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Poet Enrique Badosa, the last representative of the Generation of the 50s, dies at 94

Barcelona

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He was the last survivor of the so-called Generation of the 50s – that of Barral, Gil de Biedma, Ferrater, Gomis, Ferrán or Costafreda-. His work is not the result of chance, but of a coherence that can only be based on the structural solidity that Trivium studies gave in other times: Logic, Grammar and Rhetoric seasoned, in the case of Enrique Badosa for the poignant satire of the epigram, the lyricism and the traveling poems.

Journalist and ABC collaborator, With a long publishing career in Plaza & Janés that gave the printing press the collections of Spanish and universal poetry, Badosa, born in Barcelona in 1927, translated the ‘Epodos’ and ‘Odes’ of Horacio, the medieval Catalan poets and the works by JV Foix and Salvador Espriu.

Little supporter of the generations to which a single thought is assigned, the poet gathered in ‘Trivium’ his seventeen titles to which thirty unpublished pieces were added. Reluctant to write memoirs, Badosa never tired of repeating that he did not write poems: it was the poem that he wrote. The mirror, Badosa’s allegorical motif, gave us back the face of the author in each of his life circumstances without ever falling into the discredited “poetry of experience” to whose bards he dedicated an epitaph of his ‘Funerary Parnassus’ (2002): ” To become more learned and distinguished, / we were enrolled diligently / in the Official School of Experience / and we had an enlightened vate ».

In ‘Marco Aurelio, 14’ – his Barcelona address – or the ‘Confidential Epigrams’, dedicated to the satirical Marcial, Badosa took responsibility for his poetry and preferred solitude as freedom and creative evolution.

Catalan poet in Spanish proclaimed in his verses the fertility of bilingualism. «I, who am Spanish from Catalonia / and Catalan from Spain, so much, / I don’t have to give explanations / why I write in one or another language. / Freedom is self-explanatory.

The traveling Badosa was manifested in ‘Mapa de Grecia’ and ‘Cuadernos de Barlovento’. Between December 1976 and December 1977 he drew his ‘Map of Greece’ which was released two years later.

The admiration for the mother civilization of Western culture had its reward when the Hispanist Silvia Pandu translated her poems into Greek. Sometimes, jokingly, Badosa told us that a beautiful lady was about to buy her book; From the title, he thought it was a travel guide, and then when he opened it, he discovered that it was poetry. What few people knew is that long before readers admired Cercas’s ‘Soldiers of Salamis’, Badosa had popularized the place name, in one of those poems. In February 2004, the poet returned to the Greek island where the legendary battle of Salamis took place. There, on a war pawn in honor of Apollo with a text by Aeschylus and, above it, a small plaque pays tribute to Badosa with the lyrics of his poem ‘Salamis’: «For this the Parthenon has been written / with the most beautiful ink of the earth. / This is why thought has been carved / in the wisest and most enduring stone. / This is why you are speaking in a free language ».

In these times of clash of civilizations, Salamina’s verses take on all their validity as a preservation of a way of understanding the world. For Badosa, it was a decisive battle: if the Greeks had not won, he always says, “we would not be here and we would not be able to consider ourselves, like Borges,” Greeks in exile. ”

The always elegant Enrique Badosa he gave us his poetry to walk through the complex maze of existence: from the joyous irreverence of the epigram, to the gravity of ‘Marco Aurelio, 14’.

The poet reached the end of the chiseling of wisdom, like a sculpture: «In the definitive of my age, / more than ever I feel responsible / for this place that I occupy in space./ Where I am, a man could be found / not only with more strength to live, / with more dominance and more intelligence, / but with more kindness in the look … »

And the poet undertook the last journey.

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