Subject
Re: Fwd: Re: B.Boyd´s "Nabokov´s ADA" /Morio and Moore
From
Date
Body
EDNOTE. John Foster explores VN and Nietsche's Eternal Return in _Nabokov's Art
of Memory and European Modernism_.
----- Forwarded message from a-nakata@courante.plala.or.jp -----
Date: Thu, 23 Dec 2004 09:12:05 +0900
From: Akiko Nakata <a-nakata@courante.plala.or.jp>
Dear Jansy,
I do not think that a Nabokovian circle or ouroboros is something like
Nietzschean Eternal Return. As you say, VN was fascinated by the idea of a
spiral, but on the other hand, he wrote a story "The Circle" of which the
first sentence follows the last one and he made the first and last words of
*Lolita* the same. I think he challenged to create a spiral-like world
within a circle. Between the beginnings and the ends of these works
including TT, the stories of the past lost and irrecoverable are narrated.
None of them are just returning to the same spot. TT has many ambiguities or
incoherences (as well as the complex time) and they--at least some of
them--are intentionally made in order to avoid a cirlce's sterility.
I doubt all the blundering persons are jealous--some of them tend to hate
themselves and their lives like HP rather than be jealous of others.
Best,
Akiko
----- Original Message -----
From: Jansy Berndt de Souza Mello
To: Akiko Nakata
Sent: Thursday, December 23, 2004 2:28 AM
Subject: Fw: Fwd: Re: B.Boyd´s "Nabokov´s ADA" /Morio and Moore
Dear Akiko
The full circle, from the last chapter to the first, is a neat alchemical
ouroboros solution, a snake that bites its tail for transparent things. And
yet, in contrast to a nietzschean Eternal Return, Nabokov was fascinated by
the idea of a spiral that completes a turn but never reaches the same spot
in time or place, because it aspires moore... moor than a complete
coincidence ( this last point is made three times along TT: Mrs.Parson´s
message; the guy that was killed by a dead bull are but the two I remember
starspurred by the moment ).
It is moira than a perfect retour since home is nowhere like Ulysses
dreamed. Thus conscience doth make cowards of us all ( why could not Person
be a jealous person unbenknownst to his blundering self?)
Jansy
----- Original Message -----
From: Donald B. Johnson
To: NABOKV-L@LISTSERV.UCSB.EDU
Sent: Tuesday, December 21, 2004 11:50 PM
Subject: Fwd: Re: B.Boyd´s "Nabokov´s ADA" /Morio and Moore
----- Forwarded message from a-nakata@courante.plala.or.jp -----
Date: Wed, 22 Dec 2004 08:02:18 +0900
From: Akiko Nakata <a-nakata@courante.plala.or.jp>
Dear Jansy and List,
Thank you, Jansy, for raising such a grave issue that could be
comparable
to the one concerning the reality/fiction of *Lolita* II. 27 (or II.
22) to
the end.
If HP does not strangle Armande and nearly a half of the work (except
Chs.
4-19) is his or someone else's dreams, the meaning of the novella must
be
completely different. So far, I simply believe HP unintentionally but
actually kills Armande and at the end he is experiencing the pangs
necessary
to go into the world after death so that the end of the last chapter
leads
to the beginning of the first chapter. If HP should be awakening from
his
last nightmare (or someone else's dream) into the "real" world, I could
not
understand the first chapter as well as the structure of the novella. I
think TT is full of fragmental memories and dreams, about most of which
we
are not certain who remembers or dreams, but all are not dreams.
On the other hand, I have some questions still unanswered and your
interpretation would solve some of them. For example, the unreasonable
facts
about HP's imprisonment and treatment in a mental hospital about which
Mr.
R. asks in his last letter. And if all is his dreams, that parallels
"the
supposition that 'reality' might be only a 'dream'" (Ch. 24), i. e., the
mysterious chapter could be the clue to the whole TT.
And I would like to ask--
>4. While still a student, Hugh would already have been suffering from a
jealous rage, such as Napoleon´s might have been because..
did not Bonaparte´s second wife Marie Louise betray him and bear two
children from Count Neipperg? ( please correct me, Historians!)
Who was Hugh jealous about then?
Would HP suffer from a jealous rage before he met Armande? As far as we
know, his nightmares are erotic and sadistic, but could not be called
"jealous" even after he marries Armande -- of course, you could
interpret
them (as an expert!) as his suppressed raging jealousy. And in Ch. 7, I
think the spirit of Napoleon gets furious because he remembers enduring
humiliation in St. Helena. I might be too short-sighted.
If we include in the Moore discussion Brian Boyd's recently published
article "*ADA*, the Bog and the Garden," (NS #8) it would be more
complicated. Is "Moore" also connected with "peat bog," Brian? (I am
sorry
if I missed something when I read the article).
Best,
Akiko
----- Original Message -----
From: Jansy Berndt de Souza Mello
To: Vladimir Nabokov Forum
Sent: Tuesday, December 21, 2004 3:03 AM
Subject: B.Boyd´s "Nabokov´s ADA" /Morio and Moore
Dear Akiko and List,
B. Boyd writes in his introduction to "Nabokov´s Ada - The Place of
Consciousness" ( I only managed to secure a copy of it today!):
"After working out the reason for the sudden appearance of horse and
groom
(...) we would next seek to explain the names Van has given his invented
horse and groom". ( Moiro/ Moore).
"There is a simple, immediately-offered solution for the Morio-Moore
sound
play (...) your Moore is in fact an anagram of Romeo, and with this
Shakespearean hint black Morio points towards Othello, the blackamoor
Iago
calls " a Barbary horse" (...)
Van (...) leaves the young Romeo behind and charges off on a black
steed
reminiscent of Othello: "Ardis the First" is comparable in freshness and
lyric radiance of its young love only to Romeo and Juliet, while the
chapters between "Ardis the First" and "Ardis the Second" (...) are
marked
by the ever-deepening shadow of potentially violent jealousy..."
After all our conjectures about Borromeo/Moore in TT, I thought it
worth
to bring up (again?) B.Boyd´s observations about this "Moore" in Ada
as
illustrating a transition from "romantic love" to " violent jealousy"
created by VN.
Is it possible to trace a similar kind of pattern in TT?
The first mention to a Moore seems to be on Ch. 7:
" As a penultimate echo came the strange case of his struggle with a
bedside table. This was when Hugh attended college and lodged with a
fellow
student, Jack Moore ( no relation), in two rooms of the newly built
Snyder
Hall" (...)
when he " was executing a furious war dance all by itself, as he had
seen a similar article do at a séance when asked if the visiting spirit
(
Napoleon) missed the springtime sunsets of St. Helena".
1. Jack Moore has "no relation" to any of the various Swiss Jacks, to
sculptor Henry Moore, to Julia Moore.
2. Jack rescues Hugh from his "penultimate" instance ( or more
precisely,
" penultimate echo") of somnambulism.
3.The "ultimate" episode would be the one in which Hugh strangled
Armande
while still dreaming that he was rescuing her from dropping from a NY
balcony while Hugh´s veggie nightmares and his dream with air hostess
Armande ( that anexed the external fire as part of the dream), before
he
could reach the " mysterious mental maneuver to pass from one state of
being
to another", represented not another somnambulic attack in a "person and
the
shadows of related matter" on the brink of a "new being" but maintained
the
transparent quality of dream and awakening.
4. While still a student, Hugh would already have been suffering from
a
jealous rage, such as Napoleon´s might have been because..
did not Bonaparte´s second wife Marie Louise betray him and bear two
children from Count Neipperg? ( please correct me, Historians!)
Who was Hugh jealous about then?
5. If the circumstances of Hugh´s death were taken as a kind of
somnambulic attack , then this would mean that he could not have
strangled
Armande in the first place - as all the elements in the novel ( plus our
good-sense ) indicate. And yet, the mixture between reality and dream
( for
Hugh and in the eyes of the reader as well) seem to be present in all
these
episodes.
Sorry to return to the same issues we´ve been discussing but I still
feel
in the clasp of someone else´s dream.
Jansy
----- End forwarded message -----
----------------------------------------------------------------------------
Dear Jansy and List,
Thank you, Jansy, for raising such a grave issue that could be
comparable to the one concerning the reality/fiction of *Lolita* II. 27 (or
II. 22) to the end.
If HP does not strangle Armande and nearly a half of the work (except
Chs. 4-19) is his or someone else's dreams, the meaning of the novella must
be completely different. So far, I simply believe HP unintentionally but
actually kills Armande and at the end he is experiencing the pangs necessary
to go into the world after death so that the end of the last chapter leads
to the beginning of the first chapter. If HP should be awakening from his
last nightmare (or someone else's dream) into the "real" world, I could not
understand the first chapter as well as the structure of the novella. I
think TT is full of fragmental memories and dreams, about most of which we
are not certain who remembers or dreams, but all are not dreams.
On the other hand, I have some questions still unanswered and your
interpretation would solve some of them. For example, the unreasonable facts
about HP's imprisonment and treatment in a mental hospital about which Mr.
R. asks in his last letter. And if all is his dreams, that parallels "the
supposition that 'reality' might be only a 'dream'" (Ch. 24), i. e., the
mysterious chapter could be the clue to the whole TT.
And I would like to ask--
>4. While still a student, Hugh would already have been suffering from a
jealous rage, such as Napoleon´s might have been because..
did not Bonaparte´s second wife Marie Louise betray him and bear two
children from Count Neipperg? ( please correct me, Historians!)
Who was Hugh jealous about then?
Would HP suffer from a jealous rage before he met Armande? As far as we
know, his nightmares are erotic and sadistic, but could not be called
"jealous" even after he marries Armande -- of course, you could interpret
them (as an expert!) as his suppressed raging jealousy. And in Ch. 7, I
think the spirit of Napoleon gets furious because he remembers enduring
humiliation in St. Helena. I might be too short-sighted.
If we include in the Moore discussion Brian Boyd's recently published
article "*ADA*, the Bog and the Garden," (NS #8) it would be more
complicated. Is "Moore" also connected with "peat bog," Brian? (I am sorry
if I missed something when I read the article).
Best,
Akiko
----- Original Message -----
From: Jansy Berndt de Souza Mello
To: Vladimir Nabokov Forum
Sent: Tuesday, December 21, 2004 3:03 AM
Subject: B.Boyd´s "Nabokov´s ADA" /Morio and Moore
Dear Akiko and List,
B. Boyd writes in his introduction to "Nabokov´s Ada - The Place of
Consciousness" ( I only managed to secure a copy of it today!):
"After working out the reason for the sudden appearance of horse and
groom (...) we would next seek to explain the names Van has given his
invented horse and groom". ( Moiro/ Moore).
"There is a simple, immediately-offered solution for the Morio-Moore
sound play (...) your Moore is in fact an anagram of Romeo, and with this
Shakespearean hint black Morio points towards Othello, the blackamoor Iago
calls " a Barbary horse" (...)
Van (...) leaves the young Romeo behind and charges off on a black
steed reminiscent of Othello: "Ardis the First" is comparable in freshness
and lyric radiance of its young love only to Romeo and Juliet, while the
chapters between "Ardis the First" and "Ardis the Second" (...) are marked
by the ever-deepening shadow of potentially violent jealousy..."
After all our conjectures about Borromeo/Moore in TT, I thought it
worth to bring up (again?) B.Boyd´s observations about this "Moore" in Ada
as illustrating a transition from "romantic love" to " violent jealousy"
created by VN.
Is it possible to trace a similar kind of pattern in TT?
The first mention to a Moore seems to be on Ch. 7:
" As a penultimate echo came the strange case of his struggle with a
bedside table. This was when Hugh attended college and lodged with a fellow
student, Jack Moore ( no relation), in two rooms of the newly built Snyder
Hall" (...)
when he " was executing a furious war dance all by itself, as he had
seen a similar article do at a séance when asked if the visiting spirit (
Napoleon) missed the springtime sunsets of St. Helena".
1. Jack Moore has "no relation" to any of the various Swiss Jacks, to
sculptor Henry Moore, to Julia Moore.
2. Jack rescues Hugh from his "penultimate" instance ( or more
precisely, " penultimate echo") of somnambulism.
3.The "ultimate" episode would be the one in which Hugh strangled
Armande while still dreaming that he was rescuing her from dropping from a
NY balcony while Hugh´s veggie nightmares and his dream with air hostess
Armande ( that anexed the external fire as part of the dream), before he
could reach the " mysterious mental maneuver to pass from one state of being
to another", represented not another somnambulic attack in a "person and the
shadows of related matter" on the brink of a "new being" but maintained the
transparent quality of dream and awakening.
4. While still a student, Hugh would already have been suffering from
a jealous rage, such as Napoleon´s might have been because..
did not Bonaparte´s second wife Marie Louise betray him and bear two c
hildren from Count Neipperg? ( please correct me, Historians!)
Who was Hugh jealous about then?
5. If the circumstances of Hugh´s death were taken as a kind of
somnambulic attack , then this would mean that he could not have strangled
Armande in the first place - as all the elements in the novel ( plus our
good-sense ) indicate. And yet, the mixture between reality and dream ( for
Hugh and in the eyes of the reader as well) seem to be present in all these
episodes.
Sorry to return to the same issues we´ve been discussing but I still
feel in the clasp of someone else´s dream.
Jansy
----- End forwarded message -----
of Memory and European Modernism_.
----- Forwarded message from a-nakata@courante.plala.or.jp -----
Date: Thu, 23 Dec 2004 09:12:05 +0900
From: Akiko Nakata <a-nakata@courante.plala.or.jp>
Dear Jansy,
I do not think that a Nabokovian circle or ouroboros is something like
Nietzschean Eternal Return. As you say, VN was fascinated by the idea of a
spiral, but on the other hand, he wrote a story "The Circle" of which the
first sentence follows the last one and he made the first and last words of
*Lolita* the same. I think he challenged to create a spiral-like world
within a circle. Between the beginnings and the ends of these works
including TT, the stories of the past lost and irrecoverable are narrated.
None of them are just returning to the same spot. TT has many ambiguities or
incoherences (as well as the complex time) and they--at least some of
them--are intentionally made in order to avoid a cirlce's sterility.
I doubt all the blundering persons are jealous--some of them tend to hate
themselves and their lives like HP rather than be jealous of others.
Best,
Akiko
----- Original Message -----
From: Jansy Berndt de Souza Mello
To: Akiko Nakata
Sent: Thursday, December 23, 2004 2:28 AM
Subject: Fw: Fwd: Re: B.Boyd´s "Nabokov´s ADA" /Morio and Moore
Dear Akiko
The full circle, from the last chapter to the first, is a neat alchemical
ouroboros solution, a snake that bites its tail for transparent things. And
yet, in contrast to a nietzschean Eternal Return, Nabokov was fascinated by
the idea of a spiral that completes a turn but never reaches the same spot
in time or place, because it aspires moore... moor than a complete
coincidence ( this last point is made three times along TT: Mrs.Parson´s
message; the guy that was killed by a dead bull are but the two I remember
starspurred by the moment ).
It is moira than a perfect retour since home is nowhere like Ulysses
dreamed. Thus conscience doth make cowards of us all ( why could not Person
be a jealous person unbenknownst to his blundering self?)
Jansy
----- Original Message -----
From: Donald B. Johnson
To: NABOKV-L@LISTSERV.UCSB.EDU
Sent: Tuesday, December 21, 2004 11:50 PM
Subject: Fwd: Re: B.Boyd´s "Nabokov´s ADA" /Morio and Moore
----- Forwarded message from a-nakata@courante.plala.or.jp -----
Date: Wed, 22 Dec 2004 08:02:18 +0900
From: Akiko Nakata <a-nakata@courante.plala.or.jp>
Dear Jansy and List,
Thank you, Jansy, for raising such a grave issue that could be
comparable
to the one concerning the reality/fiction of *Lolita* II. 27 (or II.
22) to
the end.
If HP does not strangle Armande and nearly a half of the work (except
Chs.
4-19) is his or someone else's dreams, the meaning of the novella must
be
completely different. So far, I simply believe HP unintentionally but
actually kills Armande and at the end he is experiencing the pangs
necessary
to go into the world after death so that the end of the last chapter
leads
to the beginning of the first chapter. If HP should be awakening from
his
last nightmare (or someone else's dream) into the "real" world, I could
not
understand the first chapter as well as the structure of the novella. I
think TT is full of fragmental memories and dreams, about most of which
we
are not certain who remembers or dreams, but all are not dreams.
On the other hand, I have some questions still unanswered and your
interpretation would solve some of them. For example, the unreasonable
facts
about HP's imprisonment and treatment in a mental hospital about which
Mr.
R. asks in his last letter. And if all is his dreams, that parallels
"the
supposition that 'reality' might be only a 'dream'" (Ch. 24), i. e., the
mysterious chapter could be the clue to the whole TT.
And I would like to ask--
>4. While still a student, Hugh would already have been suffering from a
jealous rage, such as Napoleon´s might have been because..
did not Bonaparte´s second wife Marie Louise betray him and bear two
children from Count Neipperg? ( please correct me, Historians!)
Who was Hugh jealous about then?
Would HP suffer from a jealous rage before he met Armande? As far as we
know, his nightmares are erotic and sadistic, but could not be called
"jealous" even after he marries Armande -- of course, you could
interpret
them (as an expert!) as his suppressed raging jealousy. And in Ch. 7, I
think the spirit of Napoleon gets furious because he remembers enduring
humiliation in St. Helena. I might be too short-sighted.
If we include in the Moore discussion Brian Boyd's recently published
article "*ADA*, the Bog and the Garden," (NS #8) it would be more
complicated. Is "Moore" also connected with "peat bog," Brian? (I am
sorry
if I missed something when I read the article).
Best,
Akiko
----- Original Message -----
From: Jansy Berndt de Souza Mello
To: Vladimir Nabokov Forum
Sent: Tuesday, December 21, 2004 3:03 AM
Subject: B.Boyd´s "Nabokov´s ADA" /Morio and Moore
Dear Akiko and List,
B. Boyd writes in his introduction to "Nabokov´s Ada - The Place of
Consciousness" ( I only managed to secure a copy of it today!):
"After working out the reason for the sudden appearance of horse and
groom
(...) we would next seek to explain the names Van has given his invented
horse and groom". ( Moiro/ Moore).
"There is a simple, immediately-offered solution for the Morio-Moore
sound
play (...) your Moore is in fact an anagram of Romeo, and with this
Shakespearean hint black Morio points towards Othello, the blackamoor
Iago
calls " a Barbary horse" (...)
Van (...) leaves the young Romeo behind and charges off on a black
steed
reminiscent of Othello: "Ardis the First" is comparable in freshness and
lyric radiance of its young love only to Romeo and Juliet, while the
chapters between "Ardis the First" and "Ardis the Second" (...) are
marked
by the ever-deepening shadow of potentially violent jealousy..."
After all our conjectures about Borromeo/Moore in TT, I thought it
worth
to bring up (again?) B.Boyd´s observations about this "Moore" in Ada
as
illustrating a transition from "romantic love" to " violent jealousy"
created by VN.
Is it possible to trace a similar kind of pattern in TT?
The first mention to a Moore seems to be on Ch. 7:
" As a penultimate echo came the strange case of his struggle with a
bedside table. This was when Hugh attended college and lodged with a
fellow
student, Jack Moore ( no relation), in two rooms of the newly built
Snyder
Hall" (...)
when he " was executing a furious war dance all by itself, as he had
seen a similar article do at a séance when asked if the visiting spirit
(
Napoleon) missed the springtime sunsets of St. Helena".
1. Jack Moore has "no relation" to any of the various Swiss Jacks, to
sculptor Henry Moore, to Julia Moore.
2. Jack rescues Hugh from his "penultimate" instance ( or more
precisely,
" penultimate echo") of somnambulism.
3.The "ultimate" episode would be the one in which Hugh strangled
Armande
while still dreaming that he was rescuing her from dropping from a NY
balcony while Hugh´s veggie nightmares and his dream with air hostess
Armande ( that anexed the external fire as part of the dream), before
he
could reach the " mysterious mental maneuver to pass from one state of
being
to another", represented not another somnambulic attack in a "person and
the
shadows of related matter" on the brink of a "new being" but maintained
the
transparent quality of dream and awakening.
4. While still a student, Hugh would already have been suffering from
a
jealous rage, such as Napoleon´s might have been because..
did not Bonaparte´s second wife Marie Louise betray him and bear two
children from Count Neipperg? ( please correct me, Historians!)
Who was Hugh jealous about then?
5. If the circumstances of Hugh´s death were taken as a kind of
somnambulic attack , then this would mean that he could not have
strangled
Armande in the first place - as all the elements in the novel ( plus our
good-sense ) indicate. And yet, the mixture between reality and dream
( for
Hugh and in the eyes of the reader as well) seem to be present in all
these
episodes.
Sorry to return to the same issues we´ve been discussing but I still
feel
in the clasp of someone else´s dream.
Jansy
----- End forwarded message -----
----------------------------------------------------------------------------
Dear Jansy and List,
Thank you, Jansy, for raising such a grave issue that could be
comparable to the one concerning the reality/fiction of *Lolita* II. 27 (or
II. 22) to the end.
If HP does not strangle Armande and nearly a half of the work (except
Chs. 4-19) is his or someone else's dreams, the meaning of the novella must
be completely different. So far, I simply believe HP unintentionally but
actually kills Armande and at the end he is experiencing the pangs necessary
to go into the world after death so that the end of the last chapter leads
to the beginning of the first chapter. If HP should be awakening from his
last nightmare (or someone else's dream) into the "real" world, I could not
understand the first chapter as well as the structure of the novella. I
think TT is full of fragmental memories and dreams, about most of which we
are not certain who remembers or dreams, but all are not dreams.
On the other hand, I have some questions still unanswered and your
interpretation would solve some of them. For example, the unreasonable facts
about HP's imprisonment and treatment in a mental hospital about which Mr.
R. asks in his last letter. And if all is his dreams, that parallels "the
supposition that 'reality' might be only a 'dream'" (Ch. 24), i. e., the
mysterious chapter could be the clue to the whole TT.
And I would like to ask--
>4. While still a student, Hugh would already have been suffering from a
jealous rage, such as Napoleon´s might have been because..
did not Bonaparte´s second wife Marie Louise betray him and bear two
children from Count Neipperg? ( please correct me, Historians!)
Who was Hugh jealous about then?
Would HP suffer from a jealous rage before he met Armande? As far as we
know, his nightmares are erotic and sadistic, but could not be called
"jealous" even after he marries Armande -- of course, you could interpret
them (as an expert!) as his suppressed raging jealousy. And in Ch. 7, I
think the spirit of Napoleon gets furious because he remembers enduring
humiliation in St. Helena. I might be too short-sighted.
If we include in the Moore discussion Brian Boyd's recently published
article "*ADA*, the Bog and the Garden," (NS #8) it would be more
complicated. Is "Moore" also connected with "peat bog," Brian? (I am sorry
if I missed something when I read the article).
Best,
Akiko
----- Original Message -----
From: Jansy Berndt de Souza Mello
To: Vladimir Nabokov Forum
Sent: Tuesday, December 21, 2004 3:03 AM
Subject: B.Boyd´s "Nabokov´s ADA" /Morio and Moore
Dear Akiko and List,
B. Boyd writes in his introduction to "Nabokov´s Ada - The Place of
Consciousness" ( I only managed to secure a copy of it today!):
"After working out the reason for the sudden appearance of horse and
groom (...) we would next seek to explain the names Van has given his
invented horse and groom". ( Moiro/ Moore).
"There is a simple, immediately-offered solution for the Morio-Moore
sound play (...) your Moore is in fact an anagram of Romeo, and with this
Shakespearean hint black Morio points towards Othello, the blackamoor Iago
calls " a Barbary horse" (...)
Van (...) leaves the young Romeo behind and charges off on a black
steed reminiscent of Othello: "Ardis the First" is comparable in freshness
and lyric radiance of its young love only to Romeo and Juliet, while the
chapters between "Ardis the First" and "Ardis the Second" (...) are marked
by the ever-deepening shadow of potentially violent jealousy..."
After all our conjectures about Borromeo/Moore in TT, I thought it
worth to bring up (again?) B.Boyd´s observations about this "Moore" in Ada
as illustrating a transition from "romantic love" to " violent jealousy"
created by VN.
Is it possible to trace a similar kind of pattern in TT?
The first mention to a Moore seems to be on Ch. 7:
" As a penultimate echo came the strange case of his struggle with a
bedside table. This was when Hugh attended college and lodged with a fellow
student, Jack Moore ( no relation), in two rooms of the newly built Snyder
Hall" (...)
when he " was executing a furious war dance all by itself, as he had
seen a similar article do at a séance when asked if the visiting spirit (
Napoleon) missed the springtime sunsets of St. Helena".
1. Jack Moore has "no relation" to any of the various Swiss Jacks, to
sculptor Henry Moore, to Julia Moore.
2. Jack rescues Hugh from his "penultimate" instance ( or more
precisely, " penultimate echo") of somnambulism.
3.The "ultimate" episode would be the one in which Hugh strangled
Armande while still dreaming that he was rescuing her from dropping from a
NY balcony while Hugh´s veggie nightmares and his dream with air hostess
Armande ( that anexed the external fire as part of the dream), before he
could reach the " mysterious mental maneuver to pass from one state of being
to another", represented not another somnambulic attack in a "person and the
shadows of related matter" on the brink of a "new being" but maintained the
transparent quality of dream and awakening.
4. While still a student, Hugh would already have been suffering from
a jealous rage, such as Napoleon´s might have been because..
did not Bonaparte´s second wife Marie Louise betray him and bear two c
hildren from Count Neipperg? ( please correct me, Historians!)
Who was Hugh jealous about then?
5. If the circumstances of Hugh´s death were taken as a kind of
somnambulic attack , then this would mean that he could not have strangled
Armande in the first place - as all the elements in the novel ( plus our
good-sense ) indicate. And yet, the mixture between reality and dream ( for
Hugh and in the eyes of the reader as well) seem to be present in all these
episodes.
Sorry to return to the same issues we´ve been discussing but I still
feel in the clasp of someone else´s dream.
Jansy
----- End forwarded message -----