LA VIEJA SIRENA
Si nunca despertaste en sobresalto
febril, precipitándote hacia el lado
vacío de tu lecho, tanteándolo
con manos que se obstinan vanamente
contra implacable ausencia.
Si no sentiste entonces la muerte
desgarrándote en vida y agrandando
el vacío entre tus venas inflamado,
el vano apartamiento de tus muslos,
el ansia de tu sexo.
Si no rompió tu voz ese gemido
que acuchilla la turbia madrugada...
es que en tu corazón no ardía la hoguera
que llamamos amor.
En ella me consumo y es mi grito
tu nombre: a ti me abro en carne viva.
Mi piel muere en espera de la tuya,
mi sexo late con ansiosa boca
de pez en la agonía.
Y al no llegar tus labios con tu bálsamo
ni el fuego sosegante de tu lengua
mi mano se fatiga inútilmente
en estéril caricia...
Porque tan sólo tú tienes las alas
para el vuelo que mata y da la vida.
Glauca, abandons her old life as a mermaid to become a simple mortal. She needs to know what real love is. The story of José Luis Sampedro, has similarities with that of another brother of sorrow, my second favourite Dane ever, Hans C. Andersen, The Little Mermaid. My friend Laura (smiling at Tris) gave me permission to use this analysis of the real meaning of the tale. I think Caly, a mermaid gone Lolita lately, could find this interesting.
The Little Mermaid by H. C. Andersen is at heart a story of the soul's passage into the third density, of individuation, pain and of the forces which spin threads of destiny from the entangled fibers of the wool of collective soul; and of course of the love which propels the ascending spiral of creation.
We see the Little Mermaid as a fragment of the soul pool of mermaidenhood, attracted by the lights of the ship, by the handsome prince, by the life form across the watery divide. The one breathing the next element, as it were, usually only glimpsed through the distorting lens of the waves.
The longing for the new life precipitates the 'fall' of the princess of the sea, where she seeks the help of the Sea Witch in order to affect a transition into a new physicality. Allegorically the price is the loss of her tongue, in other words of the telepathic connection to her peers, leading to the awkwardness and ambiguity of communication we of this world know only too well.
Warm affection grows between the prince and the mermaid, however never does the prince quite feel as if she were his kind, alluring and devoted as she may be.
And so comes the denouement, where the prince meets the polar opposite, the princess of the other kingdom, the girl who first found him after the Little Mermaid deposited him on the beach by the temple. In the consummation of the union of the prince and princess we may see intimations of the Age of the Holy Spirit, where the organic portal finds the true possibility of individuated soul if, and only if, the Prince and the Princess find each other.
The nature of the lower centers comes back to tempt the Little Mermaid, symbolized by her sisters handing her the knife with which she must kill the prince to survive herself. The Little Mermaid turns her back on the survival response of the red ray of nature and embraces the green ray of unconditional love and the striving for fourth density instead. The break of dawn sees her flinging herself into the ocean, where she for a moment feels as if being pulled back into the foam of the sea - the anonymous soul pool of mermaidenhood. But she emerges victorious - as the wave passes - and rises into the air, into her new company of daughters of Eos.
Shall the Little Mermaid extract faith in cosmic order, in the rightness of ultimate unity, no matter how different and inscrutable the paths of entities may be?
Difficult? Not more than trying to grasp how an intelligent person can fall in love with a character, an archetype, an unworthy...what did she say...twat? La sirena represents sacrifice, mystery and a step towards divinity. Lolita conveys selfishness, low instincs and the ultimate female whore. She sells herself...for some attention and a lollypop.
