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The relationship betweenHughes and Lorca is not as happenstance as itmight appear to be,for contemporary scholarMaría PazMoreno informs us that the two poets knew each other verywel.l She comments on their friendship during the time Lorca visited theUnited States in 1929,Hughes’s fluency in Spanish, coincidences in their birth in smal,l rural southern towns, theirsubsequentmove to large urban areas, and the fact that both attended Columbia University—Hughes in 1921 andLorca in 1929. In addition, both poets“... shared a fascinationwith flamen-comusic, bullfights, and they both feltan irresistible appeal forblackHarlem, itsmusic and itspeople”(PazMoreno 18-19). Ye,t the poets themselves do not refer to ordocument their rela-tionship in their works although PazMoreno asserts that one can reasonably assume they ex-changed ideas aboutpoetry and theatre, andmaybe even have shared theirworkwith one another(19). We are indebted to PazMoreno for providing ample evidence of the connections betweenHughes and Lorca, for this, in par,t explainswhyHughes so readily embraced the translation ofBloodWeddingas amajorproject in 1938. In thewake ofLorca’s tragic death, itwas fitting thatHughes commemorate him, but the desire to translate the Spaniard’swork reflected a deeperpre-occupation on the partof theAmerican poe.t To understandwhy, we need to examine the factorsof race, ethnicity, and sensibility thatconverge to form the cornerstone of the poetics ofmargina-lization.　Hughes’s translation ofBodas de sangrewas one ofmany, and, according to Brian Bethunewas“lost”fornearly 50 years until it resurfaced andwas staged in 1992 (Bethune 24). Moreo-ver, Bethune compares theHughes textmade available throughMeliaBensussen’s revision of theHarlem writer’s originalmanuscript(1994) with those versions done by collaborators JamesGra-ham-Luján and RichardO’Connell (1949), and other texts by collaboratorsMichaelDewell andCarmen Zapata (1987). Bethune discusses the issue of translation as the key to uncovering themystery of the“lost”Hughesmanuscript and observes:　　
　　
One of the drawbacks to a performance of an English translation ofBlood Weddinghasbeen the difficulty of rendering in English the formal elements of the play thatGarcía Lorcacombined with the folk and traditional rhythms ofAndalusia, elements inherent in the scrip.tHistorically, theGarcía Lorca estate has seemed to prefer academics and scholars as transla-tors ofGarcía Lorca’s works, resulting in exact but rather stiff and sometimes passionlesstranslations. (29-30)Essentially, Bethune’s comparisons of the academic versions by the above-namesLorca scholars,as opposed toHughes’s poetic rendition ofBloodWedding, are designed to supporthis argumentthat theHarlem poet provided a more“... stageworthy translation of a notably difficult play”than scholars (35). Asmentioned earlier, the focus of this presentation is to examine translationin terms of its ability to achieve cross-cultural transference and illustrate the aesthetic expressionof corresponding experiences—two key elements in the poetics ofmarginalization. Such is directlyrelated to“... the connection between thecante jondoand blackmusic, ...”aswell as“...the similar status of blacks in American society and Gypsies in Andalusian society”(Bethune25). We submit thatHu本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。