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Elsinore, Scholia, Necrofilia. Maquetaciûn 1

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Elsinore, Scholia, Necrofilia. Maquetaciûn 1 Elsinore, Scholia, Necrofilia._Maquetación 1 26/7/17 19:17 Página 1 LA BIBLIOTECA DE LUIS ALBERTO DE CUENCA Elsinore, Scholia, Necrofilia._Maquetación 1 26/7/17 19:18 Página 3 02 LA BIBLIOTECA DE LUIS ALBERTO DE CUENCA 32 LOS VERSOS DE CORDELIA Elsinore Scholia Necrofilia (1972 - 1983) Elsinore, Scholia, Necrofilia._Maquetación 1 26/7/17 19:18 Página 4 Primera edición en LOS VERSOS DE CORDELIA, septiembre de 2017 Edita: Reino de Cordelia Alberto Alcocer, 46 - 3º B 28016 Madrid www.reinodecordelia.es Derechos exclusivos de esta edición en lengua española © Reino de Cordelia, S.L. © Luis Alberto de Cuenca y Prado, 1972, 1978 y 1983 Ilustración de cubierta: © Miguel Ángel Martín, 2017 Prólogo de © Jesús Ponce Cárdenas, 2017 IBIC: DCF ISBN: 978-84-16968-19-0 Depósito legal: M-23597-2017 Diseño y maquetación: Jesús Egido Corrección de pruebas: Pepa Rebollo Imprime: Gráficas Zamart Impreso en la Unión Europea Printed in E. U. Encuadernación: Felipe Méndez Cualquier forma de reproducción, distribución, comunicación pública o transformación de esta obra sólo puede ser realizada con la autorización de sus titulares, salvo excepción prevista por la ley. Diríjase a CEDRO (Centro Español de Derechos Reprográficos, www.cedro.org) si necesita fotocopiar o escanear algún fragmento de esta obra (www.conlicencia.com; 91 702 19 70 / 93 272 04 47). Elsinore, Scholia, Necrofilia._Maquetación 1 26/7/17 19:18 Página 5 Elsinore Scholia Necrofilia (1972 - 1983) Luis Alberto de Cuenca Edición de Jesús Ponce Cárdenas Elsinore, Scholia, Necrofilia._Maquetación 1 26/7/17 19:18 Página 7 Índice Introducción, Tríptico de tinieblas, por JESÚS PONCE CÁRDENAS 13 ELSINORE 125 Nártex 129 Envío 131 Nota explicativa 133 I. ATH 139 Fiorenza 141 Angélica en la Isla del Llanto 145 Desitjada mort 149 Amor y muerte en Calímaco de Cirene 151 La chica de las mil caras 155 Roland ofrece a Aude, y no a Durendal, como homenaje el último de sus pensamientos 159 Here, in the Dark, with You 163 Las tres hermanas 165 Marítima 167 Helamán, 6:13 169 Jaufré Rudel 171 Pas ce total déluge 173 Adolescencia 175 7 Elsinore, Scholia, Necrofilia._Maquetación 1 26/7/17 19:18 Página 8 II. ΡΟΔΟΝ 177 Love’s Labour’s Lost 179 The Return of Scarlett 181 Pasión, muerte y resurrección de Propercio de Asís 183 Germania uictrix 185 L. W. J. 189 What You Will 193 Eugénie Grandet 195 In the Days of King Arthur 197 Élisabeth-Jérôme 199 Lancelot 201 Οἰόζωνος 203 Defensa del amor divino 205 Bergthora 207 III. ΙΧΩΡ 209 Evocación de Francisco Salas, cosmógrafo 211 El crepúsculo sorprende a Roberto Alcázar en Charlotte Amalie 213 South Wabash Avenue 215 El Caballero, la Muerte y el Diablo 219 Reflexiones de Helvio Macro ante el cadáver crucificado de su esclava Aglaya (71 a. C.) 221 Alí Kan atraviesa los muros del misterio 225 Museo Bizantino 229 Wunder 233 Farewell 235 8 Elsinore, Scholia, Necrofilia._Maquetación 1 26/7/17 19:18 Página 9 Marooned 237 Virgo potens 239 ῎Οστρακον 241 Song of Innocence 243 IV. ΤΑΦΟΣ 245 Medea exul 247 El fin de Scaramouche 249 Alejandra, 258-259 251 The End 253 Dormida 255 Ciuitas Dei 257 Rukh’s Death 259 Ius primae noctis 261 Ecclesiastes, 9:3 263 Oración 265 El mensajero 267 Vanitas 269 Cerezo 271 SCHOLIA (1972- 1983) 273 Traum des Waldes 275 Acteón 279 Rumbo a Londres, el conde Drácula resucita un pasado sentimental 281 9 Elsinore, Scholia, Necrofilia._Maquetación 1 26/7/17 19:18 Página 10 Gustav Klimt: Dánae 283 La dama de Boston 285 Tus ojos 287 Pitonisa floral 289 Alicia Liddell abandona el País de las Maravillas para contraer matrimonio 291 Blanca ola 293 Idilio 297 Tres momentos en la vida de Nino, príncipe de Asiria 299 El campesino y la princesa 301 Agag de Amaleq 303 The Getaway 305 A. Persi Flacci choliambi 307 6-IX-1956 309 Peer Gynt 311 De y por Manuel Machado 315 Un milagro de Buda 319 Los arios a las puertas de la India 323 NECROFILIA (1983) 325 Cómo te defiendes de mí 327 El fantasma 329 La vela 331 El asesino 333 10 Elsinore, Scholia, Necrofilia._Maquetación 1 26/7/17 19:18 Página 11 APÉNDICE 335 Envío 337 Nártex 339 Nota explicativa 343 Autocrítica de Elsinore 349 11 Elsinore, Scholia, Necrofilia._Maquetación 1 26/7/17 19:18 Página 13 Tríptico de tinieblas* ESTE VOLUMEN comprende casi toda la poesía juvenil de Luis Alberto de Cuenca, ya que en sus páginas se hallan por primera vez reunidos los libros Elsinore y Scholia, junto a la plaquette Necrofilia1. No parece exagerado sostener que, en la dilatada trayectoria del poeta y helenista madrileño, tales obras conforman un singular tríptico de tinieblas, pues en sus versos se concentra el ciclo hermético más amplio de to- da su producción. * Quisiera agradecer a Mercedes Blanco, Pedro Conde Parrado, Luisella Gian- nantonio y Juan Antonio González Iglesias la atenta lectura del original de esta introducción así como sus preciosas sugerencias. Por supuesto, este es- tudio no habría llegado a buen puerto sin el magisterio, la complicidad y la generosa atención de Luis Alberto de Cuenca. A la lectura de sus versos de- 1 bo muchas horas de deleite y no pocas sorpresas. Elsinore, Madrid, Azur, colección Bezoar, 1972. Scholia, Barcelona, Antoni Bosch Editor, 1978. Necrofilia, Madrid, Cuadernillos de Madrid-Imprenta Al- berto Moratín, 1983. A lo largo de las páginas siguientes, las citas de los po- emas —salvo indicación expresa— remitirán al texto de la editio princeps. 13 Elsinore, Scholia, Necrofilia._Maquetación 1 26/7/17 19:18 Página 14 El propósito de esta pequeña introducción es ofrecer al- gunas claves de lectura que iluminen la complejidad y ele- gancia de estos poemarios, facilitando la comprensión de unos textos en los que belleza y oscuridad van de la mano. Por ese motivo la presentación se articulará en ocho apar- tados. El primero considerará el contexto de composición: el movimiento renovador de los años 60-70. En la sección segunda se atenderá a la temática dominante, a los núcleos centrales del amor y la muerte, contrastando el enmascara- miento lírico y el trasfondo biográfico. La confluencia entre los códigos literarios y la vivencia personal se aprecia sin- gularmente en los dos polos que conforman Eros y Thána- tos (o sus equivalentes latinos Amor / Mors), dualidad que domina una escritura que aspira a la fusión mítica. Las par- tes tercera y cuarta atienden a la intertextualidad, centrán- dose en el magisterio de autores célebres por la obscuritas de sus composiciones o por el docto refinamiento de su es- tilo (Licofrón, Persio / Calímaco, Propercio) y reflexionando en torno a la modulación lúdica de la contaminatio (o com- binación de varios modelos) en poemas de corte epigramá- tico. La quinta, sexta y séptima sección se ocupan de la re- lación del texto con la imagen, ya desde el plano de la écfrasis, ya desde la órbita postmoderna de la transposición intermedial, vinculada al cine y el cómic. Concluiremos, en el epígrafe octavo, esbozando una caracterización del len- guaje poético del autor en estos primeros libros. 14 Elsinore, Scholia, Necrofilia._Maquetación 1 26/7/17 19:18 Página 15 1. UN DIAMANTE FURIOSAMENTE HERIDO POR EL MUNDO: EN LOS SENDEROS DE LA RENOVACIÓN LÍRICA ENTRE 1966 y 1975 la poesía española conoció una oleada re- novadora que hizo tambalear los grises cimientos de la es- critura social-realista. Una cadena prodigiosa de títulos, im- buidos casi siempre de un esteticismo desafiante, fue avanzando ante lectores e iniciados el canon del nuevo cre- do: Arde el mar de Pere Gimferrer (1966), Dibujo de la muer- te de Guillermo Carnero (1967), Tigres en el jardín de Anto- nio Carvajal (1968), Así se fundó Carnaby Street de Leopoldo María Panero (1970), Pautas para conjurados (1970) de An- tonio Martínez Sarrión, Los retratos (1971) de Luis Alberto de Cuenca, Sublime solarium de Luis Antonio de Villena (1971), Elsinore de Luis Alberto de Cuenca (1972), Figura en un pai- saje de Aníbal Núñez (compuesto en 1974, mas editado pós- tumamente), Sepulcro en Tarquinia de Antonio Colinas (1975). El sorprendente paradigma lírico que instauraron aquellos volúmenes encarnaba unos valores nuevos, sustentados en el «experimentalismo», el magisterio «de la escritura de van- guardia», la inclinación por un «irracionalismo extremo» así como un quintaesenciado «neobarroquismo»2. Tal era el am- 2 Juan José Lanz, Nuevos y novísimos poetas en la estela del 68, Sevilla, Re- nacimiento, 2011, p. 49. Como me recuerda Juan Antonio González Iglesias, la vía de conexión con el legado del Barroco se reforzó en varios autores jóvenes (Gimferrer, Carnero, Villena, Colinas…) a través del contacto di- 15 Elsinore, Scholia, Necrofilia._Maquetación 1 26/7/17 19:18 Página 16 biente general en el que se inscriben los textos iniciales de Luis Alberto de Cuenca, cuyas páginas reflejan como pocas el air du temps, el espíritu y el estilo de una época. La radical innovación que encarnaron los títulos citados llegó a causar no poco estupor en ciertos sectores de la críti- ca y entre algunos lectores. Excusado es decir que la princi- pal piedra de escándalo en la propuesta de los nuevos autores del 68 ha sido (y continúa siendo) el culturalismo. En su sen- tido más profundo, tal término debería entenderse como «vo- luntad y destino de continuidad cultural», así como «signo ex- terno de pertenencia a la tradición»3. Sin embargo, en su acepción más inmediata suele interpretarse como la «utiliza- ción explícita en el poema de motivos y referencias de la his- toria cultural, procedentes de la literatura universal, la mito- logía, la Historia, la filosofía, la religión o las artes»4.
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