{"id":18964,"date":"2025-03-21T08:30:00","date_gmt":"2025-03-21T08:30:00","guid":{"rendered":"https:\/\/revistaliterariaelgatonegro.com\/?p=18964"},"modified":"2025-03-18T02:30:16","modified_gmt":"2025-03-18T02:30:16","slug":"octavio-paz-y-elizabeth-bishop-un-poema-traidor","status":"publish","type":"post","link":"https:\/\/revistaliterariaelgatonegro.com\/?p=18964","title":{"rendered":"Octavio Paz y Elizabeth Bishop: un poema traidor"},"content":{"rendered":"\n

Luis Alberto L\u00f3pez Soto<\/strong><\/p>\n\n\n\n

Es un lugar com\u00fan que, como pr\u00e1ctica po\u00e9tica, una traducci\u00f3n es m\u00e1s bien una versi\u00f3n, una forma virtuosa de la traici\u00f3n. Traducir un poema, se dice, es escribir otro. Que se traducen las palabras, mas no el tono. Es un lugar com\u00fan, s\u00ed, pero es un lugar com\u00fan cierto. En alg\u00fan punto de la transici\u00f3n idiom\u00e1tica, el lenguaje admite inflexiones que enriquecen y disparan las potencialidades del poema. El fen\u00f3meno como tal es curioso y hasta necesario. La traducci\u00f3n nos brinda el efecto de un significante articulado entre la familiaridad y la sorpresa. No hay virtud en que un poema traducido sea una voz propia, sino en que, sin dejar de ser esto, comporte el eco de otro poema al que tal vez, por motivos ling\u00fc\u00edsticos o socioculturales, jam\u00e1s conozcamos.<\/p>\n\n\n\n

Poeta y poeta-traductor, gran ejemplo de la tentativa moderna por trazar puentes entre distintas tradiciones literarias, Ezra Pound (1885-1972) estuvo recluido por m\u00e1s de diez a\u00f1os en el hospital psiqui\u00e1trico St. Elizabeths, Washington D.C. Su \u201clocura\u201d (no estaba m\u00e9dicamente loco) fue apoyar con vehemencia a Benito Mussolini, el fascismo y el antisemitismo. Demencia fue, sin embargo, el argumento para que no fuera encarcelado o condenado a muerte. Por esto y por su extraordinaria obra, el caso de Pound no tiene parang\u00f3n en la literatura del siglo XX.<\/p>\n\n\n\n

Quiero compartir, no un poema de Ezra Pound, sino uno de la poeta norteamericana Elizabeth Bishop (1911-1979) surgido precisamente a prop\u00f3sito de las visitas que esta realizaba a su compatriota durante su estancia en el manicomio:<\/p>\n\n\n\n

Visits to St. Elizabeths<\/strong><\/p>\n\n\n\n

This is the house of Bedlam.

This is the man
that lies in the house of Bedlam.

This is the time
of the tragic man
that lies in the house of Bedlam.

This is a wristwatch
telling the time
of the talkative man
that lies in the house of Bedlam.

This is a sailor
wearing the watch
that tells the time
of the honored man
that lies in the house of Bedlam.

This is the roadstead all of board
reached by the sailor
wearing the watch
that tells the time
of the old, brave man
that lies in the house of Bedlam.

These are the years and the walls of the ward,
the winds and clouds of the sea of board
sailed by the sailor
wearing the watch
that tells the time
of the cranky man
that lies in the house of Bedlam.

This is a Jew in a newspaper hat
that dances weeping down the ward
over the creaking sea of board
beyond the sailor
winding his watch
that tells the time
of the cruel man
that lies in the house of Bedlam.

This is a world of books gone flat.
This is a Jew in a newspaper hat
that dances weeping down the ward
over the creaking sea of board
of the batty sailor
that winds his watch
that tells the time
of the busy man
that lies in the house of Bedlam.

This is a boy that pats the floor
to see if the world is there, is flat,
for the widowed Jew in the newspaper hat
that dances weeping down the ward
waltzing the length of a weaving board
by the silent sailor
that hears his watch
that ticks the time
of the tedious man
that lies in the house of Bedlam.

These are the years and the walls and the door
that shut on a boy that pats the floor
to feel if the world is there and flat.
This is a Jew in a newspaper hat
that dances joyfully down the ward
into the parting seas of board
past the staring sailor
that shakes his watch
that tells the time
of the poet, the man
that lies in the house of Bedlam.

This is the soldier home from the war.
These are the years and the walls and the door
that shut on a boy that pats the floor
to see if the world is round or flat.
This is a Jew in a newspaper hat
that dances carefully down the ward,
walking the plank of a coffin board
with the crazy sailor
that shows his watch
that tells the time
of the wretched man
that lies in the house of Bedlam*.<\/p>\n\n\n\n

En Versiones y diversioness<\/em> (1984), Octavio Paz re\u00fane todas sus traducciones, entre las que figuran textos en lengua inglesa (John Donne, William Carlos Williams), francesa (G\u00e9rard de Nerval, Andr\u00e9 Breton, Paul Eluard), portuguesa (Fernando Pessoa), sueca, china y japonesa. Paz tradujo, por supuesto, poemas de Ezra Pound (Canto CXVI) y tres textos de Elizabeth Bishop incluyendo el poema anteriormente citado:<\/p>\n\n\n\n

Visitas a St. Elizabeths<\/strong><\/p>\n\n\n\n

Esta es la casa de los locos.

Este es el hombre
que est\u00e1 en la casa de los locos.

Este es el tiempo
del hombre tr\u00e1gico
que est\u00e1 en la casa de los locos.

Este es el reloj-pulsera
que da la hora
del hombre locuaz
que est\u00e1 en la casa de los locos.

Este es el marinero
que usa el reloj
que da la hora
del hombre tan celebrado
que est\u00e1 en la casa de los locos.

Esta es la rada hecha de tablas
adonde llega el marinero
que usa el reloj
que da la hora
del viejo valeroso
que est\u00e1 en la casa de los locos.

Estos son los a\u00f1os y los muros del dormitorio,
el viento y las nubes del mar de tablas
navegado por el marinero
que usa el reloj
que da la hora
del maniaco
que est\u00e1 en la casa de los locos.

Este es un jud\u00edo con un gorro de papel peri\u00f3dico
que baila llorando por el dormitorio
sobre el mar de tablas rechinantes
m\u00e1s all\u00e1 del marinero
que da cuerda al reloj
que da la hora
del hombre cruel
que est\u00e1 en la casa de los locos.

Este es un universo de libros desinflados.
\u00c9ste es un jud\u00edo con un gorro de papel peri\u00f3dico
que baila llorando por el dormitorio
sobre el rechinante mar de tablas
del marinero ido
que da cuerda al reloj
que da la hora
del hombre atareado
que est\u00e1 en la casa de los locos.

Este es un muchacho que golpetea el piso
por ver si el mundo est\u00e1 all\u00ed y si es plano
para el viudo jud\u00edo con un gorro de papel peri\u00f3dico
que baila llorando por el dormitorio
valsando sobre una tabla ondulada
cerca del marinero mudo
que oye el reloj
que punt\u00faa las horas
del hombre fastidioso
que est\u00e1 en la casa de los locos.

\u00c9stos son los a\u00f1os y los muros y la puerta
que se cierra sobre un muchacho que golpetea el piso
para saber si el mundo est\u00e1 all\u00ed y si es plano.
\u00c9ste es un jud\u00edo con un gorro de papel peri\u00f3dico
que baila alegremente por el dormitorio
en los mares de tablas que se van
m\u00e1s all\u00e1 del marinero de los ojos en blanco
que sacude el reloj
que da la hora
del poeta, el hombre
que est\u00e1 en la casa de los locos.

Este es el soldado que vuelve de la guerra.
Estos son los a\u00f1os y los muros y la puerta
que se cierra sobre un muchacho que golpetea el piso
para saber si el mundo es plano o redondo.
Este es un jud\u00edo con un gorro de papel peri\u00f3dico
que baila con cuidado por el dormitorio
caminando sobre la tabla de un ata\u00fad
con el marinero chiflado
que muestra el reloj
que da la hora
del desdichado
que est\u00e1 en la casa de los locos**.<\/p>\n\n\n\n

Hay un ritmo, una evidente regularidad (m\u00e9trica y de im\u00e1genes) atravesando los dos poemas que parecer\u00edan retar a la idea de que un poema traducido es una versi\u00f3n traicionera del original. En este caso, uno no es m\u00e1s que el espejo del otro. La consecuci\u00f3n de sentencias, los compases equivalentes en las dos lenguas, el entrelazamiento de las sintaxis espa\u00f1ola e inglesa, evocan a la vez que modelan el estado de cosas (objetos, tensiones, afectos, situaciones) en el hospital que recluye al poeta-traductor y traidor a la patria, ensimismado en la plena sonoridad del lenguaje. Un gran homenaje en dos poemas \u2013o uno solo donde la voz y el eco se confunden.              <\/p>\n\n\n\n

*Bishop, Elizabeth. The Complete Poems 1927-1979<\/em>. New York: Farrar, Straus & Giroux, 1979.

**Paz, Octavio. Versiones y diversiones<\/em>. 2da. edici\u00f3n. M\u00e9xico D.F.: Joaqu\u00edn Mortiz, 1984. 93-96.<\/p>\n\n\n\n

Luis Alberto L\u00f3pez Soto <\/strong>es licenciado en literaturas hisp\u00e1nicas, maestro en literatura hispanoamericana y doctor en humanidades. Actualmente es profesor-investigador del Depto. de Letras y Ling\u00fc\u00edstica de la Universidad de Sonora, M\u00e9xico.<\/p>\n","protected":false},"excerpt":{"rendered":"

Luis Alberto L\u00f3pez Soto Es un lugar com\u00fan que, como pr\u00e1ctica po\u00e9tica, una traducci\u00f3n es m\u00e1s bien una<\/p>\n","protected":false},"author":1,"featured_media":19114,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[136,24],"tags":[],"class_list":["post-18964","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-mas","category-poesias-y-poetas"],"yoast_head":"\nOctavio Paz y Elizabeth Bishop: un poema traidor - REVISTA CULTURAL<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/revistaliterariaelgatonegro.com\/?p=18964\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Octavio Paz y Elizabeth Bishop: un poema traidor - REVISTA 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