Hölderlin, Cernuda y Gebserhistoria de una traducción

Résumé

The objective of this work is to present research into the translations of Friedrich Hölderlin performed collaborativelly between the poet and editor Hans Gebser and the Sevillian poet Luis Cernuda for José Bergamín’s Cruz y Raya journal in 1935. With that aim, a large number of textual collations have been performed and the path of other 20th century translators of Hölderlin has been followed (such as Manuel de Montoliu, Fernando Maristany, Luis Díez del Corral and José María Valverde). The thesis also examines the hypothesis of some authors dedicated to Hölderlin’s reception in the Iberian Peninsula (Miguel Gallego Roca, Anacleto Ferrer, Jenaro Talens, Helena Cortés Gabaudan, among others). Having access to both translators’ legacies and libraries has been essential for this investigation. In Gebser’s case, his legacy is housed in the Swiss National Library in Bern and consists of a wealth of documents which have long gone unnoticed in the field of Hispanic Studies. As for Luis Cernuda, access to his legacy in the Residencia de Estudiantes was crucial for this work, as the archive preserves his manuscripts and typescripts, specifically those which show Hölderlin’s translations. The aim of this research is to approach two main issues which have not yet been deeply explored: 1) to identify the original text (or texts) used for the translations; and 2) to examine the extent to which far did Luis Cernuda and Hans Gebser really did translate collaboratively. This two-pronged approach has been essential not only in understanding Gebser’s and Cernuda’s methodology, but also in dispelling the myths that Hölderlin had a critical influence on Luis Cernuda’s aesthetic development, and that Cernuda chose Hölderlin for a purely aesthetic personal interest. In the course of this research a large number of textual collations between different German editions were performed, as well as between Spanish translations and some of Hölderlin’s manifold editions printed during the first third of the 20th century, specifically until 1935. Thanks to the potential identification of the original texts, it has been possible to revise the perspective of this episode of colaborativelly translation; it has also been possible to present an unknown Hans Gebser, a cultivated person with strong capabilities for writing and translating. Above all, it has been possible to shed light on Luis Cernuda’s translation work: one of his lesserknown sides.