ivil War, Lorca quicklybecame an almost mythical figure, a symbol of all the victims of political oppression andfascist tyranny. People began speaking publicly about Lorca again in the late 1940's, andThe House of Barnardo Alba was the first of his plays to be produced in Spain (1950),since his death and since the end of the war. Though foreign influence helped to loosen theFranco regimes control over Lorca's work, bans were still placed as late as 1971. Due topublic outcry however, Lorca's work was produced. Lorca's reconquest of the Spanish public, and his growing prestige among scholars is arelatively recent phenomenon. When his works began to recirculate freely, many peoplewho knew only the Gypsy Ballads and two or three of the more popular plays consideredLorca a poet of limited interest and local color. When his later poetry -Poet in New York-and experimental plays such as The Public came to be better known and understood,attitudes changedLament for Ignacio Sanchez Mejias(fragment) 1. Cogida and deathAt five in the afternoon.It was exactly five in the afternoon.A boy brought the white sheetat five in the afternoon.A frail of lime ready preparedat five in the afternoon.The rest was death, and death aloneat five in the afternoon. The wind carried away the cottonwoolat five in the afternoon.And the oxide scattered crystal and nickelat five in the afternoon.Now the dove and the leopard wrestleat five in the afternoon.And a thigh with a desolate hornat five in the afternoon.The bass-string struck upat five in the afternoon.Arsenic bells and smokeat five in the afternoon.Groups of silence in the cornersat five in the afternoon.And the bull alone with a high heart!At five in the afternoon.When the sweat of snow was comingat five in the afternoon,when the bull ring was covered in iodineat five in the afternoon.Death laid eggs in the woundat five in the afternoon.At five in the afternoon.Exactly at five o'clock in the afternoon. A coffin o...
