This is an alphabetical list of fantastical and imaginary beasts from myth and legend, compiled by Borges with the assistance of his friend, Margarita Guerrero, and, to be honest, it’s a bit boring.
The Penguin paperback edition of The Book of Imaginary Beings has three prefaces which, among other things, point out that the collection grew, from 82 pieces in 1957, to 116 in 1967, to 120 in the 1969 edition. It’s an example of the pleasurable way all Borges’s collections – of poems, essays or stories – accumulate additional content over successive editions and, in doing so, hint at the scope for infinite expansion, and the dizzying sense of infinite vistas which lie behind so many of his fictions.
Imaginary beings
Strictly speaking there’s an endless number of imaginary beings since every person in every novel or play ever written is an imaginary being – but, of course, the authors have in mind not imaginary people but imaginary animals, fabulous beasts concocted by human fantasy. They have aimed to create:
a handbook of the strange creatures conceived through time and space by the human imagination
The book was created in collaboration with Borges’s friend Margarita Guerrero, and between them they tell us they had great fun ransacking ‘the maze-like vaults of the Biblioteca Nacional’ in Buenos Aires, scouring through books ancient and modern, fictional and factual, for the profiles of mythical beings from folklore and legend.
One of the conclusions they make in the preface was that it is quite difficult to make up new monsters. Many have tried, but most new-fangled creatures fall by the wayside. For example, Flaubert had a go at making new monsters in the later parts of The Temptation of Saint Anthony, but none of them really stir the imagination. There appear to be some archetypal patterns which just seem to gel with the human imagination, which chime with our deepest fears or desires and so have lasted through the centuries in folklore and myth, and are found across different cultures.
We are as ignorant of the meaning of the dragon as we are of the meaning of the universe, but there is something in the dragon’s image that appeals to the human imagination, and so we find the dragon in quite distinct places and times. It is, so to speak, a necessary monster, not an ephemeral or accidental one, such as the three-headed chimera or the catoblepas.
There are entries for 120 imaginary beasts, arranged in alphabetical order across 142 pages, making an average of 1.2 pages per entry, much shorter even than his short stories, about the same length as the ‘parables’ included in Labyrinths. Where possible, the authors include references to the source documents or texts where they discovered good descriptions of the beast in question.
But book actually references quite a few more than the 120 nominal beasts since many of the entries are portmanteau headings of, for example, the imaginary fauna of Chile (6 beasts); the Fauna of China entry (taken from the T’ai P’ing Kuang Chi) describes 12 imaginary beasts and 3 types of mutant human (people whose hands dangle to the ground or have human bodies but bat wings); the Fauna of America entry describes nine weird and wonderful animals. In other words, the book actually contains names and descriptions of many times 120 beasts, at a rough guess at least three times as many.
Thoughts
This should all be rather wonderful, shouldn’t it? But although it’s often distracting and amusing, The Book of Imaginary Beings almost entirely lacks the sense of wonder and marvel which characterises the extraordinary contents of Labyrinths.
Ultimately, the long list becomes rather wearing and highlights the barrenness of even the most florid creations if they are not brought to life by either a chunky narrative (I mean a narrative long enough for you to become engaged with) or by Borges’s magic touch, his deployment of strange and bizarre ideas to animate them.
Borges’s best stories start with wonderful, mind-dazzling insights and create carapaces of references or narrative around them. These encyclopedia-style articles about fabulous creatures, on the other hand, occasionally gesture towards the strange and illuminating but, by and large, remain not much more than a succession of raw facts.
For example, we learn that the word ‘basilisk’ comes from the Greek meaning ‘little king’, that the fabulous beast it refers to is mentioned in the authors Pliny and Chaucer and Aldrovani, in each of which it has a different appearance; we are given a long excerpt about the basilisk from Lucan’s Pharsalia.
Well, this is all very well and factual, but where are the ideas and eerie insights which make Borges’s ficciones so mind-blowing? Nowhere. The entries read like raw ingredients which are waiting to be cooked by Borges into a dazzling essay… which never materialises. More than that, it’s full of sentences which are uncharacteristically flaccid and banal.
Suggested or stimulated by reflections in mirrors and in water and by twins, the idea of the Double is common to many countries.
Really? In some of his stories this idea comes to dazzling life; in this collection of articles, it lies dead on the page.
A bestiary manqué
You could argue that the whole idea is an updating of the popular medieval genre of the ‘bestiary’. Wikipedia gives a pithy summary of the genre:
A bestiary is a compendium of beasts. Originating in the ancient world, bestiaries were made popular in the Middle Ages in illustrated volumes that described various animals and even rocks. The natural history and illustration of each beast was usually accompanied by a moral lesson.
I think the key is in that final phrase: bestiaries may well have fired the imaginations of their readers, amused and distracted them, but they had a purpose. Indeed, to the medieval mind the whole natural world was full of meaning and so every single creature in it existed to point a moral, to teach humans something (about God, about the Christian life, and so on). Bolstering every anecdote about this or that fabulous animal was a lesson we could all take away and benefit from.
Whereas, being 20th century agnostics and, moreover, of a modernist turn of mind which prefers clipped brevity to Victorian verbosity, the authors write entries which are deliberately brief and understated, and shorn of any moral or reflection, or analysis.
Whereas Borges’s fictions tend to build up to a bombshell insight which can haunt you for days, these entries just end and then you’re onto another item on the list, then another, then another, and after a while the absence of analysis or insight begins to feel like an almost physical lack.
Pictures
Given its static nature as a rather passive list written in often lifeless prose, what this book would really, really have have benefited from would have been being published in a large, coffee table format with an illustration for each monster.
I googled a lot of the entries in the book and immediately began having more fun on the internet, looking at the weird and wonderful illustrations of the beasts – comparing the way the basilisk or chimera or behemoth have depicted through the ages (and in our age which has seen an explosion of fantastical illustrations) than I had in reading Borges and Guerrero’s rather drab texts.
The two-headed bird-dragon Ouroboros from the Aberdeen bestiary illuminated manuscript
Favourites
On the up-side, here are some things I enjoyed:
I was delighted that The Book of Imaginary Beings contains not one but two entries for made-up creatures in C.S. Lewis’s science fiction novel, Perelandra.
To be reminded of the strange fact that Sleipnir, the horse belonging to Odin, king of the Norse gods, had eight legs.
A Chinese legend has it that the people who lived in mirrors were a different shape and size and kind from the people in this world. Once there were no borders and people could come and go between the real world and the mirror world. Then the mirror people launched an attack on our world but were defeated by the forces of the Yellow Emperor who compelled them to take human form and slavishly ape all the behaviour of people in this world, as if they were simply our reflections. But one day they will rise up and reclaim their freedom (Fauna of Mirrors).
The Hidebehind is always hiding behind something. No matter how many times or whichever way a man turns, it is always behind him, and that’s why nobody has been able to describe it, even though it is credited with having killed and devoured many a lumberjack. The Goofus Bird builds its nest upside down and flies backward, not caring where it’s going, only where it’s been.
At one point Borges lingers on the dogma of the Kabbalists and, for a moment, the real deep Borges appears, the one fascinated by the paradoxes of infinity:
In a book inspired by infinite wisdom, nothing can be left to chance, not even the number of words it contains or the order of the letters; this is what the Kabbalists thought, and they devoted themselves to the task of counting, combining, and permutating the letters of the Scriptures, fired by a desire to penetrate the secrets of God.
A Platonic year is the time required by the sun, the moon, and the five planets to return to their initial position; Tacitus in his Dialogus de Oratoribus calculates this as 12,994 common years.
In the middle of the twelfth century, a forged letter supposedly sent by Prester John, the king of kings, to the Emperor of Byzantium, made its way all over Europe. This epistle, which is a catalogue of wonders, speaks of gigantic ants that dig gold, and of a River of Stones, and of a Sea of Sand with living fish, and of a towering mirror that reflects whatever happens in the kingdom, and of a sceptre carved of a single emerald, and of pebbles that make a man invisible or that light up the night.
Threes
The Greek gods ruled three realms, heaven ruled by Zeus, the sea ruled by Poseidon, and hell ruled by Hades.
In ancient Greek religion the Moirai, called by the Romans the Parcae, known in English as the Fates, were the incarnations of destiny: Clotho (the ‘spinner’), Lachesis (the ‘allotter’) and Atropos (the ‘unturnable’, a metaphor for death).
Cerberus, the huge dog guarding hell, had three heads.
In Norse mythology, the Norns are female beings who rule the destiny of gods and men. In Snorri Sturluson’s interpretation of the Völuspá, there are three main norns, Urðr (Wyrd), Verðandi and Skuld. They are invoked in the three weird sisters who appear in Shakespeare’s Macbeth.
There are many valkyries – choosers of the dead –but tradition names three main ones as Hildr, Þrúðr and Hlökk.
Hinduism has Trimurti (Sanskrit for ‘three forms’) referring to the triad of the three gods Brahma, Vishnu, and Shiva.
The Christian God is a Trinity of God the Father, God the Son and God the Holy Spirit.
Jesus is resurrected on the third day after his crucifixion (counting Good Friday, Saturday and Sunday as days), an event prefigured by the three days the prophet Jonah spent in the belly of the whale.
In The Divine Comedy Dante journeys through the three parts of the afterworld, hell, purgatory and paradise.
According to Moslem tradition, Allah created three different species of intelligent beings: Angels, who are made of light; Jinn (‘Jinnee’ or ‘Genie’ in the singular), who are made of fire; and Men, who are made of earth.
Jinnee or genies grant three wishes.
Humans divide time (if it exists, that is) into the past, the present and the future.
The three billygoats gruff. The three bears. The three little pigs.
Fours
The four horsemen of the apocalypse.
The four gospels of the four evangelists, each one symbolised by an animal: to Matthew a man’s face, Mark the lion; Luke the calf; and John, the eagle.
In Babylon, the prophet Ezekiel saw in a vision four beasts or angels, ‘And every one had four faces, and every one had four wings’ and ‘As for the likeness of their faces, they four had the face of a man, and the face of a lion, on the right side: and they four had the face of an ox on the left side; they four also had the face of an eagle.’
John the Divine in the fourth chapter of Revelations: ‘And before the throne there was a sea of glass like unto crystal: and in the midst of the throne, and round about the throne, were four beasts full of eyes before and behind. And the first beast was like a lion, and the second beast like a calf, and the third beast had a face as a man, and the fourth beast was like a flying eagle. And the four beasts had each of them six wings about him; and they were full of eyes within…’
In the most important of Kabbalistic works, the Zohar or Book of Splendour, we read that these four beasts are called Haniel, Kafziel, Azriel, and Aniel and that they face east, north, south, and west.
Dante stated that every passage of the Bible has a fourfold meaning: the literal, the allegorical, the moral, and the spiritual.
The four corners of the earth. The four points of the compass.
The Greeks divided visible matter into the four elements of fire, earth, air, and water, and attributed the four humours which match them, black bile, yellow bile, phlegm, and blood, themselves the basis of the four temperaments of mankind, choleric, melancholic, phlegmatic and sanguine, respectively.
The four magic animals of Chinese cosmogony.
The four animals of good omen, being the unicorn, the dragon, the phoenix, and the tortoise.
A Borges reading list
This is an incomplete list of the texts most frequently referred to in The Book of Imaginary Beings. Laid out like this you can see how, beyond the respectable tradition of the classics, this is a kind of greatest hits selection of the esoteric and mystical traditions of world literature.
Reflecting on the list of texts, I realised they have one thing in common which is that they are all pre-scientific and non-scientific. Personally, I believe in modern cosmology’s account of the creation of the universe in a big bang, in the weird discoveries of particle physics which account for matter, gravity, light and so on; and, when it comes to life forms, I believe in a purely mechanistic origin for replicating life, and in Darwin’s theory of natural selection as improved by the discovery of the helical structure of DNA in 1953 and the 70 subsequent years of genetic science, to explain why there are, and inevitably have to be, such an enormous variety of life forms on earth.
For me, taken together, all the strands of modern science explain pretty much everything about the world around us and about human nature: why we are why we are, why we think and behave as we do.
None of that is recorded in any of these books. Instead everything in the books listed here amounts to various types of frivolous entertainment and speculation. It could be described as highly decorative rubbish. Homer and the Aeneid may well be the bedrocks of Western literature and Dante one of the central figures of European civilisation but, having lived and worked in the world for over 40 years, I’m well aware that the vast majority of people neither know nor care, and care even less about the more remote and obscure books on this list. They are for the pleasure of antiquaries and lovers of the obscure; people, dear reader, like thee and me.
Ancient world
- The Epic of Gilgamesh
- The Iliad and the Odyssey by Homer
- Hesiod’s Theogony and Book of Days (700 BC)
- The Old Testament
- The Tibetan Book of the Dead
- The Mahābhārata (3rd century BC?)
- The Argonautica by Apollonius Rhodius (3rd century BC)
- The Aeneid by Virgil (29 to 19 BC)
- Metamorphoses or the Books of Transformations by Ovid (8 AD)
- De Bello Civili or the Pharsalia by Lucan (30 AD?)
- On the Nature of the Gods by Cicero
- The Natural History by Pliny the Elder (77 AD)
- History of the Jewish Wars by Flavius Josephus
- The New Testament (1st century AD)
Middle Ages
- Beowulf
- The Exeter Book (tenth century)
- The Song of Roland (11th-century)
- The Poetic Edda (13th century)
- The Prose Edda (13th century)
- The Zohar, primary text of the Kabbalists
- The 1001 Arabian Nights
- The Golden Legend compiled by Jacobus de Voragine (thirteenth century)
- The Travels of Marco Polo (1300)
- The Divine Comedy by Dante Alighieri (1320)
- Travels of Sir John Mandeville (1360s)
- Autobiography by Benvenuto Cellini (1563)
- Orlando Furioso by Ludovico Ariosto (1532)
Early modern
- The Ingenious Gentleman Don Quixote of La Mancha by Miguel de Cervantes (1605 and 1615)
- The Anatomy of Melancholy by Robert Burton (1621)
- Hydriotaphia, Urn Burial, or, a Discourse of the Sepulchral Urns lately found in Norfolk by Sir Thomas Browne (1658)
- Peter Wilkins by Robert Paltock (1751)
- The World as Will and Representation (1844) by Arthur Schopenhauer
- The Temptation of Saint Anthony by Gustave Flaubert (1874)
- The Golem by Gustav Meyrink (1915)
Would be a challenge, fun and interesting to read all these books, in this order. A nutritious slice through Western civilisation.
Related links
Borges reviews
- A Universal History of Infamy (1935 trans. 1972)
- Labyrinths (1962)
- The Book of Imaginary Beings (1967, trans. 1969)
- Dr. Brodie’s Report (1970)
- The Book of Sand (1975 trans. 1977)
- Jorge Luis Borges on Franz Kafka (1981)
Books & Boots 