Prepare to be mesmerized by the genius of Federico García Lorca as he paints for us with poetry an almost surreal tableau of humanity and inhumanity. Lorca described his poetic study of human nature as an intricate 'retablo' of southern Spain. On the surface it depicts the daily struggles of a marginalized people, but beneath the surface there is so much more. In these eighteen poems Lorca illustrates for us with words and lyrical incantations the daily interactions of the oppressors and the oppressed. Here we have on display the seven deadly sins (and three last things!) that Hieronymus Bosch explored hundreds of years earlier with oil paint. You will witness the lust (Luxuria) of The Cheatin' Wife and her gypsy lover; and the dark sorrow (Tristitia) of the loveless Soledad Montoya, the abandoned girl of the Dreamwalking Ballad, and the conflicted Gypsy Nun. You will be assaulted by the greed (Avaritia) of the Sons of Benamejí as they murder a flamboyant gypsy for his shoes and jewelry, and the wrath (Ira) of knife-wielding rival gangs as they skirmish and kill each other for nothing but pride (Superbia). Lorca then saves his best for the Spanish Civil Guard, symbol of ignorance, brute power, and police oppression as he rails against their sloth (Acedia), gluttony (Gula), and vanity (Vanagloria) while they terrorize the peasants of the Andalusian countryside with their guns and raze whole villages in their fury. Lorca knew what might come--he was a marked man--but he did not flinch or pull his punches. Saints and sinners swirl 'round and 'round and 'round midst wind and water under an omnipresent Gypsy Moon in these songs of seduction and sobriety. What does it all mean? The poet doesn't say, but rather leaves it to us to ponder and find application in our own lives.
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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 García 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, versification 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 García Lorca's own words do in the Spanish-speaking world then I will have done justice to his poetic tower of song.
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