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La Poesía De Thomas Merton: Creación, Crítica Y Contemplación

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La Poesía De Thomas Merton: Creación, Crítica Y Contemplación UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA Departamento de Filología Inglesa II LA POESÍA DE THOMAS MERTON: CREACIÓN, CRÍTICA Y CONTEMPLACIÓN MEMORIA PRESENTADA PARA OPTAR AL GRADO DE DOCTOR POR Sonia Petisco Martínez Bajo la dirección del Doctor: Fernando Beltrán Llavador Madrid, 2003 ISBN: 84-669-1961-9 My life is a listening. His is a speaking. My salvation is to hear and respond. For this, my life has to be silent. Hence my silence is my salvation. Thomas Merton, Thoughts in Solitude ÍNDICE INTRODUCCIÓN ................................................................................................. 6 1. ACERCAMIENTO A LA PERSONALIDAD INTELECTUAL Y HUMANA DE THOMAS MERTON. EVOLUCIÓN ESTÉTICO-RELIGIOSA Y COSMOVISIÓN POÉTICA ......................................................................... 16 1.1. Poesía y contemplación: dos vocaciones reconciliadas ........................... 21 1.2. Poesía y creación: puro amanecer de la palabra ........................................... 36 1.3. Poesía y crítica: muerte del símbolo y alienación humana ........................... 45 2. INFLUENCIAS ESPIRITUALES, LITERARIAS Y CRÍTICAS ........................ 52 2.1. Thomas Merton, poeta católico: filiación poético-profética con la tradición monacal cristiana ............................ 52 2.2. Fuentes literarias: 2.2.1. El Romanticismo americano: Emerson, Thoreau, y Whitman ……………………………………….… 55 2.2.2. Místicos ingleses: William Blake y Gerard Manley Hopkins ……………………………… 60 2.2.3. Crítica modernista de T.S.Eliot y Generación Beat ........................ 67 2.3. Otras corrientes de pensamiento crítico contemporáneo: Boris Pasternak, Rezah Arasteh, Karl Barth, Dietrich Bonhoeffer, Albert Camus y Erich Fromm …………………………………………………. 73 3. ITINERARIO POÉTICO DE THOMAS MERTON: TRAYECTO Y BÚSQUEDA ............................................................................ 82 3.1. Primeros libros de poemas: Fuga Mundi y abandono en Cristo .................... 84 3.1.1. Early Poems (1940-1942) ……………………………………..… 84 3.1.2. Thirty Poems (1944) ……………………………………….….. 97 3.1.3. A Man in the Divided Sea (1946) y Figures for an Apocalypse (1948) ……………………………….….. 112 3.1.4. The Tears of the Blind Lions (1949) ……………………….….. 126 3.2. De la soledad a la solidaridad: Etapa de transición .............................. 137 3.2.1. The Strange Islands (1957) ……………………………….….. 137 3.2.2. Original Child Bomb (1962) y Emblems of a Season of Fury (1963) ……………………….….. 181 3.3. Últimos antipoemas: Hacia una geografía del espíritu ............................. 206 3.3.1. Cables to the Ace (1968) ………………………………….. 207 3.3.2. The Geography of Lograire (1968) ………………………….. 225 4. CONCLUSIÓN ............................................................................................... 247 5. ANEXO ESTUDIO INTRODUCTORIO, VERSIÓN ORIGINAL Y TRADUCCIÓN ANOTADA DEL LIBRO EIGHTEEN POEMS DE THOMAS MERTON ………………………………..….. 252 6. APÉNDICE ................................................................................................ 374 7. BIBLIOGRAFÍA .................................................................................... 380 INTRODUCCIÓN El escritor norteamericano Thomas Merton (1915-1968) ocupa un espacio singular en la literatura de nuestro tiempo. Con él nos hemos iniciado en las tareas de investigación y a él le hemos dedicado nuestra tesina con el título La Mirada Originaria en la Poesía de William Blake y Thomas Merton,1 que constituyó una primera y parcial aproximación al presente estudio. Monje trapense, promotor de diálogos interconfesionales entre diferentes religiones de Oriente y Occidente, fue Thomas Merton un autor fecundo de numerosas obras en verso y prosa que tuvieron una gran repercusión en el ámbito de los estudios literarios norteamericanos y en la sociedad de su tiempo. Es, en palabras de la Dra. Luce López Baralt, “el místico más importante de los Estados Unidos.”2 Poeta católico, la relevancia de su poesía radica en establecer un diálogo continuo con el mundo, siendo así heredero no sólo de la tradición bíblica sino de una amplia corriente de denuncia ante la visible fragmentación que sufre la humanidad. Nacido en Prades (Francia)3, en el seno de una familia de artistas su azarosa biografía corresponde a una búsqueda incesante y apasionada de la verdad, del paraíso perdido. Huérfano desde una edad temprana, su “recherche” pasa por intrincadas épocas de crisis y desconcierto en su juventud, alternando estudios en Francia, Inglaterra (Oakham y Cambridge) y Estados Unidos. En 1939 obtiene el Master of Arts en la Universidad de Columbia (Nueva York) y seguidamente comienza su tesis doctoral sobre Gerard 1Una síntesis de las ideas principales de este trabajo aparece publicada en Thomas Merton: Poet, Monk and Prophet, Papers from the 1998 Oakham Conference of the Thomas Merton Society of Great Britain and Ireland, Three Peaks Press, 1998, pp.109-119. 2Luce López-Baralt y Lorenzo Piera (eds), El Sol a Medianoche. La Experiencia Mística: Tradición y Actualidad, Madrid, Trotta, 1996, p.17. 3El 22 de junio de 1951 obtuvo la ciudadanía norteamericana. Manley Hopkins que no llegaría a concluir. Cansado de una existencia superficial carente de sentido, inducido por algunos de sus tutores universitarios como Mark Van Doren o Dan Walsh y por ciertas lecturas religiosas como las de Etienne Gilson o Jacques Maritain, se convierte al catolicismo. En 1938 es bautizado y en 1941 ingresa en el monasterio trapense de Nuestra Señora de Getsemaní (Kentucky) donde es consagrado como monje y ordenado sacerdote ocho años después. Precisamente en la entrada de la abadía figuraba el siguiente aserto: Pax Intrantibus, que inaugura la nueva andadura por tierras del espíritu de este místico de la orfandad. Getsemaní se convierte para Merton en el centro del mundo. Allí compagina la oración, la dirección espiritual y la formación de los novicios con la lectura de obras de teología, patrística, y literatura (especialmente poesía española, inglesa y americana), al mismo tiempo que cultiva su vocación por la escritura: “my work is my hermitage –escribe en uno de sus primeros diarios monásticos– because it is ‘writing’ that helps me most of all to be a solitary and a contemplative here at Gethsemani.”4 Durante los veintisiete años que Merton permaneció en el monasterio, escribió, publicó y tradujo cincuenta libros y trescientos artículos, reseñas y poemas aparecidos en diferentes revistas. Allí redactó apasionantes diarios, ensayos literarios sobre autores como William Faulkner, Boris Pasternak, James Joyce, Albert Camus, o Louis Zukofsky; entabló correspondencia con personalidades del mundo político, religioso e intelectual como el Papa Pablo VI, D.T. Suzuki, Boris Pasternak, Ernesto Cardenal, Czeslaw Milosz, Abraham Heschel, Aldoux Huxley, Henry Miller o Erich Fromm y escribió la mayor parte de su obra poética y en prosa, casi siempre bajo la supervisión de su abad. Además pronunció diversas charlas en su puesto de “maestro de novicios y maestro de escolásticos” sobre los Padres cistercienses, sobre arte, poesía, marxismo, o sufismo entre otros temas. A finales de los años cincuenta el interés de Merton se centró en el estudio del misticismo oriental, especialmente del budismo zen y durante la década de los sesenta escribió de forma extensa sobre la no-violencia en la era nuclear. También en este 4Entrada del 18 de enero de 1950, en Thomas Merton, The Sign of Jonas, New York, Harcourt Brace & Company, 1981, p.269. 7 periodo reflexionó sobre la vida monástica y contempló la necesidad de una reforma de su orden bajo la inspiración del Concilio Vaticano II. Como todos los grandes místicos, Merton fue un hombre libre e inconformista, por lo que poco a poco aumentó su descontento respecto a muchas rutinas religiosas de su monasterio. En 1965, incómodo por la escasa independencia de la que podía gozar en su comunidad y por la inercia y anquilosamiento de la misma, logró, tras ciertas discrepancias con su abad Dom James Fox, hacer realidad un sueño largamente esperado: retirarse a vivir a una humilde ermita en los bosques de la abadía y gozar del silencio y el anonimato que su fama como escritor le había negado. No obstante, pronto este pequeño santuario se convirtió casi en una especie de “foro universal” que reunió a pensadores, escritores, teólogos y poetas que de todo el mundo acudían a visitarle. Pero su anhelo de búsqueda impulsó a Merton a explorar otros parajes donde establecer nuevas fundaciones o ermitas. En 1968 visita California, Arizona y Alaska, y a finales de ese mismo año, atraído por el Budismo con un talante claramente ecuménico, viaja a Asia para participar en un encuentro interreligioso a favor del diálogo y el enriquecimiento mutuo entre Oriente y Occidente. Víctima de un accidente con un ventilador, muere en Bangkok, poco después de haber pronunciado la que iba a ser su última conversación, una conferencia sobre marxismo y nuevas perspectivas monásticas. De forma tan dolorosa culminaba el viaje espiritual de un hombre que no cejaría en su empeño de vivir: “With Mahabalipuram and Polonnaruwa my Asian pilgrimage has come clear and purified itself. I mean, I know and have seen what I was obscurely looking for. I don´t know what else remains but I have now seen and have got beyond the shadow and the disguise.”5 Actualmente el interés por Thomas Merton es especialmente notable en Norteamérica como los demuestran los numerosos ensayos críticos, biografías, ediciones de fuentes primarias, análisis y estudios que se han publicado durante las últimas
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