Bien, una aclaracin, en realidad no lamenta la desaparicin de su gente as como as , pues muchos han sobrevivido y de alguna manera llevamos su genoma en nuestro ser, es decir que de alguna manera no han desaparecido; ms bien lo que condena, lo que deplora y lamenta es el ostentoso prejuicio y decisin de los conquistadores, de los hombre de fe y de Dios, de los que decan hacerlo por la corona y la corona misma de exterminar la esencia de la cultura. Es decir, de eliminar, pisotear, quebrar y moldear sus espritus para que olvidasen sus races y orgenes. Como si eso fuese fcil o simple, pues la cosmovisin indgena no vea las riquezas materiales, sino esenciales, lo que son, lo que representan y lo que significan son ms valiosos para un indgena que como un valor de riqueza material, comercial o incluso fama, avaricia, codicia y opulencia. De como, simplemente, una retrgrada cultura religiosa, absurda y de pocos conocimientos que, irnicamente llevaba rasgos, no solamente en la herencia sangunea, o la lengua, sino en la misma religin obscura con la cual se dicen hombres de Dios.
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Carina del Valle Schorske I. In the Age of Discovery, books appear filled with extraordinary news and fanciful geographies. History, obliged to discover new worlds, overflows its classical channel, and so political fact cedes its post to ethnographic discourse and to the picture-painting of civilizations.
The work consists of three volumes in-folio that were later reprinted individually, and illustrated with profusion and enchantment. From the bosom of the impressionistic clouds, a fat-cheeked Aeolus blows, indicating the course of the winds—the constant guardian of the sons of Ulysses.
See the footprints of African life, beneath the traditional palm tree next to the squat straw hut, always smoking; men and beasts of other climes, minute and detailed scenes, exotic plants and imagined islands.
And on the coasts of New France, groups of natives given over to hunting and fishing, to dancing or the building of cities.
Hold, here, your eyes: here is a new art of nature. In the sharp outlines of the illustrations, fruit and leaf, stem and root, are abstract forms, their clarity undisturbed by color. These plants, protected by thorns, announce that nature here is not, like in the south or on the coasts, abundant in saps or nourishing vapors.
But over the course of centuries, man will contrive to drain away the waters, working like a beaver, returning to the valley its own terrible character: —In the hostile, alkaline earth, plants stiffen, raising the thorns of their vegetable claws against drought. The desiccation of the valley has been going on from to Three races have worked on it, and almost three civilizations—how little there is in common between the viceroyal organization and the prodigious political fiction that gave us thirty years of Augustan peace!
Three monarchical regimes, divided by parentheses of anarchy, are here an example of how the work of the state grows and corrects itself before the same threats of nature and the same land to hoe. Our century found us still digging up the last shovelful and tearing open the last ditch. The draining of the lakes is its own small drama with its own heroes and scenic backdrop. Before a great assembly overseen by the Viceroy and the Archbishop, the sluices were opened: the immense waters riding in through the deep cuts.
This, the stage. Like the spirit of disaster, the vengeful water spied over the city; troubling the dreams of that cruel and petty people, sweeping clean its flowering stones; lying in wait, blue eye open, for its brave bastions.
When the makers of the desert finish their labors, the social catastrophe erupts. The American traveler is condemned to hear the same question from Europeans: are there many trees in America? The Spanish plain suggests ascetic thoughts; the Mexican valley, simple and sober ones.
What one gains in tragedy, the other in formal precision. Our nature has two opposing aspects. One, the virgin jungle of America, so long-sung it is hardly worth describing. Hothouse where energies seem to spend themselves with generous abandon, where our spirit drowns in intoxicating fumes, it is the exaltation of life and the vital image of anarchy: the bursts of greenery tumbling down the mountainside, the Gordian knots of creepers and lianas, the tents of banana trees, the treacherous shadows of trees that lull the traveler to sleep and steal over his senses, overpowering vegetation, slow and voluptuous torpor, all to the whir and whine of insects.
The cries of parrots, the thunder of waterfalls, the savage eyes of beasts! In these profusions of fire and fantasy, other tropical regions surely outdo us. At least for those who like to have their wills alert and minds clear at all hours. In that landscape, not without a certain aristocratic sterility, where the eyes wander with discernment, the mind deciphers every line and caresses every curve; beneath the brilliance of that air and in its pervasive freshness and placidity, those undiscovered men let their broad, meditative, spiritual gaze wander.
Later, from that little stilt village a city had welled up, repopulated with the incursions of mythological warriors that came from the Seven Caves—the cradle of the seven tribes spilling over our land.
Later, the city became an empire, and the clamor of a Cyclopean civilization, like that of Babylon and Egypt, endured, wearying, until the ill-starred days of Moctezuma the Mournful.
At their feet, in a mirage of crystals, the picturesque city spread out, emanating from the temple, so that its radiant streets extended the corners of the pyramid. To their ears, in some dark and bloody rite, came howling the moan of the ancient oboe and, multiplied by the echo, the throb of the savage drum. I know not how to describe it. Sweet clicks can be heard; the vowels flow and consonants tend to liquify.
The chatter is a delicious music. The historical age in which the conquistadors arrived proceeded precisely from the rain of flowers that fell on the heads of men at the end of the fourth cosmic sun. The land avenged its old shortages, and men waved the flags of jubilation. In the drawings of the Vatican codex, this is represented by a triangular figure adorned with trellises of plants; the goddess of licit loves, hung with verdant ribbons trailing to the ground, while seeds burst from above, dropping leaves and flowers.
The principal material for studying the artistic representation of plants in America is found in the monuments of culture that flowered in the valley of Mexico immediately before the conquest. Hieroglyphic writing offers the most varied and abundant material. The flower was one of the twenty signs of the days; the flower is also the sign of the noble and the lovely, and, at the same time, represents all perfumes and drinks.
It also arises from the blood of sacrifice, and crowns the hieroglyph for oratory. Garlands, trees, maguey, and maize alternate as the hieroglyphs for places. The flower is painted in a schematic mode, reduced to a strict symmetry, seen in profile or in the mouth of the corolla.
In the same way, a defined scheme is used to represent the tree: it is here a trunk that opens in three equal branches crowned with leaves, and there two diverging trunks that ramify in a symmetrical manner.
In the stone and clay sculptures there are isolated flowers—without leaves—and radiant fruited trees, some as attributes of the divine, others as personal adornment or decoration for utensils.
In the pottery of Cholula, the background of the pots flaunts a floral star, and on the interior and exterior walls of the vase run interlaced calyxes.
The cups of the spinners have black flowers on a yellow background, and, on occasion, the flower appears to be evoked merely by a few fugitive lines. We also seek the flower, nature, and the landscape of the valley in the indigenous poetry. Whatever historical doctrine one professes and I am not one of those who dream of absurd perpetuations of indigenous traditions nor place too much faith in perpetuations of the Spanish , it unites us with the race of yesterday, without speaking of blood, with the community of effort to dominate our dense and fierce nature; the effort which is the brute base of history.
Much more profoundly, we are united by the community of quotidian emotion when faced with the same natural object. The confrontation of human sensibility with the same natural world cultivates and engenders a common soul. But if one accepts neither one nor the other—neither the work of collective action, nor of collective contemplation, let it be conceded that the historical feeling is part of contemporary life, and that without its glow, our valleys and our mountains would be like a theater without light.
Ensayo - Visión de Anáhuac
Visión de Anáhuac
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