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The poetic universe ruled by the imagination and fantasy in two poems by Borges - Document Transcript

CHILE UNIVERSITY SCHOOL OF PHILOSOPHY AND HUMANITIES Literature Department of Modern Latin American Literature Prof. Cristián Ampuero Cisternas 1st half of 2009

"Welcome Unreality" The poetic universe ruled by imagination and fantasy in two poems by Jorge Luis Borges Luis San Martín Arzola

I. - insert into the poetry of Borges People enjoy so little fantasy that has to pick each other forward to those little ornaments of conversation. They are like scavengers or ashtray of idioms. Pío Baroja • The poet, his poetry and his times Poetic Storyteller, essayist, and poet of the twentieth century Argentine, whose literature was undertaken within the canons, as the worlds which captured and presented to us as born of nothing, existed in an indeterminate past and a non-exist-even at same time. His stories, essays, and what interests us now, his verses were not part of a future that is coming or an avant fully accepted, but seemed to have come from time immemorial and were uttered by men immortal, concepts that time very distant and different from what was forming at that time. Unreality from reality that can not be specified since they are the amalgamation of a mythical time that ever existed, he just created an imaginary, but never could catch because of its volatility, as we shall see later in the analysis of some of his poems. These realities, in his first poetic period, were born and configuring annoyingly daily creolists, and specifically in Argentina and Spain, parochial. All this literature sprouted its first foray in the shadow of ultraísmo, "which in turn professed against modernism. Such movement ultraist Borges professed his arrival in Spain, which brought to his native country, with a manifesto published in 1921 in the journal Nosotros de Buenos Aires. There were mentioned postulates that left a glimpse of the aesthetic quest in which he was the very young Argentine poet, such as reducing the image and illogical metaphors and shocking as major parts of the lyric, the criticism of excessive and unnecessary ornament adjetivización, plus a new typographical arrangement, introduction of neologisms and the elimination of the rhyme. With its verses and poems, Borges in particular in this genre was established against the irrationality and "yoísmo" of poetry. In the beginning we had and neighborhoods, and street corners of Buenos Aires old who tried to establish and refine mythically and not the cosmopolitan capital and modern with centrifugal point in the great obelisk near Corrientes, which is clearly not present in Fervor de Buenos Aires (1923) or San Martin Binder (1929), for example, where his first poems idealization of reality and was latent, difficult to perceive for sure. This-ism Borges was part of a poetry that was meant cutting edge under certain signs, which of course at the time of the first tranche poetry between 1923 and 1929, was "fashionable." Time after he pointed a finger at the trend it was following in the first quarter of the twentieth century and defined it as the "mistake ultraist" which is very talkative and extremely diligent in the sense of "cuasirenegar" of his poetry and his previous
autoreconstruirse habit of continually editing the letters in his writings of all kinds. As Manuel Ferrer, the poet in his time "... rejected Ultraist poetry as, in his opinion, sectarian and wrong, because it is metaphorical and gaming devices youthful enthusiasm" (25), ie, a lyric that is the daughter of their immaturity poetic and intellectual growth prior to infinity and away from the popular local, whose traits and characteristics and offspring resulted in very rational, repetitive and even cold yet for be expressed lyrically not lose their character as sui generis known to all, because unlike the poems essays and narratives, are "instant intuition vibrant creations" (Foster 26). In this environment her wonderful poetry prefigured later. It was many years after the writer of Palermo took his first steps in the genre and there were a lot of silence in this regard. Sparsely published poetry and fiction and essays grew, genres which became well known and established itself as a great writer of fiction, though he did not believe that this Doing so less or more of a poet. He said in an interview with L'Express: "If anything I am, is a poet, and perhaps clumsy, but a poet, I hope." His return to poetry came in 1960 when he published The Maker, a book consisting of prose and verses also inaugurated a new period in his poetry, which we henceforth limit, and that took us from Buenos Aires cheerful manners the relentless aridity of a life perhaps a little utilized but happy for their presence (Foster 30), along with the searing metaphysical anxiety causes an unreality that would be created by the fact of looking at the objective reality from another perspective, as did Homer with his life's story with the same name as the poems, who lived profusely, to which the things that went not played due to their strong shell of a poet, because he believed in eternity, as Borges: "The impressions he slid down, momentary and vivid ..." says the same about the father epic. His poetry was so influenced by Macedonio Fernández and the philosophy of Arthur Schopenhauer, philosopher who believed that the world was strictly his idea, which in turn was really worth its convenient to everything he saw and knew, as passed in the poetic imagination which was the unreality of Borges. In short, his aesthetic was becoming gradually more idealistic than realistic-Creole and neoclassical trend, as if their growth and poetic knowledge had been reversed, ie from right to left in the timeline and from north to south in the quarters, as looking into the past in light of a study of the classics . I must say that this does not mean that his poetry became far retrograde date. Everything we say was the radical change that occurred in their thinking and thus their idea of \u200b\u200blanguage, literature and poetry specifically. As it said and now repeat, hurtful contempt that made her poetry first, ultraist, was the germ of what would come for his avant-garde, fashion track, it became something clung to this, not the eternal missed. As Saul Yurkievich said, "cutting-edge activism during the period ultraist is episodic and superficial, a tribute to the young and sensitive fashion when the requirement of the present" (128). Now there's a
cling to the past, it takes much more important in terms of the poems that appear in The Maker, whose main story introduces us to a man who looked in the past, "looked (....) cities men and their palaces. ", she heard stories and stories from ancient times and as Jorge Luis Borges," the reality was as received, without inquiring whether they were true or false " that is, under a process of idealization. Abstract, fantasy, mystery and imagination began to rule then on the lyrics of the Argentine, and the labyrinths and mirrors in his narrative were plaguing his poetry, the metaphor was not so atosigadoramente present and tinged avant-garde, and how which initially lifted against modernism of Ruben Dario converged more with the background, like the man and the universe, those trying to find some harmony, understood that art was the intermediary between the two, and representation This was in between the unreality that in this case was not relying on reality around it, but in itself poet's mind, which is structured by reference to previous literature that Borges because life takes him to plant more poetic life in the soul of humanity, a single individual and all individuals, all the feelings and actions from father to kill a man to beget, because "... I waited ..." after losing his vision, "... I also love and risk. Ares and Aphrodite. " In short, the "everyman" of the story first collection of poems. Borges was no longer seeking his first term as the transience of poetry and short life of the gaucho or moments of his compadres legendary Buenos Aires, but is configured with a yearning for eternal, beloved, "not accidental shooting, but the eternal and homogeneous" (129), says Yurkievich. The passenger and did not care, because the fruit of that creative and imaginative human mind he used so effectively was really important, which was also created by something greater, God is synonymous with clear significance in his poetry. It should be noted also that this unreality to which we refer to its verses are inscribed on the influence of what were their experiences, though of course these are not explained. In the same year released The Maker (1960) his blindness had already started to appear gradually from 1955, which was when she became totally blind in one eye and part of another (Viñas Piquer 8), which was a contradiction of the destination as he said, just because he was assigned director of the National Library at the time he realized the seriousness of their visual impairment, place where thousands of books had obviously he could not read it perfectly and without complications from their eyes worn and sick, who brought shadows alone and in addition to hand a new poetry, with features that we have outlined, and with a clear theme that we are starting to take shape. With regard to blindness, in the story The Maker: also part of Homer imagined that there appears to us, also, like Borges, is blinded and abandoned to their fate, their destiny unreal. The narrator tells us: "Gradually, the beautiful universe was leaving him, a stubborn fog cleared him of the hand lines, night of stars, was deserted, the land was insecure under his feet", no longer lived in this abudant; needed something more. On the other hand, their children also contributed, as the patio with his tank and his sister Norah
were instrumental as a child, and that she shared those magical places that later embodied in his verses. Also, his fear of the mysterious birth at that time: the magpie ate small birds, to masks and especially the mirrors, which are an essential part of the poetry of his second term and specifically for his collection The Other, the same (1964). Piquer Vines tells us that "one of his obsessions was not recognized in the image that the mirror gave back, I felt the fear that all the mirrors in the world suddenly began to diverge from reality" (9), so felt a different atmosphere to be frightened but at the time you pay too much attention as can be seen in his poems, since they formed in their literature as the representation of self-reflection and the emergence of another, as the boundary between waking and sleeping, between life and death, between Unity and Everything. In short, "the mirror as a boundary and personal link with the underworld world" (Foster 65), the separation of the critically acclaimed writer and his readers against the shy and isolated poet. As it says at the end of the story The Maker: "We know these things ...", ie effective and practical life of Homer, and therefore of Borges, "but not felt to descend to the last shadow" ie, we have no idea what were these two illustrious men intimately, in the depths of his imagined being. All these features, together with others who do not specify now for obvious reasons, gave birth to the unreality in the poems of this section, which later review. Finally, poetry is the third session (1975-1985), which can be explained in one phrase: more autobiographical poetry, where "I", the "am" and "blindness" go down in the same river which rises in his thought that germinated and became manifest in the second part of his poetry, and unwittingly became invariable. In his later poems reappear the same issues and always the same symbols, which form the poetic universe of Borges "(Viñas Piquer 13), sharing place with literary references and quotations that were part of all his poetry in particular and the entire literature in general. The small single new birth to be mentioned about this is the haiku, which were the verses in which was reflected by his emotional fire last time before leaving in 1986, and forever, in paradise-library. ***
II .- Technical analysis in the darkness the imagination works more actively than in full sun. Immanuel Kant As we made clear above, we shall discuss in the following lines to analyze the two poems that work in this essay as agents of change in mentality and in the poetry of Borges, the which is essential for the perpetuation, as characterized in the previous lines. We start with the Poem of the Gifts. • Analysis of the Poem of the Gifts in The Maker (1960) Borges is a poet not unambiguous, since-as-Yurkievich said "it is always a margin of significance ungraspable, indeterminate suggestion of allowing multiple interpretations polysemy" (133 ), and this poem is no exception. That's why knowing this we will analyze it, and will do so with the moon. We said when we presented the poetry of Borges periods that the transcendence of God as creator was apparently last key in the second part of poetry, as this is the one that sets the mind of man, or the lyrical speaker in this case. The lyric speaker in this poem is configured as autobiographical, and with reference to Borges, his blindness and his position as director of the National Library, which is why God is, as the target, who gives the gifts and takes the view: No one should pity or reproach This statement of the majesty of God, which gave me great irony both books and night. The importance he gave to the books was crucial, since for him the literature was his life and the lives of all men, since there were part of the stories and myths, old, western, northern and east, where beings are immortal, mortal men and God, who seem to be the protagonist in these verses, which makes things, for it is he who knows the laws governing the apparent randomness of the universe (Yurkievich 133), he imagines, and from it, guess, always under unreal, in dreams and contours that only he could see, as if enlightenment was lacking: In this city of books he owned a pair of eyes without light, that can only be read in the libraries of the foolish dream dawns paragraphs give your desire. In vain I lavished on its infinite books, difficult as the difficult
manuscripts that perished in Alexandria. In this last verse is even more emphasized his love of books and the literature.1 since, and through a resource reference alludes to the great burning of books took place in Alexandria in 390 BC, carried out by Theodosius the emperor. Now we can state: the poetry book The Maker dominates the issue of time connected to the history, and this is clearly an allusion to the reader seeking the lyrical ideal, which is worship and that you have read. (Contreras Bustamante 1.2). The following verses come to confirm the idea of \u200b\u200bimagination and fantasy and overt, which are configured in what is ancient history, and accumulated: Of hunger and to be (tell a story Greek) king died fountain and gardens, I get tired wandering the confines of that lofty, blind library. Encyclopedias, atlases, East and West, centuries, dynasties, symbols, cosmos and cosmogonies walls, but to no avail. Such a library for him is blind, because he can not see can not receive in their knowledge, so useless, not helpful. In addition, we follow this idea with another: cyclical concept of his poetry Yurkievich main idea and that Contreras Bustamante is the main theme of the series. Eternal, repetitive and therefore how important it wants to convey the lyrical speaker and the poet Borges: "This is a circuit of conceptual relations where the route passes over and over again in the same places" (3), ie, history, time, knowledge, finally, the whole universe is limited by the dark walls of that library, and he envisions a chaotic, but still very excited. Yurkievich also says: "By desire of permanence, disdains the new, idealized and empirical reality of his poetry will be eliminating all signs of modernity" (145). The budget joy that Borges would have flooded all the books I could have read if he had not entered his insolent blindness leaves us immediately clear that what happened is as if he had 1 It should be noted at this point the relationship between his love letters references within their literature and specifically in his poetry, with the story The Maker. As we see, it presents a mythical Homer and Borges, as we have said, who is left to shadows and darkness after going blind. The only thing remaining is the memory going, though of course we can not forget Maria Kodama, his wife who always read to him. "Then down to his memory, which seemed interminable, and got out of the vertigo that lost memory that shone like a coin in the rain, perhaps because I'd never looked at, except perhaps in a dream. " This character and the depth of his soul mnemonic ability is what allows you to live without sight, then feeds on their own culture references and any specific literature, creating with it the unreality of what we have referred and will refer.
taken his chance to visit the Paradise, enter it, to know him completely: Slow in my shadow, the dark hollow undecided explore with the staff, I figured I Paradise guise of a library. All designs are works of a higher order, something that is higher. It is not mere chance, but they are laws hidden above even the heavens, a Chess (yes, as the poem) that is all: Rather, it certainly is not named with the word chance, governs these things, another blurry evening received in other books and many the shade. To err on the slow floor galleries with a vague feeling that I am holy dread the other, the dead, to be given the same steps on the same days. It is here when you come into the poem the idea of \u200b\u200banother, but this other ghost is not the same Borges, Borges is not isolated and divided we said in the above lines, but that is another real-and imaginary, walking, thinking his experiences in the library, which later will confirm with the verses in a name, after the anxious questions of Borges, who is questioned as lyrical speaker if he is writing for others or singing with others their experience, saying that the word is no good because the experience is the same, the curse is the same: Which of us is writing this poem a self plural and one shadow? So what word that names me an undivided If the curse? Groussac or Borges, look at this dear world that changes shape and goes off in a pale ash that looks vaguely sleep and oblivion. This man is Paul Groussac, who was also director of the National Library of Buenos Aires in 1885, and who like Jorge Luis Borges, he felt the blow of visual loss when he was in office. It is a fact that the lyrical speaker, and also autobiographical, not ignored. Biographical parallels that defines itself poeticized magnificently. The two with visual impairment are doomed as well, and for all, to the imagination, to dream and forgetfulness, loss of memory that will lead him, and with everything else, a prevailing unreality. As Viñas Piquer says: "The blindness was for many times that Borges 'biographical circumstances' which enabled the privacy of his poetry"
(9), and this poem opens this unpredictable poetic intimacy we can see in the Maker. • Analysis of The Moon in The Maker (1960) This poem also shares many traits with the Poem of the Gifts, but the difference is that the autobiographer is more latent, as the lyrical speaker in the beginning of these verses adduces Borges but in third person. Besides the references are much more numerous, inspiration plays a great role and orality also pompous. Let's see. In the first verses we notice how the poet tells a story in verse of a man who sees his life as a book, because they represent human life. "Literature is human activity and its substance is also temporary so that it is subject to the same laws of life "(Contreras Bustamante 4), the same order. The speaker is configured so thoughtful and decoder of a real universe that helps you create your own unreality, with help of course of the Imagination: The story goes that at the last time that happened so much real, imaginary and dubious, a excessive man conceived the project to encrypt the universe in a book and with infinite momentum built the high and difficult manuscript and shaved and recited the last verse. In these verses is repeated again the subject of the book, and Literature as life itself, with creative enthusiasm. Then in a moment of clear declamation everlasting, the lyrical speaker, speaking of Borges himself in third person, as we said, looks up and sees the moon, source of inspiration in the tradition he so respected, and could not forget. Furthermore, in the next stanza, he again reiterated the same reasons already mentioned, but with more force: Thanks going to give a fortune to raise his eyes when he saw a burnished disc in the air and realized, stunned that he had forgotten the moon. I narrated the story but feigned, may well bear the curse of those who exercise the office of a change in words our lives. Now comes one of the most important verses of the poem, where it refers to the essential, the idealism to which Borges both aspired. His act as cryptographer of the universe that has to do in this case with his capture last always, and the idea that this always is the repetition of the above,
by which a poet is cyclical, says Yurkievich. This is how he longs for the eternal, which always is and what is a law governing the whole, that every word is living and existing, and relates both to the presence of a deity mysterious, fascinating and fantastic . Thus, "all life for Borges is repetition of ideas, feelings, attitudes and basic human situations, and the fate of that life is ordered, as Chess, by the Supreme Being:" ... our destiny is movido sobre el tablero de la vida por ese Jugador que nos rige”. Ley que es ineludible, aunque nosotros usemos las palabras (Yurkievich 141, 142, 143): Siempre se pierde lo esencial. Es una ley de toda palabra sobre el numen. No la sabrá eludir este resumen de mi largo comercio con la luna. Y ahora es cuando comienzan en mayor número las referencias a la literatura y a la cultura, preguntándose el hablante lírico la primera vez que vio a la luna. En relación a una referencia en específico: nos daremos la libertad de decir que con “doctrina del griego” se refiere a Anaxagoras, quien en la Edad Antigua teorizó sobre la luna bajo sentidos astronómicos, diciendo que ésta era un pedazo de la tierra. Hace referencia back to life, its fleeting beauty and wonder of the star, and also to the presence of it in literature and philosophy, naming the same way the philosopher and mathematician Pythagoras, and thus ignoring the "Tradition" and its own tradition of the mirrors, the main element in his poetry, who are behind the unreal: "... the persistence invoked. Infinite elementary sleepless ... "(Yurkievich 134). I do not know where I saw for the first time, if the sky above the doctrine of the Greek or declining in the afternoon on the patio of the well and the fig tree. To our knowledge, this fickle life can be, among many things, be very and there was a beautiful evening when you look at her, oh moon shared. More than the moons of the nights I can remember the verse: the enchanted dragon moon that haunts the bloody moon pulled and Quevedo. In another moon scarlet blood and spoke in John's book of wonders and joys fierce atrocious clearer Other moons are silver. Pythagoras with blood (narrates a tradition) wrote in a mirror
and men read the reflection in another mirror that is the moon. The lyric speaker refers to a wolf, who in the great literary tradition also has its relationship with the moon, it is that man is again at dawn. Declares also brackets in connection with the concept of the earlier tradition. Continues in this manner with which we have characterized autobiographism yet now talks in first person, connecting the office of poet who is the target drawn by fortune. Then, as everyone says, which reveals that he is aware that talking about it is a common place, "sing to the moon but with variations, as it is defined in a way used by everyone, in terms of inspiration and thematic, that is, by several of the poets who ever lived, including the modernist Lugones, and others less famous verses: Iron is a jungle where the high wolf dwells whose strange fate is to knock the moon and kill him when redden the final dawn sea. (This prophetic North knows it and so well that the day the open seas of the world infested the ship is done with the fingernails of the dead.) If, at Geneva or Zurich, fortune would have it, I too was a poet, I set myself . like everyone else, the secret obligation to define the moon. With a sort of running out modest variations penalty scholar, living under the fear that Lugo had already used the amber or sand, from distant ivory, smoke, cold snow were the moons that shone verses certainly failed to honor the hard typography. In this next stanza begins to talk again about poetry, which we know is part of what is language and therefore, the words that create and that these poets created. "The writer's task, despite the impossible nature of the company, insists on trying to do with the mime language representation that the complexity of the facts, and facts are all the moments in which speakers, writers, reporters and poets were inspired by it (Contreras Bustamante 1), such as the author of Orlando Furioso, which is in the following stanza to function as the master of Borges, who taught him with her story p-in which we see Astolfo
reaching the moon with the Hippogriff, something obviously very great, "what is in it, which is only eternity and present themselves fiction united, hand in hand with the unreality created by man and by God Himself. A kind of Aleph. Also points to other literary references, following the same line: I thought that the poet is the man who, like the red Adam from Paradise, requires each thing its true and accurate and no known name, Ariosto taught me that in the doubtful moon dwell dreams, unattainable, the time lost, possible or impossible, which is the same thing. Apollodorus of Diana triform let me glimpse the shadow magic, Hugo gave me a sickle that was gold, and an Irishman, his black moon tragic. Also present the moon as part of the everyday existential because it did not forgotten in this aspect, without plunging only to the mythological and the imagination and fantasy. In the following lines, the ability to nominate, to create a very unreal because it is again this: And while I probed that mine the moons of mythology, there was, just around the corner, the celestial moon each day I know that among all the words, one is to remember or figures. the secret, in my view, is to use it with humility. It is the word moon. Then begin to express the lyrical speaker or Borges, who would not dare to prostitute, to tarnish the reputation that the moon has vacuous image. For him this is almost completely indecipherable Universe as the only tried-and tried to repeat, but arduous and suffering, decoding, because it is part of that in every sense and is far beyond any real possibility and his practice, but much more here for all your fantasy , for all his imagination, the full capacity of your mind that is the end of the day everyone's mind, in short, all its unreality invariably particular, who as the shining star, is what we share as we look to the sky ; the unity of all in us, as mortal and limited beings, we can not normally name and write the real name of the moon, for that is closed to the merely ordinary. Sin embargo, en estados extremos de vida refulgente y de muerte demoledora, podríamos lograr
algún día substantivarla y entenderla realmente, y ser parte importante de la arbitraria voluntad de Dios o del azar, por medio de nuestras propias capacidades: Ya no me atrevo a macular su pura aparición con una imagen vana; La veo indescifrable y cotidiana y más allá de mi literatura. Sé que la luna o la palabra luna es una letra que fue creada para la compleja escritura de esa rara cosa que somos, numerosa y una. Es uno de los símbolos que al hombre da el hado o el azar para que un día de exaltación gloriosa o de agonía pueda escribir su verdadero nombre. Nos recuerdan estos versos lo limitados y circunscritos que podemos become during our existence, which is the receptacle of small signs that tell us every now and we can not get eternity, and that one way to do it is not exactly living the present. For now, we still have our imagination and our dear crazy fantasy, causes and consequences linked inexorably to the longed-and now at last with a capital "Unreality.

Bibliography •
Borges, Jorge Luis. Poetic Works, 2. Madrid: Alianza, 1998, 1999. 11 and 24-28. • Contreras Bustamante, Marta. Writing Borges Fervor de Buenos Aires and The Maker. Jorge Luis Borges, the author. Universidad de Concepcion: Acta literary 2000. • Ferrer, Manuel. Borges and Nothingness. London: Tamesis Books, 1971. 11-106 • Piquer Viñas, David. Travel fleeting poetry of Borges. Barcelona: Revista Signos, 1999. • Yurkievich, Saul. "Founders of the new Latin American poetry: Vallejo, Huidobro, Borges, Girondo, Neruda, Paz, Lezama Lima." Jorge Luis Borges. Barcelona: Ariel, 1984. 127-146.