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Lo que debería ser el vacío de un sueño

se llena constantemente al gotearse la fuente de los sueños,

para que este solo sueño

crezca, florezca como una rosa centifolia,

desafiando leyes suntuarias, dejándonos

despertar y tratar de empezar a vivir en lo que

se ha vuelto ahora un barrio miserable. Sydeny Freedberg

en su Parmigianino dice: “El realismo en este retrato

ya no produce una verdad objetiva, sino una bizarría…

la distorsión, sin embargo, no crea

una sensación de ausencia de armonía… Las formas retienen

una alta medida de belleza ideal”, porque

las nutrimos con nuestros sueños, tan inconsecuentemente,

que un día

percibimos el agujero que dejaron. Ahora su importancia,

si es que no su significado, es clara. Era alimentar un sueño

que las incluye a todas, como están,

invertidas finalmente en el acumulante espejo.

Parecían extrañas porque no podíamos de hecho mirarlas.

De los que nos percatamos sólo en el momento

en que se desvanecen

como un ola que se estrella en una roca, cediendo

su forma en un gesto que expresa esa forma.

Las formas retienen una alta medida de belleza ideal

mientras rumian secretamente nuestra idea de distorsión.

¿Por qué molestarse con este arreglo, si

los sueños nos prolongan al absorberse?

Algo como el vivir ocurre, un movimiento

que sale del sueño hacia su codificación.

 

 

Cuando empiezo a olvidarla

presenta otra vez su estereotipo,

pero es un estereotipo poco familiar, el rostro

navegando a la deriva, salido de azares que pronto

suplantarán otros azares, “más ángel que el hombre”

(Vasari).

Quizá un ángel se parece a todo

lo que hemos olvidado, me refiero a las cosas olvidadas

que resultan extrañas

al reencontrarlas, perdidas más allá de las palabras,

y que fueron alguna vez nuestras. Este sería el momento

de invadir la privacía de este hombre que,

“especulaba con la alquimia, pero cuyo

deseo no era el examinar las sutilezas del arte

con un desprendido espíritu científico: quería con ellas

imprimirle al espectador el sentido de lo novedoso

y el asombro”

(Freedberg). Retratos posteriores como el del “Caballero”

de los Uffizi, el “Joven prelado” de la Borghese y

el “Antea” napolitano surgen de las tensiones

manieristas, pero aquí, como Freedberg lo señala,

la sorpresa, la tensión está en el concepto

más que en la realización.

La consonancia del Alto Renacimiento

está presente, aunque distorsionada por el espejo.

Es novedoso el gran cuidado

en capturar las veleidades de la reflejante superficie curva

(es el primer retrato espejo),

podrías ser engañado un momento

antes de darte cuenta de que la imagen

no es tuya. Te sientes entonces corno uno de esos

personajes de Hoffman desprovistos

de reflejo, salvo que el yo entero

ha sido suplantado por la estricta

otredad del pintor en su otro cuarto. Lo hemos sorprendido

en su trabajo, pero no, él nos ha sorprendido a nosotros

trabajando. El retrato está casi terminado,

la sorpresa casi concluida, como cuando uno mira hacia

afuera,

asombrado por una nevada que está finalizando en manchas

y chispas de nieve.

Sucedió mientras estabas dentro, durmiendo,

y no hay razón para que estuvieras

despierto presenciándola, salvo porque el día

acabó y te va a ser difícil

dormir esta noche, al menos hasta muy tarde.

 

 

 

 

What should be the vacuum of a dream

Becomes continually replete as the source of dreams

Is being tapped so that this one dream

May wax, flourish Iike a cabbage rose,

Defying sumptuary laws, leaving us

To awake and try to begin living in what

Has now become a slum. Sydney Freedberg in his

Parmigianino says of it: “Realism in this portrait

No longer produces an objective truth, but a bizarria…

However its distortion does not create

A feeling of disharmony… The forms retain

A strong measure of ideal beauty,” because

Fed by our dreams, so inconsequential until one day

We notice the hole they left. Now their importance

If not their meaning is plain. They were to nourish

A dream which includes them all, as they are

Finally reversed in the accumulating mirror.

They seemed strange because we couldn’t actually

see them.

And we realize this only at a point where they lapse

Like a wave breaking on a rock, giving up

Its shape in a gesture which expresses that shape.

The forms retain a strong measure of ideal beauty

As they forage in secret on our idea of distortion.

Why be unhappy with this arrangement, since

Dreams prolong us as they are absorbed?

Something like living occurs, a movement

Out of the dream into its codification.

 

 

As I start to forget it

It presents its stereotype again

But it is an unfamiliar stereotype, the face

Riding at anchor, issued from hazards, soon

To accost others, “rather angel than man” (Vasari).

Perhaps an angel looks like everything

We have forgotten, I mean forgotten

Things that don’t seem familiar when

We meet them again, lost beyond telling,

Which were ours once. This would be the point

Of invading the privacy of this man who

“Dabbled in alchemy, but whose wish

Here was not to examine the subtleties of art

In a detached, scientific spirit: he wished through them

To impart the sense of novelty and amazament to the

spectator”.

(Freedberg). Later portraits such as the Uffizi

“Gentleman,” the Borghese “Young Prelate” and

The Naples “Antea” issue form Mannerist

Tensions, but here, as Freedberg points out,

The surprise, the tension are in the concept

Rather than its realization.

The consonance of the High Renaissance

Is present, though distorted by the mirror.

What is novel is the extreme care in rendering

The velleities of the rounded reflecting surface

Ot is the first mirror portrait),

So that you could be fooled for a moment

Before you realize the reflection

Isn’t yours. You feel then like one of those

Hoffmann characters who have been deprived

Of a reflection, except that the whole of me

Is seen to be supplanted by the strict

Otherness of the painter in his

Other room. We have surprised him

At work, but no, he has surprised us

As he works. The picture is almost finished,

The surprise almost over, as when one looks out,

Startled by a snowfall which even now is

Ending in specks and sparkles of snow.

It happened while you were inside, asleep,

And there is no reason why you should have

Been awake for it, except that the day

Is ending and it will be hard for you

To get to sleep tonight, at least until late.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


 

 

 

 

 

Etiquetas: john ashberypoesía
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