Rafael Alberti A member of the group of Spanish poets known as the "Generation of ," Rafael Alberti born was forced to leave his home at the conclusion of the Spanish Civil War. During his nearly 40 years in exile he established a reputation as one of the most prolific and diverse poets of his generation.
His work became overtly political and he has been called "a poet of the proletariat. Alberti was from the start more intellectual than Lorca….
While Lorca was content to live on his sensibility and to lose himself in the lives of other men, Alberti found his subjects more and more in himself, in his own struggles and contradictions and problems.
With his keen intellect he watched and analysed his emotions, tried to find what they meant, and adapted his technique to his discoveries. He lacked Lorca's instinctive joy and instinctive melancholy: The conflicting elements in his character refused to cohere into a single form….
In odes, sonnets, madrigals, terza rima and romances he tried to combine a formal elegance with a modern temper and sensibility and to impose a special kind of external order on his conflicting and often turbulent emotions.
His accomplishment is astonishing…. But such experiments were not entirely satisfactory. No doubt Alberti saw that this traditional formality was ultimately hostile to some things that he had to say, that it restricted his scope and gave the wrong intonation to his emotions.
So, always adventurous, he tried something much more modern and in poems like A Miss X and Platko used free verse and an almost jaunty manner to create a realistic, ironical, astringent poetry of actual life. Although Alberti succeeded remarkably in each kind of poetry that he attempted, and we cannot but admire his dexterity and sincerity, it is clear that his creative gifts had not reached a final means of expression and that a division of his powers between quite different kinds of poetry was really a confession of his inability to find the ultimate single form which he needed.
Into it Alberti put the whole of himself and found a medium entirely appropriate to what he had to say…. Other men have gone through crises not entirely dissimilar.
The mood which Coleridge sets out so poignantly in Dejection, the torturing doubts which Tolstoy felt after the publication of Anna Karenina, the collapse of confidence and zest of which Mill speaks in his Autobiography, are a few among many examples of the dangers which threaten a man who gives all his powers to his work only to find that he has lost something of inestimable value….
It is the agony of this loss which inspires Alberti's book. What is for him a terrible personal disaster becomes the poetry of all such disasters in whatever forms they come to others, and so nobly does he tell of it that his voice is not only that of an individual who has lost a most precious possession but of a generation which fears that it has lost its way in the world.
He recognises that his paradise, his confident youth, is lost for ever, but from the present there is after all something to be gained, in unexpected corners of experience, even in ugliness and suffering. His task is to make the most of this, and he closes, if not with any lively hope, at least with a determination to take what reality has to offer.
His first section is on the whole composed in short lines: This variation is clearly deliberate. In the first section Alberti's exhaustion and emptiness forbid extended rhythms because they would be inappropriate to his mood, but as he faces the new issues of the second and third sections, and his imagination begins to work more adventurously, the lines respond to his efforts and carry a greater weight of words.
And as the lines become longer, so do the sentences. Since he deals almost exclusively with psychological states, he uses imagery all the time. Indeed he hardly ever uses plain descriptive statement, but plunges into imagery without introduction or explanation.
In this he may be compared with Eliot, who does not explain what his images mean, but trusts that they will force themselves on us, and make us see their significance. Again, just as Eliot gives a certain order and homogeneity to his images through his use of the Grail legend and its figures but diversifies this with images from quite different and disparate sources, so Alberti gives a dominating pattern to his book by the imagery of angels but diversifies this by a great variety of images which have no essential or obvious connection with angels.
But his angels give a greater consistency and coherence to his book than Eliot's anthropological figures give to The Waste Land. For they have a more immediate appeal and gain through the simplicity of their outlines and characters.
We pick up their meaning at once, and since they are seldom far away, they give a shape and direction to the whole book. Alberti has found a mythology which is full of imaginative possibilities and calls for no erudition to understand it.
In his use of angels Alberti suggests comparisons with other poets and especially with Rilke, who in his Duino Elegies gives angels a predominant part and supplements their symbolism with symbols drawn from quite different quarters. But the difference between Rilke and Alberti lies in the significance which they give to their angels.
For Rilke the angel is the absolute of inspiration, the symbol of the uninhibited activity which he sought to secure and express. Alberti's angels are powers of the spirit in all its range, not in themselves good or bad, pleasant or unpleasant.Leon Battista Alberti was born on February 14, in Genoa, Italy, as the illegitimate son of Lorenzo Alberti, a renowned merchant, and a Bolognese widow.
Leon was acknowledged as a legitimate heir, and his father raised him and his brother in Venice. Leon Battista Alberti (Italian: "To make clear my exposition in writing this brief commentary on painting," Alberti began his treatise, Della Pittura (On Painting), "I will take first from the mathematicians those things with which my subject is concerned."Born: February 14, , Genoa, Italy.
Rafael Alberti was one of the prolific poets of Spanish literature. Browse through this biography to know in details about his life, profile and works Over the period of his entire career, Alberti did not limit himself to poetry and penned works of prose, play, autobiography and memoirs.
as his work began to be recognized amongst the. Jan 11, · Rafael Alberti Alberti, Rafael - Essay. Alberti began his career as a painter and his ancestry is in part Italian, as the family name indicates. Rafael Alberti, still writing at 71 and. While Alberti began his architectural career later in life, he made a crucial contribution to the architecture in Renaissance Italy.
He is also responsible for disseminating in writing Brunelleschi's theories on perspective, allowing artists from many areas to apply these new techniques to their own work. Renaissance biographer Giorgio Vasari relates that, early in his career, Alberti distinguished himself in a variety of fields.
He studied law and religion, and he painted; but most especially, he made a name for himself in Florence as a writer and an architect.