Gustavo Adolfo wrote his fundamental works between 1861 and 1865, which he published in press or remained as manuscripts —this is the case of his poetry included in the book entitled Libro de los gorriones—until he passed away un december of 1870 and his friends compiled them in the first edition of his Obras (1871), as homage to the unfortunate artist. These circumstances will be analyzed in this conference, as well as how they determined his posterior reading, first in bibliographical key, and later paying more attention to the complexity of his work as his full production began to be known, at the same time his uniqueness began to be perceived beyond the interested historiographic lectures that made him look as an artist imitator of the German poets like Heine (Schneider, 1914), or English like Byron (Hendrix, 1936).
Nowadays, thanks to less interested and more objective lectures, he is simply located among the great European romantic writers, giving a universal dimension to his work. A work whose characteristics will be defined along the conference by analyzing the combination of relevant aspects in his poetic theory, particularly his Rimas y Leyendas, and by paying special attention to his works most familiar to the assisting audience.
Like in other great European romantics, in his work we find elements that come from the best Western tradition in the wider sense —Greek and Latin classics, Dante, Shakespeare, Cervantes or Calderón—, together with others originating in the research on Germanic and Oriental traditions. The modernity of Bécquer lies in his affiliation to this multiple and universal tradition, in which he integrates with natural grace due to his incredible writing capacity.
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