Rain is a thing That no doubt always happens in the past. Rain Evening, a sudden clearing of the mist, For now a fine, soft rain is freshening. Voilà! Twenty-five lectures, all from 1966, have been published in Professor Borges: A Course on English Literature.Eight Poems by Jorge Luis Borges 1. Students have offered their tapes of the lectures, and editors reconstructed the course. It was a “you had to be there” situation – until now. If one thinks of Borges as a poet in this tradition-as, that is, an English poet who.When Jorge Luis Borges taught English at the University of Buenos Aires, he delivered his lectures off the cuff.
Jorge Francisco Isidoro Luis Borges Acevedo was an Argentine short-story writer, essayist, poet and translator.Here’s Borges speaking on “the Wolf” and William Blake:The name in itself is a metaphor that means “bee-wolf,” in other words “bear.” It is truly a long poem: it contains a little fewer than 3,200 lines, all of which follow the law of Germanic versification: alliteration. As the afterword explains: ‘What Borges tries to do as a professor, more than prepare his students for exams, is excite and entice them to read the works and discover the authors.’ Over 40 years later, he is still achieving that goal.”Nationality. While the lectures are not all equally compelling, there is enough here to keep the reader moving forward, and Borges’s delight and passion for every author shines brightly.
The Germanist Ker has criticized Beowulf, for he considers the plot to be childish.4 The idea of the hero who kills an ogre, that ogre’s mother, and then a dragon, belongs to a children’s tale. Hence, we have realized that we are not dealing with a barbaric poem, but rather with the erudite, baroque experiment of a priest, that is, someone who had access to Latin texts, and who studied them…. Subsequently, however, a Germanist discovered that lines from the Aeneid were woven into the poem, and that elsewhere, passages from that epic poem were brought in, then interspersed in the text. It was previously believed that the style of Beowulf belonged to a primitive, barbaric stage of poetic creation.
He is an individual poet, and if there is anything we can connect him to—for, as Rubén Darío said, there is no literary Adam—we would have to connect him to much more ancient traditions: to the Cathar heretics in the south of France, the Gnostics in Asia Minor and Alexandria in the first century after Christ, and of course to the great and visionary Swedish thinker, Emmanuel Swedenborg. Moreover, these monsters were symbols of the powers of evil they were taken very seriously by that audience.William Blake, on the contrary, remains not only outside the pseudo-classic school (to use the most elevated term), and that is the school represented by Pope, but he also remains outside the romantic movement. The public expected them, because it knew the legend. Once he chose that legend, the author could not possibly omit the ogre, the witch, or the dragon.
There is a poem by Blake—it is included in all the anthologies—where this problem is expressed, but of course is not resolved…. In order to express it, he had the idea of inventing a mythology, and critics don’t agree on what it means. Blake’s work is extraordinarily difficult to read because he created a theological system. Moreover, he was better known as an engraver and a draftsman than as a writer…. He was a visionary—as Swedenborg had been, of course—and his works circulated very little during his lifetime.
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