On Pain, Art, Constraints
Of all the changes of language a traveler in distant lands must face, none equals that which awaits him in the city of Hypatia, because the change regards not words, but things. I entered Hypatia one morning, a magnolia garden was reflected in blue lagoons, I walked among the hedges, sure I would discover young and beautiful ladies bathing; but at the bottom of the water, crabs were biting the eyes of the suicides, stones tied around their necks, their hair green with seaweed.
…I could only question the philosophers. I entered the great library, I became lost among shelves collapsing under the vellum bindings, I followed the alphabetical order of vanished alphabets, up and down halls, stairs, bridges. In the most remote papyrus cabinet, in a cloud of smoke, the dazed eyes of an adolescent appeared to me, as he lay on a mat, his lips glued to an opium pipe.
“Where is the sage?”
The smoker pointed out of the window. It was a garden with children’s games: ninepins, a swing, a top. The philosopher was seated on the lawn. He said: “Signs form a language, but not the one you think you know.”
I realized I had to free myself from the images which in the past had announced to me the things I sought: only then would I succeed in understanding the language of Hypatia.
…And when my spirit wants no stimulus or nourishment save music, I know it is to be sought in the cemeteries: the musicians hide in the tombs; from grave to grave flute trills, harp chords answer one another.
True, also in Hypatia the day will come when my only desire will be to leave. I know I must not go down to the harbor then, but climb the citadel’s highest pinnacle and wait for a ship to go by up there. But will it ever go by? There is no language without deceit.
– Italo Calvino, Invisible Cities, 49-50, emphasis mine