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Georges Sorel José Ignacio Lacasta Zabalza Georges Sorel en su tiempo (1847-1922) El conductor de herejtas <Gil9(0)flt9� S«»rl9ll l§llil Sllll tiempo (U�1Qll�22) IBR coiiiiGllllllctoll' de ilneii'Cjfu JJ'«»s6liplJil�li«» ll.&�Uft& Z&lbl&ll� (Ú}(§(O)lr�t§� S@Irt§ll l§!nl �llllltlll§lfilll]p([)) (ll�41�ll�22) En CCmtid!UllCitOil' idle ihleRj[u © TALASA Ediciones S.L. Queda rigurosamente prohibida sin la autorización escrita de los titulares del «Copryright», bajo sanciones establecidas en las leyes, la reproducción total o parcial de esta obra por cualquier medio o procedimiento, comprendidos la reproducción y el tratamiento informático, y la distribución de ejemplares de ella mediante cualquier alquiler o préstamo públicos. TALASA EDICIONES S.L. el Hileras 8, 1°, dcha. 28013 MADRID Telf.-Fax: 91-5593082 ISBN: 84-88119-26-7 Depósito Legal: M. 36.665-1994 Impreso por: Fareso, S.A., Paseo de la Dirección 5, 28039 Madrid Dedicatoria A Teodoro Sánchez, párroco de San Agustín, por una amistad de hace unos veinte años y por el respetuoso cultivo mutuo de lo común y lo diferente. En recuerdo de unas rela­ ciones sólidas, en las que no ha faltado el humor ni la discu­ sión intelectual sobre cuestiones religiosas y pol�ticas, algu­ nas de las cuales recoge este libro; relaciones mantenidas a las duras del franquismo (que, como Teodoro sabe distinguir entre la elegancia de perdonar y la estupidez -o algo quizá peor, como cierto tipo de casuismo- del ser moralmente am­ nésico, se puede decir que fueron duras de veras) y a las maduras democráticas (que no han constituido para nosotros sino cierto imperio de la insolidaridad y un inquietante ra­ quitismo ético). Agradecimiento Este libro fue un "proyecto de investigación" de un exa­ men de cátedras de Universidad. Fue benévolamente juzga­ do por los profesores López Calera, Capella, Prieto Sanchís, Eusebio Fernández y Gabriel Bello. Sus amables críticas han sido incorporadas al texto. Comenzó a ser pensado en Frankfurt-am-Main en marzo de 1988. Utilizando unos es­ critos procedentes de la biblioteca del Max Plank Institut, intercambié diversos puntos de vista sobre Carl Schmitt y Sorel, junto a la metodología sociológica francesa que Pie­ rre Bourdieu y sus seguidores aplicaban para el estudio crí­ tico del marxismo francés, con el también desprejuiciado (de los que no ven únicamente en Schmitt las botas acharo­ ladas de un nazi) Antonio Serrano González. Desde enton- 5 ces hasta ahora, este libro está en deuda por la ayuda -y las criticas- de Antonio. Que conste, pues, en este lógicamente recordado y amistoso reconocimiento. Eugenio del Río me ha hecho ver algo sustancial para la localización cultural de Benedetto Croce en su relación epistolar con Sorel, y tam­ bién me ha suministrado minuciosamente numerosas indica­ ciones acerca del "marxismo fundacional", materia en la que es un buen experto. Gracias, Eugenio. A José Luis Ro­ dríguez le he mareado regularmente y siempre me ha res­ pondido con su paciencia amistosa (salvo a las nueve de la mañana, hora en la que -un tanto licántropo- se transfigu­ ra). Seriamente, varias opiniones suyas han sido aquí inclui­ das, aunque no sin su correspondiente y sesuda discusión en "El Universal" o en "La Radio". Montse Ruiz, de la Biblio­ teca Nacional, me ha facilitado el acceso a unos materiales realmente importantes para la escritura de este libro. Tam­ bién te lo agradezco, Montse. Paco Goyanes es bastante más que "mi" librero y me ha apoyado, con su silenciosa y bue­ na orientación cultural, en la tarea de encontrar varios docu­ mentos franceses nada accesibles. Lo mismo digo de Ramón Abad, amable y competente bibliotecario de la Facultad de Derecho de Zaragoza. La profesora de Nápoles, Cristina Va­ no, ha tomado parte desinteresadamente en el "safari" italia­ no -sección "Mezzogiomo"- de la búsqueda bibliográfica de Sorel. Molte grazie! Cristina. Javier Sádaba fue quien me aconsejó la lectura de Salomón Reinach y me sugirió varias cuestiones peculiares -y útiles- sobre Loisy y el "modernis­ mo" francés. Por eso lo incluyo en este breve capítulo. Fi­ nalmente (y no por orden jerárquico, que él de ninguna ma­ nera aceptaría), a mi hermano Eduardo le he quitado irresponsablemente su tiempo de investigación (¡el de un fi­ sico!) para hacerle rastrear pistas sorelianas -no siempre se­ guras, pero valiosas- en la Universidad de Burdeos. A todas y todos, muchas gracias. 6 "HILARION- ...Esta vida alejada de los demás no es buena. ANTONIO- ¡A l contrario! El hombre, que es espíri­ tu, debe retirarse de las cosas mortales. Cualquier ac­ ción le degrada. ¡No quisierapisar la tierra, ni siquiera con la planta de los pies 1 HILARION- ¡Hipócrita que se hunde en la soledad para entrega rse mejor al desenfreno de su concupiscen­ cia! ¡Te privas de carnes, de vino, de calor, de esclavos y de honores; pero cómo dejas que tu imaginación te ofrezca banquetes, perfumes, mujeres desnudas y multi­ tudes aclamándote! ¡Tu castidad no es más que una co­ rrupción más sutil, y ese desprecio del mundo, la impo­ tencia de tu odio contra él! Eso es lo que hace a tus semejantes tan lúgubres, o es quizá porque dudan. La posesión de la verdad proporciona fe licidad. ¿Acaso Je ­ sús era triste? Siempre estaba rodeado de amigos, des­ cansaba a la sombra del olivo, perdonaba a la pecado­ ra, curaba todos los dolores. Tú sólo tienes piedad para tu miseria. Es como un remordimiento que te envuelve y una demencia huraña, que te hace rechazar la caricia de un perro o la sonrisa de un niño." Gustave Flaubert, La Tentación de San Antonio. 7 Introducción Georges Sorely la virtud de "poner en jaque". El parisino lado agrio de "la Belle ép oque". Jesucristo en la tierra y al­ gunas de sus culturales consecuencias francesas: la "teolo­ gía jurídica" de la Iglesia católica y el modernismo. Fuerza y Violencia: Sorel, desigual mentor de Wa lter Benjamín y Carl Schmitt. Bolcheviques, judíos y socialistas. Un a reca­ pitulación metodológica de fo ndo: religión -religiones- y marxismo. La filosofía de un "gato en el palomar". Este es un libro sobre Georges Sorel o un intento de re­ construcción sociológica de sus posiciones intelectuales más sobresalientes. Con ello se pretende un acercamiento a su ideario desde diferentes flancos filosóficos; unos flancos que son morales, religiosos y sociales, primordialmente. Pe­ ro también hay un estudio -que quiere ser no anecdótico­ de sus algo enrevesados presupuestos metodológicos. La primera parte del libro aspira a cubrir una exploración global del pensamiento soreliano y en ese pasaje se describ� la fructificación de su, en autorizadas palabras de Henri Bergson, "sociología de lo consciente e inconsciente". Las páginas de los dos primeros capítulos se apoyan de manera privilegiada en el género ep istolar, sobre todo, el segundo capítulo. Se sustentan en las numerosas y muy fiables impre- 9 siones estilísticas dejadas por Sorel en su carteo con Berg­ son, Benedetto Croce (que es un actor fundamental en todo este episodio), Antonio Labriola, Vilfredo Pareto o Roberto Michels, entre otros muchos. Y, muy especialmente, atienden a las confidencias ideológicas dirigidas mediante la corres­ pondencia de Sorel a su amigo y discípulo Edouard Berth. Este sondeo intenta comprender a Sorel, pero no a su época, o, mejor, no solamente. Aqui no se contempla al au­ tor como un pretexto histórico o historicista. Máxime, ave­ cindado como está nuestro protagonista en el París de "la Belle époque", en unos años de la Tercera República france­ sa que a Sorel, filosóficamente pesimista, se le antojaron casi todo menos "bellos". Pues no relaciona precisamente la corrupción política que él ve en todo ese sistema parlamen­ tario con la hermosura. Si hubiera que identificar con los ojos de Sorel lo bello, lo primero que acude a la mente es la idea de la sencillez. Lo sencillo que encuentra en sus forma­ les pautas clásicas, pero, asimismo, en sus ideadas caden­ cias sociales. Pese a que este autor está dotado de un espíri­ tu filosófico bastante complicado, como el amante no cartesiano que es de la complejidad, a la que considera su cómplice persistente y no un riesgo a suprimir. Un pensador nada convencional que elogió moralmente los valores anar­ cosindicalistas emergentes del multitudinario movimiento obrero de la "Federación de Bolsas de Trabajo" e hizo amis­ tad duradera con varios de sus dirigentes. Al tiempo que adoraba la pintura, una cierta pintura. Y estimaba las líneas no rígidas de los cuadros de los impresio­ nistas, de Renoir y Monet. Pero también le atrajo Goya. En 1872, durante un permiso por enfermedad, el ingeniero y funcionario Sorel visitó varios museos españoles. Ya en 191 O, todavía lo recordaba vivamente en una carta. "En el 10 museo del Prado de Madrid hay dos cuadros terribles de Go­ ya... Basta haberlos mirado durante medio minuto para que no salgan jamás de vuestra memoria". Intensa debió de ser esa sensación recibida en El Prado, dado su criterio domi­ nante acerca de "les nuances", los matices, para apreciar las innovadoras formas de comunicación recogidas en la combi­ nación de los colores pictóricos de los "Pissaro, Monet, Sis­ ley, Renoir, Cézanne"1• Unos matices entremezclados que le sugerían a Sorel una legitimación casi satisfactoria de este raro éxito social impresionista que, chocantemente, se inició con una crítica especializada un tanto adversa. Para él, se tra­ taba de un nuevo lenguaje que venía a avalar la aceptación de una pintura así, en principio, tan escasamente comprensible por el gran público que luego la hizo suya. Es más, pensaba Sorel, si un considerable sector de la gente captaba la direc­ ción espiritual de la unidad de esos cuadros, su totalidad, en ellos no había difuminación sino en apariencia.
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