Ezra Pound, «lopista»

This article reveals Ezra Pound’s deep, early engagements with the works of Lope de Vega. A young Pound studied Lope de Vega in graduate school and began a doctoral thesis on the gracioso figure in his plays, under the direction of famed lopista Hugo Rennert. But Pound abandoned his dissertation an...

Descripción completa

Guardado en:

Detalles Bibliográficos
Autor principal:	Gayle Rogers
Formato:	article
Lenguaje:	ES
Publicado:	Universitat Autònoma de Barcelona 2016
Materias:	Lope de Vega Ezra Pound Hugo Rennert translation «Los pastores de Belén» «Las almenas de Toro» Literature (General) PN1-6790
Acceso en línea:	https://doaj.org/article/a189b3cde044447b858c750c6785903e
Etiquetas:	Agregar Etiqueta Sin Etiquetas, Sea el primero en etiquetar este registro!

id	oai:doaj.org-article:a189b3cde044447b858c750c6785903e
record_format	dspace
spelling	oai:doaj.org-article:a189b3cde044447b858c750c6785903e2021-12-05T09:53:46ZEzra Pound, «lopista»10.5565/rev/anuariolopedevega.1452014-8860https://doaj.org/article/a189b3cde044447b858c750c6785903e2016-01-01T00:00:00Zhttps://revistes.uab.cat/anuariolopedevega/article/view/145https://doaj.org/toc/2014-8860 This article reveals Ezra Pound’s deep, early engagements with the works of Lope de Vega. A young Pound studied Lope de Vega in graduate school and began a doctoral thesis on the gracioso figure in his plays, under the direction of famed lopista Hugo Rennert. But Pound abandoned his dissertation and, instead, translated small parts of Lope de Vega’s works (including a poem from Los pastores de Belén) and, more important, used scenes and quotations from Las almenas de Toro to structure the early parts of what would become The Cantos. My focus is on the ways in which these translations and quotations helped Pound discover his governing themes for what are called his «Ur-Cantos» —the first three poems of his Cantos that he published in 1917, before he would revise them heavily and republish them in his first book, A Draft of XVI. Cantos (1925). To understand this, I analyze his chapter on Lope de Vega in his textbook of translations and scholarly commentaries, The Spirit of Romance (1910). Pound ultimately rejects Lope de Vega’s Baroque style, I argue, and stages his rejection across The Cantos, where he dismisses the Baroque as too heavily «ornamental» and not sufficiently suspended across literary time, and thus not the style he will use in developing The Cantos across the remainder of his life. Gayle RogersUniversitat Autònoma de BarcelonaarticleLope de VegaEzra PoundHugo Rennerttranslation«Los pastores de Belén»«Las almenas de Toro»Literature (General)PN1-6790ESAnuario Lope de Vega: Texto, Literatura, Cultura, Vol 22 (2016)
institution	DOAJ
collection	DOAJ
language	ES
topic	Lope de Vega Ezra Pound Hugo Rennert translation «Los pastores de Belén» «Las almenas de Toro» Literature (General) PN1-6790
spellingShingle	Lope de Vega Ezra Pound Hugo Rennert translation «Los pastores de Belén» «Las almenas de Toro» Literature (General) PN1-6790 Gayle Rogers Ezra Pound, «lopista»
description	This article reveals Ezra Pound’s deep, early engagements with the works of Lope de Vega. A young Pound studied Lope de Vega in graduate school and began a doctoral thesis on the gracioso figure in his plays, under the direction of famed lopista Hugo Rennert. But Pound abandoned his dissertation and, instead, translated small parts of Lope de Vega’s works (including a poem from Los pastores de Belén) and, more important, used scenes and quotations from Las almenas de Toro to structure the early parts of what would become The Cantos. My focus is on the ways in which these translations and quotations helped Pound discover his governing themes for what are called his «Ur-Cantos» —the first three poems of his Cantos that he published in 1917, before he would revise them heavily and republish them in his first book, A Draft of XVI. Cantos (1925). To understand this, I analyze his chapter on Lope de Vega in his textbook of translations and scholarly commentaries, The Spirit of Romance (1910). Pound ultimately rejects Lope de Vega’s Baroque style, I argue, and stages his rejection across The Cantos, where he dismisses the Baroque as too heavily «ornamental» and not sufficiently suspended across literary time, and thus not the style he will use in developing The Cantos across the remainder of his life.
format	article
author	Gayle Rogers
author_facet	Gayle Rogers
author_sort	Gayle Rogers
title	Ezra Pound, «lopista»
title_short	Ezra Pound, «lopista»
title_full	Ezra Pound, «lopista»
title_fullStr	Ezra Pound, «lopista»
title_full_unstemmed	Ezra Pound, «lopista»
title_sort	ezra pound, «lopista»
publisher	Universitat Autònoma de Barcelona
publishDate	2016
url	https://doaj.org/article/a189b3cde044447b858c750c6785903e
work_keys_str_mv	AT gaylerogers ezrapoundlopista
_version_	1718372513326563328

Ezra Pound, «lopista»

Ejemplares similares