Day Thirty Four
Psalm 85
Let me hear what God the Lord will speak, for he will speak peace to his people,
to his faithful, to those who turn to him in their hearts.
9 Surely his salvation is at hand for those who fear him,
that his glory may dwell in our land.
10 Steadfast love and faithfulness will meet;
righteousness and peace will kiss each other.
11 Faithfulness will spring up from the ground,
and righteousness will look down from the sky.
12 The Lord will give what is good,
and our land will yield its increase.
13 Righteousness will go before him,
and will make a path for his steps.
Lorca talks about what "springs up from the ground": or from the Spanish earth at least!
In all Andalusia, from the rock of Jaen to the shell of Cádiz, people constantly speak of the duende and find it in everything that springs out of energetic instinct. That marvelous singer, "El Librijano," originator of the Debla, observed, "Whenever I am singing with duende, no one can come up to me"; and one day the old gypsy dancer, "La Malena," exclaimed while listening to Brailowski play a fragment of Bach: "Olé! That has duende!"— and remained bored by Gluck and Brahms and Darius Milhaud. And Manuel Torres, to my mind a man of exemplary blood culture, once uttered this splendid phrase while listening to Falla himself play his "Nocturno del Generalife": "Whatever has black sounds has duende." There is no greater truth.— Lorca Duende.
These black sounds are the mystery, the roots that probe through the mire that we all know of, and do not understand, but which furnishes us with whatever is sustaining in art. Black sounds: so said the celebrated Spaniard, thereby concurring with Goethe, who, in effect, defined the duende when he said, speaking of Paganini: "A mysterious power that all may feel and no philosophy can explain."
The duende, then, is a power and not a construct, is a struggle and not a concept. I have heard an old guitarist, a true virtuoso, remark, "The duende is not in the throat, the duende comes up from inside, up from the very soles of the feet." That is to say, it is not a question of aptitude, but of a true and viable style — of blood, in other words; of what is oldest in culture: of creation made act.
This "mysterious power that all may feel and no philosophy can explain," is, in sum, the earth-force, the same duende that fired the heart of Nietzsche, who sought it in its external forms on the Rialto Bridge, or in the music of Bizet, without ever finding it, or understanding that the duende he pursued had rebounded from the mystery-minded Greeks to the Dancers of Cádiz or the gored, Dionysian cry of Silverio's siguiriya.