José Martí Reader. Jose MartiЧитать онлайн книгу.
intent upon recasting the past to express an unstable present.
Of Martí’s three principal poetic works, Ismaelillo is a free, luminous volume, written largely in Caracas, and published in New York. Its imagery is so singular that the poet felt compelled to comment on its oneiric quality in a letter to Diego Jugo Ramírez on May 23, 1882:
I’ve seen those wings, those jackals, those empty goblets, those armies. My mind was the stage, and on it all those visions were actors. My work, Jugo, consisted of copying. There isn’t one single mental line there. And, how should I be responsible for the images which come to me without calling them? I have done nothing more than put my visions into verse.
The volume is dedicated to the poet’s absent son. The poet occupies the center of a visionary space in which the perils of modern life assault the poet/narrator. “Alarmed by everything, I take refuge in you,” he writes to his son in the brief introduction. The absent son is ever-present in verses whose levels of reality and dreams reach beyond the limits of 19th century positivism and reason. “I dream with open eyes,” reads the first line of “Sueño despierto” (“I Dream Awake”). The visionary quality is sometimes surrealistic: “And on the backs/Of giant birds/Endless kisses/Awaken.” Though a process of inversion, a metamorphosis is effected by filial love; the father conjures up the vision of the son, and in this vision is reborn through the son: “I am the son of my son!/He remakes me!” This identification of father and son orchestrates and unifies the metaphoric eruptions of a volume, which, at bottom, is a musical concert centering around three motifs, filled with chaotic, tender and troubled leaps to a loosely associated poetic space. Ismaelillo’s motifs are the poet, the son, the world; the leaps are executed in the form of voyages in which traditional time and space concepts are unhinged so that the poet-son can move freely outside the limitations of a traditional Logos. In “Musa traviesa” (“Mischievous Muse”) he writes: “Often, a rider/In momentous dreams,/I ride long hours,/Through the air./I pierce rosy clouds/I fathom deep seas,/And in the eternal bowels/I travel.”
In these travels the poet/son/seer comes upon battles, visions of martyrdom, caves, dances, erotic scenes, heights of idealism and depths of materialism; it is a confusing world the narrator captures: reflecting the frightening realities of modern life. We witness torments, confused scenes, temptations, moments of disarray, and spirited battle. It is a spectacle of “splendid transformations” that boils, creaks, bites and assaults the agonists of modern life. In keeping with these decentered, fragmented visions, the son is Ismael, Jacob, the object of pleasure, love, tenderness, the heart, the soul of the father and, finally, not merely his reflection but his very being. Thus, this volume, more than the lyric prayer book Rubén Darío found it to be, more than the “Art of Being a Father” which he saw in it, is rather a voyage that incarnates a modern mythic sense of experience and existence.
Equally personal, and equally anguished are the poems of Free Verse. Darío said of them that they were free verse, produced by a free man. Martí called them “my irritated Free Verses,” “my rough hendecasyllables, borne of great fears, or of great hopes, or of an unbridled love of liberty, or of a painful love of liberty…” In his preface, Martí insisted, once again, as in his Ismaelillo, upon the visionary quality of his verses, visions that he “copied” and for whose strangeness, singularity and passion he alone was accountable. These are verses written, “not in academic ink, but rather in my own blood,” an image used by the poet to refer to their personal quality as well as the aura of sacrifice and martyrdom that pervades so many of the poems. Their key words are love, liberty, unconquered, passionate, natural, vigorous. To this linguistic base, José Olivio Jiménez adds another that centers around the terms circumstance, nature, transcendence, and three concepts: love, suffering, duty. The originality of these poems consists in their anguish. It is a poetry of existence in which the poet/narrator confronts the imperative to transmit an authentic, sincere, necessary reality. “What matters in poetry,” he wrote, “is to feel, regardless of whether it resembles what others have felt; and what is felt anew, is new.”
Images of nature, often traditional in origin, appear in this volume as in others by the Cuban, but it is man, not nature, that occupies the center of his poetic discourse. It is a poetry that speaks of daily cares, experiences, existences; it radiates in circular patterns, reaching toward the upper spheres, that is, toward a quality of transcendence noted by Jiménez, and which in spatial form points to the fundamentally realistic; it is based upon specific, concrete circumstances: those of his life, and of the emotions of his existence. Unamuno called Martí’s words “acts”; but when the Cuban poet harnessed his words to his thoughts he created novel structures which even today surprise us by dint of their modernity.
The visionary quality of his first volume persists in Free Verse; present also are the dualities of experience, the antithetical images that constitute Martí’s assumption of the contradictions of modern life and the aspirations of perfection and idealistic placement of his visionary poetics. The dualities sometimes represent a world truncated, or the poet’s simple vision of life: “I have lived: I have died.” The poet in his anguish wishes to sacrifice himself to his fellow man, for that is his mission in life. At times, he feels useless, unable to realize the martyrdom that will release him from his terrestrial struggle and allow him, finally, to seek an undefined solace in a vaguely expressed afterlife.
Less anguished, at least at first glance, are the poems of Simple Verses. Their apparent serenity is linked to their traditional, popular metrics, and to the poet’s insistence upon more direct and unencumbered forms of expression in comparison with the “volcanic eruptions” of the previous volumes. In this volume there is an emphasis upon the harmony of life and philosophy, or at least upon a system of transformation from crass, material forms to noble, ideal objects. And this search for and belief in idealism and harmony lends the volume a placid quality which has disquieting moments, for the Simple Verses are poems born of pain and anguish: “My friends know how these verses were born in my heart. It was in that winter of anguish, in which out of ignorance, or due to fanatical faith, or fear, or courtesy, the Spanish American republics met in Washington, in the shadow of the dreaded eagle,” wrote Martí in the introduction. Martí represented Uruguay at the International Monetary Conference in Washington, D.C., called by the United States to standardize currency in Latin America. Martí led the opposition of the Latin American countries to the plans of the United States to impose a silver standard.
Elsewhere, the poet explained that “To suffer is a duty. With what does one write well in prose or verse, but with blood?” The poet’s anguish is personalized. The verses speak of his individual view of the world, as the poet/seer turns his eyes upon the universe internalized, and describes its external and internal structures. The poet has assumed the universe, and from a symbiotic stance he offers new insights into its meaning. Martí’s experience is broad: it includes the divine spirit, the terrestrial clamor of voices, envy, hate, human ugliness, materialism, idealism, the metamorphosis of reality. The nature of writing poetry is also present here as in previous volumes. But, unlike these, experience is expressed from the viewpoint of a compendium, seen, to be sure, from the interior world (“I know,” “I’ve seen,” “I hear,” “I am,”) of the creator in search of harmony:
All is beautiful
and constant,
All is melody and reason,
And all, like a diamond,
Is dark before light.
In Simple Verses one finds the most frequently cited Martí verses: IX is devoted to “La niña de Guatemala” (“The Girl From Guatemala”), and X to “La bailarina española” (“The Spanish Dancer”). Other sections may be less musical and more anguished, but all point to the future in modern poetry. In VIII and XI the poet carries on a dialogue with his doubles: a page/skeleton; a dead friend. In the end, in XLVI a conversation is established between the poet and his verse in which he declares, “Verse, as one our fates are sealed:/We are damned or saved together!”
Both Martí and his poetry have survived; but not merely Martí the poet. Martí is one