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Celebrando la ceremonia de la confusion by Fernando Arrabal : explication and translation into English Taylor, Rita 1970

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CELEBRANDO LA CEREMONIA DE LA CONFUSION BY FERNANDO ARRABAL: EXPLICATION AND TRANSLATION INTO ENGLISH by RITA TAYLOR B . A . , S i r George W i l l i a m s U n i v e r s i t y , 1965. A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS i n Comparative L i t e r a t u r e We accept t h i s t h e s i s as conforming to the r e q u i r e d s tandard THE UNIVERSITY OF BRITISH COLUMBIA A p r i l , 1970. I n p r e s e n t i n g t h i s t h e s i s i n p a r t i a l f u l f i l m e n t o f t h e r e q u i r e m e n t s f o r a n a d v a n c e d d e g r e e a t t h e U n i v e r s i t y o f B r i t i s h C o l u m b i a , I a g r e e t h a t t h e L i b r a r y s h a l l m a k e i t f r e e l y a v a i l a b l e f o r r e f e r e n c e a n d s t u d y . I f u r t h e r a g r e e t h a p e r m i s s i o n f o r e x t e n s i v e c o p y i n g o f t h i s t h e s i s f o r s c h o l a r l y p u r p o s e s may be g r a n t e d by t h e H e a d o f my D e p a r t m e n t o r by h i s r e p r e s e n t a t i v e s . I t i s u n d e r s t o o d t h a t c o p y i n g o r p u b l i c a t i o n o f t h i s t h e s i s f o r f i n a n c i a l g a i n s h a l l n o t be a l l o w e d w i t h o u t my w r i t t e n p e r m i s s i o n . D e p a r t m e n t o f Comparative L i t e r a t u r e T h e U n i v e r s i t y o f B r i t i s h C o l u m b i a V a n c o u v e r 8, C a n a d a A p r i l , 1970 ABSTRACT The purpose o f t h i s t h e s i s i s t w o f o l d : t o e x p l i c a t e and t o t r a n s l a t e i n t o E n g l i s h C e l e b r a n d o l a ceremonia de l a c o n f u s i o n by Fernando A r r a b a l . - i i i -TABLE OF CONTENTS I . EXPLICATION p . • 1 I I . CELEBRATING THE CEREMONY OF CONFUSION TRANSLATED FROM THE SPANISH p . 157 FOOTNOTES p . 222 BIBLIOGRAPHY p . 22 6 -1-I . E x p l i c a t i o n C e l e b r a n d o l a c e r e m o n i a d e l a c o n f u s i o n : t h e t i t l e i n f o r m s t h e r e a d e r a s t o t h e t h e m e o f t h e w o r k . A r r a b a l w r i t e s : " T o d o l o q u e e s h u m a n o e s c o n f u s o " ^ - , a n d : " J ' e n t e n d s p a r c o n f u s i o n t o u t c e q u i e s t c o n t r a d i c t o i r e , i n e x p l i c a b l e , i n e s p e r e . . . . " 2 T h e c o n f u s i o n , t h e w o r l d o f c h a o s , i n s p i r e s t h e a r t i s t , a n d t h e a r t i s t p u t s h i s e x p e r i e n c e o f c o n f u s i o n i n t o a e s t h e t i c f o r m . T h e r o l e o f t h e a r t i s t i s d e l i n e a t e d i n t h e s e t e r m s : " S i l a c o n f u s i o n d e 1 ' a r t i s t e r a p p e l l e l a c o n f u s i o n s a u v a g e d e l a n a t u r e o u d e l a v i e , n o u s n o u s t r o u v o n s e n p r e s e n c e d u s e u l e t r e . . . q u i e c l a i r e l a p a r t l a p l u s o b s c u r e d e n o u s - m e m e . " 3 T h e " c e r e m o n i a " o f t h e t i t l e i m p l i e s t h e o p p o s i t e o f c o n f u s i o n — o r d e r ; b u t o r d e r i n t u r n i m p l i e s d i s o r d e r . T h e c e r e m o n i a l r e p r e s e n t s m a n ' s a t t e m p t t o r e c o n c i l e c o n t r a d i c t i o n s ; t o a c t o u t h u m a n a m b i v a l e n c i e s ; t o m e d i a t e b e t w e e n t h e k n o w n a n d t h e u n k n o w n , t h e r a t i o n a l a n d t h e i r r a t i o n a l , o r d e r a n d c o n f u s i o n . A r r a b a l w r i t e s : " T a n d i s q u e l o r s q u e n o s a c l e i s s ' o r d o n n e n t e n c e r e m o n i a l , p o u r d e s c h o s e s m e m e t r e s e l e m e n t a i r e . s , a l o r s n o u s d e ' b o u c h o n s d a n s ' l a r e a l i t e ' . " ^ I t i s b y t h e c e r e m o n i a l t h a t w e e x p r e s s o u r h u m a n i t y w h i c h i s c h a r a c t e r i z e d b y c o n f u s i o n a n d t h e a c c o m p a n y i n g n e e d f o r o r d e r . -2-F o r A r r a b a l , o r d e r i s law; c o n f u s i o n , a n t i - l a w . C o n f u s i o n i s predominant.5 What r e l a t e s t o w o r l d , r e l a t e s a l s o t o psyche — o r d e r r e p r e s e n t i n g t h e r a t i o n a l p a r t o f t h e psyche o r c o n s c i o u s n e s s , and c o n f u s i o n t h e i r r a t i o n a l s u b c o n s c i o u s . C e l e b r a n d o l a ceremonia de l a c o n f u s i o n i s a c e l e b r a t i o n o f l i f e ; o r o f t h e continuum o f b i r t h , d e a t h and r e b i r t h . The c e l e b r a t i o n a l s o c o n t a i n s t h e i n i t i a t i o n o f the a r t i s t ("mi l l e g a d a a l a r t e b a j o l a p r e s i d e n c i a de l a memoria"^), and the q u e s t f o r i m m o r t a l i t y , f o r immersion i n c y c l i c a l t i m e as demonstrated i n E l v i a j e . The myth o f the b i r t h , d e a t h and r e b i r t h o f t h e hero g i v e s A r r a b a l ' s work a r c h e t y p a l s i g n i f i c a n c e and form. The r e b i r t h p a t t e r n , g i v i n g C e l e b r a n d o a s t r u c t u r e o f meaning, i s c o n t a i n e d i n the c i r c u l a r , m a t h e m a t i c a l frame o f the n a r r a t i o n as i l l u s t r a t e d i n t h e f o l l o w i n g diagram: - 3-V I La g l o r i e t a ZIP V La g l o r i e t a La glorieta. E l La g l o r i e t a viaie"~ La Mi Laberxnjzp igfenta^ IH I I La g l o r i e t a »0C biopraf ia. _J ~L-^"f La g l o r i e t a ~ar)—Naglmiento b) Amor c) Arte d) Anatomia -4-A r r a b a l ' s i n t e n t i s demonstrated by t h e diagram. The t h i r t y - s i x l a b y r i n t h s r e l a t e d t o the 360°of a c i r c l e . The c i r c l e t r a d i t i o n a l l y s u g g e s t s wholeness. I t i s a symbol o f the s e l f o r psyche and o f t h e cosmos. A r r a b a l 1 s c i r c l e i s d i v i d e d i n t o f o u r s e c t i o n s o f n i n e l a b y r i n t h s each. Each o f t h e s e s e c t i o n s a l s o forms a c i r c l e s i n c e t h e a r t i s t r e t u r n s t o t h e p o i n t o f d e p a r t u r e , t h e sq u a r e , each t i m e . H i s r e t u r n t o t h e square a f t e r t r a v e r s i n g n i n e l a b y r i n t h s a t a t i m e r e l a t e s t o t h e n i n e months, t h e p e r i o d o f g e s t a t i o n , w h i c h he spends i n the g i a n t e s s ' body i n C a p i t u l o s e x t o . Thus the i d e a o f r e b i r t h i s c o n t a i n e d i n a s i m p l e p e r s p e c t i v e diagram r e p r e s e n t a t i v e o f t h e framework o f t h e n o v e l . A r r a b a l ' s d i v i s i o n o f the c i r c l e o f t h i r t y - s i x l a b y r i n t h s i n t o f o u r a l s o s u g g e s t s the f o u r phases o f l i f e making up a c y c l e ; i . e . i n n a t u r e , t h e f o u r seasons; i n human l i f e , t h e f o u r s t a g e s as o u t l i n e d i n t h e f o u r p a r t s o f M i b i o g r a f i a , t h e c h a p t e r s t r u c t u r a l l y and t h e m a t i c a l l y c e n t r a l t o the book. N a c i m i e n t o , Amor, A r t e and Anatomia r e p r e s e n t b i r t h , y o u t h , m a t u r i t y and d e a t h . The d i v i s i o n i n t o f o u r f u r t h e r s u g g e s t s t h e f o u r elements -- e a r t h , a i r , f i r e , w a t e r ; t h e f o u r p a r t s o f the psyche — r e a s o n , i n t u i t i o n , s e n s a t i o n , f e e l i n g ; t h e f o u r p o i n t s o f t h e compass; and the sp a c e - t i m e q u a t e r n i o — h e i g h t , d e p t h , w i d t h and t i m e . -5-I n E l v i a i e , t h e c h a p t e r b a l a n c i n g M i b i o g r a f i a i n the diagram, t h e a r t i s t t r a v e l s t h r o u g h c u r v e d space, g o i n g t h r o u g h t r a n s f o r m a t i o n s and r e t u r n i n g t o t h e same p o i n t s o v e r and o v e r a g a i n . The c i r c u l a r s t r u c t u r e o f t h e n a r r a t i v e t h u s r e p r e s e n t s t h e c y c l e o f r e b i r t h and metempsychosis. A h e r m e t i c d e f i n i t i o n o f God wh i c h s t a t e s t h a t "God i s a sphere o f wh i c h t h e c e n t r e i s everywhere and the c i r c u m f e r e n c e nowhere," meaning t h a t each p o i n t o f t h e c i r c l e c o n t a i n s t h e c e n t r e and t h e c i r c l e i s i n f i n i t e , becomes i n A r r a b a l 1 s C e l e b r a n d o a d e f i n i t i o n o f t h e a r t i s t - n a r r a t o r , o r A r r a b a l h i m s e l f , and i n a p a r t i c u l a r i z e d sense o f " e l nombre p a n i c o " . " E l hombre panico© i s d e s c r i b e d by A r r a b a l i n an e s s a y o f t h e same t i t l e as a man c h a r a c t e r i z e d by h i s l o v e f o r c o n t r a d i c t i o n and c o n f u s i o n , h i s b e l i e f i n r e l a t i v i s m and h i s n e g a t i o n o f m i d d l e - c l a s s m o r a l i t y and t r a d i t i o n a l v a l u e s such as r e l i g i o n , p a t r i o t i s m and b e a u t y . " E l p a n i c o " i s d e r i v e d from "pan" meaning e v e r y t h i n g and a l s o from t h e god Pan, "un b o u f f o n q u i d e c h a m a i t l e s r i r e s p u i s i n s p i r a i t l a t e r r e u r . " F i r s t and fore m o s t under a l i s t c a l l e d : "Temas y f u e n t e s d e l hombre p a n i c o " , A r r a b a l l i s t s : "Yo."^ Thus each c h a p t e r , each l a b y r i n t h , b e g i n s w i t h "Yo", w i t h t h e a r t i s t - n a r r a t o r o r A r r a b a l h i m s e l f ; and the s e a r c h i n t h e book i s r e l a t i v e t o t h e many f a c e t s o f h i s s e l f . -6-The labyrinths are deforming mirrors r e f l e c t i n g these facets. The deformation, l i k e the transformation of the hero i n Celebrando, i s the r e a l i t y ; for deformation i s a product of the fourth dimension which enters the s p a t i a l labyrinths — time, or " e l azar" which together with memory i s a chief part of the creative process: " e l a r t i s t a crea sirviendose de dos valores: a) memoria: en forma de b i o g r a f i a , dessensibilidad, de i n t e l i g e n c i a , de imaginacion. b)) azar: es decir, de confusion, de inesperado. The labyrinths thus form a kaleidoscopic view of the s e l f . The constantly-changing images present a sphere of i n f i n i t e p o s s i b i l i t i e s , which i s part of the r e l a t i v i s t thought pervasive in Celebrando, and refl e c t e d in the changing image of the giantess: "Vi a l a giganta r a o i a . a o metamorfoseandose segun e l punto en que l a miraba." (p. 202) The i n t e r n a l rhythm of the narrative i s established by r e p e t i t i o n and verbal echoes. Each chapter in the square serves as a f o c a l point for the subsequent group of labyrinths and finds an echo in Mi b i o g r a f i a . The narrative begins with the a r t i s t ' s a r r i v a l i n the square, which i s symbolic of b i r t h into the s o c i a l world. The square, packed with pilgrims, children, orchestra members, -7-and s o l d i e r s and goats, p r o v i d e s the s o c i a l s e t t i n g . The f i r s t "ceremonia", the dance o f the p i l g r i m s and c h i l d r e n around the g i a n t e s s t o the music of the o r c h e s t r a and t h e i r ac t o f worship and o f f e r i n g , i s l a t e r echoed on the i n d i v i d u a l l e v e l i n the chapter Nacimiento, where the f a t h e r p l a y s the harp and c h i l d r e n s i n g songs i n honour o f the newly-born. The ceremony i s a l s o a mock r e l i g i o u s ceremony. The g i a n t e s s , c e n t r e o f worship, i s p o s s i b l y "una imagen proyectada". (p. 10) The mock aspect o f the f e s t i v a l i s i n t e n s i f i e d by the i n v o c a t i o n o f the m y t h i c a l f i g u r e P e r o g r u l l o , speaker o f i n a n i t i e s and p l a t i t u d e s , and the s i n g i n g o f nonsense songs. A f t e r the n a r r a t o r has gone through the f i r s t s e r i e s of l a b y r i n t h s , he a r r i v e s back i n the square t o witness another r i t u a l . A b a t t l e takes p l a c e between the o r c h e s t r a which symbolizes order — the mathematical order o f music; and a t r o u p o f d i s o r g a n i z e d and u n r u l y s o l d i e r s , which symbolize chaos and the c o n f u s i o n of war. Confusion wins ( a n t i - l a w b e i n g predominant) — the f l o a t i n g o r c h e s t r a i s brought down to e a r t h and i n t e g r a t e d i n the c o n f u s i o n dominant i n the square. The mock r e l i g i o u s ceremony continues as p i l g r i m s and s o l d i e r s present the g i a n t e s s w i t h o f f e r i n g s "con pruebas t a l e s de humildad que r e s u l t a b a n por e l c o n t r a r i o , l l e n a s de descoco." (p. 53) -8-These f i r s t two s c e n e s i n t h e s q u a r e , p r e c e d i n g t h e f i r s t two s e c t i o n s o f l a b y r i n t h s , r e p r e s e n t t h e f i r s t two phases o f human l i f e — b i r t h and y o u t h , c h a r a c t e r i z e d by a c t i v i t y and c o n f l i c t . The s o c i a l c o n t e x t o f t he s q u a r e can a l s o be i n t e r p r e t e d on t h e p s y c h i c l e v e l — t h e t u r b u l e n c e o f t h e s q u a r e r e p r e s e n t i n g t h e c h a o t i c n a t u r e o f t h e u n c o n s c i o u s p a r t o f t h e p p s y c h e . 1 1 T h u s , t he r i t u a l s i n t h e s q u a r e a r e p e r s o n a l as w e l l as s o c i a l . C a p i t u l o t e r c e r o . L a g l o r i e t a , i n t r o d u c e s t h e n e x t phase o f C e l e b r a n d o , M i b i o g r a f i a . The d e s c r i p t i o n o f t h e g o a t s i n " l a g l o r i e t a " , some o f w h i c h " p o s e i a n . . . en l a p u n t a de l o s c u e r n o s , b o l a s de o r o , " ( p . 93) i s echoed i n t he d e s c r i p t i o n o f t h e g o a t d r a w i n g t h e c a r t i n N a c i m i e n t o , w h i c h " l l e v a b a b o l a s de o r o en l a p u n t a de l o s c u e r n o s . " ( p . 97) The r e c o l l e c t i o n o f t h e b i r t h o f t h e c h i l d r e n f rom t h e g i a n t e s s i s echoed by t h e b i r t h o f t h e c h i l d i n N a c i m i e n t o ; and t h e mock E u c h a r i s t i n t h e s q u a r e ( " l a g r a s a se a lmacenaba [ y l a s migas y l a mugrel en t o r n o a l p e d e s t a l ' T p . 93) by t h e mea l o f t h e p a r e n t s ( " a l i m e n t o s p a r t i c u l a r m e n t e p r i n g o s o s . . . . L a s m igas r o d a r o n p o r l a s s a b a n a s . " ( p . 99) R e p e t i t i o n and v e r b a l echoes a r e p a r t o f t h e u n i f y i n g p r i n c i p l e o f t h e n o v e l . I n M i b i o g r a f i a , b i r t h i s n o t r e s t r i c t e d t o t h e s e c t i o n N a c i m i e n t o a l o n e . The p a t t e r n o f r e b i r t h i s p r e s e n t i n each o f t h e f o u r s e c t i o n s . The b i r t h o f Amor i s d e s c r i b e d i n t h e t e r m i n o l o g y o f b i r t h t r a u m a : " t emb lando -9-en l a o s c u r i d a d esperando l a p e s a d i l l a . " (p. 102) In A r t e t h e chess f i g u r e s e n t e r a sphere which s u g g e s t s r e b i r t h . I n Anatomia t h e a r t i s t i s " r e c r e a t e d " , w h i c h i s a l s o a form o f r e b i r t h , i n t h e p a i n t i n g o r i n the a r t i s t i c d e f i n i t i o n o f h i m s e l f , w h i c h i s i m i t a t i o n : "no ves que e l cuadro de que me h a b l a s es t a n s o l o un e s p e j o ? " (p. 109) In C a p i t u l o c u a r t o , L a g l o r i e t a , t h e a r t i s t p l a y s chess w i t h a s t r a n g e r . The outcome o f t h e chess game i s "T2onfus i6n" as w i n n e r — t h e chessmen a r e t o p p l e d by one of t h e c h i l d r e n i n t h e u n r u l y crowd. As demonstrated i n A r t e , t h e chess game i s a metaphor f o r a r t ; and t h u s the t h i r d phase o f l a b y r i n t h s b e g i n s . The f o u r t h s e c t i o n o f l a b y r i n t h s i s preceded by the d e a t h o f t h e c h i l d r e n , p i l g r i m s , s o l d i e r s , aardhestra and g o a t s . The ceremony here i s t h e a n c i e n t r i t u a l o f s a c r i f i c e so t h a t r e b i r t h may t a k e p l a c e . The s a c r i f i c e r s k i s s t h e f o o t o f t h e g i a n t e s s , t h e female a r c h e t y p e who p r e s i d e s o v e r t h e c y c l i c a l movement, b e f o r e t h e y f a l l o v e r the c l i f f . On one l e v e l , t h i s r e p r e s e n t s t h e d i s a p p e a r a n c e o f t h e s o c i a l c o n t e x t as t h e i n d i v i d u a l i s p r e p a r i n g t o r e - e n t e r t h e mother image i n o r d e r t o be r e b o r n t h r o u g h h e r . On a n o t h e r l e v e l , t h e deaths o f t h e pe o p l e i n t h e square r e p r e s e n t t h e deaths o f w a r r i n g emotions i n t h e n a r r a t o r h i m s e l f , who i s now ready t o be i n t e g r a t e d w i t h t h e -10-g i a n t e s s . The male p r i n c i p l e i s i n t e g r a t e d w i t h t h e female p r i n c i p l e . I n E l v i a j e he i s r e b o r n t h r o u g h h e r and r e c r e a t e s t h e c y c l e e t e r n a l l y . The scenes i n t h e square and t h e s e c t i o n s M i b i o g r a f i a and E l v i a j e , w i t h the g i a n t e s s and A r r a b a l i n t h e c e n t r e , p r o v i d e t h e b a s i c t h e m a t i c and s t r u c t u r a l framework - f o r t t h e n o v e l . The l a b y r i n t h s r e v o l v i n g w i t h i n the c i r c l e o f the n a r r a t i o n r e f l e c t on s m a l l e r s c a l e t h e c i r c u l a r s t r u c t u r e o f C e l e b r a n d o . An a n a l y s i s o f i n d i v i d u a l l a b y r i n t h s i s n e c e s s a r y t o f u r t h e r e x p l i c a t e t h e meaning o f t h e n o v e l . The q u e s t i o n a r i s e s as t o why A r r a b a l chooses " l a b y r i n t h s " . I n d o i n g s o , he draws from a l o n g l i t e r a r y and c u l t u r a l t r a d i t i o n ; f o r t h e image o f t h e l a b y r i n t h , l i k e t h e image o f t h e sphere and t h e c i r c l e , has become d e e p l y r o o t e d as one o f t h e most dominant symbols i n man's c o n s c i o u s n e s s . I n l i t e r a t u r e , t h e f i r s t e x p l i c i t l a b y r i n t h i s found, n o t s u r p r i s i n g l y , i n t h e myth o f an a r t i s t . The Minoan maze c o n s t r u c t e d by Dedalus i s a work o f a r t , an e x e r c i s e i n i m a g i n a t i o n . The l a b y r i n t h s e r v e s t o house a half-human, h a l f - a n i m a l monster, the M i n o t a u r , -11-symbol o f man's d u a l n a t u r e . Thus t h e Minoan l a b y r i n t h c o n t a i n s t h e symbol o f human a m b i v a l e n c e . The myth o f De d a l u s ' l a b y r i n t h s u g g e s t s t h e modern i n t e r p r e t a t i o n and use o f t h e l a b y r i n t h as symbol f o r t h e u n c o n s c i o u s , f o r the dark and i r r a t i o n a l p a r t s o f t h e psyche. Moving from Greek mythology t o C h r i s t i a n mythology, we f i n d t he M i n o t a u r r e p l a c e d by Satan i n Dante's I n f e r n o , a l a b y r i n t h c o n s i s t i n g o f a d e s c e n d i n g s p i r a l made up o f n i n e c i r c l e s . A g a i n , t h e a r t i s t ( V i r g i l l e a d s Dante who l e a d s t h e reader) has a c c e s s t o the l a b y r i n t h and knows t h e way o u t . D e d a l u s ' l a b y r i n t h i s p h y s i c a l . Dante's l a b y r i n t h i s p h y s i c a l and m e n t a l , as i t r e p r e s e n t s t h e i n f e r n a l and c e l e s t i a l j o u r n e y s , as w e l l as a m y s t i c i n w a r d j o u r n e y . Both l a b y r i n t h s r e v o l v e around t h e i d e a o f t h e i r r a t i o n a l u n c o n s c i o u s . I n t w e n t i e t h - c e n t u r y l i t e r a t u r e , a l i t e r a t u r e d e e p l y imbued w i t h p s y c h o l o g i c a l awareness, the l a b y r i n t h s a r e g e n e r a l l y i m p l i c i t — f o r example, S t r i n d b e r g ' s drama p r e s e n t s a p s y c h o l o g i c a l l a b y r i n t h o f o b s e s s i o n and torment; K a f k a ' s p r o s e , an i n t e l l e c t u a l l a b y r i n t h o f d i a l e c t i c s , o f a p o l e m i c between the r a t i o n a l and t h e i r r a t i o n a l . B oth 12 o f t h e s e w r i t e r s have i n f l u e n c e d A r r a b a l . I n A r r a b a l ' s drama, f o r example, Los dos verdu g o s , a p l a y d e a l i n g w i t h -12-h a u n t i n g o b s e s s i o n s , i s comparable t o S t r i n d b e r g ' s The F a t h e r and t o K a f k a 1 s The T r i a l ; and E l l a b e r i n t o w h i c h b e g i n s w i t h an e p i g r a p h from A m e r i k a , t o K a f k a ' s l a b y r i n t h o f g u i l t and judgment. The i n f l u e n c e o f K a f k a as e v i d e n t i n C e l e b r a n d o w i l l be d i s c u s s e d i n d e t a i l l a t e r . U n l i k e S t r i n d b e r g ' s and K a f k a ' s l a b y r i n t h s , A r r a b a l ' s l a b y r i n t h s i n C e l e b r a n d o are p h y s i c a l and v i s u a l . The l a b y r i n t h s as p a i n t i n g s and m i r r o r s a r e f o u r - d i m e n s i o n a l . H e i g h t , w i d t h and d e p t h (the a r t i s t , l i k e A l i c e Through t h e L o o k i n g G l a s s p e n e t r a t e s the m i r r o r ) are e x p e r i e n c e d i n t i m e . Time, o r " l o i n e s p e r a d o " , " e l a z a r " , as A r r a b a l c a l l s i t , f l o o d s the s p a t i a l l a b y r i n t h s . The l a b y r i n t h s a r e l i k e s t a g e p l a y s o f which t h e a r t i s t i s o r i g i n a t o r , d i r e c t o r , and i n w h i c h he i s a c t o r and s p e c t a t o r . The l a b y r i n t h s are c l o s e l y r e l a t e d t o t h e Dedalus l a b y r i n t h , i f we a c c e p t t h e s i g n i f i c a n c e o f t h e M i n o t a u r as b e i n g s y m b o l i c o f d e f o r m a t i o n , c o n f u s i o n . The c o n f u s i o n i s e x p e r i e n c e d fchrdughlform, f o r c o n f u s i o n w h i c h i s f o r m l e s s n e s s cannot be e x p e r i e n c e d by i t s e l f . Hence the "ceremonia" precedes " l a confusion!; 1 i n t h e t i t l e . O r der and c o n f u s i o n a r e complementary p a r t s o f one e x p e r i e n c e ; and, a l t h o u g h c o n f u s i o n i s predominant i t i s o n l y t h r o u g h "ceremonia" -13-t h a t i t i s t r u l y e x p e r i e n c e d — "Tandis que nos a c t s s'ordonnent en c e r e m o n i a l . . . n o u s debouchons d a n s ' l a r e a ' l i t e . ' " The l a b y r i n t h - c o n t e n t i s " l o i n e s p e r a d o " , " l a c o n f u s i o n " ; b u t t h e l a b y r i n t h i s a f o r m a l c o n s t r u c t , and i n C e l e b r a n d o t h e i m p l i c i t o r e x p l i c i t c i r c u l a r s t r u c t u r e o f t h e i n d i v i d u a l l a b y r i n t h s r e p e a t s on a s m a l l s c a l e t h e c i r c u l a r c o n s t r u c t o f t h e e n t i r e n a r r a t i o n . C o n c e r n i n g t h e l a b y r i n t h , C. G. Jung w r i t e s : I n a l l c u l t u r e s , t h e l a b y r i n t h has t h e meaning o f an e n t a n g l i n g and c o n f u s i n g r e p r e s e n t a t i o n o f t h e w o r l d o f m a t r i a r c h i a l c o n s c i o u s n e s s , i t can be t r a v e r s e d o n l y by t h o s e who a r e ready f o r a s p e c i a l i n i t i a t i o n i n t o the m y s t e r i o u s w o r l d o f t h e c o l l e c t i v e u n c o n s c i o u s . 1 3 Jung''s o b s e r v a t i o n h e l p s t o e x p l a i n A r r a b a l ' s l a b y r i n t h s , w h i c h are emanations o f a common c e n t r e — the g i a n t e s s o r t h e m a t r i a r c h i a l f i g u r e . M a t r i a r c h i a l c o n s c i o u s n e s s dominates the s q u a r e , o r the s o c i a l s e t t i n g where t h e r i t u a l o f t h e w o r s h i p o f t h e g i a n t e s s t a k e s p l a c e . The g i a n t e s s and the l a b y r i n t h s , l i k e t h e c e n t r e and each p o i n t o f the c i r c l e i n t h e h e r m e t i c d e f i n i t i o n o f God quoted above, c o n t a i n each o t h e r . Thus the g i a n t e s s -14-appears i n each l a b y r i n t h as mother, l o v e r o r "she", and i n the a r t i s t ' s memory " l o s l a b e r i n t o s y l a g i g a n t a v se e n t r e m e z c l a b a n . " (p. 202) The i n i t i a t i o n i n t h e l a b y r i n t h s under the p r e s i d e n c y o f t h e g i a n t e s s , who i s " l a memoria", i s the i n i t i a t i o n o f t h e a r t i s t , t h e a r t i s t who draws from memory t o d e f i n e h i m s e l f (Mi b i o g r a f i a ) and t o c r e a t e . A r t e b e g i n s w i t h : "La memoria p r e s i d ^ a . " (p. 103) Memory i s c e n t r a l t o t h e l a b y r i n t h s . Memory i s p a r t o f the s t r u c t u r e o f meaning p r e s e n t e d i n t h e r e b i r t h myth; f o r t h e r e s u r g e n c e o f memories i s p a r a l l e l t o t h e p r o c e s s o f r e b i r t h o f t h e a r t i s t i n C e l e b r a n d o . L a b e r i n t o p r i m e r o , Cuadros b l a n c o s , d e a l s w i t h p e r c e p t i o n and memory. Cuadros b l a n c o s i s a f a b l e r e s e m b l i n g a f a i r y t a l e — i n c l u d i n g a c a s t l e , c h i l d r e n , queen and k i n g (the a r t i s t i s s e a t e d i n " ' e l t r o n o d e l monarea.i" (p. 15) T h i s i s a m i n i a t u r e v e r s i o n o f t h e whole o f Cel e b r a n d o w i t h the g i a n t e s s - q u e e n , t h e n a r r a t o r - k i n g and t h e c h i l d r e n i n t h e s q u a r e . The i n c i d e n t o f t h e c h i l d r e n f a l l i n g from t h e c a r t i n t h e f i r s t l a b y r i n t h foreshadows the c h i l d r e n ' s f a l l i n t o the abyss i n C a p i t u l o q u i n t o , L a g l o r i e t a . -15-The f a i r y - t a l e a s p e c t o f t h e f a b l e i s p a r t o f t h e t r a n s p o s i t i o n t e c h n i q u e used by A r r a b a l i n the e n t i r e n a r r a t i o n . E v e n t s and c h a r a c t e r s a r e t r a n s p o s e d t o a l e v e l c h a r a c t e r i z e d , as i n t h e w o r l d o f f a i r y t a l e , by the magic o r the " u n r e a l " t o p r e s e n t a w o r l d o f f a n t a s y and dream w h i c h i s c h a r a c t e r i s t i c o f A r r a b a l ' s w o r l d o f f i c t i o n . I n a d d i t i o n , t r a n s p o s i t i o n c r e a t e s a re a l m where t h e a b s t r a c t i s p e r s o n i f i e d : memory i s the g i a n t e s s , b u t t h e g i a n t e s s as symbol i s a l s o more t h a n memory. The meaning c o n t a i n e d i n the f o r m a l s t o r y o f t h e f i r s t l a b y r i n t h d i r e c t l y concerns memory — b o t h p e r s o n a l and g e n e r a l ( i . e. t a k i n g i n t h e l i f e o f a l l h u m a n i t y ) ; as an i n s e p a r a b l e p r o c e s s from t h e p r o c e s s o f p e r c e p t i o n and knowledge. The f i r s t group o f p a i n t i n g s e n c o u n t e r e d by t h e a r t i s t i n t h e l a b y r i n t h r e p r e s e n t m y t h o l o g i c a l s c e n e s . S i n c e myths are s t o r i e s common t o a l l mankind and e x p r e s s i o n s o f a common p s y c h i c s u b s t r a t u m , t h e y i n d i c a t e g e n e r a l memory, the memory d e s c r i b e d i n E l a n c l a : . . . l a memoria de mis padres y l a de mis antepasados e i n c l u s o l a de l a humanidad. (p. 61) The l a s t two p a i n t i n g s r e v e a l i n g o r e c h o i n g what t h e n a r r a t o r saw a t the b e g i n n i n g o f the l a b y r i n t h on h i s way t o -16-way t o t h e c a s t l e r e f e r t o p e r s o n a l memory. T h i s i s t h e p r o c e s s o f memory: an image i s r e t a i n e d and s t o r e d i n the b r a i n and by chance once more p r o j e c t e d outward. The scenes p e r c e i v e d o u t s i d e and i n s i d e the c a s t l e m i r r o r each o t h e r , p o i n t i n g t o the f l u i d i t y between p e r c e p t i o n and memory, a thought e x p r e s s e d i n M a t t e r and Memory by H e n r i Bergson (whom A r r a b a l r e a d d u r i n g h i s i n v e s t i g a t i o n s i n t o t h e p r o c e s s o f memory) " . . .we cannot say where p e r c e p t i o n b e g i n s and memory ends. A n o t h e r p a r a l l e l t o the c oncept i l l u s t r a t e d i n Cuadros b l a n c o s i s a p a i n t i n g a p p r o p r i a t e l y c a l l e d L a C o n d i t i o n Humaine by Rene M a g r i t t e , t h e s u r r e a l i s t p a i n t e r t o whom A r r a b a l acknowledges g r e a t i n d e b t e d n e s s . """^  L a C o n d i t i o n Humaine d e p i c t s a room i n w h i c h a canvas i s p l a c e d i n f r o n t o f t h e window. On t h e canvas i s a l a n d s c a p e r e p r e s e n t i n g t h e v i e w from th e window c o v e r e d by t h e canvas. La C o n d i t i o n Humaine presupposes t h a t we p e r c e i v e a w o r l d o f images. The image t r a n s m i t t e d i n t o the b r a i n i s a r e p l i c a o f t h e image p e r c e i v e d o u t s i d e , b u t t h i s i s p e r c e i v e d i n t h e b r a i n . E x p l a i n i n g t h e p a i n t i n g , M a g r i t t e w r i t e s : "we see the w o r l d . . . o u t s i d e o f u s , though h a v i n g o n l y one 17 r e p r e s e n t a t i o n o f i t w i t h i n u s . S i m i l a r l y , i n Cuadros b l a n c o s , t h e p a i n t i n g s a r e r e p r e s e n t a t i o n s o f what was seen o u t s i d e . -17-Memories are s u c c e s s i v e b i r t h s and r e b i r t h s o f images i n t h e b r a i n . The mind b e g i n s a t p o i n t z e r o , "cuadros b l a n c o s " , and u s i n g memory and i m a g i n a t i o n forms shapes, c o l o u r s , l i n e s , images: " 1auydandome con l a memoria'...a f i n de que l a i m a g i n a c i o n me p e r m i t i e r a comenzar a v e r poco a poco e l color'.'.'" (p. 16) The l a s t s entence i n t h e l a b y r i n t h : "Todos i b a n v e s t i d o s s i g u i e n d o una moda i n f a n t i l de hace v a r i o s d e c e n i o s : l a s n i f t a s con m i r i n a q u e s y l o s n i n o s con f u t r a q u e s d e t e r c i o p e l o " (p. 16) d e s c r i b i n g what the n a r r a t o r sees on t h e canvas, i s a word f o r word r e p e t i t i o n o f t h e d e s c r i p t i o n o f what he saw on t h e way t o t h e c a s t l e , a t t h e b e g i n n i n g o f t h e l a b y r i n t h . Thus t h e end merges w i t h t h e b e g i n n i n g . The c i r c u l a r frame o f t h e l a b y r i n t h i s the a e s t h e t i c p r i n c i p l e w h i c h e n c l o s e s and so s u b j e c t s t o o r d e r t h e changing o r becoming a s p e c t o f l i f e — i t i s t h e "ceremonia" o f the " c o n f u s i o n " . I n E l a n c l a , A r r a b a l f u r t h e r examines the p r o c e s s o f memory. The l a b y r i n t h i s a r e s u l t o f h i s r e s e a r c h e s i n t o IR / " l o s mecanismos de l a memoria" d e s c r i b e d i n E l hombfe panICQ. The t h r e e t h e o r i e s w h i c h i n t r i g u e d him most were: -18-1) l a memoria e r a una r e d e l e c t r i c a . . . l o s r e c u e r d o s m a t e r i a l i z a d o s por t r e n e s de i m p u l s o s g i r a n d o en c i r c u i t o s c e r r a d o s ; 2) l o s r e c u e r d o s ^estan c onsignados en un s o p o r t e ; a l g o a s i como l o s d i s c o s o l a s c i n t a s magnetof6nicas; 3) l a memoria es q u i m i c a . . . . l a s u s t a n c i a que s e r v i r i a de s o p o r t e a l o s r e c u e r d o s . . . d e r i v a de un a c i d o n v i c L e i c o , de l a misma e s t r u c t u r a que e l a c i d o ^ e n e l n u c l e o de l a s c e l u l a s m a t e r i a l i z a e l programa a p a r t i r de c u a l un s e r v i v o es capaz de f a b r i c a r o t r o s e r semejante a e l . Thus i n t h e l a b y r i n t h , t h e n a r r a t o r r e t r e a t i n g i n t o h i s mind d i c o v e r s "un a p a r a t o semejante a una d i m i n u t a c e n t r a l e l e c t r i c a . . . . d e n t r o de e l l a mis r e c u e r d o s g i r a b a n en c i r c u i t o c e r r a d o " and " mi memoria se c o n s e r v a b a en d i s c o s . . . y tambien en c i n t a s c u b i e r t a s por un l f q u i d o i m p r e s i o n a n t e . " (p. 60) The f a b l e , however, does n o t s t o p a t a p h y s i c a l d e s c r i p t i o n o f t h e b r a i n as a w e l l o f memories. The n a r r a t o r ' s " e x t a s i s " i s c r e a t e d by the d i s c o v e r y t h a t e v e r y t h i n g i s connected by " h i l o s f i n i s i m o s . " (p. 61) When he goes back t o t h e i n i t i a l scene, t h e s u b j e c t o f F r a g o n a r d ' s p a i n t i n g , L a G i m b e t t e , he u n d e r s t a n d s t h e scene i n terms o f t h o s e f i n e t h r e a d s : F r e n t e a mi l a n i n a con su p e r r o , a su v e r a e l a n c l a . Y comprendi. (p. 61) -19-" E l a n c l a " , w h i c h i s t h e t i t l e o f the l a b y r i n t h , moors memory. The n a r r a t o r i s now a b l e t o connect h i s v i s u a l i m p r e s s i o n s . The p i c t u r e i s no l o n g e r an i s o l a t e d i n c i d e n t . R e a l i z i n g t h a t the memories w h i c h h e t t h o u g h t t o be v e r y i m p o r t a n t a r e i n r e l a t i v e l y s m a l l "paquetes" compared w i t h t h o s e w h i c h he tho u g h t were u n i m p o r t a n t , he r e a l i z e s t h a t t h e s i g n i f i c a n c e o f each t h i n g i s r e l a t i v e and appro x i m a t e d o n l y i n terms o f t h e " a l l " . T h i s i s r e f l e c t e d on a l a r g e r s c a l e t h r o u g h o u t the n o v e l i n t h a t each l a b y r i n t h i s r e l a t e d t o the whole and d e r i v e s i t s meaning from t h e whole. I n s i g h t i n t o memory i n d i c a t e s i n s i g h t i n t o knowledge; f o r knowledge i s dependent on r e a s o n , w h i c h i n t u r n i s dependent on memory, t h e p r e s e r v i n g f a c u l t y : . ..viendo mi memoria v e i a e l e s p e c t a c u l o d e l c o n o c i m i e n t o y de l a c r i t i c a l d e l c o n o c i m i e n t o . (p. 62) H e n r i Bergson's t h o u g h t : "Consciousness means 20 memory", pervades C e l e b r a n d o . I n E l a n c l a , the n a r r a t o r ' s dasreovery r e g a r d i n g memory e l e v a t e s him i n t o a s t a t e o f h e i g h t e n e d awareness: " e r a sublimemente c o n s c i e n t e . " (p. 62) -20-He i s now a b l e t o h a n d l e memory: . . .comprendi que no e r a nada mas que una d i m i n u t a f i g u r i t a de p o r c e l a n a que se a l z a b a en l a palma de mi mano. (p. 62) "La G i m b e t t e " f i t s i n t o h i s hand. The memory has now become m a t e r i a l i z e d ; the p a i n t i n g has become t r a n s f o r m e d i n t o a s t a t u e . A g a i n , t h i s l a b y r i n t h i s c i r c u l a r , b e g i n n i n g and e n d i n g w i t h "La G i m b e t t e " . The a r t i s t ' s j o u r n e y i n t o h i s b r a i n t o examine h i s p h y s i c a l memory i s p a r a l l e l l e d ! by a more s y m b o l i c and a r c h e t y p a l j o u r n e y i n L a c a r a . The n a r r a t o r l o s e s h i s i d e n t i t y ( " p e r d i mi c a r a " r p . 1253 ) i n o r d e r t o f i n d , v i a many i d e n t i t i e s ("cara de g a t o , c a r a de Maimondde/s., c a r a de r a y o , c a r a de A l i c i a en e l p a i s de l a s ma£a v.ll.las, c a r a de m a r i n e r o , c a r a de Ramon Gomez de l a Se r n a , c a r a de e s f e r a , e t c . " £p. 126}) , h i s t r u e i d e n t i t y . T h i s q u e s t i s s y m b o l i z e d by a r e t u r n t o t h e s e a , from w h i c h l i f e i s g e n e r a t e d . Water, h i s "elemento", a c c o r d i n g t o Jung, s y m b o l i z e s t h e u n c o n s c i o u s . ^ A r r a b a l uses w a t e r i n t h i s s ense. I n E l mar, f o r example, he w r i t e s : " e l mar -21-s i m b o l i z a e l sueno y a veces l a p e s a d i l l a . " (p. 29) "There a r e d i f f e r e n t p l a n e s o f memory," w r i t e s Bergson, "the l a r g e s t i n c l u d e s a l l o u r p a s t , and i s t h e p l a n e o f 22 dream." J u n g i a n and B e r g s o n i a n t h o u g h t a r e f u s e d i n L a c a r a . The s h i p , a p p r o p r i a t e l y c a l l e d L a Memoria, conducts t o t h e o r i g i n , t o t h e "YO" r e f l e c t e d i n t h e undersea g r o t t o . The o r i g i n i s a l s o t h e end o f s e l v e s b o t h on p e r s o n a l and g e n e r a l l e v e l s — "mis a n t i g u a s c a r a s c a s i PQ.drdic|as por e l agua?" (p. 127) f o r w a t e r d e s t r o y s i d e n t i t y , t h e i n d i v i d u a l i s submerged i n the g e n e r a l , i n t h e whole, w h i c h a t t h e same time c r e a t e s t h e f u l f i l m e n t o f t h e i n d i v i d u a l "Yo" . T h i s i s e x p l a i n e d by t h e ph r a s e : " l a supremacia J J d e l l agua 'como elemento d e s t r u c t o r por autonomas ia! " ; f o r " autonomasia" can be t a k e n t o mean b o t h c a l l i n g the g e n e r a l by t h e p a r t i c u l a r and c a l l i n g t h e p a r t i c u l a r by the g e n e r a l . "Yo", t h e p a r t i c u l a r , comes t o s t a n d f o r a l l o r f o r t h e g e n e r a l , b e i n g t h e sum o f " a n t i g u a s c a r a s " . The a r t i s t ' s immersion i n t o w a t e r i s s y m b o l i c o f b o t h b i r t h and d e a t h . The wat e r o f t h e undersea g r o t t o t o w h i c h the v o i c e o f t h e woman c a l l s him i n d i c a t e s 2 3 u t e r i n e l i f e . The n a r r a t o r r e t r e a t s i n t o t h e womb i n -22-o r d e r t o be r e b o r n . T h i s i s p a r t o f the e n t i r e p r o c e s s o f C e l e b r a n d o i n terms o f a s u c c e s s i o n o f r e b i r t h s . L a c a r a , once a g a i n , i s c i r c u l a r , b e g i n n i n g w i t h the m i r r o r on the b a l c o n y and e n d i n g w i t h ifche m i r r o r i n t h e g r o t t o . E l h i j o de Cronos g i v e s a n o t h e r v a r i a t i o n o f t h e memory theme. The l a b y r i n t h s e r v e s as an e x p r e s s i o n o f A r r a b a l 1 s t h e o r y o f a r t — a r t as p r o d u c t o f " l a memoria" and " e l a z a r " . T h i s c e n t r a l p o i n t , w h i c h a c c o r d i n g t o the n a r r a t o r " e r a capazde i l u m i n a r e l enigma d e l a r t e " (p. 163) i s v o i c e d by t h e l e c t u r e r : L a o b r a d e l a r t i s t a . . . e s un f r u t o de l a u n i o n d e l tiempo y de l a memoria. La memoria r e p r e s e n t a d a por l a b i o g r a f i a d e l a r t i s t a y l a h i s t o r i a de l a humanidad y e l tiempo por e l f u t u r o , es d e c i r , p o r e l a z a r . (pp. 162, 163) In E l hombre p a n i c o , A r r a b a l i l l u s t r a t e s h i s t h e o r y on time and memory by t h e f o l l o w i n g diagram: PASADO 0 FUTURO (memoria) j (azar) TIEMPO > j _ Presente _| i i i i j | I m a g m a c i o n i V o l u n t a d i E t c . I m p r e v i s i b l e Memoria i | ( l a c o n f u s i o n , ( P r e v i s i b l e , I n t e l i g e n c i a Recuerdos l o in e s p e r a d o ) e s t a d i s t i c a ) 4 The p a s t i s memory and the f u t u r e i s chance — b o t h i n u n d a t e and compose the p r e s e n t . F a c u l t i e s such as i m a g i n a t i o n and i n t e l l i g e n c e are a s p e c t s o f memory; i m a g i n a t i o n b e i n g t h e " f a c u l t a d de combinar l o s r e c u e r d o s and i n t e l l i g e n c e , t h e " f a c u l t a d de s e r v i r s e de l a memoria. Time i s becoming o r " d u r a t i o n " , as i n the t h o u g h t o f B e rgson. The p a s t and t h e f u t u r e are j o i n e d by memory. Memory, however, i s n o t p a r t o f a d e t e r m i n i s t i c p r o c e s s , f o r t i m e i s f l o o d e d by " e l a z a r " ; " l a c o n f u s i o n " , " l o i n e s p e r a d o " . A g a i n A r r a b a l ' s t h o u g h t p a r a l l e l s t h a t o f Bergson, f o r whom memories are " e s s e n t i a l l y f u g i t i v e " and become m a t e r i a l i z e d o n l y by change, e i t h e r when an a c c i d e n t a l d e t e r m i n a t i o n o f our b o d i l y a t t i t u d e a t t r a c t s them, o r when t h e v e r y i n d e t e r m i n a t i o n o f t h a t a t t i t u d e l e a v e s a c l e a r f i e l d t o t h e c a p r i c e s o f t h e i r m a n i f e s t a t i o n . 2 6 The aThesarfedisfe uses a l l h i s f a c u l t i e s — i m a g i n a t i o n , i n t e l l i g e n c e and w i l l , and keeps h i m s e l f open t o change (time) i n o r d e r t o c r e a t e . The l e c t u r e r ' s comments on a r t i n E l h i j o de Cronos i s i l l u s t r a t e d by t h e p a i n t i n g remembered by the n a r r a t o r p i c t u r i n g Cronus, son o f time, and Mnemosyne (Memory) and t h e i r n i n e d a u g h t e r s , ©The Muses". The Greek myth, -24-t o w h i c h A r r a b a l r e f e r s , c o n c r e t i z e s t h e a b s t r a c t by means o f p e r s o n i f i c a t i o n . Memory becomes a p a r t i c u l a r woman; t i m e , a p a r t i c u l a r man; and t h e a r t s , "nuevas n i n a s h i e r a t i c a s , " (p. 162) t h e i r o f f s p r i n g . Memory i s v i s u a l — the a b s t r a c t mused upon by a l l mankind i s formed i n t o v i s u a l i d e n t i t i e s i n t h e myth. A r r a b a l p a r a l l e l s t h e m y t h o l o g i c a l p e r s o n i f i c a t i o n w i t h h i s own; f o r t h e l e c t u r e r i s a l s o " E l h i j o de Ciemp.0.". H i s words, t h e words o f t i m e , a re d i s r e g a r d e d by t h e young i n t h e a u d i e n c e . A l s o , t h e audience p e r s o n i f i e s c o n f u s i o n , as i t g e n e r a t e s "un a u t e n t i c o t u m u l t o con g r i t o s , s i s e o s , r i s a s . . . " (p. 162) t h r o u g h w h i c h t i m e (the l e c t u r e r ) moves i m p e r t u r b e d , u n d i s t r a c t e d , "con n a t u r a l i d a d . " ( p. 162) The l e c t u r e r ' s speech i s produced "automaticamente" as he e x p l a i n s t o t h e n a r r a t o r . H i s n o t e s g i v e o n l y a semblance o f o r d e r ; the speech i s open t o chance. The f l a s h b a c k t e c h n i q u e used i n E l h i j o de Cronos, as w e l l as i n s e v e r a l o t h e r l a b y r i n t h s , has p a r t i c u l a r s i g n i f i c a n c e . As t h e n a r r a t o r l o o k s a t and l i s t e n s t o " e l h i j o de tiempoj,' h i s mind goes back t o h i s memory o f t h e p a i n t i n g i n h i s k i t c h e n . He s e e s , l i s t e n s , and remembers: th e p r e s e n t f l o w s i n t o t h e memory, the memory i n t o t h e -2 5-p r e s e n t . The s h i f t from t i m e t o memory, t h a t i s t h e s h i f t from t h e f i r s t p a r a g r a p h d e s c r i b i n g t h e f i g u r e o f t i m e t o the second p a r a g r a p h d e s c r i b i n g t h e memory o f t h e p a i n t i n g t o t h e t h i r d p a ragraph d e s c r i b i n g t i m e , e t c . , i l l u s t r a t e s i n i n t e r n a l movement t h e concept o f a r t as b e i n g t h e p r o d u c t o f t i m e and memory, as t h e l a b y r i n t h as an a e s t h e t i c work i s c r e a t e d . The l a b y r i n t h i s c i r c u l a r . The r e a d e r b e g i n s w i t h t h e l e c t u r e r who i s " e l h i j o de Cronos" and ends w i t h " e l h i j o de Cronos" o f t h e p a i n t i n g . 27 "La v i d a es l a memoria" i s e x p r e s s e d i n t h e s e l a b y r i n t h s and i n Ce l e b r a n d o as a whole. I n Candelada, t h e a r t i s t g r a s p s t h e n a t u r e o f memory i n t u i t i v e l y . I n t h i s l a b y r i n t h , the s e a r c h f o r the s e l f a g a i n t a k e s p l a c e on b o t h t h e p e r s o n a l and g e n e r a l memory l e v e l s ; j u s t as a r t i t s e l f i s c r e a t e d from b o t h t h e a r t i s t ' s p e r s o n a l h i s t o r y and t h e h i s t o r y o f mankind. T h i s i s s i g n i f i e d i n t h e n a r r a t o r ' s r e a c t i o n t o t h e s p e c t a c l e o f eyes on t h e w a l l : E r a f e l i z v i e n d o t a n t o o j o sobre l a p a r e d que imaginaba s e r i a n de t o d a s l a s personas que he v i s t o . Q u i z a tambien l o s o j o s de todos mis antepasados y l o s de t o d a l a humanidad. (p. 185) -26-The n a r r a t o r i d e n t i f i e s h i m s e l f w i t h t h e b i r d w h i c h e n t e r s h i s room. Bo t h , " l l e n a de en c a n t o " , watch the s p e c t a c l e , " s e n s i b l e a c i e r t a s m i r a d a s . " (p. 186) When the b i r d i s consumed by f i r e , t h e n a r r a t o r e x p e r i e n c e s "un b r u s c o d o l o r de cabeza" (p. 186) whi c h d i s a p p e a r s as the b i r d ' s ashes are removed from t h e f i r e . I t i s t h r o u g h h i s own i d e n t i f i c a t i o n w i t h t h e m y t h i c a l b i r d o f r e b i r t h t h a t t h e n a r r a t o r comes i n t u i t i v e l y t o g r a s p t h e mechanism o f memory. The a c t o f r e b i r t h i s a t r a n s c e n d i n g o r t r a n s f o r m i n g a c t : t h e b i r d appears n o t e x a c t l y as b e f o r e , b u t "mas e n h i e s t o y hermoso que nunca". (p. 187) The p r o c e s s o f memory i s a c u m u l a t i v e p r o c e s s , an e n r i c h i n g p r o c e s s . The n a r r a t o r c o n c l u d e s : "...comprendi' e l mecanismo de mi memoria, de mi ave F e n i x . " ( p. 187) The phoenix i s d e p i c t e d i n two s i m i l a r p a i n t i n g s , b o t h c a l l e d A r r a b a l Sauve par l e Bhen i x , w h i c h a r e p a r t o f a s e r i e s o f p a i n t i n g s p l a n n e d by A r r a b a l and e x e c u t e d by two f i g u r a t i v e p a i n t e r s , L. A r n a i z and R. -G. C r e r p s . The s e r i e s , f e a t u r i n g A r r a b a l as c e n t r a l s u b j e c t , i s d e c o r a t i n g h i s apartment i n P a r i s , and has been used f o r i l l u s t r a t i o n i n t h e F r e n c h e d i t i o n ( F e t e s e t R i t e s de l a C o n f u s i o n ) 28 - • o f C e l e b r a n d o . The p a i n t i n g s , A r r a b a l Sauv6 par l e P h e n i x , r e p r e s e n t A r r a b a l b e i n g c a r r i e d o f f by t h e phoenix i n t o -27-t h e s k y from a v a l l e y o f graves from w h i c h some o f t h e occupants a r e seen t r y i n g t o esc a p e . A r r a b a l , w e a r i n g g l a s s e s , i s naked e x c e p t f o r a w h i t e d i a p e r - l i k e c l o t h around h i s t h i g h s . The pheonix c a r r i e s him as t h e f a m i l i a r s t o r k c a r r i e s an i n f a n t . The s e r i e s o f p a i n t i n g s , pervaded w i t h s e l f - m o c k e r y , adds t o t h e d i m e n s i o n o f humour o f C e l e b r a n d o . The r e b i r t h o f the Phoenix i n Candelada i s complemented i n o t h e r l a b y r i n t h s d e s c r i b i n g t h e n a r r a t o r ' s own r e b i r t h . E l mar, f o r example, can be r e a d as d e s c r i p t i v e o f p h y s i c a l b i r t h . The a r t i s t , l i k e t h e f e t u s , i s immersed i n water:. E l agua me c e r c a b a y p a r e c i a que n i me mojaba. (p. 30) As he approaches t h e r o c k s , he t u r n s t o d i s c o v e r : . . . e l mar no e r a de agua, s i n o de s a n g r e . (p. 30) S i m i l a r l y , t h e f e t u s t u r n i n g and a p p r o a c h i n g t h e p e l v i c bones becomes immersed i n b l o o d as t h e b i r t h i s about t o t a k e p l a c e . The blood i n E l mar not o n l y evokes t h e p r e - n a t a l s t a t e b u t a l s o d e a t h — t h e b l o o d i s a l s o -28-s y m b o l i c o f t h e a r t i s t ' s b l o o d . The sea " s i m b o l i z a e l sueno y a veces l a p e s a d i l l a " ( p . 2 9 ) ; o r p r e - c o n s c i o u s l i f e . "La p e s a d i l l a " i s t h e nig h t m a r e o f b o t h b i r t h and de a t h , as w e l l as t h e ni g h t m a r e o f l o v e — "esperando l a p e s a d i l l a " ( p . 102) i n Amor. I n La j a u l a - e s f e r a , t h e a r t i s t e x p e r i e n c e s a n o t h e r k i n d o f r e b i r t h preceded by d i s e a s e . A s p i d e r ' s web s l o w l y c o v e r s him. As t h e s i c k n e s s advances, t h e woman s i n g s n u r s e r y songs i n h i s p r e s e n c e , i n d i c a t i n g h i s r e g r e s s i o n i n t o i n f a n c y . The d i s e a s e f i r s t b r i n g s about a s e p a r a t i o n from t h e e x t e r n a l w o r l d : " R e s o l v i ' no v o l v e r a s a l i r ; p a r a . e l l o me e n c e r r e en l a t o r r e " (p. 170); and f i n a l l y from t h e woman h e r s e l f : "Le d i j e que ya no p o d r i a a b r i r l a " ( p . 171) A p e r i o d o f i n c u b a t i o n t a k e s p l a c e b e f o r e t h e r e b i r t h . The image o f t h e " h i l o s s u t i l i s i m o s " (p. 169) which c o v e r him e n t i r e l y u n t i l he i s re n d e r e d immobile s u g g e s t s n o t o n l y the s p i d e r ' s web b u t a l s o t h e c a t e r p i l l a r ' s f i n e l y -spun cocoon i n whi c h t h e t r a n s f o r m a t i o n i n t o b u t t e r f l y t a k e s p l a c e . H a v i n g r e t r e a t e d i n t o t h e tower, t h e n a r r a t o r f u r t h e r r e t r e a t s i n t o t h e s p h e r i c a l cage p r o v i d e d by t h e woman. -29-I n t h i s womb, he i s p r e p a r e d f o r r e b i r t h . The sp h e r e , as a l r e a d y mentioned, i n d i c a t e s wholeness, i n t e g r a t i o n . Male and female become r e u n i t e d : "nos abrazamos, y me p a r e c i o que mi cuerpo se i n t r o d u c x a en e l suyo." (p. 172) The d i s e a s e , w h i c h was accompanied by t h e s e p a r a t i o n from t h e mother-image and t h e w o r l d , i s h e a l e d ; t h e a r t i s t i s r e - i n c o r p o r a t e d and r e b o r n : Cuando tocamos t i e r r a , m i r e mi cuerpo desnudo, m i e n t r a s e l l a " a b r x a l a p u e r t a de l a j a u l a - e s f e r a , y v i que l a t e l a r a n a habxa d e s a p a r e c i d o . (p.. 172) A r r a b a l ' s image o f t h e sphere e n c l o s i n g human b e i n g s i s analogous t o the spheres i n Bosch's Garden o f D e l i g h t s , a phantasmagoric garden o f t r a n s f o r m a t i o n s . A r r a b a l ' s l a b y r i n t h s have much i n common w i t h t h e dream w o r l d s o f Bosch and B r u e g h e l . L a j a u l a - e s f e r a echoes t h e e n d i n g o f L a c a r a , and p o i n t s towards C a p i t u l o s e x t o . L a g l o r i e t a , where A r r a b a l i s i n c o r p o r a t e d i n t o t h e g i a n t e s s i n o r d e r t o be r e b o r n t h r o u g h h e r . A n o t h e r i m p o r t a n t l a b y r i n t h d e a l i n g w i t h t h e r e b i r t h m o t i f i s L a o s c u r i d a d . The n a r r a t o r i s f: b o r n from a w o r l d o f darkness i n t o a w o r l d o f l i g h t . -30-On one l e v e l , h i s sense i m p r e s s i o n s i n t h e darkness can be i n t e r p r e t e d as i n d i c a t i v e o f l i f e i n the womb — " l a o s c u r i d a d " , "un s o n i d o acompasado", "excrementos medio l i q u i d o s " and "un o l o r p a r t i c u l a r m e n t hediondo" (pp. 17 3, 174) s u g g e s t i n g t h e dar k n e s s i n t h e womb, the mother's h e a r t b e a t , t h e p l a c e n t a and t h e s m e l l o f b l o o d . A r r a b a l a l s o h i n t s a t a n o t h e r k i n d o f r e b i r t h . — r e s u r r e c t i o n ; f o r the a r t i s t emerges from darkness a f t e r t h r e e days w h i c h i n a d d i t i o n s u g g e s t s t h e t h r e e days o f da r k n e s s p r e c e d i n g t h e b i r t h o f t h e new moon. C r e a t i o n , o r t h e b i r t h o f the w o r l d , i s su g g e s t e d by the phrase " l l e g o l a luz'.".' (p. 17 5) A l s o the dark l a b y r i n t h i s r e p r e s e n t a t i v e o f t h e l a n d o f d e a t h : "Tuve l a i m p r e s i o n de que l a muerte me acompanaba con sus v e l o s b l a n c o s y su h o r c a " (p. 17 5 ) ; and o f t h e u n d e r w o r l d w i t h i t s d o g - l i k e a n i m a l , t h e hyena. The d e a t h - b i r t h c y c l e i s p a r a l l e l t o t h e dreaming-waking c y c l e . I n t h i s sense, t h e s w i t c h from d a r k n e s s t o l i g h t r e p r e s e n t s t h e a r t i s t ' s awakening from n i g h t m a r e . Jung"s o b s e r v a t i o n : "Day and l i g h t a r e synonymous f o r c o n s c i o u s n e s s , n i g h t and dark f o r t h e u n c o n s c i o u s " ^ i s r e l e v a n t h e r e . -31-Most i m p o r t a n t o f a l l , t he l a b y r i n t h i t s e l f i s d e s c r i p t i v e o f t h e a r t i s t i c p r o c e s s ; t h a t i s , o f t h e power o f t r a n s f o r m a t i o n i n h e r e n t i n the c r e a t i v e p r o c e s s . The a p p r e h e n s i o n and e x p e r i e n c e o f c o n f u s i o n i s t r a n s f o r m e d i n t o a v i s i o n o f o r d e r , i n t o an a e s t h e t i c whole: the hyena i s t r a n s f o r m e d i n t o t h e b e a u t i f u l woman; the dark l a b y r i n t h i n e passages i n t o h e r house o f s i x rooms j o i n e d by a c e n t r a l passage; the u n r e c o g n i z a b l e sound i n t o t h e t i c k i n g o f t h e c l o c k ; t h e abominable s t e n c h i n t o t h e f r a g r a n c e o f perfume;;i?and t h e h a l f - l i q u i d excrement i n t o honey. The t r a n s f o r m a t i o n i t s e l f , however, i s unexpected, p a r t o f " e l a z a r " . The a c t o f t u r n i n g on the l i g h t s w i t c h i s a c c i d e n t a l , u n p r e d i c t a b l e . W i t h " l l e g o l a l u z " , t h e a r t i s t r e - e n a c t s t h e a c t o f c r e a t i o n : t h e t r a n s f o r m a t i o n o f chaos i n t o cosmos. He d e a l s w i t h metaphor, image, p a r a b l e , w i t h s e t s o f c o r r e s p o n d e n c e s . Thus the a s p e c t s o f t h e d a r k l a b y r i n t h and o f the house have t o t a l m e t a p h o r i c a l i d e n t i f i c a t i o n . The a r t i s t i s " J i r - H o n - E y a , gran s a c e r d o t e " (p. 104) He d e a l s , l i k e t h e p r i e s t , w i t h c o r r e s p o n d i n g l e v e l s — t h e p h y s i c a l and t h e m e t a p h y s i c a l . On a n o t h e r l e v e l , the c o r r e s p o n d i n g e x p e r i e n c e s o f u g l i n e s s and a e s t h e t i c o r d e r s u g g e s t r e l a t i v i s m and s u b j e c t i v i s m , as t h e v i s i o n s a r e entiretyddeplendent on p o i n t o f v i e w . -32-A n o t h e r a s p e c t o f t h e a r t i s t i c p r o c e s s i s r e l a t e d i n L a e s p e r a n z a , t h e l a b y r i n t h d e s c r i b i n g t h e a r t i s t ' s i n i t i a t i o n . I n La e s p e r a n z a , w h i l e t h e a r t i s t ' s p o r t r a i t i s b e i n g p a i n t e d ; t h a t is, w h i l e he i s b e i n g formed o r " r e c r e a t e d " , words appear on h i s body: "DESEQ", "DESTINO", "MUERTE". (p. 31) The n a r r a t o r d i s c o v e r s words on h i s f i n g e r s and l i p s , w h i c h p o i n t t o h i s d e s t i n y as a w r i t e r . The t r e e b e a r i n g hands i n s t e a d o f f r u i t i n t h e f i r s t p a r t o f h i s r e c u r r e n t dream f u r t h e r p o i n t s t o h i s d e s t i n y — hands b e i n g t h e i n s t r u m e n t f o r w r i t i n g . The i n i t i a t i o n i n L a e s p e r a n z a l e a d s t o the a r t i s t ' s r e c o v e r y o f h i s a b i l i t y t o s l e e p . T h i s becomes c l e a r when r e g a r d e d i n c o n t e x t o f the r e s t o f C e l e b r a n d o . The a r t i s t ' s "DESTINO" i s t o dream; f o r he f o r g e s a r t from t h e symbols he draws from dream. A g a i n , A r r a b a l ' s t h o u g h t c o i n c i d e s w i t h t h a t o f Bergson, who w r o t e : "dream i s t h e l a r g e s t p l a n e o f memory" S l e e p , t h e n , i s a k i n d o f "MUERTO" from w h i c h t h e "DESEO" i s born o v e r and o v e r a g a i n . The l a s t s e n t e n c e i n the l a b y r i n t h : "Mire e l cuadro que , / y v i ^ m i imagen dormia, que yo dormia en e l r e t r a t o " ( p. 3 4 ) , su g g e s t s t h a t he i s dreaming h i s i n i t i a t i o n , f o r t h e p o r t r a i t i s a m i r r o r ; and by e x t e n s i o n s u g g e s t s t h a t he i s dreaming t h a t he i s dreaming h i s i n i t i a t i o n . T h i s echoes t h e l a s t -33-phase o f h i s r e c u r r e n t dream: ...me preguntaba a que n i v e l , es d e c i r , s i sonaba que sonaba o s i sonaba que sonaba que sonaba. (p. 33) D u r i n g h i s i n i t i a t i o n , t h e a r t i s t p e n e t r a t e s t h e inn e r m o s t chamber o f dreams. Dream, however, i s a r e f l e c t i o n o f w a k i n g l i f e . I n C r i c k e t t , t h e n a r r a t o r s a y s : "Que v a a s e r un sueTio...es l a pura r e a M a d . " (p. 65) Dream and r e a l i t y a r e a f l u i d continuum. One m i r r o r s t h e o t h e r . A r t d e r i v e s from t h i s continuum. C o n c e r n i n g h i s t h e a t r e , A r r a b a l w r i t e s : " J ' a p p e l l e mon t h e a t r e : theatre r e a l i s t e j u squ'au cauchemar, mais l e cauchemar ,,30 c o m p r i s . On t h e s u b j e c t o f dream and a r t , P a u l M a l e r y w r i t e s : L ' u n i v e r s p o e t i q u e . . . p r e s e n t e de grandes a n a l o g i e s avec ce que nous pouvons supposer de l ' u n i v e r s du r e v e . A r r a b a l , i n f l u e n c e d by F r e n c h S u r r e a l i s m , i d e n t i f i e s t h e dream s t a t e w i t h a e s t h e t i c v i s i o n . He s t a t e s , i n f a c t , t h a t much o f h i s f i c t i o n i s shaped d i r e c t l y from h i s 32 dreams. Thus i n C e l e b r a n d o t h e a r t i s t - h e r o , who draws -34-from memory and dream t o c r e a t e , f e a r s and r e a l i z e s t h e l o s s o f t h e s e f a c u l t i e s : i n E l vampiro'he l o s e s h i s memory; i n B o t t i c e l l i , h i s f a c u l t y o f dreaming; i n E l g a l l a r d e t e , h i s s l e e p and c o n s e q u e n t l y h i s c a p a c i t y f o r i n v e n t i n g i n dream. The o p p o s i t e t a k e s p l a c e i n E l d i l u v i o . The a r t i s t s t a n d i n g by t h e window r e t r e a t s i n t o h i s mind, i n t o a w o r l d o f r e v e r i e where he c r e a t e s a p e r s o n a l v e r s i o n o f S l e e p i n g - B e a u t y , o n l y t o r e t u r n a g a i n t o s e l f - a w a r e n e s s i n f r o n t o f the window. The l a b y r i n t h s a r e f o u r - d i m e n s i o n a l spaces r e f l e c t i n g t h e m e n t a l spaces o f t h e a r t i s t . Dream e x p e r i e n c e i s v i s u a l — t h i s e x p l a i n s t h e v i s u a l a s p e c t o f t h e l a b y r i n t h s . T h e i r dream c o n t e n t , however, i s r a t i o n a l . The v i s u a l symbols (the "paquetes" o f memory, f o r e xample), analogous t o dream symbols and d e r i v i n g t h e i r power from t h e i r resonance i n a common p s y c h i c s u b s t r a t u m , are t h e a r t i s t ' s t o o l s and are s u b j e c t t o a r i g i d l y - c o n t r o l l e d a e s t h e t i c s t r u c t u r e . The most dominant symbol i n t h e a e s t h e t i c s t r u c t u r e i s a symbol b e l o n g i n g t o t h e w o r l d o f a r t i f i c e — t h e m i r r o r . The m i r r o r i n C e l e b r a n d o i s t h e m i r r o r o f t r a n s f o r m a t i o n , t h e c o n t a i n i n g form o f " l o i n e s p e r a d o " , the p o r t r a i t o f the a r t i s t , t h e m i r r o r o f N a r c i s s u s and t h e m i r r o r o f A l i c e Through t h e L o o k i n g G l a s s . -35-I n u s i n g the m i r r o r image, A r r a b a l draws from a l o n g t r a d i t i o n i n r e l i g i o n , p h i l o s o p h y and a r t . I n r e l i g i o n , the S c r i p t u r e s gave r i s e t o the c oncept o f speculum s i n e macula — t h e m i r r o r as symbol o f p u r i t y , 33 wisdom, t r u t h , God and H i s a l l - s e e i n g eye. I t f u r t h e r s y m b o l i z e s t h e u n i o m y s t i c a o r r e l a t i o n s h i p between God and man;^ w h i c h , i n t h e f i e l d o f a r t , found a c o r r e l a t i v e i n s y m b o l i z i n g t h e r e l a t i o n between the a r t i s t and h i s work. The s t a t i c r e l i g i o u s symbol became i n t h e p h i l o s o p h i c a l and a r t i s t i c t r a d i t i o n s a symbol o f s e l f - k n o w l e d g e and 35 o f the t r a n s i e n c e and i l l u s o r i n e s s o f man and t h e w o r l d . A l s o , t r a d i t i o n a l l y , t h e enigma o f t h e m i r r o r l i e s i n t h a t t h e r e f l e c t e d r e a l i t y c r e a t e s a c o n f u s i o n between what i s r e a l and what i s i l l u s i o n . I n a r t , t h e m i r r o r has been used i n the m i m e t i c t h e o r y as a symbol o f a r t i t s e l f . We f i n d i n P l a t o : "take a m i r r o r and t u r n i t around i n a l l d i r e c t i o n s . I n a v e r y s h o r t t i m e you c o u l d produce sand and s t a r s and e a r t h and y o u r s e l f " ? 6 A r r a b a l ' s use o f t h e m i r r o r image p l a y s on v a r i o u s a s p e c t s o f the t r a d i t i o n a l meanings o f t h e m i r r o r . M i r r o r r e a l i t y i n C e l e b r a n d o r e f l e c t s a w o r l d o f changes, i l l u s i o n , s u b j e c t i v i s m , N a r c i s s i s m and a r t i f i c e . -36-The l a b y r i n t h s , w h i c h themselves are m i r r o r s o f the f a c e t s o f s e l f and o f i m a g i n a t i o n , c o n t a i n i n t e r n a l p o r t r a i t s and m i r r o r s . I n L a c a r a , the a r t i s t ' s s e a r c h ends (or b e g i n s ? ) i n f r o n t o f "un gran e s p e j o con una i n s c r i p c i o n que r e z a b a : YO." (p. 127) I n Anatomia, t h e p a i n t i n g M i a n a t o m i a e x p l i c a d a i s a m i r r o r r e f l e c t i n g t h e p r i v a t e symbolism o f s e l f . The p a i n t i n g r e f e r r e d t o i s an a c t u a l p a i n t i n g , Anatomie g x p l i q u e d " A r r a b a l , i l l u s t r a t i n g F ^ t e s e t Kites de l a c o n f u s i o n . I n E l ganguino, th e a r t i s t , l i k e A l i c e , p e n e t r a t e s t h e m i r r o r t o d i s c o v e r a n o t h e r w o r l d ; and i n E l vampiro, a p o r t r a i t o f t h e a r t i s t p i c t u r e s a man l o o k i n g i n t o a m i r r o r w h i c h deforms t h e r e f l e c t e d r e a l i t y : En e l cuadro e l hombre con e l a t a u d se contemplaba en un e s p e j o b a r r o c o . Su imagen no r e p r o d u c i a exactamente l a e s c e n a ; en e l e s p e j o se v e i a e l cuerpo d e l hombre, pero no l a cabeza, e s t a f i g u r a b a e n t r e sus manos donde normalmente h u b i e r a d ebido e s t a r e l a t a u d . (pp. 26, 27) A g a i n , t h i s i s an a c t u a l p a i n t i n g , A r r a b a l d e c a p i t a n t N a r c i s s e , i n c l u d e d i n Fe^tes e t r i t e s de l a c o n f u s i o n . The m i r r o r i n E l vampiro b r i n g s t o mind the d e f o r m i n g m i r r o r s i n Goya's C a p p r i c h o s ; w h i c h , however, u n l i k e A r r a b a l ' s m i r r o r s , have a s o c i a l purpose — t h e unmasking o f h y p o c r i s y . The d i s t o r t i o n i s n o t i n the m i r r o r - i m a g e , b u t i n Goya's f i g u r e s c o n t e m p l a t i n g the ffl&rror. The myth o f N a r c i s s u s p e r t a i n s t o C e l e b r a n d o , b u t w i t h o u t t h e t r a d i t i o n a l n e g a t i v e m o r a l 'contained i n i t s symbolism o f t h e m i r r o r - r e f l e c t i o n . The w a t e r - m i r r o r i n O v i d ' s N a r c i s s u s myth, by d i v i d i n g t h e s e l f i n t o p e r c e i v e r ( s u b j e c t ) and p e r c e i v e d ( o b j e c t ) , s y m b o l i z e s a t r a g i c s u b j e c t - o b j e c t dichotomy and a c o n f u s i o n between r e a l i t y and i l l u s i o n . I n C e l e b r a n d o b o t h the image c o n t e m p l a t i n g i t s e l f i n f r o n t o f t h e m i r r o r , and the image r e f l e c t e d back by t h e m i r r o r , a r e s u b j e c t . The m i r r o r does not p r e s e n t a d u a l i s t i c w o r l d o f r e a l i t y and i l l u s i o n , b u t a m o n i s t i c w o r l d o f m u l t i p l e r e f l e c t i o n s a t t h e c e n t r e o f w h i c h i s "YO" o r t h e A r r a b a l - g i a n t e s s p a i r i n t h e c e n t r e o f t h e s q u a r e . The symbol o f t h e m i r r o r i s a s s i m i l a t e d i n t h e c i r c u l a r p r o c e s s o f C e l e b r a n d o : eye •> m i r r o r -38-The eye, p e r c e i v i n g t h e image i n t h e m i r r o r a l s o sees how t h e r e f l e c t i o n i s thrown back i n t h e p u p i l . I t i s b o t h organ o f p e r c e p t i o n and m i r r o r : "En l a g i g a n t e s c a r e t i n a de su o j o me mire': r e f l e j a b a mi imagen con p r e c i s i o n . " (p. 200) S i m i l a r l y , t h e a r t i s t and h i s a r t a r e l i k e two m i r r o r s f a c i n g each o t h e r . I n t h e l a b y r i n t h , Los e s p e j o s , the image o f t h e m i r r o r i s con n e c t e d w i t h memory and chance. As t h e a r t i s t becomes aware o f two r e f l e c t i o n s o f h i s f a c e i n t h e woman's s u n - g l a s s e s , he hears h e r v o i c e : L a memoria se b i f u r c a y e l a r t i s t a l a m u l t i p l i c a . (p. 135) A t the moment o f h e r s p e a k i n g , "se b i f u r c a " p e r t a i n s t o t h e r e f l e c t i o n s i n h e r g l a s s e s , and " e l a r t i s t a l a m u l t i p l i c a " i s l a t e r c o n c r e t i z e d when t h e a r t i s t p e r c e i v e s t h e m u l t i p l i c a t i o n o f h i s image i n t h e m i r r o r s o f h e r body: ...todo succuerpo e r a un e s p e j o d e s t i n a d o a r e p r o d u c i r mi imagen i n d e f i n i d a m e n t e , deformandolo como s i f u e r a un c a l e i d o s c o p i o . (p. 137) -39-Her body i s a metaphor f o r C e l e b r a n d o o r t h e work o f a r t i t s e l f — t h e l a b y r i n t h s r e f l e c t i n g a k a l e i d o s c o p i c v i e w o f t h e s e l f . S i m i l a r l y , t h e image i n d i c a t e s t h e p r o c e s s o f p e r c e p t i o n and memory: we p e r c e i v e and remember f r a g m e n t a r y and d i s t o r t e d images, from w h i c h we c r e a t e e n t i t i e s . R e f e r r i n g t o " l a memoria y e l a z a r " , t h e woman s a y s : 'Jellos son"] m i l veces e n t r e c r u z a n d o s e . " (p. 136) T h i s a b s t r a c t i o n i s c o n c r e t i z e d by t h e image r e f l e c t e d by t h e m i r r o r i n t h e a r t i s t ' s d i n i n g room. "Lo i n e s p e r a d o " i n v a d e s t h e l a b y r i n t h when the m i r r o r i n t h e d i n i n g room r e f l e c t s , n o t the image o f t h e p e r c e i v e r , b u t a p r o j e c t e d image composed o f t h e b l e n d i n g o f images i n t h e a r t i s t ' s memory o f t h e c h i l d r e n ' s songs: . . . e l e s p e j o d e l comedor...no r e p r o d u c x a mi i m a g e n . . . r e p r o d u c i a l a imagen de un i n d i v i d u o armado con una e s c o p e t a de c a s a , con una p e s e t a de p a p e l en e l b o l s i l l o y una c i a n d r i a y un r u i s e n o r en e l m o r r a l . (p. 137) From a u r a l memory — t h e c h i l d r e n ' s songs and the woman's v o i c e , t h e n a r r a t o r c r e a t e s and p r o j e c t s v i s u a l images o r forms. By d e s t r o y i n g t h e m i r r o r , t h e woman -40-ceases t o be t h e v e h i c l e f o r s e l f - p r o j e c t i o n . The phantasm, " l o i n e s p e r a d o " , v a n i s h e s from t h e l a b y r i n t h as i t e n t e r e d . The e s s e n t i a l l y e n i g m a t i c c h a r a c t e r i s t i c o f t h e l a b y r i n t h i s p a r t o f t h e s u b j e c t i v e and r e l a t i v e a s p e c t s o f C e l e b r a n d o , w h i c h i n t u r n i s p a r t o f the e x p e r i e n c e o f the breakdown o f t r a d i t i o n a l v a l u e systems, w h i c h has opened up t h e f i e l d f o r more and more p e r s o n a l symbolism i n a r t . B a s i c a l l y , t h e s i g n i f i c a n c e o f t h e m i r r o r i n Cel e b r a n d o l i e s i n t h e f a c t t h a t memory i s a r e f l e c t i o n o f phenomena d i s t o r t e d i n t i m e . T h e r e f o r e , memory and chance are " m i l veces e n t r e c r u z a n d o s e " . The work o f a r t , p r o d u c t o f memory and t i m e , r e f l e c t s t h e phantasms o f t h e mind. A r r a b a l ' s m i r r o r s and p o r t r a i t s i n t h e l a b y r i n t h s r e p r e s e n t the m i r r o r i n t h e b r a i n ; f o r , as M a g r i t t e w r i t e s : "we see t h e w o r l d . . . o u t s i d e o f u s , though h a v i n g o n l y one r e p r e s e n t a t i o n o f i t w i t h i n us." T h i s i n t e r n a l r e p r e s e n t a t i o n , however, i s a f u s i o n o r " c o n f u s i o n " o f t h i n g s p e r c e i v e d and t h i n g s p r o j e c t e d ; a f u s i o n o f p a s t , p r e s e n t and f u t u r e ; o f memory, p e r c e p t i o n and i m a g i n a t i o n . -41-The m i r r o r , i n s t e a d o f r e p r e s e n t i n g t h e s t a t i c , r e l i g i o u s " T r u t h " , r e p r e s e n t s s u b j e c t i v e , c h a n g i n g " t r u t h " . S u b j e c t i v i s m i s r e f l e c t e d a l s o i n t h e n a r r a t o r ' s v o c a b u l a r y d e s c r i b i n g h i s a p p r e h e n s i o n o f t h e w o r l d around him: "imaginaba", " c r e o " , " p a r e c x a " , " q u i z i " , b e i n g t h e words most often* used. The s u b j e c t - o r i e n t e d u n i v e r s e i s s p e c i f i c a l l y i n v o k e d by h i s comment c o n c e r n i n g t t h e marble image o f t h e g i a n t e s s : "...durante t o d a l a t a r d e , e s t u v e c o n v e n c i d o de que se t r a t a b a t a n s o l o de una imagen p r o y e c t a d a . " (p. 10) S u b j e c t i v e , r e l a t i v e r e a l i t y o f f e r s a w o r l d o f i n f i n i t e p o s s i b i l i t i e s : Cuando me movia, l a s p o s i b i l i d a d e s , laship6tesis se m u l t i p l i c a b a n y cuando me c o n c e n t r a b a se v o l v i a n i n f i n i t a s . (p. 10) T h i s a s p e c t o f C e l e b r a n d o p o i n t s t o a comparison w i t h K a f k a . Both A r r a b a l and K a f k a p r e s e n t a w o r l d o f chaos, c o n t r a d i c t i o n and r e l a t i v e r e a l i t y . I l l u s o r y r e a l i t y i s t h e o n l y r e a l i t y andknowledge i s r e l a t i v e . The p r o p o s i t i o n : " l a s p o s i b i l i d a d e s se m u l t i p l i c a b a n y cuando me c o n c e n t r a b a se v o l v i a n i n f i n i t a s , " a p p l i e s t o K a f k a ' s w o r l d , p a r t i c u l a r l y t o K.'s e x p e r i e n c e i n The Gastljg and t o J o s e f K.'s e x p e r i e n c e i n The T r i a l . Both the c a s t l e and t h e t r i a l i m p l i c i H y r a i s e the q u e s t i o n o f "una imagen p r o y e c t a d a " . -42-However, from t h e common i n i t i a l d e p a r t u r e p o i n t o f r e l a t i v i s m , K a f k a , and A r r a b a l i n C e l e b r a n d o , p r o c e e d i n o p p o s i t e d i r e c t i o n s . F o r K a f k a ' s c h a r a c t e r s i n s e a r c h o f o b j e c t i v e t r u t h , t h e e x p e r i e n c e o f r e l a t i v i s m and phenomenalism l e a d s t o n e g a t i v e n i h i l i s m and d e s p a i r ; wheras f o r A r r a b a l ' s c h a r a c t e r i t l e a d s t o t h e s u b j e c t i v e h i g h - p o i n t o f t h e c e r e m o n i a l , t h e " e x t a s i s " e x p e r i e n c e d i n t h e w o r l d o f "the one and the many". I n K a f k a ' s l a b y r i n t h , the s u b j e c t i v e , d i s t o r t e d v i e w o f r e a l i t y w i t h i t s i n f i n i t e p o s s i b i l i t i e s i s a s o u r c e o f v e r t i g o and m e t a p h y s i c a l t e r r o r ; whereas i n A r r a b a l ' s l a b y r i n t h i t i s t h e s o u r c e o f v a s t r i c h n e s s . C o n t r a r y t o A r r a b a l , t h e e x p e r i e n c e o f c o n f u s i o n and o f chaos i s r e f l e c t e d i n t h e s t r u c t u r e o f K a f k a ' s main works. There are c h a p t e r s m i s s i n g from The T r i a l , A merika and The C a s t l e ; and t h e l a t t e r two a r e w i t h o u t e n d i n g . I n K a f k a ' s work, c o n f u s i o n i s more i n v o l v i n g l y " r e a l i s t i c " and v i t a l t h a n i n A r r a b a l ' s • c o n s c i o u s l y a r t i s t i c c o n s t r u c t s . The most i m p o r t a n t i n f l u e n c e o f K a f k a i n C e l e b r a n d o , however, i s s t y l i s t i c . A r r a b a l ' s p r o s e i s s i m i l a r t o K a f k a ' s . I t has t h e same sentence rhythm, t h e same s i m p l e , r e a l i s t i c and l u c i d r e p o r t e r - l i k e o b j e c t i v e s t y l e t o r e l a t e t h e d r e a m - l i k e , t h e " u n r e a l " and " l o i n e s p e r a d o " . -43-F o r example, K a f k a d e s c r i b e s o b j e c t i v e l y and f a c t u a l l y Gregor Samsa's metamorphosis (The M e t a m o r p h o s i s ) : A l s Gregor Samsa e i n e s Morgens aus u n r u h i g e n Traumen erwachte, f a n d e r s i c h i n seinem B e t t zu einem ungeheuren U n g e z i e f e r v e r w a n d e l t . (As Gregor Samsa awoke one morning from uneasy dreams he found h i m s e l f t r a n s f o r m e d i n h i s bed i n t o a g i g a n t i c i n s e c t ) . 3 8 T h i s i s p a r a l l e l e d by A r r a b a l ' s " f a c t u a l " d e s c r i p t i o n o f the unexpected: Por l a p a r e d , f r e n t e a mi cama, c e n t e n a r e s de o j o s se d e s l i z a b a n mirandome. (p. 185) A l despertarme a b r i l o s o j o s , pero no v i n i e l e s c a r a b a j o de oro en su c a j a de c r i s t a l , n i l a p i p a sobre e l v e l a d o r , n i e l cuadro que me r e p r e s e n t a montado a c a b a l l o . . . . (p. 117) An a d d i t i o n a l example f o r comparison i s E l a r q u i t e c t o , w h i c h b o t h i n s t y l e and c o n t e n t (rumours and h e a r s a y about t h e a r c h i t e c t and the a r c h i t e c t ' s a b s u r d d e a t h ) , r e c a l l s K a f k a ' s work (rumours about the c a s t l e o f f i c i a l s and t h e judges o f t h e t r i a l , and the a b s u r d d e a t h o f K a f k a ' s hero.) -44-The objective s t y l e of Celebrando finds a p a r a l l e l in the cold and objective technique employed in Arrabal's f i g u r a t i v e paintings to depict scenes of fantasy. The art of his paintings l i k e the art of Celebrando i s "tres f i g u r a t i f , mais porteur de f o l i e et de demesure . "39 The technique i s s i m i l a r to that employed by Rene Magritte who paints with r e a l i s t i c d e t a i l the unreal. Another influence present in Celebrando i s that of Lewis C a r r o l l , whose world of humour, grotesquerie, nonsense songs and r i d d l e s , finds echoes in Arrabal's work. There are d i r e c t p a r a l l e l s : Arrabal, l i k e A l i c e , goes through small doors bearing i n s c r i p t i o n s , grows smaller and smaller in E l d i l u v i o , and penetrates a mirror i n E l ganguino. The confusion between dream and r e a l i t y hinted at in La esperanza. La daga y l a bandera and C r i c k e t t echoes A l i c e ' s conversation about dream and r e a l i t y with 40 Tweedledee i n Through the Looking Glass. Both Arrabal and A l i c e penetrate a labyrinthine world in which the l o g i c of the r a t i o n a l world i s turned upside down. Arrabal, however, contrary to A l i c e , i s not an outsider i n the i r r a t i o n a l world. In Celebrando the i r r a t i o n a l sphere i s not framed by the presence of a r a t i o n a l world of d a i l y r e a l i t y , which i s the case in the two A l i c e s t o r i e s . -45-The i n f l u e n c e s o f K a f k a and C a r r o l l a r e , however, m a r g i n a l . The human v a l u e s p o r t r a y e d i n C e l e b r a n d o are not d e r i v e d from t h e i r f i c t i o n a l w o r l d s , b u t from A r r a b a l ' s o r i g i n a l w o r l d o f " e l hombre p a n i c o " . " E l hombre p a n i c o [ q u i e n ] toma p a r t e en l a a c t i v i d a d ar t i s t i c a , " ' ^ ' ' " d e r i v e s from A r r a b a l ' s concept o f " e l p a n i c o " , w h i c h has f o r p h i l o s p h i c a l b a s i s " e l axioma: ' l a v i d a es l a memoria y e l hombre es e l a z a r ' . . . . E l p a n i c o . . . e s una 'manera de s e r ' p r e s i d i d a - p o r l a c o n f u s i o n , e l humor, 42 e l t e r r o r , e l a z a r y l a e u f o r i a . " The p a n i c v i s i o n c e n t r e s on " l a f i e s t a p a n i c a " , o r t h e c e l e b r a t i o n o f t h e ceremony o f c o n f u s i o n . The t i t l e , C e l e b r a n d o l a ceremonia  de l a c o n f u s i o n p o i n t s t o t h e " A c t i v i d a d e s d e l hombre p a n i c o " as o u t l i n e d by A r r a b a l : — A r t e — J u e g o — F i e s t a 4 3 The mythology o f the a r t i s t i n C e l e b r a n d o i s a p a r t i c u l a r i z a t i o n o f t h e mythology o f " p a n i c " man. A c c o r d i n g t o A r r a b a l ' s d e f i n i t i o n , " p a n i c " man i s drawn towards humour, t h e e n i g m a t i c , a b n o r m a l i t y , d e f o r m a t i o n , c o n t r a d i c t i o n and c o n f u s i o n ; and he r e j e c t s " l o g r a v e " , and systems o f m o r a l i t y w h i c h do n o t accommodafcecldissehters. "Fantasmas d e l hombre p a n i c o " i n c l u d e : " P a r a n o i a . . . -46-MeSalomania...Celos, f e t i c h i s m o , n e c r o f i l i a . . . M i t o l o g i a . . . • „44 M i t o m a n i a . A l l t h e s e a s p e c t s a r e r e f l e c t e d i n C e l e b r a n d o , w h i c h i s pervaded w i t h the humour and enigmas o f t h e c h i l d r e n 1 s s s o n g s and r i d d l e s ; w i t h d e f o r m a t i o n ("La s e r p i e n t e de cabeza de perro";[p. 12] ) ; and c o n t r a d i c t i o n s ("aunque me voy, no me voy". £p. 30]) " P a r a n o i a " i s r e c u r r e n t i n t h e a r t i s t ' s f e a r o f i n s o m n i a , i n h i s awareness o f eyes f i x e d on him i n L a gavio.ta y l a s g a v i o t a s , and i n h i s h a l l u c i n a t i o n w i t h i n t h e dream i n C r i c k e t t : "Note como comenzaban a t i r a r m e p u n a l e s y v i v a r i a s sombras amtenazadoras que se d i r i g i a n a mi." (p. 64) "Megalomania" i s p r e s e n t i n t h e p e r s i s t e n c e o f t h e s e l f -p o r t r a i t i n C e l e b r a n d o , i n t h e " p a n i c " s t r e s s on "yo". Megalomania i s t h e s u b j e c t o f A r r a b a l ' s p a i n t i n g , A r r a b a l combattant s a megalomania,vhich r e p r e s e n t s A r r a b a l as k n i g h t mounted on a h o r s e . From the s e a i n t h e f o r e g r o u n d , r i s e s a hand w i t h a g l a s s t o a s t i n g A r r a b a l . The dominant a s p e c t o f A r r a b a l ' s p a i n t i n g s i s t h e p e r v a s i v e s e l f - i r o n y . The sense o f t h e r i d i c u l o u s and t h e g r o t e s q u e d i r e c t e d a t t h e s e l f i s p a r t o f the p a n i c "manera de s e r " . " C e l o s , f e t i c h i s m o , n e c r o f i l i a " e n t e r l a b y r i n t h s such as L a f u e n t e de l a j u v e n t u d , E l d i l u v i o , Las s i e t e t r e b o l e s and t h e c h a p t e r s i n t h e square d e s c r i b i n g t h e pagan r i t u a l s - 4 7 -around t h e g i a n t e s s . Dominant L T p a n i c t e e h a r a c f e e r i s t i c s i n C e l e b r a n d o a r e : " M i t o l o g f a (todo l o que se ama)" and "Mitomania". Myth and f a i r y t a l e s r e c u r r i n v a r i o u s d e f o r m a t i o n s . The myth o f Adam and Eve i s p a r o d i e d i n Las s e r p i e n t e s ; t h e f a i r y t a l e o f S l e e p i n g Beauty, d i s t o r t e d t o i n c l u d e n e c r o p h i l i a i n L a f u e n t e de l a j u v e n t u d , a l a b y r i n t h w h i c h a l s o d i s t o r t s the myth o f Py g m a l i o n ; t h e t a l e o f Count D r a c u l a , d i v e s t e d o f r o m a n t i c a s p e c t s i n Grupo 0, r h e s u s n e g a t i v o ; and t h e a n c i e n t myth o f the k i l l i n g o f t h e dragon, r e - e n a c t e d by the a r t i s t i n La daga y l a bandera, as he t h r u s t s a dagger i n t o t h e c h e s t o f a man " [ q u i e n l l l e v a b a en e l b o l s i l l o s u p e r i o r de l a chaqueta un panuelo r o j o con un drago'n en e l c e n t r o . " (p. 38) The myths and f a i r y t a l e s r e t o l d and d i s t o r t e d i n i n d i v i d u a l l a b y r i n t h s r e f l e c t t h e encompassing myth and f a i r y t a l e o f C e l e b r a n d o as a whole: t h e r e b i r t h myth and t h e f a i r y t a l e o f A r r a b a l - k i n g and g i a n t e s s - q u e e n . The c h a r a c t e r s i n C e l e b r a n d o , l i k e t he c h a r a c t e r s i n t h e w o r l d o f f a i r y - t a l e , a r e t w o - d i m e n s i o n a l , l a c k i n g i n d e p t h . "Leur monde e s t c e l u i des metamorphoses e t du p o s s i b l e A 4 5 i n f i n i : l e r e v e " w r i t e s A l a i n S c h i f r e s o f t h e c h a r a c t e r s i n A r r a b a l ' s t h e a t r e , w h i c h a p p l i e s a l s o t o t h e c h a r a c t e r s i n C e l e b r a n d o . The g i a n t e s s , as mentioned, r e c u r r s as -48-monume.n.tal image i n the s q u a r e ; and as l o v e r , mother, f o r t u n e , queen, Venus and memory i n the l a b y r i n t h s . The o t h e r c h a r a c t e r s e n c o u n t e r e d by t h e a r t i s t a r e c h i l d r e n and a man who r e a p p e a r s as a r t i s t , p o e t , a r c h i t e c t , god — a l l o f w h i c h a r e r e f l e c t i o n s o r p r o j e c t i o n s o f t h e a r t i s t - h e r o h i m s e l f , j u s t as i n f a i r y t a l e and dream t h e c h a r a c t e r s are p r o j e c t i o n s o f the hero or dreamer. A r r a b a l ' s o r i g i n a l i t y i n C e l e b r a n d o r e s t s i n h i s p a r t i c u l a r f u s i o n o f fundamental a r c h e t y p e s , myth, j f a i r y t a l e , dream and p e r s o n a l o b s e s s i o n . I n t h i s way, f o r example, t h e g i a n t e s s i s the m o t h e r - l o v e r a r c h e t y p e , t h e goddess o f myth, t h e queen o f f a i r y t a l e , the a n i m a - p r o j e c t i o n o f dream and t h e e x p r e s s i o n o f A r r a b a l ' s o b s e s s i o n w i t h t h e mother, an o b s e s s i o n e v i d e n t i n h i s drama, p a r t i c u l a r l y i n Los dos ver d u g o s , E l gran c e r e m o n i a l , and E l a r q u i t e c t o y e l emperador de A s i r i a . I n h e r m u l t i p l e r o l e s , t h e g i a n t e s s e x p r e s s e s t h e d u a l i t y o f t h e female a r c h e t y p e : m a l e v o l e n c e as w e l l as b e n e v o l e n c e . I n L a t r a n s f o r m a c i o n , f o r example, she asks f o r t h e a r t i s t ' s s o u l ; i n Los o j o s she p r e v e n t s him from r e a c h i n g h i s s o u l ; whereas i n L a v e l a de l a be11a, t h e image o f t h e f l i g h t o f t h e e t h e r e a l v e i l s s u g g e s t s t h e u n i o n o f t h e i r s o u l s . -49-The d u a l i t y o f t h e female i s e x p r e s s e d a l s o i n A r r a b a l ' s p a i n t i n g s ; f o r example, A r r a b a l l a c h e par l a Eemme, d e p i c t s a m i n i a t u r e A r r a b a l dropped from the l a r g e hand o f a g i g a n t i c female suspended i n t h e sky above a freeway; whereas, a n o t h e r p a i n t i n g , A r r a b a l adore p a r l e s Geantes r e p r e s e n t s A r r a b a l s u r r o u n d e d by t h r e e b e n e v o l e n t f e m a l e s . The g i a n t e s s 1 r o l e s o f "memoria" and m a t r i a r c h i n t h e square a r e r e l a t e d , s i n c e p e r s o n a l memory, drawing from c h i l d h o o d c e n t r e s on t h e mother-image. A r r a b a l , who had no f a t h e r from t h e age o f t h r e e , s p e a k i n g about h i s work, s a y s : "...ma mere a une t r e s grande i m p o r t a n c e . . . . m a i t e n a n t , j e cherche a s a v o i r ce q u i s ' e s t passe dans mon e n f a n c e . " 4 ^ T h i s i s a l s o r e f l e c t e d i n A r r a b a l ' s p a i n t i n g c a l l e d A r r a b a l t e n t e par 1' ambigui'te w h i c h r e p r e s e n t s A r r a b a l and h i s w i f e , b o t h nude, who have exchanged t h e i r b o d i e s . A r r a b a l e x p l a i n s : "C'est l e re v e d ' a m b i g u i t e que f o n t , j e suppose, t o u s l e s m a r i s . I n the p a i n t i n g hissmofeher appears "sous l a forme d'une \ AO h a r p i e . On s e n t l a que j e l'aime de p l u s en p l u s . " 4 0 The c u l m i n a t i n g r i t u a l i n Ce l e b r a n d o i s t h e r e a l i z a t i o n o f t h e O e d i p a l dream. H a v i n g passed t h r o u g h t h e i n i t i a t i o n r i t e s i n t h e l a b y r i n t h s , t h e a r t i s t , i n C a p i t u l o s e x t o , i s i n c o r p o r a t e d i n t o t h e g i a n t e s s . On one l e v e l he e n t e r s -50-h e r as t i n y i n f a n t i n o r d e r t o be r e b o r n t h r o u g h h e r ; on a n o t h e r l e v e l t h e u n i o n i n d i c a t e s the m a r r i a g e r i t e o f k i n g and queen: " e s t a b a v e s t i d a de r e i n a " (p. 1?>9) ; " a l i i " e s t a b a yo con una c o r o n a , con un manto r e a l y un c e t r o de o r o . " (p. 200) H i s e n t r y t h r o u g h th e eye i s 49 s y m b o l i c o f s e x u a l u n i o n . " E l l a y yo s o l o s , " (p. 199) e c h o i n g " e l l a y yo nos encerramos s o l o s " (p. 102) i n Amor, i n d i c a t e s t h e w i s h - f u l f i l m e n t dream o f r o m a n t i c l o v e . On a n o t h e r r e l a t e d l e v e l , A r r a b a l ' s u n i o n w i t h t h e g i a n t e s s p o i n t s t o a m y s t i c a l u n i o n w i t h the s o u l o r a n i m a - f i g u r e . Jung's o b s e r v a t i o n : "the image o f ' s o u l ' somehow c o i n c i d e s 50 w i t h the mother-image" i s r e l e v a n t h e r e . Through the c e r e m o n i a l a c t o f r e b i r t h , t h e a r t i s t passes i n t o t h e w o r l d o f i m m o r t a l i t y . The meaning o f t h e r e b i r t h c y c l e i n myth r e s i d e s p r e c i s e l y i n t h e d e s i r e f o r i m m o r t a l i t y . The a r t i s t ' s f l i g h t t h r o u g h c u r v e d space and c i r c u l a r t i me and h i s metamorphoses and i m m o r t a l i t y r e p r e s e n t t h e u l t i m a t e i l l u s i o n o f C e l e b r a n d o . E l v i a j e f a l l s i n t o two p a r t s . I n t h e f i r s t p a r t , t h e n a r r a t o r ' s p e r p e t u a l c i r c u l a r j o u r n e y from g i a n t e s s i n t o l a b y r i n t h s i n t o g i a n t e s s r e s u l t s i n e t e r n a l r e c u r r e n c e , w h i c h i s , i n e f f e c t , a s t a t i c s i t u a t i o n t h a t l e a d s nowhere, e x c e p t t o t h e same p o i n t s o v e r and o v e r a g a i n . The second p a r t , d e s c r i b i n g t h e a r t i s t ' s f l i g h t t h r o u g h space and -51-t i m e s u g g e s t s p r o g r e s s i o n i n a d d i t i o n t o the r e t u r n i n g t o t h e same p o i n t s o v e r and o v e r a g a i n . The c i r c l e i s extended i n t o an a s c e n d i n g s p i r a l . Through t h i s p r o c e s s memory i s e n r i c h e d : "mi memoria se e n r i q u e S e . " (p. 202) E l v i a j e has a r c h e t y p a l , p h i l o s o p h i c a l and a r t i s t i c i m p l i c a t i o n s . The a r c h e t y p a l wanderings i n t h e l a b y r i n t h a r e t r a n s f o r m e d i n t o t h e j o u r n e y i n t h e cosmos — b o t h are s y m b o l i c o f a j o u r n e y towards t h e s e l f o r c e n t r e o f b e i n g . The c e n t r e o f b e i n g i s r e a l i z e d i n a m u l t i t u d e o f b e i n g s : "y soy g a t o , y ave F£nix, y c i s n e , y e l e f a n t e y n i n o y v i e j o . " ( p . 202) The theme o f E l v i a j e i s common t o A r r a b a l ' s t h e a t r e , o f w h i c h t h e dominant c h a r a c t e r i s t i c s a r e c i r c u l a r i t y and t h e t r a n s f o r m a t i o n o f t h e c h a r a c t e r s . P h i l o s o p h i c a l l y , E l v i a j e as p a r t o f Cel e b r a n d o demonstrates what George P o u l e t c a l l s "the r i c h n e s s t h a t r e l a t i v i s t t h o u g h t d i s c o v e r s i n t h e cosmos? . . . f o r e v e r y p l a c e and e v e r y moment o f f e r s t o man a new p o i n t o f v i e w . As he p l a c e s h i m s e l f t h e r e i n , he p e r c e i v e s around him, a u n i v e r s e no l e s s i n f i n i t e t h a n t h e u n i v e r s e g l i m p s e d i n t h e n e x t p l a c e o r i n t h e p r e c e d i n g moment. So much s o , t h a t t h e w o r l d b e i n g composed o f an i n f i n i t y o f p l a c e s and o f moments, i s an i n f i n i t y o f w o r l d s , a l l i n f i n i t e , t h a t t h e human c o n s c i o u s n e s s apprehends everywhere and always.51 -52-E l v i a j e d e s c r i b e s t h e a r t i s t ' s p e r p e t u a l r e i n v e n t i o n o f h i s own b e i n g and h i s c a p a c i t y t o a n n i h i l a t e c o n c r e t e t i m e and space by moving i n t h e l i m i t l e s s sphere o f t h e i m a g i n a t i o n . A r r a b a l ' s p a i n t i n g , L a N a i s s a n c e d ' A r r a b a l , d e p i c t i n g A r r a b a l coming out o f t h e mouth o f A r r a b a l coming out o f t h e mouth o f A r r a b a l coming out o f the mouth o f A r r a b a l , e t c . , i s r e l e v a n t t o t h e p r o c e s s o f C e l e b r a n d o , w h i c h i s o f a c i r c u l a r p r o c e s s c o n s i s t i n g , t h e c o n s t a n t r e i n v e n t i o n o f t h e s e l f , and, f i n a l l y , expr.es".smngaan a s p i r a t i o n t o i n f i n i t y and t o i m m o r t a l i t y . C o n c e r n i n g h i s p a i n t i n g s , A r r a b a l w r i t e s : "Ces t a b l e a u x se p r e s e n t e n t comme des ceremonies p l a t e s . y s 52 Des ceremonies immobiles.' The ceremonies a r e t h e ceremonies o f l i f e , o f c o n f u s i o n and o f a r t . The p a i n t i n g , A r r a b a l c e l e b r a n t l a Ce'remonie de l a c o n f u s i o n , d e p i c t i n g A r r a b a l a t t h e c h e s s b o a r d (metaphor f o r a r t ) w i t h monkeys ( e v o l u t i o n o f mankind) and books b e a r i n g the t i t l e Pan i n t h e background, s e r v e s as t h e c e n t r a l i l l u s t r a t i o n f o r C e l e b r a n d o . I n c o n c l u s i o n , w i t h i n t h e c i r c u l a r framework o f Celebrandffl. A r r a b a l c r e a t e s a mythology o f t h e s e l f , o f t h e - 5 3 -a r t i s t and o f " p a n i c " man. The mythology i s p e r s o n a l , i n d i v i d u a l ; b u t i t i s framed by a u n i v e r s a l m y t h i c s t r u c t u r e — t h e r e b i r t h p a t t e r n and i t s t e c h n i c a l e x p r e s s i o n , t h e c i r c u l a r i t y o f C e l e b r a n d o . The p e r s o n a l i s e x p r e s s e d i n t h e c o n t e n t s o f the l a b y r i n t h s , w h i c h a r e analogous t o hypnagogic dream; and t h e i m p e r s o n a l i n t h e myth. The u n i f y i n g images i n t h e p a t t e r n o f C e l e b r a n d o are t h e c i f c l e (symbol o f t h e s e l f ) ; t h e m i r r o r ( i n f r o n t o f wh i c h the s e a r c h f o r t h e s e l f b e g i n s and ends) and t h e l a b y r i n t h (the space wherein t h e s e a r c h t a k e s p l a c e ) ; a l l o f w h i c h a re human " r o o t " symbols and w h i c h t o g e t h e r f u n c t i o n as a s u b s t r u c t u r e c o n n e c t i n g C e l e b r a n d o as i n d i v i d u a l work o f a r t t o the a e s t h e t i c t r a d i t i o n . W i t h i n t h e a e s t h e t i c framework o f a c i r c u l a r q u e s t , w h i c h i s , i n p o i n t o f f a c t , a t r a d i t i o n a l framework, l i e s t h e " c o n f u s i o n " r e p r e s e n t e d by " p a n i c " v a l u e s ; t h a t i s , t h e d i s p l a c i n g and r e l a t i v i z i n g o f myths, t h e c o n t r a d i c t i o n s and d i s t o r t i o n s o f " p a n i c " man"s r e l a t i v i s t i c w o r l d , and " l a f i e s t a " , o r t h e ceremony o f c o n f u s i o n which i s t h e ceremony o f l i f e , o f memory, and o f a r t . C e l e b r a n d o as a whole f u l f i l s Arrabal's d e f i n i t i o n o f a r t , w h i c h f i n d s i t s b a s i s i n Greek mythology: -54-L a o b r a d e l a r t i s t a . . . e s un f r u t o de l a u n i d n d e l tiempo y de l a memoria. L a memoria r e p r e s e n t a d a por l a b i o g r a f i a d e l a r t i s t a y l a h i s t o r i a de l a humanidad y e l tiempo por e l f u t u r o ; es d e c i r , por e l a z a r . (p. 163) Cele b r a n d o i s a f u s i o n o r " c o n f u s i o n " ( t h a t i s , i n t e r m i n g l i n g ) o f p e r s o n a l ( " l a b i o g r a f i a " ) and a r c h e t y p a l ( " l a h i s t o r i a de l a humanidad") symbolism; o f p e r s o n a l dream and o b s e s s i o n and o f myth; o f p e r s o n a l and g e n e r a l memory. Memory i s p a r t o f t i m e . I t b o t h a c t s on and i s a c t e d upon by t h e f l u x o f change. The main c h a r a c t e r s , t h e g i a n t e s s and A r r a b a l , and t h e main a c t i o n , t h e i r i n t e r a c t i o n , a re t h e f i c t i o n a l e x p r e s s i o n o f t h e thou g h t : "La v i d a es l a memoria y e l hombre es e l a z a r . " ^ 4 As a work o f i m a g i n a t i o n , C e l e b r a n d o e x e m p l i f i e s t h e n a r r a t o r ' s o b s e r v a t i o n : "todo l o que mezclandose e n t r e s i produce l a i m a g i n a c i o n " (p. 26)i f o r i t i s t h e b l e n d i n g o f dream, f a i r y t a l e , myth and r i t u a l , a l l o f w h i c h a r e p a r t o f p e r s o n a l and c o l l e c t i v e memory. However, c o n t r a d i c t i o n s a r i s e when A r r a b a l ' s i d e a s and t h e o r i e s a r e viewed i n t h e c o n t e x t o f t h e a c t u a l work o f a r t , C e l e b r a n d o . Time i s " e l a z a r " , " l o i n e s p e r a d o " , b u t i t i s a l s o a s t r u c t u r e d , m y t h i c , c y c l i c a l t i m e . The a b s t r a c t , memory and c o n f u s i o n , i s c o n c r e t i z e d i n t h e c o n s c i o u s l y c o n t r o l l e d c o n s t r u c t s o f t h e l a b y r i n t h s and t h e s q u a r e . By e x p r e s s i n g t h e a b s t r a c t i n v i s u a l -55-images, A r r a b a l g i v e s i t form, and so removes i t from the r e a l m o f c o n f u s i o n and chance. T h i s i s most o b v i o u s i n E l a n c l a . A r t i t s e l f i s c r e a t e d from " l o i n e s p e r a d o " and " l a c o n f u s i o n " , b u t i t s r e a l i z a t i o n i n r i g i d l y c o n t r o l l e d form p r e s e n t s a c o n t r a d i c t i o n . C e l e b r a n d o w i t h i t s m a t h e m a t i c a l form, i t s c y c l i c a l s t r u c t u r e o f meaning, and i t s system o f i n t e r n a l echoes, i s p a r t o f A r r a b a l ' s c o ncept o f an i d e a l p l a y : " . . . l a c o m p o s i t i o n en s e r a p a r f a i t e , ttoxi-.t|t en refl<e.:tant l e chaos e t l a c o n f u s i o n de 55 l a v i e . " But a l t h o u g h i t s c o m p o s i t i o n i s p e r f e c t , and a l t h o u g h i t r e f l e c t s t h e c o n f u s i o n r e p r e s e n t e d by " p a n i c " v a l u e s , i t r e f l e c t s t h e chaos and c o n f u s i o n o f l i f e t h e o r e t i c a l l y r a t h e r t h a n r e a l i s t i c a l l y . C e l e b r a n d o i s t h e e x p r e s s i o n r a t h e r t h a n t h e f u l f i l m e n t o f A r r a b a l ' s t h e o r i e s . . . F i n a l l y , t h e b a s i c c o n t r a d i c t i o n l i e s i n t h e t i t l e : C e l e b r a n d o l a ceremonia de l a c o n f u s i o n . The s t r e s s i s on "ceremonia", th e m e e t i n g p o i n t o f a r t and l i f e , and i m p l y i n g o r d e r as w e l l as d i s o r d e r . The c o n t r a d i c t i o n , however, i s p r e c i s e l y p a r t o f t h e c o n f u s i o n , as u n d e r s t o o d by A r r a b a l : "J'entends par c o n f u s i o n t o u t ce q u i e s t c o n t r a d i c t o i r e , i n e x p l i c a b l e , i n e s p e r e . . . . " The m y s t e r y o f " l a ceremonia de l a c o n f u s i o n " i s a human m y s t e r y . -56-D e s p i t e , o r perhaps because o f , t h e o r e t i c a l and a c t u a l d i s c r e p a n c i e s w i t h i n the work o f a r t (which are p a r t o f t h e n a t u r e o f a r t i t s e l f , w h i c h r e l i e s e s s e n t i a l l y on semblances and masks), t h i s m y s t e r y r e s i d e s a t the b a s i s o f C e l e b r a n d o . -57-I I . C e l e b r a t i n g t h e Ceremony o f C o n f u s i o n t r a n s l a t e d from t h e S p a n i s h . The g i a n t e s s was r e c l i n i n g on t h e monument, immobile. Her body c o v e r e d t h e e n t i r e s u r f a c e o f t h e p e d e s t a l . The p i l g r i m s approached w i t h o f f e r i n g s and the c h i l d r e n t r i e d t o c l i m b up t o t o u c h h e r d r e s s . The monument was i n th e m i d d l e o f the square w h i c h was b a r e , w i t h o u t t r e e s o r benches. A group o f p i l g r i m s s t a r t e d t o s i n g : Hey d i d d l e d i d d l e The c a t and t h e f i d d l e Jumped o v e r t h e moon W i t h a r e d b a l l o o n . From where I was s t a n d i n g i t l o o k e d as i f t h e g i a n t e s s were made o f m a r b l e . Some moments b e f o r e , however, i t had seemed t o me t h a t I was s e e i n g h e r shoes from the f r o n t and t h a t h e r h a i r was b l o w i n g i n t h e wi n d . D u r i n g the whole a f t e r n o o n on the p r e v i o u s day, I had been c o n v i n c e d t h a t t h e whole t h i n g was o n l y a p r o j e c t e d image. When I l o o k e d a t h e r from d i f f e r e n t a n g l e s , the p o s s i b i l i t i e s and hypotheses m u l t i p l i e d ; -58-and when I stayed on one spot concentrating very hard, they became i n f i n i t e . But at that p a r t i c u l a r moment, I was convinced that she as well as her pedestal were made of marble. The pilgrims wanted everyone to be quiet. They were ©hushing" everybody. A l i t t l e boy went to the foot of the monument and said: "Sonnet." After a short pause, he recited: There I met an old man Who would not say his prayers. I took him by the l e f t leg And threw him down the s t a i r s . An indescribable racket began to b u i l d up, preventing me from hearing the rest of the sonnet. Some of the pilgrims were h i t t i n g each other. Others were taking photographs. On the f i r s t day of my a r r i v a l , perhaps because I was over-exhausted and f u l l of nervous tension from the journey I "saw" the giantess raise herself and make signals to me to approach. Because of her extraordinary s i z e , her shadow f e l l over more than h a l f of the square. Everyone was smiling - 5 9 -h a p p i l y and I a l s o s m i l e d , as i f we were s h a r i n g I don't know what s e c r e t . A f t e r I had s l e p t and r e s t e d , I f e l t r e f r e s h e d and happy and l e t m y s e l f be c a r r i e d a l o n g by t h e j o v i a l atmosphere (not d e v o i d o f t h r e a t s ) w h i c h p r e v a i l e d i n t h e s q u a r e . An o r c h e s t r a , conducted by a man d r e s s e d l i k e a k i n g w i t h a s c e p t r e and r o y a l mantle (perhaps he was a r e a l monarch), ascended i n a b a l l o o n and s t r u c k up a melody w i t h a s t r o n g r h y t h m - d e d i c a t e d , I was t o l d , t o t h e g i a n t e s s . The p e o p l e s t a r t e d t o dance w i l d l y t o the mus i c . I l o o k e d around me u n t i l I n o t i c e d an archway w i t h a s i g n : LABYRINTHS As I went towards i t , t h e p i l g r i m s were s i n g i n g : L avender's r e d Roses a re b l u e I f you'11 have me I'11 have you. They a l s o sang: A madman and a madam T o l d me one day: Not a l l a r e t h a t a r e Nor a re a l l t h a t may. - 6 0 -A c o u p l e went up t o t h e s t a t u e and p r e s e n t e d a b o t t l e c o n t a i n i n g a r a b b i t t o t h e g i a n t e s s . When I r e a c h e d t h e archway, I found a l a r g e wooden door w i t h t h e same i n s c r i p t i o n : " L a b y r i n t h s " and a l s o " F i r s t L a b y r i n t h . " O b v i o u s l y i t had been a l o n g t i m e s i n c e t h e door had been used, s i n c e i t c r e a k e d as I pushed i t open. B e f o r e c l o s i n g i t b e h i n d me, I l o o k e d a t the g i a n t e s s once more. She was s m i l i n g a t me perhaps w i t h s l i g h t m a l e v o l e n c e . E v e r y t h i n g was dark and t h e clamor i n t h e square was s c a r s e l y a u d i b l e . Immediately I saw t h e e n t r a n c e t o the l a b y r i n t h s ; o r r a t h e r , t o t h e f i r s t l a b y r i n t h . On t h e w a l l I saw: -61-FIRST LABYRINTH WHITE PAINTINGS As I was w a l k i n g towards t h e c a s t l e a c a r t crammed w i t h c h i l d r e n came s p e e d i n g down t h e m i d d l e o f t h e r o a d . I t was i m p o s s i b l e t o t e l l what was p u l l i n g t h e v e h i c l e . A c l o u d o f d u s t p r e v e n t e d me from s e e i n g whatever i t was; p r o b a b l y , I t h o u g h t , a runaway h o r s e . The c h i l d r e n s q u e a l e d w i t h t e r r o r . I n f r o n t o f me ro s e t h e h a l f - r u i n e d c a s t l e . One o f th e w a l l s was undamaged e x c e p t f o r t h e upper p a r t . Where the t u r r e t used t o be, t h e r e was a naked woman c o v e r e d by he r l o n g h a i r and w i t h h e r hands bound t o g e t h e r . The c a r t c o n t i n u e d r o l l i n g u n t i l i t c r a s h e d a g a i n s t a t r e e . There was a g r e a t commotion and the c h i l d r e n s p i l l e d t o t h e ground. A l l o f them were d r e s s e d i n t h e c h i l d r e n ' s f a s h i o n o f some decades ago: t h e g i r l s i n hoop s k i r t s and t h e boys i n l i t t l e v e l v e t s u i t s . I r e a l i z e d t h a t t h e c a r r i a g e was n o t p u l l e d by anybody o r a n y t h i n g . I c l i m b e d t o t h e f i r s t f l o o r o f what was l e f t o f th e c a s t l e and r a n i n t o h e r . Now she was n e i t h e r bound n o r naked; she wore a costume e l a b o r a t e l y d e c o r a t e d w i t h l a c e -62-and ribbons, with a very low waistline and a low neckline with a bow in the middle. A bow of impressive s i z e . Without greeting me, she t o l d me that she had a c o l l e c t i o n of pictures that I "must see". I think that'ishe used the word "marvellous" to describe them. She appeared distant and bewildered to the point that I wondered i f she were drugged. She took me to one of the drawing rooms. I t was untidy with useless gaps in the walls .where the windows used to be. The f l o o r was covered with dust. "This i s my c o l l e c t i o n of paintings." I looked at the c o l l e c t i o n c a r f u l l y . A l l the paintings were exactly the same, depicting p e r f e c t l y white surfaces. I assumed they were the creations of some unknown student of Malevich. There were not even traces of shadows — they were t o t a l l y white. Then she explained ithem to me. Each picture represented a c h a r a c t e r i s t i c story or scene: Venus in the garden, Apollo with a dove on his head, the shepherdess and a peasant g i r l , Greek masquerades. As she explained the pictures, her face changed. I t looked as i f she were l i v i n g each painting. Her - 6 3 -eyes s p a r k l e d e n t h u s i a s t i c a l l y . " N o t i c e t h e shadow o f h e r hand on t he v a s e . What a m a s t e r p i e c e '." Then she added : "Now I s h a l l t a k e you t o t h e t h r o n e room. The re I k e e p t h e b e s t p a i n t i n g . " She t o l d me t h a t t h e canvas i n t h e t h r o n e room c o n t a i n e d t h e s e c r e t o f h e r l i f e . H e r v o i c e was a l m o s t a w h i s p e r a n d , o f c o u r s e , f u l l o f e m o t i o n . " D o n ' t you t h i n k t h a t t h e b e s t one i n t h i s room i s t h e one w i t h t h e l e g s o f a g a l l o p i n g h o r s e ? " " Y e s , I a g r e e , " I s a i d . " E v e r y o n e s a y s s o . " W i t h a g r e a t a i r o f m y s t e r y , she c o n d u c t e d me t o t h e t h r o n e room. She l e d me as i f I were b l i n d u n t i l I s a t down i n what she c a l l e d : " t h e m o n a r c h ' s t h r o n e . " E v e r y t h i n g was c o m p l e t e l y d a r k . The s e a t was most u n c o m f o r t a b l e . I was s l i g h t l y f r i g h t e n e d . B e f o r e d r a w i n g t h e c u r t a i n s a s i d e , she t o l d me t h a t I was g o i n g t o see a p i c t u r e t h a t a t f i r s t s i g h t w o u l d seem t o be a b l a n k s u r f a c e . A c c o r d i n g t o h e r , I had t o l o o k a t i t v e r y t h o r o u g h l y , " u s i n g memory as h e l p " ( t h i s she r e p e a t e d s e v e r a l -64-t i m e s ) , u n t i l my i m a g i n a t i o n would e n a b l e me t o s t a r t s e e i n g t h e c o l o u r s l i t t l e by l i t t l e . I n t h i s way, t h e p a i n t i n g would cease b e i n g w h i t e by f i r s t t u r n i n g g r e y i s h and t h e n l i t t l e by l i t t l e t a k i n g on the c o l o u r s and l i n e s o f t h e scene. I c o u l d have sworn t h a t h e r comments were broken from time t o t ime by s i g h s . She was a t t h e window drawing the c u r t a i n s a s i d e when t h e room l i t up. My s u r p r i s e was immense. There was n o t one p a i n t i n g b u t two: one was t h e p o r t r a i t o f a naked woman on t o p o f t h e r u i n e d c a s t l e where t h e t u r r e t used t o be, c o v e r e d by h e r l o n g h a i r and w i t h a rope t i e d around h e r w r i s t s ; the o t h e r p i c t u r e d e p i c t e d a c a r t t h a t had j u s t ' i ' h i t a t r e e . The c h i l d r e n were s p i l l e d t o the ground. A l l o f them were d r e s s e d i n the c h i l d r e n ' s f a s h i o n o f some decades ago — t h e g i r l s i n hoop s k i r t s and the boys i n l i t t l e v e l v e t s u i t s . - 6 5 -SECOND LABYRINTH THE SWAN I l l n e s s f o r c e d me t o s t a y a t home. The d o c t o r s c o u l d n o t d i a g n o s e i t . The symptoms were s i m p l e : f a t i g u e , d i z z y s p e l l s and d e l i r i u m . My eyes and my mind were so weak t h a t , as I wa l k e d around, i t seemed as i f t h e house were moving. S h o r t l y b e f o r e I f e l l i l l , t h e swan, a l t h o u g h he had a -pond oh t h e p a t i o , s t a r t e d t o spend t h e days i n t h e rooms o f the house. He f o l l o w e d me everywhere. A t night., he s l e p t on my bed and when he was c o l d he r a i s e d the s h e e t s w i t h h i s beak and g o t i n s i d e . I had become v e r y f o n d o f him. When I went t o t a k e a shower i n tihe morning, he came a l o n g and s p l a s h e d around h a p p i l y . Of c o u r s e , i n t h o s e days t h e w a t e r d i d n o t gush o u t as h a r d as i t used t o , p o s s i b l y because t h e p i p e s were n o t f u n c t i o n i n g p r o p e r l y . The swan l i k e d i t when I s c r a t c h e d him under h i s w i n g s . He made t h e most amusing sounds. One day when I went i n t o t h e c l o s e t , I got a s c a r e : t h e r e was t h e swan c l i n g i n g t o t h e w a l l i n what seemed t o me t o be an i m p o s s i b l e manner. Immediately he threw h i m s e l f a t me as i f t o embrace me. -66-The doctors had recommended a l o t of sleep; but actually i t seemed as i f I were unable to bear the bed. My f a i n t i n g s p e l l s occurred frequently and I spent days and nights as i f unconscious. Each time I fainted, the swan became more affectionate; he could not l i v e without me. I began to suspect that he was drinking on the day when I l e f t an open bottle in the dining room only to f i n d i t some hours l a t e r empty and knocked over on the f l o o r . I made some experiments with d i f f e r e n t kinds of a l c o h o l i c drinks and with wines of better and worse q u a l i t y . There was no doubt: the swan drank from my b o t t l e s . What worried me was his pretense. Why did he drink behind my back? One day when I went into the wine c e l l a r , I didn't know what to think: more than h a l f the bottles were empty and scattered on the f l o o r ! I was almost tempted to laugh. How could the swan drink so much! I fainted. When I came to in the wine c e l l a r , the bird"was there with his wings around me and putting h i s long neck under my l e f t armpit. He was making happy sounds. I was so weak that I even believed that the walls were moving. I sat up and looked around. Twenty more bottles were empty. -67 I l a y down and s l e p t . When I awoke, I went around on t i p t o e l o o k i n g f o r t h e swan. I l o o k e d f o r him i n t h e whole house and f i n a l l y found him c l i n g i n g t o one o f t h e w a l l s i n t h e k i t c h e n . The sun was s h i n i n g on i t and I was a b l e t o l o o k a t i t c l o s e l y . The w a l l was c o m p l e t e l y soaked w i t h wine and t h e n I saw t h a t a l l t h e w a l l s o f t h e house were s a t u r a t e d as w e l l as t h e f l o o r ; and t h e house was r e e l i n g , drunk. -68-THIRD LABYRINTH THE TRANSFORMATION I was v e r y c a r e f u l t h a t the g l a s s j a r was always h e r m e t i c a l l y s e a l e d . I had g l u e d a sonnet t o t h e g l a s s w i t h t h e t i t l e : CUMATEPAN w h i c h I had found i n an o l d book. Whenever we went out t o g e t h e r i n h e r c a r , s i n c e she drove v e r y q u i c k l y and w i t h h e r f e e t b a r e , I made su r e t h a t t h e j a r w ould n o t be b r o k e n by p u t t i n g i t between my t h i g h s w h i c h I p r e s s e d c l o s e l y t o g e t h e r . A t f i r s t I d i d n ' t dare t o go i n t o t h e w a t e r when we were a t the beach. I c o u l d n o t run t h e r i s k o f l e a v i n g i t on t h e sand, abandoning i t t o whomever might s t e p on i t , s t e a l i t o r b r e a k i t ; nor c o u l d I bathe w i t h i t s i n c e I d i d n ' t know i f t h e l i d would r e s i s t t h e dampness. A t n i g h t , I used t o spend whole h o u r s ^ a t a time c o n t e m p l a t i n g i t , l o o k i n g a t i t v e r y c l o s e l y and m e d i t a t i n g . When I c o n c e n t r a t e d on one o f t h e p a r t i c u l a r i t i e s o f i t s form (which was a c t u a l l y q u i t e o r d i n a r y ) , I even found e x p l a n a t i o n f o r some o f t h e m y s t e r i e s . L a t e r I d e c i d e d always t o keep i t t i e d t o my body. -69-I d i d n ' t want i t t o be s e p a r a t e from me, n o r t o l o s e s i g h t o f i t even f o r an i n s t a n t . I d e c i d e d t h a t t h e i d e a l t h i n g would be t o t i e a r i b b o n a l i t t l e below t h e l i d around t h e j a r . But t o w h i c h p a r t o f my body s h o u l d I t i e the r i b b o n ? F o r some t i m e , I c a r r i e d i t a t t a c h e d t o my w r i s t w h i c h i s th e c e n t r e o f t h e w i l l . L a t e r i t seemed o b v i o u s t o me t h a t I s h o u l d a t t a c h i t t o my neck — t h e c e n t r e o f f i r e and perhaps o f l i f e . O c c a s i o n a l l y , I s i m p l y t i e d i t t o my b e l t , t h u s r e n d e r i n g homage t o human s o r d i d i t y . F o r some weeks, I hung i t on one o f my f i n g e r s , c h a n g i n g f i n g e r s a c c o r d i n g t o t h e c i r c u m s t a n c e s . E v e r y time we went o u t t o g e t h e r , she seemed enchanted by th e j a r . I remember once she came home u n e x p e c t e d l y and found me s t a r i n g a t t h e j a r w h i c h was i n the m i d d l e o f the t a b l e , t o t a l l y a bsorbed i n i t . She s a t down and ..remained s i l e n t l y b e s i d e me. I t h i n k she was t r y i n g t o i m i t a t e me. F i n a l l y , as I had f e a r e d , she s a i d t o me one day: "Give me the j a r . " "The j a r ? " "Yes." I handed i t t o h e r u n w i l l i n g l y . -70-She went into the kitchen and started to make marmalade with i t s contents. I did not dare to reveal to her that my soul was inside the j a r . -71-FOURTH LABYRINTH THE VAMPIRE L i t t l e by l i t t l e I l o s t my memory. I f o r g o t the most elementary t h i n g s . I went around w i t h my mind loaded w i t h notes, telephone numbers and da t e s . A l l memories o f my ch i l d h o o d , youth and adolescence had vanished completely. My f r i e n d ' s c o l l e c t i o n o f p a i n t i n g s was of the most unusual k i n d p o s s i b l e . No one knew how to p a i n t the f a n t a s t i c to appear famil i a r ] - : as he d i d . Looking at h i s work, I even imagined t h a t I found the answers to some o f the m y s t e r i e s : s u i c i d e , anguish, f a i t h , happiness. The doctors a d v i s e d me to take phosphorus p i l l s t o re c o v e r my memory, but i t was no use. To t o p i t a l l , I f o r g o t e v e r y t h i n g t h a t had. t o do wit h s t o r i e s , w i t h l i f e , e v e r y t h i n g which b l e n d i n g t o g e t h e r makes up the i m a g i n a t i o n . On the other'-hand, the o n l y t h i n g s t h a t I remembered were dates, names and numbers. I was p a r t i c u l a r l y i n t e r e s t e d i n one o f my f r i e n d ' s p a i n t i n g s . I t was a p i c t u r e o f a man l o o k i n g a t h i m s e l f i n a m i r r o r . In h i s r i g h t hand, he h e l d a t i n y g l a s s :casket ( i n s i d e -72-w h i c h I c o u l d see a hand h o l d i n g a bunch o f keys and a r u i n e d c a s t l e ) . Even though i t was n o t y e t f i n i s h e d , I guessed t h a t i t was g o i n g t o be a m a s t e r p i e c e . My f r i e n d , t h e p a i n t e r , had come t o l i v e a t my house e v e r s i n c e he had begun t h i s p a i n t i n g . On t h e f i r s t day, he p l a c e d a sword on my bed and asked me t o s l e e p on t h e r i g h t s i d e w h i l e he would s l e e p on t h e l e f t . I agreed even though I d i d n o t l i k e h i s manner. I t seemed t o me t h a t as I l o s t my memory, t h e r e s t o f my f a c u l t i e s , as might have been e x p e c t e d , d e t e r i o r a t e d : my i n t e l l i g e n c e waned, my i m a g i n a t i o n dimmed and I was ho l o n g e r a b l e t o l o v e . I n t h e p a i n t i n g , t h e man w i t h the c a s k e t was g a z i n g a t h i m s e l f i n the baroque m i r r o r . The m i r r o r d i d n o t r e f l e c t t h e scene i n e x a c t d e t a i l ; f o r t h e head i n s t e a d o f b e i n g on t h e man's body was p l a c e d i n h i s hands where a c t u a l l y t h e c a s k e t s h o u l d have been. Some days l a t e r , my f r i e n d t o l d me t h a t he had f i n i s h e d t h e p a i n t i n g and t h a t he t h e r e f o r e "no l o n g e r needed my h o s p i t a l i t y f o r w h i c h he was v e r y g r a t e f u l . Some n i g h t s l a t e r , I a c c i d e n t a l l y came a c r o s s my f r i e n d under one o f t h e b r i d g e s o f t h e c i t y . He was c l i n g i n g t o an - 7 3 -o l d female tramp, h i s l i p s p r e s s e d t o h e r nape. The p l a c e s t a n k o f excrement and wine. I c a l l e d him b u t he d i d n o t r e p l y . When I put my hand on h i s s h o u l d e r , he r a i s e d h i s head and l o o k e d a t me w i t h o u t r e c o g n i t i o n and w i t h inhuman anger. He i m m e d i a t e l y t u r n e d away and a g a i n p r e s s e d h i s mouth a g a i n s t t h e back o f t h e o l d woman's neck. I was on my way home when I d e c i d e d t o pass by h i s s t u d i o ; a c t u a l l y ; t o t a k e advantage o f h i s absence. L e a n i n g a g a i n s t t h e e a s e l i n t h e m i d d l e o f t h e s t u d i o was a p o r t r a i t o f t h e o l d vagabond woman s i t t i n g on a t o p p l e d p i l l a r w i t h a phantom b o a t coming towards h e r . The r e s t o f t h e canvas was s t i l l w h i t e . To t h e r i g h t was t h e p a i n t i n g w i t h t h e c a s k e t i n t h e man's hands t h a t f a s c i n a t e d me so much. I t was now f i n i s h e d . He had put a l i o n and a cow i n t h e background. The c e n t r a l f i g u r e . : l o o k e d s u r p r i s i n g l y l i k e me. I opened a l i t t l e c l o s e t and found a s h e l f w i t h a l a b e l s a y i n g : MEMORY RESERVE. On t h e s h e l f were s e v e r a l g l a s s j a r s ; each j a r had a h a n d - w r i t t e n l a b e l and was f i l l e d w i t h a c l o u d y l i q u i d . On one o f them was my name. C a r e f u l l y I opened th e r e c e p t a b l e and drank t h e c o n t e n t . My i n f a n c y , my c h i l d h o o d , my y o u t h and b i o g r a p h y came back t o my b r a i n . -74-FIFTH LABYRINTH THE SEA I was l y i n g on t h e wat e r w i t h my eyes c l o s e d and my body r e l a x e d . The sea was calm; n o t h i n g s t i r r e d . I t was f a i r weather a t s e a . When I had t a u g h t m y s e l f t h i s p o s i t i o n , I d i d n o t c a l l i t " p l a y i n g dead" as I had h e a r d c h i l d r e n say, n or " f l o a t i n g " , b u t " s l e e p i n g on the w a t e r " . "The s e a s y m b o l i z e s dream and a t t i m e s n i g h t m a r e . . . " he s a i d . More t h a n once he had been seen a t t h e beach, s l e e p i n g and s t r e t c h e d o u t on t h e sand i n such a way t h a t t h e wat e r c o v e r e d a c o r n e r o f h i s mouth, one e a r and a l l o f one s i d e . I n s p i t e o f k e e p i n g my eyes s h u t , I f e l t t he sun above me. The w a t e r was a l l around me and y e t i t d i d n o t seem t o make me wet. I h e a r d no n o i s e — t h e beach was d e s e r t e d . I remained s t i l l f o r s e v e r a l m i n u t e s . When I opened my eyes , I was a l r e a d y c l o s e t o t h e r o c k s . Someone was s i n g i n g w i t h a c o u n t r y a c c e n t : - 7 5 -A l t h o u g h I go I don't l e a v e A l t h o u g h I go i n words I don't go i n t h o u g h t s . W i t h o u t moving, I examined t h e r o c k s and t h o u g h t I r e c o g n i z e d h i s f a c e t h a t seemed s c u l p t e d i n b a s - r e l i e f a o n a v e r y h i g h r o c k . Yes, i t was him. He b u r s t o u t l a u g h i n g and s a i d : "Love i s memory." In f a c t , h i s head formed p a r t o f t h e h i g h e s t r o c k and a n o t h e r r o c k n e x t t o i t seemed t o be e n c l o s e d i n a cage. Down i n t h e bay, r e c l i n i n g on t h e s e a , I l o o k e d up a t the ^ h e i g h t s . I t u r n e d o v e r , g i v i n g up my p o s i t i o n , and i t was then t h a t I r e a l i z e d t h a t t h e sea was not w a t e r bu t b l o o d . - 7 6 -SIXTH LABYRINTH HOPE Whenever the p a i n t e r spoke t o me, he managed to wave h i s arms around without l o s i n g h i s n a t u r a l calmness. He was a very-c o n s c i e n t i o u s man and what was most important to him i n doing my p o r t r a i t was the f a c t t h a t he was ea r n i n g a c e r t a i n amount o f money. He had an a r t i s t i c conscience worthy of Velazquez but h i s slowness c o u l d have passed f o r l a z i n e s s i f you were not aware o f h i s g e n i u s . As the p o r t r a i t progressed, l e t t e r s s t a r t e d t o appear on my body. The word DESIRE appeared on the r i n g f i n g e r o f my r i g h t hand; and DESTINY and DEATH on the s o l e s o f my f e e t . I t i s p o s s i b l e t h a t I alone saw these l e t t e r s s i n c e they were drawn i n such a way t h a t they c o u l d be confused w i t h the n a t u r a l l i n e s o f my s k i n . When I looked very c l o s e l y , I found l e t t e r s i n the s m a l l e s t placets: between my f i n g e r s , a t the edge o f a f i n g e r n a i l , at the corners o f my mouth. The a r t i s t drew my p o r t r a i t without t a k i n g the l e t t e r s i n t o account. We spoke l i t t l e , . While he p a i n t e d , he seemed very withdrawn, but there was n o t h i n g a f f e c t e d or a r t i f i c i a l i n h i s -77-m a n n e r . I t s e e m e d a s i f h e h a d o n l y d o m e s t i c m a t t e r s o n h i s m i n d . S o m e t i m e s h e w h i s t l e d a c l a s s i c a l t u n e , s o m e t i m e s a m o d e r n s o n g . I u s e d t o s p e n d h o u r s w i t h o u t m o v i n g , s i t t i n g i n m y c h a i r a n d w e a r i n g o n l y a p a i r o f w h i t e p a n t s w i t h a b e l t . I a s m u s e d m y s e l f b y l o o k i n g a t m y l e t t e r s : F I R E w a s w r i t t e n i n h u g e l e t t e r s a c r o s s m y c h e s t , m y h e a r t w a s d e c o r a t e d b y t h e w o r d W A T E R a n d a n i n s c r i p t i o n a p p e a r e d o n e a c h o f m y r i b s — L I N E , A D U L A T I O N , S E V E N , e t c . S o m e t i m e s t h e a r t i s t r e s t e d c a l m l y . H e w a s t h e i m a g e o f c o m f o r t l y i n g b a c k i n h i s c h a i r w i t h h i s l e g s s t r e t c h e d o u t w i d e a p a r t a n d i n s i s t e n t l y p l a y i n g w i t h t h e h a i r s t h a t s t u c k o u t o f h i s n o s t r i l s . A l t h o u g h I w a s s u f f e r i n g f r o m i n s o m n i a , i t o f t e n h a p p e n e d t h a t a p e c u l i a r k i n d o f d r o w s i n e s s t o t a l l y o v e r c a m e m e a n d I f e l l a s l e e p b e y o n d r e m e d y . I t s e e m e d t o m e t h a t a s t h e p a i n t e r ' s b r u s h m o v e d i n d u s t r i o u s l y a c r o s s t h e c a n v a s i t a l s o c a r e s s e d w h i c h e v e r p a r t o f m y b o d y i t w a s p a i n t i n g u n t i l I f e l l a s l e e p . W h e n t h i s h a p p e n e d , I a l w a y s h a d t h e s a m e d r e a m • a l t h o u g h w i t h v a r i a t i o n s t h a t d i d n o t c h a n g e a n y t h i n g i b a s i c . T h e d r e a m w a s d i v i d e d i n t o t h r e e p a r t s : - 7 8 -— d u r i n g t h e f i r s t p a r t ( t h a n k s t o the s y m b o l i c e x p l a n a t i o n s o f t h e members o f my b o d y ) , I h e l d t h e key t o the r e a l m o f t h e f o u r t h d i m e n s i o n , something w h i c h I was a b l e t o prove th a n k s (?) t o a t r e e l o a d e d w i t h hands. - - d u r i n g the second p a r t , I c l i m b e d i n t o a barge t h a t had t h e shape o f hope(?) and I rowed t o a p l a c e where someone was w a i t i n g f o r me t o c o v e r my body w i t h g o l d . — d u r i n g t h e t h i r d and l a s t p a r t , I f e l l a s l e e p i n my dream and asked m y s e l f a t what l e v e l I was; i n o t h e r words, was I dreaming t h a t I was dreaming o r was I dreaming t h a t I was dreaming t h a t I was dreaming, e t c . The t h r e e p a r t s f o l l o w e d each o t h e r w i t h o u t a b r e a k . When t h e p a i n t i n g was f i n i s h e d , t h e p a i n t e r s u g g e s t e d t h a t I hang i t i n t h e l i v i n g room between two c a n d l e s o f d i f f e r e n t s i z e s . When he l e f t , he threw an i n c o m p r e h e n s i b l e phrase a t me w h i c h I t h i n k r e f e r r e d t o t h e " s u r v i v o r whom I would meet". From t h a t day on, I was no l o n g e r a b l e t o s l e e p . I s p e n t n i g h t s and days awake. No m a t t e r how h a r d I t r i e d , i t was i m p o s s i b l e t o s l e e p . One n i g h t , some weeks l a t e r , I h e a r d t h e p a i n t e r ' s v o i c e c a l l i n g me from t h e garden. I went down b u t he was n o t t h e r e . -79-I n t h e m i d d l e o f t h e garden, from where t h e a r t i s t ' s v o i c e had come, t h e r e was a t r e e l o a d e d w i t h human heads, moving i n t h e w i n d . I went c l o s e r t o g e t a b e t t e r v i e w o f i t when I su d d e n l y n o t i c e d t h a t I was w a l k i n g on t h e beach. I saw a barge and c l i m b e d i n w i t h o u t t h i n k i n g about i t . I t s name was i n s c r i b e d i n r e d l e t t e r s : HOPE. The s a i l o r t o l d me t h a t I had t o l e t m y s e l f be a n o i n t e d w i t h a s p e c i a l k i n d o f o i n t m e n t . I c l o s e d my eyes and f e l t h i s hands on my body. When i t was o v e r , I saw my image r e f l e c t e d i n t h e sea and r e a l i z e d t h a t h i s hands had c o v e r e d me w i t h g o l d . I disembarked i n f r o n t o f my house and r a n up t h e s t a i r s i n t o t h e l i v i n g room. L o o k i n g a t the p a i n t i n g , I saw t h a t my image was s l e e p i n g : I was s l e e p i n g i n t h e p o r t r a i t . -80-SEVENTH LABYRINTH THE DAGGER AND THE BANNER As I got on t h e a i r p l a n e , I t h o u g h t I had f o r g o t t e n something w h i c h was perhaps i m p o r t a n t . Y e t , I had done the p a c k i n g v e r y c a r e f u l l y . I made s e v e r a l g u e s s e s . Was i t a book, a notebook, something i n d i s p e n s i b l e ? I went t h r o u g h e v e r y t h i n g t h a t I might have f o r g o t t e n w i t h o u t f i n d i n g t h e answer. I t was a s i x - h o u r n i g h t j o u r n e y . As u s u a l when i n t h i s s i t u a t i o n , I f e l l a s l e e p as soon as t h e p l a n e l e f t t h e ground. A s h o r t time l a t e r , t h e s t e w a r d e s s ' v o i c e , perhaps a l s o the t o u c h o f h e r hand on mine, awoke me. "Do you w i s h t o d i n e , s i r ? " I t o l d h e r t h a t I would l i k e i t i f she d i d n o t awake me a g a i n d u r i n g t h e f l i g h t . I was f a r t o o happy t o be a b l e t o go t o s l e e p e a s i l y , w i t h o u t t h e u s u a l i n s o m n i a t h a t p l a g u e d me a t n i g h t , t o l e t m y s e l f be d i s t r a c t e d by d i n n e r . I was n o t e x a c t l y dreaming. I was i n a p a r t i c u l a r s t a t e produced by t h e s t e a d y t h r o b o f t h e e n g i n e s , t h e murmur -81-o f c o n v e r s a t i o n s around me, t h e l i g h t and my s l i g h t l y u n c o m f o r t a b l e p o s t u r e . Sometimes t h e n o i s e around me became a chorus and between dreams I h e a r d songs from my c h i l d h o o d w h i c h I had b e l i e v e d t o be d e e p l y b u r i e d i n o b l i v i o n : The man i n t h e moon Came t u m b l i n g down He went t o t h e s o u t h And b u r n t h i s mouth. The whole t i m e , I was w a v e r i n g between dream and r e a l i t y i n such a way t h a t I sometimes t o o k the d i s t o r t i o n s , f o r t h e r e a l i t y . The s e n s a t i o n s provoked by t h i s s t a t e produced a p l e a s i n g p h y s i c a l e x c i t e m e n t i n me. A l l my t h o u g h t s were overwhelmed w i t h adventure b u t a l s o w i t h t h r e a t s . D u r i n g one o f t h o s e i n s t a n t s o f c o n f u s i o n and o f an a c c u m u l a t i o n o f d i f f e r e n t s e n s a t i o n s , I "saw" t h e o b j e c t I had f o r g o t t e n . I t was a r e d f l a g w i t h a dragon i n t h e m i d d l e w h i c h I c a r r i e d w i t h me as a g o o d - l u c k charm whenever I t r a v e l l e d . A f t e r t h i s f i r s t l u c i d v i s i o n , I f e l l i n t o a s e r i e s o f i n t r i c a t e dreams w h i c h I would be q u i t e i n c a p a b l e o f p u t t i n g i n t o p r o p e r words. -82-My n e i g h b o u r ' s v o i c e a d d r e s s i n g a n o t h e r passenger momentarily^/ awoke me. But I was q u i c k l y dreaming a g a i n . I dreamed t h a t I was l i f t e d t o t h e t o p o f t h e a i r p l a n e . Making e v e r y e f f o r t p o s s i b l e , I c r a w l e d back t o t h e baggage room. A f t e r a few minute's.'! :.6fgsearching, I found my s u i t c a s e . I opened i t . The box i n w h i c h I k e p t t h e r e d banner w i t h t h e dragon was on t o p o f t h e c l o t h e s , b u t t h e banner was n o t t h e r e ; i n s t e a d , a s h a r p unsheathed dagger g l i t t e r e d on t h e r e d v e l v e t . I s e i z e d the dagger, k i s s e d i t and put i t i n my p o c k e t . T h e . s t r o n g odour o f c o f f e e woke me up. We were l a n d i n g . As we g o t c l o s e r t o t h e ground, we were s u r p r i s e d t o see t h e a i r p o r t c o m p l e t e l y d e s e r t e d . A l l a l o n e , on one o f the p l a t f o r m s , someone was s i g n a l l i n g . As I g o t c l o s e r , I n o t i c e d t h a t h i s s i g n a l s were meant f o r me. One o f my former C o l l e g e f r i e n d s , whom I had not seen f o r y e a r s , was b e c k o n i n g me t o come up t o the c o n t r o l t o w er. I remembered t h a t one day he had s a i d something i n c o m p r e h e n s i b l e t o me: " I t i s d i f f i c u l t t o d i s t i n g u i s h t h e compromise o f perenniality.© - 8 3 -I n s p i t e o f a l l t h e y e a r s t h a t had passed t h i s sentence remained f i x e d i n my mind. What k i n d o f compromise d i d he mean and t o what s o r t o f p e r e n n i a l i t y was he r e f e r r i n g ? Why t h i s l i m i t a t i o n , " i t i s d i f f i c u l t " , t h a t gave the sentence a g r e a t e r r e a l i t y ? I went up t h e s t a i r s t o meet him and a r r i v e d a t t h e c o n t r o l t o w e r . He was t h e r e i n h i s b l a c k cape w i t h t h e r e d v e l v e t c o l l a r . I n t h e b r e a s t p o c k e t o f h i s j a c k e t , he had a r e d h a n d k e r c h i e f w i t h a dragon i n t h e m i d d l e . I went t o shake h i s hand and w i t h o u t r e a s o n t o o k th e dagger out o f my p o c k e t . I s t a r e d a t i t n o t knowing what t o do. Suddenly something i r r e s i s t i b l e was l e a d i n g my hand. My mind s p i n n i n g w i t h c o n f u s i o n , I t h r u s t t h e dagger i n t o h i s c h e s t as h a r d as I c o u l d . F o r an i n s t a n t , I l o o k e d a t t h e c o r p s e . I was r u s h i n g down t h e s t e p s as f a s t as I c o u l d when I h e a r d : One two t h r e e He c a n ' t see C a r r y on, c a r r y on You're t h e t r e e . Suddenly t h e v o i c e o f the s t ewardess s p e a k i n g t o my n e i g h b o u r woke me up. Thank goodness! I t was a dream, a -84-n i g h t m a r e , and I was s t i l l i n t h e a i r p l a n e . I l o o k e d a t the t i m e . There was s t i l l an hour and a h a l f l e f t . I s l e p t f o r t h e r e s t o f t h e t r i p and o n l y awoke when t h e ste w a r d e s s s a i d : "Please f a s t e n your s e a t b e l t s . " The p l a n e , now i n r e a l i t y , l a n d e d . The p e r s o n n e l l e d us t o a s i d e door i n s t e a d o f t h e main door o f t h e a i r p o r t . One o f t h e passengers asked why t h i s was s o . The s t e w a r d r e p l i e d : "A crime was committed an hour and a h a l f ago. A man was found i n t h e c o n t r o l room w i t h a dagger i n h i s c h e s t . " I asked him f o r t h e v i c t i m ' s name and he gave me the name o f my former f r i e n d a t C o l l e g e . -8 5-EIGHTH LABYRINTH EURIPIDES THE LION Sometimes when I was about t o say something, she would come out w i t h i t b e f o r e I had time t o i l e t t h e words out o f my mouth. I t a l s o happened t h e o t h e r way around. A f t e r a w h i l e , we r e a l i z e d t h a t sometimes we were b o t h t h i n k i n g t h e same t h i n g . A t the t i m e , a l i g h t v e r y d i f f i c u l t t o d e s c r i b e b r i g h t e n e d t h e rooms o f our house. I n t h e back room l i v e d E u r i p i d e s t h e l i o n . One day w h i l e I was t h i n k i n g about t h e mechanics o f memory, she immediately began t o speak about t h e same s u b j e c t . We examined t h e sequence o f thought t h a t each o f us had f o l l o w e d . We had b o t h proceeded i n t h e same manner. I n o t h e r words, d u r i n g more t h a n f i f t e e n minutes we had b o t h f o l l o w e d e x a c t l y t h e same t r a i n o f t h o u g h t . I n t h e back room, t h e l i o n was romping about. We used t o v i s i t him i n the e v e n i n g s and when we s t r o k e d him he made a l o u d r u m b l i n g n o i s e t h a t sounded almost l i k e a c a r e n g i n e . We o f t e n examined what we had been t h i n k i n g and i t t u r n e d out t h a t we spe n t l o n g p e r i o d s o f t i m e t h i n k i n g about the same t h i n g s . We t r i e d t o come t o an u n d e r s t a n d i n g o f -86-t h e e x a c t p r o c e s s o f t h i s phenomenon. Three hypotheses came t o our minds: e i t h e r i t was I who t h o u g h t and " d i c t a t e d " my t h o u g h t s t o h e r , o r v i c e - v e r s a , o r we were c a r r y i n g on a m e n t a l c o n v e r s a t i o n t o g e t h e r w h i l e b e l i e v i n g t h a t each o f us was t h i n k i n g i n d e p e n d e n t l y o f t h e o t h e r . E u r i p i d e s t h e l i o n wandered around i n h i s room, the l i g h t c h a n g i n g t h e shades and tones o f h i s body. L a t e r on, we i n v e n t e d o t h e r hypotheses most o f w h i c h I have f o r g o t t e n . One o f them calmed us: perhaps someone was d i c t a t i n g our t h o u g h t s t o b o t h o f us s i m u l t a n e o u s l y . We l o o k e d i n t o t h e p o s s i b i l i t y t h a t he d i c t a t e d t o o t h e r people as w e l l w i t h o u t coming up w i t h a s a t i s f a c t o r y answer. A t n i g h t , when we v i s i t e d t h e l i o n E u r i p i d e s , he g r e e t e d us i n t h e d a r k n e s s w i t h two luminous words s p e l l e d out i n h i s eyes: LINE DEUS. One day we thought we u n d e r s t o o d what our " m i s s i o n " was t o be: t o a t t a i n c o n t i n u o u s t e l e p a t h y and t o make i t a v a i l a b l e t o everyone i n town. To do t h i s , we c a r r i e d o ut t h r e e s e r i e s o f o p e r a t i o n s . F i r s t each o f us t r a i n e d w i t h c a r d s i n our r e s p e c t i v e rooms. A t the end o f two months we were a b l e t o r e a d t h r o u g h t h e w a l l . The second o p e r a t i o n c o n s i s t e d o f pulmonary massages; and t h e t h i r d , o f p u t t i n g w i r e mesh around our rooms. E u r i p i d e s t h e l i o n , h a p p i l y wagging h i s t a i l , was w a l k i n g on a i r i n h i s room. - 8 7 -F i n a l l y we were a b l e t o communicate by t e l e p a t h y a l l the t i m e and we d e c i d e d t o make our r e s e a r c h e s a v a i l a b l e t o everyone i n town. Soon everybody a c q u i r e d t h e f a c u l t y o f t e l e p a t h y . A f t e r t h e f i r s t p e r i o d o f e u p h o r i a , t h e r e was a p e r i o d o f : . d e g e n e r a t i o n c h a r a c t e r i z e d by innumerable and o f t e n v i c i o u s c o n j u g a l , f a m i l y and s o c i a l q u a r r e l s . Those who s u r v i v e d e x p e r i e n c e d g r e a t boredom wh i c h made communication i m p o s s i b l e . Everyone was l o n g i n g f o r t h e t i m e when i l l u s i o n , l i e s , d e c e i t and i n t i m a c y had been t h e norm. E u r i p i d e s t h e l i o n , s e c l u d e d i n h i s room, g r e e t e d us w i t h l e a p s o f j o y and even l i c k e d our hands. We c o n t i n u e d our r e s e a r c h and e x p e r i m e n t s . A f t e r many months o f f a i l u r e s , f a l s e p a t h s and f r u s t r a t e d hopes, we were a b l e t o g i v e good news t o t h e town. We had d i s c o v e r e d t h e s e c r e t o f communication: t e l e p a t h y had t o be a b o l i s h e d . When we went i n t o t h e room a t n i g h t , we saw t h e l i o n ' s eyes i n t h e d a r k . The words i n h i s eyes had changed t o POINT and DEI. We t u r n e d on t h e l i g h t b u t t h e l i o n E u r i p i d e s was no l o n g e r t h e r e . -88-NINTH LABYRINTH BOTTICELLI A l t h o u g h I c o u l d n o t see h e r head, nor h e r neck, n o r h e r f e e t , nor h e r knees, I i m m e d i a t e l y knew t h a t i t was Venus a t t h e moment o f b i r t h by B o t t i c e l l i . There she was w i t h h e r b l o n d h a i r g a t h e r e d and h e l d by h e r hand over h e r p u b i s t o c o v e r h e r s e l f . The o t h e r hand, w i t h t h e same g r a c e , was p l a c e d on her b r e a s t , t h e f i n g e r s s l i g h t l y p a r t e d . Thus o u t l i n e d a g a i n s t my window, Venus remained immobile f o r a l o n g t i m e . The c o l o u r s were t o o a r t i f i c i a l t o be u g l y . T h i s u n n a t u r a l p u r i t y was inhuman enough t o f i l l me w i t h s e l f - c o n f i d e n c e . I c l o s e d my eyes and t r i e d t o go back t o s l e e p . When I awoke, Venus was once more g r a c e f u l l y o u t l i n e d i n t h e window frame. I t had been a week now t h a t e v e r y t i m e I woke up d u r i n g the n i g h t I had seen h e r t h e r e (and more c u r i o u s s t i l l , i t had been a week s i n c e I had n o t been a b l e t o dream). I n s p i t e o f t h e d a r k n e s s , I was a b l e t o t e l l t h e lower p a r t o f t h e g r e e n i s h background from th e upper i p a r t w h i c h was l i g h t e r . E x a c t l y seven days b e f o r e , a t n i g h t f a l l , a man whom I had met on t h e beach came t o v i s i t me. He was m i d d l e - a g e d , w i t h a round and s m i l i n g f a c e w i t h l a r g e f l e s h y l i p s , a b r oad mouth, -89-t i n y w i c k e d eyes and a wide nose. A l t h o u g h he was on t h e beach, he wore a j a c k e t and an o v e r c o a t as w e l l as a neat t i e w h i c h s t o o d out a g a i n s t h i s d i r t y , w r i n k l e d s h i r t . The p a r t o f h i s d r e s s t h a t a t t r a c t e d most a t t e n t i o n was a f a b u l o u s s h i n y t o p h a t , d e c o r a t e d w i t h g o l d l e t t e r s t h a t I was no t a b l e t o r e a d . He laughed g o o d - n a t u r e d l y and c&£&y.#gsah<$0fc#g felwas'-happy. H i s b r o a d f a c e was c o v e r e d w i t h s h o r t , w h i t e s t u b b l e — a t h r e e -o r f o u r - d a y s ' growth o f b e a r d . D u r i n g t h e whole t i m e t h a t I was w i t h him on t h e beach and l a t e r a t n i g h t i n my house, I was a f r a i d t h a t he might k i s s me, a f e a r w h i c h was q u i t e unfounded. Why s h o u l d he k i s s me? Moreover, t h e o n l y t h i n g t h a t would have b o t h e r e d me was t h a t h i s b e a r d might p r i c k t o o much. When he came a t n i g h t , he i n s t a l l e d h i m s e l f i n f r o n t o f the b i g m i r r o r i n t h e d i n i n g room. He had a s l i d e r u l e , s e v e r a l compasses, sharpened l e a d p e n c i l s , r u l i n g pens and o t h e r p r e c i s i o n i n s t r u m e n t s i n t h e p o c k e t s o f h i s j a c k e t . Over my image i n t h e m i r r o r , he s t a r t e d t o draw g e o m e t r i c l i n e s t o l o c a t e , he s a i d , t h e h i d i n g p l a c e o f t h e f a c u l t i e s i n my head. Some minutes l a t e r , t h e m i r r o r was c o v e r e d w i t h Greek l e t t e r s , s t r a i g h t l i n e s , a r c s and p o i n t s . -90-A t t h a t i n s t a n t , he came towards me i n a way w h i c h seemed " o b v i o u s " t o me and k i s s e d me. H i s b e a r d d i d , a c t u a l l y , p r i c k me. As he came so c l o s e t o me, I n o t i c e d a d e t a i l t h a t had escaped me b e f o r e : he wore h i s t o p h a t alm o s t o v e r h i s e y e s . As i f n o t h i n g had happened, he c o n t i n u e d t o e x p l a i n "my head" t o me. He was v e r y s u r e about a t r i a n g u l a r s e c t i o n s i t u a t e d on t h e s c a l p above -'my l e f t e a r . He s a i d t h a t i n the c e n t r e o f t h a t t r i a n g l e t h e f a c u l t y o f dreams was l o c a t e d . Suddenly he was v e r y much i n a h u r r y and he l e f t as he had come b u t n o t b e f o r e c a l l i n g out to me as i f i t were a message: " W e ' l l be s e e i n g each o t h e r ! " L y i n g on my bed, I a g a i n saw Venus w i t h h e r r a d i a n t body. Suddenly an i d e a o c c u r r e d t o me: f o r a week I had been u n a b l e t o dream...was i t p o s s i b l e . . . . I r a n t o t h e m i r r o r . As I had e x p e c t e d , t h e r e was a h o l e i n my s c a l p above my l e f t e a r . I l e f t t h e house l o o k i n g f o r the man w i t h t h e t o p h a t . I n s t i n c t i v e l y I went t o t h e beach. From a f a r I s i g h t e d h i s u n m i s t a k a b l e t o p h a t . He was s l e e p i n g on t h e sand. As I bent o v e r him, I n o t i c e d an e x p r e s s i o n o f p e a c e f u l n e s s and h a p p i n e s s -91-on h i s f a c e . W i t h o u t a doubt, t a k i n g advantage o f my dreams, he was l i v i n g t h e most p a s s i o n a t e a d v e n t u r e s . . . . I s n a t c h e d h i s h a t from h i s head, d e t e r m i n e d t o get back what b e l o n g e d t o me. I remained stunned t h e r e was n o t h i n g i n h i s b r a i n s ; n o t h i n g above h i s brow. He was h o l l o w . Undismayed, I examined th e l i n i n g o f t h e h a t t o w h i c h a l i t t l e p i e c e o f my t h r o b b i n g f l e s h was s t i c k i n g . When I had put e v e r y t h i n g back i n o r d e r , I l o o k e d a t t h e g o l d l e t t e r s t h a t shone on t h e h a t . They r e a d : BOTTICELLI -92-CHAPTER TWO THE SQUARE When I had ended my v i s i t t o t h e n i n t h l a b y r i n t h , I found m y s e l f once more i n t h e square w h i c h seemed t o be more r a d i a n t and s p a r k l i n g t h a n b e f o r e . I t l o o k e d as i f t h e g i a n t e s s i n t h e m i d d l e had grown. The c h i l d r e n were s c r e a m i n g themselves h o a r s e , s i n g i n g : I d i o t t h e y c a l l me T i r a l i r a l o o l They l i v e t o work I l i v e t o f o o l . The p i l g r i m s were r e s t i n g a t the f o o t o f t h e monument and among them was t h e b o t t l e c o n t a i n i n g the r a b b i t w h i c h I had seen p l a c e d t h e r e . The o r c h e s t r a conducted by t h e man d r e s s e d l i k e a k i n g was s t i l l p l a y i n g i n t h e b a l l o o n above the monument. I remembered t h a t on t h e f i r s t day, as I got up, I had n o t i c e d s e v e r a l c l u s t e r s o f c o r p s e s h a n g i n g from t h e g i a n t e s s ' f i n g e r s . A t such an e a r l y hour i n the morning, i t was q u i t e p o s s i b l e t h a t I was the o n l y one t o w i t n e s s -93-t h a t scene. Ravens had p i c k e d t h e f l e s h from t h e bones. L a t e r s t r e e t - s w e e p e r s came a l o n g and threw t h e s k e l e t o n s i n t o t a n k - t r u c k s f i l l e d w i t h s e a water. I n t h e wat e r you c o u l d r e a d t h e word "Hope". When the peopl e s t a r t e d t o a r r i v e a t around e l e v e n o ' c l o c k i n t h e morning, n o t a t r a c e was l e f t o f a l l t h a t and t h e " f e s t i v a l " was read y t o s t a r t . I remember t h a t a boy who was c a r r i e d on t h e s h o u l d e r s o f a group o f women g o t up on t h e p e d e s t a l and c a l l e d o u t : "A son n e t , d e d i c a t e d t o t h e g i a n t e s s ! " I t i s p o s s i b l e t h a t he s a i d something t h a t was more f a c e t i o u s ; i n any ca s e , I r o a r e d w i t h l a u g h t e r when I h e a r d i t . I c o u l d n o t hear t h e f i r s t q u a t r a i n because o f t h e u p r o a r t h a t began. But I h e a r d t h e second one c l e a r l y : Rub a dub dub A l a d y i n a t u b He c a t c h e s a f i s h P u t s i t i n t h e s o a p d i s h . -94-Many began t o c l a p and la u g h i n s o l e n t l y , o t h e r s r a i s e d t h e i r wine b o t t l e s and drank i n l o n g d r a u g h t s . I t was i m p o s s i b l e t o hea r the r e s t o f t h e son n e t . A group o f s o l d i e r s came i n t o t h e square and were g r e e t e d w i t h l o u d c l a m o r . Some o f them gave the g i r l s t h e ;;eye i f n o t h i n g worse. Some wore f l a s h y b l u e u n i f o r m s w i t h e p a u l e t s , s a s h e s , g o l d b r a i d i n g and medals. T h e i r l e a d e r had much t r o u b l e k e e p i n g them i n l i n e . They s t a r t e d t o t r y t o c a p t u r e t h e b a l l o o n w i t h l a s s o s . A f a r c i c a l f i g h t began between the s o l d i e r s on t h e ground w i t h t h e i r l a s s o s and t h e monarch and h i s o r c h e s t r a i n t h e b a l l o o n above. The m u s i c i a n s were dumping sacks o f sand on t h e s o l d i e r s t o b l i n d them. The people watched t h e s c u f f l e , m a r k i n g d i f f e r e n t i n c i d e n t s w i t h crude l a u g h t e r . F i n a l l y t h e s o l d i e r s c a p t u r e d the b a l l o o n w i t h a l a s s o , accompanied by t h e a p p l a u s e o f some and the h i s s i n g o f o t h e r s . Some o f t h e b o l d e r ones p u n c t u r e d t h e b a l l o o n . Then a l l o f them,began t o c u t the canvas i n t o thousands o f p i e c e s w h i c h t h e y o f f e r e d t o t h e g i a n t e s s w i t h such e x a g g e r a t e d g e s t u r e s o f h u m i l i t y t h a t i t l o o k e d more l i k e a d i s p l a y o f i n s o l e n c e . - 9 5 -A t t h a t p o i n t I n o t i c e d a s m a l l r e c e d i n g door a t t h e bottom o f t h e p e d e s t a l w i t h the i n s c r i p t i o n : LABYRINTHS - TENTH LABYRINTH I r e a c h e d i t w i t h g r e a t d i f f i c u l t y . The crowd was li s h o v i n g me and some even t r i e d t o t r i p me. The door was v e r y s m a l l . I had t o c r a w l on t h e ground t o g e t t h r o u g h . Once i n s i d e I saw: -96-TENTH LABYRINTH THE DESERTED CITY I l e f t t h e house w i t h o u t m e e t i n g anyone i n t h e c o r r i d o r , n or i n the s t a i r c a s e , n or i n t h e V e s t i b u l e , n o r i n t h e s t r e e t . The c h i l d r e n were n o t s i n g i n g , as t h e y u s u a l l y d i d a t t h i s t i m e , a song t h a t goes l i k e t h i s : A l l t h e greedy l a d i e s Are f e a s t i n g on donkeys Cups f u l l o f d a i s i e s P l a t e s f u l l o f monkeys. There was no one a t t h e windows, no one on t h e b a l c o n i e s . The shops were open a s s u s u a l b u t t h e r e were no shopkeepers nor cumstomers. I s p e n t t h e morning w a l k i n g t h r o u g h the c i t y , a l o n g t h e avenues, i n t h e squares and parks w i t h o u t m e e t i n g a s o u l , w i t h o u t anyone a p p e a r i n g . The c i t y was e n t i r e l y d e s e r t e d , u n i n h a b i t e d , d e s o l a t e . And y e t n o t h i n g had changed, o r so I b e l i e v e d . t h e n : the same rows o f houses, t h e same w a l l s , t h e same d r i v e w a y s , e v e r y -t h i n g was e x a c t l y as b e f o r e . How c o u l d i t be .'that on an o r d i n a r y day a t e l e v e n i n the morning t h e r e was not a shadow o f l i f e ? -97-F o r a moment ,1 e n t e r t a i n e d t h e mad hope o f f i n d i n g t h e s i d e w a l k s l i t t e r e d w i t h c o r p s e s ; b u t no, t h e r e was no one, n e i t h e r dead no r a l i v e . O nly much l a t e r I n o t i c e d t h a t on t h e h o r i z o n where you c o u l d u s u a l l y see t h e o u t l i n e o f t h e mountain peaks, t h e r e now was something l i k e a d a r k l y c o l o u r e d segment o f a c i r c l e . T h i s shape i n t h e s k y had no p r e c i s e c o n t o u r s ; t h e o u t l i n e s were r a t h e r l i k e g i g a n t i c gossamer t h r e a d s s p r e a d i n g upward. I t seemed u n b e l i e v a b l e t h a t whatever was on t h e h o r i z o n s h o u l d s u g g e s t such a d i f f i c u l t image t o me. Three ho u r s l a t e r , I n o t i c e d t h a t t h e r e was no n o i s e . A l t h o u g h t h e c a r s s t o o d i d l e i n t h e d r i v e w a y s , t h e t r a f f i c l i g h t s c o n t i n u e d t o f u n c t i o n b u t s i l e n t l y . T h i s s e n s a t i o n o f " a u d i b l e " s i l e n c e was u n b e a r a b l e — I f e l t as i f my e a r s were g o i n g t o s p l i t . And t o t h i n k t h a t f o r t h r e e hours I had n o t n o t i c e d i t ' . The shadow o f t h e apartment b l o c k which dominated t h e c i t y because o f i t s sheer m a s s i v e n e s s n o t o n l y reached a c r o s s t h e s t r e e t as was usual.-, a t t h i s t ime o f the day b u t s t r e t c h e d up t o t h e t h i r d f l o o r o f t h e b u i l d i n g a c r o s s from i t . The apartment b l o c k had grown: i t was no l o n g e r a s q u a r e I b l o c k b u t a s l e n d e r s k y s c r a p e r . Even t h e doors and windows had grown i n l e n g t h ; t h e y were no l o n g e r square b u t r e c t a n g u l a r . Not o n l y t h e c e n t r a l b u i l d i n g s -98-had "grown", but a l s o ; t h e supermarket, t h e C e n t r a l Bank and B u i l d i n g H were s t r e t c h i n g up towards t h e sky as i f t h e y had been c o n s t r u c t e d by an a r c h i t e c t s t u d e n t o f E l G r e c o . On t h e h o r i z o n , t h e segment had expanded from t h e ground and now encompassed a v a s t band s e v e r a l hundred m i l e s l o n g . I t was i n v a d i n g t h e whole o f t h e s o u t h e r n h o r i z o n . I c l i m b e d up t o t h e p l a t f o r m o f t h e Museum o f N a t u r a l S c i e n c e w h i c h o v e r l o o k e d t h e whole c i t y w i t h i t s t e l e s c o p e . I saw two more d e t a i l s t h a t had escaped me b e f o r e : on t h e f l a t r o o f t o p s t e r e were enormous t e l e p h o n e s w i t h embryos and on t h e s i d e w a l k s l a y an i n f i n i t e number o f b i c y c l e s i n cages. On t h e h o r i z o n , t h e l a r g e s p o t was s t i l l s p r e a d i n g up. Now you c o u l d see two enormous i d e n t i c a l b l a c k h o l e s . I h e a r d a v o i c e w h i c h seemed t o be coming from t h e e n t i r e u n i v e r s e a t once: "How do you l i k e what I've done, papa?" -99-"I'm t e l l i n g you once more! Put e v e r y t h i n g back i n o r d e r o r y o u ' l l see what's good f o r you!" The dark a r e a on t h e h o r i z o n emerged more d i s t i n c t l y , and became r e c o g n i z a b l e . I t was t h e huge head o f a s m i l i n g boy; t h e two enormous h o l e s were h i s eyes . He put h i s g i g a n t i c " l i t t l e " hands over the c i t y and m i l l i o n s o f puppets w h i r l e d down and l i f e i n t h e c i t y resumed i t s n a t u r a l c o u r s e . A s t e n t o r i a n v o i c e , t h e same one as b e f o r e w h i c h seemed t o come from a l l e t e r n i t y , e x c l a i m e d : "Oh, what a boy! Making j o k e s a l l day l o n g . . . ! What w i l l become o f him when I'm gone?" -100-ELEVENTH LABYRINTH THE ANCHOR The naked c h i l d was p l a y i n g w i t h h e r l i t t l e w h i t e P e k i n e s e w i t h b l a c k h a i r . She was l y i n g on h e r bed. She h e l d t h e dog caught between h e r f e e t up i n t h e a i r so t h a t h i s snout reached h e r knee. Almost l i k e F r a g o n a r d ' s La G i m b e t t e . She a t t r a c t e d t h e P e k i n e s e ' s a t t e n t i o n w i t h a f r o g i n h e r hand. The pup t r i e d t o r e a c h the f r o g b u t was t r a p p e d between the g i r l ' s f e e t . The c h i l d had h e r h a i r t i e d w i t h a r i b b o n . Her g o l d e n l o c k s and h e r smart l i t t l e p o n y t a i l moved as she r o c k e d back and f o r t h . As f a r as I c o u l d see, she was on t h e t h r e s h o l d o f p u b e r t y . The i m p r i s o n e d dog wagged h i s t a i l and was " p e d a l l i n g " between the g i r l ' s l e g s t r y i n g t o f r e e h i m s e l f and c a t c h t h e f r o g . I t seemed t o me t h a t I h e a r d h e r l a u g h . The ffrog a l s o was s t r u g g l i n g t o e scape. As I was w a t c h i n g t h i s scene, I f e l t t h a t I had an a p p a r a t u s l i k e a minute e l e c t r i c powerhouse i n my head. I had the i m p r e s s i o n t h a t my memories were r e v o l v i n g i n a c l o s e d c i r c u i t i n s i d e . -101-I n o r d e r t o d i s t r a c t m y s e l f from t h i s t h o u g h t , w h i c h I d i d n o t f i n d a l t o g e t h e r c o n v i n c i n g , I c o n t i n u e d t o l o o k a t t h e g i r l . I n o t i c e d t h a t h e r body, w h i t e l i k e m o t h e r - o f - p e a r l , was l y i n g on a bed c o v e r e d w i t h f l o w e r s . There was a l s o a t i n y anchor w i t h a rope t h a t had become b l a c k from t h e mo.is>ture.. I n s p i t e o f t h e o p p o s i t i o n o f my w i l l , I g l a n c e d once more i n t o my b r a i n and t h i s t i me I d i d n o t see my memories r e v o l v e i n c l o s e d c i r c u i t ; t h i s t i m e I thought t h a t t h e r e was a w e l l i n my head f i l l e d w i t h an i n d e f i n a b l e l i q u i d t h a t i m p ressed me g r e a t l y . I went towards t h e w e l l and s h o u t e d . I "awoke" w i t h a headache. The naked g i r l was s t i l l t h e r e p l a y i n g w i t h h e r P e k i n e s e almost i n t h e same p o s i t i o n as b e f o r e , w i t h h e r f e e t up i n t h e a i r , h e r body s t r e t c h e d on t h e bed, her head r e s t i n g on t h r e e w h i t e p i l l o w s . A g a i n I was s i d e - t r a c k e d . I saw t h e w e l l i n my b r a i n and my memory f l o a t i n g i n s i d e . I examined i t f o r a l o n g t i m e . My memory was c o n s e r v e d i n d i s c s i n s i d e t h e w e l l and a l s o i n t a p e s c o v e r e d w i t h an i m p r e s s i v e l i q u i d . The d i s c s l o o k e d l i k e round cheeses put i n t o o i l so t h a t t h e y w ould n o t r o t . My memory was w i t h i n r e a c h o f my hand but -102-I was a f r a i d t o t o u c h i t . My memory was d i s t r i b u t e d i n d i f f e r e n t packages: t h e r e were some memories t h a t I c o n s i d e r e d t o be t r i v i a l i t i e s w h i c h were much l a r g e r t h a n o t h e r s w h i c h I imagined t o be o f g r e a t i m p o r t a n c e ; and t h e r e I found n o t o n l y t h e memory whi c h r e f e r r e d t o my own b i o g r a p h y b u t a l s o , i n t h e odd p a r c e l s , t h e memories o f my f a t h e r s , f o r e f a t h e r s and even o f e n t i r e humanity. And e v e r y t h i n g ( d i s c s , t a p e s , e t c . ) was i n t e r c o n n e c t e d by v e r y f i n e t h r e a d s . The d i f f e r e n t p a r t s had an i n t e r d e p e n d e n t system w h i c h was so s u b t l e t h a t I was amazed. I spent a l o n g time a l m o s t i n e c s t a s y and when I put my hand out i n o r d e r t o e x t r a c t one o f t h e d i s c s , I f e l t a tremendous blow on my head t h a t "woke" me. In f r o n t o f me was t h e g i r l w i t h the dog; b e s i d e h e r , th e anchor. I u n d e r s t o o d . V o l u n t a r i l y I t u r n e d my th o u g h t s t o t h e w e l l and saw t h e l i q u i d and my memory b u t now v e r y c l e a r l y ; and I r e a l i z e d how i t was b u r i e d and how i t emerged t o t h e s u r f a c e ; and I knew t h a t i t was a l i v e ; and I f e l t t h e p a l p i t a t i o n o f t h e w e l l w h i c h s y n c h r o n i z e d w i t h t h e b e a t i n g o f my h e a r t ; and as I watched my memory, knowledge and -103-e p i s t e m o l o g y were d i s p l a y e d b e f o r e me and I was s u b l i m e l y aware. I "awoke" and i n f r o n t o f me d i s c o v e r e d t h e c h i l d w i t h h e r dog, t h e f r o g and t h e anchor. But I r e a l i z e d t h a t she was no more t h a n a t i n y p o r c e l a i n f i g u r e r i s i n g from t h e palm o f my hand. -104-TWELFTH LABYRINTH CRICKET Only a few s p e c t a t o r s were w a t c h i n g t h e c r i c k e t match. They were o l d e r p e o p l e . The c h i l d r e n on t h e a d j a c e n t lawn were s i n g i n g d e s p i t e t h e angry h i s s e s o f t h e a d u l t s : Lavender's b l u e So a re you Lavender's green You're t h e queen. The b o w l e r got ready t o bowl t h e b a l l a f t e r a q u i c k and v i o l e n t r u n and t h e batsman, w i t h h i s b a t between h i s l e g s propped on t h e ground, was w a i t i n g w i t h h i s eyes p e e l e d . A t t h a t moment, d e s p i t e o f t h e e n t h u s i a s m w i t h w h i c h I used t o f o l l o w t h e s e games, my a t t e n t i o n was s u d d e n l y d i v e r t e d . I was s t i l l l o o k i n g a t t h e p i t c h and t h e w i c k e t k e e p e r ' s p o s i t i o n , b u t su d d e n l y I remembered a dream I had had t h e n i g h t b e f o r e : I had dreamed t h a t I was i n a r u i n e d t h e a t r e w h i c h s m e l l e d b a d l y . The p l a c e was f i l l e d w i t h r u b b l e and s c r a p s . The s e a t s , however, were co v e r e d w i t h p o l i s h e d l e a t h e r . -105-On t h e s t a g e , an opera soprano s i n g e r , s u r r ounded by w i r e mesh and d r e s s e d l i k e a m e d i e v a l noblewoman, was s i n g i n g a p o i n t l e s s song: q The K i n g o f jSpades He k i s s e d t h e maids The Knave o f H e a r t s He a t e t h e t a r t s . The melody d i d n o t a t a l l f i t t h e words. The whole t h i n g amused me. Then I had t h e f e e l i n g t h a t a l l t h i s was s i m p l y a t r a p i n t o w h i c h I had f a l l e n and t h a t I was g o i n g t o be t h e v i c t i m o f the w o r s t t o r m e n t s . I t r e m b l e d w i t h f e a r . I n o t i c e d t h a t daggers were b e i n g thrown a t me and I saw s e v e r a l t h r e a t e n i n g shadows coming towards me. I g o t up t o f l e e . She asked me v e r y c a l m l y : "Why are you a f r a i d ? " "I'm t e r r i f i e d ! " "But why?" She l a u g h e d . "Don't f e e l so bad about such a l i t t l e t h i n g ; remember t h i s i s n o t r e a l l i f e b u t a dream." "But dream," I s a i d , " i s r e a l l i f e . " -106-" C l a p y o u r hands t o g e t h e r and y o u ' l l see t h a t you're a s l e e p and dreaming." I c l a p p e d my hands and woke up w i t h i n t h e f o u r w a l l s o f my room w i t h my hands t o g e t h e r . The c r i c k e t match c o n t i n u e d . That week I went a t t w o - t h i r t y e v e r y day t o watch t h e game between t h e c i t y team and t h e E. C. The batsman made a s p l e n d i d h i t . Two p l a y e r s were r u n n i n g a f t e r t h e b a l l w h i l e t h e batsmen r a n back and f o r t h a l o n g t h e p i t c h b u t t h e b a l l went out o f bounds w h i l e t h e s p e c t a t o r s applauded so m o d e r a t e l y t h a t t h e y did not even manage t o drown t h e c h i l d r e n ' s v o i c e s : The L i o n and t h e U n i c o r n Were f i g h t i n g f o r a crown The L i o n b e a t t h e U n i c o r n A l l around t h e town. I t h o u g h t about t h e dream a g a i n t h a t I had had t h a t n i g h t . I t amazed me t o r e a l i z e t h a t one mere c l a p o f the hands had made me f a l l o u t o f dream i n t o r e a l i t y . A l i t t l e a n x i o u s l y , I tho u g h t t h a t perhaps now t h a t I was "awake" a mere c l a p o f t h e hands would be enough t o t a k e me t o t h e " o t h e r world.fi' - 1 0 7 -I was t h i n k i n g about t h i s p o s s i b i l i t y when, al m o s t u n c o n s c i o u s l y , I n o t i c e d t h a t t h e b o w l e r was b o w l i n g t h e b a l l . The bounce a g a i n s t t h e b a t sounded l i k e an enormous c r a c k i n my e a r s , l i k e a tremendous c l a p o f t h e hands. I w h i r l e d around f r a n t i c a l l y l i k e a s p i n n i n g t o p and when I "awoke", I found m y s e l f i n t h e m i d d l e o f a m e t a l l i c , b l u e s u r f a c e . I wanted t o walk b u t i n s t e a d I advanced by d e l i g h t f u l l i t t l e bounds i n t h e a i r . I was a s m a l l r e d b a l l . And everywhere t h e r e were s m a l l c o l o u r e d b a l l s coming towards me. And s u d d e n l y t h e y bounced a g a i n s t me and we amused o u r s e l v e s l i k e f o o l s and I was b u o y a n t l y happy. -108-THIRTEENTH LABYRINTH THE FOUNTAIN OF YOUTH The poet was c o n s t a n t l y p r e s s i n g h i s b e l l y w i t h h i s hands. I t seemed as i f he were t r y i n g t o f i n d a way t o ease h i s p o s i t i o n . A l l o f us had n o t i c e d how he became weaker e v e r y day. The po e t ' s house was o v e r f l o w i n g w i t h books, t h e . l i v i n g room t a b l e was l i t t e r e d w i t h l e t t e r s and newspaper c l i p p i n g s . O b j e c t s w h i c h everybody found v e r y s t r a n g e were m e t i c u l o u s l y a r r a n g e d on t h e s h e l v e s . The p a i n t i n g s on th e w a l l s bore t h e s i g n a t u r e s o f t h e most famous and e x p e n s i v e p a i n t e r s o f our t i m e s ; i n o t h e r words, t h e y were t h e " b e s t " . When v i s i t o r s l e f t t h e poet's house, t h e y s a i d , perhaps u n m a l i c i o u s l y : " I t ' s a r e a l museum." Sunk i n t o h i s a r m c h a i r , t h e poet d i s t o r t e d h i s f a c e i n a p a i n f u l , c o n v u l s i v e g r i n . "Does i t h u r t so much?" " I t ' s n o t a p a i n , i t ' s an u n b e a r a b l e s e n s a t i o n . " -109-T h e n l i e : a d d e d : '..^1: " I f t h i s ' s e n s a t i o n 1 c o n t i n u e s , I ' l l g o m a d . " El T h e p o e t ' s m a r t y r d o m h a d b e g u n a w e e k e a r l i e r . U n t i l . t h e n h e h a d l i v e d s u r r o u n d e d b y a p e a c e f u l n e s s t h a t w a s c h a r a c t e r i s t i c o f h i m . B e c a u s e o f h i s p h y s i c a l m a k e u p ( t h e p o e t w a s i m p o t e n t ) , h e h a d a t t a i n e d a n c i e n t w i s d o m . T h e o n l y k i n e s o f r a p t u r e s t h a t h e e x p e r i e n c e d w e r e t h o s e i n s p i r e d b y h i s l i t e r a r y z e a l w h i c h h a d m a d e h i m f a m o u s . B u t , a s h e s a i d i n p r i v a t e : " I d o n ' t k n o w a n d I s h a l l n e v e r k n o w a n y t h i n g a b o u t t h e e c s t a s i e s o f p a s s i o n o r o t h e r a n i m a l i n s t i n c t s . ' T h e p o e t , " h e s a i d , " t h e a r t i s t m u s t k n o w h o w t o d e s c r i b e a n d i n s p i r e i n o t h e r s t h o s e d e s i r e s w h i c h h e h i m s e l f n e v e r e x p e r i e n c e s . " I f h e w a s n o t t h e m o s t f a m o u s p o e t o f h i s c o u n t r y ( d e s p i t e t h e s m a l l a m o u n t t h a t h e h a d w r i t t e n ) , t h e n h e w a s n o t f a r f r o m b e i n g s o . I n a r e f e r e n d u m o f p o e t s , h e j u s t m i s s e d o b t a i n i n g a d e l i g h t f u l r o y a l a w a r d ( I h a v e f o r g o t t e n i t s t i t l e ) . I t h a d b e e n a y e a r s i n c e h e h a d m a d e h i s h a b i t u a l v i s i t t o t h e a n t i q u e s h o p s i t u a t e d a t t h e o u t s k i r t s o f t h e c i t y t o l o o k f o r a r a r e o b j e c t o r p a i n t i n g w h i c h w o u l d o r n a m e n t -110-some c o r n e r i n h i s house. S i n c e he was an o l d c l i e n t o f th e s t o r e , t h e p r o p r i e t o r gave him p e r m i s s i o n t o go up t o th e a t t i c so t h a t he c o u l d l o o k f o r a b a r g a i n u n d i s t u r b e d by anyone. The f i r s t t h i n g he n o t i c e d was a mannequin r e p r e s e n t i n g one o f t h e women i n Bosch's p a i n t i n g , The Garden o f D e l i g h t s . W i t h d e l i g h t he n o t i c e d t h a t t h e mannequin, l i k e i t s model i n t h e p a i n t i n g , had two b i g c h e r r i e s on i t s head and was naked. He examined h e r p r o t r u d i n g e y e s , h e r l o n g and l a n k b l o n d h a i r — e x a c t l y as i n t h e p a i n t i n g . He wa l k e d around the f i g u r e and t o h i s s u r p r i s e and j o y he d i s c o v e r e d two b i g d a i s i e s between h e r b u t t o c k s , j u s t as was t h e case w i t h o t h e r female f i g u r e s i n t h e p a i n t i n g . He bought t h e f i g u r e , w h i c h was o f human s i z e , and put h e r i n h i s l i v i n g room. A f t e r a s h o r t w h i l e , he g o t i n t o t h e h a b i t o f s p e a k i n g t o h e r , showing h e r h i s house and p e t t i n g h e r . He d e f i n e d h i s r e l a t i o n s w i t h h e r as "a c o n t i n u o u s s p i r i t u a l o r g y " . We a l l n o t i c e d t h a t he was even f o r g e t t i n g h i s S i a m e s e c a t s . A lmost a y e a r passed and one day, now a week ago, t h e poet went t o see one o f h i s f r i e n d s who was c a l l e d the "magician's a p p r e n t i c e . " He was an a f f a b l e and l e t h a r g i c man. No one, knowing him t o be so u n a g g r e s s i v e , would have b e l i e v e d i t o f him t h a t he had been thrown o ut o f t h e m e d i c a l p r o f e s s i o n f o r " e s o t e r i c p r a c t i c e s . " -111-The poet e x p l a i n e d t o h i s f r i e n d t h a t he had j u s t f i n i s h e d r e - r e a d i n g S l e e p i n g Beauty. He had come t o the c o n c l u s i o n t h a t t h e p r i n c e ' s k i s s w h i c h awakened t h e p r i n c e s s was o n l y a l i t e r a r y image. A c c o r d i n g t o him, t h e r e was something more t o i t : what gave l i f e t o t h e dead p r i n c e s s was t h e i n t e r n a l warmth w h i c h , i n t h e p r i n c e ' s embrace, was r e l e a s e d i n t o h e r . " I t ' s a p l a u s i b l e i n t e r p r e t a t i o n , " s a i d the 'magician's a p p r e n t i c e ' , "and i t c o r r o b o r a t e s t h e n e c r o p h i l i a t h a t I have always s u s p e c t e d i n t h e s t o r y . " The poet d e c l a r e d t h a t he c o u l d i n f u s e l i f e i n t o h i s b e l o v e d mannequin i n t h e same way. He begged h i s f r i e n d t o g i v e him h i s v i r i l i t y . " I t o l d you about my t e c h n i q u e some time ago. Remember what I s a i d . My t r e a t m e n t i s based on h y p o t h e s i s . I'm h o p e f u l about i t b u t I c a n ' t be s u r e t h a t my method w i l l be s u c c e s s f u l . And most i m p o r t a n t o f a l l , I've never a c t u a l l y been a b l e t o p r a c t i s e i t . To be q u i t e f r a n k , I would be r a t h e r w o r r i e d about t r y i n g i t out on you. I t c o u l d be dangerous." The poet t o o k a l l the r i s k s on h i m s e l f . N o t h i n g c o u l d d i s s u a d e him. -112-The 'magician's a p p r e n t i c e ' proceeded w i t h h i s system. In a t e n s e atmosphere w h i c h l a s t e d f o r s e v e r a l h o u r s , t h e poet, l y i n g n n a k e d on t h e couch, s u b m i t t e d h i m s e l f t o the t r e a t m e n t . H i s f r i e n d rubbed s e v e r a l k i n d s o f o i n t m e n t on him w h i l e m u t t e r i n g more o r l e s s c o h e r e n t p h r a s e s . F i n a l l y he e x c l a i m e d : "There w e u a r e i " " I t ' s m a r v e l l o u s , m a r v e l l o u s , m a r v e l l o u s , " s a i d the po e t . "But doesn't i t end?" "No, i t ' s s t i l l g o i n g on. I t ' s m a r v e l l o u s , m a r v e l l o u s . " S e v e r a l minutes pas s e d . The po e t , as i f e c s t a t i c , c o n t i n u e d . t o r e p e a t " m a r v e l l o u s , m a r v e l l o u s . " W o r r i e d , t h e former d o c t o r asked him: "But i t ' s n o t p o s s i b l e . What are you s t i l l f e e l i n g ? " "An unending p l e a s u r e , " s a i d the poet i n a v o i c e b r o k e n w i t h emotion, " p l e a s u r e t h a t goes on and on...." "I'm a f r a i d I've f a i l e d , " s i g h e d h i s f r i e n d . -113-FOURTEENTH LABYRINTH THE SERPENTS The s e r p e n t w i t h t h e dog's head was p e e r i n g from s i d e t o s i d e . I t even l o o k e d as i f i t were about t o b a r k . A t i t s s i d e , t h e s e r p e n t w i t h the c a t ' s head was s l e e p i n g ; p r i c k i n g y o u r e a r s you might have h e a r d i t p u r r . One day, when a famous movie a c t r e s s passed by, I n o t i c e d t h a t h e r h a i r was a n e s t o f e n t a n g l e d s n a k e s . Sometimes, when I l o o k e d i n t h e m i r r o r , I f a n c i e d I saw some k i n d o f e n c h a n t i n g snake on my f a c e . . . . I r e a l i z e d t h a t i t was s i m p l y a p r o o f o f my w i s h f u l t h i n k i n g and t h a t t h e r e was n o t h i n g whatsoever r e s e m b l i n g a snake on my f a c e . Rumours, w h i c h I d i d n o t b e l i e v e f o r a s i n g l e moment, were s p r e a d i n g around about t h e s e r p e n t - l i o n w h i c h was k e p t i n an abandoned aquarium. I t was supposed t o be dangerous. T h i s was n o t t r u e — when t h e c h i l d r e n used t o go t o see i t on Thursday a f t e r n o o n s t h e y would f i n d i t p l a y i n g q u i t e h a p p i l y by i t s e l f . Sometimes i t even seemed t o want t o speak t o them. They used t o s i n g songs t o i t , c l a p p i n g t h e i r hands: -114-Montezuma Met a puma Coming t h r o u g h t h e r y e Montezuma Made t h e puma I n t o a p p l e - p i e . To keep i t amused, t h e c h i l d r e n would p l a y w i t h a t r a i n e d f i s h - s e r p e n t and i t was a s i g h t t o see t h e s e r p e n t -l i o n f o l l o w t h e i r movements l i k e an "enormous c a t " . The c h i l d r e n would throw t h e s e r p e n t - f i s h ' s head i n t o t h e a i r w h i c h was supposed t o f a l l down i n t o i t s c o i l e d t a i l . How easy i t was t o p l a y w i t h t r a i n e d snakes" Then t h e t a b l e s began t o have l e g s shaped l i k e s e r p e n t s , and t h e c h a i r s a l s o , even t h e beds had baroque c a n o p i e s d e c o r a t e d w i t h s nakes. A l l k i n d s o f l i e s went around. Some even s a i d t h a t the snakes were b r i n g i n g us t h e r u l e s o f memory. The c i t y was cfahanging t o a c o l o u r between g r e y and gre e n t h a t f a s c i n a t e d me p e r s o n a l l y ; w h i l e t h e s e r p e n t s were t u r n i n g m u l t i - c o l o u r e d , t h e i r b o d i e s r e s e m b l i n g l i v i n g r a i n b o w s . -115-I used t o e n j o y w a t c h i n g them s p e c k l e d w i t h c o l o u r i n t h e d i n i n g room w h i l e we were e a t i n g green and g r e y f o o d from g r e y p l a t e s w i t h green n a p k i n s . A t t h a t t i m e , s e v e r a l dozen snakes, p i n k , l i g h t - b l u e , r e d d i s h - w h i t e and a l l o t h e r c o l o u r s , were l i v i n g i n my house. How o f t e n I used t o l o o k i n t h e m i r r o r w i t h t h e mad hope o f r e s e m b l i n g , them! And I was not t h e o n l y one. I t was n o t d i f f i c u l t t o c a t c h o t h e r s by s u r p r i s e c a r e f u l l y c o n t e m p l a t i n g t h e i r f a c e s i n a m i r r o r w i t h t h e mad d e s i r e t o be a b e a u t i f u l , many-coloured s e r p e n t . As was t o be e x p e c t e d , soon a b s t r a c t i d e a s a l s o t u r n e d i n t o s e r p e n t s . M e n t a l s p e c u l a t i o n remained on an e x t r e m e l y s i m p l e l e v e l , t h a n k s t o s e r p e n t - i d e a s and s e r p e n t - f a c u l t i e s . How easy i t was, a t l a s t , t o d i s t i n g u i s h l o v e from h a t e , good from e v i l , c l e a n l i n e s s from d i r t , g e n e r o s i t y from egoism. Soon i t became i m p o s s i b l e t o l i e . F l a t t e r y appeared g r o t e s q u e , d e c e p t i o n . . . , e v e r y t h i n g was i m m e d i a t e l y unmasked. S e r p e n t - i d e a s had t h e most d i v e r s e c o l o u r s w h i l e our own t h o u g h t s were t u r n i n g an even g r e y . -116-One day I was i n La F l o r i d a l i s t e n i n g t o t h e c h i l d r e n ' s songs. I was happy, r e s t i n g on a bench and b r e a t h i n g t h e pure a i r o f t h e p a r k . Suddenly I h e a r d a woman's v o i c e c a l l i n g me. I t u r n e d around. There she was, f a r more b e a u t i f u l t h a n t h e r e s t o f t h e women. She was n e i t h e r g r e y nor g r e e n ; she was w h i t e and r o s y . She had r e d l i p s , b l u e e y e s , b l o n d h a i r , f i r m round b r e a s t s , a narrow w a i s t and s o f t c u r v e d h i p s . She s a i d t o me: "Eat t h i s a p p l e ! " Then she made a promise w h i c h I was n e i t h e r a b l e t o comprehend nor i n t e r e s t e d i n . A l t h o u g h I had j u s t f i n i s h e d b r e a k f a s t , t h e a p p l e l o o k e d so a p p e t i z i n g t h a t I b i t i n t o i t . And e v e r s i n c e t h e n n o t a s i n g l e snake has been around. -117-FIFTEENTH LABYRINTH THE PENNANT He was c a r r y i n g a pennant w h i c h had a f r o g i n t h e c e n t r e . I c o u l d n o t make out t h e c o l o u r from where I was. The pennant was a t t a c h e d t o a t r i d e n t w h i c h he c a r r i e d a c k w a r d l y o v e r h i s s h o u l d e r . The man l o o k e d l i k e a g i a n t who was t h i c k - s e t and even v e r y s t o o p e d . He was c o v e r e d w i t h h a i r . I saw t h i s man a t dusk; and a t n i g h t , when I was dreaming, I i n v e n t e d t h e l a d y o f t i m e ; and t h e n e x t n i g h t I i n v e n t e d death f o r i t ' s own sake; and on t h e t h i r d n i g h t , t h e t e m p t a t i o n o f t h e m i r r o r . A l t h o u g h I saw t h a t man o n l y once, he l e f t me w i t h an i n e f f a c e a b l e memory. I have not even f o r g o t t e n h i s pennant nor h i s d i r t y f i n g e r n a i l s . He had webbed f e e t l i k e a duck. I c o u l d n o t t e l l i f he had two horn s on h i s head o r s i m p l y two t u f t s o f h a i r t h a t were s t i c k i n g up. H i s e a r s were l a r g e and p o i n t e d . H i s unkempt b e a r d f a i l e d t o h i d e h i s enormous mouth. -118-E v e r y n i g h t w h i l e s l e e p i n g , I i n v e n t e d t h i n g s . My i n v e n t i o n s became more p r e c i s e and v e r y u s e f u l : I i n v e n t e d a c l o c k t h a t w r i t e s poems; the s u b s t a n c e f o r p e t r i f y i n g hope; t h e rhythm t h a t awakens the w i l l ; t h e dove t h a t b r i n g s back l o s t memories; the t e l e p h o n e f o r communicating w i t h t h e dead. I was n o t a b l e t o e f f a c e t h e image o f t h a t man w i t h h i s t r i d e n t and pennant from my mind. W i t h h i s l e f t hand, he was s t r o k i n g a b i l l y - g o a t w i t h two t h i c k and a l m o s t round h o r n s . I no l o n g e r i n v e n t e d t h i n g s a t n i g h t . Insomnia t o o k a h o l d o f me and I s p e n t day a f t e r day w i t h o u t b e i n g a b l e t o go t o s l e e p . I r e g r e t t e d not b e i n g a b l e t o dream and i n v e n t . I r e c a l l e d what the man w i t h the goat had s a i d t o me j u s t b e f o r e he d i s a p p e a r e d : "The s a c r i f i c e o f t h e y o u t h o f ;good humour s h a l l s e r v e t h e eye o f t h e master." I s t i l l c o u l d n o t f a l l a s l e e p , but i t made me happy t o t h i n k t h a t some n i g h t I would dream once more and t h e n I would i n v e n t t h e machine f o r g o i n g t o s l e e p . -119-SIXTEENTH LABYRINTH FIVE STAMPS When I opened t h e door, I was s u r p r i s e d t o see t h a t t h e new postman had a b l i n d f o l d o v er h i s eyes and was w e a r i n g a j u g g l e r ' s o u t f i t . He handed a l e t t e r t o me. F i v e stamps were s t u c k on i t : t h e f i r s t one d e p i c t e d an e a r ; t h e second, a hand; t h e t h i r d , a f o o t ; t h e f o u r t h , an eye; and t h e f i f t h , a nose. Each o f t h e s e members was engraved on s t o n e . An hour l a t e r , as I was p a s s i n g by t h e p a l a c e , I n o t i c e d t h a t t h e workers were i n s t a l l i n g a b a s - r e l i e f . I t was i n f i v e p a r t s w h i c h were r e p l i c a s o f t h e f i v e drawings on t h e stamps. The s c u l p t u r e s were so p e r f e c t t h a t t h e hand as w e l l as t h e f o o t , t h e e a r , t h e eye and th e nose l o o k e d r e a l l y human. The f i v e m o t i f s were framed. When I a r r i v e d a t t h e par k , t h e c h i l d r e n a l l around me were p l a y i n g a t g u e s s i n g r i d d l e s : Long l e g s , c r o o k e d t h i g h s L i t t l e head, and no e y e s . -120-A n o t h e r postman came a l o n g . ( I asked m y s e l f how he had guessed t h a t I was i n t h e park.) He handed me a b u l k y and heavy package. I l o o k e d a t him more c l o s e l y . He a l s o wore a b l i n d f o l d o v e r h i s eyes w h i c h a p p a r e n t l y d i d n o t p r e v e n t him from s e e i n g . He wore a s t a r c h e d s h i r t , a w h i t e t i e and a n e a t f u l l - d r e s s c o a t . The c h i l d r e n were s t i l l t e l l i n g r i d d l e s . W h i l e one group s h o u t e d : "Tongs", a g i r l w i t h two s t i f f b r a i d s and a v e r y s h o r t s k i r t s a i d : T h i r t y w h i t e h o r s e s on a r e d h i l l Stomping, chomping, s t a n d i n g s t i l l . The c h i l d r e n shouted: "Teeth!" When I a r r i v e d a t home and opened t h e package, I found f i v e l i t t l e wooden boxes i n s i d e w i t h a st o n e i n each box.. I n o r d e r f o r them t o l o o k l i k e t h e b a s - r e l i e f s a t t h e p a l a c e , o n l y t h e engraved human members were l a c k i n g . Someone was c a l l i n g a t t h e door. I t was t h e postman, b l i n d f o l d e d as u s u a l . T h i s t i m e he had a r o s e i n t h e b u t t o n h o l e o f h i s j a c k e t . But more s h o c k i n g was t h e c u t l a s s w h i c h he c a r r i e d i n h i s b e l t . -121-I c o u l d n o t keep him from coming i n . W i t h o u t th e l e a s t s e l f - c o n s c i o u s n e s s , he s a t down i n an a r m c h a i r i n t h e l i v i n g room. He d i d n o t say a n y t h i n g . He c o n t e n t e d h i m s e l f w i t h p l a y i n g w i t h h i s f i n g e r s . I l o o k e d a t him c a r e f u l l y . I was a f r a i d he would a t t a c k me w i t h h i s c u t l a s s . He was w e a r i n g a s i l v e r e a r r i n g w i t h a word w r i t t e n i n f i l i g r e e : DESTINY. Here we were, the postman and I , a l o n e and s i l e n t i n t h e room, l o o k i n g a t each o t h e r w i t h d i s t r u s t . F i n a l l y I d e c i d e d t o s t a r t a c o n v e r s a t i o n : "You know, a t t h i s t i m e I u s u a l l y go t o bed." "You want me t o l e a v e ? " He g o t up v e r y d i g n i f i e d , w i t h o u t i t b e i n g a p p a r e n t t h a t my d i p l o m a t i c way o f t h r o w i n g him out might have o f f e n d e d him. He came towards me and t o o k my hands. I was so s u r p r i s e d t h a t I c o u l d no l o n g e r t h i n k . Then he k i s s e d t h e palms o f my hands w i t h r e s p e c t and l e f t . He had f o r g o t t e n h i s c u t l a s s . I l e a n e d o u t o f the window t o l o o k f o r him b u t he had a l r e a d y v a n i s h e d i n t h e d a r kness o f t h e n i g h t . -122-The f o l l o w i n g morning, a new postman b r o u g h t me a c a r d w i t h f i v e stamps t h a t seemed t o be e x a c t l y t h e same as t h e l a s t ones. There was one s m a l l change. The stamp w i t h the e a r now had a s i l v e r r i n g h a n g i n g from i t s l o b e , w i t h a word w r i t t e n i n f i l i g r e e : DESTINY. Then I r e a l i z e d t h a t t h e c u t l a s s as w e l l as my hands were c o v e r e d w i t h f r e s h b l o o d . -123-SEVENTEENTH LABYRINTH THE BEAUTY'S VEIL The woman was h i g h up on a c i r c u l a r p l a t f o r m w h i c h l o o k e d l i k e a l a r g e p l a t e . She was alm o s t on h e r knees b u t i n a g r a c e f u l p o s i t i o n . S e v e r a l men w i t h r u f f s formed a c i r c l e around h e r on t h e ground. I n s p i t e o f t h e h e i g h t o f t h e p l a t f o r m , t h e men s l o w l y l e a p t up t o her f a c e , g r a z i n g h e r cheek w i t h t h e i r l i p s . U n t i l dusk, l i k e a b a l l e t , t h e men w i t h t h e r u f f s l e a p t s l o w l y i n such a way t h a t anyone would have t h o u g h t t h e y were f l y i n g . The woman on t h e p l a t f o r m , a l t h o u g h she was naked, had a c e r t a i n modesty about h e r whi c h was not w i t h o u t n a t u r a l g r a c e . A green r i b b o n was t i e d around h e r r i g h t a n k l e . The woman eyed me up and down w i t h o u t the l e a s t c o q u e t r y . She was r a d i a n t w i t h b e a u t y , w i t h one hand p l a c e d on h e r b r e a s t and h e r knee c o n c e a l i n g h e r p u b i s . I t seemed t o me t h a t she was a s k i n g me t o jump. I t r i e d . I don't know why I tho u g h t t h a t I would be a b l e t o i m i t a t e t h e men i n t h e i r r u f f s . I jumped q u i c k l y and c o l l a p s e d on t h e ground h a v i n g h a r d l y -124-l e f t i t . N e v e r t h e l e s s , something i n me had f l o w n r i g h t up t o t h e b e a u t i f u l woman's cheek. A t n i g h t when I t u r n e d t h e l i g h t o f f i n my room, I saw h e r a t t h e f o o t o f my bed. She s t i l l wore t h e green r i b b o n around h e r a n k l e . She was w e a r i n g o n l y a l i g h t v e i l w h i c h was alm o s t e t h e r e a l , as i f made o f w h i t e smoke o r w i n d . The v e i l c o v e r e d h e r h a i r , h e r head and h e r e n t i r e jbody. I t was t o t a l l y t r a n s p a r e n t and so f i n e t h a t i t d i d not c o n c e a l h e r body. She l o o k e d a t me as i n s i s t e n t l y as b e f o r e on t h e p l a t f o r m . She r a i s e d h e r hand s l i g h t l y . I don't know what she j t o l d me. However, I r e p l i e d . But I c o u l d n o t hear my own words and I n e v e r knew what I s a i d t o h e r . F o r some m i n u t e s , we s t a r t e d a d i a l o g u e t h a t I am i n c a p a b l e o f t r a n s c r i b i n g s i n c e I was so b e w i l d e r e d t h a t I c o u l d n o t hear what she was s a y i n g . When she asked q u e s t i o n s , I b e l i e v e d t h a t someone e l s e was answ e r i n g f o r me. T h i s d i a l o g u e l a s t e d f o r a l o n g t i m e . The f o l l o w i n g morning, when I went i n t o the garden, I saw h e r a g a i n h i g h up on t h e p l a t f o r m w i t h h e r c i r c l e o f g a l l a n t s . T h i s time I was n o t c o n t e n t t o l o o k a t h e r -12 5 -from a f a r . I went c l o s e r . I put a l a d d e r a g a i n s t t h e to p l a t f o r m , c l i m b e d up the b e a u t i f u l woman's f a c e and g r a z e d h e r cheek w i t h my l i p s . When I s t a r t e d t o go down, I l e t m y s e l f f a l l from t h e t o p o f t h e l a d d e r as s l o w l y as i f I were f l y i n g . The f o l l o w i n g n i g h t she v i s i t e d me a g a i n . We began an o t h e r "absent" d i a l o g u e . A f t e r t h e f i r s t moments o f c o n f u s i o n , I r e g a i n e d my c o n s c i o u s n e s s . I t r i e d v e r y h a r d t o l i s t e n t o h e r and I was a b l e t o h e a r h e r as w e l l as m y s e l f . We were c a l m l y d i s c u s s i n g t h e b a t t l e o f f i r e and w a t e r . I was q u o t i n g arguments w h i c h had n e v e r come t o my mind b e f o r e and w h i c h seemed s t r a n g e t o me. I even c i t e d c o n f i d e n t l y from t e x t s I d i d n o t know. The n e x t morning, when I l o o k e d i n t h e m i r r o r , i t seemed t o me t h a t an e t h e r e a l v e i l was c o v e r i n g my whole body, j u s t l i k e h e r s . As an a d d i t i o n a l c o i n c i d e n c e , t h e r e was a l s o a g reen r i b b o n on my a n k l e . I gave i t a t r y and r e a l i z e d t h a t I c o u l d f l y l i k e t h e men i n the r u f f s . I went t o t h e garden and saw h e r a g a i n on h e r p l a t f o r m , e n c i r c l e d as u s u a l . I unwound the r i b b o n and t h e v e i l w h i c h c o v e r e d me f l e w away; t h e n I t o o k o f f t h e b e a u t i f u l woman's a n k l e r i b b o n and h e r v e i l a l s o l e f t h e r body. -12 6-And I saw how b o t h v e i l s went f l y i n g o f f towards t h e h o r i z o n , l i k e an embracing c o u p l e u n t i l t h e y were l o s t i n t h e d i s t a n c e . -127-EIGHTEENTH LABYRINTH G . ' S DOG On t h e s i d e w a l k I found something s m a l l and green about t h e s i z e o f a c a r a m e l . I h e l d i t between my f i n g e r s — i t was an i n c r e d i b l y t i n y human b r a i n w h i c h appeared t o " b r e a t h e " . I t was n o t b r e a t h i n g , however, i t was t h r o b b i n g r e g u l a r l y . E c s t a t i c , I examined i t . I t seemed as i f i t were l i v i n g i n t h e palm o f my hand. Someone was w a t c h i n g a l l t h i s . A dog. H i s head was l o o k i n g o v e r t h e mud w a l l w i t h an a i r o f i n f i n i t e s a d n e s s . He was g a z i n g a t me o r a t t h e b r a i n w i t h human g r i e f . Only much l a t e r d i d I r e a l i z e w h i c h dog i t was. When I t o o k t h e l i t t l e b r a i n i n t o my hand, a humid s p o t remained on t h e ground. I st o o p e d down t o l o o k a t i t : i t was a dark s p o t . I put my f i n g e r on i t and l o o k e d a t i t — i t was b l o o d . W i t h my h a n d k e r c h i e f , I dabbed i t up and as I was d o i n g t h i s i t seemed t o me t h a t i t was I who had d i r t i e d t h e s i d e w a l k . -128-I put t h e b r a i n i n t o an empty box o f wax matches d e c o r a t e d w i t h a y e l l o w f l o w e r and put i t i n t o one o f my w a i s t c o a t p o c k e t s . The dog, p e r f e c t l y s t i l l , n ever ceased l o o k i n g a t me f o r even a s i n g l e moment. I don't know why I h i d my d i s c o v e r y from h e r when I got home. W h i l e we were e a t i n g supper, a dog was b a r k i n g most p i t i a b l y , b u t w i t h such vehemence t h a t i t was alm o s t c o m i c a l . D u r i n g t h e meal, she t a l k e d to' me about Goya; who, a c c o r d i n g t o h e r , " i s t h e master o f c o n f u s i o n and p a n i c . " I d i d n o t know she was r e f e r r i n g t o t h e dog when she asked me: "What can we do?" She c l a r i f i e d : "What can we do t o calm t h e dog down?" She e x p l a i n e d t o me t h a t i t was a dog o f whims and f a n c i e s and i f no one gave i t any b r a i n s t o e a t i t would b o t h e r us a l l n i g h t . I n s p i t e o f h e r c a s u a l way o f s p e a k i n g , I r e a l i z e d t h a t S/he was w o r r i e d . W i t h o u t t h i n k i n g about t h e consequences, I rushed i n t o i t h e a d l o n g ; i n f a c t , I handed t h e l i t t l e b r a i n I had found t o h e r . I h e a r d h e r c a l l t h e dog and t e l l him: -129-"Take i t , my d a r l i n g . " She even added: "Oh how my l i t t l e boy l o v e s s m a l l b r a i n s ! " I a l s o h e a r d t h e dog devour them. A t t h a t moment, I l o o k e d a t m y s e l f i n t h e m i r r o r and n o t i c e d a s m a l l h o l e w i t h a green s t a i n around i t i n t h e m i d d l e o f my f o r e h e a d . I l o o k e d a t i t c a r e f u l l y — t h e i n s i d e was h o l l o w . I t o o k a p e n - h o l d e r and i n s e r t e d i t i n t o t h e h o l e — y e s , my head was h o l l o w . O n l y I seemed t o n o t i c e a body moving about i n s i d e . A body w i t h i t s own l i f e . I n o r d e r t o f i n d o u t what t o e x p e c t , I s t a y e d i n f r o n t o f t h e m i r r o r f o r a l o n g t i m e . A few minutes l a t e r , a m i n i a t u r e dog's head l e a n e d out o f t h e h o l e , g a z i n g a t me as b e f o r e on t h e s i d e w a l k , w i t h the same e x p r e s s i o n as i n Goya's famous d r a w i n g . -130-CHAPTER THREE THE SQUARE When I came out i n t o t h e square a g a i n , a h e r d o f goats was p l a y i n g around t h e monument o f t h e g i a n t e s s . Each goat c a r r i e d an egg between h e r t h i c k l i p s and p l a y e d w i t h i t t h e way I had t h o u g h t o n l y s e a l s c o u l d do i n c i r c u s e s . Some o f t h e goats had b e a u t i f u l r e d h i d e s ; and o t h e r s , g o l d e n b a l l s on t h e t i p s o f t h e i r h o r n s . Around t h e b a l l o o n t h e s o l d i e r s and the k i n g ' s o r c h e s t r a were cro w d i n g t o g e t h e r . They exchanged c l o t h e s , making a l l s o r t s o f e l a b o r a t e g e s t u r e s w h i c h made i t l o o k l i k e a r i t u a l o f f a l s e modesty. The p e o p l e welcomed t h i s comedy w i t h p l e a s u r e and some o f t h e r u d e r ones shouted o b s c e n i t i e s . The monarch, v e r y d i g n i f i e d , r i p p e d t h e l a s t b a l l o o n t h a t had been a t t a c h e d t o t h e b i g b a l l o o n . Thousands o f c a t s escaped from i t and s t a r t e d t o run around t h e s q u a r e , meowing i n a way t h a t sounded more l i k e b i r d s c h i r p i n g . I remember t h a t two days e a r l i e r a t t e n i n the morning, when the square was s t i l l empty, the g i a n t e s s was l y i n g -131-down w i t h h e r l e g s s t r e t c h e d out on t h e p e d e s t a l . On the l a s t s t r o k e o f t e n , c h i l d r e n s t a r t e d t o come out from between h e r l e g s . I t was a s u r p r i s e t o see l i t t l e c r e a t u r e s o f f l e s h and b l o o d appear from between h e r marble t h i g h s . The c h i l d r e n were so s m a l l t h a t t h e y were c r a w l i n g on a l l f o u r s ] Many o f them f e l l o f f t h e p e d e s t a l , c r a s h i n g t o t h e ground. Astronomers herded t h e remainder t o g e t h e r w i t h whips and put them i n t o a k i n d o f cannon s h e l l . They f i r e d a t the c h i l d r e n w i t h a cannon, w h i c h I had t a k e n f o r a t e l e s c o p e . The s h e l l d i s a p p e a r e d i n t h e s k y . Only much l a t e r the pages o f a book began t o f a l l down from t h e s k y . L a t e r t h e l i t t l e g i r l s were p l a y i n g around t h e monument, j o i n i n g hands t o form a c i r c l e . A l l o f them had p r e t t y l i t t l e b r a i d s and v e r y s h o r t s k i r t s . They sang: B a r b e r , b a r b e r shave a w i g How many h a i r s w i l l make a p i g ? The c a t s were now t h e s i z e o f bear cubs. The g i r l s mounted them and r a c e d around t h e square s h o u t i n g : R i d d l e : I f you add t o i t I t g e t s s m a l l e r I f you t a k e away from i t I t g e t s b i g g e r . -132-Laughing loudly, they ran each other down and tumbled of f the cats. One l i t t l e g i r l took an egg out of her pocket and amidst the laughter of her friends smashed i t against the head of a baby who was crying. The pilgrims were also laughing, while they removed fleas from t h e i r jerseys with needles. Others set down offerings wrapped i n newspaper for the giantess. Grease, f r i e d bread crumbs and d i r t were accumulating a l l around the monument. Another g i r l said: Riddle: White f i e l d Z:...c1.".Black flowers One plow Five oxen. Her l i t t l e friends hurled themselves on her and pulled her braids. And the l i t t l e g i r l started to write and pointed at the paper, the l e t t e r s , the pen and her fingers. Everyone was laughing except the l i t t l e boy who c r i e d . It seemed as i f the giantess were taking part in the general mirth. But of course that may have been an o p t i c a l i l l u s i o n . As far as I could see, her face was d e f i n i t e l y made of stone. -133-I l o o k e d a t h e r marble hands. One o f h e r f i n g e r s seemed t o be p o i n t i n g t o a c e r t a i n p l a c e i n the s q u a r e . I t was i n f a c t p o i n t i n g a t a h a l f - r u i n e d archway on whi c h was w r i t t e n : MY BIOGRAPHY I went t h r o u g h t h e archway w i t h o u t d i f f i c u l t y and saw: -134-MY BIOGRAPHY A) BIRTH I was b o r n i n a a l a r g e and r a t h e r d i r t y room. My f a t h e r always i n s i s t e d t h a t I came i n t o t h e w o r l d t h r o u g h my mother's b r a i n . On t h e day when I was b o r n , t h e y put me i n a c a r t drawn by a goat and a p a n t h e r . The goat had something d i a b o l i c about i t and sometimes l o o k e d as i f i t were s m i l i n g . I t had g o l d b a l l s on t h e t i p s o f i t s h o r n s and g o l d e n h o o f s . The p a n t h e r had a hood o v e r the head w i t h two h o l e s f o r i t s e y e s . As soon as I was b o r n , my f a t h e r put a crown on my head, a s c e p t r e i n t o my hands and a mantle o v e r my s h o u l d e r s . Then my f a t h e r , who was b l i n d , began t o p l a y t h e h a r p i n t h e m i d d l e o f t h e room. Two c h i l d r e n from t h e neighbourhood sang a song i n my honour: S l e e p , my c h i l d , s l e e p Your f a t h e r guards t h e sheep Y Your mother shakes t h e dreamrj. ng t r e e T h e r e ' l l be dreams f o r you and me. -135-They gave me t h r e e t u r n s around the room i n the c a r t drawn by t h e pa n t h e r and the g o a t . W h i l e my f a t h e r p l a y e d t h e h a r p , my mother s m i l e d p e a c e f u l l y . When t h e c a r t had gone around t h r e e t i m e s , my f a t h e r d i d some b a l a n c i n g e x e r c i s e s on a s t o o l . My mother, w i t h h e r hands c h a i n e d , s m i l e d t e n d e r l y . They t e l l me t h a t I b u r s t out c r y i n g a t t h a t moment. The cow and t h e p a n t h e r l i c k e d my hands t o soothe me. My mother s a i d : ! "Let memory b r i n g my c h i l d t o s l e e p . " My f a t h e r r e p e a t e d t h e same s e n t e n c e , a l t h o u g h s l i g h t l y r e v e r s e d . A c t u a l l y he o n l y r e p e a t e d t h e sound o f t h e s e n t e n c e , no one c o u l d be s u r e t h a t he had n o t s a i d t h e e x a c t o p p o s i t e o f what my mother had s a i d . My f a t h e r groped h i s way towards me and k i s s e d me f i r s t on t h e f o r e h e a d , t h e n on my stomach, t h e n on my hands, my c h e s t and f i n a l l y on t h e s o l e s o f my f e e t . He bound my hands t o g e t h e r w i t h s i l v e r s h a c k l e s . They say t h a t I s m i l e d w h i l e he d i d t h i s . My f a t h e r p l a y e d , the h a r p a g a i n and my mother s m i l e d a g a i n . I c r i e d f o r t h e second t i m e and t h e cow and pant h e r -136-l i c k e d my hands. My mother s a i d : " Let chance r e s p e c t t h e symbols e l e c t e d by my c h i l d . " T h i s time my f a t h e r i m p u d e n t l y changed t h e whole se n t e n c e : " L e t dance p l a y t h e cymbals s e l e c t e d by my c h i l d . " When t h e ceremony was o v e r , my f a t h e r and my mother s e t t l e d down on t h e bed t o e a t . I t was a baroque bed w i t h g o l d brocade and s i l K d r a p e s . They a t e v e r y g r e a s y f o o d wrapped i n newspaper. The crumbs r o l l e d on t h e s h e e t s . They wiped t h e i r f a c e s on t h e s i l k c u r t a i n s . They were l a u g h i n g h a p p i l y . When I c r i e d f o r t h e t h i r d t i m e , my mother s a i d : "Today he was born and a l r e a d y he has reached c o n s c i o u s n e s s . " -137-MY BIOGRAPHY B) LOVE I n t h o s e days, when I t o l d t h e mountains t o move, t h e mountains moved; when I asked t h e r i v e r t o f l o w back-ward, t h e r i v e r t u r n e d back on i t s c o u r s e ; when I asked t h e f i s h t o f l y , the f i s h l e f t t h e w a t e r and began t o f l y . I was always v e r y h o t o r v e r y c o l d b u t n e v e r moderate. I t often.ihappened t h a t my h e a r t was i n an egg and t h a t I d i d n o t g e t wet when I went i n t o t h e w a t e r . I c o u l d see my hands made o f s t o n e , my head o f wa t e r and my l e g s o f q u i c k s i l v e r . The doors d i d n o t l e a d anywhere and my b l o o d s t a r t e d t o t i n g l e by i t s e l f . S u d d e n l y ; e v e r y t h i n g would be b l u e , and s u d d e n l y e v e r y t h i n g would be b l a c k . Suddenly e v e r y t h i n g would be g r e e n , and s u d d e n l y e v e r y t h i n g would be g r e y , and su d d e n l y e v e r y t h i n g would be w h i t e , t h e n g a r n e t , t h e n thousands o f c o l o u r s and th e n i n v i s i b l e . And I f e l t my body f l o a t o r shudder. -138-Thousands o f hands c a r e s s e d my f a c e and my whole body. They a l s o c a r e s s e d me on t h e i n s i d e . I d i d n o t need t o dream nor t o t h i n k about a n y t h i n g . And i n my room was t h e sea and the waves came and went. When I smoked my p i p e , t h e smoke was r e d and h i s h a n d k e r c h i e f became s t a i n e d w i t h b l o o d . O f t e n I f o r g o t t h a t I e x i s t e d and I had t o r e p e a t and s p e l l out my name and address t o m y s e l f . When I caught a g l i m p s e o f h e r f a c e i n t h e m i r r o r , t h e whole m i r r o r f i l l e d w i t h h e r image. And I was she and h e r f i n g e r s were my f i n g e r s . Then she and I would sh u t o u r s e l v e s i n a l o n e and t o g e t h e r and t r e m b l i n g i n t h e dark w a i t f o r t h e n i g h t m a r e . -139-MY BIOGRAPHY C) ART Memory p r e s i d e d . On h e r r i g h t was h e r d a u g h t e r t h e P a i n t i n g ; on h e r l e f t , J i r - H o n - E y a . The h o r s e s ran s w i f t l y i n c i r c l e s . The c o l o u r f u l k n i g h t s were s h o u t i n g a t them and you c o u l d see t h e f l a s h o f t h e i r w h i p s i n t h e a i r . F o r some t i m e e v e r y t h i n g was h i d d e n i n a c l o u d o f d u s t . Banne rs were f l y i n g i n t h e g r a n d s t a n d . The madmen, i n t h e mean t ime , were c r e a t i n g t h e b l a c k and w h i t e s u r f a c e ; f a r o f f you c o u l d d i s t i n g u i s h t he o u t l i n e s o f t he c a s t l e s . When I c o n c e n t r a t e d v e r y h a r d , I was a b l e t o see t h a t t h e r e were a c t u a l l y o n l y two h o r s e s — a b l a c k one and a w h i t e o n e . The Queen, M a r i a n n e , d r e s s e d i n b l a c k , was l a u g h i n g . E i g h t b l a c k f o o t - s o l d i e r s e s c o r t e d h e r , w h i l e t h e k i n g was s t r o k i n g h i s t r a i n e d c r o c o d i l e . O n l y much l a t e r I r e a l i z e d t h a t t h e h o r s e s were r i d i n g , by t h e m s e l v e s — no k n i g h t s were l e a d i n g them. -140-I t even l o o k e d as i f t h e y t hemselves were c h e e r i n g and u r g i n g t h e m s e l v e s on w i t h w h i p s . There were not two h o r s e s as I had t h o u g h t , b u t f o u r — two b l a c k ones and two w h i t e ones. I n t h e g r a n d s t a n d , Queen Marianne's e i g h t b l a c k f o o t - s o l d i e r s and t h e P a i n t i n g ' s e i g h t w h i t e f o o t -s o l d i e r s were waving t h e i r h a n d k e r c h i e f s . Then t h e y put up a f e n c e around t h e p r i n c e s . The madman f i n i s h e d c o n s t r u c t i n g the s u r f a c e w i t h s i x t y - f o u r b l a c k and w h i t e s q u a r e s . They were a r g u i n g among th e m s e l v e s t h r o w i n g p r o v e r b s a t each o t h e r . During, t h e l a s t t i m e around, the h o r s e s were h a r d l y r e c o g n i z a b l e . O n l y t h e c l o u d o f d u s t formed a v i s i b l e mass. Suddenly t h e c l o u d h a l t e d : i t was a s p h e r e . The e i g h t b l a c k and e i g h t w h i t e f o o t - s o l d i e r s (perhaps t h e y were o n l y pawns), t h e f o u r c a s t l e s , t h e f o u r h o r s e s , t h e two queens and the two k i n g s e n t e r e d t h e s p h e r e . The sphere f l e w away w i t h the w i n d . Immediately t h e p a i n t e r ' s b l o o d s p l a s h e d on t h e s p e c t a t o r s . A f t e r the ceremony, everyone c o n g r a t u l a t e d the P a i n t i n g (wrapped i n h e r g o l d e n mantle w i t h t h e c r e s t o f -141-the l i o n Euripides); and Jir-Hon-Eya, magician and high p r i e s t of t h i s a r t . -142-MY BIOGRAPHY D) ANATOMY When she came home, I showed h e r my p a i n t i n g , My Anatomy D e f i n e d and I e x p l a i n e d i t t o h e r . "I n t he c e n t r e o f t h e p i c t u r e i s a p o r t r a i t o f my whole body. The two columns a t each s i d e a r e d i v i d e d i n t o seven p i c t u r e s , each one r e p r e s e n t i n g one o f t h e f o u r t e e n symbols o f my anatomy. "My head i s s y m b o l i z e d by a b a t t l e - s h i p i n a cage; my b r a i n , by a b e e h i v e i n w h i c h you can see t h e head o f a man w e a r i n g a t o p h a t ; my eyes , by a sun and a S a r a t o g a t r u n k ; and my e a r s , by t h e t o p h a l f o f a f l o a t i n g head w i t h t h e words: 'Mind, i n t e l l e c t , r e a s o n . ' "A dragon w i t h seven w o l v e s ' heads and a s c e p t r e l i e s a t my f e e t . T h i s dragon has w i n g s . There i s an ope n i n g i n my body w h i c h extends l i k e a g i g a n t i c seam from neck t o g r o i n e x p o s i n g my h e a r t , i n t e s t i n e s and o t h e r o r g a n s . "My c h e s t i s r e p r e s e n t e d by the C o l o s s u s o f Thebes w h i c h b e a r s my name, my sex by t h e b a t t l e m e n t s o f a c a s t l e w i t h a l a r g e egg f l o a t i n g on t o p ; my l i v e r by a t e l e p h o n e w i t h an embryo i n t h e r e c e i v e r ; my i n t e s t i n e s -143-by a b u l l ' s head and a c h a l i c e c o n t a i n i n g t h r e e v i p e r s ; and, s u r p r i s i n g l y , what would seem t o be my h e a r t i s s y m b o l i z e d by a c h a i n e d h e a r t w i t h a b o w l e r h a t on t o p . "I'm i n a m e d i e v a l house w i t h p i l l a r s and a r c h e s . I n t h e background i s a g l i m p s e o f a landscape w i t h g o t h i c c h u r c h e s . The f l o o r i s o f h a r d square t i l e s i n g e o m e t r i c a l p a t t e r n s . "My f e e t a r e r e p r e s e n t e d by a c e n t a u r and an a n i m a l w h i c h i s h a l f - c a t and h a l f - f i s h ; my hands by the w o r l d b e s i d e a man hanged from h i s f e e t ; my l e g s by a c h e s s b o a r d h o r s e i n t h e m i d d l e o f a f i e l d ; my arms by two f i n g e r s p i e r c e d by an arrow; and my n a v e l by a b a l a n c e w i t h eyes and watches i n t h e pans. "My f a c e has a f r i n g e o f w h i s k e r s and p r e t e n d s t o be i n d i f f e r e n t t o t h e f o u r t e e n symbols. I l o o k s t e r n and my r i g h t hand i s c l o s e t o my mouth, al m o s t as i f I were h o l d i n g a p i p e . " When I f i n i s h e d my e x p l a n a t i o n , she asked me: "Dont you see t h a t t h e p a i n t i n g you're t e l l i n g me about i s o n l y a m i r r o r ? " - 1 4 4 -CHAPTER FOUR THE SQUARE When I came out of MY BIOGRAPHY, the square was empty except for the monument and a small table with a chessboard and two chairs. I sat down on one of the chairs and placed the chessmen on the board. I looked at the giantess. New p o s s i b i l i t i e s appeared: i n spite of her h i e r a t i c and p e t r i f i e d appearance i t seemed as i f she were of fl e s h and blood. Unless she was a projection of the imagination, a mirage. It i s possible that she changed imperceptibly and that one could never actually capture the moments of transformation. A short while l a t e r , two half-drunk men put a b a r r e l of wine in front of me and sang: Ding dong B e l l The drunks are in the well Ding dong b i l l The sober are up the h i l l They were f i l t h y and stained with wine. They wore -145-o l d and worn o v e r c o a t s . Once t h e y had put t h e b a r r e l i n f r o n t o f me, t h e y s t a r t e d t o d r i n k from i t l i k e a n i m a l s . They s t u c k t h e i r heads i n s i d e and a l l I c o u l d see were b u b b l e s e x p l o d i n g i n t h e a i r . Then t h e y p u l l e d t h e i r heads out and laughed, h a l f - d a z e d . There v o i c e s were h a r d l y a u d i b l e when t h e y l e f t , s i n g i n g : T h i r t y days h a t h September A p r i l , June and November. S u d d e n t l y a hand emerged from t h e b a r r e l ; t h e n a solemn f a c e . The::person v e r y s e r i o u s l y moved one o f t h e chessmen, s a y i n g : "Pawn f o u r k i n g . " I began t o p l a y w i t h him. A f t e r t h e t h i r d move, he remarked: " B i s h o p f i v e k n i g h t queen. Ruy Lopez." S a t u r a t e d and c o v e r e d t o h i s c h e s t w i t h w i n e , my opponent, s i t t i n g on a s e a t w h i c h was p r o b a b l y a t t h e bottom o f t h e b a r r e l , p l a y e d w i t h p r e c i s i o n . From ti m e t o t i m e , he plunged down i n t o the l i q u i d . Sometimes he even poured g l a s s e s o f wine o v e r h i s head. I was c o n c e n t r a t i n g so h a r d on t h a t game t h a t I -146-d i d r i ' t n o t i c e t h a t t h e square was a g a i n packed w i t h p e o p l e . When I l i f t e d my head, I saw t h a t I was surr o u n d e d by c h i l d r e n who were s i t t i n g on t h e i r f a t h e r s ' s h o u l d e r s . They were making u n b e l i e v a b l y rude remarks. I was happy.because I was w i n n i n g . I had a b r i l l i a n t c o m b i n a t i o n i n my head w h i c h would e l i m i n a t e my opponent's k n i g h t and g i v e me t h e v i c t o r y , when one o f t h e c h i l d r e n c l i m b e d on t h e t a b l e and u p s e t e v e r y t h i n g . He.began t o shout: "Sonnet! Sonnet! Sonnet f o r t h e g i a n t e s s ! " There was tremendous a p p l a u s e . The people r o a r e d : "Long l i v e . . . " I don't know who o r what. The c h i l d r e c i t e d h i s sonnet a t t h e t o p o f h i s v o i c e , b u t I o n l y managed t o c a t c h t h e f i r s t t h r e e l i n e s w h i c h were g i b b e r i s h : U n i q u i n i f r a t r e s sum E s t o y n e s t o y puntos cum. The'crowd went w i l d w i t h e n t h u s i a s m and t h e peopl e su r g e d f o r w a r d t o k i s s t h e boy's f e e t . Some o f them r a i s e d him by h i s s h o u l d e r s and l i f t e d him up t o t h e g i a n t e s s ' f e e t . - 1 4 7 -My opponent was making s i g n s a t me to f o l l o w him. He plunged down i n t o the wine b a r r e l . Without second thoughts, I dove i n behind him. At the bottom o f the b a r r e l , we found a door on which was w r i t t e n : LABYRINTHS - NINETEENTH LABYRINTH I went through the door by myself s i n c e my opponent had disappeared m y s t e r i o u s l y and I d i d n ' t know where he was h i d i n g . There, i n the l a b y r i n t h , I saw: ' -148-NINETEENTH LABYRINTH THE EYES Waking up, I opened my e y e s , b u t I d i d n o t see t h e g o l d e n b e e t l e i n h i s g l a s s case,nnor t h e p i p e on t o p o f the d r e s s e r , n o r t h e p o r t r a i t o f me on ho r s e b a c k f i g h t i n g ( f o r o r a g a i n s t ? ) memory. I d i d n o t see a n y t h i n g . Was I b l i n d ? I s a t up i n bed, l e a n e d a g a i n s t the p i l l o w s and c o u l d n o t d i s t i n g u i s h t h e room, n o r t h e a r m c h a i r , n or h e r w a i t i n g f o r me as u s u a l a t my s i d e . I t u r n e d my head and c o u l d n o t see t h e door, n o r t h e b a l c o n y , n or t h e l i t t l e c a s k e t w h i c h was t o c o n t a i n my ashes, n or t h e c a t , n o r t h e books. I s t a y e d a b s o l u t e l y s t i l l f o r some t i m e , s i t t i n g on my bed and l e a n i n g back a g a i n s t t h e p i l l o w s . I saw a b s o l u t e l y n o t h i n g . A c t u a l l y I d i d nsee something, t h a t l o o k e d l i k e a g r e y i s h s p o t s t r e a k e d w i t h t i n y , i r r e g u l a r r e d l i n e s . I c o n c e n t r a t e d my eyes on t h i s s p o t and r e a l i z e d t h a t I c o u l d b o t h f o c u s more c l o s e l y on i t and draw away from i t . I d e c i d e d t o move on w i t h my s i g h t and c r o s s e d a round -149-p o o l i n w h i c h a dark l i q u i d was s p l a s h i n g . I reached the w a l l o p p o s i t e me, w h i c h was a l s o g r e y and s t r e a k e d by u n d u l a t i n g r e d l i n e s . I t u r n e d back and amused m y s e l f by c r o s s i n g , t h e p o o l s e v e r a l t i m e s — i t was a c t u a l l y a s p h e r e . I was a f r a i d t o t a k e t h e r i s k o f l o o k i n g a t t h i n g s . F o r some r e a s o n , I was a f r a i d t h a t I would n o t be a b l e t o get back t o t h e p l a c e from where I had s t a r t e d and t h a t my s i g h t would be loscfe f o r e v e r i n an unknown p l a c e . Because o f t h i s , I d e c i d e d t h a t t h e w i s e s t t h i n g t o do was always t o c o n t i n u e f o r w a r d i n a s t r a i g h t l i n e . I jumped o v e r t h e o b s t a c l e o f t h e p o o l and found m y s e l f i n f r o n t o f a w h i t e mountain w h i c h seemed t o be d i v i d e d i n two. A c t u a l l y i t was a smooth mountain r i d g e d i v i d e d i n t o two segments o f a sp h e r e , s t r e a k e d w i t h innumerable d a r k v e i n s . I t seemed t o me t h a t I was f a c i n g f a n a t i c i s m . I went on, c r o s s e d t h e mountains, b u t b e h i n d them was c o n f r o n t e d w i t h an u n s c a l a b l e w a l l . Below t h e p o o l and t h e mountains, I had n o t i c e d an enormous o i l p i p e r u n n i n g down below. T r y i n g t o r e p r e s s t h e f e a r t h a t had s e i z e d me, I sought r e f u g e i n the p i p e . -150-Then I r e a l i z e d what was happening t o me — my eyes were n o t a b l e t o see what was g o i n g on o u t s i d e and I c o u l d o n l y see i n t o t h e i n t e r i o r o f my body. The p o o l was t h e e y e b a l l , t h e mountains were my b r a i n s and t h e o i l p i p e was t h e w i n d p i p e . T h i s d i s c o v e r y f i l l e d me w i t h h a p p i n e s s . I spent whole hours g o i n g o v e r my body from t o p t o bottom, from l e f t - t o r i g h t , making new d i s c o v e r i e s and a t l a s t f i n d i n g o ut t h e symbol o f each and everyone o f my o r g a n s . I marked s e v e r a l p l a c e s f o r r e f e r e n c e p o i n t s a l o n g t h e way so t h a t I would be a b l e t o o r i e n t m y s e l f arid f i n d my way back w i t h o u t g e t t i n g l o s t i n the l a b y r i n t h o f my i n s i d e s . When I l e f t t h e l i v e r , I carte a c r o s s a p i n k y t i s s u e e n c i r c l e d by a s t r a n g e n e r v e . Immediately I u n d e r s t o o d : i n s i d e was my soul;' R a d i a n t w i t h s a t i s f a c t i o n , I s t a r t e d t o c r o s s t h e t i s s u e so t h a t I c o u l d l o o k a t my s o u l , when I h e a r d h e r v o i c e : "What are you d o i n g w i t h your eyes open?" I f e l t h e r hand on my cheek. And I saw t h e g o l d e n b e e t l e i n h i s g l a s s c a s e , t h e p i p e on t h e d r e s s e r , my p o r t r a i t on t h e w a l l . -151-TWENTIETH LABYRINTH THE SEAGULL AND THE SEAGULLS No one was l a u g h i n g ; no one was jumping o v e r t h e waves; no one was f o o l i n g around; no one was p l a y i n g w i t h c o l o u r e d b a l l o o n s ; no one was swimming; no one was k i c k i n g h i s l e g s t o r a i s e foam. Not even t h e c h i l d r e n . Everyone s t a y e d i n t h e w a t e r some d i s t a n c e away from the beach. O n l y t h e i r heads, s t e r n and solemn, were v i s i b l e . The c h i l d r e n a l s o seemed w i t h d r a w n . No one was f l o a t i n g on h i s back. Everyone seemed t o be p e r f e c t l y s t i l l , a l t h o u g h i t i s p o s s i b l e t h a t they^were moving t h e i r l e g s so t h a t t h e y would n o t s i n k . Low c l o u d s were h a n g i n g on t h e h o r i z o n . A s e a g u l l , p erched on a p o s t a s h o r t d i s t a n c e from the s h o r e , was as s t i l l as a s t a t u e . The s e a was g r e y , t u r n i n g green and b l u e f a r t h e r o u t . The o n l y t h i n g s s t a n d i n g out a g a i n s t t h i s s l i g h t l y r i p p l e d s u r f a c e were t h e b o b b i n g heads o f t h e swimmers and t h e s e a g u l l on t h e p o s t . - 1 5 2 -I i m agined t h a t t h e swimmers were w e a r i n g c o l o u r f u l b a t h i n g s u i t s ; perhaps t h e women wore b i k i n i s and t h e c h i l d r e n were naked. Suddenly I n o t i c e d t h a t t h e y were a l l s t a r i n g a t me i n s o l e n t l y w i t h t h e i r eyes wide open. The sea was b r i n g i n g t h e swimmers c l o s e r t o t h e beach; and t h e i m p e r t i n e n c e i n t h e i r r e g a r d was a l m o s t r e a s s u r i n g . Even the c h i l d r e n were a r r o g a n t . Y e t t h e r e was something p l e a s i n g about t h e i r i n s i s t e n t s t a r e s . The s e a g u l l a l s o f i x e d i t s gaze on me. E v e r y t h i n g , t h e n , was i n o r d e r and a l l - might have ended w e l l i f i t had n o t been f o r an i r a s c i b l e l i t t l e man who was s i t t i n g b e s i d e me. He was r e a d i n g a t h i c k booko c a l l e d : The L a d i e s C o n g r a t u l a t e Him. He ate one sandwich a f t e r a n o t h e r , l i c k i n g h i s f i n g e r s b e f o r e he t u r n e d t h e pages o f t h e book. He was d r i n k i n g b o t t l e s o f warm c o c a - c o l a w h i c h he p u l l e d o ut o f h i s p o c k e t s . As soon as he a r r i v e d , he wanted t o make f r i e n d s w i t h me. He gave me a well-known p i c t u r e : a r a z o r s l i c i n g a c r o s s an eye. "Take i t . I know you're an a r t i s t . " -153-He g o t up and a d d r e s s e d h i m s e l f t o t h e swimmers w i t h t h e s e words: "When are you g o i n g t o s t o p s t a r i n g a t my f r i e n d ? " I t d i s t u r b e d me t o hear him shout l i k e t h a t and a c t as i f I were h i s f r i e n d . "Can't you -see you're b o t h e r i n g him?" The swimmers, p e r f e c t l y s t i l l , were n o t i n t e r e s t e d i n t h e l i t t l e man's i m p r e c a t i o n s . Suddenly he h u r l e d a c u r s e a t them t h a t a l m o s t t e r r i f i e d me: "May your eyes g e t p i c k e d by t h e b i r d s i n t h e sky I" The i m p a s s i v e swimmers were s i l e n t l y coming c l o s e r . Soon t h e y were o n l y a few y a r d s away and f i n a l l y a wave bro u g h t them on t h e sand. They were n o t peopl e b u t a hundred heads a t t a c h e d t o c o r k l e g s . They were s t i l l l o o k i n g a t me — t h e heads were a l i v e . The s e a g u l l f l u t t e r e d h i s wings and gave a l o u d s h r i e k t h a t sounded l i k e a lament. Immediately a hundred s e a g u l l s appeared on t h e beach. They descended on the heads and m e t i c u l o u s l y p l u c k e d t h e eyes o ut from t h e i r s o c k e t s , w h i l e I h e a r d t h e o l d man's s h r i l l l a u g h t e r . -154-TWENTY-FIRST LABYRINTH THE EACE On t h e day t h a t I l o s t my f a c e , I woke up c a l m l y and o n l y n o t i c e d t h a t i t was m i s s i n g when I saw t h e r e f l e c t i o n o f t h e f r o n t p a r t o f my head i n t h e g l a s s panes o f t h e b a l c o n y . I remember t h a t w h i l e I was l o o k i n g a t m y s e l f i n t h e g l a s s , t h e r e was an announcement on the r a d i o s a y i n g t h a t human f o o t p r i n t s had been d i s c o v e r e d a t t h e bottom o f t h e s e a a c r o s s from t h e beach. The l o s s o f my f a c e c r e a t e d a f e e l i n g i n me w h i c h i s v e r y d i f f i c u l t t o d e s c r i b e . I t was c l o s e t o f a s c i n a t i o n . What was g o i n g t o happen? What k i n d o f f a c e was I g o i n g t o t a k e on? My f i r s t i d e a was t o make m y s e l f a f a c e o f p a s s i o n ; o r b e t t e r s t i l l , o f f i r e . I made s e v e r a l a t t e m p t s w h i c h were n o t t o o bad. I succeeded i n making a l u m i n e s c e n t f a c e w h i c h I c o u l d e a s i l y h i d e i n p u b l i c under a mask. I f e l t t h a t I had g i v e n my f a c e an a i r o f s l i g h t l y worn m a s c u l i n i t y w h i c h d e l i g h t e d me. As I was p u t t i n g t h e f i n i s h i n g t o u ches on i t , t h e r a d i o announcer gave good news about t h e f o o t p r i n t s found a t t h e bottom o f t h e s e a . A p p a r e n t l y , due t o t h e l a r g e crowds o f c u r i o u s p e o p l e who g a t h e r e d on t h e beach, a n i g h t l y e x c u r s i o n had been -155-o r g a n i z e d t o v i s i t t h e a r e a . He added t h a t t h e s h i p was c a l l e d "Memory". When I had f i n i s h e d t h e f a c e o f f i r e , I saw a h i n d c l o s e t o me w h i c h was p o s s i b l y o n l y a shadow o f my i m a g i n a t i o n ; b u t , n e v e r t h e l e s s , I d e c i d e d t o l o o k f o r a n o t h e r f a c e . F o r some weeks, I changed f a c e s e v e r y day: a c a t ' s f a c e , Maimonides' f a c e , a t h u n d e r f a c e , A l i c e i n Wonderland's f a c e , a s a i l o r ' s f a c e , Ramon Gomez de l a Serna's f a c e , a s p h e r i c a l f a c e , e t c . A l t h o u g h i t seems s t r a n g e , I must admit t h a t t h e more time passed, the more I m i s s e d my former f a c e t h a t had no h i s t o r y . One n i g h t , as I was t r y i n g on a f a c e made o f w a t e r , the r a d i o announcer a g a i n spoke about t h e human f o o t p r i n t s a t t h e bottom o f t h e s e a . W i t h o u t t h i n k i n g t w i c e about i t , I went t o the beach. On t h e way, I t h o u g h t t h a t my f a c e o f w a t e r s u i t e d me v e r y w e l l . The i d e a o f u s i n g i t had been suggested t o me by an o l d m a n u s c r i p t w h i c h , d i s c u s s i n g t h e " f i v e " e l e m e n t s , m a i n t a i n e d t h a t w a t e r " b e i n g t h e d e s t r u c t i v e element by autonomasia" was supreme. - 1 5 6 -The s a i l o r s were a t t h e beach w i t h t h e i r s h i p "Memory". They t o o k me out on t h e h i g h seas where t h e y lowered me t o t h e bottom w i t h a f l a s h l i g h t i n my hand. There were a c t u a l l y human f o o t p r i n t s a t t h e bottom l e a d i n g i n and out o f an underwater g r o t t o . I n s i d e t h e g r o t t o was a chamber and w i t h amazement I saw a l l my former f a c e s a l m o s t decomposed by t h e w a t e r . The f a c e o f f i r e was a l r e a d y t o t a l l y d i s i n t e g r a t e d . I n t h e c e n t r e was a l a r g e m i r r o r w i t h an i n s c r i p t i o n t h a t s a i d : I . I l e f t t h e cave and checked t h e f o o t p r i n t s . They were my own. A t t h a t moment, I h e a r d a female v o i c e coming from t h e cave: A young s a i l o r , mother, Has s t o l e n my h e a r t . I f I don't marry him I ' l l d i e young and a maid. I r e t u r n e d t o t h e under-sea cave, now c o n v i n c e d t h a t I was back i n my element. -157-TWENTY-SECOND LABYRINTH THE DELUGE L e a n i n g o u t o f t h e window, I caught s i g h t o f t h e empty beach f a r o f f . I t o o k my p i p e and l i t a match. No m a t t e r how h a r d I t r i e d , I was not a b l e t o l i g h t t h e p i p e . I drew i n and n o t h i n g happened. There was n o t h i n g wrong w i t h t h e f i l t e r — t h e p i p e was d r a w i n g bu t would n o t l i g h t . I t was i m p o s s i b l e t o smoke i t . I t began t o d r i z z l e . I t r a i n e d f o r h o u r s . Then i t l o o k e d as i f h a i l were coming down. A c t u a l l y , o b j e c t s were f a l l i n g from th e c l o u d s b u t w i t h o u t t h e f o r c e o f h a i l . A l i t t l e w h i l e l a t e r t h e window was c o v e r e d w i t h t h e s e o b j e c t s t h a t were coming down alm o s t l i k e a s l o w parade. I went out the door t o see what t h e y were: t h e y were t i n y c o f f i n s ] I t was r a i n i n g c o f f i n s ! B e f o r e l o n g , t h e ground was c o v e r e d w i t h minute c o f f i n s . I l o o k e d up and n o t i c e d t h a t t h e r e were f l o w e r s and s m a l l f u n e r a l w r e a t h s i n a l l t h e windows. I n t h e d i s t a n c e , l o n g b l a c k and m u l b e r r y drapes w i t h g o l d and s i l v e r i n s c r i p t i o n s w h i c h I c o u l d n o t r e a d -158-from where I was, were h a n g i n g down from t h e w a l l s o f h i g h b u i l d i n g s . U s u a l l y a t t h i s t i m e , I c o u l d hear t h e jukebox on the beach b l a r i n g t h e l a t e s t h i t s . Now, however, a f u n e r a l march was p l a y i n g . T i n y b l a c k c o f f i n s were s t i l l r a i n i n g down. The d e a t h k n e l l was t o l l i n g . Seven r e v o l t i n g dogs passed by i n f r o n t o f me, p l a y i n g t o g e t h e r and b i t i n g each o t h e r ' s t a i l s . There was i n c e n s e i n t h e a i r . They were, a f t e r a l l , n o t dogs b u t seven s m a l l d ragons. One o f them p l a n t e d h i m s e l f i n f r o n t o f me and s t a r e d a t me. Then he went away w i t h t h e o t h e r s i x . They were v e r y p l a y f u l and I saw them d i s a p p e a r i n t o t h e d i s t a n c e , jumping on t o p o f each o t h e r and r u n n i n g a f t e r s t o n e s t h a t t h e y were k i c k i n g a l o n g . . I n o t i c e d an u n b e l i e v a b l y t i n y s i l v e r key on t h e f l o o r where t h e dragon had s t o p p e d . Had the dragon l e f t i t f o r me? I n any c a s e , I p i c k e d i t up and k e p t i t . C o f f i n s were s t i l l coming down. The s t r e e t was now co v e r e d w i t h them. The b e l l s were s t i l l t o l l i n g t h e d e a t h k n e l l and t h e jukebox c o n t i n u e d t o p l a y a f u n e r a l march. The i n c e n s e was s u f f o c a t i n g . - 1 5 9 -I p i c k e d up one o f t h e c o f f i n s t o see what was i n s i d e . I t was no b i g g e r t h a n a match box. I put i t i n t o one o f my w a i s t c o a t p o c k e t s and went back i n s i d e . I t had s t o p p e d r a i n i n g . L o o k i n g out o f t h e window, I n o t i c e d t h a t the s t r e e t was g e t t i n g empty as t h e c o f f i n s s l i d down t h e g u t t e r i n t o t h e sewers and soon n o t a s i n g l e c o f f i n was l e f t . As i f a s p e l l had been l i f t e d , t h e b e l l s s t o p p e d t o l l i n g and t h e juke box stopped p l a y i n g . I p l a c e d t h e c o f f i n I had p i c k e d up on t h e t a b l e n e x t t o t h e m i n i a t u r e s i l v e r key t h a t t h e dragon (?) had l e f t f o r me. I t r i e d t o open the c o f f i n . I t was i m p o s s i b l e . I n s p i t e o f i t s s m a l l s i z e , i t had g r e a t r e s i s t a n c e . W i t h i t s l o c k , f o u r bronze h a n d l e s and baroque g i l t t r i m m i n g , i t l o o k e d l i k e an e x a c t copy o f a r e a l c o f f i n . I u n d e r s t o o d . The key b e l o n g e d t o t h e c o f f i n . I t d i d a c t u a l l y open w i t h t h e k e y . I n s i d e was a t i n y g l a s s c a s k e t and i n s i d e i t was she, more b e a u t i f u l t h a n e v e r , immobile and dead, surrounded by f l o w e r s . - 1 6 0 -W i t h t h e same key, I opened t h e l i d o f t h e g l a s s c a s k e t . She was r a d i a n t w i t h b e a u t y . C a r e f u l l y I put the c o f f i n on a b i g wooden b l o c k i n t h e m i d d l e o f the t a b l e and put s i x s m a l l b i r t h d a y c a n d l e s around i t . I l o o k e d a t h e r w i t h f a s c i n a t i o n . Something i n me, I don't k n e w t e x a c t l y what, s u g g e s t e d t h a t I k i s s h e r " l i k e S l e e p i n g Beauty". But she was so s m a l l ! Making an e f f o r t , I a t l e a s t put t h e edge o f my l i p s on h e r f a c e . Immediately I was " s e i z e d " by a s t r a n g e s e n s a t i o n and i n a few seconds I became s m a l l e r and s m a l l e r u n t i l I was h e r s i z e . . . , b u t she remained dead as b e f o r e . I d i d n o t q u e s t i o n my t r a n s f o r m a t i o n . I was i n s i d e t h e c o f f i n , even i n s i d e t h e g l a s s c a s k e t , t o g e t h e r w i t h h e r , on t o p o f h e r . Suddenly t h e l i d o f t h e g l a s s c a s k e t snapped s h u t . I was l o c k e d i n . Who had l o c k e d me i n ? I t dLd not t a k e me l o n g t o f i n d o u t t h e answer. O u t s i d e t h e g l a s s I saw seven dragons d a n c i n g around, l a u g h i n g and mocking me. I d e c i d e d i t would be b e s t t o r e s i g n m y s e l f t o th e s i t u a t i o n . And l u c k i l y my p i p e happened t o be h e r e ! I w -161-I wanted t o l i g h t i t b u t c o u l d n o t . I drew i n ; t h e p i p e was f u n c t i o n i n g p r o p e r l y . What was happening? I had become so d i s t r a c t e d . t h a t I had f o r g o t t e n t o f i l l i t w i t h t o b a c c o ! I l i t i t e a s i l y and as I e x h a l e d t h e f i r s t m o u t h f u l o f smoke, I became aware o f m y s e l f w i t h my nose p r e s s e d a g a i n s t t h e window pane, w a t c h i n g t h e r a i n . -162-TWENTY-THIRD LABYRINTH THE MCBRRORS She a r r i v e d i n t h e a f t e r n o o n w i t h h e r pack o f c a r d s , books, games and s a t down i n a r o c k i n g c h a i r on the b a l c o n y t o sunbathe. I s a t b e s i d e h e r i n a w i c k e r c h a i r . I t was a sunny a f t e r n o o n w i t h a l i g h t b r e e z e c a r r y i n g t h e s m e l l o f t h e s e a . A w o l f dog was h o w l i n g . She wore a p a i r o f r e f l e c t i n g s u n g l a s s e s . I d i d n ' t dare t o l o o k a t h e r a second t i m e — once was enough t o see t h e double imgge o f my f a c e r e f l e c t e d i n h e r g l a s s e s . A t t h a t moment she s a i d : "Memory d i v e r g e s and t h e a r t i s t m u l t i p l i e s i t . " The c h i l d r e n i n t h e s t r e e t s were s i n g i n g : G i v e us a t h o u g h t , s i r , A penny wajth your t h o u g h t , s i r . So round and f a t I can r u n L i k e t h e b a r r e l o f your gun. -163-They were j e e r i n g at someone, but I d i d not f e e l l i k e l e a n i n g out o f the window to see who t h e i r v i c t i m was. The next day, as soon as she came i n , I n o t i c e d t h a t she was again wearing r e f l e c t i n g s u n g l a s s e s . I d i d n ' t look a t her face a second time. We s a t on the balcony a c c o r d i n g t o our u s u a l r i t u a l . Without knowing why, I was uneasy about something, and as I l e t my eyes roam over her body, I n o t i c e d a d i s t u r b i n g d e t a i l — her f i n g e r n a i l s , which she never p o l i s h e d , t h a t day happened to be covered w i t h a b r i l l i a n t l a c q u e r and my face was r e f l e c t e d ten times i n the ten l i t t l e m i r r o r s o f her n a i l s . I s a i d something r e f e r r i n g to memory and chance and I b e l i e v e she added: "interwoven a thousand times. The r e v o l t i n g c h i l d r e n i n the neighbourhood were s t i l l s i n g i n g i n h i g h - p i t c h e d v o i c e s : Larks and potatoes N i g h t i n g a l e s and tomatoes. The next day, as I might have expected, she Showed up w i t h b r i g h t l y p a i n t e d t o e n a i l s as w e l l , r e f l e c t i n g my face t e n more times. As the days passed, more and more m i r r o r s invaded her body. F i n a l l y her -164-whole body was a m i r r o r d e s t i n e d t o reproduce my image i n d e f i n i t e l y and c u t t i n g i t i n t o p a r t s l i k e a k a l e i d o s c o p e . A l m o s t a t t h e same time t h a t t h i s phenomenon* o c c u r r e d , the m i r r o r i n t h e d i n i n g room by c o n t r a s t no l o n g e r r e f l e c t e d my image. I made s e v e r a l e x p e r i m e n t s , t r y i n g t o c a t c h i t by s u r p r i s e , a p p e a r i n g c a s u a l l y . I t was u s e l e s s . The m i r r o r r e f l e c t e d the image o f a man armed w i t h a h u n t i n g r i f l e , w i t h a penny i n h i s po c k e t and a l a r k and a n i g h t i n g a l e i n h i s game-bag. As an a d d i t i o n a l i r o n y , t h e man i n t h e m i r r o r i m i t a t e d a l l my g e s t u r e s . One a f t e r n o o n w h i l e we were under t h e sunshade on the sun r o o f , I wanted t o t e s t h e r . I wanted t o l e a d h e r l i t t l e by l i t t l e t o t h e s u b j e c t w h i c h b o t h e r e d me b u t t h e f i r s t t h i n g t h a t came out o f my mouth was: "Did you know t h a t y o u r whole body has t u r n e d i n t o a m i r r o r ? " " R e a l l y ? " she s a i d , c o n t i n u i n g t o r e a d as i f she hadn't h e a r d me. I n t h e e v e n i n g , she went t h r o u g h t h e d i n i n g room b e f o r e l e a v i n g . I n h e r r a t h e r s l o w and v e r y s e n s u a l manner, she tou c h e d up h e r f a c e i n f r o n t o f the m i r r o r . -165-"What do you see i n t h e m i r r o r ? " I a s k e d . "What do I see? Me, o f c c o u r s e i " wWhen I l o o k i n t o t h e m i r r o r , I see a h u n t e r ! " "Oh? L e t ' s see." I s t o o d i n f r o n t o f t h e m i r r o r . The h u n t e r w i t h h i s pennyoandofehe i a r k t a p p e a r e d , i m i t a t i n g my g e s t u r e s . "Look how he i m i t a t e s me '." I n t r i g u e d , she l o o k e d ; t h e n she t o o k o f f h e r r i g h t shoe and w i t h i t s h e e l s t r u c k t h e m i r r o r u n t i l i t b r o k e . The hunger r a n o u t o f the m i r r o r and d i s a p p e a r e d i n t o t h e d i s t a n c e . I t u r n e d towards h e r ; a l r e a d y h e r body had ceased t o be a m i r r o r . -166-TWENTY-FOURTH LABYRINTH THE ARCHITECT A rumour, w h i c h a t t h e t i m e I thought t o be a b s u r d , went around c o n c e r n i n g t h e a r c h i t e c t ; who, i t was c l a i m e d , had been seen a t t h e same t i m e i n t h e a u d i t o r i u m a t t e n d i n g t h e ceremony o f t h e covenant and i n t h e p a l a c e garden ( i n o t h e r words, almost t h r e e m i l e s away), a t t h e performance o f t h e t r a g e d y , The A d u l t e r e r s ' Punishment. A c c o r d i n g t o t h e rumour, the a r c h i t e c t had spen t about two hours a t b o t h p l a c e s a t once, w e a r i n g t h e same b l a c k s u i t and h o l d i n g t h e same ebony cane w i t h t h e s i l v e r h a n d l e . T h i s was t h e f i r s t t i m e t h a t t h e people r e a c t e d towards him w i t h h o s t i l i t y . P r e v i o u s l y everybody had p r a i s e d h i s y o u t h , handsomeness, competence, s e r i o u s n e s s and good manners. I remember t h a t f o r y e a r s he had s h u t h i m s e l f i n t o h i s house a p p a r e n t l y w i t h o u t b e i n g i n c o n t a c t w i t h anyone e x c e p t h i s o l d m a i d s e r v a n t . I n town, t h e y s a i d t h a t he s p e n t day and n i g h t r e a d i n g . More t h a n once t h e y p i t i e d him: - 1 6 7 -"Too bad t h a t such a handsome young man s h o u l d be b u r n i n g h i s eyes out r e a d i n g l i k e t h a t ! " Oneeof th e most r e s p e c t e d o l d men p r e d i c t e d : " H e ' l l end up g o i n g mad and k i l l i n g h i m s e l f . I know t h a t t y p e o f b r i l l i a n t young man v e r y w e l l . " Some months ago, he had s t a r t e d t o appear i n crowded p l a c e s , always w e l l - d r e s s e d and w i t h h i s i n s e p a r a b l e ebony cane w i t h the s i l v e r h a n d l e . I t was i m m e d i a t e l y a f t e r the f i r s t rumour t h a t I made a d i s c o v e r y w h i c h was out o f t h e o r d i n a r y . I was w a l k i n g a l o n g t h e c l i f f s by m y s e l f when I saw him on t o p o f a h i g h r o c k r e a d i n g what l o o k e d l i k e a book o f p o e t r y . When I g o t back i n t o town, I was t o l d t h a t he had s p e n t t h e a f t e r n o o n i n the c a f e a t t h e s q u a r e . They gave me p r e c i s e d e t a i l s — he had been d r i n k i n g c o f f e e and a green l i q u e u r . A t n i g h t , a f r i e n d who came t o see me from a town some m i l e s away, a s s u r e d me t h a t t h e a r c h i t e c t had been a t a t h e a t r i c a l performance d u r i n g t h a t t i m e . -168-Day s l a t e r , t h e news e x p l o d e d l i k e a b o m b s h e l l : the a r c h i t e c t had t h e g i f t o f u b i q u i t y . A f t e r t h e u s u a l e x c i t e m e n t and i r r i t a t i o n t h a t such news produced, everyone became used t o t h e new s i t u a t i o n . W i t h o u t b e i n g s u r p r i s e d , we used t o see him w h i l e we passed t h r o u g h t h e c e n t r a l park s i t t i n g on a l l t h e park benches l e a f i n g t h r o u g h v a r i o u s books, o r o c c u p y i n g a s e a t i n each and e v e r y row i n t h e t h e a t r e , o r g o i n g up t h e mausoleum e s c a l a t o r s an i n f i n i t e number o f s u c c e s s i v e t i m e s . Soon p e o p l e once a g a i n saw t h e s e r i o u s and e d u c a t e d young man i n him and c o n s i d e r e d h i s g i f t o f u b i q u i t y as a sad f a c u l t y w h i c h "makes him s u f f e r more t h a n a n y t h i n g e l s e . " Two months l a t e r , t he phenomenon ended a b r u p t l y . The a r c h i t e c t s e c l u d e d h i m s e l f i n h i s house w i t h t h e door b a r r e d . Empty b o t t l e s accummulated on h i s d o o r s t e p . A t n i g h t h i s s i l h o u e t t e appeared a g a i n s t t h e l i g h t background o f the t h i r t y windows o f h i s l a r g e house. Unkempt and w e a r i n g a d i r t y s h i r t , he made grimaces and c o n t o r s i o n s t h a t f i l l e d h i s n e i g h b o u r s w i t h f e a r . -169-One morning i n A p r i l , the town was sown wit h i d e n t i c a l c o r p s e s . On the park road, on the f r o n t steps o f the l i b r a r y , i n o r c h e s t r a seat no. f i v e i n the t h e a t r e , on the r o o f of the c i t y h a l l ; a young man, hanged and dressed i n b l a c k , was s m i l i n g . The s i l v e r handles o f an i n f i n i t e number o f ebony canes g l i t t e r e d i n the f i r s t g l a r e s o f the day. -170-TWENTY-FIFTH LABYRINTH THE TOURNAMENT We went t o t h e tournament t o g e t h e r . She wore a s i l k s k i r t and on h e r back shone t h e emblem o f t h e g o l d e n j a r . We s a t down on one o f t h e benches. I t seemed t o me t h a t when t h e people saw h e r , t h e y applauded and i t i s even p o s s i b l e t h a t t h e y shouted: "The queen, t h e queen!" She d e a l t o u t h e r Phoenix pack o f c a r d s . The p e o p l e argued o v e r them and some t r i e d t o f i g h t . She was smoking c i g a r e t t e s i n a l o n g c i g a r e t t e h o l d e r . B e f o r e t h e tournament began, a l i t t l e g i r l w i t h a hood and a bouquet o f f l o w e r s s t o o d i n t h e m i d d l e o f t h e a r e n a and s a i d w i t h o u t f u r t h e r i n t r o d u c t i o n : " R i d d l e . " A f t e r a v e r y s h o r t pause, i n a v o i c e a l m o s t i n d i s t i n c t because o f h e r emotion, she added: "What's always i n f r o n t o f us b u t we c a n ' t s e e ? " -171-The a u d i e n c e b u r s t o ut w i t h a p p l a u s e . The g i r l s m i l e d and k e p t p u l l i n g a t her s k i r t . She drew a c a m e l i a from h e r bouquet, k i s s e d atdand threw i t t o t h e a u d i e n c e . Thunderous a p p l a u s e . The c h i l d , now more c o n f i d e n t , s a i d : " R i d d l e : What do t h e dead e a t w h i c h would k i l l us i f we l i v e d on i t ? " T h i s t i m e she r e c i t e d so r a p i d l y t h a t she was al m o s t u n i n t e l l i g i b l e . N e v e r t h e l e s s , t h e audie n c e applauded as f r a n t i c a l l y as b e f o r e . As soon as t h e g i r l w i t h d r e w , a greyhound and a man d r e s s e d l i k e a m e d i e v a l k n i g h t e x c e p t f o r a rugby helmet on h i s head e n t e r e d t h e a r e n a . He had a s c i m i t a r i n h i s hand w h i c h he b r a n d i s h e d w i t h g r e a t d i f f i c u l t y . She c l a p p e d h e r hands and t h e tournament began. F o r some t i m e i t l o o k e d as i f t h e greyhound were d a n c i n g on h i s h i n d l e g s w i t h t h e k n i g h t . The greyhound b i t i n t o h i s opponent's neck. They s t a y e d j o i n e d t o g e t h e r l i k e t h i s f o r a l o n g t i m e . The k n i g h t f e l l on t h e ground and t h e greyhound s t o o d l i s t l e s s l y o v e r him. Some o f t h e s p e c t a t o r s s t a r t e d t o y e l l : " K i l l him: K i l l him! K i l l him:" The hound l i c k e d him u n t i l he r e v i v e d . He s a t up and t o o k o f f h i s armour. Beneath th e armour t h e r e was a s m a l l , d e l i c a t e man w e a r i n g a b l a c k and d u s t y o v e r c o a t and h a t . He s l o w l y went towards t h e m i d d l e and p l a y e d a melody on a h a r p t h a t made alm o s t a l l t h e l a d i e s i n t h e a u d i e n c e as w e l l as most o f h i s k n i g h t a t t e n d a n t s weep. Then he s a i d , w h i l e t h e hound was r u b b i n g h i m s e l f a g a i n s t him: "The answer: t h e f u t u r e and n o t h i n g . " -173-TWENTY-SIXTH LABYRINTH THE GANGUIN C l o s e t o t h e beach, I had a l i t t l e c a b i n where I used t o spend hours r e a d i n g . I t c o n t a i n e d one s i n g l e room. A p p a r e n t l y i t used t o s e r v e as a bathhouse f o r k e e p i n g t h i n g s w h i l e t h e f a m i l y went swimming. I n s p i t e o f i t s s m a l l s i z e , the room was i w a y s v e r y w e l l l o o k e d a f t e r ; " l i k e a l i t t l e d o l l ' s house", perhaps w i t h e x c e s s i v e c l e a n l i n e s s . I c o u l d h e a r t h e waves o f the sea from i n s i d e t h e c a b i n . The f u r n i t u r e was p l a i n b u t n o t d e v o i d o f a dangerous l u x u r y . There was a t a b l e , two c h a i r s , a l i t t l e cupboard; and i n a c o r n e r , a washbowl and two t o w e l s s — t h e remains o f t h e c a b i n ' s former purpose. Most e x t r a o r d i n a r y were t h e f o u r g r e a t m i r r o r s t h a t c o v e r e d t h e f o u r w a l l s o f t h e c a b i n . When I a r r i v e d one morning, I found an a n i m a l , a c a r e f u l m i x t u r e o f hake, w o l f , peacock and g o a t , p l a y i n g on t h e f l o o r . I t was r o l l i n g h a p p i l y on t h e t o w e l s wh<3ch a p p a r e n t l y t h e a n i m a l i t s e l f had put on th e f l o o r . Even though i t d i d n o t pay t h e l e a s t a t t e n t i o n -174-t o me, I n o t i c e d t h a t i t had a magic l o o k i n i t s e y e s ; — i t ' s e v i l eye c o u l d have p a r a l y s e d a c h i l d . I d e c i d e d t o a c t as i f I had n o t seen i t . Each o f us went about our o c c u p a t i o n s — i t s l e p t and I r e a d . When I stopped r e a d i n g , I l o o k e d up and saw t h a t t h e m i r r o r on t h e w a l l i n f r o n t o f me d i d n o t r e f l e c t t h e c a b i n ; b u t , l i k e a showcase window, d i s p l a y e d a l u x u r i o u s room w i t h p i l l a r s , c l a s s i c a l p a i n t i n g s on t h e w a l l s and a f o u n t a i n i n a n i c h e . The n e x t day when I a r r i v e d , I saw t h e a n i m a l p l a y i n g around. I t was a g a n g u i n , a s i e r r a a n i m a l b e l i e v e d t o be m y t h i c a l . A c c o r d i n g t o a l e g e n d , whoever k i l l s i t f i n d s h i s f o r t u n e . Moments l a t e r , j u s t as on t h e day b e f o r e , a n o t h e r o f t h e m i r r o r s on t h e w a l l r e f l e c t e d a f a n t a s t i c room w h i c h might have been a bed chamber o r a music h a l l . There was a s i l v e r - c a o p i e d bed w i t h t h e most s t y l i s h \ c u r t a i n s and b e s i d e i t a g r and p i a n o , s u r r o u n d e d by c h a i r s w h i c h were u p h o l s t e r e d w i t h l o u d green s i l k . -175-D u r i n g t h e n e x t two days, t h e phenomenon was r e p e a t e d u n t i l t h e f o u r m i r r o r s o f t h e c a b i n r e f l e c t e d n o t h i n g b u t f o u r r o c o c o rooms. A l t h o u g h I knew q u i t e w e l l t h a t t h e y were o n l y m i r r o r s , t h e e f f e c t o f t h e r e f l e c t i o n was so p o w e r f u l t h a t I almost t o o k i t f o r r e a l i t y . When I a r r i v e d on t h e f i f t h day, t h e m i r r o r s were s t i l l r e f l e c t i n g , t h e f o u r "phantom" rooms. But I was s u r p r i s e d n o t t o see t h e g a n g u i n . As I s a t down t o r e a d , I h e a r d a w h i s t l e coming from t h e r i g h t . I n t h e phantom room on t h e w a l l b e s i d e me was t h e ga n g u i n , quenching h i s t h i r s t i n t h e sumptuous f o u n t a i n . He was moving h i s head. I t l o o k e d as i f he were c a l l i n g me. W i t h o u t t h i n k i n g about i t , I went towards him. When I r e a l i z e d what I had done, I f e l t t h e f r e s h n e s s o f t h e w a t e r from t h e sumptuous f o u n t a i n on my hands. -176-TWENTY-SEVENTH LABYRINTH GROUP O, RH-NEGATIVE H i s name was L a j o s F o r i n t o s . He.was n o t a g a i n s t n o b i l i t y , b u t he had n e v e r wanted t o use h i s famous u n c l e ' s t i t l e . N e v e r t h e l e s s , everyone knew t h a t he was a Count. I got t o know him one n i g h t when he was a t t h e beach w i t h a v e r y b e a u t i f u l b l a c k g i r l n who was w e a r i n g a v e r y t i g h t b i k i n i . He had no s h i r t on and o n l y wore a p a i r o f l o n g b e i g e p a n t s . He a l s o wore s u n g l a s s e s . He was a w e l l - b u i l t young man, v e r y handsome ex c e p t f o r h i s two p r o t r u d i n g c a n i n e t e e t h w h i c h d i s t o r t e d h i s s m i l e . I t was a p l e a s u r e t o watch him swim. He was a b l e t o do t h r e e hundred y a r d s i n f i f t y - t w o seconds, something w h i c h he would n o t have been a b l e t o do i f he had s t o p p e d smoking two packs o f c i g a r e t t e s a day. He was a v e r y keen and dynamic d a n c e r . He e n j o y e d l i v i n g t h e s o - c a l l e d "modern l i f e " b u t w i t h o u t -177-f a n a t i c i s m and w i t h a c e r t a i n ease t h a t was t h e sou r c e o f h i s c o m f o r t . I n s p i t e o f h i s c o n n e c t i o n s and o p p o r t u n i t i e s , he had chosen an unexpected j o b — he was n i g h t nurse t h e C e n t r a l H o s p i t a l . T h i s was one o f t h e b e s t equipped m e d i c a l c e n t r e s t h a t e x i s t e d a t t h e t i m e , i f not t h e b e s t ; and i t had a l l t h e modern improvements o f t h e t i m e s . Perhaps h i s j o b i n t h e h o s p i t a l g u a r a n t e e d him t h e p r a c t i c e o f one o f h i s f a v o u r i t e p o s t u l a t e s : " I h a t e a d v e n t u r e . " When I had an a t t a c k o f a p p e n d i c i t i s , I was t a k e n t o t h e C e n t r a l H o s p i t a l . The o p e r a t i o n was u n c o m p l i c a t e d . A few days l a t e r , I was a l r e a d y on my f e e t ; b u t because o f what I t o o k t o be e x c e s s i v e p r o f e s s i o n a l z e a l , t h e surgeons c o n t i n u e d t o keep me under o b s e r v a t i o n f o r a few more day s . I was f e e l i n g , v e r y w e l l . One n i g h t I d e c i d e d t o go t o see my f r i e n d . He was n o t i n t h e n u r s e s ' room. I l o o k e d f o r him w i t h o u t s u c c e s s on t h e f i r s t f l o o r . When I opened one o f t h e doors on t h e ground f l o o r , I saw him. F o r sosme r e a s o n I d i d n ' t say a n y t h i n g , b u t watched him w i t h o u t him b e i n g aware o f me. -178-He opened s e v e r a l h e r m e t i c a l l y - s e a l e d d o o r s . Were t h e y r e f r i g e r a t o r s ? On t h e s h e l v e s were rows o f b o t t l e s f i l l e d w i t h b l o o d and l a b e l l e d a c c o r d i n g . t o t h e i r b l o o d group. My f r i e n d l o o k e d a t s e v e r a l b o t t l e s b e f o r e he found one t h a t s a i d : "Group 0, R h - n e g a t i v e " . P u t t i n g r u b b e r g l o v e s on h i s hands and t a k i n g e v e r y p r o p h y l a c t i c p r e c a u t i o n , he gave h i m s e l f a b l o o d t r a n s f u s i o n i n t h e arm. When he was f i n i s h e d , he m e t i c u l o u s l y c l e a n e d h i m s e l f w i t h a l c o h o l and put e v e r y t h i n g back i n i t s p l a c e . He c l o s e d t h e door o f t h e r e f r i g e r a t o r and d i d not seem i n t h e l e a s t s u r p r i s e d t o seemme. "Oh, excuse me. I d i d n ' t know you were i l l . Can I h e l p you?" "No, I'm a l r i g h t , " I r e p l i e d . He e x p l a i n e d t o me t h a t he had t o g i v e h i m s e l f a b l o o d t r a n s f u s i o n e v e r y n i g h t . H i s o r g a n i s m demanded i t . W h i l e he was s p e a k i n g t o me, I n o t i c e d more th a n e v e r t h e abnormal s i z e o f h i s c a n i n e t e e t h . Then he added: -179-"You see, I don't want to f a l l into my uncle's grandiloquent romanticism." "Your uncle ' s?'" "Yes, the Count's." "What do you mean?" "Count Dracula. You knew I was h i s nephew, didn't you?" -180-CHAPTER FIVE THE SQUARE Coming out o f the l a b y r i n t h , I was d a z z l e d by t h e b r i g h t g l a r e o f t h e square and t h e w h i t e s t a t u e o f the g i a n t e s s l y i n g on t h e p e d e s t a l . The p i l g r i m s , h a l f - l a u g h i n g and h a l f - c r y i n g , were p u t t i n g p r e s e n t s i n f c o n t o f t h e monument. Many o f them o f f e r e d t h e i r c l o t h e s , t h e i r shoes. I n a s h o r t t i m e a h a l f - n a k e d mob formed around t h e monument — th e men i n t h e i r l o n g drawers t h a t were out o f s t y l e , t h e women i n c o t t o n s l i p s ' , t h e c h i l d r e n c o m p l e t e l y naked o r w i t h sashes around t h e i r b e l l i e s . One o f t h e c h i l d r e n went up t o t h e monument and s a i d : "A sonnet f o r t h e g i a n t e s s . " He seemed v e r y s e r i o u s and even p r e c o c i o u s . The pe o p l e were p e t r i f i e d by h i s appearance. A s e p u l c h r a l s i l e n c e f o l l o w e d and t h e A r g e n t i n i a n v o i c e o f t h e c h i l d was h e a r d : -181-I d i o t t h e y c a l l me T i r a l i r a l o o l They l i v e t o work I l i v e t o f o o l . Rub a dub dub A l a d y i n a t u b He c a t c h e s a f i s h P u t s i t i n a s o a p d i s h . U n i q u i n i f r a t r e s sum E s t o y n e s t o y puntos cum. Mooncow bloomcow song Ebbery debbery don. I had e x p e c t e d g r e a t a p p l a u s e , but on t h e c o n t r a r y , t h e p e o p l e wept and some o f them were b e a t i n g t h e i r c h e s t s w i t h s t o n e s . When t h e boy had f i n i s h e d s l o w l y r e c i t l i n g h i s son n e t , he tel imbed up on t h e p e d e s t a l and k i s s e d t h e g i a n t e s s ' marble f o o t . Was t h e g i a n t e s s l o o k i n g a t me w i t h c e r t a i n i r o n y ? I even t h o u g h t I saw h e r head t u r n s l i g h t l y towards me. C l e a r l y I r e a d two words i n h e r eyes: LOVE and CHANCE. But soon t h e y were e f f a c e d . -182-The boy, a f t e r k i s s i n g t h e f o o t o f t h e g i a n t e s s , r a n o f f towards t h e back o f t h e s q u a r e . He d i s a p p e a r e d . Everybody i n c l u d i n g me s t a r t e d t o run a f t e r him. A t the back o f t h e s q u a r e , t h e r e was a c l i f f o v e r l o o k i n g a narrow v a l l e y f i l l e d w i t h chunks o f broke n r o c k . Below l a y t h e c h i l d ' s body, a s m i l e on i t s f a c e . I m m e diately everybody l i n e d up t o k i s s t h e f o o t o f t h e g i a n t e s s . A r i t u a l was i n i t i a t e d w h i c h c o n s i s t e d o f k i s s i n g h e r f o o t , r u n n i n g t o t h e back o f t h e square and t h r o w i n g o n e s e l f o v e r t h e p r e c i p i c e . Hours l a t e r , heaps o f c o r p s e s were s c a t t e r e d on the r o c k s . A l l t h e p i l g r i m s had c r a s h e d down and were l y i n g a t t h e bottom o f t h e p r e c i p i c e i n t h e i r underwear, l o o k i n g p e a c e f u l ; and among them were t h e s o l d i e r s w i t h t h e i r hands f o l d e d on t h e i r c h e s t s ; and t h e astronomers w i t h e x t i n g u i s h e d p i p e s i n t h e i r mouths; and embracing c o u p l e s ; and c h i l d r e n ; and t h e g o a t s w h i c h had l e a p t g r a c e f u l l y o v e r t h e c l i f f w i t h o u t d r o p p i n g t h e eggs w h i c h t h e y were h o l d i n g between t h e i r l i p s ; and t h e o r c h e s t r a and t h e monarch. -183-I n s t i n c t i v e l y I t u r n e d away f rom t h e a b y s s . I went back t o t h e monument and found a l i t t l e l a d d e r d e s c e n d i n g i n t o t h e g round l i k e t h e o p e n i n g o f a subway s t a t i o n . I t had a s i g n t h a t r e a d : LABYRINTHS - TWENTY-EIGHTH LABYRINTH The re I saw: -184-TWENTY-EIGHTH LABYRINTH THE SON OF CRONOS The s p e a k e r on t h e p l a t f o r m was r e a d i n g h i s l e c t u r e . A l a r g e a u d i e n c e , m o s t l y e x c i t a b l e young p e o p l e , k e p t l a u g h i n g and i n t e r r u p t i n g him w i t h smart remarks. The l e c t u r e r was s m a l l , h i s h a i r was co v e r e d w i t h d a n d r u f f and he l o o k e d s t e r n b u t he made no g e s t u r e s . He mixed h i s n o t e s up as he spoke and p a i d no a t t e n t i o n t o h i s a u d i e n c e . As I was l i s t e n i n g t o him, t h e r e appeared i n my mind t h e image o f a p i c t u r e w h i c h was ha n g i n g i n the k i t c h e n . S i n c e I was used t o s e e i n g i t a l l t h e t i m e , I had ne v e r r e a l l y l o o k e d a t i t c a r e f u l l y . I remembered t h a t ife was an o l d p a i n t i n g w h i c h I had assumed a t f i r s t s i g h t t o be a r e p r e s e n t a t i o n o f a m y t h o l o g i c a l scene. A t t h e end o f twenty minutes a r e a l commotion began t o b u i l d up w i t h s h o u t s , h i s s e s and l a u g h t e r . The most d a r i n g i n t h e crowd bombarded t h e l e c t u r e r w i t h screwed-up b i t s o f p a p e r . One o f them s t a r t e d t o i m i t a t e him i n t h e m i d d l e o f a s e n t e n c e . I remembered t h a t t h e p a i n t i n g i n t h e k i t c h e n showed a shepherd s t a n d i n g b e s i d e a woman. The shepherd -18 5-had a t a l l s t a f f and t h e woman seemed t o be naked. To th e l e f t were n i n e h i e r e t i c g i r l s . D e s p i t e e v e r y t h i n g , t h e l e c t u r e r c o n t i n u e d t o r e a d h i s l e c t u r e i m p a s s i v e l y . When he st o p p e d f o r a moment, I s i g h e d w i t h r e l i e f t h i n k i n g t h a t h i s t o r t u r e was coming t o an end. Some f o o l s , h o p i n g t o c a n c e l t h e r e s t o f t h e l e c t u r e , began t o a p p l a u d w i l d l y . An i n c r e d i b l e hubbub s t a r t e d . The l e c t u r e r l o o k e d f o r something on the t a b l e , found a g l a s s o f wa t e r and drank h a l f o f i t q u i t e n a t u r a l l y as i f n o t h i n g were g o i n g on. He c o n t i n u e d h i s l e c t u r e t o t a l l y u n a f f e c t e d by t h e h o s t i l i t y i n t h e h a l l . I t seemed t o me t h a t t h e r e were o t h e r d e t a i l s i n t h e p a i n t i n g w h i c h I c o u l d n o t remember e x a c t l y . I n th e f o r e s t i n t h e background, f o r i n s t a n c e , t h e horn s o f a faun might have been v i s i b l e . I t was al m o s t i m p o s s i b l e t o he a r him but I l i s t e n e d t o him w i t h i n t e r e s t as w e l l as I c o u l d . A t one p o i n t he t h r e w an i d e a i n t h e a i r w h i c h a r o u s e d my a t t e n t i o n . " T h e - ' T h e a a r t i s t e s , work,-;vhe't s a i d , - ' i s - t h e ' t f r i l i t o f the u n i o n o f t i m e and memory. Memory r e p r e s e n t e d by t h e b i o g r a p h y o f t h e a r t i s t and by t h e h i s t o r y o f h i m a n i t y ; and t ime by t h e f u t u r e , o r , i n o t h e r works, by chance." -186-The speech s t i l l l a s t e d f o r a n o t h e r h a l f h our. D u r i n g t h e l a s t minutes o f h i s l e c t u r e , t h e s p e a k e r c o n s t a n t l y l o o k e d a t h i s watch. The l e c t u r e ended amidst the c o n f u s e d row o f t h e m a j o r i t y and t h e moderate a p p l a u s e o f a s m a l l p a r t o f t h e a u d i e n c e — e d u c a t e d and o l d e r p e o p l e . W i t h o u t more ado, t h e s p e a k e r p i c k e d up h i s notes, and c a l m l y d i s a p p e a r e d . When I saw him t h e n e x t day, I t o l d him t h a t a c e r t a i n p a r t o f h i s l e c t u r e had i n t e r e s t e d me v e r y much. He seemed s u r p r i s e d . I p o i n t e d o u t t h a t t o my mind h i s t h e o r y on t h e a r t i s t ' s work c o u l d c a s t some l i g h t on t h e enigma o f a r t . "What? I spoke about a r t ? " "Yes, d e f i n i t e l y . Look a t y o u r n o t e s . " He l a u g h e d . So I t o o had b e l i e v e d i n h i s n o t e s 1 He had no such n o t e s ; t h e y were n o t h i n g b u t a p i l e o f w o r t h l e s s h a n d w r i t t e n pages t h a t he always s t r e w e d o v e r l e c t u r e t a b l e s and w h i c h he p r e t e n d e d t o be r e a d i n g . " I t l o o k s more s e r i o u s t h a t way," he s a i d . "And so your t h e o r y . . . . " -187-"You see, I t a l k about a n y t h i n g t h a t comes i n t o my head, t o f i l l up t h e hour f o r w h i c h t h e y h i r e me so I can p i c k up my cheque w i t h o u t s c r u p l e s . " When I r e t u r n e d home, I l o o k e d a t t h e p a i n t i n g i n t h e k i t c h e n . Below t h e shepherd was w r i t t e n : "Zeus, sone o f Cronos"; below t h e naked Venus/ "Memory", and beneath t h e i r n i n e d a u g h t e r s ; "The n i n e muses". -188-TWENTY-NINTH LABYRINTH BLOOD A t dawn the w a l l s o f my room, my house and t h e c i t y j o i n e d t o g e t h e r t o form a g r e a t s p i r a l . I t c o s t me some e f f o r t t o r e a l i z e t h a t t h i s p e r f e c t s p i r a l w h i c h l e d towards a c e n t r e was composed o f t h e rooms o f my house, the w a l l s , c o r r i d o r s , s t r e e t s and squares o f t h e c i t y — a l l r e a r r a n g e d i n a d i f f e r e n t way from w h i c h I was used t o . As I w a l k e d back and f o r t h a l o n g t h e s p i r a l , I s t a r t e d t o r e c o g n i z e c e r t a i n t h i n g s — a garden g a t e , th e r amparts o f a w a l l , and I s m i l e d as I t h o u g h t t h a t i f a s t r a n g e r were t o f a l l upon our c i t y he would b e l i e v e i t t o be n o t h i n g more t h a n one c o n t i n u o u s w a l l . Suddenly I r e a l i z e d how p e r f e c t t h i s c o n s t r u c t i o n was and when I remembered t h a t c i t y as i t used t o be, i t seemed w i t h o u t meaning, o r d e r o r d e s i g n . One day I dropped a g l a s s b a l l and n o t i c e d t h a t the c i t y was s l o p i n g — t h e b a l l r o l l e d away and d i s a p p e a r e d f o r good. The f i r s t m y s t e r i e s s t a r t e d t o p r e s e n t t h e m s e l v e s . How f a r would t h e b a l l r o l l ? Where would I go i f I t r i e d t o move on? Towards th e c e n t r e o r towards t h e edge i n t o i n f i n i t y ? - 189-Whatever t h e case might have been, he r e I was i n the presence o f a w o r l d whose p e r f e c t harmony was c o n s i s t e n t w i t h i t s i n h u m a n i t y . Who was t h e g r e a t watchmaker who had produced such p e r f e c t i o n ? How would i t be p o s s i b l e t o l i v e i n a w o r l d d i f f e r e n t from t h i s one? I s p e n t hours l o s t i n t h o u g h t , c o n t e m p l a t i n g t h e o r d e r , p e r f e c t i o n o f l i n e and m a t h e m a t i c a l s i m p l i c i t y , and g r e a t l y a d m i r i n g . t h e supreme a r c h i t e c t who had d e s i g n e d such a m a r v e l l o u s w o r l d where e v e r y t h i n g had i t s p l a c e and n o t h i n g was out o f o r d e r . I t was on a F r i d a y t h a t I d i s c o v e r e d a s m a l l s p u r t o f w a t e r coming out o f t h e m i d d l e o f a w a l l , about one and o n e - h a l f y a r d s from t h e ground. I t seemed t o be s e e p i n g t h r o u g h t h e w a l l . I Cook a drop on my f i n g e r — i t was c o m p l e t e l y t r a n s p a r e n t . I r a i s e d i t t o my l i p s . The t a s t e was u n m i s t a k a b l e — i t was a t e a r . T e a r s were o o z i n g from the w a l l ! Not o n l y was t h e w a l l i n my room weeping b u t the w a l l s o f t h e e n t i r e c i t y were s h e d d i n g t e a r s . A t n i g h t I h e a r d IP.gans and s h r i e k s and I a l s o s t a r t e d t o f e e l l i k e c r y i n g b u t c o u l d n o t . Not a s i n g l e t e a r dropped from my e y e s . -190-A few days l a t e r , I n o t i c e d t h a t t h e p e r f e c t s p i r a l i n w h i c h ,1 b e l i e v e d m y s e l f t o be l i v i n g was n o t a s p i r a l a t a l l : t h e r e were c o u n t l e s s z i g - g a g s , bends and f i l t h y c o r n e r s t h a t s t a n k . F i n a l l y I c o n c l u d e d t h a t t h e p e r f e c t s p i r a l w h i c h I had e n v i s i o n e d d u r i n g t h e f i r s t days was n o t h i n g b u t a maze o f w i n d i n g s i n t o w h i c h p e o p l e e j e c t e d t h e i r excrement. When I r e t u r n e d home, I saw t h a t t h e w a l l s had begun t o l e a k b l o o d . Threads o f b l o o d f l o w e d from a l l t h e c r a c k s and f i s s u r e s . The c i t y was b l e e d i n g . t o d e a t h . I was b e g i n n i n g t o f a i n t . P o w e r l e s s I dropped t o t h e f l o o r . B e f o r e l o s i n g c o n s c i o u s n e s s , I was aware o f someone l i s t e n i n g t o my h e a r t . A v o i c e s a i d : "Hurry. Get him t o t h e h o s p i t a l i m m e d i a t e l y f o r a b l o o d t r a n s f u s i o n . He's h a r d l y g o t a drop o f b l o o d l e f t ! " -191-THIRTIETH LABYRINTH THE SPHERICAL CAGE My r i g h t eye was seeing less and l e s s . I could f e e l the insect move back and forth but I didn't dare to do anything about i t . The f i n e s t filaments were covering my eye. I hardly l e f t the house any more and immediately got used to seeing only with my l e f t eye. She did not say anything to me and I was a f r a i d she would r e a l i z e what was happening. In order to hide i t from her I always put my hand over my right eye when she was around. The filaments increased and started to spread over other areas. S i t t i n g beside me, she was reading a book and from time to time sang a l u l l a b y as i f to h e r s e l f : Rock-a-bye baby Ride a cock-horse Rock-a-bye baby Walk down the path. I wore dark glasses when I went into the s t r e e t . I was not brave enough to look into the mirror nor to wash myself nor to expose myself to a current of a i r that might tear the threads and who knows what else with them. -192-Soon a v e r i t a b l e web c o v e r e d h a l f o f my f a c e . I was p e r f e c t l y aware o f i t . She, however, n e v e r mentioned my eye. Sometimes, as i f she were i n a t r a n c e , she would b e g i n t o c r o o n a l u l l a b y : Rock-a-bye baby On t h e t r e e t o p When t h e wind blows The c r a d l e w i l l r o c k . I wanted t o keep t h e peace. I d e c i d e d n o t t o go out a g a i n and f o r t h i s r e a s o n s h u t m y s e l f i n t o t h e tow e r . She v i s i t e d me v e r y e v e n i n g s t a y i n g u n t i l s u n s e t . E v e r y day she br o u g h t me two p r e s e n t s : a p u z z l e and a t r a i n e d i n s e c t - e a t i n g a n i m a l . One day she a l s o b r o u g h t me a s p h e r i c a l cage o v e r t h r e e y a r d s l o n g i n d i a m e t e r . The s i c k n e s s g o t w o r s e ? / s p r e a d i n g o v e r my whole body l i k e a c a n c e r . An enormous s p i d e r ' s web c o v e r e d me from head t o t o e . I h a r d l y dared t o move. I f e l t t he s p i d e r p a s s i n g o v e r my body and was a f r a i d i t might a t t a c k my i n s i d e s . I d e c i d e d t h a t I c o u l d n o t l e t h e r v i s i t me w h i l e I was i n t h i s c o n d i t i o n . When I saw h e r , I l o c k e d m y s e l f - 1 9 3 -i n t o the tower, having k i l l e d a l l the i n s e c t - e a t i n g animals t h a t she had brought me. I was a f r a i d t h a t t h e i r a g g r e s s i v e presence would anger the s p i d e r and t h a t i t s revenge would be even worse f o r me than what I was enduring now. That a f t e r n o o n , when I l o c k e d myself i n , she c a l l e d me i n s i s t e n t l y . I t o l d her t h a t I c o u l d not l e t her come any more and she s a i d she would be back the next day w i t h a master-key. Faced w i t h such t h r e a t s , I decided to make an end of i t . I l i f t e d the s p h e r i c a l cage onto the window embrasure. I l o c k e d myself i n i t , h u r l i n g the key f a r o f f , and l e t myself f a l l over the c l i f f below the window. I l o s t c o n s c i o u s n e s s . When I came t o , the sphere was f l y i n g through the a i r and she was b e s i d e me w i t h a b l o o d - s t a i n e d mole i n her l a p . We were f l y i n g t o g e t h e r f o r a long time and I heard a l u l l a b y : Rock-a-bye baby The c r a d l e i s green F a t h e r ' s a nobleman Mother's a queen. - 1 9 4 -We continued to f l y and f l y and \3oon we were embracing each other and i t seemed to me as i f my body were penetrating hers and my skin were leaking everywhere. We landed and while she opened the spherical cage, I looked at my naked body and saw that the spider's web had disappeared. - 1 9 5 -THIRTY-FIRST LABYRINTH DARKNESS E v e r y t h i n g was c o m p l e t e l y shrouded i n darkness and I c o u l d o n l y hear a r h y t h m i c sound. A l o n g t i m e p a s s e d . When I d e c i d e d t o l o o k f o r t h e l i g h t , I stumbled a g a i n s t an a n i m a l w h i c h seemed t o be b i g g e r t h a n a dog but w h i c h I c o u l d n o t r e c o g n i z e . D u r i n g t h e whole day, I groped my way from one s i d e t o a n o t h e r , perhaps p a s s i n g by t h e same p l a c e s e v e r a l t i m e s . I was c o n s t a n t l y aware o f t h e a n i m a l near-by, w h i c h e m i t t e d a n a u s e a t i n g s m e l l . I t h o u g h t t h a t n i g h t was f a l l i n g . A c t u a l l y I was f a l l i n g a s l e e p . I l a y down on t h e f l o o r and n o t i c e d t h a t t h e a n i m a l was d o i n g t h e same. I t ' s presence was almost u n b e a r a b l e . When I awoke, t h e a n i m a l ' s head was r e s t i n g i n my l a p . C o n t r a r y t o what I had e x p e c t e d on waking up, I was s t i l l n o t accustomed t o t h e darkness and, as b e f o r e , I c o u l d n o t see a n y t h i n g . I w a l k e d i n a s t r a i g h t l i n e , perhaps c o v e r i n g g r e a t d i s t a n c e s , perhaps always -196-r o t a t i n g in- t h e same p l a c e . The more e f f o r t s I made t o f l i n g t h e s t i n k i n g a n i m a l a s i d e , t h e more i m p o s s i b l e i t seemed e v e r t o be a b l e t o g e t r i d o f i t . I d i d n ' t dare t o t o u c h i t -- i t s t a n k l i k e t h e d e v i l and e v e r y once i n a w h i l e l e t out a sound l i k e a human l a u g h w h i c h was most repugnant. Sometimes I came a c r o s s openings i n t h e w a l l i n t o w h i c h I was a b l e t o s t i c k my hand and sometimes my whole arm. The s m e l l o f whatever l a y a t t h e back o f t h e s e r e c e s s e s n a u s e a t e d me. A l t h o u g h I c o u l d not t e l l e x a c t l y what i t was, t h e r e was no doubt i n my mind b u t t h a t i t was s e m i - l i q u i d excrement. The a n i m a l f o l l o w e d me, s t i c k i n g c l o s e l y t o my h e e l s . When I f e l t t h a t i t was w i t h i n r e a c h I gave i t a k i c k . I t ' s a l m o s t human moan was o d i o u s . I f e l t l i k e v o m i t i n g . J u d g i n g by t h e time t h a t passed, I f i g u r e d o u t t h e topography o f t h e p l a c e where I was. I guessed t h a t i t was a maze o f passages, perhaps s e v e r a l m i l e s l o n g . However, how c o u l d i t be t h a t from a l l p o i n t s I h e a r d the same r e g u l a r n o i s e t h a t came from up h i g h ? I s p e n t t h e second n i g h t once a g a i n w i t h t h e a n i m a l w h i c h s t u c k c l o s e t o me. I r e a l i z e d t h a t i t was n o t a dog b u t a hyena, because o f i t s h e i n o u s s m e l l . -197-I went t o s l e e p . When I awoke, I h e a r d t h e r e p u l s i v e s nore o f t h e hyena. I t was t h e r e , b e s i d e me, h o p i n g . t h a t I would d i e from e x h a u s t i o n so t h a t i t c o u l d f e a s t on my c o r p s e . I had t h e f e e l i n g t h a t d e a t h was a t my s i d e w i t h a w h i t e b l i n d f o l d and hangman's r o p e . I d e c i d e d t o g e t r i d o f t h e a n i m a l . I found a r o c k and s t r u c k t h e hyena's head l o n g and h a r d enough t o k i l l i t . Then I went a l o n g t h e passages t r a c i n g the f l o o r and.the w a l l s w i t h my hands but I found o n l y repugnant t h i n g s . F i n a l l y I t o u c h e d a s t o n e about t h e s i z e o f an orange w h i c h was wedged i n t h e w a l l . I t was round w i t h a m e t a l l i c p o i n t a t t h e c e n t r e . Luck was on my s i d e ! The hyena b e s i d e me l a u g h e d almost humanly. I p u l l e d as h a r d as I c o u l d t o g e t t h e s t o n e o u t . G r a s p i n g i t w i t h my f i n g e r n a i l s , I t u r n e d and p u l l e d w i t h a l l my might b u t w i t h o u t s u c c e s s . The s t o n e was t i g h t l y embedded i n the w a l l . A f t e r one o f my e f f o r t s t o p u l l i t o u t , t h e p i e c e o f m e t a l i n t h e c e n t r e was p o i n t i n g down. There was l i g h t . There she was — more b e a u t i f u l t h a n e v e r . She laughed, s a y i n g : "You've f i n a l l y f i n d t h e l i g h t s w i t c h ? " I've been he r e f o r an hour w a t c h i n g you i n t h e d a r k . " -198-Her l a u g h t e r was m a r v e l l o u s . I t was h e r house — s i x rooms j o i n e d by a c e n t r a l passage. I r e c o g n i z e d i t i m m e d i a t e l y , as w e l l as t h e c l o c k w i t h i t s monotonous t i c k ^ t o c k and t h e j a r s o f honey w h i c h she k e p t i n t h e r e c e s s e s i n t h e w a l l . Suddenly I n o t i c e d t h a t she was w e a r i n g t h e perfume t h a t I l i k e d so much. -199-THIRTY-SECOND LABYRINTH THE HOSPITAL OF THE INCURABLES In the H o s p i t a l o f the I n c u r a b l e s there are cages e n c l o s i n g f l o w e r p o t s and the leaves o f the p l a n t s c o i l around the b a r s . She r i d e s a long the passages on horseback . A t t imes a door opens and you can c a t c h a g l impse of o n l y p a r t o f a man's face — an eye and an eyebrow. She r i d e s a long the passages on horseback, wear ing a gown of w h i t e s i l k t h a t covers her e n t i r e body. In the H o s p i t a l o f the I n c u r a b l e s , there i s a s m a l l g i r l who amuses h e r s e l f smashing a s m a l l b o y ' s nose; and an o l d man, h a l f / d a z e d from drugs , who spends the day s i n g i n g : The l o n e l y o l d gravedigger In our s m a l l town O l d Simon, one e v e n i n g , L a i d h i s daughter down. He c a r r i e d her To the h o l e he had made, And alone i n the evening To her r e s t she was l a i n . -200-The H o s p i t a l o f t h e I n c u r a b l e s i s an o l d b u i l d i n g by the r i v e r d i v i d e d i n t o d i f f e r e n t s e c t i o n s . Some o f t h e rooms a r e s m a l l f o r e s t s where t h e s i c k can be seen c o m p l e t e l y naked among t r o p i c a l b i r d s w i t h c o l o u r f u l f e a t h e r s . She was r a c i n g about on h e r h o r s e and o n l y s topped when she was a t t h e door o f t h e man whose eye and eyebrow were a l l I saw. "The H o s p i t a l o f t h e I n c u r a b l e s " i s t h e most i m p o r t a n t p a i n t i n g i n my l i b r a r y . I t i s a v e r y s m a l l p a i n t i n g p a i n t e d w i t h t h e t e c h n i q u e o f t h e m i n i a t u r i s t s . I know t h e c h a r a c t e r s i n i t . Sometimes I run i n t o them on t h e s t r e e t . The canvas has t h e p e c u l i a r i t y o f t r a n s f o r m i n g i t s e l f , o f becoming " a l i v e " . One day w h i l e I was on t h e beach, I saw the p a t i e n t whose eye and eyebrow were t h e o n l y t h i n g s I knew, c a r e l e s s l y l y i n g down w i t h h i s l e g s s p r e a d wide a p a r t . What had seemed t o me l i k e p e a c e f u l n e s s i n t h e p a i n t i n g was a c t u a l l y no more th a n t h e a r t o f l i v i n g based on l a z i n e s s . He was s u r r o u n d e d by f i n g e r - m a r k e d books w h i c h d i d n o t seem t o i n t e r e s t him much. - 2 o l -I spoke t o him. He yawned b e f o r e a n s w e r i n g me. E v i d e n t l y he was n o t i n t e r e s t e d i n a n y t h i n g b u t r e s t i n g . When I d e s c r i b e d t h e canvas and t h e r o l e t h a t he p l a y e d i n i t , he laugh e d g o o d - n a t u r e d l y . He asked me: "What d i d she do l a s t n i g h t ? " "Whom are you t a l k i n g a bout?" "The woman on h o r s e b a c k . " "Every day she s t o p s i n a d i f f e r e n t room." "But what d i d she do l a s t n i g h t ? " he i n s i s t e d . "She s t o p p e d i n f r o n t o f y o u r door." When he h e a r d t h i s , he d i s a p p e a r e d , l e a v i n g e v e r y t h i n g b e h i n d . When I r e t u r n e d home, I u n d e r s t o o d t h a t man's b e h a v i o u r . The woman was s t i l l a t h i s door w i t h h e r w h i t e v e i l s and something b u l k y under h e r arm. The drugged p a t i e n t was s i n g i n g : -202-O l d Simon l e f t t h e g r a v e y a r d As n i g h t draped t h e l a n d W i t h h i s spade on h i s s h o u l d e r And r a k e i n h i s hand. The townspeople t h e y asked him "Simon, what a r t t h o u a t ? " "I'm a l o n e l y o l d g r a v e d i g g e r , "I've j u s t b u r i e d my h e a r t . " I was s t r u c k by an i d e a — t h e r i d e r on t h e h o r s e was d e a t h and t h e package under h e r arm c o n c e a l e d a hangman's rop e . He had r e a l i z e d t h i s b e f o r e me. However, the f o l l o w i n g day I met t h e man i n a brand-new c a r d r i v e n by a c h a u f f e u r . F l a s h i n g a v u l g a r - l o o k i n g r i n g , he shouted a t me: "Thanks, thank s a l o t f o r y e s t e r d a y . " He w inked a t me. "Thank goodness you gave me t i m e t o buy a l o t t e r y t i c k e t ! " He b u r s t out l a u g h i n g and added: "And w e ' l l see i f f o r t u n e ever s t o p s i n f r o n t o f my door a g a i n w i t h t h e h o r n o f p l e n t y under h e r arm." -203-THIRTY-THIRD LABYRINTH THE LEGEND The two o f them, t h e a l c h e m i s t and the p o e t , l i v e d n e a r my house. The a l c h e m i s t on t h e f i r s t f l o o r o f t h e o l d house and t h e poet on t h e ground f l o o r . They were d i s t a n t t o each o t h e r b u t c o u r t e o u s . The poet used t o work u n t i l l a t e a t n i g h t and a t dawn he go t up t o t a k e c a r e o f h i s g a r d e n . The a l c h e m i s t was f r e q u e n t l y seen on t h e beach, drunk. The p o e t ' s w i f e was a l i t t l e c r i p p l e w i t h a c h i l d ' s b r a i n s . E v e r y morning, t h e poet t o o k h e r t o t h e park i n a l i t t l e c h i l d ' s c a r r i a g e and t o amuse h e r he p u l l e d f a c e s a t h e r and p l a y e d on a drum. The a l c h e m i s t ' s w i f e was a young and p r e t t y b l o n d e c a l l e d M a r i a . The a l c h e m i s t t o l d everyone t h a t he was on t h e p o i n t o f d i s c o v e r i n g t h e philosopher's s t o n e . No one b e l i e v e d him, n o t even h i s w i f e ; n e v e r t h e l e s s he managed t o l i v e e x c l u s i v e l y on borrowed money. The poet was i n c a p a b l e o f a s k i n g a n y t h i n g o f anybody; he c u l t i v a t e d h i s garden and r a i s e d hens. Some s a i d t h a t a t dawn he -204-went on t h e mountain w i t h a p a i r o f s c i s s o r s t o c u t he r b s f o r s a l a d . One day, alm o s t s t u p e f i e d from d r i n k i n g as u s u a l , t h e a l c h e m i s t s t a r t e d t o work i n h i s workshop. He c l a i m e d t h a t a l c o h o l e n a b l e d him t o a t t a i n t h e l u c i d i t y o f g e n i u s . A f t e r p r e p a r i n g many d i f f e r e n t m i x t u r e s , the a l c h e m i s t e x t r a c t e d a s m a l l s t o n e from t h e m e t a l m o r t a r . He p i c k e d i t up w i t h h i s p i n c e r s and l e a p t w i t h j o y . The stael p i n c e r s , i n c o n t a c t w i t h t h e l i t t l e s t o n e , had t u r n e d t o g o l d . He s t a r t e d t o shout: " M a r i a , M a r i a ! I've d i s c o v e r e d t h e p h i l o s o p h e r ' s s t o n e ! " Drunk and f u l l o f j o y , he jumped up and down and made l i t t l e p i r o u e t t e s w h i l e e v e r y t h i n g was t u r n i n g around him. He went i n t o t h e k i t c h e n b u t c o u l d n o t f i n d his w i f e . He went towards t h e bedroom and a t t h a t moment stumbled a g a i n s t a s t e p and f e l l on t h e f l o o r . The p i n c e r s f l e w o u t o f h i s hand and w i t h them t h e s m a l l s t o n e . The s t o n e B o i l e d as f a r as t h e po e t ' s garden w i t h o u t t h e a l c h e m i s t n o t i c i n g i t . F o r hours t h e a l c h e m i s t and h i s w i f e l o o k e d f o r i t i n t h e whole house b u t w i t h o u t s u c c e s s . - 2 0 5 -The p h i l o s o p h e r ' s s t o n e had f a l l e n b e s i d e one o f t h e p o e t ' s hens, w h i c h swallowed i t p r o m p t l y . Hours l a t e r , a t dawn, t h e poet went out t o f e t c h h i s eggs and he found h i m s e l f i n f r o n t o f an i n c r e d i b l e s i g h t : one o f h i s hens had l a i d a g o l d e n egg. He watched t h e hem f o r a week. E v e r y day i t l a i d a g o l d e n egg. The p o e t , v e r y happy, s a i d t o h i s w i f e : " W e ' l l be r i c h , J u l i e t t a , I've found t h e way." The l i t t l e c r i p p l e l a u g h e d , n o t because she u n d e r s t o o d what h e r husband was s a y i n g b u t because whenever she saw him s m i l e she d i d t h e same. The poet a c t u a l l y d i d become a m i l l i o n a i r e t h a n k s t o t h e book he w r o t e , The Legend o f t h e Golden Eggs, Which was t r a n s l a t e d and came out i n pocket books a l l o v e r t h e w o r l d ; w h i l e h i s n e i g h b o u t , t h e g e n i u s , d i e d c u r s e d and f o r g o t t e n . - 2 0 6 -THIRTY-FOURTH LABYRINTH THE BONFIRE On t h e w a l l a c r o s s from my bed, hundreds o f eyes were moving and l o o k i n g a t me. They were s l i d i n g down from t h e c e i l i n g t o t h e f l o o r . There were a l l k i n d s o f t h e m — l a r g e , s m a l l , b e a u t i f u l and u g l y , b l u e and b l a c k . . . . I saw them s p r e a d down t o the f l o o r where t h e y d i s a p p e a r e d . On t h e p a t i o , t h e b o n f i r e was b u r n i n g and from my bed I c o u l d hear t h e flames c r a c k l i n g and t h e boys s h o u t i n g . The boys most c e r t a i n l y were amusing t h e m s e l v e s by l e a p i n g o v er the f l a m e s . I t made me happy t o see so many eyes on t h e w a l l and I imagined t h a t t h e y b e l o n g e d t o a l l t h e peop l e I had e v e r seen. Perhaps t h e y were a l s o the eyes o f a l l my a n c e s t o r s and o f a l l mankind. From t h e p a t i o came t h e l a u g h t e r o f t h e boys and the b r i g h t glow o f t h e flames w h i c h i l l u m i n e d my room. Sometimes o n l y one eye was s l i d i n g s l o w l y down the w a l l and i t would l o o k a t me and I would l o o k a t i t f e e l i n g s a t i s f i e d and al m o s t proud. -207-Suddenly a l a r g e b i r d e n t e r e d my room and began t o f l u t t e r i n c i r c l e s around my bed. I t was a l a r g e b i r d b u t I c o u l d n o t r e c o g n i z e i t . I t l o o k e d l i k e an e a g l e o r v u l t u r e o r condor. I t seemed v e r y a f f e c t i o n a t e . I t p erched on t h e canopy o f my bed and c o n t e m p l a t e d t o g e t h e r w i t h me t h e a p p a r i t i o n on t h e w a l l . I d i d my b e s t t o remain a b s o l u t e l y s t i l l so t h a t i t would n o t be f r i g h t e n e d . F o r a l o n g t i m e , hours perhaps, we q u i e t l y s h a r e d an u n d e c l a r e d s e c r e t and we were f i l l e d w i t h enchantment. The two o f us l o o k e d a t t h e eyes and i t seemed t o me t h a t t h e b i r d , l i k e me, was s e n s i t i v e t o c e r t a i n r e g a r d s . The l o o k o f one p a r t i c u l a r eye made the b i r d u t t e r a c r y o f g r i e f . A l l o f a sudden i t f l e w away. I put my head o ut o f th e window almost w a n t i n g t o f l i n g m y s e l f a f t e r i t . I t made t h r e e c o n c e n t r i c c i r c l e s around t h e f i r e and the n dove s t r a i g h t i n t o t h e f l a m e s . The boys were s h o u t i n g with e x c i t e m e n t . I s m e l l e d and saw i t s wings and body s c o r c h . A t the same t i m e , my head began t o t h r o b and w h i l e t h e b i r d was consumed my headache became most p a i n f u l . -208-One o f t h e boys r e t r i e v e d t h e b i r d ' s ashes w i t h a s t i c k and put them on a r o c k . The p a i n i n my head was r e l i e v e d . I saw t h a t t h e ashes were moving. F i n a l l y t h e y began t o f l u t t e r — a beak appeared, t h e head, the t i p s o f t h e wings and i n a s h o r t w h i l e the b i r d was r e b o r n from i t s a s h e s . I t l o o k e d more n o b l e and b e a u t i f u l t h a n b e f o r e . I s a t down and u n d e r s t o o d t h e mechanism o f my memory, o f my b i r d P h o e n i x . - 2 0 9 -THIRTY-FIFTH LABYRINTH SEVEN CLOVERS Her h a i r d i s h e v e l l e d and h e r w r i s t s bound t o g e t h e r w i t h a r o p e , t h e g i r l was t i e d t o t h e t r e e . The hem o f h e r b l a c k d r e s s went up whenever she t r i e d t o f r e e h e r s e l f . Her hands were f a s t e n e d b e h i n d h e r back t o t h e t h i c k t r e e . I w a lked s l o w l y t h r o u g h the woods towards h e r . She was a l o n e and as I went c l o s e r I saw h e r better — h e r f a c e was f l u s h e d w i t h e x e r t i o n and she had l o n g and wavy, b l o n d h a i r . I s t o p p e d i n a c l e a r i n g s t i l l some d i s t a n c e away from h e r . Perhaps some boy had l e f t h e r t h e r e . She l o o k e d unhappy b u t not d e s p e r a t e ^ . Perhaps she was the p r i s o n e r o f a r i v a l gang. S i t t i n g on a t r e e stump, I t r i e d t o l i s t e n t o see i f some n o i s e would i n d i c a t e what was happening, b u t I o n l y h e a r d t h e murmur o f t h e woods. The g i r l was b a r e f o o t . Her shoes were h a n g i n g from a t r e e . On one o f h e r a n k l e s she wore a s i l v e r c h a i n from w h i c h hung seven c l o v e r s . -210-Th re e boys r a n by. I h i d i n t h e u n d e r b r u s h so t h a t t h e y would n o t see me. One o f them s a i d t o t h e g i r l : "Now we're g o i n g t o t o r t u r e you." The l i t t l e g i r l ' s smooth cheeks seemed r o s i e r t h a n b e f o r e and h e r eyes were m o i s t w i t h f e a r . Her h a i r was even more d i s h e v e l l e d . E v e r y now and t h e n she t u r n e d h e r wide-open eyes towards h e r " f r i e n d s " . The boys were c u t t i n g some k i n d o f g r a s s t h a t I c o u l d n o t r e c o g n i z e . "We're g o i n g t o h i t you w i t h n e t t l e s . " The g i r l a l m o s t c r i e d . She p l e a d e d w i t h t h e boys no t t o use n e t t l e s . She would p r e f e r a n y t h i n g e l s e : " a n y t h i n g but n e t t l e s , " she r e p e a t e d . One o f t h e boys h e l d one o f h e r b are f e e t and g r a z e d i t w i t h n e t t l e s . The g i r l c r i e d out and screamed: " I f you y e l l w e ' l l smear your f a c e ! " -211-The g i r l k e p t g r o a n i n g and I f a i n t e d . When I came t o , i t was n i g h t . I l o o k e d a t the t r e e . Not a t r a c e was l e f t o f what I had seen. The t r e e seemed t h i c k e r , h i g h e r and more dense. An o l d woman w i t h v e r y l o n g f i n g e r n a i l s and a few l o n g h a i r s on t h e t i p o f h e r c h i n came towards me. She wore a p a i r o f round g l a s s e s w i t h s i l v e r frames. Her f a c e was v e r y w r i n k l e d . Her eyes , a l t h o u g h h a l f - s u n k e n i n t h e i r s o c k e t s , were l o o k i n g a t me p e a c e f u l l y . I n h e r hand, she c a r r i e d a s m a l l bunch o f n e t t l e s w h i c h she handed t o me. Then she gave me a r o p e . She asked me t o t i e h e r hands b e h i n d h er back. I don't know why I obeyed h e r w i s h e s . She asked me t o remove h e r shoes and hang them on a t r e e , w h i c h I d i d . She was b r e a t h i n g r e g u l a r l y and i t seemed t o me t h a t t h e r e was a calm i n t e n s i t y on h e r w h i t e and w r i n k l e d f a c e . W i t h o u t knowing why, I guessed what she would ask me t o do n e x t . " K n e e l down a t my f e e t and rub them w i t h the n e t t l e s . " -212-K n e e l i n g , I l o o k e d up a t h e r f o r a moment. Her c l o s e d l i p s formed a f u n n e l o f w r i n k l e s . She w a s a b r e d t h i n g w i t h some d i f f i c u l t y , perhaps because o f h e r emo t i o n . On one o f h e r a n k l e s she wore a s i l v e r c h a i n from w h i c h hung seven c l o v e r s . She moaned s l i g h t l y and a l s o c r i e d . "I'm h u r t i n g you t o o much. Do you want me t o s t o p ? " "I'm n o t c r y i n g because o f the p a i n , " she s a i d . "I'm c r y i n g because e x a c t l y s e v e n t y y e a r s ago a t t h i s v e r y same t r e e some young f r i e n d s o f mine...." -213-THIRTY-SIXTH LABYRINTH DRINKABLE GOLD The d i c e were r o l l i n g on t h e green gambling t a b l e . These d i c e , however, were d i f f e r e n t . From where I was, I c o u l d n o t see t h e d e s i g n on each f a c e . The p l a y e r s around t h e r e c t a n g u l a r t a b l e were e x c i t e d and t e n s e . A l t h o u g h no one was smoking, a c l o u d o f smoke was ha n g i n g o v e r t h e t a b l e . On my way t o t h e c a s i n o , I went t h r o u g h t h e park and saw a t r e e w i t h heads h a n g i n g from i t s branches almost l i k e f r u i t . P e a c e f u l , serene heads. They shone l i k e g o l d i n the d a r k . The c r o u p i e r was u t t e r i n g words which made no sense t o me: "Dream." " A f t e r l i f e . " "Hermes 1 book." " T r i p l e c h a i n . " E t c . -214-The i n t e r s e c t i n g l i n e s and d o t s on t h e green c o v e r o f the t a b l e a l s o p r e s e n t e d a mys t e r y t o me. The p l a y e r s were p u t t i n g t h e c h i p s down on i t . An employee asked me t o j o i n t h e game. T r u s t i n g t o t h e c o n f u s i o n , I put my c h i p s down w i t h o u t any p l a n s and, o f c o u r s e , l o s t them one a f t e r a n o t h e r . A s h o r t time l a t e r , I was a b l e t o make out one o f the f a c e s o f t h e d i c e — i t was a g o l d e n b e e t l e . I would have l i k e d t o p l a y i t . The c r o u p i e r c o n t i n u e d t o s i n g o u t m y s t e r i o u s words wh i c h produced w i s e r e a c t i o n s i n t h e p l a y e r s : " E z e k i e l . " "The hanged man." "Seven angels." E t c . I went t o t h e window f o r a moment and saw t h e t r e e i n t h e m i d d l e o f t h e park w i t h i t s g o l d e n heads. From where I was s t a n d i n g , i t l o o k e d as i f t h e heads were a l i v e . -215-I r e t u r n e d t o my p l a c e and c o n t i n u e d t o p l a y . One o f t h e p l a y e r s came over t o me and w i t h o u t i n t r o d u c t i o n s t a r t e d t o speak t o me. I t was d i f f i c u l t t o u n d e r s t a n d him even though he spoke i n a v e r y h i g h - p i t c h e d v o i c e and o c c a s i o n a l l y even s h o u t e d . But he t o l d me such a b s t r a c t t h i n g s i n such a s t r a n g e a c c e n t t h a t i t was almo s t i m p o s s i b l e t o f o l l o w him. I l o o k e d a t him c a r e f u l l y . He was w e a r i n g an immaculate d i n n e r j a c k e t and t i e , b u t the c o l l a r o f h i s j a c k e t was c o v e r e d w i t h d a n d r u f f . H i s e a r s were f i l l e d w i t h y e l l o w wax. N e v e r t h e l e s s , I u n d e r s t o o d t h a t he was s u g g e s t i n g t h a t I p l a y t h e g o l d e n b e e t l e . I a d m i t t e d t o him t h a t I d i d n o t Know how t o go about i t . He e x p l a i n e d t h e method t o me w h i c h was a c t u a l l y q u i t e s i m p l e . I s t a r t e d t o p l a y t h e g o l d e n b e e t l e and i m m e d i a t e l y t h e c r o u p i e r t u r n e d a l l s o r t s o f o b j e c t s o v e r t o me. I was w i n n i n g and my " f r i e n d " winked a t me from t h e o t h e r s i d e o f t h e t a b l e . We b o t h s m i l e d . Then I n o t i c e d a d e t a i l t h a t had escaped me b e f o r e : he had g o l d e n hands — t h e y were s h i n i n g p e c u l i a r l y a t t h e o t h e r end o f t h e t a b l e . The c r o u p i e r c o n t i n u e d t o s i n g o u t t h e w i n n i n g c o m b i n a t i o n s : -216-" L y c a n t h r o p e . " " C a g l i o s t r o 1 s e l i x i r . " "Crown and s c e p t r e . " E t c . I went over t o t h e window a g a i n . The t r e e w i t h g o l d e n heads was c l e a r l y o u t l i n e d i n t h e m i d d l e o f the p a r k . But I a l s o n o t i c e d s e v e r a l p a i r s o f goldenhhands h a n g i n g from i t . I r e t u r n e d . t o my p l a c e and l o o k e d f o r my f r i e n d . I was uneasy f o r a moment because he was no l o n g e r t h e r e . Soon, however, I h e a r d h i s c h a r a c t e r i s t i c v o i c e and h i s l o u d l a u g h . He was s u r r o u n d e d by a group o f p e o p l e . He was w i n n i n g a l o t — a g r e a t heap o f o b j e c t s formed two pyramids i n f r o n t o f him. The c r o u p i e r k e p t r a k i n g new w i n n i n g s o v e r t o him. The women were c o n t r a t u i a t i n g him. He l o o k e d a t me and winked a g a i n . Once more, we b o t h s m i l e d . F o r a l m o s t an hour o n l y he and I were w i n n i n g , t h a n k s t o t h e c o m b i n a t i o n o f t h e g o l d e n b e e t l e . The c r o u p i e r sang o u t : - 2 1 7 -" M i n e r v a . " "Solomon's t r i a n g l e . " "Ceremony." " D r i n k a b l e g o l d . " A group o f o n l o o k e r s was s t a n d i n g around me and c o n g r a t u l a t i n g me. The l a d i e s were becoming q u i t e e n t h u s i a s t i c about me. When I l o o k e d a t h i s hands, I r e a l i z e d t h a t t h e y were no l o n g e r g o l d e n — two i r o n hooks had t a k e n t h e i r p l a c e . Suddenly I f e l t my f a c e go r i g i d . P a r a l y z e d by c o n f u s e d f e a r s , I d i d n ' t dare t o l o o k a t m y s e l f i n t h e m i r r o r a c r o s s from me. A g o l d e n b e e t l e was s l o w l y coming towards me. -218-CHAPTER SIX THE SQUARE When I l e f t t he l a b y r i n t h , I found m y s e l f i n t h e m i d d l e o f t h e c o m p l e t e l y d e s e r t e d s q u a r e . O n l y she and I . She, on h e r enormous p e d e s t a l ; and I , v e r y s m a l l , i n t h e m i d d l e o f the s p a c i o u s square o f w h i t e s t o n e . As I w a l k e d , I n o t i c e d my shadow on the ground. I h e a r d o r t h o u g h t I h e a r d h e r v o i c e . C o u l d i t be p o s s i b l e t h a t she might be c a l l i n g me? I r a i s e d my head and was dumbfounded and f a s c i n a t e d . The g i a n t e s s was s i t t i n g up on t h e monument and l o o k i n g a t me. She was d r e s s e d l i k e a queen and s m i l e d . I went towards t h e p e d e s t a l , c l i m b e d up the s t e p s and soon r e a c h e d h e r f e e t . I was no b i g g e r t h a n one o f h e r t o e s . I l o o k e d a t h e r . She was l a u g h i n g and c a l l i n g me. I began t o c l i m b up on h e r . W i t h much d i f f i c u l t y , I rea c h e d h e r r i g h t knee. W h i l e I was c l i m b i n g , she c o n t i n u e d t o l a u g h and c a l l . I g o t up on h e r t h i g h -219-and reached h e r w a i s t . I went a c r o s s h e r c h e s t , c o n t i n u e d up h e r neck, c r o s s e d h e r mouth and a r r i v e d a t h e r l e f t eye. I n t h e g i g a n t i c r e t i n a o f h e r eye, I saw m y s e l f : my image was r e f l e c t e d w i t h p r e c i s i o n — t h e r e I was w i t h a crown, a r o y a l m antle and a g o l d e n s c e p t r e . I l o o k e d l i k e a k i n g . A t my f e e t , i n t h e eye o f t h e g g i a n t e s s , a door opened and a few s t e p s b r o u g h t me i n t o t h e i n t e r i o r o f h e r body. I don't know how l o n g I l i v e d t h e r e , e n c l o s e d i n h e r body. -220-THE H.OURNEY Now I know how much time I spe n t i n h e r body — e x a c t l y n i n e months. A f t e r n i n e months, I came out o f h e r b r a i n w e a r i n g a crown. But t h e g i a n t e s s was no l o n g e r t h e r e and I was no l o n g e r the same as when I had e n t e r e d h e r , and I began t o l i v e a g a i n , and as soon as I was c o n s c i o u s I g l i m p s e d my b l i n d f a t h e r p l a y i n g the h a r p , and t h e l i t t l e c a r r i a g e w i t h t h e goat and t h e pa n t h e r w h i c h t o o k me around t h e room t h r e e t i m e s , and I h e a r d t h e c h i l d r e n ' s song and t h e se n t e n c e s t h a t were r e p e a t e d , and e v e r y t h i n g happened v e r y q u i c k l y , and i t seemed as i f I were a d v a n c i n g i n t o t h e f u t u r e v e r y r a p i d l y , and I ob s e r v e d my l i f e as i f i t were t h e l i f e o f a s t r a n g e r , and I fo r e s a w e v e r y t h i n g t h a t was g o i n g t o happen, and soon I r e a c h e d c h i l d h o o d , p u b e r t y , and a d o l e s c e n c e , and I l i v e d each and e v e r y moment o f my l i f e a t d i z z y i n g speed, and I r e l i v e d my l o v e , my anatomy i n t h e p a i n t i n g and my a r r i v a l a t a r t dominated by memory, and I went t o t h e s q u a r e , and I saw t h e g i a n t e s s change a c c o r d i n g t o t h e a n g l e from w h i c h I l o o k e d a t h e r , and I went i n t o t h e l a b y r i n t h s g o i n g t h r o u g h a l l t h i r t y - s i x o f them one -221-by one, and the labyrinths blended with the giantess as i f by the past, and I kept rushing forward i n time, and I entered the giantess 1 eye and came out of her brain nine months l a t e r ; and when I thought that I was going to stop t r a v e l l i n g , my body was hurled into the future and I sped through time, and now I am s t i l l rushing forward in time, through future centuries l i k e a f l a s h of lightning, and I l i v e centuries in hours and years in minutes, and I am happy because I am seeing and discovering e t e r n i t y , and my memory i s enriched, and I see the b i r d which takes a drop of the sea every hundred years, and I see oceans dry up because of i t , and.I see every stone on the mountains and every grain of sand on the beaches, and I understand l i f e , and am cat and Phoenix and swan and elephant and c h i l d and old man, and alone and with others, and I love and am loved, and I spend whole days meditating, and I discover heaven and land, and I am here and there, and I own the seal of seals, and as I am hurled forward in time I f e e l ecstasy penetrate my being never to leave again. - 2 2 2 -F O O T N O T E S " " " F e r n a n d o A r r a b a l , E l h o m b r e p a n i c o ( M a d r i d , 1 9 6 5 ) , p . 3 1 . 2 A r r a b a l , T h e a t r e I ( P a r i s , 1 9 6 8 ) , p . 1 5 . 3 A l a i n S c h i f r e s , E n t r e t i e n s a v e c A r r a b a l ( P a r i s : 1 9 6 9 ) , p . 4 2 . 4 I b i d . , p . 1 1 5 . 5 I b i d . , p p . 4 0 , 4 1 . 6 A r r a b a l , C e l e b r a n d o l a c e r e m o n i a d e l a c o n f u s i o n ( M a d r i d , 1 9 6 6 ) , p . 2 0 2 . F u r t h e r r e f e r e n c e s t o C e l e b r a n d o w i l l b e g i v e n i n t h e t e x t , u s i n g p a g e n u m b e r s . ^ G e o r g e s P o u l e t , T h e M e t a m o r p h o s i s o f t h e C i r c l e ( B a l t i m o r e : 1 9 6 6 ) , p . x i . 8 S c h i f r e s , o p . c i t . , p . 4 0 . 9 - . A r r a b a l , E l h o m b r e p a n i c o , p . 3 5 . 1 0 I b i d . , p . 3 4 . 1 1 C . G . J u n g , S y m b o l s o f T r a n s f o r m a t i o n , I , ( N e w Y o r k , 1 9 5 6 ) , p . 2 0 7 , w r i t e s : " I h a v e o f t e n n o t i c e d t h a t t h e s y m b o l o f t h e c r o w d , a n d p a r t i c u l a r l y o f a s t r e a m i n g m a s s o f p e o p l e i n m o t i o n , e x p r e s s e s v i o l e n t e m o t i o n s o f t h e u n c o n s c i o u s . " 1 2 S c h i f r e s , o p . c i t . , p p . 7 2 , 9 7 . l 3 J u n g , M a n a n d h i s S y m b o l s ( N e w Y o r k , 1 9 6 8 ) , p . 1 1 7 . -223-1 4 A r r a b a l , op. c i t . , p. 29. 15 H e n r i Bergson, M a t t e r and Memory (London: 1913), p. 130. 16 S c h i f r e s , op. c i t . , p. 106, A r r a b a l t e l l s S c h i f r e s : "...un p,eintre comme M a g r i t t e , j e l u i a i enormement emprunte pour mon oeuvre." 1 *7 Rene M a g r i t t e , " L i f e l i n e " i n Views, V I I , no. 2, December 1946, p. 22. 1 fi A r r a b a l , op. c i t . , p. 32. 19 I b i d . , p. 33. 2 0 B e r g s o n , !Ehe C r e a t i v e Mind (New Y o r k , 1946), p. 193. 21 Jung, A r c h e t y p e s and t h e C o l l e c t i v e U n conscious (London; 1969), p. 18. 22 Bergson, M a t t e r and Memory, p. 129. 2 3 . Jung, op. c i t . , p. 135, w r i t e s : "The cave i s the p l a c e o f r e b i r t h , t h a t s e c r e t c a v i t y i n w h i c h one i s s h u t up i n o r d e r t o be i n c u b a t e d and renewed." 2 4 A r r a b a l , op. c i t . , p. 31. 25 , . n I b i d . 26 Bergson, op. c i t . , p. 129. 27 A r r a b a l , op. c i t . , p. 33. -224-A r r a b a l , Fetes e t R i t e s de l a C o n f u s i o n ( P a r i s , 1967). The f o l l o w i n g note appears a t the end o f the t e x t : "Les Tableaux i l l u s t r a n t cet ouvrage sont l ' o e u v r e d ' A r r a b a l en c o l l a b o r a t i o n avec des p e i n t r e s . f i g u r a t i f s doues d'une grande p e r f e c t i o n t e c h n i q u e . ^ " A r r a b a l l e u r propose un s u j e c t c ' e s t - a - d i r e une ^ maquette ou tous l es d e t a i l s sont minutieusement ^ i n d i q u e s . "Les P e i n t r e s L . A r n a i z e t R. - G . Crerps executent l e s t o i l e s en s u i v a n t e t r o i t e m e n t l e s d i r e c t i v e s d " A r r a b a l . ' 29 Jung, o p . c i t . , p . 167. 3 0 S c h i f r e s , o p . c i t . , p . 97. 3 l P a u l V a l e r y , V a r i e t e s ( P a r i s , 1957) , p . 1321. 3 2 A r r a b a l . T h i a t r e I I I ( P a r i s , 1969), p . 22. 3 3 H e i n r i c h Schwarz, "The M i r r o r i n A r t " i n The A r t Q u a r t e r l y , Summer 19 52, p p . 98, 99. 3 4 L o u i s e V i n g e , The N a r c i s s u s Theme i n Western L i t e r a t u r e , t r a n s . R. Dewsnap and N . Reeves, (Lund: 1967), p . 190. 3 5 S c h w a r z , op . c i t . , p . 105. 3 6 P l a t o , The R e p u b l i c o f P l a t o , t r a n s . F . C o r n f o r d , (New York and London: 19 56) , p . 32 6. 3 7 F r a n z K a f k a , Das U r t e i l (Hamburg; 1952), p . 23. 3 8 K a f k a , S e l e c t e d S t o r i e s o f Franz K a f k a , t r a n s . W. and E . M u i r , 3 9 S c h i f r e s , OP . c i t . , p . 112. 4 0 L e w i s C a r r o l l , A l i c e ' s Adventures i n Wonderland and Through the L o o k i n g G l a s s ( C l e v e l a n d and New Y o r k , 1960), p . 239. -225-4 1 A r r a b a l , E l hombre p a n i c o , p . 35. 4 2 I b i d . , p . 37. 43 I b i d . , p . 36. 44 I b i d . , p p . 35, 36. 4 5 S c h i f r e s , op . c i t . , p . 92. 4 5 A r r a b a l , Theatre I I I , p . 13. 4 7 S c h i f r e s , o p . c i t . , p . 112. 48 , I b i d . 4 9 J u n g , Symbols o f T r a n s f o r m a t i o n , I , p . 268. 5 0 I b i d . , p . 266. 51 P o u l e t , o p . c i t . , p . x x v u . 52 S c h i f r e s , o p . c i t . , p . 111. 5 3 T h i s i s the o n l y p a i n t i n g used f o r i l l u s t r a t i o n i n the Spanish t e x t . 5 4 A r r a b a l , E l hombre p a n i c o , p . 33. 5 5 A r r a b a l , Theatre V , p . 8 . -226-BIBLIOGRAPHY A r r a b a l , Fernando. 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