La katábasis de José Cemí en Paradiso.
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Escuela de Letras. Facultad de Humanidades y Artes. Universidad Nacional de Rosario
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En el presente trabajo,
sostendremos que Paradiso (1966) de
José Lezama Lima puede ser leída desde
una matriz órfica. A través del análisis
de los relatos de experiencias cercanas
a la muerte del protagonista durante la
niñez (capítulos I, V y VI), del gran
discurso emitido por su madre y de una
escena de lectura del propio Cemí
(capítulo IX), nos interesa exponer
algunas características de la
reconfiguración lezamiana del antiguo
relato de descenso heroico que,
creemos, el autor realiza mediante un
complejo juego intertextual donde
resaltan los órficos, Virgilio, Lucrecio y
Suetonio. Nos situamos, así, en una
perspectiva que lee un trabajo directo
con la épica (y otros textos) en la forma
de la narrativa latinoamericana de los 60
y 70 (Florio, 1997).
In this article, we argue that Paradiso (1966) by José Lezama Lima can be read from an orphic perspective. We analyse the account of experiences where the protagonist comes close to death during his childhood (chapters I, V and VI), the great speech given by his mother and a reading scene of Cemí himself (Chapter IX) in order to explain how Lezama reconfigures the ancient tale of heroic descent, which, we believe, the author carries out through a complex intertextuality display that refers back to the Orphics, Virgil, Lucretius and Suetonius. We support a critical approach that claims that there was a rather direct reading of ancient epic (and other genres) by latinoamerican novelists from the 1960s and 1970s (Florio, 1997).
In this article, we argue that Paradiso (1966) by José Lezama Lima can be read from an orphic perspective. We analyse the account of experiences where the protagonist comes close to death during his childhood (chapters I, V and VI), the great speech given by his mother and a reading scene of Cemí himself (Chapter IX) in order to explain how Lezama reconfigures the ancient tale of heroic descent, which, we believe, the author carries out through a complex intertextuality display that refers back to the Orphics, Virgil, Lucretius and Suetonius. We support a critical approach that claims that there was a rather direct reading of ancient epic (and other genres) by latinoamerican novelists from the 1960s and 1970s (Florio, 1997).
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