By Pablo Neruda
Cúspide, desde l. a. perspectiva de los angeles plenitud de l. a. edad, de l. a. poesía amorosa nerudiana, estos Cien sonetos de amor sorprenden ante todo por el contraste entre l. a. palpitación de los angeles palabra y l. a. imagen, y los angeles deliberada elección de una desnudez que rehúye los prestigios sonoros o constructivos del soneto clásico. «Con mucha humildad—escribe Neruda—hice estos sonetos de madera, les di esta opaca y pura substancia», que contrapone a las «rimas que sonaron como platería, cristal o cañonazo» de los poetas que anteriormente abordaron el soneto. Del mismo modo, es evitado el principio del mantenimiento de un patrón métrico y rítmico invariable, y, con mayor razón todavía, l. a. estructura silogística y simétrica en los angeles exposición de lo contenido en cuartetos y tercetos. Pero este despojamiento voluntario es un medio para dejar expedita los angeles más soberana libertad en l. a. visión: se conquista una nueva y poderosa cohesión, l. a. de una palabra de tierra, agua, aire y llama, los angeles de una voz que es el steel y el elemento y oye el latido de un mundo en el latido del cuerpo amado. Himno a lo tangible, el amor en Neruda es también vía de acceso a l. a. fusión con el núcleo último donde los angeles conciencia reconoce su ser en el ser del mundo.
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On days like this the old flanking motion almost seems to be possible again. Certainly the whiff of nostalgia in the air is more than a hint, a glaring proof that the old irregular way of doing is not only some piece of furniture of the memory but is ours, if we had the initiative to use it. I have lost mine. It has been replaced by a strange kind of happiness within the limitations. The way is narrow but it is not hard, it seems almost to propel or push one along. One gets the narrowness into one's seeing, which also seems an inducement to moving forward into what one has already caught a glimpse of and which quickly becomes vision, in the visionary sense, except that in place of the panorama that used to be our customary setting and which we never made much use of, a limited but infinitely free space has established itself, useful as everyday life but transfigured so that its signs of wear no longer appear as a reproach but as indications of how beautiful a thing must have been to have been so much prized, and its noble aspect which must have been irksome before has now become interesting, you are fascinated and keep on studying it.
In the morning they had all vanished at least as far as the nearest mountains and probably from the face of the earth. Meanwhile he had taken the universal emotional crisis on his own shoulders, not from altruism but through a mistaken notion that things could be no other way, that riches would automatically result from the world's following its preordained course. And alas, to be releasing the prey for the shadow at this late date was, no doubt, to fall in with the plans of the cosmos, but how faintly it echoed, how pallid the evening glare that was supposed to strike fear into the hearts of nations!
So that we must despair of all realism now, because it is there, it is totally adequate for what was being represented, only we cannot feel it as such, but that is our tough luck. is this really the end toward which everything was rotating? We wanted it to come out all right, and in the end that is what has happened. Others are sorry about other things. And we have the success of our gradual, growing belief in the importance of the universe as it came through to us to keep us going. Even the fact that there is no joy written into the ending, unless relief is the same thing, ought to be a comfort because it was recognized in the timid fairy-tale beginning that the happy ending was an artifice and that the happiness would be artificial, though real.
Cien sonetos de amor by Pablo Neruda