themselves and are subsequently merely ÂsombrasÊ. Machado also observed that Âel pelotón de verdugos no osó mirarle a la cara.Ê The negation of the word ÂosóÊ further highlights the cowardice of the executioners, to the point that the balance of power is inverted, a point made more striking by the crewÊs increased number. Furthermore, Neruda preaches that Âde cada niño muerto sale un fusil con ojosÊ, demonstrating the NationalistsÊ need to hide behind weapons; wreaking mindless, unnecessary brutality throughout Spain, including to the most vulnerable in society. This cowardice was further shown in FrancoÊs decision to blanket ban LorcaÊs literature following his death, demonstrating the wider reluctance of the Nationalists to engage with SpainÊs left-wing, intellectual community; preferring to ruthlessly eliminate those who were seen as a threat. In addition, LorcaÊs death acts as a volta, providing a clear contrast between life before and after the start of the Spanish Civil War. One way this is explored is through natural, energetic imagery, crafted to respect Lorca, who was Âumbilically attached to his native landÊ, while similarly marking the horror of LorcaÊs death and the wider bloodshed from the war. In ÂExplico Algunas CosasÊ, Neruda creates a backdrop of Âel rostro seco de Castilla como un océano de cuero.Ê His sparse image pays homage to the arid terrain of LorcaÊs Andalucian upbringing, while appreciating the simple beauty of unspoilt nature. Cernuda also refers to Lorca as Âverdor en nuestra tierra árida y azul en nuestro oscuro aireÊ, demonstrating the verve and fervour that emanated around Lorca and his ability to give colour to his native landscape through his writings. Neruda also fondly reminisces about life in Madrid before the Civil War, where Âpor todas partes estallaban geraniosÊ in his house. The stress in ÂestallabanÊ offers an explosive sound, which when combined with the totality of Âpor todas partesÊ, creates an overwhelming, dynamic image of blooming life. This could be a reflection of the young lives of Neruda and Lorca, who was called Âuna energía en continua rapidezÊ at a conference in Paris, by Neruda, in 1937, in a decadent Madrid before the Civil War. This is further shown when he speaks of Âpan palpitanteÊ, demonstrating that there is such happiness and activity that even everyday objects become lively and energetic. The elegiac qualities of the natural world are also shown when LorcaÊs death is marked through mournful imagery. ˘lvarez compounds this with an exploration of LorcaÊs symbiotic relationship with the earth when he observes Âla tierra tembló a través de tus manos de agonía al sentir la llegada de tu espíritu.Ê This powerful image suggests the earth has such a powerful connection with Lorca that it physically expresses its grief at LorcaÊs suffering through his dead body. Machado writes of Âuna fuente donde llore el aguaÊ, and creates an image, which is visually reminiscent of crying, yet demonstrating that the worldÊs grief is so profound even water needs to grieve and cry, and so accentuates the connection between Lorca and the natural world around him. This is a thought echoed in Miguel HernándezÊs ÂElegia PrimeraÊ, so named to mark the widespread suffering and death of the Spanish Civil War, we are told that Âla creación se siente herida y moribunda en las entrañasÊ. The biblical reference of Âla creaciónÊ suggests LorcaÊs murder was Âun-ChristianÊ, an accusation levelled at the Republican government by Nationalists before the start of the Civil War, while the personification of creation creates a sense of natural solidarity against his suffering. While LorcaÊs death impacted Spanish poetry, in that he became an anti-Nationalist figurehead, his murder also profoundly affected the poets personally, who were beset with grief following the death of a close friend and intellectual contemporary. In ÂElegia PrimeraÊ, Hernández finishes his poem with the observation that Âsoy de los que gozan una muerte diariaÊ as a result of LorcaÊs death. This poignant statement demonstrates that death is almost preferable the grief Hernández feels, but could also be referring to his own imprisonment by the Franco regime. Hernández was sentenced to 30 years in prison for his left-wing convictions, and was possibly spared death to prevent a reaction similar to the shock at LorcaÊs execution. In ÂEl Crimen fue en GranadaÊ, Machado uses epiphoric repetition of ÂGranadaÊ at the end of every stanza to show his sorrow at
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