MODALITIES, LOGIC, AND THE CABALA IN BORGES’ “THE THEME OF THE TRAITOR AND THE HERO” w Kane X. Faucher PREAMBLE “I saw the starry tree eternity Put forth the blossom time” Proteus, Robert Buchanan T his paper will attempt to plumb the literary depths of Jorge Luis Borges’ labyrinth, but in such a way as not to limit our- selves with merely a literary theory or criticism; rather, we will intersperse such an endeavour with an added triple focus: a philosophical, semantic and slightly cabalistic approach. We will fo- cus primarily on “The Theme of the Traitor and Hero”, with a rele- vant mixture of a few of his other works, and some valuable inter- sections with Derrida and Deleuze. We will open with a preamble discussion on the notion of the labyrinth, and then proceed with a more detailed logical and semantical discussion on metaphor, con- text, deixis, and disjunction. We must first set the stage for our dis- cussion by talking at some appreciable length on our view that re- Variaciones Borges 13 (2002) 106 KANE X. FAUCHER presentationalism can only bring us to an unfecund value space where judgements will be ascribed to the work. To avoid this, we will defend a more Lyotardian and Deleuzian view. Hopefully this paper will not lend itself to gauche over-interpretation of the extre- mely interpretation-sensitive character of the works, fragile as they may be to the rough handling by Borges’ posthumous critics. It will appear that we are weaving through a multitude of Borge- sian topics, performing intersections across various planes of under- standing. But as we hop from one plateau to the next, we will accrue a particular relevance from the surface preceding, a kind of extra clue that may appear superfluous for the moment, but will act as a kind of a decoding of the cipher. 1. THE INFINITE EXERGUE “Whatever shall we do in that remote spot? Well, we will write our memoirs. Work is the scythe of time.” Napoleon, 1815 Borges is an architect of literary labyrinths, of textual transgres- sions, of interlocking deictic tiles born in the Heraclitean spirit of po- lemos (as two passing things pass through one another while main- taining their distinction), and how these tiles are not some fanciful kludge that ambles about and exhausts its possibilities. It is of a text within a text, an intertextuality that unfolds with great precision and an astounding amount of perspicuity. Of the modern writers, Borges is arguably the first literary alchemist of his sort, combining a rich heritage of mythemes with a veritable horde of philosophical inter- ruptions and historical data, produced in a harmonious architec- tonic array that resists both codification and completion. It is neces- sary that we paint the man in his context, to place Borges in his own creation: the labyrinth. His method of combination resists conven- tional forms of logical symbolization, yet we can extract a few com- mon rules that correspond with his labyrinth, this literary structure. Irby’s introduction to Other Inquisitions heaps on Borges these adjec- tives: “whimsical bookishness”, “conversational discursiveness”, MODALITIES, LOGIC AND THE CABALA IN BORGES 107 “elevated diction”, “informal opinion”, and “formal analysis”. We will venture to derive our own image of Borges, hopefully without as many adjectives that only serve as representational devices, and we know that Deleuze would not approve of representationalism to mar the proceedings, especially where literature is concerned. The idea of the infinite library figures prominently in the im- mense, condensed character of his writings. There are an infinity of possible spatio-temporal coordinates. We stand there with Borges— us, the readers, and he the writer. With his text, he does not hazard to take us to any space or time, or even to exhibit a simultaneous multiplicity of places and moments. At times, as we can note from the multiple surfaces (the rich to- pography of references), Borges is more of an academic sleuth than a writer... a kind of polymath. The stylistic aspect of the work itself is not highly poetic; in fact, it is quite poor (though it is more elaborate in its original Spanish). This sleuthing tradition we can trace for- ward to Umberto Eco (especially Foucault’s Pendulum which, ironi- cally, shows the dangers of sleuthing), William H. Gass, and to a lesser degree, Henry Miller’s eruditious rants and constant raids of the public library. What is the essential character of the writer- sleuth? 1) To be well-read in an exaggerated sense, to become a bibilobibuli, to possess an academic concupiscence across many dis- ciplines; 2) to hazard seemingly strange and bizarre connections be- tween people and events; 3) to create new horizons, landscapes, to- pographies of interpretation of multiple facts; 4) to be personally transformed into a convergence point of all history. Borges is one of the first writers in a particular turn in literature, a kind of marked finale to the romantic age. His work, and others of its kind, marked the waning of 19th Century prudishness and sub- limity in literature, and the upsurge of post- or transmodern litera- ture. Borges, being one of these pioneers, could not help but to stand in both eras: one foot firmly positioned in the past and the other gradually making contact with the age that had yet to be given shape. It would appear that Borges is constantly mediating his liter- ary presence through an ambivalence, a furtive attempt at escaping the seductive and powerfully potent literature of what preceded him. But there is nothing remarkable in this, for every writer of re- 108 KANE X. FAUCHER pute has to at one time or another summon the courage to transcend and overcome his or her influences, to overcome the lulling seduc- tion of the past. 2. DEIXIS “It is completely unimportant. That is why it is so interesting.” Agatha Christie Who is the narrator in Borges’ “The Theme of the Traitor and the Hero”? In our treatment of the text, Borges is the first narrator, the meta-narrator; however, there are smaller narrators in the text, no less instrumental or worthy of our attention. The narrator changes places, surrenders ownership of the dia- logue as we descend through a cavalcade of historical moments. As an interassemblage, each temporal reference interlocks with all the others, creating a totalizing effect, a historical tour de force enabling its audience to view these moments in this manner. Borgesian tem- porality, it must be noted, is multi-layered, but also cyclical; events repeat themselves in different cloth, with different actors and cul- tural backdrops. It is no wonder that Borges implants this line: “Kilpatrick was killed in a theater, but the entire city was a theater as well, and the actors were legion, and the drama crowned by his death extended over many days and many nights” (Labyrinths 74). Time, in the Borgesian sense, is vast historical stage that re-enacts the same moments with different actors. “All the world’s a stage and we are merely its players”, this one Shakespearean line that must have fascinated and kindled Borges (and hence, the appropri- ate Shakespearean references throughout the text). With each pass- ing era, and though the events repeat themselves, there is a building of the labyrinth, a synthesis of the universal “I” of some eternal watcher (the readers themselves?) through time itself. For Borges, history is nemetic—a measure of all history—while the particulari- ties or singularities (the people who are affected by the repeating events) are anamnetic: the Platonico-Leibnizian doctrine of reminis- cence. Time and history can be analogized as a kind of ammonite: MODALITIES, LOGIC AND THE CABALA IN BORGES 109 the circular coiling away of events and the recoiling of events to- ward the center. What Borges does is make the labyrinth emerge from the depths of the historical unconscious, to make us aware of its intricate designs and repeating patterns. And in fact, history does repeat itself in the form of Borges’ text, though it is transfigured and modified to suit the interests to suit the interests of the narrative. It is a cyclical history, but the preface by Maurois to Labyrinths unfor- tunately continues the misunderstanding of Nietzsche’s conception of history as the eternal return in the most vulgar sense. History is only an eternal return insofar as the motor of nihilism conks out and necessitates a transvaluation of all hitherto existing values—it is the typology of forces in all bodies, as Deleuze notes, that “returns”, not the events themselves. Active forces of becoming never disappear, but are suppressed by reactive forces, and so do not “return” in the literal sense (as becoming-active is more akin to substance in the Spinozistic sense, literally “that which stands beneath”). Reactive forces do not return, but are eventually vanquished when reactive forces oppose and emasculate themselves. This is far afield of our inquiry into deixis, but it serves us to understand that Borges’ read- ing of Nietzsche was not entirely accurate. However, this is excus- able because the predominant understanding of Nietzsche at the time of the writing still held to this notion of eternal return as cycli- cal. But this again is inaccurate, for in Otras Inquisiciones, Borges himself reacts against such an unfair and mistaken reading of Nietzsche. Borges sets up an entire matrixicality of narrators placed in a mul- tiplicity of historical contexts. In this way, it is a difficult task indeed to analyze the spatial deixis from moment to moment, line to line. Due to its temporal matrixicality, this temporal labyrinth where the spatio-temporal coordinates keep shifting and compounding upon one another, the reader (and who is the reader?) is confronted with a rich tapestry of temporal interassemblages. Judge how the reference to Julius Caesar transforms: 1) as a comparison of the actions of a past-present character (Kilpatrick) with those of a remote past (Cae- sar); 2) as an event recorded in its past setting in Rome; 3) as the ac- tual historical figure is appropriated as a textual figure, as a Shake- spearean reference. 110 KANE X. FAUCHER The presence, or at least mention, of Shakespeare is a transforma- tive event. In fact, it would be my claim that this story’s pivot acts on the Shakespearean notion of history as drama unfolding, as pre- inscribed and enacted. History, even in its multiplicity and infinity, is deterministic in Borges’ understanding. The pivot is the transfor- mative substrate, the nexus of change: the Shakespearean text trans- forms Caesar into a literary reference who is carried into an act of repetition by Nolan. However, Macbeth is never presented as any- thing but a textual reference, which may be of interest to us later in the discussion. The tower of history rises up from the intricate labyrinth of re- peating events, and so the Yeats poem situated at the beginning of the story is imbued with a special meaning power, and is not just some accidental placement on Borges’ part and neither is it am- phigorous. The “Platonic year” is a composition of time and Plato’s theory of the Forms. In this sense, events in time are copies from some archetypal Form, and hence the repetition and proliferation of similar events that are deposited at different spatio-temporal coor- dinates. But the ambiguous phrase concerning the relationship be- tween Caesar and Kilpatrick as to their respective fates being bicon- ditional events seems to displace the notion of an archetypal form. Where would it be placed? It is perhaps here that it would be useful to adopt Derrida’s khora, as that which acts as a non-situated situator without a definite temporal origin.1 As we wind up the tower of his- tory2, whirling as it were, the Platonic year “whirls in the old in- stead,” which reifies the notion of repetition, as a drawing from the Forms of history. What are we to make of the last two enigmatic lines: “All men are dancers and their tread/ Goes to the barbarous 1 Khora is the third class mentioned in Plato's Timaeus. The first two are Being and Space (or Nothing), with khora acting as Generation (Time or Becoming). Other tripar- tite derivations stem from this: Mythos, Khora, Logos; in Hegel, Being, Idea, Spirit; in Deleuze, Chance, Becoming (or Difference), Necessity. For a more detailed discussion of khora, consult Jacques Derrida's "Khora" in On the Name. 2 Two senses of the tower readily spring to mind: 1) The tower of Babel as the space of convergence of diverse languages and cultures, and 2) Jeremy Bentham's notion of the Panopticon. However, it is this notion of the panoptic space that will aid us most in our foregoing discussion. MODALITIES, LOGIC AND THE CABALA IN BORGES 111 clangour of a gong?” The gong represents the commandment, the cue for the dancers (or actors) to enter and exit the stage of history for re-enactments. The Babel aspect of the tower as a notion must have intrigued Borges, himself believing that the motor of historical return was universal, transgressive of political and cultural borders. In this aspect of the labyrinth, we are all separated from our univer- sal Forms, lost in a maze where we fumble towards reconnection. History, seen in this totality, unites all humanity in its tapestry. Bor- ges would be the first to point out that despite the diversity of his- torical events, there is a common root, a collection of tropes or ar- chetypes from which all events spring. History figures prominently in Borges’ works; in this particular story, he makes use of Vico, Condorcet and Hegel, all of whom had philosophical theories of his- tory. We could digress here and consider these individual theories in greater detail and see how they aid in the construction of Borges, but we will resist that temptation...even though the text sets itself up so readily for such an ever-expansive analysis, an analysis that would become an infinite labour of associations, of compounded interpretations (we will speak more of traces later). What intrigues us about Borges’ text, as well as his conception of an infinitely re- petitive history, is that it is not a closed text. Rather, we could con- tinue building on it, continue expanding the labyrinth ad infinitum. We could create, just using Borges’ text, an infinite encyclopedia, a veritable Library of Babel. It is no wonder that Borges is instrumen- tal in contemporary literary theory. Linguists utilize deixis in such a way as to plot particular coordi- nates on temporal and spatial axes. If the speech act occurs in the present (say, “I went to the party last night” which makes an im- plicit reference to a speaker who is now talking) we situate the speaker in a particular spatio-temporal space on the axes. If the con- tent of the speech act is in the present, then the reference would be identical in space and time to the speaker. If the content is situated in the past or future, and perhaps in a different space, then the coor- dinates will be plotted at a different spatio-temporal point from the speaker, i.e., the coordinates for party (space) and last night (time: past), at a different location on the axis from the speaker who is in a different space at present. But there is an inherent weakness in co- 112 KANE X. FAUCHER ordination in terms of space-time when we consider the way in which Borges expresses it. To recall our first question of “who is the narrator”, we find this question essential in understanding the tem- poral reference point of the speaker (is it Borges in Argentina?). Without the speaker being established, we have no reference point to plot the contents of the speech act. For instance, if we take a ran- dom phrase such as “in my past, I was a drug fiend,” we are not given enough information to plot the contextual reference in terms of space and time, for “my past” could mean at any point. More- over, if we do not know who uttered the statement, it will have less meaning to us in the sense that we have been left devoid of the con- text of the “I” who is speaking. All we can do at this point with such a phrase is speculate. Perhaps someone might state that the contex- tual reference is to Aleister Crowley or William S. Burroughs, for “drug fiend” are words we may associate with either of these fig- ures (and Crowley did write Diary of a Drug Fiend). This is not the only problem, and in no way the most serious, for if we are given the context of the utterance, we could begin plotting our coordinates with relative success. The deeper problematic lies in the structure of a parabolic system: space and time are depicted in a linear, two- dimensional way. What of simultaneous events in two distinct places at the same time? For example: “I was at the party last night, and my house burnt down.” In this instance, we have two events that occur in the same time, yet are spacially different. For Borges, this can be problematized further, for the references to times past and yet to come seem to be cyclical and mutually referential. In fact, all the temporal and spatial references have their root in Borges himself, as the one who has both read these events in books and the one who re-authors them. However, it may not do us well to scrap the coordination aspect of space-time, but to suggest a modification which can accommodate Borges’ use of spatio-temporal reference as well as other forms of literature similar to this. The modification would necessitate a polyradic, multiple sense of possibilities being successfully depicted on a coordinate diagram, to account for the multiplicity of simultaneous spatial and temporal events. What we propose to the X and Y model is the addition of a Z axis that would allow for such possibilities that arise in temporal references in Bor- MODALITIES, LOGIC AND THE CABALA IN BORGES 113 ges. This would mean that we could plot spatio-temporal points in their varying possibilities while maintaining the integrity of refer- ence itself. But we must also account for the direction of time in this way, a complex affair in Borges. As we know, for Borges, time does not necessarily follow a progressive tract or line of flight; it some- times splits and recedes into the past. So in addition to plotting our coordinates on the tri-axial graph, we must indicate the direction or flow of time with arrows. This will make our diagram complete, yet very complicated. To overcome the complexities that this produces, and to make the diagram intelligible, a legend should accompany the diagram that will explain the relation between spatio-temporal events; for this, I suggest the use of the conditional, biconditional, and disjunction. It is in this way that we could draw relations of en- tailment, presupposition, mutual entailment, and bifurcations be- tween various events in the speaker’s utterances. 3. CONTEXT Borgesian context is one of inclusion and growth. If we picture his text (or labyrinth, as it were) as a machine, we find that Borges im- ports a variety of memes (usually historical, mystical, or philosop- hical—though there sometimes does not appear to be a very clear distinction), and uses these as “growth points” that unfold in the greater scheme of the narrative, sometimes transgressing the bor- ders between stories3. On the topic of retrievability concerning con- text, Borges makes several imports that appear to violate Grice’s maxim of Manner, i.e., they are ambiguous, obscure, disordered (or at least ordered in a fashion not amenable to logical appropriation), and dense. Note here that I substituted dense as the antonym of bre- vity (rather than, say, long-winded), for two reasons: 1) though Bor- ges usually wrote short pieces, they are concept-rich, dense, and re- quire a deeper reflection that comes through a multiple reading; 2) the text grows from an exuditious and inexhaustible middle —the 3 Note how a reference in Borges' "The Garden of the Forking Paths" prefigures an event in "The Theme of the Traitor and the Hero": "in the third chapter the hero dies, in the fourth he is alive" (Labyrinths 24). 114 KANE X. FAUCHER text builds on itself ad infinitum in that it never has done with the subject matter. Considering the discursivity of Borges’ topics, they range from historical events to Cabalistic and Talmudic ideates to philosophical memes. The reader is faced with the absolute challenge of being nearly as knowledgeable of the topics alluded to in the text as Bor- ges. As a sidebar, it is a style of writing that expects of its audience a scholarly reading, and where the characters in the stories are not made less intelligent than the author himself. A great deal of mod- ern literature (save for autobiographical work) attempts the oppo- site, where the characters are endowed with less intelligence than the author, whereas Borges (and we could include Knut Hamsun here) prefer to stand on equal footing with the characters where in- telligence is concerned. Another related challenge to the reader concerning discursive topic is the highly marginal aspect of the text itself, making obscure references intermixed with generally recognizable references (it should be of note that the majority of academic references, with some exceptions, are predominantly European or Asian). The dis- cursivity of the text determines the way in which we read and ap- propriate what is being stated, and we are able to read the entirety of the Labyrinths anthology with one symbolic sign in mind: the fu- sion of the labyrinth and book. The stories that lend themselves more explicitly to this itinerary are those like “The Garden of the Forking Paths” (a telling line: “Ts’ui Pen must have said once: I am withdrawing to write a book. And another time: I am withdrawing to construct a labyrinth. Everyone imagined two works; to no one did it occur that the book and the maze were one and the same thing”(Labyrinths 25). Another example would be “The Library of Babel” (with its labyrinthine architecture of repeated hexagons, and the further element: the labyrinthine arrangement of orthographical symbols to produce an infinite number of books). In less explicit ways, we are still to understand the labyrinth reading strategy, as shown in “Theme of the Traitor and the Hero” insofar as the narra- tive thread winds through an interconnected maze of spaces and eras (and perhaps sets up its own space and time, as we will later argue).