Ruben Dario's Final Profession of Pythagorean Faith

SN SEN TW. \a 82. RUBEN DARIO’S FINAL PROFESSION OF PYTHAGOREAN FAITH* THEODORE W. JENSEN Because of their richness, and the multiple currents encountered in his works, and perhaps the paradoxes and eccentricities of his life, scholars have been reluctant to hypothesize that any one of countless ideologias fideologies/ or manías {whims/ manifested in Rubén Dario’s writings might be predominant. Consequently, while some analysts have begun to point to Pythagoreanism as a strong influence on the Nicaraguan bard, only Raymond Skyrme and Erika Lorenz have come close to a complete disclosure of its real importance.‘ Yet it appears that even they have not presented a comrelationship between Dario and /o pitagérico plete picture of the /Pythagoreanism/. At the risk of seeming presumptuous, but in the interest of promoting deserved scrutiny of this aspect of the poet’s art, this writer suggests that Rubén Dario was, in fact, a modernista Neopythagorean. Pythagoreanism was not just a poetic device, but a way of life for Dario, whose interest commenced at an early age and continued evolving until his death. Furthermore, Rubén’s failure to attain Pyythagorean harmony in his own life, due to conflict between his Christian up-bringing and his pagan yearnings, was one of his great disappointments, and is reflected in the melancholy lines and verses of his final works. Since there is scarcely space here to consider the major elements of Old Pythagoreanism and their mutation over the centuries into Neo Pythagoreanism, let alone investigate their role in the twentieth century Pythagorean Society’s esoterica, let us instead pause briefly to outline those characteristics associated with Rubén’s pitagorismo, what we might loosely describe as «Theosophic Pythagoreanism»: , 1. A rhythmic conception of the universe. The universe consists of a series of dualisms, of opposing forces, unified and preserved from chaos by a divine cosmic harmony. 2. Number is the key and secret foundation of this harmony. Music represents the best example of the relation of number to harmony. LATIN AMERICAN LATER ARY y Review \S (ss.2s) CAB) PP 9 3. Immortality may be achieved through a series of reincarnations or transmigrations of the soul (metempsychosis), which need not reappear in human form,

THEODORE W. JENSEN currents encountered in his Because of their richness, and the multiple the of and and his eccentricities scholars works, life, paradoxes perhaps to hypothesize have been reluctant that any one of countless ideolog?as or manias /whims/ manifested in Rub?n Dar?o's writings might /ideologies/ while some analysts have begun to point to be predominant. Consequently, as a strong influence on the Nicaraguan bard, only Ray Pythagoreanism mond Skyrme and Erika Lorenz have come close to a complete disclosure of its real importance.1 Yet it appears that even they have not presented a com Dar?o lo pitag?rico of the relationship between and plete picture /Pythagoreanism/. At the risk of seeming presumptuous, but in the interest of promoting deserved scrutiny of this aspect of the poet's art, this writer suggests that Rub?n Dar?o was, in fact, a modernista Neopythagorean. Pythagoreanism was not just a poetic device, but a way of life for Dar?o, whose interest com at an early age and continued menced evolving until his death. Further in his own life, due failure to attain Pyythagorean more, Ruben's harmony to conflict between his Christian up-bringing and his pagan yearnings, was one of his great disappointments, in the melancholy lines and is reflected and verses of his final works. Since there is scarcely space here to consider the major elements of Old over and their mutation the centuries into Neo Pythagoreanism let alone investigate their role in the twentieth century Pythagoreanism, let us instead pause briefly to outline those Pythagorean Society's esot?rica, characteristics what we might loosely associated with Ruben's pitagorismo, describe as ?Theosophic Pythagoreanism?: 1. A rhythmic conception of the universe. The universe con sists of a series of dualisms, of opposing forces, unified and from chaos by a divine cosmic harmony. preserved 2. Number is the key and secret foundation of this harmony. Music represents the best example of the relation of number to harmony. 3. Immortality may be achieved through a series of reincarna tions or transmigrations of the soul (metempsychosis), which need not reappear in human form.

Review to confuse and Platonism, Orphism, tendency Pythagoreanism. 5. Great interest in the occult sciences, and also in the esoteric of Pythagorean doctrines of oriental religions, as manifestations 4. A correspondences. between Old Chris with the confrontation 6. A preoccupation or Roman ones. tian or Jewish cultures and the Hellenic 7. A rejection of positivism through an attack on its excesses an and occasioned unlimited, consequently by (and and its evil science, rejection of faith in favor of pythagorically) reason. These were not arbitrary ideas, nor did they just happen to occur to Rub?n The first three are traditionally Pythagorean; through divine illumination. the unusual nature of the others is derived from a variety of sources which of the epoch, especially his friends influenced Dar?o and other modernistas Before dealing with the Pythagorean Lugones and Amado ?ervo. Leopoldo of his sources must first elements of Dado's works, some of the background be reviewed. core was based on readings of classical sources Dar?o's Pythagorean such as Ovid and Plotinus, Heraclitus, Plato, and others.2 But superimpos but vitally ed over those was a little-scrutinized, important, pseudo was Dario touched the influence: Society. Theosophical deep Pythagorean with its spokeswoman, in spite of a later disillusionment ly by Theosophy, one especially Dar?o became a theosophist/ Helena Petrovna Blavatsky.3 from He Unveiled.5 drew its Isis doctrines in interested many Blavatsky's soon those of the Pythagorean ideas and motifs, kind, which especially had an immediate influence on found their way into his works. Theosophy and Dar?o admitted that it contributed his short-stories, poetic inspiration. are at such as ?A?N,? least vestigially His poems, theosophic Pythagorean/ was founded in the third century believe that Theosophy Theosophists Ammonias A.D. movement, Saccas, by the initiator of the Neoplatonist and Iamblichus were in and that the Neopythagoreans Porphyry, Poltinus, This would explain why there is a strong Pythagorean deed theosophists.7 to and the also why?through basis doctrines, yet theosophical stress nature of the occult those influence?they Neopythagorean elements. Pythagorean tomes many Pythagorean in Blavatsky's Dar?o encountered teachings, ones not set forth as theories, but rather as arcane truths, lost or concealed For instance, Blavatsky and from general knowledge. discusses healing times medicinal powers of music, listing examples from ancient to modern theory of the music of (Iris, I, 215). She defends at length the Pythagorean it (Iris, I, the spheres, using scientific evidence of her era to substantiate it to the nature of man, the microcosmic linking 275). She discusses

Rub?n Dar?o's Faith 9 Monad (Iris, I, 212). She suggests that Pythagorean Pythagorean metemp link in the chain of evolution? would if supply ?every missing sychosis scientists could be induced to study it closely modern and (Iris, I, 9), deliberates upon it herself in great detail (Iris, I, 328 & 351). She reviews sacred numbers (Iris, I, 9) and refers to Plato, who maintained Pythagorean was 12 (Dodecahedron) that the Pythagorean the geometrical figure as ?the ardent in constructing the universe, of employed disciple theories were (Iris, I, 9). She states that all of Copernicus' Pythagoras? taken from Nicholas De Cusa's De Docta and that De Cusa Ignorantia, derived his data from ?Hermes and the works of Pythagoras.?* Blavatsky also presents the Neopythagorean concept of the nature of the soul as a basis for spiritualist for vampirism theories, and an explanation (Iris, I, 499), somnambulism, prophecy and clairvoyance (Iris, II, 588 & 591), and mesmerism that Pythagoras himself was a (Iris, II, 588), emphasizing mesmerist in code, said (Iris, II, 77). Pythagorean writings were done so that to the initiate, mathematics?for meant Blavatsky, example?really ?Esoteric Science, Gnosis (magic)? (Secret Doctrine, III, 45). One of the most striking theosophic themes, which greatly influenced is established the between and Christian Dar?o, relationship Pythagorean as a St. Luke is Essene, and Christian metaphysics. presented Pythagorean ideas are seen as being derived from those Pythagorean Essenes (Iris, II, of John is said to have been 144). The Gospel truly written by a ?All that is grand and noble Neopythagorean (Iris, II, 91). Says Blavatsky, in Christian comes from Neoplatonism.? theology III, (Secret Doctrine, comes very close to claiming that Jesus himself was a 307) In fact Blavatsky Essenes Pythagorean, noting that he spent his youth with the Pythagorean and (Iris, II, 548), claiming that ?All his sayings are in a Pythagorean spirit, when not verbatim repetitions.? (Iris, II, 337) She compared sentences from the Pythagorean,? with verses from the New Testament ?Sextus, (Iris, II, of Pythagoreanism 338). And still there is more, including an association with the Orient and Middle East (Iris, I, 347). This assumes the form in Dar?o's works of a fascination for the meeting of pagan with Christian a Verlaine?), and his often noted pagan-Christian (?Respono bipolarity.* And finally, Blavatsky's and Comte scathing attacks against positivism must have highly influenced Dario. In any case, by 1890 he was quite anti more as Dar?o's and that became evident in interest positivist, and other esoteric increased.7* Pythagoreanism, theosophy philosophies Another important source, although perhaps not as much so as Blavat in later nine Sch?re, one of the leaders of spiritualism sky, was Edouard teenth century France. A significant fount of Pythagorean he is motifs, perhaps viewed too seriously by some scholars insofar as his Pythagorean Sch?re was a much more skillful writer than Blavatsky, expertise. While their thoughts were very similar, they published in the same era, and?most influential Les Grandes Initi?s [The intriguing?one chapter of Schru?'s was Great as Pythagoras later published and the Delphic Initiates]

Review so that Pythagoras is called a theosophist, with slight alterations Mysteries, the ?very heart of the theosophic the ar and Pythagoreanism doctrine, a corner of the veil of Iris to canum of religions and philosophies...raising All the previously noted the light of Greek genius.?77 theosophic are to be discovered in of Blavatsky, and more, statements Pythagorean an Initi?s. association of Grands Schur? Les Schur?'s stresses, moreover, connec with Apollo. The Apollo and Pythagoras Christ with Pythagoras, tion is already superbly studied by Erika Lorenz, and is an essential hidden with Apollo and in Ruben's influence poetry, and behind his fascination a of confusion and in Indeed, Orpheus seeming Pythagoras Orpheus?'2 Dar?o's spirit may be noted in these verses from ?En las constelaciones? (1980) /?In the constellations?/: le?a; Yo en las constelaciones Pit?goras se dentro del alma m?a el confundido han leo, pero pitag?ricas en el alma de Orfeo.73 alma de Pit?goras En las constelaciones in the would constellations read; Pythagoras within soul read have but constellations I, my Pythagorean in the soul of Orpheus.] the soul of Pythagoras become confused [In the This blend of Orphic and Pythagorean may be a direct influence of Schure. sees a in fact, Lorenz, deeper meaning behind the main mythological images of Dar?o, which she believes mask a Pythagorean concept of universal har the occult nature of Schur? Like emphasizes Blavatsky, mony." comes term from the the that ?esoteric? teachings, noting Pythagorean with the Schur? also links Pythagoras initiation ceremony. Pythagorean the Persian Chaldean magic, Magi, theurgy, ?Mysteries,? magic, Egyptian and the Jewish Kabal.?75 With sources like Blavatsky and Schur?, it becomes more comprehensi derived some of their more unconven ble how Dar?o and other modernistas were still other sources, also, ones beliefs. there tional Pythagorean Yet, more of inspiration, perhaps, than information. Among these must be listed Honore Louis de Balzac de Nerval, G?rard (Seraph?ta), Hugo, Paul Charles de Leconte Lisle Verlaine, Baudelaire, M?nard, (?Dies Irae?), Antoine Fabre d'Olivet, Camille Swedenborg, Eliphas L?vi, Franz Mesmer, and Edgar Allan Poe.76 But let us now turn from Dar?o's Flammarion, literature. sources, to his Pythagorean Pytahagorean to the high artistic standards he success in owed is Dado's part literary set, ones rarely seen since the masters of the Spanish Golden Age. His works manner: are beautiful in the Aristotelian they elicit the highest pleasurable the exercise of intellect upon con that of contemplation, human experience, suggestive of design cepts. The plots, when they exist, evince organization or appropriateness. Interior elements may appear to occur by chance, but desire. They evoke katharsis within there is ample evidence of a controlling Victor

Rub?n Dar?o's Faith 11 the reader. At times this takes the form of pity or fear, but most often it is that less-talked of katharsis which gratifies one's sense of human dignity. For his works were not didactic vehicles, but rather, ones which explored is expressed the relation of man and universe. That exploration frequently in Pythagorean ideals. terms, and explores Pythagorean Dar?o usually made his an hermetic or sym Like the real Pythagoras, accessible only to the ?initiate.? These works are con bolistic exploration, such as his poem ?La tortuga de oro? /?The Golden vertly Pythagorean, at But could not be contained within the times his emotions Tortoise?/.77 as overtly of the non-initiate, forth in full view and burst hermetic shell, manifestations. Pythagorean elements tended to be chiefly ornamental His very earliest Pythagorean covert Pythagorean in appearance, concealed yet sometimes explorations. historia de un picaflor? Three early short stories, for instance??La (1886) and ?El palacio del sol? (1887) /?The Palace of the /?The Blue Bird?/, use of Pythagorean-based Sun?/?make Apollonian imgery and sym a of poetic space, which anticipates and beautiful manipulation bolism, to disguise their Pythagorean core.79 Gaston Bachelard,7* a we for In a previous motive have noted study Pythagorean-based his poetic musicalization, and Ruben's verbal mystification-illumination, his flirtation with the occult.20 But in this scrutiny, we will focus on some This reduces the overt, and hence often strongly emotional, manifestations. one of vast number of works to be considered, thereby perhaps overcoming to understanding, the principal obstacles since otherwise we might scarcely be able to view the forest because of the large number of trees. By so doing, we finally may uncover the bedrock of Dar?o's literary pythagoreanism. As early as 1880, in poems such as ?A ti? /?To Thee?/, ?Una l?grima? ?El and Dar?o inserts /?The Poet?/, /?A Tear?/, poeta? Pythagorean it might be argued that these do not reflect a covert Yet elements. but perhaps only continue a long tradition of Pythagorean exploration, poetic ornamentation.27 in 1882, in his long poem ?El libro? /?The Book?/, appears his not ornamentation. first Pythagorean manifestation which is decisively to the harmony of the spheres, universal harmony, references Containing it associates macrocosmic and microcosmic these with a correspondences, not of Testament the Christian but Old the God, harmony. Yet, god, a god who the First the is the one, Monad, Pythagorean Principle, Pythagorean number One: But a Ti, Dios creador; ?Hosanna? Dios sin tri?ngulo, Dios Uno, que no eres Siva ni Juno Dios que me gozo en amarte..., que nunca llega a tocarte ni a comprenderte ninguno

Review to Thee, creator God; /Hosana God without triangle, God one, Who are not Siva nor Juno; God I joy in loving..., whom whom no one will ever succeed in touching nor in comprehending/ in this poem the young for pagan, Besides a brash rejection of Christian a way as to cause one to Book? in and exalts ?The also such poet personifies if the Nicaraguan autodidact had in mind that Apocalypsis wonder Goliae as a man wherein of the Middle is characterized Ages, Pythagoras into a book.22 transformed In ?El velo de la reina Mab? Dar?o (1887) /?The Veil of Queen Mab?/, of artistic perfection for the first time openly reveals his association with in the story states: ideals, when the musician Pythagorean hasta yo escucho todas las armon?as, desde la lire de Terpandro las fantas?as orquestales de Wagner. Mis ideales brillan en medio Yo de inspirado. de mis audacias la percepci?n del tengo fil?sofo que oye la m?sica de los astros.23 from the lyre of Terpander to the /I listen to all the harmonies, orchestral fantasies of Wagner. My ideals shine in the midst of I possess of audacities. the perception the my inspired who of the music the hears philosopher spheres./ In the same year a most significant work appeared, his novelistic frag ment El hombre de oro [The Man of Gold], This work is a pivotal one, not for the first time in his narrative fiction he makes direct only because but because it reveals an intense psychological reference to Pythagoreanism, conflict within the great poet, which was deeply and indelibly to affect his work from this time onward. a purposeful In this narrative, Dar?o creates dualistic point of the cultures: pagan Greco-Roman counterpoint opposing (represented by a party in the home of a Roman and the Judeo-Christian aristocrat) a are of who Christian read a let (represented by meeting hearing Malchus and the party occur simulaneously ter from Saint Paul). The meeting in Rome during the time of Tiberius. Lucius Varo is the novel's spokesman for not physcially what is good in the pagan culture, and Saint Paul?although of seeming opposities the Christian prolocutor. This opposition present?is in nature, denoting the initiation of another may be seen as Pythagorean in much the same manner universe, change of religions in the Pythagorean that souls pass through different cycles. Schur? had noted that Pythagoras in cycles from planet to planet.u taught that entire races were reincarnated as was so now would Chris Greek succeeded culture Similarly, by Roman,

Rub?n Dar?o's Faith 13 tian succeed Roman. Yet the passing of the old is never total. A portion of the old culture is into the new one. Dar?o causes us to ponder always assimilated this, ruminations about the replacement of Saturn by Jupiter, through Varo's as to whether Jupiter, now confronted with Christ, felt and his speculations as had Saturn.25 the same uneasy anticipation Not only elements of its religion and art, but also Hellenic (and had been absorbed into the Roman. Dario, in his Pythagorean) philosophy to Pythagoreanism, first direct reference that through the emphasizes one of statement his Roman characters: by following Los astros del cielo est?n en relaci?n con nuestros destinos. Nuestras almas est?n influidas por la m?sica pitag?rica: hay en nuestro ser una parte que nos viene de la altura luminosa. Pues bien, as? como los celestes astros est?n en continuo movimien si lo suspendiesen cesar?a el orden en la m?quina del to?y no nos a nuestra naturaleza tambi?n per universo?, impulsa manecer nos es la traslaci?n fijos en un solo punto...necesario (p. 23). /The stars of heaven are related to our destinies. Our souls are influenced by Pythagorean music: there is in our being a part that comes to us from the luminous heights. Well then, just as the celestial stars are in continual movement?and if they were cease in all order the of the would stopped machinery nature impels us also to not remain fixed in one universe?our place...movement is necessary for us./ Some ideas of art, music and philosophy survive because they are good. Just as Dar?o encounters literary inspiration (and perhaps personal in Pythagorean make use themes, so too did Saint Augustine consolation) of some Pythagorean ideas to strengthen Christian In this novel, theology. Dar?o explores the use made of pagan ideas by the new Christians. For in an to Varo how convert recalls St. Paul?in effort him?claimed stance, that he had seen Pan and his nymphs one day (p. 40). Paul himself is a most intriguing figure for Dar?o to dramtize here, since he was at the same time a and a Roman citizen. Dar?o seems to be using him here to Jew, a Christian, and synthesis of all these within the Pythagorean symbolize the continuence cosmos. Paul is referred to as ?the new philosopher,? bringing to mind the man Aristotle termed the ?first philosopher,? Furthermore, Pythagoras. the poet, Varo (an obvious alter-ego for Rub?n) perceives a hidden, covert, pagan core deep within Paul: ?A trav?s de su aspereza, de su terquedad, de sus rel?mpagos, creer?ase oir un blando rumor de abejas? (p. 38) /?Through his gruffness, his stubborness, and his brilliant flashes of wit, one could believe he heard a soft buzzing of bees?/. Bees, we recall, are symbols for

Review souls in Neopythagorean writings,26 and have been used also as a Hellenic poem ?Interrogaciones? symbol in Dario's (1907). In this context, Varo /Dar?o suggests that not all that should have been into Christianity absorbed Eros was, in fact, accepted by the Christians. (carnal love) is to be succeeded in the new order by ?gape (love of God): ?El a un ?gape fraternal bajo el am llamaba a los desheredados cristianismo to a fraternal the disinherited del Se?or? called paro (p. 41) /?Christianity of eros as the When under the St. Paul attacks Lord?/. ?gape protection Roman and defends it. Varo /Dar?o is not sexual license, Varo protests, against ?gape, but he is for eros, which he perceives as a natural biological in Dario's reality which should not be suppressed (p. 40). Both are necessary and to exclude one is unnatural and disruptive. cosmos, Pythagorean dualism advised that the universe is composed of opposite Pythagorean forces bound together by divine harmony. Excess if anything was evil; that was why Pythagoras and asceticism. Varo's defense of taught continence eros is clearly a reaction to what he perceives as an attempt by early Chris tians to totally eliminate it, while as the same time itmay be rationalization for Ruben's libido. this work Dar?o makes clear that he is not sympathetic Throughout excesses with the Roman in the name of eros: the homosexual advances upon helpless slaves (p. 25), for instance, or the casual intent to rape the Christian girl, Lucila. This is evil, and he welcomes moral changes in this eradicate eros, rather than regard. But Paul's apparent design to completely simply restrain it, is in itself evil, from Varo's point of view. It is excessive, and goes beyond natural limits. Dario's defense here of carnal love becomes one of the most predominant and important themes of his works. Called or ?misticismo er?tico? /erotic mysticism/by ?panerotismo? /paneroticism/ has its Pythagorean Pedro Salinas, this phenomenon roots exposed by Salinas also, albeit from a different perspective, when he notes that: ?el poeta siente en el placer carnal como un medio de llegar a la uni?n con el a del mundo?27 in carnal pleasure, /?the poet senses, principio mismo means of achieving union with the first principle of the world, itself?/. conflict inEl hombre de oro The dualistic structure and the ?gape-eros of Dario's. conflict reflect an intense psychological He is a modern wine and hedonist. He loves pagan art, music, carnal love. As a beauty, man in ?El he and young libro,? brashly rejects Christianity stridently wav of in Yet banner five the this the latent years later, novel, ing paganism. to alcholic reveals that his Catholic felt has be begun up-bringing through of guilt, and fear of heavenly retribution. Coupled with those is perceptions the drawing of compassion and admiration in him for the artistic, aesthetic and humanistic beauty of Christ the man, suffering and sacrificing himself for mankind. it Rub?n had been deeply drawn to Pythagoreanism because was a beautiful pagan philosophy, one closely associated with both Apollo, of poets, and also wit the Archetypal patron Musician, Orpheus. seem to allow the of dualism and harmony would theories

Rub?n Dar?o's Faith 15 of both eros and ?gape, and metempsychosis would permit the coexistence a second Rub?n somehow ?sinner? chance. Still...could retain his a of within the framework Christian context? El hom beliefs, Pythagorean bre de oro is the first and best of a series of narrative works wherein he at to fuse in their dogmas), tempts, throught his art (like Sch?re and Blavatsky can be achieved If an accommodation in his and Pythagorean. Christian art, then itmight also succeed in life (reminiscent of Oscar Wilde's proposal that Life copies Art, in his essay ?The Decay of Living?). A series of nar the occult in Christian miracles, is launched concerning rative explorations con into Christian, and other pagan-Christian the pagan metamorphosized of ?La muerte de Salome? Death frontations: /?The Salome?/, (1891) I? (1893) /?Palimpsest I?/, ?En la batalla de las flores? (1893) ?Palimpsesto from Afar?/, ?Voz de lejos? (1896) /?Voice /?In the Battle of Flowers?/, ?La leyenda de San Mart?n? ?La (1897) /?The Legend of St. Martin?/, fiesta de Roma? de la ?Historia (1898) /?The Roman Party?/, prodigiosa of the Princess /?Prodigious History princesa Psiquia...? (1906) II? (1908) /?Palimpsest 11?/, and ?Huitzilopox Psiquia...?/, ?Palimpsesto tli? (1915). Six others have Biblical settings: ?Hebraico? (1888), ?El ?rbol del rey David? of Tree ?Las (1891) /?The p?rdidas de Juan King David?/, of Bueno? Losses Good de ?Cuento Noche Buena? John?/, (1892) /?The Eve ?El Salom?n /?Christmas (1893) Story?/, Negro? (1889) /?The Black tres reinas magas? and ?Las Three Wise /?The Solomon?/, (1912) Three have Greco-Roman Women?/. settings: ?El s?tiro sordo? (1888) a Horacio? to Horace?/, /?The Deaf Satyr?/, ?Respecto (1893) /?Respect and ?Las siete bastardas de Apolo? of Seven Bastards (1903) /?The Yet three others, ?La ninfa? (1887) /?The Nymph?/, ?Carta del Apollo?/. from the Blue Country?/, and ?Sor Filomela? pa?s azul? (1888) /?Letter of pagan and Christian. reflect obvious confrontations less (1894) But in his later years we see Rub?n in anguish at his failure to resolve the conflict between his pagan yearnings and his Christian fears. In his for instance, ?Divina his poem (1905) /?Divine psiquis? Psyche?/ as Psyche and as a butterfly?is torn between pagan soul?characterized and Christian: ?Entre la catedral y las ruinas (and Pythagorean) oh alma m?a!? the paganas/vuelas, ?oh Psiquis, (p. 753) /?Between cathedral and pagan ruins you fly, oh Psyche, oh my soul!?/. Still, spurred on by an eerie visitation by the ghost of his dead friend, Rub?n con Jorge Castro,2* and his anguish and guilt at his alcoholism, in tinued to manifest His elements his works. tu ritmo? ?Ama Pythagorean a was Your statement /?Love (1901) Rhythm?/ totally Pythagorean by Rub?n, almost as if from an initiation ceremony: tu ritmo, y ritma tus acciones bajo su ley, as? como tus versos; eres un universo de universos y tu alma una fuente de canciones.

Review La celeste unidad que presupones har? brotar en ti mundos diversos, y al resonar tus n?meros dispersos en tus constelaciones. pitagoriza la ret?rica divina Escucha del p?jaro del aire y la nocturna irradiaci?n geom?trica adivina; mata la indiferencia taciturna y engarza perla y perla cristalina en donde la verdad vuelca su urna (p. 693). /Love your rhythm, and rhythm your actions under its law, as well as your verses; you are a universe of universes and your soul a fount of songs. The celestial unity you presuppose will cause to sprout in your diverse worlds, and upon echoing your dispersed in your constellations. Listen to the divine numbers, pythagorize rhetoric of the airborne bird and divine the nocturnal geometric kill taciturn indifference and link pearl after emanation; where truth her urn/. tips crystaline pearl Dario's poems ?Metempsicosis? (1907) and ?En las constelaciones? the continuation of his Pythagorean rumina (1908) further substantiate tions. His short story ?Mi T?a Rosa? very im (1913) /?My Aunt Rose?/is is another obvious alter-ego for Rub?n. since the narrator-poet In portant, is Pythagorean; this tale he reveals again that his ideal music but even more he links it for the first time with the erotic figure of Pan, prov significant, not held that place of honor in Dario's ?Mi that kosmos: ing only Apollo en todas la escuchaba Pan? que partes: m?sica, pitag?rica, (p. 332) /?My listen to everywhere: the Pythagorean that I would Pan?/. music, music, The context of the story implies that Rub?n links Pythagorean music with and appears here with Venus. eros, since Pan is usually so-associated, In his final works, Rub?n communicates despair, fear of dying because of the excesses in his life, and sadness at having been unable to attain the solice of Christian belief. In his beautiful and brooding poem ?La Cartuja? one of Ruben's one final Pythagorean professions, (1914) we experience a for of which shows that he still is wistfully Christian yearning synthesis and Pythagorean: Sentir la unci?n de la divina mano, ver florecer de eterna luz mi anhelo cristiano y oir como un Pit?goras la m?sica /Oh teol?gica del cielo, to feel the unction (p. 939) of the divine hand, to see blossom from

Rub?n Dar?o's Faith 17 eternal light my longing and hear, like a Christian the theological music of the heavens/. Pythagoras, is found in El oro de Mallorca Rub?n Dar?o's other final profession a clearly autobiographical novelistic (1913-1914) [?The Gold of Mallorca?], shortly before his death, it provides an invaluable in fragment. Appearing the same month as ?Mi t?a sight into his thoughts. Chapter Two?published Rosa? concept of music and poetry with (which, we recall, linked Ruben's both eros and Pythagoras, and was also autobiographical)?discloses that Dar?o is still a modernista his alter-ego, the Neopythagorean. Through in Rub?n reveals this novel musician Benjamin bitter-sweet that his Itaspes, religion is a passion for art, and that his art is Pythagorean: en su inmenso con ten?an raz?n. La M?sica Pit?goras yWagner y lo espiritual, y por eso los cepto lo abraza todo, lo material tambi?n en ese vocablo a la excelsa Poes?a, griegos comprend?an a la Creadora. Y que el arte era de trascendencia consoladora y suprema sab?a por experiencia propia, pues jam?s hab?a recur rido a ?l sin salir aliviado de su ba?o de luces y de corresponden cias m?gicas.29 in its immense con and Wagner were right. Music /Pythagoras material and cept embraces everything, spiritual, and conse also in that word Sublime and quently the Greeks comprehended Creative Poetry. And that art was of a consoling and supreme ex he /Benjamin importance Itaspes/ knew through personal since he had never turned to it without perience, leaving soothed by its bath of lights and magical correspondences/. Two years before his death at age forty seven, in this final important of Pythagorean final profession work, Rub?n has penned a poignant faith, and even more forceful in maturity than that intimated by the undisguised, brash young poet of fifteen years in ?El libro.? We know from his last poems that he still wished to embrace Christian beliefs; yet he could not re ideals. A more clear statement of his views can scarcely ject his Pythagorean be imagined, to revert to a unless the timid Nicaraguan genius were as and defiant such his friend and fellow that gesture, frightening would modernista, Neopythagorean Leopoldo Lugones, someday make on the Isle of the Tigers. Eastern Montana College

Review which, through (Managua: Academia NOTES *I would research 1. to thank like grant, helped Lorenz, Rub?n de la Lengua, Tradition (Gainesville: Charles Aires: (Buenos 3. Rama, 1973), pp. 71-74. 4. Enrique Latina, ciones M?ximo 6. note 1949), 7. H.P. 8. H.P. to this edition. Antonio Oliver 409. Ramiro de Maeztu, the Pythagorean Publicaciones y su creaci?n del po?tica 101. (Buenos de Leopoldo Lugones Juan: Univ. Aires: of Puerto Rico, Centro Editor Aires: (Buenos Edi intimas J.W. de Rub?n Bouton, and of (Pasadena: the first edition P. Blavat to Isis Unveiled will Dar?o Univ. Press, p. 1946), in 1889. Theosophical note Publishing Society, Editorial de Rub?n 1897), in the text, and numbers page (Barcelona: y el romanticismo clasicismo El ?Ateneo? Petrovna references Theosophical published (London: otro Rub?n Este ?El Aires: in Helena to this edition. to The Secret Doctrine Belm?s, (Buenos II, p. 31. Future 1877), refer to Theosophy reprint Dar?o can be found Aedos, Dar?o,? p. 1960), 40 Nosotros, 128. p. 10. Anderson-Imbert, 11. Schur?, Rider & Son, 12. Erika 13. Poes?as note page 14. Lorenz, 15. The Great pp. 218, 16. For p. 200. and the Delphic pp. 64 & 132. pp. 30-37. Pythagoras 1923), Lorenz, completas 277, pp. Aguilar, (Madrid: in the text, numbers and refer Mysteries, trans. F. Roth well 1961), p. 1157. Further (London: references William. to his poetry will Books, 1961), to this edition. 101-134. trans. Gloria Initiates, Rasberry (West Nyack, N. Y.: St. George 280 & 310. a detailed description of The Symbolist Literature: Pythagorean Presence and Dar?o Dar?o biograf?a The Secret Doctrine 9. (Managua: Rub?n de Rub?n to theosophists references refer Dar?o (San Its meaning The Key Blavatsky, Dar?o los sue?os Revelaciones is an unaltered III, p. 368. Further (1922), Padre: in the text, Blavatsky, text 3. This La originalidad (New York: numbers page de la m?sica p. 268. Soto-Hall, sky, Iris Unveiled will a p. 25. (hijo), Mi 1925), pp. 75-76. Garc?a, Societies Rub?n Marasso, 28 and pp. 1954), 1967), Centuri?n, 1975). de Rub?n El mundo Lugones Leopoldo Press, Dar?o: de imperio literaria Kapelusz, Rub?n of Learned Skyrme, 115. Arturo 1966), p. Anderson-Imbert, de Am?rica 5. of Florida Dar?o, Editorial Angel el divino Raymond La formaci?n de Rub?n Council possible. bajo 1960). Univ. Watland, Centenario this study Dario Erika Nicarag?ense 2. the American make of Symbolism and Decadence Press, 1979), pp. 169-179. Flammarion Comte. Mesmer's doctoral thesis theory of correspondences was /Christopher these see Theodore references, Inspiration,? in Hispanic was Waiting Letters an admirer for Jensen, Pegasus: (Macomb: of Pythagoras, and to a great degree a re-statement Mclntosh, Eliphas Levi and West. of the French ?Modernista Studies Illinois a severe of the Univ. critic the Pythagorean Occult Revival

Rider (London: E. Englekirk, 1972), p. 317. Poe's & Co., Allan Edgar los Estados of Pythagorean Final Profession Rub?n Dar?o's Literature 185, 284, ?The Pythagorean Comparative Literature Studies 18. Bachelard, The Poetics Unidos, Raymond Gaston 1934), influence on Dar?o (New York: Instituto of Rub?n Dar?o of Space, by John en trans. Maria Jolas is in preparation, but Vision in 'La tortuga de oro,'? 233-248. pp. (1974), is noted de las Espa?as 210. pp. Skyrme, 17. 19 Pythagorean inHispanic Poe Faith Beacon Press, to be explained here. (Boston: 1969), p. 22. 19. An 20. Jensen, 21. As in English poetry, in English Poetry 1500-1700 22. extensive (New York: 23. noted Harper Cuentos 1963), 1950), p. 53. Unless otherwise the text, to this edition. and refer noted, S?nchez references The Great Initiates, p. 343. El hombre de oro in Cuentos (Madrid: numbers in the text, note 26. Block John Friedman, 27. ?Paloma y esfinge, and published panded ?Dar?o Hispanic Orpheus of Music trans. W. Ages, Fondo (Mexico: de Cultura to his stories will Trask refer to this edition. in the Middle Ages (Cambridge: Econ?mica, numbers in references to note page 1965), p. 39. Further Espasa-Calpe, and o la fatalidad in 1948 as Salinas' 'el arte puro': and 47 (1970), Studies, ?panerotismo.? Soto-Hall, pp. 77 and 29. La Naci?n, 1 December Iberoamericana, y breve 33 (1967), de Rub?n Dar?o,? classic La poes?a of Life the Enigma tant part of Dar?o's desconocidos er?tica p. 43, concludes 28. Textos of the Sky: Ideas 1961). Harvard Univ. Press, p. 70. 1970), well, page Press, the Latin Middle Mej?a 25. will and further 24. this work Univ. p. 317. ed. Ernesto completos, Princeton Literature European lengthy The Untuning by John Hollander, (Princeton: & Row, is too Literature...? Pythagorean R. Curtius, See Ernst this of analysis ?Modernista also and Realidad, de Rub?n Dar?o. the Beguilement that Pythagorean 2 (1947), p. 73, ex Richard A. Card of Art,? metaphysics Bulletin 157. 1913. Reprinted comentario pp. 449-492. sobre by Allen la novela W. Phillips autobiogr?fica of are an impor in ?El oro de Mallorca: de Dar?o,? Revista