[2] In a book unknown to Runeberg, Euclides da Cunha* notes that in the view of the Canudos heresiarch Antonio Conselheiro,* virtue "is a near impiety." The Argentine reader will recall analogous passages in the work of the poet Almafuerte.* In the symbolist journal Sju insegel, Runeberg published an assiduous descriptive poem titled "The Secret Lake"; the first verses narrate the events of a tumultuous day, while the last record the discovery of a glacial "tarn." The poet suggests that the eternity of those silent waters puts right our useless violence and—somehow—both allows it and absolves it. The poem ends with these words: "The water of the forest is happy; we can be evil and in pain."
[3] Maurice Abramowicz observes: "Jésus, d'après cescandinave, atoujours le beau rôle; ses déboires, grâce à la science des typographes, jouissent d'une réputation polyglotte; sa résidence de trente-trois ans parmi les humains ne fut, en somme, qu'une villégiature." In Appendix III to his Christelige Dogmatik, Erfjord rebuts this passage. He notes that the crucifixion of God has not ended, because that which happened once in time is repeated endlessly in eternity. Judas, now, continues to hold out his hand for the silver, continues to kiss Jesus' cheek, continues to scatter the pieces of silver in the temple, continues to knot the noose on the field of blood. (In order to justify this statement, Erfjord cites the last chapter of the first volume of Jaromir Hladik's Vindication of Eternity.)
The End
Lying on his back, Recabarren opened his eyes a bit and saw the sloping ceiling of thick cane. From the other room there came the strumming of a guitar, like some inconsequential labyrinth, infinitely tangling and untangling.... Little by little, reality came back to him, the ordinary things that now would always be just these ordinary things. He looked down without pity at his great useless body, the plain wool poncho that wrapped his legs. Outside, beyond the thick bars at his window, spread the flatland and the evening; he had slept, but the sky was still filled with light. He groped with his left arm until he found the brass cowbell that hung at the foot of the cot. He shook it once or twice; outside his door, the unassuming chords continued.
The guitar was being played by a black man who had shown up one night flattering himself that he was a singer; he had challenged another stranger to a song contest, the way traveling singers did. Beaten, he went on showing up at the general-store-and-bar night after night, as though he were waiting for someone. He spent hours with the guitar, but he never sang again; it could be that the defeat had turned him bitter. People had grown used to the inoffensive man. Recabarren, the owner of the bar, would never forget that contest; the next day, as he was trying to straighten some bales of yerba, his right side had suddenly gone dead on him, and he discovered that he couldn't talk. From learning to pity the misfortunes of the heroes of our novels, we wind up feeling too much pity for our own; but not Recabarren, who accepted his paralysis as he had earlier accepted the severity and the solitudes of the Americas. A man in the habit of living in the present, as animals do, he now looked up at the sky and reflected that the red ring around the moon was a sign of rain.
A boy with Indian-like features (Recabarren's son, perhaps) opened the door a crack. Recabarren asked him with his eyes whether anybody was around; the boy, not one to talk much, made a motion with his hand to say there wasn't—the black man didn't count. Then the prostrate man was left alone; his left hand played awhile with the bell, as though exercising some power.
The plains, in the last rays of the sun, were almost abstract, as though seen in a dream. A dot wavered on the horizon, then grew until it became a horseman riding, or so it seemed, toward the house.
Recabarren could make out the broad-brimmed hat, the dark poncho, the piebald horse, but not the face of the rider, who finally reined in the horse and came toward the house at an easy trot. Some two hundred yards out, he veered off to the side. At that, the man was out of Recabarren's line of sight, but Recabarren heard him speak, get down off his horse, tie it to the post, and with a firm step enter the bar.
Without raising his eyes from the guitar, where he seemed to be looking for something, the black man spoke.
"I knew I could count on you, sir," he softly said.
"And I knew I could count on you, old nigger," the other man replied, his voice harsh. "A heap of days I've made you wait, but here I am."
There was a silence. Then the black man spoke again.
"I'm getting used to waiting. I've been waiting now for seven years."
Unhurried, the other man explained:
"It'd been longer than seven years that I'd gone without seeing my children. I found them that day, and I wouldn't have it so's I looked to them like a man on his way to a knife fight."*
"I understood that," the black man said. "I hope they were all in good health."
The stranger, who had sat down at the bar, gave a hearty laugh at that. He ordered a drink and took a sip or two, but didn't finish it.
"I gave them some advice," he said, "which is something you can never get too much of and doesn't cost a lot. I told them, among other things, that a man ought not to go spilling another man's blood."
A slow chord preceded the black man's response:
"Good advice, too. That way they won't grow up to be like us."
"Not like me, anyway," said the stranger, who then added, as though thinking out loud: "Fate would have it that I kill, and now it's put a knife in my hand again."
"Fall's coming on," the black man observed, as though he hadn't heard, "and the days are getting shorter."
"The light that's left will be enough for me," replied the other man, getting to his feet.
Hestood square before the black man and in a tired voice said to him, "Leave that guitar alone, now—you've got another kind of contest to try to win today."
The two men walked toward the door. As the black man stepped outside, he murmured, "Could be this one goes as bad f'r me as the other one did."
"It's not that the first one went bad for you," the other man answered, serious. "It's that you couldn't hardly wait to get to the second one."
They walked beside each other until they got some distance from the houses. One place on the plains was much like another, and the moon was bright. Suddenly they looked at each other, stopped, and the stranger took off his spurs. They already had their ponchos wrapped around their forearms when the black man spoke.
"One thing I want to ask you before we get down to it. I want you to put all your courage and all your skill into this, like you did seven years ago when you killed my brother."
For perhaps the first time in their exchange, Martín Fierro heard the hatred. His blood felt it, like a sharp prod. They circled, clashed, and sharp steel marked the black man's face.
There is an hour just at evening when the plains seem on the verge of saying something; they never do, or perhaps they do—eternally—though we don't understand it, or perhaps we do understand but what they say is as untranslatable as music.... From his cot, Recabarren saw the end. A thrust, and the black man dodged back, lost his footing, feigned a slash to his opponent's face, and then lunged out with a deep jab that buried the knife in his belly. Then came another thrust, which the storekeeper couldn't see, and Fierro did not get up. Unmoving, the black man seemed to stand watch over the agonizing death. He wiped off the bloody knife in the grass and walked slowly back toward the houses, never looking back.
His work of vengeance done, he was nobody now. Or rather, he was the other one: there was neither destination nor destiny on earth for him, and he had killed a man.
The Cult of the Phoenix
Those who write that the cult of the Phoenix had its origin in Heliopolis, and claim that it derives from the religious restoration that followed the death of the reformer Amenhotep IV, cite the writings of Herodotus and Tacitus and the inscriptions on Egyptian monuments, but they are unaware, perhaps willfully unaware, that the cult's designation as "the cult of the Phoenix" can be traced back no farther than to Hrabanus Maurus and that the earliest
sources (the Saturnalia, say, or Flavius Josephus) speak only of "the People of the Practice" or "the People of the Secret." In the conventicles of Ferrara, Gregorovius observed that mention of the Phoenix was very rare in the spoken language; in Geneva, I have had conversations with artisans who did not understand me when I asked whether they were men of the Phoenix but immediately admitted to being men of the Secret. Unless I am mistaken, much the same might be said about Buddhists: The name by which the world knows them is not the name that they themselves pronounce.
On one altogether too famous page, Moklosich has equated the members of the cult of the Phoenix with the gypsies. In Chile and in Hungary, there are both gypsies and members of the sect; apart from their ubiquity, the two groups have very little in common. Gypsies are horse traders, pot-makers, blacksmiths, and fortune-tellers; the members of the cult of the Phoenix are generally contented practitioners of the "liberal professions." Gypsies are of a certain physical type, and speak, or used to speak, a secret language; the members of the cult are indistinguishable from other men, and the proof of this is that they have never been persecuted. Gypsies are picturesque, and often inspire bad poets; ballads, photographs, and boleros fail to mention the members of the cult.... Martin Buber says that Jews are essentially sufferers; not all the members of the cult are, and some actively abhor pathos. That public and well-known truth suffices to refute the vulgar error (absurdly defended by Urmann) which sees the roots of the Phoenix as lying in Israel. People's reasoning goes more or less this way: Urmann was a sensitive man; Urmann was a Jew; Urmann made a habit of visiting the members of the cult in the Jewish ghettos of Prague; the affinity that Urmann sensed proves a real relationship. In all honesty, I cannot concur with that conclusion. That the members of the cult should, in a Jewish milieu, resemble Jews proves nothing; what cannot be denied is that they, like Hazlitt's infinite Shakespeare, resemble every man in the world. They are all things to all men, like the Apostle; a few days ago, Dr. Juan Francisco Amaro, of Paysandú, pondered the ease with which they assimilate, the ease with which they "naturalize" themselves.
I have said that the history of the cult records no persecutions. That is true, but since there is no group of human beings that does not include adherents of the sect of the Phoenix, it is also true that there has been no persecution or severity that the members of the cult have not suffered and carried out. In the wars of the Western world and in the distant wars of Asia, their blood has been spilled for centuries, under enemy flags; it is hardly worth their while to identify themselves with every nation on the globe.
Lacking a sacred book to unite them as the Scriptures unite Israel, lacking a common memory, lacking that other memory that is a common language, scattered across the face of the earth, diverse in color and in feature, there is but one thing—the Secret—that unites them, and that will unite them until the end of time. Once, in addition to the Secret there was a legend (and perhaps a cosmogonie myth), but the superficial men of the Phoenix have forgotten it, and today all that is left to them is the dim and obscure story of a punishment. A punishment, or a pact, or a privilege— versions differ; but what one may dimly see in all of them is the judgment of a God who promises eternity to a race of beings if its men, generation upon generation, perform a certain ritual. I have compared travelers' reports, I have spoken with patriarchs and theologians; I can attest that the performance of that ritual is the only religious practice observed by the members of the cult. The ritual is, in fact, the Secret. The Secret, as I have said, is transmitted from generation to generation, but tradition forbids a mother from teaching it to her children, as it forbids priests from doing so; initiation into the mystery is the task of the lowest individuals of the group. A slave, a leper, or a beggar plays the role of mystagogue. A child, too, may catechize another child. The act itself is trivial, the matter of a moment's time, and it needs no description. The materials used are cork, wax, or gum arabic. (In the liturgy there is mention of "slime"; pond slime is often used as well.) There are no temples dedicated expressly to the cult's worship, but ruins, cellars, or entryways are considered appropriate sites. The Secret is sacred, but that does not prevent its being a bit ridiculous; the performance of it is furtive, even clandestine, and its adepts do not speak of it. There are no decent words by which to call it, but it is understood that all words somehow name it, or rather, that they inevitably allude to it—and so I have said some insignificant thing in conversation and have seen adepts smile or grow uncomfortable because they sensed I had touched upon the Secret. In Germanic literatures there are poems written by members of the cult whose nominal subject is the sea or twilight; more than once I have heard people say that these poems are, somehow, symbols of the Secret. Orbis terrarum est speculum Ludi, goes an apocryphal saying reported by du Gange in his Glossary. A kind of sacred horror keeps some of the faithful from performing that simplest of rituals; they are despised by the other members of the sect, but they despise themselves even more. Those, on the other hand, who deliberately renounce the Practice and achieve direct commerce with the Deity command great respect; such men speak of that commerce using figures from the liturgy, and so we find that John of the Rood wrote as follows:
Let the Nine Firmaments be told
That God is delightful as the Cork and Mire.
On three continents I have merited the friendship of many worshipers of the Phoenix; I know that the Secret at first struck them as banal, shameful, vulgar, and (stranger still) unbelievable. They could not bring themselves to admit that their parents had ever stooped to such acts. It is odd that the Secret did not die out long ago; but in spite of the world's vicissitudes, in spite of wars and exoduses, it does, in its full awesomeness, come to all the faithful. Someone has even dared to claim that by now it is instinctive.
The South
The man that stepped off the boat in Buenos Aires in 1871 was a minister of the Evangelical Church; his name was Johannes Dahlmann. By 1939, one of his grandsons, Juan Dahlmann, was secretary of a municipal library on Calle Córdoba and considered himself profoundly Argentine. His maternal grandfather had been Francisco Flores, of the 2nd Infantry of the Line, who died on the border of Buenos Aires* from a spear wielded by the Indians under Catriel.* In the contrary pulls from his two lineages, Juan Dahlmann (perhaps impelled by his Germanic blood) chose that of his romantic ancestor, or that of a romantic death. That slightly willful but never ostentatious "Argentinization" drew sustenance from an old sword, a locket containing the daguerreotype of a bearded, inexpressive man, the joy and courage of certain melodies, the habit of certain verses in Martín Fierro, the passing years, a certain lack of spiritedness, and solitude. At the price of some self-denial, Dahlmann had managed to save the shell of a large country house in the South that had once belonged to the Flores family; one of the touchstones of his memory was the image of the eucalyptus trees and the long pink-colored house that had once been scarlet. His work, and perhaps his indolence, held him in the city. Summer after summer he contented himself with the abstract idea of possession and with the certainty that his house was waiting for him, at a precise place on the flatlands. In late February, 1939, something happened to him.
Though blind to guilt, fate can be merciless with the slightest distractions. That afternoon Dahlmann had come upon a copy (from which some pages were missing) of Weil's Arabian Nights; eager to examine his find, he did not wait for the elevator—he hurriedly took the stairs. Something in the dimness brushed his forehead—a bat? a bird? On the face of the woman who opened the door to him, he saw an expression of horror, and the hand he passed over his forehead came back red with blood. His brow had caught the edge of a recently painted casement window that somebody had forgotten to close.
Dahlmann managed to sleep, but by the early hours of morning he was awake, and from that time on, the flavor of all things was monstrous to him. Fever wore him away, and illustrations from the Arabian Nights began to illuminate nightmares. Friends and members of his family would visit h
im and with exaggerated smiles tell him how well he looked. Dahlmann, in a kind of feeble stupor, would hear their words, and it would amaze him that they couldn't see he was in hell. Eight days passed, like eight hundred years. One afternoon, his usual physician appeared with a new man, and they drove Dahlmann to a sanatorium on Calle Ecuador; he needed to have an X ray. Sitting in the cab they had hired to drive them, Dahlmann reflected that he might, at last, in a room that was not his own, be able to sleep. He felt happy, he felt like talking, but the moment they arrived, his clothes were stripped from him, his head was shaved, he was strapped with metal bands to a table, he was blinded and dizzied with bright lights, his heart and lungs were listened to, and a man in a surgical mask stuck a needle in his arm. He awoke nauseated, bandaged, in a cell much like the bottom of a well, and in the days and nights that followed, he realized that until then he had been only somewhere on the outskirts of hell. Ice left but the slightest trace of coolness in his mouth. During these days, Dahlmann hated every inch of himself; he hated his identity, his bodily needs, his humiliation, the beard that prickled his face. He stoically suffered the treatments administered to him, which were quite painful, but when the surgeon told him he'd been on the verge of death from septicemia, Dahlmann, suddenly self-pitying, broke down and cried. The physical miseries, the unending anticipation of bad nights had not allowed him to think about anything as abstract as death. The next day, the surgeon told him he was coming right along, and that he'd soon be able to go out to the country house to convalesce. Incredibly, the promised day arrived.
Reality is partial to symmetries and slight anachronisms; Dahlmann had come to the sanatorium in a cab, and it was a cab that took him to the station at Plaza Constitución. The first cool breath of autumn, after the oppression of the summer, was like a natural symbol of his life brought back from fever and the brink of death. The city, at that seven o'clock in the morning, had not lost that look of a ramshackle old house that cities take on at night; the streets were like long porches and corridors, the plazas like interior courtyards. After his long stay in hospital, Dahlmann took it all in with delight and a touch of vertigo; a few seconds before his eyes registered them, he would recall the corners, the marquees, the modest variety of Buenos Aires. In the yellow light of the new day, it all came back to him.