Clip: From an Essay in Borges' "Labyrinths"

The inventions of philosophy are no less fantastic than those of art: Josiah Royce, in the first volume of his work The World and the Individual (1899), has formulated the following: “Let us imagine that a portion of the soil of England has been levelled off perfectly and that on it a cartographer traces a map of England. The job is perfect; there is no detail of the soil of England, no matter how minute, that is not registered on the map; everything has there its correspondence. This map, in such a case, should contain a map of the map, which should contain a map of the map of the map, and so on to infinity.” Why does it disturb us that the map be included in the map and the thousand and one nights in the book of the Thousand and One Nights? Why does it disturb us that Don Quixote be a reader of the Quixote and Hamlet a spectator of Hamlet? I believe I have found the reason: these inversions suggest that if the characters of a fictional work can be readers or spectators, we, its readers or spectators, can be fictitious. In 1833, Carlyle observed that the history of the universe is an infinite sacred book that all men write and read and try to understand, and in which they are also written.