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Part II: The Modern Period

‘Negros maniquís de sastre’. Death and Resurrection in Lorca's ‘Martirio de Santa Olalla’

Pages 259-265 | Published online: 22 Nov 2018

NOTES

  • Alex Scobie, ‘Lorca and Eulalia’, Arcadia, IX (1974), 290–98; Miguel Garcia-Posada, Suplemento del número 8 de ‘Revista de Bachillerato’, VIII (octubre—diciembre 1978), 51–62. H. Ramsden, Lorca's Romancero gitano. Eighteen Commentaries (Manchester and New York: Manchester U. P., 1988), 99–105.
  • Prudentius, Perystephanon, ed. with an English translation by H. J. Thomson (Cambridge, Massachusetts: Harvard U.P., 1961). All references are to this edition.
  • Federico García Lorca, Obras Completas (Madrid: Aguilar, 1986). All references are to this edition.
  • Op. cit., 100–01.
  • Iowe a copy of this poem to the kindness of the distinguished lorquista Christopher Maurer.
  • Federico García Lorca, Poema del cante jondo, ed. Christian de Paepe (Madrid: Espasa Calpe, 1986), note at p. 158.
  • Antonio Machado, Soledades. Galerías. Otros poemas, ed. Geoffrey Ribbans (Barcelona: Editorial Labor, 1975), 113.
  • Op. cit., 101.
  • Op. cit., 102.
  • See García-Posada, op. cit., 54.
  • Flora is an ambiguous figure: she is a pagan goddess of Spring, but is also a double of Saint Eulaha, a Christian woman-child who suffered martydom under Arab fanatics: Bill Durant, The Age of Faith (New York: Simon and Schuster, 1950), 301.
  • This striking image is not in Prudentius, where the breasts are ripped with hooks. Lorca may have taken it from a painting by Zurbarán, kept in the Monasterio de la Merced Calzada in Seville, which presents Saint Agatha with her breast on a plate, as the emblem of her martyrdom. See Jonathan Brown, Catalogue of the Exhibition (New York: Metropolitan Museum of Art, 1988), 117.
  • Ian Gibson, Federico García Lorca. 1. De Fuente Vaqueros a Nueva York, 1898–1929 (Barcelona/Buenos Aires/Mexico D.F.: Ediciones Grijalbeo S.A., 1985), 566–67.
  • Ramsden, op. cit., 104.
  • André Breton, Manifestes du surréalisme (Paris: Gallimard, 1966), 26.
  • Nicole Parrot, Mannequins (Paris: Editions Colona, 1981), 151–58. For a longer study of the relationship between mannequins and ‘amour fou’ see L'Amour fou. Photography and Surrealism, ed. Rosalind Krauss and Jane Livingston (New York: Abberville Press, 1985).

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