Then, for Paz, fiesta is not the celebration of an event, as commonly understood, but a re-enacting the past: Chronometric time is opened in half and the eternal present—for a brief but immeasurable period—is reinstated. The mitote was for the Aztecs and the Nahua culture in general a regeneration dance event of ritual connotations. Paz suggests that this devotion is a re-creation of the indigenous rituals to Tonantzin fertility goddess of the Aztecs.

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He also affirms that the famous Basilica de Guadalupe sanctuary sits in the old shrine to Tonantzin on Tepeyac hill. As Jaques Lafaye showed, there are also strong connections between the Virgin of Guadalupe and Quetzalcoatl as phoenix-symbols of regeneration. In sum, she is the Mother of orphans. All men are born disinherited and their true condition is orphanhood, but this is particularly true among the Indians and the poor of Mexico. The current devotion in Mexico to a sacrificed Christ is, Paz suggests, another case of the living past.

From virginal births to sacrificial deaths, there are several analogies between the myths of Christ and the indigenous characters Quetzalcoatl, The discussion on Guadalupe Virgin is only added in the Second Edition of The Labyrinth of Solitude in Quetzalcoatl was also the sun and the creator of man. University of Chicago, a book that, by the way, was fore worded by Octavio Paz. Furthermore, Paz suggests that the sacrificed Christ is a re-occurrence of the sacrifice of the Conquest: The poet relates the despotic character of the Mexican state to the recreation of power symbolized in the ancient pyramid of Aztec architecture.

A few months after the events of the state massacre in October , when hundreds of students were killed in Tlatelolco public plaza, Paz questions what was behind those actions. What unfolded before our eyes was an act of ritual sacrifice. We should notice that by showing this living history, Paz wants to therapeutically criticise Mexicanness, as he did before in much of The Labyrinth: He suggests that Mexicans as a whole are in solitude because they are inauthentically detached from their own history. However, for Paz, communion comes at certain times as in the fiesta, the revolution, or love , only to sway back to solitude.

It is worth examining some examples. Paz suggests that Mexicans, like all modern men, have been detached from the sacred side of reality. Mexican solitude is caused by this detachment from its own context. Paz suggests that Mexico commenced its historical alienation with the violence of the Conquest. By analysing the current and popular use of such terms as la chingada and malinchista, Paz tries to uncover the hidden origin of Mexican rejection of its own history. He goes back to the black-legend times of the Spanish conqueror raping the indigenous woman. Following Paz, the macho man in Mexico is a closed, aggressive individual.

Paz takes here la chingada as a reference to the violated mother, as in the insult: By rejecting La Malinche [ Other instances of an inauthentic relation to history follow. For Paz, modern Mexico starts with the liberal project at the breaking point of the Reforma period c. Although Paz accepts that Reforma project aimed at transforming Mexico to liberal-universal values, he asserts: Al repudiar a la Malinche [….

In Mexico, positivism developed in compromise with the latifundistas, of feudal mentality, that owned most of the workable land in the country. We have seen that for Heidegger Dasein is inauthentic when it adopts schemes to cover up its unsettledness. Its laws and principles became a rigid framework that stifled our spontaneity and mutilated our being. This incongruence will lead, at the end of Porfiriato, to Mexican revolution. However, it is paradoxical that for Ortega the phenomenon of revolution itself is what should be declared rational and utopian.

About revolutions, in general, Ortega asserts: This is the mood that ignites revolutions. Paz clarifies these ideas further: Hence, our movement has a character at once desperate and redemptive [ In this revolution] the people refuse all foreign aid, any scheme proposed from outside and with no deep relationship to its being, and look to themselves.

LO MAS NUEVO

Despair, the refusal to be saved by a project beyond its history, is a movement of being that withdraws from all solace and delves into itself: And at that moment, that loneliness is resolved in attempted communion. No wonder, then, that a large part of our political ideas continue to be words intended to oppress and conceal our true being. And as we can see in this last quote, for Paz, we may also be inauthentic by rationally imposing defined schemes of being.

We saw before that Dasein is the instability of being as it is a being-in-the-world. Authentic Dasein assumes the instability and lives out most of its possibilities of being as open project, i. A similar discourse underlies The Labyrinth. The labyrinth is a mysterious enigma that defies rational analysis and explanation.

It functions here as an emblem of the modern world in which individuals see themselves as trapped prisoners, caught in a web of winding paths [ Further, Stanton explains that in the Minoan myth, Theseus should appropriate the other, instinctive part of himself, rather than kill the Minotaur. I believe this is also an allegory to the prerequisite of authentic resolution of Dasein: The other does not exist: But the Other will never submit to such elimination: However, my point is that Paz also suggests a return not to a fixed essence of Mexicanness, but to the contrary: Mexican identity is for Paz, in this case, a movable target, always being other.

Furthermore, we saw that inauthentic Dasein, by neglecting its historicity, is detached from its full realization as being-history.

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Solitude, the source of anxiety, begins on the day we are deprived of maternal protection and fall into a strange and hostile world. We have fallen; and this fall, to find ourselves fallen, makes us guilty. A crime without a name: De un delito sin nombre: As such, guilt is not to be eliminated but to be appropriated in order to achieve the resolution of Dasein i.

And to be authentic, Dasein only has to appropriate its possibilities that it already is as fallen in- the-world. As said before, for Paz as well, solitude must be appropriated rather than eliminated. Therefore, each time he feels complete, he is aware of his nullity as a self, that is, he is aware of his solitude. Throughout The Labyrinth, Paz repeatedly applies this idea of authenticity as otherness in order to criticize Mexicanness. Paz calls for an open authentic Mexicanness, while rejecting petrified closed, inauthentic definitions of it. From the first essay of The Labyrinth, Paz calls for an appropriation of otherness: In characterizing solitude, Paz alludes to Mexican untruth.

Surprisingly enough, by conceiving of falsehood in terms of the concept of authenticity, Paz seems to justify it. Mexican falsehood is fruitful as it looks to risk what Mexican subjects actually are. Then, the Mexican lies striving to invent himself in another. His role requires constant improvisation, a steady forward progress across shifting sands. For Paz, eroticism requires simulation in order to be lived as what it should be: Similarly, in speaking of the Mexican revolution and its consequences, Paz seems to make a Heideggerian interpretation: While calling to look abroad, at the other countries in Latin America with a similar circumstance, Paz says: We must start from the awareness that our alienation is similar to the situation of most of the rest of the people.

To be ourselves will be to oppose the movement of historical ice with the changing face of man. A Dialectics of Solitude. Solitude is the ultimate basis of human condition. Man is the only being who is aware of his loneliness, and the only one who is looking for being another. A comparison with Ortega brings other clues for understanding Paz.

Desire is an indefatigable Sagittarius that tirelessly launches us toward provocative targets. Thus existence is standing out and perduring the openness of the there: Ortega used similar words in History as a System. Man is not his body which is a thing, nor his soul psyche, conscience, or spirit which is also a thing. Man is not a thing, but a drama For Paz, the present is a recurrence of the past because the past is still alive.

However, it is after The Labyrinth when Paz nurtures his best poems with the theme of Mexicanness. My reading of a brief selection of poems will show that after The Labyrinth Paz continued to develop different nuances on the topic of authenticity in Mexicanness. It shows a hand flipping a coin that traces a spiral in the air. The word which belongs to me, and to which I belong: In fact, the eagle eating a serpent is the main symbol in the Mexican flag also stamped in all Mexican coins , and for the Aztecs, this image symbolized the duality of Quetzalcoatl Quetzal- coatl: Perhaps the poem that best addresses authenticity in Eagle or Sun?

Once more we shall look at the title as a clue for the rest of the work. The butterfly is an insect that is the metamorphosis of another being. And flimsy as it is, it gets contrasted here with the hardness of obsidian stone. As a symbol of the balance of contraries, it also refers to Quetzalcoatl.

All of these female divinities were fused in the cult that, since the sixteenth century, has been worshiping the Virgin of Guadalupe. La que me pertenece, a la que pertenezco: Also, we may recall from the previous section that, the Virgin of Guadalupe and Quetzalcoatl are connected as symbols of regeneration. The violence of the Conquest and the weakened condition of the goddess are contrasted with the memories of her almighty potentialities as regeneration power: I was the mountain that creates as it dreams, the house of fire, the primordial pot where man is cooked and becomes man.

Next, the voice continues the call for regeneration: Die in my lips. Rise from my eyes. Images gush from my body: And there is also in the poem a call to be as an open project. This is suggested toward the last lines of the poem: Take my necklace of tears. I wait for you on this side of time where light has inaugurated a joyous reign: There you will open my body to read the inscription of your fate. Muere en mis labios. Nace en mis ojos. Te espero en ese lado del tiempo en donde la luz inaugura un reinado dichoso: The poem suggests, again, a feminine voice—a girl that could be Mexico—narrating a dreamlike story.

The girl gets into a world—apparently some scenes of Spanish Crusades and the Inquisition—depicted in the hanging paintings of a room. The suffering of the people being tormented in the paintings becomes her live torture. Moreover, as she is decapitated, the stream of her blood irrigates and fertilizes the land. The poem alludes to the regeneration of life as the blood-fertilized land produces a myriad of flowers. Here she finds herself again without head. Looking for her head, she finds an indigenous old man that offers her several heads, but none that fits her well.

Mythology, Agriculture and Politics, and Hunting. Mexico tortured by the official nationalism of some personages. This is contrasted with the rest of the people who seem to be absorbed into the colourful fiesta. This time the head fits her well and she happily comes back home. Similar to The Labyrinth, the poem suggests that beyond the nationalist discourse Mexico should find its way by authentically trying different possibilities and embodying its historicity. Sunstone Piedra de sol, Carved in the stone, there are multiple allegories to Quetzalcoatl represented as the Fifth Sun.

Also, the last six verses are the same as the initial verses, suggesting a cyclical character in the poem. In Sunstone Paz seems to borrow the strategy used in The Labyrinth of making an analogy of the personal identity quest to the national one. This applies to any edition of the poem. The English translation is by Muriel Rukeyser. However, there is no room for a fixed identity.

Then, the voice talks to itself or the self as another telling that he is nothing but the use of tools: Quetzalcoatl steals the bones but, while running away from the place, he falls down spreading the bones in the ground. He is the others: For Heidegger, authenticity is only possible because we are continuously at risk of being lost in publicity. In tune with this idea, the voice in the poem says: There is another reference to this couple in the poem, lines before, in vv.

Salamander is the name of the ubiquitous lizard-like amphibious animal, capable of regenerating its limbs. Besides changing form and being able to regenerate, some axolotls also change their aquatic nature to live in the land. Most axolotls remain in the water in this state. In analogous way, Paz tells in the poem: The animal often hides in old logs and branches.

If these are used as firewood, the salamander escapes the flames, therefore the relation to fire. Through this chapter we have seen how Paz answered to the existential context of his time. I have tried to show that a number of existential premises organize the My translation of: We saw that Paz was part of this Heideggerian environment since the early forties, as we may read in his early statements on cultural identity.

Moreover, we saw that these existential premises add to the understanding of the core ideas in The Labyrith. Dasein brings itself back to what has already been. Then the past is here, now, as a source of possibilities. And this being indefinite must be understood as another source of possibilities.

Paz wrote several essays on poetics showing this trend. The translation into English of this and other poems is mine, unless otherwise stated. Paz delayed a full exhibition of the philosophical dimension of his poetics until the publishing of The Bow and the Lyre El arco y la lira, The starting point for looking at this connection between the two authors is suggested by Paz himself as Heidegger is quoted several times throughout The Bow and the Lyre.

I also propose that Paz In other words, the poem as performance of its own utterance. For instance, we will see that in many instances Paz deploys his poetics in a poem by referring to the actual process of creating that same poem. They have also discussed the changes from the first edition of the book to the second El arco I El arco y la lira. According to him Paz eliminated the centrality of the creator the poet, the man, the human in the poetic phenomenon in favour of an idea of the poem as a self- contained system of meaning. Poetry as the Essence of Being Poetry puts man outside himself and, simultaneously, makes him return to his original being: We are that dream and we are born only to make it come true.

Once Being has been thought as what it is not, it is necessary to think it as what it is; it is urgent to give it back its rich, inexhaustible heterogeneity. Then, the title is another suggestion that Being is, paradoxically, by being another. Also, the lyre—the rhythm—consecrates man through music, whilst the bow launches man beyond itself to be as another El arco II Rafael Olea Franco and James Valender. Paz points out that for Machado: His view of Being as heterogeneity and otherness touches, I believe, the very core, the central theme of contemporary philosophy [ In The Bow Paz engages the distinction between prose and poetry.

He asserts that the word is inevitably plural in its meanings. Prose and thoughtful discourse try to pinpoint the meaning of words without fully accomplishing it. In a similar way, he suggests, utilitarian technical manipulation also seeks to dominate matter. In comparison, the poet works in the opposite direction by setting matter free. He does so by liberating meaning to its utmost plurality: As the poet faces the surrounding world parks, trees, walls, streets, etc.

The old world of stones arises and flies off. It is a town of whales and dolphins that frolic in the open sky, throwing each other great gushes of glory.

SEGUIDORES

As the daylight, the moment arrives opening up reality an analogy of spring and the voice declares: Everything that my hands touch, flies. The world is full of birds. Francisco Soler Grima In: For Heidegger, the truth of the work of art lives in a tension between what is revealed by its installed world and, at the same time, what the work suggests but conceals: In comparison, a tool does not offer such ambiguity. This process actually brings matter close to disappearance in favour of efficiency. On the opposite side, the work of art allows matter to install a world that opens up the very being of matter: We may recall that Dasein is primarily a being-in-the-world in an involved mode, rather than a rational-detached one.

It is only when our practical coping with the world encounters an unexpected difficulty that we isolate ourselves as subjects in a world of objects. We may understand this earth as a darkness into which light suddenly shows and rests. Heidegger is thus suggesting that the work of art keeps different meanings open by concealing but suggesting the signifying potencies of reality.

Therefore, the work of art can never be fully comprehended by the rational analysis of aesthetics. Color shines and wants only to shine. When we analyze it in rational terms by measuring its wavelengths, it is gone. It shows itself off only when it remains undisclosed and unexplained [ The earth appears openly cleared as itself only when it is perceived and preserved as that which is essentially undisclosable [ In its home human beings dwell. According to Heidegger, the poet relates to language in a special way, different from habitual talking that uses and wears down words.

Actually, Heidegger asserts, all art is the becoming of truth as a happening. And truth is poetic: Therefore, for Heidegger there is a privileged place for language at its best or poetic language among arts. Or, in other words, he thinks that all art is poetic because all art is about establishing poetic truth. However, different from habitual talking that takes names for granted definitions, the naming Heidegger proposes here is not about labelling things but opening being to its possibilities of Being.

Alberto Wagner de Reyna In: Moreover, he asserts that this already presupposes man as history and, therefore, as language: However, language also conveys the danger of enframing being, as a thing, when used for the concretizing of reality. To avoid reality from becoming definite, Heidegger proposes that: In other words, Heidegger suggests that authentic happening of language is poetic ambiguity. Also, he believes that language is not anymore a tool for the use of man, but his radical occurrence: And history is only possible through the interpretation opened up by language.

Full of merit, yet poetically, man Dwells on this earth Heidegger also suggests a saving role for the poet and the thinker. However, at the same time, man is the guardian of Being and, therefore, of the authenticity of language Therefore, Heidegger is suggesting that there is a similar role for the authentic thinker and the poet in keeping alive the authenticity of language and save humanity from the reductive views of the metaphysics tradition. We may now say that Heidegger elaborated a philosophy of Being as a poetic event, that is not separated but complementary to his fundamental ontology of Dasein in Being and Time.

University of Chicago Press, We saw that in agreement with Heidegger, Paz asserted in The Bow and in some verses that the poet sets the meaning possibilities of matter free. For Paz, thinking the poetic is about a critique of modernity by bringing man from modern alienation back to his origin. Logically, being is not nonbeing but Heidegger concludes the contrary: Mysticism and poetry have thus lived a subsidiary, clandestine and diminished life.

Now, as some of his writings show, he has turned to poetry. Whatever may be the outcome of this adventure, the fact is that, from this angle, Western history can be seen as the history of an error: We have to begin again. For both thinkers the task is to overcome the modern oblivion of Being through a recovery of language as a poetic event. In the climax, the poem ends: Mind embodies in forms, the two hostile became one, the conscience-mirror liquifies, once more a fountain of legends: Moreover, if for Heidegger language is the human first and fundamental way of interpreting its ambiguous possibilities of being, for Paz: For Paz, any attempt to make use of language as a thing degrades it: He is their servant.

In serving them, he returns them to the plenitude of their nature, makes them recover their being. But everything turns into a flux of poetic images. Then, the voice in the poem claims: Where is the man who gives life to the stones of the dead, the man who makes the stones and the dead speak? Al servirlas, las devuelve a su plena naturaleza, las hace recobrar su ser. Then—in summarizing—the radical affirmation of poetic language as the essence of Being is similar for both thinkers: However, Paz goes beyond Heidegger by deepening the existential dimensions of poetry.

In the previous chapter we saw that Heidegger introduced the notion of the temporality of existence in Being and Time. We could infer that the title of the book suggests just that: Being is temporal because Dasein is the occurrence—an event—of its self-interpretation. Therefore, Dasein is its historicity.

Resolute Dasein authentically lives up to the possibilities of its stretched temporality as being its past and being its future. However, Heidegger did not relate the temporality of existence to the musical temporal properties of poetry.

Antología Básica de Peter David

Paz did it by thinking about rhythm. I see Paz incorporating both perspectives from Heidegger in his study of rhythm. And the reflections on poetry and time from Antonio Machado well known to Paz may be another clue here. In the voice of Juan de Mairena, Machado says: In this book, Children of the Mire, Paz fully disclosed his thought on the analogical philosophy of the romantics.

In fact, this book is supposed to be a course at Harvard on modern poetry and its origin in the romantic tradition. But is a science that only exists thanks to difference: The bridge is the word like or the word is: Along this lines, Paz argues that modern poetry comes out of this romantic recovery of analogy in a tension with modern irony. Homage to Claudius Ptolemy I am a man: But I look up: I too am written, and at this very moment someone spells me out.

Pero miro hacia arriba: I am but a finite lapse of time. My world, like the stars that rhythmically move and shine and write , is a concert of calls and answers. What I understand is myself: I too am language. I am a being-in-the-world of open possibilities. However, this is a poem. My being is a rhythmic-poetic language that is re-actualized every time this poem is told. By creating and re-creating this poem the uncanny forces of language re-invent me. Being analogy, being language, being rhythm, being time, being self- understanding, being as another every time, being-in-the-world, these are all shining scintillations in the poem.

They all come together in the poem, a rhythmic-verbal construction. Paz still finds another temporal analogy of rhythm to the being of man: AD was astronomer in Egypt, under Roman rule. He created the Almagest, a mathematical treatise on the apparent motion of stars and planets in a geocentric model.

His work became the basis of western astronomy for the next twelve centuries. And Dasein is always pointing toward the future because it is continuously looking to make sense of its world. Paz seems to incorporate this but stresses the temporal character of understanding to make the connection with rhythm. Rhythm is not measure, but originary time. And measure is not time but a way to calculate it. This presentation implies a reduction or abstraction of the original time: Temporality—which is man himself and which, therefore, gives meaning to what he touches—is prior to the presentation and that which makes it possible.

Time is not outside us, nor is it something that passes before our eyes like the hands of the clock: Time has a direction, a sense, because it is we ourselves. La medida no es tiempo sino manera de calcularlo. Calendarios y relojes son maneras de marcar nuestros pasos. Esta For Paz, as for Heidegger, time is the human himself.


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The human embodies rhythm because he or she is always a becoming, a desire to be something else. And poetry is just that: In this way Paz says: Poetry changes stone, color, word, and sound into images. And this second quality, that of being images, and the strange power they have to arouse in the listener or spectator constellations of images, turns all works of art into poems. However, for Paz the key is the production of poetic images: Ultimately, for Paz, rhythm and image are constitutive of the essence of human being as poetry. He asserts that the poetic phrase is composed of rhythm and poetic image.

On the other hand, by bridging the opposites, the image allows man to be image too, to become another Paz is suggesting also that the image launches man out of himself into otherness. Moreover, according to Paz, the image allows opposite realities to come together: In opposition, the poetic image, by joining the contraries, expands the possibilities of the being of things: However, what is the truth of such a contradictory relation? For Paz, the union of opposites in the poetic image is not just a curious event, but it is actually a statement of what reality is.

Thus, Paz proposes a poetical-existential ontology of truth, as Heidegger does. For both Heidegger and Paz, poetry is the essence of Being because poetry opens up the plurality of meanings of reality. Thus, poetry is the essence of the human the unstable being and is the foundation of truth. Poetry as the Ground of History To write poetry is to erase the written To write the unwritten on what is written To write the Commedia without an ending O.

We will see that for both thinkers there is a variation of this role for poetry: The English version of this and the subsequent fragments of this poem are from Elliot Weinberger. With this Paz plays an oxymoron: Heidegger is suggesting that art grounds history by leaving a durable imprint of what is meaningful for a community that will regulate the way the community understands itself. Therefore, we should expect that poetry also plays a central role as the ground for history.

For Heidegger both thinking and poetizing take language to unexplored regions of being. As we saw before, Heidegger ambiguously plays with these two possibilities of language: Moreover, Heidegger also asserts that poetic language is the most dangerous precisely because the poet founds what remains in history by being a dissenter in his historical context.

It is by being a dissenter that the poet makes the historical instauration of truth. Thus, for Heidegger, the poet has an ambiguous role to play. But first and only in this between is it decided who man is and where his existence is settled. Now, also for Paz the poet is the one that establishes reality. In Children of the Mire, Paz traced the origin of modern poetry his own tradition back to the romantic tradition. He asserts that the romantics tried to join poetry verbal object and history action. The poem suggests that while the poet is poetizing, his word makes up reality and history.

However, at the same time: Paz returned to the same theme in others poems. However, not history as a concretized past but the opposite: Poetry is not truth: Even that poetry has communion in the social altar and shares, in good faith, the beliefs of its time, the poet is a being-aside, a heterodox being by congenital fatality: We saw that for Paz poetic language is analogy and rhythm.

And he suggests that it is the rhythmic character of poetry which connects it to the realm of myth. As he later states in The Other Voice: Sacred time happens as return to an archetypical moment when a ritual is performed. Therefore, the recreation of mythical archetypes is a return to a historical origin. Eliade, El mito del eterno retorno For Paz too, poetry recreates a moment that is archetypical. Poetry is a return to the origin.

In the previous chapter we saw that for Heidegger, the historicity of Dasein is the recurrence of the past as present. Also, for Heidegger, history is not a sequence of events in time, but history is the repeated instauration—as a fresh start every time—of the truth of poetic language: Therefore, there is also in Heidegger a notion of a re-start in history not mythical though through poetic language.

For Paz, the return to the mythical origin through poetry is a return to an epiphany of existential meaning. Poetry as an Epiphany A steady brilliance floods me and blinds me, a dazzled-empty circle, because to the light itself its light neglects it. According to Paz, poetry is akin—not equal, though—to magic, religion and other ways of transforming the human into another. In the very moment of transformation, Paz explains: The universe ceases to be a vast storehouse of heterogeneous things. Stars, shoes, tears, locomotives, willow trees, all is an immense family, all is in mutual communication and is unceasingly transformed, the same blood flows through all the forms and man can at last be his desire: Poetry puts man outside himself and, simultaneously, makes him return to his original being: Paz used many names to talk of such experience: In Being and Time, Heidegger explained that Dasein has an ecstatic-temporal structure.

As Dreyfus suggests, when Heidegger talks of Dasein as being thrown, falling, projecting being pre-understanding, being- ahead-of-itself, etc. We may recall that Dasein is the understanding clearing of itself. And, as Dreyfus interprets, Dasein understands his being by standing out of itself. And time plays a meaningful role in this revealing moment.

We call the present that is held in authentic temporality, and is thus authentic, the Moment. This term must be understood in the active sense as an ecstasy. It means the resolute raptness of Da-sein, which is yet held in resoluteness, in what is encountered as possibilities and circumstances to be taken care in the situation [ Cambridge University Press, Also, we saw that poetry is what allows the human to unveil new regions of being. For both thinkers there is a privileged-poetic moment of whole involvement with the world, that is also a sort of ecstasy or epiphany, where man is able to see clearly unveil the truth.

Later, we have seen that Paz developed the topic in The Bow and the Lyre. And he kept thinking on this until his last years.

That perception is common to all men in all periods; it is an experience that seems to me to be prior to all religions and philosophies. A day made of time and emptiness you vacate me, erase my name and what I am, filling me up with you: And I hover, relieved of myself now, sheer existence. This time, the poet struggles to write a poem that may be this poem in a moment that gets confused with an erotic encounter.

In the midst of the climax of love, that is also a moment of poetic rapture, the voice finds no other way out than to face the moment. As said before, Paz used many names to refer to the poetic moment. This time the epiphany is confused with the flourishing arrival of summer: Hour of eternity, all of it presence, time is in you fulfilled and spilled and everything acquires being, even absence! In the midst of the turmoil of images, the voice says: In the Spanish translation says: These coins are rare but still used as common currency in Mexico.

Poetic epiphany that happens in the authentic present is also a major topic of Sunstone. In the previous chapter we saw that in this poem there is a first-person voice suggesting a wandering walk. In some instances, the walk turns into the existential journey of the poet striving between alienation and self realization. The poem starts with the depiction of an epiphany-transfigured vision of reality: The english translation of this and subsequent fragments of this poem are from Elliot Weinberger. I indicate the verse number taking each verse of the poem as each full hendecasyllable in the Spanish original in first line of every fragment.

And to reinforce this idea: Moreover, the poem suggests that this authentic present is a moment of disclosing clarity: However, this epiphany is not about disclosing what is already present, but as Heidegger wanted, is about making Being present: However, the disclosed Being is not a fixed essence but is otherness, a plurality of meanings sea, bread, rock, source.

This is the ultimate revelation: In Sunstone the poetic experience is a theme of the poem; but it is also a performative utterance of writing the actual Sunstone poem. The wandering voice declares that its existential vicissitudes are nothing but the struggle with poetic images in the process of writing: Moreover, the poet is creating himself by writing the poem: Therefore, the poet exists by ek-sisting.

It is not difficult to see the similitude of the poetic raptness of man to a religious epiphany. For instance, in Sunstone, the poetic epiphany turns into a holy one: Instead, he considered the resolute clearing of being to be a prerequisite of the sacred: In such nearness [to Being], if at all, a decision may be made as to whether and how God and the gods withhold their presence and the night remains, whether and how the day of the holy dawns, whether and how in the upsurgence of the holy an epiphany of God and the gods can begin anew.

His language often resembles the theological Steiner, Martin Heidegger ix- xx. We have also seen that for Heidegger it is the poetic and not directly the holy which plays the big role in the happening of ecstatic resolution. However, the relation of the poetic experience to the holy haunts Heidegger. Beyond Heidegger, Paz stressed the relation to the holy by linking poetic rhythm to the recurrence of sacred rituals. We saw that rhythm is for Paz one of the existential faces of poetry.

And he also argues that rhythm, in a merger with the poetic image, is the key to understand the connection of poetry to the holy: By means of rhythm, creative repetition, the image—a bundle of meanings that rebel at explanation—is opened to participation. Everything leads us to insert the poetic act into the realm of the sacred. Also, sacred otherness, as poetry, is ecstatic, and is also a return to the origin. Nostalgia for the former life is presentiment of the future life.

But a former life and future life that are here and now and are resolved in a lightning moment. La nostalgia de la vida anterior es presentimiento de la vida futura. Paz clearly states that he is not explaining the poetic experience through the holy, but drawing a line in between and showing that poetry is irreducible to any other phenomenon Also, while Heidegger stated that the disclosure of the truth of Being is a prerequisite of the holy, for Paz, the poetic experience, that is the fundamental disclosure of Being, is previous to the religious experience And this deserves further explanation.

Beyond Heidegger, Paz argues that poetry, religion, love, they all have a common origin. As we saw, Paz says that in the holy experience: If man is a being who is not, but who is be-ing, is he not a being of desires as much as a desire for being? However, Paz radically believes that there is a priority of the poetic phenomenon over the holy. And he finds in Heidegger and Rudolf Otto the argument for such statement.


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    • Love too, Paz suggests, is a revelation of Being as it discloses, in a moment, the union of two lovers: Here, in another gesture of looking for support in Heidegger, Paz says: Heidegger himself has pointed out that joy in the presence of the loved one is one of the ways to approach the revelation of ourselves. Even that he has never developed his statement, it is notable that the German philosopher confirms what we all know with prior and obscure knowledge: En la espera todo nuestro ser se tiende hacia adelante [ But Heidegger does not say much more about love.

    However, surrealism deserves a word here. Paz himself proposed some of the parallelisms in an interview in Jean-Luc Nancy and, more recently, George Steiner have written on love taking Heidegger, indirectly, as a point of reference. His list include though in some cases only mentioning the name: As a starting point for such a comparison, we should reflect upon the meaning of the words imagination and projection, among others.

    Poetry and therefore all art is not an object made by a subject but is the very making of otherness, that is, the human interpreting himself and his reality. Poetic language founds historical truth by, paradoxically, keeping the truth open to new interpretations. At the end, for Heidegger and for Paz the task is to keep history alive as a source of possibilities.

    This reality cannot be reduced to an image and is, literarily, unimaginable. For Paz, the essence of poetry is otherness and therefore poetry is the essence of the human being. Esa realidad no se puede reducir a ninguna imagen y es, al pie de la letra, inimaginable. The modern task is to learn how to live the up to the modern contradiction and understand technology as a way of being authentic. And this is achieved by appropriating the teachings of poetry and art. Also, as we have seen in Chapter 3, The Labyrinth of Solitude may also be read as a critique of modern alienation and a call to recover human authenticity.

    However, major works discussing Paz as an important critic of modernity are only recently appearing. Grenier argues that Paz characterizes modernity as simultaneously conducive to art, with the arrival of critical art, but destructive to the soul because of unbalanced rationalism. Octavio Paz and the Pursuit of Freedom. UP of America, Several contributors in the collection, Octavio Paz: Humanism and Critique Oliver Kozlarek ed. He finds that for Paz, while modernity entails the experience of life as shipwreck and struggle, deliverance and dignity in life are still possible outcomes Lutes We have seen in the previous chapters that Ortega was an important reference for Paz.

    However, there is a possibility of recovery. We must then build our cultural values from within our lived circumstances. Consequently, today we should not reject but embrace the flow of modernity, accepting the variety of individual perspectives on reality and giving room to spontaneous, vital sensitivity There is in Ortega, therefore, a degree of optimism.

    Modern life can be led with dignity. Also, in The Revolt of the Masses Ortega locates the fulfillment of modern culture in the European masses at the end of the Great War. With the successful rise of modern culture, followed by the decadence and uncertainty of the times, he argues, a horizon of possibilities opened as well Paz seems to follow Ortega in his ambivalent stand toward modernity by criticizing it but at the same time proposing a favorable way of living it.

    However, modernity has broken the harmony as time has become linear and the space infinite. Therefore, man is now lost Ediciones de los Anales de la Universidad de Chile, in Heidegger asserts that modernity—starting with Plato—has made the world the representation of a system, to the person who has become a subject In opposition, ancient Greeks saw the essence of humanity as interwoven with the being of things, as ambiguous and contradictory as the space of being could be: We can see that Heidegger continues here his Being and Time complaint, that the metaphysical tradition, by trivializing the concept of Being, or by taking it as a thing, has neglected the obscure meaning it had for ancient Greeks Being and Time Then, by gaining mastery through science and technology, over that which is as a whole, the open relation of mutual implication between man and Being re-creation, interpretation is now broken.

    Moreover, for Heidegger too as it is for Ortega and for Paz modernity is in essence contradictory. He argues that modernity, by breaking the links with medieval thought has brought the liberation of man by introducing individualism and subjectivism. Heidegger asserts that the rational subject has made himself free to define truth as cogitatio, and engages a game with the unlimited powers of calculation.

    However, what was supposed to be calculated may be concealed in the process. In another way of putting it, for Heidegger, when man objectifies a world picture, the individual loses his open relation to Being in mutual re-creation. In this work Ortega suggests that modern technology may be alienating for man because is pushing us for the first time into a field that is as much unknown as it is unlimited.

    And perhaps that prevents him from knowing who he is [. However, Paz is closer to Heidegger in looking at this alienation as a loss of the possibilities of being human. We should recall that uniformity or the definition of being is, for Paz, a lack of otherness. One way Paz exemplifies this modern inability to experience different ways of looking is in our efficient forms of communication. He argues that though modernity has provided us with advanced technology for communication, it has simultaneously increased human alienation by degrading conversation.

    We do not speak to others, because we cannot speak to ourselves [. Each place is the same place, and nowhere is everywhere. Moreover, in another way of putting it, Paz states: No hablamos con los otros porque no podemos hablar con nosotros mismos [. Thus, we should not understate that for Paz modern alienation goes hand in hand with a lack of plurality, and he may be following Heidegger on this.

    For Paz, modernity may shatter otherness—and therefore the being of man—as modern scattering of the image of the world, and of the self, turns into repetition of the same. And according to Paz this is a contradictory event: Propagation, pullulation of the identical. He asserts that for the man that has become a subject and makes the world a picture, there is a growing form of I-ness and egoism e. However, modern technology also works the other way: This uniformity becomes the surest instrument of total, i.

    The consequence of having a normalized individual in a world that looks always the same is the concealing of the truth of Being. Paz asserts that an image of the world has always been tied to a particular idea of time. Modern technology entails a critique of time as it replaces enduring mythical views with meaningless and fragile realities and constructions The result, according to Paz, is paradoxical. This terrible weapon employs a refined technology but at the same time negates itself by potentially shattering the image of the world However, despite their ecological concerns about technology, neither Heidegger nor Paz nor Ortega presents the problem of modernity as the final catastrophe of history, but instead as something to be lived properly.

    Heidegger calls for a recovery of the unknown, the incalculable reality of the world, through a philosophical inquiry into the essence of Being. According to Paz, our modern task is to establish an image of the world from the fragments, to perceive the links among differences.

    And as we shall see, for both of them, poetry and therefore, art may be the surest guide. Technology and Poetry for the Disclosure of Being Technology seems to be a fundamental motor of modernity. We will see that Paz seems to follow Heidegger in this way of looking at technology. And also, they both critique the instrumentality of technology and call for learning the teachings of poetry and art, to then think of technology as a way of being authentic. Technology therefore is not an instrument but simply a feature of the essence of Dasein as the being who brings forth concealed beings.

    With some differences, Ortega also regards as an obscuring force the way in which humans misunderstand technology as simply an instrument. He sees humanity as a continuous invention which, through technology, realizes itself as extra-natural. In other words, Ortega believes that there is no humanity without technology because technology is a way of creating himself. It is important to note here the distance between Heidegger and Ortega.

    As contradictory as it may appear, for Heidegger modern technology also carries the risk of the opposite of revealing: Heidegger seems to bestow attributes to technology similar to those he had put on language. In other words, poetic language is the opening of the inexhaustible possibilities of reality. But we saw that Actually, he develops a full comparison between Ortega and Heidegger and believes there are some influences. Ortega y Gasset and the Question of Modernity. The Prisma Institute, In a similar way, Heidegger now asserts that when we deem technology a straightforward matter of cause and effect, we strip it of its truth-unveiling character.

    Misled by his own negligence with the essence of technology, man may believe he is the lord of the Earth and may see everything that exists as his own artifact. By doing so, he loses his true essence, loses both himself and his capacity to unveil truth in general. In truth, however, precisely nowhere does man today any longer encounters himself, i.

    Therefore, man has been alienated from himself and from a meaningful image of the world. And, as suggests next, for Paz too the problem is instrumentality of technology: What do our airplane hangars, railway stations, office buildings, factories, and public monuments express? They are centers of energy, monuments of will, signs that radiate power, not meaning. Ancient constructions were a representation of reality, the real and the imaginary; the constructions of technology are an operation made over reality.

    For technology the world is neither a sensible image of the idea nor a cosmic model: However, according to Heidegger, for all the negative outcomes of modern technology the danger is not technology itself. We should neither push ahead compulsively and blindly with technology nor rebel helplessly against it. An Angels and Demons Novel Dec 04, Inocencia Spanish Edition Jul 17, Only 3 left in stock - order soon. Juego de Dioses Spanish Edition Dec 12, El hombre en las sombras: Una novela de suspense Spanish Edition Aug 31, Cursed Inheritance Nov 08, Provide feedback about this page.

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