Read Short Stories of Jorge Luis Borges - The Giovanni Translations Online
Authors: Jorge Luis Borges (trans. by N.T. di Giovanni)
Tags: #Short stories
The Nagas
Nagas belong to the mythology of India. They are serpents but often take the form of a man.
In one of the books of the Mahabharata, Arjuna is pursued by Ulupi, the daughter of a Naga king, and firmly but gently has to remind her of his vow of chastity; the maiden tells him that his duty lies in soothing the unhappy. The hero grants her a night. The Buddha, meditating under a fig tree, is chastised by the wind and the rain; a Naga out of pity coils itself around him in a sevenfold embrace and opens over him its seven heads so as to form a kind of umbrella. The Buddha converts him to the Faith.
Kern in his Manual of Indian Buddhism, speaks of the Nagas as cloudlike serpents. They live underground in deep palaces. Believers in the Greater Vehicle tell that the Buddha preached one law to mankind and another to the gods, and that this latter the secret law was kept in the heavens and palaces of the serpents, who revealed it centuries later to the monk Nagarjuna.
We give an Indian legend set down by the Chinese pilgrim Fa-hsien early in the fifth century:
King Asoka came to a lake near whose edge stood a lofty pagoda. He thought of pulling it down in order to raise a higher one. A Brahman let him into the tower and once inside told him:
‘My human form is an illusion. I am really a Naga, a dragon. My sins condemn me to inhabit this frightful body, but I obey the law preached by the Buddha and hope to work my redemption. You may pull down this shrine if you believe you can build a better one.’
The Naga showed him the vessels of the altar. The king looked at them with alarm, for they were quite unlike those made by the hands of men, and he left the pagoda standing.
The Nasnas
Among the monstrous creatures of the Temptation is the Nasnas, which ‘has only one eye, one cheek, one hand, one leg, half a torso and half a heart’. A commentator, Jean Claude Margolin, credits the invention of this beast to Flaubert, but Lane in the first volume of The Arabian Nights’ Entertainments (1839) says it is believed to be the offspring of the Shikk, a demonical creature divided longitudinally, and a human being. The Nasnas, according to Lane (who gives it as Nesnás), resembles ‘half a human being; having half a head, half a body, one arm, and one leg, with which it hops with much agility . . .’ It is found in the woods and desert country of Yemen and Hadhramaut, and is endowed with speech. One race has its face in the breast, like the blemies, and a tail like that of a sheep. Its flesh is sweet and much sought after. Another variety of Nasnas, having the wings of a bat, inhabits the island of Ráïj (perhaps Borneo) at the edge of the China seas. ‘But God,’ adds the sceptical authority, ‘is All-Knowing.’
The Norns
In medieval Norse mythology the Norns are the Fates. Snorri Sturluson, who at the beginning of the thirteenth century brought order to the scattered Northern myths, tells us that the Norns are three and that their names are Urth (the past), Verthandi (the present), and Skuld (the future). These three heavenly Norns ruled the fate of the world, while at the birth of every man three individual Norns were present, casting the weird of his life. It may be suspected that the names of the Norns are a refinement or addition of a theological nature; ancient Germanic tribes were incapable of such abstract thinking. Snorri shows us three maidens by a fountain at the base of the World Tree, Yggdrasil. Inexorably, they weave our fate.
Time (of which they are made) seemed to have quite forgotten them, but around 1606 William Shakespeare wrote the tragedy of
Macbeth
, in whose first scene they appear. They are the three witches who predict what fate holds in store for Banquo and Macbeth. Shakespeare calls them the weird sisters (I, iii):
The weird sisters, hand in hand,
Posters of the seas and land,
Thus do go about, about . . .
Wyrd among the Anglo-Saxons was the silent goddess who presided over the destiny of gods and men.
The Nymphs
Paracelsus limited their dominion to water, but the ancients thought the world was full of Nymphs. They distinguished them by names according to the places they haunted. The Dryads, or Hamadryads, dwelled in trees, without being seen, and died with them. Other Nymphs were held to be immortal or, as Plutarch obscurely intimates, lived for above 9,720 years. Among these were the Nereids and the Oceanids, which presided over the sea. Nymphs of the lakes and streams were Naiads; those of mountains and caves, Oreads. There were also Nymphs of the glens, called Napaeae, and of groves called Alseids. The exact number of the Nymphs is unknown; Hesiod gives us the figure three thousand. They were earnest young women and very beautiful; their name may mean simply ‘marriageable woman’. Glimpsing them could cause blindness and, if they were naked, death. A line of Propertius affirms this.
The ancients made them offerings of honey, olive oil, and milk. They were minor goddesses, but no temples were erected in their honour.
The Odradek
Some say the word Odradek is of Slavonic origin, and try to account for it on that basis. Others again believe it to be of German origin, only influenced by Slavonic. The uncertainty of both interpretations allows one to assume with justice that neither is accurate, especially as neither of them provides an intelligent meaning of the word.
No one, of course, would occupy himself with such studies if there were not a creature called Odradek. At first glance it looks like a flat star-shaped spool for thread, and indeed it does seem to have thread wound upon it; to be sure, they are only old, broken-off bits of thread, knotted and tangled together, of the most varied sorts and colours. But it is not only a spool, for a small wooden crossbar sticks out of the middle of the star, and another small rod is joined to that at a right angle. By means of this latter rod on one side and one of the points of the star on the other, the whole thing can stand upright as if on two legs.
One is tempted to believe that the creature once had some sort of intelligible shape and is now only a brokendown remnant. Yet this does not seem to be the case; at least there is no sign of it; nowhere is there an unfinished or unbroken surface to suggest anything of the kind; the whole thing looks senseless enough, but in its own way perfectly finished. In any case, closer scrutiny is impossible, since Odradek is extraordinarily nimble and can never be laid hold of.
He lurks by turns in the garret, the stairway, the lobbies, the entrance hall. Often for months on end he is not to be seen; then he has presumably moved into other houses; but he always comes faithfully back to our house again. Many a time when you go out of the door and he happens just to be leaning directly beneath you against the banisters you feel inclined to speak to him. Of course, you put no difficult questions to him, you treat him he is so diminutive that you cannot help it rather like a child.
‘Well, what’s your name?’ you ask him. ‘Odradek,’ he says.
‘And where do you live?’ ‘No fixed abode,’ he says and laughs; but it is only the kind of laughter that has no lungs behind it. It sounds rather like the rustling of fallen leaves. And that is usually the end of the conversation. Even these answers are not always forthcoming; often he stays mute for a long time, as wooden as his appearance.
I ask myself, to no purpose, what is likely to happen to him? Can he possibly die? Anything that dies has had some kind of aim in life, some kind of activity, which has worn out; but that does not apply to Odradek. Am I to suppose, then, that he will always be rolling down the stairs, with ends of thread trailing after him, right before the feet of my children, and my children’s children? He does no harm to anyone that one can see; but the idea that he is likely to survive me I find almost painful.
F
ranz
K
afka
:
The Penal Colony
(Translated from the German by Willa and Edwin Muir)
[This piece was originally titled Die Sorge des Hausvaters — ‘The Cares of a Family Man’.]