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00:07Federico García Lorca
00:58Ends of the Chamber
01:28Thank you!
01:57Thank you!
02:17Thank you!
02:53Thank you!
03:28Thank you!
03:35Thank you!
03:36And I don't want any crying.
03:38Death must be faced head-on.
03:43Silence.
03:44I said be quiet.
03:47We will sink into a sea of mourning.
03:50Did you hear me?
03:53Silence.
03:55Silence, I said.
03:57Silence.
04:00Silence.
04:02Silence.
04:04Silence.
04:08Silence.
04:16Silence.
04:19Silence.
04:20Silence.
04:21Silence.
04:22Silence.
04:22Silence.
04:24Silence.
04:25Silence.
04:37Thank you!
05:20Thank you!
05:55Thank you!
06:25Thank you!
06:52Thank you!
06:59Federico!
07:06Federico!
07:15Federico!
07:22Federico!
07:25In 1917, at the end of the summer, I went on a study trip with some of my classmates in the
07:31University of Granada to Castile.
07:36We were naturally accompanied by our professor of literary and artistic theory, Don Martín Domínguez Berruete,
07:44who belongs to that noble class of teachers who dedicate their whole soul to teaching.
07:50And more than in the classroom, his teaching takes place on the train, in the stagecoaches, on the way to the
07:55old cities,
07:56where he, with his students, seeks a vivid emotion of national art.
08:01That's what a great poet, whom we met in Baeza a few weeks earlier, Don Antonio Machado, had told us about him.
08:10Don Antonio...
08:15I have the pleasure of introducing you to Mr. Antonio Machado.
08:18Gómez Moya, Gómez Ortega, Luis Mariscal, Castilla Abril, Federico García Lorca...
08:27Mister.
08:29Please sit down.
08:31Federico García Lorca and Antonio Machado meet and greet each other for the first time.
08:35One was 41 years old, the other 18. Machado, since losing his wife, Leonor, four years ago, in Soria,
08:45He taught at the General and Technical Institute of Baeza.
08:48The place is the aforementioned institute. The date is June 10, 1916.
08:55I have seen the golden poplars again, the roadside poplars on the banks of the Duero, between San Polo and San
09:03Saturio, behind the old walls of Soria, Barbican towards Aragon, in Castilian Land.
09:11These poplars by the river, whose dry leaves rustle in accompaniment to the sound of the water when the wind
09:18It blows, they have engraved on their bark initials that are the names of lovers, numbers that are dates.
09:27The Spain of brass bands and tambourines, closed off and sacristy-bound, devoted to Frascuelo and Mary, with a mocking spirit and
09:37A quiet soul must have its marble and its day, its infallible tomorrow and its poet.
09:45But each one, following the course of his madness, quickened his arm, proved his strength, left like a burnished mirror
09:55his armor and said,
09:57Today is bad, but tomorrow is mine.
10:02You, younger youth, if the will from the highest peak reaches you, you will go on your awake and transparent adventure
10:10to the divine light, clear as a diamond, pure as a diamond.
10:26There was an event at the Baeza casino and Don Antonio Machado read us some excerpts from his poem, La
10:32land of Álvaro González.
10:36Please allow me to read one more poem. It's not mine; it's by a great poet who left this
10:44world a few months ago. I'm referring to Rubén Darío.
10:54In his memory, this piece of poetry that he created.
11:02Blessed is the tree, which is barely sentient, and even more so the hard stone, for it feels nothing, since there is no pain.
11:12greater than the pain of being alive, nor greater sorrow than conscious life.
11:18To be and know nothing, and to be without a certain direction, and the fear of having been, and a future terror,
11:28and the certain horror of being dead tomorrow, and suffering for life, and for the shadow, and for what
11:35that we don't know and barely suspect.
11:37And the flesh that tempts with its fresh clusters, and the tomb that awaits with its funereal bouquets, and not
11:49We don't know where we're going, or where we came from.
12:10Dance of a Brief Life, by Manuel de Falla.
13:04I learned music thanks to a very kind and shy man.
13:07Don Antonio Segura Mesa, who had dreamed in his youth of becoming a great composer.
13:13The good Don Antonio taught me piano, harmony, and introduced me to folklore science.
13:20It's curious that I, so clumsy with my hands at everything else, came to play—exquisitely would be the exact word—
13:28the piano.
13:42Doña Vicenta, I beg you to hug your son for me. It wouldn't be right for me to do it. Because
13:49She plays divinely.
13:53Thank you, Mom.
14:00Paris. Studying music in Paris. A young man who hasn't yet left his mother's skirts.
14:06Send him to Paris, just him.
14:09No, no, Don Antonio, please don't insist.
14:11It seems to me that you, Don Federico, do not realize the extraordinary musical talent of your son.
14:17He has many and varied talents, even if it's wrong of me to say so.
14:20But his mother and I want the same for him as we do for his brothers.
14:25A university degree.
14:27Something that neither Doña Vicenta nor I have been able to have.
14:35Is there no Paris?
14:37No, there is no Paris. At least not for now.
14:40Don't get discouraged. You have to keep making music.
14:43Your choices are from the music.
14:45And you will arrive, you will arrive.
14:47Just because I haven't reached the clouds doesn't mean the clouds don't exist.
15:04That same summer of 1916 my dear Don Antonio died.
15:10Yes, Don Antonio, clouds exist.
15:13And Paris too.
15:15But not for the high school student Federico García Lorca.
15:19From that moment on, the university was the only option for this disaffected musician.
15:24And who knows if literature will come into my life to fill the void left by that frustrated passion
15:29because of my father's refusal to allow me to pursue higher music studies.
15:48Fernando de los Ríos was president of the Granada Artistic Center,
15:53A concert by the young García Lorca took place in its halls.
16:27Thanks for watching the video.
16:56Don Fernando de los Ríos, president of the Granada Artistic Center,
16:59from the Spanish Comparative Political Law department at the university, greeted the pianist effusively,
17:05Thus began a close friendship that would last until the end of both their lives. Fernando de los Ríos
17:11He belonged to the liberal bourgeoisie of the city of Málaga where he was born. He entered the institution
17:18free of teaching and later in the Spanish Socialist Workers' Party. The influence of the young
17:25His teaching in Granada was extraordinary. In time, Fernando de los Ríos will be the
17:31The old university librarian was a favorite target of hatred from the right wing in Granada.
17:41My guide, an intelligent and enthusiastic guide, was a great advantage to me. We
17:48We would meet in the afternoons until after closing time and we would talk and talk.
17:56I can only read them one at a time. Start with Werther. The others will have to wait.
18:02You finish. How can you know so much? Oh, I've been doing this for 40 years, son. Chained like Prometheus in
18:13This den of knowledge. He knows, and I know, what a bad student I am. And that if I have
18:20registered
18:20I studied Law and Philosophy and Literature only to please my father. My brother
18:26Francisco is indeed a good student. And I am a young teenage poet.
18:41May I read you some poems? I often read you some of the poems that I constantly
18:47I'm doing this. And he listens to me very attentively and sometimes gets emotional. And he encourages me.
18:54Keep writing. I will. You have to keep writing. They're very good. Thank you.
19:05The librarian is concerned about the cramped atmosphere in Granada. Yes, he has
19:10That's right. But there are other young people like me who dream big. And I'm starting
19:15to tell you about my friends from the little corner of the Alameda café. In the mornings and
19:26Until the early afternoon, the customers of the Alameda café are the bullies.
19:31From the slaughterhouses, the fish market, and the central market. Real men. At dusk
19:41They go there, flamenco aficionados, guitarists and singers from the café cantante
19:46La Montillana, located nearby. The audience from the neighboring theater also attends.
19:52Cervantes, where the companies of the género chico perform in the early hours of the night
19:56Moral zarzuelas for families. And in the last few hours, pornographic pieces.
20:04for prudent gentlemen who, from time to time, indulge in the luxury of having a little fun
20:08in the air. And always, at all hours, a piano and string quintet, playing
20:15Classical music until midnight.
20:20At the back of the café, behind the quintet's stage, they set up their nightly headquarters.
20:26a group of young intellectuals from Granada. This discussion group was known as
20:32From El Rinconcillo. These are my friends. Thanks to them I was able to write one of the poems.
20:40I have in my hands today, in 1917, the following date. First year that I set out towards good
20:49of literature.
21:19The great mayor of Granada, Constantino Ruiz Carnero, would go on to become the newspaper's director.
21:26The Defender of Granada. He is my friend and wherever he is, he will always support me.
21:32Juan de Dios Egea. Antoñito Gallego Burín. Melchor Fernández Almagro. He is the first of us
21:39He's going to Madrid to be our consul general there. I call him Melchorete.
21:46Paquito Soriano, The Dam. Exotic and admirable spirit. The Little Corner. We attacked.
21:55with a desire for renewal against everything we considered false, outdated, sentimental and obsolete in art.
22:01That's why we had invented an imaginary poet, Isidoro Capdepón Fernández, whose verses
22:07The things we all created together represented the poetry we despised.
22:42They must be the killers. Whose killers? Two Civil Guards were killed in the mountains a few days ago.
22:49Already.
22:56You've turned very pale. Are you feeling unwell?
22:59No, it's nothing. It'll pass.
23:19Through a white gallery, followed by nuns, a very well-dressed gentleman advances, looking at
23:27right and left with indifference. The children discover themselves to be respectful and full of
23:35Fear. It's the visitor.
23:40A bell rings. The door bursts open, full of rage. As it closes,
23:49It sounds slow, like crying. It doesn't stop raining.
23:58That's my son. That's what he writes. He's determined to publish it. And I, before financing the publication,
24:07I want to know your opinion.
24:11Go ahead, Mr. Segovia.
24:18In my opinion, he has talent. Great talent as a writer. And a splendid literary future.
24:25Federico's father accepted his advisors' decision. The teacher Andrés Segovia,
24:32Miguel Cerón y Seco de Lucena, then director of the newspaper El Defensor de Granada.
24:39He would gladly publish his son's first book. It was the last days of 1917.
24:452017. That's my first book. It just went on sale today. It's a paid edition.
24:54my father.
24:55"I've got a poet for a son," he must have sighed. "When what he really wants is for me to finish a degree."
25:00Any race, but a race. Well, there it is. Impressions and landscapes. One more flower in the poor garden
25:09of provincial literature. A few days in shop windows and then into the sea of indifference.
25:17My friends at the local newspapers have written very nice things about me and complimentary things about my book.
25:24I've also received some letters. One very funny one from my Uncle Enrique in which he introduces me
25:28to a poet from Huelva named Adriano del Valle, who in turn writes to me and compares me
25:33nothing less
25:34than with Rubén Darío. No, I am a poor, passionate, and silent boy who is almost like him.
25:44Marvelous Berlin holds within it a lily impossible to water. And I present to the foolish eyes
25:50of those who look at me a very crimson rose with the sexual nuance of the April peony that is not
25:57the truth of my heart. My style and my verses give the impression of something very formidably passionate.
26:04And yet, deep in my soul there is a desire to be very young, very poor, very
26:12hidden.
26:23When I was a child I lived in a very quiet and fragrant little village in the Vega of Granada.
26:28In that town I was born and my heart awoke. In that town I had my first dream of distant lands.
26:37In that town I will be earth and flowers.
26:41That town is called Fuente Vaqueros and it is in the Vega of Granada.
26:46Federico García Lorca was born there on June 5, 1898, in the middle of the Cuban War.
26:55This place belonged to a spacious estate called the Soto de Roma.
27:00It was located on both sides of the Genil River and as the years went by the Cortes of Cádiz
27:07It was donated in perpetuity to the first Duke of Wellington, victor over Napoleon's troops in Salamanca.
27:17Federico García Rodríguez, father of our poet, had married a rich woman.
27:23They had no children and the woman died after 14 years of marriage.
27:28passing the house and a considerable sum of money to increase the widower's fortune
27:33who at that time was serving as a municipal judge.
27:36Three years later he married the village teacher, Vicenta Lorca Romero, a native of Granada.
27:43My childhood is an obsession with a set of silver cutlery.
27:46and some portraits of that other woman who could have been my mother, Matilde de Palacios.
27:54Now the three of us are going to sing, okay? Let's see.
28:01The palm tree, which gently sways in the forest and lulled you to sleep.
28:11A kiss from the breeze as evening fell woke you up.
28:25My childhood was learning letters and music with my mother, being a rich kid in the village, a bossy one.
28:33A kiss from the breeze as evening fell woke you up.
28:38The sugarcane is sweet, but your voice is sweeter still.
28:46that bitterness removes from the heart.
29:19A kiss from the breeze as evening fell woke you up.
29:21One day, during a festival in the village, Federico suddenly found himself facing something new and unknown to him.
29:28Something wonderful.
29:30A puppet theater.
29:32Let me hug you and give it to him.
29:36Squeezing you, because I'm feeling resentful.
29:40Juan, Juan, let's go.
29:41No, no, I'm not leaving.
29:42Leave it, ma'am.
29:43I'm staying with myself.
29:44Dolores, please.
29:45Yes, a little bit of Latin.
29:46I'll take it later.
29:47Leave it with me.
29:48Okay, just for a little while, huh?
29:49I described it.
29:50I felt a pang of resentment at coming here.
29:52Dolores, let's go.
29:53Let's see that beautiful little face.
29:55Angelina, come here.
29:57Mario, do one thing.
29:58I will do two thousand crazy things.
30:00Hurry.
30:01Well, tonight, my friend, is the perfect night.
30:04So my husband's nag, which is indeed a goblin, is persuaded.
30:08And to assure you that this happens, I want you to stay home tonight, hidden, in this text.
30:15That's sorry, friend.
30:17I protest.
30:19Me, crouching, here's my hand.
30:23No one could drag him away from there.
30:25And they stayed there until well into the night.
30:28Until the party ended and the puppets fell silent.
30:33Can I come tomorrow?
30:34Clear.
30:38Those puppets rekindled Federico's innate taste for disguises.
30:42For performing roles he invented himself and in which he involved his friends and maids
30:49of the house.
30:56And once, Doña Vicenta brought a real puppet theater from Granada as a gift for Federico.
31:05A theater for Federico's dreams.
31:08My classroom was presided over by a plaster Christ on two purple sheets and several posters with the litanies that were...
31:14They say this when entering and leaving the school.
31:16The school was a large hall with windows at the front and many benches.
31:20Hanging on the walls were writings with moral and religious maxims.
31:26At the back was the platform with the table where the teacher sat with his embroidered hat and his paddle.
31:34One of my teachers was called Uncle Camuñas by the children.
31:38Tall, hunched over, and had such a thick beard that it made our souls hang in the air when he looked at us straight on.
31:45He was gruff by nature and liked to hit people on the hands with his paddle.
31:50Okay, put your hand out.
31:53My seat was on the second bench, in front of Pepe and Carlos.
31:57Two very poor but very clean boys.
32:00I would bring them sweets and candies, and they would bring me unripe fruit that I wasn't allowed to eat at home.
32:05Thomas.
32:08Give them to me, don't keep them all.
32:10And velvet moles that hunted in the poplar groves.
32:17Sometimes we could hear voices from the girls' school next door
32:20And our whole class was filled with whispers and poorly suppressed giggles.
32:28Look, if they put all the girls naked and all the boys naked, would you like it, Kiko?
32:33Yes, I would like that very much.
32:34No, no, no, no, no, no, no, no, no, no!
33:06In the summer of 1909, my family settled in Granada.
33:13Our house has several floors, a patio, and a garden.
33:17At the back of which there is a small stable and corral.
33:21A shady garden with a finely paved area where there is a small fountain.
33:27There, in our house in Granada, I continued country life.
33:31Relatives and friends from Fuentevaqueros came to stay with us.
33:36And above all, there was never a shortage of maids from the valley.
33:41Here are Anilla la Juanera and Dolores la Colorina.
33:45Especially my Dolores, the holy teacher, because she is so wonderful.
33:51The maids bring the rich children romances, songs, and stories.
33:57The rich boy has the poor woman's lullaby, who gives him at the same time,
34:01in its candid wild milk, the marrow of the country.
34:10My aunt Isabel started giving me guitar lessons.
34:13Mom isn't here.
34:14She became ill after giving birth to my little sister Isabel
34:17and she is being cared for in a clinic in Malaga.
34:20So here we are, Paquito, Concha and I,
34:22under the care of Aunt Isabel and Dolores la Colorina,
34:26who is the one who takes the lead.
34:28Come on, let's have a snack.
34:30Get up, come on.
34:30Great, Dolores.
34:31Would you like a snack?
34:32Also, look how handsome I am.
34:33I want to cry because I feel like it.
34:35how the children in the back row are crying.
34:38Yes, I was always the kid in the back row.
34:41My mother keeps telling me, Federico, study.
34:44And it seems that all I do is draw.
34:46and fill my notebooks with figures and cartoons.
34:49I think the director said I'm a good colleague.
34:51easygoing and sweet-natured, almost like a child.
34:56Because I am not a man, nor a poet, nor a leaf.
35:00But there is a wounded pulse that hovers around things on the other side.
35:10Happens.
35:13Mr. Federico.
35:16Here's this young man, who wants to have one of those chats.
35:18to get their names in the papers.
35:20Just a couple of questions.
35:21I work in the news department.
35:22Work. Thank you very much.
35:24You are welcome.
35:24I don't know you.
35:26I'm a newcomer, so to speak.
35:30Do you want to talk here or would you prefer we go to the patio?
35:33I don't care.
35:34It's fine right here, but with a little more light.
35:38Clear.
35:39It seems we're playing in the dark.
35:41Wait.
35:44Sit down.
35:49Please.
36:00Well, what do you want from me?
36:04I read your book and I'd like to chat about it, just talk without any specific goal.
36:08About what?
36:08About you.
36:10About his training.
36:12Look, I'll talk to you about whatever you want, on the condition that you stop using the formal "usted" with me.
36:16Whatever you say.
36:18Excuse me.
36:23There's too much light, isn't there?
36:27One moment.
36:34I know you were born in the valley.
36:36Yeah?
36:38That's better.
36:41You see, I would like you to talk to me.
36:42Wow, it's so dark here.
36:47Tell me about the people you've met, the influences, the readings, everything.
36:52to those who have made you who you are.
36:55You must feel very comfortable here and want to spend the afternoon here.
37:00Because that question is very big and has a very long answer.
37:04Thank you.
37:06Thank you.
37:12She is one of those people.
37:15Her name is Dolores, but everyone calls her La Colorina.
37:24She came to breastfeed my brother Paco and stayed.
37:28He talks a lot, laughs a lot, and tells stories nonstop, as if he'd had thirty lives.
37:35She is illiterate, because no one has been able to teach her to read.
37:38My mother tried it, without success.
37:41But he knows more than all of us.
37:51Regarding sex, he has a natural morality, without hypocrisy or severity.
37:59She has taught me how to live.
38:04She, as well as Victor Hugo, Galdós, Juan Ramón Jiménez, Berlén, Machado and, above all, Rubén Darío.
38:19Rubén, Rubén.
38:25Stop writing everything down.
38:27Let's talk and then you write down what you remember.
38:30OK?
38:36There is a book by Rubén Darío titled The Strange Ones.
38:40Do you know him?
38:41No.
38:42Well, you should.
38:43It's much more important than getting to know me.
38:46In it he talks about many people he admired.
38:50Their idols and mine too.
38:52I'll read it.
38:55I would spend hours and hours like that, telling you things.
38:59Please continue.
39:01No.
39:02We've been here a long time.
39:04I suggest we go up to the rooftop.
39:06My brother is there, taking care of the pigeons.
39:08Or we could go to the cafe and spend some time with my friends from the corner.
39:13Ah, Paquito Soriano is another one of those people you were asking me about.
39:17He has a formidable library and readily lends books to all of us.
39:21Couldn't we stay here a little longer?
39:24I never get tired of listening to you.
39:34Shall I play the piano a little?
39:35It's good for me to practice.
39:37And we don't bother anyone.
40:02I never get tired of listening to you.
40:06I never get tired of listening to you.
40:23Maria Luisa.
40:26I am very much in love with María Luisa Egea.
40:30His brother, Juan de Dios, frequents the little corner and our families are friends.
40:37But I am very much in love with her.
40:40Although I know I'll never tell him.
40:43She is a cold woman.
40:45Well, it seems that way to me.
40:48And I also think he's playing with me.
40:51Sometimes we write to each other, but I don't want to upset her with my letters.
40:55And I'm sure I could do it.
40:58So that?
41:19Very good.
41:20Thank you.
41:24Bravo, María Luisa.
41:25Maria Luisa is making me lose my sense of humor.
41:28And that's bad.
41:30You have to always be ready to laugh at everything imaginable.
41:34Even from Maria Luisa.
41:45Did you want something from me?
41:51Because you said so?
41:52Because for the past few days, every time I look back, I see you.
41:56Yes, that's true.
41:59I was looking for an opportunity to tell you that I would really like to accompany you.
42:03But until now I haven't dared.
42:06Aren't you friends with my brother?
42:07Yeah.
42:08You could have told him.
42:10He always gives me your messages.
42:14Do you want to come with me?
42:16Let's go.
42:23I'd like to explain how I feel, but I won't know how.
42:28Try it.
42:29You'll see.
42:31Walking by your side gives me a feeling, I don't know, new.
42:36A feeling I didn't know.
42:38A kind of euphoria.
42:41Don't scream, okay?
42:43I'm really looking forward to it.
42:45Don't you believe me?
42:48Try to explain it to me.
42:50It's very difficult.
42:53You need to give me some time.
42:55How much?
42:56Ten or fifteen years.
43:03No, seriously.
43:05I'll try to make you understand.
43:07You'll see.
43:08You think?
43:20Federico, what are you doing?
43:23I'm writing, Mom.
43:25It's about to dawn.
43:28I didn't realize it.
43:37But you, enchanted cicada, spilling sound you die, and you remain transfigured in sound and celestial light.
43:45Let my heart be a cicada over the divine fields, let it die singing slowly through the wounded blue sky.
43:52And when he is about to expire, a woman who I know will spill him with her hands on the dust.
43:58And may my blood upon the field be pink and sweet silt, where the weary peasants drive their hoes.
44:08Cicada, fortunate are you, for you are wounded by the invisible swords of the blue.
44:14For Maria Luisa.
44:16Here they have joined hands, especially the Alhambra of trills, as if they were melancholic Germanic and boisterous Latin brothers.
44:21The latest from Capdephone.
44:22Everything is written in perfect rhymes.
44:24Bye bye.
44:24Good night.
44:25Bye bye.
44:26See you tomorrow.
44:27See you tomorrow.
44:28Good night.
44:28Good night.
44:35Federico, I haven't had a chance to talk to you until now.
44:38And what do you want to tell me?
44:40This is my sister.
44:42I haven't seen her for days.
44:44I'm looking for her everywhere.
44:45That's what I wanted to tell you.
44:47Maria Luisa has left.
44:50Where to?
44:52He's going to be away from Granada for a long time.
44:55Because?
44:56I don't know why.
44:59Because that's just how she is, I guess.
45:05I think it's better for you.
45:08Without having her nearby, you'll be able to forget her sooner.
45:16María Luisa Egea was the daughter of a wealthy industrialist originally from the town of Alomartes.
45:23She was Federico's great passion in his adolescence.
45:25But he ignored her and disappeared from Granada.
45:30That passion, when frustrated, became one of the main themes of Lorca's early poems.
45:43What do I allow or not, and why?
45:50The Virgin has turned me into a novel for older children and you have discovered.
45:52The Virgin Mary has turned me into a little brown mouse.
45:52Owneration Eniskinka.
46:23Thanks for watching the video.
46:39The latest offensive by the Imperial German Army in the northwest sector has failed
46:44fully achieving their goals.
46:47The German onslaught has been, as always, brutal, and the number of casualties is estimated to be very high.
46:53The French army, the brave Foali, have once again demonstrated their courage and patriotism.
46:59When the homeland demands the ultimate sacrifice, no one can take a step back.
47:05Patriotism always...
47:06Patriotism!
47:07Since childhood we have always understood patriotism as a feeling that has as its spirit
47:12to a piece of cloth with the national colors.
47:15His voice was like a discordant trumpet.
47:19And finally, to defend the graves, the homes of our families.
47:23To all those German, French, and English lads who are now being gutted in the trenches,
47:29They were probably first forced to kiss a cross, an infamous cross,
47:33formed by the flag and a sword.
47:36The cross of darkness and strength.
47:44Today we have no religion, because there is no love.
47:48Love with a capital L.
47:51War is preached in the name of the god of battles.
47:54And we are taught to hate in a refined way those who do not share our same ideas.
47:59And what solution do you see?
48:02Solution.
48:06To educate peace-loving citizens in schools
48:09and that they may know the Gospel.
48:12The only true homeland is the homeland of love and equality.
48:28He seems very uneasy.
48:31Always locked in his room writing verses and things.
48:36And he doesn't study, does he?
48:41Yeah.
48:42Very uneasy.
48:44Because?
48:46What's missing?
48:47Don't know.
48:50It's a difficult age for them.
48:54He's probably asking himself questions.
48:56You shouldn't know the answer.
48:59Things?
48:59What things?
49:01Don't know.
49:04Life, death, love.
49:08Things.
49:10Women.
49:12That?
49:14Nothing.
49:17I had promised to stop by the sugar store.
49:33Do you really want us to continue?
49:35Yeah.
49:36Go on.
49:39Don't you think that Christ, a religious tragedy, is too bombastic?
49:43No.
49:45In the end.
49:50Scene fourteen.
49:52In this scene, I recount how Esther passionately loves Jesus and how Jesus confesses to his mother his...
49:59Well.
50:00Well, you'll see it when you read it.
50:02List?
50:02Yeah.
50:05As Jesus was leaving his house, Esther shook my hand firmly and, looking at me with infinite longing, left
50:12Two tears fell and slid down to her lips.
50:16Jesus, Mary, what did you think?
50:20Jesus, at that moment I thought of being her husband. Of loving her as she loved me. It wasn't right that a heart
50:29suffered even though I had in my hands the ointment that would heal him.
50:36Mary, my poor son.
50:39Jesus, I was coming along the road and in the silence of the night I wanted to love her and I loved her with all my heart
50:47my strength.
50:49Esther, I love you. Please be my wife.
50:55Mother, I imagined for myself a peaceful and sweet life, my garden full of lilies, my field of wheat and
51:02my children's laughter.
51:04I wanted to give thanks to the Lord, and as I looked up at the sky, all the stars that I could see and those that I could not see.
51:12They are invisible, they fell upon me and pierced my soul and flesh with their daggers of light,
51:17And they set my heart, which was made of fire, ablaze with madness, leaving my flesh cold and hard as snow.
51:25of the summits.
51:28Who could give you the tranquility of sleeping lakes?
51:36Do you like it?
51:39Do you understand?
51:44Yes, Federico, I understand, I understand.
52:18Yes, Federico, I understand.
52:21Yeah.
52:25Amen.
52:56Amen.
53:22Amen.