This analysis delves into Miguel Hernández's poem from "El Rayo que no cesa," highlighting its connection to Spanish Golden Age poetry and its profound exploration of love, pain, and mortality. The discussion emphasizes Hernández's enduring relevance and the depth of his work, which serves as a gateway to understanding classical Spanish lyricism.
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In this session we are going to talk about a very important issue that has to do with Miguel Hernández,
we are going to refer specifically to a poem from his work El Rayo que no cesa, which is a collection of poems
written over the years 34 35 but which is published In January 1936 it was published on
a date that was relatively worrying, disturbing and unfortunate in history, as it is 1936. It is a
collection of poems that, as we are going to see in this first poem, which is a poem. written in eight-syllable quatrains
in strophic structures that rhyme abab in verses of minor art in eight-syllable verses
it summarizes very clearly what was the work of this man who lived only 31 years. He was
a man who died very young Miguel Hernández was born in 1910, I think he himself year in which
Gonzalo Torrente Ballester died in 1942, another very unfortunate date in the history of
the 30th century and other centuries she also died of tuberculosis in the prison of Alicante and in short
very tragically of course I always remember when talking about deaths from tuberculosis the
death of my own grandmother who died at 22 years of age also of tuberculosis with two
children, one of whom was my father was barely 3 years old and my uncle was a few months old. I want to say that this illness
was not exactly a joke and well, as was said when Miguel Hernández died, it was said that
there were no medicines for the victors, much less there were going to be those for the defeated. end pages of
history of this country and other countries that still have a more sinister history than ours,
which is saying something, but well, we have to overcome those pages and we have to interpret the
literary materials that these people have left us, like a waiter who also died just He was over
thirty and his body was practically thrown into a dunghill in the
illustrious Austria or in the illustrious Central Europe and yet it is often said that in Spain geniuses
are not recognized if they are asked. to the late Mozar the recognition he had etcetera
etcetera well the fact is that this man who died at the age of 31 having been born in 1910 and having
died in 1942 leaves us a poetic work of reference he really leaves us a poetic work that
when read and examined with due attention It leads us directly to the most important of the Spanish Golden Age
to the most important of the European Renaissance and Baroque. It is a work of great quality
and great originality that refers simply open the door. Please This person who is late
come in and sit where you can in silence. Thank you. We continue with the session. I insist, as I say, a
work that takes us directly to the best of Spanish poetry of the golden age. It is almost, as
I have said on some occasions, a literary highway. towards the golden century, consequently,
if you read the poetry of Miguel Hernández, study and analyze the poetry of Miguel Hernández, you are
in very good conditions to know and examine very interestingly what
the lyrics of Garcilaso de Boscán are. by Hernando de Herrera or Fernando de Herrera also in part by
Quevedo de Góngora And of course by ló de vega In other words, it is a door, a window, I would
really say A highway towards lyrical poetry towards the Spanish poetry of the golden age and it is
a The author that we have very close to us is a deeply contemporary author who,
in my opinion, has not been studied as much as other authors, such as the case of orca, who has been
in many ways much more exciting for many readers than Miguel Hernández, but who
perhaps in some poems have fewer ideas than Miguel Hernández, this is obviously
very debatable. We would have to look at it poem by poem and we would have to understand what value we give to
Lorca's ideas or to Miguel Hernández's ideas, but I do dare to affirm that Lorca is a
much more author exciting as well as intelligent without this having to be understood as an
absolute undervaluation of Lorca's intelligence and of Lorca's ability to construct with
great intelligence literary works of great value that Miguel Hernández That is to
say, Miguel Hernández is an author who deposits in poetry a strength of ideas that, in my
opinion, Lorca lacks. Lorca is a very strong author from the point of view of emotions. Miguel
Hernández is a very strong author from the point of view of emotions. of the emotions that energize ideas
much more powerful in some aspects than those of the lorc himself but naturally this
is a question that cannot be reduced to what I just said right now but is
situated in a much broader and much more complex context this This first The poem that a carnivorous knife quotes here
is a very emblematic poem of the entire collection of poems by Rayo that does not cease from that
incessant pain that accompanies the human being throughout his life and that never ceases only
with death. this mention already to the Death places us in a very propitious context very
dear to the Baroque. The Baroque is a stage where the human being is analyzed and studied
from the point of view of the adversities that he has to suffer in life, that is,
an ideal image is not presented. of the human being but of a very real image of this human being located
in not so much everyday problems, which is something very typical of the 20th century, but in problems that
threaten the essence, basically survival, well-being, what today they would call happiness,
which is something what you don't think about In no way, an author like Cervantes Quevedo or Góngora are not
authors who think about happiness. Happiness is a very Anglo-Saxon construction whose
purpose, above all, is to alienate the modern concept of a human being from a
woman precisely to prevent it from taking awareness of some other aspects that may be even
more important than happiness, such as freedom, that is, today one of the
most obsessed aspects for human beings is the search for happiness, much more than ensuring freedom,
that is, between happiness. and freedom to be human prefers happiness and between freedom
and money the human being usually prefers money especially because he is educated so that
these preferences are much more stimulating than others, what is what the
poetry of Miguel Hernández tells us at this point because the Miguel Hernández's poetry tells us something that is usually
more in line with the problems of the Baroque whose rationalism the rationalism of the Baroque the
rationalism of the 10th century is a rationalism that is often much more imposing much more
powerful than the rationalism of the 17th century that the rationalism of the Enlightenment, these
are questions that can naturally be debated but that I propose here as thesis or
starting premises as starting points. Let's initially read this poem. It is a poem that
has a prologue character, a preliminary character, a presentational character. What are the rest of the poems in the collection of poems going to be?
Valga the poliptoton the poliptoton is not an analgesic
it is not a medicine it is a figure of speech that consists of a morphological derivation
of the words for example early it got up early morning no don't look they're looking at me Look,
we look at each other and they will see in your eyes that we love each other. The are couplets. I'm not talking to anyone in
particular. It was something I was missing. The poem says, "We're going to read it. You can follow it
literally verbatim on the screen." You have before you and to which I have sent you the
poem, as I say, it is built in octosyllable quatrains of minor art of eight syllables. It is
a verse from the tradition of Castilian romance from the tradition of Hispanic romance.
octosyllables that here have the rhyming configuration of abab knife shine mda life that is to say
it has in that phonic recurrence not the verse as a recurring phonic figure that Roman
Jacobson talked about as if we didn't know it in Spain since before structuralism But well he
discovered it eh, together with the other Russian formalists, the poem says like this, we are going to read it and then
we will examine the ideas and the ways in which each stanza is objectified, a carnivorous knife
with a sweet wing and murderer sustains a flight and a shine around my life ray of
twitched metal fulgent fallen pecks my side and makes a sad nest in it my yes flowery balcony of my
early ages is black and my heart and my heart with gray hair such is the bad virtue of the
Ray that surrounds me that I go to my youth like the moon the village I collect with my eyelashes salt
of the soul and salt of the eye and flowers of cobwebs of my sadness I collect where I will go that I do not go My
perdition to seek your destiny is of the beach and my vocation of the sea to rest from this work of
hurricane love or hell is not possible and the pain will make me my eternal regret but in the end I will be able to defeat you
bird and secular lightning heart that no one has to make me doubt about death continue then knife flying
and wounding one day time will turn yellow on my photography In fact, the photograph with which
this poem is illustrated next to it is precisely quite yellow and not By chance, one of
the procedures that always ensures the understanding of a poem is the possibility that each
reader and each listener of that poem has to transcribe it into prose on its own terms is
to say that if we tried to translate or transduce this poem into verse as we have
read it, as we have seen it, as we have received it, if we tried to translate or transduce it into prose
, we would be sure to measure against our own competencies the capacity we have
to understand what
What the poet wanted to say in
verse work on literature
and in particular poetry knowing perfectly each of the words and also knowing very
well the meaning and meaning that each of these words have in the dictionary and in
literature, which are two completely different meanings, keep in mind that the Literature is
an incommensurable dictionary in which each and every one of the homonymous and polysemous words has
many more meanings than a lexicographic dictionary can record. The
lexicographic dictionary records the meaning of the words given to it by the speakers in the
conventional ordinary colloquial natural use of the language, but literature is a supr rational use of the language,
it is a use that exceeds the rational possibilities that a
lexicographic dictionary can account for, that is to say, the words in literature acquire more meanings and
a semantic versatility far superior to what those same words can offer in any
graphic lexical dictionary. The word water in chemistry means H2O. The word water in a
dictionary can have different meanings, but the word water in Lorca has meanings
that go beyond chemistry and go far beyond what a dictionary can express, that is,
literature says much more than what those same words mean in a dictionary, therefore
it is necessary to interpret properly, I do not say correctly, but adequately what
the words say in literature know a lot of literature read a lot of literature and have
also lived a lot of literature You have to come to literature alive you cannot arrive in a
state of innocence literature is not compatible with human innocence I don't want to say that
you are scoundrels to interpret the literature but literature cannot be
reached in conditions of innocence; it cannot be reached in conditions of vital incapacity. That is to
say, to reach literature one must live life before when people ask me yy, really,
What is love, what López de Vega says? in his sonnets or what Quevedo says I don't know if
you fall in love and that's it. In other words, if you love yourself, don't read Quevedo or Góngora or lópe de Vega, look for
someone to fall in love with and then if you want, read lópe de Vega or to Góngora or to Quevedo but
love is not learned in literature, love is lived in life in literature You have to come in
love No if you can and if not then in the end I have no solution for those problems
I explain literature I do not explain problems no I am a psychiatrist, nor a confessor nor
anyone's older brother. So, first of all, try to reproduce the content
of a poem in prose to see how far you are able to understand what you read and reproduce it from
your own coordinates if the own coordinates you have are very poor The abilities they will have
to interpret literature will also be equally poor. If the vital skills
they have are broad, then they will be in better conditions to face what literature
tells them and what literature demands of them. Keep in mind that literature teaches nothing. to
No one, literature requires prior knowledge and above all it verifies what you know it verifies what
you know it doesn't teach you it examines you they are very different things So let's go to the first of these
uh stanzas let's go to the first of these stanzas But let me first let me first make you
a cites a quote when I tell them that literature has to be lived, for some
reason this collection of poems is dedicated to Miguel Hernández, who at that time was Well, his girlfriend, his wife
Josefina Manresa, and he writes to her He writes at a given moment that they have just published another book for me. He
says, Do you remember that I promised to dedicate it to you the first one that came out before I
wrote to you for the first time? Now it had already come out and Dedicated to you, although I didn't put your name in it. I
thought that You no longer remembered me, I have put this dedication And that is the dedication that appears in
the book to you alone in fulfillment of a promise that you will have forgotten as if it were yours, it turns out that
neither you nor I have stopped thinking about ourselves This is very important for those who know how to read, what
something like this means. All the verses in this book are about love and I have written them thinking about
you, except for some that are about the death of my friend. This is an interpretation that the poet himself
He makes of himself and his own book, which is very revealing. All the verses in this book
are verses of love and I have written them thinking of you, except for some that are about the death of my friend, which
is the famous elegy with which the Ray that does not cease I chose Ramón, yes, we will get to
it in due time and of course you will tell me that if these verses that we have just read are verses
about love, maybe you don't see love anywhere, but there are many ways to live
love, maybe you They have not yet experienced what is formally objectified here in the
literary materials of this poem. But I insist that this is no longer my thing. I explain the poem, I do not
explain the loves of others. What I do want to say is what the poet indicates that all verses from
this collection of poems are verses of love now you will tell me a carnivorous knife with a sweet wing and
it sustains a flight and a shine around my life evidently we are facing a metaphor this
metaphor refers to love as one of the human concerns very powerful but not only to
love, that is to say, here there are many human concerns that are substantiated in the idea of love, think that
for example when Vicente Alexandre writes a collection of poems that is titled destruction or
love, presenting in terms disjunctive one or the other, death and love, Eros and tattoo
also plays with these metaphors, poeticizing waves. A carnivorous knife is evidently what is
also called a metagoge or a prosopopeia, that is, a personification of an object.
Knives are not carnivorous. It's not how to say Well, some scissors are hungry
, of course The scissors are not hungry, this is a personification of an inert object, not
even a natural object because I could talk about a hungry plant and we can think of a
carnivorous plant that a neighbor puts on another's staircase landing, for example, not to
greet him every time he leaves the house. I'm not saying that you do this with your neighbors, imagine
putting a carnivorous plant on the neighbor's door a carnivorous knife a carnivorous knife is an
obviously hostile knife but hostile against the human being basically who is the protagonist
of this sweet and homicidal poem that makes you think these are many verses from the golden age the
dagger that tenderly wounds the dagger that gently wounds obviously a knife does not have an edge
Sweet no don't try it never don't try it of course something that is murderous cannot be sweet
at the same time it is murderous because it causes harm to the human being it causes harm to the human species but nevertheless
it has that concept I don't know if to describe it as sweet the poet describes it as Sweet let's say
bittersweet of the experience of love not a carnivorous knife of a sweet and murderous wing the wing of a
knife the edge of a knife is also a figure of speech It is like talking about the sheet
of paper the leg of the table is a is a or the head of a match etcetera etcetera
is to use a term that belongs to another area, for example, that defines at the same time.
of a person to Designate what defines the part of something else we do not talk about the leg
of the table Well let's see if the barbarism calms down outside the classroom because this more than
a university seems what it is But well let's continue doing our job, but well, that's
what it means to do a job in a society like ours, it's what there is, Muno said that when
you talk in the desert, at least the desert listens. One of the great advantages that
the desert has is that it listens in silence. what one says is one of the great advantages But
hey eh we continue these rhetorical figures that ultimately refer to that the sweet wing of a
knife sustains a flight and a shine around my life the image clearly refers to a
moving image that is to say it is almost an image very typical of the expressionist Bin Clan That is to say,
it is not a knife that is still, but rather it is a knife that is in constant movement and in
permanent threat, that is to say, it is not an immobile feeling but rather it is a living and very
active feeling, not the sweet and homicidal wing that not only refers to aaa a oxymorous very typical of the
golden centuries but it is also even in Petrarch and in fact this is what the editor of this
edition that I handle states that he is José María bcel and I think it is appropriate to quote and indicate it Because in
my opinion bcel has done it here one of the most reliable editions of the Lightning that does not stop, there are many
good and very competent editions. I use this one because it is in my opinion the most reliable philological editions
and one of the most competent lightning bolt of twitched metal, the image of the knife appears here again.
in a reproduction with different terms of the same thing that we have seen from the
beginning is what is called a shock, saying the same thing with different words, even a parastas,
a succession of statements that repeat the same thing with different words, in fact
the entire poem is so it is a long metaphor about what a knife is as a symbol of the
human concerns that concern the human being that concern him basically synthesized in
love twitched metal ray eh metal ray is a genitive metaphor could could be
lightning of wood or a plastic lightning bolt but no it is not a plastic lightning bolt it was not made in the United
States it is a metal lightning bolt it was made in a poetic work of Spanish tradition it is not the same
I guess the irony has been caught on me no metal lightning bolt no It is not a ray of wood nor is it a ray
of peanuts nor is it a ray of cottons it is not a ray of metal the Metal is not specified but
tense H metaphor I insist on genitive ray of metal that appeals directly to the title of the
book The Ray that does not the pain ceases The worry does not cease that does not cease the restlessness that does not
cease fulgent fallen that is to say with great luminosity and with great force it pecks at my side it is inevitable
to think here of the image of Prometheus pecked Eternally by the vulture under the imperative of Zeus
the image of a chained Prometheus makes it a sad nest the nest again also makes one think
of a ship that ultimately attacks in that beam of twitched metal and here appears a
personal reference my flowery balcony is to say what in his youth It could be something happy, something flowery, something
stimulating, from my early ages, that is, from his youth, from his childhood, although he already died young,
that is, he never grew old. He died like young heroes, black, and my heart, my heart
with gray hair, note the anadiplosis when a verse begins as the previous verse has ended
an anadiplosis occurs my heart my heart with gray hair is like a sharp that reiterates the sound
of the previous note my heart and my heart with gray hair that is to say there is a contrast between youth
a stage of life that we cannot classify as old age if we take into account that Miguel Hernández
dies at the age of 31 no no he does not die old he did not reach old age he took life seriously he took life
seriously other other poets of his generation like Albert and Neruda died at a much older age
but Miguel Hernández took life seriously such is the bad virtue new oxymoron
the virtues are good by their nature It is like talking about a good vice or a bad virtue They are
contradictory sonic oxymor expressions of the Ray that surrounds me again this reiteration of the
noun Lightning is almost like a ploce the ploce is the repetition, the reiteration of a word
within the same speech in expressions such as The Swan when he sings, if it is true that
the swan dies, not the reiteration at different points in the poem of the same term Lightning which gives
the title to the collection of poems and which refers precisely to that figure that objectifies the pain that is sung
in this collection of poems, the pain caused in some way by a love that cannot always be satisfied
or that cannot always be executed as one. In fact, this poor man dies
at the age of 31, leaving a widow, leaving a son, in short, a complete tragedy, a historical tragedy,
such is the bad virtue of the Lightning that surrounds me that I go to my youth like the moon to the
village, that is to say, this image so Lorca, the moon to the village, that is, loneliness at night is a
very Lorca image, the image of a full moon in a rural environment, in a rock environment foreign to
civilization, a new sequence, a new quatrain, tells us, I collect salt with my eyelashes.
from the soul and salt from the eye and cobweb flowers from my sadness I collect If before we were talking about an
anadiplosis a verse ends with a word the same as the one with which the next verse begins here
we find an epanalepsis the stanza begins and ends with the same word tomorrow
we will open it he told us for the same thing answer tomorrow another example of panados sorry of if
of epanalepsis sorry epanadiplosis is the green that I love you green epanalepsis consists of
a stanza begins and ends with the same word I collect I collect I collect with my eyelashes
salt of the soul the salt of the soul implies the bitterness of the soul salt as something bitter and the salt of the eye
implies tears the tears that have a bitter taste eh I collect with the eyelashes salt of the
soul and salt of the eye there is that internal anaphora salt salt salt of the soul and salt of the eye Of course if you look
in a chemistry dictionary for the term salt they will say sodium chloride but of course here it is not going to say
I collect with the eyelashes sodium chloride that could be said but it doesn't say it and it doesn't say it for a reason the
term salt repeated twice is a new ploce salt of the soul and salt of the eye it is not an imperative that
you come out of the soul or that you come out of the eye That is to say it is not a speck of dust that you have in your eye
that you want to come out, understand perfectly what there is, don't salt your soul. The emotional bitterness that
you have inside and salt your eye. That is to say, the tears that come out in this case from your eye, that flow from your
eye, understand clearly as A term in literature acquires meanings that go beyond
those that the dictionary records, that is, in literature. Words become
sounds that acquire a reverberation to the extent that they are combined with other words, that is,
with others, and acquire a meaning. which gives extraordinary relief to what is said,
hence the difference between literature and common language is precisely a demonstration
of very virtuous abilities in the use of language that not everyone is capable of
achieving, which is why some are good poets. and others are not, others are neither poets here in the next
quatrain we are presented with an eroteme an eroteme is not an erotic theme it is a cosmic question that does not
have an answer it does not have a definitive or convincing answer Where will I go that
I do not go My ruin to seek This is an erotheme very clear, that is, it is a question that does not have
an answer, that is, if you ask this of an artificial intelligence program
, it will answer the nonsense for which it is programmed when it comes to answering because
the Intelligence artificial does not know about herot topics no does not understand them do the test
and ask an artificial intelligence Where will I go that does not go My perdition to search
does not even know that it is a poem by Miguel Hernández because hey
artificial Intelligence does not have literary education then they will say that I speak as if I were saying
press headlines it is not my fault that reality is imperfect Artificial Intelligence does not
have literary knowledge Artificial Intelligence does not have literary intelligence Why
Because its programmers do not have it either not because it has Miracles Where will I go
that My downfall does not go to look for a herot topic that evidently poses a a
rhetorical interrogative a rhetorical question that does not have an immediate answer your destiny is of the beach and my
vocation of the sea of the sea of an open space of a space without limits of a space that cannot
be delimited, that like life itself has no end because even if a human being dies, the species
survives, in fact, the species survives despite the death of each one of us, your destiny is
the beach, that is, a place. bounded you will reach a limit you will arrive at a safe place you will reach
a beach that is almost like a port but in a more natural stage than that of a port that has
artificial connotations but my vocation is the sea, that is, I will not reach any destination
no no It will never be exhausted My lost defeat my lost path rest from this work says the
following quatrain of hurricane love or hell keep in mind that again love or hell
is a title that almost paraphrases Alexandre's title that is to say destruction or love
the love or the hell to rest from this hurricane work a hurricane work is an
immensely tiring job that requires and demands an enormous effort to rest it is not possible
to rest from this hurricane work love hell is not possible and the pain is saying the word that
Until now has been almost taboo in the poem and here the pain is manifested will make me to my regret eternal
that is to say if something There is eternal in the human species if something There is eternal in the essence of human life
it is pain it is suffering in fact life is a headache with good moments with good
moments but in the end I will be able to defeat you there is a slight hymn to hope at the end there is a door of
Hope but let's see what this Victory consists of but in the end I will be able to defeat you
secular bird and Lightning again the Promethean image the image of Prometheus suffering the pecking of the vulture and
Lightning secular, the term Lightning is reiterated at least three or four times in the poem Corazón, that
no one should make me doubt death, that is, it seems that the only Victory, the only way to overcome
pain is to die, But no, that is not a victory, that is. a law of life that is the end then
of course when death is the overcoming of pain m when death is the solution he talks about
natural death eh Not about suicide he talks about natural death that is to say at the end I will be able to defeat you at the end that is to say at the
end of the journey the Death is an overcoming of pain. In short, what happens is that
death is not an overcoming of pain beyond a literary or metaphorical interpretation.
Death is the cessation of life, in totally prosaic terms that are not those proposed
by the poem. It would be like solving a headache through the guillotine and not with an aspirin, of course
it is not the same, obviously if there is a headache and one goes through the guillotine, the headache
disappears immediately But of course with it, many other things disappear as well. So
aspirin is better for pain headache than the French Revolution, that is, Aspirin is better
for a headache than the French Revolution, someone will say, he said that Aspirin was better
than the French Revolution, well, there are people for everything, but I speak for intelligent people,
something else is the use That non-intelligent people do what I say, that is another question
for which I am not responsible, I am not responsible for what I do in dreams and in nightmares
and in the conversations of others. Let's go to the last stanza, continue. Well, continue, knife. Here is
a new place, a reiterative imperative continues Well, the knife continues flying, hurting one day
Time will turn yellow over my photograph, that is to say, one day I will die and I will not be. I do not remember, I will not be,
I do not remember, as Cortaza himself would say, that is, even the ruins will perish. one day
that he quoted an essay from more than one classical author. In short, it is to say that in this poem, if
we were to summarize it synthetically, in a statement in a statement we would say that the
poet metaphorizes around the image of Lightning that is described through different
figures. rhetorical throughout the poem the constant pain that life entails for him within which
love is one of the deepest, deepest, strongest and most outstanding experiences is
To say, it is a very enriching idea to talk about love in terms that have
strongly tragic and also violent connotations because love is frequently compared with certain
phenomena of nature. The Sea, the night and with deep bitterness experienced by human beings.
salt of the soul we think that you can pick up something with your hands but not with
your eyelashes obviously that minuscule when it comes to apathetically grasping
something tactile m with your eyelashes It is really extreme and very expressive the salt of the soul the bitterness of the interior and the salt of the
eye and then HM this catachresis that I mentioned that I appealed to before that I mentioned previously
The metal ray that is a very hard image, very expressive, very expressionistic that will be present,
will dominate throughout the collection of poems, many of These images I insist that catachresis is this
use that before with the sound of the barbarians that we had around us prevented me
from coining the term with more precision is I insist the use of the name that has an object that lacks
name in itself and which takes as a reference a human or animal limb, the leg of the
table, that is, a table does not actually have legs, but we are talking about the leg of the table or
the head of the pin, a pin has a head but it does not have brain and you will tell me Well
like some people Well I'm not saying that you can think it no pinhead
we talk about pinhead of the blade of the blade of the sword of the sheet of paper eh By
similarity to the sheet of the tree etcetera etcetera no eh well they are catachresis In short,
as you can see, it is a preliminary poem of a prolog poem that is almost a manifesto of what
the rest of the book is going to be and that reproduces with clear aisec connotation typical of the golden age many
of the concerns that will be updated in the poetic work of this man who, had he
lived many more years, would undoubtedly have left us a literary work of great value.
In my opinion, Miguel Hernández himself is an author of little importance today. known and little studied
if we compare him with other authors who in years ago have been more studied and
better known than him and it is a literary work, a poetic work that in my opinion deserves much greater attention
than it has. I am not saying that he is an author. unknown nor much less nor
that it is little studied, which is not true either, but it is true that it is less studied than
other authors and more valuable than almost all and therefore I am going to dedicate to it in this academic year
from this chair of literary theory and comparative literature a series of sessions so
that in some way way this knowledge can go beyond what the university is and beyond
what has been at the time the work of this man whose life was sadly Tragic because
precisely he took it very seriously and was very faithful to his ideas by paying Therefore, with life, it is
an example of personal integrity and a superlative example of literary and poetic genius.
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