Abstract:

Réquiem por un campesino español is a novel, set during the Spanish Civil War, in which a priest recalls the life of one of his parishioners, the altruistic Paco, and the unpremeditated role he played in his manhunt and murder. The villagers, too, have commemorated this victim of Falangist violence in the form of a ballad. It has been argued that the romance establishes the tone of the novel as a whole, balladizing it, and that its fixed roles of Hero and Villain lay the blame squarely, yet impersonally, on the priest. The current article counters the second stage of this argument by focusing on the poiesis of the ballad—its collective authorship and ongoing incompleteness—in order to argue that the poem honours Paco, but also refrains from trafficking in the moral binaries identified by Havard. To this end, the article considers the genesis of traditional anonymous ballads in the Spanish Middle Ages, Kropotkin's anarchist concepts of collaborativeness, as well as examples of cooperation and non-cooperation among characters in Sender's novel. It also contrasts Sender's ballad somewhat favourably with the abundance of real anonymous ballads produced during the Spanish Civil War.

摘要：

Réquiempor un campesinoespañol是一本小说，创作于西班牙内战期间，一位牧师回想起他的一个教区居民，无私的Paco的生活，以及他在追捕和谋杀中所扮演的未经预谋的角色。村民们也以民谣的形式纪念了这名遭受法兰西暴力的受害者。有人认为浪漫史确立了整个小说的基调，并对其进行了歌舞表演，并确定了Hero和Villain的固定角色将神职人员直接但非个人地归咎于牧师。当前文章通过关注民谣的诗意（其集体创作和持续的不完整）来反驳这一论证的第二阶段，以辩称这首诗既赞美帕科，又避免了贩运哈佛所确定的道德二元论。为此，本文考虑了西班牙中世纪传统匿名民谣的起源，克鲁泡特金（Kropotkin）的无政府主义合作性概念，以及Sender小说中人物之间合作与不合作的例子。这也将Sender的民谣与西班牙内战期间产生的大量真正的匿名民谣形成了鲜明的对比。