By T. S. Eliot
Además de uno de los grandes poetas del XX, T.S. Eliot fue el crítico más ambicioso y exhaustivo de su generación. Desde l. a. primera década del siglo pasado hasta su muerte en 1965, ejerció una rotunda autoridad en l. a. literatura anglosajona que le llevó a revisar toda l. a. literatura occidental: desde Virgilio, Dante y los isabelinos hasta Donne, los románticos y Yeats con el secreto propósito de acreditar l. a. revolución poética que llevó a cabo con La tierra baldía o Cuatro cuartetos.
El presente volumen propone un recorrido cronológico por los ensayos más importantes y menos divulgados en español que el poeta escribió entre 1919 y 1961. Dueño de una intimidante cultura, capaz de encararse a los más grandes aunque se llamen Shakespeare o Milton, inigualable lector del detalle, provocador insaciable, Eliot se demuestra todavía en estas páginas como el verdadero guía, señor y maestro de l. a. modernidad.
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Extra resources for La aventura sin fin
Since they live in the same town with the old man, they can scarcely fail to have noticed his apparent feebleness, yet they shun him, proving themselves believers, after all, in discontinuity between appearance and reality. They see the old man as physically infirm, yet they believe him to possess some deeper sinisterness belying that impression. They adopt, in spite of themselves, the belief-system of the robbers. They differ not so much from the robbers as from themselves, just as the robbers differ not so much from the townsfolk as from themselves.
And the townsfolk, as pawns (from ped-, "foot," whence also derives the Latin peccare, "to sin"), aspire to the qualities of the king in their sinning, when it is supposed to be he who sins. In this giddy game of chess, the pieces feint and dance, partake of a Nietzschean "dance of the pen," blur into each other, refuse to be identical with themselves, overstep their assigned squares. King and pawn try to resemble each other, as do king and rook, rook and pawn, but everyone is so busy being something or someone else that there is nothing to resemble.
The narration struggles to make us believe Carter's story, yet that story is one that would scarcely cause Carter's interrogators to take Samuel Taylor Coleridge's advice and suspend disbelief And to the extent that we identify the interests of Randolph Carter with the text's own self-interests-the statement of Randolph Carter being the statement and perpetual restatement of the text itself-we find paradox lurking at every turn. If the statement or deposition is true ("fictively true," let us say), then Randolph Carter is innocent.