- V--———v-—-——__

 

-fi

THE MODERN!“ TREND IN ECUADORIAN POETRY

Thai: for the Degroa of M. A. ‘
MiCHiGAN STATE, UNWERSH‘Y

Roosevelt Samuai Ruffin
196.5

 

THESIS

LIBRARY

Michigan State
Universny

 

THE MODERNIST TREND IN ECUADORIAN POETRY

BY

Roosevelt Samuel Ruffin

A THESIS
submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of
MASTER OF ARTS

Department of Romance Languages
Spanish

1965

CONTENTS
Chapter
INTRODUCTION
PANORAMA OF ECUADORIAN POETRY PRIOR TO
I. PRECURSORS OF MODERNISM . . . . . .
ECUADORIAN MODERNISTS
II. ARTURO BORJA . . . . . . . . . . .
III. ERNESTO NOBOA OAAMANO . . . . . . .
Iv. HUMBERTOFIERRO..........
v. MEDARDO ANGEL SILVA . . . . . . . .

VI. JOSRMARI'AEGAS..........

MODERNISM

VII. THE NEW DIRECTION OF ECUADORIAN POETRY. . o .

CONCLUSION. O O O O O O O O O O O O O O O

BIBLIOGRAPMO O O 0 O O O O O O O O O O O

Page

20

36

58
7O
81
93
103

108

PANORAMA OF ECUADORIAN POETRY PRIOR TO MODERNISM

Introduction
.

It was not until the twentieth century that Ecuador embraced the
modernist movement that had dominated the literary world. This is not
to say that there was a lack of capable poetic predecessors on which to
found and establish the roots of the new movement. Ecuador was too
involved in political and social problems to develop or adhere to the
maturing trends in literature.1 Throughout the historical changes of the
country, however, there have been representatives of each literary phase
serving as landmarks in their respective periods and fields, achieving
recognition from each of the following literary schools of thought. It
was during the colonial period in Ecuador that the first worthy poetic
production develOped. These works were primarily imitations, in style if
not in theme, of Italian and Spanish authors of the day. We should note
that the colonial period in Ecuador is one of internal conflict. There
is persecution of the Jesuits, dissatisfaction with Spanish domination,
and religious and political corruption. Nonetheless, a poetic sensitivity
developed from this era, as well as creations of enduring pOpularity.

Ecuador's poetic maturity'was achieved during its colonial period.

The concentration on the production of a literature for and by the

 

1 Benjamin Carrién, Indice de la Poesia Ecuatoriana Contemporénea
(Santiago, 1937), p. xiii.

2
educated elite was the accepted pattern. The masses were a group
ignored during this phase of development although they also possessed
and were aware of their own level of literary entertainment. The idea
of literature being an aristocratic diversion is exemplified by Juan
Bautista de Aguirre. Born in 1725, he is recognized as the foremost
colonial poet.2 The works of this author contain words that are
polished and refined to perfection.3 To understand best his contribu-
tion to Ecuadorian literature it will be fitting to examine the literary
mood that existed during the time of his writing.
Por mucho que pertenezca a la segunda mitad del siglo

XVIII y que se encuentre muy alejado ya de los grandee

autores. . . tales come Géngora, Quevedo y Calder6n, e1

modo verbal, el instrumento de la versificacién y'la

misma direcciOn de las ideas, perduraba y duraria hasta

que la literatura encontrara nuevos recursos imaginativos

e ideoldgicos.
The influence of G6ngora, Quevedo, and Calder6n is still evident during
the second half of the 18th century. The use of the neologisms, hyper.
bates, epithets, allegory, symbolism and assonance found in the works
of the aforementioned author55 seem to differ in degree when contrasting
the effect made by these men on J. Bautista de Aguirre. Isaac J.
Barrera implies this attitude when he mentions that:

Poetas pertenecientes a la misma época, a la misma

escuela, se mantienen la suficiente independencia para
hacer que en nombre represente un prestigio aparte.

 

2 Isaac J. Barrera, Historia de la Literatura Ecuatoriana (Quito,
19144): II: PP. 155-1560

3 Ibid., p. 160.
4 Ibid., p. 156.

5 Richard E. Chandler, and Kessel Schwartz, A New History of Spanish
Literature (Baton Rouge, 1961),p. 30.

 

 

6 Isaac J. Barrera, gp.‘git., p. 157.

3
There are two phases of poetry in the life of Juan Bautista de
Aguirre: the period prior to the expulsion of the Jesuit society in
17677 of which he was a member, and the period of his exile in Italy.8
Until 1917 the only known works of J. Bautista de Aguirre were his Decimas
concerning the cities of Quito and Guayaquil. Due to the investigation of
Gonzalo Zaldumbide the works of J. Bautista de Aguirre were published in
volume III of the Coleccidn de Clasicos Ecuatorianos, 194-3.9 The writings
of J. Bautista de Aguirre are without extravagance and his works might be
closely compared with 20th-century authors that flee the prosaic in word
choice.10
It should be noted that the significance of the expulsion of the

Jesuits lies in their representing Ecuador's educational force.ll Perhaps
due to the nostalgia they experienced, they were effective in expressing
the loneliness of exile. The architectural beauty and natural splendor of
Italy seems dwarfed by the most prosaic memories of their beloved Ecuador.
The mood of this era was that of deep melancholia. Padre Manuel Orozco
strongly illustrates this feeling of melancholy and confusion of direction
through the torment expressed in these lines from "Lamentos por la Huerta
de la Compafiia de Jesfis."

Que estoy de mi patria ausente

Y muy lejos de los mios;

Que son mis ojos dos rios

De amarguisima corriente;

Que no puedo de mi mente
Separar lo que he querido,

7 I§i§., p. 107.
8 _I_b_i_g., p. 157.
9 939., pp. 151.155.
lO‘Ibid., p. 158.
11 I_bi_d., pp. 100-101.

n
Y que viéndome abolido
Tengo tanto desconsuelo,
Que hasta 1a senda del cielo
Me parece haber perdido;12
Padre Mariano Andrade joins the Company in its lament of exile in this

manner:
Sali, no 56 c6mo diga,

Ni bien muerto, ni bien vivo,

Porque a1 salir de tu espacio,

Sali también de mi mismo;l3
This attitude inevitably finds lodging in the anguish of the Jesuit soul.
The anxieties, hopes and life in exile of this persecuted element are
reflected by Padre Juan de Velasco by including both the genius of Quito

and its most celebrated creations in the book Coleccidn de Poesias Varias,

 

1790.14

Manuel Orozco is counted among the few Jesuits that adopted the epic
style prevalent in Italy.15 The Jesuits as a whole, however, did not
fully embrace this form. It would seem their profound longing for Ecuador
dulled their senses to the full acceptance of this trend. In contrast,
there was reverence for Dante and his artistry which was illustrated by
Padre Ram6n.Viescas in his work "Suefio sobre el Sepulcro de Dante". ‘We
are immediately attracted into a nebulous world of dreams. Through the
imagery evoked, we are transported to the beauty, perfection, and peace

of the Elysian fields.

 

12 Alejandro Carridn, E1 Ocioso en Faenza (Quito, 1957-58), I, p. 283.

 

13 Ibid., p. #45.
1“ Isaac J. Barrera, pp. 213., p. 102.

15 Ibid., p. 185.

5

Vime: sofié que me hallaba
En los campos Eliseos, que su cielo
Nuevo sol alumbraba,
Y verdor nuevo matizaba el suelo;
A1 ver sus horizontes
Dudaba si eran soles o eran montes.16
The introduction is appropriately designed to fit the theme of the poem.17
As one reads on, however, it becomes evident that Dante is only a vehicle
used by Padre RamOn Viescas to praise Cardenal Gonzaga. The latter had
proposed the repair of Dante's monument.l8 There is an even more immediate
reason for this work. Financial subsistence for the exiled Jesuits was
not enough to permit them to provide for their daily necessities. Because
of this, the priests were attracted to those capable of improving their
position financially or professionally. This in part influenced the com.
position of "SueRo sobre el Sepulcro de Dante.“19 The author hoped that
he would be rewarded as a result of his work. Other poems of Padre Ram6n
Viescas were written for pure entertainment and not for publication.20
This writer, like most of those of the colonial period, displayed many
attitudes and literary tendencies in their works. Rather than attempt to
classify these men under specific headings, it would seem more valuable
to show the form and direction to be followed by later writers.
Amid the religious production and socio-political problems of the
colonial period, there is another type of writing based on the relation-

ship of man to man. This form is best exemplified by Garcia Goyena

 

16 Ipid., p. 172.
l7|1§id., p. 173.
18‘ngg., p. 171.
19‘Ip1g., pp. 170-171.

20 Ibid., p. 175.

6
(1776-1823).21 The main objective was to teach or moralize. Man and
animals served as the principal personages. Behind the disguise of such
characters, the author comments on the events of the period.22 In this
way, we are given a picture of the 18th—century Ecuadorian world.

It is not until the latter part of the 18th century and the early
years of the 19th century that Ecuador's poets begin to direct their
artistry into well-defined channels. The movements in world literature
begin to exercise a profound, although retarded, impact on its Ecuadorian
proponents. Themes for the coming literary movement develop from the
country's war of Independence from Spain and the heroic deeds of its
leaders. Following the revolution we have idealistic desires common to
all newly born nations and these display their influence in the formation
of a precise movement: the neo—classical school, with recognizable
supporters.

It is important to realize that the neo-classical movement in
Ecuadorian poetry was not a return to the old forms and styles that had
been popular in Europe, but to the study of the poets that had initiated
the literary reaction against culteranism in Spain.23 Richard E. Chandler
and Kessel Schwartz in their book A New History of Spanish Literature have
provided the mold that characterizes the works of the writers of the neo-
classic school. This was not felt to be the case in Ecuador as mentioned

by Isaac J. Barrera in the preceding lines. Ecuador's neo—classic

 

21 Ibid., p. 221.
22 Ibid., p. 222.

23 Isaac J. Barrera, Historia de la Literatura Ecuatoriana (Quito,
1960), pp . 920-921.

7

authors were familiar with the old forms and translated them in some cases
into Spanish. An avoidance of excesses and a dominance of reason seem to
be strongly evidenced. The movement is also characterized by clarity of
style and expression. The poetry which resulted from this imposition of
rules was assuredly intellectual, objective, very correct but cold, and
revealing artistic impersonalityfil+

The themes of the neo-classical period in Ecuador are American, with
an appeal and problems of universal dimensions. As this is the period of
Independence for Ecuador, this theme serves as a popular poetic topic.
Jose Joaquin Olmedo, born in 1780,25 is the outstanding poet of the period.
His poems appear at the time Ecuador is liberating itself from Spain
during the 1820's26 and his production spans the gap between the colonial
authors and the Romantics. In topic we have the emergence of a purely
Latin American writer capable of evoking feelings and ideals common to
newly formed nations. His favorite characters are Simdn Bolivar, the
Liberator, and the Indian heroes graced in the style and tone of the epic.
A deep love of country is displayed through his narrative talents and his
strong descriptive power. "La Victoria de Junin“ or ”Canto a Bolivar,"
as it is called, is the most representative of his work.27 Jose Joaquin

Olmedo died in February of 18117.28 Treating national heroes is

 

2L'”Richard E. Chandler and Kessel Schwartz, 22-.EEE'9 p. 327.

25 Isaac J. Barrera, Historia de la Literatura Ecuatoriana (Quito,
1960), p. 602.

26 Ibid., p. 613.
27 Ibid., pp. 630-631.

28 Isaac J. Barrera, Historia de la Literatura Ecuatoriana (Quito,
19#4), III, p. 63.

8
characteristic of other neo—classic authors and lends the patriotic
quality to the movement in Ecuador.

The neo-classic movement is at times quite humanitarian. In this
attitude an intimacy can be seen in the works of some authors. This is
true of Juan Abel Echeverria (1853-1939).29 The warmth which emanates from
his poems is a result of the topic with which his works are concerned.
The author's emotions become immediately evident as his poetic ideas
arouse the emotions. Themes of charity, solitude, and religion are
emotional rather than intellectual abstractions. As these attitudes are
revealed, Romanticism begins to establish itself as a movement. It is
felt by Isaac J. Barrera that the 19th century must be classified as
Romantic.30 There are hints of the Romantic attitude throughout the era.
The deep patriotic sense developing in Ecuador seems to contribute to the
Romantic mood. Romanticism perhaps becomes most evident in the pensive
mood of the writings of Juan Abel Echeverria.31 He is grouped, however,
with writers of the neo-classic school. His sonnet dedicated to Julio
Zaldumbide, one of the greatest Romantic poets of Ecuador, may be indica—
tive of his leaning toward Romanticism. J. Abel Echeverria's study of
Latin and philosophy32 appears to indicate an effort to improve literature
by the use of moderation, clarity, and rules that guided creativity.

The study of the Latin and Greek authors served as the educational

foundation for those who adhered to the neo-classical movement in Ecuador.

 

29 Ibid., pp. 420-421.

30 Isaac J. Barrera, La Literatura del Ecuador (Buenos Aires, 19T7)9
p. 1050

31 Isaac J. Barrera, Historia de la Literatura Ecuatoriana (Quito,
1941+), III, p. I+21.

32 Ibid., pp. 420-421.

9
Isaac J. Barrera places this post with the neo-classical writers although
characteristics of Romanticism can be seen in his writings.

Although many of the poetic topics developing during the neo-
classical period are patriotic in tone, it would be incomplete to ignore
the religious theme in discussion of the over-all picture. Quintiliano
Sinchez (1848-1925)33 displays religion and patriotism in his poetry. As
a writer and publisher he was active in politics. Most of his poetic
works appear after his political period or following 1895.34 In the
writings of Quintiliano Sénchez can again be seen the anguish of exile
that he experienced when the dictatorial government of 1882 came to power.35
The artist also uses Sim6n Bolivar as the main figure in some of his poems.
One of these, "Suefio y Realidad," gained public consideration for the
author.36 In the work "Pureza de Maria,” however, the magnificence of
the qualities of the Virgin Mary constitute the main ideas. A sample of
this style is seen in the following lines.

E1 ciliz de la azucena,

En 1as mafianas de estio,

Con 1as gotas de rocio,

Temblante y lindo, se llena.
La serena

Atmdsfera se perfuma

Con el aroma preciado

De esa hermosa flor del prado,

Que ostenta su gracia suma

Como reina de 1as flores.
Mas, con todos sus primores,

 

33 Ibid., p. #14.
34mmnp.M;
35 Ibid.

36 Ibid. , p. 418.

10

Y belleza

Y alegria

Pobre imagen es, Maria,
De tu celestial pureza.37
Nature was the necessary vehicle in an attempt to show the purity of Mary.
It seems that simplicity and clarity are the outstanding features of this
work. The poet closes with another beautiful idea: The purity of Mary
is appropriate to her destiny. She is to mother the Christ child, the
most pure of all.38
The neo-classical literary movement found its basis in educational

training. All of the Ecuadorian proponents of the movement were very
cultured men. They were caught up in political change. These were men
capable of effecting change in policy and in many cases did so through
participation in government and civic activities. J. Joaquin Olmedo,
J. Abel Echeverria, and Quintiliano Sinchez are members of this group
that let their inner feelings be known through the adoption of this new
poetic mode. Also counted among these men is Angel Polibio Chivez. His
writings entitled "A Bordo del 'Bolivia,'" ”Adids a una Nifia," "E1
Invierno," all express his thoughts while in exile and his longing for
Ecuador.39 It seems that nature is the best element to clarify his feelings.
Nature is also important in the works of Juan Ledn Mera (1832-1894),“0 and
perhaps plays its most beautiful role. In theme and setting, J. Le6n

Mera is American. The conversation and tone of ideas expressed by the

 

37 Antologia Ecuatoriana-Poetas (Quito, 1892), p. 324.
38

 

Ibid., p. 32#.
39 Ibid., pp. #71-476.

40 Isaac J. Barrera, Historia de la Literatura Ecuatoriana (Quito,

1960), p0 7930

11
Indian characters that live in his creations reveal a refinement which
is not in keeping with their low life existence. J. Le6n Mera deals
with the social problems confronting the people of Latin America during
the period of Independence. He is a poet that deals with the life of the
Indian.ul His characters are, at times, veiled in a superficial, highly
idealistic tone and mentality. The mentioned characteristics are clearly
evident in the author's poetic efforts, but it would be fitting to mention
his novel Cumandé, published in 1879,“2 which displays the full extent of
his tremendous talent.

It has been noted that the 19th century in Ecuadorian literature is
Romantic. Romanticism was baptized in France the same year that Ecuador
became a Republic, 1822.)"3 The retarded arrival of Romanticism into
Ecuador, that is, its appearance as a firmly established movement, did
not cause its proponents to be less enthusiastic in their support.
Romanticism as described by Richard E. Chandler and Kessel Schwartz in
their book A New History of Spanish Literature is a reaction against the
order of neo-classicism. It may be characterized as a contemplation of
nature and the intimacies of natural life. Romanticism represents a revival
of the middle ages. The individual is all-important. Unrestrained emo-
tionalism, pessimism, doubt and passion are the typical moods of the
movement.“4 It should be noted that within the Romantic period man's

interest in himself and the world around him achieved new enthusiasm. The

 

“1 Ibid., p. 800.

“2 Ibid.

43 Ibid., p. 5860

44 Richard E. Chandler, 32; cit., pp. 33-34.

12
sciences are examined anew and with greater vitality. Within this active
environment, there develops a new type of poet whose writings mature at a
time in which scientific discovery and advancement are at their peak.
Aware of the philosophical examination of man proposed by Rousseau, these
Romantic poets display a greater concern for the individual which may be
seen in their poetry. The new topics include the social and philosophical
attitudes that regulate man's actions.

Ecuador was well supplied with dedicated cultivators of the Romantic
movement. Although their predecessors looked toward thee authors in
Europe that reacted against the cultists, the new generation that matured
around the middle of the 19th century turned its attention to the fountain
from which Romanticism had sprung, Germany and France. These Europeans now
become the pattern to which the Romantic Ecuadorian authors will look for
emotional guidance.

There are three distinct literary schools within Ecuador's Romantic
period. Each of these gave its own peculiarities to the development of
the movement in the middle 19th century. The writings of three cities
embody the dominant literary moods of the century best. Quito finds itself
submerged and concentrating its efforts primarily toward the development,
of neo—classicism. Cuenca, in contrast, influenced by the purest of
Castilian forms shows deep religious tendencies in its literary production.45
Its main poetic dedication is to the Virgin Mary, but interest is also
directed toward the chaste and devout woman. Guayaquil serves as the port
through which world trends are introduced to the interior of the country.

Guayaquil would be the most vulnerable to exterior transformations and

 

45 Isaac J, Barrera, La Literatura del Ecuador (Buenos Aires, 1947),
p. 114.

13
it would be eXpected to be first to receive and adopt new literary
trends.)46
The Romantic period could be described as an era of free-thinkers.
The Ecuadorian that perhaps is foremost among these poets is Julio
Zaldumbide (1833-1887).“7 It is fitting that he has been called the
Poet-Philosopher.”8 His works reveal deep thought. Isaac J. Barrera in

his book Historia de la Literatura Ecuatoriana mentions that the writings

 

of Julio Zaldumbide indicate: "una vida que ha sido mis pensada que
vivida."u'9 Through Julio Zaldumbide's contemplation of nature, he seems
impelled to question the purpose and the destiny of man,50 which places
him well in tune with his period. The eternal question of life and death,
as shown in the following lines, is felt throughout his production:
iQué es morir? éQué es la muerte?--Oscura nada,
Trista aniquilacion,--dice e1 ateo.

grado ser en la tumba se anonada?
tError! :funesto error! yo en ti no creo.-

 

Later:
TA que este don de penas y quebranto?
LA qué-darnos la vida, conducirnos
Por un desierto de dolor y llanto,
Y para siempre a1 cabo destruirnos?
“6 Ibid.

“7 Isaac J. Barrera, Historia de la Literatura Ecuatoriana (Quito,

1960), p. 773.
“8 Ibid., p. 777.

“9 Isaac J. Barrera, La Literatura del Ecuador (Buenos Aires, 1947),
p. 1110

50 Isaac J. Barrera, Historia de la Literatura Ecuatoriana (Quito,

1960), p. 778.

14

Finally:

gY a d6nde va quien deja nuestro mundo?

1A dénde el que en tu somhra, muerte, escondes?

:Jamas a esta pregunta, tu, profundo

Silencio de la tumba, me respondes! (Meditacidn III-IV)5l
The morbid attitude here expressed produces strong insight into the man.
He asks why we must suffer a life of pain and what comes after death. The
entire air is one of physical inactivity and bitterness draped, at best,
in gray. J. Zaldumbide reveals evidence of the neo-c1assic epoch in the
serenity of his stanzas, the harmony of his ideas, and the sure steady
thoughts that flow throughout his poetry.524 The anguish and anxiety are
now clearly Romantic.53 The enchantment of nature, and the sadness of the
era are expressed in a manner unknown until his appearance.5#
It has been noted that Guayaquil, being the port through which world

innovations arrived in Ecuador, would perhaps be the first city to don the

new cultural vestments from the exterior world. It is not strange, in

view of this observation, that a guayaquilefio would receive the dominant

 

literary trends of Germany, Italy, Spain, and France. The representatives
of these European countries introduced Romanticism and the characteristics
to make it a universal movement. The German, Schopenhauer, exposed a deep
pessimism heretofore unexamined though its presence was always evident.
Victor Hugo and Leopardi offer lyric splendor tinged with sadness. To

absorb these characteristics, Guayaquil supplied Numa Pompillo Llona

 

51 Antologia, op. cit., p. 168.

52 Isaac J. Barrera, Historia de la Literatura Ecuatoriana (Quito,
1960). Po 782-

 

53 Isaac J. Barrera, La Literatura del Ecuador (Buenos Aires, 1947),
p. 1120

 

5" Ibid., p. 110.

15

(1832-1907).55 His works, like those of Julio Zaldumbide, are dominated
by philosophical attitudes. The descriptive quality of his poems is
handled with such ease and grace that there are few worthy of comparison
in this period. N. Pompillo Llona intergrates his descriptive ability
with his philOSOphical aptitude to praise and glorify his su‘b,jects.56

The social environment of Ecuador during the Romantic period is
revealed to us through a new type of sadness and anguish which may be seen
in the poetry. Social pressures exercised such rigid demands on its
individuals that the desire to live in this sort of atmosphere became
unbearable to some of its people.

Although the Romantic period is one of discovery and examination,
the role of woman in that era was a minor one. To this degree, Dolores
Veintimilla de Galindo was a woman out of her time. She lives and dies
in the period preceding the emancipation of womanhood. The attitude toward
the role of woman as being subservient no doubt contributed to her death.
She was born in 182957 and died at twenty six years of age.58 The
following quotation describes the attention given to the education of

women during the period.

La educacién de la mujer ecuatoriana...era mirada con
profundo desdén por todas las categories de la sociedad:
raras nifias de la aristocracia recibian instrucci6n esmerada
y 1as del pueblo no conocian siquiera los rudimentos de
la primera.59

 

55 Ibid., pp. 112-113.
56 Ibid., p. 112.

57 Isaac J. Barrera, Historia de la Literatura Ecuatoriana (Quito,
1944), III, p. 132.

58 Ibid., p. 141.

59 Ibid., p. 130.

16
The little concern for the education of women is joined with Rousseau's
writings that attempt to investigate and justify the reason for being of
man. To further complicate the situation are the laws which recognize the
right of man to inflict the death penalty for crimes.60 The early life of
Dolores Veintimilla was happy and sheltered, filled with illusions and
hope.61 Venturing outside of this charmed circle brought suffering and

62

disenchantment. Her tragic death began by an essay she wrote entitled
"Necrologia“ which revealed her stand in opposition to the death penalty.
The individual being defended, however, is guilty of parricide. This
caused her to receive savage attacks from other writers and the society
condemning her stand. In rebuttle the artist rebukes society for not
understanding her. This is done in her poem "A Mis Enemigos."
Por qué, por que queréis que yo sofoque

Lo que en mi pensamiento osa vivir?

Por que matéis para la dicha mi alma?

Por que :cobardes! a traicidn me heris?63
The torment felt by this persecuted soul seems clearly revealed in this
stanza. She asks why her enemies want to stifle her thoughts and do her
harm by their brutality. The ”Ely de mi!” attitude is felt throughout
this work. Her Romantic sou16u seems confused and bitter. Unable to

reconcile her sincerity to the cruelty she has suffered, she looks for

relief and finds it in suicide.

 

60 Ibid., p. 137.
61

Ibid., p. 133.
62 Ibid., p. 142.
63
64

Ibid. , p. 1%.

Ibid., p. 139

17

The purpose of this work will be to examine the development of
Medernism in poetry as it was developed in the country of Ecuador. I
feel that the modernists of Ecuador deserve comparison and examination
along with Jose Marti, Manuel Gutierrez Néjera, Jose Asuncién Silva, and
the most outstanding of this school, Ruben Dario. Though Ecuador is a
small country, it produced giants in this field. It appears strange that
there has been no widespread examination which would no doubt lead to a
full appreciation of their efforts. I have made an attempt to examine the
poetic contributions and influences that played such a dynamic role in the
molding of Medernist Poetry in Ecuador. I feel it necessary also to show
the direction that poetry followed after the waning of Medernism.

As we have seen, there was little production in Ecuador during the
colonial period while it was dominated by internal problems that stifled
literary creativity. 'With the advent of the neo—classical movement which
was principally one of imitation, definable characteristics begin to take
form and are epitomized in the works of Jose Joaquin Olmedo. Patriotism
receives primary emphasis and the epic hero and style are developed.
Inevitably, the vanguard of the neo-classical literary movement finds a
discontent developing due to the rigid restrictions in form. This dis-
content matures until it takes on features directly opposed to those of
the preceding movement. Romanticism is characterized by its looseness of
structure. It centers its attention on exaggeration yet reflects univer-
sal feelings and anxieties. Ecuador's Romantic period is also fused with
the philosophical attitude exemplified in Julio Zaldumbide. Nature is
depicted by the Romantics in a more intimate role. Tragedy, patriotism,
love of nature, and the exaltation of passionate love are among the

essential ingredients. It is to be expected, nonetheless, that a literary

l8
revolution should begin to form prior to the disappearance of this move—
ment. As the Romantic period wanes in popularity, there are attempts
made to break with the looseness and exaggerations of its form. As more
leisure time became available, authors returned to the neo-classic period
and dedicated themselves to its regeneration. This trend was not repre-
sentative of the younger literary people who bent their ears toward
Europe, particularly France, and found themselves proponents and captive
of a new song. In the early 20th century, while the cry "Tuércele el
cuello a1 cisne" is ringing down the curtain on Medernism for the rest of
the literary world, Ecuador is only beginning to sense the influence of the
movement.

It has been mentioned that Cuenca was a religious city in thinking and
literary production. Here Romanticism took on a different appearance. It
is not strange that this city should serve as the source of a new literary
mood appearing during the death throes of Romanticism. The new aspect of
Romanticism, mariano, is typified by a devotion to the Virgin Mary and an

exaltation of nature.65 The book Sébados de Mayo started in 1877 by
6?

 

Miguel Moreno66 and published in 1908, evokes the religious fervor and
sincerity that made this movement a fruitful one in Cuenca. The tendencies
and feelings apparent here helped serve as a springboard launching some of
its members toward the new theme.

It would seem that the political condition of the country played a

significant role in the molding and development of the temperament evoked

 

65 Isaac J. Barrera, Historia de la Literatura Ecuatoriana (Quito,
1944), III, p. 461.

66 Ibid., p. 465.

67 Ibid.

19
in verse. There is governmental instability that in some cases raised the
aspirations of the people, and in others pointed to frugality and fostered
melancholia. Due to the internal conflict being suffered by Ecuador, she
is able to sense the repercussion of literary changes only after they have
been duly acknowledged by most of the literary world. The elements
initiated by Remigio Crespo Toral, César Borja, Cordero Divila, and Antonio
C. Toledo will now become molded anew. Dissatisfaction with the existing
social atmosphere, incapability by temperament of overt actions that might
induce change, and attitudes tempered with the style and feeling of the
French parnassians and symbolists will cause a reaction in Ecuador's
literary development of such dimensions as to warrant recognition from

the literary world.

1| \ J I | I |t I II I I‘llllul IIII III“ III 'I II

PRECURSORS 0F MODERNISM
Chapter I

The tendencies that later become the characteristics of the Modernist
movement in Ecuador were implied many years prior to the establishment of
the Generation of 1910. Aside from the Romantic authors, a new aspect of
the Romantic movement develops in Cuenca. It is the mariano mood that
announces a different attitude in the formation of Romanticism in Ecuador.
The marianos searched for and found in the French the elegant tones and
symbols that would best express its main themes. The mariano mood,
arriving toward the end of the Romantic movement, aids in bridging the gap
between the Romantic and the Modernist periods. Its basis was found in
Spanish mysticism,1 and an almost pantheistic attitude toward nature. The
simplicity of expression and blind devotion made the faith portrayed in
these poetic creations more meaningful to the common people.

Rather than restate the treatment of the mariano attitude, it would
be more appropriate to consider a man who not only bridges the gap between
the Romantic and Modernist movements, but who also serves as a represen-
tative of each literary tendency to a greater or lesser degree. His
writings also exemplify the style of the marianos. Remigio Crespo Toral's
knowledge and dedication to literature is shown in the following quotation

' from Reginaldo Arizaga:

 

1 Isaac J. Barrera, Historia de la Literatura Ecuatoriana (Quito,

1960), p. 460.

20

21

...todas las escuelas de innovacidn poética que han
surgido...le fueron no S610 conocidas, como un medio
de ilustracién, sino estudiadas a fondo, en sus
propias raices...

The respect accorded here could only be due Remigio Crespo Toral,
(1860—1939).3 Standing out as one of the most prolific of Latin American

writers, his themes vary from the Garden of Eden to Dante, nature, and

4 Foremost of his talents is his sharp imagination.5 Through

religion.
the versatility seen in the man and in his refusal to be classified with
any of the literary schools of thought, R. Crespo Toral represents the com.
plete separation from the Romantic school. Isaac J. Barrera reflects on
the poet's most outstanding attributes:
Sinceridad en sus creencias, junto a1 analisis
detenido de los hechos, de los acontecimgentos y de
los hombres. Poder creador y analitico.
Accompanying the analytical ability expressed in the aforementioned lines
are love of nature, faith in God, and simplicity. These characteristics
may be seen in these lines from the poem "Mayo":
30h gratas primaveras
Que alegréis 1as andinas cordilleras!
:Cdmo a su primer rayo
Rompe en flores la pampa solitaria!

:Es la hermosa estaci6n.de 1a plegaria,
Mes de 1as almas y la gloria, Mayo!7

 

2 Reginaldo Arizaga, Valores Poéticos de America (Quito, 1942), p. 238.

 

3 Isaac J. Barrera, gp.‘git., p. 975.
4 Ibid., p. 977.
5 933., p. 988.
6 ngg., p. 977.

7 Augusto Arias, Antolqgia de Poetas Ecuatorianos (Quito, 1944),
p. 89.

22
The smoothness and beauty that colorfully set the stage are followed by
another description of equal beauty and sentiment.
30h valles de la patria! 30h azulada
Linda que cercas 1a feliz morada
Donde habita la paz! Aqui los huertos
Estén siempre y los setos florecidos,
Y calientes los nidos, ‘
Y es alegre aun la casa de los muertos.8
An overriding feeling of peace and contentment accompanies a well-
balanced sense of patriotism that lulls the reader into the final lines.
También yo te escribi...Puse temblando
En tus manos la carta,--Yo ignorando
Del mundo, te pedia
Un hogar a la vera de mi calle,
Una heredad en el nativo valle
Y e1 don de la adorable poesia.9
R. Crespo Toral concludes with a prayer for the essentials of life, those
closely akin to the common man and taken for granted by many of the aris-
tocrats. The glorification of nature is one of the predominant attitudes
in this poem. Isaac J. Barrera interprets the poet's use Of nature.
Los cuadros de la naturaleza no son interpretaciones
emocionadas, sino meditaciones en el marco grandioso
de esos cuadros y de 1as armonias.
These lines also imply the absence of the exaggeration and artificiality
that were evident in the Romantics. The adoption of the best models from
every country and period was the framework within which R. Crespo Toral's
talent seemed to develop. This same idea is expressed by Isaac J.

Barrera:

 

8 Ibid., p. 91.

9 Ibid., p. 92.

10 Isaac J. Barrera, 22; cit., p. 982.

23
Por "Las Leyendas de Arte" de CreSpo pasan 1as
figuras mis gloriosas de todos los Siglos y de todos
los paises: Dante, Miguel Angel, Tasso, Milton,
Beethoven, Leopardi.:Ll
Barrera goes on to mention that R. Crespo Toral tried to penetrate the
souls of these men:12
...pero la interpretacidn se conformd siempre a1
modo c6mo comprendié la obra dejada por aquellos
personajes.
This would indicate the author's concern to be both artistic and
psychological.

Modernism has been called a synthesis of literary schools of thought.
If this is valid, R. Creepo Toral announces the sc0pe to be employed by
the Modernists by not allowing himself to be tied to any school.lu Thus,
he is representative of the liberty which the Modernists will display
relative to theme, rhythm, and experimentation.

It was of little consequence that the critics felt that the works of
Remigio Creepo Toral did not fully comply with the literary exigencies of
his period. He refused to compromise his writing or his thinking. It was
this type of dedication that announced the death of the Romantic movement
and another step toward Modernism. This should not be felt to be an
abrupt change. Although a break with Romanticism can be seen in R. Crespo

Toral, there is also an evident split with realism. Realism may be

briefly defined as the presentation of life and nothing is left to the

 

11 Ibid., p0 9830
12 Ibid.
13 Ibid.

14 Augusto Arias, 22..git., p. 89.

24

imagination. There is little concern with an explanation of causes.
R. Crespo Toral seems concerned with bringing the reasons for man's action
into a role of prominence in Ecuadorian literature. Isaac J. Barrera
shows this feeling:

Es el bardo que se adelanta a 1as muchedumbres, para

crear ideales, para forjar ilusiones, para dar un

significado a1 atropellado andar de los hombres.l5
In the creation of ideals and illusions, and by his effort to explain the
directiOn of man, R. Crespo Toral stands in Opposition to the realists.

As Remigio Crespo Toral represents the split with the Romantic

literary period in Cuenca, Cesar Borja initiates the same attitude in
Guayaquil. He shows respect and avid support for the French symbolists
and parnassians. Perhaps before continuing it would be appropriate to
define these terms. The parnassian movement perhaps can best be described
by the attitudes expressed by its chief proponent, Leconte de Lisle. He
is opposed to the general looseness of the Romanticists, to their exploi—
tation of self, to their sentiment and rose-color, as well as to their
interpretation of nature and their ignorance of the sciences. He puts
the least possible of himself into his work.16 He chooses his words and
balances his rhythms to make the picture and the idea more salient. The
poet is not inventive as regards meter, approving the restraint of the

crystallized forms. There is also a certain coldness in his works.17 The

 

l5 Isaac J. Barrera, 22. 323., p. 978.

16 William A. Nitze, A History of French Literature (New-York, 1955),
p. 606.

17 Ibid., p. 609.

25

motto of the parnassians is "Art for Art's sake". This movement is anti-
religious, and displays a pagan love of pure beauty.18

The symbolist movement developed because of the widespread dissatis-
faction with the brutality of naturalism, and the cold objectivity of the
parnassians...l9 At the back of the symbolist movement was the very general
longing for values which, being dim, offered a wide field of imaginative
perception and allowed for enchanting harmonies of sound and sense. It
stressed the superiority of pregnant hints to plain statements; poets were
staking everything on music,20 from.which little definite could be gathered,
but which induced a pleasantly open frame of mind. French writers were
Obsessed by mere shades and subtle modes of feeling; they renounced the
light, so long sought and cherished and turned to the dark. The vague and
obscure was ushered in with symbolism.21

The devotion of César Borja to the symbolists and parnassians is an
important development toward Mbdernism. The musical flavor that becomes
a dominant element of Medernism is the primary contribution of César
Borja (1852-1910).22 To discuss this author is to introduce the musical
tones that serve as the basis of his production.23 The rhythm and harmony

evoked by this author overshadow the remaining Romanticism that may be

 

18 Ferdinand Brunetiere, Manual of the History of French Literature
(London, 1898), p. 505.

19 L. Cazamian, A History of French Literature (Oxford, 1955), p. 380.
20 Ibid., p. 379.
lelbid., p. 380.

22 Isaac J. Barrera, La Literatura del Ecuador (Buenos Aires, 1947).
p. 1114‘.

23 J.A. Falconi Villagémez, "Los Precursores del Modernismo en el
Ecuador: César Borja y Félquez Ampuero," Revista Casa de la Cultura
Ecuatoriana, No. 20 (enero-dic 1958), p. 41.

26

present in his works and he is well versed in the secrets of the Modernist
muse.24 "Pan en la Siesta" is indicative of this new sound as can be seen
in these lines:

Bebi el nectar de Siria el de Galia,

prendi_3na breva y aspir su algalig

.gn humo blanco, de sutil b61630.

Me eché en la hamacagy a su arrullo blando,

sohé despierto y me dormi fumando,
dulce a mis ojos el placer del suefio.25

 

This rythmical pattern is followed throughout the work. There is emphasis
placed on the synalefa and soft sounding consonants. The opening of new
rhythmical avenues by C. Borja is molded and brought into prominence by
his contemporaries and is to be fully expanded by the Medernists. It
should be noted that although these rhythms are new to Ecuadorian poets,
they were quite familiar to most European and American Modernists. César
Borja's admiration for the French parnassians and symbolists is evident in

his work Flores Tardias y Joyas Ajenas, 1909. Isaac J. Barrera, speaking

 

of his book feels it to be:
La mis importante contribucidn que pudo darse a
la literatura ecuatoriana, que andaba un tanto

desviada de las grandee corrientes del mundo.2

Flores Tardias y Joyas Ajenas contains translations of Baudelaire, Leconte

 

de Lisle, Verlaine, Prudhomme, and Heredia. The unmistakable feeling and

attitude of the MOdernists is observable in this section of translations.

 

2“ Ibid., p. 33.

25 César Borja, Flores Tardias y Joyas Ajenas (Quito, 1909), p. 102.
(Italics mine.)

 

Isaac J. Barrera, Historia de la Literatura Ecuatoriana (Quito, 1960),

 

p. 954.

27
The works of Baudelaire dedicated to beauty seem to reveal the feeling
that is to become, in part, Medernism.
Mi pecho, es Cisne de glacial dureza;
y soy Esfinge, que el azur retrata,
y Armonia de lineas impecata, 2
y ni lloro ni rio:--soy'Firmeza. (La Beauté) 7
Herein are revealed the shades of symbolism. Along with the mention of
the swan, which is the emblem of the Modernists, color and harmony, the
senses are called on to assist in the clarification of the idea. There is
later reference to the intoxicating powers of wine and perfume. The allusion
to Death and the concern with the "yo" are also apparent and seem indica-
tive of Romanticism.
The first four sections of the text contain the poetic works of
C. Borja. In the words of Reginaldo Arizaga, the poetry of C. Borja is
well worthy of praise.
Cesar Borja es uno de los poetas mayores del
Ecuador, por su entonaci6n robusta y viril. Para
todos sus motivos, tiene aquel centelleo de luz
emocional, encauzado y gobernado por el impulso
divino de Arte.28
The man felt to be the most outstanding member of the transitional
period is Francisco Filquez Ampuero29 (1877-.1947).30 He is a staunch

advocate of the parnassian ideas and style.31 Isaac J. Barrera mentions

that:

 

27 César Borja, 220 221.12., p. 3270

 

28 Reginaldo Arizaga, 22; cit., p. 243.

29 Isaac J. Barrera, La Literatura del Ecuador (Buenos Aires, 1947),
p. 117.

30

Isaac J. Barrera, Historia de la Literatura Ecuatoriana (Quito,
1960), p. 1094.

31 Isaac J. Barrera, La Literatura del Ecuador (Buenos AirGS, 1947),
p. 1170

28

Cada uno de los poemas de este escritor tuvo 1a
incansable y salvadora lima que quita toda particula
impure de improvisacién, para dejar 1a palabra que
fluye en la representaciOn verdadera de las ideas
que se trataron de expresar.

Each word and idea is worked until the precise feeling is evoked in a
polished production. These lines are indicative of the style of
F. Félquez Ampuero:

En rosa y verde pilido se funden

1as nubarradas trémulas y rojas.

Sacude e1 érbol su melena de hojas

que, secas, con el viento se difunden.

De una calleja triste sale el duelo:

gente de pafioldn y de chaqueta,

que domina la escuélida silueta

de un franciscano con la vista a1 suelo.

Brazos robustos, 1a pequefia caja

a1 cementerio llevan, donde baja

entre rezos y siplicas sencillas,

mientras esparce 1a amistad sus flores...

Bahad su tumba en tibios resplandores,

:melancélicas tardes amarillas! '
(En el Entierro)33
The author views and describes the scene in this poem. There is
evidence of the objectivity characteristic of the parnassians. In the
development of these in Ecuador, Francisco Félquez Ampuero plays a signi-
ficant role in the molding of that country's literature.

It should be mentiOned that the Ecuadorian writers directly preceding

the Modernist are not interested in the masses. These men are deeply

engrossed in aesthetic values that have no place in the life of the

common people. Gonzalo Cordero Divila (1885—1931)3u is among the

 

32 Isaac J. Barrera, Historia de la Literatura Ecuatoriana (Quito,
1960), p. 1095.

33 Augusto Arias, pp. 9339., p. 127.

 

34 Isaac J. Barrera, Historia de la Literatura Ecuatoriana (Quito,
1960), p. 1097.

 

29
"misunderstood" cuencanos. It would not be unusual to eXpect the poetic
contribution of G. Cordero Divila to display religious and sympathetic
attitudes toward mankind. This has been characteristic of his city. The
emotions of the author will play a primary part in his production.
Reginaldo Arizaga mentions that G. Cordero Divila:
...descubre hondamente el misterio de la angustia
y el dolor que vela levemente e1 alma de los seres
y 1as cosas...
The nostalgia, melancholia, and anguish can be felt in these lines.
Eran 1as cuatro...y jueves... Al camino
que se va desde 1a urbe a la alqueria
rob6 alegre su toque blanquecino
la gente aldeana que a1 hogar volvia.
Son6 por las tabernas del vecino,
henchida de rural melancolia,
alguna concertina que se vino
con un novio a la feria de aquel dia.
Oliéndose a totoras y cantueso
corria e1 viento, que en la cementera
la primera hoja alzibase travieso...
Senti los afios de la edad primera
y, herido de nostalgias de regreso,
5610 pude pensar: quien.se volviera! ’6
(No Se Vuelve)j
G. Cordero Divila has captured feelings and emotions that are uni-
versally familiar. In the presentation of his poetry, the words, harmony,
and technique, in the opinion of Reginaldo Arizaga, are flawless.
Su obra poética es perfecta en todas sus faces,

bajo 1as diversas modalidades de su temperamento
estético, y el hondo matizado miraje de su técnica.37

 

35 Reginaldo Arizaga, valores Ecuatorianos (Quito, 1942), p. 143.

 

36 Augusto Arias, 22. 332., p. 152.

37 Reginaldo Arizaga, Valores Ecuatorianos (Quito, 1942), p. 142.

30
With Gonzalo Cordero Divila there is furtherance of the literary principles
and attitudes necessary in the formation of the new mode. Nature and the
lamenting for the Indian are surrounded by a mood of nostalgia and reminis-
cences. The literary contribution of this artist is pointed out in the
following statement by Reginaldo Arizaga:
Fue un perfecto artiste de la palabra, y sus

versos guardan la interior harmonia del mundo ideal,

los grandee conciertos de la poesia cdsmica, arrancados

diestramente por su plectro de oro, a 1as entrafias

de la’naturaleza en infinitos g§ajes, por la inmensidad

panoramlca de nuestro Planeta.

The shades and flexibility of verse displayed in the MOdernist move-
ment become more stabilized as authors begin to consider the looseness of
the Romantic period as being distasteful. Gonzalo Cordero Divila lends
assistance to the developing trend through the use of color, which was
typical of the parnassians, and songs of melancholy that had been culti-
vated by French symbolists. The natural resistance by the literary groups,
for the most part, persists. There remain those willing to fight for the
new mode, and the general alteration of the existing literary attitudes.

Antonio C. Toledo (1868-1913)39 was not an active participant among
the group of revolutionaries except in his poetic writings. In temperament
he might well be classified as Romantic. Defeat and resignation to life
and the misfortunes of love seem permanently etched in his production.

This quotation from Isaac J. Barrera clearly expresses this feeling:

...al leerlas (Brumas) se comprendi6 el dolor sumiso
que acompah6 toda su vida, sin una nota de rebeldia.

 

38 Ibid., p. 142.
39

“0 Isaac J. Barrera, Historia de la Literatura Ecuatoriana (Quito,

1960), p. 940.

Isaac J. Barrera, La Literatura del Ecuador (Buenos Aires, 1947).

31
The complete submission of the author in his pain can be sensed through.
out his work. Antonio C. Toledo is the Latin American counterpart of the
Spanish Gustavo Adolfo Bécquer. In his Brumas can be sensed his attitude.
Tras e1 velo impalpable del ensuefio,
Anoche me veia muerto ya;
E imaginaba que mi frente pilida
Hacias en tu seno recliner.
Mafiana cuando cesen mis dolores
Y aquel suefio se torne realidad,
iIras, bien mic, con calladas 15g ‘ as
La arcilla de mi tumba a refrescar?
Romanticism is evident in these lines. The author himself is a part of
the pain, tears, and death of his poems. He is considered here because
of the recognition given him as the ”becquerian" poet of his period and
due to the high esteem bestowed on him by the youth of the time.)+2
Among the leaders of young poets, J.A. Falconi Villagdmez must be
included. Hie translation of French poets indicated the direction to be

followed in years to come and are compiled in the book E1 Jardin de

 

Lutecia, 1953. His original poetic works are concentrated in a book

entitled E1 Surtidor Arm6nico, 1956, which was published under the author's

 

anagram Nicol Fasejo.u3 The production of Falconi Villagémez contains:

Poemas de la adolescencia, de la juventud y
de la madurez; pasan por ellos toda la gama de la
transformacién Operada en el verso, en poca
en que se tenia ansias de transformaciOn y cambio.

 

41 AuguStO Arias, 220 £131., pp. 117-1180

 

Isaac J. Barrera, La Literatura del Ecuador (Buenos Aires, 1947),
p. 119. ‘

“3 Isaac J. Barrera, Historia_de 1a Literatura Ecuatoriana (Quito,
1960), p. 1128.

44

 

Nicol Fasejo, E1 Surtidor Arm6nico (Guayaquil, 1956), p. 7.

 

[a

52

From youth to maturity Falconi Villag6mez is an active participant in all
of the literary transformations. As he grows older, however, his attitude
toward poetry mellows. Rather than concern himself with the popular "isms,"
it is more important later in life that poetry communicate beauty and
emotion.45 Literary magazines and newspapers served as the vehicle to
display the poetic thought, talent, and contributions of the young artists.

El Telégrafo Literarig, Patria, Renacimiento, and Letras all served to

 

reveal the literary attitudes of the Medernists, and this author shows in
his works Modernism in bloom. Many of the characteristics seen in Falconi
Villag6mez will later become established. "Ruth Adora a los Cisnes" shows
a consolidation of the tendencies introduced and expanded by French
symbolists and parnassians and later adopted by Modernist Ecuadorian poets.
This work, written in 1916’46 while Modernism is in its infancy in Ecuador,
is typical of Falconi Villagdmez during this period and of the Modernists.
He writes:

Ruth siente por los cisnes del estanque un afecto

singular...Ella goza’con el mégico efecto “7

que dan sus albas tunlcas en la liqulda plata.
The swan (Cisne) of the MOdernists plays one of the primary roles. The
choice of the most appropriate word helps in the development of the pic-
ture. There are constant shades that flow through the poem.

El dleo de la tarde es naranja

And later:

 

“5 Ibid., p. 8.

46 Ibid., pp. 68-69.

47 Ibid.

33

...Ruth reteniendo un grito

deja que con el pico desflore 1a batista

de su blusa, que en medic el desmayo amatista a

muestra un rubi encarnado sobre campo de nieve...
The search for the expression that will best convey the desired mood seems
apparent. But the most outstanding feature is "el arte por el arte."
There is also the absence of a moral or purpose. The aim seems to be the
expression of a beautiful idea. These lines reveal the parnassian current
within Modernism. The purest among Ecuador's Medernists, Medardo Angel
Silva comments on the author's influence.

...Se inicid componiendo extrafios versos de acre

sabor de frutos emponzofiados; letania perversa, en

musical lenguaje de sones inauditos...guiado por

Meréas y Samain...fue a Gracia, a1 armonioso paie de

mirto verde...en su poético museo, expuso en vitrinas

decoradas con raro gusto que no rehuia cierta barroca

elegancia, lindas mufiecas de seda y eefinges de

ojos inquietantes y almitas de porcelana.

Y es Eoeta, un alto Poeta, buen maestro de ritmos

y rimas. 9
Falconi Villagdmez is the author to be closest alined with the Modernists
in his early style and temperament. Guided by the French parnassians, he
used exotic themes and personages. The elegance of expression made the
contribution of Falconi Villagdmez a perfect springboard into Modernism.

Evidence of Mbderniem has been witnessed as the tastes of the posts

were no longer satisfied by the looseness and exaggeration imposed by
Romanticism. In a sense, however, the Modernist poets were Romantic. Their

rebelliousness and anarchistic tendencies are Romantic traits.50 The

Medernists demand absolute liberty and freedom, as did the Romantics, and

 

“8 Ibid., pp. 68-69.
“9 Ibid., pp. 214-215.

50 Richard E. Chandler and Kessel Schwartz, 2p.'git., p. 360.

34

their poems are subjective and contain a personal stamp.5l Aside from
Romanticism, there are other elements that played roles in the formation
of Modernism. This new attitude has been called a synthesis of all the
preceding poetic schools. The aforementioned parnassians and symbolists
shape the writings and thoughts of these new poets in Ecuador.52 The
Medernist school in Ecuador rebels against the urban society of which
they were a part and sought refuge in nature's landscapes. The remote
village becomes the theme of their poetry rather than the urban community.53
It should not be felt that the landscape is the only topic of the Mbdernist.
This new school is exotic in its attitude toward subject matter.54 In style
these men stretch the language to its limits by new expressions and strik-
ing metaphors. Limitations imposed upon poetry in the past are ignored,
and experimentation omnipresent. Artificiality is also to be considered
an important phase of the Modernist movement. Although Mbdernism originates
in America, it is cosmopolitan in scope. Although it is anti—romantic, it
is pessimistic in mood.55

The ingredients of modernism had been fully formed by Ruben Dario for
the literary world. Ecuadorian authors, finally faced with the opportunity
to create, follow the pattern set not only by Dario but also by their own
countrymen. Ecuadorian Modernists will find a road well worn and, for most,
no longer in use. Although imitation to some extent is inevitable, we can

expect novel and original form and treatment to develop due, it would seem,

 

51 932,
52 .1231-
53 £323.21.-
54 £922-

55 Ibid.

35

to the environment in which Ecuador's Mbdernism took place. Modernism
in Ecuador reaches a climax under the Generation of 1910.56 The prin-
cipal proponents of the new school are those to be examined along with
their contributions. Arturo Borja, Ernesto Noboa Caamafio, and Humberto
Fierro serve as the triumvirate that brings about the establishment of
Modernism in Ecuador. Medardo Angel Silva escorts the movement to its
purest form, at times being compared to the master himself, Ruben Dario.
Jose Maria Egas bridges Modernism and the inevitable forthcoming reaction

that brings Ecuadorian literature well into the 20th century.

 

56 Isaac J. Barrera, La Literatura del Ecuador (Buenos Aires, 1947),
p. 124. '

ECUADORIAN MODERNISTS
Chapter II
ARTURO BORJA

(1892-1912)

...da, el primero en lares andinas, el son rubeniano.l

Arturo Borja opens the door to the Mbdernist movement in all of its
brilliance in Ecuador. Like most of the contemporary writers, he is from
an aristocratic family. The father of Arturo, Luis Felipe Borja, was a
professor of law, writer, and publisher of note.2 Arturo was reared, then,
within this intellectual framework of comfortable surroundings. Early in
his childhood, Arturo felt an affection toward poetry. He rebelled against
the type of intellectual study that was his father's life.3 This, however,
becomes less unusual when we consider that it was an age of rebellion and
disgust with the urban-aristocratic community that controlled the govern-
ment and its supporters.

An important aspect in the development of Arturo Borja is his trip to
"La Cuidad Luz," Paris, which served as the font for the new movement. It

was a forced visit in that the child: ..."tenia que curarse de una

 

1 Augusto Arias,.gp.‘gi§., p. 165.

2 Isaac J. Barrera, La Literatura del Ecuador (Buenos Aires, 19u7),
p. 125.

 

3 Ibid.
36

37
afeccidn oftélmica.“+ Undoubtedly this event, although early in the forma—

tion of the author, had a very marked impact on the development of the
artist. Paris cleared the eyes of Arturo physically and artistically.
His exposure to the intellectual production will later become revealed.
The father of Arturo Borja was careful to blend the proper amount of
Castilian grammar with his son's favorite readings, which were French,
upon his return to Ecuador.5 This blending would later lead to a polish
in his poetic expression; a polish worthy of recognition among the best
of his school. The poet turns completely to his French masters for
guidance. Hugo Aleman mentions that "Arturo Borja se abandono liricamente
a la subyugadora tutela de los poetas franceses."6 In his recognition of
French poets it is Albert Samain who stands out as one of his favorites.7
He was first among the Ecuadorians to acknowledge and praise his works.
The parallel in their lives perhaps caused the bond to Samain to be so
strong. Isaac J. Barrera mentions of this Frenchman: "Conocié una vida
triste y de dolor."8 In his dedication to the French poets, Arturo surrounds
himself with other young men with like poetic and social opinions. In so
doing, a strong companionship develops between Arturo, Ernesto Noboa
Caamafio, and Humberto Fierro. This association led to the classification

of these men as la Trilogia9 of Ecuadorian Modernism. A vital element of

 

L‘ Ibid., p. 165.

5 Isaac J. Barrera, La Literatura del Ecuador (Buenos Aires, 1947),
p. #2.

 

6 Hugo Aleman, Presencia del Pasado (Quito, 1949), I, p. 22.

7 Max Henriquez Urefia, Breve Historia del modernismg (Mexico, 1962),

p. 367.

8 Isaac J. Barrera, Albert Samain (Quito, 1930), p. 86.
9

 

AugUSto Arias, 92. 551.20, p. 1770

38

the attitude of these men is expressed in:

...el rechazo de ese 'municipal y espeso' a que

se aludia tan frecuentemente y que significaba la

vida politica y social de la hora en el Ecuador.lo
Arturo Borja and the other followers of Medernism strove to place artistic
values and contributions above those of politics. To do this it was
necessary to create an artificial environment where literary perfection
would supersede all else.

Arturo Borja knew the sadness and pain of which life is capable.
Early he becomes bored with life and reflects this attitude at a very
young age. Isaac J. Barrera is convinced of the author's early disenchant-
ment with life.ll This fatigue and disgust can be seen in "Madre Locura,"

one of the author's earliest works. He cites:

Tus hijos pertencen a la alta aristocracia
de la risa que llora, danzando alegres jotas.

12

The disgust reflected in the author's opinion is readily revealed. The
phrase "la risa que llora" appears to express Arturo's dissatisfaction
with society and his concern with the problem of man accepting worldly
pleasures over cultural interests. This element served to alienate Arturo

Borja from society. Ecuador's environment could not compare with that of

France.

S610 amargura traje del pais de Citeres...
Sé que la vida es dura, y se que los placeres 13
Son libélulas vanas, son bostezos, son tedio...

 

Isaac J. Barrera, La Literatura del Ecuador (Buenos Aires, 1997),

 

p. 45.

11 Ibid.

12 Augusto Arias, 23‘.213°9 p. 169.

13 Ibid.

39

The artist seems to feel that Paris only made him more aware of the
shortcomings of his country. It is apparent that although Arturo Borja
found literary satisfaction in France, he lacked the inner rapport with
society that made life meaningful. Pleasures are only artificial elements
in an intrinsically boring existence. Finally the author reveals the
type of relief for which he seeks.

Y por esto, Locura, yo anhelo tu remedio,

que disipa tristezas, borra melancolias, 4

y puebla los espiritus de olvido y alegrias!
The balm to ease the pressures and demands of life was found and was
successful in its purpose. Little by little it began to devour the artist.
The more he reached for relief, the more it became necessary and the more
it consumed him. Hugo Aleman discloses the inner thoughts of Arturo Borja:

Los paraisos artificiales son para mi un oasis...

La morfina y el opio me producen un suefio tan

encantador, tan placido, tan celestial y tan divino,

que bien vale ese suefio un trozo de mi carne.
Although the taking of drugs was in vogue among the Modernists, it seems
a bit unusual for him to flee from the social responsibilities demanded of
his class. The idea of "noblesse oblige" was associated with improvement,
optimism, and confidence. This mentality was not, however, disposed to

develop any of the aforementioned attitudes. The most comfortable lodging

was to be found in "la torre de marfil."

 

ii Ibid.

15 Hugo Aleman, gp.‘git., p. 26.

40

Melancolfa, ansia de olvido, llamamiento a la

locura, extasis soledoso, cita con el destino y con

la muerte, estos son los temas que se desenvuelven

en las composiciones que se fijaron antes de ponerse

en el papel, en la memoria de su autor, que vivia

asi el dolor extremo de su voluntad enferma.l
The attitude and temperament expressed in these lines reveal that the
author was not prepared for the uncertainties of life. Every emotion
seems to acknowledge this fact. A realization of the depth of these feel-
ings is evident as they are revealed at an early age. Perhaps first of
these would be melancholia accompanied by boredom which brings on the
desire to escape. This desire to lose himself in the world where reason
has no part becoma foremost.

Y para lograr una efimera placidez, una ilusoria

proscripcidn de su habitual desasosiego, esta el

maléfico encanto de la morfina.
The addiction to morphine, undoubtedly, was a welcomed relief, but
necessarily accompanied with the realization that there was an unavoidable
early appointment to be met with Death . Following this framework the
‘words of Ernesto Noboa Caamafio, whom Isaac J. Barrera calls the "alter
ego"18 and close companion of Arturo Borja, would fit very comfortably
when he mentions that the life of Arturo is based on these principles:
suffering, dreaming, and singing.19 In order for him to expose his feel-
ings, "cantar," poetry was the most readily available vehicle. By using

poetry, A. Borja was able to rise above the very attitudes that caused

 

16 Isaac J. Barrera, La Literatura del Ecuador (Buenos Aires,
1947), p. 128.

 

1? Hugo Alema’n, 2.2. 22.2., p. 214'.

18 Isaac J. Barrera, La Literatura del Ecuador (Buenos Aires,
1947), p. 128.

 

19 Hugo Aleman,‘gp. cit., p. 21.

41

his melancholia. In the pessimism inherent in the author and his composi-
tion it is reasonable to expect little concern for the future except where
Death is concerned. There is no possibility for a bright outcome for
humanity. The author loses concern for this world and searches for that
which is “mas alla de las cosas," in his own imaginary world. In accord
with this feeling Reginaldo Arizaga points out the refusal of the Modernist
poets to be content in an environment that limits free-thinking and the
reality of doubt.
Los poetas modernistas, los parnasianos, estén
muy lejos de la verdad de las cosas, desde el hecho
que han adoptado y adoptan posturas artificiales, de
simple convencionalismo, en sus poemas, buscando 5610
el brillo de la forma, la falsa pedredria que encubre
61 cancer del libre pensamiento y de la duda.20
The adoption of the artificial and the dedication to form acquire a ful-
fillment never before recognized in Ecuadorian poetry prior to Arturo
Borja. The expression of the artificial was effortless on the part of
Borja. His inadaptability to life increases the ease with which each
attitude is achieved. Ernesto Noboa Caamafio mentions that for Borja,
"para sufrir, no le fue necesario esfuerzo ninguno. Le bastd contemplar
e1 espectaculo del mundo."21 The soul of Arturo Borja can be made to
suffer through the contemplation of nature itself as can be seen in his
work "Bajo la Tarde."
Oh, tarde dolorosa que con tu cielo de oro,
finges 1as alegrias de un declinar de estio.
:Tarde! Las hojas secas en su doliente coro
van llenando mi alma de un angustioso frio.
La risa de la fuente me parece ser lloro;
e1 aire perfumado tiene aliento de lirios;

afioranzas me llegan de unos viejos martirios
y a mi mente se asoman unos ojos que adoro.

 

20 Reginaldo Arizaga, Valores Ecuatorianos (Quito, 1942), p. 127.

1 Hugo Alemén, pp. 933., pp. 21-22.

42
Negros ojos que surgen como lagos de muerte
bajo la sombra tragica de un cabello obsidiano,
Lpor qué esa obstinacidn en dejar mi alma inerte,
turbando mis deliquios con su mirar 1ejano?

...Sigue fluyendo pena de la fuente sonora...
Ha llegado la noche...Pobre alma mia: Illora

:22
The style, tone and mood of this poem are Romantic. One of nature's most
beautiful scenes, the changing of day into night, provokes such strong
depression that the author is left in tears. Images that may readily
evoke joy are drawn with gloom and pessimism. The rustle of the leaves,
water springing from a fountain, and the adoring eyes of a loved one,
here are only capable of producing tears where they might have produced
the smile of serenity. Every word seems to develop the same moods, those
of suffering and pain. This pain is so deeply rooted that there remains
but one alternative if the author is to survive through the tragedy which
has been placed upon him; he must Dream. Pain, suffering, and dreaming
cause the adhesion of theme in the creations of Arturo Borja and also in
his soul. Reginaldo Arizaga speaks of the author's likeness in personality
to the parnassians and of that same spirit of perfection to be found in his
work.

...la personalidad de este poeta se hizo ostensible

por su amoldenamiento a la escuela de los parnasianos,

y como tal toda su obra lleva el espiritu y das

aquellas dolencias le son caracteristicas...
Suffering also has a role in the Modernist school. This feeling of suffer-
ing and the desire to express it no doubt aided in attracting the poet

closer to the Romantics. Once capable of expressing his emotions in the

perfect style of the parnassians, the author is lured by consequence of

 

22 Augusto Arias, pp. 513., pp. 168-169.

23 Reginaldo Arizaga, Valores Ecuatorianos (Quito, 1942), p. 126.

 

#3
his suffering into a dream world. Ernesto Noboa Caamafio speaking of his
close friend mentions that:
Para sdfiar habia de pasar por una doble etapa
de sufrimiento; antes en la carne viciosa y gemidora.
Después, en el alma insatisgecha. Encarandose a la realidad,
sensiblemente mas tediosa.2
Here re-emphasized is the inadaptability of the author to life. The bore-
dom could only be eased at the price of his flesh, but a price that he
was well willing to pay. The dreams of the author can be sensed in his
work entitled "Mujer de Bruma."
Fue como un cisne que se aleja
Y se aleja, suave, dulcemente
por el cristal azul de la corriente,
como una vaga y misteriosa queja.
Me queda su visi6n. Era una vieja
tarde fria, de lluvia intermitente;
ella, bajo la mascara indolente
de su enigma, cruz6 por la calleja.
Fue como un cisne blanco. Fue como una
aparici6n nostal ca y alada,
entrevista ilusion de la fortuna...
Fue como un cisne blanco y misteriosa
que en la leyenda de un pais bEumoso
surge como la luna inmaculada. 5
This poem retains the Romantic subjectivity. There also appears to be
the influence of Gustavo Adolfo Béapxu-in these lines of Arturo Borja.
The full scope of the dream can be seen in this work. The importance seems
to lie not in the woman, but in hOW'She is described. The image portrayed
might be compared to the soul of the author himself. It appears a
mysterious and misunderstood form without a well-defined destination is

making its way through a world that finds him indifferent to its problems.

 

2“ Ibid.
25

Benjamin Carri6n, op. cit., p. 34.

up,

This idea has previously found expression in Gustavo Adolfo Bémquer.

The purity and grace of movement evident in the "Swan" is compared to the
woman and her appearance stands out in sharp contrast to the surrounding
environment as Arturo Borja and the Modernists must have when compared to
their society. Theirs was a complaint, a cry for a change in society
that, for the most part, went unheeded during their lifetime. This
attitude is revealed in the first lines of "Voy a Entrar a1 Olvido."

Hermano, si me rio de la vida y de sus cosas
notaras en mi risa cierta rezo de angustias...

Finally Ernesto Neboa Caamafio, commenting on the third element in
the development of Arturo Borja, cites:
Para cantar, supo entregarse totalmente: en
ritmico ofertorio, en generosa dadiva, en plena
donaci6n de sentimiento.27
Arturo Borja was obligated to sing his lament, to interpret his feelings,
and poetry served as the form best suited to communicate his emotions.
The style and sentiment produced by the author's creations have a profound
impact upon the reader. Arturo Borja is an artist talented in the develop—
ment of ideas due to his sharp imagination and exactness in the choice of
word.
The poem, "Primavera Mistica y Lunar," describes the life in the
city of Quito. The poet seems to be searching for the predominant mood

in the description of the scene and, in so doing, passing this attitude on

to the reader. The tone is mainly Romantic as is the use of varying meters.

 

26

Hugo Aleman,'gp. 213., p. 23.

27 Ibid., p. 22.

45

El viejo campanario
toca para el rosario.

Las viejecitas una a una

van desfilando hacia el santuario
y se diria un milenario

coro de brujas, a la luna.

Es el ultimo dia
del mes de Maria.

Mayo en el huerto y en el cielo:
el cielo, rosas como estrellas;

e1 huerto, estrellas como rosas...
Hay un perfume de consuelo
flotando por sobre las cosas,
Virgen Maria, ason tus huellas?

Hay santa paz y santa calma..
Sale a los labios la canci6n...
El alma

dice, sin voz, una oracidn.

Canci6n de amor,
oraci6n mia,
palida flor

de poesia.

Hora de luna y de misterio,
hora de santa bendicidn,

hora en que deja el cautiverio
para cantar, el corazdn.

Hora de luna, hora de unci6n,
hora de luna y de canci6n.

La luna

es una

llaga blanca y divina

en el coraz6n hondo de la noche.

:Oh, luna diamantina,

cfibreme! Haz un derroche

de livida blancura

en mi doliente noche!

:Llégate hasta mi cruz, pon un poco de albura
en mi corazdn, llaga divina de locura!

El viejo campanario

que tocaba a1 rosario

se ha callado. El santuario
se queda solitario.26

 

28

Ibid., p. 32.

46

There is little of the condemnation of the city evident in "Epistola."
The act of reporting the scene appears somewhat akin to the objectivity
of the parnassians.

The role of the moon is very important in the works of Arturo Borja.
It seems to represent the oasis of perfection for which he is searching in
the midst of a blind society. There is a multitude of colors and odors
scattered throughout the works of this poet, with a predominance of "white"
symbolizing the purity that he seeks.

Hugo Aleman, commenting on the death of Arturo Borja, writes: "Y
poeta fue en su muerte magnifica, devastada en plenitud, como un jardin
lunado, delirante deflores."29 He died at twenty years of age leaving
to posterity a small legacy of his poetic creations. The morphine that
helped make life somewhat more livable called for full payment on his
tower of refuge, "la torre de marfil." With Arturo Borja, the Modernist
movement arrives to Ecuador. Because of the abundance of subjectivity and
other Romantic characteristics, this poet may be considered by some to be
transitional rather than Modernist. Francisco Guarderas writing on Arturo
Borja mentions that he represents a modern state of conscience, perhaps
incoherent and sick, whose characteristics are individual restlessness
that causes his self isolation which, though it frightens him, gives him
a sense of pride... He mixes an almost brutal sincerity and a vain desire
to simulate sentiments that are strange to him with a tacit refusal to

express genuine and authentic sentiments.30 It would appear that the

 

29 Ibid., p. 165.

Francisco Guarderas, "Arturo Borja," Biblioteca Ecuatoriana
Minima, No. 26 (Quito, 1960), pp. 249-250.

Th7
dominant characteristic of Ecuadorian Modernism as revealed by this poet
(A. Borja) is artificiality intermixed with sincerity.

The elements initiated by forerunners of the Modernist movement have
now become established. Arturo Borja sets the predominant stylistic and
temperamental pattern to be followed by supporters of the new movement in
his country. The poetic contribution of Arturo Borja is collected in

La Flauta de Onix, which was published in 1920 some eight years after the

 

author's death. In this book may be seen the influence of the French
authors relative to the introduction of symbolism and the limpid treat—
ment of material. The discontentment and anguish that were an inherent

part of his being are felt in his poems.

Chapter III
Ernesto Noboa Caamafio
(1891-1927)
Hay tardes en 1as que uno desearia
embarcarse y partir sin rumbo cierto, (Emoci6n Vesperal)
Herein is encompassed the soul of the "alter ego" and inseparable
companion of Arturo Borja. To treat one and neglect the other would be a
major mistake. E. Noboa Caamafio is the second pillar in Ecuador's
Modernist triumvirate. There is somewhat of a parallel in their back-
grounds in that E. Noboa Caamafio has very illustrious parents. He is an
aristocrat by birth.
Sus antecesores y parientes habian ocupado posici6n
expectante en 61 Ecuador: Diego Noboa y Jose Maria
Plécido Caamafio fueron presidentes de la Repfiblica.1
The social and political responsibilities associated with his family and
class are completely ignored by the artist. As with Arturo Borja, the
leaders of society appear to be deeply submerged in military rather than
' the cultural aspects of life. The satisfaction in which the "bourgeoisie"
had become settled was stifling to this creative talent. It will not be
surprising to find a repetition of the temperament inherent in Arturo
Borja and the same boredom and desire to flee to the unknown. There is
no room for pretense in the soul of this author and thus he evokes a type

of frustrated sincerity with little hope that relief from his torment will

be accomplished.

 

1 Isaac J. Barrera, La Literatura del Ecuador (Buenos Aires, 1947),
p. #7.

 

48

1+9
France has been in some reSpects the model for the Western world and
traffic to and from this hallowed country is great during this period.
Ernesto Noboa CaamaHO'welcomes the Opportunity to visit the land of
inspiration.
El anhelado viaje a EurOpa se acerca, gracias a
la munificencia de una parienta millonaria-—la sehora
de Diaz que reside en Paris.2
The poet finds little of the glamour, adventure, and excitement eXpected.
This is a France torn by war and revealing little of the anticipated
treasures. After arriving in EurOpe, he finds it dull and lacking in
relief from his boredom. A longing for home replaces the enthusiasm felt
by E. Noboa Caamafio for his European visit. Upon his return to Ecuador he
finds himself once more enchained by the sources of melancholy. This
feeling is repeated throughout his poetic works.
Aunque uno sepa que hasta los remotos
confines de los piélagos ignotos
1e seguira e1 cortejo de sus penas,
Y que a1 desvanecerse e1 espejismo,
desde 1as glaucas ondas del abismo
le tentaran 1as ultimas sirenas. (Emocidn Vesperal)3
Ernesto Noboa Caamaho seems to feel that as a result of searching there
is but one source capable of providing complete satisfaction: "1as
filtimas sirenas," Death. One is led to assume that there is but the final
rest for his soul, which was incapable of life. ‘With this artist, as with
other Ecuadorian Modernists, there reigns a lack of will that completely

shrouds and restricts all revolutionary intent. In the same sense there

 

2 Rafil Andrade, "La Generaci6n Decapitada," Gobelinos de Niebla
(Quito, 1940), p. 86.

 

3 Hugo Aleman, 22°.213‘9 p. 154.

50
is what Isaac J. Barrera calls: "...la debilidad de la desesperanza."
This statement well identifies this lack of will.

Ernesto Noboa Caamafio surrounds himself with Ecuador's bohemian
element made up of gamblers, musicians, and lovers. Those most exciting
aspects of society were his favorites perhaps in an effort to cast off,
what seemed to him, the drudgery of Ecuadorian society. The poet possesses
characteristics, however, that set him apart from his associates; these
being "...61 triple prestigio de su talento, de su palabra y de su nombre."5
Due to his artistic talent, his gift of expression, his social position,
and temperament the artist is destined to become a landmark in Modernism.

6

He receives the nickname "el zambo" owing to his blond curly hair.

Pulcro en el vestir. Caminaba pausadamente,
como si no tuviera prisa de recorrer 1a senda.

Here is sensed his boredom and lack of direction. E. Noboa Caamafio, it
would seem, stands out brightly against this adventurous, devil-may—care
background of men. There is a need in the soul of the author to remove
himself from his present environment. This he accomplished through morphine.
The taking of drugs is in accord with the vogue of his period. Rather than
being enticed by the vice of his age, it seems E. Noboa Caamaho felt a
strong and sincere need for the relief it afforded.

La morfina lo poseia por entero, En ella se

fiaba. Por ella vivia pero también por ella, por
su ausencia constante, iba muriéndose desesperadamente.

 

h Isaac J. Barrera, Historia de la Literatura (Quito, 1944), III, p. 49.

 

5 Rafil Andrade, pp. 213., p. 84.
6 Ibid.
7 Hugo Aleman,.gp. cit., p. 142.

8 Ibid.

51
The search for relief becomes a drive that completely consumes the
physical and mental being of the outstanding supporters of Modernism in
Ecuador. Ernesto Noboa Caamafio, unable to find satisfaction with the
majority of his contacts, turns inward. He cannot turn to religion
because he lacks faith. Rafil Andrade feels that "El cansancio, la
carencia de fe, han corroido su alma para siempre."9 The corroded soul
of the artist is beyond repair due to his weariness, his physical weak—
ness, and his lack of faith. It can be assumed, at this point, that the
author cannot be saved. Through morphine, he follows a black rainbow
that offers only more mystery.

His days find him enslaved in the routine of office work. His nights,
in the company of the works of Poe, Verlaine, and Samain were comforting
and relaxing. Following their example, the author unrolls the charm of
his discontentment. Hugo Aleman feels that Ernesto Noboa Caamafio, "Tonia
que volcar su tristeza, tenia que traducir el dolor en su propio dolor."lo
The artist was obliged to reveal to the world his suffering in an unfair
environment. Because of the background and temperament of E. Noboa
Caamafio, Arturo Borja, along with Humberto Fierro and Medardo Angel Silva,
the last two to be discussed later, it is easy to realize why their souls
might be compared with that of a "white wound in the heart of the night,"
a line used originally to describe the moon in the poem "Primavera Mistica
y Lunar" by Arturo Borja.

The poetic contribution of Ernesto Noboa Caamafio is compiled in his

book La Romanza de las Horas, which was published in 1922. The influence

 

 

9 Raul Andrade, 22. 313., p. 85.

10 Hugo Aleman,'gp. cit., p. 142.

52
of Verlaine and Samain is fully evident in the grace with which he presents
his suffering to the world. The desire to escape dominates his being.
Hugo Aleman exhibits this same attitude when he mentions that E. Noboa
Caamafio seeks to "Evadirse de la fria realidad del desencanto."ll This
cold disenchantment is accompanied by an understandable bitterness toward
life for being so boring, toward its people living in blind satisfaction,
and toward the world for offering but one escape, the Grave. The most
recognizable of the attitudes presented in the works of Ernest Noboa
Caamafio must logically be flight from life's reality through dreams, a
wandering without a well—defined direction, and an all-engulfing pain and
suffering brought on by life itself. A sincere and revealing appraisal of
himself can also be observed. E. Noboa Caamafio, without inhibitions, openly
allows scrutinization, and the accompanying criticism, of his being. This

self-portrait may be witnessed in "Ego Sum" from his book La Romanza de las

 

Horas.

Amo todo lo extrafio, amo todo lo ex6tico;

lo equivoco, morboso, lo falso, lo anormal:

Tan 5610 calmar pueden mis nervios de neur6tico
1a ampolla de morfina y el frasco de cloral.

Amo las cosas mustias, aquel tints clordtico
de hampones y rameras, paste del hospital.
En mi cerebro enfermo, sensitivo y ca6tico,
como arafia poeana, teje su red e1 mal.

No importa que los otros me huyan. El aislamiento
es propicio a que nazca la flor del sentimiento:
el nardo del ensueho brota en la soledad.

No importa que me nieguen los aplausos humanos
si me embriaga la mfisica de los astros lejgnos
y el batir de mis alas sobre la realidad.

 

11 Ibid., p. 143.

12 Ibid., pp. 143-144.

53
A shadow of pity and shock seems immediately to grasp the imagination as
the author admits his devotion for everything associated with gloom and
distrust. He openly admits to his need for drugs to settle his neurotic
condition. Licentiousness and prostitution are welcomed elements of his
society. Ernesto Noboa Caamafio views with indifference those who shun him
because alone he may flee to the refuge of his dream world. With the
assistance of "la morfina" he is able to rise above reality. This entire
atmosphere represents one of flight. The very portions of society that
would be particularly "taboo" to his social position are completely embraced
by the artist. This seems to illustrate the profundity of the contempt in
which he viewed the society of his era. His revelations border on the
psychotic and the abnormal. Nonetheless, with almost a sense of pride he
announces his affection for the vices of the world. The poet appears to
call upon the world to yield to his'hanity" rather than to allow himself
to become corrupted oy1ie "insanity" of the world. This conflict in
sincerity on the author's part makes it easy to understand the comment of
Isaac J. Barrera:
La sonrisa no asoma a los labios, ni siquiera del

lector actual, porque se penetra immediatamente de la

desolada Sinceridad de loi3poemas que ocultan artificiosa-

mente un dolor verdadero.
It is difficult to remain unmoved as Ernesto Noboa Caamafio reveals his
soul. Perhaps the strongest emotion drawn from the reader by this self-
portrait is pity. "Ego Sum" displays a rare personal frankness that here-

tofore was nonexistent in Ecuador. The elegance with which the author

relates his attitude and preferences seems to upgrade the low esteem in

 

 

13 Isaac J. Barrera, La Literatura del Ecuador (Buenos Aires, 1947).
p. 2+8.

54
which they are generally acknowledged. Melancholia, flight from reality
through dreams, and mental pain and suffering tinged with bitterness are
easily recognizable characteristics to be found in the works of the artist.
Flight from this world's reality is a recurring theme of E. Noboa Caamafio.
It is closely alined with that of his friend Arturo Borja. Ernesto Noboa
Caamafio himself shows how united they were in temperament in the following
passages from "A Arturo Borja":
Se unieron nuestras almas cierto dia,
al fulgor de un crepfisculo abrilefio,
por la santa virtud de la poesia,
en el dolor, la duda y el ensueho.14
The magnetic force of common interests and attitudes drew them together;
not only poetry, but suffering due to the same causes: life, doubt, and
dreams. Continues E. Noboa Caamafio:
5610 he quedado en el sendero, hermano:
tu abandonaste el duro cautiverio
por descorrer el velo de lo arcane
sediento de infinite y de misterio.15
Ernesto Noboa Caamafio conveys a profound loneliness, but does not express
the certainty of contentment for his friend although Arturo Borja longed
for the relief presented by death. E. Noboa Caamafio knows only that Arturo
Borja has left this world to enter that of mystery.
Dolor, suefio y cancidn; tal 1a extinguida
llama en que ardi6 tu espiritu sediento.
Sufrir, sofiar, cantar: tal fue tu vida,
gris de dolor y azul de sentimiento.l

The pain, dreams, and poetry here attributed to A. Borja could also

easily serve as a self—portrait of Ernesto himself. This entire work has

 

14 Hugo Aleman,lgp. 315., p. 34.

15 Ibid.

16 122d. p- 35-

 

II." II III I II" [In ‘ I'll l ‘ l '1‘ All! ’1

55

the effect of a mirror which shows a nearly identical reflection of two

tormented souls.

we have found evidence in Arturo Borja of a nostalgic urge to flee.
This urge also ripens in E. Noboa Caamafio. It seems to reach its peak after
his return, disillusioned, from Europe. It seems apparent that "to search"
forms a part of his destiny, but "to find" is unrelated and not guaranteed.
This attitude comes to life in the poem "Nostalgia."

Ante la ciudad dormida
bajo la luna sedefia

mi pobre alma dolorida
olvida

y suefia.

Un astro me esta llamando
con su trémula mirada,

y el alma esta contemplando
extasiada

y sollozando

su llamada.‘

Y suefia ante los reflejos

del rubio astro vagabundo:
{partir a1 fin2...3lejos, 1ejos
de este mundo!

Olvidando de amarguras

y terrenales ternuras,

ya no sentir ni pensar,
{tener dos alas oscuras...
... y velar!

Ante la ciudad dormida
bajo la luna sedefia

;oh pobre alma dolorida
suefia, suefia,

olvida, olvida. . . :17

Ernesto Noboa Caamafio seems caught up in the effects of morphine which aid
him to forget this world's problems and to fly into "1a nada," the great

expanse of the universe, leaving this world and becoming unconcerned

 

17 Ibid., pp. 150-151.

except with the sensation of flight. This work well exhibits the solitude
and serenity of his world of dreams and the idea of escape.
As with Arturo Borja, a note of pessimism flows throughout the
poetic production of Ernesto Noboa Caamafio. He displays an elegant pain
hinging on pride. Isaac J. Barrera in comparing the poetic works of Arturo
Borja and E. Noboa Caamafio writes:
Les versos de Noboa, frente a los de Borja,

tienen una mejor maleabilidad armoniosa; hay

suavidad en la forma, delicadeza en los sentimientos,

mayor extensidn en el dolor por un contacto mas

extendido con el mundo.10 ~
In form, harmony, and sentiment E. Noboa Caamdfio is superior. It seems
of equal importance, in the consideration of the two, that there also
exists a lack of will preventing these men from active attempts to right
the conditions responsible for their suffering.

Todo lo habia subordinado a1 afan ilimitado de

sofiar. Para 61 no quedaba sobre la superficie de

la tierra sino esta dnica verdad: e1 vicio. 9
The idea of subordinating all else to the desire to dream aided by morphine
is essential in the consideration of these "gemelos." The strongest of
E. Noboa Caamafio's emotions is his elegant suffering which readily coincides
with1flnt of Arturo Borja. love is nearly nonexistent and only hints at

severe pain that may follow as its result. This can be seen in these lines

from "luna de Aldea":

Y en un rincdn apartado
quizas una amante pareja

se inicia en el sufrimiento
de la caricia primera...20

 

18 Isaac J. Barrera, De Nuestra América (Quito, 1956), p. 109.

 

l9 Hugo Alemén, pp. 933., p. 144.

20 Ibid., pp. 140—141.

57

Love is not a cure—all to Ernesto Noboa Caamaho, but rather a warning of
forthcoming pain which may be physical or emotional. Love would not
comfortably fit in his world. Though of aristocratic birth E. Noboa
Caamafio, along with Arturo Borja, shuns his responsibility feeling that it
is a blind society which attaches importance to group after group of
military men in a society in revolt. As the life of Ernesto Noboa

Caamafio is unusual, so is his approaching death. Raul Andrade mentions in

La Generaci6n Decgpitada that the author:

 

Vive en una pieza en penumbra para poderse
acostumbrar a la gran sombre, sin principio ni
fin, que ya la envuelve.
Una plomiza mafiana de diciembre de 1927 la toca

Emprender una larga travesia

y perderse después en un desierto

y misterioso mar no descubierto

por ningfin navegante todavia...
If the artist was not prepared for life, he made an effort to prepare
himself for his journey on the deserted and mysterious sea still unknown
to navigators: Death. At 36 years of age, Ernesto Noboa Caamafio died.
Isaac J. Barrera says of his death "...vencido por el hastio, le mataba la

vida."22 His melancholy temperament is revealed in his work La Romanza de

las Horgg establishing him as an important pillar in Ecuadorian literature.

 

23- Raul Andrade, pp. 333., p. 88.

2 Isaac J. Barrera, Historia de la Literatura Ecuatoriana (Quito,
1960), p. 1113.

Chapter IV
Humberto Fierro
(1890—1929)
Pero la vida es triste...
La noche va a venir
y el cisne
canta para morir. (Per 91 Estanque de los Nenfifares)

Humberto Fierro represents the final column of Ecuador's Modernist
triumvirate. He is closely alined with Ernesto Noboa Caamafio in his talent
for displaying elegant suffering. He seems to represent the same lack of
physical contact with the world outside and even less mental rapport. His
lines quoted above from the poem "Per 61 Estanque de los Nenfifares" seem
aptly to describe the inborn attitude evoked by the entire group.. Life is
sad to them and in the coming end of life they, like the swan, release
their melodic song before dying.

In Humberto Fierro we witness the repetition of circumstances common
to the other members of the triumvirate. He is also of a wealthy back-
ground. He also refuses association with society and finds refuge in his
library containing the works of Hugo, Byron, Musset, Heine and Leopardi.
The rich and poetic boldness of these authors and their consideration of
the problems of life, love and destiny produces an impact on him similar
to that seen in Arturo Borja and E. Noboa Caamafio. Humberto Fierro is a
parnassian in his mode of expression. He possesses and depicts a pro-
nounced awareness of, if not a longing for, Death. The full range of

shades and perfumed fragrances is trapped in his imagery. There is a

58

59
difference, however, in topic. It seems that nature has a more dominant
role here than observed before. Aside from serving as a symbolic element,
it becomes the primary character. There is more concern for the Romantic
and heroic days of the past.
Evoca la silueta de legendarios castillos medioevales.
Los estratégicos puentes levadizos. El paso leve y
atavio vaporoso de las marquesitas de antafio. Los
errabundos trovadores, d6ci1es juguetes del capricho
de alguna dama nostélgica. Las correrias cinegéticas,
en procura de minutes emocionales, capaces de relegar
a ultimo término 1a murria impertinente de cualquier
neurasténico sefior feudal.
These lines from Hugo Alemén suggest a link with Romanticism, but the
ability and desire of the artist to dream also contributed to the exotic
flavor that enriches his production, and perhaps is indicative of the
artificiality that may be alined with Modernism. This exoticism is not
accompanied by the pronounced nostalgia to search for peace of mind in
far away places as was seen in E. Noboa Caamafio. H. Fierro does not
express a burning desire to visit the metropolis of the world or even the
cradle of 20th century culture, Paris. This alone is an outstanding dif-
ference which sets him apart from the majority of this school. His longing
is only for Athens. Hugo Aleman mentions that:
Fierro tenia 1a concepci6n de una especie de
mundo de las foEmas y de las ideas, que es el mundo
mismo del arte.
The aspiration to visit the original fountain of culture was perhaps

instilled in the artist through his love for music and painting. Without

a doubt these talents will serve a useful purpose in the maturing of the

 

1 Hugo Aleman, Presencia del Pasado (Quito, 1953), II, p. 50.

2 Ibid., p. 58.

60

poetic skills of the man Hugo Aleman calls "el mas griego de los
artistas."3

Solitude emerges as one of the few pleasures of H. Fierro. He no
doubt experiences greater comforts in his world of books and dreams than
in the world of reality. He varies from the others of the triumvirate in
that he does not become unconditionally attracted to the artificial
paradises knownto A. Borja and E. Noboa Caamafio. This may be due to the
fact that Humberto Fierro found his paradise, his refuge from the trivial,
proud, and aristocratic society of which he was a discontented member.
"Quinta Verde"n was his refuge of isolation that inspired his dreams and
purified his mind to permit the revelation of his inner soul to mankind.

In the over—all portrayal of attitudes it would seem that Humberto
Fierro is less desperate than his associates. Elegant suffering perhaps
reaches its zenith in the production of this poet. His bitterness is not
as sharp as that displayed by Arturo Borja or E. Noboa Caamafio. Humberto
Fierro, however, shows the same pessimism.' The beauty that he sees lies
either in the past or in the world of Dreams.

Humberto Fierro, Arturo Borja, and E. Noboa Caamafio were acquainted.
Humberto Fierro was the discovery of A. Borja. His first reaction toward
the production of H. Fierro was strongly and bitterly critical. Humberto
Fierro finally wins the approval of Arturo Borja and the latter becomes

eager to share the ideas and emotion of the former.

 

3 Ibid., p. 59.

4 Hugo Mencayo, "El Poeta Humberto Fierro," América, No. 47.
dic. 1931, p. 400.

61

Aquel soneto que tan hondamente comprometiera
la emoci6n de Arturo Borja, se llam6 primitivamente
"Fantasia Desobligante." Pero en el unico libre que
alcanzd a publicar Humberto Fierro--El Laud en el Valle
lleva este titulo: "Suefio de Arte.“5

 

Blanca estela dejaba el cisne blanco

En 1as magicas aguas azuladas

Y en gallardas y suaves balanceadas

Me mostraba la seda de su flanco.

Desde e1 césped frondoso de mi banco

A la Milo de marmol enlazadas

Trepaban 1as volubles lanceoladas

A ocultar e1 divino brazo manco.

Armoniosa la tarde descendia.

Parpadeando su luz con agonia,

Ya 1a estrella de Venus fulguraba.

Y mirando unas flores abstraido

De repente salté muy sorprendgdo:

Impaciente Pegaso ya piafaba.
This work may be recognized as one of those in which H. Fierro displays
most fully his Modernist talent. Nature at its best (nature is definitely
among the author's greatest loves) is glorified with a tinge of the
mythological. The peace of the artist's green refuge is depicted through
his sharp imagery which would rival the brush strokes of many painters.
There is melancholy etched into the scene with the coming of dusk and the
sun trying desperately to retard the advancement of night. In his world
apart, the author is surprised, but pleasingly so, to find Pegasus, the
winged horse, pawing the ground. The following lines substantiate

Humberto Fierro's delight in his dream world. Rafil Andrade relates that

"So pasd la vida esperando encontrar a la princesa Blanca Nieves y su

 

5 Hugo Aleman, Presencia del Pasado (Quito, 1953), II, p. 54.

 

6 Ibid., pp. 54-55.

62

cortejo de gnomes."7 In the world of business, large buildings, and
cities teeming with the social interplay of man against man there is no,
Snow White. For the artist there was to be no ending explaining how
"They all lived happily ever after."

Among the most common references made in the works of Humberto
Fierro is that to the sunset. He treats this subject metaphorically,
symbolically, and as one of nature's most exquisite and poetic forms.
The artist relates:

Tengo una obsesidn de los crepfisculos. En mis
poemas siempge hay ocaso que rima armoniosamente
con mi alma.

The obsession with sunsets is beautifully revealed in these examples.
"Por el Estanque de los Nenfifares" makes reference to:

El castillo florido
Parece el de Elsinor
Dormido

En el ocaso en flor.9

(The comparison of a castle to the seaport of Helsingore
sleeping in the western sunset and engulfed by all its
splendor.)

Armoniosa 1a tarde descendia,
Parpadeando su luz con agonia, 10
Ya 1a estrella de Venus fulguraba. (Suefio de Arte)'

(Venus announcing the coming of night.)

Y a1 fin, un dulce dia 11
Se hundid en el lago eterno, (La Néyade)

 

7 Raul Andrade, pp. git., p. 94.

8 Hugo Aleman, Presencia del Pasgdg (Quito, 1953), II, p. 55.

 

9 Augusto Arias, pp. 213., p. 179.

10 Hugo.Alemén,[Eggggpgia;gglmfasadg (Quito, 1953), II, pp. 54-55.

"" ~

11 Ibid., pp. 68-69.

63

(A sweet day submerging in the eternal lake which is night.)

En el puente de piedra oue musgo
lento cubre he descansado viendo que 12
se deshoja el dia, (La Tristeza del Angelus)
(The author rests watching the day wither away.)

Y hay una sonrisa de oro en los prados,

de duraci6n breve como la inocencia,

Y se hunde e1 divino sol de los venados

en el valle ameno de la adolescencia. (Les Ni'fios)l3

(The sunset is used to describe the shift from childhood
to adolescence.)

The thought and imagery evoked by the setting sun in the works of
Humberto Fierro are the most clear. Although the use of sunsets alone is
not exclusively Modernism, the choice of words in describing the scene
is indicative of this school. 'One can also see other characteristics
here such as exoticism, symbolism, color shades, suffering, melancholia,
and rhythm. Nor does the use of nature end in these few examples. The
use of sunsets is scattered and sensed throughout his production.
Humberto Fierro may be classified among the distinguished group
of parnassians with the work "Tu Cabellera." Here we find his talent
at its highest point and worthy of the acknowledgement of the Modernists.
An outstanding aspect of this poem and almost all of his work is its
artificiality.lu
Tu Cabellera tiene mas afios que mi pena,
Pero sus ondas negras aun no han hecho espuma...

Y tu mirada es buena para quitar 1a bruma
Y tu palabra es musica que al corazdn serena.

 

12 Augusto Arias, 2p. cit., p. 178.

13 Ibid., p. 181.

14 Francisco Guarderas, gp. git., p. 309.

64

Tu mane fina y larga de Belkis, me enajena
Como un libro de versos de una elegancia suma;
La magia de tu nombre como una flor perfuma

Y tu brazo es un brazo de lira e de sirena.
Tienes una apacible blancura de camelia,

Ese color tan tuyo que me recuerda a Ofelia,
La princesa roméntica en el poema inglés.

Y tu corazdn de oro...de la melancolia

La mano del bohemio permite, amiga mia,
Que arroje algunas flores humildes a tus pies.

15
Although Humberto Fierro is a lover of music, rhythm is not felt by
Isaac J. Barrera to be of primary importance when he mentions:
Se puede decir que la musicalidad en este poeta
tiene poca importancia, porque lo principal reside
en el vuelo inesperado de su balbuceo puesto en sordina.
There is an appreciation and love of music obserVable, Liszt, Chopin, and
Beethoven being among the poet's favorites.l7 Humberto Fierro's poetic
ability seems linked with his ability to see music and art and their
importance in nature.18 Who is the woman in this work? Probably someone
who was seen by the author once and has passed into his memory. Perhaps
she was a portrait that captured the artist's devotion and has been
found and worshipped in his dream world.
It would be a mistake to treat the poetic production of Humberto
Fierro and to ignore the heroic lyric that prevails in some of his works.

Latin American liberators are dealt with in a tone worthy of the European

epic. The topic is restrictive but the treatment of theme represents the

 

l5 Augusto Arias, pp. cit., p. 182.

16 Isaac J. Barrera, De Nuestra América (Quito, 1959), p. 114.

 

1? Hugo Alemfin, Presencia del Pasado (Quito, 1953), II, p. 57.

18 Ibid., p. 49.

I I!" III. In:
l' ‘I' ‘1 IIIIII II‘:.|‘..-IIIIIl ll ‘I I III.
I." 4'11 1 'l' ill. ‘
llllllln’i -.I

 

65

elegance and universality of Modernism. 'Witness the tone and atmosphere

developed in the following poem.

Here again we are
liberators do not
amiss to overlook

In Humberto

Brisa Heroica

Bajando por las gradas de los Andes

entre rocas de Ciclopes mineros,

recordaba el honor de los guerreros

que llenaron la historia de hechos grandee
a1 desnudar los inclitos aceros.

No tuvieron las aguilas alpinas
paseo mas triunfal sobre 1as ruinas
y las tumbas leviticas de Europa,
que los corceles de la invicta tropa
que luchd en las Repfiblicas latinas.

Sagradas son las cumbres y los valles
donde se enrojecieron los detalles
que la Fama magnifica prolonga,
buenos para Rolando en Roncevalles

y dignos de Pelayo en Covadonga.

Oigamos 1as guerreras armonias

que dicen a1 pasar de aquellos dias,

mientras huyen barridas al memento

la negra Tradicidn, 1as Tiranias,

croando como cuervos en el viento... 9

aware of the influence of nature. American heroes and
serve as a primary theme of the author, but it would be
his contribution to this style.

Fierro as in E. Noboa Caamafio can be found a sharp

self—portrait of the author's temperament. Hugo Moncayo in his article

"El Poeta Humberto Fierro" has this opinion of the author:

Poeta sincere ante todo, porque era su propia
experiencia la que le dictaba esa superior manera
de producirse en todos los mementos de su vida y
que el vulgo nunca habria de perdonarle—-ya que el
poeta se veng6 de 31 ignoréndolo-—su poesia es el
espejo de su vida. O

 

19 Augusto Arias, pp, cit., p. 180.

20

Hugo Moncayo, pp. cit., p. 400.

66
There is little in his writings to expose even a knowledge of the common
people although he reveals a charitable desire to know the poor. It
seems, though, that this desire is to know the seemingly overt lack of
concern that prevails, a resignation to their particular state free of
responsibility. His personal eXperiences and attitudes serve as primary
sources for the ideas expressed in his poetic production. Humbert Fierro
expressed boredom as a main attitude.

Por si es breve e1 encanto de nuestra vida.
(Paseo de Aguas Durmientes)

This boredom reveals Humberto Fierro's feeling toward life and humanity.

Acostumbrado a ver el mundo

Por el mal prisma de nuestros duelos,

Sin oir los silfos de cornamusa

Que hacen divinos los fines ecos,

Vamos hollando 1as florecillas

Que son guirnaldas de pensamiento. (Navidad de los Angelus)22

The blindness of society to the Modernists and their works seems to show
in these lines. There is primarily self-centered concern while the poetic
muses, which free the mind for more important considerations, are ignored.
In "Sonata a Lucia" he mentions:
Y entonces, convencidos de la verdad tremenda,
Sin que nadie nos ane ni nadie nos comprenda,
Un arte que es adoraci6n,
Con rumbo hacia las playas donde ya no se escribe
LDesterraremos de la belleza de lo que vive
Al dolorido corazdn?2)
Once again the author shows the isolation of the poet and the beauty that
is felt by the suffering heart of the Modernist. This attitude inspires

the poet's yearning for a better world.

 

21 Hugo Aleman, Presencia del Pasado (Quito, 1953), II, p. 62.

 

2 Augusto Arias, pp. 313., p. 178.

23.22i9-s pp. 183-134,

67

Temia despertarme
I
Pues sé que siempre sueHo. (La Nayade

)24
Humberto Fierro finds solace and comfort and begins to hint at a fear of
society and of being awakened to face it. The artist moves on to exoress
his primary concepts.
Yo escribe estas palabras: Amer e Ideal (El Placer)25
It seems that this compassion is for humanity, a compassion that is
brought on by what approaches pity. The ideal lies in his poetry and in
his world. The chief ideas are purely Modernist: (1) There is a disregard
for humanity hinging on sympathetic bitterness due to its disassociation
from the beauty of the world; (2) Voluntary exile can be the only alterna-
tive in order to create a world of his own; (3) This world has as its
source the ideal as the author sees it, beauty brought on by his suffering.
It has been observed that Humberto Fierro completely separated him,
self from his source of wealth, agriculture. Although he was employed he
was a man in blinders, going directly from his work to the solitude of
his room.
Al atravesar una callejuela, descubre una mujer en

su ventana, entre macetas...Se llama Soledad Paz.

El poeta va repitiéndose mentalmente: Soledad...Paz...

cree haber encontrado 1a meta de su destino, la

alegoria de su anhelar mas claro que ha tomado contorno

de mujer. Meses mas tarde se casa.
Humberto Fierro felt that he had found his peace and solitude. This

marriage was frowned upon by the family in that he married a woman of

lower birth. The pair left the aristocratic environment of his birth and

 

24
Ibid., pp. 68-69.

25 Hugo Aleman, Preseggigpdel_fig§gdg (Quito, 1953), II, p. 72.

26 Rafil Andrade, pp. 913., p. 89.

'l I '1‘ IV 1!: ll! 1|" I

68

the natural surroundings that he loved. This change along with marriage
may have caused the alterations in the artist's poems. Raul Andrade
states that ”Su obra de artists se va diafanizando. El matrimonio lo
humaniza en cambio."27 The humanizing effect of his marriage perhaps
inspired his longing to know and to love people. Humberto Fierro found
that there was no peace or solitude to be found in the development of his
household. His economic condition worsened due to his disregard for money.
The death of his child was no doubt one of the tragedies that pushed the
author toward drug addiction. El Lafid en el Valle, published in 1919,
contains the full poetic and spiritual development of the author. The
illustrations contained in this volume show H. Fierro's artistic leanings.

Un.buen dia 56 supo que el poeta habia muerto.

Partid calladamente, come habia vivido, y en los

circulos literarios apenas se anotd su desaparecimiento.28

Su epitafio lo pronuncia e1 burgués entre dos

cucharadas de so ; 'zPobre joven!...tan inteligente

que diz q'era.‘2
His disappearance from the literary scene was as quiet and unnoticed as
his life. The impact of his poetry cannot in any way be minimized as he
forms the third column of the triumvirate of Medernist poets of Ecuador.
An elegance in suffering was epitomized in this artist. He did not know
man as well as Arturo Borja or Ernesto Noboa Caamafio but the same disregard
for life caused Humberto Fierro to submerge himself into the world of
dreams. The effect of the parnassian influence is observable in his
poetry. He is peculiar in that his desire is to know Athens rather than

the great urban and entertainment centers of the world; we also find

 

27 Ibid., p. 90.

8 Isaac J. Barrera, Historia de la Literatura (Quito, 1944), III, p. 55.

29 Rail Andrade, 22; 31.2., pp. 95.96.

69
heroic moods and ideas expressed in his lyric. This topic is given more
vitality by Humberto Fierro than by Arturo Borja or Ernesto Noboa Caamafio.
Like his companions in the triumvirate, Humberto Fierro is a member of
the aristocracy but does not associate himself with.that class, preferring
to marry a woman of lower birth. The temperament of this poet is most

compatible with the mood of this school as it developed in Ecuador.

Chapter V
Medardo Angel Silva
(1898-1919)
Sfibito en el silencio de la tarde olorosa, suena e1
llanto del rcndador; no se ve e1 mfisico; 1as notas
lagrimeantes, puras, venidas de la brisa, como de regiones
de ensuefio, llegan prestigiadas por lo desconocido, en una
comb deliciosa y ambigua sensacién de fragancia y de mfisica...
Un lucero lloroso se ha encendido en el cielo de 6palo...
cae una llovizna tibia..y e1 rcndador sigue cantando en el
paisaje sin nadie. (E1 Rondador)1
Medardo Angel Silva might be called the "old young man” of’Ecuadorian
poetry. His early writing seems to indicate a man cheated of his youth.
His reply would have been in the negative had the poet asked himself
”LEra juventud 1a mis?" Medardo Angel Silva was not prepared psychologi-
cally for life. His works reflect this lack of preparedness and demon-
strate that there was no excitement, no desire, no anxiety offered him
except that aroused by Death.
Ni un ansia, ni un anhelo, ni siquiera un deseo,
agitan este la 0 crepuscular de mi alma.
Mis labios es hfimedos de agua de Letheo.

La muerto me anticipa su don mejor: la calma.

(Estancia VIII)2

Death is almost. immediately a friend. It would appear that in accord
with the author's will, she wanders in and out of his mind and his ideas.

 

1 Nicol Fasejo,lgp.'git., p. 96.

2 Nedardo Angel Silva, "E1 firbol del Bien y del Mal," Revista Casa
de la Cultura Ecuatoriana, No. 13 (enero-junio 1953), pp. #1 15.

7o

'41."? .‘0

 

_ mmF-"Jmcaw _
I. ' J o :l « .I

v as" t
-—— -..

 

 

71
She seems to be expected and omnipresent in M..Angel Silva's world. His
attitude toward her is evidenced by the name given her, "La Libertadora.”
She becomes a welcomed thought. The author approaches her unafraid and
aware that the "Libertadora" is the only one capable of alleviating the
torment being experienced in this life.
Unlike Arturo Borja, E. Noboa Caamafio and Humberto Fierro, Medardo
Angel Silva is from a modest family. The role of his parents could apthy
be described as “followers" in contrast with the "leader” position afforded
the triumvirate due to their aristocratic social status. The works of
Medardo Angel Silva ring of the aristocratic temperament and elegance
evoked by the triumvirate and his pain is no less real or profound. His
pseudonym, Jean d'Agreve,3 (John of grief) reveals the personality of
this soul in torment. Reginaldo Arizaga in his work Valores Ecuatorianos
mentions that:
Nacié este poeta con el ansia infinita de escalar
1as cumbres mis inaccesibles de la belleza ideal, y
desde su adolescencia se reve16 como un aristdcrata
de la lirica, manifesténdose desde sus comienzos como
un férvido admirador de Samain, e1 mas pulcro y complejo
de los simbolistas franceses.
Reginaldo Arizaga continues, however, that: “Cuanto mas ascendiera a 1as
cumbres del ideal, mis se sintid poseido de aquel cansancio de vivir.”5
The works of.M. Angel Silva seem to reveal the inner workings of his soul.
It would seem his capacity to understand himself made more accessible to

him that Ideal Beauty. At an early'age, the poet formed many opinions

 

3 Hugo Aleman, Presencia del Pasado (Quito, 1949), I, p. 61.
4 Reginaldo Arizaga, valores Ecuatorianos (Quito, 1992), p. 168.
5 Ibid., p. 169.

72
about life and himself. This self-examination may have helped release the
restrictions that might otherwise have limited his creativity. Then
grounded in the French parnassians, he was swept along rapidly to the full
realization of what Reginaldo Arizaga called "1a fugacidad de su vida
atormentada."6
Medardo Angel Silva worked on the newspaper El Teléggafo, which

began the publication are literary supplement. This supplement later
became the magazine Renacimiento which served as the uniting force for
Guayaquil's literary youth. He becomes editor of the magazine £22532,
which enjoyed prestige within and outside of the country:

...por haber construido el mejor exponents de

culture y una amplia tribuna de las renovadores

fuerzas espirituales do see tiempo.7
Through this participation Medardo Angel Silva takes an active role in
the furtherance of the literary maturation of Ecuador. Due to the quality
of his production, even at this early age, the new literary school, ”se
le reconocid como a maestro.”8 The production of the maestro served to
lift him from the popular class into the upper strata of Ecuador's
intellectuals.9 Along with the precision of the artist's poetic style there
is an overriding sadness and pessimism that veils his work. These traits
are substantiated in the following lines.

...Cuando se estudia la obra poética de este bardo

guayaquilefio...se advierte instanténeamente e1 fondo
de pesimismo, de que estén saturados sus poemas, y

 

6 Reginaldo Arizaga, Valores Poeticos de America (Quito, 1945),
p. 295.

7 Hugo Aleman, Presencia del Pasado (Quito, 1944), I, p. 61.

8 Isaac J. Barrera, Historia de la Literatura (Quito, 1944), III, p. 58.

9 Ibid., p. 57.

73

per lo mismo en ellos alienta e1 soplo de un dolor

lacerante, finisimo, que se traduce en gritos de

angustia y'de quebranto, de cansancio y de dolor

sin orillas.
The atmosphere created in the works of Hedardo Angel Silva is here
described. It is one steeped with pessimism and tempered by anguish,
weakness, and an exhausted sense of the futility of life. Reginaldo
Arizaga recognizes this attitude. I

Su obra poéthm.fue e1 reflejo fiel de la fugacidad

de su vida atormentada, y como tal, hay quienes 1a

consideran ya decapitada.
It should be emphasized that these emotions were experienced and recognized
by the author before the age of 21. With Arturo Borja we can see develop-
ment toward death. His poetry displays, in its early stages a seemingly
healthy mind that becomes corrupted as it views life and his relation to
it. Medardo Angel Silva's poems are almost immediately depressing. The
outer self of.M. Angel Silva reveals some degree of physical activity while,
within, the life cycle is being drastically shortened. This attitude can
be attributed to society‘but even more so to the lack of direction or
welladefined purpose for his existence. Whatever love that was made
available was either insufficient, or he was incapable of receiving and
acknowledging it. His role seemed to be that of an absorbent. The pains
of life andtb pains of the world were lodged in this tormented soul. This
refrain presented by Hugo Aleman in his work Presencia del Pasado, vol. 1,

might well identify the personality of the author.

 

10
p. 292.

Reginaldo Arizaga, Valores Poeticos de America (Quito, 1945).

11 Ibid., po 295.

 

llllll‘l ll‘llllf.’llnll.

71+
Dices que no tienen motive mis penas,
Puss 1as lloro mas cuando son ajenas...

:Ay: ése es mi encanto:
llorar por aquellos que no vierten llanto.

12
The pains and suffering evident in the production of Hedardo Angel
Silva is personal, but also universal in scape in that it is rooted in
death. In this universality it takes on even greater dimensions, such as
those that only few young minds are able to encompass. Like an ancient
sage, Medardo Angel Silva cannot understand but welcomes the inevitable
arrival of ”La Libertadora."
Esposa inevitable, dulce Hermana Tornera,
que al llevarnos dormidos en tu regazo blando
nos da 1a clave de lo que dijo 1a Quimera
y en voz baja respondes a nuestros cdmo y'cuindo.
(Estancia XI) 13
Victor Hugo Escala calls Medardo Angel Silva ”un elegido de los
dioses, un delicado orfebre del ritmo y del vocabloJ‘l-L‘ He is sincere and
simple in his style. He possesses a vivid imagination, strong creative
ability, deep feeling, and sensitivity. His poetry reflects his inner
spirit:
...Tierno, hondamente atormentado entre la pulcritud
y la originalidad de la estrofa, y la gracia alada de
un arpegio. Con mayor precisidn podria decirse que el

joven poeta guayaquigefio fue un ahijado espiritual de
Chopin y de Musset.

 

12 Hugo Alemfin, Presencia del Pasado (Quito, 1949), I, pp.5h-55.

13 Medardo Angel Silva, 22. 32"., p. #15.

u‘Victor Hugo Escala, "Medardo Angel Silva," America, No. 48,
(snore-febrero 1932), p. 93.

15 Ibid., p. 9n.

75

The music of modernism that had been in a stage of development in Ecuador
new reaches its zenith. In the following work.M. Angel Silva uses the
alexandrine line to describe the beautiful music played by a pianist. In
the second stanza can be seen the result of searching to express the exact
mood. The use of adjectives makes apparent the striving to give due
recognition to the beauty of nature.

:Qué rosas de armonia deshojas a la tarde,

cuando sobre 1as teclas-lirios blancos y negros.-

insinfian tus manos, en un lirico alarde,

1as finas carcajadas de los locos allegros!

La agonia del sol pone de oro 1a estancia...

los verdinegros irboles son vagamente rojas...

y, desde el corazdn,--bficaro de fragancia—-

subs un dulzor de ligrimas que hace nublar los ojosi

(Estancia II) 6
The use of adjectives and references can also be witnessed in the fellows
ing poem. The author has chosen the most appropriate rhythm to describe
the dancer.
Danzas Nocturnas
Danzabas en la terraza, tu carne, bafiada por
la luna, olia a luna. I la luna era un escudo de plata,

sobre el corazdn de la Noche.

A la luz de las antorchas amarillas tu desnudez
enjoyada era una llama rosa-pilida y tembladora.

Al danzar, tus pulseras, tus ajorcas y tus collares
producian una mfisica metélica y sensual.

Y bajo los ojos vigilantes de la Noche, la mfisica
de tu euritmia y'la mfisica de los lejanos mundos 1
rutilantes se fundian en una vasta y silenciosa armonia. 7
The situation created in these two works would necessarily force a change

of rhythm. The excitment and drive of the dance is evident in the

 

l6 Medardo Angel Silva,'gp..git., p. #12.
17 Ibid., F. We

76
description and the sound of each word seems to mold the posture and
body of the dancer.

The rhythmical qualities that are inherent in the production of
Medardo Angel Silva are the result of experimentation on the part of the
precursors of modernism in Ecuador. The work of Medardo Angel Silva may
be described as

...pletdrico de musicalidad, y a través del cual

se escucha una honda y desconcertante lamentacidn

de la vida, un enternecedor gemido...
It is the Medernist that brings the rhythmical aspect to its highest point.
Visibly entrenched in the poetry of Medardo Angel Silva are two qualities:
the French parnassian attitude toward perfection, and a profound lamenta-
tion of life. He found that his sorrow could be eased only by submitting
to drugs.

Silva fue un oficiante ante el maligno tabernéculo

de su majestad el vicio, imperante en aquella epoca.

No dejd de dirigir sus pesos. .més allé del vedado lindero

de los paraisos artificiales.19

There are two conditions, closely alined, that seem to lure the
author in search of the artificial paradises. Both of these are the pro-
duct of society's impact on the individual: ”e1 cansancio" and "e1 tedio."
The first is an indication of a lack-of the energy necessary for an action
and the second reveals boredom. This inertia attracts and announces
death. It is easily noticeable in the poetic development of Medardo Angel
Silva. This idleness accompanies death throughout the author's work.

Alejandro Carridn points out this attitude in his work, ”Medardo Angel Silva

 

18 Hugo Aleman, Presencia del Pasado (Quito, 1999), I, p. 60.

19 Ibid., p. 6#.

77
0 el Cansancio al Amanecer."20 It is evident that the first hints of a

lack of will can be witnessed in "Estancia I.“

Mis ojos te seguian con la mirada triste
que lanza un moribundo a la salud que pass.

21
Again in "Estancia XVI”:
...Ya nada me entusiasma
de cuanto me causara infantiles asombros y asi

voy por la vida, cual palidO‘ fantasma que
atraviesa 1as calles de una ciudad de escombros.

22
Medardo Angel Silva later suggests in ”Philosophia": "Dejemos e1
camino a los que tienen prisa."23 The lack of will, as can be seen in the
preceding lines, must be considered as a secondary element. It increases
in importance when we realize that this is characteristic of the inner
being of the poet. Perhaps it is for this reason, or due to the fashiona-
bility of the act, that drugs served to transport M. Angel Silva into his
artificial paradise. This use of drugs appears to indicate the author's
inadaptability of life.
Les afios que vivid fueron suficientes para demonstrar

la inadaptacion para la vida, por llevar oculta un

llaga que le condenaba traidoramente a la muerte.2
It would seem that the "llaga” mentioned by Isaac J. Barrera must include
the lack of direction and purpose in the life of Medardo Angel Silva.
Augusto Arias in his article which reviews a collection of the works of

Medardo Angel Silva by Gonzalo Zaldumbide, Poesias Escogidas, expresses

 

20 Alejandro Carridn, "Medardo Angel Silva 0 el Cansancio a1 Amanecer,“
Revista Casa de la Cultura Ecuatoriana, No. 13 (enero—junio 1953), p. 381.

21 Medardo Angel Silva, 32. 3_i_t_., p. #12.
22

Ibid., pe 4270
23 Ibid.

# Isaac J. Barrera, La Literatura del Ecuador (Buenos Aires, 19h7).

78
a fear of life on the part of M. Angel Silva.25 All of the aforementioned

attitudes undoubtedly had an important role in the suicide of the artist.

El poeta, a seguidas de un disgusto con su novia,
encerrdse en su casa, y empez6 a tocar en el piano a
sus maestros favorites, Debussy y Granados. No llamd
1a atencidn porque solia hacerlo cuando se entregaba
a la mfisica; pero a1 cabo de una hora se sintid
una detenacidn, y'no se oy6 mas e1 piano.
Alarmadisima la madre del poeta hizo forzar la
puerta y entences sus ojos se encontraron con el
cuerpo de su hijo tendido en tierra. Un chorro
de sangre le salia de la sien derecha. ngca de
su mane diestra estaba caide un revélver.

The suicide of Medardo Angel Silva becomes more interesting when alined
with another that took place in Colombia some years before. Jose Asuncidn
Silva, a Modernist poet that also found the burdens of life too much to
bear, found relief via suicide with a revolver.

The account of the death of.Medardo Angel Silva reveals a little-
discussed aspect of his life. It would indicate that a lover's quarrel
was the cause of the suicide. It is difficult to conceive of a young man
carrying the pains of life written on his soul being pushed to an untimely
end for this cause.

No fueron los impetus del amor, ni los de la

pasidn que enceguece los que llevaron su mane, su
cariciesa mane de peeta-armada y desalmada--hasta
1a puerta de su corazdn hipertrofiado y'le empujaron
a la violencia del suicidio...Estaba escrite con
caracteres profundos y remotos, en el Indice de la

Tragedia que, en voluminOSas paginas va llenando
la infatigable diestra del Destino.2§

 

25 Augusto Arias, "Libros y Autores," Americas, Nos. 17-18
(marzo-abril 1927), p. 183.

26 Victor Hugo Escala, gp.‘git., p. 95.

27 Huge Aleman, Presencia del Pasado (Quito, 1949), I, p. 66.

79

As soon as the poetic production of Medarde Angel Silva made itself known
and even before, the indications of a life of tragedy with a tragic ending
must have been revealed. In "Lo Tardio," written during the author's
eighteenth year, he laments his birth and regrets that his life was not
taken as a baby.

Madre: la vida enferma y triste que me has dado

no vale los dolores que ha costado;

no vale tu sufrir intense, madre mia,

este brote de llanto y de malancolia.

:Ay! A por que no expiré e1 fruto de tu amor,

asi come agonizan tantos frutos, en flor?

Per que cuando schaba mis suefios infantiles,

en la cuna, a la sombra de las asas sutiles,

de un ingule del cuarto no sali una serpiente

que, a1 cefiir sus anilles a mi cuello inocente

con la flexible gracia de una mujer querida,

me hubiera libertade del horror de la vida?...

Mas valiera no ser a este vivir de llanto,

a este amasar con légrimas 61 pan de nuestro canto

al lento laborer del dolor exquisite 2

del alma ebria de luz y enferma de infinite! 8
"Lo Tardio" seems to capture the personality and mood of the author himself.
It contains two essential ingredients: lament, and the tiredness of
liVinge

Although Medardo Angel Silva is not prolific, he stands out as one

of the greatest and most pure of Ecuador's Modernists. The perfection of
his work inspired Gonzalo Zaldumbide to state that: "Verses, estrefas,
poemas hay de Medardo Angel Silva que bien pudieran pasar como ineditos
de Dario."29 Refinement of rhythm reaches full development in the pro-

duction of this artist. Deep emotional concern with fear and torment of

 

28 Medardo Angel Silva, pp. 935., p. 454.

29 Augusto Arias, "Libros y'Autores," America, Nos. 17-18 (marzo-
abril 1927), p. 1830

80
life caused this tender soul to welcome and hasten the arrival of Death.

Isaac J. Barrera feels that Hedardo Angel Silva closes the door to the
Medernist movement in Ecuador.30

As the purposefulness of Modernism ends we begin to sense a new
motto forcing its way into poetry. The voices of protest ring in opposi-
tion to the uselessness of Medernism in Ecuador as that of Gonzélez
martinez had many years before. The literary voices of Ecuador become
one of purpose, a voice in protest against the social and political woes
of the society. This change, however, is not abrupt and the spirit of
transition will be seen in the literary works of Ecuadorian poets that

follow the school of Modernism.

 

30

6 Isaac J. Barrera, La Literatura del Ecuador (Buenos Aires, 1947)
p. 1.

Chapter VI
José Marla Egas
(1897- )
Mi alma es como la mfisica de un violin melancdlico
desahogéndese en rosas...Mi juventud es una
mujer que abre a1 azul sus ventanas de oro
y se queda extasiada bajo un claro de luna...(Ego)

José Maria Egas must be classified with the Modernist writers although
he does not yield unconditionally to the format of this school. He repre-
sents, to a great extent, the mood and insight of the Hexican artist Amado
Nerve, who served as a primary influence upon his production. As with
Amado Nerve, there is strong religious belief. He shows little of the
pessimism of the Modernists and employs a vocabulary that is easily under-
stood by the populus. The other writers of the modernist school generally
had scant concern for the masses and concentrated their efforts toward
pleasing the more sophisticated audiences.

Es un poeta pure y didfano...pobre de altas idealidades.

Per un lado, amor, amor humane...du1ce melancolia,

Suave resignacidn con la voluntad del Sefior...y per

otre lado, un santo anhelo de perfeccionamiento, un

generose afin de hacer de su vida una supreme oblaci6n,

un perenne sacrificio de holocausto.
José Maria Egas diSplays on one hand a love for humanity and resignation
to the will of God, while on the other offering himself as a sacrifice to
the world. These are attitudes differing greatly from those of the triUflh

virate or Medardo Angel Silva. Their attitude was to cultivate high ideals

 

1 Cesar Arroyo, "El Perfil del Poeta," Unc16n_y'otros_peemas (Quito,
1941). pp. 5-6.

 

81

82
Within their poetic works and, because there is no hope for humanity, to
withdraw from it.
we can eXpect more warmth from José Maria Egas than has to this point
been displayed. His works can be expected to be more universal than
individual in feeling although his personal experiences form the tepic for
his works and influence the tone. The masses find themselves able to
identify closely with his ideas. Religious devotion, perhaps, helps to
strengthen the relationship. Piety, however, is not the only phase
observable in this artist. There can also be noted a regression toward
the Romantic.
The popularity of José Maria Egas lies in three essential qualities:
...el haber sido premiado en un certamen universitario.
Su lacrimosa y musical ternura de oracidn. I la
recitacidn, emocionada y tierna, de su autor, en
multiples oportunidades.2
José Maria Egas captures the exotic tone of Hedernism but his primary
locations are the Holy Lands along with references to the Orient. This
characteristic is accompanied by reflection on days gone by. This is not,
however, a complete disregard for Optimism as witnessed in others of this
school in Ecuador. Igggiég is the revelation of the author's soul. He
follows the path cleared by Amado Nerve and Santa Teresa de Jesfis, but
cannot follow it to the end. Amado Nerve was able to state that life owed
him absolutely nothing, whereas J. maria Egas retains doubt as to the worth
of a sanctified existence in that it seemed that the image of good, his

image, was not strong enough to evoke change. "Pero no tuvo la fe para

llegar a1 término del viaje."3 This lack of faith caused Jose karia Egas

 

2 Hugo Alemén, Presencia del_Pasado (Quito, 1944), I, p. 204.
3 Ibid., p. 202.

 

83
to stray from the difficult road and take the path of the world. He would
not expect good for good, although he would continue to plant its seeds.
The poet incorporates this feeling into the beauty seen in his poems.
Les poemas de este exquisite y sentimental bardo

ecuatoriane se distinguen por su musicalidad interna

y externa; pero con una suavidad de tones, nunca

expresados hasta entonces, con una emocidn facetada

de las multiples impresiones recdnditas de su alma

y con una originalidad admirable de vocables para

describir y enoblecer los motives que canta.“
He reveals himself in his poems with words that are easy to understand
and most appropriate for describing the themes of his works. His self-
portrait "Ego" is sincere and truthful but less startling than that of
Ernesto Noboa Caamafio.

Mi alma es como la mfisica de un violin melancolico

desahogandose en rosas...Mi juventud es una

mujer que abre al azul sus ventanas de oro

y se queda extasiada bajo en clare de luna....

Escuche en mis veladas romanticas de ensuefio
ruisefiores humildes que cantan su tristeza;
y voy bajo la luna, come va un jardinero,

cuidande los resales de la madre Belleza.

Mi vida es una estela de llanto y de perfume
que dejo sobre el limpio cristal de mis cisternas....
Y llevo una atraccidn mistica que me une
a las cosas divinas y a las cosas eternas!5
The author describes his soul as the melancholy music of a violin. He
unashamedly opens his youth to scrutiny by mankind. The piety of the artist
is revealed. Whereas E. Noboa Caamafio associated himself with vice, J.

Haria Egas actively continued the doing of good. Finally he confesses the

religious devotion that serves to unite him with the divine and eternal.

 

4 Reginaldo Arizaga, Valores Poeticos de America (Quito, 1945), p. 274.

5 Jose Maria Egas, Uncidny otros poemas (Quito, 1941), p. 37.

84

The sadness disclosed seems to be in the form of pity for humanity. But
we can see that the artist is struggling by deed and example.to improve
the situation. This work, along with others found in Eggién, seems to emit
the incense of religion smelled upon entering a Holy Sanctuary. He must be
classified with the modernist, but placed at the vanguard of the movement
in comparison with the thought and action heretofore displayed. There is
likely to be more rapport between this poet and the common people as he is
discussing tepics of religious teaching and living being sought after by
them. The artist offers the rule for good living in these lines from
"In Eternum.”

Humedece tus labios en ondas de Letheo;

olvida, santifica todo humane deseo . . 6

y abrete como un caliz de amor a lo infinite!
These lines call for submission of self to all good works. There is a
close alinement here with the teachings to be found in the Bible.

We become acutely aware of the role of nature in the works of Jose
Maria Egas. Nature rates with religious faith as a parallel expression of
the ideal. Nature is the vehicle of his expression. There is constant
reference to the "garden“ and flowers. Blue and white dominate his moods.
"Blue" seems to be the world of dreams "mas a115," far away from the "white"
perfection to be achieved through man's good works on earth. The environment
of his works is molded around sadness and resignation. The smoothness with
which he attacks his theme has inspired the title of "El Duque de la

Suavidad."7 Evidence of the religious devotion of the artist is vividly

depicted in the poem "Con las Manes Juntas.”

 

6 Ibid., pp. 53-54.

7 César E. Arroyo, 22. cit., pp. lO-ll.

85

:Qué no diera, mi Dies, per merecerte!
{Que no diera, mi Dies, per alcanzarte!
Y coronar mi dicha, de tal suerte,

que ilusiones mi fe para quererte

y aguces mi dolor para cantarte!

Si en lengua humane se pudiera hablarte
y estos ojos--Ieh Dios!--pudieran verte,
ya me faltara unci6n para adorarte

y corazones para aprisionarte

y vases de piedad para beberte!

IQué no <iiera, mi Dies, para que un dia
supiera de tu purpura mi lode

de tu musics astral mi poesia,

y embeberme en tu santa eucaristia
e1 don de amar y comprenderlo todo!
Que mientras aparece en mi recodo
tu luminesa lampara que guia,
humildemente mis vergeles podo

para ver si florece de al fin modo
esta miseria de carne imp§a3

en la sutilidad de mis preguntas....
3Qué si tu gracia mistica alcanzara,
en éxtasis de amor, yo me quedara
toda la vida con las manos ‘juntas!8

These lines, showing a direct resemblance to the style of Santa Teresa de
Jesus, are indicative of the poet's religious vitality. With such faith
and devotion it seems odd that J. Maria Egas could not complete the journey
that would lead to complete satisfaction with life and the desire to aid men
in the search for Salvation. The deeds as well as the example of Jose Maria
Egas is compatible with those of men devoting their lives to the priesthood.
J. maria Egas refers to the desire that he has to be worthy of God and to
achieve the Salvation that He offers. He expresses satisfaction in not
being able to correspond with God on a human level, fearful that this would
destroy his faith and devotion. The artist seeks divine love and under.
standing through God. He expresses realization of the fact that .his sin

will be cleansed through divine pardon. There is no room for doubt in God.

 

8 Jose maria Egas, gp.‘git., pp. 87—88.

86

José Haria Egas prays for the survival of Grace through love and that he
may never disassociate himself from the Grace of God.

Jose Karia Egas does not attempt to analyze the cause for man's
behavior. He merely pities his incapability to accept God. Nor does the
artist question his own attitude toward faith. He represents blind faith,
the Herd taken as truth. It is for us, then, to examine the sincerity of
his dedication.

...en realidad,‘ese ser, que vive en pugna con el

medio, que siente afanes de renunciamiento y una

invencible nostalgia, de las disciplinas claustrales,

experimenta una sincera emocidn, algfin esotérico

deleite o, simplemente, obedece a una voluntaria

actitud que quiere ser epatante, en determinades

mementos?
The works of J. Maria Egas would indicate, in answer to the preceding
question as to the source of his attitude, that he is experiencing a sincere
emotion. Nevertheless, his dedication in the fight to change the thinking
of man to good is not permanent.

Religious piety is not a final stage in the development of the author.
He becomes disenchanted with religion and poetry. This disenchantment is
probably the fault of humanity and the apples of temptation offered by the
world. Jose Maria Egas registers some dngust with society for failing to
see the guide to good living offered by religion and his own good example.
It should be observed that the artist is presenting himself as an offering
for mankind as Christ had done two thousand years ago. Jose Maria Egas

intercedes for man. He first mentions the degrading state of man in his

work "Plegaria."

 

9 Huge Aleman, Presencia del Pasado (Quito, 1949), I, p. 195.

87

Tu siglo se muere de un mal improvisto.
Tu siglo esta loco, Senor Jesucriste.
Ya no hay alma, verso, ni luz, ni oracidn.
Y por eso llevo mi plegaria santa
que desconsolada llegara a tu planta
desde el incensarie de mi corazon.

Christ is called upon to pray for every element of society and "e1 santo
pais del Ideal," the Holy Land of the Ideal. If we are to interpret this
Ideal Land as Heaven, we must ask why it should be necessary to pray for it
in that it awaits the godly and offers a much better life. This may indi-
cate a straying or a wonderment about the life hereafter. On the other
hand this may be a reference to God's original desire for a world free of
sin and the hope that Christ will intercede so that perfection may be
achieved. I would be prone to feel that the author is not displaying doubt,
but is calling for help for the world. This seems to be verified in
"Eleg1a del Amer y del Verso." Here, however, can be noted a change in
attitude. This work is filled with resignation. Jose Maria Egas approaches

the others of the Modernist school in this poem in that he seems to have
given up.

Sefior...Para tu mundo no bast6 mi tesoro
de amor! Quise ser buene,

y cada vez que pude, para todo lo bueno,
como un misal de oro

se abrid mi corazdn!

Quise dar a los hombres lo que apenas tenia:
pan de mi fortaleza, nine de mi alegria,
oro de mi oracion.

Sobre todos los males

florecieron un dia tus misticos resales
en mi huerto, Sefior.

Hasta que ya no pude

y secaron mi fuente tus raices de amor.

 

10 Jose I-iaria Egas, g. cit., pp. 89-91.

88

Clare, que alguna vez dejé que el mundo ayude
sencillamente, come si fuera de razén

en mi ldgica santa...Porque yo no sabia

que era infitil ser bueno y que nada valia

mi corazdn!

Todo anhelo fue poco...

Para tu mundo loco

no bastaron las alas ni bastd mi cancidn!

Pues tus hijos, los hombres,

por quienes te pusieron una cruz, (Ino te asombros!)
al ver mis sienes mustias, la herida ensangrentada,
se alejaron de mi, come quien no hace nada!

LY para que este don...Y para que esta santa
locura de sofiar y'de vivir en una

relacidn misteriosa con el alma que canta

y con el ruisefior inebriado de luna?

aPara que este inefable palpitar de una entrafia
romantica, que fulge come estrella en el lode?

Y este afan inaudito de subir la montafia

y hacer ue el corazdn lo purifique todo!

LPara que tanta gracia? lA que tanto belefio?

tY para que esta angelica vestidura de suefio
sobre el irremediable corazdn de la Vida?

Si a1 fin hemos de ser los hijos del fracaso....
I 61 Verso es la locura de cincelar un vase -
para beber la sangre de nuestra propia herida!ll

Jose Maria Egas asks why should he set an example when it is to no avail.

In spite of all the good works that men of God display, they are destined

to be the sons of failure. The world is not prepared for, or it is ignoring,
the message that is being delivered.

Nature and patriotism also become internal attitudes steeped in idealism.
Each topic seems to expose some state of the author's soul. There is evidence
of earthly love observable in Jose Maria Egas. The other attitude toward
a woman except for the Virgin Hary is one of carnal love that is found in
"Lindica.” A gypsy fortuneteller is the mate in this love affair, which

the author describes in these lines:

 

11 Ibid., pp. 81-82.

89
Y en ese instante con uncion secreta,
fundi mi raza blanca de poeta 2
en su raza maldita de gitana.l
There appears to be the melting of the two bodies, that of the poet with
the corrupted soul of the gypsy. This seems to be representative of the
author's final phase.
The strongest attitude of defeat is found in "Desolacidn".
Ya que todos me ahogan en la paz del olvido
escanciaré la filtima gota de mi dolor;
y solo, con mi pobre tristeza de vencido,
me entregaré a1 refugie de mi vida interior.
{Seguire per la vida come per una selva
donde no llegue nunca la piedad de una luz
donde todos me huyan y donde nadie vuelva
los ojos a1 divino suplicio de mi curz!
3610 me queda un triste perfume del pasado....
Ye sigo per la vida come un abandonado
a quien se le abren todos los Senderes del Mal....
:Por eso es que mi rostro se consume de anemia
y las dos alas blancas de mi pobre behemia l
llevan rumbe hacia el puerto misterioso y final! 3
The author is turning inward. He flees from society. He plans to go
through life as if there were no pity. It appears that he will live the
life of the world. With sad resignation and pity for society, the artist
is defeated.
Religious fervor is not the only emotion expressed by Jose Maria Egas.
He is capable of strong patriotic expression. Nature has the dominant role.
It is not only beautiful but powerful. With all its power it yields, the
artist seems to feel, to the greatness of man. This attitude is vividly
expressed in the work "Dialogo de Cumbres". The author prepares the background.

12 Ibid., pp. 41-u2.

13 Ibid.

90

En todo hay una especie de temblor sobrehumano.

Y la escena es olimpica, misterosa, gigante,

digna del padre Romero, de Shakespeare 0 del Dante!
Es un soplo inmortal.... el que circula, acaso,
hasta en las mismas vertebrae andinas....
Y queda estupefacto el Chimborazo

entre la emulacion de las iras divinas.....

14

A shudder roars through nature so mysterious and so forceful as to disturb
the Andes and Chimberazo, a volcanic mountain of the Andes in Ecuador.
Chimborazo begins to ask, what can it be? The mountain tells how it has
never experienced a force so strong as to cause its granite base to weaken
and the mountain states that it was able to resist Bolivar, the liberator,
who was the greatest of great men.

Yo que en mis flances pude resistir (:ne te asombres!)
a Bolivar, el grande entre los grandes,

soberano y magnifico,

que en su delirio estremecie los Andes

y alucino el Pacifico.l5

There is even more power in this new element. dis brother mountain
Tungurahua replies:

1N0 le ves? gHo le palpas?--Espiritu sin mengua
orgullo de una raza, flor y prez de una lengua
Atalaya de un munde, fare de ideologia,

norte de la justicia y de los pueblos guia.
Nacié para romper ceyundas y prejuicios.

Adore la virtud, fustigande los vicios.

Temple su corazon en fraguas de Vulcano

y antes sus ojos negros palidecio el tirano
rebelde come un himno de luz, de independencia;
con su mane ciclepea liberté la conciencia.
Supo, come los grandes, de dolor y ostracismo.

Y cada golpe pude superarse a $1 misno.

Es él. lNe ves come alza sus trempetas la glerga?
RES Mentalvo que pasa redivivo en la Historia.1

 

1“ Ibid., p. 103.
15 Ibid., p. 10h.

16 Ibid., pp. 105-106.

A I 11

91

This work was written for the centennial celebration in memory of Juan
Hontalvo, a man dedicated to the preservation and purification of the
Spanish language and the political well-being of his country. J. maria
Egas displays a sense of pride in this work. Thisispmobably more the pride
for the individual, but also optimism for mankind. The tone hints of the
patriotic element and religion has a secondary role. It is more sensed
than eXpressed. José Maria Egas experienced the full phase of his develop—
ment: Piety, resignation, disenchantment with religion and an almost
complete separation from his old attitude, as witnessed in "Dialogo de
Cumbres". The artist seems at this point to be more a part of society than
ever before. He is not the saintly overseer of mankind but has his feet
firmly planted in the reality of life. There is little of the soul being
depicted as earlier observed. This poem seems to draw aWay from Mbdernism-
and give purpose to poetic production instead of the idealistic tendency
expressed by this school. The purpose of this work is to recall the
literary and political impact made by one of Ecuador's most outstanding
figures. It would seem "Diélogo de Cumbres" indicates a new direction
being develeped in Ecuadorian poetry. Remnants of Modernism are still
evident. It should be expected that its disappearance will be gradual with
the coming of new ideas and expressions with roots deeply embedded in the
practical, the patriotic, and the impersonal, with individual emotions as
attitudes having a lesser role than before. The descent of the curtain on
modernism is now well under way.

It may be felt because of the abundance of Romantic individuality,
parnassian and symbolist ideology, the melancholy temperament and tone

that Ecuador had no well-defined Medernist movement. Perhaps in clarifying

11 ulnal Ill|. ‘.| f. 1" I'll l

92

this feeling parts of the definition of Mbdernism (pages 33 and 34 of thesis)
quoted from Richard Chandler and Kessel Schwartz will be useful. Modernism
is considered to be a synthesis of all preceding poetic schools. The
writings of these poets are shaped by the French parnassians and symbolists.
Although Modernism is anti-Romantic, it is pessimistic in mood. Artifi-
ciality also stands out as a predominant attitude. Imitation is to be
expected from these Ecuadorian poets. Their imitation of writers naturally
followed their individual stylistic preferences. This very action of pick-
ing and choosing would seem indicative of Romanticism and Modernism in that
this action implies the demand for absolute poetic freedom. It appears that

Ecuador's Modernist writers well fit into this pattern.

Chapter VII
THE NEW DIRECTION OF ECUADORIAN POETRY

As Modernism was a reaction to Romanticism, there was a like reaction
to Hedernism. The idea of using "the beautiful for beauty's sake" was not
enough for those interested in giving purpose to Spanish poetry. Poets
who evolved as a result of Modernism, called.Renovators, had grown tired
of its coldness, its superficiality, its subjectivity. Their works express
a new temperament submerged in warmth and the reality of existence. Nicol
Fasejo (Falconi Villagdmez) in his book El Surtidor Armdnico states:

Hey, superada aquella etapa inconforme, rebelde

e iconoclasta—-teda mocedad lo es.-, volvemos los

ojos a los meldes eternos de belleza, a los clésicos

de la literatura universal...la Muse...se ha vuelto

esotérica, agndstica, y cabalistica para el comfin de

los mortales.l
.Now that the literary rebellion has run its course, there is a return to
the classic mode. There is a call for the more concrete, the tangible some.
thing that must be recognized. There is a disassociatien from the "isms"
that is accompanied by a new type of artistic maturity. Had the members
of the triumvirate and Medarde Angel Silva lived, perhaps they too would
have become a part of the new temperament.

The topic of man within his environment and his relationship to other

men becomes paramount among the Renovaderes, those hoping to return purpose

 

l Nicol Fasejo,'gp..git., p. 7.

93

1'1!" I ll

94

and meaning to poetic expression. Among the new qualities must be man's
confrontation with life as it is, the rapid passing of time, and the use-
lessness of recalling the events of the past without consideration of the
future. Serious consideration and concern for man announce and accent the
themes to be expressed by this new group of writers.

J. A. Falconi Villagdmez has been treated earlier as the author whose
works served as a bridge between the Romantic and Modernism movements.
It was mentioned that this author's relationship to Modernism was a quite
gintimate one. Falconi Villagdmez is a recognized leader for the young poets
and guides them.both into and out of the Medernist era. Thus, he displays
the complete cycle of Modernism in his works: (1) the tiring of the old
mode of expression and rebellion; (2) receiving and embracing fully the
new tendency, Modernism; (3) the disenchantment with.Mbdernism and its
principles and the urge to return purpose and meaning to poetic expression.
This should not be felt, however, to be an obligation of poetry. These ‘
tendencies may also be closely alined with the physical development of the
artists by associating rebellion.with youth, the establishment of new forms
with manhood, and a return to order and serenity with full maturity’of
middle age. There is evidence of new thinking in the poetic work of
Falconi Villagdmez as early as 1921. "Arte Poetica No. 2" sets the tone

for the new ideas:

Como la Rosa de los Vientos sea tu musa
atenta a1 alisio del Norte

voltaica, dinamica, ultra-cdsmica,

come a1 viento venido del Austro,

cuya brfijula mire hacia un Polo

y al otro;

mas alla de los limites cardinales,

de las latitudes remotas,

de los meridianos terrestres

y de los equinoccios.

95

Y tu, Poeta, 56 la antena

que recoja 1as vibraciones de Cosmos
espectacular y poli-f6nico

como el 6rgano de una Catedral.

Y canta todo lo que‘veas

sobre la tierra, digno y loable

de acuerdo con una personal estética,
pasando por la Venus rubia

y la hotentote calipigia...

Y sé también un poco enciclopédico
y otro poco cosmopolita,

para hablar el universal lenguaje
con todas las sirenas del Hundo

y olvidate de la Retdrica,

de la Academics y’la Sefiora Polilla
porque ya no hay amaticos en el Orbe
y los filtimos romanticos

murieron en Flandes 0 en las Argonas
0 en otro cualquier lugar de Europa,
luchando por esto o aquello

para que triunfe Artropos.

Asi, pues, arroja tus dados a1 aire,
Poeta dadaista,

sin que te importa el prdjimo una higa
pues asistes a tu propio espectaculo
sin cobrar tarifa.

Y que rujan los Zoilos y Sanchos,
los "estupendos criticos"

y por toda respuesta, regalales,

de vez en cuando,

como miel hiblea

o una esencia sutil por gotas,

la palabra eficaz y cportuna,
talisménica y heroica

de Cambronne.

Herein are rules for the new mode. The role of the poet is greatly
strengthened by the new literary philosophy proposed by Falconi Villagémez.
It is strange how this poem, although laying the foundation for a new
poetic school, contains so much of Modernism. The tone contains the cosmo-
politanism of the movement which is fast coming to an end. The preference

for the esdrfijula (dinénfica, cdsmica, brfijula, limites) is also evidenced.

 

2 mm” pp. 118-119.

96
The poet is to be receptive and attentive to reactions around the world
and to report everything praiseworthyt The artist must be erudite and
able to communicate with all elements of society. Falconi Villagémez
feels a need for originality and calls upon young artists to express this
quality 0
There has been in the preceding work a profound change in the think-
ing of Falconi Villagdmez. In his first "Arte Poetica" he states:
Odia, eso si, "vulgo municipal y espeso":
"margaritas ad porcum" no daréis a1 villano;
ellos gustan 1a miel en consorcio del queso,
pero ignoran del simbolo y el concepto de arcano.3
The idea of hating the life of the city and disregarding the villager seems
to point out a need for solitude on the part of the Medernist poet. This
feeling became artificial in some of the writers:
Later:
Entra, pues, a la selva sagrada de harmonia
y alli un instante tu mente reposa:
veras mas claro el luminar del Dian
mas sol el Sol y mas rosa la Rosa.
The author seems to indicate withdrawing into one's self for life's supreme
beauty, for life's ideal.
Finallyzh
Y en fin tuércele el cuello a la elocuencia como
pedia nuestro amado viejo Pablo Verlaine,
y para el critico de hocico romo
ten el supremo desdén de Ruben.5
It appears that the ideal of beauty was to be sought above all 6156. Later,

however, the poet is charged to observe and report to mankind. This change

 

3

4
.Ibid..

Ibid., p. 102.

5 Ibid., p. 10a.

97

visible in Falconi Villagdmez is perhaps due to the fact he was more open-
minded than others of the Modernist school. He has realized in "Arte
Poetica No. 2" that society has changed and so must literary expression
if it is to be recOgnized. Gone is the day of writing for one's personal
enjoyment. Now is the time to reflect the events and thinking of the world
to its people. The new purpose of poetry is clarified in his "Arte Poetics
No. 2".
In reference to his book E1 Surtidor Armdnico, Falconi'Villagdmez
writes:
Esta obra ha de ser jngada de acuerdo con

el criterio de Mao Tse Tung... 'la critica literaria

se bass on dos criterios: uno politico y otro

artistico. Sea cual fuere el genera de la sociedad

de class 0 de la class en la sociedad, el criteria

politico debe ocupar sgempre el primer lugar y el

artistico el segundo.‘
In accord with this quotation that expresses the idea that literature should
first be political and second artistic, it seems that Falconi Villagdmez is
attempting to awaken the poets to their importance in society. He would
agree that purpose and beauty must be intimately associated and inseparable.

Jorge Carrera Andrade follows the route prepared by Falconi Villag6mez.

His principle concern is with the world in a humanitarian and naturalistic
sense. There is evidence of deep concern and love for humanity. J. Carrera
Andrade explores the problems concerning men of every social stratum. The
simplicity with which the author discusses the natural wonders of this
hemisphere (countrysides, violent lights [Eh reference to tropical stormé7,
lands, seas, and mountains) causes his topics to take ongreater meaning.

J. Carrera Andrade is attempting to show the men of Ecuador the beauty of

 

5 Ibid., p. 214.

98
nature that surrounds them in America. He also hopes to introduce the
world outside of Ecuador to his countrymen. If J. Carrera Andrade can
awaken this interest, a primary purpose of his writings, it seems to me,
would be accomplished. It would appear that an even greater goal of his
poetry lies in showing his people and country to the world. He does not
become involved in the unreal. This is one of his most outstanding
characteristics. In his youth, the author emphasizes the doing away with
deminant attitudes of that time, dreaming and reflection. Isaac J.
Barrera reveals, however, that:
...es su reflexiva meditacidn, que se encuentra
cada dia mas, la que predomina en sus ultimas
composiciones.
J. Carrera Andrade is perhaps the most typical of the new school of
Renovators in that he is presenting a new sound and atmosphere into
Ecuadorian poetic production. I
we have seen hOthhere is a growing interest in the social aspects
of life. There was more concern for man's relationship to man and his
environment. The primary proponent of the social attitude was Gonzalo
Escudero. He represents a return to elegance and the epic tone which was
popular many years before. In theme and treatment, however, he is com.
pletely original. All topics are subjects to be reflected.
Artista complete bucea en la realidad 0 e1
misterio, en el amor y el dolor, en el jfibilo y
la angustia, en la parabola varia del viaje, en la
perduracién y en la muerte, en lo transcendental y

en lo efimero y sus gescubrimiento se traduce en los
I
sones mas vigorosos.

7 Isaac J. Barrera, Historia de la Literatura Ecuatoriana (Quito, l94h),
p. 81.

8 Augusto Arias, Antologia de Poetas Ecuatorianos (Quito, l94#), p. 245.

99
Reality, the mysterious, love and pain, joy and anguish, the parable, and

life and death are all lodged within his poetic expression. An early
affection for literature is awakened in this artist. Maturity in his think-
ing is also apparent at an early age. In his evolution there is to be
revealed a bold poet. The sounds and the movements that are to flow in
his works are to be violent. The author is not concerned with the per-
trayal of either serenity or violence in themselves, but with the full
gamut of thoughts and emotions experienced by mankind. In expressing
these feelings there is the accompaniment of a subtle melancholia and dis-
content. The interest in tracing the emotions of man through nature are
readily observable in the poem "Tu," which seems to be representative of
the style and the soft rhythmic disturbances to be found in the works of
Gonzalo Escudero. Evident is the ease with which the metaphor is brought
into play and the help it affords in the establishment of a particular
emotion.9 The repetition "Tu" seems to be only an object to which the
emotion can be associated. It is without gender and form, but in a greater
sense represents the object that would evoke the described feeling for each
individual. The seriousness of topic and the universal quality of the
reactions of men engrave the popularity of Gonzalo Escudero into various
strata of society.

Miguel Angel Léon was keenly conscious of the Indian tragedy in his

country.

 

9 Isaac J. Barrera,.§istoria de la Literatura Ecuadoriana (Quito,
1960): P0 11370

lOO
Palpd, con ojos encendidos de verdad, la tragedia

del indie. Hiri6 la sensibilidad de su espiritu—-ardiente

de justicia, --el doloroso espectaculo, la vida lamentable

y desgarrada del indie. La imagénacidn describid, también,

la humana rebeldia del indie...

"Elegia de la Raza" gives a sharp picture of the over-all situation. The
works of M. Angel Leon reveal the lack of concern for the Indian and the
difficult task of making him a part of society. The author shows familiarity
with the Indian way of life. His vivid descriptions are most realistic
reports of their customs. Later the artist establishes the Indian's right
in Ecuadorian society. He also gives support to the physical and mental
stamina of the Indian which grew out of a close contact with nature in all
of its diverse changes. The temperament of the Indian is seen in his dis-
regard for taking life and his adaptability to war. On the other hand he
is portrayed as a farmer, but proud and vengeful. The author seems to feel
the suffering and pain of being eXploited by the whites and the shame of
being subdued. The themes of Miguel Angel Leon are serious, provoking
concern for man's soul. The problems are vividly depicted and realistic

in comparison with those of the Modernist.

But the song of Miguel Angel Leon'was not the only one submerged in
social problems. This artist reveals the same seriousness of purpose found
in the former. Jorge Reyes associates himself with the underdog, with the
exploited. His ideals force him to be frank and truthful in all situations.
The emotion involved in dealing with social problems is universal in scope.
The manner in which the poet treats and deve10ps this problem makes it
regional in tone. M. Angel Leon describes the Ecuadorian social conflict.

He feels, perhaps, that a solution in Ecuador may aid other countries in a

 

10 Huge Aleman, Presencia del Pasado (Quito, 1953), II, p. 22.

101

similar crisis. Jorge Reyes has a new attitude to disclose in his writings.
He initiates a lightness of eXpression that was unknown until this time.

The awakening of Ecuadorian poetic production to meaning and purpose
seems to have entrenched itself completely within its literary society.
This can best be witnessed in a poem by Enrique Noboa Arizaga written
November 25, 1963. Inspiration for this work was found in the tragic
assasination of the President of the United States, John F. Kennedy. The
poet, it seems, has recognized fully his impact upon society and Enrique
Noboa Arizaga has captured a portion of the world's sorrow.

Palabras Para un Nifio Desolado

Ayer jugabas, mientras los ojos claros
de tu Padre, te miraban. Y del fondo

de su cristal azul, nacia un mar

para mojarte de ternura. Su mane, fuerte
en sostener el éguila nerteamericana,

se tornaba debil al soportar

tu peso do gorridn.

El tuvo

el destino de América, gravitando

en sus hombres,

Pero,

sobre su corazdn,

pesaba, aun mas,

el continents de trompos

de tu vida. El protegid, en tu paz,

la paz de todos: de los negros del Sur,
en Alabama; de los indies bronceados

de los Andes; de los mineros sucies

de Bolivia; del marinero de los fiords
de Alaska y el pescador austral de Patagonia.
El descubrié en tus ojos

la ventana

para mirar a Dios.

P uefio Niho de oro,

Ldonde estaran ahora:

el trigo de tu pele, abatido

per la tempestad de Dallas; la risa
de tu beca, repartiende manzanas

en la hora de la cena familiar?

102

LMMe

caminaran tus pasos

insegures; de que mane

suspenders, inhabil,

la tuya: el fruto

de tres afios, florecido

del arbol irlandés?

£D6nde el pecho del héroe?

Lande la rosa de la sien, herida?

La blanca piel del hombre, amortajada:
narciso rubio en Arlington, creciendo.
Lande la vez huracanada para gritar
la libertad

y que, cerca de ti,

se velvia brisa inocente

para nombrarte?

John, pequefio John, minuscule gigante
de una estirpe dorada de ojos claros
y buenos. Niho triste

y dolido. Nifio, de pronto, viejo,
con la vejez de todos

los huérf 5

del mundo o

This work shows the concern for humanity indicated by Falconi Villagémez.
It also reveals paternal concern for "Little John," son of the president.
The outstanding aspect is not only the fact that the man assassinated was
the president of the United States,but that he was also-a father. This
work, simple in its beauty, warm and stirring in tone, establishes the
reality that the poets of today are aware of a greater sense of responsi-
bility than was portrayed by the Modernists. Through their literary talent,
man is made to see and feel the exotic but with the full realization that
there can be no escape from the world's problems because we are a part of

them and have a duty to assist in solving them.

 

11 Enrique Noboa Arizaga, "Palabras Para un Nifio Desolado," El Comercio,
QUito , 1963 o

CONCLUSION

There are definite parallels that accompanied the Modernist move-
ment in its varied localities. The arrival of European influences in many
areas of the western hemisphere sparked a type of renaissance in literary
productivity and cultural formation. This renaissance best exhibited
itself in imitation, but it prompted muchpneeded advances. In literary
production, many countries were looking to the past for style, ideas and
mottos.

It has been noted that the retardation of Modernism in Ecuador was
due to its internal problems which were political in nature. The objective
of the early colonial writers was to enrich the language by the imitation
of ancient authors. They looked to Europe during their period of literary
development and found in Homer, Dante and Virgil the necessary guidelines.
The writings began to mature as authors felt the impulse to relate their
discomfort. In Ecuador this stage may be seen in the Jesuits. Men like
Padre Juan Bautista de Aguirre and Padre Ram6n Viescas wrote of the torment
of exile. The struggle for independence inspired Jose Januin Olmedo to
discuss the deeds of Simén Bolivar. Olmedo had a personal acquaintance
with the Liberator and his reporting of events was a successful attempt at
introducing the style of the epic Ecuador. The rigid style of the classical
mode nurtures the writers of the colonial and nee—classical periods.

The arrival of Romanticism announced a decided break with the rules

and restrictions of the classical school. The individual becomes

103

le

important. The author, in being subjective, implies that others should
be interested in him and his problems and feelings. The role of death
and pessimiSn is heightened. Sorrow and suffering are exaggerated. There
are those among the Romantics who attempt to examine man's reason for being.
In this attitude, Julio Zaldumbide must be acknowledged as outstanding.
Remanticism takes on a completely original aspect in Ecuador in its waning
years. This mood, mariano, was characterized by the glorification of nature
and giving praise to the Virgin Mary. The writer who best exemplified this
attitude was Remigio Crespo Toral. This shade of Romanticism enjoyed its
greatest popularity in Cuenca, a city with strong religious convictions.

The transition to Medernism was accomplished through realism and
after adoption of the ideas and philosophy of the French parnassians and
symbolists. Cesar Borja is first among the Ecuadorian poets displaying
admiration for the new style which represents a return to searching for the
precise words to express an idea and the employment of subtle hints. The
poets whose works are maturing around 1910 have taken advantage of the
aforementioned movements and writers that brought Medernism into prominence.
They begin to write in the style of the master, Ruben Dario. This style,
Modernism, is characterized by stretching the Spanish.vocabulary to its
limits. It is cosmopolitan and exotic in its attitude toward subject
matter. Modernism perhaps may best be described as a synthesis of the
preceding movements.

The men that professed the new attitude in Ecuadorian poetry were
Arturo Borja, Ernesto Noboa Caamafio, and Humberto Fierro. These poets,

called the Trilocia, were of aristocratic background and rebelled against

 

their society. Their temperament was such that they did not work actively

105

to alter society, but withdrew into themselves to concern themselves with
the expression of beautiful thoughts and ideas away from life's realities.
Medardo Angel Silva is felt to be the most pure of Ecuadorian modernists.

.It appears sufficient to state that Gonzalo Zaldumbide, an Ecuadorian critic,
feels some of the poems of Medardo Angel Silva could pass for unpublished
works of Dario.

Jose Maria Egas bridges the gap between the Hedernists and the new
poetic school of Renovators. The doctrinaire of this new movement becomes
J. A. Falconi Villag6mez. In recognition of the superficial tones of
Modernism, he gave a more realistic purpose to poetic development.

Falconi Villagémez became tired and bored with the idea of beauty without
purpose. This new feeling beganto creep into poetry with the appearance of
Jose maria Egas, who was first of the transitional poets to display con-
cern for humanity and the soul of man. The result was to give meaning

to poetic production but without complete disregard for beauty. Purpose
and beauty are married in a ceremony approaching the realistic. As such,
a primary theme of Falconi Villagdmez seems to be: Reality clothed in
beauty. The poets are delegated much responsibility in recording world
reaction, culture, and emotions. It is unavoidable that they use their
poetic talent to communicate not only to society's elite, but to the
common man. There are two paths explored by the Renovators. One path led
to Europe in the examination of its people and landscapes. The other was
chiefly internal. Though closely alined with patriotism and national
pride, social aspects of life were paramount. In Ecuador the discussion
centered around the Indian, his subjugation and exploitation. To arouse
and agitate the conscience of society became the purpose of poetry. Com-

passion was the omnipresent attitude. First among the remedies was an

106
alteration of thinking relative to the Indian. It should be recognized
that this new form also parallels the development of Ecuador politically
and socially. As governmental problems are eased, society can better
examine, compare, and explore. Humanitarian ethics are brought into
clearer focus. The new movement also required the poet to be both truth-
ful and realistic. These characteristics seem faithfully adhered to by
Ernesto Noboa Arizaga as he displays warmth and deep concern for mankind
and the son of the assassinated president of the United States. The
regionalistic mood that had been predominant is subordinated by sympathy
and sorrow for the tragedy of a neighbor country. Ecuador's poetic
development demonstrates and reflects the thinking of its people at all
stages in its political as well as literary formation.

I have attempted to discuss the development of Medernism in Ecuador
and to bring into greater focus the works and lives of men who were its
strongest proponents. In order to do this I felt it necessary to sketch
briefly the poetic period prior to and following Modernism. I feel that
the Hedernist poets of Ecuador represent the moods and stylistic perfec-
tion worthy of the recognition that has been bestowed upon Jose Asuncidn
Silva, Gutierrez Najera, Jose Marti and other precursors of this school.
This is not to take away or belittle the well-earned prestige of these
men. my only objective is to add these Ecuadorians to the list of those
who increased the brilliance of the light cast by Ruben Dario. In the
examination of the entire picture herein presented, one is again made aware
of the tremendous range and popularity of Modernism in the large and small
countries.

Arturo Borja, Ernesto Noboa Caamafio, Humberto Fierro, Medardo Angel

Silva and Jose Maria Egas depict in their works the scope of Medernism

107
from its appearance as a well-defined movement to its period of degeneracy
and replacement in Ecuador. These hen displayed the aromas, ideas, colors,
symbols and the temperament compatible with members of this movement. They
so completely and perfectly evoke the characteristics of Modernism, in my
opinion, that it is surprising that they have not achieved more universal
recognition. I should hope that future study and examination would serve

to reward them with the high esteem they so richly deserve.

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