Four Borges Cycles: Eternal Themes in Cinema

Contents:

• Borges is not the first
• The origin of the concept of "four plots"
• The besieged city
• The return
• The search
• The suicide of God
• The uniqueness of the last of the four stories
• Problems and shortcomings of Borges's classification

Very recently, poet Vladimir Navrotsky shared an interesting thought on his blog: "There are only six stories: the besieged city, the return, the search, the suicide of a god, how I sold CDs at Gorbushka, and one more that I cannot tell, as it is too complex for a brief summary." This statement, of course, contains an element of humor and alludes to the ideas of Jorge Luis Borges. However, it should be noted that the famous Argentine writer, creator of "The Library of Babel" and "The Garden of Forking Paths," identified only four main plots. He was unaware of Gorbushka, and even less so of Navrotsky's secret story. But what about the other plots? Film critic Fyodor Dubshan shares his thoughts on which Borges's "four stories" have been proposed and how they have been interpreted in cinema.

Contents

• Borges is not the first
• The emergence of the "four stories" concept is associated with the idea that all literary works can be reduced to certain archetypal plots. This theory was developed in the mid-20th century and became popular through the analysis of various works of art, literature, and mythology.

  According to this approach, different plots can be classified according to a number of criteria, such as the nature of conflicts, character development, and their interactions. The main types identified in this model include stories such as the hero's journey, the encounter with the enemy, the pursuit of love, and the search for self-identity.

  This idea has found its reflection in the works of many writers and critics who have sought to identify common themes and structures in works across different eras and cultures. Thus, the “four plots” became not only a tool for analysis, but also a source of inspiration for the creation of new stories based on universal human experiences.

• A city under siege can be considered in such works as Troy, Seven Samurai, Romeo + Juliet and Dogville.
• The return: O Brother, Where Art Thou?, Forrest Gump, Groundhog Day, Solaris.
• Research: The Lord of the Rings trilogy, The Big Lebowski, Inception, The Land of Oz
• The suicide of God: The Matrix, Fight Club, The Godfather, That Very Munchausen
• Why is the last tale unique?
• The classification proposed by Borges is certain questions and criticisms. Firstly, its complexity and eccentricity can make it difficult to understand and use. Rather than a clear structure, it represents a rather arbitrary set of categories, which calls into question its scholarly value.

  Furthermore, some of the classifications Borges proposes, such as "books that should not be read," may seem absurd or even provocative. This is puzzling, as such categories can distract from a more serious approach to literature and its criticism.

  It is also worth noting that the classification does not cover all aspects of a literary work, making it incomplete. It does not take into account, for example, historical context or cultural characteristics, which can significantly influence the perception of a text.

  As a result, despite Borges's originality and creativity, his classification system can be perceived as not entirely practical, leaving many gaps and imperfections.

Borges is not the first

From the earliest stages of its existence, humanity has immersed itself in the art of storytelling. It has shared tales of wars and hunts, joys and sufferings. Soon, the idea arose to systematize these stories, count them and understand how they are classified. Perhaps this need is rooted in the desire of the human mind to organize and structure everything. It is also driven by the natural curiosity of our species and a certain anxiety before the mystery contained in words: they, like birds, escape from our lips, flutter from person to person, change and begin to live their own lives. How can they be captured again? For example, one could try to figure out what types of them exist.

Many approaches to plot classification have been proposed over the centuries, beginning with the ideas of Aristotle, outlined some two and a half thousand years ago. The renowned science fiction writer Kurt Vonnegut put forward a theory about five basic types of stories, while the English journalist Christopher Booker identified seven categories. The French theater scholar Georges Polti, in turn, described as many as 36 "dramatic situations" in the 19th century. These typologies resemble tarot cards in their structure and have similarities with astrological or socionic systems, but instead of people, they concern plot lines.

The most famous classification approach is the four plots proposed by Borges: the siege, the return, the search, and the suicide of a god. This scheme is laconic and convenient, especially when it comes from a recognized authority. Initially, Borges's structure turned into a kind of rule, and then into a meme. It is used to interpret virtually any story, attempting to fit it into the proposed categories so that nothing is left out. However, some critics object, arguing that these four categories cannot fully reflect the diversity of human narratives. This seems like a far-fetched approach with no basis in reality!

The Origin of the "Four Plots" Concept

Not everyone can remember how the concept of classification itself emerged. Borges wrote a short essay called "Four Cycles," which was published in the 1972 collection The Gold of the Tigers.

This collection intertwines poems with laconic, aphoristic prose, which at times also resembles poetry. As Borges once noted in the preface to another work, The Secret Rose: "First, I catch a glimpse of a phantom, the semblance of a distant island, which then transforms into a story or a poem. <…> I try to interfere in this process as little as possible. I do not want my views, which, in the end, have little meaning, to distort it."

Through the twilight of his fading eyes, the fading of life is visible. This was the final stage of Borges's existence: at that time, the 73-year-old author had completely lost his sight and began dictating his works. He concludes the essay by noting, "There are only four stories, and no matter how much time we have left, we will be telling them—in one form or another."

We will also introduce these stories and provide examples that demonstrate which popular films effectively depict each type of plot.

The Besieged City

This storyline, according to Borges, is one of the oldest: "...about a city with strong walls, attacked and defended by valiant heroes." The author does not mention a specific name, however, since Homer's Iliad obviously comes to mind as the most striking example of this narrative.

"The defenders realize that the city will inevitably fall to the onslaught of swords and fire, and that resistance is futile; Even the most famous of conquerors, Achilles, understands that he is destined for death and will not live to see triumph."

However, this plot doesn't always involve the direct capture of a city. The main point is that it's a narrative of conquest. The importance of the object, be it the woman he loves, a valuable casino, or moral superiority, fades into the background.

Year of release: 2004

The director of this work is Wolfgang Petersen.

No further clarification is needed here: The Iliad remains the Iliad. However, it is worth noting something else. In Homer, the death of Achilles and the fall of Troy are determined by fate and divine intervention. In Petersen's interpretation, both the city and the hero face fate for purely "human" reasons: the result of love, greed, cruelty, and their own decisions.

Year of release: 1954

Director: Akira Kurosawa

One of the most famous examples in cinema is the story of seven warriors who defend their village from numerous enemies. The plot, though simple, is imbued with mythology, and its brevity lends a special atmosphere. The work barely focuses on the enemies; the bandits are presented here as a formidable force, personifying danger and death. At the same time, each of the samurai has their own reasons for participating in the battle, as well as a unique destiny that awaits them in this battle.

Year of release: 1996

Director: Baz Luhrmann

Shakespeare's tragedy of two lovers, upon closer examination, has its roots in heroic epic. The "two honorable families" of Montague and Capulet act as opposing sides, like the Trojans and Greeks, eternally at odds. Tybalt can be compared to the proud Achilles, while Romeo, as played by DiCaprio, resembles Paris, who abducted Helen and captured her heart. Passion, hatred, and fate have confused everyone, and it doesn't matter whether you hold a bronze sword, a Shakespearean rapier, or a Colt M1911 .45 caliber.

Year of release: 2003

Director: Lars von Trier.

A small town located in the Rocky Mountains becomes the arena of confrontation between bandits and law enforcement, reminiscent of the classic picture of the siege of Troy. However, as often happens with Lars von Trier, the usual ideas of heroism and virtue are seriously re-evaluated. At the beginning of the plot, those under siege are presented as tyrants. And then there is an unexpected twist - their victim turns out to be the one who ultimately destroys everything around. The key difference from the usual narrative scheme is that the enemy does not invade from the outside, but manifests itself from within, from the very depths of the human soul.

Nevertheless, this plot archetype itself turns out to be quite complex. "The eras brought elements of magic into the narrative. For example, Helen, over whom entire armies fought, began to be perceived as a beautiful cloud or a vision; the huge hollow horse that sheltered the Achaeans also acted as a ghost. <…> The fate of Troy was already predetermined the moment Paris fell in love with Helen,” notes Borges. Thus, according to him, our destinies are shaped by visions and illusions, as well as the passions and choices we make.

The Return

“The second story, closely related to the first, tells of a return. It is the story of Ulysses, who, after ten long years of wandering across stormy seas and stopping on magical islands, finally reaches his native Ithaca.” Just as the Iliad and the Odyssey are always considered together, so this second plot logically follows from the first. In the fiery chaos of the fortress, the best of heroes fall. The rest must not only find themselves in the unknown, but also find a way back to their roots.

Year of release: 2000

The directing duo of brothers Joel and Ethan Coen.

The Coen brothers adapted "The Odyssey" into a film set in Depression-era Mississippi. The plot centers on three escaped convicts, among whom George Clooney takes the lead as the cunning Ulysses. Instead of the seductive sirens of the original, we see washerwomen on the riverbank, and instead of the Cyclops Polyphemus, viewers see a one-eyed member of the Ku Klux Klan, played by John Goodman. Remarkably, even the blind poet Homer appears in the frame, passing by on a handcar. Interestingly, in one interview, the brothers admitted that they had not read "The Odyssey" in the classical sense, but learned its plot through various film adaptations and cultural references. "It's one of our favorite narrative approaches," Ethan noted.

Year of release: 1994

The director of this project is Robert Zemeckis.

Robert Zemeckis sends his character, Forrest Gump, to distant lands and then watches him return home years and miles later, where he inadvertently achieves success in a variety of circumstances. It's reminiscent of the story of Odysseus, but with the opposite twist. While Homer's Ulysses uses his wits to overcome difficulties, Forrest, by contrast, overcomes all trials thanks to his sincerity and naivety. Zemeckis's film intertwines several themes of return. Forrest not only returns to his hometown, but, more importantly, returns to the serene world of his childhood. Together with him, the viewer goes on a touching journey through significant events in modern American history.

Year of release: 1993

The director of this work is Harold Ramis.

A cynical journalist, played by Bill Murray, finds himself caught up in a completely different story: his hatred of humanity has trapped him in the same cold winter day, waking up to it again and again. This ordeal proves far more terrifying than facing mythical monsters like the Cyclops or Scylla and Charybdis. For the hero, returning to normal life requires not only escaping this day but also finding a way to escape the endless cycle of Groundhog Day.

Year of release: 1972

Director: Andrei Tarkovsky

The character played by Donatas Banionis, Chris Kelvin, travels to a distant part of the universe, to the planet Solaris, where people's memories are revived. He himself longs to return: home, to his past, to his childhood. It is noteworthy that Stanislav Lem, the creator of the original work, could not stand Tarkovsky's interpretation, and the book itself is more related to the theme of the search—the next type of plot.

The Search

Borges argues that "The Search" can be perceived as a kind of alternative to "The Return". He compares it to Jason, who sets out on a voyage for the Golden Fleece, and to thirty Persian birds who cross mountains and seas, striving to see their God - the Simurgh, who is simultaneously each of them and at the same time represents their unity.

Release period: from 2001 to 2003.

The director of this project is Peter Jackson.

In English, the process of searching is designated by the term "quest," which in medieval chivalric romances denoted a long and heroic adventure aimed at an important goal. A striking example of such a quest is the journey of the hobbit Frodo with the One Ring to Mount Doom. However, it is worth noting that his path can be considered a quest in a slightly different sense. Unlike traditional heroes such as Sir Galahad or Hercules, who strive to find treasure, Frodo, on the contrary, seeks a way to get rid of the burden that he bears.

Year of release: 1998

Filmmakers: Joel and Ethan Coen.

We return once again to the work of the Coen brothers, who masterfully play with archetypes while simultaneously subverting familiar patterns. The protagonist, Lebowski the Dude, finds himself drawn into a conflict when villains ruin his carpet—an element that sets the atmosphere of the entire room. However, the plot quickly becomes more complex: new characters join the story, including nihilists, porn actors, contemporary artists, and private detectives. As a result, Lebowski loses not only his carpet but also his peace of mind, and is unable to understand what really happened. This adventure turns out to be not just a treasure hunt, but a real quest with no clear goal to strive for. Luckily for the Dude, there's one constant in this chaos: his love of bowling.

Year of release: 2010

The director of this work is Christopher Nolan.

"Inception" begins as a mundane quest, reminiscent of a heist film, but quickly transforms into something deeply Borgesian. Endless labyrinths of dreams, dreams within dreams, and reflections of reality appear. Borges, though not the most surrealist writer, creates his own quasi-reality that obeys even the most unusual laws. Christopher Nolan uses a similar approach, creating strange yet highly logical worlds for his characters. Unlike the audience, his protagonist, Dominic Cobb, doesn't wonder whether the top will fall or whether the world around him is reality or a dream. He simply chooses the version of the truth that is most acceptable to him.

Year of release: 2015

The director is Vasily Sigarev.

Lenka Shabadinova from Malaya Lyalya is also immersed in her own quest: she needs to find Torforezov Street in Yekaterinburg and the very kiosk where her shift will soon begin. However, with New Year's Eve approaching in Russia, this search seems far more hopeless than the adventures of Nolan's hero, Dominic Cobb. Lenka is surrounded not just by the fantasies of one person, but by a whole gallery of characters representing Russia—gamers, bards, police officers, drivers high on butyrate, drunken Snow Maidens, and even Gosha Kutsenko. Neither Chichikov nor Venechka Erofeev were able to achieve their goals, and Lenka likely won't either. Nevertheless, she is luckier than most. As Pasternak noted, "You have to distinguish defeat from victory yourself." The Street of Peat Cutters was never found, but love appeared on the horizon.

The Suicide of a God

The final part of Borges's works presents the story of divine suicide. "Atys, while in Phrygia, mutilates himself and dies; Odin sacrifices himself by spending nine nights hanging from a tree, pierced by a spear; Roman legionnaires crucify Christ."

Year of release: 1999

Directors: Andy and Larry Wachowski.

At first glance, this might seem like the simplest of plots, and its most striking embodiment is the film created by the Wachowski brothers. By mixing elements of Gnosticism with cyberpunk motifs, as well as the aesthetics of anime and Hong Kong action films—and perhaps much more—they created an almost pure myth. It was this connection to the religious sensibilities of viewers that played a significant role in the success of the entire franchise. The character portrayed by Keanu Reeves becomes the perfect messiah, ready to sacrifice himself for the sake of renewing the worn-out universe - despite all the tricks of a sophisticated computer system.

Year of release: 1999

The director of this project is David Fincher.

At the turn of the millennium, there was a certain mood in the air: David Fincher's films also dealt with themes of fighting against the system. However, in this case, the charismatic character, Tyler Durden, who has taken up residence in the protagonist's mind, proves even more threatening than the system itself. As a result, the nameless hero, played by Edward Norton, is forced to take a fateful step – shoot himself in order to overcome his inner conflict and preserve his individuality.

Release period: from 1972 to 1990.

The director of this work is Francis Ford Coppola.

In Coppola's trilogy features a peculiar lamb sacrifice. The initially innocent hero, Michael Corleone, played by Al Pacino, gradually transforms into a powerful deity among his peers. However, this path leads to him suppressing all humanity in himself and losing those dearest to him.

Year of release: 1980

Directed by: Mark Zakharov.

It's not often said that Baron Karl Munchausen, as interpreted by Mark Zakharov, Grigory Gorin, and Oleg Yankovsky, has become a truly messianic figure. He seemingly performs miracles, creates roast ducks out of thin air, and hints at his own immortality. However, the most significant miracle in a world mired in hypocrisy and self-righteousness turns out to be truth itself. For its sake, it's sometimes worth sacrificing oneself, as if firing a cannon. In the finale, the Baron climbs a cross-shaped ladder to the barrel of the cannon, but the ladder turns out to be infinitely long and leads him to heavenly heights. For a Soviet audience in 1980, this seemed clear and bold enough.

The Uniqueness of the Last of the Four Stories

All the other plots are closely interconnected, while the last one seems to stand out from them. However, this is just an illusion. Reflecting on the previous story related to the search, Borges emphasizes the following: “In the past, every endeavor invariably led to success. One hero eventually won the golden apples, another took possession of the Grail. Today, however, the search is doomed to failure. Captain Ahab encounters a whale, but it is this whale that becomes his doom; heroes like James and Kafka face only defeat.”

In such a hopeless and meaningless world, God is required to sacrifice himself. If existence requires sacrifice, then it has value and meaning. In this process, the world is reborn, and a new land rises from the depths of the sea. Thus, the divine essence is the one who is willing to give up himself for a higher purpose, transcending his own life.

This brings us back to the original narrative: "Achilles, the greatest of conquerors, realizes his inevitable fate - he will not be able to live to see the moment of triumph." The cycle is complete. "There are only four stories," Borges states at the end of his essay. "And no matter how much time we have, we will continue to tell them - in different interpretations."

Problems and Limitations of Borges's Classification

There are many works of literature and cinema that can be interpreted from different points of view. In the novel The Name of the Rose, the characters investigate murders and strive to find a valuable manuscript. This can indeed be seen as a search mission. However, at the center of the plot is the monastery's labyrinthine interior, which the heroes are trying to navigate. They are confronted by a blind librarian named Jorge, who bears a strong resemblance to Borges himself. So, perhaps this could also be understood as a siege of a fortress?

What about Star Wars, in which Luke Skywalker attacks the Death Star, seeks to find his father, is willing to sacrifice himself, and ultimately returns to his roots? There are multiple storylines at play here, aren't there? Or perhaps you're thinking of David Lynch's Mulholland Drive? What about Bong Joon-ho's "Parasite"?

The themes we've already discussed are also quite appropriate for other narratives. For example, Fight Club traces both the search and the return of its central character. Dogville, meanwhile, can be interpreted as the moral suicide of a deity—or rather, a goddess—caught in the grip of a decadent world. There are works that seem similar at first glance but actually tell very different stories. Take Martin Scorsese's Taxi Driver and Mary Harron's American Psycho, for example. The protagonists, Travis Bickle and Patrick Bateman, are both isolated individuals who gradually lose their minds in the big city. However, for the former, it's more of a struggle, a siege, against the world around them, while for the latter, it's a kind of divine suicide, driven by an ego that has grown to the size of the universe and become invisible in the abyss. As Borges notes in his lecture "The Music of Words and Translation": "Alternative and potentially contradictory interpretations of the same work can be quite equivalent."

Essay Borges's essay is titled "Four Cycles," not "Four Plots." This refers to the infinite number of variations and continuations of the same theme, which return to the original motifs and smoothly merge into one another. As if entangled in a labyrinth, they are reflected in mirrors, which is one of the author's favorite techniques.

The number "four" should not be taken literally. Borges, while playing by established rules, simultaneously defines them arbitrarily and in the moment, guided by an experimental approach and tirelessly fantasizing. This essay, included in a collection of poems, is not dogmatic; in it, the author reflects on the "siege of a fortress" and, taking up only one page, cannot help but devote an entire paragraph to the beautiful sound of medieval English lines about the fall of Troy, as well as the "primitive music of the Anglo-Saxon language." Or recall the exquisite way Yeats described the love of Leda and the swan. Therefore, it is more of a koan than a strict canon - deliberately laconic, clearly subjective, it encourages both the author and the reader to make deep associations.