148 LÁSZLÓ K. GÉFINup the bankruptcy of the "Christian Hungarian military theology" andChristianity in toto as fiction inseparable from language, its "truth" indeed a"mobile army of metaphors and metonymies" whose fictional nature hasbeen forgotten, as Nietzsche had said of truth in general. The ironist,mission accomplished, would press matters no further but return to hislanguage games, knowing that... Knowing what? "I should have known,"says the narrator after weapons and warriors had been properly blessed,"that the Virgin Mother / especially favors Hungarian heavy guns, while theHoly Infant / primarily gets pleasure from the blast of grenades" (lines28-30). This would, of course, be an instance of obvious, heavy, "regular"irony, the trope of meaning the opposite of what is said, made absurd by theexcess of satire. I should have known but I didn't, says the eiron; I was anon-knower, an agnostic even then; I saw through my mother's sentimentalizing(nay, near-sexual excitement) over the padre and the padre's phonybenediction as copy of a tribal ritual, a par excellence instance of tribalismitself. What I did know was that poor ignorant men were about to be led tothe slaughter.But what happens if we follow a literal reading of the sentence? As Paul deMan had tirelessly demonstrated, an identical syntactal pattern can engendertwo meanings that are mutually exclusive. The literal meaning of "I shouldhave known" implies not a painful triumph of the kind of agnosis thatunmasks illusions, but the rueful recognition of a loss - the loss of being athome within the warm and secure fold of the tribe and of God. His agnosis,whether he knew it at the time or not, was contained by the gnosis of theillusory nature of the triad, which in that very instant made him into anoutsider and an ironist, which comes to the same thing. He became for everexiled from that realm where sign and referent, emblem and world composedan indissoluble union. The self that "knew" the Virgin's partiality to the gunsof the Hungarians would be a "naive" self only from the vantage point of theself that "did not know." The irony of ironies consists precisely in a knowledgeof the split consciousness of the eiron, the second self coming to a gnosis (inhindsight) of what it "should have known" if it had not always already beensplit from that first (naive, historical) self so that it could have remained in thesafety of a whole and "rounded" world, instead of inhabiting the arbitraryuniverse of language, meandering, like Lukács's novelistic hero, in a state oftranscendental homelessness.The literal meaning of "I should have known" is inescapably tinged withnostalgia, and opens the way to the legitimating ground of satire. It canperhaps now be seen that the satiric parabases emanate from the second selfas if it were in the state of the first, hoping to arrest the unending to-and-fro
THE AGON OF IRONY AND SATIRE 149movement of ironic play. (Despite appearances, the agon of irony and satire isnot a replay of the conflict of the "unhappy consciousness"; for one, languageplays no role in Hegel's scheme; for another, there is no Geist in sight tounderwrite the struggle.) The appeal of the de-ironized voice is primarily toJesus, "standing," as it were, untouched behind the havoc of Christiancenturies, whose "presence" calls forth the satirist's ire:A Te szentségeddela Te uraságoddala Te testetlen trónoddalnincs nekem bánatom,nincsen lázongásom.Csak a rikoltozóhőkölő pózolófüstölőlengetődíszdicsőítőkkel, satb.[With your holinesswith your dominationwith your ethereal throneI have no quarrelI have no disputeOnly with the shriekingclamoring posturingcenser-wieldingglory-glorifiers, etc.]The emblems of illusion, the armies of mendacious metaphors wielded byChristians appear to cover up the "real" Jesus, making the road to hisunsullied presence near impenetrable. But he is "really" there; and if we ask,just exactly where there is, the narrator provides unambiguous answer. Jesusis to be known from the "deepest, most secret core of our heart" ("szívünklegtitkosabb zugából" [20]). Are we back with Pascal, and the heart's reasonswhich reason knows nothing about? Possibly; although the narrator alludesmore often to the behavior and psychology of the historical Jesus rather thanto his "ethereal throne," and also to those who resemble Jesus in their activelife as distinct from the glorifiers and hypocrites. In the Gloria, after CumSancto Spiritu in gloria Dei Patris, Amen, comes this series of rapid juxtapositions:-Sz. Sz. atya pofoz, hajat húzdicsőség-térdeltet-Jézus nem pofozottőtütötték-nem térdeltetett-tcrdelt-mégis,az Atyaúristen dicsőségében-Szént Ferenc nem húztaa gyermekek haját-az állatok is kezére simultak [24][-Father Sz. Sz. slaps face, pulls hairmakesone kneel for glory-Jesus slapped no onethey beat him-made no one kneel-he knelt—still,in the glory of God the Father-St. Francis didn't pullchildren's hair-his hand tamed even animals].The behavior of Jesus (and St. Francis) is thus an example set for humansto imitate. One should begin by not beating up on children; but since the
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FROM CAIN TO NAHUM 37which, as Csap
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FROM CAIN TO NAHUM 41who sees what
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68 SAMUEL J. WILSONnorth-eastern Zi
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- Page 118 and 119: 116 KEVIN E. KELLYfilms Lugosi made
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