1. José Lezama Lima, La expresión americana (La Habana: Instituto National de la Cultura, 1957), 74.

2. Lezama Lima, La expresión, 78.

3. Roland Barthes, Writing Degree Zero and Elements of Semiology, trans. Annette Lavers and Colin Smith (Boston: Beacon Press, 1967), 48-49.

4. Walter Benjamin discusses the concept of "aura" and the "mystical" role of the artist and the movement of "1'art pour l'art" in "The Work of Art in the Age of Mechanical Reproduction," in Illuminations, trans. Harry Zohn (New York: Schocken Books, 1973), 224.

5. Severo Sarduy, Escrito sobre un cuerpo (Buenos Aires: Editorial Sudamericana, 1969), 94.

6. For a discussion of the concept of fetish used in this sense, see Jean Baudrillard, For a Critique of the Political Economy of the Sign, trans. Charles Levin (St. Louis, Mo.: Telos Press, 1981), 92.

7. Julia Kristeva, "D'une identité l'autre," Polyiogues (Paris: Editions du Seuil, 1977), 165-169.

8. These poets will be studied in the final chapter.

9. Octavio Paz, Cuadrivio (México: Joaquín Mortiz, 1969), 36.

10. Paz, Cuadrivio, 13.

11. Octavio Paz, Los hijos del limo (Barcelona: Seix Barral, 1981), 1:38.

12. Paz, Los hijos del limo, 202.

13. Nancy Morejón, the contemporary Cuban poet, gives an exampie of this rejection of modernista thematics in "Desilusión para Rubén continue

Darío," in Nueva poesía cubana, ed. José Agustín Goytisolo (Barcelona: Ediciones Península, 1972). Her poem echoes, from a woman's point of view, the famous swan song of modernismo, "Tuércele el cuello al cisne" (1911) by Enrique González Martínez. She writes:

Pero es que hay otro pavo real no tuyo
que yo desgarro sobre el patio de mi casa imaginaria

al que retuerzo el cuello casi con pena,
a quien creo tan azul, tan azul como el azul del cielo.
                         (p. 202)

(But there is another peacock, not yours,
I tear apart in the patio of my imaginary house
whose neck I wring almost with grief,
so blue, so blue, it appears, like the blue of the sky.)

14. On the "automatization" of literary forms, see J. Tynianov, "De l'évolution littéraire," Théorie de la littérature, ed., and trans. Tzvetan Todorov (Paris: Editions du Seuil, 1965), 125.

15. Sarduy, Barroco (Buenos Aires: Sudamericana, 1974), 51.

16. For a discussion of the role of the reader, see Wolfgang Iser, The Implied Reader (Baltimore, Md.: The Johns Hopkins University Press, 1974) and Reading: A Theory of Aesthetic Response (Baltimore: The Johns Hopkins University Press, 1978).

17. Jorge Luis Borges, "Acotación del árbol en la lírica," Proa 10 (1925): 58-59.

18. Jorge Luis Borges, "Herrera y Reissig," Inicial (Buenos Aires) 1 (1924): 31-34.

19. In regard to El romancero by Lugones, Borges once again speaks disparagingly of the sculptural and pictorial side of his predecessors: "Los parnasianos (malos carpinteros y joyeros metidos a poetas) hablan de sonetos perfectos, pero no los he visto en ningún lugar." ("The Parnassians [bad carpenters and jewellers turned into poets] speak of perfect sonnets, but I haven't seen them anywhere.]) Jorge Luis Borges, "Leopoldo Lugones, romancero," Inicial (Buenos Aires) 2 (1926): 207-209.

20. Borges, "Herrera y Reissig," 31.

21. Borges, "Herrera y Reissig," 31.

22. Renato Poggioli, The Theory of the Avant-Garde, trans. Gerald Fitzgerald (Cambridge, Mass.: Harvard University Press, 1968), originally Teoria dell'arte d'avanguardia (Società editrice il mulino, 1962), 178-179.

23. "Relation de communication entre un émetteur et un récep- soft

teur, fondée sur le chiffrement et le déchiffrement, donc sur la mise en oeuvre d'un code, ou d'une compétence génératrice, l'échange linguistique est aussi en échange économique, qui s'établit dans un certain rapport de force symbolique entre un producteur, pourvu d'un certain capital linguistique, et un consommateur (ou un marché), et qui est propre a procurer un certain profit matériel ou symbolique. Autrement dit, les discours ne sont pas seulement (ou seulement par exception) des destinés à être compris, déchiffrés; ce sont aussi des signes de richesse destinés à être évalués, appréciés et des signes d'autorité, destinés à être crus et obéis. En dehors même des usages littéraires—et spécialement poétiques—du language, il est rare que, dans l'existence ordinaire, la langue fonctionne comme pur instrument de communication: la recherche de la maximisation du rendement informatif n'est que par exception la fin exclusive de la production linguistique et l'usage purement instrumental du langage qu'elle implique entre ordinairement en contradiction avec la recherche, souvent inconsciente, du profit symbolique." ("Linguistic exchange—a relation of communication between an emitter and a receiver, based on the coding and decoding, thus on the application of a code, of a generative competence—is also an economic exchange. It is established in a relation of symbolic force between a producer, supplied with a certain linguistic capital, and a consumer (or a market), and it can obtain a certain material or symbolic benefit. In other words, discourses are not (or only by exception) signs destined to be understood, decoded; they are also signs of richness destined to be evaluated, appreciated, and signs of authority, destined to be believed and obeyed. Besides the literary—and especially poetic—uses of language, it is rare, in ordinary life, that language functions as a pure instrument of communication: the search for the maximization of informative yield is only exceptionally the exclusive aim of linguistic production, and the purely instrumental use of language it (the production) implies usually enters into contradiction with the often unconscious search of symbolic benefit.") Pierre Bourdieu, "La formation des prix et l'anticipation des profits," Ce que parler veut dire: L'économie des échanges linguistiques (Paris: Fayard, 1982), 59-60.

24. Several studies have played an important role in establishing the concept of modernismo in recent decades. A partial listing includes: Luis Monguió, "Sobre la caracterización del modernismo," Revista Iberoamericana 7 (1943): 69-79; Federico de Onís, "Sobre el concepto del modernismo," La Torre 1 (1953): 95-103; Ivan Schulman, Génesis del modernismo: Martí, Nàjera, Silva, Casal (México: El Colegio de México, Washington University Press, 1966); and I. Schulman, "Re- soft

flexiones en torno a la definición del modernismo," Cuadernos Americanos 25 (1966): 211-240.

25. José Emilio Pacheco, Antología del modernismo (1994-1921), 2 vols. (México: Universidad Nacional Autónoma de México, 1970), 1:xiii.

26. Michael Foucault, "What Is an Author?" Textual Strategies: Perspectives in Post-Structuralist Criticism, ed. Josue V. Harari (Ithaca, N.Y.: Cornell University Press, 1979), 141-160.

27. In Contradicciones del modernismo (México: El Colegio de México, 1978) (especially chap. 6, "Ruptura y reconciliación"), Noé Jitrik specifies the necessity of returning to modernismo if today's reader is to understand the literary position of the twentieth century (see especially p. 103). Here in his discussion of modernismo, he notes the conflicting claims made for its "commitment" to literary and social realities: "Problema todavía vigente en el que nadan múltiples conceptos no aclarados y se entrelazan equívocos sin fin; sin embargo, hay una necesidad de volver, a él, es como si a través de su esclarecimiento algo del secreto de un proceso de constitución de la cultura latinoamericana se esclareciera. Por de pronto, muchos piensan o sostienen que sin el modernismo no habría literatura de vanguardia, otros lo siguen enjuiciando como el gran traidor de esta historia, como si deliberadamente hubiera querido sustituir un proceso más legitimo que no se sabe bien cual es o cual hubiera podido ser. En todo caso, más acotadamente, protesis o solución genial, es necesario volver a pensar sus términos, su empresa, lo que puede significar en una historia que no es la de la literatura, con su mundo de valores y de exaltaciones ajustadas a necesidades de exaltación social, sino de la escritura latinoamericana, escena particular de la producción social, con su dramática por descubrir, con sus palpitaciones por reconocer" (104-105). ("A still valid problem is that not-very-clear, multiple concepts swim around, and endless mistaken ideas are interwoven. Nonetheless, there is a need to return to it; it is as if by way of its clarification, something secret of the constituting process of Spanish American culture might be cleared up. Meanwhile, many think or maintain that without modernismo there would be no literature of the avantgarde; others continue to judge it as the great traitor of this history, as if it had deliberately wanted to substitute a more legitimate process about which one cannot easily say what it is or what it could have been. In any case, more concretely, whether prothesis or inspired solution, it is necessary to think again about its terms, its enterprise, what it is able to signify in a history that isn't that of literature, with its world of values and passion adjusted to the needs of social exaltation, but of continue

Latin American writing, specific scene of social production, with its drama still to be discovered, with its heartbeat still to be recognized.")

28. In Historia contemporánea de América Latina (Madrid: Alianza, 1970), Tulio Halperín Donghi summarizes the economic changes in late nineteenth-century Latin America along with the accompanying realignment of social structure: "En 1880—años màs, años menos—el avance en casi toda Hispanoamérica de una economía primaria y exportadora significa la sustitución finalmente consumada del pacto colonial impuesto por las metrópolis ibéricas por uno nuevo. A partir de entonces se va a continuar la marcha por el camino ya decididamente tomado. El crecimiento será aún más rápido que antes, pero estará acompañado de crisis de intensidad creciente: desde las primeras etapas de su afirmación, el orden neocolonial parece revelar a través de ellas los límites de sus logros; si no puede decirse que nace viejo—por el contrario, el vigor de su avance no tiene par en el pasado latinoamericano—nace por lo menos con los signos ya visibles de un agotamiento que llegará muy pronto. . . . Estos ejemplos, sin duda extremos, revelan, sin embargo, una tendencia más general: el debilitamiento de las clases altas terratenientes, pese a sus apoyos en estructuras políticas, comerciales y financieras locales, frente a los emisarios de las economías metropolitanas. Ese debilitamiento va acompañado de otro proceso, de intensidad variable según las regiones, por el cual las clases altas ven surgir a su lado las clases medias—predominantemente urbanas—cada vez máz exigentes, y en algunas zonas aún más limitadas deben enfrentar también las exigencias de sectores de trabajadores incorporados a formas de actividad económica modernizadas. Este último proceso . . . tiene su correlato político en un comienzo de democratización: mientras en México ésta se da revolucionariamente, en Argentina, Uruguay y Chile se manifiesta a través del acceso al poder de nuevos sectores mediante el sufragio universal" (280-282). ("Around 1880, the advance in almost all of Spanish America of a primary economy of exportation signified the finally concluded substitution of the colonial past, imposed by the Iberian metropolises, by a new one. Since then, the march has continued along that decidedly taken path. Growth would be even more rapid than before, but it would be accompanied by an intellectual crisis of growing intensity: from the first stages of its affirmation, the neocolonial order seemed to reveal, by means of these stages, the limits of its achievements; one cannot say that it was born old; on the contrary, the vigor of its advance has no equal in the history of Spanish America-it was born, at least, with the already visible signs of a rapidly arriving exhaustion. . . . These examples, doubtless extreme continue

ones, reveal nonetheless a more general tendency: the weakening of the landowning classes, in spite of their supports in local political, commercial and financial structures, in the face of the emissaries of the metropolitan economies. This weakening was accompanied by another process, varying in intensity according to region, by which the upper classes saw the rise of the middle classes—predominantly urban—growing more demanding. And in some more limited areas they had to face as well the demands of sectors of workers incorporated by modernized economic activity. This last process. . . . has its political correlate in a beginning of democratization: while in Mexico this is revolutionary, in Argentina, Uruguay and Chile it is manifested through access to the power of new sectors by universal suffrage.")

29. Halperín Donghi, Historia, summarizes the shifting of centers of power to the metropolis toward the end of the nineteenth century: "Al mismo tiempo que se afirma, el nuevo pacto colonial comienza a modificarse en favor de las metrópolis. La distribución de tareas entre ellas y las clases altas locales (que había comenzado por asignar a estas últimas en casi todos los casos la producción primaria y a las primeras la comercialización) aún allí donde se mantiene adquiere un sentido nuevo gracias a la organización cada vez menos libre de los mercados, facilitada por las tranformaciones técnicas pero vinculada sobre todo con la de las estructuras financieras. . . . La misma complejidad creciente de las actividades vinculadas con transporte y comercialización multiplica la presencia de esa economía en el área latinoamericana: no sólo los ferrocarriles, también frigoríficos, silos de cereales e ingenios de azúcar pasan a ser, en medida variable según las regiones, enclaves de la economía metropolitana en tierras marginales; en particular son las metrópolis de presencia más reciente las que se lanzan más agresivamente a la conquista de las economías dependientes, que culmina en la de la tierra" (281). ("At the same time it was affirmed, the new colonial pact began to be modified in favor of the metropolises. The distribution of functions between them and the local upper classes [which had begun in almost all cases by assigning primary commercialization to the metropolises], even there where it was maintained it acquired a new meaning thanks to the organization—ever less free—of the markets, facilitated by technical transformations but linked above all with financial structures. . . . The same growing complexity of the activities linked with transport and commercialization multiplied the presence of that economy in the Latin American area: not only railroads, but meat processors, grain silos, sugar refineries, came to be, in different degrees depending on the area, enclaves of the metropolitan economy in the marginal areas; in particular it was the continue

metropolises of most recent presence who launched most aggressively the conquest of the dependent economies, which culminated in the conquest of the land.")

30. Manuel González Prada. "Discurso en el Politeama," Textos: una antología general (México: SEP/UNAM, 1982), 47.

31. See also González Prada's essay on the artist as worker in "El intelectual y el obrero," in Textos, 191-198.

32. Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction," Illuminations, trans. Harry Zohn (New York: Schocken Books, 1973), 224; Michel Foucault, Les mots et les choses (Paris: Gallimard, 1966), 313.

33. Angel Rama, Rubén Darío y el modernismo (Caracas: Ediciones de la Biblioteca de la Universidad Central de Venezuela, 1970); Noé Jitrik, Contradicciones del modernismo (México: Colegio de México, 1978) and Producción literaria y producción social (Buenos Aires: Sudamericana, 1975); and Françoise Perus, Literatura y sociedad en América Latina (México: Siglo XXI, 1976), who counters part of Rama's analysis while focusing on economic and class divisions.

34. Paz, Los hijos del limo and Cuadrivio .

35. Rama, Rubén Darío, 52.

36. Rama, Rubén Darío, 53.

37. Roberto J. Payró, La Revista Nacional (Buenos Aires) 2 (1894): 341-342.

38. Rubén Darío, "Introducción a Nosotros por Roberto J. Payró," Escritos inéditos de Rubén Darío, ed. E. K. Mapes (New York: Instituto de las Españas en los Estados Unidos, 1938) (first published in La Nación [Buenos Aires], 1 May 1897), 100-101.

39. See Jitrik, Contradicciones del modernismo, for a study of production in Darío's poetics.

40. Paul Groussac, La Biblioteca 1 (1896): 5.

41. Severo Cascarrabias, "La propiedad literaria," Buenos Aires 2, (1894):358-359.

42. Quoted in "Prólogo," Antología de los poetas modernistas mexicanos (1884-1921), ed. José Emilio Pacheco (México: UNAM, 1970), 1 xlvi.

43. Jean Franco has commented on the exaltation of taste and its self-generating parody in modernista writing, placing it in the context of a dependent culture. Although the notion of a common bond between artists of all nations and social classes can be formulated by stressing their attack on bourgeois culture, there is a gap between the writer of the metropolis and the writer of the dependent culture: "A subtle gap is disclosed when the Spanish American writer . . . assiduously cultivates the manners and values of the metropolis and his continue

metropolitan peers, which often takes the form of explicit allusion to or exaggeration of that which can be understated (because obvious) in the primary culture. I am thinking here of the tendency of the modernist, Rubén Darío, to dwell on cultural references, classical allusions and even luxury commodities for their own sake, implying a certain celebration of 'taste' whose canons the metropolis would take for granted. . . . Thus modernism comes to imply not only a literary renewal under the influence of France but a certain exaltation of taste which the very notion of taste implies and which turns taste into a virtue extending into the moral realm itself." "Criticism and Literature within the Context of a Dependent Culture," Occasional Papers 15 (New York: Ibero-American Language and Area Center, New York University), 8.

44. Paz, Cuadrivio, 9.

45. José Martí, "El poema de Niágara," Obras (México: Editorial Porrúa, 1973), 174-175.

46. José Enrique Rodó, "Rubén Darío (Carta al Sr. Eugenio Díaz Romero)," El Mercurio de America 1 (1899): 81-93. For a study of Darío's "adaptation" of this text for use as a prologue see Sylvia Molloy's "Ser/Decir: Tácticas de un autorretrato," Essays on Hispanic Literature in Honor of Edmund L. King, ed. S. Molloy and L. Fernández Cifuentes (London: Tamesis Books, 1983), 187-199.

47. In discussing the poetry of "art for art's sake," Roman Jakobson has commented on the stress on the reality of the linguistic signs themselves, rather than on their representational value: "Qu'est-ce que la poésie?" in Questions du Poétique (Paris: Editions du Seuil, 1973) 122-125. In an era of inflation of linguistic signs, or modes of writing, a cult of language is aroused to restore confidence in it as a separate reality, rather than as a range of styles, all equally valid and therefore diminished in importance. The inflation of linguistic signs is seen as a corollary to the equally inflated diversification of objects, trades, or modes of behavior. The creation of a cult value of poetic language is an attempt to ward off its devalorization. Jakobson's observations may be applied with relevance to the attitudes of the modernistas . Because of their placement in a sphere lacking power and influence, they chose to exalt their isolation.

48. Roberto González Echevarría, "modernidad, modernismo y nueva narrativa: el recurso del método," Revista Interamericana de Bibliografía 30 (1980): 157.

49. See n. 32, chap. 1, concerning Walter Benjamin's work.

50. See chap. 3 for the discussion of technology and eroticism in Lugones' Las montañas del oro, (The Mountains of Gold). break

51. The impact of growing technologies on North American literature in particular is examined by Leo Marx in The Machine in the Garden (New York: Oxford University Press, 1976). Juan Cano Ballesta discusses this topic in Spanish literature in Literatura y tecnologéa: las letras españolas ante la revolución industrial (Madrid: Orígenes, 1981).

52. See Saúl Yurkiévich, Celebración del modernismo (Barcelona: Tusquets Editor, 1976).

53. Aníbal González, "La escritura modernista y la filología," Cuadernos Americanos 40 (1981): 99-106. Using Octavio Paz' work as a point of departure, González discusses Paz' insistence on the critical tendency as modernismo 's most definite characteristic. González calls attention to the work of Renan, whose L'avenir de la science (1890), along with earlier works ( Vie de Jesus [1863] and Histoire générale et systeme comparé des langues sémitiques [1855], was influential not only in contributing to the intellectual climate that formed the movement of naturalism but which infiltrated spheres even farther removed from the scientific realm. Philology, according to Renan, is "la science exacte des choses de l'esprit. Elle est aux sciences de l'humanité ce que la physique et la chimie sont a la science philosophique des corps" ("the exact science of the things of the spirit. It is to the human sciences what physics and chemistry are to the philosophic science of the body") ( L'avenir de la science: Pensées de 1848 [Paris: Calmann-Levy, 1890], 143, quoted in González, "La escritura," 96). González (101) also cites such examples of decadence, e.g., J. L. Huysmans' A rebours (1883), as an evasion of a direct confrontation with science in literature. The problematics of this proliferation of scientific information and theories have parallels in the proliferation of - isms toward the end of the century—Parnassianism, symbolism, naturalism, impressionism—indicating the urgency of self-definition for the science of "literature."

54. For a detailed review of the magazines of the epoch at the height of modernismo, see Boyd Carter, "El modernismo en las revistas literarias," Chasqui 8 (1979): 5-18; see also his more extensive study Las Revistas Literarias de Hispanoamérica (México: Ediciones de Andrea, 1959).

55. "Nuestros propósitos," Revista de América (facsimile edition) (Carbondale, Ill.: Latin American Institute, Southern Illinois University, 1970), 63, first published in 1 (August 1894).

56. Revista de América, 128 (first published in 3 [October 1894]: 58).

57. In "Martí y su 'Amor de cuidad grande': notas hacia la poética de Versos libres, " in Isla a su vuelo fugitiva (Madrid: José Porrúa Turanzas, 1983), 27-42, González Echevarría singles out Versos Libres as the para- soft

dox of modernista poetry: "mientras que la poesía modernista—que había hecho del mundo artificial de la ciudad, pletórico de productos 'finos' de la industria incipiente, manufacturados a base de materias primas importadas por el creciente colonialismo, una segunda naturaleza—ostentaba el lustre de su perfección" ("while modernista poetry—that had made a second nature of the artificial world of the city, overflowing with 'fine' products of an incipient industry, manufactured with raw materials imported by a growing colonialism—showed off the polish of its perfection") (30). With its "movimiento de contracción y expanión," "El poema ['Amor de ciudad grande'] dramatiza de su modo su propia meditación sobre un vacío que pronto se ve poblado por su propio lenguaje. Temáticamente, la cuidad representa ese lenguaje. El vacío antes del poema es el mundo anterior a la caída: la ciudad, es el mundo post-edénico, babélico" (with its "movement of contraction and expansion . . . the poem ['Amor de ciudad grande'] dramatizes in its way its own meditation of a vacuum that soon is filled with its own language. Thematically, the city represents that language. The vacuum facing the poem is the world before the fall; the city is the post-Edenic, Babelic world") (11). González Echevarría accords this poem a central place in the formation of the modern aesthetic. "Reintegrar esos fragmentos de tiempo y palabra que pueblan el presente es la aventura de la poesía post-moderna—proferir el lenguaje de la 'tierra baldía'—y a ello es a lo que apunta el poema de Martí" ("Reintegrating those fragments of time and words that populate the present is the adventure of postmodern poetry—to utter the language of the 'waste land'—and that is what Martí's poem points to") (12).

58. This discussion on the concepts of organic unity and "Genius" draws to a large extent from the following studies: M. H. Abrams, The Mirror and the Lamp: Romantic Theory and the Critical Tradition (New York: Oxford University Press, 1953); Harold Bloom, ed., Romanticism and Consciousness: Essays in Criticism (New York: W. W. Norton and Co., 1970); Hugo Friedrich, The Structure of modern Poetry, trans. Joachim Neugroschel (Evanston, Ill.: Northwestern University Press, 1974); Northrop Frye, ed., Romanticism Reconsidered (New York: Columbia University Press, 1963); Octavio Paz, Los hijos del limo ; and Mario Praz, The Romantic Agony, trans. Angus Davidson, 2d ed. (London: Oxford University Press, 1978).

59. Emilio Carilla offers the most complete discussion of the diffusion of romanticism in Latin America in El romanticismo en la América hispánica (Madrid: Gredos, 1958).

60. "The Concept of Romanticism," Concepts of Criticism (New Haven: Yale University Press, 1971), 174.

61. A good overview is presented by Hugo D. Barbagelata in "Vic- soft

tor Hugo y la América latina," Revista Nacional 56 (October 1952): 104-119.

62. See Suzanne Nash, "Les Contemplations" of Victor Hugo: An Allegory of the Creative Process . (Princeton, N.J. Princeton University Press, 1976), especially chap. 1.

63. Concepts, 167.

64. Julia Kristeva, La révolution du langage poétique (Paris: Editions du Seuil, 1974), 429.

65. Kristeva, Reévolution, 437-438.

66. Groussac, "Boletín bibliográfico— Los raros de Rubán Darío," La Biblioteca 1 (1896): 480.

67. Lezama Lima, La expresión americana, 52.

68. Max Henríquez-Ureña, Breve historia del modernismo (México: Fondo de Cultura Económica, 1954), gives a detailed account of the influences and innovations of all the major modernista poets.

69. For a complete discussion of this aspect of Casal's work, see Robert Jay Glickman, The Poetry of Julián del Casal: A Critical Edition, 3 vols. (Gainesville, Fla.: The University Presses of Florida, 1978), 2: 178-217.

70. Amado Nervo, "El modernismo," Obras completas, ed. Francisco González Guerrero and Alfonso Méndez Plancarte, 2 vols. (Madrid: Aguilar, 1955-1956), 2:397-398.

71. Edgar Allan Poe, " The Poetic Principle," The Complete Poetry and Selected Criticism of Edgar Allan Poe, ed. Allen Tate (New York: New American Library, 1968), 161.

72. Much romantic poetry is based on this parallel system of the inner journey as expressed through outward forms. According to Georges Poulet, this duality forms the conceptual base for the romantic hero: "Ainsi le héros romantique . . . débouchant par-delà la monisme sensualiste, fait l'experience de la dualité fondamentale de l'esprit centre et de la realité-péripherie" (135). "Le retrait de l'être en soi-même, loin de la nature extérieure, devient le principe même d'un nouveau retour vers la nature et, par conséquent, d'un nouvel épanouissement de l'être hors du centre où il s'est revigoré" ("Thus the romantic hero . . . emerging beyond the sensualist monism, experiences the fundamental duality of the spiritual center and peripheral reality" (135). "His retreat into himself, far from exterior nature, becomes the very principle of a new return to nature and, consequently, of a new expansion of the self outside the center where he has been renewed") (138). Les métamorphoses du cercle (Paris: Librairie Plon, 1961), 135-138.

73. Charles Baudelaire, "Théophile Gautier," Oeuvres complètes (Paris: Editions Gallimard, 1961), 690. break

74. Stéphane Mallarmé, Variations sur un sujet: Oeuvres complètes (Paris: Gallimard, 1945), 368.

75. Rubén Darío, "Dilucidaciones," El canto errante: poesías completas (Madrid: Aguilar, 1968), 700.

76. Darío, "Dilucidaciones," 699.

77. Las primeras letras de Leopoldo Lugones (facsimile edition of his first literary works) (Buenos Aires: Ediciones Centurión, 1963), 68, first published in 1897, hereafter cited in text as PL with date of original publication.