La leyenda artúrica en tierras de Iberia: cultura, literatura y traducción
Prologue (Kevin J. Harty)
Prologue KEVIN J. HARTY La Salle University, Philadelphia, Pennsylvania A twelfth-century commentator, long thought to be Alanus de Insulis, is said to have asked these rhetorical questions: :KLWKHUKDVQRWÁ\LQJIDPHVSUHDGDQGIDPLOLDUL]HGWKHQDPHRI $UWKXUWKH%ULWRQ even as far as the empire of Christendom extends? Who, I say, does not speak of Ar- thur the Briton, since he is also better known to the peoples of Asia than to the Bri- tanni, as our palmers returning from the East inform us? The Eastern peoples speak of him, as do the Western, though separated by the width of the whole earth. . . . Rome, queen of cities, sings his deeds, nor are Arthur’s wars unknown to her for- mer rival Carthage, Antioch, Armenia; Palestine celebrates his acts.1 Today, interest in and knowledge of Arthur the Briton shows no sign of wan- ing. If anything, the last quarter century has seen an explosion of interest in Arthur, so much so that the anonymous twelfth-century writer’s comments PLJKWMXVWDVHDVLO\KDYHEHHQXWWHUHGE\DWZHQW\ÀUVWFHQWXU\FRXQWHUSDUW And that explosion of interest in this Briton king has taken many forms. References to the story of Arthur abound in the popular press, on televi- VLRQRQUDGLRLQÀOPLQDGYHUWLVLQJDQGSURGXFWGHVLJQDQGSDFNDJLQJLQ the performing and plastic arts. Monographs, books, essays – popular and scholarly – pour forth from publishers and journals – all devoted to the Ar- WKXURI %ULWDLQRI )UDQFHRI *HUPDQ\RI :DOHVRI ÀOPRI WHOHYLVLRQRI Broadway stage musicals, of dance, of opera, even of modern design. But so far, surprisingly, no one volume has discussed the Arthur of Iberia. The HVVD\VWKDWIROORZWKHUHIRUHÀOODKXJHFXOWXUDOKLVWRULFDODQGOLWHUDU\ODFXQD and...
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