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Laureles De Antier. Visiones De Grecia Ante Europa a La Sombra Del CENTRO DE ESTUDIOS INTERNACIONALES PROMOCIÓN 2012-2016 «Laureles de antier. Visiones de Grecia ante Europa a la sombra del primer olivo» TESIS QUE PARA OPTAR AL TÍTULO DE LICENCIADO EN RELACIONES INTERNACIONALES PRESENTA Carlos Eduardo López Cafaggi DIRECTOR Fernando Escalante Gonzalbo México, Ciudad de México, febrero de 2018 Je vivrais cent ans que l’étude des Grecs me suffirait seule. BENJAMIN CONSTANT II Índice Agradecimientos…………………………………………………………………………p. V Prólogo. Junta de sombras y el haz infinito…………………………………………p. 1 Capítulo 1. Entre olivos y olvidos: la invención del ideal helénico I. El cadáver de Julia…………………………………………………………………p. 24 a. La scoperta………………………………………………………………….p. 31 II. De la querella al romance…………………………..………………………………p. 38 a. El sueño de Winckelmann, el despertar marmóreo…………………………p. 44 b. El matrimonio de Fausto y Helena…………………………………………p. 54 Capítulo 2. La Independencia de Grecia, la dependencia de «Grecia» I. Ruina, tiempo y el hombre enfermo…………………………………………………p. 64 a. Una columna en Sunión…………………………………………….………..p. 79 II. Hijos del páramo…………………………………………………….………………p. 89 a. Necrópolis (arquitectura del recuerdo).………………………………………p. 99 b. Caras de Jano…………………………………………………………………p. 107 c. Tierra de Nadie………………………………………………………………p. 112 Capítulo 3. Dionisio en Dublín: Grecia y la decadencia de Occidente I. Alegorías de la guerra total……………………………………………………………p. 124 a. El héroe ahogado……………………………………………………………..p. 126 b. La mirada ciega de Tiresias……………………………………………………p. 133 c. El puente de Arta……………………………………………………………...p. 141 II. Entre Drina y Móstar………………………………………………………………….p. 155 a. La montaña y el mar………………………………………………………..…p. 157 b. Agonías de la Sibila……………………………………………………………p. 164 c. Odiseas del alma………………………………………………………………p. 173 III Capítulo 4. ¿Europa sin Edipo? Grecia en la crisis presente I. Laureles de antier……………………………………………………………………...p. 184 II. La ruina presente…………………………………………………………………….p. 199 a. Las tumbas de agua…………………………………………………………..p. 221 Posdata. La modernidad de la Antigüedad…………………………………………p. 241 Índice de referencias……………………………………………………………………p. 259 IV Agradecimientos½ A mi madre, quien me enseñó a amar el pasado. A mi padre, quien me enseñó a vivir en el presente. Agradezco profundamente a mi director de tesis, Fernando Escalante, por la libertad, la fe y el genuino entusiasmo en cada etapa de esta tarea —a cuántos lugares no llegamos a las siete de la mañana. De igual forma agradezco a mis lectores, Ariel Rodríguez Kuri y Roberto Breña, por la premura y dedicación al leer estas páginas. A Martha Elena Venier, quien comparte conmigo la afición de Grecia, la intimidad de lo ajeno, la cercanía de un mundo distante. “No es Grecia”, decía Reyes, “es nuestra Grecia”. A mis mejores amigos y a la memoria del vecino, Enrique Guarner. Te encuentro siempre en la junta de sombras. V Prólogo½Junta de sombras y el haz infinito Ancient without modern is a stumbling block, Modern without Ancient is foolishness utter and irremediable. GEORGE SAINTSBURY En su proemio a Rescoldo de Grecia (1979), Alfonso Reyes se pregunta: “¿Para qué ocuparse de Grecia?” Si cualquiera dirá que su imagen, sepultada bajo una nube de polvo en tomos descarapelados, nada puede decirnos sobre el presente. Un bosquejo en blanco y negro de una escultura trunca, otro tiempo, otro mundo. Décadas han transcurrido desde entonces y la interrogante resurge; ahora que las manecillas del devenir histórico se aceleran en una catástrofe anunciada, el Egeo milenario parecerá a cualquiera el estanque de un edén ajeno e inmutable, anclado al perpetuo amanecer de la Historia. A este error común, el humanista regiomontano responde que no debemos descartar la Antigüedad como el nicho tedioso de un puñado de académicos y esnobs, tan pálidos como el arte que enaltecen; al contrario: a todos nos concierne y su idioma es universal, pues “todavía pensamos, hablamos y obramos en griego […]. Llevamos a Grecia por dentro y ella nos rodea por todas partes”.1 Desde que el joven Reyes comenzó a escribir su ensayo “Las tres Electras del teatro ateniense” en 1908 hasta la publicación póstuma de La afición de Grecia en 1960, a un año de su partida, llevó a Helena en su corazón, salud de su alma y curiosidad eterna, protagonista de incontables ensayos, conferencias, poemarios, epístolas. Llamarla afición es un testimonio de su humildad, pues la palabra se queda corta para definir lo que en realidad fue su más grande pasión y obsesión. O al menos la más 1 Alfonso Reyes, Rescoldo de Grecia, en Obras Completas, t. XX, México, FCE, 1979, p. 35. 1 persistente, porque tenía bastantes. Su padre, el general Bernardo Reyes, plantó la semilla de su helenismo al contarle sobre las cruzadas heroicas de Alejandro Magno y la Batalla de Maratón durante su infancia; sin embargo, fue Pedro Henríquez Ureña quien se encargó de nutrir su interés hasta verlo florecer. El más prometedor y cercano entre los discípulos del intelectual dominicano (a quien consideraba la “reencarnación de Sócrates”), Reyes se formó en las conferencias que antecedieron al Ateneo de la Juventud, donde se discutía una vasta selección de textos clásicos en traducciones y reinterpretaciones europeas. 2 Su fascinación y ahínco era tal que sus compañeros lo apodaron Euforión. En 1911, publicó su disertación sobre las personalidades de Electra en su primer libro, Cuestiones estéticas, en cuyo prólogo Francisco García Calderón aplaudió la precocidad del “efebo mexicano” y el interés compartido de su séquito: “Preside a sus escarceos, perdurable sugestión, el ideal griego. Conocen la Grecia artística y filosófica, y algo del espíritu platónico llega a la vieja ciudad colonial”.3 Era apenas el principio. Alfonso Reyes amaba Grecia como el poeta adora a la musa. Desde aquel ensayo precoz eran evidentes las cualidades que admiraba en ella, personificadas por las diferentes Electras de Esquilo, Sófocles y Eurípides: la primera, delicada y virginal; la segunda, rebelde y heroica, y la tercera humana y compleja en su aflicción. Según el ensayista, las metamorfosis de la protagonista reflejan la evolución de la tragedia griega, que transita de la abstracción psicológica a la alegoría y, finalmente, al color vivo de la realidad, para después trascenderla. En vez de imitar la naturaleza, el drama antiguo se apodera de ella —en el cruce de lo íntimo a lo metafísico, lo humano se vuelve universal, un mundo por encima 2 En una carta que envía Pedro Henríquez Ureña al joven Reyes, fechada el 31 de enero de 1908 y a menudo citada por su valor documental, el primero insta al segundo a leer Las bacantes de Eurípides y Las aves de Aristófanes. Poco después, le comenta haber organizado un programa académico “de cuarenta lecturas que comprenden doce cantos épicos, seis tragedias, dos comedias, nueve diálogos, Hesiodo, himnos, odas, idilios y elegías, y otras cosas más, con sus correspondientes comentarios (Müller, Murray, Ouvré, Pater, Bréal, Ruskin, etc.), y lo vamos realizando con orden” [José Luis Martínez (ed.), Alfonso Reyes/Pedro Henríquez Ureña. Correspondencia I 1907-1914, México, FCE, 1986, pp. 70-78]. Un recuento detallado de los inicios del Ateneo y sus conferencias embrionarias en: Susana Quintanilla, “Dioniso en México o cómo nuestros clásicos leyeron a los clásicos griegos”, Historia Mexicana, vol. 51, núm. 3, 2002, pp. 619-663. 3 Francisco García Calderón, “Prólogo”, en A. Reyes, Obras Completas, t. I, México, FCE, 3ª reimpr., 1996, pp. 11 y 12. 2 del hombre.4 Gracias a su profundo idealismo y aspiración al absoluto los antiguos comparten su duelo y melancolía con el resto del mundo, pero también todo lo demás: un legado cultural sin igual. Devoto a la autoridad y sabiduría de los clásicos, el humanista dedicó su vida entera a estudiar cada faceta de su cosmovisión –filosofía, historia, mitología y religión, heroísmo y tragedia–, y se esforzó por inculcar su vitalidad en el presente, belleza perenne, eterno retorno. Seis de los veintiséis tomos de sus obras completas tratan específicamente la tradición helénica, aunque ésta también se deja entrever en el resto de ellas. Desde el comentario a su poema Ifigenia Cruel (1923), Alfonso Reyes llamó a Helena “un alimento del alma”, “un elemento ponderador de la vida” y “una perspectiva de ánimo”, que brotaba de entre páginas para aliviar las penas de su juventud. 5 Como advierte Octavio Paz, su Grecia trascendía el interés intelectual; en realidad, lo que veía en ella era la imagen de un ideal que ya llevaba en su interior, epítome de la mesura, proporción y equilibrio, la libertad como acto estético; no el deber ser “sino al ser mismo en su marea, en su ritmo alternativamente creador y destructor”.6 Si bien el regiomontano conocía bien la faceta dionisiaca, orgiástica de la Antigüedad (como demuestra su brillante ensayo “Agonías de la razón”), su anhelo era apolíneo, la purificación y redención que se atisba al depurar la hybris y transformarla en armonía. Quizá se había inspirado en Henríquez Ureña, quien le inculcó la afición idealista por el racionalismo helénico. Según escribe su mentor, el griego creyó en la perfección del hombre como ideal humano, por humano esfuerzo asequible, y preconizó como conducta encaminada al perfeccionamiento, como prefiguración de la perfecta, la que es dirigida por la templanza, guiada por la razón y el amor. El griego no negó la importancia de la intuición mística, del delirio –recordad a Sócrates– pero a sus ojos la vida superior no debía 4 A. Reyes, “Las tres Electras del teatro ateniense”, en Ibíd., pp. 15-48. 5 A. Reyes, “Comentario
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