The first instance of this motif in Lorca’s critical reception is in the introduction to the first edition of Poema del cante jondo (1931), “Palabras de los editores”:
Federico García Lorca ha hecho teatro recientemente; se ha asomado a la vorágine neoyorquina; ha sido repetidamente conferenciante—de un tipo, naturalmente, personalísimo—. Sus actividades tienen cada día mayor multiplicidad; por eso su poesía—sentido y norma—es una y varia. Lo mismo que el poeta que, a diario, se desmembra en cuatro o cinco Federicos García Lorca, urbanos, tránsfugas, cosmopolitas, indolentes, sensuales, tristes o cerebrales, siempre dentro de la piel morena del Federico García Lorca visible…
The idea of a multi-faceted creator in several genres corresponds to a multifaceted sense of the personal self, described by a series of seven almost random adjectives, all contained within a single physical person. Although not signed by Lorca himself, this editorial note is consistent with the poet’s desire to emphasize the multiple facets both of his personality and of his literary accomplishments. It echoes the prologue to Impresiones y paisajes (“es preciso ser uno y mil / “es una y varia”). The literary directors of Ulises, where this volume appeared, were Julio Gómez de la Serna and César M. Arconada, both intellectuals of Lorca’s own “Generation of 1927.” (Julio was the younger brother of Ramón Gómez de la Serna, who had given the inaugural lecture at the Concurso del Cante Jondo in Granada, in 1922, an event also mentioned in the editorial note.) Presumably one (or both) of these editors would have written this prologue, whether with the direct input of Lorca or not. The implication is they travel in the same circles as these four or five “Federicos” and have perhaps attended lectures by the poet.
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