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

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influ<strong>en</strong>tial notion of tbe dissociation of s<strong>en</strong>sibility Es <strong>en</strong>ly one version of Ihe<br />

belief En a calamifeus Falí, an expulsion frem sorne historEcal Ed<strong>en</strong>, thai seems<br />

te have be<strong>en</strong> an imaginative necessity as weB br Yeats and Pound, fer TE.<br />

Hulme, and br H<strong>en</strong>ry Adanis befere any of fhem. Fer Pound as a yeung man<br />

ihe Falí came betwe<strong>en</strong> cavalcani¡ and Peirarch, and he seems lo have<br />

persuaded Hulme to agree with him; br Yeats u came about 1550; br Eliot,<br />

sorne time beiwe<strong>en</strong> 1590 and 1650. Peunds position as ihe later develeped it,<br />

however, was closer te Yeais’s ihan fo Ellois, br he and Yeals embraced a<br />

cyclical view of historical change thai permilted ihem te conceive of such<br />

calamities as having happ<strong>en</strong>ed more iban once, at corresp<strong>en</strong>d¡ng siages ¡n<br />

olber cultural cycles than thai of recerded hisfery in Wesiern Europe. (SEP,<br />

170)<br />

Dada la naturaleza personal del mito, la historia <strong>en</strong> The Cantos se<br />

transforma de narración objetiva (épica) <strong>en</strong> discurso subjetivo (elegía).<br />

Como vemos, <strong>en</strong> EP:PS Davie ha analizado ext<strong>en</strong>sam<strong>en</strong>te las<br />

implicaciones de la esculturalidad poética de Pound, dada por la<br />

espacialización del texto. Como crítico, su ponderación de la esculturalidad de<br />

The Cantos le lleva a desdecirse de algunas posiciones que había sost<strong>en</strong>ido<br />

con anterioridad. Así, <strong>en</strong> EP:PS hallamos alterizaciones. Si <strong>en</strong> AE afirmaba<br />

que ‘wh<strong>en</strong> concrete images are crowded upon each other, they bose their<br />

concret<strong>en</strong>ess... The things will not stand still, but fluctuate and swim like weeds in a<br />

stream” (AE, 127), ahora escribe que “what began as random associations are<br />

se<strong>en</strong> to organize themselves into constellations ever more taut and brilliant,<br />

and ultimately into the forma” (SEP, 191-192). En esta línea, Davie llega a<br />

alabar la técnica simbolista de composición, dici<strong>en</strong>do que “this continual taking<br />

up of certain thematic refer<strong>en</strong>ces, each time se<strong>en</strong> differ<strong>en</strong>tly because each time<br />

in a new context, is one of the peculiar glories of the Cantos, and of the poetic<br />

method they exemplify” (SEP, 188).<br />

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