"Sharp nostalgia, infinite and terrible, for what I already possess"
About this Quote
A nostalgia that cuts, not comforts: Jimenez turns a supposedly gentle feeling into something sharp-edged, almost predatory. The line is a paradox designed to sting. Nostalgia is meant to be longing for what is gone. Here, the ache is for what is still in his hands. That twist tells you the real subject isn’t memory, it’s time: the mind pre-grieves the present as if it were already a relic.
“Infinite and terrible” inflates the emotion past private sentiment into something metaphysical. Jimenez, a poet obsessed with purity, inner exactness, and the unbearable sensitivity of perception, often writes as if beauty comes with a tax. To possess something - a love, a moment of clarity, a landscape, even the self - is to feel its built-in expiration date. The nostalgia arrives early because consciousness is already standing at the loss, rehearsing it. That’s why it’s “terrible”: not because the present is bad, but because it is fragile.
The subtext is a kind of existential jealousy toward time itself. He’s describing the way the present can’t simply be lived; it must also be archived, mourned, and compared to its future absence. The line also hints at the artist’s curse: to name an experience is to separate from it. Possession becomes distance the moment you recognize it as possession.
Written out of early 20th-century modernist sensibilities and Spain’s cultural unease, the phrase catches a wider mood: a world watching itself change too fast, already nostalgic for the thing it hasn’t yet lost.
“Infinite and terrible” inflates the emotion past private sentiment into something metaphysical. Jimenez, a poet obsessed with purity, inner exactness, and the unbearable sensitivity of perception, often writes as if beauty comes with a tax. To possess something - a love, a moment of clarity, a landscape, even the self - is to feel its built-in expiration date. The nostalgia arrives early because consciousness is already standing at the loss, rehearsing it. That’s why it’s “terrible”: not because the present is bad, but because it is fragile.
The subtext is a kind of existential jealousy toward time itself. He’s describing the way the present can’t simply be lived; it must also be archived, mourned, and compared to its future absence. The line also hints at the artist’s curse: to name an experience is to separate from it. Possession becomes distance the moment you recognize it as possession.
Written out of early 20th-century modernist sensibilities and Spain’s cultural unease, the phrase catches a wider mood: a world watching itself change too fast, already nostalgic for the thing it hasn’t yet lost.
Quote Details
| Topic | Nostalgia |
|---|---|
| Source | Help us find the source |
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