In spite of these three obstacles, Menard’s fragmentary Quixote is more subtle than Cervantes’. The latter, in a clumsy fashion, opposes to the fictions of chivalry the tawdry provincial reality of his country; Menard selects as his “reality” the land of Carmen during the century of Lepanto and Lope de Vega. What a series of espagnolades that selection would have suggested to Maurice Barrès or Dr. Rodríguez Larreta! Menard eludes them with complete naturalness. In his work there are no gypsy flourishes or conquistadors or mystics or Philip the Seconds or autos da fé. He neglects or eliminates local color. This disdain points to a new conception of the historical novel. This disdain condemns Salammbô, with no possibility of appeal.
It is no less astounding to consider isolated chapters. For example, let us examine Chapter XXXVIII of the first part, “which treats of the curious discourse of Don Quixote on arms and letters.” It is well known that Don Quixote (like Quevedo in an analogous and later passage in La hora de todos) decided the debate against letters and in favor of arms. Cervantes was a former soldier: his verdict is understandable. But that Pierre Menard’s Don Quixote—a contemporary of La trahison des clercs and Bertrand Russell—should fall prey to such nebulous sophistries! Madame Bachelier has seen here an admirable and typical subordination on the part of the author to the hero’s psychology; others (not at all perspicaciously), a transcription of the Quixote; the Baroness de Bacourt, the influence of Nietzsche. To this third interpretation (which I judge to be irrefutable) I am not sure I dare to add a fourth, which concords very well with the almost divine modesty of Pierre Menard: his resigned or ironical habit of propagating ideas which were the strict reverse of those he preferred. (Let us recall once more his diatribe against Paul Valéry in Jacques Reboul’s ephemeral Surrealist sheet.) Cervantes’ text and Menard’s are verbally identical, but the second is almost infinitely richer. (More ambiguous, his detractors will say, but ambiguity is richness.)
It is a revelation to compare Menard’s Don Quixote with Cervantes’. The latter, for example, wrote (part one, chapter nine):
. . . truth, whose mother is history, rival of time, depository of deeds, witness of the past, exemplar and adviser to the present, and the future’s counselor.
Written in the seventeenth century, written by the “lay genius” Cervantes, this enumeration is a mere rhetorical praise of history. Menard, on the other hand, writes:
. . . truth, whose mother is history, rival of time, depository of deeds, witness of the past, exemplar and adviser to the present, and the future’s counselor.
History, the mother of truth: the idea is astounding. Menard, a contemporary of William James, does not define history as an inquiry into reality but as its origin. Historical truth, for him, is not what has happened; it is what we judge to have happened. The final phrases—exemplar and adviser to the present, and the future’s counselor—are brazenly pragmatic.
The contrast in style is also vivid. The archaic style of Menard—quite foreign, after all—suffers from a certain affectation. Not so that of his forerunner, who handles with ease the current Spanish of his time.
There is no exercise of the intellect which is not, in the final analysis, useless. A philosophical doctrine begins as a plausible description of the universe; with the passage of the years it becomes a mere chapter—if not a paragraph or a name—in the history of philosophy. In literature, this eventual caducity is even more notorious. The Quixote—Menard told me—was, above all, an entertaining book; now it is the occasion for patriotic toasts, grammatical insolence and obscene de luxe editions. Fame is a form of incomprehension, perhaps the worst.
There is nothing new in these nihilistic verifications; what is singular is the determination Menard derived from them. He decided to anticipate the vanity awaiting all man’s efforts; he set himself to an undertaking which was exceedingly complex and, from the very beginning, futile. He dedicated his scruples and his sleepless nights to repeating an already extant book in an alien tongue. He multiplied draft upon draft, revised tenaciously and tore up thousands of manuscript pages.3 He did not let anyone examine these drafts and took care they should not survive him. In vain have I tried to reconstruct them.
I have reflected that it is permissible to see in this “final” Quixote a kind of palimpsest, through which the traces—tenuous but not indecipherable—of our friend’s “previous” writing should be translucently visible. Unfortunately, only a second Pierre Menard, inverting the other’s work, would be able to exhume and revive those lost Troys . . .
“Thinking, analyzing, inventing (he also wrote me) are not anomalous acts; they are the normal respiration of the intelligence. To glorify the occasional performance of that function, to hoard ancient and alien thoughts, to recall with incredulous stupor that the doctor universalis thought, is to confess our laziness or our barbarity. Every man should be capable of all ideas and I understand that in the future this will be the case.”
Menard (perhaps without wanting to) has enriched, by means of a new technique, the halting and rudimentary art of reading: this new technique is that of the deliberate anachrönism and the erroneous attribution. This technique, whose applications are infinite, prompts us to go through the Odyssey as if it were posterior to the Aeneid and the book Le jardin du Centaure of Madame Henri Bachelier as if it were by Madame Henri Bachelier. This technique fills the most placid works with adventure. To attribute the Imitatio Christi to Louis Ferdinand Céline or to James Joyce, is this not a sufficient renovation of its tenuous spiritual indications?
For Silvina Ocampo Translated by J. E. I.
* * *
1 Madame Henri Bachelier also lists a literal translation of Quevedo’s literal translation of the Introduction à la vie dévote of St. Francis of Sales. There are no traces of such a work in Menard’s library. It must have been a jest of our friend, misunderstood by the lady.
2 I also had the secondary intention of sketching a personal portrait of Pierre Menard. But how could I dare to compete with the golden pages which, I am told, the Baroness de Bacourt is preparing or with the delicate and punctual pencil of Carolus Hourcade?
3 I remember his quadricular notebooks, his black crossed-out passages, his peculiar typographical symbols and his insect-like handwriting. In the afternoons he liked to go out for a walk around the outskirts of Nîmes; he would take a notebook with him and make a merry bonfire.
The Circular Ruins
And if he left off dreaming about you . . .
Through the Looking Glass, VI
No one saw him disembark in the unanimous night, no one saw the bamboo canoe sinking into the sacred mud, but within a few days no one was unaware that the silent man came from the South and that his home was one of the infinite villages upstream, on the violent mountainside, where the Zend tongue is not contaminated with Greek and where leprosy is infrequent. The truth is that the obscure man kissed the mud, came up the bank without pushing aside (probably without feeling) the brambles which dilacerated his flesh, and dragged himself, nauseous and bloodstained, to the circular enclosure crowned by a stone tiger or horse, which once was the color of fire and now was that of ashes. This circle was a temple, long ago devoured by fire, which the malarial jungle had profaned and whose god no longer received the homage of men. The stranger stretched out beneath the pedestal. He was awakened by the sun high above. He evidenced without astonishment that his wounds had closed; he shut his pale eyes and slept, not out of bodily weakness but out of determination of will. He knew that this temple was the place required by his invincible purpose; he knew that, downstream, the incessant trees had not managed to choke the ruins of another propitious temple, whose gods were also burned and dead; he knew that his immediate obligation was to sleep. Towards midnight he was awakened by the disconsolate cry of a bird. Prints of bare feet, some figs and a jug told him that men of the region had respectfully spied upon his sleep and were solicitous of his favor or feared his magic. He felt the chill of fear and sought out a burial niche
in the dilapidated wall and covered himself with some unknown leaves.
The purpose which guided him was not impossible, though it was supernatural. He wanted to dream a man: he wanted to dream him with minute integrity and insert him into reality. This magical project had exhausted the entire content of his soul; if someone had asked him his own name or any trait of his previous life, he would not have been able to answer. The uninhabited and broken temple suited him, for it was a minimum of visible world; the nearness of the peasants also suited him, for they would see that his frugal necessities were supplied. The rice and fruit of their tribute were sufficient sustenance for his body, consecrated to the sole task of sleeping and dreaming.
At first, his dreams were chaotic; somewhat later, they were of a dialectical nature. The stranger dreamt that he was in the center of a circular amphitheater which in some way was the burned temple: clouds of silent students filled the gradins; the faces of the last ones hung many centuries away and at a cosmic height, but were entirely clear and precise. The man was lecturing to them on anatomy, cosmography, magic; the countenances listened with eagerness and strove to respond with understanding, as if they divined the importance of the examination which would redeem one of them from his state of vain appearance and interpolate him into the world of reality. The man, both in dreams and awake, considered his phantoms’ replies, was not deceived by impostors, divined a growing intelligence in certain perplexities. He sought a soul which would merit participation in the universe.
After nine or ten nights, he comprehended with some bitterness that he could expect nothing of those students who passively accepted his doctrines, but that he could of those who, at times, would venture a reasonable contradiction. The former, though worthy of love and affection, could not rise to the state of individuals; the latter pre-existed somewhat more. One afternoon (now his afternoons too were tributaries of sleep, now he remained awake only for a couple of hours at dawn) he dismissed the vast illusory college forever and kept one single student. He was a silent boy, sallow, sometimes obstinate, with sharp features which reproduced those of the dreamer. He was not long disconcerted by his companions’ sudden elimination; his progress, after a few special lessons, astounded his teacher. Nevertheless, catastrophe ensued. The man emerged from sleep one day as if from a viscous desert, looked at the vain light of afternoon, which at first he confused with that of dawn, and understood that he had not really dreamt. All that night and all day, the intolerable lucidity of insomnia weighed upon him. He tried to explore the jungle, to exhaust himself; amidst the hemlocks, he was scarcely able to manage a few snatches of feeble sleep, fleetingly mottled with some rudimentary visions which were useless. He tried to convoke the college and had scarcely uttered a few brief words of exhortation, when it became deformed and was extinguished. In his almost perpetual sleeplessness, his old eyes burned with tears of anger.
He comprehended that the effort to mold the incoherent and vertiginous matter dreams are made of was the most arduous task a man could undertake, though he might penetrate all the enigmas of the upper and lower orders: much more arduous than weaving a rope of sand or coining the faceless wind. He comprehended that an initial failure was inevitable. He swore he would forget the enormous hallucination which had misled him at first, and he sought another method. Before putting it into effect, he dedicated a month to replenishing the powers his delirium had wasted. He abandoned any premeditation of dreaming and, almost at once, was able to sleep for a considerable part of the day. The few times he dreamt during this period, he did not take notice of the dreams. To take up his task again, 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, uttered the lawful syllables of a powerful name and slept. Almost immediately, he dreamt of a beating heart.
He dreamt it as active, warm, secret, the size of a closed fist, of garnet color in the penumbra of a human body as yet without face or sex; with minute love he dreamt it, for fourteen lucid nights. Each night he perceived it with greater clarity. He did not touch it, but limited himself to witnessing it, observing it, perhaps correcting it with his eyes. He perceived it, lived it, from many distances and many angles. On the fourteenth night he touched the pulmonary artery with his finger, and then the whole heart, inside and out. The examination satisfied him. Deliberately, he did not dream for a night; then he took the heart again, invoked the name of a planet and set about to envision another of the principal organs. Within a year he reached the skeleton, the eyelids. The innumerable hair was perhaps the most difficult task. He dreamt a complete man, a youth, but this youth could not rise nor did he speak nor could be open his eyes. Night after night, the man dreamt him as asleep.
In the Gnostic cosmogonies, the demiurgi knead and mold a red Adam who cannot stand alone; as unskillful and crude and elementary as this Adam of dust was the Adam of dreams fabricated by the magician’s nights of effort. One afternoon, the man almost destroyed his work, but then repented. (It would have been better for him had he destroyed it.) Once he had completed his supplications to the numina of the earth and the river, he threw himself down at the feet of the effigy which was perhaps a tiger and perhaps a horse, and implored its unknown succor. That twilight, he dreamt of the statue. He dreamt of it as a living, tremulous thing: it was not an atrocious mongrel of tiger and horse, but both these vehement creatures at once and also a bull, a rose, a tempest. This multiple god revealed to him that its earthly name was Fire, that in the circular temple (and in others of its kind) people had rendered it sacrifices and cult and that it would magically give life to the sleeping phantom, in such a way that all creatures except Fire itself and the dreamer would believe him to be a man of flesh and blood. The man was ordered by the divinity to instruct his creature in its rites, and send him to the other broken temple whose pyramids survived downstream, so that in this deserted edifice a voice might give glory to the god. In the dreamer’s dream, the dreamed one awoke.
The magician carried out these orders. He devoted a period of time (which finally comprised two years) to revealing the arcana of the universe and of the fire cult to his dream child. Inwardly, it pained him to be separated from the boy. Under the pretext of pedagogical necessity, each day he prolonged the hours he dedicated to his dreams. He also redid the right shoulder, which was perhaps deficient. At times, he was troubled by the impression that all this had happened before . . . In general, his days were happy; when he closed his eyes, he would think: Now I shall be with my son. Or, less often: The child I have engendered awaits me and will not exist if I do not go to him.
Gradually, he accustomed the boy to reality. Once he ordered him to place a banner on a distant peak. The following day, the banner flickered from the mountain top. He tried other analogous experiments, each more daring than the last. He understood with certain bitterness that his son was ready—and perhaps impatient—to be born. That night he kissed him for the first time and sent him to the other temple whose debris showed white downstream, through many leagues of inextricable jungle and swamp. But first (so that he would never know he was a phantom, so that he would be thought a man like others) he instilled into him a complete oblivion of his years of apprenticeship.
The man’s victory and peace were dimmed by weariness. At dawn and at twilight, he would prostrate himself before the stone figure, imagining perhaps that his unreal child was practicing the same rites, in other circular ruins, downstream; at night, he would not dream, or would dream only as all men do. He perceived the sounds and forms of the universe with a certain colorlessness: his absent son was being nurtured with these diminutions of his soul. His life’s purpose was complete; the man persisted in a kind of ecstasy. After a time, which some narrators of his story prefer to compute in years and others in lustra, he was awakened one midnight by two boatmen; he could not see their faces, but they told him of a magic man in a temple of the North who could walk upon fire and not be burned. The magician suddenly remem
bered the words of the god. He recalled that, of all the creatures of the world, fire was the only one that knew his son was a phantom. This recollection, at first soothing, finally tormented him. He feared his son might meditate on his abnormal privilege and discover in some way that his condition was that of a mere image. Not to be a man, to be the projection of another man’s dream, what a feeling of humiliation, of vertigo! All fathers are interested in the children they have procreated (they have permitted to exist) in mere confusion or pleasure; it was natural that the magician should fear for the future of that son, created in thought, limb by limb and feature by feature, in a thousand and one secret nights.
The end of his meditations was sudden, though it was foretold in certain signs. First (after a long drought) a faraway cloud on a hill, light and rapid as a bird; then, toward the south, the sky which had the rose color of the leopard’s mouth; then the smoke which corroded the metallic nights; finally, the panicky flight of the animals. For what was happening had happened many centuries ago. The ruins of the fire god’s sanctuary were destroyed by fire. In a birdless dawn the magician saw the concentric blaze close round the walls. For a moment, he thought of taking refuge in the river, but then he knew that death was coming to crown his old age and absolve him of his labors. He walked into the shreds of flame. But they did not bite into his flesh, they caressed him and engulfed him without heat or combustion. With relief, with humiliation, with terror, he understood that he too was a mere appearance, dreamt by another.
Labyrinths Page 7