I first analyzed Lorca's duende as a manifestation of his own poetics. That is fine; that is what every other Lorca scholar tries to do as well.
But the lecture on the duende is also an exceptionalist theory of Spanish cultural expression. I broke off that part of my analysis into a separate chapter.
But then all the parts that don't seem fit in with the reading of the duende as a theory of Spanish exceptionalism, end up supporting this second reading. All the syncretic and universalizing ideas that make it so much more than a theory of Spain, end up being typical of theories of cultural exceptionalism after all. I am on the verge of a break-through here.
Modernist theories of exceptionalism are never monolithic, always syncretic, because they need to synthesize various elements. They also need to universalize, even when they are based on a minoritizing impulse.
Poetics, in terms of a poet's ideas about poetry, and poetics, as a system of thought based on a series of tropes, come together.