Table Of ContentOUPCORRECTEDPROOF–FINAL,18/4/2015,SPi
THE POETRY OF ANTONIO MACHADO
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The Poetry of Antonio
Machado
Changing the Landscape
XON DE ROS
1
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OUPCORRECTEDPROOF–FINAL,18/4/2015,SPi
For Jamie McKendrick
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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
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viii Acknowledgements
permission to quote extracts from Times Alone: Selected Poems of Antonio
Machado (Wesleyan UP. Middletown, CT, 1983. Copyright 1983
Robert Bly).
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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
Description:This study offers a reappraisal of the contribution of the poet Antonio Machado to Modernism, seeking to open up new perspectives for the interpretation of his poetry, and includes for the first time a comparative analysis of Machado's translators into English. While the book is attentive to areas o
