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Lorca is one of the outstanding poets of Spanish literature, and apart perhaps from his trilogy of stage tragedies, Romancero gitano is his most celebrated work: innovative, sophisticated, difficult and uniquely popular. Partly, no doubt, it is the appeal of his gypsies, childlike and magical, oppressed by the world around; partly too, the work’s elemental concerns: machismo, honor, sex, betrayal, revenge, bloodshed, death; partly also, the many echoes of Andalusian popular culture: horsemen and smugglers, fiestas and local saints, legends and superstitions, ballads and deep song. By its dramatic dynamism, its subtle stylisation and its mythical stature, Romancero gitano is one of the most appealing books of poetry in Spanish literature--but it is also one of the most difficult. In his introduction to this edition for English-speaking students, Ramsden considers briefly Lorca’s "Double break with the past" and then concentrates on the "Romancero gitano" itself, with emphasis on the interplay of immediate appeal and wider resonances. An annotated select bibliography and select glossary are provided with explanatory end notes offering practical guidance, both linguistic and interpretative.
Federico Garcia Lorca wrote the Gypsy Ballads between 1924 and 1927. When the book was published it caused a sensation in the literary world. Drawing on the traditional Spanish ballad form, Lorca described his Romancero Gitano as 'the poem of Andalucia...A book that hardly expresses visible Andalusia at all, but where hidden Andalucia trembles'. Seeking to relate the nature of his proud and troubled region of Spain, he drew on a traditional gypsy form; yet the homely, unpretentious style of these poems barely disguises the undercurrents of conflicted identity never far from Lorca's work. This bilingual edition, translated by Jane Duran and Glora Garcia Lorca, is illuminated by photos and illustrations of and by Lorca, his own reflections on the poems and introductory notes by leading Lorca scholars: insights into the Romancero and the history of the Spanish ballad form by Andres Soria Olmedo; notes on the dedications by Manuel Fernandez-Montesinos; Lorca's 1935 lecture; and an introduction by Professor Christopher Maurer to the problems and challenges faced by translators of Lorca.
Lorca, icon and polymath in all his manifestations.
Literary translation is a daring act. The risk involved is compounded when dealing with a monumentally famous and intricate work of poetry such as Federico Garc�a Lorca's Romancero Gitano (1924 - 1927). Still, some works are so brilliant that they demand the attempt because they deserve the widest possible audience. I am certainly not the first one to make this attempt with the Gypsy Ballads (there have been many over the years). But it may also be true that every generation needs its own translation of major works because languages are living things that are always on the move. In this translation I have used my best judgment in the selection of vocabulary, meter, cadence and rhyme in English that captures the essence of what these eighteen original ballads convey to me. If this English rendering sings a little and sticks in the mind of English speakers the way Garc�a Lorca's own words do in the Spanish-speaking world then I will have done justice to his poetic tower of song.
With literature, music constituted the most important activity of poet and playwright Federico Garcia Lorca's life. The two arts were closely related to each other throughout his career. As a child, Lorca imbibed traditional Andalusian songs from the lips of the family maids, whom he would remember with affection years later. At a very early age he began to study piano, and during his adolescence, music and poetry competed for primacy among his interests. His first book was dedicated to his music teacher, who instilled in him a love for the world of art and creation. In part I of this study, Edward F. Stanton examines Lorca's theoretical and practical approach to cante jondo, the traditional music of Andalusia, as seen in his lectures on the subject and in the 1922 concurso. In part II, he searches for direct and—far more important—indirect echoes of this music in his work. Part III explores the mythic quality of Lorca's art in relation to cante jondo. Throughout, Stanton illuminates a new dimension of the poet's work.
For the first time in a quarter century, a major new volume of translations of the beloved poetry of Federico García Lorca, presented in a beautiful bilingual edition The fluid and mesmeric lines of these new translations by the award-winning poet Sarah Arvio bring us closer than ever to the talismanic perfection of the great García Lorca. Poet in Spain invokes the "wild, innate, local surrealism" of the Spanish voice, in moonlit poems of love and death set among poplars, rivers, low hills, and high sierras. Arvio's ample and rhythmically rich offering includes, among other essential works, the folkloric yet modernist Gypsy Ballads, the plaintive flamenco Poem of the Cante Jondo, and the turbulent and beautiful Dark Love Sonnets--addressed to Lorca's homosexual lover--which Lorca was revising at the time of his brutal political murder by Fascist forces in the early days of the Spanish Civil War. Here, too, are several lyrics translated into English for the first time and the play Blood Wedding--also a great tragic poem. Arvio has created a fresh voice for Lorca in English, full of urgency, pathos, and lyricism--showing the poet's work has grown only more beautiful with the passage of time.