Tuesday, October 19

The immoral – Information



I recommend that you read Andrés Trapiello’s ‘Madrid’. You may or may not agree with some of his political positions, but if you want to discover why Madrid is the way it is, don’t miss the opportunity to learn from this monumental and well-written work the ins and outs in which the capital has germinated. Galdós, Cervantes, Larra and Quevedo as well as Don Ramón de la Cruz, Bretón de los Herreros or Mesonero Romanos; as much of tragedy, manners and madness as of zarzuela and astracanada.

As well. The appointment of Toni Cantó, by profession actor, What Director of the Madrid Spanish Office I could not represent the Madrid comedy more faithfully in the best nineteenth-century tradition of astracanada, vaudeville, sainete or entremés, to which Trapiello often resorts to explain the many Spains that come together in the town.

A little history. A few meters from the Presidency of the Community of Madrid, located in the Puerta de Sol, is one of the most beautiful buildings in this monumental area that looks like a puzzle of 20,000 pieces, one of those compositions based on cardboard die-cuts with which the urban image that the Telecommunications Palace, the Cibeles Fountain, the Bank of Spain, the Círculo de Bellas Artes, the Metropolis Building and the one that I was referring to lines above, the imposing architectural work of the Cervantes Institute, integrated in the popularly called Building of the Caryatids.

The Institute’s headquarters houses the organization that ensures the care of Spanish in the world, for the promotion and teaching of our language and our culture. In this work, Cervantes perseveres, directed by Luis García Montero, poet and literary critic, member of the postnovísimos generation and doctor of Philosophy.

The work of Cervantes complements that developed historically by the Royal Spanish Academy, the RAE, which regulates the language and grammar and fosters the unity of Spanish wherever it is spoken and written as the first language. Founded in 1713, its headquarters are located in the Jerónimos, very close to the Retiro, where the Church that gives its name to the neighborhood or the Prado Museum is located, another enclave worthy of a puzzle in which, as one pays attention to the landscape, makes him want to dedicate himself to painting, writing or singing mass of 12. The president of the RAE is Santiago Muñoz Machado, a jurist with a vast legal and narrative work and whom we must thank, among other things, for his efforts in ensuring that the judiciary dictates sentence in a correct and understandable Castilian and not in a cumbersome compendium of Latin words, never ending subordinate sentences, commas and points of whimsical location and a wording that keeps the reader in suspense until the end, so that it is not guessed until the last paragraph if the inmate is going to be declared innocent, guilty, half-pensioner or sent to the gallows.

Thus, we have the Instituto Cervantes and the poet Luis García Monero, on the one hand, and the Real Academia and Santiago Muñoz Machado, on the other. The Spanish Office and its brand new director, Toni Cantó, have just joined this couple of institutions and Spanish heroes., a run in the sparkling house of Tócame, Roque. What a need!

The director of the RAE would agree with me if I affirm that, by virtue of the dictionary, Toni Cantó is a scoundrel in his first and third meanings (1. rogue, rascal; 3. Audacity, lack of shame -in Peru-). Here and in Peru, Cantó is immoral, and the position he has just accepted makes the person who appoints him, Isabel Díaz Ayuso, immoral, and who assumes the position and the 75,000 euros of gross salary a year after turning into a life idea the war against chiringuitos, plug-ins and gift stalls charged to the public purse.

Hereinafter, He sang, whose complete works can be read at Twitter, will earn, for example, 10,000 euros more than the director of the RAE, and that is not even in Madrid where the best Spanish is spoken and written, a merit that can be boasted in Valladolid, Santander, Buenos Aires or in the opinion columns of any Bogotá newspaper, but not so much in Chamberí or in Vicálvaro.

Toni Cantó is an actor and owes his fame to that modern vaudeville that was called ‘Seven lives’. The immediate precedent of an actor in positions of idiomatic watchdog is Fernando Fernán-Gómez (RAE), and I doubt that our man will resist the comparison beyond what it takes to read this sentence. Lo de Cantó is obscene and insulting, a spit in the face of intelligence and an armed robbery of the public budget; an injustice in times of crisis; a scoundrel typical of Quevedo’s Madrid and Lazarillo’s Spain; a lack of respect for the Cervantes Institute and the RAE; an attack against the elementary norms of ethics and aesthetics; a gesture typical of someone who has made the decision not to want to go back to work. The Spanish language already has another hero who represents it, to the shame of academics, poets, writers, professors, philologists, playwrights, philosophers, historians, translators, interpreters, actresses, actors, journalists, and so on. His name is Antonio Cantó García del Moral. As director of the Spanish Office, you should start to read carefully the meaning of the last word of your second surname. Maybe it will inspire you from now on.


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