Acceso usuarios
Francisco Solares Larrave
Criticos como Max Henriquez Urena y Enrique Anderson Imbert, entre otros, consideran las influencias que recibio Ruben Dario de autores previos como explicacion de su produccion. Un aspecto interesante de estas influencias es que no fueron involuntarias sino deliberadas, como lo revela la famosa frase dariana de 1891: �\.A quien debo imitar para ser original?. (EI: 121). Esta afirmacion debe llevarnos a reconsiderar nuestras ideas sobre el valor de las influencias como metodo critico, y contextualiza el fenomeno cultural del modernismo al enfatizar su naturaleza como respuesta cultural y resultado de una transculturacion. Aunque este tema haya sido tratado por la critica (Rama, 1970; Pacheco, 1970), tanto la idea de influencia que refleja esta declaracion como sus resultados en su obra literaria nos llevan a reexaminar la nocion de influencia, especialmente si se considera el modernismo como una formulacion hispanoamericana de respuesta cultural, resultante de un proceso de transculturacion. Este acercamiento servira como explicacion posible de los actos de apropiacion de parte de Dario, quien, segun Noe Jitrik, consideraba la literatura como un producto. Dentro de este contexto, cabe proponer que Dario veia estas apropiaciones como procesos modernos, orientados al mejoramiento de su produccion. De este modo, al insertar elementos de obras europeas que decidio �\imitar para ser original., no solo altera el concepto critico tradicional de la influencia, sino que establece un patron de relaciones literarias y culturales entre America Hispana y Europa, visible en la interaccion de sus obras y las fuentes que la inspiraron, como son �\Sonatina. (�\Le chevalier double. de Theophile Gautier), y �\Palabras a la satiresa. (�\Les ingenus. de Paul Verlaine).
Max Henriquez Urena and Enrique Anderson Imbert, among others, have viewed the influences Ruben Dario received from other writers as a way to explain the Nicaraguan poet's work. However, a particular aspect of these influences is that they were very deliberate on Dario's part, as his famous 1891 statement �\Who should I imitate in order to be original?. (EI: 121) proves. In fact, this remark of Dario's leads us to reconsider our notions of what influence means as a critical category, and also adds context to the cultural phenomenon of transculturation, that gave place to Spanish American modernismo. Even though critics such as Angel Rama (1970) and Jose Emilio Pacheco (1970) have examined this topic, both, the idea of influence contained in Dario's statement, and its literary results have led me to reexamine influence as a strategy within modernismo's agenda of cultural reply. This approach to influence may explain Dario's own acts of literary appropriation, which, according to Noe Jitrik, stem from the poet's concept of literature as commodity. Within this context, we want to propose that Dario saw these appropriations, now known as influences, as part of a modernization process whose goal was the improvement of his own, as well as Spanish America's cultural production. Hence, his choice to �\imitate in order to be original. not only questions the traditional notions of influence, but also forges a pattern of literary and cultural relationships between Spanish America and Europe. This pattern isevident in the relationship between his own works, and those on which his poems were inspired. With these ideas in mind, my essay examines Dario's use of French literature in "Sonatina" (�\Le chevalier double. de Theophile Gautier), and �\Palabras a la satiresa. (�\Les ingenus. de Paul Verlaine).
