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Julian Del Casal

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Casal, Julián Del 

Born Nov. 7, 1863, in Havana; died there Oct. 21, 1893. Cuban poet. Son of a landowner; an official.

The influence of Spanish romanticism noticeable in Casal’s early poetry had already given way to the influence of the French Parnassians by the time of his first book, Leaves in the Wind (1890); this influence in turn gave way to that of the French symbolists, as shown in the collection Snow (1892). Busts and Rhymes (1893) included both poetry and prose. Casal’s poetry is characterized by pessimism and an escape from reality into an exotic world but at the same time by harmoniousness of form and musicality of verse.

WORKS

Poesías completas. Havana, 1945.
In Russian translation:
In the collection Kubinskaia poeziia. Moscow, 1959.
In the collection Soldaty svobody. Moscow, 1963.

REFERENCES

Portuondo, J. A. Istoricheskii ocherk kubinskoi literatury. Moscow,
1961. (Translated from Spanish.) Monner Sans, J. M. J. del Casal y el modernismo hispano-americano.
Mexico City, 1952.
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En algunos casos, poetas conocidos como Estanislao del Campo, en la poesia de la independencia, o Julian del Casal en modernismo, cuentan con una sola pagina, Amado Nervo con una pagina y tres cuartos y muchos otros poetas solo con un parrafo que hace referencia a ellos como Delmira Agustini, Alfonso Reyes, etc.
Forster, Merlin H. and David Laraway. Arbol de imagenes: Nueva ... by Giannandrea, Beatrice / Hispanofila
Gwen Kirkpatrick sugiere que la tipica respuesta modernista a los cambios de fin de siglo fue el refugio en el "reino interior" de Rodo o Dario, o en los misteriosos y ornamentados interiores de Julian del Casal.
Literatura y tecnologia en Dario, Oquendo de Amat y Palma by De Los Rios, Valeria / Romance Notes
The most prominent names associated with the movement are familiar to anyone who has ever taken an advanced course in Latin American literature--Manuel Gutierrez Najera, Ruben Dario, Julian del Casal, Jose Enrique Rodo Until now nobody has thought to associate the word "politics" with this movement, largely because most of its protagonists were either non-political or worked hand-in-glove with the Latin American politico-military-financial establishment (who also paid their bills).
The Politics of Spanish American "Modernismo" by Falcoff, Mark / New Criterion
 
 
 
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