communists. His poems are heard at rallies and published as proclamations.

Lorca celebrates the victory of the Popular Front in the elections with the publication of the collection “First Songs”. In the summer of 1936, having finished his business in the capital, he went to visit his relatives in Granada, and the next day after his arrival he learned about the beginning of the fascist uprising.

Federico Lorca is trying to get to the capital, but the authorities are keeping him under house arrest; he is secretly offered to leave the country, but he refuses. Exactly a month later, on August 18, 1936, Federico García Lorca was arrested and shot the next day near Granada.

Not much is usually said about Lorca: he was born on June 5, 1898 in the town of Fuente Vaqueros in Andalusia, at the age of 11 he moved with his family to Granada, he glorified the nature of these places in his poems, he did not study well at school, he was an impressionable, dreamy boy, he grew up He traveled a lot, became interested in poetry, entered the circle of avant-garde artists, wrote piercing poetry and prose, painted, and played music. He held left-wing views, for which he was shot by Franco’s fascists at the beginning of the Spanish Civil War. It’s even sad that such a large and deep life can be reduced to such a small and fleeting paragraph. It's even sadder that such a great and beautiful talent can be ruined with just one quick pull of the trigger...

Not everyone knows that Lorca was born into a very well-to-do family of a landowner who grew sugar cane, lived in a comfortable villa surrounded by picturesque nature, and his mother was a talented pianist. In his youth, Lorca was attracted to literature much less than music and theater. In general, he could have become a pianist, since it was the training of this skill that absorbed most of his time and energy.

He was inspired by Debussy, Chopin, Beethoven. A little later, Spanish folklore became his main Muse. This source of inspiration will also remain in literary creativity. Lorca began writing only after a tragic event that greatly influenced him - the death of his piano teacher. Then the young man wrote short essays - “Nocturne”, “Ballad”, “Sonata” - and set them to music. Even then, he began to gather around himself the artistic light of Granada - these were meetings in cafes, readings, conversations. A trip to the north of Spain, undertaken together with a professor at the university where he studied, resulted in a collection of poems, “Impressions and Landscapes,” and brought the talented 20-year-old boy his first fame. At the insistence of Professor Fernando de los Rios, who believed in Lorca's talent, the parents send their son to the progressive Oxford University in Madrid - the University Residencia de estudiantes - to study literature, law and philosophy.

Federico García quickly became a central figure in the artistic community of Madrid in the 1920s, where he came to study in 1919. At the university, he immediately made friends with the best of the best - Manuel de Falla and many other creative young people who would later become famous in the country. An acquaintance with Gregorio Martinez Sierra, director of the Eslava Theater, brought Lorca to the theater: admired by the young man’s talent, Sierra invited Lorca to write his first play, “The Witchcraft of the Butterfly.”

Ridicule from the public about the unusual plot - the love of a butterfly and a cockroach - determined Lorca's attitude towards the theater community. Disappointed by her superficial perception, he focuses on poetry.

Lorca was attracted to themes of the Motherland, nature, love, and death. In a slightly surreal, enchanting manner, he glorified the surrounding reality and the realm of dreams. All this was reflected in the collections “Book of Poems”, “Poems about Cante Jondo”, “First Songs”, “Songs”.

The most famous collection of poems, “The Gypsy Romance” of 1928, was full of gypsy mythology in its fusion with the times of that time. Incredibly melodic, sonorous verses, stylized as ballads and poems of medieval times, still in use in the Andalusian countryside, became the basis for numerous romances. Until the end of his life, Lorca returned to the theme of “deep, fragile, trembling Andalusia,” hidden from the first glance at it.

However, success also had a negative side: Lorca suffered greatly from the label of “gypsy poet”, feeling the diminishment of his potential, the narrowing of his talent in this small definition. The depression was aggravated by the estrangement of his then best friend Salvador Dali, with whom, as you know, Lorca, who so poetically praised female beauty, was deeply in love, enormous suffering due to homosexuality, forced to be kept secret, and then a complete break with surrealist friends . At the same time, in 1929, Dali and Buñuel began collaborating on the film “Un Chien Andalou,” which Lorca saw as a mockery of him, and then Dali began an affair with his future wife and muse Gala. The family, concerned about Lorca's difficult mental state, insisted that he go to live in the United States for a year or two. Having left for New York, Garcia Lorca entered Columbia University, studied English, then moved to Vermont, then to Havana, Cuba. The 1931 book of poems “A Poet in New York” reflected the poet’s impressions of the year spent in the States, songs about the spirit of wandering, mixed with aching longing for his homeland. He made a sharp departure from the "folklorist" fame that had haunted him, exploring themes of alienation and isolation in a modern, materialistic society. He raised the same themes later, arguing, “great art depends on a vivid awareness of death, connection with the soil of the country and recognition of the limitations of the mind.”

The poet's last collection of poems was Sonnets of Dark Love, written in 1936, shortly before his execution, inspired by classic love sonnets of the 16th century.

Lorca also wrote prose, but the playwright's fame was later and not so bright. The first play after the unsuccessful debut of his youth was written only in 1927 - “Mariana Pineda” - and it was this play that Lorca called his first. Staged with the participation of Salvador Dali, it achieved great success during its premiere in Barcelona. In the USA in 1931, two plays “The Public” and “When Five Years Pass” were published, but the most famous, including for the Russian reader, appeared upon his return to Spain in the same year, during Lorca’s work as a director in a traveling student theater La Barraca ("The Showcase"), bringing theatrical art to poor Spanish neighborhoods. These are "Bloody Wedding", "Yerma" and "The House of Bernarda Alba", full of contempt for the norms of traditional bourgeois society.

But Lorca's calling card is undoubtedly his poetry. Bright, deep, full of inner warm life poems left a hot mark in the hearts of his compatriots. They leave the same mark today.

Our talented poet was translated by equally talented individuals - M. Tsvetaeva, N. Aseev, V. Parnakh, A. Geleskul, Yunna Morits, N. Trauberg, N. Malinovskaya, B. Dubin, N. Vanhanen, K. M. Gusev and others.

It is worth noting that Lorca accompanied all his works with his own graphic drawings, an exhibition of which was held in Moscow at the Cervantes Institute in 2003.

Remembering Federico Garcia Lorca, “Evening Moscow” selected 7 of his famous poems:

1. BALLAD OF SEA WATER ("Book of Poems", 1921)

The sea laughs
at the edge of the lagoon.
Foam teeth
azure lips...

Girl with bronze breasts
Why are you looking with longing?

I sell water, my lord,
sea ​​water.

A young man with dark blood,
What is it that keeps making noise in it?

This is water, my lord,
sea ​​water.

Mother, why are your tears
flow like a salty river?

I cry with water, my lord,
sea ​​water.

Heart, tell me, heart, -
where does this bitterness come from?

Too bitter, my lord,
sea ​​water...

And the sea laughs
at the edge of the lagoon.
Foam teeth
azure lips.

(Translation by A. Geleskul)

2. GUITAR ("Poems about Cante Jondo", 1921)

Begins
Guitar cry.
Breaks
Cup of the morning.
Begins
Guitar cry.
Oh don't expect it from her
Silence,
Don't ask her
Silence!
Tirelessly
The guitar is crying
Like water through canals it cries,
Like the winds over the snow, she cries,
Don't beg her
O silence!
So the sunset cries for the dawn,
So an arrow without a target cries,
So the hot sand cries
About the cool beauty of camellias,
This is how a bird says goodbye to life
Under threat of a snake's sting.
Oh guitar
Poor victim
Five agile daggers!

(Translation by M. Tsvetaeva)

3. MEMENTO ("Poems about cante jondo", 1921)

When I die
bury me with a guitar
in river sand.

When I die...
In the old orange grove,
in any flower.

When I die
I'll be a weather vane on the roof,
in the wind.

Quiet...
when I die!

(Translation by I. Tynyanova)

4. PRELUDE ("Songs", 1921-1924)

And the poplars go away
but their trace of the lake is bright.

And the poplars go away
but they leave us the wind.

And the wind will fall silent at night,
dressed in black crepe.

But the wind will leave an echo
floating down rivers.

And the world of fireflies will flood in -
and the past will drown in it.

And a tiny heart
will open in the palm of your hand.

(Translation by A. Geleskul)

5. Mute BOY ("Songs", 1921-1924)

(Translation by M. Samaev)

6. FAREWELL ("Songs", 1921-1924)

If I die -
do not close the balcony.

Children eat oranges.
(I can see this from the balcony.)

Reapers reap wheat.
(I hear this from the balcony.)

If I die -
do not close the balcony.

(Translation by A. Geleskul)

7. LITTLE VIENNAIAN WALTZ ("The Poet in New York", 1929-1930)

Ten girls are traveling to Vienna.
Death cries on the chest of the revelers.
There is a forest of stuffed pigeons there
and dawn in antique darkness.
There are halls with hundreds of windows
and behind them there are clumps of trees...
Oh take this waltz
this lip-biting waltz.

This waltz, this waltz
full of death, prayer and wine,
where the wave plays like silk.

I love, I love, I love,
I love you there on the moon
and with a faded book in the window,
and in a secluded daisy nest,
and in that dance that the snail dreams of...
So please with warmth
this waltz with a broken wing.

There are three mirrors in the Vienna hall,
where they echo your lips.
Death plays the harpsichord
and the dancers are painted blue,
and brings shine to tears...

And over the city are the shadows of drunkards...
Oh take this waltz
on the hands of a dying dance.

I love, I love, my miracle,
I love you forever and everywhere
and on the roof, where I dream of my childhood,
and when you lift your eyelashes,
and behind them, in the silver cold, -
old Hungarian shepherd stars,
and lambs and lilies of ice...
Oh take this waltz
this waltz "I love forever."

I'll dance with you in Vienna
in the carnival dress of the river,
into a domino of water and shadow.
How dark are my reeds!..
And then a farewell tribute
I'll leave the echo of my breath
in photographs and weather vanes,
I'll lay kisses in front of the door -
and I will entrust your steps to the waves
waltz ribbons, violin and ashes.

(Translation by A. Geleskul)

Many say that in his poems Lorca predicted his violent death and burial in an unknown place. He actually wrote a lot about his death. He also foresaw the changes associated with the Civil War. And so it happened: friendly to the Republican regime, Lorca found himself the target of persecution during the Civil War that broke out in 1936. Despite the enormous danger associated with the concentration of Francoists in the south, the poet was very eager to get to his small homeland, Granada, to see the orange trees, to walk along the river bank... This step became fatal. On August 18, 1936, Lorca was arrested and the very next day he was shot in the mountains as a republican, and his books were banned until the death of General Franco.

In Spain, generously gifted with poets and playwrights, there is not and will not be another one like Federico García Lorca - a man who has become a symbol, an archetype of the poet in life and in death. People who knew him are still alive, and yet Garcia Lorca, known throughout the world, eludes the too close gaze of history. He was born 120 years ago, but his poems, plays and essays - those that were collected, sometimes almost miraculously - are surprisingly consonant with us today - and, most likely, the next generations will read them as if they were written for them and about them . And at the same time, these poems are the voice of Spain, they are the flesh of folk songs, ancient, like the lullabies of Segovia.

Federico was born into a wealthy and respected family. His father, Don Federico Garcia Rodriguez, made a fortune growing sugar beets and producing sugar. According to recollections, he was an honest, simple and serious man. Having decided to marry a second time (his first wife died childless) to the modest teacher Vicente Lorca Romero, his junior by ten years, Don Federico almost quarreled with his relatives: they considered this marriage a misalliance. In Spain they pride themselves on purity of blood and family ties, and here Dona Vicente had nothing special to boast about. But she was modest, educated, very well read - and Don Federico never regretted his choice later. Soon their first child was born, Federico del Sagrado Corazon de Jesus; according to custom, the child was given a double surname - Garcia Lorca, combining the surnames of his father and mother. Thus, in the town of Fuente Vaqueros (“Shepherd’s Creek”), a poet was born who would be called the pride and heart of Spain. One of the streets of Fuente Vaqueros will be renamed Federico García Lorca Street during the poet’s lifetime.

There were four children in the family - four years later Federico would have a younger brother, Francisco, and later two sisters, Maria Concepcion and Isabel. Lorca's childhood was the best time of his life, among his family, who doted on him, in the greenery of Andalusia, where everything grew and blossomed, where music always sounded. In the house near the church where the family lived, their whole life passed to the sound of bells - these bells of Granada would later ring in his poems:

Bells are heard from the fog
Andalusian girls
early in the morning
and greet the dawn chimes,
singing the cherished
moaning songs.

On the paternal side, the family had many talents - the father played the guitar beautifully and willingly played music, Aunt Isabel, who never married and devoted herself to caring for her nephews, sang wonderfully, one of the uncles was a famous poet, the grandmother played the piano. Federico himself studied music from childhood, his teacher predicted a great future for him. A real cult of music reigned in the family - and especially folk songs. Music - and stories. Young Federico, awkward and not very well-built, but endowed with sensitivity and a vivid imagination, grew up among local legends about the ferocious Moors, eerie stories about bloody clashes between robbers and royal soldiers, about the tragic death of handsome heroes, about vile traitors and loyalty to the grave. Mother and grandmother knew a huge number of folk romances - each was a story about unprecedented deeds. As a teenager, he passionately fell in love with the puppet theater, cut out puppets from paper himself, and with the help of his grandmother began to make costumes and scenery. This love will not subside even in adulthood.

In 1909, the family moved to Granada, where they then lived for more than 10 years. Federico's studies were given with varying success - he was not good at mathematics, and he was not in good health, unlike his more balanced and calm younger brother. Actually, after college, young Garcia Lorca entered the lyceum only on his third attempt. The father spared no expense on the education of his children, paying for private teachers; Federico opened an account in a bookstore - he could choose any books to his heart’s content. Among those he swallowed were some quite risky ones - for example, Oscar Wilde. And yet, a young man from a good family was supposed to do something respectable. Theatre, poetry, music - all this did not in any way attract a serious occupation befitting a man. Medicine would be a good career, and law would be even better. Federico García Lorca entered the Faculty of Law at the University of Granada, as his parents wished, but at the same time negotiated for himself the right to study at the Faculty of Literature. He, like many of his future friends, did not intend to be a lawyer, but he honestly pulled this burden. It is unlikely that he would have been able to obtain a diploma if not for Francisco, who truly became a first-class lawyer - and helped his brother finally end this torment. And yet, it was at the Faculty of Law that Federico would meet a man who would become his messenger of fate. Law professor Fernando de los Rios met Lorca even before he became his student. De los Rios led the Ateneo circle, where Lorca repeatedly gave concerts of piano music. And literature teacher Martin Dominguez Berrueta, immediately appreciating the gifted young man, took him along with other students on an educational trip to Spain, revealing Spain in all its splendor to seventeen-year-old Federico. Subsequently, based on the results of his travels, Federico wrote the book “Impressions and Landscapes” - a mixture of travel memories and essays about the national character and history of Spain - Don Federico gave money for publishing the book, in general, pleased that his eldest son’s book aroused the approval of respected people . The book was written in prose, but it was already the prose of a poet.

In Granada, at the local Alameda restaurant, the city's intellectual elite gathered - poets, translators, musicians, young university professors. Their meetings took place in a corner of the Alameda - under the stairs, where there was room for at most two or three tables, and they called their society "The Backstreet" and themselves - "the backstreets." García Lorca almost immediately entered this select circle - at first as an outstanding musician, but then his prose little by little began to appear in the magazine published by the circle, and soon poetry powerfully laid claim to Federico. Young “backstreet people” read their new poems every evening, argued until they were hoarse about the ways of developing art, and once decided to make fun of literary magazines. The company came up with the poet Isidore Capdepon, the Spanish brother of Kozma Prutkov. He wrote in the worst traditions of modern - and in fact - insanely old-fashioned - literature. Sentimental, eloquent and tongue-tied, Isidore Capdepon nevertheless found favor in literary magazines; almost none of the editors suspected a trick, extremely amusing the Granadan geniuses from under the stairs in a restaurant.

Over time, it became clear that Lorca was cramped in Granada. Friends convinced him that the time had come to leave Granada and go to Madrid. The decisive factor was the recommendation of Professor Fernando de los Rios: he promised to help the talented student transfer to a university in the capital - and he kept his word. Lorca went to the Institute of Free Education, which had adorned the capital since 1876. This institute was founded by professors who were once expelled from the University of Madrid for an overly free way of thinking - and became a real beacon of enlightenment. The Institute created unique conditions for learning: the entire cream of the scientific community and world culture came there to lecture: from Chesterton and Stravinsky to Einstein, Wells and Paul Valery, and, of course, all the leading scientists of Spain, there was a luxurious library, equipped laboratories, which were studied by natural scientists and physicians - as well as by everyone interested. Girls also studied there, but, of course, lived separately. A number of special educational programs were carried out: students and professors took part in folklore expeditions, in educational events - they gave lectures in cities and remote villages, staged plays, published their own magazine, translated the best examples of world literature and fundamental scientific works into Spanish. A lot of attention, of course, was paid to folk culture - a half-sunken continent that was slowly plunging into darkness and oblivion, being replaced in the philistine consciousness by some kind of clichéd surrogate. Approximately the same thing happened in Russia, when nesting dolls, Pavlov Posad shawls and Khokhloma kitsch practically replaced the real layer of real folklore, and the Berezka ensemble for many became a patented representative of folk dance. And in the famous Residence, a small student town (three buildings on the Meseta plateau), even the curtains were woven and embroidered by hand by old women from godforsaken Spanish villages. There, in the Residence, a completely unique atmosphere developed - akin to the one described by Hermann Hesse in his famous “Game of Glass Beads”. In 2007, the Residence was declared a European heritage. This is where Federico ended up in Castalia, on the recommendation and with the help of his teacher. There, after some time, he found friends - Salvador Dali and Luis Buñuel. The three soon became inseparable. However, Garcia Lorca was adored by everyone - for his kind and friendly disposition, cheerful readiness for any extravagance, devotion to friendship - and for his genius, which everyone knew about and which distinguished him even among the brilliant galaxy of young talents gathered within the walls of the Institute of Free Education. Talented youth - together with their teachers - set themselves new ambitious goals - to reform Spanish literature and the Spanish worldview, to revive the almost forgotten and faded culture of Spain, to return to the people their heritage - the literature and drama of the Golden Age and the treasures of folklore. In fact, the Institute’s students became the pride of Spain; it was an unprecedented rise in Spanish culture - alas, never to be repeated.

Fernando de los Rios did his student a great service when he introduced him to the best poet of Spain at that time - Juan Ramon Jimenez (future Nobel laureate). He listened to the shy young man and took him under his wing. Jimenez's recommendations opened all doors for Federico. He immediately plunged into the vibrant cultural life of Madrid in the 1920s. He writes a play for the innovative Esclavo Theater - and although the play, still half-children's, fails miserably, the theater takes Federico forever. He accompanies the venerable scholar Ramon Menendez (researcher and author of fundamental works on the history of romance, publisher of Cid Campeador) on his travels around Granada in search of folk romances. He is ready to play endlessly on the piano that was in the Residence, and almost no one at the Institute knows as many variations of folk songs as Federico knows - he is from Andalusia, the singing heart of Spain. And finally, together with the great composer Manuel de Falla, a friend of Debussy and Ravel, Lorca organizes the first competition-festival of Cante Honda, folk music. This required a huge amount of preparatory work - it was necessary to find folk singers, persuade them to come to Madrid, and at the same time explain to everyone around what it was - cante jondo. Old people died who knew these songs and knew how to sing them in such a way as to open the veins of Spanish folk music. For Lorca's contemporaries, cante jondo was something low, meaningless and unworthy of attention. Lorca rushed with all the fervor of his poetic word to defend the folk music he adored: “We cannot allow the deepest and most moving songs of our mysterious soul to be called tavern, dirty; we cannot allow the thread connecting us with the mysterious East to be stretched across the neck of a tavern guitar; We cannot allow the diamond heart of our songs to be soiled by the hands of scumbags with cheap wine.”. He literally forced those who listened to his lectures to come to their senses, to become numb with delight, to fall in love and be horrified by the beauty of this almost lost heritage - the beauty and eerie icy depth of these tunes. “The gypsy sigiriya begins with an eerie cry that divides the world into two ideal hemispheres, this is the cry of bygone generations, a sharp longing for vanished eras, a passionate memory of love under a different moon and a different wind.” His lecture, which later became an essay, is an impeccable scientific presentation, with references to the authoritative opinions of composers, with proof of why the subject of his research is worthy of work and attention. And with all that, this is a passionate cry of mortal love, in which one recognizes the true poet García Lorca, in whose throat the duende always beats.

Ten years later, he will publish, reluctantly and slowly, a collection of “Poems about Cante Jondo,” which he wrote at the time when he and Manuel de Falla were preparing the first festival of cante jondo and flamenco. He did not like to publish his poems, preferring to read them out loud - at all concerts, at all evenings. His friends called him “huglar” - we would say troubadour, trouvor, sounding poet. Lorca believed that published poetry was dying, so he was in no hurry to go to publishing houses, even when he was at the height of his fame. Long ago, those poets who blindly imitated him published hefty stacks of books, and Lorca himself had nothing but a children’s collection of travel reflections. His poems lived on their own - written down on scraps of paper, given to friends and acquaintances, fluttering from lip to lip. And it’s hard to imagine how many of them were lost, carelessly thrown into the trash, and how many were burned along with the archives during the Civil War. We cannot even produce this sad account.

In 23, Garcia Lorca and de Falla carried out another project - this time related to the puppet theater, which attracted both. It all started with almost nothing - Lorca planned a puppet show for Christmas for his sisters and their girlfriends. But children's fun turned into a masterpiece - a real laboratory. Federico adapted an ancient Andalusian fairy tale and a medieval religious play, de Falla wrote the music for the play, and their friend, Ermenegildo Lans, the best puppeteer in Granada, made the puppets. The puppet shows of Lorca and de Falla were a great success. Alas, during the time of Franco, the folk puppet theater of Andalusia ended - due to the excessive freedom and carnival looseness of this crude, but completely folk act, it was banned - and during the 50 years of the ban, the tradition was interrupted and died.

Thanks to the generous help of his father, Lorca could not think about his daily bread - and lived, studied, finally defended his law degree - with the help of his younger brother, and did what he wanted - gave lectures, promoted folk art, was fond of puppet theater , wrote plays for the human theater, recorded records of cante jondo, accompanying on the piano the actress La Argentinita - “The Argentine Girl,” the friend of his friend Ignacio Sanchez Mejias - writers and bullfighter, and therefore a Spaniard to the highest degree. Some folk songs, by the way, remained known only thanks to this miraculously surviving record, so the money of a simple Spanish worker, Don Fernando, turned out to be, unexpectedly for him, invested in genuine folk culture. Lorca and his friends were no longer the enthusiastic and timid - or daring - youths bursting into the world of adults. Now the culture of Spain was in their hands.

The first thing that united young people, combining the fervor of youth and university scholarship, was the celebration of the almost forgotten Spanish poet Luis de Gongoro, the 300th anniversary of whose death was celebrated in 1927. Or rather, it was not noted, since the Academy practically ignored this date. And then a group of young enthusiasts took matters into their own hands and responded to the call to glorify de Gongoro as he deserves. During the celebrations, the young people decided to order a solemn prayer service for the repose of de Gongoro. The priest, who was not particularly interested in history and literature, decided that the pious caballeros were going to pray for someone who had recently died, and asked which of those present were relatives of the deceased. Without saying a word, everyone pointed to Federico.

The efforts of the enthusiasts were not in vain - a book of de Gongoro’s poems was prepared, a number of lectures were given about him, and since 1927, Luis de Gongoro has become one of the recognized Spanish classics. And the meeting of young enthusiasts became an association - and was called the Generation of 27. They were all about the same age, with similar destinies - and they were all ready to continue their chosen path. Those who chose a scientific career gained international recognition and lectured on Spanish literature and language at the Sorbonne and Cambridge. The artists gradually found their voice and their style, remaining themselves - and at the same time promoting the culture of Spain. Lorca still belonged to both poetry and theater. He wrote the play “Mariana Pineda,” dedicated to a real historical heroine - a native of Granada, executed for participating in a conspiracy against the king, betrayed by her revolutionary lover, but did not betray any of the conspirators. The play could not be staged for a long time - contemporaries saw in it an acute social hint of political circumstances, but for Lorca it was a story of love and torment, because the price of true love is always death. Mariana, who embroidered the banner of rebellion, became a character in a folk romance that Granadan children sing on the streets. If she had trembled, she would have died forever. She died and became the immortal lily and rose of Granada. Passionate actress Margarita Xirgu, who was supposed to play Mariana, unable to wait for the director to decide to stage a dangerous play, took everything into her own hands - and did not calm down until the play was staged. The play caused a triumph - everyone has long forgotten about the shameful failure of The Butterfly's Witchcraft. After “Mariana Pineda,” Lorca found himself among the ranks of Spanish playwrights. Margarita Xirgu became his faithful friend for life. A friend, but not love.

The year 1928 was marked for Lorca by the highest rise of his literary fame - “Gypsy Romances,” perhaps the most famous book of his poems, was published. In this collection, Lorca moved away from the traditional romance - which, in essence, is a story about a certain event - almost a ballad. In Lorca's gypsy romances, the lyrical, passionate beginning beats too hard. Initially, the book was called “The First Gypsy Romancero”, and, obviously, the author intended to continue - but... the stunning success that befell this book prevented it. Lorca, suspicious and shy, despaired that apparently something had been done wrong. Obviously, the public, applauding him and praising the book, did not see the main thing in it. It would be too easy to get carried away by the tinsel and external shine of gypsyism, too easy to profane - and he was afraid that for the public tambourines, screams and skirts would be enough - and no one would want to peer into the deep dark current of the ancient cante jondo. Lorca tirelessly interpreted, commented and explained this collection. The noise made around the book, which was truly magnificent, its resounding success disgusted him, precisely because it was not cod and applause that he was waiting for. He wrote a gypsy romancero because it is the gypsies, the oldest inhabitants of Andalusia, who keep the dark roots of cante honda. For Lorca, Andalusia is the seed of all of Spain, and perhaps Europe, at the crossroads, the intersection of Islam and early Christianity, the Moors and the fires of the Inquisition. And the gypsies - for him, their ancient and bitter culture - were like the center of Andalusia: beautiful shadows, kings of this land and poor ashes from the ashes of a bitter country, minting silver from the moon - and bloody, wounded in the heart and torn to pieces by the Spanish gendarmerie.

García Lorca believed that if the gypsies were elevated to a literary myth, they would gain immortality and protection - they would turn into birds, and cease to be just outcast pariahs who had nothing to do with high culture. He wanted everyone else to see in the gypsy romances what he saw - all the salt and bitterness of Adalusia. He wanted to fuse gypsy myth with everyday life - so that one shines through the other. And he was afraid that he had failed and the myth outweighed him.

Lorca, who had already become famous, became famous both as a poet, and as a playwright, and as a lecturer, was at the same time going through difficult days for him. Open and clear when it came to what was close to him, a loyal comrade who sought to help everyone who needed help, he was surprisingly secretive when it came to himself. Whoever was the cause of his despair, in Catholic Spain such love was forbidden - and that is also why frankness was impossible. He handed over to one of his friends, the young American poet Philip Cummings, for safekeeping several diary notes and a notebook in which he poured out all his despair and resentment, and he kept them unopened, as he promised (and then, again, according to clear instructions, left by Lorca, burned after reading it 25 years after the death of a friend). A number of names are mentioned, including Salvador Dali, but we do not know exactly because of whom Federico’s heart was broken and there was no hope for happiness, which he sometimes vaguely, dully uttered in letters to friends. In this case, it would be good to change the situation - and then Lorca was given such an opportunity. In addition, he was 30 years old, and he was still dependent on his father's help - and this also weighed on him. And so everything worked out for the best in the worst circumstances, Lorca was offered to lecture in America, in New York. For his family, he went there to learn English in a language environment, and even signed up for a corresponding course. In addition, his former teacher and constant friend de los Rios was going to New York to give lectures, so Federico, by nature indecisive and slow, would not have been alone on the trip. In 1929 they set off across the ocean to meet America.

Even before the trip, Federico had no illusions about New York - and the city lived up to his worst expectations. The time of the Great Depression did not paint the Big Apple, people walked gloomily, everyday everyday tragedies played out every day, in addition, the streets themselves - spit on, covered with garbage and squeezed between stones, brought mortal melancholy and horror to the Andalusian Lorca. New York appeared to him as a mechanical, soulless hell, stretching upward, crowded with chaotically running people - and inexpressible loneliness. However, there was also something that resonated in his heart: this was jazz in the Harlem neighborhoods. It’s tempting to imagine the scene of Federico at the Cotton Club listening to Louis Armstrong - as they say, “all the best at once.” The blacks of America touched the right chords in his soul - they were akin to his beloved gypsies: musical, indomitable, humble, outcast and strangers to everyone. Whether it was jazz that taught him complete freedom or the impossible Salvador Dali, it was in New York that Lorca plunged into unbridled surrealism. He wrote many poems there that made up the book “A Poet in New York” - and this book was published by his friends in exile, after the murder of Lorca. His plays from this period - "The Public" and "When Five Years Gone" - are heartbreakingly sad and, yes, surreal. Among all the dramatic heritage of Garcia Lorca, they are perhaps the darkest, and it is a rare director who accepts them for production. By the way, Lorca never learned English: there were quite a few Spaniards on the campus where he lived, and he had enough of both communication and volunteer helpers. New York already oppressed and tormented him.
In 1930 he was invited to lecture in Cuba. This was a completely different matter! They spoke Spanish there. There they sang habaneras, played with such skill by his aunt Isabelle (he would even get an autograph for his mother from the author of her favorite habanera “You,” which he remembered from childhood). His father smoked Cuban cigars - and Cuba was the picture on the box of these cigars - familiar, beloved and fabulous. He lived in his friends' villa, swam to his heart's content in Varadero, performed successfully - and by the time he returned to Spain he had practically come to his senses. Moreover, big changes were brewing in Spain. The monarchy fell and Spain became a republic. Lorca was never close to politics, although he was considered “red” and “left”, but people came to power who, perhaps for the most part, were not his close friends, but in spirit were extremely close to the Generation of ’27 , and Fernando de los Rios was appointed Minister of Education, and Federico could only welcome such an unexpected turn of fate. After some time, the minister offered Garcia Lorca his dream job - to organize a student theater and go on a trip around the country to introduce Spanish drama and literature to those who had never seen theater in their lives, and maybe even a book other than the Bible. The enlightenment of the peasant masses (and in fact, they were Spain) was perceived by the Republicans as a worthy and necessary task. This is how the theater “La Baraka” appeared, which translated means “booth.” The initial money was given by de los Rios, who became the godfather of the young theater. In an interview, Lorca said: “All our actors are students of the University of Madrid. We select those who have passed all rounds. Anyone who feels a calling to the theater can participate in the first. To begin with, we suggest reading poetry or prose from a sheet of paper. Those whom we retain after the inevitable elimination, in the second round read (from memory) poetry or prose of their choice. After the second elimination, those who, in our opinion, have shown ability, can participate in the third round: everyone plays the role they have chosen. Then we invite him to play all the other roles in the play. We add anyone who has passed all three rounds to our file cabinet - this is our innovation. There are more than a hundred actresses and actors in this catalog: cards with their names are arranged in sections according to their role. It is enough to look at the card index to find out who can play this or that role. On the card next to the name and surname it is indicated: “First Lover”, “Seductress”, “Femme Fatale”, “Ingenue”, “Wretched”, “Traitor”, “Fraud”, “Villain”. There were no professionals, but they became professionals along the way. The troupe drove into remote places in a truck, and everyone there worked tirelessly. We agreed on a performance - right on the square. All performances were held free of charge. The actors themselves built a simple stage, set up the scenery, put on makeup, changed clothes - and acted. Before the performance, Lorca addressed the audience, explained to them who they were, these city lords and senoritas, why they came and what their performance would be about. The repertoire was classical, although Lorca wisely selected plays so that the inexperienced audience would not tire. The repertoire included both farces and tragedies. The Lorca Theater did not stage Lorca's works - they returned their precious property to the people. The peasants looked at Cervantes and Lope de Vega with no less tension and sympathy than the Madrid intellectuals. The costumes were bright and rich - the theater was supposed to be a holiday and be remembered for a long time. We spent the night right there, and in the morning we moved on to the next village.

Naturally, skirmishes also arose: right-wing conservatives suspected “La Baraka” of spreading Marxism - and accused them of all mortal sins, first of all, of course, sexual promiscuity: has it ever been heard of - women and men travel together, sleep almost side by side, they cover their heads, and the men—it’s shameful to say—put on make-up, whiten and blush. One day the performance was disrupted by a gang of thugs who climbed onto the stage to stop the disgrace. They gave “Life is a Dream” by Calderon - and Lorca played the Shadow, he was wrapped in a cloak with a hood and was terribly scared when the heated hooligans trampled on him. A misunderstanding saved everyone. Because of his costume, Lorca was mistaken for a priest... and they reluctantly obeyed when he ordered the rowdies to leave the stage and not trample on electrical wires. He had 4 years to live. Actually, like “La Barraque”. Under Franco, such a theater - and such people - were not needed, its funding stopped - and the theater simply disappeared. It is said that José Antonio Prima da Rivera, founder of the Spanish Falange, suggested that Lorca finance the theater because he considered it useful for spreading his ideas. Lorca refused - the ideas of fascism were deeply alien to him.

He devoted two years to La Baraka, and during this time he wrote one of his best plays, Blood Wedding. According to legend, Lorca saw an article in a local newspaper, where in the “incidents” section it was briefly reported that the bride ran away from the wedding with her ex-lover, and the groom caught up and killed them both. But, in essence, Dostoevsky was repeatedly inspired by crime chronicles. “Bloody Wedding” was staged in Madrid, and the entire Spanish elite was at the premiere. This production made Lorca famous, and all other plays confirmed his fame again and again. “Bloody Wedding” was also staged outside of Spain - and in 1934 Lorca went to Argentina and Uruguay to give lectures. A real triumph awaited him there - and, by the way, very good money. The royalties from his plays brought him so much that he could no longer depend on his family, but put a decent amount in the bank and be considered a successful writer and playwright. He spent six months in Argentina - and returned to Spain, to new productions, new plays - it was then that “Yerma” was completed and “The House of Bernarda Alba” - his famous three Andalusian plays - began. He could never sit still: as soon as one thing was completed, another immediately began. Unfortunately, time around us was changing rapidly.

At this time, Spain of the Second Republic was already beginning to feel feverish, when, according to Ortega y Gasset, “being left as well as right has become just one of countless human ways of being stupid”. Political struggle, economic crisis, constantly unstable situation and strife practically tore the country apart. The uprising in Asturias was suppressed with terrifying cruelty and extrajudicial executions. In 1936, Salvador Dali painted a terrible and exhausting picture “Premonition of a Civil War”. And soon it really broke out - and ended with the final fall of the Republic and the complete victory of Franco. Most of the Generation of '27 left the country - and those who remained in Spain were either killed, or went into internal emigration and fell silent.

Lorca had the opportunity to go to Mexico, where Margarita Xirgu called him. He was just about ready to do so, but he could not leave his friend - and more than a friend, and his father forbade him to even think about emigration.

Friends begged Lorca, since he had not left the country, to stay in Madrid - where he, a well-known anti-fascist who openly expressed his position, which was more of an ethical than political nature, would still be protected by his world name and his fame. But Lorca, completely irrationally, strove to go to Granada, to his family, to home. From there he wanted to go further, try to get to Mexico...

This was a fatal mistake. The Francoists ruled Granada - and García Lorca was neither the glory of Spanish literature, nor even just the son of a respected family. He said to himself: “I am an anarchist-communist-liberal, and also a pagan-Catholic and a traditionalist-monarchist.” But for the new owners of Granada, he was a “red”, a dangerous “metropolitan” talker, a hated “Marxist” - and even a “pervert”, mixing with flamboyant communists and flirting with gypsies and other “rabble”. Lorca's brother-in-law, acting mayor of Grenada, was captured, arrested - and later executed. In Granada, being Lorca became deadly - the Falangists believed that he “caused more harm with his pen than others with a pistol.” Federico did not want to understand this. He, not sensing trouble, still organized public readings and tried to give lectures. Don Federico's house was searched several times. For the first time, we rummaged through everything, looked for a walkie-talkie, because the “capital” guy probably had to communicate with the Russians by radio and prepare evil things - why did he come here then? The second time, Lorca was dragged out of the room and beaten, calling her a “faggot.” The whole family was herded onto the veranda and lined up, as if preparing to be shot. But another phalanx, which came to Don Federico’s house, prevented this.

Lorca decided to flee - and for now he chose a safe refuge for himself: the house of his friend Luis Rosales. Their idea of ​​hiding and sitting out the bad times was all the more ingenious because all the young Rosales in this house were Falangists, and one of the brothers was a very high-ranking one. Who would look for him here?
But they came for him - and quite quickly. Having received an arrest warrant for Garcia Lorca, the Francoists came to his home - and, of course, they did not find him. Sister Maria Concepcion, Conchita, believing that nothing would be done to her brother, under direct blackmail (they threatened not her, but her three small children), told her where she could find her brother. Federico tried to leave Falle or return to Madrid, but this did not work out. He could not even imagine - and in fact never knew to what extent he was hated here and longed for his death - him, who all his life was everyone's favorite and did not wish harm to anyone.

The situation arose was unusual. No one wanted to break in with a search and arrest the personal guest of the head of the local branch of the Phalanx. Finally, the detachment surrounded the house, but its leader, Ramon Ruiz Alonso, a convinced Falangist and patriot, went inside.
He assured everyone, including Luis Rosales and Miguel, the head of the phalanx, that Lorca was not in danger, and it was only a question of coming to the administration and answering some questions there. Lorca agreed to go with Alonso, said goodbye to his friends and left his exposed hideout. Immediately after this, the mother of the family, Señora Rosales, contacted Federico’s relatives to develop a plan of action for his release. Friends and family hoped that there would be some kind of investigation that would lead to something being done - or at least getting public attention. On August 17, 1936, Ruiz Alonso brought Lorca to the acting governor - everything went extremely correctly and the delicate situation in which a state criminal was hiding in the house of leading local Falangists was resolved in the most diplomatic way. None of his friends and family saw Lorca again.

A day or two later, at dawn, Federico García Lorca was taken from the gates of the death row prison and shot along with two banderilleros - Joaquin Arcollas Cabezas and Francisco Galadi Mergal, and the teacher Dioscoro Galindo Gonzalez. They were killed on the banks of the canal, not far from the Ainadamar spring (translated from Arabic as “source of tears”). The corpses were buried in one of the unmarked mass graves, where those executed without trial were dumped. The exact burial place is still unknown.

If I think -
Leave the balcony open.
Boy eating oranges
(I can see it from the balcony)
The reaper cuts the ears of corn
(I hear this from the balcony).
If I die -
Leave the balcony open.
Translation by V. Ilyina

Garcia Lorca Federico
Born: June 5, 1898.
Died: August 19, 1936.

Biography

Federico García Lorca: June 5, 1898 – August 19, 1936) was a Spanish poet and playwright, also known as a musician and graphic artist. The central figure of the “generation of ’27”, one of the brightest and most significant figures of Spanish culture of the 20th century. Killed at the beginning of the Spanish Civil War.

Lorca was born on June 5, 1898 in the town of Fuente Vaqueros in the Spanish province of Granada. The impressionable boy did not do well at school. In 1909 the family moved to Granada. In the 1910s, Federico was actively involved in the local artistic community. In 1914, Lorca began studying law, philosophy and literature at the University of Granada. Garcia Lorca travels a lot around the country. In 1918, Lorca published his first collection of poetry, Impresiones y paisajes (“Impressions and Landscapes”), which brought him, if not commercial success, then at least fame.

In 1919 Garcia Lorca arrived in Madrid. At the capital's university, he met Salvador Dali and Luis Buñuel, as well as Gregorio Martinez Sierra, director of the Eslava Theater. At the request of Martinez Sierra, Lorca wrote and staged his first play, El maleficio de la mariposa (The Witchcraft of the Butterfly) (1919-1920). Until 1928 he studied at the University of Madrid.

In subsequent years Garcia Lorca becomes a prominent figure among avant-garde artists. He has new poetry collections coming out, including Romancero gitano (“Gypsy Romancero”, 1928). In these poems, the poet, in his own words, “wanted to merge gypsy mythology with all of today’s everyday life.”

A year later, García Lorca left for New York, as a result of which new works soon appeared - the book of poems Poeta en Nueva York ("The Poet in New York", 1931), the plays El público ("The Public", 1931, 1936) and Así que pasen cinco años “When five years have passed” (1931).

The poet's return to Spain coincided with the fall of the Primo de Rivera regime and the establishment of the republic. In 1931, García Lorca was appointed director of the student theater La Barraca (Balagan). While working in the theater, Lorca created his most famous plays: Bodas de sangre ("Bloody Wedding"), Yerma ("Yerma") and La casa de Bernarda Alba ("The House of Bernarda Alba").

Before the start of the civil war, García Lorca left Madrid for Granada, although it was obvious that serious danger awaited him there: in the south of Spain the positions of the right were especially strong. On August 16, 1936, the Francoists arrested Garcia Lorca in the house of the Rosales brothers, and presumably the next day the poet was shot by order of Governor Valdez Guzman and secretly buried 2 km from Fuente Grande. After this, until the death of General Franco, García Lorca's books were banned in Spain. However, it should be noted that he maintained friendly relations with the leaders of the phalanx-HONS, José Antonio Primo de Rivera and Onesimo Redondo Ortega.

There is a version that the poet was not killed and simply went missing. In 2008, the granddaughter of a teacher who was shot along with Lorca demanded the exhumation of the bodies of the mass grave in which Lorca allegedly rested (under the law on the restoration of historical memory). The exhumation of this and 18 other mass graves was carried out on the orders of judge Baltasar Garzón, who acted on his own initiative, which resulted in his loss of office and criminal charges of abuse of power. No remains were found not only in the grave, but throughout the entire municipal district where, according to the official version, the tragedy unfolded. A more mythical version claims that the wounded poet was secretly transported to Argentina, but he no longer remembered his name or past.

Garcia Lorca's works have been translated into many languages; they were translated into Russian by M. Tsvetaeva (translated Lorca in the last days of her life), N. Aseev, V. Parnakh, A. Geleskul, Yunna Morits, N. Trauberg, N. Malinovskaya, B. Dubin, N. Vanhanen, K. M. Gusev and others.

Many admit that Lorca, at the end of the poem “The History and Cycle of Three Friends” (1930, collection “Poet in New York”), had a presentiment of the Civil War, his own death and the unknown location of his burial.

Prose

Impresiones u paisajes (Impressions and landscapes, 1918)
Poetry collections|
Libro de poemas (Book of Poems, 1921)
Poema del cante jondo (Poems about cante jondo, 1921, ed. 1931)
Primeras canciones (First songs, 1921-1922, ed. 1936)
Canciones (Songs, 1921-1924, ed. 1927)
Oda a Salvador Dalí (Ode to Salvador Dalí, 1926)
Romancero gitano (Gypsy Romancero, ed. 1928)
Poeta en Nueva York (Poet in New York, 1929-1930, ed. 1940)
Llanto por Ignacio Sánchez Mejías (Lament for Ignacio Sánchez Mejías, 1935)
Seis poemas gallegos (Six poems in Galician, ed. 1935)
Diván del Tamarit (Tamarit's Divan, 1936, ed. 1938)
Sonetos del amor oscuro (Sonnets of Dark Love, 1936, ed. 1984)

Plays

Mariana Pineda (Mariana Pineda, 1927)
La zapatera prodigiosa (The Wonderful Shoemaker, 1930)
Retablillo de Don Cristóbal (Don Cristóbal's booth)
El público (The Public, 1930)
Así que pasen cinco años (When five years have passed, 1930)
Amor de don Perlimplín con Belisa en su jardín (The Love of Don Perlimplín, 1933)
Bodas de sangre (Bloody Wedding, 1933)
Yerma (Yerma, 1934)
Doña Rosita la soltera o el lenguaje de las flores (Doña Rosita, the Maiden, or the Language of Flowers), 1935)
La casa de Bernarda Alba (The House of Bernarda Alba, 1936)
In Russian translations|
Garcia Lorca F. Favorites. M., Goslitizdat, 1944
Garcia Lorca F. Selected lyrics. M., Goslitizdat, 1960
Garcia Lorca F. The saddest joy... Artistic journalism. M., Progress, 1987

Lorca in culture

Lorca's poems are an important element of Peter Lebedenko's novel "Red Wind", which explores the theme of the Spanish Civil War. The winner of the Federico Garcia Lorca Prize has been announced (Contraband, October 14, 2011)
In 1959, Joseph Brodsky dedicated the poem “The Definition of Poetry” to the memory of Garcia Lorca.
Ospovat L. S. Garcia Lorca. - M.: Mol. Guard, 1965. - 432 p. Circulation 115,000 copies. (The lives of wonderful people. Issue 16 (410).).
In 1970, American singer-songwriter Tim Buckley released the album Lorca, inspired by the works of the poet, with the composition of the same name.
In Spain, director Juan Antonio Bardem shot the biographical miniseries Lorca, Death of a Poet (1987).
Members of the Russian heavy metal band Aria in 1986, in order to facilitate the official submission of the program to the artistic council, attributed the lyrics of the song “Torero” (on the theme of bullfighting), actually written by Margarita Pushkina, to Garcia Lorca.
In 1994, Alexander Yakovlevich Rosenbaum’s album “Sluggish Schizophrenia” was released, in which one of the songs “Federico Garcia Lorca” is dedicated to the poet.
In 1996, Alexander Gradsky’s CD “Golden Old Things” was released, in which one of the songs (“Spain”, music: A. Gradsky, lyrics: N. Aseev) was dedicated to the memory of Federico Garcia Lorca.
In 2003, based on the novel of the same name by Nadal Prize winner Fernando Marias (published in Russian translation under the title “Magic Light”), the film “Divine Light” was shot, which received an award at the Moscow Film Festival. He talks about Lorca’s “second life,” as if he had not died but, having lost his memory, wandered along the roads of Granada.
In 2005, Garcia Lorca's poem "De profundis" was painted on the wall of a building in the center of Leiden (Netherlands). It became the last in a series of one hundred and one similar monuments to world-famous poets as part of the cultural project “Wall poems”.
In 2008, dir. Paul Morrison directed a film dedicated to the relationship between F. Garcia Lorca and S. Dali - “Echoes of the Past” (“Salvador Dali: Love. Art. Betrayal”).
In 2015, the science fiction series “Ministry of Time” began airing in Spain. The 8th episode of the 1st season is dedicated to the events that took place at the University of Madrid in 1924; One of the main characters in the series is Federico García Lorca.
Mentioned in the song of the DDT group “Life is beautiful” from the album “Transparent” (“Do you remember how you loved Lorca Garcia”).

Miscellaneous

In the late 1980s, thanks to the research of biographer Ian Gibson, Garcia Lorca's homosexuality became known. His lover in the last years of his life was the journalist and critic Juan Ramirez de Lucas, to whom the poet dedicated “Sonnets of Dark Love.”
In the fighting film Undisputed 3, the Colombian fighter often holds a book of Federico Garcia Lorca's poem in his hands.
On May 2, 2003, 40 original drawings by Lorca and his personal belongings were exhibited for the first time at the Cervantes Institute in Moscow. All exhibits belong to the García Lorca Foundation, which is run by members of the poet’s family. The exhibition was called “The World of Federico García Lorca.”
Featured on a 1989 Albanian postage stamp.
Featured on the 1993 Cuban 1 and 10 Peso coins.