An unpublished poem written by Luis Rosales to celebrate Christmas

Doesn’t sunlight travel from door to door?

Angels are silent.

How will it be, my God?

the color of the snow in your eyes?

Who forgot to pray? The night has come

He invites love under his wings.

God: this time

The one who raises words in his shadow.

They don’t work. They are here. I’m just feeling it

what the heart gives to the soul

its tender silence,

the inner memory of hope.

Luis Rosales would never forget his first Christmas in Granada. The poet’s mother, Esperanza Camacho, prepared a Nativity scene every year in her large family home, which became well known in the city and brought visitors every afternoon. According to Rosales, there was no one more talented than her mother in creating the world awaiting the birth of the Lord: “She reminded us of Christmas all year long. How hard it is to be like her! How hard it is! It is hard to be indispensable!”

Rosales lived these moments of his childhood so thoroughly that, when these dates came, he would always write religious poems to give to his friends. While writing these Christmas songs, she immersed herself in her universal and personal roots. I wanted to believe that as long as those impressions were not erased, I would remain a child forever, like in that line from ‘The House on’: “Yes it was true, it was true like a street that leads us to childhood.” ”

The unpublished poem we published today It is preserved in the National Historical Archive of Madrid. a preparation New revised edition of ‘April’ (1935), The first book published by Rosales and, in the words of Enrique García-Máiquez, with the generous impulse of “knowing how to be the son of a poet” his heir Luis Rosales Fouz, We find a series of drafts of this teenage love songbook. The note on the side of the documents can be read in a young, shaky and innocent handwriting: “Poems I haven’t published since ‘April’.” These sketches, many of which were crossed out and rewritten, must therefore have been written from the early 1930s, when Rosales began writing ‘Abril’, and from 1940, when he published some of them in his birthday book Retablo sacro. God’s. However, it is very difficult to determine the date of this composition, or even to know whether another version of ‘Christmas’ has been preserved, because the Granada writer constantly corrected his works even after publication: “I am absolutely different from Juan Ramón Jiménez. He corrected the poem to the level of the poet to put. “I correct putting the poet on the level of the poem.”

Illustration for the book ‘Sacred Altarpiece of the Nativity of the Lord’ by Luis Rosales. José Romero Escassi


These are years of religious affirmation for the author of ‘Cervantes and Freedom’, which is reflected in his lyrics. ‘Since April there has been a harvest of poetic concentration; From the quiet joy and serene celebration of the world in his first verses, we witness the sadness and disappointment of war, and with it the death of his teachers, Granada natives Federico García Lorca and Joaquín Amigo, each killed one by one. side of the conflict. The conceptual God of ‘April’ is fleshed out in these poems. He is willing to delve into history and share people’s joys and pains.

And what a profound sense of compassion is the image of Birth that emerges from these verses! Rosales is always preferred Christmas to Easterincarnation of the resurrection. In an interview conducted by his nephew José Carlos Rosales at the University of Granada, he stated: “I have always been more impressed by the Birth rather than the Passion because that was the way God intended suffering. “We suffer. God’s acceptance of human suffering has been a capital for me in understanding religion, and I think it should be in many cases.” He wrote in one of his sonnets that although sweating is more painful than the cold, “There is greater difference between God and man than between man and death.” Góngora, who writes “there is a distance,” makes the same choice.

For avid readers of Rosales, it will be easy to identify some of his most frequent symbols in this sacred madrigal. ‘From April onwards we recognize that surpassed landscape with angels silent before the depth of Birth. or the divinity and whiteness of snow, an image that will appear in all his works. But the joy of the prayer of ascension in April, combined here with the memory and hope of the House, revives the past, gives continuity and consistency to time.

Although perhaps the most important part of ‘Christmas’ is this: “The night came / called love under its wings.” Rosales’s faith is a sincere and passionate one. The poet himself tells us that words are not enough to understand the clear vibration of love (“They are useless. Here they are”). Where language cannot reach, Rosales gives his heart. Here is his poem. Some might call this a vaguely childish feeling, but the Andalusian knew how to distinguish darkness from mystery: “Darkness is one thing, mystery is another. It is a bad confusion for the poet, and there are many who confuse him. The mystery is to clear.” In these days full of mystery and enlightenment for us, it is worth thinking about this: The only truly mysterious thing in life is love.

Today, perhaps, we will not be able to enjoy that Nativity Scene, lovingly decorated by Esperanza Camacho and astonishing the delicate eyes of our poet. But we are left with new and eternal verses that will make us return to that magical Granada of the 1930s, the sleepwalking and native Andalusian city; To which Rosales will always be grateful: “I am a writer and I owe it to Granada. I owe my speech, I mean everything, to Granada,” he said.

*Carla María Juárez Pinto is a PhD student in Spanish Literature at the University of Valencia.

Source: Informacion

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