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La Poesia De Giuseppe Ungaretti

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La Poesia De Giuseppe Ungaretti SALVATORE CANDIDO LA POESIA DE GIUSEPPE UNGARETTI • EDITORIAL UNIVERSITARIA, S. A. — SANTIAGO DE CHILE — SALVATORE CANDIDO LA POESIA DE GIUSEPPE UNGARETTI EDITORIAL UNIVERSITARIA, S. A. — SANTIAGO DE CHILE — 1934 A ¿TJL. la distancia de cerca de cuarenta años de la publicación del primer pequeño volumen de poesías*, se puede hablar con suficiente exactitud y rigor crítico de la obra de Giuseppe Un- garetti, sin duda, uno de los poetas más aclamados y discutidos de la nueva generación poética itailiana; se pueden recoger los hilos de una vasta polémica que ha comprometido los métodos y sistemas estéticos dé los primeros decenios de nuestro siglo, y que ha visto en lucha encarnizada a críticos y estetas, intérpretes y admiradores de la poesía tradicional o amantes de las nuevas fórmulas poéticas que fueron recopiladas, algunas veces, bajo el nombre de «poesía del Novecientos», poesía pura o poesía hermética. Críticos insignes, en estos últimos años, han emitido su jui- cio sobre el «caso Ungaretti», han agitado ideas viejas y nuevas sobre el subjetivismo y sobre el objetivismo en el arte, han que- rido examinar el mito de una poesía que se definía como «pura», han reconstruido, sobre el terreno histórico y el estético, las al- ternativas de la poesía italiana de los últimos feiglos; y la polé- mica que se iniciara, con Ungaretti, en plena guerra (la Primera Guerra Mundial, 1914-18), se proyecta hasta nuestros días, rendida, sin duda menos aguda y más serena, por haberse fijado algunas posiciones estéticas que se mantuvieron en los primeros años, indecisas e inciertas, y por el asomarse de nuevos elementos de certeza crítica que han podido aportar mayor luz a la poesía ungaretiana; y, por encima de todo, porque óon el mudar del * Ungaretti, G., II porto sepolto, Udine, 1916. 3 tiempo y de las exigencias estéticas, los críticos y el público de los lectores han podido acercarse con mayor comprensión y amor a la obra de un poeta que, sin duda, en el plano de la poe- sía y de la estética, ha anticipado los tiempos, ha sido, si cabe, un precursor, y adivinando, en el campo de la poesía, una nece- sidad de mayor inmediación lírica y de una esencialidad más profunda, ha favorecido y ha saturado de sí el actual desarrollo de la lírica italiana contemporánea, tan estrechamente ligada a las corrientes de la cultura europea y mundial de nuestro tiempo. Casi para hacer más espontáneo e inmediato el sentido de adhesión a la vida que se manifiesta en la obra de este poeta, el mismo Ungaretti ha querido recopilar toda su obra poética bajo el título' de Vida de un hombre. Podemos encontrar la ex- plicación de este título general en algunas consideraciones hechas por el poeta en ocasión de una reciente encuesta literaria dirigida por Leone Piccíoni*. El poeta hizo notar, en tal oportunidad, que «cada hombre está en la historia y no fuera de la historia», y que «si un escritor no logra, en su propia obra, expresar la his- toria e imprimirle el sello de su personalidad, es un escritor se- cundario, del cual la historia no se preocupará». Palabras significativas por cuanto han sido expresadas por un hombre que, por espacio de más de treinta años, durante el desarrollo de su vida literaria, ha sido definido como el máximo representante italiano de la llamada «poesía purá», antes bien, uno de los fundadores de la poesía hermética en torno a la cual, en Italia y en otras partes del mundo, han discutido, en esta pri- mera mitad del siglo, nluchísimos críticos y estudiosos. El mismo Ungaretti, por lo demás, ha reunido, como se ha dicho, bajo el título común de Vida de un hombre, toda su pro- ducción literaria, bajo los nombres de La alegría, que contiene todos los poemas nacidos en la atmósfera de la Primera Guerra Mundial, desde 1914 a 1919; Sentimiento del tiempo, que contiene los poemas escritos entre 1019 y 1935; Poesías dispersas, que re- coge algunas poesías escritas entre 1915 y 1927, y El dolor, que comprende la producción poética que va desde el año 1937 a 1946 y contiene, por lo tanto, las voces más recientes de su ins- piración. * Piccioni L., Confessioni di seriltori, Turin, 1951. 4 A estas obras podríamos agregar los tomos de sus traduccio- nes del castellano, del francés, del inglés, del portugués, en par- ticular la traducción de Góngora, Mallarmé, Racine, Shakes- peare y de los poetas brasileños, como asimismo obras en prosa de viajes y de estudios literarios y un poema dramático titulado La tierra prometida. Pero nosotros limitaremos nuestro examen a las obras poé- ticas y en particular a aquellos poemas que marcan, de modo más claro, las etapas de una evolución poética mantenida por más de treinta años, y cuyas expresiones y manifestaciones se pueden qoger especialmente en La alegría, Sentimiento del tiempo y El dolor. Ante todo, estimo que es oportuno dar algunos rasgos bio- gráficos por cuanto ello puede servir para delinear y fijar los límites del mundo psicológico e histórico de nuestro poeta. Nacido en Alejandría, Egipto, de padres toscanos, en 1888, pertenece, por lo tanto, a una familia de emigrantes; en Egipto, país abierto más que nunca a fines del siglo xix, a las influencias de occidente y de oriente, elaboró y absorbió tendencias ecléc- ticas y cosmopolitas que, a través del tiempo, influirán profun- damente sobre su pensamiento y su arte. Pero, aunque Ungaretti sienta las influencias de las varias literaturas europeas, particu- larmente de la francesa, su cultura, su educación estética, tienen base italiana, y los poetas líricos de los siglos xiii y xiv, y es- pecialmente motivos del más grande poeta lírico italiano del siglo xix, Gíacomo Leopardi, contribuirán eficazmente a la orientación de su vena poética, sin lugar a dudas, intensa y ge- nuina. Es del añp 1916 la primera recolección de versos que llamó El puerto sumergido. Por aquellos años se desarrollaba en la prensa diaria y perió- dica de Italia una polémica artística que podríamos llamar de orientación, viva aunque de importancia secundaria porque to- dos los espíritus estaban preocupados por el desarrollo de la guerra. Se trataba de encontrar nuevos motivos estéticos y nuevas formas poéticas, algunas de las cuales estaban todavía en forma- ción ; se trataba de someter a juicio gran parte de la poesía de la segunda mitad del siglo xix y liquidar, si fuera posible, los restos de una vieja polémica entre cultura clásica y cultura ro- 5 mántica. Habían muerto Hacía poco los poetas Giosué Carducci (1835-1907) y Giovanni Páscoli (1855-1912) y predominaba la voz de Gabriele D'Annunzio (1863-1938), poeta épico y lírico a la vez, el cual exageraba las características de una poesía política e histórica que se había" afirmado profundamente en Italia a través de las voces de los románticos, en primer lugar, y durante la segunda mitad del siglo, por las de Carducci y de Páscoli. Las revistas literarias del grupo toscano, en especial La voce (1908-1916) y Lacerba (1913-1915), las revistas sociales, y, más que las otras, La crítica (1903-1944) de Benedetto Croce (1866-1952), planteaban insistentemente los problemas estéticos sobre bases internacionales y, a lo largo de toda la península, se manifestaba un estremecimiento, un fervor nuevo agudizado y acentuado por las experiencias poéticas y estética's de la Escuela francesa, especialmente de Valéry, de Rimbaud, de Baudelaire, de Mallarmé. En los primeros decenios de nuestro siglo se realiza una amplia obra de destrucción de los mitos poéticos tradicional; se discute encarnizadamente sobre el fondo y la forma, sobre la rima y el ritmo, sobre la esencia de la poesía, sobre la diferencia- ción de ésta de la prosa, sobre los motivos de una relación más o menos estrecha de parte del poeta con la vida de todos los días. Después de la fugaz experiencia post-romántica del «Cre- puscularismo» representado en Italia por uno de sus máximos ex- ponentes, Guido Gozzano, poeta nacido en el afio 1883 y muerto precisamente en 1916, después de afirmarse el movimiento fu- turista iniciado y presentado, sobre bases internacionales, desde 1909; por Tommaso Marinetti (1876-1944), poeta y escritor también nacido en Alejandría, Egipto, de padres italianos, a través de los fuegos cruzados del «Futurismo» y del llamado «Hermetismo», se quiso abrir una brecha profunda en el movi- miento poético tradicional. Hay en el ambiente algo nuevo: los tiempos han cambiado; nuevas realidades sociales substituyen a las antiguas; nuevos procesos revolucionarios aceleran el desarrollo de la psicología de las masas y de los individuos. En 1914 estalla fa Primera Guerra Mundial. El 24 de mayo de 1915 Italia declara la guerra a Austria. Giuseppe Ungaretti acude con las decenás de miles de voluntarios que de todas parte^ del mundo llegan a Italia al llamado de la tierra de sus padres. 6 Muchos de los poemas de La alegría fueron creados en las trin- cheras, en la lucha continua por la victoria, contra la muerte. Este conflicto, como todos los grandes fenómenos de la vida de los pueblos, no puede sino dejar una huella profunda en la conciencia, y, por ende,-en la poesía de la época. Los años que precedieron y siguieron a esta guerra fueron años llenos de fervor y de desarrollo psicológico. Los poetas par- ticipan intensa, dramáticamente diría yo, en esta evolución que, para muchos de ellos, se realiza en gran parte, en las largas me- ditaciones de las trincheras, frente al espectáculo siempre vivo y presente del dolor y de la muerte. El poeta-soldado puede mi- rar con ojos nuevos la luna naciente o el brillo de las estrellas cuando, junto a él, en la trinchera penosa y desolada, agoniza un compañero herido de muerte.
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