Historical Context
Mexico from the 1910 Revolution to the 1930s
Octavio Paz's political convictions and artistic passions were deeply influenced by the tumultuous events and innovative ideas he encountered both within Mexico and beyond its borders. The early years of his life, spent under the lingering influence of the 1910-20 Mexican Revolution, undoubtedly steered him toward leftist ideologies. This revolution, ignited by Francisco Madero, was a fierce response to the stark inequality in land distribution that had long favored the wealthy elite over impoverished peasants under the dictatorship of Porfirio Diaz. Although Diaz was eventually toppled, the nation remained embroiled in conflict, with myriad revolutionary leaders—such as the iconic peasants Emilio Zapata and Pancho Villa—and countless others perishing in the relentless struggle for power. Between 1921 and 1933, a parade of presidents took turns wielding power in Mexico. Despite some economic progress, corruption and conservatism overshadowed the government, leaving vast swathes of discontent among the populace. A glimmer of hope emerged with the 1934 election of Lazaro Cardenas, who enacted vital land reforms and pioneered state-run collective farming. As a student in the 1930s, Paz found himself drawn to the leftist cause, viewing it as a beacon for societal reform and a means to bridge the ever-widening chasm between the affluent and the destitute.
The Rise of Fascism in Europe
In 1936, driven by a fervent desire to breathe life into his political ideals, Paz abandoned his university studies and established a school in a remote Yucatan region. He was determined to champion those ideals—already resonating through his poetry—that sought to uplift those mired in the isolating grip of an abstract capitalist economy. His poetic works from this era brim with political zeal and a luminous hope for revolution. This passionate idealism propelled him to Spain, where he joined the civil war efforts to combat right-wing forces. In this turbulent conflict, conservative factions in Spain toppled the second Spanish republic. The war became a fierce contest between Nationalists—backed by wealthy landowners, the Catholic Church, military leaders, and the fascist Falange party—and the Loyalists, comprised of liberals, anarchists, socialists, and Communists. Paz was among the countless idealistic young volunteers from around the globe who rallied to the Loyalist cause. While the Nationalists received support from fascist regimes in Italy and Nazi Germany, the Loyalists were aided by Soviet supplies. Despite Franco's eventual triumph, capturing Barcelona and Madrid by early 1939, Paz held firm to the idealistic cause of preserving the Spanish republic, envisioning a socialist dream of universal equality achieved through revolution. Yet, in later years, Paz would reflect on how his time in Spain planted the seeds of doubt regarding the efficacy of a purely political revolution in transforming humanity and the world.
Mexico in the Early 1940s
Upon returning to Mexico, Paz continued his crusade against fascism by founding and editing several revolutionary literary journals. He delved into contemplating the poet's role as both a historical influencer and a catalyst for change. The worldwide conflict of the early 1940s plunged Paz into despair over the state of the world and the prospects for meaningful change. In Mexico, President Cardenas stepped down, succeeded by Avila Camacho. Camacho, along with his successor Miguel Aleman Valdes, prioritized industrial expansion at the expense of redistributive social reforms and economic nationalism, reigniting the flames of wealth disparity. Economic imbalance, inflation, intellectual unrest, and government oppression marked Mexican politics during this decade. Disputes among various socialist factions, each with differing views on the responsibilities of writers and intellectuals, compelled Paz to withdraw from political activism. In 1943, he departed for the United States, where he pondered his...
(This entire section contains 885 words.)
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identity as a Mexican amid the European war's shadow, before embarking on a six-year sojourn in France and subsequent travels across Asia.
Surrealism
Paz's Parisian years represent a pivotal chapter in his evolution as an artist. During this time, he shifted away from political ideologies and gravitated towards the enchanting realm of surrealism. Rather than altering his poetic approach, the surrealist philosophy resonated with ideas that had long captivated him. Originating in the 1920s, surrealism, spearheaded by the visionary André Breton—whom Paz befriended in Paris—challenged the dominance of rationality over conventional expression. Breton's critique of traditional word usage and his advocacy for "automatic writing," where uncensored subconscious imagery took precedence, struck a chord with Paz. He was drawn to the movement's revolutionary spirit and its belief in imagination's power to rejuvenate art and poetry, countering the oppressive sociopolitical forces he found stifling.
The surrealists, inspired by Sigmund Freud's groundbreaking psychoanalytic theories, delved into the realms of dreams, fantasies, and conscious existence, striving to explore the entirety of the self. They sought to restore words to their pristine purity and transcend the limitations of human experience, exploring the dynamic tension between imagination and logic. "Fable," crafted after Paz's sojourn in France, vividly mirrors surrealism's essence with its dreamlike narrative, unabashed creativity, and startling imagery that illuminates the depths of the subconscious. Even as Paz's writings were influenced by diverse cultures and ideas encountered on his travels, his later poetry retained surrealist elements, challenging linguistic constraints and employing unexpected imagery to broaden human expression. His deep engagement with surrealism was instrumental to his artistic journey, offering him a vision of profound social transformation rooted in the domain of the human subconscious, rather than the political sphere.
Literary Style
Surrealism
The poem, "Fable," envelops the reader in a surrealist aura, presenting a challenge to decipher its deeper meanings as it eschews literal interpretation. It weaves through a tapestry of vivid imagery that propels the audience into uncharted realms of perception and consciousness. These surreal visions compel the reader to forge unusual connections between images and concepts, expanding the boundaries of ordinary thought. Meanwhile, the poem’s fable-like essence invites expectations of the magical and extraordinary, crafting a fantastical realm that is enchanting rather than unsettling. Yet, as the poem concludes, a discordant note intrudes upon this enchanted state, casting the reader into a realm of disorientation.
Style
Originally penned in Spanish, "Fable" harbors stylistic nuances that may evade translation. Nonetheless, the poem thrives on its rich visual symbolism and evocative ideas, which resonate even in English. The opening fourteen lines unfurl with languid grace, painting a serene vision of paradise. The absence of strict grammatical bounds from the outset—in the initial six lines, not a single complete sentence—is offset by a palpable rhythm and fluid motion. As creation unfurls, the imagery evokes simplicity and tranquility; life emerges in green, transforms to yellow, and eventually blossoms into red. Each stage of evolution flows with ease, echoing the passage of time and natural growth. The creator takes but a single step from yearning to action, and the language mirrors this elegance. The omission of punctuation further enhances the sense of unrestrained movement, as direct metaphors impart a magical quality. In this paradise, insects transform into jewels, rain becomes the willow's hair, and birds are miracles. These images, presented with a matter-of-fact tone, reinforce the realization that this perfect world is naturally harmonious. A tree sprouting from the creator's hand "sang laughed prophesied," a seamless union of actions depicted without punctuation, conveying lightness and effortless grace.
The fifteenth line heralds a shift in tone. The visual clarity fades, replaced by abstract imagery. General terms like "everyone, everything, immense" succinctly describe a unified world. Earlier concrete metaphors give way to comparisons; the word is likened to the sun. Then, a dramatic change ensues with the word's fragmentation, introducing a jarring contrast to the previously serene landscape. Words like "explode" shatter the tranquility, contrasting the "immense word" with "smallest" mirror shards. This sudden dislocation starkly diverges from the harmonious unity previously portrayed.
Imagery
The opening verses brim with intriguing and unexpected visuals. The emergence of the world is depicted through a spectrum of colors—green, yellow, red—that transcend mere imagery, capturing the essence of genesis and maturation. Surprising images follow: insects as jewels, heat lounging by a pool, rain draping a tree like hair, and a tree sprouting from a hand. These elemental visuals evoke fire, air, water, and fundamental symbols like trees, pools, birds, and the sun.
The poem’s most striking image emerges at its conclusion: the mirror. Recurring in many of Paz's surrealist works, it symbolizes the partial reflection of external reality, hinting at the limitations of understanding inner desires. The mirror suggests entrapment within temporal and spatial confines, rendering reality static rather than dynamic. Its shattered pieces metaphorically represent words, perhaps illustrating the inadequacy of language to fully reflect the human experience.
Literary Heritage
Modern Mexico stands on the cultural pillars of indigenous Indian and Spanish heritages. This melting pot is mirrored in the nation’s language, religious practices, and racial diversity—Spaniards, Indians, and mestizos form a vibrant tapestry. Spanish reigns as the official tongue, yet many Mexicans converse solely in indigenous languages. Catholicism prevails, with its Mexican expression deeply intertwined with pre-European beliefs.
In "Fable," Paz transports readers to the world’s inception, offering a mythical recreation steeped in cross-cultural mythology. Drawing inspiration from both Christian and ancient Mexican lore, the poem reflects Paz's fascination with mythological narratives. Prior to the Spanish conquest in the sixteenth century, the Olmec, Aztec, Maya, Toltec, Mixtec, and Zapotec civilizations thrived in Mexico. Their religious and mythological traditions bear striking similarities, even parallels to Christian myths.
The mighty Aztecs, known also as the Mexicas, were the prominent force reigning over central Mexico when the Spanish arrived. Widely recognized as the forebears of today's Mexican people, they embraced a rich tapestry of deities, chief among them Huitzilopochtli, the fierce god of sun and warfare. In their worldview, the cosmos unfolded in a grand progression through successive eras they called "suns," with each era separated by dramatic upheavals or natural calamities heralding the birth of a new sun. Only within these cosmic cycles could life forms thrive, their existence shaped by the stars' ordained order. Fascinatingly, Aztec mythology shares echoes with Christian tales. Their legends tell of a primordial pair, a man and a woman, finding life in an enchanting garden. Another story recounts the audacious construction of a pyramid aspiring to pierce the heavens, angering the gods much like the biblical Tower of Babel. The narrative of Teocipactli and Yochiquetzal, who survived a great deluge, further mirrors the Babel myth; their offspring remained voiceless until a celestial dove endowed them with speech, yet with such varied languages that mutual understanding was lost.
Upon their conquest, the Spanish saw in these tales an opportunity. Christian priests eagerly pointed out the resonances between Aztec beliefs and Christian doctrine, leveraging these similarities in their mission to convert the native peoples. Today, Mexican culture stands as a testament to this rich blend of indigenous and Spanish influences, with rituals that, while rooted in pre-Hispanic heritage, diverge from European Catholic traditions.
The Day of the Dead: A Cultural Fusion
Among Mexico's most cherished traditions is the Day of the Dead, a celebration echoing the ancient Aztec Miccailhuitontli festival. This observance, under the watchful eye of the goddess Mictecacihuatl, honored both children and the deceased. Originally marked at the end of July in the Aztec calendar, it was later synchronized with the Christian All Hallows' Eve by Spanish priests, transforming it into a Christianized observance. Today, Mexicans commemorate this occasion on the first two days of November, where it manifests as a vibrant fusion of time-honored indigenous customs and Christian elements. Across countless aspects, Mexican culture proudly showcases the intricate weave of European and Indian influences that define its unique legacy.
Compare and Contrast
1910: A mere one percent of Mexicans possess an overwhelming ninety percent of the nation's land. Meanwhile, over ninety-seven percent of those dwelling in rural poverty are left without a single parcel to their name.
1934: The Mexican government embarks on an ambitious journey, launching a sweeping program to distribute land among farmers.
1999: A determined cohort of farmers and activists, astride their horses, make their way toward Mexico City. Their purpose: to cast a spotlight on the growing crisis faced by Mexican farmers, ensnared in debt to towering banks. Yet, their path is obstructed by authorities, who thwart the march at every turn.
Today: Across the expanse of the United States, notably in California, American farmers employ undocumented Mexican immigrants, who toil for meager wages.
Spanish Civil War and Beyond
1936-39: Volunteers from all corners of the globe—Mexico, the United States, Britain—unite with the Loyalists to uphold the leftist cause against General Franco's forces in Spain.
1975: After nearly four decades of autocratic rule, Franco's reign in Spain comes to an end with his death.
1978: An overwhelming eighty-eight percent of the Spanish populace embraces a new constitution, ushering Spain into an era defined as a parliamentary monarchy.
1982: The Spanish electorate delivers a resounding victory to a socialist government, marking a monumental shift in the nation's political landscape.
2000: The right-wing Popular Party clinches a decisive majority in the Spanish general elections. Meanwhile, across the Atlantic in the United States, the socialist voice remains faint, overshadowed by the longstanding dominance of the Democratic and Republican Parties.
Artistic Movements Through Time
1924: The surrealist movement springs to life with André Breton's unveiling of the Manifesto of Surrealism, forging a new path in artistic expression.
1950s: Pop art makes its debut in Britain and the United States, ingeniously harnessing the imagery and techniques of mass media, advertising, and popular culture, often with a twist of irony.
1960s: Rising from the Latin American literary scene, magical realism sweeps onto the stage. Authors blend realistic depictions with fantastical and mythical elements, crafting narratives that are both grounded and dreamlike.
Today: In the late twentieth century, the postmodernist movement captivates left-leaning intellectuals across U.S. academia. Originating in architecture, this diverse movement shuns rigid definitions, venturing into literary criticism and cultural theory. It seeks to disrupt the entrenched notion of stable meaning within language.
Bibliography and Further Reading
Sources
Brotherston, Gordon, "The Traditions of Octavio Paz," in Latin American Poetry: Origins and Presence, Cambridge University Press, 1975, 228 p.
Paz, Octavio, Early Poems: 1935-1955, translated by Muriel Rukeyser et al., Indiana University Press, 1993, 145 p.
Phillips, Rachel, The Poetic Modes of Octavio Paz, Oxford University Press, 1972, 168 p.
Weinberger, Eliot, editor, Octavio Paz: Selected Poems, New Directions, 1984, 147 p.
Wilson, Jason, Octavio Paz, Twayne Publishers, 1986, 165 p.
Further Reading
Chiles, Frances, Octavio Paz: The Mythic Dimension, Peter Lang, 1986, 224 p. Study of myth and mythmaking in Paz's poetry based on an analysis of the central theme of solitude versus communion.
Duran, Manuel, "Octavio Paz: The Poet as Philosopher," in World Literature Today: A Literary Quarterly of the University of Oklahoma, Vol. 56, No. 4, Autumn, 1982, pp. 591-94. Duran writes that Paz belongs to a select group of poets "who can expand the limits of poetry until they invade the realm of philosophy."
Ivask, Ivar, ed., The Perpetual Present: The Poetry and Prose of Octavio Paz, University of Oklahoma Press, 1973, 160 p. A collection of essays on a variety of subjects in Paz's poetry, including water imagery, the concept of universalism, irony and sympathy, the status of the reader, and the use of images.
Quiroga, Jose, Understanding Octavio Paz, University of South Carolina, 1999, 194 p. A study of Paz with regard to his literary and historical position, emphasizing his earlier work.
Wilson, Jason, Octavio Paz: A Study of his Poetics, Cambridge University Press, 1979, 192 p. Wilson explores Paz's affinities with André Breton's surrealism as the basis for Paz's vision of the poet and poem.