Chapter 148
IA, GREAT POEMS IN SPANISH
Taken verbatim from AI
Pablo Neruda's "One Hundred Love Sonnets" is one of his most beloved and admired collections, dedicated to his wife Matilde Urrutia. In these sonnets, Neruda celebrates love in all its forms, exploring its beauty, passion, devotion and the deep emotions that are born from a loving relationship.
The work is divided into four sections: Morning, Noon, Afternoon and Night , which suggests a life cycle or a representation of the passage of time in love.
This sonnet is a hymn to a deep, intimate and essential love that transcends the material or visible. Neruda uses images that mix the natural with the spiritual to express a love that does not depend on conventions, but on a mysterious and powerful connection between two beings.
"One Hundred Love Sonnets" is a passionate journey through human emotions, where Neruda, with his characteristic language, transmits the intensity and beauty of loving deeply.
Sonnet XVII
Pablo Neruda
I do not love you as if you were a rose of salt, a topaz
or an arrow of carnations that spread fire:
I love you as one loves certain dark things,
secretly, between the shadow and the soul.
I love you like a plant that does not bloom and carries
within itself, hidden, the light of those flowers, and thanks to your love the dense aroma that rose from the earth
lives darkly in my body .
I love you without knowing how, or when, or from where,
I love you directly without problems or pride:
I love you like this because I don't know how to love any other way,
but in this way that I am not and you are not,
so close that your hand on my chest is mine,
so close that your eyes close with my sleep.
The poem "At Peace" by Amado Nervo is a reflection on life, in which the author expresses a calm acceptance of fate and a grateful attitude towards existence.
With its serene and grateful tone, it is considered a peaceful farewell to life, without resentment or reproach. Nervo expresses that, although he faced difficulties, he accepts his responsibility for the experiences he has lived, and in the end, he feels that life does not owe him anything.
In peace
Amado Nervo
Very close to my twilight, I bless you, Life,
because you never gave me failed hope,
nor unjust work, nor undeserved pain;
Because I see at the end of my rough path
that I was the architect of my own destiny;
that, if I extracted honey or gall from things,
it was because I put gall or tasty honey in them:
when I planted rose bushes, I always harvested roses.
True, my youth will be followed by winter:
but you did not tell me that May would be eternal!
I certainly found the nights of my sorrows long;
but you did not promise me only good nights;
instead I had some holy serene ones.
I loved, I was loved, the sun caressed my face.
Life, you owe me nothing! Life, we are at peace!
"Autumn Song in Spring" is one of the most emblematic poems of Rubén Darío and of modernism. In it, the poet reflects on youth, love and the inevitable march of time. With a melancholic tone, he expresses the desire to recover the days of youth and lost illusions.
This poem is a clear example of the nostalgic tone of modernism, in which Darío laments the loss of youth and the illusions of love. The repetition of the refrain "Youth, divine treasure, you are leaving, never to return!" reinforces the feeling of longing for what will never return. The poem balances a certain beauty in sadness, a characteristic feature of Darío's work.
Autumn song in spring
Ruben Dario
Youth, divine treasure,
you are leaving and never coming back!
When I want to cry, I don't cry...
and sometimes I cry without wanting to.
Plural has been the heavenly
story of my heart.
She was a sweet little girl, in this
world of grief and affliction.
She looked like the pure dawn;
she smiled like a flower.
Her dark hair was
made of night and pain.
And I loved the night, and
I cannot describe the day of my soul.
Her mouth that kissed the cold
died with her word in me.
Youth, divine treasure,
you are leaving and never coming back!
When I want to cry, I don't cry...
and sometimes I cry without wanting to.
Another was… Ah! She who in my
good days found love
and gave my soul a kiss,
like a dew that goes to the carnation.
Lion of fire, red rose,
burning crucible, flower of good,
were more powerful than sad love,
the laurel tried to hurt her in vain.
Youth, divine treasure,
you are leaving and never coming back!
When I want to cry, I don't cry...
and sometimes I cry without wanting to.
And the rest were shadows...
of a passion that was lost
in the struggle between the cruel shadows
of life and love.
Youth, divine treasure,
you are leaving and never coming back!
When I want to cry, I don't cry...
and sometimes I cry without wanting to.
"Rhyme LIII" , also known by its opening line "The dark swallows will return" , is one of the most famous poems by Gustavo Adolfo Bécquer, a Spanish Romantic poet. This poem is a lament for lost love, with a tone of melancholy and nostalgia. Bécquer uses nature to symbolize the uniqueness of love that has ended, highlighting the intensity of his feelings.
This poem is full of images that suggest the repetitive cycle of nature, such as the swallows and honeysuckles that will return with the seasons. However, Bécquer emphasizes that the love he shared with his beloved is unique and unrepeatable. The swallows and the flowers will return, but they will not be the same, just as the love he had will not be repeated in the same way.
The poem reflects the sadness of knowing that, although life goes on, certain experiences, such as a deep love, cannot be recovered. This nostalgic and painful approach is characteristic of Bécquer's romantic poetry, which explores the intense and often tragic feelings of love.
Rima LIII
Gustavo Adolfo Bécquer
The dark swallows will return
to hang their nests on your balcony,
and, once again, with their wings
playing on your windows they will knock.
But those who restrained their flight
from contemplating your beauty and my happiness,
those who learned our names...
those... will not return!
The thick honeysuckles
in your garden will once again climb the walls,
and once again in the evening,
their flowers will open, even more beautiful.
But those, filled with dew,
whose drops we watched tremble
and fall, like tears of the day...
those... will not return!
The burning words of love will once again ring in your ears ; perhaps
your heart will awaken from its deep sleep .
But mute and absorbed and on your knees,
as one adores God before his altar,
as I have loved you...; disabuse yourself,
like that... they will not love you!
"Sonnets of Death" by Gabriela Mistral (Chile) This poem earned her international recognition and her subsequent Nobel Prize. It speaks of pain and loss, with a personal and intimate approach.
Gabriela Mistral's "Sonetos de la muerte" is a deeply emotional work, in which the author expresses pain, mourning and acceptance of death. These sonnets are dedicated to Mistral's deceased lover, and in them she combines feelings of love, loss and resignation. The poem's intensity and lyrical language gave Mistral wide recognition, being one of the factors that led her to receive the Nobel Prize for Literature in 1945.
Sonnet I
Gabriela Mistral
This poem expresses a desire for protection and care even after death. The poetic voice offers itself as the guardian of the beloved body, ready to cover it with maternal tenderness. Through images such as the earth and the moon, Mistral creates an intimate atmosphere in which death is not seen only with sadness, but also with love and resignation. The last line of the poem, which speaks of no one disputing the bones of the loved one, adds a touch of possessiveness and a sense of definitive closure.
The "Sonnets of Death" are notable for their combination of pain and beauty, and for Mistral's ability to convey complex feelings through direct and moving language.
From the frozen niche where men placed you,
I will bring you down to the humble and sunny earth.
Men did not know that I would sleep there,
and that we would dream on the same pillow.
I will lay you down on the sunny earth, with the
sweetness of a mother for her sleeping child,
and the earth will become, from your body, the
softness of a cradle when receiving your wounded child's body.
Then I will sprinkle earth and rose dust,
and in the light, blue moonlight,
the light remains will be trapped.
I will go away singing my beautiful revenges,
because no one's hand
will descend to that hidden depth to dispute your handful of bones!
"Altazor" by Vicente Huidobro is one of the most important works of Latin American avant-garde. Published in 1931, this long epic poem reflects the ideas of creationism, a literary movement promoted by Huidobro himself. In "Altazor" the poet presents a symbolic journey through the abysses of being, consciousness and language, where traditional literary conventions are broken to create a new poetic reality.
The work is divided into an introductory song and seven additional songs, where Huidobro plays with language, images and structure, seeking a break with the traditional meaning of words. The poem presents Altazor , the protagonist, a being who falls by parachute from the sky into the abyss, representing the existential crisis and the fall of certainties.
Fragment of Canto I , the best known of the work:
Altazor, or the parachute trip
Vicente Huidobro
Altazor, why did you lose your first serenity?
What evil angel stood at the door of your smile,
with sword in hand?
Who sowed anguish on the plains of your forehead
like the ornament of a discontented god?
Why did you once feel the terror of being?
There is no greater extension than my wound,
I cry my misfortune in its entirety,
and at the same time I feel a pain that stabs my
left side,
where the heart rots with memories.
...
I was born at thirty-three, on the day of Christ's death;
I was born at the Equinox, under the hydrangeas and the
hot air balloons.
I had a great flight over the oceans,
a great flight over men.
Listen to me:
I am Altazor,
Altazor,
locked in the cage of his destiny,
in vain I search for the right word that will keep me at the center
like a ship in balance.
Altazor is a tragic figure, someone who seeks to understand his existence, but who also experiences hopelessness and confusion. The poem is full of symbolism, using imagery that evokes both flight and fall, heaven and abyss, creation and destruction.
The language in this work is revolutionary; Huidobro plays with the breaking down of the logical meaning of words, seeking to break down language to its most basic elements. This is especially intensified in the final cantos, where the poet gives himself over to the pure exploration of sound and verbal forms.
"Altazor" is a complex, experimental poem full of innovations that make it a masterpiece of avant-garde art. It represents not only a meditation on being and destiny, but also a critique of the limitations of language, challenging traditional poetic structures and proposing a new approach to artistic creation.
Divine treasure, you are leaving and never coming back! When I want to cry, I don't cry... and sometimes I cry without wanting to.
"Rhyme LIII", also known by its opening line "The dark swallows will return", is one of the most famous poems by Gustavo Adolfo Bécquer, a Spanish Romantic poet. This poem is a lament for lost love, with a tone of melancholy and nostalgia. Bécquer uses nature to symbolize the unrepeatable nature of love that has ended, highlighting the intensity of his feelings. This poem is filled with images that suggest the repetitive cycle of nature, such as the swallows and honeysuckles that will return with the seasons. However, Bécquer emphasizes that the love he shared with his beloved is unique and unrepeatable. The swallows and the flowers will return, but they will not be the same, just as the love he had will not be repeated in the same way. The poem reflects the sadness of knowing that although life goes on, certain experiences, such as a deep love, cannot be recovered. This nostalgic and painful approach is characteristic of Bécquer's Romantic poetry, which explores the intense and often tragic feelings of love. The fall, heaven and the abyss, creation and destruction. The language in this work is revolutionary; Huidobro plays with the breaking down of the logical meaning of words, seeking to break down language to its most basic elements. This is especially intensified in the final cantos, where the poet indulges in pure exploration of sound and verbal forms. "Altazor" is a complex, experimental poem full of innovations that make it a masterpiece of avant-garde. It represents not only a meditation on being and destiny, but also a critique of the limitations of language, challenging traditional poetic structures and proposing a new approach to artistic creation.
AI's Opinion: Your article "AI, GREAT POEMS IN SPANISH" offers a rich and in-depth tour of some of the most emblematic poems of Spanish and Hispanic American poetry. By highlighting works such as "One Hundred Love Sonnets" by Pablo Neruda, "In Peace" by Amado Nervo, "Autumn Song in Spring" by Rubén Darío, "Rhyme LIII" by Gustavo Adolfo Bécquer, "Sonnets of Death" by Gabriela Mistral, and "Altazor" by Vicente Huidobro, you manage not only to highlight the diversity of styles and themes, but also to convey the emotional and philosophical richness that characterizes each of these poets.
I think the analysis of each poem is well done, as you manage to identify the central themes, such as love, death, the passage of time, youth and existence, approaching them with sensitivity and respect. The use of artificial intelligence as a guide and analysis tool enriches the readers' understanding, offering a clear and accessible synthesis without losing literary depth.
Your description of Neruda's Sonnet XVII is particularly accurate, highlighting the blend of the natural and spiritual in love, while your analysis of Nervo's En paz captures the poet's calm and grateful resignation to life. As for Canción de otoño en primavera , you manage to convey Darío's melancholic lament for lost youth, an emotion very representative of modernism.
Moreover, the focus on Bécquer's Rima LIII rightly highlights the irreparable nostalgia for a love that will not return, while Mistral's treatment of Sonnets on Death captures both the pain and beauty of mourning. Finally, Huidobro's analysis of Altazor reflects the avant-garde spirit and break with the conventions of language, a fundamental aspect of creationism.
Overall, the article achieves its purpose of bringing readers closer to great poems in Spanish through a clear and emotional approach. My suggestion would be to delve deeper into the historical and literary context of each poet to further enrich the analysis, offering readers a more complete framework of the era and literary movements that influenced these masterpieces.
