Publication: La metáfora en la poesía de Antonio Martínez Sarrión
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2018-02-08
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Universidad Complutense de Madrid
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Abstract
El poeta albaceteño Antonio Martínez Sarrión (miembro destacado de la neovanguardista generación de los Novísimos) ha creado, a lo largo de las últimas cinco décadas, una obra integral, donde se funden el culturalismo y la experiencia vital. La metáfora (tropo o recurso semántico que establece una semejanza entre dos elementos, uno real y otro imaginario) es una herramienta fundamental en la expresión del autor manchego. Martínez Sarrión emplea las dos modalidades metafóricas existentes, la cotidiana (cuyas bases están en la experiencia) y la poética (que pertenece al ámbito creativo). Si bien las metáforas cotidianas poseen un carácter instrumental, al funcionar dentro del artefacto lírico, transmiten —como las metáforas poéticas— valores estéticos y, en consecuencia, indudables dosis de ambigüedad. Efectivamente, como reveló el formalista ruso Jakobson de acuerdo con la semántica literaria (Richards, Empson, Wheelwright…), en la función poética el mensaje está orientado hacia sí mismo, lo que se traduce en la plurisignificación. Así, muchas metáforas de Sarrión apuntan visiblemente a varias denotaciones, además de expresar alguna connotación. La ambigüedad también queda manifiesta cuando Martínez Sarrión formula alguno de los elementos de esos tropos de forma tácita o vaga, o cuando el enunciado correspondiente carece (total o parcialmente) de signos de puntuación. Además de ser un vehículo idóneo para embellecer el texto y para transmitir —de una sola vez— diversas ideas, la metáfora permite al autor de Teatro de operaciones expresar la sensorialidad (algo apreciable, verbigracia, en las connotaciones, que son los significados individuales y variables) e, incluso, estructurar cada texto.
Antonio Martínez Sarrión —poet born in Albacete and a prominent member of the neo-avant-garde generation of the Novísimos— has created, over the past five decades, an integral work, where culturalism and life experience are merged. The metaphor (a trope or a semantic resource that establishes a similarity between two elements, one real and the other imaginary) is a fundamental expression tool of this author. Martínez Sarrión uses the two existing modalities in metaphor: the daily one (whose bases are in experience) and the poetic one (which belongs to the creative sphere). While daily metaphors have an instrumental character, operating within the lyrical device, they convey —as poetic metaphors also do— aesthetic values and, therefore, indubitable doses of ambiguity. As revealed by the Russian formalist Jakobson according to literary semantics (Richards, Empson, Wheelwright…) in the poetic function the message is oriented towards itself, which results in multiple meaning. So, many Sarrión’s metaphors visibly point to several denotations, besides expressing some connotation. The ambiguity is also evident when Martínez Sarrión formulates some of the elements of these tropes tacitly or vaguely, or when the corresponding statement lacks punctuation (total or partial). Besides being an ideal vehicle to embellish the text and to convey —all at once— different ideas, the metaphor allows the author of Teatro de operaciones to express sensoriality (something noticeable, for instance, in the connotations, which are the individual and variable meanings) and even to structure each text.
Antonio Martínez Sarrión —poet born in Albacete and a prominent member of the neo-avant-garde generation of the Novísimos— has created, over the past five decades, an integral work, where culturalism and life experience are merged. The metaphor (a trope or a semantic resource that establishes a similarity between two elements, one real and the other imaginary) is a fundamental expression tool of this author. Martínez Sarrión uses the two existing modalities in metaphor: the daily one (whose bases are in experience) and the poetic one (which belongs to the creative sphere). While daily metaphors have an instrumental character, operating within the lyrical device, they convey —as poetic metaphors also do— aesthetic values and, therefore, indubitable doses of ambiguity. As revealed by the Russian formalist Jakobson according to literary semantics (Richards, Empson, Wheelwright…) in the poetic function the message is oriented towards itself, which results in multiple meaning. So, many Sarrión’s metaphors visibly point to several denotations, besides expressing some connotation. The ambiguity is also evident when Martínez Sarrión formulates some of the elements of these tropes tacitly or vaguely, or when the corresponding statement lacks punctuation (total or partial). Besides being an ideal vehicle to embellish the text and to convey —all at once— different ideas, the metaphor allows the author of Teatro de operaciones to express sensoriality (something noticeable, for instance, in the connotations, which are the individual and variable meanings) and even to structure each text.
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Ciencias de la Información, Departamento de Filología Española III, leída el 13-02-2017