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355<br />

represent "la naturaleza perdida (la casa iliminada); la naturaleza caida<br />

(el tiovivo), y la sobrenaturaleza (la casa del bosque), que es el claro-<br />

oscuro o la uni6n de los contrarios. "<br />

40'<br />

This view matches the concept of<br />

tao lost and regained which I have previously uncovered; the final pages<br />

enact the essential meeting of the twelfth chapter.<br />

41<br />

Aided by the light<br />

from the first house, Cemi is not misled by the musiquilla, the tunes of<br />

the fairground which seem to be innocuous at first. He senses the sinister<br />

nature of the old care-taker who recalls a similar symbol of rampant sex-<br />

uality met by Alberto (1,333 6); Cemf feels no desire to remain nearby,<br />

despite the difficulty of withdrawing: "Cada vez que daba un paso le parecia<br />

que tenia que extraer los pies de una tembladera" (1,637-8). It is his<br />

inner voice of wisdom which saves Cemi from the merry-go-round of mediocri -<br />

ty, for although the wood of adolescence is confusing, natural f orces are<br />

at work and "sinti6 como, un llamado, como, si a1guien hubiese comenzado a<br />

cantar ....<br />

Era un ruido inaudible, la p6rabola de una pistola de agua<br />

(1,638). Reassured by this voice, Cemi is "obligado a mirar hacia atrAs"<br />

(1,638), but now childhood pleasures become nightmares: the caretaker re-<br />

sembles a long-nosed fiend, rather like some representations of the negative<br />

Earth Mother ("Cemi pudo percibir en aquel rostro una espinilla negra, a la<br />

que la prolongaci6n de la blancura daba como el tamafýo de una lengua que res-<br />

balara a lo largo de la nariz"; 1,638). He also has "el aspecto del ti-<br />

monel de una mAquina infernal" (1,638). This is Cemi's moment of realiza-<br />

tion that childhood must be forsaken for the sake of true creativity.<br />

Nature, sexuality, both are transformed into supernature in the next<br />

stage,<br />

'as they were in Cemi's meditations on poetry and in chapters XII and<br />

XIII. The "Ilave de excesiva dimensiones, como, para abrir el port6n de un<br />

castillo" (1,639) emphasizes the effort and perhaps greatness of spirit re-<br />

quired to open the door to poetry. I feel that the symbolism of the Great<br />

Mother, of the intuitive, feminine Unconscious is still at work when we

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