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Poema N º 20 .- Pablo Neruda

Analysis of the Poem No. 20 of Pablo Neruda

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In this poem , the lyrical "I want to express the ambiguity of the feelings of love, the unattainable and that this is unsafe. The feeling (especially the melancholy of loss and anguish for the vacuum) is the source of writing (I can write the saddest lines tonight). The beloved does not appear as a person but as an elusive entity, thanks to the dismemberment of his image (voice, body, eyes, ears). We insist on the eyes, adjective like "great", "fixed" and "infinite" what identified with the sky and the stars ("immense night," "endless sky, stars infinitely remote, eyes like stars, infinite number of stars, etc..).

And shiver, blue stars, far away ": the verb shiver introduces a metaphor that expresses a complex connotation: the stars twinkle as if shaking with cold, as if they were" blue "so cold, the cold is the feeling corresponding to the solitude, the stars are up there as lonely as the poet is down. It is significant that this verse appears to exemplify the writing of sadness.
In all the verses in which appears the word "writing" is implicitly a function cathartic poetry, but where it is given more explicitly in "And the verse falls to the soul as dew to grass." Poetry as a balm and solace to the pain of loss.

"Write, for example": The term "eg" is not poetic and prose corresponds to, and their presence here produces a sort of gap between writing and literature, as if the poet would say: yes, me literature offers these or those means of expression, gives me talk about the objects, but I want to talk about feelings.
seems significant that the two isolated verses that make up verse (I can write the saddest verses night / The night wind revolves in the sky and sings) concern, one, the feeling, and another, the environment of nature, which are the two points between which varies the poem: subjectivity, objectivity, as if the poet seek at night and the stars, vehicles to express the feeling. However, there is constant movement of objectification to the night sky, stars, trees, and then a return to the subjective, in a pendulum motion to reach the painful conclusion: "we are not the same."
The poet draws a parallel between the objective world unchanged ("The same night," "the same tree") and the instability of feelings ("We of that time, we are not ourselves "). From that moment it seems that the pain worsens, the pace is quick" In other [...] infinite "), but the poet is the consolation that may still feel love (But maybe I ") as if the greatest distress came from the loss of feeling, rather than the object itself
formal analysis: the Pablo Neruda Poema 20, is composed in couplets, or couplets, Alexandrians. The characteristic of this poem is the coincidence of the break with a strong syntactic cut, so that each hemistich enclose a sentence ("To think that I have not. feel that I lost") or sentence ("The night is starry and she is not me ") or a syntactic unit minor (" The wind of the night screaming at the sky and sings "" And the verse falls to the soul / like dew on the grass, "" My voice searched the wind / to touch her ear "). These strong internal breaks Alexandrian reinforce the melody, which is not interrupted, but underlined by the presence of tripartite lines, for example," It's all [... ] Away "the caesura falls after the first" far away "does nothing but enhance it significantly.

Sources: Marta Marín, and Argentina Latin American Literature

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