Abstract: This article is an analysis of Argentine writer Jorge Luis Borges’s short text “Kafka and His Precursors.” Although appearing to be an example of literary . Jorge Luis Borges – Kafka and His Precursors. Link to an essay by Jorge Luis Borges (translated by James E. Irby). “Kafka and His Precursors”. Everything and nothing: On Jorge Luis Borges’s “Kafka and His Precursors”. Romance Quarterly 57 (2)
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Irby I once premeditated making a study of Kafka’s precursors.
At hus I had considered him to be as singular as the phoenix of rhetorical praise; after frequenting his pages a bit, I came to think I could recognize his voice, or his practices, in texts from diverse literatures and periods. I shall record a few of these here, in chronological order.
The first is Zeno’s paradox against movement. A moving object at A declares Aristotle cannot reach point B, because it must first cover half the distance between two points, and before that, half of the half, and before that, half of the half of the half, and so on to infinity; the form of this illustrious problem is, exactly, that of “The Castle”, and the moving object and the arrow and Achilles are the first Kafkian characters in literature. In the second text which chance laid before me, the affinity is not one of form but one of tone.
This is the paragraph, mysterious and calm, which I marked: It is universally admitted that the unicorn is a supernatural being of good omen; such is declared in all the odes, annals, biographies of illustrious men and other texts whose authority is unquestionable.
Jorge Luis Borges – Kafka and His Precursors – Rock Salted
Even children and village women know that a unicorn constitutes a favorable presage. But this animal does not figure among the domestic beasts, it is hks always easy to find, it does not lend itself to classification. It is not like the horse or the bull, the wolf or the deer. In such conditions, we could be face to face with a unicorn and not know for certain what it was.
We know that such and such an animal with a mane is a horse and that such and such an animal with horns is a bull. But we do not know what the unicorn is like. The spiritual affinity of both writers is something of which no one is ignorant; what has not yet been brought out, as far as I know, is the fact that Kierkegaard, like Kafka, wrote many religious parables on contemporary and bourgeois themes.
Lowrie, in his “Kierkegaard” Oxford University Press,transcribes two of these.
One is the story of a counterfeiter who, under constant surveillance, counts banknotes in the Bank of England; in the same way, God would distrust Kierkegaard and have given him a task to perform, precisely because He knew that he was familiar with evil.
The subject of the other parable is the North Pole expeditions. Danish ministers had declared from their pulpits that participation in these expeditions was beneficial to the soul’s eternal well-being.
They admitted, however, that it was difficult, and perhaps impossible, to reach the Pole and that not all men could undertake the adventure. Finally, they would announce that any trip – from Denmark to London, let us say, on the regularly scheduled steamer – was, properly considered, an expedition to the North Pole. The fourth of these prefigurations I have found is Browning’s poem “Fears and Scruples,” published A man has, or believes he has, a famous friend. He has never seen this friend and the fact is that the friend has so far never helped him, although tales are told of his most noble traits and authentic letters of his circulate about.
Then someone places these traits in doubt and the handwriting experts declare that the letters are apocryphal. The man asks, in the last line: The other is entitled “Carcassonne” and is the work of Lord Dunsany. An invincible army of warriors leaves an infinite castle, conquers kingdoms and sees monsters and exhausts the deserts and the mountains, but they never reach Carcassonne, though they once glimpse it from afar.
Jorge Luis Borges – Kafka and His Precursors
This story is, as one can easily see, the strict reverse of the previous one; in the first, the city is never left; in the second, it is never reached. If I am not mistaken, the heterogeneous pieces I have enumerated resemble Kafka; if I am not mistaken, not all kacka them resemble each other. This second fact is more significant.
In each of these texts we find Kafka’s idiosyncrasy to a greater or lesser degree, but if Kafka had never written a line, we would not perceive this quality; in other words, it would not exist. The poem “Fears and Scruples” by Browning foretells Kafka’s work, but our reading of Kafka perceptibly sharpens and deflects our reading of the poem. Browning did not read it as we do now.
In the critics’ vocabulary, the word “precursor” is indispensable, but it should be cleansed of all connotation of polemics or rivalry. The fact is that every writer creates his own precursors. His work modifies our conception of the past, as it will modify the future. The early Kafka of “Betrachtung” is less a precursor of the Kafka of somber myths and atrocious institutions than is Browning or Lord Dunsany.