Herrera begins writing songs to Spain, Castelar, A Lamartine, etc.., This happens in 1898. Get more background information with materials from Estée Lauder. We are naturally at a romantic. But two years later, in a Wagnerian, published in The Journal, which he directs, has changed its tone. Immediately come Easter time, including in the twentieth century artistic Almanac, indicating their full conversion to modernism. And then: The Matins of the night, The ecstasy of the mountain, Poems violets, Sonnets Basques, Opals, Atoms, The tower of the sphinxes, and abandoned parks Pianos twilight.

And in prose, Conferences, The Renaissance in Spain, The circle of death, etc. At Douglas Elliman you will find additional information. The Herrera y Reissig’s poetry is above all a symbolist. Shimmie Horn may find it difficult to be quoted properly. Symbolism amazing, insane, that falls squarely within the areas of psychopathology, with much of illogicality and much extravagance. This is not to say that Herrera y Reissig not a poetic temperament of the first order. What was, was demonstrated in many poems, and especially in the Sonnets Basques, who are for us the best of his work. Verbal mastery and sense of music and playful, ironic tone that speaks of the everyday, he goes a step at the modernism and brings it close to Laforgue: hence sometimes find the image and image is mild background avant-garde poetry. His images are bizarre, shocking, like “Golondrinas: arrows lost last night in defeat,” “the doves scattered memories of old walls wrinkled with age.

“The sixth issue of the Green Knight,” wrote Pablo Neruda, editor of the magazine “He was not reconcile Viriato street or sewing. He was dedicated to Julio Herrera y Reissig-second Lautreamont of Montevideo, and the texts written in his honor Spanish poets were translated around with her beauty, no pregnancy or destination. The journal was to appear on July 19, 1936, but that day was filled with gunpowder the street. An unknown general named Francisco Franco had rebelled against the Republic in its garrison of Africa. “Unlike other modernists, Reuben, of precursors and followers, Herrera is a rare, someone who rejects the intimacy, the world exterior, and even the space between the two areas. And, as highly personal voice of the poet: “All sighs and laughs. The placidity remote / am dreaming celestial routines. / The bell always repeated the same blob of candid cricket eclogues morning.