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by Federico Garcia Lorca, Spain, (1898-1936)
Translated by Gloria Garcia Lorca, the writer's niece, and Jane Duran, the family friend who became a celebrated poet, Gypsy Ballads is the most authentic version of Romancero Gitano imaginable. In their new translation Jane Duran and Gloria Garcia Lorca have been faithful to Lorca's work, searching out original meanings, avoiding overt interpretations, reproducing metaphors, so as to bring to an English-speaking reader the pure power of Lorca's poetry. What is revealed is a kaleidoscope of sensory images, characters and stories. Lorca described his most popular collection as 'the poem of Andalusia ...A book that hardly expresses visible Andalusia at all, but where hidden Andalusia 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 strong undercurrents of conflicted identity.This bilingual edition includes revealing 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 lecture on his own book; and an introduction to the problems and challenges faced by translators of Lorca, by Professor Christopher Maurer.
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Federico Garcia Lorca was born into an educated family of small landowners in Fuente Vaqueros in 1898. A poet, dramatist, musician and artist, he attended the university at Granada, where he acquired a fine knowledge of literature. In 1919 he went to the Residencia de Estudiantes in Madrid and during his long stay there he met all the principal writers, critics and scholars who visited the place, which was then a flourishing centre of cultural liberalism. In 1928 his Gipsy-Ballad Book (Romancero gitano) received much public acclaim. In 1929 he went to New York with Fernando de los Rios and his volume of poems Poet in New York (Poeta en Nueva York) was published posthumously in 1940. On his return to republican Spain, he devoted himself to the theatre, as co-director of La Barraca, a government-sponsored student theatrical company that toured the country. He now wrote fewer poems, but these include his masterpiece Lament for Ignacio Sanchez Mejias (Llanto por la muerte de Ignacio Sanchez Mejias, 1935), a lament for a dead bullfighter. He wrote classical plays, pantomimic interludes, puppet plays, La zapatera prodigiosa (1930) and three tragedies: Blood Wedding (Bodas de sangre, 1933), Yerma (1934) and The House of Bernarda Alba (La casa de Bernarda Alba, 1936). Just after the outbreak of the Spanish Civil War in 1936 he was murdered at Granada by Nationalist partisans, in mysterious circumstances.
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The Gypsy Ballads, verse collection by Federico García Lorca, written between 1924 and 1927 and first published in Spanish in 1928 as Romancero gitano. The collection comprises 18 lyrical poems, 15 of which combine startlingly modern poetic imagery with traditional literary forms; the three remaining poems were classified by Lorca as historical ballads. All 18 poems were written in the traditional ballad metre of eight-syllable lines. Many of the poems were imbued with mythic allusions, Freudian symbolism (green symbolizes sexuality and blue, innocence), and indirect metaphors.
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Review of Gypsy Ballads by Frederico Garcia Lorca
Review by Tony Bryant.
Tony Bryant has lived in Andalusia since 1994 and is the author of two books concerning the art of flamenco: Flamenco: an Englishman’s passion (2nd revised edition to be published by Sol y Sombra Books in February 2012) and A time-defying heritage. He also writes articles for various magazines concerning the Andalusian gypsies and their music and has had work published in Spain, London, France, America and Israel.
Federico Garcia Lorca was one of the most popular of Spanish poets and playwrights and he ranks among the greatest names of modern European literature. His work evoked an almost reverie vision of a land that he lived and died for and his romantic and inventive writings, which relate to gypsies, flamenco, archangels, landscape, love and death, have immortalized him throughout the world.
On July 29, 1924 Federico Garcia Lorca scribbled the words ‘Gypsy Ballads’ on a sheet of paper, under which he then wrote the title of the first poem – Ballad of the Moon, Moon.
Lorca dedicated these narrative stanzas to the gypsies of Andalusia because, unlike many of his generation who treated them with contempt, he saw as them as “the truest and purest thing in Andalusia”. He had described Gypsy Ballads as an “Andalucian altarpiece,” that portrayed the olive groves and landscape of his childhood, memories of the civil guard, archangels and, of course, gypsies.
Published in 1928, Gypsy Ballads became the most popular book in Spain at that time; although Lorca had once declared that he wrote the first three ballads purely for his own enjoyment.
It was with this collection of poems that Lorca’s poetic countenance appeared for the first time and Gypsy Ballads was declared his most ingenious work to date. Critics hailed Lorca as the greatest Spanish poet since Antonio Machado and copies of Gypsy ballads sold out within weeks of the first publication.
In the years that have followed Lorca’s death (1936) numerous translations of his works have appeared; Gypsy Ballads was translated into English by Langston Hughes in 1951 but only fifteen of the original eighteen stanzas were included in the book. 1973 saw the release of a translation of the ballads by Irish poet Michael Hartnet and in nineteen ninety a version was released by Robert G Havard; although these translations differ considerably.
The latest English translation of Gypsy Ballads has been compiled by Lorca’s niece, Gloria Garcia Lorca and family friend Jane Duran, the daughter of the Spanish composer Gustav Duran Martinéz. She is also a respected writer and poet who has much knowledge concerning Lorca’s work.
The lime-green cover of this latest edition certainly catches the eye, as does the ingenuous design on it. Lorca had designed the cover of the first edition himself, and the guileless drawings and lettering on this new version has kept the book in line with Lorca’s original.
The poems are prefaced by various essays explaining the intention of the authors and also the difficulties involved in the translation of the written word.
Andrés Soria Olmedo (professor of Spanish literature at the University of Granada) introduces the reader to a summary of the book’s appraisals and achievements as well as a brief history of Spanish ballad; or dare I use the overly quoted – ‘river of Spanish language’. Soria declares that “the strength of ballads lies in their ability to absorb and adapt extremely diverse themes and emotions” and he states that this was Lorca’s strength because he had the ability to absorb, adapt and present without explaining.
Duran and Lorca have attempted to convey the poet’s meanings and imagery as accurately as possible whilst allowing the reader to follow intricate interaction between the poems. Their aim was to adhere to the order of events as Lorca intended us to see them; thus enabling the reader to grasp the dream-like world of which he wrote.
However, as they duly acknowledge in their introduction, in some cases it has been necessary to alter the verb tense in order to preserve the flow and impact of the line.
The book contains a section concerning the dedicatees of the eighteen stanzas, which, as the author of this chapter points out, are names that will be linked to these poems forever.
Lorca was said to have been generous with his printed dedications and this chapter suggests that Gypsy Ballads is the only collection of poetry in which every poem is accompanied by a dedication. Lorca dedicated this collection to family members, friends and fellow artistes; all of whom are listed complete with a brief explanation as to why the poet had favoured these particular people.
The reader is also offered an interesting analysis of the first line of the Sleepwalking ballad; “Green, how I love you green”, the line which has been under the microscope of varying critics and specialists.
In the second section of the book, we are presented with the freshly translated gypsy ballads and each one is accompanied by the original version of the poem. However, the English versions lose much of the feeling that Lorca would have intended with his pen, but they will give those who are not familiar with the Andalucian tongue an idea of his intentions.
There will of course be those knowledgeable in this field who may disagree with these interpretations, and if one compares this version with previous publications one will note the difference in the comprehension of certain lines.
Lorca believed that mystery was an important part of poetry and Gypsy Ballads has been dissected and unwrapped by numerous people over the decades, and the differences in their interpretations are anything but inconsequential. In whatever way these verses are stripped down and then restructured, they will never convey the passion with which they were created.
Who really knows the intended meaning or use of phrase of an individual’s work other than the artiste himself, and as with varying aspects of Federico Garcia Lorca’s life and death, they will be interpreted in numerous variations for many years to come.
Jane Duran and Gloria Garcia Lorca have offered the English reader a good understanding of Lorca’s work and his infatuation with Andalusia and its people.
This new version of Gypsy Ballads is an excellent, informative read for anyone interested in the culture and folklore of Andalusia and it will be of much interest to the admirers of Federico Garcia Lorca because it is full of information and anecdotes concerning this great Andalucian poet and his most famous work.
His gypsies, his Andalusia and his ballads are all part of the baroque world of which Lorca immersed himself and the authors of this new version have indeed brought the poet out of his “twilit folkloric world” and into the “civilised daylight of English