Get Instant Access to Hojas De Hierba Leaves Of Grass Bilingafae By Walt Whitman Jorge Luis. Borges #dbc [KINDLE PDF EBOOK EPUB]. Read Download. Hojas de hierba recoge la casi totalidad de la obra de Walt Whitman. Creemos que el hecho de que el gran escritor sudamericano J. L. Borges prologue. Hojas de hierba (Traducción de Jorge Luis Borges). Walt Whitman.
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At residency this past May, I lectured on the tradition of response poems to Walt Whitman.
The briefest of overviews concerning literary imitation was provided; and, we discussed how the response poem to Whitman seems to be unique in the history of literature. Not only are there a large number of poems that address Whitman as literary predecessor, countless poets write hojs a vein they consider to be Whitmanic.
Given the sheer number of the poems and poets, there was much that was left out. For the most part, all these poets engage Whitman and the tradition surrounding him with earnestness. Indeed, the persona created in Leaves of Grass invites such earnestness. Also, politically engaged poetry is itself often sincere. The presumption made by the reader is that the poetic voice is being honest with itself and with the public in what it says.
Not only this, often the poetic voice and the person of the poet are believed to be speaking as one. Even Pound whitnan comes to Whitman as a petulant son filled with cosmopolitan ennui and bored by the politics of his predecessor, but who takes from Whitman a number of aesthetic innovations, is earnest in his disdain. What I did not get to are the ironists. We need ironists in this world.
We need doubters, naysayers, and all those that remind us that we cannot take the world too seriously—not ourselves, not poetry, not our calling as writers. A distance is necessary, both for the sake of our art and what it takes to perfect homas and for the sake of our psyche and what it takes to protect it. One of these ironists is Jorge Luis Borges. In this photo we see the aged bard in his Camden bedroom, newspapers piling up beneath the rocking chair.
El domingo y su tedio.
Whitman, Borges, and Ironic Detachment
Ociosamente mira su cara en el cansado espejo. Casi no soy, pero mis versos ritman la vida y su esplendor. Yo fui Walt Whitman. Blrges smell of coffee and the ink of news. Borgss with all its boredom. And the old gent, is weak and white and in his well-kept place, a humble room.
He views with indolence his face in the worn out looking-glass. He thinks, now without wonder, that he is that face.
Hojas de hierba / Walt Whitman ; traducción Jorge Luis Borges | Jorge Luis Borges | Pinterest
His hand, without thinking, touches his mess beard and his marauded mouth. The end is nigh. He hears his voice speak this: I was Walt Whitman. Borges, though known in the U. When he first started, he was a member of the Ultraist movement, a group squarely centered in the avant-garde that norges for a pure, hard, image driven poetry that broke away from traditional Spanish versification.
By the s, though, Borges had returned to formal poetry.
His collection, El otro, el mismois largely comprised of sonnets, rhyming hendecasyllabic quatrains, and other metered verse. There hojass some Latin American poets whose relationship to Whitman is obvious: This can be seen in their long lines, in the conversational tone of their work, in their direct use of Whitman often as a critique of U.
None of this is Borges. While mature Borges does not evidence any traditional Whitmanesque influences, early Borges does. Quickly, though, he moves on to other literary models. He even translates Leaves of Grass. Borges wants little to do with gods, even literary gods. His stance, though, is not the stance of Pound.
He is not a querulous child fussing at a parent. He draws borrges intimate portrait of an old man, tired, near death, in his room on a Sunday morning. After seeing his reflection in a mirror, the subject acknowledges that death boorges immanent, follows that statement with a boast about his own poetry, before concluding: The first tercet comments on the reflected image: Instead, this encounter with the ravages of time, with that sort of death mask in the mirror, is what brings about the insight.
There are actually two revelations: I was a champion. Ritmar means to beat with rhythm. Borges conjugates this in the present tense. Yet, as noted, the realization is even starker: That the author and the figure of the poet are not the same thing. By hiding the identity of the subject until the anagnorisis that comes at the closing of the poem, the sonnet teaches much about detail and pacing. Of course, wgitman who know Whitman have a clue as to who the subject might be.
The title announces that it takes place in Camden, in The slow pacing of the first stanza—the image fragments stacked one on the other, the absence of an active verb or subject—create the scene.
Indeed, there is no active verb until mirarthe first word of the last line of the second quartet. The line where the old man idly looks at himself in the mirror.
There is, though, hope, especially for the writer.
After all, this man was Walt Whitman. Momento mori hardly ever make for happy poems, unless they are the hojjas that leads to carpe diem. Here it leads to the realization of the difference and distance between the writer and the persona created by the poem—a healthy and necessary thing to keep in mind for all writers.
Furthermore, the sonnet can be studied to see how to use contrast to borgrs effect, how to use verbs or their omission and differing tenses to further advance meaning, how to play with and place those moments of recognition that make poetry interesting, how to make the volta spin, not just once but twice, even three times.