The Deconstruction of Phrases in Social Poets

The Deconstruction of Phrases in Social Poets

In the world of poetry, social poets often turned to the use of common phrases, giving their compositions a colloquial tone, or at least the appearance of one. In 1970, the poet and critic Carlos Bousoño introduced his analysis of the "breakdown of the phrase" applied to a corpus taken from the work of Blas de Otero. He relied on linguistic analysis to describe this phenomenon, taking into account the formulation of the message and its decoding by the reader.

Blas de Otero, like many poets of his generation, shared an interest in paronomasia or puns. These were not gratuitous wordplay, but rather motivated by the totality of his work. For example, in his poem "Tachia, los hombres sufren," he uses the phrase "alma en pena" (soul in pain) in a modified form, creating a new phrase that still maintains coherence and meaning in both contexts. This technique of deconstructing phrases functions as an "ambiguous sign" rather than a metaphorical process. The ability to interpolate this ambiguous sign lies in the partial or total homophony with the substituted or underlying word, always recognizable to the reader.

The modification of common phrases highlights a stylistic choice. The immediate identification by the reader of the omitted element does not mean that the full meaning of the previous phrase is completely recovered, but only partially. The "recovered" semantic element gains meaning by amalgamating with the interpolated element, resulting in a translation of meaning in our reading of the new phrase. This process allows for a renewal of clichés.

Gil de Biedma's poem, "Cada aparición que pasa," exemplifies the phonetic effects of pairing the words "CUERPO" (body) and "MUERTE" (death). This new pairing roots an experience in the present that the worn-out cliché "alma en pena" would not have conveyed with the same effectiveness. The sense production mechanism that emerges in the deconstructed phrase is related to the procedure of metaphor, yet it differs from it because the new formulation retains something of the original intertextual structure.

The use of proverbs, common phrases, and incorporated intertextuality, with or without modifications, always involves a reenunciation on the part of the writer. It allows them to engage with the collective memory and cultural references, transcending the boundaries of individual expression.

In Rilke's "Elegías de Duino," a collection of ten poems published in 1923, the poet explores the limitations and insufficiency of the human condition, the fracture of human consciousness, the solitude of humanity, the perfection of angels, life and death, love and lovers, and the task of the poet. The central motif is man himself.

The fifth elegy of "Elegías de Duino" is inspired by Pablo Picasso's painting "Los saltimbanquis" (The Acrobats), depicting six figures "in the middle of a desert landscape, impossible to say if they are arriving or leaving, starting or finishing their performance." Rilke uses them as a symbol of human activity, always traveling without a fixed abode, even more transient than the rest of us. He suggests the loneliness and definitive isolation of man in an incomprehensible world, practicing his profession from childhood to death as playthings of an unknown will.

Rilke's work went through different phases, from a sentimental and romantic style to a more mature and introspective one. His "Book of Hours" represents the former, while his "Elegías de Duino" and "Sonnets to Orpheus" embody his later stage. Through these works, Rilke conveys his unique worldview, expressing the tragic sentiment caused by the brevity of existence and reaching a nearly mystical perception of the unity of life and death. He proclaims this monistic worldview through daring and expressive mythopoetic metaphors.

In conclusion, the deconstruction of phrases in social poetry and the exploration of human limitations and the human condition are common themes in the works of Blas de Otero and Rainer Maria Rilke. Both poets use language and intertextuality to convey their unique perspectives on life, death, and the role of the poet. To incorporate these elements into your own writing, here are three actionable pieces of advice:

1. Experiment with deconstructing common phrases to create ambiguity and add depth to your poetry.
2. Explore the limitations and insufficiency of the human condition in your work, delving into themes of loneliness, mortality, and the search for meaning.
3. Use intertextuality and cultural references to engage with collective memory and add layers of meaning to your writing.

By following these tips, you can infuse your poetry with fresh perspectives and create a deeper connection with your readers.