2 ?b90

333
descriptive paragraphs, one which will connect Vivo, Adalberto and Martin-
cillo: "Se acordaron para dibujar y poner una inscripci6n alusiva a las se-
cretas galerias de mosaicos pompeyanos" which "iba a sobresaltar a la veci-
neria" (1,36). This results in a most embarassing event:
Una ma? iana, la puerta del flautista escandalizaba con un
cilindro y dos ruedecillas. Y al pie se lela esta enig-
rrLdtica inscripci6n egipcia: "Pon las manos en la columna
de Luxor/y su fundamento en dos ovoides. /Pon las manos
en larga vara de almendro/donde dos campanas van" (1,36).
Already, we see that these cameo parts are filled by persons with sexual,
that is, creative probelms, which will become more important in the thirtee-n-
th chapter. In this respect, I do not agree with Gimbernat de GonzAlez
when she says that "entre los participantes del viaje en 6mnibus y aquellos
del capitulo II., descubrimos que solo hay un punto de-recurrencia: los
nombres. "
13
It is quite true to say that "los nombres propios concurren en el 6mni-
bus Ilenos del sentido que las historias inmediatas anteriores les dan, a-
denids de ofrecer un falso pasado conocido, que les da una profundidad y una
riqueza como personajes, que no tienen. "
14
However, I suspect that the
main point here in common with later events is their disordered passions.
In the thirteenth chapter, Martincillo is a craftsman (a carpenter), suffers
from the absence of both wife and lover at Christmas time and seems to be
a man of the senses. Any artistic pretensions are defeated by his glutto-
ny and sexual appetite. We might take the lack of feminine presence in
his life as a sign that he is not in control of himself through being cut
off from his anima and therefore the creative power of the Unconscious.
For this reason his eating and his painting are confused: "Como habia esta-
do contorneado
el
1frustrado
esbozo de un gamo, tenia aidn en la saliva el
sabor de los colores utilizadost de tal manera que su saliva era como la
del gamo fatigado en una. venatoria ...
" (It 568-9). He is the prey of