" A powerful intellectual games of man we've called imagination and memory to run a world of possibilities and one that has already vanished. But both games are interspersed in the human struggle against time to stop the word in the poem. If in dance the body is poured into the world, the poem includes the harvest sown by the silent voices. At the back of the stage remains dark, but this side of the darkness comes the trail of sparks that we call history.
The poem is the profound memory of the history of the world and each of us. Hence, the muse who heads the arts in classical mythology is Mnemosyne, which represents the memory. This is also why so early, man has related the game, memory and the poem with the muse and, following this tradition, modern diverse voices, including that of Baudelaire, they see the poet as a master memory or Hölderlin, Rilke and Heidegger then also have liked to see the poem as the foundation of the world against time or against its passage daily.
Consequently, what we call "literature" would be the trip of the imagination through memory or memories, of both the collective and the individual level. On this trip we also find a correlation between what would be the memory and the origin of the literary fact.
In the grounds of the Western literary tradition found at least two scenarios founding: that we leads to the trip and he understood as a movement that leads us to travel from immobility. The first we have the original paradigm in Odyssey of Homer , where the hero Ulysses takes place a long trip around the world known to reach the desired Ithaca. Many later writers have followed the same structure to make it possible, in a sense, the culmination of the cycle that occurs in the Odyssey twentieth century: the Ulysses James Joyce. The other founding stage in Instead, the tragedy is the most literary expression. In her apparent lack of outward movement - because everything happens on stage rigid polis - required or requires the continuous internal movement characters. Like the other, also this connection between the external and internal mobility immobility has been constantly recreated in the history of literature. Plague by Albert Camus is one example that shows the collective immobility, and the figure of the castaway found in modern and ancient traditions - as Sophocles' Philoctetes - is an example of how individual immobility.
Like abhors a vacuum, also the horror of the stillness characterizes our Western tradition: a stillness that has always been seen as a punishment or a curse and that, although introduced to those suffering in the knowledge and the experience, it does so through a negative way. It appears that this terror by the tranquility and is presented in antiquity, but in the modern era where the cult of the movement has been accentuated and where there is more external.
Can we say that there are other scenarios foundational in the history of Western literature? no. And therein lies the interest of literature, that knows how to find infinite ways to view the problems of man, which in essence has always been and remain the same and, judging from what seen so far, we can risk to think that we will continue . The literature captures all these problems in an endless feedback loop.
Both the epic, which introduces us to model trip in motion, like tragedy, which leads to the model of the journey still, lead to the condition of man as foreign on one hand seeks to know and find their homeland and identity, but along that search also perceived failure to achieve a homeland or a definitive identity.
The epic lead a permanent shift in Ithaca so that only be an interim goal. Hence it is appropriate to complement the journey of Odysseus who provides the poem "The Journey to Ithaca" of Cavafy, which refers to the experience of a goal that is forever postponed. Therefore, despite the illusion of temporary homeland, displacement is always ongoing and represents a constant contradiction, since every country, like all identity, introduces us to new question items and enigma.
In another model, the tragedy, the place of foreign travel becomes a much greater extent occupied by what might be called internal displacement. What is at stake in the tragedy is, so to speak, for lack of a stable and definite consciousness of ourselves.
Therefore, the principle of contradiction found in the Ithaca always deferred to the experience is seen in depth, the same principle of contradiction found in the Oedipus indecipherable enigma forever. The difference is that the tragedy puts this principle in space inner consciousness. In the background, one might almost say that everything that happens to Odysseus - his Cyclops, its Circes and enchantments - are exactly the same events that happen to the tragic heroes, but with the peculiarity that in this case all events take place in the interior space of consciousness. "
Rafael Argullol," Double origin of the poem "in Aventura. A nomadic philosophy , Barcelona, \u200b\u200bThe Cliff, 2008.
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"Enrico arrives, the other parties. His mother died in 1917, Udine. Nino died on August 19, 1923, slipping from a cliff and stays for hours in the pit of Val Houcnik Tribussa on Mount Poldanovetz. Yes, Carlo is wrong, it's Nino who has learned to live persuaded, it had no need fictional leak and other antics, the magnanimous life was on their side, love for his Pina and two daughters, friends, in pleased to be in your library Piazza Grande. "Behold the noble men," says her friend Marie. In the coffin, his face shining in the light of that lamp.
Ervino Pocar, who has seen it fall off the cliff, he goes to Milan. Virtue brings honor to the old school desks, with so many Greek exams, has learned so he has come to get excellent grades. Among the companions of that school Ervino understands that love means listening, and reading is better than writing, if one is determined to wield the pen, it is better translated, as they did in school Nussbaumer, aside Display personal and servicing of big words. (...)"
Claudio Magris, Another sea , Barcelona, \u200b\u200bAnagram, 1992.
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