Biography of Juana de Ibarbourou | Uruguayan poet considered one of the most personal voices of early 20th century Spanish-American poetry.
(Juana Fernández Morales;) Melo, Uruguay, 1892 - Montevideo, 1979) Uruguayan poet considered one of the most personal voices of early 20th century Spanish-American poetry. At twenty he married Captain Lucas Ibarbourou, which adopted the surname to sign his work. Three years later he moved to Montevideo, where he lived since then.
Juana de Ibarbourou His first poems appeared in the Uruguayan capital (mainly in La Razón) newspapers under the pseudonym of Jeannette d'Ibar, who would soon leave. He began his long lyric journey with the poems tongues of diamond (1919), the cool pitcher (1920) and wild root (1922), all of them marked by modernism, whose influence is seen in the abundance of sensorial and chromatic images and allusions, biblical and mythical, but always with a unique accent.
Its subject matter tended to the sentimental exaltation loving delivery, maternity, physical beauty and nature. On the other hand, his poems printed an eroticism which constitutes one of its production, which was early recognized capital sheds: in 1929 was proclaimed "Juana de América" in the Legislative Palace of Uruguay, who chaired the poet 'official' Uruguayan Juan Zorrilla de San Martin and ceremony with the participation of the Mexican essayist Alfonso Reyes.
Little by little his poetry was stripped of the modernist style to win in effusion and sincerity. The rose of the winds (1930) he ventured in the avant-garde, touching even the surreal images. With Prints of the Bible, praise of our Lady and invocation to san Isidro, all from 1934, instead began a path to mystical poetry.
His books loss (1950), goshawk (1953) and Romances of destiny (1955) were published in the 1950's. At the same time, in Madrid, came to light his complete works (1953), where we included two unpublished books: dualism and the write message. Of his later poetic work emphasizes Elegy (1967), book in memory of her husband.
Juana de Ibarbourou occupied the Presidency of the Sociedad Uruguaya de Escritores in 1950. Five years later his work was awarded at the Institute of Hispanic culture in Madrid, and in 1959 the Uruguayan Government awarded him the Grand National Literature Prize, awarded for the first time that year. His work in prose was primarily focused towards children; There are epistolary (1927) and Chico Carlo (1944).
The poetry of Juana de Ibarbourou
Uruguayan literature of the 20th century was among the roster of its authors with a number of poets whose work is of fundamental importance: María Eugenia Vaz Ferreira, Delmira Agustini and Juana de Ibarbourou. Each deployed an accent own and distinctive; Thus, while Vaz Ferreira represents the haughty chastity, and Agustini women longing waiting, Juana de Ibarbourou is the balance of spontaneous delivery.
But it is with the Chilean Gabriela Mistral who Juana de Ibarbourou maintains a more direct kinship: both possessed the same sensitivity exquisite and captivating, the same sincerity of passion, the same ease and simplicity in the expression. The psychic world expressing separates them, on the other hand,: Gabriela Mistral is possessed of a Christian spiritualism; Ibarbourou, at least in his early works (in the latest approaches to the tone of the Chilean poet), appears crazy lifestyle, Pagan, all of it overflowing vitality and sensuality: "take me now that it is still early / and have been new dahlias in the hand".
In the beginning, Juana de Ibarbourou did not escape the influence of modernist style, but gradually his poetry undresses bubbles to win in effusion and sincerity. In his poetic production there is a continuous evolution that has been compared to the human life cycle; you have been told that tongues of diamond (1919) are equivalent to the birth to life, wild root (1922) passionate youth, the rose of the winds (1930) Perdida (1950) and the maturity to old age. In each of those books over the years, in continuous progression, is taking a greater importance. Bible prints (1934) and praise of our Lady (1934) accuse a religious evolution.
The feelings of the author, in solitude or in dialogue with nature, constitute the central theme of his verses. The Venezuelan writer Rufino Blanco Fombona said of Ibarbourou philosophy boils down to horror to nothing; Therefore he shall conceive to death as a continuation of life, almost like its natural evolution. There is a real horror to the death; in "life hook", one of his best poems, she imagines dead, but, in reality, continues to survive by love: "the Brown stairs in living roots / I go to look at you in the purple lilies!".
There is nothing less intellectual, therefore that Ibarbourou lyric; all his thoughts to start their own feelings. Nature beckons him, feels it, and talk to her, with the river and the tree; It gives flesh and blood and makes appearing before us with their sufferings and joys. Sometimes used for this daring images; thus describes the Cypress: "seems a cry that has curdled in tree / or a Lord's prayer made quiescent branches".
But, above all, Juana de Ibarbourou is the voice of young and ardent, love of women who know admired and desired by man and which carries within itself the strength of that nature who loves ("Besarás thousand women, but no / will give you this impression of Brook and forest / I I give you"). For her love is nothing but a form of participation in the ongoing mystery of the world: "We are big and lonely on the beam of the fields", will say to her beloved. It is always in his voice, demanded by the strength of their feelings, a total sincerity in thinking, and at the same time the violent and naive expression of passion.
The weaker production aspect offer us her narrative verses, as content in Romances of destiny (1955), clear and not very happy lorquiana influence. In 1967 he published Elegy, a work dedicated to her husband Lucas Ibarbourou died many years earlier. As its title indicates, the book is a passionate but contained singing of love, Sung in a voice low; Although it contains some overweening complaints, by all the poems crosses a sweet calm, a quiet resignation. "Now, what to do, fallen two arms, / surrounded by twilight and mist?", asks for his loss; However, something pushes it to expect that somewhere you can recover that love, which is still alive: "nobody forgets because I do not forgot, / and that he not die I do not die".
Juana de Ibarbourou
Its subject matter tended to the sentimental exaltation loving delivery, maternity, physical beauty and nature. On the other hand, his poems printed an eroticism which constitutes one of its production, which was early recognized capital sheds: in 1929 was proclaimed "Juana de América" in the Legislative Palace of Uruguay, who chaired the poet 'official' Uruguayan Juan Zorrilla de San Martin and ceremony with the participation of the Mexican essayist Alfonso Reyes.
Little by little his poetry was stripped of the modernist style to win in effusion and sincerity. The rose of the winds (1930) he ventured in the avant-garde, touching even the surreal images. With Prints of the Bible, praise of our Lady and invocation to san Isidro, all from 1934, instead began a path to mystical poetry.
His books loss (1950), goshawk (1953) and Romances of destiny (1955) were published in the 1950's. At the same time, in Madrid, came to light his complete works (1953), where we included two unpublished books: dualism and the write message. Of his later poetic work emphasizes Elegy (1967), book in memory of her husband.
Juana de Ibarbourou occupied the Presidency of the Sociedad Uruguaya de Escritores in 1950. Five years later his work was awarded at the Institute of Hispanic culture in Madrid, and in 1959 the Uruguayan Government awarded him the Grand National Literature Prize, awarded for the first time that year. His work in prose was primarily focused towards children; There are epistolary (1927) and Chico Carlo (1944).
The poetry of Juana de Ibarbourou
Uruguayan literature of the 20th century was among the roster of its authors with a number of poets whose work is of fundamental importance: María Eugenia Vaz Ferreira, Delmira Agustini and Juana de Ibarbourou. Each deployed an accent own and distinctive; Thus, while Vaz Ferreira represents the haughty chastity, and Agustini women longing waiting, Juana de Ibarbourou is the balance of spontaneous delivery.
But it is with the Chilean Gabriela Mistral who Juana de Ibarbourou maintains a more direct kinship: both possessed the same sensitivity exquisite and captivating, the same sincerity of passion, the same ease and simplicity in the expression. The psychic world expressing separates them, on the other hand,: Gabriela Mistral is possessed of a Christian spiritualism; Ibarbourou, at least in his early works (in the latest approaches to the tone of the Chilean poet), appears crazy lifestyle, Pagan, all of it overflowing vitality and sensuality: "take me now that it is still early / and have been new dahlias in the hand".
In the beginning, Juana de Ibarbourou did not escape the influence of modernist style, but gradually his poetry undresses bubbles to win in effusion and sincerity. In his poetic production there is a continuous evolution that has been compared to the human life cycle; you have been told that tongues of diamond (1919) are equivalent to the birth to life, wild root (1922) passionate youth, the rose of the winds (1930) Perdida (1950) and the maturity to old age. In each of those books over the years, in continuous progression, is taking a greater importance. Bible prints (1934) and praise of our Lady (1934) accuse a religious evolution.
The feelings of the author, in solitude or in dialogue with nature, constitute the central theme of his verses. The Venezuelan writer Rufino Blanco Fombona said of Ibarbourou philosophy boils down to horror to nothing; Therefore he shall conceive to death as a continuation of life, almost like its natural evolution. There is a real horror to the death; in "life hook", one of his best poems, she imagines dead, but, in reality, continues to survive by love: "the Brown stairs in living roots / I go to look at you in the purple lilies!".
There is nothing less intellectual, therefore that Ibarbourou lyric; all his thoughts to start their own feelings. Nature beckons him, feels it, and talk to her, with the river and the tree; It gives flesh and blood and makes appearing before us with their sufferings and joys. Sometimes used for this daring images; thus describes the Cypress: "seems a cry that has curdled in tree / or a Lord's prayer made quiescent branches".
But, above all, Juana de Ibarbourou is the voice of young and ardent, love of women who know admired and desired by man and which carries within itself the strength of that nature who loves ("Besarás thousand women, but no / will give you this impression of Brook and forest / I I give you"). For her love is nothing but a form of participation in the ongoing mystery of the world: "We are big and lonely on the beam of the fields", will say to her beloved. It is always in his voice, demanded by the strength of their feelings, a total sincerity in thinking, and at the same time the violent and naive expression of passion.
The weaker production aspect offer us her narrative verses, as content in Romances of destiny (1955), clear and not very happy lorquiana influence. In 1967 he published Elegy, a work dedicated to her husband Lucas Ibarbourou died many years earlier. As its title indicates, the book is a passionate but contained singing of love, Sung in a voice low; Although it contains some overweening complaints, by all the poems crosses a sweet calm, a quiet resignation. "Now, what to do, fallen two arms, / surrounded by twilight and mist?", asks for his loss; However, something pushes it to expect that somewhere you can recover that love, which is still alive: "nobody forgets because I do not forgot, / and that he not die I do not die".
Extracted from the website: Biografías y Vidas