El genio de la evocaciónla cartografía poética de José Antonio Ramos Sucre

Abstract

The main objective of this doctoral thesis is the characterisation of José Antonio Ramos Sucre as a genius of evocation, capable of condensing different stages of a life. Such a syntagm is taken from Fear and trembling (1843), by Sören Kierkegaard -"The poet is a genius of evocation, one can do no else but remember what he has already done and admire him" (Kierkegaard, 2017: 78-79); a conception not unlike that of Ramos Sucre when he says "¿the genius does not create the matter of the masterpiece that immortalises him" (Ramos Sucre, "Ideas dispersas sobre Fausto" [1989: 409])-. We therefore consider that the syntagm genius of evocation is perfectly fitting when applied to Ramos Sucre, as not does it refer to his aesthetic concerns but also to the synthesising of this compositional project. In order to illustrate this last statement, we put forward a ramosucreana poetic map, sustained by fundamentally literary evocations. At the same time, individuals such as warriors, poets and mystics of his poetry in prose - the poetic modality we are studying, illustrate the Stages on life's way (Kierkegaard, 1845) which the Cumanese genius himself condenses. We therefore put forward that the aesthetic level belongs to that of the Iliad, the transition between the aesthetic state and the ethical one is shown in the Divine Comedy, the ethical level can be linked to Hamlet, the transition between the ethical and the religious is set out in Don Quijote de la Mancha and finally, the religious state is defined in Goethe's Fausto. We have chosen a series of concepts to characterise the five pieces with the three levels proposed by Kierkegaard, thus obtaining, respectively, heroism, the journey in search of love, acts of revenge, reclusion from the perspective of creation and the opening to universality. We develop, therefore, a study based on the analysis of texts from a double perspective: diachronic and synchronic. A methodology of comparison allows for the establishing of relationships that widen the scope of vision from, in this case, the exegesis that are the poetic texts of Ramos Sucre. So, on the one hand, the different key figures from the poetic ramosucreana map are approached in a diachronic way, while on the other, within this same methodology, there is a secondary one, from a synchronic perspective. The apparent contradiction is clarified once it is shown that this is a mere lexical dichotomy, from a semantic point of view, diachrony and synchrony live together in a circular journey. And so, together with the diachronic approach towards the texts in question, we have targeted the ramosucreana productions La torre de Timón (1925), Las formas del fuego (1929) and El cielo de esmalte (1929), synchronically, due to the brief temporal lapse between the publication of the poetry books and in line with the unitive will of the genius. This thesis, ultimately, is oriented towards a line of comparative Hispano-American poetry where the work of the genius of evocation, who we consider to be Ramos Sucre, germinates in some of the most relevant creations of European and universal literature. Having carried out the research within biographical and creative parameters, we conclude with certainty that Ramos Sucre should be considered to be a genius of evocation and conceding him this title is to be in harmony with his way of being.