Abstract
The essay consists in a contextual reading of the poem La fama [The fame] by Jorge Luis Borges. First of all, the significance of the library in Borges’s imaginary is introduced. In addition, the article presents some remarks on the Polish translations of La fama and analyses the specific linguistic form of the poem. Special stress is placed on the infinitivo compuesto [compound infinitive] form. The author also comments on the mental and physical activities expressed in infinitives and in mere verbs connected with the concept of fame. What follows is an analysis of the metaphorical sense of literary allusions, including their self-referential aspect as a typical feature of Borges’s writing. In this context, the verse “No haber salido de mi biblioteca” transpires to be the focal point of the poem and the key to its interpretation. The article closes with an explanation of the figure of the poem.
Highlights
48 „[...] What is the nature of the identification brought to bear upon the poet himself, especially when he is ostensibly the subject of the poem?”, zastanawia się David Laraway, podkreślając, że proste utożsamienie ja lirycznego z twórcą nie jest w tym wypadku właściwe, mimo zastosowanej w Sławie strategii budowania obrazu z odniesień i zapożyczeń z dzieła i życia Borgesa, cf
Summary The essay consists in a contextual reading of the poem La fama [The fame] by Jorge Luis Borges
The article presents some remarks on the Polish translations of La fama and analyses the specific linguistic form of the poem
Summary
Wątek biblioteczny występuje nie tylko w prozie Borgesa[2], ale również w jego poezji; wystarczy wspomieć takie utwory, jak El otro tigre [Inny tygrys] czy Poema de los dones [Poemat o darach] ze zbioru El Hacedor [Twórca] (1960). Palermo w wierszu Borgesa nie oznacza sycylisjkiego miasta, wywołującego skojarzenia z mafią, ale odsyła do realiów znacznie bliższych autorowi Biblioteki Babel, czyli rzeczywistej dzielnicy Buenos Aires, która w Borgesowskiej mitologii literackiej zaistniała jako „Palermo noża i gitary”[15].
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