Creationism Creationism is not a school I have wanted to impose on someone, creationism is a general aesthetic theory began to develop around 1912, and whose scores and first steps you will find in my books and articles written long before my first trip to Paris.
in paragraph 5 of the Chilean magazine Musa Young man, I said,
literature's reign ended. The twentieth century saw the birth of the reign of poetry in the true sense of the word, ie the creation, as the Greeks called it, but never managed to make its definition.
Más tarde, hacia 1913 o 1914, yo repetía casi igual cosa en una pequeña entrevista aparecida en la revista Ideales, entrevista que encabezaba mis poemas. También en mi libro Pasando y pasando, aparecido en diciembre de 1913, digo, en la página 270, que lo único que debe interesar a los poetas es el "acto de la creación", y oponía a cada instante este acto de creación a los comentarios y a la poesía alrededor de. La cosa creada contra la cosa cantada.
En mi poema Adán, que escribí durante las vacaciones de 1914 y que fue publicado en 1916, encontraréis estas frases de Emerson en el Prefacio, donde se habla de la constitución del poema:
Un pensamiento tan vivo, as the spirit of a plant or animal has a distinctive architecture adorns nature with a new thing.
It was in the Ateneo de Buenos Aires, in a talk I gave in June 1916, which fully exposed the theory. It was there where I was baptized as a creationist because I said in my speech that the first condition of the poet is creating, the second set, and the third set.
remember the Argentine professor José Ingenieros, who was one of the attendees told me over lunch that I invited some friends after the conference: "Their dream of a poetry invented in each of its parts by the poets I seems impossible, but you I have stated very clearly and even very scientific. "
almost have the same opinion the other philosophers in Germany and wherever I have explained the theories themselves." It's beautiful, but unattainable. "
Why shall be impossible ?
answer now with the same phrase with which I finished my lecture to the group of Philosophical and Scientific Studies Allendy doctor in Paris in January 1922:
If man for himself subjected to the three kingdoms of nature , the mineral, vegetable and animal, why can not add to the realms of the universe his own kingdom, the kingdom of his creations?
El hombre ya ha inventado toda una fauna nueva que anda, vuela, nada, y llena la tierra, el espacio y los mares con sus galopes desenfrenados, con sus gritos y sus gemidos.
Lo realizado en la mecánica también se ha hecho en la poesía. Os diré qué entiendo por poema creado. Es un poema en el que cada parte constitutiva, y todo el conjunto, muestra un hecho nuevo, independiente del mundo externo, desligado de cualquiera otra realidad que no sea la propia, pues toma su puesto en el mundo como un fenómeno singular, aparte y distinto de los demás fenómenos.
Dicho poema es algo que no puede existir sino en la cabeza del poeta. Y no es hermoso porque recuerde algo, no es hermoso porque nos recuerde cosas views, in turn beautiful, or because des sieve beautiful things that we get to see. It is beautiful in itself and does not support the comparator. Nor can it be conceived outside of the book.
Nothing resembles it in the outside world, makes real what there is, becomes reality itself. Create wonderful thing and brings to life itself. Create extraordinary situations that can never exist in the objective world, so it must exist in the poem there somewhere.
When I write: "The bird nests in the rainbow", I present a new fact, something I never have been, never will see, and yet I would love to see.
A poet should read things that he never would say no. The poems created
acquire cosmological proportions, you give each time the true sublime, the sublime of the texts present us with examples so unconvincing. And the sublime is not exciting and great, but a sublime without pretense, without fear, you do not want to burden or overwhelm the reader: a sublime pocket. Creationist
The poem consists of images created, created situations, concepts created, is sparing no element of traditional poetry, except as otherwise these items are entirely invented, without worrying at all of reality or the truth earlier the act of realization.
So when I write:
The ocean rolled
Dancing in the wind of fishermen
[whistle
presented a description set, when I say: "The bars of the storm", I present a pure image created, and when I say: "She was so beautiful I could not talk," or: "The night is a hat," I present a concept created. Tristan Tzara
meeting in admirable poems are very close to the most strict creationist view. Although he is generally more formal setting than fundamental. But the man who has written the following verses is, without a shadow of una duda, a poet
porcelain thought the song, I'm tired - the song queens tree dying of food as a lamp.
I cry please rise above the water jet winds to heaven because it no longer exists the Earth's gravity at school and in the brain. When the fish
train the speech of the lake when he plays
range
Parkway ladies etc.1
A veces, Francis Piccabia our extra abre ventanas Poemas sobre lo insospechado, que no sólo es probándonos pintor:
Chained on the future of I'Horloge
recess in an empire missal;
The days spent a short time
parsimonious
escaped the sagacity of the reader
of mind.
Young women companions River
logic just like a water stain on
to win a smoky monster
kind of friends in order of rabid suicide. Take a
histaire for two
force of joy in the hair of
syllabes.2
(1) In the porcelana pensada canción, estoy fatigado - La Cancion de las reinas el
[árbol como una alimento returns from Lámpara . Lloro
querer más alto que el alzarse juego de agua en el cielo serpiente, pues no
ago [Earth's gravity exists in school and in the brain. When the fish
rowing lake
speech when playing the fretboard
the promenade of the ladies, and so on.
(2) Bound on the future of entertainment
watch an empire missal;
the day exhausted for a short moment
parsimonious
escapes the reader's sagacity fine
Young female partners
logical River come as a stain on water
to win a monster friends smoked
kind of suicide in order enraged. Bring a story
for two to force joy
en la cabellera
de las sílabas.
También Georges Ribémont Dessaignes tiene versos que nos sacan de lo habitual:
Regarder par la prunelle de sa maîtresse
afin de voir à I'intérieur.1
Y Paul Eluard nos hace a menudo temblar como un surtidor que nos golpeara la espina dorsal:
Il y a des femmes dont les yeux sont comme des morceaux de sucre
il y a des femmes graves comme les mouvements de l'amour qu' on
[ne surprend pas,
d'autres, comme le ciel a la veille du vent.
Le soir trâinait des hirondelles. Les hibous
partageaient le soleil et pesaient sur la terre. 2
Los dos poetas English creationists, Juan Larrea and Gerardo Diego, have given evidence of their paths
talent. When Gerardo Diego writes:
When your head deflates whistle
either:
The rain shakes like a lamb
or this one:
A dove off the sky
us feel very pure poetry. Same thing happens with Juan Larrea when he says:
A bird
weather changes either:
brick beds
between sounds and even this one:
Your memory away in the direction of the wind.
(1) Look through the pupil of her lover
To see what's inside.
(2) There are women whose eyes are like pieces of
[sugar
serious as there are women's movements
love [you wonder,
other as the sky on the eve of wind. The afternoon dragged
swallows. Owls
divided the sun and passing over the land.
... Both poets have tried to English skeptical to how much emotion can get as unusual, showing everything that contains the creationist theory seriously. Never have fun (like those poor ultraists) people really top of mind.
... If creationists poets what matters is to present a new fact, the creationist poetry is translatable and universal, as new facts remain the same in all languages.
... It is difficult or even impossible to translate a poem that overlooks the importance of other elements. You can not translate the music of words, the rhythms of the verses which vary from one language to another, but when the poem's importance lies primarily in the created object, one not lost in translation no substantial value. Thus, if I say in French: La nuit vient
des yeux d'autrui
or say in English:
Night comes from prying eyes or English
: Night
Others eat from
eyes the effect is always the same side and linguistic details. Creationist poetry takes on international proportions, it becomes poetry, and made accessible to all peoples and races, such as painting, music or sculpture,
There is in man a duality that is manifested in all his actions, two parallel streams that are generated in all phenomena of life. Every human being is a hermaphrodite frustrated. We have a beginning or an expansive force that is female, and a force of concentration, which is masculine. In some men
dominates one at the expense of the other. Very few appear both in perfect balance.
Basically, this is where you find solutions to the perennial problem of romantic and classic.
Everything is in man to this law of duality. And if we carry within us a centrifugal force, we have a centripetal force. We have ways
centripetal way as antennas that bring the events taking place around (hearing, vision, overall sensitivity), and we have ways centrifuges, which are like radio transmitters and paya help us deliver our airwaves, to project the subjective world in the objective world (writing, speech, movement).
The poet, like all men, has two personalities, which are not, strictly speaking, two personalities, but rather the unique personality, the only real.
total personality consists of three quarters of innate personality and personality quarter gained.
innate personality is what Bergson called the basic self, the other is the superficial self. Condillac also distinguished between a thinking and an I controller.
proclaim creationism in the total personality. Nothing
poets plots.
The infinite integer in the poet, the poet in full at time of projecting.
The artwork is as the birthplace of these two elements, are also a parallel duality: the sensitivity, which is the emotional element, and imagination, which is the intellectual component.
in automatic dictation sensitivity takes up more space than the imagination, for the affective element is much less secure than the other.
created in poetry, imagination, blows away the simple sensitivity.
Nothing I said in my most critical theories that violent, mocking comments of my poems, especially those made in my book The Cave of Silence, published in 1913. All critics suffered a nervous breakdown just before the verses that I liked, and perhaps without knowing why. Nobody
adivinará nunca cuánto me hizo pensar este hecho sin importancia. Sin proponérselo, los críticos me ayudaron mucho en mi trabajo al recortar con tijeras precisas versos o imágenes como las siguientes:
...En mi cerebro hay alguien que viene de lejos,
o bien:
Las horas que caen silenciosas como gotas de agua por un vidrio.
La alcoba se durmió en el espejo.
El estanque estañado.
Una tarde me aproximé hacia la orilla del libro.
¿Sabéis qué poetas citaba yo en la primera página de ese libro? Rimbaud y Mallarmé. ¿Y sabéis qué citaba de Rimbaud?
Y a veces he visto lo que el hombre ha creído ver.
After my book came cave of silence also gave great importance to the subconscious and to a certain kind of sleepwalking. Ideals magazine delivered to a poem entitled Vagueness subconscious and announced that same year a book written entirely in that style, called The Sleepwalkers mirrors.
But this was a few months hiatus. Soon I felt he was losing ground and fell, probably as a reaction, a backlash, almost fearful, in that horrible mixture of Hindu pantheism and Norwegian, in the poetry ruminating beef and grandmother met. Fortunately, this decline was short lived and after a few weeks I returned my old way with much more enthusiasm and knowledge than before.
Then came the time of the confiding to friends and equivocal smiles and compassionate to one another. Teasing irrational, the stifling atmosphere that would force me to leave my native mountains and look for more favorable climate for mining prospectors.
late fall of 1916 in Paris, in the environment of the magazine (Sic). I barely knew the language, but soon I realized that this was a very futuristic and not forget that two years ago in my book, Turning and passing, I had attacked the future as being too old, at the precise moment when all hawked the advent of something completely again.
I looked all over this poetry created without reference to the external world, and when at times I thought to find it, I soon realized that was just my lack of knowledge of the language that made me see where all missing or was only in small fragments, like my older books from 1913 to 1915.
Have you noticed the special force, the most creative environment surrounding the poems written in a language you begin to stutter? You find beautiful poems
a year after you make you smile.
In the middle of Apollinaire were, besides himself, who was a poet indisputable, several researchers serios; desgraciadamente gran parte de ellos carecía del fuego sagrado, pues nada es más falso que creer que las dotes se hallan tiradas por las calles. Las verdaderas dotes de poeta son de lo más escaso que existe. Y no le doy aquí al vocablo poeta el sentido íntimo que tiene para mí, sino su sentido habitual, pues para mí nunca ha habido un solo poeta en toda la historia de nuestro planeta.
Hoy afirmo rotundamente, tal como lo hice diez años atrás en el Ateneo de Buenos Aires: "Nunca se ha compuesto un solo poema en el mundo, sólo se han hecho algunos vagos ensayos de componer un poema. La poesía está por nacer en nuestro globo. Y su nacimiento será un suceso que revolucionará a los hombres como the most formidable earthquake "Sometimes I wonder if it will go unnoticed.
Let us therefore well established that every time I speak as a poet only use that word for me to understand, like stretching a rubber band for application to those furthest about the importance she assigns.
At the time of the journal Nord-Sud, which was one of the founders, we were all more or less the same direction in our search, but in the end we were quite far apart of others.
attic While others were oval, square horizons I did. Here is the difference expressed in two words. Like all attic are oval, poetry remains realistic. As the horizons are not square, the author shows something created by him. Horizon carré
When he appeared, here's how I explained the title in a letter to the critic and friend Thomas Chazal:
Horizonte square. A new fact invented by me, created by me, that could not exist without me. I wish, my dear friend, include in this title all my aesthetics, you know for some time.
This title explains the basis of my theory of poetry. Itself has condensed the essence of my principles. 1 º Humanizing
things. Everything passing through the body of the poet must take as much its heat. Here something vast, vast as the horizon becomes human, becomes intimate, thanks to the adjective SQUARE subsidiary. The infinite nest in our hearts. 2 º The vague
is required. When you close the windows of our soul, which could escape and gasified, fray, gets locked and solidifies.
3 º The abstract is made concrete and the abstract concrete. That is, the perfect balance, because if the abstract tended more toward the abstract, would fall apart in your hands or seep through his fingers. And if you further concretized the concrete, it will serve to drink wine or furnish your home, but never to furnish your soul.
4 º What is too poetic to be created is transformed into something created by changing its usual value, as if the horizon was poetic in itself, if the horizon was poetry in life, ends up being square calificársele poetry in art. Dead poetry becomes poetry alive.
The few words that explain my concept of poetry, on the first page of the book of which we speak, I say what I wanted to do in those poems. He said:
Create a poem taking of life reasons and transforming them to give them a new, independent life. Nothing
anecdotal or descriptive. The excitement must be born under the sole creator.
Make a poem as nature does a tree.
Basically, it was exactly my conception of before my arrival in Paris: the creation of this act of pure will find, as an obsession, in any part of my work from 1912. And yet still my conception of poetry. The poem created in all its parts as a new object.
I repeat here the axiom that I presented in my lecture at the Ateneo de Madrid, in 1921, most recently in Paris, in my lecture at the Sorbonne, an axiom that sums up my aesthetic principles: "Art is one thing and another nature. I I love art and much much Nature. And if you accept the representations that a man makes of nature, this test they do not love neither Nature nor Art. "
In two words, and to finish: the creationists were the first poets who have contributed to the art invented the poem in its entirety by the author.
Here in these pages about creationism, my poetic testament. I bequeath to the poets of tomorrow, which will be the first of this new species, the poet, of this new species to be born soon, I think. There are signs in the sky.
The almost-poets of today are very interesting, but their interest does not interest me.
my flute, the wind turns to the future.
Notes
announced
1 You can see the list of Works I am the author of the book: El espejo de agua, publicado en 1916 en Buenos Aires.
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