2023-10-23 23:25:19
Federico, committed and poet. Thus, so briefly, we can refer to two immense users of the Spanish language. On the one hand, the Spanish, Federico García Lorca, who was pure poise and elegance; for the other, Federico Moura, Argentine, with the eccentric glamor that sweated through the pores. Neither of the two Federicos honored here reached the age of 40: reality screams in our faces that, calmly, we can affirm that one died for the cause of the other.
Suffocated by dreams and pressures, Federico García Lorca (June 5, 1898 – August 19, 1936, Spain) and Federico José Moura (October 23, 1951 – December 21, 1988, Argentina) merge and link together perfectly.
On this new anniversary of the birth of Federico of the South American lands, we can think regarding how both – together – make up a beautiful image of the sensory Spanish word. They both owned an unparalleled use of the Spanish language and they demonstrated it with their creations of memorable figures that say so much.
Federico García Lorca: the poet’s brief but intense stay in Buenos Aires
creators of committed metaphorss, with power that sounds beautiful, on the Old and New continents they allowed us to rethink harsh reality with an optic of cruel optimism. It is not just an antithesis: this idea that reality imposed itself with its fury was sweetened (but not because it was banal) with a magical cloak and veil of “poeta sensible”.
The cadence and the search for new meanings, so well captured with care, love and spark, lovingly portrayed the social, political and cultural ups and downs of the 20th century that each of them had to go through.
If there is a room with a thousand windows, let them be to show us, through glass, the anguish of love that the two Federico’s knew and wanted to transmit. Sometimes, reading his words, I wonder If it really was a question of desire and muse, or if – in reality – necessity prevailed. I think I can see the phrases and expressions escaping from two vital bodies that knew how to embody an unwanted harassment (never a decline).
Federico Moura, an icon that never goes out of style
Granada poetry and Virus songs can be read in allegory: without having crossed paths on the earthly plane, the two Federicos seem to write with the same heart. Militants of rhetoric, both achieve (even today, with such force) that when interpreting a Lorca poem or shouting a viral hit, any of us feels the need to hold the word with our entire body.
Exponents of a disruptive and moving, deep and complex style: thank you, Federicos, for so much art, for so much literature, for so much poetry. For so much magic made into a verb.
As a worker in the literary field, it is necessary for me to indicate that the speech embellishment It has been nourished and enriched by both Moura and García Lorca. Honestly, it is not the same to go through life following having read them: I recommend delving into such poetry.
There is, without a doubt, a linguistic discovery which, once incorporated into life, continues to open up in waterfalls of verbal possibilities. Their styles – which are not strictly similar – come together perfectly in a literary analysis full of rhetoric. Federico García Lorca is the olive and Moura, the honey candy.
“Juana la Lorca”, as beautifully portrayed by the artist Valeriano López, is a beautiful synthesis that also compacts our Federico, the Argento, the one who came out to shout truths wrapped in metaphors in a time of dark, prohibited, censored words.
On another anniversary of the birth of the man from La Plata, the analogy became clear to me easily and naturally. Perfect, beautiful, fast and luminous: come, Federico, let’s dance.
* Doctor in Cultural Diversity. Graduate in Educational Management and Teaching of Language and Literature. LinkedIn
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