Page "Federico García Lorca" Paragraph 8

From 1925 to 1928 he was passionately involved with Dalí.

The friendship with Lorca had a strong element of mutual passion, but Dalí ( decades later ) rejected the erotic advances of the poet.

With the success of " Gypsy Ballads ", came an estrangement from Dali and the breakdown of a love affair with sculptor Emilio Soriano Aladrén.

These brought on an increasing depression, a situation exacerbated by his anguish over his homosexuality.

He felt he was trapped between the persona of the successful author, which he was forced to maintain in public, and the tortured, authentic self, which he could only acknowledge in private.

He also had the sense that he was being pigeon-holed as a " gypsy poet ".

He wrote: " The gypsies are a theme.

And nothing more.

I could just as well be a poet of sewing needles or hydraulic landscapes.

Besides, this gypsyism gives me the appearance of an uncultured, ignorant and primitive poet that you know very well I ’ m not.

I don't want to be typecast ".

Growing estrangement between García Lorca and his closest friends reached its climax when surrealists Dalí and Luis Buñuel collaborated on their 1929 film Un Chien Andalou ( An Andalusian Dog ).

García Lorca interpreted it, perhaps erroneously, as a vicious attack upon himself.

At this time Dalí also met his future wife Gala.

Aware of these problems ( though not perhaps of their causes ), García Lorca's family arranged for him to take a lengthy visit to the United States in 1929 – 30.