La influencia de la poesía árabe clásica en la poesía de Federico García Lorca: El Diván del Tamarit como modelo | ||||
| Egyptian Journal of Linguistics and Translation | ||||
| Volume 15, Issue 1, July 2025, Page 226-250 PDF (476.28 K) | ||||
| Document Type: Research in linguistic and literary studies | ||||
| DOI: 10.21608/ejlt.2025.334298.1090 | ||||
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| Author | ||||
Omnia Salem  
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| Spanish Department, Languages and Translation, Pharos University in Alexandria | ||||
| Abstract | ||||
| Lorca was clearly inspired by classical Arabic poetry in El Cante Jondo, fundamental ideas are appreciated such as the themes of endless love and the exaltation of wine, the key basis of this poem and they directly relate García Lorca to the Arab poets and also with the Persian poets. Several friends and colleagues from Lorca’s generation affirmed the oriental influence that our poet had. On the other hand, just before his execution in 1936, Federico García Lorca was organizing the publication of his new collection of poems titled EL Diván del Tamarit. These poems, written in homage to the Arab poets of Granada, were published posthumously in 1940 by a New York magazine. These poems take their titles from two traditional Arabic forms, the gazelle (ghazal) and the casida (qasida), which tend to deal respectively with love and death. Regarding meter and rhythm, we see that Lorca had them as an important stylistic resource and can be related to the traditional ghazal. In reality, Lorca adopted Arabic names not so much because of the direct influence of Arabic metric measurements as because of the evocation of a world with which he felt deeply identified. | ||||
| Keywords | ||||
| Lorca; classical arabic poetry; Al-Andalus | ||||
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