Interpretations of Lorca’s duende often treat it as though it were merely a variation on the familiar theme of poetic or artistic inspiration—the peculiarly Spanish version of the muse. The poet himself, while emphasizing live performance, is purposefully expansive in defining the reach of the duende, applying the term to a copious number of examples in the visual arts and literature and to the composition (and not exclusively the performance) of music. Moreover, by presenting his theory as an explicit alternative to the muse and the angel, he inscribes it within familiar narratives of poetic inspiration. Still, he does indicate that the duende is most duende-like in the live performance of art-forms like dance and music that require “un cuerpo vivo que interprete, porque son formas que nacen y mueren de modo perpetuo y alzan sus contornos sobre un presente exacto.” 1 [a live body to interpret them, since they are forms that are born and die perpetually and erect their shapes in an exact present]. 2