Poetry, Physics, and Painting in Twentieth-Century Spain by Candelas Gala (auth.)

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By Candelas Gala (auth.)

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Sample text

Ortega y Gasset also resorts to the image of “crystal and transparency” to refer to the work of art, noting how most people never pay attention to it because they go straight to the human content in the work (Obras completas 54). ” Salinas’s crystal girlfriend is the metaphor for a kind of poetry that fuses with what it purports to represent, poetry before the fall into self-consciousness. Crystal is chosen because it is a metaphor for perfection due to its symmetry and durability, which recall the geometry of the cosmos.

Their “constructionist” sense aims at the creation of a world that cannot be found in the outside reality because it is mental, consistent only in its artistic realm. Cubist paintings are far from being “transparent” representations of the world; instead, they provide a “model” that responds to concepts. Cubism deconstructs the object in order to compose it again in a new form via different strategies, such as simultaneity in vision, interpenetration of different planes, combination of discontinuous forms, and fusion of temporal and spatial planes.

That’s why the speaker in the poem calls for the need to “pretend” that satisfaction has been reached. “To pretend” is intrinsic to the activity of “fabling” because it asks one to believe even when there is no guarantee or proof. If in the two previous books Salinas explored the unpredictable nature of the cosmos, in Fábula y Signo the poet is asking us to place our faith on what defies all faith and belief. The poet and his fabling are constructions whose fiction is our only faith. “Amsterdam” (175) identifies a European capital as the background for “fabling” or the production of signs.

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