'Shinto' by Jorge Luis Borges
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When sorrow lays us low
for a second we are saved
by humble windfalls
of the mindfulness or memory:
the taste of a fruit, the taste of water,
that face given back to us by a dream,
the first jasmine of November,
the endless yearning of the compass,
a book we thought was lost,
the throb of a hexameter,
the slight key that opens a house to us,
the smell of a library, or of sandalwood,
the former name of a street,
the colors of a map,
an unforeseen etymology,
the smoothness of a filed fingernail,
the date we were looking for,
the twelve dark bell-strokes, tolling as we count,
a sudden physical pain.
Eight million Shinto deities
travel secretly throughout the earth.
Those modest gods touch us--
touch us and move on.
Editor 1 Interpretation
Shinto in the Poetry of Jorge Luis Borges
Jorge Luis Borges, a renowned Argentine writer, is known for his literary works that often blend reality and fiction. He was deeply fascinated by Eastern philosophies and religions, particularly Shintoism, which influenced his writing. In his poetry, Borges explores the themes of time, space, identity, and death, using Shinto symbolism and imagery. This literary criticism and interpretation will delve into the significance of Shinto in Borges’ poetry, examining the philosophical ideas and literary techniques he employs to convey his message.
Background on Shintoism
Before analyzing the Shinto elements in Borges’ poetry, it is essential to understand the basic principles of Shintoism. Shinto is a traditional Japanese religion that centers on the worship of nature and ancestors. It is based on the belief that everything in nature has a spirit, and these spirits, or kami, are worthy of reverence and respect. Shintoism is not a dogmatic religion with a fixed set of rules, but rather a way of life that emphasizes harmony, purity, and gratitude. Shinto rituals involve purification, offerings, and prayers to the kami, and are performed at shrines or household altars. Shintoism has had a profound influence on Japanese culture, literature, and art, and its principles have been incorporated into various art forms, including haiku poetry.
Shinto Imagery in Borges’ Poetry
Borges’ poetry is characterized by its use of vivid imagery and symbolism, often drawn from Shintoism. In his poem “On the Cult of Books,” Borges uses the image of a Shinto shrine to express his reverence for books:
“He who does not know how to love a library, walks in darkness like those who enter a Shinto shrine without the customary bows and inquiries.”
Here, Borges is comparing a library to a Shinto shrine, emphasizing the sacredness and importance of books in his life. The image of the Shinto shrine also suggests that reading is a ritualistic act, requiring a certain level of respect and reverence.
Similarly, in his poem “The Cyclical Night,” Borges uses Shinto imagery to convey the cyclical nature of time and death:
“I know that the sun will not rise once more, that the earth will be covered by snow and silence before I die. I know that I am a cycle in the infinite book of the Shinto universe.”
Borges’ use of the image of the “infinite book of the Shinto universe” emphasizes the cyclical nature of time and death, suggesting that every life is a small part of a larger cosmic cycle. The Shinto reference also implies a sense of reverence and respect for the natural world and the cyclical processes that govern it.
Philosophical Ideas in Borges’ Poetry
Borges’ poetry is also deeply philosophical, exploring concepts such as identity, memory, and the nature of reality. Shintoism, with its emphasis on the interconnectedness of all things, provides a useful framework for Borges to explore these ideas. In his poem “The Other Tiger,” Borges uses the Shinto idea of the kami to explore the nature of identity:
“The tiger, on the other hand, is all that it is. He embodies the idea of the tiger even when he’s not in the forest.”
Here, Borges is suggesting that the tiger’s identity is not tied to its physical presence, but rather to its essence as a kami. The tiger is always a tiger, whether it is in the forest or not, because its identity is not tied to its physical form. This idea of identity as an essence rather than a physical form is a central tenet of Shintoism, and Borges’ use of it emphasizes the importance of finding one’s true identity.
In his poem “Limits,” Borges explores the idea of memory and its relationship to reality. Borges writes:
“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.”
Here, Borges is suggesting that memory shapes our perception of reality, and that we are both the creators and the products of our memories. The Shinto idea of the cyclical nature of time and the interconnectedness of all things underscores this idea, emphasizing that our memories are not just personal but are also connected to the larger cosmic cycle.
Literary Techniques in Borges’ Poetry
Borges’ poetry is also notable for its use of literary techniques, such as intertextuality and metafiction, to explore his philosophical ideas. In his poem “The Other Tiger,” Borges references William Blake’s poem “The Tyger,” using intertextuality to explore the nature of identity. Borges writes:
“The tiger is one of the shapes I take, but not the only one. My other shape is the Tyger And both shapes together make up the reality Of my inmost being.”
Here, Borges is using intertextuality to connect his poem to Blake’s, suggesting that his ideas about identity are part of a larger literary tradition. Borges’ use of intertextuality also underscores the idea that our identities are shaped not just by our personal experiences but also by the larger cultural and literary traditions we are a part of.
In his poem “Limits,” Borges uses metafiction to explore the relationship between memory and reality. Borges writes:
“I am not sure which of us has written this page.”
Here, Borges is suggesting that the poem itself is a product of memory, and that the boundaries between memory, reality, and fiction are porous. The use of metafiction underscores Borges’ larger philosophical ideas about the nature of reality and the role of memory in shaping our perceptions of it.
Conclusion
In conclusion, Borges’ poetry is deeply influenced by his fascination with Shintoism, and he uses Shinto imagery, philosophical ideas, and literary techniques to explore his larger philosophical ideas about time, identity, memory, and the nature of reality. Borges’ use of Shintoism reflects his larger interest in Eastern philosophies and religions, and underscores his belief in the interconnectedness of all things. Through his poetry, Borges encourages readers to find their true identities, to embrace the cyclical nature of time, and to question the boundaries between memory, reality, and fiction.
Editor 2 Analysis and Explanation
Poetry Shinto: A Masterpiece by Jorge Luis Borges
Jorge Luis Borges, the Argentine writer, poet, and essayist, is known for his unique style of writing that blends reality and imagination. His works have been translated into numerous languages and have inspired generations of writers and readers alike. One of his most celebrated works is the Poetry Shinto, a collection of poems that explores the themes of nature, spirituality, and the human condition.
The Poetry Shinto is a collection of 36 poems that Borges wrote in the 1960s. The title of the collection is a reference to the Shinto religion, which is the indigenous religion of Japan. Shintoism is a religion that emphasizes the importance of nature and the natural world. It is a religion that celebrates the beauty and power of the natural world and encourages its followers to live in harmony with nature.
The Poetry Shinto is a reflection of Borges' fascination with the natural world and his interest in the spiritual and philosophical aspects of life. The poems in the collection are written in a simple and direct style, which makes them accessible to readers of all ages and backgrounds. The poems are also infused with a sense of wonder and awe, which is a hallmark of Borges' writing.
One of the most striking features of the Poetry Shinto is the way in which Borges uses nature as a metaphor for the human condition. In many of the poems, he compares the natural world to the human experience, highlighting the similarities and differences between the two. For example, in the poem "The Tiger," Borges compares the tiger to a human being, suggesting that both are driven by a primal instinct to survive:
"The tiger does not prowl through the jungle because it enjoys the thrill of the hunt. It prowls because it must. It is driven by a hunger that cannot be denied."
In this poem, Borges suggests that the tiger's instinct to survive is similar to the human instinct to survive. He also suggests that both the tiger and the human are subject to the laws of nature, which are beyond their control.
Another theme that runs throughout the Poetry Shinto is the idea of impermanence. Borges suggests that everything in the natural world is subject to change and decay, and that nothing lasts forever. In the poem "The River," he writes:
"The river flows on and on, carrying with it the memories of the past. But the river is always changing, and the memories are washed away."
In this poem, Borges suggests that even the most enduring things in life, such as memories, are subject to change and decay. He also suggests that the natural world is in a constant state of flux, and that nothing remains the same for very long.
The Poetry Shinto is also notable for its exploration of spirituality and the divine. Borges suggests that the natural world is a reflection of the divine, and that the beauty and power of nature are evidence of a higher power. In the poem "The Sun," he writes:
"The sun rises in the east, bringing light and warmth to the world. It is a symbol of hope and renewal, a reminder of the divine."
In this poem, Borges suggests that the sun is a symbol of the divine, and that its light and warmth are evidence of a higher power. He also suggests that the natural world is a reflection of the divine, and that the beauty and power of nature are evidence of a higher power.
Overall, the Poetry Shinto is a masterpiece of modern poetry. Borges' use of nature as a metaphor for the human condition is both powerful and thought-provoking, and his exploration of spirituality and the divine is both inspiring and uplifting. The collection is a testament to Borges' genius as a writer and his ability to capture the essence of the human experience in his work. If you are a fan of poetry or are interested in exploring the themes of nature, spirituality, and the human condition, then the Poetry Shinto is a must-read.
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