The Intertextuality of Poetry: Exploring the Use of Common Phrases and the New Interpretations of "Cántico Espiritual"

The Intertextuality of Poetry: Exploring the Use of Common Phrases and the New Interpretations of "Cántico Espiritual"

Introduction:
In the realm of poetry, intertextuality has become increasingly intriguing, although its presence may be less apparent compared to other literary genres. Poets and readers are now aware that a poem refers to other texts, whether they are their own or borrowed from others. This article aims to explore the incorporation of common phrases from colloquial speech and reflect on how they contribute to the "circulation of meaning" within a poem. Additionally, it is worth noting that this interplay between colloquial speech and poetry often occurs through short poetic forms, such as reduction in syllables or lines (mono-syllabic verses) or even single-line poems, as exemplified by Gloria Fuertes. The use of common phrases in poetry is a result of crystallized moments, ingenious sparks, and economy of language, particularly seen in socially-focused poets like Otero, Celaya, Ángel González, Gil de Biedma, and Gloria Fuertes.

The Use of Fixed Expressions in Poetry:
Within the context of fixed expressions (EF), there are three distinct but complementary approaches observed in Gloria Fuertes' work. These approaches include the use of modified or unmodified fixed expressions, wordplay, and clichés and catachresis. Approximately half of the fixed expressions in Fuertes' poetry have been literally modified, while the other half remains grammatically intact but often "decontextualized" or reinvested with tropes such as irony, paradox, or playful wordplay. This mechanism allows EF to retain its figurative nature or create catachresis, which involves naming an existing thing with another word to revitalize it. Sometimes, unmodified EF takes on a new meaning within a specific wordplay. For example, the phrase "Hoy mando todo a paseo" (Today I send everything for a walk) intertwines between two verses (-the only thing I possess- and -I possess poetry-), highlighting the playful effect of the phonetic and semantic similarity between "paseo" (walk), "poseo" (possess), and "poesía" (poetry). As the three words lack sufficient semantic coherence but possess lexical connections, the resulting nonsensical nature encourages a playful interpretation. The decision to modify or not modify fixed expressions within a poem is often motivated by the association with other poetic figures such as paradox, irony, or wordplay.

The Role of Wordplay in Poetry:
Wordplay, clichés, stereotypes, and catachresis are expressive images of intertextuality that can be perceived as banal due to their widespread use in both spoken and written language. Whereas catachresis is a result of the fixation of a trope in language, clichés have often been attributed a negative connotation in poetry due to the perceived lack of inventiveness. However, in Fuertes' work, the use of irony, parody, and other figures allows for a reinvention and critical exploration of prevailing social narratives. Through the reutilization of fixed expressions, Fuertes adds a new dimension to the dominant social criticism present in her collection.

New Interpretations of "Cántico Espiritual":
The study of Lola Josa reveals the Hebrew wisdom underlying the "Cántico Espiritual" by San Juan de la Cruz, positioning the author among Christians of his time who sought to immerse themselves in biblical sources. Josa sheds new light on the essential text, freeing it from Catholic censorship. She argues that reading the poem is crucial in the current literary explorations due to its ontological significance. The poetry of San Juan de la Cruz serves as a tool to remove splinters, liberate, and expose the vulnerability of our minds, allowing us to experience the unlimited creative and imaginative capacity upon which our freedom depends. Josa emphasizes that reading the work of the most charismatic mystic of the Western world is to acquaint oneself with the genius of a music born from the perfect word, harmonizing imperceptibly. It is an encounter with someone who was undeniably wise and who knew, through experience, the possibility of reaching God.

Furthermore, Josa highlights the parallelism between San Juan and Casiodoro de Reina regarding the translation of the book of Ezekiel. This confluence reveals the extent to which San Juan's work can be considered an exercise in sublimated translation of the Bible, particularly the Song of Songs. The inability to understand certain words and concepts introduced by San Juan in his verses and commentary arises from the lack of comprehension of the Hebrew wisdom. Josa's research distinguishes and clarifies the interlocutors in the poem, unveiling the fruitful encounters between lovers and future spouses within the stanzas. Moreover, she identifies the presence of a third voice, distinct from the interlocutors, which testifies to the intimate experiences of the spouses. By resolving temporal jumps and abrupt changes in pronoun usage, Josa's insights provide clarity and prevent misinterpretations.

Actionable Advice:

1. Embrace intertextuality: Explore the connections between your own poems and other texts, whether they are your own or borrowed from other sources. This can add depth and richness to your work.
2. Play with fixed expressions: Modify or reinvest fixed expressions within your poetry to create figurative language or wordplay. This can enhance the overall impact of your poems and engage readers in playful interpretations.
3. Dive into the wisdom of ancient texts: Draw inspiration from ancient texts, such as the Bible, and explore the interplay between different cultural and linguistic traditions. This can provide unique perspectives and insights to your poetry.

Conclusion:
The intertextuality of poetry, demonstrated through the incorporation of common phrases and the exploration of ancient texts, allows for greater depth and complexity within the art form. Through the modification of fixed expressions, the use of wordplay, and the reinterpretation of clichés, poets can create new meanings and engage readers in playful interpretations. Additionally, the study of works like "Cántico Espiritual" by San Juan de la Cruz offers insights into the profound connection between poetry and ancient wisdom. By embracing intertextuality, playing with language, and exploring the wisdom of the past, poets can continue to push the boundaries of their craft and create meaningful and impactful works of art.