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The Indicenous Presence in Rubén D a ~ O and Ernesto

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The Indicenous Presence in Rubén D a ~ O and Ernesto THE INDICENOUS PRESENCE IN RUBÉN DA~OAND ERNESTO CARDENAL John Andrew Morrow A thesis submitted in confonnity with the requirements for the degree of Doctor of Philosophy Graduate Department of Spanish and Portuguese University of Toronto O Copyright by John A. Morrow, 2000 National Library Bibliothèque nationale 1+1 of,,, du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rwWellington OltawaON KlAW OMwaON KlAW canada canada The author has granted a non- L'auteur a accordé une licence non exclusive Licence aiiowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seil reproduire, prêter, distribuer ou copies of ths thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. .. 11 ABSTRACT The Indigenous Presence in Rubén Dario and Emesto Cardenal. Morrow, John A., Ph-D. University of Toronto, 2000.346pp. Director: Keith Ellis. This dissertation examines the indigenous presence in the poetry of Rubén Dario and Emesto Cardenal. It is divided into two sections, the fkst dealing with Dario and the second with Cardenal. In both sections the literary analysis is preceeded by a critical contextuaiization. The approach is principally thematic and stylistic. The Dm'o section examines the poet's contributions to the debates regarding race and identity, as well as the socio-political fiitwe of the Arnencas; the humanitarian motivation for his interest in the Amerindian world; the poet's double heritage, Hispanic and Amerindian; the presence of indigenous thematic, symbolic. mythologicai, and stylistic influences in his poetry; and finaIly his effort to search for and retrieve inspirational aspects of the Arnerindian world and, after extensive research, to integrate them into his poetry. It is concluded that Dario was significantly inspired, both aesthetically and philosophically, by the Amerindian world. The Cardenal section examines the humanitarian roots of the poet's interest in the Arnerindian world; the aesthetic, religious, and socio-political influences of indigenous culture on the pet; the integration of the indigenous theme into his poetry and his life as a whole; the research underlying his poetry; and the stylistic influences of Arnerindian literature on his poetry. It is concluded that Cardenal's poetry is strongly influenced aesthetically, socio-politically, and religiously by the Amerindian cultures of the Amencas. In the final conclusions the impact of the indigenous influence on the two pets is examined for similarities and differences. iii ACKNOWLEDGEMENTS 1 would like to thank: ALmighty God, to whom ali praise is due; my family for their loving support; Professor Keith Ellis for his guidance. uisight and attention to detail; Professor Raymond Skyrme for his meticulous cnticism; and Professor Rosa Sarabia for her suggestions and contributions. TABLE OF CONTENTS 1. General Introduction 1 II. The hdigenous Presence in Spanish American Poetry: An Overview 12 III. The Indigenous Presence in Dario A. Critical Contextualization 3 1 B. An Analysis of Dario's Literary Production 54 C. Conclusions 131 IV. The Indigenous Presence in Cardenal A. Cnticd Contexhialization B. An Analysis of Cardenal's Literary Production C. Conclusions V. General Conclusions End Notes Works Cited Morrow 1 GENERAL INTRODUCTION The following study deais with the indigenous presence in the poetry of Rubén Dario and Ernesto Cardenal. It is divided into two sections, the fint dealing with Dario and the second with Cardenal. Both sections commence with a criticai contextualization and then move into literary analysis. In the Dario section, the poems are snidied chronologicaliy in order to show the evolution of the hdigenous theme in his poetry. In the Cardenal section, the poems are studied thematically since the poet has touched upon many of the same themes in difierent works. Both the Dario and Cardenal sections have their own conclusions. The study as a whole fbïshes with a set of general conclusions which establish parallels and differences between the works of both pets. The Dario section commences with a survey of the indigenous presence in Spanish American poetry. The pets briefly examined include: Alonso de Ercilla y Zuniga, Juan Espinosa Medrano, Mariano Melgar, José Joaquin de Olmedo, José Mm'a Heredia, Manuel Godez Prada, Rubén Dario, José Santos Chocano' Ramon Lopez Velarde, Pablo Neruda, César Vallejo, Carlos Pellicer, Octavio Paz, and Emesto Cardenal. This overview demonstrates that the Amerindian world has played a significant role in Spanish American poetry, appearing in the works of Creote, mestizo, and Amerindian pets fiom ail periods of history and belonging to distinct literaty movements, be they Baroque, modernisra, posmodernisfa, or vanguatdisra. The importance of Dario and Cardenal's contributions to the appropriation of the .4merindian world, with focus on their social and aesthetic concerns, is also discussed at the end of the overview. The study then hirns to the indigenous presence in Dario, contextualizing the pet and his poetry and calling into question some of the cornmon views regarding his literary focus, ideology, and the philosophical underpinnings of the modernista movement. Morrow 2 The critical contextualization aims at clarifying the confûsion existing between americanismo Ziferario and hispanismo Ziferario, raises some questions about the issue of race in Dario criticism, and points out the pet's humanitarianism and socio-political influences. The contextualization also considers the Marti-Dario relationship and its ideological implications; Dario's view of Marti; the role of Marti in founding rnodernismo, as well as the movement's progressive nature. After contextualkg the pet and his poetry, the study then proceeds to the core of the Dario section which deah with the indigenous presence in his poetry. The works analyzed include: Iniciacihn melbdica, Epistokzs y poemas, Seleceibn de fextos dispersos and "Sonetos americanos," Az ul... , "A Colon," Prosas profanas, Cantos de vida y esperanza, El canto errante, Poema del ofofio, "A Bolivia," "Ap6strofe a Méjico," Canto a la Argentins, "La lora," and "Pax." h analysis of "Cancion mosquita" fiom Iniciacih rnelodicu demonstrates that the indigenous theme has been present in Dan'o's poetry from the begiming of his literary career. The controversy surrounding the source of inspiration of the poem is discussed and evaluated. "El parvenir" fiom Episfolas ypoemas is examined, focusing on the poet's socially progressive attitude and his yeaming for the return of the gods. The poet's vision of the Mec and Inca worlds as manifested in "Chinampa" and "El suefio del Inca" from the "Sonetos americanos" is also studied. Azul ... is also given due consideration. "Aiio lirico" is interpreted as a challenge to the dominant values of the day. The famous poem in praise of Caupolich is examined, stressing the poet's prodigious ability to condense part of an epic into a sonnet. In addition, Dario is presented as an initiator of the intertextuaiity of the chronicles. "A Colon" is reviewed at length due to the magnitude of its literary and ideological values. The poet's view of pre-Columbian America, Christopher Columbus, the conquest, the Morrow 3 wars of independence, miscegenation, as well as the state of pst-colonial Spanish America are al1 explored in due course. The study then continues with Prosas profanas. The importance of Dario's "Palabras limks" as an arte poética is noted, as is the poet's desire to present alternatives to the dominant values of the day. Canîos de vida y esperanza provides an abundance of material for analysis, including: "Saiutacion del optimista," "Al rey Oscar," "A Roosevelt," "Canto de esperanza," "Helios," "Noctumo (I)," "Divina Psiquis" and "Madrigal exaltado." The analysis of "Salutacion del optimista" stresses its united vision of Spanish America, which uïcludes both its Hispanic and Amerindian legacy. "Al Rey Oscar," a poem which exalts the Hispanic heritage, is viewed, in part, as an invitation to discover indigenous America. With their allusions to Nezahualcoyotl, the Arnerindian "Atlantis," Moctezuma, the inca, and Cuauhtémoc, political poems like "A Roosevelt" also demonstrate Dario's pride in the Arnerindian world. "Canto de esperanza," "Helios," and "Noctumo 0"are examined fiom a predominantly stylistic perspective. Similarities to the book of Chilant Balam, pre- Hispanic witchcraft, and Nahuatl poetry are pointed out. In "Divha Psiquis," the struggle between Christianity and paganism, truth and falsehood, good and eM1, are examined. This struggle takes place in the sou1 of the pet, which is tom between Christianity and paganism. The argument is made that the paganism in the poem does not limit itself to the European pagan tradition, but rather extends to dl of world mythology, among which the Arnerindian rnyths play a considerable role. "Madrigal exaitado" is an erotic composition which appears to alludes to the
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