By Bruce Dean Willis
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Rimbaud, as Poetry’s liberator, can enjoy the inspiration of the semiotic force of language, even if such contact is ﬂeeting and periodic instead of a truly lasting union. Huidobro’s poet, in contrast, challenges the phallic mother ﬁgure of Mother Nature, who is indeed endowed with the graphically symbolic phallus of the lightning bolt, a weapon more often wielded by male deities like Zeus and Thor. The rebel poet desires literally to “occupy her place,” more of a poetic coup than a symbiosis. The difference lies in the degree of fetishism.
It is also a surprising statement, leaning towards blasphemy, given Mário’s avowed Catholicism; perhaps for this reason he inserts a letter “(A)” after “religião” in order to direct the reader to endnote A in the appendix of A escrava que não é Isaura. ” (OI 201). It is appropriate at this point to consider endnote A. The tone is not openly apologetic, although Mário concedes that the “religião” sentence is “vaidosa” [vain]. Instead, Mário defends the necessary presence of the individual in religion, giving the example of ﬁve monks worshipping God in a monastery; they can never really be ﬁve monks but rather “1, 1, 1, 1, e 1 monges.
Yet he cannot truly defeat her, as has been shown, since more than a mere witch or stepmother, Mother Nature represents the original and divine forces of the universe. 10 In “Parábola,” on her perch atop Mount Ararat, Poetry can also be identiﬁed with the Great Mother, in her manifestation as the Earth Mother. When Rimbaud passed by the mountain, wanting to see it, he “admirou-se de, em vez do Ararat de terra, encontrar um Guarisancar de sedas, setins, chapeus, jóias, botinas, máscaras, espartilhos .