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pensamiento critico y practica poetica en donald davie - Universidad ...

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Bernard Semmel” (ED, 225) que “the truly disaffected diss<strong>en</strong>ters were Unitarian<br />

or Ouaker, not Calvinst” (ED, 257>. Calvinismo equivale así a ortodoxia política<br />

‘Semmel suggests that if we ask what the loyalist diss<strong>en</strong>ters had in common,<br />

one plausible and surprising answer might be: John Calvin. For certainly it<br />

seems to be the Calvinists among the diss<strong>en</strong>ters who are conspicuous by their<br />

abs<strong>en</strong>ce from pro-American and later pro-Fr<strong>en</strong>ch demonstrations and writing”<br />

(ED, 255>.<br />

Esto nos lleva a considerar el tercer factor que Davie destaca <strong>en</strong> su<br />

canonización del siglo XVIII: la labor cultural del diss<strong>en</strong>t, especialm<strong>en</strong>te<br />

calvinista. Davie comi<strong>en</strong>za reconoci<strong>en</strong>do la tópica acusación de filiteismo<br />

hecha al diss<strong>en</strong>t:<br />

razones:<br />

‘Chapel’, it may be said, fails to figure in literary history as crucially as in social<br />

and political h¡story, precisely because literature, and the creative and<br />

performing arts in g<strong>en</strong>eral, are just what ‘chapel’ distrusts, if indeed it does nol<br />

positively condemn them. This is a commonly received notion; for what is Ihe<br />

diss<strong>en</strong>ter (‘Ihe nonconformist’) if nol the heir of those Cromwellian Roundheads<br />

who defaced Ihe icons of our cathedrals and parish churches? The chapel-goer<br />

is the iconoclast, by origin and by definition; the Iiterary ¡kon, no Iess Ihan the<br />

painted or the carved (grav<strong>en</strong> images’), is what he is comrnitted to destroying,<br />

or lo tolerating only on unacceptabiy restrictive and emasculating terms - and<br />

in this way the ‘Chapel’ interest does indeed play a crucial and mom<strong>en</strong>tous part<br />

in the literary history of England, as ‘Ihe <strong>en</strong>emy’, as precise¡y that which, in<br />

each g<strong>en</strong>eration, Engiish art¡sts must do battle with, and circumv<strong>en</strong>t es besí<br />

they can. On Ihis showing, you perceive, that my situation aH those years ego -<br />

es a young Baptist in love with English poetry, and determined to write poems<br />

himself - was quite sirnply anomalous, self-contradictory. (ED, 6)<br />

Nuestro autor indaga las causas de esta situación y <strong>en</strong>cu<strong>en</strong>tra dos<br />

urs!, Ihe Establishm<strong>en</strong>t (in its strict s<strong>en</strong>se, as the church of England) has in<br />

every g<strong>en</strong>eration, including our own, disseminated the canaró that diss<strong>en</strong>t is of<br />

its nature philistine; and, second, in Ihe ninete<strong>en</strong>th c<strong>en</strong>tury, diss<strong>en</strong>t cooperated,<br />

by becoming as philistine es Ihe Ihurch had always said it was. In<br />

Ihis, English diss<strong>en</strong>t betrayed lIs own tradition. (ED, 47)<br />

-158-

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