Short Stories of Jorge Luis Borges - the Giovanni Translations (And Others) by Jorge Luis Borges
He had asked God for an entire year in which to finish his work: His omnipotence had granted him the time. For his sake, God projected a secret miracle: German lead would kill him, at the determined hour, but in his mind a year would elapse between the command to fire and its execution. From perplexity he passed to stupor, from stupor to resignation, from resignation to sudden gratitude.
He disposed of no document but his own memory; the mastering of each hexameter as he added it, had imposed upon him a kind of fortunate discipline not imagined by those amateurs who forget their vague, ephemeral, paragraphs. He did not work for posterity, nor even for God, of whose literary preferences he possessed scant knowledge. Meticulous, unmoving, secretive, he wove his lofty invisible labyrinth in time. He worked the third act over twice. He eliminated some rather too-obvious symbols: the repeated striking of the hour, the music. There were no circumstances to constrain him. He omitted, condensed, amplified; occasionally, he chose the primitive version. He grew to love the courtyard, the barracks; one of the faces endlessly confronting him made him modify his conception of Roemerstadt's character. He discovered that the hard cacaphonies which so distressed Flaubert are mere visual superstitions: debilities and annoyances of the written word, not of the sonorous, the sounding one . . . He brought his drama to a conclusion: he lacked only a single epithet. He found it: the drop of water slid down his cheek. He began a wild cry, moved his face aside. A quadruple blast brought him down.
Jaromir Hladik died on March 29, at 9:02 in the morning.
1943
The End1
Lying prone, Recabarren half-opened his eyes and saw the slanting rattan ceiling. The thrumming of a guitar reached him from the other room; the invisible instrument was a kind of meager labyrinth infinitely winding and unwinding . . . Little by little he returned to reality, to the daily details which now would never change. He gazed without sorrow at his great useless body, at the poncho of coarse wool wrapped around his legs. Outside, beyond the barred windows, stretched the plain and the afternoon. He had been sleeping, but the sky was still filled with light. Groping about with his left arm, he finally touched a bronze cowbell hanging at the foot of the cot. He banged on it two or three times; from the other side of the door the humble chords continued to reach him. The guitarist was a Negro who had shown up one night to display his pretensions as a singer: he had challenged another stranger to a drawn out contest of singing to guitar accompaniment. Bested, he nevertheless continued to haunt the general store, as if waiting for someone. He passed the hours playing on his guitar, but he no longer ventured to sing. Perhaps his defeat had embittered him. The other customers had grown accustomed to this inoffensive player. Recabarren, the shopowner, would never forget the songs of the guitar contest: the next day, as he adjusted a load of mate upon a mule's back, his right side had suddenly died and he had lost his power of speech. By dint of taking pity on the misfortunes of the heroes of novels we come to take too much pity on our own misfortunes; not so the enduring Recabarren, who accepted his paralysis as he had previously accepted the rude solitude of America. Habituated to living in the present, like the animals, he gazed now at the sky and considered how the crimson circle around the moon presaged rain.
A boy with Indian features (one of his sons, perhaps) half-opened the door. Recabarren asked him with his eyes if there were anyone in the shop. The boy, taciturn, indicated by terse signs that there was no one. (The Negro, of course, did not count.) The prostrate man was left alone. One hand played briefly with the cowbell, as if he were wielding some power.
Beneath the final sun of the day, the plain seemed almost abstract, as if seen in a dream. A point shimmered on the horizon, and then grew until it became a horseman, who came, or seemed to come, toward the building. Recabarren saw the wide-brimmed hat, the long dark poncho, the dappled horse, but not the man's face; at length the rider tightened the reins and cut down the gallop, approaching at a trot. Some two hundred yards away, he turned sharply. Recabarren could no longer see him, but he heard him speak, dismount, tie the horse to the paling, and enter the shop with a firm step.
Without raising his eyes from his instrument, where he seemed to be searching for something, the Negro said gently:
"I was sure, senor, that I could count on you."
The other man replied with a harsh voice:
"And I on you, colored man. I made you wait a pack of days, but here I am."
There was a silence. At length the Negro responded:
"I'm getting used to waiting. I've waited seven years."
Without haste the other explained:
"I went longer than seven years without seeing my children. I saw them that day, but I didn't want to seem like a man always fighting."
"I realize that. I understand what you say," said the Negro. "I trust you left them in good health."
The stranger, who had taken a seat at the bar, laughed a deep laugh. He asked for a rum. He drank with relish, but did not drain it down.
"I gave them some good advice," he declared. "That's never amiss, and it doesn't cost anything. I told them, among other things, that one man should not shed another man's blood."
A slow chord preceded the Negro's reply:
"You did well. That way they won't be like us."
"At least they won't be like me," said the stranger. And then he added, as if he were ruminating aloud: "Destiny has made me kill, and now, once more, it has put a knife in my hand."
The Negro, as if he had not heard, observed:
"Autumn is making the days grow shorter."
"The light that's left is enough for me," replied the stranger, getting to his feet.
He stood in front of the Negro and said, with weariness:
"Leave off the guitar. Today there's another kind of counterpoint waiting for you."
The two men walked toward the door. As he went out, the Negro murmured:
"Perhaps this time it will go as hard on me as the first time."
The other answered seriously:
"It didn't go hard on you the first time. What happened was that you were anxious for the second try."
They moved away from the houses for a good bit, walking together. One point on the plain was as good as another, and the moon was shining. Suddenly they looked at each other, halted, and the stranger began taking off his spurs; They already had their ponchos wound around their forearms when the Negro said:
"I want to ask you a favor before we tangle. I want you to put all your guts into this meeting, just as you did seven years ago, when you killed my brother."
Perhaps for the first time in the dialogue, Martin Fierro heard the sound of hate. He felt his blood like a goad. They clashed, and the sharp-edged steel marked the Negro's face.
There is an hour of the afternoon when the plain is on the verge of saying something. It never says it, or perhaps it says it infinitely, or perhaps we do not understand it, or we understand it and it is as untranslatable as music . . . From his cot, Recabarren saw the end. A charge, and the Negro fell back; he lost his footing, feinted toward the other's face, and reached out in a great stab, which penetrated the stranger's chest. Then there was another stab, which the shopowner did not clearly see, and Fierro did not get up. Immobile, the Negro seemed to watch over his enemy's laboring death agony. He wiped his bloodstained knife on the turf and walked back toward the knot of houses slowly, without looking back. His righteous task accomplished, he was nobody. More accurately, he became the stranger: he had no further mission on earth, but he had killed a man.
(1) This account of a knife fight with Martin Fierro, the Argentine gaucho of Jose Hernandez' great folk poem, takes up the story of Fierro where the popular poem leaves off. A singing encounter, or challenge, with a black man (one of ten brothers, the eldest of whom has been killed) occurs toward the end of the poem. A fight is at that time averted. Borges here gives us the account of a subsequent meeting. (And see Prologue to Artifices.) — Editor's note.
- Translated
The Sect of the Phoenix
Those who write that the sect of the Phoenix originated in Heliopolis, and make it derive from the religious restoration which followed the death of the reformer Amenhotep IV, cite texts by Herodotus, Tacitus, and inscriptions from the Egyptian monuments; but they ignore, or try to ignore, the fact that the denomination of the sect by the name of Phoenix is not prior to Rabanus Maurus, and that the most ancient sources (the Saturnalia, or Flavius Josephus, let us say) speak only of the People of Custom or the People of the Secret. Gregorovius had already observed, in the Conventicles of Ferrara, that any mention of the Phoenix was extremely rare in oral language. In Geneva, I have spoken to artisans who did not understand me when I asked if they were men of the Phoenix, but who admitted, in the next breath, that they were men of the Secret. Unless I am mistaken, the same phenomenon is observable among the Buddhists: the name by which they are known to the world is not the same as the one they themselves pronounce.
Miklosic, in an overly famous page, has compared the sectarians of the Phoenix with the gypsies. In Chile and in Hungary there are sectarians of the Phoenix and there are also gypsies; beyond their ubiquity, they have very little in common. The gypsies are horsedealers, tinkers, smiths, and fortune tellers; the sectarians tend to practice the liberal professions successfully. The gypsies are of a certain definite physical type, and they speak — or used to speaks secret language; the sectarians are indistinguishable from the rest of the world: the proof of it is that they have not suffered persecutions. Gypsies are picturesque and inspire bad poets. Narrative verse, colored lithographs, and boleros pay no heed to the sectarians . . . Martin Buber declares that Jews are essentially pathetic; not all sectarians are, and some of them despise pathos; this public and notorious fact suffices to refute the vulgar error (absurdly defended by Urmann) which sees in the Phoenix a derivative of Israel. People think more or less as follows: Urmann was a sensitive man; Urmann was a Jew; Urmann associated with the sectarians in the ghetto at Prague; the affinity felt by Urmann serves to prove a fact. I can not in good faith agree with this judgment. The fact that sectarians in a Jewish environment should resemble Jews does not prove anything; the undeniable fact is that they resemble, like Hazlitt's infinite Shakespeare, all the men in the world. They are everything to all men, like the Apostle. Only a short time ago Doctor Juan Francisco Amaro, of Paysandu, marveled at the ease with which they became Spanish-Americans.
I have mentioned that the history of the sect does not record persecutions. Still, since there is no human group which does not include partisans of the Phoenix, it is also true that there has never been a persecution which they have not suffered or a reprisal they have not carried out. Their blood has been spilled, through the centuries, under opposing enemy flags, in the wars of the West and in the remote battles of Asia. It has availed them little to identify themselves with all the nations of the earth.
Lacking a sacred book to unify them as the Scripture does Israel, lacking a common memory, lacking that other social memory which is language, scattered across the face of the earth, differing in color and features, only one thing — the Secret — unites them and will unite them until the end of time. Once upon a time, in addition to the Secret, there was a legend (and perhaps also a cosmogonic myth), but the superficial men of the Phoenix have forgotten it, and today they conserve only the obscure tradition of some cosmic punishment: of a punishment, or a pact, or a privilege, for the versions differ, and they scarcely hint at the verdict of a God who grants eternity to a race of men if they will only carry out a certain rite, generation after generation. I have compared the testimony of travelers, I have conversed with patriarchs and theologians; and I can testify that the performance of the rite is the only religious practice observed by the sectarians. The rite itself constitutes the Secret. And the Secret, as I have already indicated, is transmitted from generation to generation; but usage does not favor mothers teaching it to their sons, nor is it transmitted by priests. Initiation into the mystery is the task of individuals of the lowest order. A slave, a leper, a beggar plays the role of mystagogue. A child can indoctrinate another child. In itself the act is trivial, momentary, and does not require description. The necessary materials are cork, wax, or gum arabic. (In the liturgy there is mention of silt; this, too, is often used.) There are no temples specially dedicated to the celebration of this cult; a ruin, a cellar, an entrance way are considered propitious sites. The Secret is sacred, but it is also somewhat ridiculous. The practice of the mystery is furtive and even clandestine, and its adepts do not speak about it. There are no respectable words to describe it, but it is understood that all words refer to it, or better, that they inevitably allude to it, and thus, in dialogue with initiates, when I have prattled about anything at all, they have smiled enigmatically or taken offense, for they have felt that I touched upon the Secret. In Germanic literature there are poems written by sectarians, whose nominal theme is the sea, say, or the evening twilight; but they are, I can hear someone say, in some measure symbols of the Secret.
As stated by Du Cange in his Glossary, by way of apocryphal proverb, Orbis terrarum est speculum Ludi. A kind of sacred horror prevents some of the faithful from practicing the extremely simple ritual; the others despise them for it, but they despise themselves even more. On the other hand, those sectarians who deliberately renounce the Custom and manage to engage in direct communication with the divinity enjoy a large measure of credit. To make this commerce manifest, these latter sectarians have recourse to figures from the liturgy; thus John of the Rood wrote:
May the Nine Firmaments know that God
Is as delightful as cork or muck.
I have enjoyed the friendship of devotees of the Phoenix on three continents; it seems clear to me that at first the Secret struck them as something paltry, distressing, vulgar and (what is even stranger) incredible. They could not reconcile themselves to the fact that their ancestors had lowered themselves to such conduct. The odd thing is that the Secret has not been lost long ago; despite the vicissitudes of the world, despite wars and exoduses, it extends, in its tremendous fashion, to all the faithful. One commentator has not hesitated to assert that it is already instinctive.
- Translated by ANTHONY KERRIGAN
The South
The man who landed in Buenos Aires in 1871 bore the name of Johannes Dahlmann and he was a minister in the Evangelical Church. In 1939, one of his grandchildren, Juan Dahlmann, was secretary of a municipal library on Calle Cordoba, and he considered himself profoundly Argentinian. His maternal grandfather had been that Francisco Flores, of the Second Line-Infantry Division, who had died on the frontier of Buenos Aires, run through with a lance by Indians from Catriel; in the discord inherent between his two lines of descent, Juan Dahlmann (perhaps driven to it by his Germanic blood) chose the line represented by his romantic ancestor, his ancestor of the romantic death. An old sword, a leather frame containing the daguerreotype of a blank-faced man with a beard, the dash and grace of certain music, the familiar strophes of Martin Fierro, the passing years, boredom and solitude, all went to foster this voluntary, but never ostentatious nationalism. At the cost of numerous small privations, Dahlmann had managed to save the empty shell of a ranch in the South which had belonged to the Flores family; he continually recalled the image of the balsamic eucalyptus trees and the great rosecolored house which had once been crimson. His duties, perhaps even indolence, kept him in the city. Summer after summer he contented himself with the abstract idea of possession and with the certitude that his ranch was waiting for him on a precise site in the middle of the plain. Late in February, 1939, something happened to him.
Blind to all fault, destiny can be ruthless at one's slightest distraction. Dahlmann had succeeded in acquiring, on that very afternoon, an imperfect copy of Weil's edition of The Thousand and One Nights. Avid to examine this find, he did not wait for the elevator but hurried up the stairs. In the obscurity, something brushed by h