miércoles, febrero 03, 2010

A modo de poética

La exposición de una poética siempre resulta algo arriesgado. Sin embargo, para aquel que ejerce el “oficio” de escribir o aquel para el que el ejercicio de escribir no se limita a un entretenimiento u ocupación secundaria, sino que resulta de una importancia vital- en el mejor sentido de la palabra- existe siempre una teoría poética implícita, pues sus intenciones e instrumentos- en este caso, el lenguaje- le exigirán condiciones que están a la base de toda su labor.

Por otro lado, conviene insistir en el último punto. La importancia vital – es decir, la que juega en los aspectos últimos de la vida- ha sido y siempre será el punto crucial de la definición del poeta. Y esto es así en aquellos escritores que han sido comprendidos como poetas “por antonomasia”, si se me permite la expresión.

Como se sabe, en Hölderlin y en Rilke existe una metafísica de la belleza que busca los caminos de lo sagrado en la mundanidad- como en Rilke- o en el retorno siempre secular a los ideales de una civilización ideal- como en Hölderlin. Pero podríamos aventurar que en ambos casos nos encontramos con una religiosidad de lo poético, que transforma lo secular en digno de ser resaltado y entendido en términos de lo sagrado y lo santo- “Hoy soy el candelabro de la voz”, dice Rilke en uno de sus poemas. El lenguaje es la pieza angular de este mecanismo, como ya demostró Heidegger, y es en él donde se realizan las modificaciones esenciales y, podríamos decir, rituales, de lo poético.

Así, en un ejercicio insólito de comparación, vemos estos rituales poéticos, de transformación específica del lenguaje, tanto en los poetas como en los hombres religiosos. De la misma manera que en la religión “el lenguaje hace fiesta”-por utilizar una afortunada expresión de Wittgenstein relativa a la filosofía- en la poesía el lenguaje se desvincula de su uso cotidiano para transformar el mundo- Rilke- o para trascenderlo-Hölderlin. En ambos casos, el lenguaje sufre un trastorno fundamental, lícito e indispensable en la actividad poética, que, a mi modo de ver, se trastoca en obsesivo cuando se sacrifica a los altares del esteticismo- y en este caso, podríamos hablar de Juan Ramón Jiménez y su obsesión por la pureza en la poesía-.

Por esteticismo quiero entender aquí la escisión entre mundo y lenguaje a fin de que el primero pueda recluirse en el mundo- en otras palabras, a fin de que el mundo se convierta desde siempre en mundo del lenguaje. Sin embargo, como en toda escisión, las relaciones posiblemente enriquecedoras entre ambos mundos se disuelven, y nos vemos abocados a una especie de kantismo- en este caso, poético-. Lo que quiero evidenciar es que, en los casos mencionados,- Juan Ramón, Hölderlin, Rilke- lo que se encuentra en el fondo de su labor poética no es sino una religiosidad de la belleza, que pensamos iluminar ahora de forma crítica.

Frente a esta religiosidad de la belleza, yo querría oponer, invirtiendo los términos, una belleza de lo religioso, una belleza del pensamiento, que añade a la escisión anterior una apertura al mundo y al lenguaje convencional en el que no se eclipse a ninguna de las partes. Tal poética difiere por principio de los términos más usuales en los que se valora la poesía en general, pues ya no va del mundo a la especificidad del lenguaje poético, sino que pretende inflamar este únicamente mediante la clarificación del pensamiento y su propio contenido.

En esta belleza de lo religioso- término que utilizamos siempre en el sentido de Hegel, y que por tanto podríamos sustituir por espiritual, artístico, etc- el objetivo no es la realización física del Espíritu- de nuevo retornando y reutilizando a Hegel-, pues en eso consistiría el pecado del esteticismo en el sentido tratado aquí; se trataría, más bien, de una captación de eso espiritual, justamente allí donde no aparece en su sentido más propiamente estético, de modo tal que se pueda revitalizar en cuanto estético lo que materialmente no aparece como tal. ¿Por qué  apreciar lo poético justo allí donde su realización material niega su idea? El objeto no es sino recuperar la verdadera esencia de eso mismo poético, que a mi juicio queda estrangulada cuando se abotarga en su mera realización fáctica- es decir, en la carne de la palabra, en lo propiamente estético de la palabra-. Se trataría de alcanzar lo estético mismo en general, poniendo solo en segundo lugar lo estético como acontecimiento singular.

Es evidente que desde esta óptica tan poética puede ser para nuestro objeto la Ética de Spinoza como la más trabajada de las poesías de Juan Ramón. Y es evidente también que este punto de vista no representa ninguna aportación original a ese territorio desordenado de las poéticas, pues no es sino una reivindicación de ciertos lugares clásicos en la concepción de la labor poética. Y de este modo podemos encontrar esa belleza de lo religioso que buscábamos tanto en la poesía de Rilke y de Hölderlin como en Spinoza, en Lutero, en los Evangelios o en diversos estilos literarios que no son considerados, al menos en la actualidad, como específicamente poéticos.

Lo estético como evidencia de lo bello evidentemente no se puede separar de lo ideal. Con ello quiero indicar que lo verdaderamente poético es-siempre desde esta perspectiva- un ideal con numerosas realizaciones materiales, pero que siempre trasciende tales realizaciones-. Encontrar lo poético en un Salmo, en una carta de San Pablo, etc, no por la belleza de la imagen, sino por la elevada profundidad de un pensamiento, por la forma peculiar en la que en ese instante lo religioso toma a su criatura- ampliando la uniformidad del esteticismo poético- nos ayudaría a reconsiderar las fronteras mismas de aquello que denominamos con el nombre un poco vago de poesía.



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