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Filosofía y Poesía en Zambrano PDF
Filosofía y Poesía en Zambrano PDF
Filosofía y Poesía en Zambrano PDF
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FILOSOFIA Y POESIA: MARIA ZAMBRANO Y LA
RETORICA DE LA RECONCILIACION
FRANCISCO LARUBIA-PRADO
Georgetown University
E lMaria tega
Zambrano. Mientras
son separables de suque las ideas
escritura, de Or-
las ideas de
Zambrano son inseparables de su expresi6n es-
crita: "si alglin dia deja de interesar Maria Zam-
brano tendria que dejar de interesar de golpe, por lo que dice y por
c6mo lo dice. Mientras que . .. puede conservarse lo que dice Ortega
prescindiendo de c6mo lo dice" (113). Tal afirmaci6n de Aranguren
equivale a decir que la escritura de Ortega carece de "forma or-
ganica," mientras que es rasgo esencial de la escritura de Zambrano
el poseerla. Seguin Samuel Taylor Coleridge, la forma organica "is
innate; it shapes as it develops itself from within, and the fullness
of its development is one and the same with the perfection of its
outward form" (Coleridge's 46-47). En otras palabras, puede afir-
marse que un texto cualquiera posee forma organica cuando no
hay disociaci6n entre forma y contenido, aspectos que van sur-
giendo, en unidad y desde "dentro" del texto mismo, a medida que
este se escribe o se elabora.
199
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200 Francisco LaRubia-Prado HR 65 (1997)
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Filosofia y poesia en Zambrano 201
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202 Francisco LaRubia-Prado HR 65 (1997)
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Filosofia y poesi'a en Zambrano 203
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204 Francisco LaRubia-Prado HR 65 (1997)
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Filosofia y poesia en Zambrano 205
as an echo of the former, co-existing with the conscious will, yet still as identical
with the primary in the kind of its agency, and differing only in degree, and in the
mode of its operation. It dissolves, diffuses, dissipates, in order to re-create; or
where this process is rendered impossible, yet still, at all events, it struggles to
idealize and to unify. It is essentially vital, even as all objects (as objects) are
essentially fixed and dead" (Biographia 167). Asi, la imaginaci6n primaria es la que
todos los seres humanos comparten y les hace crear sentido a partir de los estimulos
externos; la imaginaci6n secundaria es el don del poeta: puede ser entendida por
los demis seres humanos, a los que, sin embargo, les esta vedado el proceso creativo.
Aranguren ya se refiri6, en su articulo "Filosofia y poesia," a la crucial importancia
de la Imaginaci6n en Zambrano; y su imagen mas importante: el suefio (119).
' Frente al organicismo, ya definido, la visi6n mecanicista del mundo no considera
ni que el todo sea mas que la suma de las partes, ni que aquel sea anterior a las
mismas. Veanse en este sentido, Pepper (186-231) y Abrams (159-67). S. H. Butcher,
al contrastar el organicismo y el mecanicismo dice: "Organic as distinct from me-
chanical unity: not the homogeneous sameness of the sandheap, but unity combined
with variety" (192), poniendo asi de relieve la virtud organica de superar las con-
tradicciones.
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206 Francisco LaRubia-Prado HR 65 (1997)
' Iremos viendo, en el transcurso del presente trabajo, c6mo las caracteristicas
de la entidad orginica, seguin las describe Meyer Abrams, se plasman en la obra de
Zambrano. Brevemente, tales caracteristicas son las siguientes: (1) La entidad or-
ginica tiene su origen en la "semilla"; por ello, el todo ya esti pre-figurado desde
el comienzo mismo y las partes derivan del todo. (2) La entidad organica crece;
consecuencias en el terreno de la estetica de este rasgo son la evoluci6n y la conti-
nuidad y, de ahi, el interns genetico de la critica estetica orginica. (3) Los elementos
externos a la entidad orginica son asimilados por sta para hacer posible su cre-
cimiento de dentro afuera. (4) La entidad orginica no necesita que la hagan desde
fuera, sino que adquiere su forma espontineamente y a partir de una fuente interna
de energia. (5) Las partes del todo orginico, medio y fin a la vez, se sintetizan en la
estructura filtima del ser vivo que es la unidad organica (167-77). Como puede verse
ya hemos tratado de varios puntos de esta descripci6n al hablar de la obra de
Zambrano. Especificamente me he referido ya a los rasgos (1), (2), (4) y (5).
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Filosofta y poesta en Zambrano 207
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208 Francisco LaRubia-Prado HR 65 (1997)
The quarrel [entre los fil6sofos y los poetas] was a quarrel about lite
forms as well as about ethical content, about literary forms understo
as committed to certain ethical priorities, certain choices and evaluations,
rather than others. ... Before Plato came on the scene the poets . . .
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Filosoffa y poesta en Zambrano 209
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210 Francisco LaRubia-Prado HR 65 (1997)
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Filosofia y poesia en Zambrano 211
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212 Francisco LaRubia-Prado HR 65 (1997)
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Filosofia y poesia en Zambrano 213
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214 Francisco LaRubia-Prado HR 65 (1997)
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Filosofia y poesia en Zambrano 215
OBRAS CITADAS
Abrams, Meyer. The Mirror and the Lamp. New York: Oxfor
1971.
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216 Francisco LaRubia-Prado HR 65 (1997)
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