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178<br />

"El teleosteo, reino de hueso, con su caballo de mar,, trueca los bronquios<br />

en branquias, y Ileva el aquejado de athma (ahogo, en s6nscrito), a que<br />

le penetre una cascada por la boca<br />

...<br />

" (1,238). This may present a<br />

parallel with what Alberto is doing - providing Cemi with the poetic in-<br />

spiration which will eventually lead to control and balance in the ritmo<br />

hesicAstico of the final chapter. The phrases which immediately follow<br />

seem to evoke Alberto's fate once his benevolent influence has had its<br />

effect on Cemi: "Pero al final, las 16grimas de oro aparecen en la cAma-<br />

ra mortuoria, donde el Chucho, muestra su morado, con eclipses azules y<br />

su cola erotigante como la de un gato" (1.238) and yet: "Glanis hechi-<br />

cero igual a Glanis, pez astuto, le enseTf6 no solo a no picar el anzuelo,<br />

sino a comerse el gusanillo carnada" (1,240). Taking the bait without<br />

the hook, as well as a sexual reference, could refer to a use of the<br />

creativity of eros which-does not lead to death,, i. e. "el eros de la<br />

lejania" as a means to poetic expression. By learning from Alberto's<br />

mistakes and his use of rich language, Cemi may take the bait without<br />

the hook. The "pez fAlico" is linked by the imagery to primeval chaos<br />

and the "lechuza de mar, " the "sea owl" or "whore".. takes its place<br />

bearing "los ceros de la muerte" (Ip 240) - in other words this sort of<br />

sexuality leads to spiritual death. It is the path followed by Fibo<br />

and all who are obsessed with sexual ecstasy. The final exhortation to<br />

action could apply to Demetrio and Cemi equally well; "Tu muela de can-<br />

grejo eq un molino para el trigo" (1.240). suggesting assimilations and<br />

transformations. The signature rex puer suggests a young king, and as<br />

Alberto is expressing himself in creative, evocative language, he may<br />

at this point have some pretentions to the title. We recall here the<br />

interest of Lezama in Lao-tse who is the "viejo-sabio-niffo" (IIp 890).<br />

However whimsical Alberto's royal title, it echoes the many instances in<br />

which royal personages are linked with family members, in order to

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