The Deconstruction of Common Phrases in Social Poets and the Emergence of Mystical Poetry in the Spanish Golden Age

The Deconstruction of Common Phrases in Social Poets and the Emergence of Mystical Poetry in the Spanish Golden Age

Introduction:
The use of common phrases in poetry has long been a common practice among social poets, adding a colloquial tone to their compositions. However, in the 1970s, poet and critic Carlos Bousoño analyzed the "breakdown of common phrases" in the works of Blas de Otero, shedding light on this phenomenon. Bousoño's analysis focused on linguistic aspects, considering the formulation and decoding of the message by the reader. This article explores the deconstruction of common phrases in social poetry and the emergence of mystical poetry in the Spanish Golden Age.

Deconstructing Common Phrases:
Blas de Otero, like many poets of his generation, had a particular interest in wordplay and puns. However, these linguistic games were not gratuitous but rather motivated by the overall themes and messages of their work. For example, the phrase "Tachia, los hombres sufren. No tenemos ni un pedazo de paz con que aplacarles" (Tachia, men suffer. We don't have a piece of peace to appease them) demonstrates how the deconstructed phrase functions as an "ambiguous sign" rather than a metaphorical process. The double meaning of the phrase still retains semantic coherence in both contexts, resembling the structure of a joke. This ability to interpolate an equivocal sign lies in the partial or complete homophony with the substituted or underlying word, always recognizable to the reader.

Modifying Common Phrases:
The modification of common phrases in poetry highlights a stylistic choice. Although the reader immediately identifies the omitted element, the full meaning of the previous phrase is only partially recovered. The "recovered" semantic element gains significance by amalgamating with the interpolated element, resulting in a shift in meaning in the new phrase. This process allows for the renewal of clichés, as demonstrated in the works of Gil de Biedma. In his poem, "Cada aparición que pasa, cada cuerpo en pena no anuncia muerte, dice que la muerte estaba ya entre nosotros sin saberlo" (Each passing apparition, each tormented body does not announce death, it says that death was already among us unknowingly), the new pairing of "CUERPO/MUERTE" (BODY/DEATH) roots an experience in the present that the worn-out cliché "alma en pena" (tormented soul) would not have conveyed with the same effectiveness.

Intertextuality and the Deconstructed Phrase:
The mechanism of meaning production in the deconstructed phrase shares similarities with metaphorical processes. However, it differs from metaphor because the new formulation retains traces of the original structure. As Philippe Sollers states in "Théorie d'ensemble," every text exists at the junction of multiple texts and is a rereading, condensation, displacement, and depth. Incorporating proverbs, common phrases, and intertextual references, with or without modifications, constitutes a reenunciation by the writer. This process allows for inventive and mimetic transformations of the proverb, such as Ángel González's "Glosas a Heráclito."

The Emergence of Mystical Poetry in the Spanish Golden Age:
The origins of Spanish mystical poetry can be traced back to the late 15th century, following a period of assimilating foreign mystical traditions that may have begun in the High Middle Ages. The culmination of Spanish mystical poetry is an eclectic combination of various influences. While the poetry of Santa Teresa de Jesús and the "Cántico espiritual" are often regarded as the pinnacle of this genre, it also includes works such as Fray Francisco de Osuna's "Abecedario espiritual," Fray Luis de León's poems, and even Magdalena de Malón de Chaide's "El libro de la conversión." The influence of this tradition can also be seen in the themes and expressive style of Baroque literature, particularly in the use of popular speech idioms and metaphors.

Representatives of Spanish Mystical Poetry:
Fray Francisco de Osuna is considered the initiator of Spanish mystical lyricism with his work "Abecedario espiritual." This work, the most widely read of its kind between 1527 and 1559, greatly influenced Santa Teresa de Jesús. Fray Luis de León, known for his extensive literary output and scriptural translations, composed 23 poems that were not intended for publication during his lifetime but are now considered part of the Spanish Golden Age mystical poetry. San Juan de la Cruz, born in Fontiveros, Spain, to a family of converted Jews, produced a minimal but impactful body of work. Alongside Santa Teresa de Jesús, his poetry in the "Cántico espiritual" represents the pinnacle of Spanish mystical lyricism.

Conclusion:
The deconstruction of common phrases in social poetry and the emergence of mystical poetry in the Spanish Golden Age are two distinct yet interconnected phenomena. Both showcase the poets' inventive use of language and their ability to evoke meaning through the manipulation of familiar expressions. This exploration of linguistic and thematic boundaries led to the creation of innovative and enduring works. To incorporate these practices into our own writing, we can take three actionable pieces of advice:

1. Embrace wordplay and puns: Experiment with deconstructing and modifying common phrases to add depth and originality to your compositions.

2. Integrate intertextuality: Draw inspiration from existing texts, proverbs, and cultural references to create a dialogue between tradition and innovation in your writing.

3. Explore thematic and stylistic boundaries: Challenge conventional structures and meanings by intertwining different themes and styles, allowing for the renewal of clichés and the creation of new perspectives.

By incorporating these practices, we can infuse our writing with the richness and inventiveness displayed by social poets and mystics of the Spanish Golden Age.