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Print February 16, 2015 1 comment

La Segunda Venida Pagana de Yeats

Greg Johnson

1,808 words

English original here

Luc Olivier Merson, Rest on the Flight into Egypt, 1879

Luc Olivier Merson, Descanso en el viaje a Egipto, 1879

William Butler Yeats escribió su famoso poema, “La Segunda Venida”, en 1919, al mismo tiempo que ocurría la Gran Guerra y la Revolución Bolchevique, cuando las cosas realmente estaban “derrumbándose”,  principalmente la civilización Europea. El título refiere, por supuesto, a la segunda llegada, segundo advenimiento, o segunda venida de Cristo. Pero a medida que la leo, el poema rechaza la idea de tal acontecimiento de forma literal. En su lugar, afirma dos sentidos no-cristianos de la segunda venida. Primero, hay un sentido metafórico del fin del presente mundo y la revelación de algo radicalmente nuevo. Segundo, hay un sentido de una segunda venida pero no de Cristo, sino del paganismo desplazado por el cristianismo. Yeats es el heraldo de una segunda venida del paganismo.

El poema dice:

Girando y girando en espiral creciente
El halcón no puede oír al halconero;
Todo se derrumba, el centro no puede sostenerse;
La mera anarquía se desata sobre el mundo,
La marea turbia de sangre se desata y en todas partes
La ceremonia de la inocencia se ahoga;
Los mejores carecen de convicciones, y los peores
Están llenos de apasionada intensidad.

Seguramente alguna revelación está próxima;
Seguramente la segunda venida está próxima.
¡La Segunda venida! Apenas pronunciadas esas palabras
Una enorme imagen emanada del Spiritus Mundi
Empaña mi visión: en algún lugar en las arenas del desierto
Una figura con cuerpo de león y cabeza de hombre,
Una mirada vacía y despiadada como el sol,
Mueve sus lentos muslos, mientras alrededor
Se tambalean las sombras de los indignados pájaros del desierto.
La oscuridad cae de nuevo; pero ahora sé
Que veinte siglos de sueño de piedra
Fueron perturbados hasta la pesadilla por una cuna que se mece,
¿Y qué bestia áspera, llegada su hora al fin
Se arrastra hacia Belén para nacer?

Si uno lee este poema como una alegoría del nihilismo moderno, bastante se ajusta a ese lugar. “Girando y girando en espiral creciente”. Imaginen aquí a un halcón, quizás con una larga cuerda en una de sus piernas, volando en una trayectoria espiral que se ensancha a medida que más y más la cuerda es tirada.  En el centro del giro, sosteniendo la soga, es el halconero, el amo del halcón. A medida que se extiende la soga  y el giro se ensancha, llega un punto en el cual “el halcón no puede oír al halconero”.

Presumiblemente, lo que el halcón no puede escuchar es a su amo llamándolo a retornar. Incapaz de escuchar nuevamente la voz del halconero, el halcón continúa su viaje hacia adelante. En algún punto,     duro, se acabara la soga, momento en el cual su vuelo finalizara con un tirón violento, y caerá en picada hacia la tierra – o el halconero soltará la soga y el halcón seguirá su vuelo hacia afuera.

Pero sin la soga hacia el centro, el vuelo del halcón perderá su estructura espiral, la cual está constituida con la soga entre el halcón y el halconero, y será el halcón el que tenga que determinar el vuelo por sí mismo, un camino que no dudará zigzaguear con las corrientes de aire y los transitorios deseos del halcón, pero no mostrará ninguna estructura inteligible –excepto, quizás, algunos ecos venidos a menos del espiral original.

El halcón es el hombre moderno. La fuerza motiva del vuelo del halcón es el deseo humano, orgullo, pasión, y la animosidad espiritual. La estructura espiral del vuelo es la medida inteligible – la modernización y moralización del deseo humano y la acción- impuesta por el centro moral de nuestra civilización, representada por el halconero, el amo del halcón, nuestro amo, al cual interpreto en términos nietzscheanos como los valores más altos de nuestra cultura. La soga que nos sostiene al centro y nos permite imponer medida a nuestro vuelo es la “voz de Dios”, es decir, la afirmación de los valores de nuestra civilización sobre nosotros; la capacidad de los valores de nuestra civilización a cambiarnos.

Nosotros, el halcón, hemos, sin embargo, volado en espiral demasiado lejos como para escuchar la voz de nuestro amo llamándonos de nuevo al centro, para que podamos seguir un curso, nuestro movimiento creciendo progresivamente más excéntrico (des-centrado), nuestros deseos y acciones progresivamente menos medidas…

Es así como, “todo se derrumba, el centro no puede sostenerse”. Cuando el centro moral de la civilización no puede más, todo se cae. Esta caída tiene, por lo menos, dos sentidos. Se refiere a la desintegración pero también a la caída y alejamiento de las cosas entre sí, porque ellas también están cayendo de un centro común. Se refiere al colapso de la comunidad y la civilización, al colapso del gobierno del deseo humano por la moralidad y la ley, así que…

“La mera anarquía se desata sobre el mundo”.  Anarquía, quiere decir la falta de arche: la palabra griega para origen, principio, y causa; metafóricamente, la falta de centro. Pero, ¿qué es lo “mero” de la anarquía?  La anarquía no es “mera” porque es inocua y no amenazante. En este contexto, la “mera anarquía” significa anarquía es un sentido no cualificado, anarquía pura y simple. Así:

La marea turbia de sangre se desata y en todas partes
La ceremonia de la inocencia se ahoga;
Los mejores carecen de convicciones, y los peores
Están llenos de apasionada intensidad.

¿Por qué el nihilismo habría de hacer a los mejores faltos de convicción y de llenar a los peores con apasionada intensidad? Creo que aquí Yeats está ofreciendo su versión de la distinción de Nietzsche entre nihilismo activo y nihilismo pasivo. El nihilismo pasivo –porque él se identifica en algún nivel con los valores nucleares de su cultura- experimentando la devaluación de estos valores en una enervante pérdida de significado, como la derrota de la vida, como la pérdida de todas las convicciones. Por contraste, el nihilismo activo –porque él experimenta los valores nucleares de su cultura como limitaciones e impedimentos para el juego libre de su imaginación y sus deseos –experimenta la devaluación de estos valores como liberadores, como libertad de poner valores por sí mismo, entonces así el nihilismo llena con intensa pasión creativa –o destructiva.

La caracterización de nihilismo activo y pasivo captura la lucha entre los conservadores y la izquierda. Los conservadores son los “mejores” que carecen de toda convicción. Ellos son los mejores, porque están pegados a los valores nucleares de Occidente. Ellos no tienen convicción alguna, porque no creen más en ellos. Es así como pierden en cada ocasión cuando son enfrentados con la intensiva pasión de la izquierda, quienes experimentan el nihilismo como estimulante.

La segunda estrofa del poema indica precisamente cuales valores nucleares han sido devaluados. La ansiedad apocalíptica de la primera estrofa lo lleva a uno a pensar que quizás el Apocalipsis, la Segunda Venida, está próxima:

Seguramente alguna revelación está próxima;
Seguramente la segunda venida está próxima.

Pero esto está acompañado por la exclamación, “¡La Segunda Venida!”, la cual interpreto como equivalente a “¿La Segunda Venida? ¡Ha! Más bien lo contrario” Y lo contrario es luego revelado, no por el Dios Cristiano, sino por el Spiritus Mundi (espíritu del mundo) pagano:

Apenas pronunciadas esas palabras
Una enorme imagen emanada del Spiritus Mundi
Empaña mi visión: en algún lugar en las arenas del desierto
Una figura con cuerpo de león y cabeza de hombre,
Una mirada vacía y despiadada como el sol,
Mueve sus lentos muslos, mientras alrededor
Se tambalean las sombras de los indignados pájaros del desierto.
La oscuridad cae de nuevo; pero ahora sé
Que veinte siglos de sueño de piedra
Fueron perturbados hasta la pesadilla por una cuna que se mece,
¿Y qué bestia áspera, llegada su hora al fin
Se arrastra hacia Belén para nacer?

Dos imágenes aquí son puestas en conjunto. Primero, la forma con el cuerpo de un león, la cabeza de un hombre, y una mirada vacía y sin fondo es una esfinge Egipcia, quizás la Gran Esfinge de Gaza, quizás una de las tantas pequeñas esfinges desperdigadas a lo largo de todo Egipto. Segundo, está la natividad, el nacimiento de Cristo en Belén. La conexión entre Belén y Egipto es el llamado “vuelo a Egipto”. Luego del nacimiento de Jesús, la sagrada familia voló a Egipto para escapar la masacre de los recién nacidos por parte del Rey Herodes.

Yeats no es el primer artista en juntar la imagen de la esfinge y la natividad. Por ejemplo, hay una pintura de un artista francés del siglo XIX, Luc Olivier Merson, “Descanso en el viaje a Egipto”, el cual retrata una noche hace “veinte siglos” en los cuales María y el niño Jesús están durmiendo, acunados entre las patas de una pequeña esfinge.

La pintura fue tan popular en su momento que el artista hizo tres versiones de ella, y una de ellas, en el Museo de Boston de Bellas Artes, es tan popular que reproducciones de ella como rompecabezas, impresiones enmarcadas, y tarjetas de navidad pueden ser compradas.

No sé si Yeats estaba pensando sobre esta pintura específica. Pero él estaba pensando sobre el viaje a Egipto. Y su poema parece indicar un revés de ese viaje, y un revés del nacimiento de Cristo. ¿Podría ser que María, descansando en su huida hacia Egipto, meciera a Jesús entre las patas de la esfinge, llevando pesadillas a la bestia de piedra? ¿Puede que finalmente se haya despertado de su molesto sueño, su vientre lleno con el profeta de una nueva era, y empezó la búsqueda de un lugar apropiado dónde dar a luz? “¿y qué bestia áspera, llegada su hora al fin se arrastra hacia Belén para nacer?” Y que mejor lugar que Belén, no para repetir sino para revertir el nacimiento de Cristo e inaugurar una Era post-Cristiana.

Uno puede preguntarse, sin embargo, si el poema termina en una nota de horror o de esperanza. Como yo la leo, hay tres distintas etapas de la narrativa de Yeats. La primera es la era cuando los valores Cristianos fueron el centro incuestionable de la civilización Occidental. Esto fue una civilización vital, floreciente, pero ahora está acabada. La segunda etapa es el nihilismo, tanto activo como pasivo, ocasionado por la pérdida de estos valores nucleares. Este es el día presente para Yeats y para nosotros.

La tercera etapa, la cual está por venir, seguirá el nacimiento de la “áspera bestia”. Así como el nacimiento de Jesús inauguró la civilización cristiana, la bestia áspera inaugurará una nueva civilización pagana. Sus valores nucleares serán diferentes a los valores cristianos, lo cual, por supuesto, horroriza a los cristianos, quienes esperan revivir su religión. Pero los nuevos valores paganos, a diferencia de los cristianos, serán efectivamente creídos, llevando al reino del nihilismo a su fin y creando una nueva y vital civilización. Para los paganos, este es un mensaje esperanzador.

 

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ChristianityFriedrich NietzscheGreg Johnsonin Spanishin translationLuc Olivier MersonnihilismpaganismpoetryThe Second ComingW. B. Yeats

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