The poetry of Antonio Machado : changing the landscape PDF
Preview The poetry of Antonio Machado : changing the landscape
OUPCORRECTEDPROOF–FINAL,18/4/2015,SPi THE POETRY OF ANTONIO MACHADO OUPCORRECTEDPROOF–FINAL,18/4/2015,SPi OUPCORRECTEDPROOF–FINAL,18/4/2015,SPi The Poetry of Antonio Machado Changing the Landscape XON DE ROS 1 OUPCORRECTEDPROOF–FINAL,18/4/2015,SPi 3 GreatClarendonStreet,Oxford,OX26DP, UnitedKingdom OxfordUniversityPressisadepartmentoftheUniversityofOxford. ItfurtherstheUniversity’sobjectiveofexcellenceinresearch,scholarship, andeducationbypublishingworldwide.Oxfordisaregisteredtrademarkof OxfordUniversityPressintheUKandincertainothercountries #XonDeRos2015 Themoralrightsoftheauthorhavebeenasserted FirstEditionpublishedin2015 Impression:1 Allrightsreserved.Nopartofthispublicationmaybereproduced,storedin aretrievalsystem,ortransmitted,inanyformorbyanymeans,withoutthe priorpermissioninwritingofOxfordUniversityPress,orasexpresslypermitted bylaw,bylicenceorundertermsagreedwiththeappropriatereprographics rightsorganization.Enquiriesconcerningreproductionoutsidethescopeofthe aboveshouldbesenttotheRightsDepartment,OxfordUniversityPress,atthe addressabove Youmustnotcirculatethisworkinanyotherform andyoumustimposethissameconditiononanyacquirer PublishedintheUnitedStatesofAmericabyOxfordUniversityPress 198MadisonAvenue,NewYork,NY10016,UnitedStatesofAmerica BritishLibraryCataloguinginPublicationData Dataavailable LibraryofCongressControlNumber:2014956896 ISBN 978–0–19–873680–6 Printedandboundby CPIGroup(UK)Ltd,Croydon,CR04YY LinkstothirdpartywebsitesareprovidedbyOxfordingoodfaithand forinformationonly.Oxforddisclaimsanyresponsibilityforthematerials containedinanythirdpartywebsitereferencedinthiswork. OUPCORRECTEDPROOF–FINAL,18/4/2015,SPi For Jamie McKendrick OUPCORRECTEDPROOF–FINAL,18/4/2015,SPi OUPCORRECTEDPROOF–FINAL,18/4/2015,SPi Acknowledgements The research for this book was made possible thanks to the Fellowship awardedbytheLeverhulmeTrust,togetherwiththeleavegrantedbythe Faculty of Modern Languages at Oxford and both Lady Margaret Hall andSomervilleCollegein2012–13.Iamgratefulfortheassistancegiven to me at various stages of the work by Pablo Aparicio Durán, Sarah Hopkins,AmarantaSaguarGarcía,ElisabethBolorinos,CarlesGutiérrez Sanfeliu, Inmaculada Murcia Serrano, Cristina Nuñez, and Sally Bailey. I would also like to thank Dr Tyler Fisher and Dr Mariama Ifode who taught my students during my research leave and Professor Alex Long- hurst who took over my series of lectures on Machado at the Taylorian in Oxford, and my colleagues at LMH, Dr Mary MacRobert and Dr Marie-Chantal Killeen for taking over my pastoral duties. For their support in the early stages of the project I’m grateful to Dr Federico Bonaddio at KCL and Dr Roberta Quance at Queen’s University, Belfast, and throughout for his encouragement and expert advice to Professor James Whiston of the University of Dublin. I would also like to acknowledge the two anonymous readers at OUP for their helpful suggestions, and the editorial team at OUP, in particular Rachel Platt, Caroline Quinnell, Rajavel Karthik, and Albert Stewart, for their excel- lent work. Above all, my debt of gratitude is to Jamie McKendrick to whom this book is dedicated. Some material from Chapter III has been published in the following journals: ‘Aporía and Spectrality in “La tierra de Alvargonzález”’ (Neo- philologus, 98–4, 2014, 565–79); ‘Poets under the influence: Antonio Machado and Jorge Luis Borges’ (Bulletin of Spanish Studies. XC. 6, 2013,993–1009).I’mgratefulforpermissiontoincludethephotograph of Machado from the Archivo General de la Administracion del Minis- terio de Cultura (MECD, AGA, signature 045608— Archivo Fotográ- fico Alfonso/VEGAP/DACS). Many of the quotations from copyright material are allowed under the provision for fair use for the purposes of criticism. I have tried to trace and contact all relevant copyright holders and I will be glad to make good any omissions brought to my notice. Faber and Faber Ltd granted permission to quote extracts from Don Paterson’s The Eyes. I am grateful for the generosity of both Harold Bloom for letting me quote from his work, and Robert Bly for OUPCORRECTEDPROOF–FINAL,18/4/2015,SPi viii Acknowledgements permission to quote extracts from Times Alone: Selected Poems of Antonio Machado (Wesleyan UP. Middletown, CT, 1983. Copyright 1983 Robert Bly). OUPCORRECTEDPROOF–FINAL,18/4/2015,SPi Contents Introduction:ADifferentLandscape 1 1. TheGenderedLandscape 16 TheTrialsofDonJuan 17 ElusiveMuses 35 Persephone’sReturn 42 Aphrodite’sRealm 54 FiguresofEurydice 68 2. TheNaturalLandscape 73 PoetryofLandscape 75 GeologicalAesthetics 80 LandscapePainting 87 ModernityandLandscape 95 TheActualizationofSpace 104 3. TheSublimeLandscape 115 TheNaturalSublime 119 TheRhetoricalSublime 128 TheMelancholicSublime 136 TheAgonisticSublime 146 TheUncannySublime 162 4. TheLandscapeoftheMind 178 VoicesandEchoes:Machado’sTranslators 180 TheOpacityoftheOther 189 Palimpsests 201 Dispararconpólvoraajena:ThePoeticFragment 208 Defrenteyalsesgo:TheSpiritofCubism 220 Afterword:Machado’sAfterlife 239 Bibliography 253 IndexofPoems 273 GeneralIndex 277
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