I saw in a hall an arrow pointing the way and I thought that this inoffensive symbol had once been a thing of iron, an inescapable and fatal projectile that pierced the flesh of men and of lions and clouded the sun at Thermopolae and gave Harald Sigurdarson six feet of English earth forever.

Some days later someone showed me a photograph of a Magyar horseman. A coiled lasso circled the breast of his mount. I learned that the lasso, which once whipped through the air and brought down the bulls of the prairie, was now nothing more than a haughty trapping of Sunday harness.

In the west cemetery I saw a runic cross, chiseled in red marble. The arms curved as they widened out, and a circle encompassed them. That limited, circumscribed cross represented the other one, the free-armed cross, which in its turn represents the gallows where a god suffered, the “vile machine” railed at by Lucian of Samosata.

Cross, lasso, and arrow–former tools of man, debased or exalted now to the status of symbols. Why should I marvel at them, when there is not a single thing on earth that oblivion does not erase or memory change, and when no one knows into what images he himself will be transmuted by the future.

[From Dreamtigers, by Jorge Luis Borges, translated by Mildred Boyer]

Out of this city marched armies that seemed to be great, and afterwards were, when glory had magnified them. As the years went by, an occasional soldier returned and, with a foreign trace in his speech, told tales of what had happened to him in places called Ituzaingo or Ayacucho. These things, now, are as if they had never been.

Two tyrannies had their day here. During the first some men coming from the Plata market hawked white and yellow peaches from the seat of a cart. A child lifted a corner of the canvas and saw unitario heads with bloody beards. The second, for many, meant imprisonment and death; for all it meant discomfort, a taste of disgrace in everyday acts, an incessant humiliation. These things, now, are as if they had never been.

A man who knew all words looked with minute love at the plants and birds of his land and described them, perhaps forever, and wrote in metaphors of metal the vast chronicle of the tumultuous sunsets and the shapes of the moon. These things, now, are as if they had never been.

Here too the generations have known those common and somehow eternal vicissitudes which are the stuff of art. These things now, are as if they had never been. But in a hotel room in the 1860’s, or thereabouts, a man dreamed about a fight. A gaucho lifts a Negro off his feet with his knife, throws him down like a sack of bones, sees him agonize and die, crouches down to clean his blade, unties his horse, and mounts slowly so he will not be thought to be running away. This, which once was, is again infinitely: the splendid armies are gone, and a lowly knife fight remains. The dream of one man is part of the memory of all.

[From Dreamtigers, by Jorge Luis Borges, translated by Mildred Boyer]

To make his horror complete, Caesar, pressed to the foot of a statue by the impatient daggers of his friends, discovers among the blades and faces the face of Marcus Junius Brutus, his protege, perhaps his son, and ceasing to defend himself he exclaims: “You too, my son!” Shakespeare and Quevedo revive the pathetic cry.

Destiny takes pleasure in repetition, variants, symmetries: nineteen centuries later, in the south of the Province of Buenos Aires, a gaucho is attacked by other gauchos. As he falls he recognizes an adopted son of his and says to him with gentle reproof and slow surprise (these words must be heard, not read), “Pero che!” He is being killed, and he does not know he is dying so that a scene may be repeated.

[From Dreamtigers, by Jorge Luis Borges, translated by Mildred Boyer]

We said goodbye on a corner in Once. From the other sidewalk I turned to look back; you too had turned, and you waved goodbye to me.

A river of vehicles and people were flowing between us. It was five o’clock on an ordinary afternoon. How was I to know that the river was Acheron the doleful, the insuperable?

We did not see each other again, and a year later you were dead.

And now I seek out that memory and look at it, and I think it was false, and that behind that trivial farewell was infinite separation.

Last night I stayed in after dinner and reread, in order to understand these things, the last teaching Plato put in his master’s mouth. I read that the soul may escape when the flesh dies.

And now I do not know whether the truth is in the ominous subsequent interpretation, or in the unsuspecting farewell.

To say goodbye to each other is to deny separation. It is like saying “today we play at separating, but we will see each other tomorrow.” Man invented farewells because he somehow knows he is immortal, even though he may seem gratuitous and ephemeral.

Delia, we will take up again–beside what river?–this uncertain dialogue, and we will ask each other if ever, in a city lost on a plain, we were Borges and Delia.

[From Dreamtigers, by Jorge Luis Borges, translated by Mildred Boyer]

The story is told in Junin or in Tapalque. A boy disappeared after an Indian attack. People said the Indians had kidnapped him. He parents searched for him in vain. Then, long years later, a soldier who came from the interior told them about an Indian with blue eyes who might well be their son. At length they found him (the chronicle has lost the circumstances and I will not invent what I do no know) and thought they recognized him. The man, buffeted by the wilderness and by barbaric life, no longer knew how to understand the words of his mother tongue, but indifferent and docile, he let himself be led home. There he stopped, perhaps because the others stopped. He looked at the door as if he did not know what it was for. Then suddenly he lowered his head, let out a shout, ran across the entrance way and the two long patios, and plunged into the kitchen. Without hesitating, he sank his arm into the blackened chimney and pulled out the little horn-handled knife he had hidden there as a boy. His eyes shone with joy and his parents wept because they had found their son.

Perhaps this recollection was followed by others, but the Indian could not live within walls, and one day he went in search of his wilderness. I wonder what he felt in that dizzying moment when past and present became one. I wonder whether the lost son was reborn and died in that instant of ecstasy; and whether he ever managed to recognize, if only as an infant or a dog does, his parents and his home.

[From Dreamtigers, by Jorge Luis Borges, translated by Mildred Boyer]

Soft stockings coddle them by day and nail-bossed leather shoes buttress them, but my toes refuse to pay attention. Nothing interests them but emitting toenails, horny plates, semi-transparent and elastic, to defend themselves–from whom? Stupid and mistrustful as they alone can be, they never for a moment stop readying that tenuous armament. They reject the universe and its ecstasy to keep forever elaborating sharp ends, which rude Solingen scissors snip over and over again. Ninety days along in the dawn of prenatal confinement, they establish that singular industry. When I am laid away, in an ash-colored house provided with dead flowers and amulets, they will still go on with their stubborn task, until they are moderated by decay. They–and the beard on my face.

[From Dreamtigers, by Jorge Luis Borges, translated by Mildred Boyer]