Patricia Amalia Giuffré

“Escribir el silencio, escribir la palabra”. La frontera interior en Francisco Luis Bernárdez

Introduction

“escribir el silencio, escribir la palabra”. La frontera interior en francisco luis bernárdez. Este artículo desvela la poética de Francisco Luis Bernárdez, explorando su mundo interior, la frontera entre el silencio y la palabra, y su profunda convicción religiosa.

Abstract

Este artículo irá develando la necesidad de Bernárdez de poder transmitir sus vivencias más Íntimas en el anhelo de mostrar su mundo interior, cuya concepción poética consiste en transmitir “la emanación de lo eterno del ser: luz que, ocasionalmente vestida de ropajes verbales brota de la zona en que el alma está más cerca de lo divino” (Barufaldi, 1963, p. 17) . Para lograrlo, deberá atravesar fronteras temporales, espaciales, y culturales, hasta moldear su frontera interior, sustentada en su convicción religiosa. Recurrirá a ricas figuras poéticas que pondrán de manifiesto ese momento sublime del “advenimiento de la gracia a un alma”, vivido en 1926 en la catedral de Notre-Dame en París, plasmado en su poemario El buque (1935) a través de la música y del canto; en otros momentos, se cobijará en un silencio sanador que será “su escudo y su perfecta espada” (Barufaldi, 1963, p. 33) para escuchar esa voz interior con el deseo de “que me sea revelada esa palabra de la que estoy sediento” (Bratosevich, 1963, p. 11).

Review

The article, "Escribir el silencio, escribir la palabra". La frontera interior en Francisco Luis Bernárdez, promises a compelling exploration of the Argentine poet's profound interiority and the mechanisms he employs to articulate his most intimate spiritual experiences. The abstract effectively introduces Bernárdez's poetic imperative: to convey "the emanation of the eternal of being," a divine light occasionally cloaked in verbal expression. It sets the stage for an analysis of how Bernárdez navigates temporal, spatial, and cultural boundaries to forge a unique "interior frontier" deeply rooted in his religious convictions. A significant strength of this proposed study lies in its focus on the intricate relationship between silence and the word in Bernárdez's creative process, presenting silence not merely as an absence but as a deliberate "shield and perfect sword" for inner contemplation and the reception of divine revelation. The abstract highlights specific moments, such as the transformative experience in Notre-Dame and its manifestation in *El buque* through music and song, which promise concrete textual analysis. This approach suggests a nuanced understanding of how Bernárdez grapples with the ineffable, employing rich poetic figures to capture "the advent of grace to a soul" and to seek "that word for which I am thirsty." While the abstract provides a tantalizing overview, the full article would benefit from a more explicit outline of its analytical methodology for exploring the "temporal, spatial, and cultural borders" that shape Bernárdez's interiority. Further clarification on how these external frontiers are conceptually "traversed" and "molded" into an internal poetic space would strengthen the argument. The article also has a crucial opportunity to delve deeply into the specific "ricas figuras poéticas" mentioned, demonstrating how Bernárdez bridges the gap between silence and the spoken word, and how his religious conviction directly informs this complex interplay. A clear theoretical framework for understanding this spiritual-poetic dynamic would undoubtedly enhance the article's scholarly contribution.

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