When To Take Sleep Eze

killed others ... (on Pedro Requena Legarreta and Dead Poets Society)


On the right, home of Pedro Requena Legarreta

Gaudí to my friend Christian, who died at age 24 on April 4, 2009


I laughed Dead, skins touched, loved, kissed her lips, slept, woke, the admiration of troubled for a moment . And then her life stopped suddenly as to give the image of perfection. As if the river of life, frozen Suddenly, keep the illusion of life. And the moment of happiness would freeze within a drop of amber to be contemplated. Then, it operates an investment that makes us alive; incomplete. Life is still not resolved in us, has not led anywhere. And the dead, since its completion, we look, perfect.

And then there are those dead who fought valiantly and now gives us a nice history lesson, and who went to war to confront his fate and fight in the trenches by interests that fortunately did not understand. They had a rendezvous with death and made his personal destiny a beautiful parable that happily hidden economic motives that led to the deaths of eight million people in the First World War. Iban cheerful with a historic mission on his back and only saw the horror of war when it was not possible to go back.

Then came the influenza, which probably killed a hundred million people worldwide, between 1918 and 1919. It was called English flu, not because he had emerged in that country, but because it was the only government that did not hide the data on the disease had a mortality rate of fifty percent. That

desolate terrain was suitable soil to spring the occult, and collected enormous amounts of testimony of hunches, premonitions and telepathy afterlife. Because "our land ever since it became human, was build on it in such a short time, such a mass of eager young dead survive" (Maurice Maeterlinck, the unknown host.) The desperation of death to give each individual a transcendental sense, to explain the reason why a whole generation dies in his youth, in a sense we understand the dissemination of the work of Rabindranath Tagore (1861-1941), in which the supreme being has the courtesy to send an emissary to warn every man the decision of his death. And yet the dying rose a praise to thank your destination!

year Most important, definitely, 1914, the beginning of the war that "eternity was proud of man" (Antonio Castro Leal). What was sentimental resonance for those who were called to die? The same critic wrote about it: "The best day, weary of the peace, throw us out of our country. On the desk is a manuscript on the bucolic poetry and in his coat pocket we put a few coins and the dialogues of the Buddha. We left. Sometimes to hell is a pleasant country, on again ... The war did not appear, said a soldier, in its moral aspect but in its cosmic aspect. " I do not know if this has served some consolation poet. Do not even know if his own poetry he has served to explain the horror of his fate. But the American poet Alan Seeger (1888-1916) was killed in action at Belloy-en-Santerre, then joined the Foreign Legion to fight for France. TS Eliot, his classmate at Harvard, wrote about it, "Seeger was serious in his work and shed a lot of pain on him. The work is well done, and so outdated that it almost gives it a positive attribute. It's high-flying, heavily decorated and solemn, but its solemnity is all-encompassing, is not a mere literary formality. Alan Seeger, as someone who knew him, I can attest, lived his entire life in this plane, with impeccable poetic dignity. " Seeger lived in Mexico from 1900 to 1902 and attended the bookstores of the capital, according to Castro Leal "infected with the vices of the country, published a literary journal that never appeared on the date ... The picture of the landscape of his poems is very Mexican and there is even a movement in its melodic singing, learned from our land safe. " Rupert Brooke died also (1887-1915), friend of Robert Frost, whom WB Yeats called "the most beautiful girl in England." He died during a battle in the Greek island of Skyros for what its young country was recognized as a new Byron. His friend, the composer WD Browne, who was at his bedside when he died, he wrote in his diary: "I sat with Rupert. At four in the afternoon, began to weaken, and died 4:46 am, with the sun shining on all sides, and the fresh sea breeze blowing through the door and windows protected from the sun. No one could have wished for a quieter end at that lovely bay, protected by mountains and fragrant with sage and thyme. "And he died Leslie Coulson (1889-1916), who only remembers his gentle nature during the day war. Killed more than poets. Killed others, but that was outside poetry.


II
There is a picture of Pedro Requena Legarreta painted in 1917 by Alfredo Ramos Martínez. Peter died in 1918 in New York, at age 25, victim of the influenza epidemic. Then his father, Jose Luis Requena commanded to do to that picture a wooden frame depicting a lyre with broken strings. Both poet and painter, walked through the countryside in search of inspiration. Requena wrote: "And you and I had, blood reservoirs, intuitions and longings of light and cheap, surprises that cause more surprises, wishes creators of new desires. And in the soul loves and ideas OPIM, which express different rhythms tend, you capturing light, I arresting rhymes, Oh life, both drunk on sun and poetry "(" Pictures and Verses ")

When the poet died ended the gatherings at the restaurant El Angelo Street 8, where they met Amado Nervo, José Juan Tablada, Joaquín Méndez Rivas, the Honduran poet Celaya Alfonso Guillén, Antonio Castro Leal, José Santos Chocano and Salomon de la Selva, among others. There, Ruben Dario had praised the talent of Peter. There, Nervo had offered to take him to Argentina to help promote his work. Then, his embalmed body was buried in Woodlawn Cemetery, where he remained until October 19, 1920, when his remains were moved to Mexico. In October 1922, at the initiative of José Vasconcelos, Rector of National University, he paid homage to the English graveyard with the participation of Manuel Toussaint and Carlos Pellicer, Requena who spoke these words: "Undoubtedly youth Mexico has lost him his best poet. Beautiful lives of five decades, devoted to love, friendship and beauty. Fervent spirit and gentle hands, for that existed almost exclusively ... suspend this memory without saying the last word. "Requena

claimed to be the best translator Poetry in Mexico, but also made a significant personal work. In New York, she met Tagore at a conference of Nobel writer at Carnegie Hall in 1916. On this meeting, Requena wrote: "The shrill voice of Rabindranath Tagore, a penetrating voice and rather shy, become serious and deliberate when settles the principles of his philosophy, passionate when he speaks in defense of their homeland or against England, and ironic when finely satirizes the moral progress of the peoples of the West "(Universal Magazine, New York, December 1916). Later, Tagore spoke several times with Requena about his writing. Joaquin Mendez Rivas friend of the translator, notes that the translations of Gitanjali were made from the versions that Tagore did his own work into English, but Requena, to try to come as close as possible to the original meaning, he studied the philosophy of the Upanishads and collected data author.

As part of the collection Cvltvra, appeared in 1919, the Anthology of war dead poets (1914-1918) versions of Pedro Requena and an essay and notes by Antonio Castro Leal. The literary anthology is a sample of a generation that died in the war in Europe, there are seven English writers, six French and one American, born between 1868 and 1895. The authors of the anthology New York consulted the extensive literature was appearing after the death of poets. Antonio Carreira, one of the leading specialists in Góngora, considers the poets of the book "beautifully translated" Max Aub and adventure that could compose his book Impossible Sinai (1982, posthumous), a sample of poets and translations apocryphal, inspired by anthology of poets who died in the war.


III
The October 16, 2005, at six forty in the morning, a house collapsed in the street of Santa Veracruz 43. Long been known as Casa Requena, until the name was forgotten and began to call Mazahua mansion for having been home to 42 indigenous families for years. In the center of the courtyard was the old fountain, covered by debris. On the first floor walls were still painted Venetian mosaics hand Requena family sent for Europe to decorate the house. Previously, the Casa Requena had been one of the most famous residences Porfirian by the delirious decoration José Luis Requena had ordered, thanks to the fortune he had made as a mining entrepreneur. On the day of the collapse, someone hit on the front a series of photos of the house with the original decor. Photos of Peter and Art Nouveau furniture for decades the family donated to the University of Chihuahua. The photos of the bedrooms copied from Perrault's tales. The furniture that seemed inspired by the drawings of Julio Ruelas. Pedro Requena

lived in this house during his childhood and adolescence. Although he was sent to study in the United States, returned to join the Law School. He spent those days with friends at the bakery El Globo, in Italian opera theaters presenting and reading the French writers whose books he had brought from Europe, his friend Victor Velazquez adopted son Felix, a nephew of Porfirio Diaz. But his life in the Santa Veracruz ended when his father was about to be assassinated by Victoriano Huerta, for participating in the presidential candidacy of Felix Diaz. Then, the family fled the country and headed to New York. Other circumstances, remoteness is one reason why the work has been completely forgotten Requena. He had a literary destination Gabriel Zaid summed it up this way: "Requena happened to be famous without being read, to be discarded without being read."

(Inland Journal 159, August-September 2009)

Meaning Of Wa Inte Be Alf Khair

Cervantes sense in the work of Alfonso Reyes (Reflections in a spiral)


For Sergio Fernandez

Miguel de Cervantes was never a situation "outside", ie was never binding motif public to comply. These young people joined the war first Gabino Barreda and his interest in taking the positivism of the National Preparatory School, then a desire to learn European painting, defending the legacy of Manuel Gutiérrez Nájera, giving lectures about what was cultural news in Mexico and Europe, read the Greeks and the Germans who considered themselves Hellenes (and grapple with Nietzsche, who gave them moral concerns). And we must accept that as a generation made enough to rediscover and John Ruiz Sor Juana de Alarcón. The third anniversary of the publication of Don Quixote passed over them, as is the storm water over a two waters, while speaking in good weather. The highest-Manuel José Othon, Salvador Diaz Miron, Amado Nervo and Francisco de Icaza, "they did pay attention to Cervantes, but for some reason, young people were far from their influence. (Susana Quintanilla in his recent book "We", only makes mention of Cervantes, Reyes met Torri Novelists talking book before Cervantes, Carlos Buenaventura Uribau.)

If I make this district is because I want wonder what is the reason why Cervantes appears only marginally in one of the leading humanists of Mexico. Because often assumed that Miguel de Cervantes is there a real and objective so as if it had always been with the same force. He said that inside the house talking and it was raining outside, and it could be a flood and the house to float above the immensity of the water, however, one is forced to move only one pair of each species inside to protect from flooding. And it has done enough readings census Ateneo (Goethe, Nietzsche, Anatole France, Góngora, Shakespeare, Schopenhauer, Plato, Walter Pater, William James, Rodo, Poe, Azorín, d'Annunzio, Dario) to know that the encounter with Cervantes is a strictly personal matter that has to do with that "I" that makes the artist's work. And the man who claims to be national usefully opens the door to his house to flee their own circumstances and unexpectedly falls in a sea generously universal culture.

I am not my approach to Cervantes and his work is necessarily external, ie I see it in relationship with everything else. And generally I hear that Cervantes is a solved problem, that for certain reasons is the literature of which party all the modern conception of art. But why not, or at least it was not for Alfonso Reyes, who faced with another English literature "correlation of forces" (if I may use this expression) and had to start clearing your personally unknowns . Gongora give a site because he had to admire his work before its official discovery. And taking the time to the Archpriest of Hita, Gracian, the English picaresque. And a puzzle called Cervantes. A puzzle that is not there to make it right but to become part of the problem. A literary work in which the characters are unaware they are transformed into literature and literature for a character to imitate the ancient knights walking begins to turn his reality into a literary reality in a manner so convincing and voracious that fly the epicenter of a widespread conversion. And so that really it is successful, it must abolish the border between inside and outside of the work.

"Alfonso Reyes Cervantes is very marginal," wrote Manuel Alcala in 1966. If I return to this issue after something has been so categorical statement is only to extract a meaning to a series of texts and comments scattered throughout the extensive essays Kings, over fifty years. And a literary relationship that allegedly began in childhood: "My first reading of the huge folio data with magnificent illustrations of Dore that was my delight in the parental home. Volume I 'was great', and I was physically to sit on it to read "(" Don Quixote in hand "). A less close than he intended when he wrote to Henríquez Ureña in 1908: "Ah! I will also read the (Quixote) (which means X 4 th time) "A statement made at 19 years and who did not believe José Luis Martínez (" a presumption child, typical of the intellectual ambition ") and possibly not Henríquez Ureña who responded with a more or less hollow phrase: "The whip of satire is made fibers own broken heart. "

General Bernardo Reyes was wrong to claim happen to Porfirio Diaz, later it was proposed that the dictator was exiled from the country. Wrong again on the day of his death, when he tried to enter the National Palace on February 9, 1913, and was hit by a bullet. Alfonso fled Mexico after refusing to cooperate with the government of Victoriano Huerta. In Spain began the first references to the works of Cervantes, but are indirect and from reading the work of Azorin. In 1900, this author had written The English soul, two lyrical portraits of Castile, dedicated to the XVII and XVIII century, to reflect a continuity in time, a continuum known as "soul" that sought to give content to the problem of nationalism, and five years later, Route Don Quijote , commissioned Minilla Manuel Ortega, director of The fair, to Azorín travel to La Mancha and explain thoroughly the English reader what it was three hundred years after the people who visited Don Quixote and Sancho. (To be more precise, Ortega Minilla foresight gave a firearm to defend himself Azorín of highwaymen.) Throughout the villages, poor and abandoned, the author did or wanted to see reality as an extension of the Cervantes novel. Azorin, a custom he intended to build some Metaphysics of Morals, wrote at length about Cervantes provided in these terms. But his "English soul" was always Cervantes. Anahuac Vision (1917), the description alfonsina Mexico City at the time of the arrival of Cortes, claimed to be the first chapter of a series devoted to describing the Mexican character, century by century, how Azorín . By which I mean at that time was more significant Azorín Reyes Cervantes and the couple of notes he devoted to Cervantes in 1915 and 1916, were about the texts of Azorin Route of Don Quixote and a novel about the youth of the licensed Window.

Most of the references to Cervantes in the work of Reyes are the top ten book reviews he wrote for the Journal of Philology and two more for the daily El Sol, between 1916 and 1918. Which do not exceed 20 pages but it helps to know the ideas about Quixote began to circulate in Spain ninety years ago, the announcement of the Rodríguez Marín editions, the commentary in English literature Cervantes, Jose de Armas , which Reyes extracted the following paragraph: "With very justified satisfaction says this eminent hispanica (J. Fitzmaurice-Kelly) that his country was the first to translate the Quixote, first published in English in luxury, the first to make the comment of his book and the first to publish an edition criticism of his text, 1899. "And on Cervantes and the ballads of Chacón y Calvo, Reyes writes:" Cervantes, as it is on his mind all the English classics, was a folklorist, not only by the folklore in his profit, but by the construction process of his work. Even without sayings and dances, folk-inspired work would be, but understand this, make more sense all elements of a popular direct the work contains. "Most of the trials published at that time, there are two works that seem to be more interested in Reyes, the lecture on Don Quixote William Paton Ker and testing of Giovanni Papini" Don Quixote of Deception, "published in La Voce, Firenze, 1916. About English critic writes: "The Cervantes literary reviews ... offer a problem which has not always been well made: the Quixote sets out very long. And that book is so generous and so broad was written by a man who participated in all the superstitions of the precepts of his time. " "Neglect" technical Cervantes' Don Quixote makes one of the most neglected books, "if old, critics believed would find in it, as in the Iliad, several authors and several successive interpolator." Then the debate was whether this was appropriate reading "philosophically" Don Quixote (Enrique José Varona, according to Reyes, rejects that reading his book I should read Don Quixote). However, Ker suggests that it is impossible to read the novel following only one of the stated intentions of the book, as it reaches a dead end or a series of contradictions. The entire novel is "a jungle of inventions, but also intentions and artistic ideals. " In this context, the reading of Hegel: the book is essentially against the chivalrous knight in the person of Don Quixote.

Papini's interpretation, that Don Quixote is not a madman but a wannabe who pretends to be crazy and manages to fool everyone, including Cervantes, seems to have greater influence on Reyes. The protagonist's deep sense would: break the constraints of their environment pretending to be crazy to travel, since only crazy people have the privilege of wandering at will. The real fool is Sancho, who believes in Don Quixote, who in turn has no virtue, because it helps the weak by imitation, not by conviction. The other characters are suspicious of his sanity, to the point of calling it "a wise man mad." The Cave of Montesinos is the key to his deceit, and dry to Sancho, when he begins to invent: "If you want to believe you, believe me my story of the cave of Montesinos." Ker Papini and agree on the need to distrust the intentions expressed in the novel. Since it is a "miscellaneous" which appears burlesque poetry, novels inserted, literary criticism, either directly or as a parody, rhetorical pieces on medieval themes and common places or humanities. But amid all this opens up the fundamental issue, the trip, because the most profound book and popular are travel, The Odyssey, The Aeneid, La Commedia, Gulliver, Robinson, Sinbad, Fausto. "Every great book is a parody of the Last Judgement, and to judge men have to travel and meet them."

After these brief notes on Cervantes, Reyes spoke of his work ever about any other issue. Always in a manner characteristic of his creative process, ie, writing daily, adding pages to organize a book, Cervantes' work can be said that hovered over the pages of Kings. Alicia Reyes Adolfo Castanon and 140 selected passages in which the essayist recalls a passage or set an example from the work of Cervantes. Certain passages were always present, as the burning of books made by the barber and the priest, which is given by Don Quixote to his enemy the wise enchanter Freston. For Reyes, Freston is a character with liberating aspects, since one can not undertake the adventure and heroism if you have in tow a library of 10 thousand volumes. So the heroes have no books. If only come Freston to do literary criticism of our libraries to lighten your life, because a book called more books. "Reading and writing are entitled to as the concave and convex flame reading writing, and this is the biggest and true evil that cause the books" ("Bad Book" in Calendar , 1924).

That burning books, Reyes takes the name of Antonio de Torquemada, as it is one of the authors sent to the stake, even though the Persiles, is taken as a model for the description of the northern regions. So the only trial over Cervantes issue is devoted to Torquemada, in 1957, which is a monograph of the books "censored" by Cervantes. Previously, only made a balance on your reading in the essay "Don Quixote in hand," 1947. Reyes took the face of this encyclopedic work attitude, because your comments are lexical observations, detailed aspects of the expression of Cervantes, and above all are signs passages that can serve as examples to accommodate the work itself. I think there is some disappointment on the part of Reyes before Don Quixote and Sancho before. Thirty years after his commentary on Papini, this theory still resonates in his mind, especially in the Italian essayist's assertion: "In the life of Don Quixote no drama because there is no seriousness." But Reyes tried to find "the drama", so he meditated on the relationship of the characters. And almost reached the conclusion that some-most-are unbelievers and only Don Quixote lives submerged in his hallucination. "Sancho Panza only lives in a pathetic swing. And certainly already believe, and Don Quixote follows his eyes closed, and he departs, sometimes ironic, others simply wary. This swing of Sancho Panza is the tragic dynamic of Don Quixote. At its heart, and only in his heart, the real tragedy occurs. Since Sancho enters into arrangements with Don Quixote, is condemned to live, literally, with a broken heart. "Reyes recalled that at the end of the book Sancho he was disappointed by his master when he agrees to let the cavalry. But in his reading of 1947, realized that Sancho pathetic takes no position with the imminent death of Alonso Quijano. On the contrary, Cervantes makes it known that "Sancho was rejoicing, that inheriting property wipes out or softens down in the heir of grief might be expected to leave the die. " "With these words casually," concludes Reyes, Cervantes has killed me to Sancho Panza that I had begun to take shape. Has taken its highest sense, his definitive and lasting artistic value, being the same person who escapes the tragic battle of the work. Sorry for the insolence. "

Alfonso Reyes did not novel theory, this omission is not an abandonment or a failure on their part. Reyes was also not likely to display their tragedy, if that was or if he suspected I had it. We would go out of our lives and see it from outside, but unfortunately much as we always stayed move away from "this side" on the side of I-we carry with us, stuck. Cervantes wandered the Mediterranean, may be wrong to choose the path of happiness. "Missed" in both senses, as her character. But no one gets it right with his own life. Reyes missed by embassies and by countries, felt the error of the death of his father, and wrong to distance themselves from Mexican politics, much as it can go astray to ingratiate himself with her. But none of them saw their lives, nor Reyes. Nothing I said was Truth, and should not conclude anything, and neither Reyes concluded his thoughts on Cervantes. But as that we turn over life, err. The path does not exist, the path will always remain behind, and runs it does not know whether did leave behind a tragedy or a comedy.

(Text read at the inauguration of the Miguel de Cervantes Chair of the Faculty of Arts of the UNAM. March 2009)

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