Enrique Diez Canedo

Enrique Díez-Canedo Reixa (Badajoz, January 7, 1879-Mexico City, June 6, 1944) was a Spanish postmodernist poet, translator, and literary critic. He was a Spanish ambassador. in Uruguay and Argentina.

Biography

Son of Enrique Díez-Canedo y Lletget, a customs official, and Joaquina Reixa, from the town of Alburquerque in Extremadura. He was the eldest of his five children.During his first years of life the family, which had a notable library, moved successively from Badajoz to Vigo and Port Bou. He completed secondary studies in Valencia and Barcelona. After the death of his father in Portbou, the family moved to Madrid. There he finished high school at the "Instituto Cardenal Cisneros". He studied Law at the Central University of Madrid. His mother died in 1899. In the capital, he taught Art History at the School of Arts and Crafts, and French Language and Literature at the Central School of Languages, which he came to direct. He sympathized with Krausist institutionalism and was a regular at the Ateneo, where he organized numerous events (tributes to Rubén Darío, Benito Pérez Galdós, Mariano de Cavia; presentations such as José María Gabriel y Galán). He frequented the gathering at the Café Regina, where he became friends with Manuel Azaña. He began his poetic career by publishing his first poems in Versos de las horas, 1906. He also began to collaborate in the press through El Liberal, where he had published a poem in 1903 recently awarded by the newspaper.

He was followed by others in the magazine Renacimiento, and soon after his journalistic activities were not limited to those already mentioned, but were extended to those of literary and artistic critic. Thus, he collaborates as a poetry critic in the magazine La Lectura and as an art critic in the Diario Universal and in the Faro, a publication that disseminated the thought of young people like José Ortega y Gasset, Adolfo Posada, Gabriel Maura and Pedro de Répide. He also worked for the Revista Latina and the Revista Crítica , directed respectively by Francisco Villaespesa and Carmen de Burgos. As a theater critic he began with a series of articles in El Globo , 1908. He was in Paris between 1909 and 1911 as secretary to the Ecuadorian ambassador. This did not interrupt his journalistic work, as he also wrote for España, El Sol, La Voz, La Pluma and Western Magazine. He also wrote for La Nación of Buenos Aires. In 1921 he collaborated with Juan Ramón Jiménez in the making of the magazine Índice , out of friendship.The mutual esteem was constant as the publication of his correspondence between 1907 and 1944 shows.

Díez-Canedo also had a hand in some publications to introduce new writers and, for example, published the first verses of León Felipe in the magazine España, and also helped Juan Ramón Jiménez to some of his collaborations appeared in El Sol. Thanks to his intercession, a poem by Gerardo Diego was able to appear in Spain . He also helped with reviews and critical articles on the works that they were publishing. Among many other examples, one can cite the case of Versos humanos , by Gerardo Diego, of which he made a fine review in La Nación of Buenos Aires.

Cover The good song Verlaine, 1924.

As a translator, he did versions mainly for French, Portuguese and English, but also for Catalan, Italian and German. Versions by Paul Verlaine, Baudelaire, Francis Jammes, Michel de Montaigne, La Fontaine, Gomes Leal, Antero de Quental, John Webster, H. G. Wells, Gabriel D'Annunzio, Heinrich Heine, Eugenio d'Ors and Walt Whitman.

Diez-Canedo with Lorca, Montevideo January 30, 1934.

Diplomat of the Spanish Republic, he was minister plenipotentiary in Uruguay, a position he held from February 1933 to June 1934. In Montevideo he welcomed Federico García Lorca in October when he toured the United States with Bodas de sangre with the company of Lola Membrives. The success of Lorca's lectures and his theater were resounding. Journalists highlight the friendship between the two writers.

The Literary Conversations of Enrique Díez-Canedo clearly indicate that he was an attentive observer of the evolution of prose in Spain, and reading them we find, for example, that during the years of fullness of Valle Inclán and Juan Ramón Jiménez emerged in Spanish literature - probably largely as a reflection of the French decadentists - a generation of novelists called "de los eróticos" or "of the gallants". This is a generation of novelists in which Eduardo Zamacois is usually placed at the head of all of them, as a precursor, and Felipe Trigo as the most authoritative voice.

In 1935 he was elected a full member of the Royal Spanish Academy (then the Spanish Academy), which he entered with a speech on the "Unity and diversity of Hispanic Letters", read on December 1, which was answered by Tomás Navarro Tomás.

He arrived in Buenos Aires as ambassador on June 23, 1936. Committed to the Republican cause, he resigned in February 1937 and, in the middle of the Civil War, returned to his country. He collaborated in Hora de España and participated in the Second International Congress of Writers for the Defense of Culture; Likewise, he directed the magazine Madrid in Valencia. In 1938 he organized in Barcelona & # 34; Las guerillas del teatro & # 34;.

In 1938 he went into exile with his family in Mexico, where he collaborated with La Casa de España (today El Colegio de México) and the National Autonomous University of Mexico (UNAM) and other instances of the country's intelligentsia. He moved to Cuernavaca on medical advice, due to heart disease. He returned to Mexico City where he died suddenly on June 6, 1944. That same day, the Colegio de México finished publishing his essay Juan Ramón Jiménez en su obra. His son, the editor Joaquín Díez-Canedo, collected most of his work as a critic and published it between 1964 and 1968 under the Joaquín Mortiz label.

Work

• Verses of the hours, Madrid, Imprenta Ibérica, 1906. Poems.
• The visit of the sun, Madrid, Imprenta Gutemberg-Castro, 1907. Poems.
• The shadow of the dreamParis, Garnier Brothers, 1910. Poems.
• Picture room, San José de Costa Rica, García Monge and Cía., 1920. Prosa.
• Literary conversations, Madrid, Editorial América, 1921. Literary criticism.
• Some verses, Madrid, La Lectura, 1924. Poems.
• American Epigrams, Madrid, Espasa-Calpe, 1928 (enlarged edition in Mexico, Joaquín Mortiz, 1945). Poems.
• The gods in the Prado. Study on the subject of mythology at the Museum of Madrid. Literary disputes, Madrid, C.I.A.P., 1931. Essay on art and literature.
• The theatre and its enemiesMexico, La Casa de España in Mexico, 1939. Essay. (Republished with study and notes by G. TORRES NEBRERA, Mérida, Regional Editor of Extremadura, 2008.)
• The banished. PoemsMexico, Miguel N. Lira, 1940.
• Poetry anthologySalamanca, Eds. Almar, 1979.
• Poetry anthologyBadajoz, Extremadura Media Corporation, 2003.
• Poetry, Granada, La Veleta, 2001. Edition of the complete original poetry.
• Juan Ramón Jiménez in his work, Mexico, The College of Mexico-Fondo de Cultura Económica, 1944. Essay. (Republished with correspondence between the two writers in charge of A. DÍEZ-CANEDO FLORES, Juan Ramón Jiménez in his work. Correspondence Juan Ramón Jiménez/Enrique Díez-Canedo (1907-1944)Mexico, El Colegio de México, 2007.)
• Literary conversationsMexico, Joaquín Mortiz, 1964 and 1965.
• Contemporary Spanish Poetry StudiesMexico, Joaquín Mortiz, 1965. Essay.
• Theatrical criticism articles. The Spanish Theatre from 1914 to 1936. Mexico, Joaquín Mortiz, 1968, 4 vols.
• From exile. Critical articles and reviews (1939-1944). Edit, study, introduction, selection and notes by M. JIMÉNEZ LEÓN. Seville, Renaissance, Library of Exile Collection, 2010, 574 pp.

Translations

Cover The fables of La Fontaine 1918.

• From the outside fence. Poetic versions, Madrid, Pérez Villavicencio, 1907. Translation anthology.
• Images. Poetic versionsParis, S.E.L.A. Paul Ollendorff Library, 1910. Translation anthology.
• Modern French poetry. Anthology ordered and scored by Enrique Díez-Canedo and Fernando Fortún, Madrid, Renaissance, 1913. Anthology of translations that was conducted in France. (Republished with prologue by J.L. MARTÍN GARCÍA, Gijón, Llibros del Pexe, 1994.)
• LA FONTAINE, Jean, The fables of La Fontaine, Madrid, Ed. Calleja, 1918. (Facsimile edition and new edition with preliminary study by J-M. PRADO and illustrations by P. MELARA, Badajoz, Dep. Publications Provincial Council, 2012.)
• WELL, Tragedies, Valencia, Prometheus, s.f. (Indirect version of the French translation of Leconte de Lisle.)
• BAUDELAIRE, Carlos, Poems in prose, Madrid, Calpe, 1920. (Reissued in the popular Austral Collection, n.o 885, in 1948 together with Art critic de Baudelaire, trad. de M. GRANELL.)
• GIDE, André, The narrow door, Madrid, Ed. Calleja, 1922.
• VERLAINE, Paul, Cordura, Madrid, Ed. Latin World, 1922, Complete works vol. VII.
• VERLAINE, Paul, The good song, Madrid, Ed. Latin World, 1924, Complete works vol. X.
• WELLS, H. G., Scheme of history: simple history of life and humanity. Volume I. Madrid, Athena Publications, 1925 (Imp. Clás. Esp.).
• Small anthology of Portuguese poets, Paris, Excelsior, s.f. Translation anthology. (Facsimil Edition with preliminary study by A. SÁEZ DELGADO, Mérida, Regional Editor of Extremadura, 2010.)
• ISTRATI, Panait, Mijail: mocedades by Adrian ZograffiMadrid, Zénit, 1930. (PUYOL cover)
• CROCE, Benedetto, History as a feat of freedomMexico, Fund for Economic Culture, 1942. (Reissued in the " 70th anniversary commemorative edition", 2005.)
• Poe, Edgar Allan, The Barrel of Ammontillado1927
• Poe, Edgar Allan, The Man of Multitud, 1928
• MERIMÉE, Prosper, Carmen. Matthew Falcone. The souls of PurgatoryMexico, Leyenda, 1943. (With illustrations of C. RUANO LLOPIS and A. TAPIA.)

Articles

• H.-R. Leonermand and dramatic landscape (West Review, 1927)