Column | A poet medieval on the dance floor

last Monday a boy of 15 years old, came up to the La Central bookstore in Madrid, and asked for a copy of The Roman de Flamenca. Did not have it, but in four days, he said, could get the translation into Catalan by Anton M. Espadaler published with the University of Barcelona. Something more, it would take the Spanish-language version of Jaime Covarsí edited by the Murcia. Gallica, the branch digital of the National Library of France, offers opened their own edition, but this is not what they said.

where he draws a boy of 4º ESO as much interest in a novel anonymously written in octosyllabic lines and in occitan language in the THIRTEENTH century? Answer: Of The wrong to want to, the disc of Rosalia. In several of the thousand interviews he has given in the last month, the singer Catalan has told her that he was about the idea of riding something around a “naughty love” when he met with Pedro G. Romero, plastic artist, creator of a file of iconoclasm, artistic director of many projects of Israel Galván, Child of Elche and Rocío Márquez and author of the book The eye party. Flamenco, mass culture and avant-garde (Athenaica). It was he who spoke to him from a novel of medieval in verse Deneme Bonusu starring a woman that her jealous husband keeps locked in a tower. To Rosalie he “blew the head” and the rest is a hit.

The ways of the promotion of reading are inscrutable. We don't know if the fan of 15 years dare finally with the novel's Flemish —Language of the 3rd, he confesses, made him ball the Abencerrage—, but has already decided that his favorite song of Rosalia is not in The wrong to want to but in Los angeles, their first album: ‘Although it is night'. Learning that the original version of Enrique Morente —“does not sound to me”— on a poem by St. John of the Cross —“it sounds to me”— lets rather cold. “Until the people sing, / the coplas, coplas are not, / and when the sings of the people, / no one knows the author,” say some famous verses of Manuel Machado.

The scholarship of Rosalia is not far from the boldness of the duo Hidrogenesse, which in Gimnàstica Passiva, a disk of 2002, used two stanzas of the endiablado Polifemo of Góngora, as the lyrics of a song tecnopop fast-paced titled with the name of the poet from córdoba, the king of the hipérbaton. The song, in addition, starting from the eighth number 52, which culminates, according to Dámaso Alonso, “the passage most sensual of all the poetry classic”. Months before Genís Segarra and Carlos Ballesteros —who are working on a new album— to release his rompepistas baroque, José María Micó, celebrated these days for his version of the Comedy of Dante, he published The ‘Polifemo’ of Luis de Góngora, an essay in which he interprets verse to verse in the poem. Micó shows on page 108 that advertises itself on the 8: that it is a author of “perfectly intelligible and that there are few ways as enjoyable as the one that leads to your full understanding.” We now know that in addition it is danceable.