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| omnipoetics:lord [2025/02/19 00:31] – [Connection to Nahuatl Authorship] adriana | omnipoetics:lord [2025/02/19 01:02] (current) – [Connection to Nahuatl Authorship] adriana | ||
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| - | There are two ways to explore Nahuatl poetry through this lens. The poet was the singer and the composer, so if the //Cantares Mexicanos// uses a specific performance by a specific singer, than that is what is meant by authorship, as the quote above with Lord. The poet is creating the song and is authoring it anew with each performance. From León-Portilla' | + | There are two ways to explore Nahuatl poetry through this lens. The poet was the singer and the composer, so if the //Cantares Mexicanos// uses a specific performance by a specific singer, than that is what is meant by authorship, as the quote above with Lord. The poet is creating the song and is authoring it anew with each performance. From León-Portilla' |
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| + | //The following is opinion//: | ||
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| + | This is further complicated by the fact that performances often had multiple singers. The idea of authorship seems to have implanted itself in a tradition that is far removed from the preoccupations of ownership. The singers were receiving the flowers and songs from heaven during collaborative ceremonies, and yet, the modern critic still attempts to introduce the individual into the mix. The individualistic perspective does not align with the circular view and the collectively made works. While Lord argues that each performance is an author, I would go further and say that there is no author and there does not need to be one. The beauty of the poetry, even as removed as it is, does not come from knowing which specific poet we are attributing the song to. In fact, I believe that placing the idea of authorship into the reader' | ||
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