"Yo te sé peña a peña y rama a rama": la cultura geo-botanica di Antonio Machado ed il suo interesse per gli esemplari "nimios" della natura
- Autores: Cristiana Fimiani
- Localización: Altre Modernità: Rivista di studi letterari e culturali, ISSN-e 2035-7680, Nº. 10, 2013 (Ejemplar dedicado a: Trasmigrazioni e trasferimenti: vicende naturali e vicende umane nella storia delle piante), págs. 110-125
- Idioma: italiano
- Enlaces
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Resumen
The landscape plays a leading role in the poetry of Antonio Machado (1875�1936), whose �simple love of Nature� is innate, inherited within his family environment and cultivated during his formative years at the Instituci?n Libre de Enseñanza. According to an original reversal of the traditional aesthetic perspective, the poet shows a peculiar interest towards the imperceptible and insignificant vegetal specimens (�nimios�) of the peninsular �emotional lanterns�.
This bifronted author offers a fruitful intersection between the fields of Natural Sciences and Humanities and constantly mentions a diverse range of plants, trees, herbs and flowers, which are seen, remembered, dreamed or imagined; these botanic elements are filtered through the naturalist�s meticulous look and, at the same time, the poet�s emotional prism, who emerges as the living embodiment of post-romantic dialectic between Symbolism and Existentialism.
The paysage de l'âme of the �old Spanish tree� (a famous metaphor by Pablo Neruda to describe Machado) is captured in the herbs and fruit trees of his Sevillian �huerto�, the domestic garden where the lyrical subject projects the melancholy of his first Soledades (1903); or in the varied tree species of Castilian vegetation, which are a symbol of past glory against present decadence, according to the �98 generation�s view of Campos de Castilla (1912); or, last but not least, in the plants of the rarefied and idealized landscape of Nuevas canciones (1924).
