Metrical complexity in Don de la ebriedad

 Let's think about the factors of metrical complexity in Don de la ebriedad. 

Stress clashes: siempre la claridad viene del cielo / vida y labor propias 

Enjambment and line internal pauses.  

Frequent elision and syneresis. 

The overall effect is the creation of verse paragraphs, rather than a sequence of end-stopped lines. Generally, the sentences are long; or rather, sentence length is varied. The rhyme is there, but the rhyming words don't always end the syntactic phrase.  

Now, this is not particularly remarkable, except that it is, since Spanish poetry tends more to the end stopped line, and less to the development of longer structures. The exception is the development of the silva in the baroque, where the free combination of lines of seven and eleven create a fluidity that almost rivals English blank verse. 

Así el deseo. Como el alba, clara   [internal pause] 

desde la cima y cuando se detiene            [rhyme]

tocando con sus luces lo concreto

recién oscura, aunque instantáneamente.  [rhyme] [syneresis] 

Después abre ruidosas palomares   [stress clash] 

y ya es un día más, Oh, las rehenes  [enjambment between adjective and noun!]

palomas de la noche, conteniendo

sus impulsos altísimos. Y siempre... [rhyme] 

Así el deseo. Como el alba, clara desde la cima y cuando se detiene, tocando con sus luces lo concreto, recién oscura, aunque instantáneamente. Después abre ruidosas palomares y ya es un día más... 

There is a kind of sculpted quality to Lorca's lines, like "desnudo torso romano." Claudio Rodríguez doesn't tend to write individual sculpted lines of this type. But Rodríguez excels at the sequence of lines. All the more amazing because he was 17 when he wrote this book. The book bears some signs of youthful inexperience, but overall the mastery of verse is astonishing.