Poems List

Remorse For Any Death

Remorse For Any Death
Free of memory and of hope,
limitless, abstract, almost future,
the dead man is not a dead man: he is death.
Like the God of the mystics,
of Whom anything that could be said must be denied,
the dead one, alien everywhere,
is but the ruin and absence of the world.
We rob him of everything,
we leave him not so much as a color or syllable:
here, the courtyard which his eyes no longer see,
there, the sidewalk where his hope lay in wait.
Even what we are thinking,
he could be thinking;
we have divvied up like thieves
the booty of nights and days.
772

El Instante

El Instante
Dónde estarán los siglos, dónde el sueño
de espadas que los tártaros soñaron,
dónde los fuertes muros que allanaron,
dónde el Árbol de Adán y el otro Leño?
El presente está solo. La memoria
erige el tiempo. Sucesión y engaño
es la rutina del reloj. El año
no es menos vano que la vana historia.
Entre el alba y la noche hay un abismo
de agonías, de luces, de cuidados;
el rostro que se mira en los gastados
espejos de la noche no es el mismo.
El hoy fugaz es tenue y es eterno;
otro Cielo no esperes, ni otro Infierno.
782

History of the Night

History of the Night
Throughout the course of th generations
men constructed the night.
At first she was blindness;
thorns raking bare feet,
fear of wolves.
We shall never know who forged the word
for the interval of shadow
dividing the two twilights;
we shall never know in what age it came to mean
the starry hours.
Others created the myth.
They made her the mother of the unruffled Fates
that spin our destiny,
thev sacrificed black ewes to her, and the cock
who crows his own death.
The Chaldeans assigned to her twelve houses;
to Zeno, infinite words.
She took shape from Latin hexameters
and the terror of Pascal.
Luis de Leon saw in her the homeland
of his stricken soul.
Now we feel her to be inexhuastible
like an ancient wine
and no one can gaze on her without vertigo
and time has charged her with eternity.
And to think that she wouldn't exist
except for those fragile instruments, the eyes.
757

Adam Cast Forth

Adam Cast Forth
Was there a Garden or was the Garden a dream?
Amid the fleeting light, I have slowed myself and queried,
Almost for consolation, if the bygone period
Over which this Adam, wretched now, once reigned supreme,
Might not have been just a magical illusion
Of that God I dreamed. Already it's imprecise
In my memory, the clear Paradise,
But I know it exists, in flower and profusion,
Although not for me. My punishment for life
Is the stubborn earth with the incestuous strife
Of Cains and Abels and their brood; I await no pardon.
Yet, it's much to have loved, to have known true joy,
To have had -- if only for just one day --
The experience of touching the living Garden.
Translated by Genia Gurarie, ..
Copyright retained by Genia Gurarie.
email: egurarie@princeton.edu
http://www.princeton.edu/~egurarie/
For permission to reproduce, write personally to the translator.
796

Art of Poetry, The

Art of Poetry, The
To gaze at a river made of time and water
And remember Time is another river.
To know we stray like a river
and our faces vanish like water.
To feel that waking is another dream
that dreams of not dreaming and that the death
we fear in our bones is the death
that every night we call a dream.
To see in every day and year a symbol
of all the days of man and his years,
and convert the outrage of the years
into a music, a sound, and a symbol.
To see in death a dream, in the sunset
a golden sadness--such is poetry,
humble and immortal, poetry,
returning, like dawn and the sunset.
Sometimes at evening there's a face
that sees us from the deeps of a mirror.
Art must be that sort of mirror,
disclosing to each of us his face.
They say Ulysses, wearied of wonders,
wept with love on seeing Ithaca,
humble and green. Art is that Ithaca,
a green eternity, not wonders.
Art is endless like a river flowing,
passing, yet remaining, a mirror to the same
inconstant Heraclitus, who is the same
and yet another, like the river flowing.
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Identification and basic context

Jorge Luis Borges, often referred to simply as Borges, is one of the most celebrated literary figures of the 20th century. He was an Argentine writer, poet, essayist, and translator. His nationality was Argentine, and he primarily wrote in Spanish. The historical context of his life spanned periods of significant political and social change in Argentina and globally, including the rise of Peronism, World War II, and the Cold War.

Childhood and education

Borges's childhood was marked by a love for literature, fostered by his father, a lawyer and literature professor, and his English grandmother. He was largely educated at home, where he learned English and began reading extensively in multiple languages. His early intellectual development was shaped by a wide range of readings, including philosophy, mythology, and classic literature, which would later inform his unique literary style. He also absorbed various cultural and intellectual currents, laying the groundwork for his later literary explorations.

Literary trajectory

Borges's literary career began with poetry and essays in the 1920s. He lived in Europe for several years, particularly in Spain, where he was associated with the Ultraist literary movement. Upon returning to Argentina, he continued to publish poetry and essays, but it was his move towards short fiction in the 1940s that cemented his international reputation. His collections of short stories, such as *Ficciones* and *The Aleph*, marked a significant shift in his career, showcasing his mastery of intricate narratives and philosophical concepts. He also worked as a librarian and professor, roles that often intertwined with his literary pursuits.

Works, style, and literary characteristics

Borges's major works include *Ficciones* (1944), *The Aleph* (1949), *Labyrinths* (1962), and *The Book of Sand* (1975). His dominant themes revolve around metaphysical puzzles: the nature of time, the concept of infinity, the multiplicity of realities, the labyrinthine nature of libraries and memory, identity, and the elusive nature of truth. His style is characterized by its conciseness, intellectual rigor, and erudition. He often employed paradox, allegory, and metafiction, blurring the lines between reality and fiction. His poetic voice is typically erudite, ironic, and detached, inviting the reader into complex intellectual games. Borges's language is precise and elegant, rich in allusion and imaginative imagery. He is credited with innovating the short story form, pushing its boundaries with his complex, philosophical narratives.

Cultural and historical context

Borges's work is deeply intertwined with the cultural and intellectual currents of the 20th century. He lived through periods of political upheaval in Argentina, including the Peronist era, which he openly opposed. While not aligning himself with specific literary movements in his later career, his early associations with Ultraism and his profound engagement with symbolism and existentialism are notable. His writing often reflects a tension between the intellectual and the political, the universal and the particular.

Personal life

Borges's personal life was marked by intellectual pursuits and a deep connection to his family. He never married until late in life, and his relationships with women, though significant, were often complex and shaped by his introverted nature. His friendships with other writers and intellectuals were crucial, though he also had intellectual rivalries. His later life was characterized by failing eyesight, which he famously compared to his literary explorations of darkness and blindness. His philosophical and religious beliefs were complex, often oscillating between skepticism and a fascination with mystical traditions.

Recognition and reception

Borges received numerous awards and honors throughout his career, though he was famously never awarded the Nobel Prize in Literature, a fact that continues to be debated. His work gained international recognition gradually, with translations of his stories introducing him to a global audience. Critically, his work has been lauded for its originality and intellectual depth, solidifying his place as a major figure in world literature. His reception has been consistently high among academics and literary critics.

Influences and legacy

Borges was profoundly influenced by a vast array of authors and thinkers, including H.G. Wells, G.K. Chesterton, Edgar Allan Poe, Franz Kafka, and Arthur Schopenhauer, as well as philosophical traditions like Stoicism and Neoplatonism. His legacy is immense; he is considered a precursor to postmodernism and has influenced countless writers worldwide, including Gabriel García Márquez, Italo Calvino, and Umberto Eco. His innovative narrative techniques and exploration of complex philosophical themes continue to be studied and admired.

Interpretation and critical analysis

Borges's work invites multiple interpretations, often delving into philosophical questions about the nature of reality, consciousness, and the human condition. His use of labyrinths, mirrors, and dreams has led to analyses exploring themes of existentialism, epistemology, and the limitations of human knowledge. Critical debates often center on the perceived detachment of his narratives versus their profound emotional and intellectual resonance.

Curiosities and lesser-known aspects

Despite his fame, Borges remained a deeply private individual. His profound love for dogs was a recurring motif in his life and work. He was known for his meticulous writing habits, often composing poetry in his mind before transcribing it. His fascination with ancient languages and obscure texts contributed to the rich allusions in his writing. His later years were marked by a profound engagement with Norse mythology and ancient history.

Death and memory

Jorge Luis Borges passed away in Geneva, Switzerland. His death was mourned globally, and his literary estate continues to be managed, with numerous posthumous publications and critical studies ensuring his enduring memory and influence.