The Manuscript Found in Saragossa (2 page)
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Authors: Jan Potocki
The Manuscript Found in Saragossa
is a complex interweaving of tales narrated by a young army officer called Alphonse van Worden, who kept a diary of his experiences in the Sierra Morena in 1739, recording both the events which he witnessed and the stories he was told by the company in which he found himself. In 1769 or thereabouts, his diary was sealed by him (so the story goes) in a casket; forty years later, it was found by a French officer while out looting after the fall of the city of Saragossa. He didn't know much Spanish, but he realized that what he had come upon was a story about brigands, ghosts, cabbalists, smugglers, gypsies, haunted gallows and no doubt much else besides. It was an intriguing mystery: intriguing enough to persuade him to keep the book in his possession, to attempt to hang on to it when he was captured and, later, to inveigle his captor into translating it for him. The same intriguing mystery awaits the reader of this translation: or rather the same complicated web of mysteries. The French officer of the foreword was careful not to spoil the story by revealing too much about it in his preface, and in this introduction I shall be just as discreet; but without giving away too much, I can suggest where the mysteries of the book are to be found.
There are in fact three enigmatic aspects to the book: its author, its composition and its contents. Its author, Count Jan Potocki (1761â1815), was a member of a very great Polish family who lived at a time of considerable literary and political turbulence throughout Europe. His life was spent in travelling, writing, political intrigue and scholarly research. He received a solid education in Geneva and Lausanne, had two spells in the army as an officer in the engineers, and spent some time on a galley as a novice Knight of Malta. He was among the first to make an ascent in a balloon (in 1790), which brought him much public acclaim; he was a tireless political activist,
consorting with patriots in Poland, Jacobins in France and the court of Alexander I of Russia. He appears to have been a freemason. All this activity cannot easily be ascribed to a single set of beliefs: at certain times he applauded, at others condemned the French Revolution; he fought against the Russians yet served the Tsar, and accepted a commission to fight alongside the Austrians while declaring himself their political enemy. His travels at different periods of his life took in Italy, Sicily, Spain, Tunisia, Turkey, Egypt, France, Holland, England, Germany, Russia, even Mongolia; he wrote lively accounts of most of these journeys, and while on them engaged in historical, linguistic and ethnographical researches. His published writings helped found the discipline of ethnology. He compounded his scholarly activity with an interest in publishing, establishing an independent press in Warsaw in 1788 and a free reading room there four years later. As well as writing and publishing scholarly works and pamphlets, he wrote a play, a set of sketches (âparades'), and, of course,
The Manuscript Found in Saragossa
. He married twice, and had five children; he was divorced from his second wife in 1808. There were rumours of incest. By 1812, politically disillusioned and in poor health, he had retired to his castle at Uladówka in Podolia. On 2 December or 11 December 1815 (depending on the source), he committed suicide, although whether out of political despair, mental depression or a desire to be released from a highly painful chronic condition is not clear. Many stories are told about his death. He is said to have fashioned a silver bullet himself out of the knob of his teapot (or the handle of a sugar-bowl bequeathed to him by his mother); he had it blessed by the chaplain of the castle, and then used it to blow out his brains in his library (or his bedroom), having written his own epitaph (or, according to other sources, drawn a caricature of himself). The macabre stories about his end, his equivocal political career and personal life, his polymathy and his restless wanderings all contribute to the composite picture of an Enlightenment thinker and a romantic figure
par excellence
, commensurate with his one great literary work.
The controversies surrounding the composition of his novel
The Manuscript Found in Saragossa
are scarcely less dramatic than those surrounding his life. For a long time its authorship was disputed;
indeed, the editor of a very recent partial translation still maintains (against conclusive evidence) that Potocki may not have written it. Its publishing history is highly complex. A set of proofs of the first ten or so days appeared in St Petersburg in 1805; this was followed by the story of Avadoro, the gypsy chief, extracted from the framework of the novel, which appeared almost certainly with Potocki's permission in Paris in 1813; the following year saw a republication of the first ten days, linked to the story of the gypsy chief. If one looks closely at these Paris publications, it is clear that Potocki had still not completely decided in which form to publish his novel, nor whether it would please the public; his death in 1815 put an end to further flotations on the book market of the French capital. But that did not prevent his published work from being plagiarized three times in the next quarter-century, and even becoming the subject of a lawsuit.
It is not clear when Potocki conceived of his novel or when he finished it; the best informed opinion seems to suggest that he began it in the 1790s and completed it in the last year of his life. If one looks, however, at the details included in the first day, one sees that the outcome of the novel is already carefully prepared, which suggests that by 1805 Potocki knew more or less where he wanted to go. The whole text was composed in French; but in spite of assiduous researches in Polish family archives, not all of it appears to have survived in this form. About a fifth of the text is only available in a Polish translation from a lost French manuscript of the whole book, made by Edmund Chojecki in 1847. For a long time, it was hoped that a complete original version would be discovered; but in 1989 René Radrizzani cut the Gordian knot of speculations as to what and where this might be by publishing the complete story in French for the first time, having supplied a French translation of the missing parts from Chojecki's Polish version. Radrizzani's French edition includes all the variants relating to the different surviving manuscripts and printed versions; there are, however, only one or two (very minor) points where they are necessary for the understanding of the text, and these have been recorded in footnotes. Critical controversy still rages in France, and it is possible that a new edition by a much respected Potocki scholar may appear in the near future; but, even if it does, it is unlikely to modify much of Radrizzani's text, although it
might bring new manuscripts to bear on Chojecki's Polish version and make different editorial choices with respect to the existing material. Like the author's life, the text of his masterpiece leaves many questions unanswered, or unanswerable.
What is the novel about? At a simple level, it is a novel of frames; the preface, supposedly written in 1809, encapsulates the narrative of Alphonse van Worden, a young Walloon officer about to join the Spanish army, who for two months in 1739 is diverted from his journey to Madrid, and obliged to spend this time in the company of the Muslims, cabbalists, Spanish noblemen, thieves and gypsies whose stories are recorded by him as they are told to him. These story-tellers adopt the first person not only to tell their own tales, but also to relate stories they have heard from others: at one point even, the gypsy chief Avadoro (or Pandesowna, as he is also known) tells a story within a story within a story within a story, much to the annoyance of one of the more literal-minded members of his audience. These stories are loosely linked to events in European history between about 1700 and 1740, although it is not necessary to know about the historical background to understand them. An epilogue, also written by Alphonse van Worden in about 1769, closes the novel and ties up the loose ends. All this self-conscious and often highly sophisticated story-telling may suggest that the book is demanding, even difficult to read, in the way that modern experimental fiction can be: but this is not the case. It cannot be denied that by the middle of the novel there are several different stories being related at the same time, and that their enmeshment is such that the characters in the novel themselves are made to complain about its complexity. But, this fact apart, Potocki's novel has much in common with other epics of entertaining story-telling such as Boccaccio's
Decameron
or
The Thousand and One Nights
, with which its first readers compared it. Like those works, each story is complete in itself, even though there is an overall design which enhances the pleasure of reading by the many coincidences, patterns and recurrent figures which help bind the whole text together.
Potocki seems at one time to have thought of his work in terms of the Gothic novel (â
à la
Radcliffe', as he said in a letter to a friend), and indeed there is no shortage of macabre, sinister, ghastly and
horrific events; but it also has affinities with many other literary modes: the picaresque, in the story of Avadoro-Pandesowna's semi-criminal youth; the adventure story, in its evocation of inexhaustible gold-mines and grand international conspiracies; the pastoral, in its disabused portrayal of court life and its celebration of the beauties of nature; the libertine novel, in its imaginative exploration of the erotic; the
conte philosophique
, in the dry satirical tone of much of the text and its moral, political, religious and scientific discussions; the fantastic, in its intermingling of the supernatural and the ordinary (although how much remains supernatural at the end is for the reader to decide); the
Bildungsroman
, in the process by which the naïve Alphonse van Worden is brought to maturity. These affinities have led critics to compare it to
Don Quixote, Gil Blas
, even
Nathan der Weise;
but as well as all of this, it is a novel of portraits, a veritable gallery of eccentrics, boors, wits, fools, pedants, philosophers, tricksters, boon companions, cowards and brave men, coquettes and (more rarely) virtuous women. Some of these portraits are just vignettes, others are extensive and profound; some add their colourful voices to the rich texture of the novel, others are no more than the objects of picturesque description.
Leitmotifs run through the work, adding to its pleasure. There are erotic encounters involving sometimes two, sometimes three, sometimes four participants, some told naively, some urbanely, some with a tortured conscience; authoritarian fathers (van Worden, Velásquez, Soarez) repeatedly appear to imprint on their sons their own strange philosophies of life; characters are metamorphosed or transform themselves from Christians into Muslims or Jews, from men into women, from beautiful girls into hideous corpses. Dreadful scourges in the shape of implacable persecutors (the principino, Sedekias, Busqueros) haunt the lives of the protagonists. There is a great deal of impersonation and acting, of illusion and delusion, throughout the novel: much of this has to do with strange, convoluted, even barbaric and cruel rites of initiation, which the major characters â Alphonse van Worden, Juan Avadoro-Pandesowna, the Great Sheikh of the Gomelez â all undergo. Other, more mysterious, patterns can be traced, not only in the succession and balance of the stories, but also in the recurrent tableaux, which, as some scholars have pointed out, seem to have
affinities with the tarot pack. These motifs are there to be enjoyed, whatever significance may be attached to them by critics.
Does the book have a message? Certain commentators have seen in it an answer to Chateaubriand's
Génie du Christianisme
, a sort of Enlightenment celebration of reason and toleration. Others have opted for the rationalism implicit in the younger Velásquez's mathem-atization of the human being; yet others for the materialism to which the elder Hervas turns in despair at the end of his life.
The Manuscript Found in Saragossa
could be seen as a novel of social and political conservatism, or a savage indictment of the social order and of all political activity, or a plea for pragmatism and liberalism. In a certain sense, all of these apparently contradictory views are true, for different parts of the text can be used to support different theories about it. Nowhere is this seen more clearly than in the contrast between the heartfelt confession of Enrique de Velásquez, the proponent of selflessness, and the measured Mephistophelian speeches of Don Belial, who propounds a philosophy based on egoism. A recurrent moral theme is that of honour: various versions are explored, and all are subtly and mercilessly satirized. There is the lunatic delicacy of the Walloon officer Juan van Worden, who will fight any number of duels to satisfy a nightmare punctiliousness about aristocratic honour which is almost never shared by his reluctant adversaries; we encounter the bandit Zoto, whose scrupulous and much-praised observance of the niceties of brigandry and murder perplexes Juan's naïve son; Pedro de Velásquez's obsession with science and mathematics spills over into his bizarre courtship of the person known as Rebecca de Uzeda; the sanguinary fanaticism of the Gomelez family contrasts with the Uzedas' readiness to submit to any requirements of outward observance, in a spirit akin to that of the Vicar of Bray; yet more relaxed ethical postures can be detected in such figures as the Knight of Toledo and Señora Uscariz. Do all these value systems have a single root, in the same way that the novel suggests (at certain points) that all religions spring indifferently from one source? Do they constitute the bundle of contradictions â integrity and duplicity, flesh and spirit, rigidity and suppleness, youth and maturity, indulgence and asceticism, prolixity and silence, folly and wisdom â which go to make up the human being? Could this be the hidden message of the book?
Every reader will no doubt find certain passages or aspects more significant than others. There are moments when a reader may detect a lyrical or passionate note breaking through Potocki's characteristically witty, detached, satirical prose, which is dominated by the humane, worldly-wise, ironic voice of Avadoro-Pandesowna. On two occasions, it seems to me, his tone changes: once, towards the end of his life story, when he speaks of the loves of a young man, in which the individual figures of his mistresses merge into a composite evocation of the tenderness, excitement, adventure and pleasures of love; the other occasion, and to my mind the more telling, when he describes a specifically Spanish mode of social intercourse. The French had at this time, as is well known, the reputation for brilliant, flirtatious, urbane conversation between social equals of different sexes in the context of the salon (Carlos de Velásquez practises it in this novel); at the same time, the Spaniards were known for their taciturnity. Avadoro's father, the implausible progenitor of the articulate figure whose narrative voice dominates the novel, scarcely utters a single word in the whole of his adult life; his granddaughter, the mysterious elfin Ondina, is almost as uncommunicative. But between these zones of silence, the gypsy chief himself revels in speech, both his own and that of others, which he relays to his motley band of listeners. This celebration of polyphony, of unfettered human intercourse, has been linked to the enlightened, tolerant exchanges of freemasonry, but Avadoro-Pandesowna offers it as a specifically Spanish experience, arising from the institution of the highway inn, which makes no distinction of class, is not bound by the stiff etiquette of Spanish polite society, brings together all sexes and ages, is unpredictable, jolly, communal; if Potocki's novel has a message, this seems to me to be it. It is to this that Avadoro-Pandesowna gives expression in his nostalgic description of the Spanish hostelry on the twelfth day: