By Vicent Andrés Estellés
This feature of the verse of Valencian poet Vicent Andres Estelles (1924-1993) is followed through a translation into English from the unique Catalan. The layout of an leading edge discussion with classical authors — a cornerstone of Estellesian expression — constitutes an inventive invocation and parodic observation 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 historic framework surrounding those writers presents 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 convey 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 group via its personal oppressed language.
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Extra info for After the Classics: A translation into English of the selected verse of Vicent Andrés Estellés
Anxiety is predominantly experienced as fear of persecution and this contributes to certain mechanisms and defenses which characterize the paranoid and schizoid positions. Outstanding among these defenses is the mechanism of splitting internal and external objects, emotions, and the ego. 20 Estellés is highly innovative in his exploitation of the poetic energy latent in this exercise of self-division and this procedure is perhaps most easily illustrated with reference to Horacianes (After Horace, 1963–1970).
Quite amusingly – though entirely in keeping with their centralist Spanish sentiments – the powers that be have preferred to engage non-Valencian celebrities of the sophistication of Julio Iglesias to represent and promote the profile of their constituency abroad. Universities, intellectuals and, most importantly, the ordinary people of Valencia, however, have never abandoned their national poet and, in the face of such official indifference, have collectively designated September 4, Estellés’s birthday, as a day of popular celebration after the fashion of a Burns’ Night.
This may well be the case though there is little doubt that the despicable personage also comes to represent the anti-Catalan sentiments of reactionary sectors of Valencian society as a whole. The diatribe against Suetonius is as shocking as it is abusive. Quite simply, the lyrical tradition is unused to the bathos of such discourse. Philip Larkin may 25. Lacan elucidates the function of the symbolic father in, ‘D’une question préliminaire a tout traitement possible de la psychose’, Écrits, Paris: Du Seuil, 1966, pp.