{"id":6612,"date":"2015-01-07T07:51:04","date_gmt":"2015-01-07T07:51:04","guid":{"rendered":"https:\/\/www.revistarambla.com\/werther-y-los-derechos-del-corazon\/"},"modified":"2015-01-07T07:51:04","modified_gmt":"2015-01-07T07:51:04","slug":"werther-y-los-derechos-del-corazon","status":"publish","type":"post","link":"https:\/\/www.revistarambla.com\/en\/werther-y-los-derechos-del-corazon\/","title":{"rendered":"Werther y los derechos del coraz\u00f3n"},"content":{"rendered":"

\t\"alt\"El siglo<\/span> XVIII<\/span> fue<\/span> dado a la novela<\/span> epistolar<\/span>, debido<\/span> a la difusi\u00f3n<\/span> alcanzada<\/span> por<\/span> tres<\/span> obras<\/span> de distinto<\/span> asunto<\/span>: las<\/span> Cartas<\/span> persas<\/span><\/em> (1717) del franc\u00e9s<\/span> Charles Louis de Secondat<\/span>, bar\u00f3n<\/span> de Montesquieu<\/span>, que<\/span> tom\u00f3<\/span> como<\/span> excusa<\/span> el periplo<\/span> de Uzbek<\/span>, sabio<\/span> persa<\/span> desterrado<\/span> de su<\/span> patria, para<\/span> criticar<\/span> las<\/span> costumbres<\/span> de su<\/span> propio<\/span> tiempo<\/span>;<\/p>\n

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\tEl siglo<\/span> XVIII<\/span> fue<\/span> dado a la novela<\/span> epistolar<\/span>, debido<\/span> a la difusi\u00f3n<\/span> alcanzada<\/span> por<\/span> tres<\/span> obras<\/span> de distinto<\/span> asunto<\/span>: las<\/span> Cartas<\/span> persas<\/span><\/em> (1717) del franc\u00e9s<\/span> Charles Louis de Secondat<\/span>, bar\u00f3n<\/span> de Montesquieu<\/span>, que<\/span> tom\u00f3<\/span> como<\/span> excusa<\/span> el periplo<\/span> de Uzbek<\/span>, sabio<\/span> persa<\/span> desterrado<\/span> de su<\/span> patria, para<\/span> criticar<\/span> las<\/span> costumbres<\/span> de su<\/span> propio<\/span> tiempo<\/span>; Pamela o la virtud<\/span> recompensada<\/span> <\/em>(1740), del brit\u00e1nico<\/span> Samuel Richardson, relato<\/span> de sesgo<\/span> psicologista<\/span> e intenci\u00f3n<\/span> moralizante<\/span>; y de modo<\/span> especial Julia o la nueva<\/span> Elo\u00edsa<\/span><\/em> (1761), del ginebrino<\/span> Jean-Jacques Rousseau, manifiesto<\/span> en pro de la sabidur\u00eda<\/span> de los sentimientos<\/span> frente<\/span> a la ley<\/span> de la raz\u00f3n<\/span>. A esta<\/span> \u00faltima<\/span> popruesta<\/span>, premisa<\/span> basal del romanticismo<\/span>, se adhiri\u00f3<\/span> tambi\u00e9n<\/span> el germano<\/span> Johann Wolfgang Goethe (1749-1832) con Las penas<\/span> del joven<\/span> Werther<\/span><\/em> (1774), narraci\u00f3n<\/span> que<\/span> pronto adquiri\u00f3<\/span> fama<\/span> en toda<\/span> Europa<\/span>.<\/p>\n

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\tEl desventurado<\/span> –y desmesurado–<\/span> personaje<\/span> de Werther<\/span> encarn\u00f3<\/span> los valores<\/span> del movimiento<\/span> conocido<\/span> como<\/span> Sturm und Drang<\/span> <\/em>(Tormenta<\/span> e \u00cdmpetu<\/span>). Tan sonora<\/span> denominaci\u00f3n<\/span> proviene<\/span> del t\u00edtulo<\/span> de un drama de Friedrich Maximilian<\/span> Klinger<\/span> publicado<\/span> en 1776, pero<\/span> sus<\/span> fundamentos<\/span> te\u00f3ricos<\/span> se deben<\/span> a la pluma<\/span> de Johann Gottfried<\/span> von Herder, quien<\/span> los expuso<\/span> en los Fragmentos<\/span> sobre<\/span> la literatura<\/span> alemana<\/span> m\u00e1s<\/span> reciente<\/span> <\/em>(1766), y, sobre<\/span> todo<\/span>, en Sobre<\/span> el estilo<\/span> y el arte<\/span> alem\u00e1n<\/span><\/em> (1773), escrito<\/span> al alim\u00f3n<\/span> con Goethe. Adscrito<\/span> a esta<\/span> corriente<\/span> estaba<\/span> un grupo<\/span> de j\u00f3venes<\/span> escritores<\/span>, disconformes<\/span> con el sacrificio<\/span> de los sentimientos<\/span> en el ara<\/span> de una<\/span> moralidad<\/span> que<\/span> pretend\u00eda<\/span> basarse<\/span> en principios<\/span> racionales<\/span>, aunque<\/span> tan solo fuera<\/span> deudora<\/span> de los h\u00e1bitos<\/span> heredados<\/span>.<\/p>\n

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\tLas penas<\/span> del joven<\/span> Werther<\/span><\/em>, novela<\/span> \u00abeleg\u00edaca<\/span>\u00bb en palabras<\/span> de su<\/span> autor<\/span>, se compone<\/span> de las<\/span> figuradas<\/span> cartas<\/span> que<\/span> el pintor<\/span> Werther<\/span> remite<\/span> a su<\/span> amigo Wilhem<\/span> para<\/span> contarle<\/span> las<\/span> impresiones<\/span> de su<\/span> estancia<\/span> en una<\/span> localidad<\/span> rural alemana<\/span>, Wahlheim<\/span>. A trav\u00e9s<\/span> de esos<\/span> escritos<\/span>, el lector asistir\u00e1<\/span> a la evoluci\u00f3n<\/span> del \u00e1nimo<\/span> y los pensamientos<\/span> del protagonista<\/span>, que<\/span> se ver\u00e1<\/span> engullido<\/span> por<\/span> el v\u00f3rtice<\/span> de sus<\/span> propias<\/span> pasiones<\/span> hasta<\/span> el extremo<\/span> de la autodestrucci\u00f3n<\/span>.\u00a0<\/p>\n

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\tLas primeras<\/span> misivas<\/span> remitidas<\/span> por<\/span> el artista<\/span> desvelan<\/span> un sereno<\/span> recogimiento<\/span>, con propensi\u00f3n<\/span> a la experiencia<\/span> ext\u00e1tica<\/span>. En uno<\/span> de los pasajes<\/span> m\u00e1s<\/span> significativos<\/span> de la obra<\/span>, Werther<\/span> se declara<\/span> “incapaz<\/span> de dibujar<\/span> un trazo”<\/span> aunque<\/span> jam\u00e1s<\/span> se sinti\u00f3<\/span> “mejor<\/span> pintor”<\/span>. La uni\u00f3n<\/span> m\u00edstica<\/span> con la naturaleza<\/span> despoja<\/span> de atractivo<\/span> a la instrumentalidad<\/span> guiada<\/span> por<\/span> el entendimiento<\/span>; donde<\/span> hay vivencia<\/span> del Todo<\/span> (“las<\/span> formas<\/span> majestuosas<\/span> del mundo<\/span> infinito<\/span> viv\u00edan<\/span> y se mov\u00edan<\/span> dentro<\/span> de mi alma”), sobra<\/span> la t\u00e9cnica<\/span> que<\/span> reproduce sin m\u00e1s<\/span> los objetos<\/span> finitos<\/span>. A esa<\/span> naturaleza<\/span> ornada<\/span> con atributos<\/span> divinos<\/span> (tal<\/span> como<\/span> fue<\/span> tratada<\/span> tambi\u00e9n<\/span> por<\/span> ilustres<\/span> coet\u00e1neos<\/span> como<\/span> Friedrich Gottlieb<\/span> Klopstock<\/span>, Salomon Gessner<\/span> o Edward Young), solo se la puede<\/span> comprender<\/span> y honrar<\/span> mediante<\/span> una<\/span> aprehensi\u00f3n<\/span> genuinamente<\/span> est\u00e9tica<\/span>; por<\/span> lo tanto<\/span>, antag\u00f3nica<\/span> de la manipulaci\u00f3n<\/span> utilitarista<\/span> que<\/span> preconiz\u00f3<\/span> la Ilustraci\u00f3n<\/span>. Goethe se adelanta<\/span> a Nietzsche al considerar<\/span> que<\/span> el mundo<\/span> solo tiene<\/span> justificaci\u00f3n<\/span> como<\/span> fen\u00f3meno<\/span> est\u00e9tico<\/span> (en palabras<\/span> del segundo<\/span>).<\/p>\n

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\tLa experiencia<\/span> est\u00e9tica<\/span> cuenta<\/span> tambi\u00e9n<\/span> con su<\/span> correlato<\/span> antropol\u00f3gico<\/span> y moral. Werther<\/span> elogia<\/span> la nobleza<\/span> del alma campesina<\/span>, ejemplo<\/span> virtuoso de adaptaci\u00f3n<\/span> del esp\u00edritu<\/span> humano<\/span> a la naturaleza<\/span> circundante<\/span>. Ofrece<\/span> as\u00ed<\/span>, el medio<\/span> rural, un refugio<\/span> apto<\/span> para<\/span> quien<\/span> desee<\/span> huir<\/span> del entramado<\/span> artificioso<\/span> de la civilizaci\u00f3n<\/span> burguesa<\/span>, porque<\/span> los “derechos<\/span> del coraz\u00f3n”<\/span>, el pathos subjetivo<\/span>, es<\/span> al ethos de las<\/span> normas<\/span> sociales<\/span> como<\/span> a la monta\u00f1a<\/span> los caudales<\/span> que<\/span> horadan<\/span> sus<\/span> entra\u00f1as<\/span>: una<\/span> inquietud<\/span> que<\/span> sacude<\/span> los fundamentos<\/span> de toda<\/span> convenci\u00f3n<\/span>.<\/p>\n

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\tAs\u00ed<\/span> pues<\/span>, la primera<\/span> serie<\/span> de misivas<\/span> de Werther<\/span> manifiesta<\/span> un sosiego<\/span> arrebatado<\/span> (valga<\/span> el ox\u00edmoron<\/span>); estado<\/span> gratificante<\/span> y sapiencial<\/span>, puesto<\/span> que<\/span> provee<\/span> de una<\/span> forma de comprensi\u00f3n<\/span> plena del mundo<\/span> exterior. Sin embargo, tal<\/span> solaz<\/span> se tornar\u00e1<\/span> ajeno<\/span> al artista<\/span> por<\/span> obra<\/span> y (poca<\/span>) gracia<\/span> de la pasi\u00f3n<\/span> amorosa<\/span>, cuando<\/span> irrumpa<\/span> en sus<\/span> d\u00edas<\/span> la bella<\/span> Charlotte, joven<\/span> prometida<\/span> de Albert (un hombre estrecho<\/span> de miras<\/span>, mucho<\/span> mayor que<\/span> ella<\/span>). Parece<\/span> vulgar decirlo<\/span>, y sin duda<\/span> lo ser\u00e1<\/span>, pero<\/span> la fuente<\/span> de la estupidez<\/span> brota<\/span> con harta<\/span> frecuencia<\/span> del afecto<\/span>.<\/p>\n

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\tCharlotte, como<\/span> toda<\/span> dama<\/span> honesta<\/span> que<\/span> se precie<\/span>, no corresponde<\/span> al amor de Werther<\/span> por<\/span> puro<\/span> decoro<\/span>: la palabra<\/span> empe\u00f1ada<\/span> a su<\/span> prometido<\/span> vale m\u00e1s<\/span> que<\/span> cualquier<\/span> sentimiento<\/span>. Frente<\/span> a la pasi\u00f3n<\/span> del protagonista<\/span>, la muchacha<\/span> opone<\/span> el sentido<\/span> del deber<\/span> por<\/span> amor al deber<\/span> mismo<\/span> (la \u00e9tica<\/span> que<\/span> blasona<\/span> el imperativo<\/span> categ\u00f3rico<\/span> kantiano<\/span>). Ya<\/span> tenemos<\/span> servido<\/span> el combate<\/span> entre<\/span> el \u00edmpetu<\/span> de la vida<\/span> y la \u00abraz\u00f3n<\/span> koenigsburguesa<\/span>\u00bb (una<\/span> vez<\/span> m\u00e1s<\/span>, Nietzsche dixit<\/span>)… El conturbado<\/span> pintor<\/span> abandona<\/span> Wahlheim<\/span> antes de la boda<\/span>, pero<\/span> vuelve<\/span> tiempo<\/span> despu\u00e9s<\/span> a invitaci\u00f3n<\/span> de los esposos<\/span>, y a pesar<\/span> de la amistad<\/span> que<\/span> le une<\/span> con Albert, a quien<\/span> sinceramente<\/span> aprecia<\/span>, consigue<\/span> robarle<\/span> un beso<\/span> a su<\/span> mujer<\/span> en la m\u00e1s<\/span> arrebatadora<\/span> escena<\/span> de la novela<\/span>, tras<\/span> la ardiente<\/span> recitaci\u00f3n<\/span> de un fragmento<\/span> del poema<\/span> Ossian<\/span>. Lejos<\/span> de envanecerlo<\/span>, tanto<\/span> como<\/span> de acicatar<\/span> su<\/span> sed<\/span> de conquista<\/span>, esta<\/span> peque\u00f1a<\/span> victoria muestra<\/span> a Werther<\/span> el abismo<\/span> de oprobio<\/span> en el que<\/span> puede<\/span> sumir<\/span> a la amada<\/span>; tan vasto<\/span> como<\/span> la profundidad<\/span> de la propia<\/span> perfidia<\/span>. Nuestro<\/span> h\u00e9roe<\/span> optar\u00e1<\/span> a la postre<\/span> por<\/span> el suicidio<\/span>, para<\/span> fugarse<\/span> de la disyuntiva<\/span> interior que<\/span> polarizan<\/span> el infierno<\/span> de la deslealtad<\/span> y la tortura<\/span> de la renuncia<\/span>. La muerte<\/span> es<\/span> una<\/span> tercera<\/span> v\u00eda<\/span>; fat\u00eddica<\/span>, s\u00ed<\/span>, pero<\/span> brinda<\/span> consuelo<\/span>.<\/p>\n

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\t\u00bfPor<\/span> qu\u00e9<\/span> antepone<\/span> Werther<\/span> su<\/span> lealtad<\/span> hacia<\/span> Albert cuando<\/span> la hora<\/span> parece<\/span> propicia<\/span> para<\/span> perseverar<\/span> en la infidelidad<\/span> de Charlotte? \u00bfD\u00f3nde<\/span> qued\u00f3<\/span> ese<\/span> hombre tempestuoso<\/span>, si<\/span> as\u00ed<\/span> cabe<\/span> llamarlo<\/span>, que<\/span> hab\u00eda<\/span> renunciado<\/span> a la gu\u00eda<\/span> de las<\/span> convenciones<\/span> para<\/span> entregarse<\/span> a los “derechos<\/span> del coraz\u00f3n”<\/span>? La respuesta<\/span> m\u00e1s<\/span> f\u00e1cil<\/span> podr\u00eda<\/span> ser<\/span> esta<\/span>: en el momento<\/span> clave<\/span> de su<\/span> historia<\/span> resucita<\/span> el Werther<\/span> burgu\u00e9s<\/span>, civilizado<\/span>, porque<\/span> la sombra<\/span> de la moral es<\/span> alargada…<\/span> Pero<\/span> cabe<\/span> pensar<\/span> igualmente<\/span>: \u00bfy si<\/span> la reacci\u00f3n<\/span> del artista<\/span> enamorado<\/span> obedeciera<\/span> a las<\/span> exigencias<\/span> de la compasi\u00f3n<\/span>, que<\/span> tambi\u00e9n<\/span> es<\/span> un sentimiento<\/span> poderoso<\/span> y natural? La segunda<\/span> opci\u00f3n<\/span> dar\u00eda<\/span> visos<\/span> de coherencia<\/span> a la conducta<\/span> del protagonista<\/span>.\u00a0<\/p>\n

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\tPor<\/span> \u00faltimo<\/span>, valga<\/span> decir<\/span> que<\/span> Las penas<\/span> del joven<\/span> Werther<\/span><\/em> posee<\/span> fuerte<\/span> contenido<\/span> autobiogr\u00e1fico<\/span>, puesto<\/span> que<\/span> un Goethe de apenas<\/span> 23 a\u00f1os<\/span>, durante<\/span> su<\/span> estancia<\/span> en la ciudad<\/span> de Wetzlar<\/span> para<\/span> realizar<\/span> pr\u00e1cticas<\/span> como<\/span> letrado<\/span>, rond\u00f3<\/span> los favores<\/span> de la dama<\/span> Charlotte Buff, prometida<\/span> de un hombre mucho<\/span> mayor que<\/span> ella<\/span>. Ocurri\u00f3<\/span> en el verano<\/span> de 1772, entre<\/span> los meses<\/span> de junio<\/span> y septiembre<\/span>; per\u00edodo<\/span> estacional<\/span> en el que<\/span> tambi\u00e9n<\/span> se desarrolla<\/span> la novela<\/span>, publicada<\/span> dos a\u00f1os<\/span> m\u00e1s<\/span> tarde<\/span>. Goethe, mucho<\/span> m\u00e1s<\/span> vitalista<\/span> que<\/span> su<\/span> personaje<\/span>, prefiri\u00f3<\/span> una<\/span> despedida<\/span> sin formalismos<\/span> –de esas<\/span> que<\/span> en Espa\u00f1a<\/span> se denominan<\/span> “a la francesa”–<\/span> antes que<\/span> marchar<\/span> de este<\/span> mundo<\/span>. \u00bfLe quedar\u00eda<\/span> un regusto<\/span> a mediocridad<\/span> tras<\/span> el episodio<\/span>, falto<\/span> de la grandeza<\/span> tr\u00e1gica<\/span> de Werther<\/span>? Si as\u00ed<\/span> fue<\/span>, la literatura<\/span> le brind\u00f3<\/span> sobrada<\/span> ocasi\u00f3n<\/span> para<\/span> reparar<\/span> su<\/span> despecho<\/span> hacia<\/span> s\u00ed<\/span> mismo<\/span>.<\/p>","protected":false},"excerpt":{"rendered":"

El siglo XVIII fue dado a la novela epistolar, debido a la difusi\u00f3n alcanzada por tres obras de distinto asunto: las Cartas persas (1717) del franc\u00e9s Charles Louis de Secondat, bar\u00f3n de Montesquieu, que tom\u00f3 como excusa el periplo de Uzbek, sabio persa desterrado de su patria, para criticar las […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[60],"tags":[],"class_list":["post-6612","post","type-post","status-publish","format-standard","hentry","category-libros"],"yoast_head":"\nWerther y los derechos del coraz\u00f3n - Revista Rambla<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.revistarambla.com\/en\/werther-y-los-derechos-del-corazon\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Werther y los derechos del coraz\u00f3n - 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