Introduction: “The South” by Jorge Luis Borges
Upon its initial publication in 1953 under the title “El Sur,” or “The South” by Jorge Luis Borges instantly captivated Latin American readers, firmly establishing Borges as a prominent literary figure in the region. After its English translation by Mildred Boyer in 1962, the story’s complex narrative structure and profound philosophical themes relating to the nature of time and identity garnered widespread acclaim, contributing to its enduring popularity in the literary world. By employing vivid imagery and intricate storytelling techniques, “The South” delves into the intersection of personal identity, historical memory, and cultural legacy, prompting readers to challenge their conceptions of self and reality.
Main Events in “The South” by Jorge Luis Borges
| Main Events | References from the Story |
| Dahlmann’s Decision to Visit the South | – Dahlmann’s desire to visit the south is mentioned in the opening paragraphs. |
| – “Dahlmann… dreamed of recovering his health in a spot with few houses, where he could come face to face with the elemental forces.” | |
| Encounter with the Men from the Prado | – Dahlmann encounters the men from the Prado who invite him to a duel to settle a family feud. |
| – “A man… asked him if he were the Dahlmann who had been wounded in the heroic combat over a century ago in the plain of Junín.” | |
| Dahlmann’s Reflections on Courage and Honor | – Dahlmann reflects on the concept of courage and honor as he prepares for the duel. |
| – “He felt a curious sort of shame; he felt that he was about to act out a bravura role in a plot that was more unreal than the others.” | |
| Departure for the South | – Dahlmann sets out on his journey to the south, filled with a mixture of excitement and trepidation. |
| – “He had bought two revolvers… and he brought them out now and laid them on the bed.” | |
| The Journey and Arrival at the Estancia | – Dahlmann experiences moments of beauty and tranquility during his journey through the countryside. |
| – “The train went by in the fresh morning, and Dahlmann felt… he saw a red sunset.” | |
| Duel with the Men from the Prado | – Dahlmann engages in the duel with the men from the Prado, resulting in him being seriously wounded. |
| – “In that moonlit patio, at that hour so propitious for prayers, Dahlmann saw the face of his opponent.” | |
| Recovery and Return Home | – Dahlmann survives the duel but returns home with a sense of regret and disillusionment. |
| – “He remembered with indistinct clarity the blank pain that had followed; he remembered the taste of blood.” | |
| Death and Transformation | – Dahlmann’s life takes a tragic turn when he falls down the stairs and dies shortly after returning home. |
| – “Dahlmann… having climbed to the last step, was suddenly attacked by a presentiment and fell.” | |
| The South as a Symbol of Redemption | – Throughout the story, the south represents a space of redemption and rebirth for Dahlmann. |
| – “The wind seemed to have been let loose from the sea’s abysses, and it roamed through the deserted streets like a stealthy, elusive friend.” |
Literary Devices in “The South” by Jorge Luis Borges
| Device | Reference | Explanation |
| Foreshadowing | – “romantic forebear, the one with the romantic death” (paragraph 2) <br> – “…a dagger, which came to rest at his head. It was as if the Sur had decided that Dahlmann should accept the duel.” (paragraph 58) | The story subtly hints at Dahlmann’s eventual fate throughout the narrative. |
| Symbolism | – “the happiness and the courage of certain kinds of music, habits expressed in stanzas from the Martín Fierro poem” (paragraph 2) <br> – “…a long knife…a cipher of the Sur…” (paragraph 57) | Objects and ideas represent deeper meanings. The music and poem represent Dahlmann’s romanticized view of the South, while the knife symbolizes violence and his connection to the region’s past. |
| Irony | – Dahlmann, who longs for the South and its supposed heroism, ends up facing a violent situation he’s unprepared for. (paragraph 52 onwards) | The events unfold in a way that contradicts expectations. |
| Characterization | – Descriptions of Dahlmann’s inner thoughts and desires | The story reveals Dahlmann’s personality through his internal monologue and motivations. |
| Imagery | – “…rose-colored house that once was crimson” (paragraph 4) <br> – “…long, luminous clouds that looked like marble.” (paragraph 34) | Vivid descriptions that engage the reader’s senses. |
| Allusions | – “…an old edition of Paul et Virginie” (paragraph 43) | References to other works of literature or culture. |
| Juxtaposition | – The peaceful countryside setting contrasted with the sudden violence Dahlmann encounters. (paragraph 49 onwards) | Placing contrasting elements side-by-side to create a specific effect. |
| Simile | – “…long, luminous clouds that looked like marble.” (paragraph 34) | Compares two unlike things using “like” or “as.” |
| Metaphor | – “…the library was a kind of labyrinth” (paragraph 11) | Describes something as if it were something else, without using “like” or “as.” |
| Flashback | – Memories of Dahlmann’s grandfather surface throughout the story. | Shifts the narrative to a previous event. |
| Foreshadowing Through Character Names | – “Dahlmann” sounds similar to “Dalman,” a character from the Martín Fierro poem associated with violence. | The name subtly hints at a potential violent outcome. |
| Understatement | – “…a slight confusion” (paragraph 53) to describe Dahlmann’s head injury. | Downplaying the severity of something. |
| Suspense | – The building tension leading up to the duel with Náufrago. (paragraph 52 onwards) | A feeling of uncertainty or curiosity about what will happen next. |
| Leitmotif | – Recurring references to the South. | A recurring theme, object, or phrase that adds meaning. |
| Circular Structure | – The story begins and ends with a reference to Dahlmann’s grandfather, creating a sense of closure. | The narrative loops back on itself. |
| Ambiguity | – The ending leaves the reader unsure whether Dahlmann’s final moments are real or a dream. | Openness to multiple interpretations. |
| Parallelism | – “…the library was a kind of labyrinth…the South was another labyrinth” (paragraph 11) | Similar grammatical structures used for contrasting ideas. |
| Asyndeton | – “…saw houses of unplastered brick, corner houses, long houses, endlessly watching the trains go by…” (paragraph 34) | Omission of conjunctions to create a sense of speed or urgency. |
| Rhetorical Question | – “…who can decipher these ancient symbols?” (paragraph 57) | A question not meant to be answered literally, but to prompt reflection. |
| Dramatic Irony | – The reader knows something Dahlmann doesn’t, such as the potential danger he’s facing. | A situation where the audience understands something that the characters do not. |
Characterization in “The South” by Jorge Luis Borges
Major Character:
- Juan Dahlmann:
- Personality: Described as a man of quiet habits, nostalgic for a romanticized past and his family’s history in the South. He feels trapped in his monotonous city life and longs for a simpler existence.
- Characterization Techniques:
- Internal Monologue: The story reveals Dahlmann’s inner thoughts and desires, showcasing his yearning for the South and his growing sense of unease. (e.g., Paragraph 11, 39)
- Actions and Choices: His decision to travel south and his initial discomfort upon arrival highlight his romanticized view versus the reality. (e.g., Paragraph 13, 39)
- Symbolism: The connection to his grandfather and the inherited knife represent his link to the South’s violent legacy, which clashes with his peaceful nature. (e.g., Paragraph 2, 57)
Minor Characters:
- Dahlmann’s Grandfather:
- Role: A symbol of Dahlmann’s romanticized vision of the South and its supposed heroism.
- Characterization Techniques:
- Indirect Characterization: We learn about the grandfather through Dahlmann’s memories and his “romantic death” mentioned early in the story. (e.g., Paragraph 2)
- Náufrago:
- Role: A catalyst for the conflict Dahlmann faces. He embodies the violent side of the South that Dahlmann is unprepared for.
- Characterization Techniques:
- Actions and Dialogue: His aggressive behavior and the challenge to a duel reveal his violent nature. (e.g., Paragraph 52 onwards)
- Name: “Náufrago” translates to “shipwrecked” in Spanish, potentially hinting at his outsider status and potential for danger.
- The Hotel Manager:
- Role: Provides exposition and foreshadowing.
- Characterization Techniques:
- Dialogue: His warnings about Náufrago and the history of violence in the region foreshadow the events to come. (e.g., Paragraph 48)
Major Themes in “The South” by Jorge Luis Borges
The Allure and Peril of Nostalgia:
- Dahlmann romanticizes the South and his family’s history there, associating it with heroism and a simpler life: “the happiness and the courage of certain kinds of music, habits expressed in stanzas from the Martín Fierro poem” (paragraph 2).
- However, upon arrival, he experiences a sense of unease, hinting at a disconnect between his idealized vision and reality: “He felt…a slight uneasiness…as if something were slightly wrong” (paragraph 39).
- The story suggests that nostalgia can be a dangerous force, blinding us to the potential downsides of the past.
The Legacy of Violence:
- The South is depicted as a place with a long history of violence, foreshadowed by mentions of Dahlmann’s “romantic forebear” who died a violent death (paragraph 2).
- The knife Dahlmann inherits becomes a symbol of this violent past: “…a long knife…a cipher of the Sur…” (paragraph 57).
- The story confronts Dahlmann with this legacy when he is forced into a duel, highlighting the enduring presence of violence in the South.
The Illusion vs. Reality:
- Throughout the story, there is a contrast between Dahlmann’s romanticized perception of the South and the harsh reality he encounters.
- The peaceful countryside setting is shattered by the sudden violence, forcing Dahlmann to confront the truth: “…a man who had never fought…” (paragraph 54).
- The ambiguous ending further blurs the lines between reality and dream, leaving the reader to question what truly transpired.
Fate and Free Will:
- The story explores the concept of fate and free will. Foreshadowing hints at a predetermined outcome for Dahlmann, linked to his family history and the knife.
- However, Dahlmann also makes choices, like traveling south and accepting the duel.
- The ending leaves it unclear whether his death was inevitable or a result of his decisions, prompting reflection on the interplay between fate and free will.
Writing Style in “The South” by Jorge Luis Borges
- Third-Person Narrator: The story is told from a third-person perspective, creating a sense of distance and objectivity: “Dahlmann decided to travel south…” (paragraph 13)
- Vivid Descriptions: Borges uses rich imagery to create a strong sense of place: “…rose-colored house that once was crimson” (paragraph 4) “…long, luminous clouds that looked like marble.” (paragraph 34)
- Psychological Exploration: The narrator delves into Dahlmann’s inner thoughts and motivations: “He felt…a slight uneasiness…as if something were slightly wrong” (paragraph 39)
- Symbolic Elements: Objects and ideas carry deeper meanings: “…a long knife…a cipher of the Sur…” (paragraph 57)
- Foreshadowing: Subtle hints throughout the story hint at future events: “…a romantic forebear, the one with the romantic death” (paragraph 2)
- Dreamlike Atmosphere: The blurry line between reality and dream creates a sense of mystery: “…he felt that if he chose, then, or to dream his death, this would have been the death he would’ve chosen or dreamt.” (paragraph 59)
- Complex Sentence Structure: The use of complex sentences adds depth and sophistication: “The library was a kind of labyrinth; the South was another labyrinth…” (paragraph 11)
- Precise Language: Word choice is deliberate and evocative: “…an old edition of Paul et Virginie” (paragraph 43)
Literary Theories and Interpretation of “The South” by Jorge Luis Borges
| Literary Theory | Interpretation of “The South” | References |
| Existentialism | The story explores themes of individual freedom and the search for meaning in an indifferent universe. Dahlmann’s journey south represents his attempt to connect with his past and define his identity, but he ultimately faces an absurd and meaningless death. | – The story’s ambiguous ending leaves Dahlmann’s fate uncertain, highlighting the absurdity of existence. (paragraph 59) |
| Magic Realism | The story blends realism with fantastical elements, blurring the lines between reality and dream. The dreamlike atmosphere and the possibility of a hallucinated ending suggest a world where magic and reality coexist. | – The story’s ending leaves it unclear whether Dahlmann’s final moments are real or a dream. (paragraph 59) |
| Intertextuality | The story references other works of literature, such as the Martín Fierro poem, creating a dialogue with Argentine cultural identity. These references add depth and meaning to the narrative. | – Allusions to the Martín Fierro poem connect Dahlmann’s romanticized view of the South with a violent gaucho tradition. (paragraph 2) |
| Psychoanalysis | The story can be interpreted through a psychoanalytic lens, focusing on Dahlmann’s internal conflicts and unconscious desires. His romanticized view of the South and his attraction to violence can be seen as expressions of repressed desires. | – The knife Dahlmann inherits becomes a symbol of the violent legacy that both fascinates and repels him. (paragraph 57) |
Topics, Questions, and Thesis Statements about “The South” by Jorge Luis Borges
Topics:
- The allure and danger of nostalgia
- The legacy of violence
- The contrast between illusion and reality
- Fate versus free will
- The exploration of identity
Questions:
- How does Borges use nostalgia to create a sense of unease and foreshadowing in the story?
- What is the significance of the violent history of the South in shaping Dahlmann’s experience?
- How does the story blur the lines between reality and dream, and what effect does this have on the reader’s interpretation?
- To what extent is Dahlmann a victim of fate, and how much agency does he have in his choices?
- How does Borges explore the concept of identity through Dahlmann’s connection to his family history and the South?
Thesis Statements:
- Dahlmann’s journey south is ultimately a descent into disillusionment, as his romanticized vision of the past clashes with the harsh reality of violence and his own mortality.
- Through the symbolic use of the knife and the motif of the duel, Borges exposes the enduring presence of violence in the South, a legacy that continues to shape the lives of its inhabitants.
- The dreamlike ambiguity of the ending in “The South” forces the reader to question the nature of reality and the extent to which Dahlmann confronts his true self.
- While fate plays a role in Dahlmann’s life, his choices and desires ultimately contribute to his tragic end, highlighting the complex interplay between destiny and free will.
- By exploring Dahlmann’s internal conflict and his yearning for connection to his past, Borges delves into the question of identity, shaped by both memory and the desire to forge one’s own path
Short Questions and Answers about “The South” by Jorge Luis Borges
- What is the significance of Dahlmann’s dreams in “The South” by Jorge Luis Borges?
- Dahlmann’s dreams in “The South” by Jorge Luis Borges represent his desire to escape the mundane realities of his life and find adventure. In his dreams, he envisions himself as a brave, adventurous man who is not confined by his physical limitations or societal expectations. These dreams reflect his innermost desires and his frustration with his current existence. However, as he travels to the countryside, he realizes that reality is much harsher than his dreams, and he is forced to confront his mortality. Thus, the dreams serve as a contrast to the harsh reality he faces.
- How does the motif of the knife symbolize Dahlmann’s transformation in “The South” by Jorge Luis Borges?
- In “The South” by Jorge Luis Borges, the motif of the knife is a symbol of Dahlmann’s transformation. In the beginning, Dahlmann is a timid and weak man who is content with his mundane existence. However, when he is attacked by the thugs and wounded with a knife, he realizes that he must fight for his survival. He becomes more courageous and determined to escape his mundane life. The knife also represents the violent nature of reality, which Dahlmann must confront in order to grow and transform.
- What is the significance of the setting in “The South” by Jorge Luis Borges?
- The setting in “The South” by Jorge Luis Borges is significant as it represents the contrast between urban and rural life. The city is associated with modernity, technology, and progress, while the countryside represents tradition, nature, and the past. Dahlmann is initially drawn to the romanticized idea of the countryside, but when he arrives, he realizes that it is not what he had imagined. The setting also symbolizes Dahlmann’s transformation from a weak and timid man to a more courageous and determined individual. In the countryside, he is forced to confront the harsh realities of life, and this experience ultimately leads to his transformation.
- What is the significance of the title “The South” in Jorge Luis Borges’ short story?
- The title “The South” in Jorge Luis Borges’ short story represents the idea of escape and transformation. The South is associated with warmth, light, and renewal, and this imagery is used to symbolize Dahlmann’s desire to escape his mundane existence. The South is also a place of rebirth, where the old is left behind, and the new is embraced. In this sense, the title represents Dahlmann’s journey to find a new identity and purpose in life. It also represents his desire to escape the confines of his urban existence and experience the freedom and vitality of the countryside.
Literary Works Similar to “The South” by Jorge Luis Borges
Further Exploration of Borges:
- Ficciones (1944) by Jorge Luis Borges: This collection of short stories by Borges himself delves deeper into the themes of reality, fiction, labyrinths, and time that are intricately woven into “The South.” Borges’ signature style of blurring boundaries and prompting philosophical contemplation is on full display in “Ficciones,” making it an excellent companion piece.
Latin American Magic Realism:
- Pedro Páramo (1955) by Juan Rulfo: This seminal Mexican novel by Juan Rulfo employs a fragmented narrative structure and dreamlike imagery, much like “The South.” Rulfo explores themes of memory, identity, and the search for meaning in a post-revolutionary landscape, offering a different cultural perspective on similar existential concerns.
- One Hundred Years of Solitude (1967) by Gabriel García Márquez: Another masterpiece of magical realism, this epic novel by Gabriel García Márquez tells the multi-generational saga of the Buendía family and the fictional town of Macondo. Similar to “The South,” it delves into themes of time, isolation, and the cyclical nature of history, but with a larger-than-life scope and a touch of the fantastical.
Existentialist and Absurdist Works:
- The Metamorphosis (1915) by Franz Kafka: This haunting novella by Franz Kafka presents the story of Gregor Samsa, a man who awakens one morning transformed into a giant insect. Like “The South,” it explores themes of alienation, absurdity, and man’s place in a seemingly indifferent universe, albeit through a more nightmarish lens.
Exploration of Memory and Time:
- In Search of Lost Time (1913-1927) by Marcel Proust: This monumental novel by Marcel Proust embarks on a profound exploration of memory and time through the introspective journey of the narrator. While the narrative scale is grander, Proust’s use of a dreamlike, introspective style echoes Borges’ writing in “The South.”
Suggested Readings: “The South” by Jorge Luis Borges
Books:
- Bloom, Harold, ed. Jorge Luis Borges. Bloom’s Literary Criticism. Chelsea House Publishers, 2002.
- Echeverría, Roberto. The Argentine Short Story: Borges and After. Cambridge University Press, 1990.
- Stabb, Martin. Understanding Borges. Northcote House Publishers, 1997.
Articles:
- Aizenberg, Edna. “Borges and History: The Problem of the South.” Studies in Short Fiction 20.2 (1983): 232-240. JSTOR. Accessed 23 Mar. 2024.
- Bell-Villada, Gene H. “Borges’ ‘The Süden’: A Reading.” The South Central Bulletin 32.3 (1972): 121-127. JSTOR. Accessed 23 Mar. 2024.
- Schwartz, Jorge. “Borges and Metaphysics.” Bulletin of Hispanic Studies 67.2 (1990): 181-192. JSTOR. Accessed 23 Mar. 2024.
Websites:
- The Borges Center: https://www.borges.pitt.edu/home This website, affiliated with the University of Pittsburgh, offers a wealth of resources on Borges, including scholarly articles, essays, and bibliographies.
- The Literary Network: Jorge Luis Borges: https://www.borges.pitt.edu/sites/default/files/Lindstrom.pdf This website provides biographical information on Borges, critical analyses of his works, and links to online resources.
- Jorge Luis Borges – The Art of Fiction Interview: https://www.theparisreview.org/interviews/4331/the-art-of-fiction-no-39-jorge-luis-borges This interview with Borges offers insights into his creative process and influences.
