Selva Lírica or Lyrical Jungle is the most important poetic anthology in the History of Chile, qualified as a Bibliographic Jewel by the National Library.
Start
Its history begins when on September 6, 1912, the authors Julio Molina Núñez and Juan Agustín Araya invited creators from all over the country to participate in an anthology of poetry through a publication in the Chilean magazine "Pluma y Lapiz". Chilean, with the intention of being the most complete literary study to date. Surely influenced by the centennial celebration, they wanted to get to the essence of Chilean poetry.
This publication asked the poets for their personal data, the list of their published works and a sample of their work. They responded enthusiastically to the call of the compilers, without suspecting that their intentions were not only to make an anthology, but also to jointly deliver a critical study on poetic activity in Chile. Surely influenced by the centennial celebration, they wanted to get to the essence of Chilean poetry.
They were installed with the material collected in the Molina lawyer's office, located at 458 Morandé street in the city of Santiago.
The studies, analysis and writing of Selva Lírica, appearing published almost 5 years later in 1917.
The layout and editing was carried out by the Sociedad Imprenta y Litografía Universo located in the Alessandri 20 Gallery.
Parts of the Study:
In the first part appear those who, according to the authors, are the great poets, among which are insipient writers such as: Manuel Magallanes Moure, Francisco Contreras and Gabriela Mistral, who still signed as Lucila Godoy. Among the considered promises of national letters, a young Vicente Huidobro stands out, which shows the great vision of the authors.
In the second part poets of classical and romantic tendencies were included along with others whose style would be difficult to classify.
The Acratic Poets, those who express their inspirations in their own way, without rules and in search of a unique style were also considered in this study.
The Araucanian lyric also had its deserved place to which an extensive mention was made of Mapuche writers who did not send their works to have them published but in any case Cavul (Segundo Jara) stands out as one of its main ones.
Controversy
From the beginning, the authors knew that they would face strong adverse criticism that was ultimately overwhelming after publication.
His main detractors were not only those relegated writers but his friends who came to his defense.
Many of them prominent figures who were displaced by other emerging and unknown, especially simple people from distant provinces and remote places.
Most of the poets were great unknown, they never had the opportunity or the resources to publish their inspirations until this publication gave them a chance.
The publication of Selva Lírica did not leave anyone indifferent that he considered himself part of the Chilean intellectual and literary world.
But what provoked the biggest controversies and hurt more than one sensitivity, were the final sections dedicated to poets of lesser worth or to "simple versifiers" as they were called.
This study was both applauded by the intellectual elite and strongly criticized by its detractors, writers and their close friends, disappointed at feeling displaced by an incipient and unknown sage, more provincial with new vigor.
The criticism was dense, varied and even implausible such as its chronological organization, the relevance or classification of the writers and especially the classification of Poets, Simple Versifiers, forcing them to improve their lyrics, necessary to elevate the national culture.
One of the most fierce critics was Eduardo Barros, who tried to be lethal through the newspaper Las Últimas Noticias and in the second edition this same newspaper titled in its literary section “Finally, Selva Lírica returns”.
Content Depth
Never before in a book has such a meticulous study been made with such sincerity, impartiality and a high sense of Art that is the fundamental objective of a work.
The authors put things in their place, deservedly praising the best, dismissing their fame or pedigree and focusing exclusively on the essence and depth of the works, discovering their authentic values that Art demands.
Hits
Of the poets studied, many were born to the public in Selva Lírica, since before they did not have the opportunities or the resources to publish with their own resources or the support of their communes.
The result was eleven writers who won the National Prize and one who won no less than the Nobel Prize. It is the merit of the authors that, in 1917, they accurately predicted the Glory of Gabriela when she was still signing as Lucila Godoy and 28 years later in 1945 she received the Nobel Prize, also being and as the study clearly indicates in its analysis, she was the first Spanish-speaking woman to receive such honor that it gave prestige to our entire country.
Selva Lírica successfully announced those who would later be the fathers of Chilean poetry at least in the 20th century.
Notable note
Pablo Neruda is not in the anthology, since in those years he was a young man who was just beginning his literary activity.
It is remarkable the mention that he makes of Selva Lírica in his book "I confess that I have lived" which, like other writers, was a source of learning to shape and guide the depth of his inspirations.
Corollary
Finally, the honesty of Selva Lírica was imposed before the Creole intelligentsia, becoming the most important book of Chilean literature of the time.
It is noteworthy that several poets such as Pablo Neruda, is not in the anthology, since in those years he was just beginning his activity as a poet.
Due to its impact and the importance it obtained in the History of Chilean Literature, the Directorate of Libraries, Archives and Museums (DIBAM) headed by its President Mrs. Marta Cruz Coke cataloged Selva Lírica as a Chilean Bibliographic Jewel within the group of best books of different genres of the millennium that was ending.
This entity together with Ediciones LOM, decided to make a reissue of this controversial and historical anthology in 1995.
The newspapers witnessed that the reissue of the work occupied the first places of sale for several weeks.
It was remarkable to read the expression, -Finally, Selva Lírica returns-.
