2 ?b90

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simultaneously accepted as its spokeman, the poet of the Unconscious. Yet
we feel that CemPs hour has still not arrived; we do not know quite what
his prize may be, only that he has the means to win it now that he has free
access to his intuitive nature, his female anima, which has so far been
bound up exclusively with the person of Rialta. Neumann tells us that
"the hero's rescue of the captive corresponds to the discovery of a psychic
world C ...
I the world of Eros, embracing everything that man has ever done
f or woman ....
The world of art, of epic deeds, poesy, and song-... "
6
Cemi will not enter this world until Oppiano Licario lies on his funeral
couch and the twelfth chapter is an attempt to explain in a finely structu-
red allegory the reasons for the conjunction of these two facts.
None of the characters of this chapter (Atrio Flaminio, Juan Longo,
the wanderer, the child, the grandmother) has made a previous appearance
in the novel. Nevertheless, there seems to be something familiar about
them. Mendell seems to have deciphered the connections:
Este capitulo es una brillante sin6psis de los temas centrales
de la novela, una ficci6n que se refiere a otra fic-
ci6n. La historia de Atrio Flaminio es un replanteamiento
de la situaci6n crucial en la vida de Ceml: la muerte tem-
prana g injusta del padre, la nieez como tiempo de aprendizaje
- el niffo y la jarra danesa - es tambign la historia
de Ceml en los primeros capitulos de la novela r-... 3 la
historia del paseante sugiere un paralelo no solo con Ceml
sino con Lezama Lima, el 7 adulto que en Paradiso rinde tributo
a su propia nin-ez.
Lezama has conveyed his ideas in two main ways in the novel so far: firstly
by expanding his relatives and parents into archetypes; secondly by compres-
sing abstract concepts into human form, such as Fronesis and Oppiano Licario.
Both methods have produced characters of great richness whose movements in
relation to one another have allowed Lezama to weave a dense tapestry of
personified ideas around the semi-autobiographical Cemi. Here he creates
an allegory within the allegory of Cemi's spiritual journey, in an effort
to provide a parallel text for his creation. Lezama's creative reaction