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Sto caricando le informazioni... Poet in Spain (2017)di Federico García Lorca
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The fluid and mesmeric lines of these new translations bring us closer than ever to the talismanic perfection of the great Garcia Lorca-Poet in Spaininvokes 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. Culminating in the play Blood Wedding--also a great tragic poem--this stunning bilingual edition is a gift to the art of poetry and to readers everywhere. Non sono state trovate descrizioni di biblioteche |
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 Google Books — Sto caricando le informazioni...GeneriSistema Decimale Melvil (DDC)861.62Literature Spanish and Portuguese Spanish poetry 20th Century 1900-1945Classificazione LCVotoMedia: (4.5)
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"Lorca’s poems from Spain are a poetry of dreams and journeys and glimpses from balconies, of sunbaked meadows and realms of erotic yearning. He went to the well often for the same elemental imagery: the sea, the wind, the moon, flowers and trees. His mind worked feverishly enough to induce hallucinations."
Having a rudimentary knowledge of Spanish, I was troubled by some of Translator Sarah Arvio's decisions to drop punctuation. Garner offers samples:
Lorca has been tamped down. His poem “Cazador” (“Hunter”), for example, begins with these words: “¡Alto pinar!” Arvio translates this, with a vast diminution in energy, as “High grove of pines.”
Lorca wrote in an exclamatory style that gave his work a flamenco brashness missing from some of these translations. García Lorca uses exclamatory sequences to mimic the effect of a chorus singing and beating their palms to the music of a flamenco performance.
Look at the first stanza of “Árboles” (“Trees”) from 1919:
¡Árboles!
¿Habéis sido flechas
Caídas del azul?
¿Qué terribles guerreros os lanzaron?
¿Han sido las estrellas?
Per Garner, "Arvio renders this in telegraphic yet somewhat lobotomized fashion:"
Were you once arrows
falling from the sky
What terrible warriors shot you
Were they the stars
Lorca's fascination with 14th-century Persian poetry in The Tamarit Divan to his idealization of Andalusia’s Romani history in Gypsy Ballads may be questioned nowadays, but overall these English translations stand up and render the book invaluable to any English-speaker smitten by Lorca’s work.
https://www.nytimes.com/2017/10/30/books/review-poet-in-spain-federico-garcia-lo... and https://yalereview.org/article/poetry-review-poet-spain-federico-garcia-lorca
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