Acceso usuarios
Aurelio González Ovies 
La casa dexada atrás, la primixenia, dende los clásicos grecollatinos, ye unu de los símbolos más universales y recurrentes ente los poetes de toles dómines. La torna al llar abandonáu, a la casa paterna, tamién se convierte ente los autores asturianos nuna de les imáxenes que meyor representa l’añoranza pola felicidá y el paraísu perdíos.
Y ye esa morada, símbolu en munches ocasiones de la figura materna, la que nos sirve d’abelugu énte la hostilidá y los reveses del mundu que nos aguarda y nos decepciona.
Un locus amoenus, accesible tan solo al traviés de la evocación, que nos avera al tema de les ruines d’identidá y de memoria histórica y al de la naturaleza poderosa y voraz que los autores aprovechen como mou d’introspeición nel mundu personal.
Retornar nun ye posible, pero como Odiseo, toos, tarde o aína, volvemos a esa casa primixenia, a esi llugar afayadizu nel que, anque naide nun nos espere, conocimos la felicidá y criámonos dichosos, seique más de lo que somos güei, sirviéndonos tamién como midida del pasu del tiempu y como espeyu onde comparar l’antes col agora, la magnitú del ayeri cola poquedá presente. Dempués d’aquellos años, de xuru idealizaos, toos vivimos nun destierru personal y regresar a la casa paterna pue ser, ensin más, volver a unu mesmu, pos la casa nun representa otra cosa que’l ser interior y toles sos estancies nun son sinón lo que somos nós per dientro. Voz avisadora o conciencia de muerte o d’esraizadura palpita ellí onde ñaz la sienda que lleva a la ciudá na que los poetes vense como desterraos y sienda qu’encamina, bien adulces pero definitivamente, al abandonu de caleyes, puertes, cuarterones y postigos de la infancia.
Pallabres clave: Tópicu, casa primixenia, retornu, ruines, poesía asturiana.
From the Greco-Roman classics onwards, one of the most universal and recurring symbols among poets of all times has been the topic of the home left behind.
Among Asturian authors, the return to this home, to the paternal house, also becomes one of the images that best represents the longing for lost happiness and paradise. It is precisely this dwelling, not infrequently a symbol of the maternal figure, which works as a refuge from the hostility and setbacks of the world that not only awaits us but also disappoints us. A locus amoenus, accessible only through evocation, which brings us closer to the topic of the ruins of identity and historical memory, as well as to that of the powerful and voracious nature, which authors take as a way of introspection into the personal world.
To return is not possible. However, like Odysseus, sooner or later, all of us come back to that primitive house, to that place where no one is expecting us, but where we have known happiness and we have grown happy (probably happier than we are today). For this reason, the dwelling acts as a measurement of the passing of time and as a mirror where to contrast ‘before’ against ‘now’, the magnitude of yesterday with the insignificance of the present. Furthermore, after those probably idealized years, we all have been living in a personal exile. This is why the return to the paternal house can simply be understood as the return to one’s inner self. Thus, the house represents nothing else than the inner being and all its rooms are a reflection of what we are inside. A warning voice or consciousness of death or uprooting palpitates where the path leads to the city. There poets will be seen as exiles; a path that leads, slowly but permanently, to the abandonment of alleys, doors, quarters and shutters of the childhood.
