Abstract
In this article, is made an approximation from the Stylistics and the Comparative Literature of religious poems of the Mexican poet Alfredo R. Placencia (1875-1930) and the Spanish poet Blas de Otero (1916-1979). Through analysis, it is identified in his works the configuration of the human and the divine being and the way they enter into dialogue. The poems studied “La caña quebrada” (1924) and “Muerte en el mar” (1951) have as their common characteristic their apostrophic character, its means, that the verses are addressed to an interlocutor who, in all cases, will be an image divine, who by silence or absence, does not respond to the questioning of the poetic subject. The interpretation of the poems through Comparative Literature, after the stylistic analysis, allows to observe common features with a type of religious poetry characteristic of the Hispanic environment, as well as more universal aspects of religious poetic production in the first-half 20th century.
Highlights
The interpretation of the poems through Comparative Literature, after the stylistic analysis, allows to observe common features with a type of religious poetry characteristic of the Hispanic environment, as well as more universal aspects of religious poetic production in the first-half 20th century
Nos encontramos con una poesía religiosa humanista que busca definir al hombre, aunque una figura del hombre distinto en ambos casos: Blas de Otero nos ofrece la imagen de un hombre-yo poético más violento y retador, un yo en soledad metafísica que reniega de la misma; mientras que en el poema de Placencia encontramos un yo aferrado a creer, pero lleno de dudas, un yo que tiene una esperanza no basada en certezas sino en deseos, un yo que busca ser vencido, pero más que a él mismo, busca que la incertidumbre sea vencida por parte del dios
Summary
The interpretation of the poems through Comparative Literature, after the stylistic analysis, allows to observe common features with a type of religious poetry characteristic of the Hispanic environment, as well as more universal aspects of religious poetic production in the first-half 20th century.
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