In 1863 Ferran published their translations and imitations of the German poet Enrique Heine, a set of poems that have a significant contribution in the maturation of the change that It was then taking place in Spanish poetry. In the same year he published the legend the dagger. Ferran collaborates assiduously in the weekly people, the magazine more heiniana of the time. The second book of chansons laziness appears in 1871. Also publishes a text in prose poetry entitled a German inspiration. Shortly thereafter, part for Chile, there are House and lived until 1877. He expected his wife to come to Spain, but very little after his arrival, in 1878, he had to be admitted to a sanitarium for the mentally ill, who died, two years later, on April 2, 1880.
And to think that this poet, Ferran, the deepest, the purest, finest, next to Becquer, of the Spanish romantics, has been carefully forgotten of our literary historians in general! The Andalusian singing of solitude in Ferran and Becquer – has accents of intimate remoteness also said another romantic-. The mystique of these poets have so vaguely Germanic resonances as intimately Andalusian. The best of romantic poetry is rushing and purges in their voices. Someday the scholars of Spanish literature followers of the evolution of their poetic, lyrical, dramatic and intermingles shapes untaran their names forever. The voice of Ferran not only has the rhythm of the Andalusian singing of solitude or solea, but it also has duende.Companion of my soul / you do not turn on my side / because if you only leave me / la soledad hurt me. Francisco Arias Solis future WINS, gaining freedom. For peace and freedom and Forum free Internet portal. URL: Original author and source of the article.