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Table of contents
However, the idea that also our literature should be neutral is not only absurd but also extremely dangerous to its future growth and flowering, for which all of us hope so much. Unfortunately, too many Esperantists harbor such an idea—and among them apparently some of our prominent leaders. But literature is an art, and neutral art is nothing else than mummification of life. Our poets, as a rule, have cautiously bypassed all the important international movements, trends and tendencies since neoromanticism which was the main fount of inspiration for Zamenhof and his disciples.
Where were our poets when dadaism was startling the burghers, when futurism tried to envision new realities of life and art, when surrealism plunged into the subconscious in search of fresh insights hidden in the poet's psyche? Where are our poets now when concrete poetry attracts the most original creative minds in so many countries of Europe, South America and Japan?
I am afraid that most of our reading public would be puzzled at the mere mention of the term itself. We will not find it even in our Plena Ilustrita Vortaro which for all my respects for its compiler and editor—I cannot call "Unabridged Illustrated Dictionary. I found a great deal of encouragement in their reaction: it somehow made me feel good to know that, aside from Mr. Nogueira, there were other Esperantist intellectuals who perhaps shared my discontent with contemporary Esperanto poetry. Drago Kralj, in his Third Lecture, delivered over a decade ago, said that contemporary man no longer likes poetry very much, at least not so much as the man in the past centuries and in more ancient times, when poetry was the only form of literature accessible to him.
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And yet—and yet poetry has remained and is the loftiest form of artistic expression. I agree wholeheartedly with this statement. But when Mr. Kralj, after an adroit transitional paragraph in which he deplores the fact that so few Esperantists read poetry, says that Esperanto poetry experiences "a beautiful period in the last years," then I am simply taken aback at his lack of a more critical insight. And when he adds, "Perhaps it has already attained its high point, perhaps it is still climbing toward it—it arouses one's enthusiasm, and it is valuable for reading and enjoyment.
Its voice is strong and elegant," [ 16 ] I feel like putting the whole blame on our critics and reviewers.
If they continue singing such paeans to the glory of Esperanto poetry, ours will forever remain a literature of provincialism and mediocrity and fail to fulfill the promise of Zamenhof's great heritage—the same Zamenhof who, in the words of de Kock, "conceived Esperanto as a poetic work. And so it was only natural that, as soon as the Nazi crematoria ceased pushing out their dark smoke toward the indifferent sky, Esperanto poets, along with their colleagues in national languages, resumed writing poetry.
It continued to be written, but its practitioners blithely overlooked Auschwitz as well as all the other horrors committed by the Nazis, the Fascists, and their collaborators. They also overlooked Hiroshima and Nagasaki. They overlooked the atrocities of the war in Vietnam and the genocide of imperialism in Black Africa. They even overlooked the suppression of Esperanto itself, let alone that of such minority languages and cultures as Basque or Yiddish or Tatar in countries ideologically as apart from each other as Spain and the Soviet Union.
I could go on and on enumerating all that Esperanto poets have overlooked and still are overlooking today. I would like to quote just two stanzas from a poem entitled, "La poeto volas verki subjektive" "The poet wants to write subjectively" which introduces us to the latest poetry volume by Auld:.
How odd that our most outstanding contemporary poet—a poet who in La infana raso has proved his ability to rise to the universal—should also so frivolously epitomize that escapist attitude which is so characteristic of Esperanto poetry. I often wonder why Esperanto poets, having exiled themselves from the comforts and amenities of the Tower of Babel—an act of great courage and renunciation!
The festive speeches of our movement's leaders with which they inaugurate universal Esperanto congresses invariably emphasize the great significance of our international culture, as expressed in the works of Esperanto poets and writers. But after the congress is over, how much is done by them to really foster and promote that culture to which they pay so deep an homage in public? Very, very little. Our Universal Esperanto Association confines itself to publishing in its official organ, once a year, a few poems and, occasionally, a short story, that happened to win awards in annually held literary competitions.
But why does it not subsidize the publication of a really important and a really international literary magazine, at least on the model of the defunct Monda Kulturo? And why does it not help new writers to publish their works? At this juncture, I cannot help but paraphrase the famous words of Zamenhof and say: For a culture to be international, it is not enough to call it such.
The usual procedure followed by a physician in the management of his patient's ailment consists of three stages: diagnosis, prognosis and therapy. Since our patient is not an individual nor a group of individuals affected by a specific ailment for which one could prescribe a certain definite treatment and predict the chances of recovery, I had to confine myself to only one of these stages: diagnosis. In diagnosing a pathological case, however, there is always temptation to speculate on its etiology.
In this particular case, this temptation was so irresistible that I could not help yielding to it on more than one occasion. The Esperanto Publishing Company, Ltd. Cohen, ed. II, p. Bleier and E. Cense, eds. Based on original double-spaced typescript, 21 pp. Paper presented at meeting of the Modern Language Association.
Footnotes have been converted into endnotes. At the time I received and read this manuscript from Julius Balbin , I largely shared his sentiment. Everything about Esperantists including their original literary output seemed to be quite old-fashioned and decades behind the times—not just the early s but behind the 20 th century, though I do give credit to Esperantist intellectuals and their minuscule audience for taking high culture seriously.
Also, there was always socially engaged original literature in Esperanto, most notably in the proletarian Esperanto movement that flourished following World War I not covered in this paper , but not limited to it. William Auld himself wrote some unmistakably socially oriented poetry when he entered the literary scene in the late s, and his philosophical epic La Infana Raso [The Infant Race] certainly can be said to have a sociopolitical dimension.
Auld said what he had to say philosophically and politically by the end of the s, and while his social concerns did not cease to be felt and expressed afterwards, in my view his purely belletristic proclivities dominated his work. Ironically, it too is a political poem, if you think about it, and is not really about pretty flowers and chirping birds. Balbin raises the question as to whether the political neutrality of the mainstream Esperanto movement inhibited it culturally. An investigation of possible effects should include a comparative analysis of the cultural output of the non-neutral workers' movement.
There is an endogeous question of audience here as well as of authors, but one might ponder possible external factors as well, Another factor to consider is the fear of police surveillance and political repression, a concern for example in Europe and the Far East at least until World War II was over, and a continuing concern in the Soviet bloc until glasnost. With a few exceptions, everything was on the surface.
Julius Balbin is also noted for his contributions to Holocaust literature in the form of Esperanto poetry also in English translation , mostly concerning his experiences in Nazi concentration camps. Roberto Passos Nogueira is cited here for his antagonism to Waringhien and Kalocsay, which I remember also from personal conversations with him in Washington. Nogueira himself published one volume of avant-garde original and translated poetry in , Vojo kaj Vorto [Way and Word], but never followed it up.
It is quite difficult to create free-form poetry that will last even where it agrees with the poetic norms of the culture in which it is produced, as it would in American English whereas nobody could get away now with writing poetry in the American language according to the very traditional and for us outdated fixed-form poetry endemic to Esperanto literature.
Hence one has to look to the ensuing three and a half decades of original Esperanto literature to ascertain whether it has lived up to the standards demanded in this paper. Jen la rilata enhavo: Julius Balbin: "La sekreta malsano de la esperanta poezio," trad. Arta partikulareco kaj Esperanto de R.
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