plane of nothingness

From the foot of the Great Khan’s throne a majolica pavement extended. Marco Polo, mute informant, spread out on it the samples of his wares he had brought back from his journeys to the end of the empire: a helmet, a seashell, a coconut, a fan. Arranging the objects in a certain order on the black and white tiles, and occasionally shifting them with studied moves, the ambassador tried to depict form the monarch’s eyes the vicissitudes of his travels, the conditions of the empire, the prerogatives of the distant provincial seats.

Kublai was a keen chess player; following Marco’s movements, he observed that certain pieces implied or excluded the vicinity of other pieces and were shifted along certain lines. Ignoring the objects’ variety of form, he could grasp the system of arranging one with respect to the others on the majolica floor. he thought: “if each city is like a game of chess, the day when I have learned the rules, I shall finally possess my empire, even if I shall never success in knowing all the cities it contains.”

Actually, it was useless for Marco’s speeches to employ all this bric-a-brac: a chessboard would have sufficed, with its specific pieces. To each piece, in turn, they could give an appropriate meaning: a knight could stand for a real horseman, or for a procession of coaches, an army on the march, an equestrian monument: a queen could be a lady looking down from her balcony, a fountain, a church with a pointed dome, a quince tree.

Returning from his last missions, Marco Polo found the Khan awaiting him, seated at a chessboard. With a gesture he invited the Venetian to sit opposite him and describe, with the help only of the chessmen, the cities he had visited. Marco did no lose heart. The Great Khan’s chessmen were huge pieces of polished ivory: arranging on the board looming rooks and sulky knights, assembling swarms of pawns, drawing straight or oblique avenues like a queen’s progress, marco recreated the perspectives and the space of black and white cities on moonlit nights.

Contemplating these essential landscapes, Kublai reflected on the invisible order that sustains cities, on the rules that decrees how they rise, take shape and prosper, adapting themselves to the seasons, and then how they sadden and fall in ruins. At times he thought he was on the verge of discovering a coherent, harmonious system underlying the infinite deformities and discords, but no model could stand up to the comparison with the games of chess. Perhaps, instead of racking one’s brain to suggest with the ivory pieces’ scant help vision which were anyway destined to oblivion, it would suffice to play a game according to the rule, and to consider each successive state of the board as one of the countless forms that the system of forms assembles and destroys.

Now Kublai Khan no longer had to send Marco Polo on distant expeditions; he helps him playing endless games of chess. Knowledge of the empire was hidden in the pattern drawn by the angular shifts of the knight, but the diagonal passages opened by the bishop’s incursion, by the lumbering, cautious tread of the king and the humble pawn, by the inexorable ups and downs of every game.

The Great Khan tried to concentrate on the game: but now it was the game’s purpose that eluded him. Each game ends in a gain or a loss: but of what? What were the true stakes? At checkmate, beneath the foot of the king, knocked aside by the winner’s hand, a black or a white square remains. By disembodying his conquests to reduce them to the essential, Kublai had arrived at the extreme operation: the definitive conquest, of which the empire’s multiform treasures were only illusory envelopes. It was reduced to a square of planed wood: nothingness.

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One thought on “plane of nothingness

  1. I’m digging these Calvino excerpts, especially since I’ve been reading about Genghis and the Mongols generally (and of course consulting the treatise on nomadology).

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