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Note on the Text WE HAVE reproduced the poems from the Penguin edition of 1960, which followed the 1957 edition of Lorca’s Obras completas, published in Madrid. That is the text that Gili – ‘but for one or two exceptions’ – worked from. (One of these exceptions was for the lecture, ‘Juego y teoria del duende’; its pages in his copy of the 1954 edition are well annotated.) Christopher Maurer has pointed out that Gili made excellent use of the scholarship available in 1959,but that the last few decades have brought new texts and new information to light. We are most grateful to him for giving this book the benefit of his knowledge in the form of comments and corrections which have in many cases been silently incorporated or which have formed the basis of editorial footnotes. These include a few corrections and a number of modern readings which have been incorporated into the Spanish text of the poems; they are footnoted. We have followed Gili’s practice in omitting Lorca’s epigraphs, dates and dedications to poems. The Spanish text of ‘Juego y teoria del duende’, which was not included in the Penguin edition, comes from the later edition of Obras completas edited by Arturo del Hoyo, Madrid: Aguilar, 1986. (In the 1954 edition which Gili used it was entitled ‘Teoria y juego del duende’.) Gili’s translation omits four short paragraphs of preamble and there are some variants from the 1954 edition which he used, again noted in the text.
page 191
Index of First Lines A las cinco de la tarde Antonio Torres de Heredia Arbol de sangre moja lamañana ¡Ay, qué prado de pena! ¡Ay qué trabajo me cuesta Bajo el naranjo lava Cada canción Cantan los niños Cien jinetes enlutados Cisne redondo en el río Con una cuchara Córdoba Cuando sale la luna De Cádiz a Gibraltar ¿De dónde vienes, amor, mi niño? Desde mi cuarto Dice la tarde: «¡Tengo sed de sombra!» El campo El jovencillo se olvidaba El mar El niño busca su voz El río Guadalquivir Empieza el llanto En la luna negra En la mitad del barranco En un cortijo de Córdoba Equivocar el camino Era hermoso jinete Era mi voz antigua Esquilones de plata He cerrado mi balcón La aurora de NuevaYork tiene La luna gira en el cielo La luna vino a la fragua 130 78 156 129 50 46 152 27 45 122 96 49 52 153 127 56 37 41 55 34 54 40 42 48 63 58 116 124 104 30 147 103 92 61 189

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Note on the Text

WE HAVE reproduced the poems from the Penguin edition of 1960, which followed the 1957 edition of Lorca’s Obras completas, published in Madrid. That is the text that Gili – ‘but for one or two exceptions’ – worked from. (One of these exceptions was for the lecture, ‘Juego y teoria del duende’; its pages in his copy of the 1954 edition are well annotated.)

Christopher Maurer has pointed out that Gili made excellent use of the scholarship available in 1959,but that the last few decades have brought new texts and new information to light. We are most grateful to him for giving this book the benefit of his knowledge in the form of comments and corrections which have in many cases been silently incorporated or which have formed the basis of editorial footnotes. These include a few corrections and a number of modern readings which have been incorporated into the Spanish text of the poems; they are footnoted.

We have followed Gili’s practice in omitting Lorca’s epigraphs, dates and dedications to poems.

The Spanish text of ‘Juego y teoria del duende’, which was not included in the Penguin edition, comes from the later edition of Obras completas edited by Arturo del Hoyo, Madrid: Aguilar, 1986. (In the 1954 edition which Gili used it was entitled ‘Teoria y juego del duende’.) Gili’s translation omits four short paragraphs of preamble and there are some variants from the 1954 edition which he used, again noted in the text.

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