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Chapter 1
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chApter 1 Bouena’s Ode to Salonika In order to appreciate the vast array of coplas written by Bouena, one needs to consider the themes that recur in each collection and to attempt to view the verses in a historical context. This poet displayed an uncanny awareness of the intricacies of her community and its history and integrated her perceptions into her poetry. She was also extremely cognizant of the changes that society was undergoing at the time, especially because its younger members were being exposed to modern notions that often threatened ancient traditions. The dissonance that resulted did not escape her attention; it was often unsettling.1 As a result, she is critical or sarcastic at times about, for example, the greediness of young men seeking marital matches or about the way in which the latest fashions dictated the lifestyles of the youth and of the women. In her writing, she displays the utmost respect for the traditional lifestyle as manifested in her detailed descriptions, often containing Ladino proverbs, woven into her coplas. In order to present a clearer picture of the life that Bouena describes, the themes under discussion appear in the same order as the reordered verses (and their translations) in chapter 3. These themes deal with coplas and expressions (nine verses), dowries and marriages (fifty-one), births and children (twelve), family dynamics (forty-six), social commentary (forty-seven), philanthropy and education (twenty-seven), economic status (twenty-six), women’s work (ten), Ladino publications (seven), the Sabbath (twelve), holidays (thirty-five), changes in tradition (twenty-eight), the dictates of fashion (twenty-seven), nationalism (thirty-one), historical developments (eighteen), and assorted anecdotes and expressions (twenty-six). Coplas It is interesting to note the attitude Bouena and the Salonikans had toward their rhymed couplets and Ladino expressions. The nature of coplas changed over time, since originally they were more or less part of the rabbinic world and only later were they adopted by laypersons. They also became more satirical and less elitist in the twentieth century; one can see that many of Bouena’s poems reflect this particular development. Some modern coplas were published, but 20 u An Ode to Salonika many of them were extemporaneous and remained unpublished.2 The more spontaneous copla was part and parcel of everyday life, a common means of expression in the popular culture. Bouena does not hesitate to inform us that coplas were an integral part of life for the Selaniklis. They were tossed out in informal settings such as the home, often accompanied by a toast to whatever or whomever was appropriate. The workingman returned home at the end of the workday and spontaneously tossed out a verse about what had transpired that day. There is no doubt in Bouena’s mind that there are various levels of talent involved here, from the simplest to the most sophisticated; she insists that coplas are innate to Salonikans who are born to create them. Nevertheless she is well aware that there is an art to creating them, in which she herself engages and seeks to revive or at least to preserve to the best of her ability. In her opinion , there was even a divine aspect to the role of the creator of coplas, for his or her talents are considered to be a gift from God. In her opinion, the finest of the copla versifiers were the journalists whose pens flowed freely, and she specifically mentions two of the many journalists in the city whom she greatly admired.3 The Jewish residents of Salonika appreciated coplas, especially since they provided a great deal of pleasure to one’s family and friends. In this culture, wishing one well with a copla was as effective as, if not more so than, a greeting card or presenting a loved one with flowers or chocolates. Presumably, the more successful coplas were recorded for posterity and copied in order to circulate in certain milieux or families, and some made their way to local printing presses. One is also advised that the Salonikans had their own expressions and this is not surprising, for every society has its own linguistic proclivities, nuances, and sayings. However, Bouena seems anxious to emphasize the strong JudeoSpanish tradition of quoting ancient sayings and expressions, a prevalent and pervasive custom among her brethren. There may be many ways to express a particular feeling or describe a situation, clearly a tribute to the rich Ladino heritage; numerous proverbs are included at the end of this...