“The Circular Ruins” by Borges is based on philosophic metaphors that aim at revealing the circular and repeated nature of any processes taking place in the universe. At the end of the story the Sorcerer, “with relief, with humiliation and terror, understood that he, too, was but appearance, that another man was dreaming him “(Borges 100). Upon resting there, he finds that his wounds magically heal - but he is not surprised to see this. The Circular Ruins is a story built around a similar concept. All of these cycles are never- ending, just as the circle of life is never-ending. The temples are also going through a cycle. 6 1946), translated by Paul Bowles. The author of “The Circular Ruins” is quite often described as a person who was “widely read and profoundly erudite” (Poetry Foundation). An Analysis of Borges' short story The Circular Ruins in the light of Upanishads For instance, the ruins are circular shaped. The story begins with a wounded foreigner from the south of Persia fleeing to ancient circular ruins in the north. The temple ruins appear to have one been colored like fire, but now have an ash color, destroyed by fire. The Circular Ruins 3 revealed to him that his earthly name was Fire, and that in this circular temple (and in others like it) people had once made sacrifices to him and worshiped him, and that he would magically animate the dreamed phantom, in such a way that all creatures, except Fire itself and the dreamer, would believe to be a man of flesh and blood. At times they are in ruins, and at others, they are revived by the latest generation of dreamers. The sleep cycle is also part of the story, as the dreamer sleeps, awakens, and sleeps some more. It was first published in English in View (Series V, No. "The Circular Ruins"/"Las ruinas circulares") first published in the literary journal Sur in December 1940, it was included in the 1941 collection The Garden of Forking Paths (Spanish: El jardín de senderos que se bifurcan) and the 1944 collection Ficciones.