Saturday, November 19, 2011

poemas de amor cortos

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He was imprisoned at Cáceres for his violent attacks on the reactionary ministry of Narvaez, acted as secretary to the revolutionary Junta of Catalonia when Isabella II was dethroned, and wrote the "Manifesto to the Nation" published by the provisional government on 26 October 1868. During the next few years he practically withdrew from political life till the restoration, when he attached himself to Sagasta's party. He served under Sagasta as minister for the colonies, the interior, the exchequer and education; but ill-health compelled him to resign on 27 July 1890, and henceforth he refused to take office again. He was elected to the Spanish Academy on the 8 January 1874 and was appointed a life-senator in 1886. He died at Madrid in February 1903.



Poemas cortos de amor


Núñez de Arce first came into notice as a dramatist, and he remained faithful to the stage for nearly a quarter of a century. In addition to three plays written in collaboration with Antonio Hurtado, he produced ¿Quien es el autor? (1859), La Cuenla del Zapatero (1859), ¡Como se empeña un marido! (1860), Deudas de la honra (1863), Ni lanto ni tan poco (1865), Quien debe, paga (1867) and El haz de Una (1872).



Poemas cortos de amor a la


But Núñez de Arce's talent was more lyrical than dramatic, and his celebrity dates from the appearance of Gritos del combate (1875), a collection of poems exhorting Spaniards to lay aside domestic quarrels and to save their country from anarchy, more dangerous than a foreign foe. He maintained his position (in popular esteem) as the only possible rival of Campoamor by a series of philosophic, elegiac and symbolic poems: "Raimundo Lulio, Ultima Iamentacion de Lord Byron" (1879), "Un Idilio y una Elegia" (1879), "La Selva oscura" (1879) and "La Visidn de Fray Martin" (1880). The old brilliance sets off the naturalistic observation of La Pesca (1884) and La Maruja (1886). The list of his works is completed by Poemas cortos (1895) and ISursum cordal (1900); Herndn el lobo, published in El Liberal (January 23, 1881) and Luzbel remain unfinished. His strength lies in the graciousness of his vision, his sincerity and command of his instrument; his weakness derives from his divided sympathies, his moods of obvious sentiment and his rhetorical facility. But at his best, as in the Gritos del combate, he is a master of virile music and patriotic doctrine.





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