This dissertation analyzes the metaphysics elicited from the ontology of the work of art in Jorge Luis Borges. It does so by first questioning what worldview is evinced from the text at the level of the sentence, analyzing recurrent words such as atroz and maravilla as indicating a preoccupation with metaphysics. It is then shown that this preoccupation with metaphysics is indebted to the philosophy of Schopenhauer, and how he conceives of the Will as metaphysical, and therefore also as the cause and justification of pessimism, as the Will produces suffering in a striving toward completion which remains ever inchoate. Of particular import is an analysis of the story “Undr” and its correlation to philosophical Verwunderung as expressed in Schopenhauer’s essay “On Man’s Need of Metaphysics” in the second volume of the World as Will and Representation. After establishing this metaphysical relation with pessimism, it is shown how this worldview is manifested in various texts of Borges, in particular “Utopía de un hombre que está cansado,” whose resolution corresponds to Schopenhauer’s analysis of how subjects should interact with the Will if they are able to discover it. Lastly, it is argued that this preoccupation with metaphysics as something atrocious is built into the structure or formal ontology of interpretation, which posits that both precursors and successors to a given author are hermeneutically related to this author as inaccessible event and arche (____). Here a discussion of “Kafka y sus precursors” is indispensable, as well as a reading of some of Borges’s successors, such as Pablo Katchadjian and Agustín Fernández Mallo. What makes Borges a particularly useful case study of this is the fact that his writing takes this dynamic into account and manifests it in the worldview presented in the very individual pieces of his writing.