The Aleph by Jorge Luis Borges













O God! I could be bounded in a nutshell, and count myself a King of infinite space…
Hamlet, II, 2

But they will teach us that Eternity is the Standing still of the Present Time, a Nunc-stans (as the schools call it); which neither they, nor any else understand, no more than they would a Hic-stans for an Infinite greatness of Place.
Leviathan, IV, 46

On the burning February morning Beatriz Viterbo died, after braving an agony that never for a single moment gave way to self-pity or fear, I noticed that the sidewalk billboards around Constitution Plaza were advertising some new brand or other of American cigarettes. The fact pained me, for I realised that the wide and ceaseless universe was already slipping away from her and that this slight change was the first of an endless series. The universe may change but not me, I thought with a certain sad vanity. I knew that at times my fruitless devotion had annoyed her; now that she was dead, I could devote myself to her memory, without hope but also without humiliation. I recalled that the thirtieth of April was her birthday; on that day to visit her house on Garay Street and pay my respects to her father and to Carlos Argentino Daneri, her first cousin, would be an irreproachable and perhaps unavoidable act of politeness. Once again I would wait in the twilight of the small, cluttered drawing room, once again I would study the details of her many photographs: Beatriz Viterbo in profile and in full colour; Beatriz wearing a mask, during the Carnival of 1921; Beatriz at her First Communion; Beatriz on the day of her wedding to Roberto Alessandri; Beatriz soon after her divorce, at a luncheon at the Turf Club; Beatriz at a seaside resort in Quilmes with Delia San Marco Porcel and Carlos Argentino; Beatriz with the Pekingese lapdog given her by Villegas Haedo; Beatriz, front and three-quarter views, smiling, hand on her chin… I would not be forced, as in the past, to justify my presence with modest offerings of books — books whose pages I finally learned to cut beforehand, so as not to find out, months later, that they lay around unopened.

Beatriz Viterbo died in 1929. From that time on, I never let a thirtieth of April go by without a visit to her house. I used to make my appearance at seven-fifteen sharp and stay on for some twenty-five minutes. Each year, I arrived a little later and stay a little longer. In 1933, a torrential downpour coming to my aid, they were obliged to ask me for dinner. Naturally, I took advantage of that lucky precedent. In 1934, I arrived, just after eight, with one of those large Santa Fe sugared cakes, and quite matter-of-factly I stayed to dinner. It was in this way, on these melancholy and vainly erotic anniversaries, that I came into the gradual confidences of Carlos Argentino Daneri.

Beatriz had been tall, frail, slightly stooped; in her walk there was (if the oxymoron may be allowed) a kind of uncertain grace, a hint of expectancy. Carlos Argentino was pink-faced, overweight, gray-haired, fine-featured. He held a minor position in an unreadable library out on the edge of the Southside of Buenos Aires. He was authoritarian but also unimpressive. Until only recently, he took advantage of his nights and holidays to stay at home. At a remove of two generations, the Italian “S” and demonstrative Italian gestures still survived in him. His mental activity was continuous, deeply felt, far-ranging, and — all in all — meaningless. He dealt in pointless analogies and in trivial scruples. He had (as did Beatriz) large, beautiful, finely shaped hands. For several months he seemed to be obsessed with Paul Fort — less with his ballads than with the idea of a towering reputation. “He is the Prince of poets,” Daneri would repeat fatuously. “You will belittle him in vain — but no, not even the most venomous of your shafts will graze him.”

On the thirtieth of April, 1941, along with the sugared cake I allowed myself to add a bottle of Argentine cognac. Carlos Argentino tasted it, pronounced it “interesting,” and, after a few drinks, launched into a glorification of modern man.

“I view him,” he said with a certain unaccountable excitement, “in his inner sanctum, as though in his castle tower, supplied with telephones, telegraphs, phonographs, wireless sets, motion-picture screens, slide projectors, glossaries, timetables, handbooks, bulletins…”

He remarked that for a man so equipped, actual travel was superfluous. Our twentieth century had inverted the story of Mohammed and the mountain; nowadays, the mountain came to the modern Mohammed.

So foolish did his ideas seem to me, so pompous and so drawn out his exposition, that I linked them at once to literature and asked him why he didn’t write them down. As might be foreseen, he answered that he had already done so — that these ideas, and others no less striking, had found their place in the Proem, or Augural Canto, or, more simply, the Prologue Canto of the poem on which he hd been working for many years now, alone, without publicity, with fanfare, supported only by those twin staffs universally known as work and solitude. First, he said, he opened the floodgates of his fancy; then, taking up hand tools, he resorted to the file. The poem was entitled The Earth; it consisted of a description of the planet, and, of course, lacked no amount of picturesque digressions and bold apostrophes.

I asked him to read me a passage, if only a short one. He opened a drawer of his writing table, drew out a thick stack of papers — sheets of a large pad imprinted with the letterhead of the Juan Crisóstomo Lafinur Library — and, with ringing satisfaction, declaimed:

Mine eyes, as did the Greek’s, have known men’s
towns and fame,
The works, the days in light that fades to amber;
I do not change a fact or falsify a name –
The voyage I set down is… autour de ma chambre.

“From any angle, a greatly interesting stanza,” he said, giving his verdict. “The opening line wins the applause of the professor, the academician, and the Hellenist — to say nothing of the would-be scholar, a considerable sector of the public. The second flows from Homer to Hesiod (generous homage, at the very outset, to the father of didactic poetry), not without rejuvenating a process whose roots go back to Scripture — enumeration, congeries, conglomeration. The third — baroque? decadent? example of the cult of pure form? — consists of two equal hemistichs. The fourth, frankly bilingual, assures me the unstinted backing of all minds sensitive to the pleasures of sheer fun. I should, in all fairness, speak of the novel rhyme in lines two and four, and of the erudition that allows me — without a hint of pedantry! — to cram into four lines three learned allusions covering thirty centuries packed with literature — first to the Odyssey, second to Works and Days, and third to the immortal bagatelle bequathed us by the frolicking pen of the Savoyard, Xavier de Maistre. Once more I’ve come to realise that modern art demands the balm of laughter, the scherzo. Decidedly, Goldoni holds the stage!”

He read me many other stanzas, each of which also won his own approval and elicited his lengthy explications. There was nothing remarkable about them. I did not even find them any worse than the first one. Application, resignation, and chance had gone into the writing; I saw, however, that Daneri’s real work lay not in the poetry but in his invention of reasons why the poetry should be admired. Of course, this second phase of his effort modified the writing in his eyes, though not in the eyes of others. Daneri’s style of delivery was extravagant, but the deadly drone of his metric regularity tended to tone down and to dull that extravagance.

[Among my memories are also some lines of a satire in which he lashed out unsparingly at bad poets. After accusing them of dressing their poems in the warlike armour of erudition, and of flapping in vain their unavailing wings, he concluded with this verse:

But they forget, alas, one foremost fact — BEAUTY!

Only the fear of creating an army of implacable and powerful enemies dissuaded him (he told me) from fearlessly publishing this poem.]

Only once in my life have I had occasion to look into the fifteen thousand alexandrines of the Polyolbion, that topographical epic in which Michael Drayton recorded the flora, fauna, hydrography, orography, military and monastic history of England. I am sure, however, that this limited but bulky production is less boring than Carlos Argentino’s similar vast undertaking. Daneri had in mind to set to verse the entire face of the planet, and, by 1941, had already dispatched a number of acres of the State of Queensland, nearly a mile of the course run by the River Ob, a gasworks to the north of Veracruz, the leading shops in the Buenos Aires parish of Concepción, the villa of Mariana Cambaceres de Alvear in the Belgrano section of the Argentine capital, and a Turkish baths establishment not far from the well-known Brighton Aquarium. He read me certain long-winded passages from his Australian section, and at one point praised a word of his own coining, the colour “celestewhite,” which he felt “actually suggests the sky, an element of utmost importance in the landscape of the Down Under.” But these sprawling, lifeless hexameters lacked even the relative excitement of the so-called Augural Canto. Along about midnight, I left.

Two Sundays later, Daneri rang me up — perhaps for the first time in his life. He suggested we get together at four o’clock “for cocktails in the salon-bar next door, which the forward-looking Zunino and Zungri — my landlords, as you doubtless recall — are throwing open to the public. It’s a place you’ll really want to get to know.”

More in resignation than in pleasure, I accepted. Once there, it was hard to find a table. The “salon-bar,” ruthlessly modern, was only barely less ugly than what I had excepted; at the nearby tables, the excited customers spoke breathlessly of the sums Zunino and Zungri had invested in furnishings without a second thought to cost. Carlos Argentino pretended to be astonished by some feature or other of the lighting arrangement (with which, I felt, he was already familiar), and he said to me with a certain severity, “Grudgingly, you’ll have to admit to the fact that these premises hold their own with many others far more in the public eye.”

He then reread me four or five different fragments of the poem. He had revised them following his pet principle of verbal ostentation: where at first “blue” had been good enough, he now wallowed in “azures,” “ceruleans,” and “ultramarines.” The word “milky” was too easy for him; in the course of an impassioned description of a shed where wool was washed, he chose such words as “lacteal,” “lactescent,” and even made one up — “lactinacious.” After that, straight out, he condemned our modern mania for having books prefaced, “a practice already held up to scorn by the Prince of Wits in his own grafeful preface to the Quixote.” He admitted, however, that for the opening of his new work an attention-getting foreword might prove valuable — “an accolade signed by a literary hand of renown.” He next went on to say that he considered publishing the initial cantos of his poem. I then began to understand the unexpected telephone call; Daneri was going to ask me to contribute a foreword to his pedantic hodgepodge. My fear turned out unfounded; Carlos Argentino remarked, with admiration and envy, that surely he could not be far wrong in qualifying with the ephitet “solid” the prestige enjoyed in every circle by Álvaro Melián Lafinur, a man of letters, who would, if I insisted on it, be only too glad to dash off some charming opening words to the poem. In order to avoid ignominy and failure, he suggested I make myself spokesman for two of the book’s undeniable virtues — formal perfection and scientific rigour — “inasmuch as this wide garden of metaphors, of figures of speech, of elegances, is inhospitable to the least detail not strictly upholding of truth.” He added that Beatriz had always been taken with Álvaro.

I agreed — agreed profusely — and explained for the sake of credibility that I would not speak to Álvaro the next day, Monday, but would wait until Thursday, when we got together for the informal dinner that follows every meeting of the Writers’ Club. (No such dinners are ever held, but it is an established fact that the meetings do take place on Thursdays, a point which Carlos Argentino Daneri could verify in the daily papers, and which lent a certain reality to my promise.) Half in prophecy, half in cunning, I said that before taking up the question of a preface I would outline the unusual plan of the work. We then said goodbye.

Turning the corner of Bernardo de Irigoyen, I reviewed as impartially as possible the alternatives before me. They were: a) to speak to Álvaro, telling him the first cousin of Beatriz’ (the explanatory euphemism would allow me to mention her name) had concocted a poem that seemed to draw out into infinity the possibilities of cacophony and chaos: b) not to say a word to Álvaro. I clearly foresaw that my indolence would opt for b.

But first thing Friday morning, I began worrying about the telephone. It offended me that that device, which had once produced the irrecoverable voice of Beatriz, could now sink so low as to become a mere receptacle for the futile and perhaps angry remonstrances of that deluded Carlos Argentino Daneri. Luckily, nothing happened — except the inevitable spite touched off in me by this man, who had asked me to fulfill a delicate mission for him and then had let me drop.

Gradually, the phone came to lose its terrors, but one day toward the end of October it rang, and Carlos Argentino was on the line. He was deeply disturbed, so much so that at the outset I did not recognise his voice. Sadly but angrily he stammered that the now unrestrainable Zunino and Zungri, under the pretext of enlarging their already outsized “salon-bar,” were about to take over and tear down this house.

“My home, my ancestral home, my old and inveterate Garay Street home!” he kept repeating, seeming to forget his woe in the music of his words.

It was not hard for me to share his distress. After the age of fifty, all change becomes a hateful symbol of the passing of time. Besides, the scheme concerned a house that for me would always stand for Beatriz. I tried explaining this delicate scruple of regret, but Daneri seemed not to hear me. He said that if Zunino and Zungri persisted in this outrage, Doctor Zunni, his lawyer, would sue ipso facto and make them pay some fifty thousand dollars in damages.

Zunni’s name impressed me; his firm, although at the unlikely address of Caseros and Tacuarí, was nonetheless known as an old and reliable one. I asked him whether Zunni had already been hired for the case. Daneri said he would phone him that very afternoon. He hesitated, then with that level, impersonal voice we reserve for confiding something intimate, he said that to finish the poem he could not get along without the house because down in the cellar there was an Aleph. He explained that an Aleph is one of the points in space that contains all other points.

“It’s in the cellar under the dining room,” he went on, so overcome by his worries now that he forgot to be pompous. “It’s mine — mine. I discovered it when I was a child, all by myself. The cellar stairway is so steep that my aunt and uncle forbade my using it, but I’d heard someone say there was a world down there. I found out later they meant an old-fashioned globe of the world, but at the time I thought they were referring to the world itself. One day when no one was home I started down in secret, but I stumbled and fell. When I opened my eyes, I saw the Aleph.”

“The Aleph?” I repeated.

“Yes, the only place on earth where all places are — seen from every angle, each standing clear, without any confusion or blending. I kept the discovery to myself and went back every chance I got. As a child, I did not foresee that this privilege was granted me so that later I could write the poem. Zunino and Zungri will not strip me of what’s mine — no, and a thousand times no! Legal code in hand, Doctor Zunni will prove that my Aleph is inalienable.”

I tried to reason with him. “But isn’t the cellar very dark?” I said.

“Truth cannot penetrate a closed mind. If all places in the universe are in the Aleph, then all stars, all lamps, all sources of light are in it, too.”

“You wait there. I’ll be right over to see it.”

I hung before he could say no. The full knowledge of a fact sometimes enables you to see all at once many supporting but previously unsuspected things. It amazed me not to have suspected until that moment that Carlos Argentino was a madman. As were all the Viterbos, when you came down to it. Beatriz (I myself often say it) was a woman, a child, with almost uncanny powers of clairvoyance, but forgetfulness, distractions, contempt, and a streak of cruelty were also in her, and perhaps these called for a pathological explanation. Carlos Argentino’s madness filled me with spiteful elation. Deep down, we had always detested each other.

On Garay Street, the maid asked me kindly to wait. The master was, as usual, in the cellar developing pictures. On the unplayed piano, beside a large vase that held no flowers, smiled (more timeless than belonging to the past) the large photograph of Beatriz, in gaudy colours. Nobody could see us; in a seizure of tenderness, I drew close to the portrait and said to it, “Beatriz, Beatriz Elena, Beatriz Elena Viterbo, darling Beatriz, Beatriz now gone forever, it’s me, it’s Borges.”

Moments later, Carlos came in. He spoke dryly. I could see he was thinking of nothing else but the loss of the Aleph.

“First a glass of pseudo-cognac,” he ordered, “and then down you dive into the cellar. Let me warn you, you’ll have to lie flat on your back. Total darkness, total immobility, and a certain ocular adjustment will also be necessary. From the floor, you must focus your eyes on the nineteenth step. Once I leave you, I’ll lower the trapdoor and you’ll be quite alone. You needn’t fear the rodents very much — though I know you will. In a minute or two, you’ll see the Aleph — the microcosm of the alchemists and Kabbalists, our true proverbial friend, the multum in parvo!”

Once we were in the dining room, he added, “Of course, if you don’t see it, your incapacity will not invalidate what I have experienced. Now, down you go. In a short while you can babble with all of Beatriz’ images.”

Tired of his inane words, I quickly made my way. The cellar, barely wider than the stairway itself, was something of a pit. My eyes searched the dark, looking in vain for the globe Carlos Argentino had spoken of. Some cases of empty bottles and some canvas sacks cluttered one corner. Carlos picked up a sack, folded it in two, and at a fixed spot spread it out.

“As a pillow,” he said, “this is quite threadbare, but if it’s padded even a half-inch higher, you won’t see a thing, and there you’ll lie, feeling ashamed and ridiculous. All right now, sprawl that hulk of yours there on the floor and count off nineteen steps.”

I went through with his absurd requirements, and at last he went away. The trapdoor was carefully shut. The blackness, in spite of a chink that I later made out, seemed to me absolute. For the first time, I realised the danger I was in: I’d let myself be locked in a cellar by a lunatic, after gulping down a glassful of poison! I knew that back of Carlos’ transparent boasting lay a deep fear that I might not see the promised wonder. To keep his madness undetected, to keep from admitting he was mad, Carlos had to kill me. I felt a shock of panic, which I tried to pin to my uncomfortable position and not to the effect of a drug. I shut my eyes — I opened them. Then I saw the Aleph.

I arrive now at the ineffable core of my story. And here begins my despair as a writer. All language is a set of symbols whose use among its speakers assumes a shared past. How, then, can I translate into words the limitless Aleph, which my floundering mind can scarcely encompass? Mystics, faced with the same problem, fall back on symbols: to signify the godhead, one Persian speaks of a bird that somehow is all birds; Alanus de Insulis, of a sphere whose center is everywhere and circumference is nowhere; Ezekiel, of a four-faced angel who at one and the same time moves east and west, north and south. (Not in vain do I recall these inconceivable analogies; they bear some relation to the Aleph.) Perhaps the gods might grant me a similar metaphor, but then this account would become contaminated by literature, by fiction. Really, what I want to do is impossible, for any listing of an endless series is doomed to be infinitesimal. In that single gigantic instant I saw millions of acts both delightful and awful; not one of them occupied the same point in space, without overlapping or transparency. What my eyes beheld was simultaneous, but what I shall now write down will be successive, because language is successive. Nonetheless, I’ll try to recollect what I can.

On the back part of the step, toward the right, I saw a small iridescent sphere of almost unbearable brilliance. At first I thought it was revolving; then I realised that this movement was an illusion created by the dizzying world it bounded. The Aleph’s diameter was probably little more than an inch, but all space was there, actual and undiminished. Each thing (a mirror’s face, let us say) was infinite things, since I distinctly saw it from every angle of the universe. I saw the teeming sea; I saw daybreak and nightfall; I saw the multitudes of America; I saw a silvery cobweb in the center of a black pyramid; I saw a splintered labyrinth (it was London); I saw, close up, unending eyes watching themselves in me as in a mirror; I saw all the mirrors on earth and none of them reflected me; I saw in a backyard of Soler Street the same tiles that thirty years before I’d seen in the entrance of a house in Fray Bentos; I saw bunches of grapes, snow, tobacco, lodes of metal, steam; I saw convex equatorial deserts and each one of their grains of sand; I saw a woman in Inverness whom I shall never forget; I saw her tangled hair, her tall figure, I saw the cancer in her breast; I saw a ring of baked mud in a sidewalk, where before there had been a tree; I saw a summer house in Adrogué and a copy of the first English translation of Pliny — Philemon Holland’s — and all at the same time saw each letter on each page (as a boy, I used to marvel that the letters in a closed book did not get scrambled and lost overnight); I saw a sunset in Querétaro that seemed to reflect the colour of a rose in Bengal; I saw my empty bedroom; I saw in a closet in Alkmaar a terrestrial globe between two mirrors that multiplied it endlessly; I saw horses with flowing manes on a shore of the Caspian Sea at dawn; I saw the delicate bone structure of a hand; I saw the survivors of a battle sending out picture postcards; I saw in a showcase in Mirzapur a pack of Spanish playing cards; I saw the slanting shadows of ferns on a greenhouse floor; I saw tigers, pistons, bison, tides, and armies; I saw all the ants on the planet; I saw a Persian astrolabe; I saw in the drawer of a writing table (and the handwriting made me tremble) unbelievable, obscene, detailed letters, which Beatriz had written to Carlos Argentino; I saw a monument I worshipped in the Chacarita cemetery; I saw the rotted dust and bones that had once deliciously been Beatriz Viterbo; I saw the circulation of my own dark blood; I saw the coupling of love and the modification of death; I saw the Aleph from every point and angle, and in the Aleph I saw the earth and in the earth the Aleph and in the Aleph the earth; I saw my own face and my own bowels; I saw your face; and I felt dizzy and wept, for my eyes had seen that secret and conjectured object whose name is common to all men but which no man has looked upon — the unimaginable universe.

I felt infinite wonder, infinite pity.

“Feeling pretty cockeyed, are you, after so much spying into places where you have no business?” said a hated and jovial voice. “Even if you were to rack your brains, you couldn’t pay me back in a hundred years for this revelation. One hell of an observatory, eh, Borges?”

Carlos Argentino’s feet were planted on the topmost step. In the sudden dim light, I managed to pick myself up and utter, “One hell of a — yes, one hell of a.”

The matter-of-factness of my voice surprised me. Anxiously, Carlos Argentino went on.

“Did you see everything — really clear, in colours?”

At that moment I found my revenge. Kindly, openly pitying him, distraught, evasive, I thanked Carlos Argentino Daneri for the hospitality of his cellar and urged him to make the most of the demolition to get away from the pernicious metropolis, which spares no one — believe me, I told him, no one! Quietly and forcefully, I refused to discuss the Aleph. On saying goodbye, I embraced him and repeated that the country, that fresh air and quiet were the great physicians.

Out on the street, going down the stairways inside Constitution Station, riding the subway, every one of the faces seemed familiar to me. I was afraid that not a single thing on earth would ever again surprise me; I was afraid I would never again be free of all I had seen. Happily, after a few sleepless nights, I was visited once more by oblivion.

Postscript of March first, 1943 — Some six months after the pulling down of a certain building on Garay Street, Procrustes & Co., the publishers, not put off by the considerable length of Daneri’s poem, brought out a selection of its “Argentine sections”. It is redundant now to repeat what happened. Carlos Argentino Daneri won the Second National Prize for Literature. [“I received your pained congratulations,” he wrote me. “You rage, my poor friend, with envy, but you must confess — even if it chokes you! — that this time I have crowned my cap with the reddest of feathers; my turban with the most caliph of rubies.”] First Prize went to Dr. Aita; Third Prize, to Dr. Mario Bonfanti. Unbelievably, my own book The Sharper’s Cards did not get a single vote. Once again dullness and envy had their triumph! It’s been some time now that I’ve been trying to see Daneri; the gossip is that a second selection of the poem is about to be published. His felicitous pen (no longer cluttered by the Aleph) has now set itself the task of writing an epic on our national hero, General San Martín.

I want to add two final observations: one, on the nature of the Aleph; the other, on its name. As is well known, the Aleph is the first letter of the Hebrew alphabet. Its use for the strange sphere in my story may not be accidental. For the Kabbala, the letter stands for the En Soph, the pure and boundless godhead; it is also said that it takes the shape of a man pointing to both heaven and earth, in order to show that the lower world is the map and mirror of the higher; for Cantor’s Mengenlehre, it is the symbol of transfinite numbers, of which any part is as great as the whole. I would like to know whether Carlos Argentino chose that name or whether he read it — applied to another point where all points converge – – in one of the numberless texts that the Aleph in his cellar revealed to him. Incredible as it may seem, I believe that the Aleph of Garay Street was a false Aleph.

Here are my reasons. Around 1867, Captain Burton held the post of British Consul in Brazil. In July, 1942, Pedro Henríquez Ureña came across a manuscript of Burton’s, in a library at Santos, dealing with the mirror which the Oriental world attributes to Iskander Zu al-Karnayn, or Alexander Bicornis of Macedonia. In its crystal the whole world was reflected. Burton mentions other similar devices — the sevenfold cup of Kai Kosru; the mirror that Tariq ibn-Ziyad found in a tower (Thousand and One Nights, 272); the mirror that Lucian of Samosata examined on the moon (True History, I, 26); the mirrorlike spear that the first book of Capella’s Satyricon attributes; Merlin’s universal mirror, which was “round and hollow… and seem’d a world of glas” (The Faerie Queene, III, 2, 19) — and adds this curious statement: “But the aforesaid objects (besides the disadvantage of not existing) are mere optical instruments. The Faithful who gather at the mosque of Amr, in Cairo, are acquainted with the fact that the entire universe lies inside one of the stone pillars that ring its central court… No one, of course, can actually see it, but those who lay an ear against the surface tell that after some short while they perceive its busy hum… The mosque dates from the seventh century; the pillars come from other temples of pre-Islamic religions, since, as ibn-Khaldun has written: ‘In nations founded by nomads, the aid of foreigners is essential in all concerning masonry.’”

Does this Aleph exist in the heart of a stone? Did I see it there in the cellar when I saw all things, and have I now forgotten it? Our minds are porous and forgetfulness seeps in; I myself am distorting and losing, under the wearing away of the years, the face of Beatriz.

El Aleph, 1945. Translation by Norman Thomas Di Giovanni in collaboration with the author.

Circular ruins

Jorge Luis Borges

Wait a minute, there’s a snag somewhere; something disagreeable. Why, now, should it be disagreeable?…Ah,I see; it’s life without a break. (Jean Paul Sartre – huis clos)

No one saw him disembark in the unanimous night, no one saw the bamboo canoe sink into the sacred mud, but in a few days there was no one who did not know that the taciturn man came from the South and that his home had been one of those numberless villages upstream in the deeply cleft side of the mountain, where the Zend language has not been contaminated by Greek and where leprosy is infrequent. What is certain is that the grey man kissed the mud, climbed up the bank with pushing aside (probably, without feeling) the blades which were lacerating his flesh, and crawled, nauseated and bloodstained, up to the circular enclosure crowned with a stone tiger or horse, which sometimes was the color of flame and now was that of ashes. This circle was a temple which had been devoured by ancient fires, profaned by the miasmal jungle, and whose god no longer received the homage of men. The stranger stretched himself out beneath the pedestal. He was awakened by the sun high overhead. He was not astonished to find that his wounds had healed; he closed his pallid eyes and slept, not through weakness of flesh but through determination of will. He knew that this temple was the place required for his invincible intent; he knew that the incessant trees had not succeeded in strangling the ruins of another propitious temple downstream which had once belonged to gods now burned and dead; he knew that his immediate obligation was to dream. Toward midnight he was awakened by the inconsolable shriek of a bird. Tracks of bare feet, some figs and a jug warned him that the men of the region had been spying respectfully on his sleep, soliciting his protection or afraid of his magic. He felt a chill of fear, and sought out a sepulchral niche in the dilapidated wall where he concealed himself among unfamiliar leaves. The purpose which guided him was not impossible, though supernatural. He wanted to dream a man; he wanted to dream him in minute entirety and impose him on reality. This magic project had exhausted the entire expanse of his mind; if someone had asked him his name or to relate some event of his former life, he would not have been able to give an answer. This uninhabited, ruined temple suited him, for it is contained a minimum of visible world; the proximity of the workmen also suited him, for they took it upon themselves to provide for his frugal needs. The rice and fruit they brought him were nourishment enough for his body, which was consecrated to the sole task of sleeping and dreaming. At first, his dreams were chaotic; then in a short while they became dialectic in nature. The stranger dreamed that he was in the center of a circular amphitheater which was more or less the burnt temple; clouds of taciturn students filled the tiers of seats; the faces of the farthest ones hung at a distance of many centuries and as high as the stars, but their features were completely precise. The man lectured his pupils on anatomy, cosmography, and magic: the faces listened anxiously and tried to answer understandingly, as if they guessed the importance of that examination which would redeem one of them from his condition of empty illusion and interpolate him into the real world. Asleep or awake, the man thought over the answers of his phantoms, did not allow himself to be deceived by imposters, and in certain perplexities he sensed a growing intelligence. He was seeking a soul worthy of participating in the universe. After nine or ten nights he understood with a certain bitterness that he could expect nothing from those pupils who accepted his doctrine passively, but that he could expect something from those who occasionally dared to oppose him. The former group, although worthy of love and affection, could not ascend to the level of individuals; the latter pre-existed to a slightly greater degree. One afternoon (now afternoons were also given over to sleep, now he was only awake for a couple hours at daybreak) he dismissed the vast illusory student body for good and kept only one pupil. He was a taciturn, sallow boy, at times intractable, and whose sharp features resembled of those of his dreamer. The brusque elimination of his fellow students did not disconcert him for long; after a few private lessons, his progress was enough to astound the teacher. Nevertheless, a catastrophe took place. One day, the man emerged from his sleep as if from a viscous desert, looked at the useless afternoon light which he immediately confused with the dawn, and understood that he had not dreamed. All that night and all day long, the intolerable lucidity of insomnia fell upon him. He tried exploring the forest, to lose his strength; among the hemlock he barely succeeded in experiencing several short snatchs of sleep, veined with fleeting, rudimentary visions that were useless. He tried to assemble the student body but scarcely had he articulated a few brief words of exhortation when it became deformed and was then erased. In his almost perpetual vigil, tears of anger burned his old eyes. He understood that modeling the incoherent and vertiginous matter of which dreams are composed was the most difficult task that a man could undertake, even though he should penetrate all the enigmas of a superior and inferior order; much more difficult than weaving a rope out of sand or coining the faceless wind. He swore he would forget the enormous hallucination which had thrown him off at first, and he sought another method of work. Before putting it into execution, he spent a month recovering his strength, which had been squandered by his delirium. He abandoned all premeditation of dreaming and almost immediately succeeded in sleeping a reasonable part of each day. The few times that he had dreams during this period, he paid no attention to them. Before resuming his task, he waited until the moon’s disk was perfect. Then, in the afternoon, he purified himself in the waters of the river, worshiped the planetary gods, pronounced the prescribed syllables of a mighty name, and went to sleep. He dreamed almost immediately, with his heart throbbing. He dreamed that it was warm, secret, about the size of a clenched fist, and of a garnet color within the penumbra of a human body as yet without face or sex; during fourteen lucid nights he dreampt of it with meticulous love. Every night he perceived it more clearly. He did not touch it; he only permitted himself to witness it, to observe it, and occasionally to rectify it with a glance. He perceived it and lived it from all angles and distances. On the fourteenth night he lightly touched the pulmonary artery with his index finger, then the whole heart, outside and inside. He was satisfied with the examination. He deliberately did not dream for a night; he took up the heart again, invoked the name of a planet, and undertook the vision of another of the principle organs. Within a year he had come to the skeleton and the eyelids. The innumerable hair was perhaps the most difficult task. He dreamed an entire man–a young man, but who did not sit up or talk, who was unable to open his eyes. Night after night, the man dreamt him asleep. In the Gnostic cosmosgonies, demiurges fashion a red Adam who cannot stand; as a clumsy, crude and elemental as this Adam of dust was the Adam of dreams forged by the wizard’s nights. One afternoon, the man almost destroyed his entire work, but then changed his mind. (It would have been better had he destroyed it.) When he had exhausted all supplications to the deities of earth, he threw himself at the feet of the effigy which was perhaps a tiger or perhaps a colt and implored its unknown help. That evening, at twilight, he dreamt of the statue. He dreamt it was alive, tremulous: it was not an atrocious bastard of a tiger and a colt, but at the same time these two firey creatures and also a bull, a rose, and a storm. This multiple god 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. He commanded that once this man had been instructed in all the rites, he should be sent to the other ruined temple whose pyramids were still standing downstream, so that some voice would glorify him in that deserted ediface. In the dream of the man that dreamed, the dreamed one awoke. The wizard carried out the orders he had been given. He devoted a certain length of time (which finally proved to be two years) to instructing him in the mysteries of the universe and the cult of fire. Secretly, he was pained at the idea of being seperated from him. On the pretext of pedagogical necessity, each day he increased the number of hours dedicated to dreaming. He also remade the right shoulder, which was somewhat defective. At times, he was disturbed by the impression that all this had already happened . . . In general, his days were happy; when he closed his eyes, he thought: Now I will be with my son. Or, more rarely: The son I have engendered is waiting for me and will not exist if I do not go to him. Gradually, he began accustoming him to reality. Once he ordered him to place a flag on a faraway peak. The next day the flag was fluttering on the peak. He tried other analogous experiments, each time more audacious. With a certain bitterness, he understood that his son was ready to be born–and perhaps impatient. That night he kissed him for the first time and sent him off to the other temple whose remains were turning white downstream, across many miles of inextricable jungle and marshes. Before doing this (and so that his son should never know that he was a phantom, so that he should think himself a man like any other) he destroyed in him all memory of his years of apprenticeship. His victory and peace became blurred with boredom. In the twilight times of dusk and dawn, he would prostrate himself before the stone figure, perhaps imagining his unreal son carrying out identical rites in other circular ruins downstream; at night he no longer dreamed, or dreamed as any man does. His perceptions of the sounds and forms of the universe became somewhat pallid: his absent son was being nourished by these diminution of his soul. The purpose of his life had been fulfilled; the man remained in a kind of ecstasy. After a certain time, which some chronicles prefer to compute in years and others in decades, two oarsmen awoke him at midnight; he could not see their faces, but they spoke to him of a charmed man in a temple of the North, capable of walking on fire without burning himself. The wizard suddenly remembered the words of the god. He remembered that of all the creatures that people the earth, Fire was the only one who knew his son to be a phantom. This memory, which at first calmed him, ended by tormenting him. He feared lest his son should meditate on this abnormal privilege and by some means find out he was a mere simulacrum. Not to be a man, to be a projection of another man’s dreams–what an incomparable humiliation, what madness! Any father is interested in the sons he has procreated (or permitted) out of the mere confusion of happiness; it was natural that the wizard should fear for the future of that son whom he had thought out entrail by entrail, feature by feature, in a thousand and one secret nights. His misgivings ended abruptly, but not without certain forewarnings. First (after a long drought) a remote cloud, as light as a bird, appeared on a hill; then, toward the South, the sky took on the rose color of leopard’s gums; then came clouds of smoke which rusted the metal of the nights; afterwards came the panic-stricken flight of wild animals. For what had happened many centuries before was repeating itself. The ruins of the sanctuary of the god of Fire was destroyed by fire. In a dawn without birds, the wizard saw the concentric fire licking the walls. For a moment, he thought of taking refuge in the water, but then he understood that death was coming to crown his old age and absolve him from his labors. He walked toward the sheets of flame. They did not bite his flesh, they caressed him and flooded him without heat or combustion. With relief, with humiliation, with terror, he understood that he also was an illusion, that someone else was dreaming him.

The Babylon Lottery

Jorge Luis Borges

Like all men in Babylon I have been a proconsul; like all, a slave; I have also known omnipotence, opprobrium, jail. Look: the index finger of my right hand is missing. Look again: through this rent in my cape you can see a ruddy tatoo on my belly. It is the second symbol, Beth. This letter, on nights of full moon, gives me power over men whose mark is Ghimel; but it also subordinates me to those marked Aleph, who on moonless nights owe obedience to those marked Ghimel. In a cellar at dawn, I have severed the jugular vein of sacred bulls against a black rock. During one lunar year, I have been declared invisible: I shrieked and was not heard, I stole my bread and was not decapitated. I have known what the Greeks did not: uncertainty. In a bronze chamber, faced with the silent handkerchief of a strangler, hope has been faithful to me; in the river of delights, panic has not failed me. Heraclitus of Pontica admiringly relates that Pythagoras recalled having been Pyrrho, and before that Euphorbus, and before that some other mortal. In order to recall analogous vicissitudes I do not need to have recourse to death, nor even to imposture.

I owe this almost atrocious variety to an institution which other republics know nothing about, or which operates among them imperfectly and in secret: the lottery. I have not delved into its history; I do know that the wizards have been unable to come to any agreement; of its powerful designs I know what a man not versed in astrology might know of the moon. I come from a vertiginous country where the lottery forms a principal part of reality: until this very day I have thought about all this as little as I have about the behavior of the indecipherable gods or about the beating of my own heart. Now, far from Babylon and its beloved customs, I think of the lottery with some astonishment and ponder the blasphemous conjectures murmured by men in the shadows at twilight.

My father related that anciently – a matter of centuries; of years? – the lottery in Babylon was a game of plebeian character. He said (I do not know with what degree of truth) that barbers gave rectangular bits of bone or decorated parchment in exchange for copper coins. A drawing of the lottery was held in the middle of the day: the winners received, without further corroboration from chance, silverminted coins. The procedure, as you see, was elemental.

Naturally, these “lotteries” failed. Their moral virtue was nil. They did not appeal to all the faculties of men: only to their hope. In the face of public indifference, the merchants who established these venal lotteries began to lose money. Someone attempted to introduce a slight reform: the interpolation of a certain small number of adverse outcomes among the favored numbers. By means of this reform, the purchasers of numbered rectangles stood the double chance of winning a sum or of paying a fine often considerable in size. This slight danger – for each thirty favored numbers there would be one adverse number – awoke, as was only natural, the public’s interest. The Babylonians gave themselves up to the game. Anyone who did not acquire lots was looked upon as pusillanimous, mean-spirited. In time, this disdain multiplied. The person who did not play was despised, but the losers who paid the fine were also scorned. The Company (thus it began to be known at that time) was forced to take measures to protect the winners, who could not collect their prizes unless nearly the entire amount of the fines was already collected. The Company brought suit against the losers: the judge condemned them to pay the original fine plus costs or to spend a number of days in jail. Every loser chose jail, so as to defraud the Company. It was from this initial bravado of a few men that the all-powerful position of the Company – its ecclesiastical, metaphysical strength – was derived.

A short while later, the reports on the drawings omitted any enumeration of fines and limited themselves to publishing the jail sentences corresponding to each adverse number. This laconism, almost unnoticed at the time, became of capital importance. It constituted the first appearance in the lottery of non-pecuniary elements. Its success was great. Pushed to such a measure by the players, the Company found itself forced to increase its adverse numbers.

No one can deny that the people of Babylonia are highly devoted to logic, even to symmetry. It struck them as incoherent that the fortunate numbers should be computed in round figures of money while the unfortunate should be figured in terms of days and nights in jail. Some moralists argued that the possession of money does not determine happiness and that other forms of fortune are perhaps more immediate.

There was another source of restlessness in the lower depths. The members of the sacerdotal college multiplied the stakes and plumbed the vicissitudes of terror and hope; the poor, with reasonable or inevitable envy, saw themselves excluded from this notoriously delicious exhiliration. The just anxiety of all, poor and rich alike, to participate equally is the lottery, inspired an indignant agitation, the memory of which the years have not erased. Certain obstinate souls did not comprehend, or pretended not to comprehend, that a new order had come, a necessary historical stage . . . A slave stole a crimson ticket, a ticket which earned him the right to have his tongue burned in the next drawing. The criminal code fixed the same penalty for the theft of a ticket. A number of Babylonians argued that he deserved a red-hot poker by virtue of the theft; others, more magnanimous, held that the public executioner should apply the penalty of the lottery, since chance had so determined . . .

Disturbances broke out, there was a lamentable shedding of blood; but the people of Babylon imposed their will at last, over the opposition of the rich. That is: the people fully achieved their magnanimous ends. In the first place, it made the Company accept complete public power. (This unification was necessary, given the vastness and complexity of the new operations.) In the second place, it forced the lottery to be secret, free, and general. The sale of tickets for money was abolished. Once initiated into the mysteries of Bel, every free man automatically participated in the sacred drawings of lots, which were carried out in the labyrinths of the gods every seventy nights and which determined every man’s fate until the next exercise. The consequences were incalculable. A happy drawing might motivate his elevation to the council of wizards or his condemnation to the custody of an enemy (notorious or intimate), or to find, in the peaceful shadows of a room, the woman who had begun to disquiet him or whom he had never expected to see again. An adverse drawing might mean mutilation, a varied infamy, death. Sometimes a single event – the tavern killing of C, the mysterious glorification of B – might be the brilliant result of thirty or forty drawings. But it must be recalled that the individuals of the Company were (and are) all-powerful and astute as well. In many cases, the knowledge that certain joys were the simple doing of chance might have detracted from their exellence; to avoid this inconvenience the Company’s agents made use of suggestion and magic. Their moves, their management, were secret. In the investigation of people’s intimate hopes and intimate terrors, they made use of astrologers and spies. There were certain stone lions, there was a sacred privy called Qaphqa, there were fissures in a dusty aqueduct which, according to general opinion, lead to the Company; malign or benevolent people deposited accusations in these cracks. These denunciations were incorporated into an alphabetical archive of variable veracity.

Incredibly enough, there were still complaints. The Company, with its habitual discretion, did not reply directly. It preferred to scribble a brief argument – which now figures among sacred scriptures – in the debris of a mask factory. That doctrinal piece of literature observed that the lottery is an interpolation of chance into the order of the world and that to accept errors is not to contradict fate but merely to corroborate it. It also observed that those lions and that sacred recipient, though not unauthorized by the Company (which did not renounce the right to consult them), functioned without official guaranty.

This declaration pacified the public unease. It also produced other effects, not foreseen by the author. It deeply modified the spirit and operations of the Company. (I have little time left to tell what I know; we have been warned that the ship is ready to sail; but I will attempt to explain it.)

Improbable as it may be, no one had until then attempted to set up a general theory of games. A Babylonian is not highly speculative. He reveres the judgments of fate, he hands his life over to them, he places his hopes, his panic terror in them, but it never occurs to him to investigate their labyrinthian laws nor the giratory spheres which disclose them. Nevertheless, the unofficial declaration which I have mentioned inspired many discussions of a juridico-mathematical nature. From one of these discussions was born the following conjecture: if the lottery is an intensification of chance, a periodic infusion of chaos into the cosmos, would it not be desirable for chance to intervene at all stages of the lottery and not merely in the drawing? Is it not ridiculous for chance to dictate the death of someone, while the circumstances of his death-its silent reserve or publicity, the time limit of one hour or one centuryshould remain immune to hazard? These eminently just scruples finally provoked a considerable reform, whose complexities (intensified by the practice of centuries) are not understood except by a handful of specialists, but which I will attempt to summarize, even if only in a symbolic manner.

Let us imagine a first drawing, which eventuates in a sentence of death against some individual. To carry out the sentence, another drawing is set up, and this drawing proposes (let us say) nine possible executioners. Of these executioners, four can initiate a third drawing which will reveal the name of the actual executioner, two others can replace the adverse order with a fortunate order (the finding of a treasure, let us say), another may exacerbate the death sentence (that is: make it infamous or enrich it with torture), still others may refuse to carry it out . . .

Such is the symbolic scheme. In reality, the number of drawings is infinite. No decision is final, all diverge into others. The ignorant suppose that an infinite number of drawings require an infinite amount of time; in reality, it is quite enough that time be infinitely subdivisible, as is the case in the famous parable of the Tortoise and the Hare. This infinitude harmonizes in an admirable manner with the sinuous numbers of Chance and of the Celestial Archetype of the Lottery adored by the Platonists . . .

A certain distorted echo of our ritual seems to have resounded along the Tiber: Aelius Lampridius, in his Life of Antoninus Heliogabalus, tells of how this emperor wrote down the lot of his guests on seashells, so that one would receive ten pounds of gold and another ten flies, ten dormice, ten bears. It is only right to remark that Heliogabalus was educated in Asia Minor, among the priests of the eponymous god.

There are also impersonal drawings, of undefined purpose: one drawing will decree that a sapphire from Taprobane be thrown into the waters of the Euphrates; another, that a bird be released from a tower roof; another, that a grain of sand be withdrawn (or added) to the innumerable grains on a beach. The consequences, sometimes, are terrifying.

Under the beneficent influence of the Company, our customs have become thoroughly impregnated with chance. The buyer of a dozen amphoras of Damascus wine will not be surprised if one of them contains a talisman or a viper. The scribe who draws up a contract scarcely ever fails to introduce some erroneous datum; I myself, in making this hasty declaration, have falsified or invented some grandeur, some atrocity; perhaps, too, a certain mysterious monotony . . .

Our historians, the most discerning in the world, have invented a method for correcting chance. It is well known that the operations of this method are (in general) trustworthy; although, naturally, they are not divulged without a measure of deceit. In any case, there is nothing so contaminated with fiction as the history of the Company . . .

A paleographic document, unearthed in a temple, may well be the work of yesterday’s drawing or that of one lasting a century. No book is ever published without some variant in each copy. Scribes take a secret oath to omit, interpolate, vary.

The Company, with divine modesty, eludes all publicity. Its agents, as is only natural, are secret. The orders which it is continually sending out do not differ from those lavishly issued by imposters. Besides, who can ever boast of being a mere imposter? The inebriate who improvises an absurd mandate, the dreamer who suddenly awakes to choke the woman who lies at his side to death, do they not both, perhaps, carry out a secret decision by the Company? This silent functioning, comparable to that of God, gives rise to all manner of conjectures. One of them, for instance, abominably insinuates that the Company is eternal and that it will last until the last night of the world, when the last god annihilates the cosmos. Still another conjecture declares that the Company is omnipotent, but that it exerts its influence only in the most minute matters: in a bird’s cry, in the shades of rust and the hues of dust, in the cat naps of dawn. There is one conjecture, spoken from the mouths of masked heresiarchs, to the effect that the Company has never existed and never will. A conjecture no less vile argues that it is indifferently inconsequential to affirm or deny the reality of the shadowy corporation, because Babylon is nothing but an infinite game of chance.


About RAM Chandrakausika राम च 51

Ram51 is a researcher in the various fields of Musicology, Philosophy and History as well as old languages. One of his first topics is the wide scope of Indo-arabic cultures as represented in various art-forms religion and history. Below a list of selected Research topics which sum up partitionally the task of anthropological Frameworks in totaliter : Sanskrit Hinduism and Mythology Hindustani Music, The Muqhal Empire Gharanas from North India Kashmir Sufiyana The Kashmir Santoor Traditional Folk Music from USA Philosophy in Orient and Okzident Genealogy of musical instruments Ethnomusicology, Arabic Maqams, No Theatre fromJapan, North american poetry, Cultural heritage of mankind and Islamic architecture... View all posts by RAM Chandrakausika राम च 51

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