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ghes’smanuscriptwas not los,t but silenced and relegated to a twilightzoneoff-offBroadway in order to protectLorca’s reputation as a“white”Spanish poet from themenace of the tarbrush—thatofhis alleged gypsy and/or Jewishconversoheritage.⑥Even so, wecan utilize the poetics ofmarginalization to explore the links betweenHughes’s lyricism and thatofLorca.　The beginning ofAct III, scene 1 ofBloodWeddingis the firstexample of translation as culturetransfer. To recal,l this is the high pointof tension in the dramawhereLeonardo the loverand theGirl have fled thewedding party and are hotly pursued by a“posse ofmen”who demand retribu-tion for theirviolation of themarriage contractbetween theBoy andGir.l It isnotthe linguistic e-lements of the passage that are essentia,l forLorca’s lines are transformed byHughes into a ver-nacular prose thatunderstates the gravity of the situation. Instead, theAmerican poet’s powerfuluse ofmascons(massive concentrations of black experiential energy)⑦like“night”and“moisttree trunks,”aswell as his portrayal of the moon as“a young woodcutterwith a white face,”serves to bridge the racialand ethnic gapsbetweenBodasde sangreandBloodWedding. Paul Ju-lian Smith identifies a crucial link between the original textand its translation, Hughes’splayMu-latto: Smith states:“... I ask, in a gesture ofsymbolic exchange, notwhatGarcíaLorca thoughtofblacks butwhatone gifted black contemporary thoughtofGarcíaLorca. Hughes’s translation ofBodasde sangreand his own‘poetic tragedy’Mulatto, staged on Broadway in the same year asBodasde sangre, stand as an exemplary response to and intertext forGarcía Lorca’s lyrical dra-ma”(Smith 45). Itdoes not take a leap of consciousness for the alert reader to perceive the im-age ofa lynchmob in pursuitof transgressors, which is essentially anAfricanAmerican reading ofLorca’s play. In Lorca’sGranada, crossing established boundaries involves two characters, Leo-nardo and theGir,l who refuse to accept the latter’smarriage to the Boy. InHughes’sGeorgia,transgression dealswith the protagonistBert’s attempts to asserthimselfas the legitimate son ofaslavemaster fatherby entering theBigHouse through the frontdoor. Although Smith proposes thatHughes’s textultimately confirms aFreudian-inspired recovery of themale body in supportofho-mosexuality as the centerofLorca’s aesthetics, a strongerargumentcan bemade thatBloodWed-dingimplicitly laments the destruction of the black/Jewish/gypsymale body as the guarantor oflife formarginalized groups in a racist/ethnocentric society—be itSpain or theUnited States. Ifthemale body is atstake in this drama ofpassion and longing, then the tragedy isnotsomuch a-bout forbidden love between twomen, as Smith suggests through his nomenclature“BlackWed-ding”, as it is aboutthe destruction of institutions likemarriage and inheritance thatguarantee thecontinuity of human life. Consequently, despite the fact that Leonardo is an“Old Christian”(read“white Spaniard”), he is guilty of transgressing the law and, therefore, is black by de-faul.t Death is the penalty for tha.t　Bethune’s take onHughes translation ofBodasde sangreis that it is“themostpoetic, active,and vital”(Bethune 35). Smith’s response is that it is“a fine example of the risky and unpre-dictable promise of the future that is characteristic ofboth cultural hybridity and psychic fusion”(Smith 69). Ourobservation is thatauthorLorca and translatorHughes shared a similarity ofex-perience, a“life-world”in thewords ofPaulBandia 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。