Jorge Luis Borges idézet

oldal 2

Esszék, Az Isteni színjáték

Esszék, A könyv

Elbeszélések, Bábeli könyvtár

Esszék, Az Ezeregyéjszaka

Költemények, prózaköltemények, Négysoros

Elbeszélések, Bábeli könyvtár

Költemények, prózaköltemények, Martín Fierro

Elbeszélések, Körkörös romok

Elbeszélések, Bábeli könyvtár

Esszék, A tangó története

Elbeszélések, Az Alef

Esszék, A teknősbéka átváltozásai

Költemények, prózaköltemények, Borges meg én

Költemények, prózaköltemények, Ars poetica

Elbeszélések, Az Alef

Elbeszélések, Bábeli könyvtár

Esszék, A buddhizmus

Elbeszélések, Körkörös romok

Költemények, prózaköltemények, Egyszerűség

Esszék, Az allegóriától a regényig

Elbeszélések, Az Alef

Költemények, prózaköltemények, Az ajándékok verse

Esszék, A költészet

Költemények, prózaköltemények, Aprópénz. Macbeth

Elbeszélések, Az Alef

Elbeszélések, Bábeli könyvtár

Költemények, prózaköltemények, Buenos Aires mitikus alapítása

Költemények, prózaköltemények, Az első magyar költőhöz

Költemények, prózaköltemények, Utolsó tigrisem

Költemények, prózaköltemények, Borges meg én

Esszék, A tangó története

Esszék, Az allegóriától a regényig

Esszék, Az idő újabb cáfolata

Először azt akartam írni, hogy „Az allegória nem más, mint az esztétika egyik tévedése”, de aztán rájöttem, hogy allegóriát rejt ez a mondat.
Esszék, Az allegóriától a regényig

"Baruch Spinoza", as translated in Spinoza and Other Heretics: The Marrano of Reason (1989) by Yirmiyahu Yovel
Kontextus: Time carries him as the river carries
A leaf in the downstream water.
No matter. The enchanted one insists
And shapes God with delicate geometry.
Since his illness, since his birth,
He goes on constructing God with the word.
The mightiest love was granted him
Love that does not expect to be loved.

Discussion (1932)
Kontextus: It is venturesome to think that a coordination of words (philosophies are nothing more than that) can resemble the universe very much. It is also venturesome to think that of all these illustrious coordinations, one of them — at least in an infinitesimal way — does not resemble the universe a bit more than the others.

Tlön, Uqbar, Orbis Tertius (1940)
Kontextus: The metaphysicians of Tlön do not seek for the truth or even for verisimilitude, but rather for the astounding. They judge that metaphysics is a branch of fantastic literature. They know that a system is nothing more than the subordination of all aspects of the universe to any one such aspect. Even the phrase "all aspects" is rejectable, for it supposes the impossible addition of the present and of all past moments.

On Exactitude in Science, as translated by Andrew Hurley, in Jorge Luis Borges, Collected Fictions (1999); first published in Los Anales de Buenos Aires, año 1, no. 3 (March 1946)
Kontextus: In that Empire, the Art of Cartography attained such Perfection that the map of a single Province occupied the entirety of a City, and the map of the Empire, the entirety of a Province. In time, those Unconscionable Maps no longer satisfied, and the Cartographers Guilds struck a Map of the Empire whose size was that of the Empire, and which coincided point for point with it. The following Generations, who were not so fond of the Study of Cartography as their Forebears had been, saw that that vast Map was Useless, and not without some Pitilessness was it, that they delivered it up to the Inclemencies of Sun and Winters. In the Deserts of the West, still today, there are Tattered Ruins of that Map, inhabited by Animals and Beggars; in all the Land there is no other Relic of the Disciplines of Geography.<!

Cada vez que leo algo que han escrito contra mi, no sólo comparto el sentimiento sino que pienso que yo mismo podría hacer mejor el trabajo, quizá debería aconsejar a los aspirantes a enemigos que me envíen sus criticas de antemano, con la seguridad de que recibirán toda mi ayuda y mi apoyo. Hasta he deseado secretamente escribir con seudónimo, una larga invectiva contra mí mismo.
"Jorge Luis Borges visto por él mismo" http://www.diariomedico.com/entorno/ent271299com.html (Jorge Luis Borges seen by himself) In the case of this work, the Spanish version seems to have been published after the English version.
Autobiographical Notes (1970)
Kontextus: Any time something is written against me, I not only share the sentiment but feel I could do the job far better myself. Perhaps I should advise would-be enemies to send me their grievances beforehand, with full assurance that they will receive my every aid and support. I have even secretly longed to write, under a pen name, a merciless tirade against myself.

"The Divine Comedy" (1977)
Kontextus: Truly fine poetry must be read aloud. A good poem does not allow itself to be read in a low voice or silently. If we can read it silently, it is not a valid poem: a poem demands pronunciation. Poetry always remembers that it was an oral art before it was a written art. It remembers that it was first song.

Other Inquisitions (1952), The Modesty of History
Kontextus: I have suspected that history, real history, is more modest and that its essential dates may be, for a long time, secret. A Chinese prose writer has observed that the unicorn, because of its own anomaly, will pass unnoticed. Our eyes see what they are accustomed to seeing. Tacitus did not perceive the Crucifixion, although his book recorded it.

Other Inquisitions (1952), The Modesty of History
Kontextus: Only one thing is more admirable than the admirable reply of the Saxon king: that an Icelander, a man of the lineage of the vanquished, has perpetuated the reply. It is as if a Carthaginian had bequeathed to us the memory of the exploit of Regulus. Saxo Grammaticus wrote with justification in his Gesta Danorum: "The men of Thule [Iceland] are very fond of learning and of recording the history of all peoples and they are equally pleased to reveal the excellences of others or of themselves."
Not the day when the Saxon said the words, but the day when an enemy perpetuated them, was the historic date. A date that is a prophecy of something still in the future: the day when races and nations will be cast into oblivion, and the solidarity of all mankind will be established.

"A History of Eternity" in Selected Non-Fictions Vol. 1, (1999), edited by Eliot Weinberger
Kontextus: I turn to the most promising example: the bird. The habit of flocking; smallness; similarity of traits; their ancient connection with the two twilights, the beginnings of days, and the endings; the fact of being more often heard than seen — all of this moves us to acknowledge the primacy of the species and the almost perfect nullity of individuals. Keats, entirely a stranger to error, could believe that the nightingale enchanting him was the same one Ruth heard amid the alien corn of Bethlehem in Judah; Stevenson posits a single bird that consumes the centuries: "the nightingale that devours time." Schopenhauer — impassioned, lucid Schopenhauer — provides a reason: the pure corporeal immediacy in which animals live, oblivious to death and memory. He then adds, not without a smile: Whoever hears me assert that the grey cat playing just now in the yard is the same one that did jumps and tricks there five hundred years ago will think whatever he likes of me, but it is a stranger form of madness to imagine that the present-day cat is fundamentally an entirely different one.

"Kafka and His Precursors" ["Kafka y sus precursores"], as translated in Labyrinths (1964)
Variant translation: The fact is that all writers create their precursors. Their work modifies our conception of the past, just as it is bound to modify the future.
Other Inquisitions (1952)
Kontextus: In the critic's vocabulary, the word "precursor" is indispensable, but it should be cleansed of all connotations of polemic or rivalry. The fact is that every writer creates his own precursors. His work modifies our conception of the past, as it will modify the future.

"On Dubbing" ["Sobre el doblaje"]
Discussion (1932)
Kontextus: The possibilities of the art of combination are not infinite, but they tend to be frightful. The Greeks engendered the chimera, a monster with heads of the lion, the dragon and the goat; the theologians of the second century, the Trinity, in which the Father, the Son and the Holy Ghost are inextricably tied; the Chinese zoologists, the ti-yiang, a vermilion supernatural bird, endowed with six feet and four wings, but without a face or eyes; the geometers of the nineteenth century, the hypercube, a figure with four dimensions, which encloses an infinite number of cubes and has as its faces eight cubes and twenty-four squares. Hollywood has just enriched this vain museum of horrors: by means of an artistic malignity called dubbing, it proposes monsters that combine the illustrious features of Greta Garbo with the voice of Aldonza Lorenzo.

Twenty-four Conversations with Borges, Including a Selection of Poems: Interviews by Roberto Alifano, 1981–1983 (1984)

Forrás: [As attributed by Alastair Reid in, The New Yorker, June 24, 1996; as well as in, The New Yorker, July 7, 1986]

El infierno y el paraíso me parecen desproporcionados. Los actos de los hombres no merecen tanto.
As quoted in Borges Verbal (1999) edited by Pilar Bravo and Mario Paoletti, p. 156

Forrás: Seven Nights

"A New Refutation of Time" (1946) [" Nueva refutación del tiempo http://www.monografias.com/trabajos11/filoylit/filoylit.shtml"]
Variant translations:
And yet, and yet... Denying temporal succession, denying the self, denying the astronomical universe, are obvious acts of desperation and secret consolation. Our fate (unlike the hell of Swedenborg or the hell of Tibetan mythology) is not frightful because it is unreal; it is frightful because it is irreversible and ironclad. Time is the thing I am made of. Time is a river that sweeps me along, but I am the river; it is a tiger that tears me apart, but I am the tiger; it is a fire that consumes me, but I am the fire. The world, unfortunately, is real; I, unfortunately, am Borges.
Time is the substance from which I am made. Time is a river which carries me along, but I am the river; it is a tiger that devours me, but I am the tiger; it is a fire that consumes me, but I am the fire.
Other Inquisitions (1952)
Forrás: Labyrinths: Selected Stories and Other Writings
Kontextus: Time is the substance I am made of. Time is a river which sweeps me along, but I am the river; it is a tiger which destroys me, but I am the tiger; it is a fire which consumes me, but I am the fire. The world, unfortunately, is real; I, unfortunately, am Borges.
Kontextus: And yet, and yet... Denying temporal succession, denying the self, denying the astronomical universe, are apparent desperations and secret consolations. Our destiny is not frightful by being unreal; it is frightful because it is irreversible and iron-clad. Time is the substance I am made of. Time is a river which sweeps me along, but I am the river; it is a tiger which destroys me, but I am the tiger; it is a fire which consumes me, but I am the fire. The world, unfortunately, is real; I, unfortunately, am Borges.

Discussion published in the Columbia Forum and later quoted in Worldwide Laws of Life : 200 Eternal Spiritual Principles (1998) by John Templeton

Quoted in Cool Memories (1987) by Jean Baudrillard, (trans. 1990) Ch. 5; heard by Baudrillard at a lecture given in Paris.

Preface to Dr. Brodie's Report [El informe de Brodie] (1970)

El original es infiel a la traducción.
Jorge Luis Borges "Sobre el Vathek de William Beckford" (1943), in Otras inquisiciones: 1937-1952 (Buenos Aires: Sur, 1952) p. 163; "About William Beckford's Vathek", in Ruth L. C. Simms (trans.) Other Inquisitions: 1937-1952 (Austin: University of Texas Press, 1964) p. 140.
On Henley's translation of Vathek.

"Deutsches Requiem" as translated by Julian Palley (1958)

"The Immortal" (1949)

"Juan Muraña", in Brodie's Report (1970); tr. Andrew Hurley, Collected Fictions (1998)