{"id":4179,"date":"2024-01-07T06:26:37","date_gmt":"2024-01-07T11:26:37","guid":{"rendered":"https:\/\/grupopiramide.com.mx\/vertice\/?p=4179"},"modified":"2024-01-07T09:03:48","modified_gmt":"2024-01-07T14:03:48","slug":"ensayo-un-poeta-coreano-ko-un-enrique-sainz-2","status":"publish","type":"post","link":"https:\/\/grupopiramide.com.mx\/vertice\/literatura\/ensayo-un-poeta-coreano-ko-un-enrique-sainz-2\/","title":{"rendered":"Ensayo | Un poeta coreano: Ko Un | Enrique Sa\u00ednz"},"content":{"rendered":"

Enrique Sa\u00ednz<\/strong><\/h4>\n

(Segunda parte)<\/strong><\/h4>\n

Radicalmente otro estilo, otra manera, hallamos en los libros m\u00e1s cercanamente influidos por su etapa budista \u2013donde es muy evidente la filiaci\u00f3n de sus textos a esa est\u00e9tica\u2013, si bien esa es una manera que vuelve y reaparece en diversos per\u00edodos a lo largo de toda su obra, tan hondamente influida por sus lecturas juveniles y por la tradici\u00f3n en la que se fue integrando su car\u00e1cter y su sensibilidad.<\/p>\n

Dentro de esa dimensi\u00f3n de su poes\u00eda hay textos memorables en su sencillez y en su capacidad de aprehensi\u00f3n de instantes que quedan ya fijos en los escasos versos del poema, como sucede especialmente, por ejemplo, en el poemario \u00bfQu\u00e9? (Poemas zen)<\/em> (1991), donde la percepci\u00f3n de la realidad y el di\u00e1logo del poeta con el entorno alcanzan un refinamiento realmente conmovedor en la simplicidad de sus l\u00edneas y en la s\u00edntesis de sentimiento y objetividad.<\/p>\n

De singular belleza son estos ejemplos del libro de 1991:<\/p>\n

A la monta\u00f1a crepuscular <\/em><\/p>\n

grito: <\/em><\/p>\n

\u00bfQu\u00e9 eres t\u00fa? <\/em><\/p>\n

\u00bfEres?<\/em><\/p>\n

(\u201cEl eco<\/em>\u201d)<\/p>\n

 <\/p>\n

Al esti\u00e9rcol seco <\/em><\/p>\n

ni la mosca se arrima. <\/em><\/p>\n

\u00a0<\/em><\/p>\n

\u00bfNo es esto Tierra Pura? <\/em><\/p>\n

\u00bfNo?<\/em><\/p>\n

(\u201cLa tarde<\/em>\u201d)<\/p>\n

Diluvia todo el d\u00eda. <\/em><\/p>\n

No se ven bestezuelas <\/em><\/p>\n

en la tierra. <\/em><\/p>\n

\u00a1Est\u00e1 bien! <\/em><\/p>\n

Salgan bestezuelas, <\/em><\/p>\n

jueguen bajo la lluvia, <\/em><\/p>\n

que el\u00a0 cielo abrir\u00e1 <\/em><\/p>\n

ma\u00f1ana <\/em><\/p>\n

o <\/em><\/p>\n

pasado ma\u00f1ana.<\/em><\/p>\n

(\u201cEl chaparr\u00f3n<\/em>\u201d)<\/p>\n

A prop\u00f3sito de su filiaci\u00f3n budista, nos dice la estudiosa coreana Sung-Chul Suh<\/strong>, especialista en literatura hispanoamericana, doctorada en letras hisp\u00e1nicas por la Universidad Nacional Aut\u00f3noma de M\u00e9xico y traductora a su lengua de obras de Gabriel Garc\u00eda M\u00e1rquez<\/strong> y Carlos Fuentes<\/strong>: \u201cPara \u00e9l, el budismo no es una religi\u00f3n dogm\u00e1tica sino una mina virgen en relaci\u00f3n con su trabajo intelectual.\u201d<\/p>\n

En esa tradici\u00f3n tan suya est\u00e1n los inicios de sus reflexiones y de sus b\u00fasquedas, si bien en la primera etapa de su escritura se percibe una poderosa impronta del nihilismo y de la conciencia de la muerte, como observa la estudiosa que mencionamos al referirse a esos inicios. La presencia de esa corriente de pensamiento es consecuencia, anota la ensayista, \u201cde la ruina que dej\u00f3 la guerra, y de la escasez general.<\/p>\n

El existencialismo era m\u00e1s que una moda en aquella \u00e9poca. Lo m\u00e1s llamativo de su nihilismo radica en que fue resultado singular de su autorrealizaci\u00f3n y de la experimentaci\u00f3n profunda de su entorno.\u201d Aunque en aquellos a\u00f1os est\u00e1 el poeta bajo la influencia del nihilismo, su historia personal y su espiritualidad, que tan perceptivo lo hace para esa cosmovisi\u00f3n, lo conducir\u00edan hacia la filosof\u00eda budista, por lo que en cierto sentido podr\u00edamos considerar que ambos est\u00e1n \u00edntimamente relacionados en la evoluci\u00f3n creadora del poeta.<\/p>\n

De la conciencia desesperada de Sensibilidad desde la otra orilla <\/em>(1960) \u2013su primer libro, al que siguieron Cantos a la orilla del mar<\/em> (1966) y La aldea de Dios y de las palabras<\/em> (1967)\u2013 hasta En la aldea Munui<\/em> (1974) \u2013\u201cpunto crucial en el mundo creativo de Ko Un\u201d, pues en \u00e9l comienza a desentenderse de los conflictos de orden trascendentalista que fueron conformando sus textos anteriores y se abre a problemas concretos de la realidad social\u2013, podemos ver la transformaci\u00f3n que conduce su obra hacia lo que podr\u00edamos llamar su palabra budista, con un libro de esos a\u00f1os: La soledad del viajero<\/em>, p\u00e1ginas repletas de experiencias dis\u00edmiles, de percepciones de una espiritualidad que se detiene en peque\u00f1os detalles del suceder \u00edntimo y de los hechos de la realidad cotidiana, a la manera de los haik\u00fas, poemas de un linaje secular, como en estos ejemplos:<\/p>\n

    \n
  1. <\/li>\n<\/ol>\n

    Noche profunda. <\/em><\/p>\n

    Parece que no existo. <\/em><\/p>\n

    Me acuesto de espaldas. <\/em><\/p>\n

    Olv\u00eddate del sonido de la lluvia, <\/em><\/p>\n

    olv\u00eddate totalmente <\/em><\/p>\n

    hasta del sonido de la lluvia <\/em><\/p>\n

    el pr\u00f3ximo a\u00f1o, y el siguiente despu\u00e9s\u2026\u00a0 <\/em><\/p>\n

    45.<\/em><\/p>\n

    Tiro una piedra. <\/em><\/p>\n

    Tropieza con la oscuridad <\/em><\/p>\n

    y nace un sonido <\/em><\/p>\n

    que me acompa\u00f1a en el camino de la noche. <\/em><\/p>\n

    Aunque andaba solo. <\/em><\/p>\n

      \n
    1. <\/li>\n<\/ol>\n

      Aquel \u00e1lamo est\u00e1 parado, mudo <\/em><\/p>\n

      en la noche. <\/em><\/p>\n

      \u00bfSusurraba demasiado en el d\u00eda? <\/em><\/p>\n

        \n
      1. <\/li>\n<\/ol>\n

        Veo la manga gastada <\/em><\/p>\n

        de mi h\u00e1bito budista. <\/em><\/p>\n

        \u00a1Ah, he vivido! <\/em><\/p>\n

        \u00a1Ah, he vivido!<\/em><\/p>\n

        \"\"Enrique Sa\u00ednz<\/strong> (La Habana, Cuba, 1941-2022). Autor de, entre otros libros fundamentales de ensayos cr\u00edticos: Di\u00e1logos con la poes\u00eda<\/em>, La obra po\u00e9tica de Sinti\u00f3 Vetiver<\/em>, Indagaciones<\/em>, La poes\u00eda de Virgilio Pi\u00f1era: ensayo de aproximaci\u00f3n<\/em>, Silvestre de Balboa y la literatura cubana<\/em>, La literatura cubana de 1700 a 1790<\/em>, y Trayectoria po\u00e9tica y cr\u00edtica de Regino Boti<\/em>.<\/p>\n

        Si le\u00edste este ensayo, tal vez te interese leer:<\/p>\n

        Ensayo | El \u00faltimo enigma de Joyce ha sido develado | Carlos Torres<\/a><\/h6>\n","protected":false},"excerpt":{"rendered":"

        Enrique Sa\u00ednz (Segunda parte) Radicalmente otro estilo, otra manera, hallamos en los libros m\u00e1s cercanamente influidos por su etapa budista \u2013donde es muy evidente la … <\/p>\n","protected":false},"author":5,"featured_media":4181,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5,560,6],"tags":[762,325,1288,1289],"class_list":["post-4179","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ensayo","category-literatura","category-poesia","tag-enrique-sainz","tag-ensayo","tag-ko-un","tag-poesia-coreana","latest_post"],"yoast_head":"\nEnsayo | Un poeta coreano: Ko Un | Enrique Sa\u00ednz - V\u00e9rtice<\/title>\n<meta name=\"description\" content=\"El maestro Enrique Sa\u00ednz estudia la poes\u00eda del connotado escritor coreano Ko Un.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/grupopiramide.com.mx\/vertice\/literatura\/ensayo-un-poeta-coreano-ko-un-enrique-sainz-2\/\" \/>\n<meta property=\"og:locale\" content=\"es_MX\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ensayo | Un poeta coreano: Ko Un | Enrique Sa\u00ednz - 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