{"id":68,"date":"2008-08-06T00:35:34","date_gmt":"2008-08-05T22:35:34","guid":{"rendered":"http:\/\/www.cultureduca.com\/blog\/?p=68"},"modified":"2008-08-06T00:52:35","modified_gmt":"2008-08-05T22:52:35","slug":"literatura-gallega-la-vida-y-obra-de-rosalia-de-castro-2","status":"publish","type":"post","link":"https:\/\/natureduca.com\/culturblog\/literatura-gallega-la-vida-y-obra-de-rosalia-de-castro-2\/","title":{"rendered":"Literatura gallega: La vida y obra de Rosal\u00eda de Castro (2)"},"content":{"rendered":"

<– Viene de la 1\u00aa parte<\/font><\/p>\n

Cantares gallegos (continuaci\u00f3n)<\/u> <\/font><\/p>\n

Estructura de la obra<\/font><\/p>\n

Cantares gallegos es una obra de estructura cerrada. Abre el libro un poema en que se realiza una invitaci\u00f3n a una joven para que \u00abcante\u00bb:<\/font><\/p>\n

Has de cantar,
\n<\/font>que che hei de dar zonchos,
\n<\/font>has de cantar,
\nque che hei de dar moitos…<\/font><\/p>\n

nas portas dos ricos,
\n<\/font>nas portas dos pobres,
\n<\/font>que aquestes cantares
\na todos responden.<\/font><\/p><\/blockquote>\n

La joven acepta la invitaci\u00f3n y comienza el canto, que ya desde el principio se convierte en una clara exaltaci\u00f3n del paisaje, costumbres, lengua… de Galicia, sin restringirse a ning\u00fan grupo social, ni por edad ni por posici\u00f3n econ\u00f3mica.<\/font><\/p>\n

Buscaime, rapazas,
\n<\/font>Velli\u00f1as, moci\u00f1os.
\n<\/font>Buscaime antre os robres.
\nBuscaime entre os millos,<\/font><\/p>\n

que a veces por fora un canta
\n<\/font>mentras que por dentro chora.
\n<\/font>Non me espriquei cal quixera
\n<\/font>Poi son de espricansa pouca;
\n<\/font>Si grasia en cantar non te\u00f1o
\no amor da patria me afoga.<\/font><\/p><\/blockquote>\n

Cierra el libro un poema en que la \u00abmeni\u00f1a gaiteira\u00bb se despide citando dos elementos (el canto y el planto), fundamentales en el libro as\u00ed como su intenci\u00f3n patri\u00f3tica:<\/font><\/p>\n

Esto e inda m\u00e1is, eu quixera
\n<\/font>Decir con lengua grasiosa;
\n<\/font>mais donde a grasia me falta
\n<\/font>o sentimento me sobra,
\n<\/font>anque este tampouco abasta
\npara espricar certas cousas.<\/font><\/p><\/blockquote>\n

Entre ambos poemas se incluyen otras treinta y cuatro composiciones de tem\u00e1tica variada en que se glosa una copla popular que es la que, de alguna forma, provoca el tema de la composici\u00f3n.<\/font><\/p>\n

Temas<\/font><\/p>\n

Cantares gallegos se nos presenta como un libro de temas diversos al servicio de la dignificaci\u00f3n patri\u00f3tica que Rosal\u00eda pretende. En \u00abAdi\u00f3s, r\u00edos; adi\u00f3s, fontes\u00bb, el aspecto reivindicativo se presentaba diluido entre aspectos de tipo sentimental y folcl\u00f3rico. Algo semejante sucede en el conjunto del libro y al lado de poemas costumbristas como \u00abNosa Se\u00f1ora da Barca\u00bb, dedicado al santuario y romer\u00eda del mismo nombre en Mux\u00eda, se incluyen claros alegatos patri\u00f3ticos como \u00abA Gaita gallega\u00bb.<\/font><\/p>\n

Aunque la descripci\u00f3n de un poema a un tema determinado no puede ser r\u00edgida, porque con frecuencia en una misma composici\u00f3n aparecer\u00e1n aspectos tem\u00e1ticos diversos, podemos agruparlos de la siguiente forma:<\/font><\/p>\n

1. Poemas amorosos<\/u> (\u00abCantan os galos para o d\u00eda\u00bb, \u00abQu\u00edxente tanto, meni\u00f1a\u00bb, \u00ab\u00bfQu\u00e9 ten o mozo?\u00bb). El amor se expresa siempre en contacto con una naturaleza apacible y delicada, marco propio tanto para un amor feliz como para un amor que, a\u00fan fracasando, nunca presenta caracter\u00edsticas tr\u00e1gicas.<\/font><\/p><\/blockquote>\n

2. Poemas costumbristas<\/u>. En ellos Rosal\u00eda realiza una exaltaci\u00f3n de costumbres, fiestas, tradiciones y personajes populares con una clara intenci\u00f3n de demostrar que estas manifestaciones culturales tienen su dignidad y su funci\u00f3n dentro de la colectividad que las cre\u00f3, y que las usa para su diversi\u00f3n. (\u00abUn repoludo gaiteiro\u00bb, \u00abNosa Se\u00f1ora da barca\u00bb…) Los temas costumbristas, sin embargo, podemos tener en Rosal\u00eda una inversi\u00f3n de tipo ir\u00f3nico como sucede en \u00abSan Antonio bendito\u00bb. El poema parte de la copla popular:\u00a0 <\/font><\/p><\/blockquote>\n

<\/blockquote>\n

San Antonio bendito
\n<\/font>d\u00e1deme un home
\nanque me mate,
\nanque me esfole.<\/font><\/p><\/blockquote>\n

La pretendida debilidad femenina que llevar\u00eda a la mujer a querer un hombre a cualquier precio, se convierte al final en una iron\u00eda en donde lo que predomina es una versi\u00f3n pragm\u00e1tica de la existencia.<\/font><\/p>\n

3. Poemas intimistas<\/u> (\u00abCampanas de Bastabales\u00bb, \u00abComo Chone miudi\u00f1o\u00bb…). Se bien en la mayor\u00eda de los poemas del libro, el sujeto l\u00edrico es \u00aba meni\u00f1a gaiteira\u00bb o alg\u00fan otro personaje de su entorno, hay algunos en que ese sujeto l\u00edrico es la propia autora. Son poemas menos alegres y m\u00e1s nost\u00e1lgicos en los que comienza a perfilarse la Rosal\u00eda intimista que encontraremos en muchas p\u00e1ginas de Follas novas<\/em>.<\/font><\/p><\/blockquote>\n

4. Poemas sociales y patri\u00f3ticos<\/u>. En este grupo podemos incluir:
\n— Poemas escritos desde el yo l\u00edrico de la propia Rosal\u00eda: \u00abA gaita gallega\u00bb, respuesta a un poema de igual t\u00edtulo del poeta espa\u00f1ol Ruiz de Aguilera en que se preguntaba si la gaita gallega llora o canta cuando toca.
\n— Poemas puestos en boca de otras personas, como \u00abCastellanos de Castilla\u00bb. Partiendo como siempre de una copla popular <\/font><\/p><\/blockquote>\n

<\/blockquote>\n

Castellanos de Castilla,
\ntratade ben aos gallegos,
\ncando van, van como rosas;
\ncando v\u00e9n, v\u00e9n como negros.<\/font><\/p><\/blockquote>\n

Una mujer, desde el abandono, el dolor y la impotencia por la muerte de su hombre, realiza un dur\u00edsimo alegato contra la emigraci\u00f3n y la explotaci\u00f3n de Galicia. Esta cr\u00edtica adopta el mismo punto de vista popular que cre\u00f3 la copla que encabeza el poema.<\/font><\/p>\n

<– Viene de la 1\u00aa parte<\/font><\/p>\n","protected":false},"excerpt":{"rendered":"

<– Viene de la 1\u00aa parte Cantares gallegos (continuaci\u00f3n) Estructura de la obra Cantares gallegos es una obra de estructura cerrada. Abre el libro un poema en que se realiza una invitaci\u00f3n a una joven para que \u00abcante\u00bb: Has de cantar, que che hei de dar zonchos, has de cantar,\u2026<\/p>\n

Seguir leyendo…<\/i><\/a><\/p>\n","protected":false},"author":75,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":{"twitter_226634691_226634691":""},"rop_publish_now_history":[],"rop_publish_now_status":"pending","_uag_custom_page_level_css":"","footnotes":""},"categories":[5],"tags":[1010,1016,1009,1100,1060,1145,1043,1014,1154,1156,1025,1085,1146],"class_list":["post-68","post","type-post","status-publish","format-standard","hentry","category-literatura","tag-amor","tag-arte","tag-cultura","tag-gallego","tag-lengua","tag-libro","tag-literatura-2","tag-naturaleza","tag-poema","tag-poemas","tag-rosa","tag-rosal","tag-tradiciones"],"yoast_head":"\nLiteratura gallega: La vida y obra de Rosal\u00eda de Castro (2) - Blog Cultureduca educativa<\/title>\n<meta name=\"description\" content=\"Literatura gallega: La vida y obra de Rosal\u00eda de Castro (2) - 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