El s’mbolo de Dulcinea/Gaia:
En los "esp’ritus sensibles",
habitualmente, sus ÒemocionesÓ son comœnmente utilizadas, manipuladas por
terceros. El "pathos"(¹ατοσ= la pasi—n, sendero,
camino) es "atra’do", "distra’do" (como dir’a Tomas Merton),
por distintos centros de gravedad EXTERNOS a nosotros mismos :
"ideolog’as", Òcampa–as pol’ticasÓ que, para aprovechar la energ’a
del alma humana hacen uso de cualesquier Òcausa justaÓ. TambiŽn son atra’das
por identificaci—n con ÒyoesÓ internos, como "me siento mal, tengo
"c—lera", tengo "pena", estoy "triste", o
"estoy alegre", producidos por nuestras propias
"asociaciones" subjetivas. La Novela de Caballer’a, y el "amor
cortesano" de los inicios del Renacimiento, la "Alquimia" de
aquellas Žpocas, esa otra Žpoca de cambio y Apocalipsis (Ἀ¹οκάλυψις=
Revelaci—n de lo Alto), NOS PROVEE DE UNA HERRAMIENTA, DE UNA
"CLAVE", de una "tŽcnica" que EVITA QUE NUESTRA ENERGêA
VITAL, nuestra "l’bido" sea consumida, sea absorbida, tragada, por
cualquier evento EXTERNO a nosotros, imaginario e interno o supuestamente
"REAL" y externo. Por m‡s JUSTIFICADO e incluso "ALTRUISTA"
que Žste sea. No voy a "salvar" a ninguna humanidad sin antes
"salvarme" a m’ mismo (y la raz—n me dicta que si creo que debo
hacerlo antes debo poseer la energ’a suficiente yo mismo). Esta CLAVE, esta
tŽcnica, este "truco" de aquŽl Mago del Tar—t, es aquŽl que emple— el
QUIJOTE: ƒl se estableci— una META, un OBJETIVO para sus emociones, las que no
ser’an dirigidas por nada ni por nadie, sino por aquella elegida por el Hidalgo
Caballero, con el prop—sito de mantener su coraz—n abierto, no cerrado:ÇSe
cree, que en un lugar cerca del suyo hab’a una moza labradora de muy buen
parecer, de quien Žl un tiempo anduvo enamorado, aunque, segœn se entiende,
ella jam‡s lo supo ni le dio cuenta de ello.È ÇLlam‡base Aldonza Lorenzo, y a
Žsta le pareci— ser bien darle t’tulo de se–ora de sus pensamientos; y,
busc‡ndole nombre que no desdijese mucho del suyo y que tirase y se encaminase
al de princesa y gran se–ora, vino a llamarla 'Dulcinea del Toboso' porque era
natural del Toboso: nombre, a su parecer, musical, peregrino y significativo,
como todos los dem‡s que a Žl y a sus cosas hab’a puesto.ÈAl elegir este
"pat—s", este "intento" indeclinable e insustituible, esta
caballeresca empresa, este hiero gamos (ἱερὸς γάμος, ἱερογαμία)
devolv’a la creaci—n del mundo, la manifestaci—n del "logos" hasta
sus dos componentes iniciales, Ad‡n y Eva, retrotrayŽndolos, en su aventura,
hasta retornar al "pardes"(para’so) original.
The symbol of
Dulcinea/Gaia:
In those
"sensitive spirits" emotions are commonly utilized, manipulated by
third parties. The "pathos" (¹ατοσ = passion,
road, path) is "attracted", "distracted" (as Thomas Merton
would say), by different centers of gravity external to ourselves:
"ideologies", political campaigns, ingeniously "produced"
in order to take the power, making use of any Òfair causeÓ. These also got
identified with the several ÒegosÓ as "I am feeling bad", I feel
"anger", I am "sad", or "I am happy", produced by
our own subjective "associations". The Novel of Cavalry, and the
"courtly love" of the early Renaissance, the "Alchemy" of
those epochs, that other epoch of change and Apocalypse (Ἀ¹οκάλυψις
= Revelation from above), PROVIDES OF A TOOL, A KEY ", of a"
technique "that impedes OUR VITAL ENERGY, our" libido " to be
consumed, absorbed, swallowed, by any EXTERNAL event to us, imaginary and
internal or supposedly" real " and external. It does not matter how
JUSTIFIED or even "ALTRUISTIC" that this may be. I will not
"save" any humanity without first "saving myself" (and
reason tells me that if I think I should do it before I must possess enough
energy myself).
This key, this
technique, this "trick" of that Mage (Μαγοσ)
of Tarot, is the one that used the QUIXOTE in order to keep his heart
"open" and not closed: He established a GOAL, a TARGET for his
emotions, which would not be directed by anything or anyone, but by that chosen
by the Hidalgo Caballero himself:
"It is
believed that in a place near his own there was a working girl of very good
opinion, whom he had once been in love with, although, as it is understood, she
never knew him or [in some editions] accounted for.
She was called
Aldonza Lorenzo, and it seemed to him that it was well to give her the title of
mistress of her thoughts; And, looking for a name that he did not throw away
much of his own, and that he would throw himself and go to that of a princess
and a great lady, he came to call her 'Dulcinea del Toboso', because it was a
native name of El Toboso: a musical one, pilgrim and meaningful, as all the
others that he and his things had set. "
By choosing this
"pathos", this irreplaceable and indeclinable "Intent",
this chivalrous enterprise, this hiero gamos (ἱερὸς γάμος, ἱερογαμία) returned the creation of the world, the
manifestation of the "logos" to its two initial components, Adam and
Eve, retrograding them, in its Adventure, until returning to the original
"pardes" (paradise).