La redención de Fausto / José Antonio Ramos Sucre

The Redemption of Faust

Leonardo da Vinci enjoyed painting gaseous, shady figures. He left in the hands of Albrecht Dürer, inhabitant of Venice, a copy of La Gioconda, noted for her magic smile.
     That same painting came to illuminate, days later, the estate of Faust.
     The sage exhausted himself quarreling with his presumptuous bachelor, with his lace collar and sprats, and with Mephistopheles, predecessor of Hegel, obstinate in executing the synthesis of contraries, in mixing good with evil. Faust bade him farewell from his friendship and noted for the first time the absence of the woman.
     Leonardo da Vinci’s spectral creature ceased being a captive image, placed her hand on the thinker’s shoulder and blew out his vigilant lamp.

El cielo de esmalte (1929)

{ José Antonio Ramos Sucre, Obra completa, Caracas: Biblioteca Ayacucho, 1989 }

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