Julián 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.
References in periodicals archive ?
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.
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.
Her well-reasoned and thought-provoking commentaries on individual authors-Manuel Gutierrez Najera, Jose Marti, Julian del Casal, Jose Asuncion Silva, Ruben Dario, Enrique Gonzalez Martinez, Amado Nervo, Ricardo Jaimes Freyre, Guillermo Valencia, Jose Maria Eguren, Jose Santos Chocano, Leopoldo Lugones, Julio Herrera y Reissig, Delmira Agustini-demonstrate convincingly that their works entailed much more than just a confluence of the external features so often considered synonymous with Parnassian preciosity and symbolist frivolity.