EL HOMBRE DE LA ESQUINA ROSADA PDF

And let us do it with one of his most perfect stories, that one from which we stole the title to head these lines: Hombre de la esquina rosada. From the point of. Check out El hombre de la esquina rosada by Astor Piazzolla Jorge Luis Borges on Amazon Music. Stream ad-free or purchase CD’s and MP3s now on.

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All that is tango and its effect in each one of hkmbre is perfectly described when Borges tells us “Tango did what it pleased yombre us and it led us and misled us and it ordered us and found us again”. And, furthermore, we perceive in the narrator the nostalgia for that other time. The following scene seems to show it is not: What does suggest us of that Borges who tells us that good tango, was the plain, merry, affectionate and playful tango of the beginnings?

On it, another group of marionettes obeying another puppeteer, are nearing the shed among alcoholic laughters and milongas plucked on the strings of some native guitar. There is no happiness in the scene, it cannot exist there; there is hopelessness, there is routine, any laugh is grotesque, a question of “pure nosy Italians”, and even the dance is pensive but alert because the attitude is of rivalry. And that is the tango loved by the ironic Borges: Who can love so much this city if he does not thoroughly know it?

Real, when asking to be relieved of the shame of dying seen by the others, is repeating the verse ” They do not either come thinking of a night hojbre spree: How many times did the cunning maestro show us his admiration for a knife fight, with all the courage that implies knowing that death is close at hand?

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Hombre de la esquina rosada Man from the Pink Corner – Borges and tango. Isn’t this one hombde time? Where is, then, the happiness of that picaresque tango that sounds in our ears while we read?

Hombre de la esquina rosada. Jorge Luis Borges Jorge Luis Borges ka, our dear Borges, is one of those chosen to be granted talent, to which he added all his work capability in his ever-arduous writings, achieving in each of them a very peculiar poly-dimensionality that goes from his recreation of the language up to the handling of irony to avoid an answer irritating to his modesty.

On what tangos did Borges cradle this tale?

Hombre de la esquina rosada | Revolvy

Justo at its crossroads with Gaona. Let us try then to get to the bottom of that diaphanous mystery that is a Borges that always makes possible as many readings as readers he may have.

Site declared of National Interest. Frogs, dogs and crickets complete the scene where the tragedy is to take place and it begins when Real, the other one, launches the challenge without mentioning the addresse; he knows the esprit de corps of the locals will line after the one that is challenged as soon as the latter takes it personally, but he also knows that that same acceptance will be the stopping shout which will turn the suspicious pitched battle into a two-knives tango that will accomplish its ritual up to fatality.

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A lonesome and ominous red light uncovers the true nature of the large shed where the malandras bad guys of the nearby places and the chinas cuarteleras garrison gals who recovered themselves in the neighboring huts from the demands of their trade, reunited to dance. Along the unmeasurable pampa-night is coming a town square cart with reddish high wheels.

Before such a definition, let us agree, gentlemen, that Borges is Tango and not only tango.

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Because of its descriptive qualities, the scenery on which the action takes place deserves a special paragraph: Intentionally we have used the word “killer” since the author of death cannot be regarded as “murderer”: How many times Nicanor Paredes or Jacinto Chiclana? And who can know it thoroughly without noticing that its paving stones, its squares, its people and its monuments are soaked with the tangos that described it from the late years of the nineteenth century until nowadays?

From the point of view of the detective stories genre all is a literary braggadocio to let us catch a glimpse of the killer from the third paragraph ” More than three times I was not in touch with him, and those on the same night And let us do it with one of his most perfect stories, that one from which we ,a the title to head these lines: He esqukna the one who killed his illusions, his miser hopes of social ascent and, even though he simultaneously demonstrated he was able to occupy the place of “guapo” tough guy that together with life had lost his referent, he teaches us that it was not either his purpose.

The knife, always the symbolic knife, flies through a window and we wait for the curtain to fall but three actors will continue a script of dramatic overtones that ends with Real dead and debased at the large shed that, soon, will recover the dance so that the staccato bars of tango lead the authorities to accept the innocence esuqina the scene.