Federico Lorca
Poems:Aborle Aborle
Ballad of the Moon
5 o clock
Ballad of the Moon anotation:
The moon came to the smithy
with her bustle of white rose.
The child looks at her,
and looks, and looks. (repetition)
In the agitated air
the moon moves her arm (personification)
and shows, pure, shameless,
her breasts of hard tin.
'Run away, moon, moon, moon.
If the gypsies come,
they'll twist your heart to necklaces
and rings of white stone.'
'Child, let me dance.
When the gypsies come,
they'll find you, little eyes closed,
on the anvil of iron.'
'Run away, moon, moon, moon, (repetition)
for now I hear their horses.'
'Leave me, child, do not tread
upon my starchy whiteness.'

The horseman was approaching
drumming on the plain.
Inside the forge the child
closed his eyes again.

Through the olive grove the gypsies came,
dream and bronze.
Their heads held high
and their eyes half-closed.

Ah, how the owl sings!
how it sings in the tree!
Holding a child's hand
the moon walks through the sky.

Inside the forge the gypsies
shout and weep.
The wind is watching over it,
watching over it.

Within the Ballad of the Moon the moon is portrayed as a significant symbol. The moon is something that is constantly referred to and spoken to in such a way that not only do the characters defer to moon to ask their questions, but also blame the moon when terrible things arise, bringing about connotations of a “choice” and “fate” within nature, cycles, the passing of time, the passage from childhood to adulthood, the presence of dreams and the dangers of dreaming.

Garcia Lorca had significant inspiration from Shakespeare's Romeo and Juliet.





Federico García Lorca was born June 5, 1898, in Fuente Vaqueros,
Federico Garcia Lorca wrote during the Spanish Civil War, this is also the time when Picaso did his most famous works

He is on the list because he is possibly the most important Spanish poet and dramatist of the twentieth century

He achieved instant celebrity both in Spain and in Latin America, as well as, later and through translation, in France and the United States, with his collection of poetry "The Gypsy Balladeer", in which he drew upon his boyhood contacts with the gypsies of the town of his birth, Fuente Vaqueros, to concoct a bewitching blend of social commentary and dreamlike fantasy

Lorca was inspired in many ways. Influences such as the rising tension in Spain that led up to the Civil War, the tension with women rights in Spain, and often trips that Lorca had taken influenced his writings.

1918, he published a book of prose inspired by a trip he had taken to Castile,

Lorca became associated with a group of artists who would become known as Generación del 27, including the painter Salvadore Dalí, the filmmaker Luis Bunuel, and the poet Rafael Alberti who also influenced his writings

Federico García Lorca's reputation rests equally on his poetry and his plays. He is widely regarded as Spain's most distinguished twentieth-century writer, his work has been translated into at least twenty-five languages, and his name is as familiar to the general reader as those of the novelists Miguel de Cervantes and Benito Pérez Galdós or the dramatists Lope de Vega and Pedro Calderón

s a poet, his early reputation rested on the Romancero gitano (Madrid, 1928; tr. R. Humphries, The Gypsy Ballads of García Lorca, Bloomington, 1953), the poems of Poema del Cante Jondo (Madrid, 1931), and Llanto por Ignacio Sanchez Mejias (Madrid, 1935; tr. A. L. Lloyd, in Lament for the Death of a Bullfighter, and Other Poems, London, 1937)
a casa de Bernarda Alba is starker: deliberately prosaic, more readily interpretable as social criticism (i.e. of the pressures of convention, the imprisoning effect of mourning customs, the frustration of female sexuality by the need to wait for an acceptable match), but it is so dominated by the title character - who tyrannizes her five daughters - that it emerges as the study of a unique individual rather than a typical woman

Tomas Transtromer
Poems:The Couple
The Indoors is Endless
Allegro anotation:
After a black day, I play Haydn, (imagery)

and feel a little warmth in my hands.

The keys are ready. Kind hammers fall.

The sound is spirited, green, and full of silence.

The sound says that freedom exists

and someone pays no tax to Caesar.

I shove my hands in my haydnpockets

and act like a man who is calm about it all. (simile)

I raise my haydnflag. The signal is:

“We do not surrender. But want peace.”

The music is a house of glass standing on a slope; (personification)

rocks are flying, rocks are rolling. (personification)

The rocks roll straight through the house (personification)

but every pane of glass is still whole.

This poem by Transtromer mentions Haydn, a famous musical composer who greatly influenced and inspired Transtromer into the artist that we see today.

Tomas Gösta Tranströmer (born Stockholm, Sweden,15 April 1931) is a Swedish writer, poet and translator, whose poetry has been translated into over 60 languages.

Music became essential to him; he began to play the piano, and he soon approached poetry.

Tranströmer's lifelong interest in music, which has left significant traces in his writings, has actually deepened since his stroke. Several composers have been inspired by his poetry and have set it to music, as well as dedicating to him a number of newly composed piano works for the left hand.

Tranströmer is acclaimed as one of the most important European and Scandinavian writers since World War II. Critics have praised Tranströmer’s poems for their accessibility, even in translation; his poems capture the long Swedish winters, the rhythm of the seasons and the palpable, atmospheric beauty of nature.

He was awarded the 2011 Nobel Prize in Literature.

In 1990 Tranströmer suffered a stroke that paralyzed his right side. He almost entirely lost his ability to speak. Since then, writing has taken him longer, although he has published some poetry collections and a memoir, Minnena ser mig, 1993 (Memories Look at Me, 2011). Tranströmer has increasingly embraced short forms of poetry such as haiku, which only reinforce his focus on concentration of expression. But even before he became ill, he took plenty of time to write his vivid, precise poetry. Some poems took him years to complete.

“He has perfected a particular kind of epiphanic lyric, often in quatrains, in which nature is the active, energizing subject, and the self (if the self is present at all) is the object,” notes critic Katie Peterson in the Boston Review. Critic and poet Tom Sleigh observed, in his “Interview with a Ghost” (2006), that “Tranströmer’s poems imagine the spaces that the deep then inhabits, like ground water gushing up into a newly dug well.”

Tranströmer’s poetry, building on Modernism, Expressionism, and Surrealism, contains powerful imagery concerned with issues of fragmentation and isolation. “He has perfected a particular kind of epiphanic lyric, often in quatrains, in which nature is the active, energizing subject, and the self (if the self is present at all) is the object,” notes critic Katie Peterson in the Boston Review. Critic and poet Tom Sleigh observed, in his Interview with a Ghost (2006), that “Tranströmer’s poems imagine the spaces that the deep then inhabits, like ground water gushing up into a newly dug well.”

To read Tranströmer—the best times are at night, in silence, and alone—is to surrender to the far-fetched. It is to climb out of bed and listen to what the house is saying, and to how the wind outside responds. Each of his readers reads him as a personal secret. For this reason it is strange to see this master of solitude being celebrated in the streets or showing up as a trending topic on Twitter and a best-seller on Amazon. He usually dwells in quieter precincts.

Tranströmer’s poems owe something to Japanese tradition, and early in his career he wrote haiku.

But Tranströmer casts a spell all his own, and in fact the strongest associations he brings to my mind are the music of Arvo Pärt and the photography of Saul Leiter.

In a Tranströmer poem, you inhabit space differently; a body becomes a thing, a mind floats, things have lives, and even non-things, even concepts, are alive. His memoir, “Memories Look At Me,”

There’s a kind of helplessness in many of the poems, the sense of being pulled along by something irresistible and invisible. There are moments of tart social commentary, a sense of justice wounded (“the slum must be inside you”—for many years, Tranströmer worked as a psychologist at an institution for juvenile offenders)

The images with which Tranströmer charges his poems bring to mind the concept of “acheiropoieta,” “making without hands”; in Byzantine art, acheiropoeitic images were those believed to have come miraculously into being without a painter’s intervention.