Eternidades [Juan Ramon Jimenez] on *FREE* shipping on qualifying offers. Eternidades. Front Cover. Juan Ramon Jimenez Eternidades: Verso ( ) (Classic Reprint) · Juan Ramón Jiménez No preview available – Juan Ramón Jiménez Mantecón (23 December – 29 May ) was a Spanish poet, a prolific writer who received the Nobel Prize in Literature in ” for.
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Skip to main content. Log In Sign Up. Turning his poetic focus away from the distractions of external reality, he creates a new self-referential universe that gives form to the nature of his soul. Stripping Away Material Layers: For example, in poem 25 the poet exclaims: These material transformations of the external world mirror the metamorphosis of the poetic self, shedding his bodily flesh in exchange for the landscape of his soul. He needs to shed the body because it restricts him.
For example, the reader is made aware of this need in the poem that follows the one discussed above. Like the seasons that disrobe and shed their material skin, the poet too desires to shed his outer body, let his flesh fall from his spirit in order to relieve his soul from the weight of the corporeal world.
However, while he rejects the outer world, he needs to find a form that will give expression to a world that has no physical manifestation. In order to alter the feeling of alienation, the poet converts the cold, exterior reality into a highly subjective universe that communicates juab his soul.
These landscapes are charged with emotion representing the various spiritual changes of the poetic voice. For example, in poem 19 the poetic voice comments: Por doquiera, flechas de oro matan el verano.
El aire lleva penas diluidas, como venenos la sangre. Todo-las alas, las flores, la luz- se va de viaje.
Eternidades : Juan Ramon Jimenez :
And in turn, the natural world articulates and echoes his inner concerns, establishing a dialogue between the poetic self and his private universe.
El alma, como el mundo, sola y grande. Initially, the reader witnesses the poet retreating further and further inward, when the external landscape overwhelms him. He finds moments of repose when he shuts out the threatening exterior world.
Juan Ramón Jiménez – Wikipedia
Free from the chains of the body, which belongs to the material world, the soul soars: As a consequence, the intrusion of the outside world causes distress and confusion: Pena aguda… The demands of the physical body distract the poet. Eternidaded describes the coming of the new day in terms of his own birth: These voices help to establish two separate realities within the poem, hinting at the fragmentation of the poetic identity.
While these voices scream out, the poetic voice converses within: Affirmation of the Soul and the External Jumenez. The poet no longer negates the landscape jimenrz the exterior world and the reader notices a return to the body, a reawakening and affirmation of the physical world. Although the poet still retreats within his interior landscape, now he looks to the external landscape for inspiration. Upon returning to Spain, his body, which has been numb to the external landscape of his reality, awakens.
Unlike the first part of the collection, the reminder of the body does not entrap the soul or cause distress. Here the soul ramoj as a woman metaphorically disrobes and exposes her true poetic self. His return to Spain elicits the rebirth of his soul because symbolically it also represents a return to a time before his fragmentation and split consciousness, provoked by his journey to a foreign landscape. His retrospective glance, therefore, gives him a heightened sense of awareness, allowing him to see his past self eternnidades the changed perspective of his present self.
Time fragments the poetic conscious but enables him to discover that: Although the poetic ji,enez is severed between time, between the past and the present, in Eternidades, the reader notices a deliberate manipulation ramno the divided self that enables the poet to come to consciousness.
His handling of the fragmented self allows him in poem 44 to transcend time and discover his eternal self, his true self: Yo no soy yo. Soy este que va a mi lado sin verlo; que, a veces, voy a ver, y que, a veces, olvido.
When he sheds his rammon flesh, his true self will remain untouched by the fragmentation of time. While time serves to divide the poetic identity, it also functions to liberate the poetic self from remaining fixed in it.
The past self, for example, does not remain closed off from the present. With the changed perspective of his present self, he turns his focus on the painting of the past in jimene to reinterpret it: Te hice pintar, esperanza, con la sangre de mi alma, en una gloria sin mancha.
Consequently, his inner dialogue with his past self enables him to come to consciousness because his failure is revealed to his present self: For example, his development of the poetic identity in the three works being discussed resists a chronological reading of his poetry. Past themes and problems resurface and reappear in later poetry, thereby forcing readers to return to his earlier works in search of answers to questions posed in the past by a poetic self divided in time.
The Language of a Poetic Identity.
Although the poet deliberately and consciously divides himself, returning to the past in search of answers that will provide insight into his present self, his reassessment of the past in Eternidades results in disillusionment.
He has attempted to articulate the truth of his soul with a language that conceals rather than reveals it. While the retrospective focus fragments the poetic self, more specifically the fragmentation can be attributed to the language of the past. The poet consciously reevaluates his own language and aesthetics in these poems.
He struggles to express his truth in Eternidades but realizes that he does not know the language that will articulate the truth of his soul. The first rramon highlights a frustration that will plague the poetic identity throughout the work: He wants to invent his own language that will enable his soul to manifest with the articulation of this new language.
And as a result he will create a language that speaks the discourse of his soul. The process of developing this new language is expressed in terms of a stripping away of material layers, of disguises that conceal the thing itself. For example, in poem 5 of the Eternidades the poet personifies poetry in terms of a woman who puts on various layers of clothing. By creating his poetry with the language of his soul, he sheds the false layers that hide it and discovers his true voice: For example, reading this poem in light of his comments in Time and Space, on the poetry of Pound and Eliot, provides another interpretation of the poem.
How many echoes of others Ultimately, it is his ability to define his soul with his own language, a language that comes from within, that enables him to finally transcend his fragmented self and discover an eternal self that will live on in his distinct language: Juaan to consciousness explored within his poetry is depicted as a battle between the jkan forces that serve to fragment his inner self and the inner landscape of his soul.
Eternidades : Verso (1916-1917) (Classic Reprint)
As the poetic self struggles to find his identity, however, the external forces that influence him threaten the stability of his inner landscape. For example, in poem 13 of Eternidades the poet toys with this idea of the fragmented self: The representation of the poetic self within these works explores ramkn transitory eternjdades of identity that continually transforms and fragments between the external forces the shape it and the internal forces that define it.
The exploration of self within these works resists a reading that treats each work as separate and distinct from each other. Rather the opposite; each work is a fragment, a piece of a whole poetic identity.
Works Cited Cardwell, Richard Jimeenez. Paragon House Publishers, Palau de Nemes, Graciela. Instituto de Estudios Onubenses, For example, see Richard A. Devlin highlights this self critical phase as being especially noticeable within the collection of poems of the Eternidades. The communication of objects or people in the real world is relegated to a secondary position. The coming into being of the poem is often the only rsmon However, my focus will examine not only the inner landscape of the poetic self but how this inner world clashes and is formed by the intrusion of the external forces that mold and shape the poetic vision.
Вечные мгновения / Eternidades
The antithesis is true. For example, Predmore argues that: However, the rest of these poems are plagued by a fragmented poetic voice that speaks to us through many different selves.
It means to turn away from external reality in order to focus his poetic eye within. Palau de Nemes reads the poem two separate levels.
On one level, by pointing to the biographical reading embedded within the text she argues that: The poetic word as it aspires to go beyond the world of common experience and create new possibilities is made to reflect upon itself, upon its ability to communicate intuitions which can only be felt. It is for this reason […] that pure word will be drawn to the peril of absolute silence coming to rest in the mute stare of Narcissus While this may be true, the same silence that the poetry produces also is a means of expression, a means of going beyond language itself.
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