By Bruce Dean Willis
Read or Download Aesthetics of Equilibrium: The Vanguard Poetics of Vicente Huidobro and Mario de Andrade (Purdue Studies in Romance Literatures) PDF
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Extra resources for Aesthetics of Equilibrium: The Vanguard Poetics of Vicente Huidobro and Mario de Andrade (Purdue Studies in Romance Literatures)
In “Non serviam,” the word esclavo is used twice, esclavitud once, amo [master] once, servicio once, and forms of the verb servir, including the Latin serviam, eight times. Numerically, Mário’s “Parábola” lags behind, with only three instances of the word escrava; however, the parables are on equal footing in that they both show words from this lexicon in their titles: serviam and escrava. The poet’s role as slave or master changes from Huidobro’s text to Mário’s; in “Non serviam,” the poetslave has been dominated by Mother Nature, while in “Parábola,” the poet-master creates his slave, Poetry, who is later liberated by another poet.
Huidobro and Mário both create allegories of this revolutionary rhetoric, surprisingly similar in form, theme, and symbol. Revolution is central to the plot of each parable, bolstered by biblical allusions that develop a sacred or mystical context, and by the slave and master relationship, which adds further complexities to the battle by implying the reconciliation of the self and the other, and, reinforced by gender pairings, the idea of a central duality or equilibrium. The most important difference between the two strategies is that Huidobro leans toward an expression of the conscious, individual, symbolic side of the scale, while Mário, in contrast, prefers to stress the unconscious, the universal, and the semiotic.
Mário’s “Parábola” presents a chain of slave and master relationships. Adam, although perhaps not the slave of God, of course reveres Him as his master. Adam is in turn the master of Poetry, since she is after all the “escrava” of the title, although she does not appear to serve him. , is an implied slave of Poetry’s beauty and truth; but he is also her liberator, the chosen one who arrives after generations of servitude. In the beginning, Adam’s plágio [plagiary] unlike Huidobro’s poet’s “nueva era,” does not arise from years of meditation in work and fear.
Aesthetics of Equilibrium: The Vanguard Poetics of Vicente Huidobro and Mario de Andrade (Purdue Studies in Romance Literatures) by Bruce Dean Willis