Don Marcelino or criticism as art


I dreamed, beloved, in perfect beauty,

The source of all light and all life.

Angel selected these first two verses from among all those I copied from him to tell me that he cannot stop reading the rest of the delivery. He silently read and reread to himself. As if he was reading at a different time – he explains very seriously – that first verse of “ideal beauty.” I would not be surprised. I remember the ancients called it an experience. Reading is remembering. Any pleasure, including reading, is determined by memory or the amount of accumulated benefits in our biography.… Perhaps it was the word “beauty” that caused her delight. The joy of reading that first verse became vital to my friend. He got caught in the net of the poem. He had no idea that his family was waiting for his return to Villahisan. He remained lying on the shores of the Liencre sea and re-read aloud the last lines of the poem. Epicaris:

And when you wake up from such a deep sleep

I saw it take shape and take shape and accent

Perfect beauty in your beauty.

Angel’s communication exercise, when he tells me about his feelings while reading a poem by Don Marcelino, confirms my suspicions: reading is not a vulgar practice. It is a complex operation of surrendering and rebuilding ourselves, surrendering to transpersonal strength, poetry and healing to register the emotional effects it has caused in us. The ultraist Guillermo de Torre must have felt something similar when he mentioned the poetry of the humanist Menendez Pelayo. An exquisite water taster from the source of Dr. Lemon, who wrote letters from my city to Alfonso Reyes and Gerardo Diego, Jimenez Caballero and Lorca, Huidobro and Borges and therefore many other writers of the twenties of the last century. , showed the smiling face of the poet, embodied in the rich erudition of Menendez Pelayo.

Guillermo de Torre, born in Madrid in the same house as San Isidro, founder together with Ernesto Jimenez Caballero from Literary Bulletin, and the greatest ultra of all time, successfully conveyed the poetry contained in all of Don Marcelino’s work. It is not surprising that for this reason alone, Guillermo de Torre was recognized as one of the most important literary critics of the Spanish language for the expression and wings of the poetic and artistic meaning of Menendez Pelayo’s erudition. this is History of avant-garde literature it is still the avant-garde-avant-garde book. Also for Propellers the first and, perhaps, the last book of poetry, naturally ultraist, written by Guillermo de Torre, will be remembered by this great critic. The book that García Lorca knew by heart and read everywhere; by the way, first edition Full composition of writingswritten by Federico García Lorca after his death, were compiled in eight volumes by Guillermo de Torre by Losada in Argentina with a memorable introduction. Well, Guillermo de Torre expressed with ultraist precision, that is, frightening any fear of audacity, a thought shared by the great poets and philosophers of Spain: Menendez Pelayo he was “wholly an artist, an unborn sender of beauty within himself.”

Possessing the authority that gave him, putting the question of poetry above the question of poets, previously interested in the meaning of poetic expression, rather than its authorship, Guillermo de Torre was completely correct in his approach to the genius of Menendez Pelayo. Since poetry was his primary preference, “to always live in the substrate of his spirit,” no one like Don Marcelino has taken on the task of interpreting concepts of beauty in Spain, from Plato to the romantics. None of people like him had the discernment and courage to walk this long journey through time and literature. There is no one who can match his “exegetical insight” and ability to find and reveal important, unusual pages about beauty in the book jungle.

And, of course, thanks to this poetic power of beauty inherent in all of his works, with almost no ideological exception, thousands of attempts to manipulate their thinking have failed… Many wanted to manage it, but few, if not anyone, managed to privatize it as their property. The poet, humanist and inventor of art criticism was not from the two Spain. He belonged to everyone. It surpassed the banners. His poetry, including lyric poetry, was not “partisan”. Along this path and from exile, Guillermo de Torre, like his friend Diez Canedo and other people on the left, like Juan Goytisolo in recent times, began the restoration of the author, whom both were ideologically used for torture. , especially by those who, after the civil war, wanted to make it the basis of their cultural policy. Fortunately, as the ultraist admits, even the “winners” could not use it effectively… Obviously, the poetic vision of Menendez Pelayo, created by Guillermo de Torre, contrasts with the vision of the 27th birthday poets. I doubt that Gerardo Diego, a stern critic of Don Marcelino’s poetry, would have admitted such an interpretation; And I say this not because Diego was among the winners, or because Diego and de Torre had a tense relationship, since the former did not introduce any ultraists into his famous Florileggio, but because Diego, before and after the war, never understood the classic , the humanistic and poetic world of Menendez Pelayo. He never admitted that his scholarship was truly poetical. Art.

It is striking and even suspicious that Gerardo Diego, “the creator of what we will never see,” poetry, did not notice or, even worse, did not highlight the poetic and even lyrical content of Don Marcelino’s work. Strange. I would like to believe that the explicit confession that Gerardo Diego made in 1971 to the person who actually saw him with an ultraistic gaze, Guillermo de Torre, contains a note of appreciation for the poetic art of the wise humanist. Perhaps the praise of the exiled critic contains proof of the poetic value of Don Marcelino. Be that as it may, dispassionate and ironic Diego, in his obituary, acknowledged the clairvoyance of the literary critic:

Guillermo, Guillerito, was a real eighteen-year-old boy, and he looked into life with his wide, amazed eyes. His gaze remained clean and young until recent years, no less than the smoothness of his face (…) In those years, Guillermo wrote poetry, which he later had to collect in his book. Propellers and that soon Lorca will learn and read by heart. Hélices will remain a document of an unusual period.

Thanks to his keen curiosity and cosmopolitan enthusiasm, as well as his well-organized private correspondence, Guillermo de Torre appreciated the materials for his later critical work, which began with his work. Avant-garde European literature… He was already potentially – not a poet, as he strove to be in his youth, but a theoretician, essayist, historian of endless metamorphoses, problematics, conjectures, the balance of poetry, art and literature of our century.

Who grabbed the unbreakable the dual nature of the poet and scientist Don Marcelino This is Dr. Cidad Vicario, who reminds me of one of the reading sessions I recommended to him at the beginning of his vacation. It is about the famous speech of Don Marcelino in 1907, dedicated to the admission to the Academy of the Language of Francisco Romero Marina. The conclusion of this memorable text, written with both art and science, is an important reference point for understanding the poetics that underpin his work: learn. me; but I will never agree to be considered outstanding teachers, worthy of communication with sublime metaphysicians and sublime poets, as well as with great historians and philologists, scribes of inscriptions, curators of variants, authors of catalogs, etc. bibliographies, grammars, studying forms conjugation in one or another barbaric and illiterate dialect, and in this sense there is an infinite number of useful, hardworking, worthy workers in the republic of literature, but who do not and cannot leave the category of workers Without literature, without philosophy and without style Literary history, as well as any other genre of history should be a living and organic creation. encia is his starting point, but art is his end, and only a generous spirit can embrace the breadth of such a set and make an aesthetic spark emanate from it. ” The meaning of the quote my friend wrote down is overwhelming. Science is not enough without poetic art… The coincidence on this issue between Menendez Pelayo and Rodriguez Marin is undoubtedly the most poetic and scientific editor of all time. Don Quixote from La Mancha, further strengthened the friendships they had maintained throughout his life.

Don Marcelino’s comments about Rodriguez Marin’s intellectual superiority, especially his work on Cervantes, prompted my friend Angel, a dentist from Machupicu, to ask many questions about Don Quixote in our time, and as a person who does not want this, he says goodbye, leaving me the question is in the air: is the interpretation, or rather the reading of Don Quixote, more relevant and universal than that of other writers of our time? Who knows! Well let’s face it without taking this into account, Don Quixote Readings Don Marcelino Must Remember… Memorable I take this question as pleasant homework and will try to explain the essence of the matter. I will consult with one of the various publications of Don Quixote by Rodriguez Marin. By the way, a “chop” from the Academy, a “philologist” of only a hundred, Rodriguez Marin with all contempt called him a Seville lawyer who loves Don Quixote. Poor! Don Francisco Rodriguez Marin has never really been a teacher; Yes, he was an Andalusian from Osuna and worked as a lawyer in Seville; In addition, he practiced with the highest dignity as a poet, folklorist, paremiologist, lexicologist, and above all, he continues to be the best editor of Don Quixote of all time, unfortunately for the chulito who copies him without quoting him. …

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