By Vicent Andrés Estellés
This feature of the verse of Valencian poet Vicent Andres Estelles (1924-1993) is observed by means of a translation into English from the unique Catalan. The structure of an leading edge discussion with classical authors — a cornerstone of Estellesian expression — constitutes an inventive invocation and parodic statement at the output and ethos of the Latin poets Horace, Ovid, Virgil and Catullus, the medieval patriarch of Valencian letters Ausiàs March and the Renaissance Castilian poet, Garcilaso de los angeles Vega. For Estellés, Octavian Rome presents a parallel to the Franco dictatorship and the old framework surrounding those writers gives the neophyte a chance for ideological denunciation, artistic wit and lyrical grace in addition to righteous anger on the oppressive pettiness of existence below autocracy. The translators have tried to deliver to an Anglophone readership the wealth of feat of this author who, regardless of the severity of fascist repression, sang and celebrated the event of his personal neighborhood via its personal oppressed language.
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Additional resources for After the Classics: A translation into English of the selected verse of Vicent Andrés Estellés
The bereavement was devastating and its traumatic consequences lasting; Estellés: the voice of a people though the event was to have a positive dimension: a re-affirmation of solidarity with the collective. In simple terms, the pain caused by this tragic loss was to increase the poet’s awareness of the communal suffering endured by his people under the dictatorship and thereby strengthened even more his commitment to them. Happily, two other children were to follow to enrich a marriage which, as will be seen in our selection, would become a cornerstone of the personal, creative and communal life of the writer.
25 26 After the Classics is received with sheer delight; and this affective duplicity recalls very strongly the distinctly oedipal framework to Bloom’s speculation: that is to say, to the love/hate tussle with the creative progenitor. This creative antagonism is certainly apparent once again in the case of Ausiàs March (Gandia 1400 – Valencia 1459) as we move forward to a consideration of the early Renaissance element. Herein the relationship is more charged still if viewed from the Freudian family perspective as the medieval nobleman is not only Valencian but also generally considered as the patriarch of the modern Catalan verse tradition.
As a result, unlike more ethnically neutral regions, the area had to be castigated twice over in an obsessive eradication not only of democratic practice but, additionally, of every possible vestige of minority national sentiment. In this environment of deprivation and fascist hysteria, Estellés won a scholarship in 1942 to study journalism in Madrid where he remained for the three years of the course until compulsory military service took him to Nevarre in 1945 before a return home to Valencia.