This thesis treats essentially with death, expressed in the poetry and plays of Garcia Lorca. To understand his poetry, one must pay attention to the poetic theory of "duende" of which Lorca says he is possessed. The conception of "duende" of Garcia Lorca corresponds to a certain form of fatalism and indigenous belief of Andalucia. Garcia Lorca has also prepared a festival of cante jondo in collaboration with Manual de Falla. When Lorca speaks of "duende," it is very human, and differs from "Musa" or "angel.`` This means that "duende" is a presupposition of death as a human being. From his first volume of verse "Libro de poemas" on, he mentions and chants death, but the works in which he starts speaking intensively of death are: "Cante jondo" and "Romancero gitano." In "Cante jondo" he treats of death as if he admires it. "Romancero gitano" is about the tragic destiny of the gipsies. Here we can find words as: knife, dagger, battle, death and persecution, especially persecution of the gipsies by the guardia civil (police). In "Llanto por Ignacio Sanchez Mejias," we can not only read about the blood and the inevitable death of the toreros (bull-fighters), but also about the victory of death by their courage and valour, and the nobility of their attitude. In the three poems of which "Llanto por Ignacio Sanchez Mejias" consists, death is not an abominable thing, but it is charming, warm, and embraces the human being as an affectionate mother does with her children. In these poems we can easily appreciate the estetics of death as seen by Garcia Lorca. Here death is conquered and transformed in immortality by the valour of a real man. In the poems "Poeta en Nueva York," Lorca pays attention to the negros, just as he did with the gipsies of Spain in his previous poetry. This poetry is the culmination of Lorca``s esoterism. He chants the tragic destiny of the negros, their poverty, misery, disdain of the white people and death. In one of the poems of this volume of verse: "Jntroduccion a la muerte" (Introduction to Death), we can easily observe his obsession of death and death among the negros. Among several plays, three tragedies are representative: "Boda de sangre," "Yerma" and "La casa de Bernarda Alba." In each of the plays, the protagonists have a tragic death, In the Greek tragedies, death results of external factors, but in Lorca`s tra g edies internal factors are the reason of death. To conclude we can say that Garcia Lorca chants death from the beginning of his poetical creation on, till his last work, in an intensive way. Death as Lorca sees it is not a definite death, but it is a part of his life. In one thousand years of Spanish liter-□uture, we can rarely find a poet who mentions death as intensively as Garcia Lorca did.