The greatest Spanish poet of the 20th century, the representative of the "27th generation". This "Son of Andalusia" creatively combines its poetry with Spanish folk songs, creating a brand-new poetic style: beautiful rhythm, diverse forms, vivid words and expressions, rich imagination, strong folk color, easy to sing, and at the same time showing extraordinary poetic skills.
Guadakiwi, R.
Flowing among oranges and olives.
Two rivers in Granada,
From snow to wheat fields.
Ah, love,
Never look back!
Guadakiwi, R.
A beard is red.
Two rivers in Granada,
One is bleeding, the other is mourning.
Ah, love,
Blowing in the wind forever!
There is a road in Seville.
Sail a sailboat.
On the water in Granada,
Only sigh is paddling.
Ah, love,
Never go back to your hometown!
In the orange orchard of Guadalquivi River,
A high shelf is in the air, and the fragrant wind is moving.
By the wild pond in Toro and Horner,
Abandoned small buildings are lonely.
Ah, love,
Gone forever!
Who said anything about delivering water?
A crying wildfire!
Ah, love,
Never look back!
Bring some olives, bring some orange blossoms,
Andalusia, your ocean.
Ah, love,
Never forget!
The place where this poem is engraved is the place where the Granada River meets-here the Heiner River "reaps the sorrow of the Taoluo River". As the opening poem of a deep song, Ballad of Sanshui outlines a map of "water/culture" in Andalusia: the river rises from the snow-capped mountains in Granada and finally enters the sea in Seville (Seville in the poem): "From snow to wheat fields .../Andalusia, gives you the ocean." This "water" picture also extends the context of "Wen": in the famous poem "Take My Father" by Jorge Manrique in the middle ages, the end of life is likened to the return of all rivers to the sea, and the baroque poets have long reminded us that there is only one letter from Mar to Amar in Spanish. Therefore, the theme of Sanshui ballad in odd paragraphs is water, and even paragraphs are love, love intertwined with death. There are six variations in the two lines of chorus in Dai Wangshu's translation quoted earlier, but there are actually only two in the original poem: "que se fue y no vino" and "que se fue por el aire", which appear alternately and form a duet of love and death with the unchanging first sigh "Alas, my love".