Acceso usuarios
Ignacio López-Calvo 
La mayoria de los textos criticos sobre la obra de Ruben Dario, sin duda alentados por los versos del propio nicaraguense, tienden a enfocarse en la cara mas patetica de su discurso: su angustia existencial y su agonica busqueda de armonia personal y universal. No obstante, existe una faceta menos explorada de su obra que muestra a un Dario que, de hecho, anhela, desde los trece anos, convertirse en un bohemio mas del Barrio Latino, en un poeta maldito y decadentista al estilo de los simbolistas a los que tanto admira. Este otro Dario, bohemio a su pensar, aparece en textos como el cuento �\El pajaro azul., el prologo a un libro de Alejandro Sawa, el primer �\Nocturno. de Cantos de vida y esperanza y varios de sus textos autobiograficos y cronicas. Segun se revela en estos escritos, la angustia existencial de Dario probablemente no fue tan excepcional como se suele presentar. El gran poeta nicaraguense fue seguramente uno mas de los jovenes y empobrecidos escritores y artistas que, mientras esperaban su justa (al menos, a su juicio) gloria, supieron disfrutar de la excentrica vida bohemia del Barrio Latino de Paris, sin tener que lidiar con los obstaculos de la moral burguesa
Most critical studies about Ruben Dario�es opus, undoubtedly influenced by the Nicaraguan�es own poems, tend to focus on texts full of pathos that elicit feelings of pity and sympathy. Consequently, they emphasize his existential angst as well as his quest for personal and universal harmony. However, there is also a less explored side of his oeuvre, which shows a Dario who, in fact, longs to become one more of the bohemian authors who roam around in Paris�es famous Latin Quarter. From an early age, he dreams with becoming a decadent poete maudit like the symbolists he has always admired. This other Dario, bohemian malgre lui, appears in texts such as the short story �\El pajaro azul., the prologue to a book by Alejandro Sawa, the first �\Nocturno. of Cantos de vida y esperanza as well as several of his autobiographical texts and chronicles. As we see in these writings, Dario�es existential angst was not as unique as it is usually described. The great Nicaraguan poet was probably one more of the young and impoverished writers and artists who, while waiting for their deserved (at least in their mind) consecration, knew how enjoy the eccentric bohemian life of the Latin Quarter, without having to cope with the obstacles of bourgeois morals.
