Love and Temporality in Twenty Love Poems and a Song of Despair
Carlos Santander
Jaime Concha 1.
The first poetry of Pablo Neruda unquestionably tour around the theme of love. The title-happily ever after in the poet-guide us toward a first and tentative understanding of their temples and content. Crepusculario direction, towards the boundary between day and night, to a fleeting moment that is par excellence, where the sunrises changing play of light and shadow, the last rays of sunshine and the first stars acclimate the situation of the lovers and intensity of distress. Female attempt Infinite and the slinger Enthusiast highlight potential dynamism, openness cosmic temples superb interiors, while Twenty Love Poems and a Song of Despair manifest the dramatic contrast of a communication attempt and hope that is frustrated. The traditional characters of the lyrical situation such as the poet and the beloved, the desperate attempt by the foundation of the linkages and the nature of space that the testing takes place, are targeted in this first approach cataphoric.
2.
The twenty poems that constitute the book Poems ... not change this basic situation in front of his beloved mistress. Rather, it confirms it. This allows the processing of each individual speaker of the poems at the level of an ideal speaker - "The Poet", "lover" - to summarize and condense the characteristics of particular speakers. This ideal speaker or author, the "poet" not to be confused with the poet as the real subject. Are known attempts to establish biographical motivation of many of these texts to find real women that inspire them. As these studies fully justifiable and interesting biography of the poet does not solve the problem of defining the particular structure of language that makes possible the crystallization of poetry. The author is objective and creative spirit in his work, and on it as such as creativity, can speak with one document of his poetic creation, as the author and creative spirit is but the spirit that gives rise to the work -a moment supreme, the concreteness of the author, and not the real subject in all its vital dimensions. The author's ideal, objectified is not, therefore, not speaking any of the poetic phrases (or basic speaker or character) or simply being empirical poet "[1].
3. In
Poems consistently lyrical attitude of the apostrophe is the lyric: the poet addresses his beloved, with the exception of 4 and 20 poems. But also, the poet looks for the recipient because of the situation itself, because it has a history which is inserted as a new background, the same loving relationship that gives an outcome or a premonition. In this situation the poet-or history-the first thing that stands out is the dimension of loneliness, a loneliness that is not the Horatian serenely contemplative, distant from the bustle, ideal time for superior understanding of the contradictory qualities of the world. Loneliness, Poems, is not nominated, the result of an intense projection of being in the sense of wanting to be alone, but a solitude advent, as a result of some mysterious law of relentless somehow affects your personal life, a loneliness that comes from neglect. That sense, loneliness is not the condition of repose, but of concern, it is not serenity, but despair is not gentle joy of the spirit, but sour wine of martyrdom. The poet is the great left:
I was alone like a tunnel. Birds fled from me.
[Poem 11]
There is stretched and burns in the highest blaze my solitude
arms turning like a drowning man.
[Poem 7]
However, illo tempore, the situation was quite different. 8 In the poem referred to a previous state of wholeness:
I hope, the word without echoes,
who lost everything and had everything.
Never in the book gives reason why this loss, this fall the well despair of loneliness and abandonment. Furthermore, note that this inner feeling of loneliness is parallel to a situation of complete associativity. Appears to be an entity that has suspended its relations with the community or with the historical process. Theirs is an uninhabited world. No personal home or to serve under others, there is urban traffic, streets, buildings and men go by, talk, work. There are no objects that can be linked directly to humans. No objective process than the development and deepening of his own subjectivity. Its spaces are always open, facing the wind, at night, the sea and the stars. It is in this sense, an objective and subjective poet outdoors.
4.
Had that determine your preferred area, we would say that is a border between land and sea, the coast:
Ah vastness of pines, murmur of waves breaking.
[Poem 3]
raining. The sea wind is hunting stray gulls.
[Poem 8]
I who lived in a port from which I loved.
[Poem 13]
My life before anyone, my harsh life.
The cry against the sea, between the stones.
[Poem 17]
In the dark pines the wind disentangles itself.
moon glows like phosphorous on the vagrant waters.
[Poem 18]
Deserted like the wharves at dawn.
[The Song of Despair]
already Clarence Finlayson and Jaime Concha has been referred to two studies of the symbolic value of the coast in the poems of Residencia en la Tierra [2]. Only relevant note here that this space already exists preferred first of Neruda's poetry, without, of course, to reach all the meanings to be found later. Looked at from the ground, Poems, the sea is vast limitless horizons, moving, invitation to travel, rhythm and pulse of life: freedom sum. But it is also unsafe space, possibility of shipwreck, incessant movement, path loss, belt harassment, trapping birds, among ravenous, relentless noise. The ocean supports a great symbol in Poems contradictory meanings which projects the subjective nature of the poet. Your right to freedom, to be unattainable as the waters Sea that bypass all networks, and also their fear of being harassed or imprisoned, shipwrecked on the brief and stormy. In a country like Chile that goes between sea and mountains, the vocation of Neruda is decidedly marine. In 'this regard, the port is accessible location, route finished, the mainland, is also presented, as before the sea, as drudgery place, incidentally, is uncertain. There, the boat is able to moor, but there's also the land exhausts its strength and certainty. The cost categories acquires a space in his being one is, at once, multiple and contradictory.
As the coast is the preferred space, twilight is the time chosen as the center or the temporal dimension. Is the length of the "deep hours" (Poem 3), intersection of life and death:
Speechless, my friend,
alone in the loneliness of this hour of death
and full of the lives of fire
[Poem 2]
Other than the coast also has a nature border. On his being concentrated light to become the fire that makes a fire in the sky and clouds. Then the light goes out, the first stars appear and advents night. Dusk erases the sharp edges of objects:
toward the twilight erasing statues
[Poem 10]
is fleeting feeds solitude, confession, song, time of intimacy and readings that fall, the only aesthetic dimension and depth of the day and that it is the prelude of the night. His being elusive contaminated objects, abducted loved ones:
Always, always you recede through the evenings
toward the twilight erasing statues.
Interestingly, the correspondence between the coast and Poems twilight, when Jaime Concha has warned in Residence on Earth [3] There is also the day-night antinomy, although not as clearly outlined, because treatment of the day is almost zero. In any case, the match in the negative value is accurate diurnidad with that observed by Concha and anticipates what will be its treatment in poetry residenciaria:
brown and agile girl, nothing from you
me about all of you away from me as noon.
[Poem 19]
clearly shows that the poet chooses the shadows. Your space par excellence is the night.
5.
But tonight is not a dream or possibility of "penetrating clairvoyance" [4] and Residence. In Poems is, first, the enabling environment for enimismamiento, the optimal space of confrontation of being alone with his loneliness. The night is the necessary condition of the state opera.
"Lyric communicative situation would be talking to himself, alone. In this situation, can not be predominant area that said, the representative dimension of language, since the listener is the speaker himself, and the fundamental meaning of the communication can be to meet someone you already know (...) Only if I want to express my being, I'm talking about. The words alone make sense as an outpouring of relief, as the solution of internal tensions, as an act of temper to a pitch and objectified as disturbing or incomprehensible state. To say this situation is an affirmation of being itself, a restoration of inner harmony: an expression, rearrangement of being superior íntimo a través del conocimiento del propio estado, que, puesto de manifiesto en el acto comunicativo, se objetiva”[5].
Por eso el poeta puede decir con toda propiedad:
Puedo escribir los versos más tristes esta noche.
[Poema 20]
Porque la noche hace posible el canto. Y el canto surge o del “conocimiento del propio estado”, obtenido mediante el recurso del hablarse a sí mismo, como en el poema 20, o de hablarle a la amada, sea ésta una realidad presente o una realidad que se evoca. Como este proceso del enfrentamiento con la propia desolación conlleva necesariamente el sello de lo doloroso y lo terrible, porque no es fácil el encaramiento de los aspectos more negative and desolate of the self, the night is felt as a potential stalker, terrible as an army:
I was alone like a tunnel. Birds fled from me,
and night swamped me with its crushing invasion.
[Poem 7]
or cosmic dimensions:
night gallops on its shadowy mare shedding blue tassels
on the field.
[Poem 7]
or as pointing to the poet with his finger of death:
mourning makes a cross between my eyebrows
[Poem 11]
But tonight is terrible not only because the scope of self-knowledge but also because it is associated the image of the beloved. The night covers the embrace of lovers
because on nights like this I held my arms.
[Poem 20]
association that leads to the identification of the night with the beloved it.
Close your eyes deep. There
night flutters ... ... ... ... ... ... .......................... You have deep eyes
where random night.
[Poem 8]
are like the night stillness and constellations.
[Poem 15]
however, like poetry residenciaria, there are allusions to the night as cosmic womb where, as said Concha [6] is forged life quietly:
Fragua blue metal, the silent night of fights.
[Poem 11]
In short, the night no issues relating to, or foretelling dream special activities, which the poet meets in the act of poetic language. Instead, it is an area of \u200b\u200bself-recognition, the personification of the beloved and powerful cosmic body that invades the poet with his notes of terribleness, propelling it to the fecund and painful autognosis.
6.
The proclamation of the hardening, the poet shows-as stated-in a state of loneliness and abandonment. The semantic field associated with this situation affects aspects that are related to the weakness and fatigue, pain ('sour my wine "), despair, misery and harassment. In a be bleak, uncertain dam concerns, which is defined as "ravenous water", alluding to a dark unconscious process - "water"-self-harm.
In this determination of the status of the speaker can distinguish four forms of self-definition. First, the self-reference as being in itself. In this sense, is a lonely, uncertain, tired, desperate, unhappy and gloomy. But this being in itself relates to the world or himself. In this second aspect is defined as being imprisoned, harassed, trapped between the sea and sorrow. The subject becomes the object invaded. Officials of the invasion or harassment can be external or internal. When outside, belong to the order of nature: night and the sea:
and me entered the night with its crushing invasion
[Poem 1]
trapped between the sea and sorrow
[Poem 13]
When are internal concerns are related to an own, indefinite, belonging to the realm of the deep areas of being:
trapped between the sea and sorrow
tied to my ravenous water
A third aspect comes from an ad extra movement, starting state of deprivation. Is defined as a search for successful, the elements that could satisfy the great inner thirst.
Bonfire of awe in which my thirst was burning
[Poem 6]
my kisses anchor, and my moist desire nests
[Poem 3]
is the momentum of salvation for the state of lack, but at the same time , awareness of the needs of others, the need to break with reality that surrounds it, with the walls, walls, horizons too close. The desire to transcend himself leads him to define themselves in relation to offices linked to basics. The poet has said that his being first is primitive and savage, that is natural:
My savage peasant body digs in you
[Poem 1] How much you will
suffered getting accustomed to me, my soul alone
wild
[Poem 14]
being presocial Be that as it is unsustainable over time, the poet, as it is compared to others, requires offices, a hint of civilization. This activity, of course, the poetic level, keeps track of the first moments of their association with nature and its founding symbols: the sea, the sky, the earth. For that or farmer (land), fisherman (water):
In the net of my music are prey
[Poem 16]
Leaning into the afternoons I fling my sad nets
to the sea that is thrashed by your oceanic eyes
[ Poem 7]
or slinger and archer (Air)
To survive myself I forged as a weapon,
as an arrow in my bow, like a stone in my sling
[Poem 1]
Aim my road on your bow of hope and in a frenzy
my flock of arrows.
[Poem 3]
Pale blind diver, luckless slinger
[The Song of Despair]
In these trades, fourth moment of self-reference, outlining the extension so that it is pure nature in the activity of the speaker and his relationship with the four elements. The newly designated offices are in the field of manual labor: fisherman, farmer, slinger. But this practice of the poet is not a destination product object, intended for a particular consumer society. Ie, has no broad social purpose. First of all I must say that was developed in the field of images and not a practice to which reference should be made from the poetic act. And these images that allude to an activity of spirit in the manner of parables (for the thirst and hunger are craving the other and not a physiological hunger or thirst) are the reference into a non-social, but personal , the relation-loved poet. It's about her, where the poet runs and does its job producer. And for what it produces are images, ie poetry, it is more appropriate to the office, the office Excellent speaker is speaking, being a poet. And as the hand is the material possibility of being a fisherman or farmer, and the mouth is the material basis of speech, to say the word and its variant silent, which is the kiss. The three elements mentioned above, air, water and earth, and their offices, add now the fourth, which is fire, connected to the kiss, the word and the poem. We have already seen how the fire is associated in the sunset (the hour of death and life filled with fire "(poem 2). But the dusk is connected to the word:
stories to tell you on the edge of twilight
[Poem 13]
and singing:
sad and gentle doll, not to be sad
[Poem 13]
oh reaper of my evening song
[Poem 16]
as fire expresses the kiss:
to where my deepest longings and
my kisses fell, happy as embers
[Poem 6]
I've been marking crossfire
the atlas of your body
[Poem 13]
Cemetery of kisses, there is still fire in your tombs
[The Song of Despair]
words, fire is an active, creative, fruitful in the symbolism of the poet. Is always present as inner attitude of the speaker in relation to the beloved or natural framing of these relationships. In this book we analyze, the apostrophe is always a beloved immediately when the contour is crepuscular. The fires of the sunset are the way to participate that is the cosmos in the poet's feelings. In contrast, when the apostrophe is a beloved absent, distant or lost, the atmosphere is nocturnal. Do not forget, yes, that twilight exasperate their lights for the advent of the shadows. With these moves away from the beloved:
in your eyes of mourning the land of dreams begins
[Poem 16]
Twilight is the time of the consummation of love. Night, when singing the experience lost. My
loathing wrestles with the slow twilights.
But night comes and starts to sing
[Poem 18]
A good example of this relationship kisses fire is given words in the poem 14 where they burn and glow tenderness and sunsets, stars and cuddling in a personal and cosmic fire :
We have seen many times the star burn, kissing our eyes on our heads
and untwist the twilight in whirling fans.
My words rained over you stroking
[Poem 14]
7.
The four states of the speaker-to himself, before the others, search and offices sprout a fertile field in corresponding images. Of course, in conjunction with the state of loneliness and abandonment, is often the sympathy of the poet by birds. Whole field of images revolving around the fraternal association. Fill with singing birds and life as they live. Its remoteness makes it relevant and painful loneliness:
I was only like a tunnel. Birds fled from me.
[Poem 1]
Sometimes birds fled and migrated that sleeping in your soul.
[Poem 12]
birds go by, fleeing
[Poem 14]
Cold stars heave up, black birds migrate.
[The Song of Despair]
From Homer is said that the words are winged. In Poems ... this association is constant:
my words sometimes grow thin
like seagulls on beaches
[Poem 5]
Between the lips and the voice something goes dying. Something
winged bird ...
[Poem 13]
From you the wings of the song birds
[The Song of Despair]
This symbol is no significance of pure movement. Rather it is a symbol of warm life, nest, singing. Of tender joy songbird:
gray beret, voice and heart of a home bird.
[Poem 6]
or freedom:
The sea wind is hunting stray gulls.
[Poem 8]
enough for your freedom my wings
[Poem 12]
And if it means moving, it has the connotation of a definite direction. The birds migrate towards a specific destination, to a fixed address. Are synonymous with guidance, facing the speaker in confusion. Identity is not strange bird-arrow:
wind that carries the litter with a quick raid and deflects the arrow
beating of birds
[Poem 4]
words can not stand doing the same thing that the birds:
They are fleeing from my dark lair
[Poem 5]
Wind my voice trailing silent
[Poem 16]
However, if birds are related through the night, are contaminated with the dark and become hostile:
The birds of night peck at
first stars that flash like my soul when I love you.
[Poem 7]
The hunger of movement of birds hastens the ripening of the situations the poet would be permanent. Exert a destructive action, hence the emphasis on the action of pecking. The small bird pecks to be born, it is action time, to also hasten the death of summer damaging their products and the maturation process leading to rot:
Cemetery of kisses, there is still fire in your tombs, still the fruited
burn, pecked at by birds.
(The Song of Despair]
The same feeling of loneliness or abandonment fruitful another image: that of the deep cavity. The poet sees himself as being hollow and grim.'s Tunnel, well, bilge, dark lair, cave of the shipwrecked. In general, the cavity is land, but land infertile, terrific, without openness to the mystery or hidden treasures. On the contrary, it is sterile and without a metal maceration or fertile root proliferation. It is the counterpart -the absence of light, the astral. The night is always Neruda illuminated by the presence of the moon or stars. So the night is blue, dotted with phosphorescent and populated. The poet does not feel alien, we have said, is its scope for the moment that leads to the creative act, therefore, fertile. It is possible, even certain identification between the pulse of the stars and the passionate rhythm of the individual:
...
the first stars that flash like my soul when I love you.
[Poem 7]
The night sees the poet's activity. And sometimes, the only witness:
No one saw us this afternoon with his hands clasped
while the blue night dropped on the world
Moreover, in contrast to immobilization or statism ground images, the night is viewed dynamically, beating, brewing movement and becoming. The astral or cosmic movement touch the opposite side, the land and affect the fate of humanity, putting his own stamp of instability.
Almost out of the sky between two mountain anchor half of the moon.
Turning, wandering at night, the digger of eyes. See how many stars
bristling at the pond.
makes a cross of grief from my eyes, and flees. Fragua
blue metal, the silent night fights,
my heart turns like a crazy wheel.
[Poem 11]
The vertical relationship is established between the astral and land is a function of splitting in two planes of the lyrical speaker. One is the speaker ground. Only sterile, shipwrecked in existence, gloomy and desperate. Underground in being radical, but with roots that reach to touch the strength of the terrestrial and stirred vaguely in a vacuum. The downside of this being can look in the mirror of the sky. The sky is infinite, attempts of this man. The fate of the song, there installs its effectiveness:
From my mouth to heaven
What was sleeping above your soul
[Poem 12]
is the foundation still. Under it is a succession of astral travel, the disturbing displacement:
Upstream, in the middle of the outer waves,
your body parallel to my arms
like a fish hit my soul infinitely fast and slow
in energy under the sky
[Poem 9]
Under it flares occur of the beloved, lit by blue and tender lover:
girl come from so far, brought from afar, sometimes
your glance flashes under heaven
And if the poet is heaven, though the beloved may be the the cosmic plasma cloud:
In my sky at twilight you are like a cloud
and your color and shape are as I want.
[Poem 16]
This aspect of the poet-sky is related to their being primitive, defined as savage and primitive. The man in the tunnels, caves and dens is being in the world, faced with despair. Being harassed and anxious. The man in the sky has the opposite qualities: permanence, not sinking, the foundation, not the phenomenon, the violent energy, no malnutrition, anemia, and freedom. Is the man in touch with the elemental, revitalized and instinctual:
My life before anyone, my harsh life.
The cry against the sea, between the stones,
running free, mad, in the mist of the sea.
Headlong, violent, stretched towards the sky.
[Poem 17]
The sky gives poet sucked possibility of permanence, foundation, still able to support whatever it ironic movement. Because your great enemy is just movement.
And still presents conflicting enrolled in two strata: one, the sky, the stillness would be positive, the foundation of all things, the fastness untouched by the changeable, the other is the hollow ground, with their quality of sterile immobility , dark (not like the sky that can be filled with brilliance and stellar light), uninhabited. The sky is movement towards an infinite spirit that opens in wider release. Able to perform the individual to the fullest. The deep hollow in the earth's image the annihilation of being, of absolute helplessness. Between the two layers of immobility, are located two: the energy under the sky: sun, stars, moon, clouds, light and shadow in permanent navigation. And the terrestrial and marine, land of the human, constantly changing space of the elements, relationships and people.
There is another common image that expresses the disorientation and anxiety. It is the image of the wreck. As metaphors of Marian poetry, the sea is stormy life that are often lost souls. For ships that cross are made of fog that signal danger or announce the port of destination. In Marian poetry, this lighthouse is certainly the Virgin helps sinners. Nothing supernatural help is on Neruda. The lighthouse is the poet himself for the beloved or the beloved of the poet. In both cases, people have an intense physicality. Just as the wreck is the wreck of one another.
in you everything sank!
[The Song of Despair]
The lighthouse is stable. That being erected in the sea, beaten by wind and waves, means fate, orientation, firmly. It is also light that pierces darkness, wasting useful energy: I
red signals across your absent eyes that move like
the sea near a lighthouse.
(Poem 71
The time of the spell that blazed as a beacon
(The Song of Despair]
About the same field of meaning are the images for navigation. Like the birds, the boats are under the direction clearly stated beforehand. Every chart is accurate in relation to the destination. Your course true, as an arrow directed towards its target-operating magnetically on the sensitivity of the walker undecided.
On the rare times that the poet experiences this security, the temple becomes proud:
summer, the sail of the roses turn
[Poem 9]
hard
passions, riding my one wave
(Poem 9]
Standing like a sailor in the prow of a ship
[The Song of Despair]
But the image can be of service weakness. Nothing more terrible then do not hit the target, by existential blindness or loss of orientation of the port because of the storm or fog.
Pale blind diver, luckless slinger, lost discoverer
, in you everything sank!
[The Song of Despair]
8.
The images that emerge from the speaker as being bullied are generally expressed by verbs or nouns that indicate action to invade, harass tie, cornering. This may, I imagine this situation in a personal way and concrete, made upon it. However, passing on his conscience a symbol sovereign, the king of the transient, movement, able to reverse all things, Lord of the unstable layers, destroyer of the sea, man and earth. This symbol, the most hostile of all in this collection, is the wind. Alone among the twenty-one poems in the text where the attitude is clearly stated lyric poem is four. Their motive is just the wind. The remaining poems are apostrophes, with the exception of twenty poem whose language, lyrical excellence, is the song. There is no identification between the poet and the wind. No distance. It is objectively, but with respect. With the respect due to the divinity, even if it is demonic. The wind exacerbated and more frightening is the storm. Howsoever the poet suffers "the nostalgia of the rest" and his highest aspiration is the definitive nest in the encounter with the other, the storm, which is able to uproot the most solid foundations, or to prevent them or passing them, attracts all the distrust hostile poet. The wind flies could be said, as an evil spirit on the lovers, howling about "the silence in love", announcing the "we" or "goodbye" pure time, effective agent of destruction. Hence the motor character of the trip:
like white handkerchiefs of goodbye travel clouds
the wind shakes hands with his traveling.
His plurality undesirable and inappropriate, shattering the unity of the lovers: Innumerable
beating heart of the wind on our loving silence
His divine character:
resounding among the trees, Orchestral and divine,
as a language full of wars and songs.
If we consider the symbolic value of the arrows and the birds mentioned above, one can understand its evil nature: Wind
quick raid leading
litter and deflects the arrow beating of birds.
In this poem, love it weighs materially as "volume". This love is fought, startled, out of proportion by the enemy force:
breaks and kisses volume plunges
fought in front of the summer wind. All
sound of alliteration is here more than a resource.
The wind, in his evil action, performs the function of the woman he loved away from the proximity of the poet:
Rumbling, storm, cyclone fury,
cross above my heart without stopping.
[Poem 11]
As is the symbol of change, of flow, movement, meaning destroyer may also be associated with death:
Wind carries the graves, wrecks, spread your sleepy root.
The big trees across it.
[Poem 11]
is also an element of harassment and persecution, threats:
Suddenly the wind howls and bangs at my shut window
.................. .........
Here come all the winds, everyone.
[Poem 14]
This is the hostile force of the wind, so great their power, almost his omnipotence, given its divine character, the poet goes up the cry of powerlessness against excessive force more than human:
go by, fleeing birds.
Wind. The wind.
I can only fight the forces of men.
9.
The third state of the poet, the poet full of longing, thirsty, which is defined by the desperate search for another image germinates maximum of these poems are not by chance, love poems: the image of the beloved. There is a poet's aspiration to reach a point of stability, balance and fulfillment. That is, a time defined as complete and perfect, round time, where one can live without the anxiety of course, that breaks down and prevents the full and peaceful possession of the moments of maximum significance. And a space, like time, is total also, certainly, can contaminate your strength in order for it precarious pose. On this basis space-time should be given full merger with the other, the final list with a neighbor who can fully assume all the functions related to human nature: from the erotic to the most finely instinctive spiritual. For the poet-man, this being can not be other than the woman he loved, which, in conducting an ideality sucked materiality should be noted for its famous, for his being brotherly, its capacity for defense, for the lability of compliant forms to the will of the poet and his chances of drawing, as an oracle, the fate of her lover. These are characteristics that allow us to state that "women in the twenty poems is a carnal obviously be able to provide sensual experience joyful, as in the poem number nine, but can also become a cosmic power that sets limits knocked the entire universe of poet, and even more, in a shield, a refuge from the anguish and pain that so strongly beset the heart of the lyric, to assume, finally, in many instances, the role of instrument, a weapon of disclosure of the intelligible " [7]. It this regard, stopping on the analysis of a poem:
Body of woman, white hills, white thighs, you look
the world in your surrender.
Women covered in its entire material reality, felt as an erotic object, and lovingly gaze lingering on her thighs and breasts, the perfect symmetry of white, referred to as the bread, facundo basics. But is integrated into a larger reality and total, as land.
All she willing to surrender without reservation. The vision of women full consistently, in verses 3-4, with reference to the viewer. At that mujertierra rightful man-farmer, the masculine whose contact with the ground is all a trade. But there is a significant difference in the way of referring to two terms of the couple. Woman is earth, ie a cosmic status, a foundation for the viewer. The man, however, a man and farmer, has no other category that is not human. It is the sea, not sky. He has only his job that is none other than starting the fertility of the fertile, as a midwife. The "body woman" is, therefore, a natural being, the "peasant body", by contrast, be acquired, which denounces the temple desperate activity, because it is wild and violent ("undercuts") and the product land is obtained from a brutal way ("makes the son leap"). The causes of this desperate violence are given below:
I was alone like a tunnel. Fled from me
birds and me the night entered its powerful invasion.
previous quartet has a temporary key to this (look, undermines, makes), the key change to past explains the intensity and violence of that possession. It is the fear of losing the beloved, the reissue of loneliness first. Characterized the solitude and darkness myself. A tunnel is dug in the earth sciences more infertile lower. Sterility, lack of singing, inability to serve a minimum nest warmth, is reflected in the expression "birds fled from me". The birds, still pulsing life, fleeing the cold and leafless tree, a foretaste of death.
If you do not want to succumb, the speaker has to be transformed. In the war of existence is not enough empty-handed. The weapon is an extension of the arm, do the will. And the woman has become a vital instrument of defense of the poet. For a "wild peasant", the former being almost civilized, which is to be social, the weapon must be corollary: an arrow in the hand of a Greek Apollo, a sling, as in the biblical shepherds. Arrow and orientation are also deep, precise way the exact parable maturity. But the poet has said that this beloved that provides with rapture, he forged "as a weapon '. The woman and falls more in the category of wishful than that of objective realities. The attitude of the beloved delivery from a having loved, dreamed, or created so, rather than a way of being so independent. With it, you might avenge the earlier helplessness survive. The insistence on its materiality to dispel the entelequez of conception. The beloved excogitating-extracted by a creative act of mind or knee of the poet-god-must see their outlines accented material to dispel illusory and transient nature. Hence the emphasis on primal aspects of fertility and nutrition ("body of skin, of moss, of eager and firm milk"). Being created, however, inherits the weaknesses of his body consubstantial creator. Is say, hopes to find the ultimate and definitive foundation of existence and the fear-based on the clarity of historical subconscious, "that the reality referred to by their eyes is not a reality in itself, but an illusion, not permanent, but stream itself, in its spinal, by their nature fleeting, dull and lacking.
vessels chest Ah! ah the eyes of absence!
Ah the roses of the pubis! Oh your voice, slow and sad!
The Alexandrian is broken into two hemistiches alluding to the two contradictory aspects of the beloved. A positive objective, sensual, fertile, creative (chest-pubis) and a contrasting subjectivity, which detracts from that belies the integrity of objectivity mented: "eyes of absence ',' voice slow and sad".
In the final quartet
Body of my woman, persist in your grace.
My thirst, my desire without limit, my shifting road! Dark
beds where the eternal thirst continues,
and weariness follows, and the infinite ache.
-after analytical ecstasy previous stanza, the whole re-integrate. "Body of woman". But my woman's body, where the proclamation of possession of the love object is a sense of having extracted himself. Thus, for purposes of this deep awareness of true being of the beloved, it becomes insufficient. As a gift, a blessing, a benefit is, however, in the background, a brief respite, a dream.
The beloved is unable to quench the thirst of the great poet, and thus can not be as inexhaustible source of refreshing and nourishing liquid, neither can it be the beacon that guides the navigator in a different way to the wreck. The poet will always aspire to a final grace, because he affects a laceration without limit. We do not know what trauma of origin, but "the eternal thirst remains" and the road continues to the "infinite". And life-line to an old image-transforms into a vague destination path, where pilgrims still footprint, now more painful by the experience of illusion. Nor the arrow or sling have hurt the enemy, and reached its destination.
The poem has taken foot in an act of contemplation of the love object, ecstatic about the final links to material essences, such as land, has explained the desperate temper of his possession, in the hope that is assigned as a fruitful balm feelings of loneliness and sterility. But the object was excogitating by the poet himself, as a wish-fulfillment and deep affection therefore the action of temporality. In the act of contemplation of the beloved, the poet sees it as its own essence of being that aspires to be definitive from the most radical precariousness. Do not forget those roses of the pubis, beautiful flower, but of moments.
why Rodriguez is wrong when he says that "Neruda in a process of transcendent Freudianism, sublimating his sexual instinct, bringing to a cosmic level and represents their subconscious erotic, has forged a central reference unit, an image as a carnal power assumed divine powers: god-woman "[8]. Divinity is always absolute contour. This woman is coveted as divine, but the intensity of contemplation has been revealed to the poet in essence contradictory reality full, sensual, material, land, but also a fully false, because she does not; has been designed well, and when the poet vividly the sight, sees in the depths of his eyes the ultimate truth, absolute intelligibility to provide firmness and resilience game of life, but the terrifying void of absence.
The materiality of the beloved is not, therefore, absolute. Takes two forms: a full realization settled in images or metaphors that relate to land or natural elemental ("fog belt", "arms of transparent stone", "hands of grapes ',' blue hyacinth), and in this sense, full of positive meanings (sensual, land, fertile, deep, vital, nurturing, focus of hope, light, archetypal), another gives materiality that is dissolved, which escapes from the hands or are efumina in sets of lights and shadows twilight (distant, traveling, death, suffering, fleeting, silent, pale, absent, sad, silent, keeper of darkness). This is contradictory to the beloved, operates in the poet's sensitivity so that the object of love becomes hostile, totalitarian, harassing,
Everything You fill everything you fill.
[Poem 5]
your silence hunts down my tormented hours
[Poem 3]
When the material is concrete, the beloved is all glorious:
Sky from a ship. Field from the hills
[Poem 6]
to believe you own the universe.
[Poem 14]
But in this same image with the same route reaches high and low, is perceived to be unreachable beloved. She is away, I remember, forgetfulness, from the point of view of space inasibilidad:
You are far away, oh farther than anyone.
[Poem 17]
distant and painful as if you were dead.
[Poem 15]
The fear of separation or abandonment occurring, backed by the deep experience of its inevitability, "or prevent the sexual act is performed with a maturity that disclaiming distress or anxiety, or lights an oblique manner, with the intensity of a twilight misleading, the rare moments the happy presence of reality:
gratifying when the streets because I are absent.
distant and painful as if you were dead.
A word then, one smile is enough. And forestay
happy, glad that's not true.
[Poem 15]
Being single and harassed it is the poet has undertaken the quest of an impossible love. Although physically can be an act of possession, and in this sense it is possible he can not grant final peace because amaday love are regarded sub specie mortis.
has come to sleep on your belly a butterfly shadow
[Poem 8] On the fertile
on white and nutrient in same domain of the sensual, restless and ubiquitous reality, grim death. The whole life of poet-even at its brightest, is navigating
bent towards the death of the thin day
[Poem 9]
The poet is appointed by the fateful destination:
mourning a cross on my forehead
And the night is felt as terrible as
"a digger of eyes."
[Poem 16]
The loved it, the way the poet, "the eyes of mourning" and is designated as the fatal evening light:
in its mortal flame light around you.
[Poem 2]
because
she is slave of the circle in black and gold
[Poem 2]
Hence, the poet can say that The Song of Despair
only the tremulous shadow twists in my hands.
The beloved, well, holds the attraction of being concrete, material, sensual, felt so great at the time of its manifestation as the universe. She has the power to reawaken the basic life of a being, which as the poet feels anemic and transform it into a solid entity in its instincts, primitive and wild. The other face of the goddess-like dark side of the moon is the revelation that the existence-all the time, all space, objects, people and relationships, is consubstantial with death. Everything gains the stamp of the perishable. And just next to that death, nothing better expresses that the relationship poet loved, which is the fugacity for excellence. The whole character of this teen poetry of Pablo Neruda is discharged into this conception of love in the carnal satisfaction is not ever satisfactory. An unconscious sense of guilt associated with pleasure to death. Is what leads women to feel like an invasion or harassment. Along with his appeal late distressing desire to escape from it. Contradictory view of women-in polarity of attraction and repulsion is maintained by the poet in all poetry amatory of his early works, from Crepusculario to the slinger enthusiast. The same vision of sensual love can be seen in the early poetry of César Vallejo, with the difference being that the Peruvian poet sensual attraction exerted by the sinful woman carries the connotation of a Catholic education itself. Sensual love is linked to a strong sense of guilt and liberation is possible only because the awakened manhood is inalienable and because its exercise, the more full, more so bogged down in a viscous world instinctive, absolutely inconsistent with healthy white and lifting moments spiritual.
In Neruda, however, the reason is the bearer of sensual love of metaphysical anguish: all reality-and the best example is the beloved, is radically ungraspable. Its brevity, its perishability forces the poet to sip, to live with a desperate intensity, inversely proportional to its precarious nature. It then explains the runaway greed and frustrated sensuality. The deification of the beloved one hand, and the contemplative rapture material respects, on the other, arising from the anguish of knowing temporary. Insisting she is insisting on the pain. Being with her is to live and be without it, live. In this fire burns the poet. And, either because the loved one represents all the affection you need a single soul, and the natural corollary of every male, either because, although fleeting, provides moments of life and fullness, the anchor in his being is undeniable. Shipping to the beloved is a ritual act of self-sacrifice. So loved and can be associated with cross:
Ah woman, I do not know how you could contain
in the land of your soul, and the cross of your arms.
[The Song of Despair]
The situation of maximum tension arising between poet and beloved causes a liberation movement. The beloved is anchor of being that wants to be free, but freedom should not be sucked abstract if it is to be successful. The woman is felt in a moment, as the concrete possibility that instance libertarian, but its concreteness, its materiality, sensuality, form, fleeting nature makes sense that space as open in a new form of imprisonment and sacrifice.
10.
In this dialectical process, this unresolved conflict, explains the painful anxiety temper and vocation for the infinite. The break in the vicious circle of encadenante situation is the fact that the lover realizes his key dramatic reflection made by word, ie, through a poetic act. The task processing cathartically poetic in the only way to be true, as the individual sufferer, the poet sings a carnal sense pain biographically experienced, which is released, lean, but sublimely through his singing. The poem thus becomes real love space, absolute, unsatisfactory, poor, but the ultimate fulfillment of creation. The beloved, existentially, is the bond and anchorage, the hug and the fence, but also the possibility of singing. Being painful it is to the poet, harassed and pretender to the infinite is their job excellent compensator frustrations in the practice of poetry.
Hence, the beloved is distant even when present. In cases where the apostrophe is not addressed to a beloved evoked, but immediately, even in these operating a process of disengagement. The poet speaks to the beloved, but not in a real plane, goal, but through the poem, in the poem. In the end, the poet speaks in solitude. Recounts his credit and his due. Is a writer himself. This attitude is reflected in the structure of the product lyrical. The poem is organized as to tell. Usually begins with a present: I can write
saddest tonight
then alludes to a past:
On nights like this I
my arms and returned to the key holiday This forward-looking:
though this is the last pain she causes me,
and these the last verses that I write
[Poem 20]
Triple temporary key can be seen in one way or another clearly in poems 1, 5, 6, 10, 12, 13, 14, 15, 17, 20 and The Song of Despair, and, if not structurally , at least we as a movement of the spirit, the ebb and flow of feelings of approximation and distancing of the poet:
A black sun and anxious is braided into the strands of black hair
when your arms.
You play in the sun like a tidal
and he leaves you in the eyes two dark pools.
[Poem 19]
After this initial game situation in mind, the inevitable movement of distancing:
Brown and agile girl, nothing from you about me.
All of you away from me as noon.
And then, the forward projection:
my somber heart searches, however,
and I love your beautiful body, your voice, soft and free.
whole poem is centered on an apostrophe in there, but even within it the feeling of the poet moves in the same sense of contemplation, remembrance and the projection of this experience into the future.
11.
poet-chronicler has thus come to their own territory in poetry. His only words are. An exclusive right for the poet himself. When you enter contact with the beloved, is the preferred environment of silence. But the silence. It is a silence - "our loving silence", which includes the word itself, the language, the communicative act. The word does not need to perform at their full sound. Rather it is a "complaint of love" that emanates from the fraught nature of silence, focusing on the intersection of silence and voice.
Between the lips and the voice something goes dying.
[Poem 13]
And the word scarcely begun on the lips
[The Song of Despair]
For the act of love, the poet reserves the oral and an ardent appeal of
and calan kiss my lips, happy as embers
[Poem 6]
I've been marking crossfire
the target alias in your body.
[Poem 13]
The beloved itself must be silent or lowered voice: "slow, sad voice" [Poem 1], "mysterious voice" [Poem 3], "silent" [Poem 8]; "morose" [Poem 12], voice soft and "[Poem 19]. But there's more. Such is the self-identification between poet and words, it is taken as a competitor of women. The word so beloved of the beloved poet as it is displaced by the presence of women in sensual form of matter:
And I watch my words distant.
more than mine is yours. Van
climb on my old suffering like ivy.
They climb well on damp walls.
You are to blame for this cruel
They are fleeing from my dark lair.
You pervade everything, you fill it with mud.
On this occasion of the words in competition with the beloved, is particularly illuminating the entire text of the poem five. Of course, the erotic approach requires a pass word-background, which will reduce its volume, potential back to its origin, it is only a trace:
For
you hear me my words / sometimes grow thin
like seagulls on beaches.
However, an uneasy conscience provides the real distinction between beloved and words. The beloved is to be fleeting and, ultimately, the system transient possessive lover. The words are a company consubstantial. So you can say
Before you they peopled the solitude that you occupy,
and you are more used to my sadness. It is strict
to define the domination over them and the exact address of the message:
Now I want to say what I mean
to hear as I want you to hear me.
words eventually become a pair of handcuffs that tie the hands of the beloved, transforming it into a sweet Soft prisoner.
I am making
an endless necklace for your white hands smooth as grapes.
magical necklace achieved-even if only poetically "to stop the incessant movement of its being temporary.
again from another angle, and we conclude that the poem is the space of absolute love.
Poetry is also used for the glorification of the beloved. She proves to be, when it is the poet himself, the only recipient of the message that involve:
Oh das able to celebrate with all words of joy.
[Poem 13]
My words rained over you stroking.
[Poem 14]
And more. 15 In the poem raises a whole playfulness, almost masochistic, in relation to the word and its ability to be illuminating a truth that is needed. The quiet woman seems to be absent in advance. And the poet referred to in the absence imaginary, "as if you were dead". In this game you can see how the woman he loved, even if present, alive in the distance as an object created by the poet's playful activity, through a similar psychological mechanism of adolescents who weep real tears imaginary death parents. The game breaks like glass when it breaks the reality of a word or a smile
A word then, one smile is enough.
And I am happy, happy that it's not true.
Finally, we should insist on the word balsamic. The experience of love is a bitter and frustrating experience. And to the extent that, even when the loved one present in all its materiality, the poet, the distance across the apostrophe or through an act of imagination, for that distance, that distance, that is the place where dwells ultimately beloved, is the unique experience of it. The poem comes from the need to survive. The beloved was also forged the lover could survive [Poem 1], to grant the direction of travel and gave him meaning. But the creature did not respond to proactive project creator. It's like a God, having created man through the word, his project failed, it would meet only in contemplation of his word suffering. Frustration leads to suicide (and Neruda has fought all forms of suicide in his characteristic. Generation) or to the poem. Choose the latter as a sublimation of pain. Hence, it can feel like an ointment precarious, but something refreshing to the spiritual wound:
hear the immense night, more immense without her.
And the verse falls to the soul like dew on grass.
[Poem 20]
sentimental projection that the poet has on nature also makes its own voice can be like a voice from the elements. So the earth sings, the rivers sing, dusk resound buzzing or howling wind, the trees are complaining, the crackling forest, sea sounds, the night singing or sea river mingles its stubborn lament. In short, an entire sound architecture is multiplying the mournful voice of the poet. From this point of view, the poet is located between the cry and silence. The cry is for her being alone and wild:
My life before anyone, my harsh life.
The cry against the sea, between the stones,
running free, mad, in the mist of the sea.
[Poem 17] Among
the scream and the words are variants of the cry: complaints, rumors, howls, crepitares, laments. Then the word, whose greatest achievement is the poem or song. Then just whispered word, "between the lips and voice", and finally silence. This last group is never the poet. Only items-night, for example-and loved this property. Silence is the mysterious realm where fate is forged, a destination that has dim prospects for the speaker. Silence therefore belongs to the realm of terrible. Before him the word is not only balm, but also spell.
12. Throughout this
dynamic speaker who is torn from the feeling of loneliness to the job sublime poet, one can detect the internal struggle to get free of the destructive anguish and find the territory which is a radical denial of death. One can speculate psychoanalytical on the fact that the premature death of the mother removes the real self, which is behind the speaker-all founding roots. Be just like "tunnel" is to have the empty set in retrospective and prospective dimension of being. Is unfounded, the media psychic is able to provide the maternal imago with its connotations of protection, warmth and encouragement. The vacuum in the rear not undertake to work calmly and decisively to overcome the dragons that guard the threshold of the best fruits of life. There is no confidence towards the authorities surrogate mothers and as it burst into the soaking of the night and time, and also feared that the beloved fade wasting its realization in any of the evening. The hope placed more by necessity than by certainty can be a basis beloved is frustrated by the inevitable distance, it takes both the reality of a teenage love-love is never final, as for being a priori in the mining waste subconscious of the poet. And distance is foreshadowing of oblivion. For this reason, and this dimension what is the world, love and life, the poet seeks a dynamic final gesture, a movement definitely liberating, to the possible space of absolute freedom, free of contradictions, beyond loneliness, matter, the desire and the act, love and death.
smoothly, without walls, without harassment, with a philosophy of freedom profoundly anarchic: Anxiety
that sliced \u200b\u200bmy breast into pieces,
is time to take another road, where she does not smile.
... ... ... ... ... ... ... ... ... ... ... ... .... Oh
follow the path that leads away from everything.
[Poem 11]
The Song of Despair is all chronicled in the biography of the speaker. From the most radical desolation evokes the woman he loved, makes significant history of their love and making it the only decision for that might not want to die crucified between night and day-dawn, or between land and sea : Ah
beyond everything. Oh farther than everything. It's time
socialize. Oh Alone!
And the true sense of the whole text of the final decision of the last verses of The Song of Despair lights when we remember that the poet says: Oh
follow the path that leads away from everything, where there is no short cut
anguish, death, winter
with their eyes open in the dew.
[Poem 11]
In Proceedings of the University of Chile Pablo Neruda
Studies Year CXXIX No 157-160
January to December 1971.
[1] Felix Martinez B.: The Structure of the Literary Work, Santiago de Chile, Ediciones de la Universidad de Chile, 1960, p.
124 [2] Jaime Concha, "Interpretation of Residencia en la Tierra de Pablo Neruda." Mapocho, 2 (July 1963), p. 15, note 32.
[3] Op cit., P.17
[4] Concha, op. cit., p. 9
[5] Martinez, op. cit., p. 131-132.
[6] Op cit., P. 14
[7] Mario Rodriguez. "Image of Women and Love in a Time of Poetry of Pablo Neruda." Annals of the University of Chile, 125 (1962).
[8] Rodriguez, op. cit.
Site developed by SISIB - UNIVERSIDAD DE CHILE
0 comments:
Post a Comment