Jardin Essay, Research Paper
El jard?n de senderos que se bifurcan
En este breve ensayo analizaremos sobre la obra del escritor argentino Jorge Luis Borges, El jard?n de senderos que se bifurcan.
En el primer p?rrafo de la obra se puede observar que la narraci?n est? escrita en presente y en tercera persona en sigular. En este p?rrafo, el autor no s?lo introduce al personaje principal de la obra, Yu-Tsun, quien es un chino esp?a aleman, sino tambi?n presenta el tema del cuento que es la demora de una ofensiva brit?nica contra las fuerzas alemanas en la l?nea Serre-Montauban en 1916. Este hecho hist?rico de la Primera Guerra Mundial hace que el cuento sea m?s real y le da legitimidad a la obra. Tambi?n hay un peque?o comentario sobre una perspectiva del historiador ingl?s, Basil Hery Liddle Hart. Este historiador presenta una perspectiva opuesta al de nuestro protagonista de la obra, pero a pesar de esto, se puede observar en la narraci?n, una simpat?a hacia Yu-Tsun lo cual hace convencer al lector de la ?ntima relaci?n entre la confensi?n de Yu-Tsun y el hecho hist?rico descrito de la primera Guerra Mundial.
Despu?s de la introducci?n del tema y del personaje principal, la presencia del narrador se desvanece, y las narraciones son escritas en primera persona singular de Yu Tsun.
Llegamos a comprender la historia de la obra cuando se produce la declaraci?n final de Yu-Tsun. Se entiende que su objetivo era el de comunicar el nombre de la ciudad ingl?s donde los alemanes deb?an atacar. Yu-Tsun se las ingenia, matando un famoso sabio sin?logo ingl?s Stephen Albert, y asi cumple con su misi?n de indicar la ciudad que los alemanes deb?an atacar. Por todo esto, podemos decir que la obra tiene una iron?a circunstancial ya que conocemos el final cuando en el momento de la culminaci?n de los hechos.
Otro concepto que debemos destacar en la obra es el tiempo. El se cuento se desarrolla en dos planos, pasado-presente, que continuamente se entretejen. Al principio de la obra, la narraci?n est? escrita en primera persona. Pero despu?s se puede observar c?mo el autor emplea el presente para contrastar la situaci?n actual de Yu-Tsun con el pasado inmediato. El autor no s?lo juega con el tiempo, sino tambi?n lo utiliza para darnos una noci?n cronol?gica de la obra. Toda la acci?n que se desarrolla en el cuento por el esp?a alem?n dura cuatro horas y media, desde las seis hasta las diez y media de la noche.
Existe un tiempo psicol?gico. Esto se da cuando Yu-Tsun, poco despu?s de pensar en el fin de Viktor Runeberg y al meditar sobre su propio destino, llega a negar la existencia de un tiempo abstracto, afirmando s?lo la posibilidad de un presente:
“[? Siglos de siglos y s?lo en el presente ocurren los hechos?]” (p?g 98).
Tambi?n existe el tiempo indeterminado, infinito. Esto se puede ver cuando Stephan Albert y Yu-Tsun conversan acerca del libro de Ts’ui Pen, el antepasado de Yu-Tsun, y Albert descubre que existen “infinitas series de tiempos, en una red creciente y vertiginosa de tiempos divergentes, convergentes y paralelos. Esa trama de tiempos que se aproximan se bifurcan, se cortan o que secularmente se ingnoran, abarca todas las posibilidades”.
A esta concepci?n de lo infinito, tambi?n se adhiere la imagen del laberinto por el relato estructurado como un laberinto bajo la forma de un cuento dentro de otro. Otra faceta que presenta esta figura de la imagen del laberinto es el de Ts’ui Pen cuando comenta sobre un laberinto de s?mbolos, un invisible laberinto de tiempos.
Me pareci? muy interesante esta obra, no solamente por los elementos que Borges utiliza para desarrollar el tema d?ndole forma y belleza a la obra, sino tambi?n, la forma en que el autor influye al lector manteni?ndolo hasta el ?ltimo instante de la obra atento, en donde se revela el secreto de la obra, la misi?n de Yu-Tsun.
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