EXPLOITS 6 OPINIONS OF

D 0 C T 0 R FA U S T R 0 L L, PAT A P H Y S I CIA N ( I" I (
EXPLOITS & OPINIONS
OF DOCTOR FAUSTROLL,
PAT APHYSICIAN
A NEO-SCIENTIFIC NOVEL
BY ALFRED JARRY
TRANSLATED & ANNOTATED BY
SIMON WATSON TAYLOR
INTRODUCTION BY ROGER SHATTUCK
E
EXACT CHANGE
BOSTON
1996
Translation and notes ®1965 Simon Watson Taylor
Introduction :1965 Roger Shattuck
Originally published in Selected Works of Alfed}ar
This edition ')1996 Exact Change
Published by arrangement with Grove Press, Inc.
All Rights Reserved
ISBN 1-878972-07-3
Cover photograph: The Lonely Metropolitan, by Herbert Bayer, 1932
Reproduced by permission of the MIT Press
Exact Change books are edited by Damon Krukowski
and designed by Naomi Yang
Exact Change
P.O. Box 1917
Boston, MA 02205
Printed on acid-free recycled paper
CONTENTS
lntoduton lr Roge Sbttk. . . . . vii
BOOK ONE: PROCEEDINGS
I Summon pursuant to aticle 81 9.. . . . 5
2 Concering the habits and bearing of Doctor Faustroll . . . • . 7
3 Service of Writ. . ... 9
4 Concerng the equivalent books of Doctor Faustroll . . . . . 10
' Notice of warrant enabling immediate sale . . . . . 13
6 Concerng te Doctor's boat, which is a sieve . . . . . 1 4
7 Concerning the chosen few . . . . . 17
BOOK TWO: ELEMENTS OF PATAPHYSICS
8 Defniton. . . . . 21
1 Faustroll smaller than Faustroll . . .. . 24
I 0 Concerning the dogfced baboon Bosse-de-Nage, who kew no
human words but "ha ha" . . . . . 26
BOOK THREE: FROM PARIS TO PARIS BY SEA
OR THE BELGIAN FAMILY ROBINSON
II Concerning the embarkation in the ark . . . . . 30
IZ Concerning the Squitty Sea, the olfactory lighthouse, and the isle
Ill Concernig the isle of Her, the Cyclops, and the great swan
of Cack, where we drank not . . . . . 32
It Concernng the land of Lace . . . . . 35
14 Concerning the frest of Love . . . . . 36
Concerning the great staircase of black marble . . . . . 40 I,
I1 Concernng the Amorphous isle . . . . . 41
I7 Concerning the Fragrant isle . . . . . 43
IA Concernig the Castle-Errant, which is a junk . . . . . 45
IV Concerning the isle of Ptyx . . . . . 47
which is of crystal. . . . . 48
I I Concerning the isle of Cyril.. . . . 5 1
I I Concerning the great church of Snoutgs . . . . . 53
39
23 Concerning the Ringing isle . . . . . 56
24 Concerning the hermetic Shades and the kng who awaited death . . . . . 59
BOOK FOUR: CEPHALORGY
25 Concerning the land-tide and the marine bishop Mendacious . . . . . 62
26 Drink. . . . . 65
27 Capitaly. . . . . 68
28 Concerning the death of a number of people, and more especially
29 Concerning some frther and more evident meanings of
ofBosse-de-Nage . . . . . 71
the words "ha ha" . . . . . 74
BOOK FIVE: OFFICIALLY
30 Concerning a thousand varied matters . . . . . 77
31 Concerng the musical jet . . . . . 81
32 How one obtained canvas . . . . . 83
BOOK SIX: A VISIT TO LUCULLUS
33 Concernig the termes . . . . . 87
34 Clinamen. . . . . 88
BOOK SEVEN: KHURMOOKUM
35 Concernng the great ship Mour-de-Zencle . • . . . 95
36 Concerning the lie . . . . . 98
BOOK EIGHT: ETHERNITY
37 Concerning the measuring rod, the watch and te tuning frk. . . . . 100
38 Concerning the sun as a cool solid . . . . . 105
According to Ibicrates the Geometer . . . . . 107
40 Pantaphysic ad Catachemy . . . . . 110
41 Concerning the surfce of God. . . . . 11 1
Notes by Simon Waton Talor . . . . . 115
Bibliograpl b Alstair Brotchie. . . . . 1 J 7
lNTISJlCTlSN
BY R O G E R S H A T T U C K
T H E A v A N T - o A R D E theater of the twentieth century keeps
•• one of its convenient reference points the explosive generale of
Ubu Roi in 1896. That performance exploited ingredients that have
hocome commonplace today, from barefaced slapstick to the
IUhtleties of the absurd. AlfedJarry (1873-1907), principal author
Mild sole promoter of this schoolboy masterpiece, came close to
odipse during the thirty-year scufle of literary movements that
ll11lowed his premature death. The temporary eclipse occurred
dupite tribute to his genius from Apollinaire, Max Jacob, Breton,
Art1ud, Queneau, and even Gide. But the midget Jarry, eccentric
In the point of mania and lucid to the point of hallucination, was
Unt une to lie low for long. Today he is very much with us again.
The original legend centered about his attire (a cyclist's cos­
tume with pistols), his habits (drink practiced as discipline) , his
lud1ing (a dark cell literally on the second-and-a-half foor), and
hl1 dAily fare (fsh he caught at will anywhere in the Seine). In pub­
lh· 1he young upstart pufed himself up to the proportions of Ubu,
Vll
the human blunderbuss who smashed all history as he went. But
the artist in J arry continued to be precocious and hid rather than
revealed itself in this hypertrophied biography. There is much
more to him than the long remembered scandals of Ubu. Little
wonder that since the second World War Jarry's reputation has
enoyed a spirited revival in France. His works have been collected
and republished in eight volumes, new writings discovered, his
career and talent reexamined, and a College de ' Pataphysique
founded to perpetuate his inventions and destructions. In his
posthumous ascent to lasting literary esteem J arry still contrives to
dismay readers in approximately the same proportion that he
impresses them. He wil not be held at arm's length.
*
The great posthumous works in Western literature usually carry
with them a fndamental enigma. Pascal's Pensees and Rimbaud's
Illuminations raise problems of chronology and interpretation, as
well as making their own particular challenges to the very idea of
literature. Jarry would have guffawed and found a suitable blague
to dismiss this grandiose approach to his book, Exploits and
Opinions of Doctor Faustoll, Pataphysician. Yet afer having failed
to fnd a publisher for more than a few chapters, he entrusted at
least two manuscripts of the text to reliable friends, and inscribed
one of them for posterity. At twenty-fve Jarry suggested he was
Vlll
wrlttng over everyone's head, including his own; he had to
"experience" death in order to catch up with himself.
Faustoll reveals its enigmatic qualities most clearly in contrast
to Ubu Roi, Ubu Encharnt, and Ubu Coc. In the nineties Ubu's
freewheeling and adolescent nihilism was received with a raucous
mixture of hoots and cheers in the auditorium as in the press. Yet
It was received. Faustroll, even though a few fagments appeared in
the Mercure de France in May, 1895, encountered ony silence and
uneasy rejection by the to editors most devoted to J arry' s work.
This time he appeared to have atempted too much. In a grotesque
1ymmetry, Faustroll moves in the opposite direction from the Ubu
plAya and forms their complement. Beneath the highly congested
1urfoce, and in spite of its desultory structure, one senses in
,.,urtrol the search for a new reality, a stupendous efort to create
mat of the ruins Ubu had lef behind a new system of values - the
wnrld of pataphysics. Beneath the double talk and ellipsis, its for­
nual defnition (see pp. 21-23) seems to mean that the virtual or
hnnainary nature of things as glimpsed by the heightened vision of
puetry or science or love can be seized and lived as real. This is
lhl ultimate form of "authentic enactment."
If mathematics is the deam of science, ubiquity (sic) the dream
uf' mortality, and poetry the dream of speech, pataphysics fuses
them into the "common sense" of Doctor Faustroll, who lives all
�rums as one. Jarry recounts the miraculous tale in an utterly
111her ond scientifc manner, and pursues his analyses with such
i
rigor and atention to detail that we lose sight of the conventional
boundary between reality and hallucination. A character in another
work of Jarry's asserts: "I can see all possible worlds when I look
at only one of them. God - or myself - created all possible
worlds, they coexist, but men can hardly glimpse even one"
(Cesar-Antichrist). Unlike the destructive and unfeeling Ubu,
Faustroll welcomes and explores all forms of existence.
In the Mercure de France Apolinaire hailed the frst edition of
Exploits and Opinions of Doctor Faustroll, Pataphysician: "It is the
most important publication of 1911." In 1923 the surrealist,
Philippe Soupault, prefaced the second edition by insisting on its
undiminished importance and afrming the genius of both J arry' s
life and his writings. Afer to more French editions, this transla­
tion completes the cycle. Jarry's work appears in English at a
moment when the atomic and space revolutions (plus rumors of
anti-matter and splitting time) have endowed Faustroll's fantastic
voyages with something approaching plausibility. •
The history of the work helps to illuminate its recesses. Like
the Ubu cycle, its origins go back to the lycee in Rennes where Jarr
and his schoolmates found a ready target for their overcharged
imaginations in the fgure of Professor Hebert. His scientifc
demonstrations were as renowned and as inefectual as his class­
room discipline. In a series of legendary farces he became "le pere

A fw sentences like these refect the cmposition of the lntroducion i
1
96
5
to accompany the
original publication of Simon Waton Taylor's tralation. Their allusions to event of the sities
do not afct the purport of my comment. In any case, Jarry reveled in anachronisms.
X
Xl
Bb6,, kept alive and rechristened by Jarry, and fnally broken over
the heads of the Paris public at the TheAtre de l'Cuvre afer an
unremitting campaign. Professor Hebert's calamitous "science of
physics" yielded "pataphysics,, treasured and developed by Jarry.
A few years after leaving the lycee, he announced for publication a
'rtatire on 'Pataplsics. But before it appeared, the treatise com­
hlned with two frther ideas which modifed Jarry's original
project. The frst was to create a cast of characters to incarnate,
practice, and expound the new science. Along with an array of
l111er personages most of whom appear only in the one "exploit"
n chapter devoted to them, we follow the central fgre of Doctor
fauatroll and his to atendants: the bailif, Pauphle, both pur­
IUir and prisoner of Faustroll, and the monosyllabic dogfaced
hahoon, Bosse-de-Nage (literally, "bottom-face"). Many of
f•uatroll's actions can be attributed equally to a God-like knowl­
"lte of the workings of the universe* and to an efervescent
turkiah enjoyment of life.
The second idea which modifed the original treatise was to
1dnpt the loose narrative form of an indefnitely renewed journey
In mArvelous lands - a form which served Homer and Rabelais,
1mnng others. Thus in the very structure of his treatise-novel Jarry
uaumed a total liberty to broach any subject: Faustroll simply
mnvu on at will to another time and/or place. J arry called this
I
A1�11llf he io a Chrita, Faurol replies: "I am God.• (. J7
literary hybrid a "neo-scientifc novel." In a later article he sug­
gested the term "hypothetical novel" to describe a class of works
from Arabian Nights to the novels of Villiers de l'lsle-Adam and
H. G. Wells - works which do not confne their actions to the
"real" world. Any summary of Jarry's novel must remain highly
hypothetical.
Doctor Faustroll is dunned for back rent by the bailif
Panmuphle, who inventories and seies his library of
"twenty-seven equivaent books." (BOOK ONE)
The elements of pataphysics are briefly set down and
illustrated by an experiment i relativity and surface
tenion. (BOOK TWO)
Doctor Faustroll escapes the law in a skif or sieve
which travels on both land and water. He i accompaned
by the baboon, Bosse-de-Nage, as navigator, and by
Panmuphle, tamed by drink and chained to his seat, as
oarsman and narrator until the next to last book. Their
peregrinations carry them to fourteen lands or islands,
whose topography and inhabitants are so described as to
convey Jarry's comments on fourteen fiends (or enemies)
in the world of the arts-among them, Aubrey Beardsley,
Leon Bloy, Gauguin, Gustave Kahn, Mallarme, Henri de
Regier, and Marcel Schwob. (BOOK THREE)
Afer frther navigations, discussions, and a great
banquet, Faustroll discourses on death and starts a holo­
caust in which Bosse-de-Nage perishes- provisionally.
Xll
His monosyllabic and all-sufcing language (" Ha ha ") is
careflly analyed. (BOOK FOUR)
Afer a coprological aside on the "legless cripple"
who represents Pierre Loti, Faustroll puts Henri Rousseau
i charge of a "painting machine" to "embellish" the aca­
demic canvases hanging in the Luxembourg Museum.
(BOOK FIVE)
While Faustroll has an erotic adventre, the painting
machine under the Lucretian name of Clinamen executes
thirteen paintings, each described in a short prose poem.
(BOOK SIX)
Fa us troll dies by drowning afer sinking the skif to
avoid collision, and his body, like a tight scroll unfrled
by the water, reveals the fture in its spirals. (BOOK
SEVEN)
The fnal book, entitled "Ethernity," resumes the
treatise on pataphysics begun in BOOK TWO. Two tele­
pathic letters from Faustroll to Lord Kelvin regarding the
latter's experiments in measurement, matter, and light,
are followed by a crowning pataphysical discourse on
the "surface" and natre of God. In accurate geometrical
theorems He is demonstrated to be "the tangential point
between zero and infnity." (BOOK EIGHT)
J Arry writes in a highly compressed, poetic, ofen mock-heroic
proae that requires carefl reading. Yet the sentences move at
hudlong speed and draw the reader unexpectedly into the action.
Xlll
XIV
One vacillates between amusement, puzzlement, irritation, and
astonishment at 1arry-Faustroll's cavalier treatment of the world
and of words. In this translation by Simon Watson Taylor, pro­
vided with his copious notes, the work becomes almost more
readable in English than in the French editions, many of which are
noteless and fl of anoying misprints.
There is a frther aspect of the book, however, which is less
immediately apparent than its stylistic characteristics and which
establishes it as a singularly rich historical document. (Nothing is
incompatible with pataphysics.) Writing two years before the close
of the nineteenth century, 1 arry seized several of its most charac­
teristic yet most contradictory lines of development and discovered
- by creating it himself - their point of convergence. With the
greatest of glee he grasped the scientifc tradition; not, signif­
cantly, as represented by Pasteur or Poincare or Curie or even
by his former teacher Bergson, but as he came upon it in the
exceptional generation of contemporary English scientists: Sir
William Thomson (Lord Kelvin), Clerk Maxwell, Sir William
Crookes, Arthur Cayley, and C. V. Boys. Their works appeared
in French editions in the nineties when 1 arry was still considering
a scientifc career. These investigators, as much in the line of
Dodgson-Carroll (mathematician turned writer) as of Newton
(physicist turned theologian), all displayed a high degree of eccen­
tric brilliance and feedom to roam among the physical sciences.
Above all, they performed what seemed to be bizarre experiments
with soap bubbles, gyrostats, tiy boats driven about in a basin by
camphor, and similar toys. They illustrated their theories by
hypothesizing microscopic homunculi living on cabbage leaves
(Crookes) or shoving molecules around like stevedores (Maxwell's
"Sorting Demon"). For them as for Jarry, science was an adven­
ture, domestic and transcendent.
Science formed the frst stad. With more intensity than glee,
Jarry also embraced the symbolist school in literature and its doc­
trines of suggestion and musicality. Symbolism, in both the
apocalyptic version of Rimbaud and the lapidary version of
Mallarme, conjured up its universe out of words in new relation­
ahlps to meanings, and J arry exploited this liberty to the fll. The
third signifcant strand contributing to the substance of Faustrol
luda back to a fequently disdained aspect of the mood of the time.
In cabarets like the Chat Noir and lively reviews like L Plume, a
aavage and ofen grotesque sense of humor rubbed shoulders with
1h1 earnestness of symbolism. This was the era of the front-page
urtoon and the wry chronique, one of Jarry's particular talents. In
lturtroll as in Ubu Cocu he pushed his sense of the comic into
tho realm where laughter is mied with apprehension for ourselves.
Tho fnal strand, less signifcant than the others but worth men­
tinning, is the occultist visionary revival. That materialistic age
ul' acience and progress supported a fourishing sideshow of
••nteric cults, from Rosicrucianism to heraldry. This fourth com­
JIntnt, however, is not so far afeld from the frst as one might
XV
think, for table trning attracted the energies of scientifc research
as well as of spiritualist fraud.
Science, symbolism, humor, and the occult - few writers have
attempted to compound such dsparate elements into a single work,
as Jarry himself knew. His only master was Rabelais. This erudite
freethinking monk produced out of his teeming imagination an
amalgam of the riches of life in the sixteenth century and wrote a
book for altime. But the canons of literary taste as they have hard­
ened in the twentieth century leave little place for Rabelais. A
twentieth-century Rabelais strikes one as even more preposterous,
and J arry would have found an audience more readily had he writ­
ten simply a work of science fction, a symbolist narative, a bawdy
tale, or a spiritual allegory. Instead, Faustrol i doing a number of
things at the same time.
From the beginning, in the numerous dedications of sections
and chapters, one encounters the documentary and allusive aspect
of the work - its running commentary on the literary fgures and
intellectual currents of the time. Though veiled and idirect, many
chapters achieve a rare form of criticism. Jarry's parodies mete out
both homage and scurrility. On another level, Faustro/ contains
the spiritual autobiography of Jarry, who in the fesh assumed the
monstrous role of Ubu but who sought in literature, in erudition,
and i alcohol his meas of spiritual elevation. In this light Faustrol
is a novel of quest without the usual note of self-pity. On the third
level, and far more diffcult than the frst two, one must measure
XVl
the literary value of the book. Despite Jarry's subtitle, "a neo­
acientifc novel," it falls into no genre, not even that of the
picaresque novel or the marvel tale. He sacrifces all unities of
plot, of discursive argument, of time and place, of character. Its
unity of action in the Aristotelian sense concerns the man-god
Faustroll, the wise bufoon, who survives his own death and con­
tinues his travels in the "unknown dimensions" of "ethernity."
But this is already the fourth and fnal level: the sphere of
pataphysics. What would have been the anagogical or spiritual sig­
nifcance for medieval commentators refers here to a systematic
toying with the arrangement of things and their signifcance until
WI aee the improbable hypothesis as real. From this level of mea­
Ina and creation we fnally see that pataphysics contains within
h1elf, despite undertones of spoofng and quackery, a commentary
nn the other levels of social and historical time, per

onal biogra­
l'hy, and artistic value. The richest concepts in the book arise
within the area of scientifc imagination (arry afrmed bluntly that
there is no other kind), have their application in biographical and
lit.rnry spheres, and become the tenets of pataphysics. Three
Ulmples will show the range of Jarry's mind. The astronomical
l•rm syzygy (a conjunction or opposition of planets in a solar
1y11rrn) probably appealed to him because it suggests that some­
thin� nkin to crystalline form may emerge at intervals out of the
r•tulnm movements of the cosmos; yet for Jarry syzygy also repre­
lfllll the rule of prose style that a word must transf a momentary
Xll
conjunction or opposition of meanings. Clinamen, an infnitesimal
and fortuitous swerve in the motion of an atom, formed the basis
of Lucretius' theory of matter and was invoked by Lord Kelvin
when he proposed his "kinetic theory of matter." To Jarry in 1898
it signifed the very principle of creation, of reality as an exception
rather than the rule. (For pataphysics is, in one defnition, the sci­
ence of "laws governing exceptions.") Today scientists and
philosophers have stumbled once again over the concept of
Clinamen, newly attired as Heisenberg's indeterminacy principle.
In the fnal chapters, Jarry coined the portmanteau term, "ether­
nity," to point to a crossing of ideas concerning the propagation
of light, the nature of time, and the dimensions of the universe.
From every point of view, scientic, poetic, and metaphysical, the
word is infnitely suggestive.
Exploits and Opinions of Doctor Faustroll, Pataphysician is an
exasperating and haunting work, and terms in which to judge its
success or failure scarcely exist outside its own pages. Jarry, of
course, wrote the recacitrant reader's response right into the text
for Bosse-de-Nage.
"'Ha ha,' he said succinctly; and he did not lose himself in
frther considerations."
XVlll
EXPLOITS 6 OPINIONS OF
DOCTOR FAUS TROLL, PATAPHYS ICIAN
"There are eight abodes, eight places of sight, eight
deities, and eight Purushas. Whoever understands
those Purushas in their division, and again in their
union, has overcome the world. I ask thee about the
Purusha in the Upanishads. And thou explain not him
to me, thy head wil fall of." S'akalya knew him not,
so his head fell of. Moreover robbers took away his
bones, mistaking them for something else.
- THE BRIHAD A
1
RANYAKA UPANISHAD
B O O K O N E
PRSCEJD[NG§
I
S U M M O N S P U R S U A N T
T O A R T I C L E 819
I N T H I s Y E A R Eightee Hundred and Ninet-eight, the Eighth
day of February, Pursnt to article 819 of the Cod of Ci1il Procedure
1rd at the request ofM. and Mme. Bonhomme (acques), proprietors
ufa house situate at Paris, 100 his, rue Richer, the aorementioned
l.1ing adress for semce at my residece and frther at the Tow Hal
uf Q borough.
I, the undersigned, Rene-lsidore Panmuphle, Bailif attached to
lh, Ci'il Court of First Instance of the Deartment of Seine, in session
11 Paris, residing in said City, 37, rue Pavee, Do hereby summon in
lh' name of the LAW and of JUSTICE, Monsieur Faustroll, doctor,
lll•l of 1arious premises dependent upon the house aoremetioned,
,,jJing at Paris, 100 his, rue Richer, and ha1ing proceeded to the
•fnrementioned house, bearing upon its exterior the number 100,
IIIli hnving rung, kocked, ad called the aorementioned variously
5
and successively, no person having opened the door to us, and the
next door neighbors declaring to us that this is indeed the resi­
dence of said M. Faustroll, but that they were unwilling to accept
a copy of this writ and, inasmuch as I dd fnd at said premises nei­
ther relations nor servants, nor any neighbor willing to accept
service of this present copy by subscribing to the original thereto,
I did proceed forthwith to the Town Hall of Q borough at which
place I did personally deliver this present copy to his Worship the
Mayor, who did certifcate the original thereto; within the maximum
period of twenty-four hours, to pay to the claimant into my hand as ten­
der in fll and 1alid quittance the sum of Three Hundred and
Seventy-two thousand fancs 27 cetimes, i respect of Eleven quarers
rental of the aorementioned premises due on the First day of January
last, without prejudice to those subsequently falling due and to any and
all other rights, actions, interests, costs and distraint, declaring to the
aorementioned that failing satisfaction of this present Summons within
said period of time, he shall be constrained thereto by all lawl means,
and notably by the sei�ure an impounding of such good and chattels
as may be present on the premises leased. Wherefore I did deosit this
present copy of the foregoing at the premises aoresaid. Cost: eleven
fancs 30 centimes, including 112 sheet of special stamped paper at 0 f.
60 centimes.
PANMUPHLE
To Mosieur Fautrol, Doctor,
c/o the Tow Hal of Q borou
g
h,
PariL
6
C O N C E R NING T H E H A B I T S A N D B E A R I NG
OF D O C T O R F A U S TR O L L
l)octor Faustroll was sixty-three years old when he was born in
c:lrcassia in 1898 (the 20th century was [-2] years old).
At this age, which he retained all his life, Doctor Faustroll was
A man of medium height, or, to be absolutely accurate, of (8 x
1010 + 109 + 4 x 108 + 5 x 106) atomic diameters; with a golden­
ytllow skin, his face dean-shaven, apart from a few sea-green
muatochios,
1
as worn by king Saleh; the hairs of his head alter­
nAtely platinum blonde and jet black, an auburn ambiguity
rhanging according to the sun's position; his eyes, to capsules of
nrdinory writing-ik fecked with golden spermatozoa like Danzig
••·lmnpps.
He was beardless, apart from his mustachios, through the judi­
rlnua use of baldness microbes which permeated his skin fom the
•rin to the eyelashes and ate away all the follicles, without any
n..d for Faustroll to fear that his scalp-hair or eyebrows might fall
11111, aince these microbes attack only fesh young hairs. From his
•ruin down to his feet, in contrast, he was sheathed in a satyric
l•l••·k fur, for he was man to an improper degree.
That morning he took his daily sponge bath2 of to-tone wall­
l•r•r pointed by Maurice Denis, with a design of trais climbing
7
up spirals; a long time ago he had given up water in favor of wall­
paper - seasonable, fashionable, or accordig to his whim.
So as not to embarrass the populace, he drew on over this
design a shirt made of quartz fber; baggy trousers of dull black
velvet drawn tight at the ankles; tiny little gray boots, with even
layers of dust carefuily preserved on them, at great expense, for
many months past, broken only by the dry geysers of ant-lions; a
golden-yellow silk waistcoat, exactly the same color as his skin,
with no more buttons than an undervest, and two rubies as buttons
for the breast pockets, very high up; and a greatcoat lined with
blue fox fr.
On his right index fnger, he piled emerald and topaz rings
right up to the fngernail - the only one of the ten which he did
not bite - and the line of rings was kept in place by a specially
designed linchpin made of molybdenum, screwed into the bone of
the ungual phalanx, through the fngernail.
By way of a tie, he passed around his neck the ceremonial rib­
bon of the Great Strumpet/ an Order invented by himself and
patented to avoid any vulgarization.
He hanged himself by this ribbon on a specially constructed
gibbet, procrastinating for a few quarter-hours between the choicl'
of the two asphyxiating make-ups called white hanged man and blue
hanged man.
And, afer cutting himself down, he put on a solar topee.
8
1
S E RVI C E O F WR I T
IN THI s Y E A R Eighteen Hundred and Ninety-eight, this
ttnth doy of February, at Eight o'clock in the morning, pursuant
In article 819 of the Code of Civil Procedure and at the request of
M. and Mme. Bonhomme iacques), the husband both in his own
name and in support and authorization of the lady his spouse, pro­
�rletors of a house situate at Paris, no. 100 bis, rue Richer, the
l�lrtmentioned having address for service at my residence and fr­
ther At the Town Hall of Q borough,
11 THE UNDERSIGNED , RENE-ISIDORE PANMUPHLE ,
IAI.IPP ATTACHED TO THE CIVIL COURT OF FIRST INSTANCE
ll� THE DEPARTMENT OF SEINE, IN SESSION AT PARI S,
NCIILING IN SAID CITY, 3 7 RUE PA VEE , do hereby summon in
,.herAtion in the name of the Law ad of Justice M. Faustroll, doc­
htr, tenant of various premises dependent upon the house
aJilrementioned, residing therein at the aforementioned rue Richer,
Nu, 100 bis, which bears at present the number 100, where hav­
1111 proceeded and having knocked variously and successively
whhout obtaining a reply, we betook ourselves to Paris, to the
nllce of M. Solarcable, commissioner of police, the latter grant­
lnl ua his assistace in our undertaking; to pay to myself as Bailif
and bearer of said summons, the sum of Three Hundred and
9
Seventy-two thousand francs 27 centimes in respect of Eleven
quarters rental of the aforementioned premises without prejudice
to other claims, the named party having refsed payment of these
claims.
Wherefore I have seized in distraint and placed under the
authority of the Law and of Justice the following objects:
C O N C E R N I NG TH E EQU I VALE N T B O O K S
O F D O CTO R F AUSTR O L L
In the premises detailed above, entry having been efected by M.
Lourdeau, locksmith at Paris, no. 205, rue Nicolas Flame!, with
the exception of a bed of polished copper mesh, telve meters long
and without bedding, of an ivory chair and of an onyx and gold
table; sequestration made of twenty-seven assorted volumes, some
paper-backed and others bound, with the following titles:
l. BAUDELAIRE , a volume ofE. A. POE translations.
2. BERGERAC , Works, volume II, containing the Histor of
the States and Empires of the Sun, and the Histor of Birds.
3. The Gospel According to SAINT LUKE , in Greek.
4. BLOY , The Ungratefl Beggar.
5. COLERIDGE , The Rime of the Anciet Mariner.
10
6. DARIEN, The Thie
7. DESBORDES-VALMORE, The Oath of the Little Men.
8. ELSKAMP, Illuminated Defigm.
9. An odd volume of the Plaf of FLORIAN.
10. An odd volume of The Thowand and One Nightf, m the
GALLAND translation.
11. GRABBE, Scher{ Satire, Ironie und tiere Bedutung,
comedy in three acts.
12. KAHN, The Tale of Gold and of Silece.
13. LAUTREAMONT , The Lays of Maldoror.
14. MAETERLINCK , Ag/avaine and Selyfette.
15. MALLARME , Ve and Profe.
16. MENDES, Gog.
17. The Ocffe, Teubner's edition.
18. PELADAN, Bablon.
19. RABELAIS.
20. JEAN DE CHILRA , The Sexul Hour.
21. HENRI DE REGNIER, The japer Cane.
22. RIMBAUD, The Illumination$,
H. SCHWOB, The Childref ' Crufade.
24. Ubu Roi.
H. VERLAINE, Wifdom.
26. VERHAEREN , The Hallucinated Landcape$,
27, VERNE, Voyage to the Ceter of the Erth.
11
In addition, three prints hanging on the walls, a poster by
TOULOUSE -LAUTREC, }ane A1i/; one by BONNARD, advertising
the Reve Blanche; a portrait of Doctor Faustroll, by AUBRE Y
BEARDSLEY ; and an old picture, which appeared to us to be value­
less, Saint Cado, issued by the Oberthir printing house of Rennes.
It was impossible to enter the cellar due to the fooding thereof.
It appeared to be flled, to a height of two meters, with a mixture
of wine and spirits, though no barrels or bottles were to be seen.
I have installed as guardian thereof, in absence of the subject
of distraint, M. Delmer de Pionsec, one of my witnesses named
hereunder. The sale will take place on whatever day shall ulti­
mately be decided, at the hour of noon, i the Place de !'Opera.
And from all the aforementioned facts, I have assembled the
present ofcial report, the compilation of which occupied me from
eight in the morning until a quarter before three in the afernoon,
and of which I have lef a copy for the subject of distraint, in the
hands of his excellency the aforenamed commissioner of police,
and with the guardian, and without prejudice to any further
actions, the above matter wholly in the presence of and assisted by
Messrs. Delmor de Pionsec and Troccon,4 attorneys-at-law, resid­
ing at Paris, 37 rue Pavee, the required witnesses who have with
myself signed original and copy. Cost thirty-two francs 40 cen­
times. For the copies were used two sheets of offcial paper
costing 1 f. 20 centimes. Signed: Lourdeau, locksmith.' Signed:
Solarcable, commissioner of police. Signed: Delmor de Pionsec.
1 2
8lçae1. Þaamae||e, |ai|iû.6 kegiste:e1atÞa:is,t|e11t 1aveí
Pt|taa:v1898. keeeive1ñvenaaes.Sigae1:Lieeaet. T:aeeeev
ttt:iâe1. (Ilegible.)
$
N O T I C E O F WA R R A N T
E N A BLI NG I M M E D I A T E S A L E
I N T H I s Y E A R Eighteen Hundred and Ninety-eight, t|elea:t|
day eî1aae,at the request ofM. aa1Mme.8ea|emmeHaeqaes) ,
the |as|aa1residing at Þa:is,:aeÞavte, 37, electing domicile in my
sÆ::sa1m:t|e:att|e Tewa Ha|| eíQ |e:eag|;I, the under­
•lantd, keat-|si1e:eÞaamae||e,BA LIFF attached to the Civil Court
•fFirst Instance of the Deartmet of the Seine, in session at Paris, resid­
lnl in said Cit, 37, :aeÞavte,have signifed, declared, a unde the
-�ovt heading dposited cop with M. Faustoll . . .
*
w|t:eas t|ise:eseat|a|í-s|eeteíseeeia|stamee1 eaee: at60
rta:imesismsameieatte:eee:1t|e1ive:sema:ve|sw|ie| I 1is-
teºt:e1att|e|emeeít|esai1Deete:laast:e||,|aviag1:aak
my â|| ia t|e ee||a: iatew|ie||e|a1|a:|e1me; t|e e:eseat
13
1eeeaeat e:evisieaa||v 1ees se|ieit t|e íave: eí|is |eae: t|e
Þ:esi1eateít|eCivi|T:i|aaa|eít|eSeiaeteaat|e:iie,iaseía:
ast|eeesteístamee1 eaee:1eest|:eateate eseee1|a:ge|vt|e
ameaat1eeesite1,t|e1ese:ietieaeít|eeasaiag eveats eaaa-
stamee1eaee:,set|ata:eee:1mav|e:etaiae1íe:t|eLawaa1
íe:1astieeeít|esai1ma:ve|s,aa1t|atsae|:eee:1mavaetee:is|.
6
C O N C E R N I NG T H E D O C T O R
'
S B O A T,
W H I C H I S A S I EVE
T O C. V. BOYS
Deete: laast:e||, a::smg í:em aa1e: t|e s|eets eeve:iagt|e
ee|is|e1 eeeee: |e1 w|ie| I was aet aat|e:iie1 te seiie, aaé
a11:essiag|imse|íteme,seeakiagtemeee:seaa||v,sai1:
ªItise:e|a||et|atvea|aveaeeeaeeetiea,Þaamae||e,w:i:-
ea::viag|ai|iû, eíeaei||a:itv,eísa:íaeeteasiea,ae:eíweig|t|ess
mem|:aaes,eqai|ate:a||vee:|e|ae,sa:íaeeswit|eatea:vata:e,
ae:,me:egeae:a||v,eít|ee|astieskiaw|ie|iswate:'seei1e:mis.³
ªSiaeet|e1avsw|easaiatsaa1mi:ae|e-we:ke:sweatsai|ia,
ia steae t:eag|s e:ea eeats eíeea:se e|et|, aa1 w|ea C|:is·
wa|ke1|a:eíeeteat|e sea, Ikaeweíaee:eata:e
=
aea:tne¬
14
mvte|í- et|e:t|aat|eñ|iíe:m wate:-see:eieaaa1t|e|a:vaeeí
ns:e:-gaats,eaea||eeímakiagaseeít|esa:íaeeeíeea1s,eit|e:
|·a¬a|evee:|eaeat|,asase|i10ee:.
''Itist:aet|atit|as|eeaeessi||eteeeast:aetsaeks ma1e
|:emamate:ia|w|ie|a||ewsai:æ1steamteeasst|:eag||atis
|mae:mea||etewate:,set|ateaeeaa||eweataeaa1|et|:eag|
the :|et|aa1vett|esamee|et|wi||:etaiaits|iqai1eeateatia1eí-
|a|:e|v. Mv ee||eagae l. 1e kemi||v |as saeeee1e1 ia |ei|iag
l|qul1s ia a|e||]a:w|ese|asewasma1eeígamewit|aíai:|v
wide mes|. . .
ªßatt|is |e1, twe|ve mete:s|eag, is aeta |e1|ata |eat,
t|sae1|ikeaae|eagate1sieve.T|emes|esa:ewi1eeaeag|te
t||av t|e eassage eía |a:geeia; aa1 t|e w|e|e sieve |as |eea
á|aae1 ia me|te1 ea:aíña, t|eas|akeaset|att|is sa|staaee
|n||:|isaeve::ea||vtouched |vwate:) ,w|i|eeeve:iagt|ewe|,
|u-:st|e|e|esemetv- t|eaam|e:eíw|ie|ameaatstea|eat
flfteen mi||ieaíea: |m±e1t|easæ1.W|eaIe|aeemv sieveea
the :ive:, t|e wate:'s skia taateas agaiast t|e |e|es, aa1 t|e
liquid 0ewiag|eaeat|eaaaeteeaet:ate aa|esst|eskia|:eaks.
hut :|eeeavesitveímv:eaa1kee|eûe:saee:e]eetiagaag|e,æ1
tllf a:essa:eeít|ewate:1a:iag|aaae|iag,w|äe]ameiag:aei1s,
f!I.¡ |s :e1aee1 |v aa este:aa| aea-ea:amae1 s|e|| wit| mae|
l1raer mes|es,sisteeat|easaa1ea|v;t|isse:vesa11itieaa||vte
protect t|eea:amag|±enem|eiagse:ate|e1|v:ee1s,]astasaa
|atttle:g:i||savesitnem1amage|víeet.
15
ªMvsieve,t|ea,0eats|ikea|eat,aa1eaa|e|a1eawit|ea:
siakiagtet|e|ettem. Netea|vt|at,iteessessest|isa1vaatage
eve: e:1iaa:v |eats - as mv |ea:ae1 í:iea1 C. V. 8evs |as
:ema:ke1teme- t|ateaeeaaa||ewat|ia]eteíwate:teía||ea
itwit|eatsa|me:giagit.IíIs|ea|11eei1eteesee|mva:ates,e:
iíawaves|ea|1|:eakeve:t|esi1e,t|e|iqai1wi||sime|veass
t|:eag|t|emes|aa1:e]eiat|eeste:aa|waves.
ªIat|isee:eetaa||v1:v|eat|ea||e1askiû, 1ea|t|ess|eeaase
itiseeast:aete1teea::v:|:eeeeee|e), Is|a|||eaeeíe:t|takeaa
mv:esi1eaee,siaeeIamíe:ee1te|eavet|is|ease. . .°
ªDea|t|ess, ° I sai1, ª|eeaase t|e e:emises a:e ae |eage:
m:ais|e1.°
ªIa|seeessessaaeveañae:skiû, °eeatiaae1t|e1eete:, "ol
qaa:oñ|e:1:awaeat|vmeaaseíae:ess|ew;|atatt|ee:esea:
memeatI |ave]ast1eeesite1 t|e:eea, wit|t|e ai1 eía st:a=,
250,000 1:eeseíeaste:ei|,iaimitatieaeít|e|ea1seasei1e:s`
we|s,a|te:aate|v|a:geaa1smd||ea1s,t|evi|:atieasee:seeea4
eít|e|atte:|emgtet|evi|:atieasee:seeea1eít|eíe:me:ia:|«
e:eee:tieaeí64,000/1 ,500,000 aa1e:t|e se|eia0aeaeeeíthl'
e:essa:eeít|e|iqai1'se|astieskia. T|isskiû|aseve:vaeeea:
aaeeeía|agegeaaiaesei1e:'swe|,aa1eate|es0ies]astaseasi|,.
8atitisea|vñtte1eatíe:eaeee:sea.
ªAa1 siaee t|ee:eseat eae ea::iest|:ee eeee|e, veas|al|
aeeemeaav me, aa1 semeeae e|se te w|emvea wi|| s|e:t|v lw
iat:e1aee1- aettemeatieasemeet|e:s,íe:Iam|:iagiaga|e»�
1 6
10m1 |elags w|e |ave maaage1 te eseaee vea: Law aa1 vea:
|a::|::|etweeat|e|laeseímvseiie1ve|ames.
"Aa1w|i|eIeaame:atet|em,aa1sammeat|eet|e:person,
atttia ß |eek,|aa1-w:ittea|vmvse|í,w|le|veaeaaselieast|e
iuta:v-elg|t|ve|ameaa1:ea1, set|atveamavaetea|veeatala
;aau:l(laeatieaee|atmava|seve:ve:e|a||vaa1e:staa1me|et-
Îåf áa:|agt|eeea:seeít|isvevage,t|eag|Iamaetasklagvea:
uplnlon a|eatitsaeeessitv.°
''Yes,|att|isaavigatiealaasieve. . . °
''T|esklûlsaetea|ve:eee||e1|vea:||a1es|ata|se|vsac-
||eaáltksatt|eea1eíse:iag|eve:s.Aa1itskee|t:ave|seat|:ee
11111 :e||e:satt|esame|eve|. Iama||t|eme:eeeaviaee1eít|e
rttt||taeeeímvea|ea|atleasaa1eíltsiasa|me:sl|i|itviat|at,as
i
tmy lava:ia||e|a|lt,wes|a||aet|eaavlgatiageawate:|atea
ái-|ta1. °
7
C O N C E R N I NG T H E C H O S E N F E W
Arro11 t|eíe|late1seaeeeít|etweatv-seveaeqalvdeats,laas::e||
tt·ma:e1aeiatet|et|i:11imeasiea:
P:em8aa1e|ai:e,E. A.Þee'sSl|eaee,tamagea:ete:et:aas-
late Bsa1e|ai:e'st:aas|atiealateG:eek.
17
l:em8e:ge:ae,t|ee:eeieast:eeiatew|ie|t|eaig|tiaga|e-
kiagaa1|issa|]eetswe:emetame:e|ese1,mt|e|aa1eít|esaa.
l:em Lake, t|e Ca|amaiate: w|e ea::ie1 C|:ist ea te a
|ig|e|aee.
l:em8|ev,t|e||aekeigseíDeat|,:etiaaeeít|e8et:et|e1.
l:em Ce|e:i1ge, t|e aaeieat ma:iae:'s e:ess|ew aa1 t|e
s|ie's0eatiagske|etea,w|ie|,w|eae|aee1iat|esL,wassieve
aeeasieve.
l:em Da:iea, t|e 1iamea1 e:ewas eí t|e Saiat-Get|a:1
:eek-1:i||e:s.
l:emDes|e:1es-Va|me:e,t|e1aeke|aee1|vt|ewee1eatte:
att|ee|i|1:ea'síeet,aa1t|emv-t|:eet:eeswit|see:e1|a:ks.
l:em £|skame, t|e |a:es, :amiag eve: t|e s|eets, w|ie|
|eeame eaeee1|aa1s aa1 ea::ie1t|ese|e:iea| aaive:se |ikeÜ
nait.
l:eml|e:iaa,Seaem's|ette:vtieket.
l:em The Thousand and One Nights, t|e eve eít|e t|i:é
Kdea1e:,w|ewast|eseaeíakiag:t|eeveeeke1eat|vt|eta||
eít|e0viag|e:se.
l:emG:a||e,t|et|i:teea]ea:aevmeatai|e:s massae:e1ÜÎ
1awa|v8a:eaMe:1aseat|e e:1e:eít|e kaig|teít|eeaaa|
e:1e:eíCiväMe:it,aa1t|eta||eaaekiaw|ie||etie1:eaa1||s
aeek|eíe:e|aa1.
l:emKa|a,eaeeít|ege|1eaeea|sí:emt|e ee|estia|ge|é-
smit|s's|ees.
18
|:emLaat:tameat, t|esea:a|, |eaatim|ast|et:em||iageí
ataé:iaa|ee|e|ism,w|ie|vaais|e1eve:t|e|e:iiea.
|:emMaete:|iaek,t|e|ig|ts|ea:1|vt|eñ:st||ia1siste:.
|:emMa||a:mt,t|evi:gia,t|e|:ig|t,an1t|e|eaatim|te1av.
|:emMea1ts,t|eae:t|wia1w|ie|||ewaeeat|eg:eeasea
taé||ea1e1wit|itssa|tt|esweateít|ega||evs|avew|e:ewe1
aa:l||ewasa|aa1:e1aa1oeatvvea:se|1.
|:emThe Odyne, t|e]evm|wa|keít|ei::ee:eae|a||eseaeí
Ptleus iat|emea1eweíase|e1e|s.
|:emÞt|a1aa,t|e:e0eetiea,iat|emi::e:eít|e s|ie|1si|-
Ytred wit| aaeest:a| as|es, eít|e sae:i|egieas massae:e eít|e
t9VðR a|aaets.
|:emka|e|ais,t|e|it:|e|e||stew|ie|t|e1evi|s1aaee11a:-
lnl the temeest.
|:emkae|i|1e,C|eeeat:a.
|:em ktgaie:, t|e se::e| e|aia w|e:e t|e me1e:a eeataa:
IIIUrted.
|:em kim|aa1, t|e ieie|es |a:|e1 |vt|ewia1eíGe1iate
till nate:s.
|:emSe|we|, t|esea|vaaima|simitate1|vt|ew|iteaesseí
tht |eae:'s|an1s.
|:em Ubu Roi, t|eñn||eue:eít|eñ:stwe:1eít|eñ:staet.
|:emVe:|ae:ea,t|ee:essma1e|vt|esea1eiat|e|e:iiea's
ruur |:ews.
|:emVe:|aiae,veieesasvmetetietewa:11eat|.
19
l:emVe:ae,t|eoeaa1a|a|í|eagaeseít|eea:t|'se:ast.
Meaaw|i|e, keat-|si1e:e Þaamae||e, |ai|iíí, |egaa te :eaá
laast:e||'s maaase:ietia1eee1a:kaess,sa|staatiatiag t|eiavisi·
||e iakeísa|e|ateeíqaiaiae|vmeaaseít|eiavisi||eiaí:a:eá
:avseíaseeet:amw|eseet|e:ee|e:swe:e |eeke1 i aaeeaqae
|es, aati| |e was iate::aete1 |v t|e iat:e1a

tiea eít|et|i:á
t:ave|e:. \
20
B O OK T WO
!llMENT§ Ql PATAPJY§IC§
TO THADEE NATANSON
D E F I N I T I O N
Ka eeie|eaemeaea is t|at w|ie| is saee:ia1aee1 aeea a
a|·aemeaea.
m
··~·~~¬~

.
Þatae|vsies,w|eseetvme|egiea|see||iags|ea|1|et1t ( J'a
tr� cpuatxa) aa1 aetaa| e:t|eg:ae|v 'pataphysics, e:eee1e1 |v aa
s
i
·est:ee|e seasteavei1asime|eeaa,
1
0 is t|e seieaeeeít|at
o|ie|issaee:ia1aee1aeeametaa|,sies,w|et|e:wit|iae:|evea1
1hr |atte:'s|imitatieas,estea1iagasía:|evea1metae|vsiesast|e
|u·:estea1s|evea1e|vsies. 8s:aaeeie|eaemeaea|eiageûea
s.ciáeata|,eatae|vsieswiä|e,a|evea||,t|eseieaceoít|e_a:tie-
ular, 1eseitet|eeemmeaeeiaieat|att|eea|_ seieaeeist|ateí

-
Ø •

ll\1 geae:a|.Þatae|vsieswi||esamiaet|e|awsgeve:aiageseee
|iaas,aa1wi||ese|aiat|eaaive:sesaee|emeata:vtet|iseae;e:,
2 1
|essam|itieas|v,wi||1ese:i|eaaaive:sew|ie|eaa|e- aa1ee:-
|aes s|ea|1 |e- eavisage1iat|e¡|aeeeít|et:a1itieaaeae,
m~
&a
siaeet|e|awst|ata:esaeeese1te|ave|eea1iseeve:e1iat|et:a-
1itieaa|aaive:se a:ea|seee::e|atieaseíexeeetieas,�||eitme:e
í:eqaeateaes,|atiaaaveaseaeei1eata|1ataw|ie|,e1aee1te
t|e stams eíaaeseeetieaa|eseeetieas,eessessae|eage:eveat|e
vi:taeeíe:igiaa|itv.
DEFINI TION . Pataphysics is the science of imaginar solutions, which
smbolically attributes the properties of objects, described by their virtu­
alit, to their lineament.
Ceatemee:a:vseieaee is íeaa1e1aeeat|e e:iaeie|e eíia-
1aetiea:mesteeee|e|aveseeaaee:taiae|eaemeaeae:eee1ee:
íe||ewsemeet|e:e|eaemeaeamesteítea,aa1eeae|a1et|e:e-
í:emt|atitwi||eve:|et|as.Aea:tí:emet|e:eeasi1e:atieas,t|is
ist:aeea|viat|e ma]e:itveíeases,1eeea1saeeat|e eeiateí
view,aa1 isee1iñe1ealvíe:eeaveaieaee- iít|at! Iastea1eí
íe:ma|atiagt|e|aweít|eía||eía|e1vtewa:1aeeate:,|ewía:
me:e aeeesite wea|1 |e t|e |aw eít|e aseeasiea eía vaeaam
tewa:1a ee:ie|e:v, a vaeaam |eiag eeasi1e:e1 aaaiteíaea-
1easitv,a|veet|esisía:|essa:|it:a:vt|aat|ee|eieeeíaeeae:ete
aaiteíeesitive1easitvsae|aswater?
le: eveat|is |e1v isaeesta|ateaa1aaave:agemaa'seeiat
eíview, aa1ia e:1e: t|atits qaa|ities,iíaetits aata:e, s|ea|1
22
:emaiaíai:|veeastaat,itwea|1|eaeeessa:vteeesta|atet|att|e
|eig|teí|amaa|eiagss|ea|1:emaiame:e e:|esseeastaataa1
mataa||veqaivdeat.Uaive:sdasseatisa|:ea1vaqaitemi:aea|eas
sa1iaeeme:e|easi||ee:e]a1iee.W|vs|ea|1 aaveae e|aimt|at
:|es|aeeeíawate|is:eaa1- amaaiíest|vía|see:eeesitiea-
tiaeeitaeeea:s iae:eñ|easaaa::ew :eetaaga|a:eeast:aetiea,
e||ietie eat|:ee si1es; aa1w|vt|e1evi| s|ea|1eae ea|v|ave
aetiee1itss|aeeatt|ememeateí!eekiagatt|etime?- Þe:|aes
aa1e:t|ee:etesteíati|itv.ßatae|i|1w|e1:awsawate|asaei:-
e|ewä|a|se 1:awa |ease asasqaa:e,asaíaea1e,wit|eataav
]estiñeatiea,eíeea:se;|eeaase,eseeetee:|aesint|eeeaat:v,|e
wi||:a:e|vseeæise|ate1|aä±ag,an1eveamast:eett|eíaea1es
|avet|eaeeea:æeeeíve:ve||iqaet:aeeiei1s.
We mast, ia íaet, iaevita||v a1mit t|at t|e eemmea |e:1
|iae|a1iagsma||e|i|1:eaaa1wemea)istee1imwitte1teeeme:e-
|ea1 e||ietie eqaatieas, aa1 t|at its mem|e:s a:e at eae ia a
te-eaäe1 aaive:sa| asseat|eeaaset|eva:eeaea||eeíee:eeiviag
ea|vt|eseea:ves|aviagasiag|eíeea|eeiat,siaeeitiseasie:te
eeiaei1ewit|eaeeeiat:at|e:t|aawit|twe.T|eseeeee|eeem-
maaieatean1ae|ieveeqaäi|:iam|vt|eeate:e1geeít|ei:|e||ies,
taageatia||v.ßateveat|eeemmea|e:1|as|ea:ae1t|att|ereal
aaive:seiseemeese1eíe||ieses,an1t:a1esmeakeeet|ei:wiaem
|a::e|s:at|e:t|aaev|in1e:s.
Set|atwemavaeta|aa1ea,t|:eag|1ig:essiea,ea:asaa|
23
esame|eeíwate:,|etas:e0eet,iat|iseeaaeetiea,aeeat|ei::ev-
e:eaeeeít|eeemmea|e:1w|eseiastiaetsamsaet|ea1eetseí
t|eseieaeeeíeatae|vsiesiat|eíeäewiage|:ase.
\
F A U S T R O L L S M A L L E R T H A N F A U S T R O L L
7O WILLIAM CROOK£S
Other madme cd ceaselessly that the fgure U was at the same
time bigger and smaller than itself and proclaimed a numbe of
similar absurdities as ifthe were usel discoveries.
-THE TAL I SMAN OF ORAMANE
Deete:laast:e|||iíeaemav|eee:mitte1teseeaknemee:seaa|
esee:ieaee)1esi:e1eae1avte|esmd e:t|aa|imse|íaa1:ese|ve1
te ese|e:e eae eít|e e|emeats, iae:1e:teesamiaeaav1ista:-
|aaees w|ie| t|is e|aage ia siie mig|tiave|veia t|ei:mataa|
:e|atieas|ie.
le: t|is ea:eese|e e|eset|atsa|staaeew|ie| isae:ma||v
|iqai1,ee|e:|ess,meeme:essi||e aa1|e:iieata|msma||qaaatities;
|aviagaea:ve1sa:íaee,||aeia1eet|aa1wit|e1gest|attea1te
e||aa10eww|eaitisst:ete|e1;w|ie|A:istet|ete:ms|ea¬,|ike
ea:t|, t|eeaemveíñ:eaa1:eaaseeatí:emitw|ea1eeemeese1
24
exe|esive|v;w|ie|vaee:iiesa:a|aa1:e11eg:ees,a:emee:a:a:e
1e:e:miae1|v:|isíae:,aa1iaase|i1s:a:eí|ea:saeeai:se|í-
wa:e:,eíeea:se!Aa1|aviags|:aak:e:|ee|assiesiieeíami:e,
as a ea:a1igm eí sma||aess, |e ::ave|e1 a|eag :|e|eag:|eía
ea||age|eaí,eaviagaea::ea:iea:e|isíe||ewmi:ese::e:|emag-
aiûe1aseee:eí|issa::eaa1iags,aa:i||eeaeeaa:e:e1:|eWa:e:.
T|iswasag|e|e,:wiee|issiie,:|:eag|w|ese::aasea:eaev
:|eea:|iaeseí:|eaaive:seaeeea:e1:e|imgigaa:iea||vea|a:ge1,
w|i|s:|isewamage,:eûee:e11im|v|v:|e|eaves'íei|,wasmag-
aihe1 :e |is e:igiaa| siie. He gave :|e e:| a |ig|: :ae, as ií
kaeekiag ea a 1ee:: :|e 1e:aeiaa:e1 eve eí ma||ea||e g|ass
ªa1ae:e1i:se|í"|ikea|iviageve,|eeamee:es|veeie,|eag:|eae1
i:se|ía|eagi:s|e:iiea:a|1iame:e:ia:eaaevei1mveeia,:eea|se1
laas::e|||vme±seí:|ise|as:ieiae::iaaa1|eeamese|e:iea|eaee
me:e.
A
T|e 1ee:e:, :akiagsma||s:ees, :e||e1:|ee:vs:a|g|e|e, wi:|
semeeeasi1e:a||e 1imea|:v,:ewa:1aaeig||e:iagg|e|e, s|ieeiag
ea:|e:ai|seí:|eea||age-|eaísveias; eemiag:ege:|e:,:|e:we
se|e:essaeke1eae| e:|e:ia,:aee:iagia:|ee:eeess,aa:i|sa1-
1ea|v a aew g|e|eeí:wiee:|e siie :eeke1e|aei1|via í:ea:eí
laas::e||.
Wi:| :|e:ieeí|is|ee::|e1ee:e:kieke1ea: a::|is aaes-
eee:e11eve|eemea:eí:|ee|emea:s:aaexe|esiea,íe:mi1a||eia
itsí:agmea:a:ieaaa1aeise,:aagea:íe||ewiag:|ee:e]ee:ieaa||
a:eaa1eíaewaa1miaa:ese|e:es,1:vaa1|a:1as1iamea1s,:|a:
25
:e||e1teaa1neaßa|eagt|eg:eeaa:eaa,eae|eae1�wiaga|eag
|eaeat|itt|eimageeít|etaageatia|eeiateít|eaaive:se,1is-
te:tiagitaeee:1mgtet|ese|e:e'se:e]eetieaaa1magainiagits
ía|a|easeeate:.
ßeaeat| eve:vt|iag, t|e e||e:ee|v||, |ike a s|ea| eíg:eea
ñs|es,íe||ewe1itse|a:te1ea::eatsiat|eea||age'ssa|te::aaeaa
eaaa|s. . .
] (
C O N C E R N I NG T H E D OG F A C E D B A B O O N
B O S S E - D E - N AG E , WH O K N E W N O H U M A N
WO R D S B U T
"
H A H A
"
TO CHRISTIAN BECK
He, :ou, saU Giromon gra1el:; as for :ou, I'll take :our robe
for a stor-sail; :our legs for mast, :our 0for :adrms; :our
body fr the hull, and I'll f . . well pitch :ou into the watr with
six inches ofsteel in :our stomach for ballast . « » An since, whe
:ou are t ship, it's :our ftt hetd which wil seTe as t fgurehetd,
the I sht1l btptize :ou: te drt b . . .
-E U G ENE S UE , Ih£ 5AL AHA N0£k
( L E P I CHON J O U E I C D E I S D I ABL E s )
1 1
26
ßesse-1e-Nage was a 1egíaee1 |a|eea |ess evae- :|aa |v1:e-
eee|a|eas,aa1,asa:esa|:eí:|is||emis|,|essia:e||igea::|aa|is
íe||ews.T|e:e1aa1||aeea||esi:vw|ie|:|evsee::ea:|ei:|a:-
:eekswas,ia|is ease, 1ise|aee1|vlaas::e||,|vmeaaseíseme
s::aageme1iea:iea,aa1g:aí:e1ea:e|ise|eeks,±a:iaeeaeae,
sea:|e:ea:|ee:|e:,se:|a:|is0a:íaeewasa::iee|e:.
Ne: eea:ea: wi:| :|is, :|e gee1 1ee:e: waa:e1 :e :eae|
|im:e seeak, aa1 iíßesse-1e-Nage |se aame1|eeaaseeí:|e
1ea||e e:e:a|e:aaee eí:|e e|eeks 1ese:i|e1 a|eve) was ae:
eeme|e:e|víami|ia: wi:| :|e l:eae| |aagaage, |e eea|1 e:e-
aeaaee íai:|vee::ee:|v a íew we:1s eíße|giaa, ea||iag:|e |iíe
|e|: |aagiag a::|es:e:aeílaas::e||'sskiûªswimmiag-||a11e:
wi:|iase:ie:iea:|e:eea,*|a:me:eeûea|eeaaaeia:e1a:aa:e-
|egiea|meaesv||a||e:
ªHa|a,"|esai1ial:eae|,aa1|ea11e1ae:|iagme:e.
T|ise|a:ae:e:wä|e:eveve:vasem|1a:iag:|eeea:seeí:|is
|eek, :eeaae:aa:e seme eíi:seve:|eagseeee|es:ia:|emaaae:
eíVie:e:Hage(The Burgraves, ea::I,se. 2):
An is that all?
-Na, liste yet:
Aa1Þ|a:e,iava:ieaseassages: '
¹
27
-
'A18 Ae� �.
- '
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~
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- "�tye.
~ 'T
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yp
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Tv.
£.
~ KcI yp £c.
K

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~ ct º:
¬ Kó tmcA

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- K¤
~ Ko¤tM wo¤v.
¬MuY0t·
~ Ncí.
"
7 YP
¬ tycÞ U�-
- oIt ,, mìmM.
- 'QAo.
.
'Q
ctc.
-
'
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y
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£
<1
- 'Oe £
<1
.
- ·� �t×xe�Atvº
28
~ D«vxP.
~ Hmxmcct.
- Hmxmcct µo0v.
- Hmxæ �tmc.
~ Hmu µo0v.
~ Hstcó� µo0v.
- HeUi a�.
~ HoM
1
~HoMµo �tmc.
~ H
¤
ærtפ·
~ Hô- &.
~ Hôw¤o.
~ Hô
o' o.
- Ti &i.
- T 0¤v.
~ Tomo µ&18� A

.
= ·�Soì
He:eíe||ewst|eaa::ativeeíkeat-|si1e:eÞaamae||e.
29
B O O K T H R E E
F R 9M PAR l § T9
PAR l § lY §lA
Ö Ñ 1 M Ë Ü Ë Ï Ü Ï Å N
Ë Å WÏ Ï Y ÑÛ Ü Ï N b Û N
TO ALFRED VALLETTE
Inqiring what men of learing theTe Wee the in the cit, ad
what wn the drak theTe.
~ C A 8CA h70 A, 6HAFT£ 8 k ¥ |
l l
C O N C E R NING T H E E M B A R K A TIO N I N T H E A R K
ßesse-1e-Nage1eseea1e1wi:|:iavs:ees,makmgsa:eeí:|e0a:
a1|esieaeí|isíee:aseaeaa:e||sag|ae1ees:e:,ea::viagt|eskiû
ea|iss|ea|1e:|v:|eea:s,iaimi:a:ieaeí:|eaaeiea:8gve:iaas
:eae|iag:|ei:1iseie|es. T|e:e1me:a|sa:íaee,|ike:|a:eí:|e
|ea:-0v, |egaa:es|iaeia:|esaaas:|e|eag|ea:vea:a:e1i:s
sve|ei1oe|ve-me:e:|eage:ewnemea:eí:|eeassagewav.T|e
eane1||a1eseí:|eea:sma1eae|aage:easseaa1ast|evse:aee1
a|eag:|esi1eseí:|ee|1s:eaewa||s.
30
ªHa|a! "sai1ßesse-1e-Nage as|e 1eeesite1 t|e skiûaeea
t|e eavemeat; |at ea t|is eeeasiea |e a11e1 aet|iag te |is
statemeat.
laast:eä :a||e1t|e:a|ieaa1e|eekseít|eea|ia|evagaiast
t|e g:eeveseít|es|i1iag seat te|a|:ieatet|emee|aaism; t|e
see:e|e1íaeeg|ewe1me:e|amiaeas|vsti||,swe||iagaeint|e|ews
asa|aate:ate|ig|tea:wav.T|e1eete:sataûea|isive:ve|ai::
|etweea|is|egswast|eeavsta||e eeve:e1wit||iseemeasses,
maes,sestaatsaa1va:ieaset|e:seieatiñeiast:ameats;|et|:ew
at|is íeet,iae|aeeeí|a|last, t|e ea:ieas |eiags:etaiae1í:em
|istweatv-seveaeqaiva|eat|eeksaa1t|emaaase:ietseiie1|v
mvse|í; t|ea|eeasse1a:eaa1|is e||ewst|e ti||e:'stwe gai1e
:eees,aa1metieaiagmetesit1ewa,íaeiag|im,eat|eíe|ts|i1-
iagseat|w|ie|Ieea|1aet|e|ee|evmg,1:aakasIwasaa1:ea1v
te|e|ieveaavt|iag),|es|aek|e1mvíeettetwe|eat|e:íette:sat
t|e|ettemeít|eskiíí, aa1t|:astiatemv|aa1st|e|aa1|eseí
t|e as|-wee1 ea:s, w|ese ||a1es meve1aea:t wit|t|e sa:giag
svmmet:veíoeeeaeeek'síeat|e:se:eeaing.
Iea||e1att|eea:s,meviagiamv|aekwa:1eesitieaIkaew
aetw|it|e:,sqaiatiag|etweeatwe|aaeseímeist|iaesiaag:av
|e:iieata|itv,eve:takingíe:ms|eemiagaeí:em|e|ia1mew|ie|
t|es|a:e-e1ge1ea:se|eeee1eû�tt|e|egs;et|e:1istaatíe:ms
íe||ewe1t|e1i:eetieawewe:etaking.Wee|eag|e1t|:eag|t|e
masseseíeeee|east|:eag|a1easeíeg,aa1t|eaeeastiea|siga
eíea:e:eg:esswast|ese:eee|eítea:iagsi|k.
3 1
ßetweeat|e1istaatñga:esw|ie|íe||ewe1asaa1t|eseaea:
asw|ie| e:esse1ea:eat|,eaeeea|11istiagais|et|e:ñga:es,
ve:tiea|aa1me:ee:|essstatieaa:v.laast:e||eeaseate1teese|aia
te me t|at t|e íaaetieaeíaavigate:swas te make |aa1 aa1 te
1:iak,w|äet|e:e|eeíßesse-1e-Nagewaste1:awt|eskiûaeea
tet|e|aakateae||a|teaea:e::aatwav,asa|seteiate::aetea:
eeave:satiea,w|e:eaeaasemig|t|eeeaveaieat,wit||isiate:-
]eetieas,t|as,Ig±e1att|e|eiags|eviagiateviewnem|e|ia1
me,iat|esamewavas1i1:|ewate|e:smt|eÞ|ateme1ea,aa1I
eeasa|te1easaeeessiveeeeasieast|eteae|iageít|evesse|'smas-
te:,laast:e||t|e1eete:.
C O N C E R N I NG T H E S O U I T T Y S E A ,
T H E O L F A C T O R Y L I G H T H O U S E , A N D T H E
I S L E O F C A C K , W H E R E W E D R A N K N O T
TO L OUIS L . . .
ªT|is1ea1|e1v, *sai1t|e1eete:,ªí:emw|eseea:eassveaeaa
seee|1íegiest:em||iagiaseai|itvaa1veaagmeawit|:e1|ai:,
eqad|ve:etiaeasiat|ei:seeee|aa1t|ei:si|eaee,giviag|eaksm||
eí0es|teseeek|e1,|aa1w:itiag-ee|e:e1|i:1s,|ikeie|aeamea
32
0ies|e:iagia:eí|es|:e|avt|ei:eggs- t|is1ea1|e1visaetea|v
aais|aa1|atamaa.|eise|ease1:eea|||imse|íßa:eaHi|1e|:aa1
eít|eSqai:tvSea.'
¹
ªAa1siaeet|eis|aa1isste:i|eaa11ese|ate,|eeaag:ewae
kia1eí|ea:1.Hesaûe:e1í:emimeetigeiae|i|1|ee1,aa1|is
aa:se,w|ewas see|1:|at|e:|e:ewassaíñeieatteeaeea:age
aaasaa||veeeieass:ee|,e:e1iete1te|imt|att|iswasasigat|at
|ewea|1|eaaa||ete1issimma:enemaaveae
the infamous nudit of his cals muzzle.
ªOa|v|is|:aia- aa1 :|e aa:e:ie: mete: eeate:s eí t|e
me1a|la - a:e1ea1.Aa1|eeaaseeít|isiae::ia|eis,eaea:aavi-
gate:v:eate,aetamaa|a:aais|aa1,aa1t|isisw|v|iívea|e:|
|e|ave,Iwi|ls|ewvea:|emae). . . *
ªHa|a! * sai1ßesse-1e-Nage,wakiagaesa11ea|v;t|ea|e
:e|aese1mteaae|stiaa:esi|eaee.
ª. . . T|isisw|v,*eeatiaae1laast:e|l,ªIña1|mmea:ieae1
eamv0avialmaeasis|eeíCaek. *
1
4
ªYes, *Isai1, ª|at|ewis it t|att|is e:ew1eíeeee|e aa1
|i:1sw|ie||aseeme:esea::e:e|ima:ieseat|eee:eseeaa:avea
aeea|im wit|sae|eeañ1eaee,iat|e mi11|e eí:|isvas:e|aia,
w|i|e a||t|eseg:av|ea:1saa1veaagmea,iíIamae:ise|iete
:|em,a:e||ia1aa1wit|eatstieks?*
ªSee|e:e, *sai1laast:a||,eeemag|isseiie1maaase:ie:,:|e
33
ELEMENTS OF PATAPHYSICS , |eek N, e|. �: Concering
Obelischolychnies
1
5 for dogs, while the are still baying at the moon.
ªA|ig|t|ease :aises i:se:. . . iaa ste:m, savs Ce:|ie:e; a
|ig|t|ease|iñsitsñage:teeeiateatnemaía::|ee|aeeeísaíe:v,
eí::at|aa1|eaa:v.ßatíe:me|esaa1íe:vea:ee,Þaamae||e,a
|ig|:|easeisasiavisi||eas:|eteat|easaa1aa1ñ:s:seaieia:e:-
va| is imee:eeeti||e, e:t|e iaí:a:e1:avs |vw|ese |ig|:I |ave
w:it:ea:|is|eek.T|e|ig|:|easeeít|eis|eeíCaekis1a:k,sa|-
te::aaeaa,aa1e|eaea|,asi it|a1|eeke1att|esaatee|eag.Ne
waves |:eakagaias:it,aa1:|as aeseaa1 gai1es eae te it. Aa1
vea:ee:amea,Þaamae||e,wea|1desevea:ea:seveatei:ssa|-
te::æeaa:am||iags.
ªT|is|ig|t|easeaea:is|esitse|íaeeat|eea:emat:e:w|ie|
ist|esa|staaeeeít|eis|eeíCaek,t|a:istesav,t|eßa:ea'ssea|,
es|a|e1í:em|ismeat||va|ea1ea||eweiee.l:ema||t|ee|aees
w|e:eI:emsete±iak,0ig|:seíeages,gai1e1|v|isseeat,eeme
|ikemageiestesaek|iíe|t|ei:ewa,exclusive) í:emt|esv:aevaa1
smekiag]etemaaatiagí:emt|esata:aiae||eweiee.Aa1se:|ati:
s|a||ae: |e ste|eaí:emt|em, :|e g:av|ea:1s,e:gaaae1iate a
meaaste:v,|ave|ai|taeeat|eßa:ea'sea:eassa|i:t|ee|aee|t|at
t|ev|avee|:isteae1CATHOLIC MAXIMUM. T|eseeek|e1|i:1s
|ave t|ei: 1eveeetes t|e:e. T|e eeee|e ea|| t|em veaag wi|1
1aek.
1
6 Weeatae|vsieiaas ea||:|emsime|vaa1|eaes:|v s|it-
1igge:s. °
34
I )
C O N C E R N I NG T H E L A N D O F L A C E
TO A USREY BEARDSLEY
Aûe:|eaviagt|is1ise|easiagis|aa1|e|ia1,ea:maewas:eíe|1e1
aa1I :ewe1íe: aaet|e: sis|ea:s, mv tees|e|1|víette:s, mv
:eagae|ægiageatí:emt|i:st- wewea|1|ave |eeame:ta||vä|
|a1wetakeaa1:iakiat|atis|aa1 - æ1laast:e||keetme1:awa
seae:ig|twit|t|eea:a||e|]e:kseít|eoeee:1seí|isti||e:t|at,
iamv|aekwa:1metiea,Ieea|1]astseest:aig|taste:at|eis|aa1's
smeke sti|| :isiagaati|itwas|i11ea|vt|e1eete:'ss|ea|1e:s.
ßesse-1e-Nage,sees|aaste1nemt|i:stt|at|ewasqaite|ivi1,
gaveeatea|va1im|ig|t.
Sa11ea|vaea:e:|ig|tt|aat|iseme:ge1í:emt|es|a1ews,
|atiaaewavsimäa::et|e|:ata|geaesiseít|ewe:|1.
T|ekiageíLaee1:eweatt|e|ig|tasa:eee-make:e|aits|is
:et:eg:a1e|iae,aa1t|et|:ea1st:em||e1s|ig|t|viat|e1im|ig|t,
|ikeee|we|s.T|evwevet|emse|vesiateíe:ests,|iket|e|eaves
w|ie||ea:í:esteag:aves eawia1eweaaes; t|eat|evías|ieae1
t|emse|vesiateaMa1eaaaaa1|e:C|i|1iat|eC|:istmassaew,
sa1 t|ea iate]ewe|s, eeaeeeks, aa1 gewas, iate:miag|iag |ike
:|e swimmiag1aaee eít|ek|iae mai1eas. T|eßeaasaa1t|e
ße||esst:atte1aa1e:eeae1iaimitatieaeííaas,aati|t|ei:eatieat
35
gat|e:iag|:ekeaewit|ae:v.1astast|ew|ite]aaeaiaas, :eest-
iagia aea:k, eeme|aia :aaeeas|v w|eat|e|viag iat:asiea eía
|ameaeese:emata:e|vt|e1awa's:e0eetieaeít|ei:eee||i, seaa
a:tlesss|aee|a:geeae1iat|eíe:esteí:ake1-eve:eiaeeite|;aa1
asÞie::etse:eaa1est|eeeamsieaeít|emeea'seatwiae1|a||,
t|eea:a1eseí1av|a::ewiagaa1e:g:eaa1a:eseí:emA|ißa|a
se:eamiagiat|eeitilessei|aa1t|e]a:'s1a:kaess.
ßesse-1e-Nage, as ía: as I eea|1]a1ge, aa1e:stee1 t|ese
e:e1igiesve:v|itt|e.
ªHa|a, "|esai1saeeiaet|v; aa1|e 1i1aet |ese |imse|íia
m:t|e:eeasi1e:atieas.
C O N C E R N I NG T H E F O R E S T O F L OVE
TO EMILE BE.RNARD
Likeat:eeí:egeateíwate:,t|eskiûe1ge1íe:wa:1,1:awa|vits
saetiea1isks a|eagasmeet|1eseea1mg:ea1.
Iat|is1ist:ieteíÞa:isaeemai|as|a1eve:easse1,ae::ai|-
wav,ae:t:amwav,ae:|ieve|e,ae:e:e|a||vaav eeeawe:k|eat
wit|aeeeee:skia,meviagaeeat|:ee:e||e:ssetatt|esame|eve|,
maaae1|va1eete:eatae|vsieiaa,w|e|asat|isíeett|etweatv·
36
sevea mest esee�|eat qaiatesseaees eíwe:ks |:eag|t |aek |v
iaqaisitivemeaí:emt|ei:t:ave|s,maaae1a|se|va|ai|iûaame1
Þaamae||e |I, keat-|si1e:e, t|e aa1e:sigae1) aa1 |v a |v1:e-
eee|a|eas|a|eeakaewiagaewe:1seí|amaa|aagaageeseeetha
ha. He:e,iastea1eíst:eet|amesweeea|1seeaaeieatmeaameats
eíea:ve1steae, g:eeastataese:eae|iag1ewaia:e|esíe|1e1ia
t|es|aeeeí|ea:ts;|ete:esesaa|:iag-1aaee:s||ewiagiateaamea-
tieaa||e 0agee|ets;ñaa||v, aseawee1-g:eeaea|va:viaw|ie| t|e
eveseít|ewemeawe:e|ikeaatse|evea|e:aeata||v|vt|esam:e
|iaeeít|ei:s|e||s.
T|eiae|iaeeeeae1eatsa11ea|viatet|et:iaag|eeíaaeeea
seaee.T|eskveeeae1eattee,aa1asaa|a:steeeaiait|iket|e
ve|keíae:ai:ieevste:|a:stiagiat|et|:eat,aa1t|eaia:e|eeame
:e11is| ||ae; t|e sea was sewa:mt|at it steame1; t|e :e1ve1
eestameseít|eeasse:s-|vwe:ese|as|eseíee|e:me:e|:i||iaat
t|aaeeaqaee:eeieassteaes.
ªA:e vea C|:istiaas?°aske1 a |:eaie1 maa, 1:esse1 ia a
gaa1vsmeek,staa1iagiat|eeeate:eít|e|itt|et:iaaga|a:tewa.
ªLikeM.A:eaet,M.keaaa,aa1M.C|a:|eaae|, "Iaaswe:e1
aûe:seme:eí|eetiea.'
'
ªIamGe1,°sai1laast:e||.
ªHa|a! "sai1ßesse-1e-Nage,wit|eatm:t|e:eemmeata:v.
T|asI:emame1iae|a:geeít|eskiûwit|t|e|a|eeaea|ia
|ev,w|eeasse1t|etime|v]ameiageamvs|ea|1e:saa1eissiag
1ewamv |aek; |atI |eat|im eûwit| ||ews í:ema|aa1|eeí
37
w:its,aa1e|se:ve1wit|ea:iesitvnemía:eût|e1emeaae:eít|e
gai|v1:esse1maaw|e|a1aee:eve1eílaast:e||'saaswe:.
T|evwe:eseate1|eaeat|ag:eata:e|wav,|e|ia1w|ie|was
aseeea1, aa1|e|ia1t|eset|e:e||±e1t|eg:eeaaessaa1íataess
eíaa|iste:iate1ñe|1eíea||ages.ßetweeat|e a:e|eswe:eta||es
aa1eite|e:saa1|eae|esseteatiaa|a:aaa1eaat|:es|iag0ee:,
e:ew1e1wit|eeee|e1:esse1iasaee|i:e-||aeve|vet,wit|1i�ea1-
s|aee1íaeesaa11ewa-ee|e:e1|ai:, t|em::vsa:íaeeeít|eea:t|
aa1eít|eeeee|e'saeeks|eiag|et||ike eews'|ai:.Meawe:e
w:est|iagiaa||aeaa1ve||ewmea1ew,1ism:|iagsaa1-g:avtea1s
w|ese í:ig|teae1e:eaks:eae|e1meiat|e|eat;eeae|es1aaee1
gavettes;aa1t|e|ageiees, nem eatee eít|e í:es||v 1:aiae1
|a::e|s, 1:eae1eatt|e0ig|teí:i||easeíw|itetiase|aa1vie|et
si|k.
8ae| eít|e twe t|easaa1 1aaee:s ia t|e |a:a eûe:e1 te
laast:e|| a gi:1|eeake, |a:1 ea|e-s|aee1 mi|k, aa1 1iííe:eat
|iqaea:siag|assesast|iekasa|is|ee'samet|vstiswi1eaa1|e|1-
iag|esst|aaat|im||em|.T|e1eete:1:aaknem t|em a||. 8ae|
ee:seae:eseatt|:ewaee|||eiatet|esea,stiagiagt|e||iste:sea
mv|aa1s,aevieeea:smaat|atIwas, asI|e|1t|emaetee:eteet
mvse0,aa1stiagiagt|ema|tiee|e:e1e|eekseíßesse-1e-Nage.
ªHa|a! *|eg:ew|e1,teese:ess|ism:v,|at|e:emem|e:eá
|isse|emaeat|.
T|e1eete::eta:ae1tet|eseaa1eí|e||s,wit|twe|igmaes
eít|eeeaat:v,w|ie||isgai1e|a1givea|ima|se|ate|ví:ee;eae
38
:ee:eseate1:ea|istiea||v,we:ke1iataeest:v,t|eíe:estsa::eaa1-
iagt|et:iaaga|a:seaee:t|e:ese-:e1íe|iage:isiaga|evet|e||ae
mass eít|e g:ass, aa1t|e g:eaes eíwemea, t|e wave eíeac|
g:eaewit|itse:esteíw|ite |eaaets |:eakiaggeat|vagaiastt|e
g:eaa1,iaaaeeeeat:ieei:e|eeí1awas|a1ew.
Aa1eaitwasw:ittea: The forest of Love. Oat|eseeea1mae
we:eeaame:ate1a||t|ee:e1aetseít|is|aeev|aa1, meaatt|e
ma:ketwit|t|ei:e|ameve||eweigs, t|emse|vese|ameaa1||ae,
staûe1iatet|ei:e|et|es|ikesaasages.T|evwe:e a|| as ||ewa
aeast|ee|eekseía|ageiee:,asm||eíwia1asa|ageieee:a
stemae|.
T|eC|:istiaa |est teek |eave eílaast:e||eea:teeas|vaa1
tai|e1awavia|isewa|eattewa:1ame:e 1istaat|aa1. Aa1we
:ea|1seet|e:e1|iaeeít|esea's|e:aeaeatt|e|eameí|is:ese-
:e|e:e1saä.
We:a||e1t|ea1ieesee|eekseít|e|v1:eeee|a|eas|a|eea
sgaiast t|e s|i1e :ai|seít|e íe|tseat; aa1w|eaI|a1takeaae
:|e ea:s eaee me:e, aa1 laast:e|||a1 takeat|e ti||e:'s si|kea
aai1e:eees,Ie:eae|e1aa1st:ete|e1eateaeeagaiamt|ea|te:-
astiagmevemeatseít|eea:smaa,eve:t|eeea]eiae1waveseít|e
á:v|aa1.
39
1
$
C O N C E R N I NG T H E G R E A T S T A I R C A S E O F
B LA C K M A R B L E
TO LEON BLOY
Att|eva||ev'smeat|,weski:te1eaeñaa|ea|va:v,w|eseí:ig|t-
eaiag |eig|tmig|t |ave |e1 eae te take it, atñ:stsig|t, íe: a
gigaatie,||aek,massa|ta:.1
8
Att|e||anteeiateít|isime:e|a||e
ma:||eev:ami1, |etweeatwe aee|vtes st:eag|v:esem||iagevae-
eee|a|i eíTaait, t|e |age kiag's |ea1 ea:|eaiie1 itse|íiat|e
meea's m:aaee. Hewasg:aseiagatige:|vt|ese:aííeíitsaeek,
aa1wasíe:eiagt|eeeee|eeít|eSqmttvSeatee|im|aeea|aa1s
aa1kaees.Aûe:t|ei: |eaes|a1ñ:st|eeas|as|e1|vt|e||a1es
eít|esaeeessivestees,|e|ett|emoast:eas |aate:ge:ge itse|í
wit|t|ei:0es|nem|ate|e:s'|eeksg:ieee1ia|isñst.
Hewe|eeme1laast:e||wit||eae:,aa1,:aisiag|isa:mnem
t|esammiteít|eea|va:v,|e1eeesite1iaea: skiííaviatieameí
tweatv-íea:Sqaittvsea-ea:s skewe:e1eaaaaiee:a's|e:a.
40
C O N C E R N I NG T H E A M O R P H O U S I S L E
TO FRANC-NOHAIN
T|isis|aa1i s|ikeseûee:a|,amee|ei1aa1e:etee|asmie:itst:ees
e|ese|v:esem||et|egesta:eeísaaäsmakiag|e:asatas. Itsgev-
e:ameatise|iga:e|ie.Oaeeíitskiags,ast|e|eig|teí|isese|eat
ia1ieate1te as, |ive1aeeat|e1evetieaeí|isse:ag|ie,teeseaee
t|e]a1gmeateí|isÞa:|iameats,w|ie|wasmetivate1|veavv,|e
|ase:aw|e1t|:eag|t|e1:aias:ig|t1ewate|e|ewt|emeae|it|
lat|emaiasqaa:eaa1|asgaawe1itawavseaste|eaveae:ast
ea|vtweiae|est|iek.Aa1t|as|eistweñage:s'|:ea1t|awav
î:emt|ega||ews.LikeSmeaStv|ites,|e|i1esawaviat|is|e||ew
:e|ama, siaeeitisías|ieaa||ete1avtee|aee aet|iageat|ee|at-
íe:mseít|e eaeita|s |atstataes,w|ie| a:et|e|estea:vati1s ia
|a1weat|e:.Hewe:ks, s|eees,|evesaa11riakseat|eve:tiealitv
eía|eag|a11e:,aa1|asae et|e:|ameia |iswakiag|ea:st|aa
:|eea||e:eí|isaaetia|s. Oaeeí|ismiae:ae|ievemeatsist|e
laveatieaeít|etaa1em,w|ie|estea1steqaa1:aee1st|e|eaeñts
eít|eee1a|.
Aaet|e:kiag, ve:se1ia|a|ieaties, 1eee:ateswit||isñs|iag-
|laest|et:aekseíei:ea|a::ai|wavs:esem||iagt|e|e1seí:ive:s.
41
ßatt|et:aiæ,wit|t|ee:ae|tveíveat|,c|aseûs||eíe:et|eme:
e:as|em|:veaie|itesiat|ei:|e||ies.
At|i:1kiag|as:e1iseeve:e1t|e|aagaageeíea:a1ise,iate||i-
gi||eeveateaaima|s,aa1|as |:eag|tseme eít|eseaaima|ste
ee:íeetiea. He |as maaaíaeta:e1 e|eet:ie 1:agea0ies aa1 |as
eeaate1t|eiaaame:a||eaats|vaseeít|eñga:e 3.
Aaet|e:,:ema:ka||eíe:|is|ai:|essíaee,iast:aete1asiaase-
m|wi|es,set|atwe|eeameeemeeteattemakem||aseeíea:í:ee
eveaiags, eease|i1ate ea:1ea1 1:aake:e1itsaa1 gaia, wit|eat
wastiagea:ta|eat,t|e:ewa:1seít|el:eae|Aea1emv.
Aaet|e:mimest|et|eag|tseímaakia1,asiagee:seaageseí
w|em|e|askeetea|vt|etee|a|íeít|ei:|e1ies,set|att|e:e
mav|eaet|iagiasi1e|atw|atisea:e.
Yetaaet|e:ise|a|e:atiaga|ageteme,wit|t|eaimeíeem-
eatiagt|eqaa|itieseít|el:eae|,w|e,|ec|aims,wi|||eas|:ave
ast|eva:egav,asgavast|eva:ewittv;iae:1e:te1evete|imse|í
eati:e|vtet|is|a|e:,|e|as eeat:ive1te|ese|isveaage:egeav
iat|eíe:est1a:iagaeeaat:vwa|k, e:eñtiagí:emamemeateí
iaatteatiea ea t|ei: ea:t. Aa1 w|i|e we we:e|aaqaetiagia|is
eemeaavaa1t|ateít|eet|e:kiags, ea1iííe:eat:aagseít|e
g:eat|a11e:, ßesse-1e-Nage |aviagt|e]e|eíkeeeiagits íeet
stea1v,t|es|eatseít|eaews|awksiat|emagiea|sqaa:eiaíe:me1
ast|at|isaee|ewswe:et|at1av,aseae:evieas 1avs, sea:e|iaa
1esee:ate|vaa1e:t|eqaiaeaaeia|t:eesíe:t|eveae:a||ea|sea:
eae.
42
I
7
C O N C E R N I NG T H E F R AG R A N T I S L E
TO PA UL GAUGUIN
T|el:ag:aatis|eiseeme|ete|vseasitive,aa1íe:tiñe1|vma1-
:eee:es w|ie| :et:aete1 t|emse|ves, as we |aa1e1, iate t|ei:
ee:a|-:e1easemates.T|eskmsmee:iag|iaewasíasteae1a:eaa1
ag:eatt:eet|atswave1iat|ewia1|ikeaea::et :eekiag itse|íia
t|esaas|iae.
T|ekiageít|eis|aa1swasaake1iaa|eat,|is|eiasgi:1e1
wit| |is w|ite aa1 ||ae 1ia1em. Hewas da1, tee, ia skvaa1
g:eeae:v|ikeaCaesa:'se|a:iet:aee, aa1as:e1-|ea1e1asií|e
we:eeaaee1esta|.
We 1:aak te |is |ea|t| ia |iqae:s 1isti||�1 ia vegeta||e
|emise|e:es.
Hisíaaetieaistee:ese:veíe:|iseeee|et|eimageeít|ei:
ae1s.Hewasñsiageaeeít|eseimagestet|emasteí|is |eat
wit|t|:eeaai|s,aa1itwas|ikeat:iaaga|a:sai|,e:t|eeqai|ate:a|
ae|1eía1:ie1ñs||:eag|t|aekí:emt|eseeteat:iea.Aa1eve:
:|e 1ee:wav eí|is wives' 1we||iag e|aee |e |as eaeta:e1 t|e
eestasiesaa1eeate:tieaseí|eveiaa1iviaeeemeat.Staa1iagaea:t
î:em t|e iate:|aeiageíveaag |:easts aa1:ames,si|v|s:eee:1
43
t|e íe:ma|a eí|aeeiaess, w|ie|is 1ea||e: Be amorous, aa1Be
mysterious.
He eessessesa|se aiit|e:wit|seveast:iagseíseveaee|e:s,
t|eete:aa|ee|e:s;aa1,ia|isea|aee,a|ameaea:is|e1í:emt|e
í:ag:aatwe||se:iagseít|eea:t|.W|eat|e kiagsiags,meviag
a|eagt|es|e:eas|ee|avs|isiit|e:,e:w|ea|ee:aaeswit|aa
ase, í:emimages eí|iviagwee1, t|eveaags|eetsw|ie|wea|1
1isñga:et|e|ikeaesseít|ege1s,|iswives|a::ewiatet|e|e||ew
eít|ei:|e1s,t|eweig|teííea:|eavvaeeat|ei:|eiasí:emt|e
vigi|aatgaieeít|eSei:iteít|e Dea1,aa1 í:emt|eee:íame1
ee:ee|aiaeít|eg:eat|ame'seve.
Ast|eskiûeasteûí:emt|e:eeís,wesawt|ekiag'swives
e|asiag í:em t|e is|aa1 a|itt|e |eg|esse:iee|e se:eatiag g:eea
seawee1|ikeawiieae1e:a|;ea|is1wa:ñs|t:aakaíai:g:eaa1
w:est|e:'staaieaee1t|eLg'sade1aess.Heeas|e1|imse|ííe:-
wa:1]e:ki|vwit| |iseesus-eeve:e1ñsts,aa1wit|a:am||iagí:em
t|eeaste:saa1e:|is|aseattemete1teea:saeaa1e|am|e:a|ea:1
t|ee|atíe:meít|eOmnibus de Corinthe, w|ie|was]aste:essiag
ea: :eate; |at sae|a|eaeisaetwit|iaeve:veae'seewe:.Aa1|e
íe|| mise:a||vs|e:t, e:aekiag|iseeste:ie:|avate:v eaa wit|a
ûssa:e|esse|seeaet|aa|a1ie:eas.
44
1 8
C O N C E R N I NG T H E C A S T L E - E R R A N T
W H I C H I S A J U N K
TO GUS TA VE KAHN
laast:e||,|iseveeat|eeemeass aee1|e,1eei1e1t|atweeea|1
aet|eve:vía:ae:t|easteíÞa:is.Aûe:|aviagñ:st|ea:1t|esea's
ze:tiea|wia1eweaae,itwasaet|eag|eíe:eweeea|1seeit,|e|1
iaitse|aee|vaíe:tiñeatieaeít|esee|ants,al:eet,w|ie|a:et|e
saa1'sske|etea, aa1weg|i1e1eatet|e smeet|:e11is||eae|,
|etweeat|eviseesitveíg:evaes|ikeea:a||e||eviat|æs.
T|esi|ve:e1skveûe:e1iave:te1:e0eetieaseít|emeaameats
te|eíeaa1ea t|e et|e:si1e eít|e g:eea s|eeeeí|a||s; s|ies
easse1ae:esst|isskv,aesi1e1ewaaa1svmmet:iea|tewa:1iavisi-
||e íata:es, t|ea eea|á |e seea t|e image eít|e sti|| 1istaat
:eeûeeseít|eeast|eeík|vt|ms.
Ia1eíatiga||eeesswaiat|atIwas,Iea||e1eat|eea:síe:sev-
e:a||ea:s,w|i|elaast:e||seag|tiavaia íe:a|aa1iage|aee aea:
:|eeast|e,w|ie|was:eee1ingeeastaat|v|ikeami:age;aûe:eass-
iag t|:eag| aa::ew st:eets eí emetv |eases t|at seie1 ea:
see:eae|t|:eag|íaeete1eveseíeeme|ieate1mi::e:s,weñaa||v
:eae|e1wit|t|eseae:easnagi|itveíea:e:ew t|e0ig|teístees
|anetwe:ke1wee1|ea1iagtet|eaema1iee1mee.
45
We |aa|e1 t|e skiûea te t|e s|e:e, aa1 ßesse·1e-Nage
stewe1t|etaek|eaa1t:easa:esiaa1eeeg:ette.
ªHa! |a! ° |e sai1, |at we 1i1 aet |istea te t|e :est eí|is
seeee|.
T|eea|aeewasast:aage]aakaeeaaea|mseaqai|te1wit|
saa1;laast:e||assa:e1met|atsemeeít|eAt|aati1es|av|eaeat|.
Seaga||svi|:ate1|iket|e st:ikiag |amme:seít|eskv's||ae|e||,
e:t|eem|e||is|meatseía geag's|i|:atiea.
T|e |e:1eít|eis|aa1eameíe:wa:1eaíeet,|eaeiagae:ess
t|ega:1eae|aate1wit|saa11aaes.He|a1a||aek|ea:1,aa1
we:ea:me:eíaaeieatee:a|;easeve:a|ñage:s|ewe:esi|ve::iags
iaw|ie|m:qaeises|aagais|e1.We1:aak|eäaa1sgiaaa1|itte:
|ee:,|eoeeaeea:seseía||kd eísmeke1meat.T|e|ea:swe:e
st:aek|v|e||sías|ieae1í:ema||t|emeta|s.Asseeaast|emee:-
iag |iae |a1 |eea aatie1 |v ea: |aeeaie 1eek |ev, t|e east|e
e:am||e1aa11ie1aa1:eaeeea:e1mi::e:e1iat|eskv,nemve:v
ía:awav,asag:eat]ame|añagt|e saa1'sñ:e.
46
1 9
C O N C E R N I NG T H E I S LE O F P T Y X
TO STEPHANE MALLARME
T|eis|eeíÞtvsisías|ieae1í:emasiag|e||eekeít|esteaeeí
t|is aame, ae:iee|ess steae íeaa1 ea|viat|is is|aa1, w|ie| is
eati:e|veemeese1eíit. It|ast|e se:eaet:aas|aeeaeveíw|ite
saee|i:eaa1ist|eea|ve:eeieassteaeaetiee-ee|1tet|eteae|,
íe:itsû:eeate:sæ1se:ea1sitse|í|ikewiaeaûe:1:iakiag.Ot|e:
steaesa:easee|1ast|ee:veít:ameets;t|is|ast|ee:eeieitate1
|eateít|esa:íaeeeíkett|e1:ams.Itwaseasvíe:aste|aa1t|e:e,
siaeeitwaseatiata||e-íe:m,aa1we|a1t|eseasatieaeísettiag
íeeteaasaaea:ge1eít|eeeaqaee:tee1aii|iagaseeetseíits
ûame;aswit|t|ete:e|eseíe|1eatimes. Oaeae|eage:aetiee1
t|eaeei1eatseít|iags|atemvt|esa|staaeeeít|eamve:se,aa1
t|is is w|v we 1i1 aet ea:e w|et|e: t|e0aw|esssa:íaeewasa
|iqai1eqai|i|:ate1aeee:1iagteete:aa||aws,e:a1iamea1,imee:-
vieaseseeetaa1e:a|ig|tía||iag1i:eet|ví:ema|eve.
T|e|e:1eít|eis|aa1seametewa:1asiaas|ie: t|eíaaae|
eaûe1eat||ae|a|es|e|ia1|is|ea1,magainiagt|esmekenem
|iseieeaa1ime:iatiagiteat|eskv.Aa1ast|es|ieeite|e1aa1
tesse1,|is:eekiage|±:]e:ke1eat|iswe|eemiaggesta:es.
l:em|eaeat||ist:ave|iag-:ag|e1:ewíea:eggswit|eaiate1
47
s|e||s,w|ie||e|aa1e1eve:teDeete:laast:e||aûe:ñ:sttakiag
a1:iak. Iat|e0ameeít|eeaae|we we:e 1:iakiag, t|e|ate|iag
eít|eeva|em|:ves|:eke eateve:t|eis|aa1'ss|e:e.twe1istaat
ee|amas, t|e ise|atiea eítwe e:ismatie t:iaities eíÞaa eiees,
se|ave1eatiat|esea:teít|ei:ee:aieest|eqaa1:i1igitat

|aa1-
s|akeeít|eseaaet's qaat:aias; aa1ea:skiíí:eeke1its|æmeek
iat|e aew|e:a:e0eetieaeít|et:iame|a|a:e|. Disee:siagt|e
|ai:v ea:iesitveít|e íaaas aa1t|e :esv ||eem eít|e avme|s
a:ease1í:emt|ei: :eve:ie |vt|isme||i0aease:eatiea,t|eea|e
mete:vesse|wit|1:ewits||ae|:eat|tewa:1t|eis|aa1's|e:aea,
wit|its]e:mage|ai:waviaggee1|ve.•
. o
C O N C E R NING T H E IS L E O F H E R ,
T H E C Y C L O P S , A N D T H E G R E A T S WA N
W HIC H IS O F C R Y S T A L
TO HENRI DE REGNIER
T|eis|eeíHe:,|iket|eis|eeíÞtvs,iseaesiag|e]ewe|,wit|eat-
]attiageetageaa|íe:tiñeatieas,:esem||iagt|e|asiaeíaíeaataia
Æ
Since the writing of this book, the river around the island has trned into a fneral wreath.
[Author's note.]
48
eí]asee:. T|emaegaveitt|eaameeít|eis|eeíHe:m, |eeaase
itiseagaaaa1eeasee:ate1teMe:ea:v,aa1t|eia|a|itaatsea||e1
itt|eis|e eíHe:t,|eeaaseeíitsmagaiñeeatga:1eas.laast:e||
iast:aete1 me t|at eae s|ea|1 iate:e:et a aame ea|v í:em its
aaeieataa1aat|eatie:eet,aa1t|att|esv||a||eher, |iket|e:eet
eíageaea|egiea|t:ee,meaas,me:ee:|ess,Seigioral.
T|eis|aa1'ssa:íaeeiseísti||wate:,mi::e:-|ike|itwasaata:a|
t|att|eis|aa1ss|ea|1aeeea:teasas|akes,1a:iagea:aavigatiea
eve:1:v|aa1),aa1eae eaaaet imagiaeas|ie sai|iagt|:eag|it,
aa|essiat|emaaae:eía:ieee|etskimmiagt|esa:íaee,íe:t|is
mi::e::e0eetsae:iee|es,aeteveaitsewa. Neve:t|e|ess,t|e:e
sai|st|e:eag:eatswaa,asea:eaa1sime|easaeew1e:eaû,aa1
semetimesit|eatsitswiagswit|eat|:eakiagt|eam|ieatsileaee.
W|eat|e0atte:iageít|eíaais:aei1eaeag|,eaeeaag|imese
t|ew|e|eis|aa1t|:eag|itst:aasea:eaev,aa1t|eía||eeeaseat
|ikeaeaveaiae' ª]eteíwate:.
It|asaeve:|eeakaewaíe:t|ega:1eae:seít|eis|eeíHe:
tea||ewt|e]eteíaíeaataiateía||agaiaiatet|e |asia,íe:t|is
wea|11a||t|esa:íaee,t|e|eaqaetseíse:av|eve:ata|itt|e|eig|t
ia|e:iieata|s|eets|ikee|ea1s,aa1t|etweea:a||e|mi::e:seít|e
ea:t|aa1t|eskve:ese:vet|ei::eeie:eea|emetiaess|iketwemag-
aetsete:aa||víaeeteíaee.
Aßeea1aetiat|is|aa1isformal, asiae|1eatimesw|eat|is
we:1sigaiñe1ctomar.
49
T|e|e:1eít|eis|aa1isaCvdees,¹ª|atwea:eaete||ige1
teimitatet|est:atagemseíU|vsses.ßeíe:e|isí:eata|evewas
|aagaíe:e|ea1-e|aiaeadaseiagtwe si|ve:e1mi::e:s, |aekte
|aekiaa1aaasnam�. laast:e||ea|ea|ate1t|att|e1ea||emi::e:
was esaet|v 1 . 5 s 10 ´ eeatimete:s t|iek. It:e0eete1t|e |ig|t
tewa:1as|iket|eeig|t-:ave1steaeeít|e|e:a|1iese:eeat.T|e
|e:1eít|eis|aa1eea|1,t|e 1eete:iaíe:me1me,1isee:adea:|v
t|:eag|t|esemi::e:st|esea|t:avie|ete|emeats|i11eaí:emas.
He aee:eae|e1 wit| sma|| stees |etweea a 1ea||e :ew eí
:ee1s, eat|v|ise:1e:saeee:1iagtet|ee:stw|i|e|ie:a:e|veít|e
sv:ias,¹
'
|isma]e:-1emesse:ve1aswit|saga:aa1wit|qaa:te:s
eíeit:ea.¹¹
Hisíemæe:etaiae:s,w|ese1:essesse:ea1eat|iket|eeee||i
eíeeaeeeks'tai|s,gaveasa1ise|aveí1aaeiageat|eg|assv|awas
eít|e is|aa1, |atw|eat|ev|iûe1t|ei:t:aiastewa|kaeeat|is
swa:1|essg|aaeeast|aaw

te:,t|eveveke1t|eimageeíßa|kis,
sammeae1 í:em S|e|a |vSe|emea, w|ese 1eakev's íeetwe:e
|et:ave1 |v t|e |a||'s e:vsta| 0ee:, íe: at t|e sig|t eít|ei:
eae:iee1edegsaa1t|ei:0eeeeski:tswewe:eseiie1wit|í:ig|t
aa1 0aag ea:se|vesiate t|e skiíí|viag att|eíeeteít|e]asee:
|aa1iag-stees.Iea||e1eat|eea:s,asßesse·1e-Nageese:esse1
saeeiaet|vt|egeae:a|staeeíaetiea.
ªHa|a! "|esai1,|at|isstateeíí:ig|t,ae1ea|t,ma1e|im
|:eakeûatt|ateeiat.
Aa1I:et:eate1ía:í:emt|eis|aa1,ee:eea1iea|a:|veaeag|
50
íe:laas::e||'s|ea1:eeeaeea|í:emmeiaas|e::w|i|e:|eg±e
eí:|e|e:1eíHe:, aa1:|ea::iûeia|eveiai:se:|i:eíme:|e:-eí-
eea:|:esem||iag:|e:eí|ee:iagg|asseíasemae|e:e|ame.
2 J
C O N C E R NING T H E IS L E OF C Y RIL
T O MARCEL SCHWOB
T|eis|eeíCv:i|ñ:s:aeeea:e1:easas:|e:e1û:eeíave|eaae,
e: as :|e eaae| |ew|ía||eí||ee1 sea::e:e1ea:bv:|e ía|| eí
s|ee:iag s:a:s. T|eawe saw :|a: i:was me|i|e, a:me:e1, aa1
qaa1:aaga|a:,wi:|a|e|isa::|eíea:ee:ae:s,s|aee1|ike:|eíea:
1emi-1iageaa|seíseea:a:ea:msa||e:ea1vaaeeiaaav1i:ee:iea.
We:ea|ae1:|a:we|a1aee:eae|e1wi:|iagaa:aagew|eaa|a|-
|e::e:eeûßesse-1e·Nage's:ig|:ea:aa1íea:eí|is:ee:|.
ªHa|a! "s:amme:e1:|epapio; |a::|eimeae:eías:ee|ev|m-
1:eeeae agaias:|is|eûivgema:ieaeee|vsisma1es|e::we:keí
|is:|i:1we:1.Aa1wi:|ea:awai:iagame:e1e:ai|e1:ee|v,:|e
|iae:ieis|aa1|eis:e1:|eska||aa1ki1,¹¹aa1laas::e||:|e0ageí
:|eG:ea:S::amee:.
Aûe: :|ese sa|a:a:ieas,:|e 1ee:e:]evm||v 1:aak seme gia
=i:|Cae:aiaKi11,aa1maaage1:e1issaa1e|imí:emse::iag:|e
5 1
skiûeaû:e|itwas,1eseiteitsea:amava:ais|,iaeem|asti||e)aa1
í:em|aagiagßesse-1e-Nageaa1mvse|í - ane::e||iagas-
nemt|emaiava:1|t|eskiû|a1aemaiava:1) .
Wea||ûs|e1íe:meakevsma:ive:,tet|e]aw-gaeiag|e::e:
eíßesse-1e-Nage,aa1wevisite1t|eiate:ie:eít|eis|aa1.
ßeeaaset|e:e1g|eweít|eve|eaaeis||ia1iag,eaeeaaseea
seeaeme:et|aaiíeaewe:esa::eaa1e1|vas|a1ew|ess1a:k-
aess,|atset|ateaemavíe||ewt|e eeaqae aa1a|atieas eít|e
1±i|iag |ava, t|e:e a:e e|i|1:eaw|e :aa a|eat t|e is|aa1 wit|
|ames. T|ev a:e |e:a aa1 1ie wit|eat eve: g:ewiag e|1, iat|e
|a|kseíwe:m-eatea|a:ges, eat|e|aakeía|ett|e-g:eea|aek-
wate:.Lames|a1eswaa1e:t|e:e|ikeg|aaeeasaa1emke:a|s,aa1
ía:t|e:ia|aa1,w|it|e:weeseaee1asqaieUvaseessi||e |eeaase
eít|ema:iaeaaima|sw|ie|:avaget|eseas|e:eate||ti1e,t|ei:
ea:tiee|e:e1am|e|ss|eee.T|e|amesaa1t|eve|eaaees|a|ea|ivi1
|ig|t,|iket|eee:t-si1e|ig|teít|eßeateít|eDea1.
Aûe:1:iakiag,t|eeaetaia,:ese|ea1eatwit||isea:|iagmas-
tae|ies,ase1|iss|ie-|ea:1iagseimita:asaea|amasaa1wit|aa
iakma1eeígaaeew1e:aa1giatatteee1aeeat|eíe:e|ea1eíea:
dese-meat|e1ea|ia|evt|esewe:1sia||ae:BOSSE -DE-NAGE,
PAPIO CYNOCEPHALUS, :e|it|iseieei at|e|ava,aa1gavee:1e:s
tet|e|ig|t-e|i|1:eateesee:tt|eskiû1ewatet|esea,aa1aati|
we:eae|e1t|eeeeaseawewe:eaeeemeaaie1|vKi11'swe:1seí
ía:ewe||aa1|vt|e1im|ig|ts|ike|aek|aste:]e||vûs|.
52
C O N C E R N I NG T H E G R E AT C H U R C H
O F S N O U T FIG S
TO LAURENT TAILHADE
Weeea|1a|:ea1v|ea:|e||s- as|ea1asa||:|eß:a|aa:iaee|imes
eíe|eav, mae|e,eak, ee1a:, se:|wee1aa1eee|a:í:emkiagiag
is|e - w|ea I sa11ea|v íeaa1 mvse|í|e:weea:we ||aekwa||s,
|eaea:|aaa:e|wav,:|ea1aii|e1|v:|eg|a:eeía|eags:aiae1-
g|asswia1ew.T|e1ee:e:,wi:|ea:1eigaiag:ewa:ame,|a1s|e:
:|eskiû|ikeaaa::ew,asmg:|e:ä|e:'ssi|keaee:1s,ia:e:|eeea-
:e:eí:|e g:ea:ee::a|eíSaea:ñgsea:|e1:a|.Like:|ee:eía:e:v
eeag|eíe|ai:|egs|eiags|iûe1,mvea:sg:a:e1ea:|e0ags:eaes
eí:|eaave,a|eagw|ie|ea:kee||avsvmme::iea||v.
l:ia:1e|ae|im|e1ia:et|eea|ei:.
T|e aweseme ñga:e, wa:|ike aa1 saee:1e:a|, g|a:e1 a: :|e
assem||v. His e|asa||e was eíe|aia mai|, s:a11e1 wi:| |a|as
:a|iesaa1||aek1iamea1s.Ias:ea1eí:esa:ies,aae|ive-wee1ei:|-
e:a1aag|e1ea|is:ig|:|ie,w|i|ea:|is|eûwas s|aag|isg:ea:
:we-|aa1e1swe:1,i:s|i|:ías|ieae1í:emage|1eae:eseea:,iai:s
sea||a:1eí|e:ae1-viee:'sskia.
His se:meawas:|e:e:iea|aa1ve:vLa:ia,Attie,aa1Asia:ie
a::|esame:ime,|a:Iíai|e1:eaa1e:s:aa1w|v|ewase|aagiag
53
aa1e|iakiagí:em|is se||e:etste|isgaaat|ets,ae:eea|1Ieem-
e:e|ea1|ise|:ases,a::aage1|iket|e:eaa1seíaíeaeiag|eat.
Sa11ea|va|:eme|a||etwasñ:e1í:emaía|eeaet|eaa1tea
eeaate:-íaee1s|a||víea:i:eae|aias,t|es|ete|eag|iageeea
t|ee:ate:'s:ig|tteme|eaa1se|ittiag|isa:metasía:as|istea-
sa:e,|aviag|a:e t|eeetie ae:ve aa1t|e:ig|t|e|e eít|e|:aia,
|atwit|eataûeetiagt|atst:eag|e|1eíaa1e:staa1iag.
1astast|esmeke:esenemt|eía|eeaet,aeaageatsteamwas
es|a|e1í:emt|et|:eatseít|eeeag:egatieaaa1eeagea|e1iate
t|es|aeeeíasqaatmeaste:att|eíeeteít|eea|eit.
T|at 1av, I saw t|e Saeat. It is :eseeeta||e aa1 we||-
e:eee:tieae1, ia eve:v wav eemea:a||e te t|e |e:mit e:a| e:
eaga:iaa,asGe1isiañaite|vsimi|a:temaa.It|as|e:asw|ie|
se:veitasaaesean1asteagae-eaei||ae,s|aee1|ike|eagñage:s
issaiagnemits eves; oee|awseíaaevea|eagt|aa1tea|egsia
a||,aa1 |eiag, |iket|eeaga:iaa, va|ae:a||eea|viaitsma1ameat,
it|i1est|isaa1its:a1imeata:vsesiaaeeaeea|e1s|e||.
l:ia:1e|a 1:ew|is g:eat swe:1,makiagasiíte attaek t|e
Saeat, tet|e dea:aasietveít|esee:eseat. laast:e|| :emaiae1
imeassiveaa1ßesse-1e-Nage,iae:1iaate|viate:este1,íe:get|im-
se|íseía:astet|iakvisi||v:
ªHa|a! "
ßat|esai1aetawe:1,íe:íea:eíeat:aaaiag|ist|eag|ts.
T|eSaeat:et:eate1, t|eeeiateíits s|e||ñ:st, w|i|eeve:v·
eae 1:ew |aek, aa1 its e|aws g:ate1 teget|e: |ike stamme:iag
54
mea:|s.T|eswe:1||a1e,0as|iagasi:was1:awanemi:s|e:ae1-
viee:'s skia s|ea:|, ||aa:e1 i:se|í agaias: :|e e:ea:a:e' s |ai:v
ee1eieee.
A::|iseeia:,laas::e||se::|eskiûiame:iea.ßvea||iag|is
gai1e:eees|a:1e:,|ewasa||e:e|ea1:|eskm aee:eeia||v;:|is
waseessi||e|eeaase|is:i||e:1i1ae:sime|veoa::e|a0a::a11e:
aí: |a: |ea: :|e |eag kee|, í:em :|e íe:e-ea1, :e :ig|:, :e |eí:,
aewa:1e:1ewawa:1,aeee:1iag:e|is1i:ee:ieaa|:eqai:emea:s.
Aa1:|e sai|eí:aa:eeeee:g|ewe1|ikea e:eseea:meea.Wi:|
mvse|ímaaiea|a:iagmvsae:iea1isks:ea1|e:e:e:|eg:aai:e's
1aage:eas|vee|is|e1sa:íaee,:|e1ee:e:|e1me:ewa:1:|emea-
s:e:. Aa1iai:s:eaa1a|ea: :ea:eea:aaviga:iea:wis:e1 |aekea
i:se|í|ike:|ewe11mg:iageíaaame|is|aeaa'sNa:eissaskiss.
ßv:|isa::iñee,l:ia:1e|awaseasi|va||e:emee::|eSaea:
a:i:s ewa|eve|, :|e meas:e: |aviaga1vaaee1s|ig|:|vw|i|e i:s
a1ve:sa:v1eseea1e1:|e:we|ves:ees.Hewiak|e1i:nemi:ss|e||
wi:|:|eíe:ke1:ieeí|isswe:1, aa1e|eeee1i:sma1amea:ia:e
asmaaveieeesas:|e:ewe:eeeee|ee:esea:iat|e aave; |a:aei-
:|e:|eae:weea:se|ves,exeee:ßesse·1e-Nage,waa:e1:e:as:e
:|iseûe:iag.
Aa1:|e eem|a: wea|1|ave |eea :|e ve:v image, iaa|| i:s
vieissi:a1es,eía |a||ñg|: ií:|e |a||S|e||-ße::em|a1 ma1e a
1i:ee: eas|aag|: ias:ea1eía::eme:iag a:|:as: a::|eea1eíi:s
ei:ea|a:0ig|:.
Heweve:,:|e|e]ewe|e1e:eae|e::emeaa:e1t|eea|ei:íe:|is
55
se:mea.Aa1|is0eek,ae|eage:eessesse1|v:|e Saea:'s sei:i:,
we:eea:ge1eí:|ei:e:ass|ame:aa1aee|aa1e1|im.
Asíe:as,we1eea::e1eaeeme:e:ewa:1:|eaea:|v|e||seí
kiagiagis|e, aa1la as ::e||1i1ae:eeasa|::|es:a:sm::he:,íe:
ea:wavwas|i:|v:|e|eamseí:|eg:ea:wia1ews, i:i1eseea:as
we:1s,|eams|ikes:a::vea:|s|ea1iagí:em:|ee|a:e|.
Z J
C O N C E R N I NG T H E R I NG I NG I S L E
TO CLA UDE TERRASSE
ªHaeev:|esage,°savs:|eChi-Hing, ªia:|eva||evw|e:e|e|ives,
a:ee|ase,w|e1e|ig|:s:e|ea::|eseaa1eíevm|a|s,a|eae,ia|is
|e1, awakeaiag, |eese|aims:Neve:,I swea:, s|a||Iíe:ge::|e
|aeeiness:|a:Iíee|! °
T|e|e:1eí:|eis|aa1,aûe:we|eemiagasin:|ese:e:ms,|e1
as:e|ise|aa:a:ieasw|ie|we:eíe::iñe1|vaee|iaama:ke:ee|es
eí|am|ee.T|eeemmeaes:e|aa:s:|e:ewe:e:|esi1e-1:ams,:|e
:avaaas::ea,sam|aea,a:e||a:eaa1|aa1e:e,:|ekiaaa1t|e:e|t,
:|e|egga:'s-gai:a:aa1viaa,:|e mag:ee|aaa1|v1:aa|as. Iaa
eease:va:e:v:|e:ea:ese:|emaavaeeksaa1gevse:|:ea:|eí:|e
s:eam-e:gaagivea:eÞieeiaia757 |vCeas:aa:ineCee:eavmas,
56
aa1imee::e1ia:ekiagiagis|e|vSaia: Ce:ae|iaseí Cemeiegae.
He:e eae eea|1 |:ea:|e ia :|e ee:mme eí:|e eieee|e, oboe
d'amore, eea::a|asseeaaa1sa::asee|eae,:|eß:i::aav|ageiee,
iameegaaaa18ag|is||ageiee,:|eßeaga|ichere, |em|a:1ea,se:-
eea:,eee|ee|eae,sas|e:aaa1aavi|.
T|e:emee:a:a:eeí:|eis|aa1is:ega|a:e1|veeasa|:iag:|e:-
meme:e:s ea||e1 si:eas. A::|e wia:e: se|s:iee :|e a:mese|e:ie
seae:i:v1:eesí:emaea:'sea:siag:e:|e|aiiiageíwasesaa1
|am||e|eesaa1:|evi|:a:ieaeía0v'swiag.A::|esamme:se|-
s:iee,a||:|ea|eve-aame10ewe:s ||essem, :eae|iagaei:e|eí
eve:s|:i||a:1e:|ike:|a:eíiasee:s|eve:iageve::|ee|aa:seíea:
aa:iveñe|1s.A:aig|:, |e:e,Sa:a:adas|es:ege:|e:|issis::am
aa1|is:iag.Aa1,a:1awaaa1:wi|ig|:,:|esaaaa1meeaese|e1e
|ike1ive:ee1evm|a|s.
ªHa,|a, "|egaaßesse-1e-Nage,waa:ing:e::vea:|isveiee
|eíe:e]eiaiagia:|e aaive:sa|masiea|:eí:aia,|a::|e:we|eav-
ea|v|e1iesdas|e1:ege:|e: ia a kiss eí:eeeaei|ia:ieaaa1:|e
e|aa:e:ee|e|:a:e1:|ise|aage:easevea::|as.
ªHaeev :|e sage, " |e e:ie1, ªw|e, ea a meaa:aia s|eee,
1e|ig|:s:e|ea::|eseaa1eíevm|a|s;a|eaeia|is|e1eaawakea-
iag, |esiags. Neve:,Iswea:,s|a||mv1esi:esge|evea1w|a:I
a|:ea1veessess! "
Aa1laas::e||,|eíe:e:akiag|eave,1:aakwi:||imwe:mwee1
1is:i||e1ea:|emeaa:aia:ees,aa1:|eskiûes|a|e1i:se|:ema:ie
eea:sea::|e |ea:eímvea:s. Tewa:1:|e:we|eavea|v|e1ies
57
st:ikiagt|e |ea:seíaaieaaa11ivisieaeít|e||aekkevaa1t|e
1ia:aa|kev,a|itt|eaake1e|i|1aa1aw|ite-|ai:e1aaeieatsaagea
twe|eítvee|amas;tewa:1t|is 1ea||e 1iskeísi|ve:�a1eíge|1
t|evsaag:
-! r· Jlªª' [ ßlÊ�����|
Ñ0018 dÎ.8 qu80I08
•-
ÜUÜ
T|ee|1maa|e||ewe1t|ese|eetieaeííea|sv||a||es,aa1t|e
se:ae|iesee:aaeteekaet|e :enaia aeeemeæie1 |vt|ee|ei:eí
aage|s,T|:eaes,Þewe:saa1Demiaieas: . . . pet, a-mor mor, oc­
cu-et, cu, pet, a-mor oc-cu, semper nos amor occupet.
"
T|ew|ite-|ea:1e1eae:gameaeeae|a1e1t|eeee:e|a|iee|:ase
wit|at|:eatve:vaa1aae|seeaeeeate:tiea;att|ismemeat,nem
ea:skiû,w|ie|wasmee:e1att|eíeeteít|is e|a||vaa1e|i|1-
|ike|e1v's ste|e,weeea|1seet|ee:am||iageí|isa:me:ma1eeí
eaame|e1ea:1|ea:1e:eaeeetee:'seaste|ea:1aa1t|e||eemiag
eít|eíe:w-ñve-vea:-e|1sistiae1wa:íssqaa|i1|ea:1.
l:em|ist|:eaeee:mme1wit||a:es,t|e|e:1eít|eis|aa1
g|e:ie1t|at|ise:eatieawasgee1,aa1aswe1:ewawavweeea|1
|ea:t|isme|e1v.
ªHaeevt|esagew|e,eat|e|i||w|e:e|e1we||s,1e|ig|tste
|ea:t|eseaa1eíevm|a|s;a|eaeia|is|e1,iaawakeaiag,|e|ies
58
iat:aaqai||itvaa1swea:st|at|ewi||aeve::evea|tet|eva|ga:t|e
:easeaíe:|is]ev! *
C O N C E R NING T H E H E R M E TI C S H A D E S A N D
T H E K I NG W H O A WA I T E D D E A T H
TO RACHILDE
Ae:eassiagt|e:ive:Oeeaa,w|ie|,as:ega:1st|esta|i|itveíits
sa:íaee,mae|:esem||esa g:eatst:eete:|ea|eva:1,we:eae|e1
t|e|aa1eít|eCimme:iiaa1t|e|e:metieS|a1es,w|ie|1iííe:
í:emt|is:ive:astweaea-|iqai1e|æesmav1m e: - t|atistesav,
iasaeaa1m1ivisiea.T|ee|aeew|e:et|esaasets|ast|eaeeea:-
aaee, |etweeat|eíe|1seeme:isiagt|eTewa'smeseate:v,eít|e
ve:miíe:maeeea1iseíaeaeeam.Ita|eaa1sia||ia1a||evsaa1
ea|s-1e-sae, seme eíw|ie|eseaa1iateeave:as.Iaeaeeít|ese
t|e1av·sta:wasweatteeaûitse|íae.le:t|eñ:sttimeIaa1e:-
stee1t|atitwaseessi||ete:eae|t|eaa1e:sa:íaeeeít|etaagi||e
|e:aeaaa1seet|esaaí:emsee|eseae.
T|e:e is a meast:eas tea1 w|ese meat| is 0as| wit| t|e
Oeeaa'ssa:íaeeaa1w|esemaetieaiste1evea:t|esaakea1isk,
t|ewavt|emeeaeatst|ee|ea1s.Itgeaa0eets1ai|vmitsei:ea|a:
59
eemmaaiea;att|ismemeatsteam:isesí:emitsaest:i|s, aa1t|e
g:eat0amea:isesw|ie|ist|esea|seíee:taiaeeee|e.T|isisw|at
Þ|ateea||e1t|eaeee:tieameat|v|ets eísea|seatsi1et|eee|e.
Aa1itsgeaaí|eetiea,|eeaaseeít|est:aeta:eeíits|im|s,isa|se
asqaattiag.T|e1a:atieaeíits1eg|atite:v]a|i|atieaist|e:eíe:e
wit|eat1imeasiea,aa1siaeeit1igeststet|e:|vt|meíavige:eas
eaaetaa|itv,itsiatestiaes:emaiaaaeeaseieaseít|et:aasite:vsta:
w|ie|,iaaavease,isia1igesti||e.It|a::ewsaeassageiat|esa|-
te::aaeaa 1ive:sitveít|e ea:t|aa1 eme:ges í:emt|e eeeesite
ee|e,w|e:e it ea:ges itse|íeít|e ese:emeatswit|w|ie|it|as
sei|e1itse|í. Itisnemt|is1et:itast|att|e1evi|Þ|a:a|is|e:a.
Iat|e|aa1w|e:et|esaaisete:aà|v1e:maat,t|e:eisakiag
w|eisitsemee:eít|egaa:1aa11aete s|a:e itsíate,awaitiag
1eat| eae| 1av, |e |e|ievest|at a aig|twi|| seme time :emaia
ee:eaaia|, aa1iaqai:esaûe:t|eevaeaatieas eít|etea1eat|e
|e:aea.ßat|e|asaetimeteeeasi1e:t|esta:|asteamg,its|e||v
we|||iag, iate t|e a1]eiaiageave:a. |e ea::ies ami::e:ea |is
aave|w|ie|gives|ima:eí|eetieaeíit.Hisse|eeastimeis|ai|t
í:em a|easeeíea:1s, te w|ie| |e a11s a ste:v eae| me:aiag,
|e:e,eaeeameat|,t|e|e:1seít|et:aaseeatiaeis|aa1seemete
1e|aae|t|emse|ves.W|eat|eeast|eiseaeee1wit|eaeste:vtee
maavt|e sta:wi||0as|t|:eag|itiaitseea:se,aa1t|atwi|||ea
eeasi1e:a||eeatae|vsm.ßatt|ekiag|as|eeasameieat|v]a1ieieas
aette|ai|1iteat|e ee|ietiee|aae.Aa1t|eeast|ekeees its|a|-
aaeeiaesaete:eee:tieateits|eig|t.
60
Siaeeeveaiagwas1eseea1iagasßesse-1e-Nage1:ewea:skm
aeeatet|e |aak, t|ekiagwasawaitiag1eat|asasaa|, aa1t|e
tea1wasgaeiagmaetieaa||v.T|eea|aeewasswat|e1ia||aekaess,
eeae|es|a1|eeae:eea:e1íe:t|e|e1ies,aa1e|i|:e:s:e1ea1ea
t|eeeaseieasaesseíageav.ßesse-1e-Nage,t|ea¿|aete:eíess-
iagit|vat|eag|:|ess|vva:iega:e1|eqaaeitv,e:i1e1|imse|íea
|emg1eeate|egiea|,aa1t|eag|t|imse|íia|eae:|eaa1te1:ess
aeiaa||aekees:ameaa1tee:ewa|isska||- w|ie|:esem||e1
aai||-íave:e1eaea:|it- wi:|aße|giaa|ateaea||eeíste:iagae
|amiaeasvi|:atieasiawave|eagt|seqaa|tet|eseeí|iseestame,
:|ee:ewaeíw|ie|:esem||e1|a|ía1emaetg|e|e.
Aa1:|eaig|teemeate1its|ea:sseesaet|vt|at|ames|a1te
|e|i:.
Sa11ea|vt|e:ea1's1eseea1iagee|eat|aa1e:e1,aa1t|eaea-
a|imea:a:v|e|aseíea:eñ:eteekitsasaa|ea:|eaeeme:etewa:1
t|eee|eeí:|e1evi|Þ|a:a|.
Iaast:ikiagmetame:e|esist|emea:aiagee|e:eít|e|aag-
iags ta:ae1 iate ea|e :ese. T|e e|i|te:s we:e 1:aak ]evm||v
t|:eag|t|e :ee1seíÞaaeiees, aa1w|ea|itt|ewemeawe:e|ai1
eatea:|e:e1-|eteeae|es,ßesse-1e-Naget|eag|tt|etime|a1
eemete|:iagma:te:steaeeia::
ªHa|a! °|e1ee|a:e1iaasamma:vías|iea,|a:|esawt|a:
we|a1 gaesse1|ist|eag|ts,aa1wate|e1wit|g:eatsa:e:ise :|e
sime|iei:veí|isße|giaa|at:e||aeeat|eea:eetwi:|t|e:eea|ei-
t:aa:1iaeíaasweee'si:ea|:as|.
61
B O O K F O U R
C1 l HAL 9RGY
C O N C E R N I NG T H E L A N D - TI D E A N D T H E
M A R I N E B I S H O P M E N D A C I O U S
TO PAUL VALERY
laast:e||teek|is|eavew|i|et|eaig|twassti|||aagiag,|ikea
eeee,í:emíea:eít|eea:1iaa|eeiats.Aa1Û Iaske1|imw|v|e
1i1aetstav1:iakiagaati|t|esaa'saestsa11eae|aage,|ea:ese
iat|eskiûaa1,wit||isíeeteat|eaeekeíßesse-1e-Nage,ma1e
seaa1iagsdeagea::eate.
Heeem1e1temet|at|ewasaí:ai1eí|eiageaag|taaawa:es
|vt|ee||ti1e,siaeet|eee:ie1eísvivgvwasaea:iagitsea1.Aaá
Iwasseiie1wit|íea:,|eeaasewewe:esti||:ewiagw|e:et|e:e
wasaewate:,|etweeat|ea:i1itveít|e|eases,aa1seeawewe:e
62
eeastiaga|eagt|eeavemeatseía1astvsqaa:e.Asía:asIeea|1
aa1e:staa1, t|e 1eete:wasta|kiaga|eatt|eea:t|'stides,aa1I
t|eag|tt|ateaeeíasmast|e1:aak,aa1t|att|e g:eaa1was
siakiag tewa:1 its aa1i:, |ike a íat|em|ess 1eet| :evea|e1 ia a
aig|tma:e.Ikaewaewt|ataea:tí:emt|e0aseíits|ame:saa1
:|e1iaste|eaa1svste|ew|ie|eameitsei:ea|ate:v||ee1,t|eea:t|
is|a|giagwit|iate:eesta|mase|esaa1|:eat|es aeee:1iagtet|e
meea's:|vt|m.ßatt|e:ega|a:itveít|is|:eat|iagisve:vgeat|e,
aa1íeweeee|ea:eawa:eeíit.
laast:e||teeksemeast:a|measa:emeats,t|evisi|i|itvt|:eag|
t|ea||agiaeeasskveve:t|isaa::ewst:eet|eiagesee||eat,aa1
te|1meteaete1ewat|eíaett|att|ete::est:ia|:a1ias|a1a|:ea1v
s|:aak 1 . 4 s 1 0 ·
6
eeatimete:s, t|:eag| t|e sa|si1eaee ia t|e
:e0as. He t|eagave e:1e:s te ßesse-1e-Nage te eastaae|e:,
assa:iagast|att|ese|ee:etest,we:t|veí|isDeet:iae,íe:aa
ea1 te ea:1:iítiag]ea:aevwas t|att|et|iekaesseít|e ea:t|
|eaeat|ea:íeetasía:asitseeate:wasae|eage:1eeeeaeag|te
satisnea:|eae:.
Newitwasmi11av,t|ea||ev' saa::ew|eagt|as1ese:te1as
aaemetv|e||v; aa1weeatiateee:t, asitwaseasvtete|||vt|e
aam|e:s eat|e wa||, iaí:eateít|e íea: t|easaa1 aa1íea:t|
|easeeít|e:ae1eVeaise.
ßetweeat|eg:eaa1|eve|swit|t|ei:0ee:seí|eateaea:t|,
eve:|eeke1 |v 1ee:swi1e: t|aa t|e st:eet |at|essagaeet|aa
wemeawaitiageat|eaaiíe:mitveít|ei:|e1s,laast:e||:aise1t|e
63
qaestieaeí|e:t|iagt|e skiûiaseme1eees|e|te:.Sa11ea|v|e
eeiate1,aa1Iwasaetve:vsa:e:ise1teseea:isenemt|et|:es|-
e|1eíeaeeít|e|a:estaa1mestse:1i1|eve|sama:iaeee:seaage
a|st:aete1í:em|eekXIII eíA|1:evaa1i'sMoniteri; |aviagt|e
aeeea:aaeeeía|is|ee,aa1,me:eea:tiea|a:|vt|etveeeí|is|ee
w|ie|wasateaetime, aeee:1iagte t|e|eek,ñs|e1aeeíít|e
eeasteíÞe|aa1.
Hismite:waseíñs|sea|esaa1|ise:ess|iket|eee:vm|eía
:e0ese1teatae|e;|ise|asa||e,w|ie|Iteae|e1,wasa||eae:aste1
wit| steaesí:emt|e1eet|saa1eea|1easi|v|e|iíte1aeiat|e
neataa1att|e|aek,|at,|eeaaseeít|ee|astea1|e:eaeeeít|e
eatis,|a:1|vata||a|evet|ekaees.
T|e ma:iae |is|ee Mea1aeieas ma1e aa e|eisaaee |eíe:e
laast:e||,e:eseate1teßesse-1e-Nageaaea:ñg¹¹g:atis,aa1w|ea
t|eskiííwasiat:a1e1iatet|evaa|te1|e:t|aa1t|e1ee:'sva|ve
e|ese1eaee me:e,|ee:eseate1meteVisite1,|is1aag|te:,aa1
te|istweseas,Distiagais|e1aa18st:avagaat. T|ea|eiaqai:e1
eíasw|et|e:itwea|1|eag:eea||eteas,qaitesaeeiaet|v,te:
64
D RIN K
TO PIERRE OUILLARD
Heweve:, laast:e|| |iíte1 wit| |is íe:k tewa:1 |is teet| ñve
|ams,w|e|e,:easte1,aa1|eae1,í:emSt:as|ea:g,ßaveaae,t|e
A:1eaaes,Ye:kaa1Weste|a|ia,d|1:ieeiagwit| 1e|amis|e:ge:;
t|e|is|ee's1aag|te:,ea|e:kaeesaa1e:t|e ta||e, ñ||e1eaee
agaiaeae|aaiteít|easeea1iag|iaeeí|eete|ite:eaesiat|emev-
iag|e|tw|ie|e:esse1t|eta||eianeateít|e1eete:aa1easse1,
emetveíitseeateats,aea:t|e:aise1t|:eaeeíßesse-1e-Nage.I
gavemvse|íat|i:st|vswa||ewiagas|eeet|at|a1|eea:easte1
a|ivew|i|e:aeiaga|eagaeet:e|-seake1t:aekaati|1eaeteata:a.
Distiagais|e1 aa1 8st:avagaat 1:aak as t|i:sti|vas aa|v1:eas
sa|e|a:ieaei1,ast|ei:aames|a1ma1emesaseeet, aa1t|:eeeí
t|ei:]ew|s wea|1|ave eaeemeasse1aea|ie mete: eíñ:ewee1.
Heweve:,ßis|eeMea1aeieas:eí:es|e1|imse|íese|asive|vwit|
í:es|wate:aa1:at'seiss.
Ateaetime|e|a1|eeaiat|e|a|iteímisiagt|is|astsa|-
staaee wit| |:ea1 aa1 Me|aa e|eese, |at |a1 saeeee1e1 ia
saee:essiagt|esaee:e:egate:vvaaitveít|esese|i1eea1imeat�.
Hesaeke1iawate:í:ema1eeaate:eíge|1|eateaast|iaast|e
wave|eagt|eíg:eea|ig|t, se:ve1eaat:avma1eeít|em:|:at|e:
65
t|aa ee|t:v, siaee t|e |ishee waate1 te |e ías|ieaa||e) , eít|e
í:es||ví|ave1íeseía1:aaka:1,¹
¹
iaseasea,aa1qaiteeqaa|tea
tweatiet|eít|e|atte:'sweig|t.Sae||asa:visaetveae|saíe1te
a||. t|e|is|eekeet:atsateae:measeseease,aa1a|se,ia:eems
eave1wit|maae|s,aw|e|ese:ag|ieeí1:aaka:1s,w|eseeeave:-
satiea|eimitate1:
ªDeveat|iak, *|esai1te laast:e||, ªt|atawemaaeaaeve:
|eaake1?Iaw|at1evea:eeegaaet|eaake1aesseíawa||?*
ªW|eaitis1evei1eíwia1ews,1ee:s,aa1et|e:eeeaiags, *
eeiae1t|e1eete:.
ªYea: :easeaiagis gee1,*eeatiaae1Mea1aeieas. ªNake1
wemeaa:eaeve:aake1,eseeeia||ve|1wemea. *
He1:aakag:eat1:aag|t st:aig|t eateí|is ea:aíe,w|ese
eeiateísasteatatieawase:eeteaitsviseeasea:eet,|ikea:eet
te:aí:emits|a:ia|e|aee.T|eeateaa|ateeeaveve:|e|teíeaes
m||eí|iqai1e:wia1e|aate1|iket|e iaeisieama1e iaa:ive:'s
|e||v|vt|e:esa:veíaai||amiaate1tew|eat.
ªNew,*eeatiaae1t|e|is|ee,ª1:iakaa1eat. Visite1,se:ve
aswit|seme|e|ste:! *
ªWasitaeteaeeías|ieaa||eiaÞa:is, *I|aia:1e1,ªteeûe:
t|eseaaima|siaeea:tesv,|ikeasaaû-take:e:eûe:iag|issaaû-
|es? ßat, í:emw|atI|ave |ea:1, eeee|e we:e ia t|e |a|it eí
:emsiagt|em,e|aimiagt|att|evwe:e|ai:ve|a:iee1esaa1:eea|-
sive|v1i:tv. *
ªHe-|am,|e-|am, *eea1eseea1e1t|e|is|ee.ªIí|e|ste:sa:e
66
1i:tvaa1aea-1eei|ate1,itisee:|aesae:eeít|att|eva:enee.A
ae||e:íatet|aat|ateít|eeaaeíee:ae1|eeíw|ie|veaea::vea
a:i||ea:eaa1vea:aeek,1eete:aavigate:,|iket|eeaseeíaeai:
eísa|te1|iaeea|a:st|:eag|w|ie| vea|ikete se:atiaiieeeee|e
aa1e|]eets.
ªßat,|istea:
THE LOBSTER AND THE CAN OF CORNED BEEF
WHICH DOCTOR FAUSTROLL
WORE ROUND HIS NECK
Ftble
TO A. -F. HEROLD
A can of cored beef, chaned like a lorgnette,
Saw a lobster pass by which resembled her fraternaly.
He was armored with a hard shell
On which was writen that inside, like herself, he was fee
of bones,
(Boneless and economica

;
26
And beneath his cured tail
He was probably hiding a key with which to open her.
Lovestricken, the sedentary corned beef
Declared to the little automobile ca of living potted meat
67
That if he would deign to become acclimatized,
By her side, in the world's shopwindows,
He should be decorated with several gold medals."
ªHa|a, *me1itate1ßesse-1e-Nage,|at|e1i1aet1eve|ee
|isi1easme:eeeme:e|easive|v.
Aa1laast:e||iate::aete1t|enive|itveít|eeeave:satieawit|
aaimee:taatseeee|.
C A P I T A L L Y
Deete:laast:e||eemmeaee1.
ªI1eaet|e|ievet|atæaaeeaseieasma:1e:ist|e:eíe:eaee-
essa:i|vmetive|ess.itisaetgeve:ae1|vaaveemmaa1emæatiag
nemasaa1|asae|iakwit|t|ee:eee1eate|eaemeaaeíea:ege,
|atitee:taia|víe||ewsaaeste:aa|e:1e:,itiswit|iat|ee:1e:eí
este:aa|e|eaemeaa,aa1it|asaeaasetaatisee:eeeti||e|vt|e
seasesaa1ist|e:eíe:esigaiñeant.
ªI|aveaeve:|a1t|e1esi:eteki||eseeetaûe:seeiagahorse's
head, w|ie||as|eeemeíe:measiga,e:aa e:1e:,e:me:ee:e-
eise|vasigaa|,|iket|e1ewa-ta:ae1t|am|iat|ea:eaa,t|atthe
time|aseemetest:iket|e||ew,aa1|estveas|ea|1smi|e,Is|a||
68
ese|aiateveat|att|e:ea:e1ea|t|essseve:a|:easeasíe:t|is.
ªT|esig|teíave:vag|ve|]eetee:taia|ve:evekeseaete1e
w|atisag|v. New,w|atisag|visevi|. T|esig|teía:eve|tiag
eea1itieaiaeiteseaete:eve|tiage|easa:es. T|eaeeea:aaeeeía
íe:eeieasmmi|ewit|t|e|eaess|ewiagimee|seaeteaíe:eeieas
aetaa1t|est:ieeiageít|e |eaes. New,t|e:eisaee|]eetia:|e
w|e|ewe:|1asag|vast|e|ea1eía|e:se,eseeetee:|aest|ateí
t|eg:ass|eeee:,w|ie|isa|mestesaet|vsimi|a:wi:|eat|aviagt|e
gigaatie siie eít|e íe:me:. Aa1 vea kaew t|at t|e ma:1e: eí
C|:istwasíe:es|a1ewe1|vt|eíe||ewmgíaet.t|atMeses,set|at
t|eSe:ieta:esmig|t|eaeeeme|is|e1,|a1ee:mitte1t|eeatiageí
t|e|:ae|as,t|e attaeas, t|e ee|iemae|as aa1|eeast,¹'w|ie|a:e
t|eíea:seeeieseíg:ass|eeee:. "
ªHa|a! "iate:eese1ßesse-1e-Nage|vwaveí1ig:essiea,|at
|eeea|1ña1aeva|i1e|]eetiea.
ªAa1m:t|e:me:e, "eeatiaae1laast:e||imee:ta:|a||v, ªt|e
g:ass|eeee:isaeta|teget|e:ameast:easaaima|,|aviagae:ma||v
1eve|eee1mem|e:s,w|e:eas t|e|e:se,|e:aíe:ia1eñaite1eíe:-
matiea, |as a|:ea1v, siaee t|e e:igia eíits seeeies, a|t|eag|
ea1ewe1e:igiaa||v|vaata:ewit|íea:íeetm:ais|e1wit|ñage:s,
saeeee1e1 ia :eea1iatiag a ee:taia aam|e: eíits ñage:s aa1
ia]ameiaga|eateaíea:se|ita:v|eeves,esagge:ate1aa1|e:av,
|ike a eieee eíía:aita:e s|i1iag eaíea::e||e:s. T|e|e:se is a
e|aae|ette.
ªßatt|e|ea1a|eae,a|t|eag|Ieaaaet1eñaemv:easeas-
69
ee:|aes|eeaaseeít|esime|eeae:mitveíitsteet|aa1t|ea|em-
iaa||e :ietasaata:a|te it- isíe:met|esigaeía||íe:eeitve:
:at|e: t|esiga eí1eat|. Aa1t|eAeeea|vese sai1 e:eeise|via
sigaiíviagt|eíea:t|seea:get|at: 'Deat|wasmeaate1aeeaa
ea|e|e:se. 'W|ie|Iiate:e:ett|as. 't|esew|emDeat|eemeste
visit see ñ:stt|e |ea1 eít|e |e:se. 'Aa1 t|e wa:'s |emiei1es
1e:iveí:emeqaitatiea.
ªNew,iíveaa:eea:ieas tekaeww|vIam :a:e|viaeite1te
ma:1e:mt|est:eet,w|e:et|e|e::i||e|ea1ma|tie|iesianeateí
a||t|eve|ie|es,Iwea|1:ee|vt|atasigaa|,te|e|ea:1,mast|e
ise|ate1,aa1t|atama|tita1e 1eesaeteessesst|ea|i|itvtegive
æ e:1e:.Aa1]astas8 t|easaa11:ams1eaetmakeasmae|aeise
asasiag|e1:am, aa1at|easaa1iate||igeaeesíe:mame|meve1
|viastiaet, seaaia1ivi1aa|isaetaaia1ivi1aa|íe:mew|ea|e
aeeea:siat|eeemeaaveíseve:a|eí|iseqaa|s,aa1Imaiataiat|at
a|ea1isea|va|ea1w|easeea:ate1nemits|e1v.
ªAa1ßa:eaMaae|aaseawasaeve:|:ave:atwa:aa1|ette:
at ki||iag t|aa eat|e 1av w|ea, t|e ee:tea||is sa:meaate1, |e
aetiee1t|at|e|a1|eû|a|íeí|ismeaateat|eet|e:si1eeít|e
s|a:egi:1e:."
ªHa|a! *ese|aime1ßesse-1e-Nageaee:ee:iate|v;|atßis|ee
Mea1aeieasiate::aete1|mteeeae|a1e:
ªWe||, 1eete:, se |eag as we aeve: ta|k wit| vea ia t|e
e:eseaee eía 1eeaeitate1 |e:se- aa1 ae te t|e e:eseat time
t|e se|iee1es a:e eat ae :at|e: t|aa gai||etiae1 - wemav|e
70
ee:mitte1teeeasi1e:vea:ma:1e:eastemetatieasasaaag:eea||e
ea:a1es. °
T|ea|eseatastes|eeewit|amaea:eaieG:eek|a:aagae,ia
w|ie|,tessiagmv|ea1, I eea|1ea|v make eat t|e |ast ee:íeet
e:eeesitiea:
• • • EY AEA. "
2
8
. 8
C O N C E R N I NG T H E D E A T H O F A N U M B E R O F
P E O P L E , A N D M O R E E S P E C I A L L Y
O F B O S S E - D E - N AG E
TO MONSIEUR DEIBLER, SYMPA THETICALL Y
The litte squat mower arrived ad strted O work. He gave
such strokes wit his scythe that he flled a quaer of a wag­
onfl of hay, or more, so vigorous was he; and what is more,
he took no pleasure in sharpening his scythe; but when it
blade was dulled he drew it along his teeth, with a sound lie
f r o o o o o c. Thus he saved time.
- B E R OAL DE D E VE RVI L L E ,
h0K I0 50CC££0, X X I V .
2
9
Aûe: 1:iakiag, we teek a wa|k t|:eag| íeggv st:eets, wit|
Mea1aeieasiat|e|ea1.Siaeet|eeeiseeea|aata:eeí|isvestmeats
71
gaveeeee|et|eime:essieat|at|ewase:e|a||vaa|eaestmaa,
aeeaeeseeett|e1eete:aa1mvse|íaetiee1t|at|ewasaa|eek-
iagt|es|eesigaswit||ise:esie:,asiíiaa1ve:teat|v,aa1giviag
t|emg:aeieas|vteßesse-áe-Nageteea::v,t|e|atte:t|aakiag|im
wit|t|esiag|ewe:1: ª|a|a,"íe:,aseaekaews,|ewaseeeese1
tea||i1|eve:|iage.
Aa1Iwasaetvetawa:eeít|e|is|ee'se|a:itviaa||ewiagt|e
s|eesigasteía||1ewa.
Sa1áea|vt|ee:esie:'sea:|iag|ea1|egaateaaea:|,íaeeáwit|
t|e teag|aesseía gi|t me|1iag¹ªa|evea|e:se-|ate|e:'ss|ee.
T|eg|i1iag0ig|t|eve:e1asaaaaima|maskaaáasatweíe|1gaie
nema|eveaa1|e|ew.
Faast:e||,ve:vedm,|itasma||ee:mme1eaa1|ew|ie||a:ae1
íe:seveaáavs.
T|eñ:st1av,t|e0amewas:e1,aaá:evea|e1t|eeatege:iea|
eeiseaiat|eai:,aa1t|e1eat|eía||seaveage:saa1se|±e:s.
T|eseeea11av,eíwemea.
T|et|i:1,eísma||e|i|á:ea.
T|e íea:t| 1av, t|e:e was a :ema:ka||e eeiieetie 1isease
ameagt|eseqaa1:aee1seeasi1e:e1eái||eeaeea1itieat|att|ev
we:e:amiaativeaa1eessesse1ae|evea|eeí.
T|esaíí:eaeem|astieaeít|eñít| 1av1eeimate1a||eaek-
e|1saa1|ai|iûse|e:ks,|atIwaseíasaee:ie:g:a1e.
T|e||aee:aek|iageít|esist|1av|asteaeát|eimeea1iag
ea1eía|||ieve|ists,eía||t|eseat|east,wit|eateseeetiea,w|e
72
íasteat|ei:t:ease:eaûswit||e|ste:e|aws.
T|e |ig|t e|aage1 iate smeke ea t|e seveat| 1av, aa1
Faast:e|||a1a|:eat|iagseaee.
Mea1aeieasaa|eeke1t|es|eesigaswit||is|aa1s,aûe:ask-
iagíe:a|eg-aeí:emßesse·1e·Nage.
Aa1t|eíeg1issieate1weig|t|ess|viaeeat:imga|1i:eetieas,
|eíe:et|ea:e|eía:i1iagse|ee|'sg:eat1ee:;aa1Faast:e||was
eve:takeaagaia|viasaaitv.
T|e|is|eeteekte|is|ee|s,|ataetqaiek|veaeag|tee:e-
veat Faast:e||í:emtea:iageû|is mite:w|i|e itwas sti|| a|ive;
w|e:easIwasaetme|este1|vt|e1eete:,íe:Iwasa:me:e1wit|
mvaæeÞaamae||e.
8atFaast:e||e:eae|e1eve:t|e|a|eea,se:ea1iag|isíea:
|im|seateat|eg:eaa1aa1st:aag|iag|imí:em|e|ia1.ßesse-
1e-Nage ma1e a siga t|at|e wis|e1 te seeak, aa1, w|ea t|e
1eete:|a1:e|ase1t|eg:ieeí|isñage:s,sai1iatwewe:1s.
ªHa|a!"aa1t|esewe:et|e|asttwewe:1s|eatte:e1.
73
C O N C E R N I NG S O M E F U R T H E R A N D M O R E
EVI D E N T M E A N I N G S O F T H E WO R D S
"
H A H A
"
. . . And I'll declare
He's moning up some landscap'd alley where
A ha ha lurks ahead. All unaware
He won't, until he's tmbled, kow it's there.
- P I RON 3 1
Wemave:eee:|vt:eat|e:eeít|eeastema:vaa1saeeiaetseeee|
eíßesse-1e-Nage,set|atitmav|ema1ee|ea:t|atitiswit|:ea-
seaa||e iateatiea aa1 aet í:em meeke:v t|at we |ave a|wavs
:eee:te1itiaitsm||esteat,teget|e:wit|t|emeste:e|a||eeaase
eíitse:emam:eiate::aetiea.
"
HA HA,
"
|esai1eeaeise|v; |atwea:eiaae waveeaee:ae1
wit|t|eaeei1eata|íaett|at|easaa||va11e1aet|iagme:e.
Ia t|e ñ:st iastaaee, it is me:e ]a1ieieas te ase t|e
e:t|eg:ae|v AA, íe: t|e asei:atiea h was aeve: w:ittea ia t|e
aaeieat|aagaageseít|ewe:|1. Ite:ee|aime1iaßesse-1e-Nage
eûe:t,se:vi|e aa1 e||igate:v |a|e:, aa1t|e eeaseieasaess eí|is
iaíe:ie:itv.
A ]astaeese1teA, wit|t|eíe:me:e|vieas|veqaa|tet|e|at-
te:,ist|eíe:ma|aeít|ee:iaeie|eeíi1eatitv.at|iagisitse|í. Itis
att|esametimet|emestesee||eat:emtatieaeít|isve:ve:eeesi-
74
tiea,siaeet|eoet's1iûe:iaseaee,w|eawew:itet|em,i aet
ia1ee1iatime,]astastwetwiasa:eaeve:|e:ateget|e:- evea
w|eaissaiagí:emt|ee|seeae|iataseít|emeat|eíßesse-1e-
Nage.
T|eñ:sttwasee:|aeseeag:aeattet|eseeea1,aa1wewi||
t|e:eíe:ewiäiag|vw:itet|as.t ¯ t.
Þ:eaeaaee1 qaiek|v eaeag|, aati| t|e |ette:s |eeeme eea-
íeaa1e1,itist|ei1eaeíaaitv.
Þ:eaeaaee1s|ew|v, itist|ei1eaeí1aa|itv,eíee|e,eí1is-
taaee, eí svmmet:v, eí g:eataess aa1 1a:atiea, eí t|e twe
e:iaeie|eseígee1aa1evi|.
ßatt|is1aa|itve:eves a|set|att|eee:eeetieaeíßesse-1e-
Nagewasaete:ieas|v1iseeatiaaeas,aettesav1iseeatiaaeasaa1
æa|vtiea|,aasaite1tea||svat|esesaa1tea||a1eqaatieas.
Oaemaveeañ1eat|vassamet|at|eeea|1ea|vee:eeiveseaee
ia twe 1imeasieas, aa1 was :eí:aete:v te t|e i1ea eíe:eg:ess,
ime|viag,asit1ees,asei:a|ñga:e.
It wea|1 |e a eeme|ieate1 e:e||em te sta1v, ia a11itiea,
w|et|e:t|eñ:sttwast|eemeieateaaseeít|e seeea1. Letas
eeateatea:se|veswit|aetiagt|atsiaeeßesse-1e-Nageasaa||v
aue:e1emvttaa1aet|iagme:e|tttwea|1|et|eme1iea|íe:-
ma|aAmalgamate}, |e|a1evi1eat|vaeaetieaeít|eHe|vT:iaitv,
ae:eía||t|iagst:ie|e,ae:eít|eaa1eñae1,w|ie|eemmeaeesat
t|:ee,ae:eít|eia1ete:miaate,ae:eít|eUaive:se,w|ie|mav
|e1eñae1ast|eSeve:d.
75
Ne:eíaaveae e|se. Aa1,iaíaet,t|e1av|ewasma::ie1,|e
ia1ee1íe|tt|at|iswiíewase|astewit||im,|at|eeea|1aette|l
w|et|e:s|ewasavi:gia.
Aa1ia |isea||ie |iíe |e aeve:aa1e:stee1t|e ase, eat|e
|ea|eva:1s,eít|esei:eakiesksw|eseeeea|a:aame1e:ivesnem
t|eíaett|att|eva:e1ivi1e1iatet|:eet:iaaga|a:e:ismsaa1t|at
eae eaaaseea|veae-t|i:1atatime,
¹¹aa1|e:emaiae1,aati| |is
1eat|,|:aa1e1t|as|vCaetaiaKi11:
BOSSE -DE -NAGE
Papio cocehalus,
|eíea|iagaa1:avagiageve:vt|iagia1ise:imiaate|v.
We|aveea:eese|vemitte1tesav,t|eseme±ags |eiagve:v
we||-kaewa,t|atha ha isa1ite|e1gaeiaawa||att|eea1eíaga:-
1eaeat|, aaa:me1eite:mi|ita:vwe|| iate w|ie| e|:emestee|
|:i1gesmavee||aese,aa1t|atAA mavsti|||e:ea1eat|eme1a|s
st:aekatMeu.IíFaast:e||'sskiû|a1|a1a|ewse:it,ha ha wea|1
|ave1esigaate1aseeeia|sai|e|aee1|eaeat|t|e]i|s. ¹
76
B O O K FIVE
9 1 I R CJ AI I Y
) 0
C O N C E R NING A T H O U S A N D VA R I E D M A TTE R S
TO PIERRE L OTI
ßatt|e|is|ee,1eeaeitate1eí|ismite:,wasiaa|a1waveí|asi-
aess,|eiagaaaeeasteme1teattea1te matte:sniri in pontifcalibu.
Fe:w|ie|:easea,|eeate:e1|ise|eset,viema||e1wit|at|easaa1
va:ie1matte:ssaita||eteeaeea:ageae:ae.
Oat|e|itt|eta||ew|e:ee:1iaa:i|v:e||seíeaee:aaíe|1t|em-
se|ves,aíat|itt|e|asteía]e||v|itt|emaawit|ase:a||v|itt|e|ea:1
ea:a1e1ia|eet|e-g:eea.
T|e]e||v|itt|emaawa11|esí:em:ig|tte|eíteat|e|emis-
ee:ieioeí|is|ase,aa1t|e|is|eewea|1|ave:eeegme1,|a1|e
|eeaamem|e:eít|eesee1itieaatt|attime,t|ese:iatiag|eg|ess
77
e:iee|eesee||e1í:emF:ag:aatis|e.Iíeaa1eat|ate:t|at|e|a1
met|im, at|ess eseease aa1|eekiageveame:e|ike|imse|í, ea
t|eva|ga:e|eekiat|esittiag:eemeíaae|1|a1v.T|eea|mate
|eg|esse:iee|e:aise1|imse|íaeeat|ea:tiñeia||ee|seí|is|ew|
aa1eûe:e1t|e|is|eeeea:teeas|vaea1eísqaa:e1eaee:asaa
a|ste:sive:
ªI|a1:ese:ve1itfor m' mother, " |esai1,ª|at*|eeiatiagte
t|e|is|ee'samet|vst) ,ªasist|e ease wit||e:,the Christian faith
permits Y0u to read with serenit the most somber subjects. Yea|aveaet
vetma1easeeímvse:vieesiat|is wav, |atveawä|see t|atit is
een more me. "34
ªT|iseaee:i t|eagemg . . . ?" sai1t|e|is|ee.
ªkea1 ee:seve:iag|vwit|a||vea:eves, aav eveawit| vea:
mestsee:eteve. T|iseaee:isseve:eiga.It would b . . . Y0u so, if
onl' Y0u knew!"3
5
ªYea|ave1eei1e1me,*sai1Mea1aeieas.
ªTakevea:e|aee,t|ea,ameagt|eseei|eseí|ess emeaeieas
saeeesite:ies.Itistime:I alone can still distinguish behind aea:|va||
these accumulated words THE BOTTOMLESS ABYSS. *¹ª
He]amee1aim||viatet|e1esigaate1eit, aa1|ikeaa i:ea
gaaat|ets|i1iag1ewat|e|aaiste:seíastai:ease,t|e:eve:|e:a-
tiea eí|is iiae |ew| 1ie1 awav a|eag t|e 1ea||e ta:a eít|e
1eeesite:veiee. |att|eve:seseíMess:s.Dt:ea|t1eaa1Yaa-
Ni|e:,¹':e||e1iasi1et|iseeaeavemirliton, saeee:te1|imwit|
t|ei:íeet.
78
Reading by the Bishop
while going about his business.
DEATH OF LATENT OBSCURE
ªß:: . . . |::. . . |::. . . |::: . . . e|ea . . . |atse|. 8 . Ltent Obscure
is leaving u . . e ß:::. . . |:::e . . The moment of agony has been con-
summated ø • ø |::. . . |::. . e The mometar oblivion induced by slee.
Ave:se.Must she then die Ltent Obscure 4 . a Hea|. . . e|ea|ø . . It
is feezing hard a • ø general siniste impression 8 • 4 |::. . . |::e 4 .she is
already halfay into the abyss a a ø |ea||ea|. . .Bitter tears . . . the
doctor says that she will not last the night e • e Oûwit|vea,í:eg!1ewa
iate t|e s|a1es |e|ew. ¯ Her life is drawing to a close" |Vei|e1
1:am)." The cold bores into one's bones" ||is). ªT:a:atatat! *|T|e
|is|ee|ams]eveas|v.) ªIat|e t:aiaeía :egimeat, our faithfl
Melanie, who comes fom a stock of devoted old serants, who have
practically become membes of the family a • ø "
ªCea:age,veaa:e1eiagñae, *e:ie1eatt|e|itt|emaaí:em
|e|ew. ªCa::vea,1eaet|eanai1eíiaeeaveaieaeiagme·I shall
slee right next door in the Arab room. "
" The bitter strggle of the ed, " ag:ee1t|e|is|ee,sti||:ea1iag;
ª|:::. . . |:::. . . agonizing nightmare. Horible momet. Letas:ea1
wit|t|eet|e:si1e'seve:the lst ritul cleansing, the poor corse, the
horible little bed, the great bed, the pale forehead, the dear face, this te­
rible little bed. "
79
" We rise and descend like ghosts, " eaateát|e|eavesiat|ei:sae-
eessivese:viee.
ªT|eseGREEN PALMS ,
"
eeatiaaeát|e|is|ee:eme:se|ess|v,
"placed crosswise on the breast . . .
ªT|aakveaíe:vea:geeáwis|es, "te|ee|eaeát|eia|a|itaat
eít|e eiee. ªIamáe|ig|teátesee t|atveaa:eaet|eaviagasvet,
seateáatt|eteeeímve|imaev. The pale pale winter's da . . . serene
counteance . . . supreme image, so pretty!"
" Vague impressions, " eeatiaaeáMeaáaeieasmeáest|v.
" The pale features, the getle smile! Latent Obscure smiles so
sofly . . .
ªHea|!e|ea|. . . Obsesive impression, infnitely sad . . .ß:::. . .
|::.. .:ata tat!
" The dear voices and the dear sounds a • a good smiling eyes, so
sad a 4 •
"
LATENT OBSCURE HAS LEFT US ! ! ! t|aaks |ete Geá,"
ese|aimeát|e|is|ee,gettiagae.
ªT|aaks, "ee|eeát|e|itt|emaa. "A warm sun. Open windows.
Big cupboard, tiny box. I am smoking O oriental cigarette!"
"Perhaps this is the last time, " saiát|e|is|eesittiagáewaagaia,
saááea|víe:eeáte :esame|is :eaáiag, aaá:eaáiagwit|est:eme
eeaeeat:atiea,"that regret for Latent Obscure welled up in me with that
intesity and in that peculiar form which brings tears, for all is suddenly
calm, al becomes normal, forgotten, and there is a veil, a mist, an ash,
something indescribable throw as if in haste, |:::::. . . and sudenly,
80
of the memor of those beings who have retured to the ETERNAL
NOTHINGNESS, :at,tat,:atatat. . . ßeaatv! |eaao!Iase|as|es,
iañ:eaa1ia||ee1!Aûe:t|eías|ieaeít|e:|iaeee:es.Wit|eat
steeeiag.T�e:esa:víe:t|e 1ea1. ß:::. . . |::. . . I'm|ve|etii-
iag¹
³mvse|í.He-|a,|e-|a!Leagasa|aaee. *
ªIsvea:aameKka-San?" aske1t|e|itt|emaaaûe:aee:taia
w|i|e.
ªNe,Mea1aeieas,ma:iae|is|ee,atvea:seniee.W|v?*
ªßeeaaseKka-San did some ver dirt things in he box during the
qite pardonable unconstraint of her last hours. *¹ª
]
I
C O N C E R N I NG T H E M U S I C A L J E T
"How do the cal thee?"
"Chaw-turd, " qoth Paurge.
¬ FA NIA 0k0£L, | l | , Z 5
New,itisaeeessa:vtekaewt|att|eva|veiasta||e1att|eaeekeí
t|eeit'smeat|waseít|ia:a||e:;aa1te|e íami|ia:wit|t|e1is-
eeve:ieseíM:.C|ie|este:ße||, eeasiaeíM:. G:a|amße||, t|e
i||ast:ieasiaveate:eít|ete|ee|eae,eae s|ea|1|eawa:e t|ata
st:eameíwate:ía||iagaeeaaaia1ia-:a||e:s|eetst:ete|e1eve:
t|eaeee:ea1eíata|eeeastitatesamie:ee|eae,t|ata|iqai1]et
81
|:eaksaeatee:taia:atesme:eeasi|vt|aaatet|e:saa1,according
to its ntre, will respond to certain sound in preerece to others; ma||v,
eaes|ea|1aet|eseaa1a|ae1i wemeatieat|att|e|is|ee's|eias
see:ete1t|isqaiteaaeeaseieas|vmasiea|]etw|eseame|iñe1vi|:a-
tieas|eee:eeive1att|ememeateítakiag|eaveeí|is:ea1iag.
Voices of little wome* a:ese,g|e:iniagt|e|itt|emaa.
THE LITTLE WOMEN (piano, common time, three shars), seme
eít|emGENTLY (E-G-C-E . . . 8-E-B pedl):
ªMavvea:g:ieí|eseet|e1|vea:seags! (F-A shar) . Ot|e:s.
Mavvea:1i:ese::ew(G-B shar) . l|vawavtet|e|ewma:ma:eí
t|ewaves('l e fats, pedl, CRYSTALLINE) a • e
ªSt:aage:(G natural-B), iíveawea|1e|a:mea:se|ita1e,eae
maste|aagevea:aame(GENTLY) w|esesv||a||esa:etee:a1e,
Aa1giveveaaaet|e:(A fat) |iket|emeaataia0ewe:s( G shar, B
natura�. "
Semewemeae:eeeset|eaame. ªAta:i. * Ot|e:s: ªFei. *T|e
L. W . : ªNe! (Pedal. Two qUer-rests) L-o(B-F, pedl, organ note). "
T|eL. W . . ªHeaeeíe:t|(ped. ped.) |et|im|eaame1Le-ti. *
A|| sa::eaa1iag |im. ªIt is t|e memeateí|aetism! (RATHER
SOLEMNLY). Iat|e|aa1eíseags,Iat|e|aa1eí|eviag(crotchet­
rest), Le-ti(E fat, c, crotchet-rest, cresc.), Le-: (c) ti(E fat) s|a|||e
vea:sae:emeaame(SIC) . "

5ìt.T�Isle o Drums, lyric by Rtntldo H,/, words by P. Ln, A. Alexcre cm G. Htrt1 n.
[Autor's not.]
82
THE LITTLE WOMEN (CONT. ): ªIat|e|aa1eíseags,Iat|e
|aa1eí|eviag,Leti,Letis|a|||evea:sae:emeaame(two cotchet­
rests). Le-ti (E fat, E fat) weaame vea, Le-tiweaamevea,aa1q.
p.)we||e- (in the ke of b fat) -essvea! (Great uproar). "
T|eva|veeeeae1,t|emasieeease1,t|easee:siea|eiageem-
e|ete1, t|e |is|ee :eseea:e1 |is :iag, aa1 |ai1 ea |aa1s,
eeañ:miag|vt|isaee:eve1gesta:et|e|eae1ietieaeít|eL. W.
T|ea|esime|veateût|e]et.
H O W O N E O B T A I N E D C A NVA S
TO PIERRE BONNARD
Faast:e||ea::ie1eatasa|mmigatiea,aa1t|eseeete:eíßesse-1e-
Nage- w|e,|aviagea|vesiste1imagiaa:i|v,eea|1aet:ea||v1ie
- maaiíeste1itse|í, sai1 ª|a |a" :eseeetía||v, t|eawas si|eat,
awaitiage:1e:s.
I1iseeve:e1t|at1avaaewmeaaiageít|isiava|aa||ewe:1,
aame|vt|att|eU, |egiaaiageía||t|iags,isiate::egative,íe:it
awaitsaaeseesitieaiae:eseatseaee, aa1 t|eaeeea1is,g:eate:
t|aaitse|í,eíaseqaeaeem1a:atiea.
83
ªHe:ea:eaíew|i||ieasiaeas|,°sai1t|e1eete:,:ammagiag
ia|is:a|v-|atteae1waisteeateeekets. ªYeawi||askaee|ieemaa
t|e wav te t|e Natieaa| Deea:tmeat Ste:e, ea||e1 Au Luxe
Bourgeois, ¹ªaa1t|e:eveawi|||avseve:a|e||seíeaavas.
ªYeawi||eeavevmveeme|imeatstet|e1eea:tmeatmaaage:s
ßeagae:eaa, ßeaaat, Detai||e, Heaae:, 1. -Þ. Laa:eas aa1
T a:temeiea,tet|ei:|e:1eeíassistaatsaa1tet|eet|e:sa|si1ia:v
sa|esmea.Aa1seasaettewastetimeiat|eg:ieeít|ei:|agg|iag,
veawi||,wit|eatawe:1. . .°
ªAea:tnemha ha, " I iasmaate1ma|ieieas|v.
ª. . . Þea:eve:eae|eít|emaei|eeíge|1,aati|t|ei:meat|s
a:esi|eaee1|eaeat|its:isiagti1e.Asaíñeieateavmeatwi|||e
seveatv-sismi||ieagaiaeasíe:M. ßeagae:eaa; seveateeat|ea-
saa1se:ae|síe: M. Heaae:; eig|tvt|easaa1ma:ave1iíe:M.
ßeaaat,siaee|iseaavasi sstamee1,i ae|aeeeíat:a1ema:k,wit|
t|e ñga:e eíaeee:maa;t|i:tv-eig|t1ei�aûe:iasíe:M. 1.-Þ.
Laa:eas;íe:tv-t|:eeeeatimesíe: M. Ta:temeiea;aa1ñve|i||iea
naaes,aswe||asatieiakeeeks,íe:M. Detai||e.Yeawi||t|:ew
t|e:emaiaiageeeee:siatet|eíaeeseít|eet|e:e|ewas. °
ªHa|a,°sai1ßesse-1e-Nagetes|ewt|at|e|a1aa1e:stee1,
aa1e:eea:e1te1eea:t.
ªT|isisa||ve:vwe||,°Isai1teFaast:e||,ª|atwea|1itaet|e
me:e|eae:a||etea||eeatet|isge|1tewa:1t|eeestseímve:e-
eee1iags,aa1iíaeeessa:va|st:aett|eqaaatitieseíeaavas|vs|ee:
eaaaiag?°
84
ªIwi||ese|aiateveaw|atmvge|1:ea||vis, *sai1t|e1eete:,
wiakiag.Aa1teßesse-1e-Nage.
ªOae|astwe:1: seastewas|t|es|eeta|keateívea:e:eg-
aat|eas]aws,eate:asma||:eema::aage1íe:t|isea:eese.T|e:e
t|eikeaseít|eSaiatss|iaeíe:t|.ßa:evea:|ea1|eíe:et|ePoor
Fisherman, |ew|eíe:et|eMeaets,geaa0eet|eíe:et|eDegasaa1
theW|ist|e:s,g:eve|iat|ee:eseaeeeíCtiaaae,e:est:atevea:-
se|íatt|eíeeteíkeaei:aa1|iekt|esaw1asteít|eseitteeasat
t|eíeeteít|enameeíOlympia!"41
ª Ha |a, * ag:ee1 ßesse-1e·Nage w|e|e|ea:te1|v, aa1 |is
|a::ie1esitea::ie1wit|itt|emesta:1eate:etestatieaseí|isiea|.
Ta:amgtewa:1me,t|e1eete:eeatiaae1:
ªW|eaViaeeatvaaGeg||a1aa|ate1|ise:aei||e,aa1eee|e1
t|eiateg:ate1matte:eít|et:aee|i|esee|e:'ssteae,aa1w|ea,
eat|isñ:st1aveít|ewe:|1,a||t|iagswe:et:aasmate1iatet|e
seve:eigameta|att|e eeataeteít|ema:ve|eas|eeeme:ea|,t|e
a:tisaa eít|e G:eatWe:keeateate1 |imse|íwit| :aaaiag |is
st:eagñage:st|:eag|t|eeeiate1sametaeasaesseí|is|ammeas
|ea:1,aa1sai1. 'Hew|eaatim|isve||ew! '¹
¹
ªI eea|1 easi|v t:aasmate a|| t|iags, íe: I a|se eessess t|is
steae* ||e s|ewe1itte me, setiaeaeeí|is:iags), ª|atI|ave
íeaa1|vesee:imeatt|att|e|eaeñtestea1sea|vtet|esew|ese
|:aia is t|at se|ísame steae* |t|:eag| a wate|g|ass em|e11e1
ia t|e íeataae| eí|is ska|||e s|ewe1me t|is steaea seeea1
time). . .
85
ßesse-1e·Nage:eta:ae1wit|e|evea seeae:vvaasñ||e1wit|
ve:tiea|staekseíaa:e1eeme1eaavases.¹¹
ªDeveat|iak,mví:iea1,"ea1e1Faast:e||,ªt|ateaeeea|1
eessi||vgive ge|1tet|ese eeee|ew|ie|wea|1:emaiage|1aa1
we:t|veí|eiagge|1iat|ei:wa||ets?
ªT|atsameiaw|ie|t|eva:eaewsa|me:ge1wi||a|sese:ea1
t|ewe||-a1]aste1st:eamseíitsûaseve:t|ei:eaavas.Itisveaag
aa1 vi:gia, ia eve:v wav eemea:a||e te t|e matte: wit| w|ie|
|a|ies|es|itt|emse|ves. °
Aa1aûe:aimiagt|e|eaeñeeat|aaeeeít|eeaiatiagmae|iae
at t|e eeate: eí t|ese qaa1:i|ate:a|s 1is|eae:e1 |v i::ega|a:
ee|e:s, |e aeeeiate1 te t|e eeat:e|eít|ismee|aaiea|measte:
M. Hea:i keasseaa,¹¹ a:tist eaiate: 1eee:ate:, ea||e1 t|e
Castems-emee:, meatieae1 wit| |eae: aa1 me1a|-|e|1e:,w|e
íe:sistv-t|:ee1avsem|e||is|e1mesteaiastakiag|vt|eimeeteat
1ive:sitveít|eg:imaeesnemt|eNatieaa|Deea:tmeatSte:ewit|
t|eaaiíe:msu||esseíe|aes.
86
B O O K S I X
A Vl§l' ' 0 L lCllll§
1 1
C 0 N C E R N I N G T H E T E R M E S ¹¹
New,laast:e||wass|eeeiagaestteVisite1.
T|eg:eat|e1, ea:ve1eat|vkmíe,sqaatte1aeeat|eaake1-
aess eít|e ea:t|, t|at aaeieat ea:t eít|e we:|1's ae|a|a, aa1
eea:e1aeeat|eg:eaa1t|ewe:m-eatea|ea:seíitssaa1.
Ami1 t|is :|vt|miea| si|eaee, Visite1 áesi:e1 te 1iseeve:
w|et|e:,aa1e:aeat|t|esei:a|-eaiate1taeest:v,laast:e||,w|e|a1
|eve1|e:|iket|e iaûaite se:ies eíaam|e:s,eessesse1a|ea:t
eaea||eeíeameiageatwit|itseeeaaa1dese1ñstt|ee:e]eetiea
eíei:e|iag||ee1.
T|ewate|' stiek-teek,|iket|ese:ate|iageaata||eeíaña-

ge:aai|,a

aaä_:aaai|,|eat�a:he:_:. |eeeaate1aiae
st:ekes,t|eea|satieasteeee1,t|eaeeatiaae1aetee|evea . . .
87
T|e|is|ee's1aag|te:|ea:1|e:ewas|eee|eíe:eaavm:t|e:
|eats,aa1t|ese1i1aet1ism:||e:,íe:s|e1i1aetsa:vivet|ene-
qaeaeveíÞ:iaeas.
Oat|eeakeít|e1ee:eeit|e1,t|ete:mes,eemea:a||etet|e
iavisi|i|itveía:e1 |easewit|ve||eweves,|eatt|eisee|:eaismeí
t|et|:e||iageíits|ea1tet|esima|atieaeíFaast:e||'s|ea:t.
C L I N A M E N
46
TO PAUL FOR T
. . . Meaaw|i|e, aûe: t|e:e was ae eae |eít ia t|e we:|1, t|e
Þaiatiag Mae|iae, aaimate1 iasi1e |v a svstem eíweig|t|ess
se:iags, :eve|ve1 ia aiimat| ia t|e i:ea |a|| eít|e Þa|aee eí
Mae|iaes,t|eea|vmeaameatstaa1iagiaa1ese:te1aa1:aieá
Þa:is,|ikeaseiaaiagtee,it1as|e1itse|íagaiastt|eeä|a:s,swave1
aa1vee:e1ia iañaite|vva:ie11i:eetieas, aa1íe||ewe1its ewa
w|imia ||ewiageatet|ewa||s' eaavast|esaeeessieaeíe:ima:v
ee|e:s:aage1aeee:1iagtet|eta|eseíitsstemae|,|ikeapouse­
l'amour iaa|a:,t|e|ig|te:ee|e:saea:esttet|esa:íaee.Iat|e
sea|e1ea|aeew|ie| deae:ame1t|is1ea1smeet|aess,t|isme1·
88
e:aáe|ageeít|eaaive:sa|Seiae, t|eaaíe:eseea|east Clinamen
e]aea|ateáeatet|ewa||seíitsaaive:se:
NEBUCHADNEZZAR CHANGED INTO BEAST
W|ata|eaatiía|saaset!e::at|e:itist|emeea,|ikeaee:t|e|e
iaa|egs|eaáeíwiaeg:eate:t|aaas|ie,e:|iket|eei|vsteeee:
eíaaIta|iaa0ask.T|eskvisasa|e|a:easge|áse:eát|att|e:e
is:ea||vaet|iagmissiag|ata|i:áñve|aaá:eámete:s|ig|eaea-
||eeíwaûiagasa|:eeieí:emt|ee|eaás.T|ea:e|iteeta:e,t|e
ve:vtveeeía||t|ese 0ames,is mest|ive|vaaáevea:at|e:mev-
iag,|attee:emaatie! T|e:ea:etewe:swit|evesaaá|eaksaaá
m::etseaeeeá|ike|itt|eee|ieemea.Twewate|iagwemeaswavat
t|ewiaá-sweetwiaáews|ikeá:viagsuait]aekets.T|ast|e|i:1:
T|eg:eatAage|,w|eisaetaage||atÞ:iaeiea|itv, sweees
áewa, aíte: a 0ig|t esaet|v as ||aekasama:tia's,t|eee|e:eí
t|e meta| eía :eeíe:'s aavi|. Wit|eaeeeiateat|e :eeí, t|e
eemeasses e|eseaaáeeea ae agaia, áese:i|iaga ei:e|ea:eaaá
Ne|ae|aáaeiia:.Oaea:me|aatst|emetame:e|esis.T|ekiag's
|ai:áeesaetstaaáeaeaá,|atá:eees|ikeawd:as'swetw|iske:s;
t|e eeiateá eaáseí|is|ai:makeaeeûe:ttesqaeeies|att|e
seasitiveeime|esw|ie|eeee|et|is|imeseaweeáwit|ieee|vtes
:e0eetiaga||t|esta:s:tiavwiags0atte:tet|e:|vt|meíateaá's
we||eáíeet.Þitim|e|easswimaeagaiastt|est:eameítea:s.T|e
eves'se::ewm|eaei|s,iat|ei:aseeat, e:aw|tewa:át|ekaeeseí
89
t|ewiae-|eesee|e:e1skv.|att|eaage||aseae|aiae1t|eaew|e:a
measte:iat|e ||ee1eít|evit:eeasea|aeeaa1t|:ewa|imiate
t|e|ettemeía|ett|e.
THE RIVER AND THE MEADOW
T|e:ive:|asaíat,seûíaeeíe:t|esmaekeíea:s,aaeekwit|
maavw:iak|es,a ||ae skiawit|g:eea1ewav|ai:.ßetweeaits
����
a:ms,e:esse1teits|ea:t,it|e|1st|e|itt|eIs|aa1s|aee1|ikea
e|:vsa|is.T|eMea1ewiaitsg:eeagewaisas|eee,its|ea1mt|e
|e||eweíitss|ea|1e:aa1aeek.
TOWARD THE CROSS
Ateaeea1eít|eIañaite,iat|eíe:meía:eetaag|e,ist|ew|ite
e:ess w|e:e t|e 1emeas |ave |eea eseeate1teget|e: wit| t|e
aa:eeeataatT|ieí.T|e:eisa|a::ie:a:eaa1t|e:eetaag|e,w|ite,
wit| ñve-eeiate1 sta:s sta11iagt|e |a:s. Dewat|e :eetaag|e's
1iageaa|eemest|eaage|,e:aviagea|maa1w|ite|iket|ewave's
íeam.Aa1t|e|e:ae1ñs|,ameakevt:iekeít|e1iviaeIe|t|vs,
sa:ge|aektewa:1t|e e:ess 1:iveat|:eag|t|eD:agea,w|eis
g:eea eseeetíe:t|e eiak eí|is |iñ1teagae. A ||ee1-eeve:e1
e:eata:ewit||ai: staa1iageaea1 aa1|eatiea|a:evesis eei|e1
a:eaa1t|et:ee.Ag:eeaÞie::et:as|esae,weaviagnemsi1ete
si1e aa1ta:aiagea:tw|ee|s. Aa1a||t|e1evi|s, iat|es|aee eí
maa1:i||se:e|ewas,se:ea1t|ei:eaa1a|ñaseatwi1e|ikeae:e-
|ats'|egs,aa1,ime|e:iagt|eiaese:a||eaage|(Woan't yew p'-lay
90
with me, mistuh Loya/?) ,47 e|e1tewa:1t|eÞassiea, s|akiagt|ei:
dewas'st:awwigseae:aste1wit|sea-sa|t.
GOD FORBIDS ADAM AND EVE TO TOUCH THE TREE OF
GOOD AND EVIL. THE ANGEL LUCIFER RUNS AWAY
Ge1isveaagaa1geat|e,wit|a:esv|a|e.His:e|eis||aeaa1|is
gesta:essweeeiag.T|et:ee's|aseistwiste1aa1its|eavesas|aat.
T|eet|e:t:eesa:e1eiagaet|ia

aea:tí:em|eiagg:eea.A1am
a1e:esaa1|ee|steseei £vea|sea1e:es.T|ev¯¯�t|¯:kaees.
T|eæge|Laeiíe:,e|1aa1|eekiag|iketimeaa1|iket|ee|1maa
eít|e sea |aei1ate1 |v Sia|a1, e|aages wit| |is ai|1e1 |e:as
tewa:1t|e|ate:a|et|e:.
LOVE
T|esea|isw|ee1|e1|vLevew|e|eeksesaet|v|ikeaai:i1eseeat
vei|aa1 assames t|e maske1 íaeeeía e|:vsa|is. Itwa|ks aeea
iave:te1 ska||s. ße|ia1 t|e wa|| w|e:e it |i1es, e|aws |:aa1is|
weaeeas.Itis|aetiie1wit|eeisea.Aaeieatmeaste:s,t|ewa||'s
sa|staaee,|aag|iatet|ei:g:eea|ea:1s. T|e|ea:t:emaias:e1
aa1 ||ae,vie|etiat|ea:tiûeia|a|seaeeeít|ei:i1eseeatvei|t|atit
a e
:sweavmg.
THE CLOWN
His :eaa1|ame |i1est|e we:|1's :eaa1aess,as|is:e1e|eek
:ea1st|e|ieaseat|etaeest:v.C|a|saa11iamea1sa:eem|:ei-
91

1e:e1eat|ee:imseasi|keí|isga:meats,aa1tewa:1t|esaaaa1
t|e g:ass |e makes a |eae1iete:v asee:siea wit| |is tiak|iag
asee:gi||am.
"
FARTHER! FARTHER! " CRIES GOD TO THE MEEK
T|emeaataiais:e1,t|esaaaa1t|eskva:e:e1.Añage:eeiats
tewa:1itseeak.T|e:eekssa:geaewa:1,t|ea|se|atesammit|est
teview.T|e|��fd s¯ew1öeYet»mëm
Ha
8
�ewaa�|�aá
-
ñ�st. 6�� � Ïacka:1eate|is|aa1s,
1:eeeiag|isgaita:.Aaet|e:waitswit||is|aektet|emeaataia,
aea:|is|ett|es.Oae|ies1ewaeat|e:ea1,|isevessu||e|im|iag.
T|eñage:sti||eeiats,aa1t|e saawaitsíe:e|e1ieaee|eíe:eit
wi||set.
FEAR CREATES SILENCE
Net|iagiste::iniag,i it|eaetawi1ewe1ga||ews,a|:i1gewit|
1:veie:s,aa1as|a1eww|ie|iseeateatte|e||aek.lea:,ta:aiag
¬w~
awavits|ea1, keeesitseve|i1s|ewe:e1aa1t|e|ieseít|esteae
maskdese1.
IN THE NETHER REGIONS
T|eñ:eeít|eaet|e::egieasiseí|iqai1||ee1,aa1eaeeaasee
1ewatet|eve:v1eet|s.T|e|ea1seísaûe:iag|avesaak1ewa,
aa1aaa:mis:aise1nemeae||e1v|ikeat:eeí:emt|esea|e1,
st:ete|e1tew|e:et|eñ:eisa|ate1. T|e:e,ase:eeat1a:ts|is
92
veaem.A||t|is||ee1isa0ameaa1|e|1wit|iat|e :eekw|eaee
eeee|ea:e|a:|e1.Aa1t|e:eisa:e1aage|íe:w|emeaesiag|e
gesta:esamees,w|ie|sigaiñes.FROM TOP TO BOTTOM.
FROM BETHLEHEM TO THE GARDEN OF OLIVES
Itisa|iu|e:e1sta:,a|evet|ee:i|eít|eMet|e:aa1C|i|1,aa1
a|evet|eass'se:ess.T|eskvis||ae.T|e|itt|esta:|eeemesa
|a|e. Ge1|as|iíte1t|eweig|teít|ee:essí:emt|eaaima|aa1
ea::ies it ea |is |:aa1 aew maa
·
's s|e

|
]
:. T|e t|aek e

¯
|eeemes:ese,t|e||aeskvm:asvie|et.T|e:ea1isasst:aig|taa1
w|iteast|ea:meíeaee:aeiñe1
A|as! t|ee:ess|as |eeeme|:ig|t:e1. Itisa||a1esteeee1ia
||ee1í:emt|eweaa1.A|evet|e|e1v,att|eea1eít|e:ea1's

.•maW M¤ ¬¬¬w~
a:m,a:eevesaa1a|ea:1w|ie|||ee1a|se,aa1a|eve|isimageia
t|ewee+��_.¯
~---�-
JUST A WITCH
He:|ametet|e:ea:,|e||vtet|eíe:e,aeektwiste1,|aaw|ist|mg
ia t|e 0ig|t eít|e |:eemstiekwit|w|ie| s|e|ast:aasûse1|e:-
se|í, s|e geesaa1e:t|e e|aws,vegetatieaeít|e|:ig|t :e1skv,
aa1t|eia1eseít|e:ea1tet|eDevi|.
EMERGING FROM HIS BLISS , GOD CREATES THE WORLDS
Ge1 a:ises |a|ee1 |v a ||ae eeatag:am, ||esses aa1 sews aa1
makes t|eskv||ae:. li:eg|ews:e1í:emt|ei1eaeíaseeasiea,
93
aa1t|ege|1eít|esta:smi::e:st|e|a|e.T|esaasa:eg:eatíea:-
|eave1 e|eve:s,ia||eem,|iket|ee:ess.Aa1t|eea|vt|iagaet
e:eate1ist|ew|ite:e|eeíle:mitse|í.
THE DOCTORS AND THE LOVER
Iat|e|e1,ea|masag:eeasea,t|e:eisa0eatiageíeatst:ete|e1
a:ms,e::at|e:t|esea:eaett|ea:ms|att|etwe1ivisieaseít|e
|ea1eí|ai:,vegetatiagaeeat|e1ea1maa.Aa1t|eeeate:eít|is
|ea1eí|ai:ea:ves|ikea1emeaa1aa1a|ates|iket|emevemeat
eía|eee|.laees,mas|:eems||eate1wit|:etteaaess,se:iagae
evea|vaa1:e1iat|ewia1eweaaeseíageav.T|eñ:st1eete:,a
|a:ge: e:| |e|ia1t|is1eme,t:aeeiei1a|iae|a:aete:,|eeemes
s|it-eve1aa11eeks|ise|eekswit||aatiag.T|eseeea1:e]eiees
iat|eeste:aa|eqai|i|:iameíseeetae|es,twiase|e:es,aa1weig|s
|is 1iagaestie iat|e|i|:atieaeí1am||e||s.T|et|i:1e|1maa
vei|s|imse|íwit|t|ew|itewiageí|is|ai:aa1aaaeaaees1esee:-
ate|vt|at |eaatv :eta:as te t|e ska|||vee|is|iag|is ewa. T|e
íea:t|,wit|eataa1e:staa1ing,wate|esa e • t|e|eve:w|e,agaiast
t|eea::eateít|est:eameítea:s, sai|siaea:saiteít|e sea|, |is
eve|:ews]eme1aewa:1|vt|ei:iaae:eeiatsiat|es|aeeeíe:aaes
iadig|t, e:t|e eemmaaieaeít|etweea|mseíeae e:aviag e:
swimmiag,iat|eattita1eeí1ai|v1evetieaea||e1|vt|eß:a|mias
KHURMOOKUM.
94
B O O K S E VE N
K 1 lRM9 9 K lM
(The Sundha, or the daily Prayers of the Brahmins).
48
] $
C O N C E R N I NG T H E G R E A T S H I P
M O U R - D E - Z E N C L £
49
T|esieve,w|ie|wea|1|ave|a:stiate0ames|ikeaeae:i|e:esia
iat|eeitvqaiet|veeasameá|vû:eaa11eat|,:ea:eáaet|e|ea1
eíitse:ewaaáe:t|eea||eílaast:e||'sti||e:,aa1itsgesta:ewas
t|eeeeesiteeít|ee|a:ita||ee:esie:eíMea1aeieas.
T|e mes|e1 |ase, aasiaka||e |eeaase eíits ei|v eeatiag,
:esteáaeeat|ewaves'1eatiea|atiea|ikeasu:geeaaeeaseve:a|
|a:eeeas,aa1|eaeat|itwasakev|ea:áeíwate:aa1ai:a|te:-
� *Ý"¯"`¯�
aate|v.T|eáisaeeea:aaeee:eee1ingt|eaeea:itieaeít|eee:eses
eít|esevea1av'sma:áe:sqaiate1tewa:áasnemt|eet|e:si1e
eít|e:etiea|a:|a:se:eteetiagas.
95
T|e tea1 í:em t|e is|e eíS|a1es saaeee1 ae t|e saaíe:
itssaeee:,aa1t|ewate:wasaig|t.T|at is te sav,t|e |aaks1is-
aeeea:e1 aa1 t|e skv aa1 t|e :ive: |eeame eemea:a||e aa1
aa1iñe:eatiate1,aa1t|eskiñ|eeamet|eeaei|eíag:eateve, e:
astatieaa:v|a||eea,wit|a1iiiiaess te|eûaa1 te :ig|tw|ese
íeat|e:sIwase:1e:e1test:ekewit|mvtweea:s.
Imme|i|e|a::e|sstemme1t|eea::eatatexe:essseee1,:e||e1
iate|a||s.
Aa1teeseaeet|eset|iags,aseaeseeks :emgeaa1e:eae's
|e1e|et|esmt|eeaee-aa1-íe:-a||||aekaess,Faast:e||maaeave:e1
t|eskm iateaaaqae1aetsix|aa1:e1mete:swi1ea|eagw|ie|t|e
eaaa||a:geswe:evemite1iatet|e:ive:.
(ere eds the nrative of Panmuphle)
T|e g:eat s|ie Mea:-1e-2eae|e, w|ie| meaas He:se-maii|e-
|ea:iag- sevt|e- s|aee1-eate|es, |eeme1 ae ea t|e imme1iate
|e:iiea|ikea||aeksaa,|aviagt|eaeeea:aaeeaa1e:t|e|:ig|t
a:e| at t|e taaae|'s ea1 eíaa eve wit|eat its |eat|e: ||iake:,
aee:eae|iagt|eñxitveíitsewaeaiate1eaei|s,g:eeaiaave||ew
i:is. Oat|eiavisi||eteweat|, |ike a|e1ge eat|evaa|t's|:iak,
e|eeee1t|eí:eat|e:ses|eeseít|eñ|eeííea:aaima|s|ea:iagt|e
sigaeí1eat|,t:ea1iagawkwa:1|vwit| t|ei:|eeves.
Wit||isteeai-|e:iage1íe:eñage:,meisteae1ia|ismeat|,
Faast:e||se:aee1t|eea:amaí:emt|e|ettemeít|e|eat.T|e
96
a:tesiaawe||||e||wasiaA:teist|at1av) swi:|e1 |issiaga:eaa1
t|ei:íeet,wit|aaeiseeeeesitetet|e1eg|atitieaeíaaemetviag
|at|ta|.T|esieve :eeke1iaits|astea|satiea.T|eeeaa|timate
aa1 t|e |astmes|es w|e:e t|ewate:weve its |a:aae|esaa1|et
its 1ea||e |vmea |e vie|ate1 |v aati-ee:ista|tie teagaes, we:e
aame1t|emeat|seíÞaamae||eaa1laast:e||.T|eeeeee:s|at-
t|eg|itte:iagwit|itssettiageíai:|a|||es,aa1t|e]awses|a|iag
t|e |:eat| í:emt|ei: |eaes, imitate1 eeias ía||iag ia wate: e:
t|ewate:sei1e:'saest.laast:e||,e:eea:iagí:es|eaavasiat|e
aameeíGe1,steeee1iat|e eaiatiagmae|iae's |ast:a|wate:a
1iûe:eatskvtet|ateíTva1a||,
5
0 t|ea]eiae1|isea|msiaaaaui-
ta1e eíe:aviag e: swimmiag, ia t|e maaae: eí1ai|v 1evetiea
ea||e1Khurmookum |vt|e ß:a|mias. T|e g:eats|ie Mea:-1e-
2eadeeasse1|ike a ||aek i:eaeve:aai:eaiag|ea:1,aa1t|e
ee|eeít|esisteea|e:avñage:seít|ee:ete:ite|e:sesw|isee:e1
KHURMOOKUM |eaeat|t|evaa|t'sesit,ía1iagawavwit|t|esea|.
T|as1i1Deete:laast:e||maket|e gesta:eeí1viag,att|e
ageeísiso-t|:ee.
97
C O N C E R N I NG T H E L I N E
The bihop read the lette fom God
TO FELIX FENEON
Ia :|e maaase:ie:, eí w|ie| Þaamae||e, ia:e::ae:e1 |v :|e
meae:eaease:e|isitveí:|e |a|eea, eea|1ea|v1eeie|e::|ee:e-
|egemeaa,laas::e|||a1ae:e1asma||í:agmea:eí:|eßeaa:iía|
t|a:|ekaew,æ1asma||í:agmea:eít|eT:ae:|a:|ekaew,1a:-
iag :|e svivgv eí we:1s; aa1 eae eea|1 |ave :eeeas::ae:e1,
:|:eag|:|isíaee:,a||a::aa1a||seieaee,w|ie|is:esavA||,|a:
eaaeae:e||iíA||is a:ega|a:e:vs:a|,:a:|e::|aame:ee:e|a||v
a meas:e: | laas::e|| 1efme1 :|e aaive:se as that which is the
^¯¯ ¯¯ ¯¯•••• ´¯´
-
¯´ ¯ �¯"��
excetion to onesel)?
-
T|as eegi:a:e1:|e ma:iae |is|ee as |e swameve::|e s|ie-
w:eek eí :|e mee|aaiea| |ea:, eve: :|e saakea qaia:essea:ia|
we:ks,eve::|eea:easseíÞaamae||eaa1:|e|e1veílaas::e||.
Heweve:,|e:emem|e:e1:|a:, íe||ewiag:|ee:eeesi:ieaef
:|e|ea:ae1Þ:eíesse:Cav|ev,¹'asiag|eea:ve1:awaiae|a|keaa
||aek|ea:1:we aa1a|a|íme:e:s|eageaa1e:ai|a||:|e a:mes-
e|e:eseíaseasea,a||t|eeaseseíaaeei1emie,a||:|e|agg|iagef
:|e|esie:seíeve:v:ewa,:|ee|:asesaa1ei:e|eseía||:|eseaa1s
98
eía||t|eiast:ameatsaa1eía||t|eveieeseía|aa1:e1siage:saa1
oe|aa1:e1masieiaas,teget|e:wit|t|ee|ases,aeee:1iagtet|e
eesitieaeíeae| |isteae:e:ea:tieieaat, w|ie|t|eea:isaaa||ete
seae.
Aa1|e|e|1,t|ewa||eaee:eílaast:e||'s|e1ywasaa:e||e1|y
t|esa|ivaæ1teet|eít|ewate:.
Likeamasiea|see:e,al a:taa1a||seieaeewe:ew:itteaiat|e
ea:ves eít|e |im|s eít|e a|t:asesageaa:iaa ee|e|e, aa1t|ei:
e:eg:essieateaaiaûaite1eg:eewase:ee|esie1t|e:eia.le:,]ast
asÞ:eíesse:Cay|ey:eee:1e1t|eeastiat|eoe1imeasieaseía
||aeksa:íaee,set|ee:eg:esseít|ese|i1mu:eeatwiae1t|e|e1y
ia sei:a|s. T|e Me:gae|a:|e:e1íe:twe 1ays eaits s|a|'
¹
t|e
|eek:evea|e1|yGe1eeaee:aiagt|eg|e:ieast:at|se:ea1 eat
t|:eag|t|et|:ee|íea:e:n íe:semeeeee|e)1i:eetieaseíseaee.
Meaaw|i|e, laast:e||, ña1iag |is sea| te |e a|st:aet aa1
aake1,1eaae1t|e:ea|meít|eaakaewa1imeasiea.
99
B O O K E I G H T
l' llJNI'Y
TO L OUIS DUMUR
Lves gustus ad philosophi4m movere forasse ad atheismum,
sed pleiores hausts ad religionem reducere. ´
~ | 8 Ah 6 | 5 8 A6 0h
1
7
C O N C E R N I NG T H E M E A S U RING R O D ,
T H E WA T C H A N D T H E T U N I NG F O R K
Telethic lette fom Doctor Faustoll to Lrd Kelin
ªMv1ea:ee||eagae,
ªItisa|eagtimesiaeeI|aveseatveaaewseímvse|í, |atI
1eaett|iakveawi|||aveimagiae1t|atIwas1ea1.Deat|isea|v
íe:eemmeaeeee|e. Itisaíaet,aeve:t|e|ess,t|atIamae|eage:
eaea:t|.W|e:eIamI|aveea|v1iseeve:e1ave:vs|e:ttimeage.
le:wea:e|et|eít|eeeiaieat|at,iíeaeeaameasa:ew|ateae
ista|kiaga|eataa1ese:essitiaaam|e:s,w|ie| eeastitate t|e
100
se|e:ea|itv,t|eaeae|asseme|aew|e1geeíeae's sa|]eet.New,
aetet|e e:eseatmemeatI|aewmvse|íte|eelsewhere t|aaea
ea:t|, iat|e samewavt|atIkaewt|atqaa:ti issitaate1e|se-
w|e:e,iat|e:ea|meí|a:1aess,aa1|ess|eae:a||vse,t|aat|e
:a|v;t|e:a|ve|sew|e:et|aat|e1iamea1;t|e1iamea1t|aat|e
eeste:ie:ea||esitieseíßesse-1e-Nage;aa1t|ei: t|i:tv-twes|ia-
íe|1s- me:eaame:east|aa|isteet|,iíeaeiae|a1est|ewis1em
teet|- t|aat|ee:eseeíLateatO|sea:e.
ªßatwasIe|sew|e:eiate:mseí1atee:eíeesitiea,|eíe:ee:
te t|e si1e, aíte:e:aea:e:?Iwasiat|ate|aeew|e:eeaeña1s
eaese|íaûe:|aviag|eûtimeaa1seaee.t|eiañaiteete:aa|,Si:.
ªItwasaata:a|t|at,|aviag|estmv|eeks,mvskiûeímeta||ie
e|et|,t|eseeietveíßesse-1e-Nageaa1Measiea:keat-lsi1e:e
Þaamae||e,|aäiû,mvseases,t|eea:t|,aa1t|esetwee|1Kaatiaa
aseeetseít|eag|t,Is|ea|1saûe:t|esameaagais|eíise|atieaas
a:esi1aa|me|eea|eseve:a|eeatimete:s1istaatí:emt|eet|e:sia
a gee1 me1e:avaeaameíMess:s. Tait aa1Dewa:. Aa1, evea
t|ea,ee:|aes t|e me|eea|e|aewst|atit is seve:a|eeatimete:s
awav! Fe: eae siag|e eeatimete:, t|e ea|vva|i1 sigaíe: me eí
seaee,|eiagmeasa:a||eaa1ameaaseímeasa:iag, aa1íe:t|e
meaase|a:seeea1,iate:mseíw|ie|t|e|ea:teímvte::est:ia|
|e1v|eat- íe: t|ese t|iags Iwea|1|ave giveamv sea|, Si:,
1eseitet|easem|aesstemeeít|iseemme1i:viaiaíe:miagveaeí
t|eseea:iesities.
ªT|e |e1visa me:eaeeessa:vve|ie|e |eeaaseitsaeee:ts
1 01
eae'se|et|es,aa1t|:eag|e|et|eseae'seeekets.I|a1|eûiaeae
eímveeekets |v mistake mveeatimete:, aaaat|eatie eeev ia
|:ass eít|e t:a1itieaa|staa1a:1,me:e ee:ta||e t|aat|eea:t|e:
eveat|e te::est:ia| qaa1:aat, w|ie|ee:mitst|ewaa1e:iagaa1
eest|ameassea|seíiate:e|aaeta:vsavaatsteeeaee:at|emse|ves
ae m:t|e:wit|t|ise|1g|e|e, ae:eveawit| C. G. S. ,
5
4 asía:as
measa�emeatseísaea:eeeaee:ae1,t|aakste MM. Mte|aiaaa1
De|am|:e.
ªAsíe:mvmeaase|a:seeea1,we:eIte|ave:emaiae1eat|e
ea:t|Isti||eea|1aet |ave |eeaee:taiaeí:etaiaiagitsaíe|v aa1
eí|eiaga||e temeasa:etimeva|i1|v t|:eag|itsme1iam.
ªIíiat|eeea:seeíaíewmi||ieavea:sI|aveaette:miaate1
mveatae|vsiea|sta1ies, itisee:taiat|att|eee:ie1eít|eea:t|'s
:etatieaa:eaa1itsasisaa1eíits:eve|atieaa:eaa1t|esaawi||
|et||eve:v 1iûe:eatí:emw|att|eva:e aew. A gee1wate|,
~~
w|ie|Iwea|1|ave|a1:amiaga||t|istme,wea|1|aveeestme

i-
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a

tv
^!.��T�··HPæ� :�
ªle:t|ese:easeas,Ieessesse1avi|:ate:|ette:a::aage1íe:
ee:maaeaee aa1íe: a|se|ate aeea:aevt|aat|e|ai:se:iageía
e|:eaemete:,eaew|eseee:ie1eívi|:atieawea|1|ave :etaiae1
t|esameva|aeeve:aee:taiaaam|e:eímä|ieavea:swit|aae::e:
eí|esst|aa1 : 1 ,000. Ataaiagíe:k.Itsee:ie1|a1|eeaea:eû||v
102
áe:e:miaeá, |eíe:e I em|a:keá ia:|e skiH, aeee:áiag :e vea:
ias::ae:ieas, |v ea: ee||eagae Þ:eíesse: Mae|eeá, ia :e:ms eí
meaa se|a: seeeaás, wi:| :|e e:eags eí:|e :aaiag íe:k |eiag
eeia:eásaeeessive|vaewa:á,áewawa:áaaá:ewa:á:|e|e:iiea,ia
e:áe::ee|imiaa:e:|e|eas:eñee:eí:e::es::ia|g:avi:v.
ªIae|eage:|aáeveamvtaaiagíe:k. Imagiae :|eee:e|esi:v
eíamaaea:siáe :imeaaáseaee,w|e|as|es:|iswa:e|, aaá|is
measa:iag:eá,aaá|is:aaiagíe:k.I|e|ieve,Si:,:|a:i:isináeeá
:|iss:a:ew|ie|eeas:i:a:esáea:|.
ªßa: I saááea|v :emem|e:eá vea: :eae|iags aaá mv ewa
e:evieasesee:imea:s. SiaeeIwassime|vNOWHERE, e:SOME­
WHERE, w|ie|ist|esamet|iag,Iíeaaáasa|s:aaeewit|w|ie|
:emakeaeieeeeíg|ass,|aviagme:va:ieasáemeas,me|aáiag:|e
Se::iagDemeaeíM±we||,
55
w|esaeeeeáeáing:eaeiagea:tiea-
|a:tveeseímevemea:iaeaeeea:iaaeaswiáese:eaá|iqaiá|w|a:
veaeal|sma||e|as:iese|iáse:me|eea|es):asa|s:aaee ase|ea:im|
aseae eea|ááesi:e,ia:|es|aeeeísi|iea:eeía|amiaam.I|ave
eag:aveá:|e|iaesaaá|i::|e:weeaames, a||ei:wi:|a|i::|e:ime
aaáee:seve:aaee,|aviag|aá:ewe:kwi:|ea:evea:|eaiáeíßia:
ime|emea:s.I|aveseea:|e:we:ewseíseee::ams,aaá:|eve||ew
seee:mm|as:e:a:aeámveea:ime:e::eme|vvi::aeeí:|eñga:e
5 .892 X 10·
5

56
ªNew:|a:we a:e|aeevaaáeemíe::a||e,aaáeaá:v|aaá
as is mv a:avis:ie |a|i:, siaee I ea::veame:|e eae :|easaaá
mi||iea:|ea::eíaqaa::e:eí:|eea::|'sei:eame:eaee,57 w|ie|is
103
me:e|eae:a||et|aa|eiagattae|e1tet|esa:íaeeeít|eg|e|e|v
att:aetiea,ee:mit me,Ie:av,teaeteaíewime:essieasíe:vea.
ª£te:aitvaeeea:stemeiat|e image eíaaimme|i|eet|e:,
w|ie|eeaseqaeat|visaet|amiaiíe:eas.Iwea|11ese:i|e|amiaií-
e:easet|e:as circularly me|i|eaa1ee:is|a||e.Aa1I1e1aeeí:em
A:istet|e(Treatire on the Heavens) t|atitisaee:ee:iatetew:ite
ETHERNITY.
ªLamiaiíe:easet|e:teget|e:wit|a||mate:ia|ea:tie|es,w|ie|
Ieaaeasi|v1istiagais|- mvast:a||e1v|aviaggeedeatae|vsiea|
eves- eessesses t|e íe:m, at ñ:st sig|t, eía svstemeí:igi1
|iaks]eiae1teget|e:, aa1 |aviag:aei1|v :etatiag í|vw|ee|seiv-
ete1easemeeít|e|ims.T|asitmh|sexaet|vt|emat|ematiea|
idea|we:ke1eat|v Navie:, Þeissea, aa1Caae|v. la:t|e:me:e,
iteeastitatesaae|astiese|i1eaea||eeídete:mmiagt|emagaetie
:etatieaeít|ee|aaeeíee|a:iiatieaeí|ig|t1iseeve:e1|vla:a1av.
Atmveest|ameas|eisa:eIs|a||a::aageitte|aveie:ememeat
eímemeatamasaw|e|eaa1te :e1aeeittet|estateeíame:e
se:iag|a|aaee.
ªMe:eeve:,Iameít|eeeiaieat|ateaeeea|1:e1aeeeeasi1-
e:a||vt|e eeme|exitveít|isse:iag|a|aaeee:t|is|amiaiíe:eas
et|e:|vsa|stitatiagíe:t|e|iake1gv:estatsva:ieas svstemseí
ei:ea|atieaeí|iqai1seíiañaiteve|amet|:eag|ee:íe:atieas ia
iañaite|vsmd|se|i1s.
ªItwi|||eseaaaeeíitsqaa|itiesasa:esa|teít|eseme1iñea-
tieas. Lt|e: |as a|wavs aeeea:e1 te me,te t|e teae|, te |e as
104
e|astie as]e||v aa1vie|1iag aa1e:e:essa:e |ike Seettis| s|ee-
make:s'was. *
C O N C E R N I NG T H E S U N A S A C O OL S O L I D
S ecoru lette to Lrd Kl'l
ªT|esaaisaeee|, se|i1, aa1|emegeaeeasg|e|e.Itssa:íaeeis
1ivi1e1iatesqaa:eseíeaemete:,w|ie|a:et|e|aseseí|eag,
iave:te1ev:ami1s, t|:ea1-eat, 696,999 ki|emete:s |eag, t|ei:
eeiatseaekilemete:nemt|eeeate:.8ae|ismeaate1eaase:ew
aa1itsmevemeattewa:1t|eeeate:wea|1eaase,¢Ihad the time,
t|e :etatieaeíaea11|eatt|e teeea1eíeae|se:ews|an,iaa
íewmete:seíviseeas0ai1,wit|w|ie|t|ew|e|esa:íaeeis t|ia|v
eeve:e1 . . .
ªIwasqaite1isiate:este1iat|ismee|aaiedseeetae|e,aet|av-
iagíeaa1agaiamvmeaa se|a: seeea1aa1|eing1ist:aag|tatt|e
|esseímvtaaiagíe:k.ßatIteekaeieeeeí|:assaa1ías|ieae1a
w|ee|iaw|ie|Ieattwet|easaa1teet|,eeeviageve:vt|iagw|ie|
Measiea:liieaa,Le:1kav|eig|,aa1M:s.Si1gwiek|a1ae|ieve1
insimila:ei:eamstaaees.
ª Sa11ea|v, t|e seeea1 was :e1iseeve:e1 ia t|e a|se|ate
105
measa:eeí9, 41 3 ki|emete:see:meaase|a:seeeaáeít|eSiemeas
aait,¹³aaát|eev:amiás,íe:eeáte1eseeaáeat|ei:t|:eaássiaee
t|evíeaaát|emse|ves,|ikemvse|í,mt|emevemeateítme,we:e
e||igeáteeemeiateeqai|i|:iam,iae:áe:te:emaiasta||e,|v|e:-
:ewiag a sameieat qaaatitv eíSi: Hame|:v Davv's :eea|sive
metiea;aaát|eñse1matte:,t|ese:ews|ansaaát|ese:ewaats
1isaeeea:eá.T|esaa|eeameviseeasaa1|egaateta:aeaitsasis
iatweatv-ñve-áaveve|es; iaaíewvea:sveawi||seesaaseetseait,
aaáaíewqaa:te:-eeata:ieswi||áete:miaet|ei:ee:ieás.Seea, ia
itsg:eatage,itwi||s|:iakiaaáimiaatieaeít|:ee-qaa:te:s.
ªAaáaewIam|eiagiaitiate1iatet|eseieaeeeía||t|iags
|veawi||:eeeivet|:eeaewnagmeatsnemtweeímvíe:t|eemiag
|eeks),|aviag:eeeaqae:e1a||ee:eeetiea,w|ie|eeasistsiaáa:a-
tiea aaá siie. I aaáe:staaá t|at t|eweig|teímv |:ass w|ee|,
w|ie|Ie|ase|etweeat|e|e|eta1eeít|ea|st:aetñage:seímv
ast:a||e1v,ist|eíea:t|eewe:eíeig|tmete:see:|ea:;I|eee,
áee:ive1eímvseases,te:eeegmieee|e:,temee:ata:e,taste,aaá
va:ieasqaa|itieset|e: t|aathe six, ¹ªiat|eaetaa|aam|e:eí:eve-
|atieasee:seeeaá. . .
ªla:ewe||.Ieaag|imesea|:eaáv,ee:eeaáiea|a:|vtet|esaa,
t|ee:esswit|a||aeeeate:,t|e:eá|:as|estewa:át|eaa1i:aaá
t|eieait|,an1t|e|e:iieata|ge|áeííeses'tai|s.´¯
106
1 9
A C C O R D I NG T O I B I C R A T E S T H E G E O M E T E R
(Little sketches on Pttphysics ter lbicrttes the Geomete tnd his dmne tetcher
¯¯"--~·^->~·�·«�º ° `
Sophrotttos the Armeitn, trtnsited t brought to light by Doctor Ftstroll.)
Frtgmet ofthe Dilogue upon the Erotic
MATHETES
Te||me,eI|ie:ates,t|eaw|emwe|aveaame1t|eGeemete:
|eeaaset|eakaewest a||t|iags|vt|emeaaseí|iaes1:awaia
1iûe:eat1i:eetieas,aa1|astgiveaast|eve:ita||eee:t:aiteít|:ee
ee:seaseíGe1iat|:eeeseate|eeasw|ie|a:et|eqaa:tesseaee
eíTa:etsvm|e|s,t|eseeea1|eiag|a::e1wit||asta:1vaa1t|e
fourth :evea|iagt|e1isuaetieaaa1evi|eag:ave1iat|ewee1eít|e
t:eeeíkaew|e1ge, I|eee mesta:1eat|v, iíite|easet|t|ee,te
kaewt|vt|eag|tsaeea|eve,t|eaw|e|ast1eeie|e:e1t|eimee:-
is|a||e|eeaaseaakaewaí:agmeats,iase:i|e1ia:e1easa|e|a:eas
eaev:as,eít|eÞatae|vsieseíSee|:etatest|eA:meaiæ.Aaswe:,
Ie:avt|ee¯e:Is|a||qaestieat|ee,aa1+�me.
IBICRATES
T|atat|eastisesaet|vt:ae,eMat|etes.T|easeeak,t|e:eíe:e.
107
MATHETES
ßeíe:ea||e|se,|aviagaetiee1|ewa||t|ee|äesee|e:s|aveiaea:-
aate1 |eve ia|eiags aa1|ave ese:esse1it ia 1iííe:eat svm|e|s
eíeeatiageaev,iast:aetme,eI|ie:ates,iat|eete:aa|sigaiñeaaee
eít|ese.
IBICRATES
T|eG:eekeeets,eMat|etes,ee:|e|e1t|eíe:e|ea1eí£:eswit|
a|e:iieata||aa1e|et,w|ie|ist|e |ea1e:íesseít|e||±ea,aa1
t|esigaMiaaseít|ese w|esta1vmat|ematies.Aa1£:es|eiag
t|e sea eíAe|:e1ite, |is |e:e1ita:v a:ms we:e esteatative eí
wemaa. Aa1eeat:a1iete:i|v£gvete:eete1its ste|es aa1e|e|isks
ee:eea1iea|a:|vtet|e e:aeiíe:eas|e:iiea,t|ase:eatiagt|esiga
Plus, w|ie| is ma|e. T|e]astaeesitiea eít|e twe sigas eít|e
|iaa:v aa1t|ete:aa:vgives t|e s|aee eít|e|ette:H, w|ie|is
C|:eaes,íat|e:eíTimee:Liíe,aa1t|asem|:aeesmaakia1.le:
t|eGeemete:,t|esetwe sigas eaaee|eae|et|e:eate:ime:eg-
aate eae| et|e:, aa1 t|e:e :esa|ts sime|vt|ei:e:egeav, w|ie|
|eeemesegge:ie:e,a||t|eme:ei1eatiea||eeaaset|eva:eeea-
t:a:v.Aa1iat|ematte:eít|e1iseate|etweeat|esigaP|asaa1
t|esigaMiaas,t|ekeve:ea1lat|e:U|a,eít|eSeeietveí1esas,
es-kiag eí Pe|aa1, |as w:ittea a g:eat teme eatit|e1 CQesQÎ-
Antichrist, ¯¨ iaw|ie|iste|eíeaa1t|ese|ee:aetiea|1emeast:atiea
eít|e i1eatitv eíeeeesites,|vmeaas eít|emee|aaiea|1eviee
ea||e1physick-stick.
108
MATHETES
Ist|iseessi||e,eI|ie:ates?
IBICRATES
A|se|ate|via1ee1,ve:ita||v.Aa1t|et|i:1a|st:aetsigaeít|e
ta:ets,aeee:1iagteSee|:etatest|eA:meaiaa,i w|atweea||t|e
C|a|, w|ie| ist|e He|v G|est ia |is íea: 1i:eetieas, t|e twe
wiags,t|etai|,aa1t|e|ea1eít|e|i:1; e:,:eve:se1,Laeiíe:e:eet
|e:ae1wit||is|e||vaa1|istwewiags,|iket|eme1ieiadeatt|e-
ñs|;me:eea:tiea|a:|v,at|east,w|eaeaee|imiaatesí:emt|e|atte:
e|]eeta||aegative- t|atistesav,|e:iieata| - |iaes; e:, t|i:1|v,
it:ee:eseatst|eTaae:t|ee:ess,em||emeít|e :e|igieaeíe|a:-
itvaa1|eve;e:, ñaa||v, t|ee|a||as w|ie|is1aetv|iea||vt:ie|e,ia
t:at|,eMat|etes
MATHETES
T|eatesemeesteatiaea:teme|este1av,|evemavsti|||eeea-
si1e:e1te|eGe1,a|t|eag|,Iag:ee,iasemew|ata|st:aseíe:ms,
eI|ie:ates?
IBICRATES
T|etet:ageaeíSee|:etates,eeateme|atiagitse|í,iase:i|eswit|ia
itse|íaaet|e:tet:agea|a|íasg:eatasitse|í, aa1evi|ist|esvm-
met:iea|aa1aeeessa:v:eí|eetieaeígee1, t|ese|eiagt|eaaitveí
twei1eas,e:t|ei1eaeít|eaam|e:twe; gee1,iaeeaseqaeaee,
109
tea ee:taia 1eg:ee, ia1ee1, I|e|ieve,e:ia1iûe:eatatt|eve:v
|east,eMat|etes.T|etet:agea,|eiag|e:mae|:e1itie,eagea1e:s
Ge1 |v iate:ie: iataitiea, w|i|e £vi|, |ikewise |e:mae|:e1itie,
eagea1e:sea:m:itiea. . .
P A N T A P H Y S I C S
62
A N D C A T A C H E M Y
I I
Furte {tgmt
Ge1t:aaseea1eatist:igeaa|aa1t|e sea|t:aaseea1eatt|eegeaa|,
eeaseqaeat|vt:igeada|se.
Ge1 immaaeat is t:i|e1:a| aa1 t|e sea| immaaeateqaa||v
t:i|e1:a|.
T|e:ea:et|:eesea|s|d Þ|ate).
Maaistet:a|e1:a||eeaase|issea|sa:eaetia1eeea1eat.
T|e:eíe:e|eisase|i1,aa1Ge1issei:it.
Iísea|sa:em1eeea1eat,mæisGe1{MORAL SCIENCE) .
Dialoge between the t ree third of the number t ree.
MAN: T|et|:eeee:seasa:et|et|:eesea|seíGe1.
DEUS: Tres animae sunt tes persone hominis.
TOGETHER: Homo est Des.
1 10
C O N C E R N I N G T H E S U R F A C E O F G O D
Ge1is,|v1eñaitiea,wit|eat1imeasiea;itisee:missi||e,|ew-
eve:,íe:t|ee|a:itveíea:eseesitiea,aaát|eag||eeessessesae
1imeasieas,teeaáew|imwit|aavaam|e:eít|emg:eate:t|aa
ie:e,iít|ese1imeasieasvaais|ea|et|si1eseíea:i1eatities.We
s|a||eeateatea:se|veswit|oe1imeasieas,set|att|ese0atgee-
met:iea|sigasmaveasi|v|ew:ittea1ewaeaas|eeteíeaee:.
Svm|e|iea||v Ge1 is sigaiñeá |v a t:iaag|e, |at t|e t|:ee
Þe:seas s|ea|áaet|e:ega:1e1as|eiageit|e:its aag|ese:its
si1es.T|eva:ethe three apexes eíaaet|e:eqai|ate:a|t:iaag|eei:-
eamse:i|eáa:eaa1t|et:aáitieaa|eae.T|is|veet|esiseeaíe:ms
tet|e:eve|atieaseíAmaKat|e:iaa£mme:iek,w|esawt|ee:ess
|w|ie|wemaveeasiáe:te|et|esmbol eít|e V rb eíGe1)mt|e
e:meíaY, a ae w :e s eese|aiasea|v|vt|ee|vsiea|:easea
t|ataea:meí|amaa|eagt|eea|1|eeatst:ete|e1ía:eaeag|te
:eae|t|eaai|seít|e|:aae|eseíaTaa.
T|e:eíe:e,POSTULATE:
Uati|wea:eía:ais|e1wit|me:eame|eiaíe:matieaaa1íe:
g:eate: easeiaea:e:evisieaa|estimates,|etassaeeese Ge1te
|ave t|e s|aee aa1svm|e|ieaeeea:aaee eít|:eeeqaa|st:aig|t
|iaes eí|eagt| a, emaaatiag í:em t|e same eeiat aa1 |aviag
|etweea t|emaag|es eí120 1eg:ees. l:em t|e seaee eae|ese1
1 1 1
|etweeat|ese|iaes,e:í:emt|et:iaag|ee|taiae1|v]eiaiagt|e
t|:eeía:t|esteeiats eít|esest:aig|t|iaes,wee:eeeseteea|ea-
|atet|esa:íaee.
LetX |et|eme1iaaesteasieaeíeaeeít|eÞe:seasa, 2y t|e
si1eeít|et:iaag|etew|ie|itisee:eea1iea|a:,N aa1P t|eestea-
sieaseít|est:aig|t|iae(a+ x) ia|et|1i:eetieasad infnitm.
T|aswe|ave.
Ä = o-
N - a - P.
ßat
N = o -
0
aa1
p
= a
.
T|e:eíe:e
s = o -
(
o- a
)
= Q ~ a = o - o+O - a - a
s = - a.
Iaaaet|e::eseeet,t|e:ig|tt:iaag|ew|esesi1esa:ea, X, aaá
y g:veas
1 1 2
ßvsa|stitatiagíe:x itsva|aeeí(-a) eaea::ivesat
a
2
¯ (-a)
2
+ /¯ a
2
+ /.
W|eaee
aa1
, 1a.
T|e:eíe:et|esa:íaeeeít|e eqai|ate:a|t:iaag|e |aviagíe:
|iseete:seíitsaag|est|et|:eest:aig|t|iaesa wi|||e
5 ¯ y (x+a) ¯ 1 a(-a +a)
5 ¯ a1 a.
COROLLARY: Atñ:steeasi1e:atieaeít|e:a1iea|!a,weeaa
am:mt|atthe surace ea|ea|ate1isone line at the most; iat|eseeea1
e|aee, iíweeeast:aett|eñga:eaeee:1iagtet|eva|aese|taiae1
íe:x aa1y, weeaa1ete:miae.
T|att|est:aig|t|iae2y, w|ie|weaewkaewte|e2 !a,|as
itseeiateíiate:seetieaeaeaeeít|est:aig|t|iaesa iat|eeeee-
site1i:eetieatet|ateíea: ñ:st|veet|esis,siaeex ¯ - a; a|se,
t|att|e|aseeíea:t:iaag|eeeiaei1eswit|itsaeex,
T|att|etwest:aig|t|iaesa make,teget|e:wit|t|eñ:steae,
1 1 3
aag|esat|eas:sma||e:t|aa60°, aa1w|atisme:eeaaea|yattaia
2 ! c|yeeiaei1iagwit|:|eñ:s:s::aig|t|iaea.
W|ie|eeme:ms:e:|e1egmaeí:|eeqaiva|eaeeeí:|et|:ee
Þe:seas|eoeea:|emse|vesaa1ia:|ei::e:úity.
Weeaasay:|a:a isas::aig|:|iae eeaaee:iag0 aa1o, aa1
eaa1eñaeGe1t|as.
DEFINITION: God is the shortest distance between zero and
infnity.
""""¯~*¬"""¯¯´¯¯�¯ ¯
Le|1i:ee:iea?eaemayas|.
Wes|a||:ee|yt|atHisñ:staameisaet1aek,|a:Plus-and­
Minus. Aa1eaes|ea|1say·
TGod is the shortest distnce betwee 0 and o, in either direction.
W|ie| eeaíe:mste:|e|e|ieíia:|e:wee:iaeie|es; |atitis
me:eee::ee:tea:::i|ate:|esiga + te:|ateí:|esa|]ee:'síai:|.
ßatGe1|eiagwit|ea:1imeasieai ae:a|iae.
- Letasae:e,iaíaet,t|at,aeee:1iagtet|eíe:ma|a
o - 0 - a + a + O = o
:|e|eagt|a isai|,se:|a:a isae:a|iae|a:aeeia:.
T|e:eíe:e,denitively:
GOD IS THE TANGENTIAL POINT BETWEEN ZERO AND
INFINIT
Y _=m
iº·!��
he
����.��
e. . .
1 14
NS'l§
B Y S I M O N WA T S O N T A Y L O R
A C K N O WL E D G M E N T S
The translator wishes to express his great indebtedness to the Coll�ge de
'Pataphysique, and in particular to M. Latis and to Jean Ferry, without whose
advice and criticim this English version could not have been undertaken - nor
even envisaged. Thanks are also due to Roger Shatuck, Staney Chapma ad
Stefan Themerson for valuable suggestions ad critcisms.
T I T L E A N D C O N T E N T S
As Roger Shattck points out in the section he devotes to "Alfed J arry: Poet
and 'Pataphysician" in his The Banquet Years (see Bibliography), the name of
the hero, Faustroll, may be taken to be a combination of the words Faust and
Trol (a goblin or imp). In 1896 Jarry appeared as one of the trolls in Lugne­
Poe's production of Peer Gynt (the Scandinavian Faust!) at the TheAtre de
I'Cuve. Jarry's intention was perhaps to imply that his (autobiographical) hero
was "the imp of science. "
The subtitle, "a nee-scientifc novel, " is printed only i the frst edition
( 1 91 1).
The epigraph from the Upanishads is omitted fom later editions, B is the
table of contents. The 1955 edition of Faustrol even goes so fr as to omit the
1 1 5
marginal bailifs seals fom the heads of chapters 1 , 3, 5; and the word "pata­
physician" fom the title!
This translation is from the frst edition (which contains the fewest typo·
graphical errors, misreadings, and omissions) collated where necessary with the
original MSS.
B O O K O N E
C H A P T E R 2
1 . "A few sea-green mustachios." Sic. Jarry wrote in both MSS of F4tol "unes
moustaches vert de mer."
Z. In English in the origna.
3. The "Ordre de Ia Grande Gidouille" was promulgated by Jarry in his
Almanach du P�re Ub ( 1899), and has been revived by the Coll�ge de
'Pataphysique. The word "gidouil e" appears fequently throughout the ccle of
Ubu plays in general reference to Father Ubu's regally protruding stomach.
"Strmpot" is an inspired verbal iventon by Cyril Conolly.
C H A P T E R 4
Doctor Faustroll's equivalent authors:
LEON BLOY: see notes, Ch. 1 5.
COLERIDGE: Jarry's translation of the Rime of the Ancient Mariner was frst
published in 1 921 .
GEORGES DARIEN: The Thie an astonishing and hiterto rare book, published
in 1 898, has been republished by Jea-Jacques Pauvert (Paris, 1955).
MARCELINE DESBORDES-VALMORE: French writer and poet (1785-
l
859).
MAX ELSKAMP: Belgian poet (1862-1931).
CHRISTIAN DIETRICH GRABBE: Germa poet (1801-1836). Jarry made a fm·
traslation of this play under the title of Ls Sil�es. It has been translated into
1 1 6
English by Barbara Wright: Comed, Satire, lron' and Deeper Meaning
(Gaberbocchus, London, 1955).
GUSTAVE KAHN: see notes, Ch. 1 8.
MALLARME: see notes, Ch. 19.
CATULLE MENDES: French writer (1841-1909) .
JOSEPHIN (SAR) PELADAN: French writer ( 1858-1 91 8) , founder of the Salon
de Ia Rose-Croix.
JEAN DE CHILRA: a pen nae (ad aagram) of Rachide, for whom see notes,
Ch. 24, ad note to Book Three.
REGNIER: see notes, Ch. 20.
MARCEL SCHWOB: see notes, Ch. 21 .
PIERRE BONNARD: see notes, Chs. 23 and 32. For the Ree Blanche, see note
O Book Two.
AUBREY BEARDSLEY: see notes, Ch. 1 3.
4. "Delmor de Pionsec" i s a near-anagra of "Demolder espion," and
"Pionsec" also meas "stale pedant"; for te real Demolder, see note on Claude
Terrasse, Ch. 23. "Troccon" can be taken as a play on the name Trochon;
"toc con" meas a "dam stpid bargain." T rochon wa a bicycle dealer who
tied persistendy but unsuccessflly unt Jarry's death to collect fom him the
balace due on the bicycle J arry had bught.
5. "Lourdeau" mean blockhead.
6. "Panmuphle" is the equivalent of universal snout.
7. "Liconet" ca be read "lui con est. "
C H A P T E R 6
C. V. BOYS: English physicist ( 1 855-1944), inventor of the radio-micrometer,
etc., author of several popular scientifc texts, including Soap Bubbles and
The Forces Which Mould Them (London, 1 890; see illustration on tide page),
1 17
translated into French in 1 892, and now reprinted (Doubleday, New York,
1 959; Heinemann, London, 1 960). The general sense of this chapter i largely
derived fom these short essays (although the application, I need hardly say, is
entirely pataphysical).
8. This paragraph is a paraphrase from Sir William Crooke's presidential
address to the Society for Psychical Research, London, 1897. See notes, Ch. 9.
9. In French, "skif is "as" - a single-sculler; "as" aso means an ace in cards,
and a "one" in dominoes e . . A dry joke of Jarry's.
C H A P T E R 7
ELSKAMP: Jarry had originally made the eighth seized book Salutations dont
d'Angeliqus. Though he changed ths to Enluminures i his MS, he retained the
quotation fom the first volume, fom the poem "Conolatrice des afigh. "
FLORIAN: quotation fom his play Ls De Billets.
GRABBE: "the kight of the papal order of Civi Merit" is the Devi, i Grabbe's
play, Ac II, scene 1. In Ls Siles (see note, Ch. 4, Grabbe), Jarry turned te
Freierr von Mordax ito "Baon Tual . "
The Thousand and LNights: LInd night.
Ubu Roi: i.e., "merde," the celebrated word ivented by J arry which provoked
the dsorders that contnued throughout the frst perfrmace of the play at the
Thiitre de l'Cuvre in 1 896.
VERNE: the expedtion in fact reached 35 leagues beneath the earth's surface.
Faustroll must have grown weary at the 2 1/ league stage. See Jean Ferry's arti­
cle in Ls Cahiers du College de 'Pataplsique, 22-23, Paris, May 1 956.
1 1 8
B O O K T WO
THADEE NAT ANSON: a collaborator on the Re Bltncht, which was directed
by his brother Alexadre, to which Jarry began to contribute in 1 896. The Re
Bltche published his Messtline ad L Surmale, but refsed FtJtroll, whichJary
ofered to them afer it had been turned down by the Mecure de Frtce.
C H A P T E R 8
10. A simple pun i French, e.g., "pate àphysique. "
C H A P T E R 9
SIR WILLIAM CROOKES, F. R. S. : his presidential address to the Society for
Psychical Research in London on January 29, 1 897, is largely responsible for
the theme and some of the phraseology of this chapter. The address was trans­
lated into French and printed in the Rt Scietifut, Paris, May, 1897.
C H A P T E R I O
CHRISTIAN BECK: Belgian writer (1879-191 6), friend of Jarry and fellow con­
tributor O the review Mecure. Wrote aso under the pen nae of Joseph Bossi
a novel Ls Ereurs and later another novel L Paillon (in French, "baboon" is
"papion").
BOSSE-DE-NAGE: "nage" or "nache" means "buttocks" in old French, thus
Bosse-de-Nage can mean "botom-face, " as Jarry suggests. For an erudite dis­
cussion of the possible origin of the name, see Noel Arnaud in the Cthiers d
Coll�ge d 'Ptttphsq, no. 22-23.
1 1 . Quotation fom Sue, L Stltmtdre, Ch. XIV. "Le pichon joueic deis dia­
bles" is Provensal dalect for "le petit jeu des diables, " the name of a strange
traditional procession in which the participants were dressed as devils and satyrs.
1 1 9
12. PLATO: the tanslation is as follows:
- Thou speakest truth, he replies.
- It is true.
- It is very true.
- It is dear, he replies, even to a blind mn.
- It i obvious.
- It i a obvious fct.
-That is so.
-It seems.
-That is also my opinion.
- It does in fact appear to be so.
- That is so, he replies.
- I am also of that persuasion.
- Absolutely, he reples.
- Thou speakest wisely.
-Well.
-Certainly, indeed.
- I recall.
- Yes.
- It i tu.
- I mm so, and most strongly.
- I agree.
- Ver right.
- That is doubtless right, he replies.
- That is tre, he replies.
- That u indeed necessary.
- By all means.
- By almeas indeed.
- By all maner of mean.
1 20
-We admit it.
- It is absolutely necessary.
-Very much.
- Very much ideed, in fact.
-That is logca, indeed.
- How could that b so?
- How could that b otherse?
- How could it be otherwise?
- What ten?
-What?
-Thou speakest truth.
- How true tat seems.
B O O K T H R E E
ALFRED VALLETTE: French writer, maried to Rachilde (see notes, Ch. 24) ad
Jarry's greatest ad most fithfl fiend. At the time of writng Fatol, Jarry
shared a house at Corbei, the "Phalastere, " with Vallette, Rachilde, Herold
(see notes, Ch. 26) and two other fiends. In 1 890, Vallette, with a group of
writers belonging to the "symbolist" movement, founded a fortnighdy review,
the Mercure de Frtce. Jarry contributed reglarly to the Mecure and extracts
fom Fatrol were origal y publshed i te review (chapters 6 and 10 to 25).
C H A P T E R 1 2
LOUIS L • • • Î Louis Lormel, pen name of Luis Libaude (1869-1922). Founded
in 1892 L'Art Lit&tire which published Jarry's frst texts. They quarrelled, ad
Lormel published in 1 897 a story caled Entre Soi in which J arry and his fiend
Leon-Paul Fargue appear as "Ia Tete de Mort" and "!'Androgyne" - not to
1 21
their advatge. This is Jarry's riposte, atacking Lormel and his collaborators,
ulra-symbolist and Catholics.
1 3. The author has "mer d'Habundes, " phonetically "merde abunde" derived
fom Rabelais {1, 9): "a cui fyard toujours abunde merde" ("squitty ass never
lacks fr shit").
14. The author has "tie de Bran," phonetically "Hildebrand. " But the identity
of Baron Hildebrand remains obscure.
15. Derived fom Rabelais (IV, 22); a lighthouse in the form of an obelisk.
16. The author has "halbra" which is phonetically equivalent to "hale-bran" ­
"heave-cack."
C H A P T E R 1 3
AUBREY BEARDSLEY: a fiend of}arr who made a porrait ofhi (see Ch. 4)
which has apparently not surived. This chapter is fll of allusions to diferent
drawings by Beardsley.
C H A P T E R 1 4
EMILE BERNARD: the French panter who invented the "symbolist" technique
in painting ad iuenced Gaugn. Le Bois d'Amour is a locality ofPont-Aven
in Brittany, an artists' colony at that time, frequented by Bernard, Gauguin,
Jarr, among others. Bernard collaborated with Jarry on the latter's luxuriously
illustrated L'Ymagier and Perhinderion. "Le Bois d' Amour" is also the title of a
painting by Bernard.
17. Fran�ois-Marie Arouet who took the pen name Voltaire; Ernest Renan,
French historian, author of Î Vie de jesus, etc.; Victor Charbonnel, French
wrter ad journaist, original y a priest, who quit Holy Orders in 1897 and gave
a series of anticlerical lectres. He funded ÎRaison i 1 901.
1 22
C H A P T E R 1 5
LEON BLOY: one of the six writers included in the twenty-seven "equivalent"
books of Doctor Faustroll to whom a subsequent chapter is also dedicated; the
author of, among many other works, L Dlsespere, i which he appears as the
hero Machenoir (Biackstep), a name which inspires the tide of t chapter.
18. In the French, "monumentl autel de messe, noir." Jarry originally wrote in
his MS "autel de messe noir," but changed it, no doubt out of deference for
Bloy' s susceptbiities.
C H A P T E R 1 6
FRANC-NOHAIN: French poet, founded the review C41 rd Sevage in 1 903, to
which Jarry was a regular contributor. One of Franc-Nohain's collections of
verse was enttled Plates, pobes amorbes (898). He appears as the last of the
six kngs in this chapter; the reference i the last paagraph is to a poem, Ronde
des Neeux lnattlione, fom Plates, whose refain was:
SOUS LES QUINCONCES
NOUS NE RETROUVONS PAS NOS ONCLES.
As regards the other fve kngs in this chapter, the third kg may be identified
a Jules Renard, author of Histoires Natrelles. The others remain obscure.
C H A P T E R 1 7
PAUL GAUGUIN: Jarry and Gauguin were together at Pont-Aven in 1 894 (see
note, Ch. 1 4) and probably knew each other previously, since both were con·
tributors to the review Essais d'Art Libre (1892-94), edited frst by Remy de
Gourmont, subsequently by Uon-Pau Fargue andJarr.
The unfortunate Pierre Loti makes his frst (anonymous) appearance in
Paustroll at the end of this chapter, as the legless cripple ("cui de jatte"). The
1 23
Omnibus de Corinthe on which he fails to get a footing was a short-lived quarterly
satirical review, edited by Marc Mouclier, describing itself as an "illustrated
vehicle of general ideas," the tide of which was doubtless derived fom the Latin
proverb Non licet omnibus tdire Cornthum. For more about Loti, see Ch. 30 and
notes thereto.
C H A P T E R 1 8
GUSTAVE KAHN: French poet and literary critic, one ofjarry's earliest admir­
ers. The tide of this chapter is derived fom Kahn's frst book of poems, Ls
Palais Nomtdes, in which occurs the line: "Finir loi des ports en jonque bizarre."
This island represents the coast at Knocke in Belgium, where Kahn used
to spend holidays; Jarry was his gest there in 1895. Kahn is one of the six writ­
ers included in Doctor Faustroll's library to whom a chapter is subsequently
dedicated.
C H A P T E R 1 9
MALLARME: another of the six among the twenty-seven "equivalents" to whom
a chapter is aso dedicated. The title of this chapter is inspired by Mallarmes
sonnet based on the ending -x. In a letter, addressed to Lefebvre ad Casalis,
Mallarm� writes: " . . . I ony have three rhymes i ix, do your best to send me
the real meaning of te word ptx: I B assured that it does not exist i any lan­
guage, which I would far prefer so that I may have the pleasure of creating it
through the magic of rhyme." To aswer Mallarm�'s quer: the word is, i this
nominative singular form, unknown in ancient Greek, but is found ofen in its
conjugation, ptkos, ptki, etc. In the nominative, the alternatve ptkbe was used
(fom which we derive "triptychj, the sense being a fol or thickness.
Jarry's footnote refers to Mallarm�'s death in 1898. He attended the lat­
ter's fneral, and wrote a homage Le Grtnd Ptn est Mort! in the Alm� n�ch du
P�re Ubu Ilustl Uanuar, 1899).
124
C H A P T E R 2 0
HENRI DE R�GNIER: another of the six writers to whom a chapter is also
dedicated. Î C1rme de }1spe (1 897), the twenty-frst of Doctor Faustroll's
"equivalent" books, consists of three collections of stories, all of which contain
a number of characters whose names begin with Her (Hermes, Hermotine,
Heragore, Hermocrate, Hermogene).
1 9. In the French, "pavone, " a word coined by R�gnier in the above text, mea­
ing "spread like a peacock. "
20. lnJarry's Almtch du Pee Ubu R�gnier is described as "celui qui cyclope"
because of the monocle he wore.
2 1 . "cut . . . according to the erstwhile hierarchy of the syrin," i.e. as an
heraldic shield is parted per bend siister, the word "wm é¨ ("cut") having that
meaning in heraldic terminology; and, in addition, a syrinx is a pipe made of
reeds (Panpipes) cut in this maner. There is also, no doubt, a reference here
to L Syinx, one of the many smal literary ad poet reviews of the epoch.
22. In the French, "poncire"; from Proven�al pomsire (omme de Syre), a kind
of lemon, not strictly a citron perhaps.
C H A P T E R 2 1
MARCEL SCHWOB: fiend of Jarr, who dedicated Ubu Roi to him. Among hi
works, Les Vies lm1gin1ires included sections devoted to Cyril Tourneur and
Captain Kidd. Schwob is also one of the six writers in Doctor Faustroll's library
to whom a chapter is subsequently dedicated.
23. "the skll and kid": Jarry writes "Ia t@te de mort et le chevreau" instead of
"Ia tete de mort et les tibias" ("skull ad crossbones") for a pun on the name of
m chapter's hero.
1 25

C H A P T E R 2 2
LAURENT TAILHADB: French poet (1854- 1 91 9). Author of Au Pts du Mue,
ballads ("mufe" meas "snout," "muzle," or, as a term of opprobrium, "cad,"
"lout"). On the evening of the anarchist Vaillant's terrorist attack in the
Chamber of Deputies ( 1893) Tailhade said: "Qu'importent les victimes, si le
geste est beau! Qu'importe Ia mort de vagues humanites, si par elle s'affrme
l'individu! " Shortly afterward he was himself severely wounded when an anar­
chist bomb exploded in the restaurant Foyot (1 894). He was a collaborator of
the anarchist journal L Libetaire.
Chapter title: in French, "Ia grande lglise de Mufefguiere. " This is
derived by suggeston fom Rabelais' word "papefguiere" (IV, 45).
C H A P T E R 2 3
CLAUDE TERRASSE: composer, friend of Jarry, wrote music for Ubu Roi
(Ouvertre d'Ubu Roi, Marche des Polonis, L Chanson d Decerelage) and com­
posed the music for Pantagrel, the "opera boufe" which Jarry wrote in
collaboration with Eugene Demolder. J arry lived at the home of T errasse dur­
ing 1 904-05, the name of the house being L'lle Sonnante.
The line of music: from Mozart's Motet Burlesqu, which was played in 1 897
at the Theatre des Pantins in Paris, a theater launched by Jarry and Terrasse
together with the painters Pierre Bonnard, Vuillard, ad Strusier, the poet
Franc-Nohain, and a group of actors.
The musical istruments: ravanstron, an ancient violin of India; sambuca,
a ancient stringed instrument of dubious identt, the Bible's sackbut; bandore,
a lute-like instrument of the Middle Ages; kin, a seven-stringed Chinese lute;
tche, a Chinese fute with mouthpiece in center and three holes on each side;
beggar's guitar, generally accepted translation for "turlurete" (era Charles VI),
perhaps incorrect: Wright prefers "a kind of bagpipe in the Middle Ages"; w,
the primary and most ancient instrument of India - a seven-stringed lute;
1 26
magreha, a small Hebrew organ; ldraulus, an ancient form of organ; sarso­
phone, a mid 1 9th-century brass instrument invented for military bands;
zampogna, an Italian peasant bagpipe; chhi, a large Bengali trumpet; coelophone,
a late 1 9th-century hybrid "organ. "
B O O K F O U R
C H A P T E R 2 4
In explanation of the chapter title: Rachilde wrote in 1896, under the pen name
Jean de Chilra, a novel L Prncesse des Tb�bres. She had also written a novel
Madame Ia Mort ( 1898) and a colection of stories Imitation de Ia Mort (1903).
She liked Rachilde to be taken as a man's name: hence "the kng. " The "her­
metic shades" invoke Mercury, of course, i.e. the Mercre de Frace (see note to
Book Three) whose ofces were in the re de l'Echaude {celebrated by Jarry in
the Chason c Dicereige ).
The "river Ocean" may be considered to be the Boulevard St. Germain.
The Mercure is again evoked by the monthly orgies of the transpontine lords:
i.e. the Tuesday salons held by Rachide on its premises. Among the visitors,
Christian Beck (see notes, Ch. 1 0) can be dstinguished by mBelgia hat. The
image of the toad was inspired by a idignant article in the review L Plume
{1897) comparing Rachilde to "a little toad trying to fy." The identity of "the
devil Plural" remains inscrtably obscure; but perhaps he represent siply the
"vlgar mob of detractors" of the Mecure.
In 1 928, Rachilde wrote a book about Jarr, Aled}ar ou le Surmale des
Lttres, (one of Jarry's novels is entitled L Surmdle).
C H A P T E R 2 5
PAUL VALERY: fiend of Jarry and contributor, at one time, to the same
reviews. In this and the following chapters of Faustroll, the persons to whom
1 27
the chapters are dedicated are no longer "described" in the text.
The marine bishop Mendacious (Mensonger): in Book XIII of the 1 6th­
century naturalist Ulissi Aldrovandi's De animalibus infectis, de serpentibus et
dracontibus, d monstrs, the phenomenon is illustrated with a commentary indi­
cating that "this creature was captred on the coast of Poland i 1 5 31 ; ofered
to the king, it became restless and was thrown back into the sea. It was as tall
as a man; it seemed to bear a miter on its head and to be dad in an episcopal
robe." This print was frst reproduced in 1895 in te mnumber of L'Ymagier,
an ilutrated review edited by Jarry and Remy de Gourmont.
24. Jarry has "une fgue d'oreille. " A literal rendering of the German
"Ohrfeige, " "a box on the ears. "
C H A P T E R 2 6
PIERRE QUILLARD: founded the review L Pltiade; a writer, translator, and
eventually expert in political science and ethnology. A fshing (and drinking)
compaion of Jarry at Corbei. The March, 1 897 issue of the Mercure contains
a Balade dIa lounge de quelques-s with the folowing quatrain:
Quilla ptint cells mle fer
Lsombre Abd-ul-Ht�id 1 {1il !el s;
]ar Jit Mete d'un ton fe
L Vtleue lit des lre� es
A. -FERDINAND HEROLD (to whom the "Fable" is dedicated): a poet and
dramatist, but more particularly a translator (Greek, Latin, Sanskrit,
German . . . )+ The quotation fom the A 'rtnyaka Upanishad at the begining of
Faustoll is, in the original French edition, from Herold's translation. Herold
was a cycling (and driking) companion of)ary's, ad an unusua telegram fom
128
Herold to Jary at Corbeil durig Ì5Ý5 has surved:
I HAVE JUST DRUNK AN EXCELLENT MARC BRANDY - HEROLD
25. The autor has "le renard fatchement ecorche d'un ivrogne": "ecorcher un
renard" mea "to vomit." See Rabelas, I, 1 1 .
26. This line is in English i the original.
C H A P T E R 2 7
27. "the bruchus, the attacus, the ophiomachus and the locust": Septagint,
Lev. XI, 22. Authoried Version: "locust, bald locust, beede and grasshopper";
Mofatt: "migratory locst, bad locust, choppig locust, grasshopper."
28. An imagiary word that ca be read phonetically "c'est sous Ia taille" ("it's
below the waist").
C H A P T E R 2 8
MONSIEUR DEIBLER: Antole Deibler is, one may notice, the ony one among
tose to whom chapters of Fttol are dedicated to beneft by a added adjec­
tve, in this case "sypathetically. " Deibler was France's Public Executioner of
te epoch. The nephew of Deibler's wif, Andre Obrecht, was one of France's
last Public Executoners.
29. L Moye de Pareir I Oeve conte1 t La raiton de tout ce qui a etU, ett, ô
tea I . + . etc. (How to Succeed e e + ) attributed to Fran�ois Beroalde (ca. 1 556-
ca. 1629). Originally published about 1 61 0, without date, place, or nae of
author, the name of Beroalde only appears in 18th-centry editions, and his
authorship is problematical. This astonishing book is presented in the frm of a
banquet attended by historical personages of diferent eras discoursing on every
possible theme, wit satirical anecdotes, erotic stories, puns, parodies, erudite
1 29
quottion, obscure allegories and indscriminate atacks upon both the Catholic
and Protestant churches, womankind, the aristocracy, and all man er of tempo­
ral and spiritual pretensions. B�roalde was a convert to Catholicism, and became
Canon of Tours. According to Colletet "he fequented gambling den and tav­
erns, devoted the revenue of his canonry to debauchery, and 6nally, being
without religious convicton, returned to Protestantism. "
30. A horse's head.
C H A P T E R 2 9
31 . Translation of the verse from Piron by Staney Chapman.
32. "Iron kiosques . . . , " i.e. "pissotiere," phonetically "pisse au tiers. "
33. "A speci3 sai placed beneath the jibs., BoMefou (Dictionrire de marne d
'oiles et a 'tpr, 1 855) describes this ltle kown sail & a "petite voie de fan­
tisie et d'un usage peu utile"! It was known in England as a "Jimy Green. "
B O O K F I V E
C H A P T E R 3 0
In this chapter Jarry makes use (a posteriori, so to speak) of Loti's Li'e de La
Pitie et de m Mort, more especialy of the stor therein, Ttnte Claire nous quitte.
This story becomes L Mort de Ltente Obscure (phonetically, La Tante
Obscure).
All the words in italics in this chapter are quotations fom the above­
mentioned book (sometimes the order is transposed in the cause of the
pataphysical aalog).
34. Loti's dedcation of L Li'e de It Pitie et de It Mort actually reads: "A ma
mere bien-aim�e I Je d�die ce livre I San crainte, parce que Ia foi chr�tieMe lui
permet de lire avec ser�nit� les plus sombres choses." And the author's prefce
1 30
begins: "Ce livre est encore plus moi. . . "
35. "It would b . . . you so, if only you knew! " The closing words of Loti's pref­
ace (addressed to his literary enemies, imploring them not to mock a theme
which is "sacred" to him!) are in fct "i vous enuiea tant, si vous savie! " Jarry
ha simply C. . e fG¡ which ambiguity I have preserved in the English.
36. "I alone . . a ABYSS
"
: transcribed literaly fom Loti's story Rte, except that
Jarry places the last two (signifcant!) words in capitl letters.
3 7. Super-patriotc poets of the era. A mirliton is a "toy musical istument with
vibrating parchment reinorcing the voice, usually adorned with strips of paper
and humorous verse. " "Vers de mirliton" is a phrase meaing vulgar doggerel
or trashy verse.
38. Sic.
39. Kaka-San realy is the name of a character in Lot's story Lchason des 'l ieux
eoux. Kaka-Sa and Toto-San are beggars, and TotoSan draws Kaka-San, who
is paralyzed, along in a box on rollers. She dies eventually i her box, and the
italicied last paragraph of the chapter, which is a quotation fom the story,
meas exacdy what it appears to mean!
C H A P T E R ] I
The musical jet: a scientifc experiment described by C. V. Boys (see notes,
Ch. 6) in his Soa Bubbles (Lectre III) and invoked here by Jarr (in an entirely
pataphysical application, of course).
C H A P T E R ] 2
PIERRE BONNARD: fiend of Jarry since 1 893, illustrator of Jarry's Almanach
du Pee Ubu and fellow contributor to the Re Blanche.
40. The Musee du Luxembourg, where academic paintings acquired by the State
were exhibited. The "department managers" mentioned by Doctor Faustoll in
1 3 1
the following paragraph are identifable as fashionable paiters of the time, al
exhibitors at the Beaux Arts i 1897.
41 . "The Poor Fisherman" is by Puvis de Chavannes, "Olympia" by Manet.
42. "How beautifl is yellow! ": inspired by Gaugui's text Natres Mortes, on
Van Gogh, published in 1 894, which says: "Oh! oui, il l' a aime le jaune, ce bon
Vincent, ce peitre de Hollande; lueurs de soleil qui rechaufaient son §me, en
horreu du brouillard. U n besoin de chaeur."
43. U the French, "toies non declouees, " which could also mean "pices stl
hangig on the walls."
44. "Discovered" as a painter by Jarry, who probably met him in 1 893. From
1 894 Jarry wrote articles on Rousseau and published the latter's lithograph of
"La Guerre" i his L'Ymagie. Jarry lived briefly with Rousseau in 1897 during
one of the former's periodic domestic crises. Rousseau painted a portrait of
Jarr which was exhibited at the Saon des Independants in 1895; a contempo­
rary critic remarked of this painting: "Notice his portrait of a poet (M. Alfed
Jarry) whose hair was so long that the catalogue thought ft to describe the pic­
ture as 'Porrait of Mme. A. J. ' "
B O O K S I X
C H A P T E R 3 3
45. An equivocal Latn word, which ca sig "a green ad living branch," "a
young bough cut of or in late Latin "a wood-worm." Larousse (19th-c. ed.)
gives the meaning "termite. " The sense here is of priapic ejaculation, which
Jarry associates in the fllowing chapter to the artistic ejaculation of te "unfore­
seen beast Clinamen" (q.v. notes, Ch. 34.)
C H A P T E R 3 4
PAUL FORT: founded the The§tre d'Art in 1 891 ; in 1893 this became the
1 32
Th��tre de l'Cuvre, where Ubu Roi wa produced by Lug�-Poe in 1896. Fort
edited a review, L Lve d'Art, which published the frst extracts fom Ubu Roi.
46. "Inclination," "bias. " But the cliname principiorm or "swerve" of Lucretius
is a more complicated concept, a philosophic theory central to the Epicurean
system whch Lucretius explains in De Rem Natra a follows: Atoms fall head­
long through space, carried on by their own weight. At undetermined moments
ad in undetermined points of space, they manifest a minute quasi-deviation,
only just sufcient for one to be able to speak of a modifcation of equiibriu.
It is as a resut of this "swere" or clime that so-cal ed solid bodes are frmed
fom the atoms or primordi4. Lord Kelvin (see notes, Ch. 37) claims (in his essay
Stes towar a ki"tic thor of matte) the ideas of Epicurus and Lucretus a the
basis of the modern theory of matter, i which all its properties are seen to be
merely atributes of motion.
47. "Woa't yew p'-lay wit me, mistuh Loyal?": in French "voule-vous jouier
avec moa, mister Loyal?" the dialect indicating the fact that the geat dows in
French 1 9th-century circus were English. "Mister Loyal" is, in French circus
parlace, the traditional name of the blue-coated Equestrian Director, and the
sentence is a classic part of the duologue beteen a clown and this ringmaster.
The name is derived fom a famous circus family.
B O O K S E V E N
C H A P T E R 3 5
48. In English in the original.
49. "Mour" (mourre) means "muzle" and is foud in Rabelais (III, 20). The
word "zencle" was invented by Rabelais (1, 12) from the Greek word for
"sicke."
50. John Tyndall, 1 9th-centr Irish physicist, whose chemical experiment with
1 33
vacuum tubes is referred to by Kelvin (see notes, Ch. 37) in his Popular Lctres
and Adresses as "Tyndal's blue sky. "
C H A P T E R 3 6
FELIX FENEON: writer ad a collaborator on the Ree Blanche, one of the frst
to encourage Jarry as a writer.
5 1 . Arthur Cayley, 19th-century English mathematician, one of whose experi­
ments {relative to the law of variation) is quoted by Kelvin, op. cit.
52. "The Morgue • s s slab . . . " might also be rendered "Pride displayed for to
days on her lectern . . . "
B O O K E I G H T
LOUIS DUMUR: playwright and one of the founders of the Mercure de France.
The reason fr this dedication is certainly the long article which Duur wrote
on Ubu Roi in te Mercure in 1 896.
53. "A light sip will icline one to phiosophy, possibly to atheism, but a fller
draught will lead one back to religion. "
C H A P T E R 3 7
LORD KELVIN: i.e. Sir William Thomson, English physicist whose Popular
Lectures and Addresses, Vol. I, Constitution of Matter, 2nd (enlarged) edition,
London, 1891 , was translated into French in 1 893, and which Jarry interprets
from a pataphysical standpoint while adhering closely to the letter ¯ i not the
spirit - of the original. He makes use especial y of the chapters Eectrical uits
of measuremet, Stes towad a kintic theor of matter and The w.e theor of light.
The reader is referred to the above-mentioned work for a fll appreciation of
1 34
J arry' s splendid interpretation of Kelvin. As to examples out of many, com­
pare Jarry, the sentence begnnig at the bottom of p. 100, with Kelv, op. cit.,
p. 80: "I ofen say that when you can measure what you are speaking about and
express it in numbers you know something about it •; and J arry, the next sen­
tence on p. 101, with Kelvin, p. 81 : " . . . diamond is reckoned harder than ruby;
ruby than quart; quart than glasshard steel. . . "
The naes mentioned in this chapter are alt
h
ose of distinguished scien­
tists - astronomers, physicists, mathematicians mettioned by Kelvin. Needess
to say, the measuring rod, the watch, the tuning fork, the luminiferous ether,
the rotating fywheels and linked grostats, even the Scotsh shoemaker's wa
are to be found seriously expouded in the pages of Kelvin i connection with
practcal scienti£c experiments.
54. "Centimeter gramme second" (the unit of force defned i terms of the units
of mass, length, and tme).
55. The title of one of the chapters in Popular Lctres, describig the experi­
ment i "dissipation of energy" of James Clerk MaJell, the Scottish physicist.
56. This aount of a centmeter is the wave length of yellow light in the spec­
tru (Kelvn, pp. 144 seq.)
57. A centimeter.
C H A P T E R 3 8
The ttle of this chapter is derived fom the essay Õ the sun's heat fom Kelvin,
op. cit. In this essay Kelvin does indeed describe the su as "a cool solid," ad
the squares, pyramids, screws, paddles ad other paraphernalia are all invoked
by him to ilustate his scientic expositons.
58. Compare Kelvn, op. cit. , pp. 1 1 8-1 19, ¯. . . t
h
e Siemens unit in absolute
measure is 9,413 kiometers per mean solar second."
1 35
59. This refers to Kelvin's remark at the begining of his essay The six gatets
of knowledge (op. cit. p. 261): "I am going to prove to you, that we have six
senses - that if we are to number the senses at all, we must make them si."
60. Even this superbly poetic paragraph is derived directly fom Kelvin, in his
essay The wa'e theor of light (op cit. , p. 341), describing a phenomenon known
in physical optics as "Haidinger's Brushes."
C H A P T E R 3 9
61 . Caesar-Antichrist is a "drama" by Jarr originally published in 1895 by the
Mecre J France.
C H A P T E R 4 0
62. Sic.
C H A P T E R 4 1
ANNA KATHERINA EMMERICK: an unlettered mystical fntasist, who produced
some highly imaginative revelations of the lif of Christ (e.g. Medittions on the
Passion) uder the inuence of divine inspiation.
The fnal sentence, "Pataphysics is the science . . . ": In the original, "La
Pataphysique est la science . . . " The French may be tanslated with important
df erences in nuance; either as the begining of a deliberately unnished sen­
tence ("Pataphysics is the science . . . ) or, i one takes it to be a complete
sentence, it might equally well read "Pataphysics is science . . . " Let this remai,
textualy, the fnal patphysical myster.
In the original MS of Faustoll, the last words of the book are followed by
the word END in the center of the page, and, underneath this, Jarry's remark:
"This book will not be published itegraly until the author has acquired suf­
cient experience to savor alits beautes in fll. " (See ilustration on inside back
cover.)
1 36
I R IlR SGJAPHY
B Y A L A S T A I R B R O T C H I E
It is thirt years since the frst appearace of the English taslation of Fautoll,
and this period has seen no slackening of interest in Jarry's works in either
Frace or the English-speakg world - quite to the contrary. U view of this,
Simon Watson Taylor has suggested I provide a brief bibliography covering the
years since 1 965 to accompany te republication of his traslaton. This list is
not intended to be exhaustive, the bibliographies below should be consulted by
readers requiring more detailed informaton.
B I B L I O G R A P H I E S
RAMEIL, CLAUDE: A/ed]ar, essai de bibliographie crtique, in L'Eoile-Absinthe,
1/2, 1979; 4, 1979 and 7/8, 1980. (L'Etoile-Absinthe is the journal of the Socittt
des Amis d'A/ed]ar.)
BORDILLON, HENRI: Bibliographie G&&ale, in Alfedjaf, Oeuwes completes,
tom. III, "Pleiade," Galimard, Paris, 1 988.
BROTCHIE, ALASTAIR: }arr et l'Angletere, in L'Etoile-Absinthe, 46, 1 990.
(isting of English traslations and critical works in English.)
1 37
G E N E R A L W O R K S O N J A R R Y
ARNAUD, NOEL: Alfedjar, d'Ubu roi au docter Faustro/, La Table Ronde,
Paris, 1974. (he best biography.)
ARRIVE, MICHEL: Peintures, gravures et dessins d'Aifed Jarr, Coll�ge de
'Pataphysique et Le Cercle du livre Fran�ais, Paris, 1968. (On Jarr's graphic
works.)
BEAUMONT, KEITH: Alfedjar, a Critical and Biographical Stud, St. Marti's
Press, New York, 1 984. (A good biography i English.)
SHATTUCK, ROGER: The Banquet Years, Harcourt Brace, New York, 1 958;
revised edition Vintage Books, New York, 1 968.
P R I N C I P A L T R A N S L A T I O N S
The Ubu Plays, ed. Simon Watson Taylor, trans. Cyril Connolly and Simon
Watson Taylor, Grove Press, New York, 1 969. ·
The Supermle, trans. Ralph Gladstone and Barbara Wright, New Directions,
New York, 1 977.
Messalin, tras. John Harman, Atlas Press, London, 1 985.
Das a Night, trans. Alexis Lykiard, Atlas Pess, Lndon, 1989.
Caesar Antichrist, tras. Antony Melvile, Atlas Press, London, 1992.
Visits of Lve, tans. lain White, Atlas Press, London, 1 993.
C R I T I C A L E D I T I O N S O F F A U S T R O L L
Gestes et opinions du docteur Faustoll, 'patabsician, Fasquelle, Paris, 191 1 . (The
frst, psthumous, edition.)
Gestes et opinions du docter Fausto/, 'patplsician, i Aled Jar, Oeuves com­
pl�tes, tom. I, "Pieiade, " Gallimard, Paris, 1 972. (Notes and commentary by
Michel Arrive.)
138
Gestes et opinions du docleur Ftuslroll, 'ptltphysicitn (suivi de L'Amour tbsolu),
"Pohie," Gallimard, Paris, 1 980. {ntroduction and notes by Noel Arnaud and
Henri Bordillon.)
Gestes el opinions du docter Ftustro/, 'ptttphsicitn, Cymbalum Pataphysicum,
1985. (The ultimate annotated edition: 280 p. of notes to 93 pp. of text!)
C R I T I C A L T E X T S O N F A U S T R O L L
BEHAR, HENRI: Ls Cultres djtr, PUF, Paris, 1988.
BESNIER, PATRICK: Alfed jtrr, Pion, Paris, 1 990. (The author uses the
Equivalent Books fom Fttroll to construct Jarry's "self-portrait.")
EHRICH, RIEWART: Docleur Ftustoll et Diogenes Teufelsdroeckh, in L'Etoile­
Absinthe 49/50, 1 991 .
GA YOT, PAUL: Les Probl�mes du Ftustrol, tnAlfed jtr, Colloque de Cerisy,
Belfond, Paris, 1985.
LAUNOIR, RUY: Cle pour i 'Ptttphysiqu, Seghers, Paris, 1 969.
PETITFAUX, GEORGES: De lt Surtce d Die, in Subsidit Ptthsict, 22, 1973.
STILLMAN, LINDA: Physics t Ptttphsics: The Sources of Ftutoll, in Kentucky
RomJ ce Q
i
ely, XVI, 1 , 1979.
VARIOUS: Ntvigttion de Ftustroll, a special issue of the Cthiers du Colltge de
'Pttphsique, 22/23, College de 'Pataphysique, 1 956.
1 39
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"Pataphysics . . . is the sctence of that which is superinduced
upon metaphysics, whether within or beyond the latter's
limitations, extending as far beyond metaphysics as the latter
extends beyond physics. . . Pataphysics wil be, above all, the
science of the particular, despite the common opinion that
the only science is that of the general. Pataphysics will
examine the laws governing exceptions, and will explain the
universe supplementary to this one . - . |«:«p¬s·:s·s :/es:·e»:e
:J·»«,·»«~s:|a:·:»s . . . Pataphysics is :/escience . . .
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- Alfred J arry

EXPLOITS D 0 CT 0 R

6

OPINIONS

OF

FA U S T R 0 LL,

PATAP H Y S I CIAN

(C) I"'! I (

EXPLOITS & OPINIONS OF DOCTOR FAUSTROLL. PATAPHYSICIAN A NEO-SCIENTIFIC NOVEL BY ALFRED J ARRY TRANSLATED & ANNOTATED BY SIMON WATSON TAYLOR INTRODUCTION BY ROGER SHATTUCK E EXACT CHANGE BOSTON 1996 .

O. All Rights Reserved ISBN Cover photograph: 1-878972-07-3 by Herbert Bayer. Box Boston. MA 1917 02205 Printed on acid-free recycled paper . 1932 Reproduced by permission of the MIT Press Exact Change books are edited by Damon Krukowski and designed by Naomi Yang Exact Change P. Inc.Translation and notes Introduction Originally published ®1965 Simon Watson Taylor :©1965 Roger Shattuck in Selected Works of Alfred}arry ')1996 Exact Change This edition Published by arrangement with Grove Press. The Lonely Metropolitan.

Concerning the great church of Snoutfigs. 48 Concerning the isle of Cyril . . . . . . vii BOOK ONE: PROCEEDINGS 2 4 3 I ' 6 7 Summons pursuant to article 8 1 9. . . . . 32 Concerning the land of Lace. .. . 1 7 . 36 Concerning the great staircase of black marble . . . . the Cyclops. . . 9 Concerning the equivalent books of Doctor Faustroll.. . . . 53 . . which is a sieve. the olfactory lighthouse. 5 1 . .. . . . . where we drank not . BOOK THREE: FROM PARIS TO PARIS BY SEA OR THE BELGIAN FAMILY ROBINSON . . . . II IZ It 14 I. 2 1 Faustroll smaller than Faustroll. . . . . 26 . . . I1'1 I7 IA IV Ill II II Concerning the embarkation in the ark . 13 Concerning the Doctor's boat. . . . . . .. . . 47 Concerning the isle of Her. . 1 0 Notice of warrant enabling immediate sale . 5 Concerning the habits and bearing of Doctor Faustroll 7 Service of Writ. . . . . . . . ELEMENTS O F PATAPHYSICS 8 11 I0 Definition . 43 Concerning the Castle-Errant. . 1 4 Concerning the chosen few. who knew no human words but "ha ha" . . . . . 45 Concerning the isle of Ptyx . . . 40 Concerning the Amorphous isle . . . 35 Concerning the forest of Love. . . . BOOK TWO: . • . . . . . . . . . . . . 24 Concerning the dogfaced baboon Bosse-de-Nage. . and the great swan which is of crystal. which is a junk. 41 Concerning the Fragrant isle . . . .CONTENTS lntToduction lry Roger SbtZttuck. 30 Concerning the Squitty Sea. . . . . and the isle of Cack. .

. 1 J7 115 . . . . . . Drink 65 Capitally 68 Concerning the death of a number of people. . . . . . . . . .23 24 Concerning the Ringing isle . . . . . . 25 26 27 28 29 Concerning the land-tide and the marine bishop Mendacious . • . 62 BOOK FIVE: OFFICIALLY . . . the watch and the tuning fork. . . . . 35 36 Concerning the great ship Mour-de-Zencle Concerning the line . . 30 31 32 Concerning a thousand varied matters Concerning the musical jet 81 How one obtained canvas . . . 83 . . . 88 . . . by Alastair Brotchie. 110 Concerning the surface of God. . Bibliograplr. . 77 BOOK SIX: A VISIT TO LUCULLUS . . 33 34 Concerning the termes. 105 According to Ibicrates the Geometer . . . . . 1 1 1 . . 87 BOOK SEVEN: KHURMOOKUM . . . Clinamen. 37 38 39 40 41 Concerning the measuring rod. and more especially 71 ofBosse-de-Nage . . . 107 Pantaphysics and Catachemy . . . . . . 74 . . . . 98 . . . . . . Concerning the sun as a cool solid. 100 Notes by Simon Watson Taylor . Concerning some further and more evident meanings of the words "ha ha" . . . . .. . . . . . . 95 BOOK EIGHT: ETHERNITY . 56 Concerning the hermetic Shades and the king who awaited death . 59 BOOK FOUR: CEPHALORGY . . . . . . . . .

Art11ud. came close to odipse during the thirty-year scuffle of literary movements that ll11lowed his premature death. Today he is very much with us again. The temporary eclipse occurred dupite tribute to his genius from Apollinaire. his lud11ing (a dark cell literally on the second-and-a-half floor). eccentric In the point of mania and lucid to the point of hallucination.Alfred Jarry (1873-1907). Breton. principal author Mild sole promoter of this schoolboy masterpiece. T H E AvA N T - oARD E Vll . and even Gide.llNTIRSJDlUCTllSN BY ROGER SHATTUCK theater of the twentieth century keeps •• one of its convenient reference points the explosive generale of Ubu Roi in 1896. Max Jacob. The original legend centered about his attire (a cyclist's cos­ tume with pistols). But the midget Jarry. and hl1 dAily fare (fish he caught at will anywhere in the Seine). That performance exploited ingredients that have hocome commonplace today. his habits (drink practiced as discipline). was Unt une to lie low for long. from barefaced slapstick to the IUhtleties of the absurd. Queneau. In pub­ lh· 1he young upstart puffed himself up to the proportions of Ubu.

Pataphysician. There is much more to him than the long remembered scandals of Ubu. His works have been collected and republished in eight volumes. * The great posthumous works in Western literature usually carry with them a fundamental enigma. Jarry would have guffawed and found a suitable blague to dismiss this grandiose approach to his book. and a College de 'Pataphysique founded to perpetuate his inventions and destructions. he entrusted at least two manuscripts of the text to reliable friends. and inscribed one of them for posterity. He will not be held at arm's length. Yet after having failed to find a publisher for more than a few chapters. Exploits and Opinions of Doctor Faustroll. But the artist in J arry continued to be precocious and hid rather than revealed itself in this hypertrophied biography. At twenty-five Jarry suggested he was Vlll .the human blunderbuss who smashed all history as he went. his career and talent reexamined. as well as making their own particular challenges to the very idea of literature. new writings discovered. In his posthumous ascent to lasting literary esteem J arry still contrives to dismay readers in approximately the same proportion that he impresses them. Pascal's Pensees and Rimbaud's Illuminations raise problems of chronology and interpretation. Little wonder that since the second World War Jarry's reputation has enjoyed a spirited revival in France.

Jarry recounts the miraculous tale in an utterly 111her ond scientific manner. and poetry the dream of speech. Beneath the double talk and ellipsis. encountered only silence and uneasy rejection by the two editors most devoted to Jarry's work. including his own. ubiquity (sic) the dream uf' mortality. In a grotesque 1ymmetry. pataphysics fuses them into the "common sense" of Doctor Faustroll. This is lhl' ultimate form of "authentic enactment. Faustroll moves in the opposite direction from the Ubu plAya and forms their complement. who lives all �rums as one. Faustroll. 21-23) seems to mean that the virtual or hnnainary nature of things as glimpsed by the heightened vision of puetry or science or love can be seized and lived as real. Beneath the highly congested 1urfoce. In the nineties Ubu's freewheeling and adolescent nihilism was received with a raucous mixture of hoots and cheers in the auditorium as in the press. This time he appeared to have attempted too much.. and Ubu Cocu. Yet It was received.urtroll the search for a new reality. and pursues his analyses with such ix . 1895.the wnrld of pataphysics.. and in spite of its desultory structure. he had to "experience" death in order to catch up with himself. one senses in .." If mathematics is the dream of science. its for­ nual definition (see pp. a stupendous effort to create mat of the ruins Ubu had left behind a new system of values . Faustroll reveals its enigmatic qualities most clearly in contrast to Ubu Roi.wrlttng over everyone's head. even though a few fragments appeared in the Mercure de France in May. Ubu Encharnt.

created all possible worlds.rigor and attention to detail that we lose sight of the conventional boundary between reality and hallucination. in 1 965 to accompany the X . its origins go back to the lycee in Rennes where Jarry and his schoolmates found a ready target for their overcharged imaginations in the figure of Professor Hebert. In any case. A character in another work of Jarry's asserts: "I can see all possible worlds when I look at only one of them. Jarry reveled in anachronisms. they coexist. In the Mercure de France Apollinaire hailed the first edition of Exploits and Opinions of Doctor Faustroll. Jarry's work appears in English at a moment when the atomic and space revolutions (plus rumors of anti-matter and splitting time) have endowed Faustroll's fantastic voyages with something approaching plausibility. Unlike the destructive and unfeeling Ubu. In a series of legendary farces he became "le pere • A few sentences like these reflect the composition of the lntroduc:tion original publication of Simon Watson Taylor's translation. prefaced the second edition by insisting on its undiminished importance and affirming the genius of both Jarry's life and his writings." In 1923 the surrealist. Pataphysician: "It is the most important publication of 1911. • The history of the work helps to illuminate its recesses. but men can hardly glimpse even one" (C.or myself . After two more French editions. Faustroll welcomes and explores all forms of existence. His scientific demonstrations were as renowned and as ineffectual as his class­ room discipline. Their allusions to events of the sixties do not affect the purport of my comments. Philippe Soupault. Like the Ubu cycle. this transla­ tion completes the cycle.:zesar-Antichrist). God .

the heads of the Paris public at the TheAtre de l'CEuvre after an phys ics" yielded "pataphysics. both pur­ IUir and prisoner of Faustroll. Along with an array of l111er personages most of whom appear only in the one "exploit" nr chapter devoted to them. Professor Hebert's calamitous "science of A few years after leaving the lycee.. the treatise com­ hlned with two further ideas which modified Jarry's original project. kept alive and rechristened by Jarry. and expound the new science. Bosse-de-Nage (literally. and finally broken over unremitting campaign. and the monosyllabic dogfaced hahoon. we follow the central figure of Doctor flauatroll and his two attendants: the bailiff. J7) A1�11llf he io a Christian. Many of f'•uatroll's actions can be attributed equally to a God-like knowl­ "lt�e of the workings of the universe* and to an effervescent tturkiah enjoyment of life. Thus in the very structure of his treatise-novel Jarry uaumed a total liberty to broach any subject: Faustroll simply mnvu I on at will to another time and/or place. "bottom-face"). But before it appeared.a form which served Homer and Rabelais. The second idea which modified the original treatise was to 1dnpt the loose narrative form of an indefinitely renewed journey In mArvelous lands . 1mnng others. Bb6. treasured and developed by Jarry. Fauarroll replies: "I am God. Jarry called this (p. practice.• Xl . he announced for publication a 'frtatire on 'Pataplrysics. Panmuphle.. The first was to create a cast of characters to incarnate.

literary hybrid a "neo-scientific novel. Wells . Any summary of Jarry's novel must remain highly hypothetical. Aubrey Beardsley. discussions. He is accompanied by the baboon." In a later article he sug­ gested the term "hypothetical novel" to describe a class of works from Arabian Nights to the novels of Villiers de l'lsle-Adam and H. and by Panmuphle. Their peregrinations carry them to fourteen lands or islands. Gustave Kahn. as navigator.provisionally. Mallarme. G. whose topography and inhabitants are so described as to convey Jarry's comments on fourteen friends (or enemies) in the world of the arts. and Marcel Schwob. Xll . tamed by drink and chained to his seat. as oarsman and narrator until the next to last book. Doctor Faustroll is dunned for back rent by the bailiff Panmuphle. Faustroll discourses on death and starts a holo­ caust in which Bosse-de-Nage perishes. who inventories and seizes his library of "twenty-seven equivalent books." (BOOK ONE) The elements of pataphysics are briefly set down and illustrated by an experiment in relativity and surface tension. Henri de Regnier. Gauguin. Bosse-de-Nage. and a great banquet. Leon Bloy. (BOOK THREE) After further navigations.among them.works which do not confine their actions to the "real" world. (BOOK TWO) Doctor Faustroll escapes the law in a skiff or sieve which travels on both land and water.

(BOOK SIX) Faus troll dies by drowning after sinking the skiff to avoid collision. reveals the future in its spirals. Yet the sentences move at hudlong speed and draw the reader unexpectedly into the action. like a tight scroll unfurled by the water. and his body. are followed by a crowning pataphysical discourse on the "surface" and nature of God. (BOOK FIVE) While Faustroll has an erotic adventure. matter. In accurate geometrical theorems He is demonstrated to be "the tangential point between zero and infinity. entitled "Ethernity. (BOOK SEVEN) The final book. the painting machine under the Lucretian name of Clinamen executes thirteen paintings. often mock-heroic proae that requires careful reading." (BOOK EIGHT) J Arry writes in a highly compressed. Xlll . Faustroll puts Henri Rousseau in charge of a "painting machine" to "embellish" the aca­ demic canvases hanging in the Luxembourg Museum. poetic.His monosyllabic and all-sufficing language ( "Ha ha") is carefully analyzed. each described in a short prose poem. Two tele­ pathic letters from Faustroll to Lord Kelvin regarding the latter's experiments in measurement. (BOOK FOUR) After a coprological aside on the "legless cripple" who represents Pierre Loti. and light." resumes the treatise on pataphysics begun in BOOK TWO.

In this translation by Simon Watson Taylor. (Nothing is incompatible with pataphysics. V. the work becomes almost more readable in English than in the French editions. Clerk Maxwell. Boys. as much in the line of Dodgson-Carroll (mathematician turned writer) as of Newton (physicist turned theologian). but as he came upon it in the exceptional generation of contemporary English scientists: Sir William Thomson (Lord Kelvin). many of which are noteless and full of annoying misprints.) Writing two years before the close of the nineteenth century. Their works appeared in French editions in the nineties when 1arry was still considering a scientific career. These investigators. not. signifi­ cantly. irritation. pro­ vided with his copious notes. Arthur Cayley. all displayed a high degree of eccen­ tric brilliance and freedom to roam among the physical sciences. which is less immediately apparent than its stylistic characteristics and which establishes it as a singularly rich historical document.One vacillates between amusement.their point of convergence. Sir William Crookes. they performed what seemed to be bizarre experiments XIV . puzzlement. and astonishment at 1arry-Faustroll's cavalier treatment of the world and of words.by creating it himself . however. 1arry seized several of its most charac­ teristic yet most contradictory lines of development and discovered . as represented by Pasteur or Poincare or Curie or even by his former teacher Bergson. With the greatest of glee he grasped the scientific tradition. Above all. and C. There is a further aspect of the book.

In llt�urtroll as in Ubu Cocu he pushed his sense of the comic into tho realm where laughter is mixed with apprehension for ourselves. This was the era of the front-page urtoon and the wry chronique. Science formed the first strand. Symbolism. That materialistic age ul' acience and progress supported a flourishing sideshow of ••nteric cults. is not so far afield from the first as one might XV . Jarry also embraced the symbolist school in literature and its doc­ trines of suggestion and musicality. a aavage and often grotesque sense of humor rubbed shoulders with 1h1 earnestness of symbolism. For them as for Jarry. in both the apocalyptic version of Rimbaud and the lapidary version of Mallarme. This fourth com­ JIIlntnt. conjured up its universe out of words in new relation­ ahlps to meanings. from Rosicrucianism to heraldry. domestic and transcendent. and Jarry exploited this liberty to the full. gyrostats. They illustrated their theories by hypothesizing microscopic homunculi living on cabbage leaves (Crookes) or shoving molecules around like stevedores (Maxwell's "Sorting Demon").with soap bubbles. however. Tho final strand. less significant than the others but worth men­ tinning. and similar toys. The third significant strand contributing to the substance of Faustroll luda back to a frequently disdained aspect of the mood of the time. With more intensity than glee. one of Jarry's particular talents. In cabarets like the Chat Noir and lively reviews like La Plume. tiny boats driven about in a basin by camphor. is the occultist visionary revival. science was an adven­ ture.

This erudite freethinking monk produced out of his teeming imagination an amalgam of the riches of life in the sixteenth century and wrote a book for all time.think. or a spiritual allegory. In this light Faustroll is a novel of quest without the usual note of self-pity. a symbolist narrative. symbolism. and the occult .few writers have attempted to compound such disparate elements into a single work. Faustroll is doing a number of things at the same time. for table turning attracted the energies of scientific research as well as of spiritualist fraud. humor. His only master was Rabelais. in the numerous dedications of sections and chapters. On the third level. On another level. who in the flesh assumed the monstrous role of Ubu but who sought in literature. a bawdy tale. in erudition. and far more difficult than the first two. But the canons of literary taste as they have hard­ ened in the twentieth century leave little place for Rabelais. as Jarry himself knew.its running commentary on the literary figures and intellectual currents of the time. Instead. and Jarry would have found an audience more readily had he writ­ ten simply a work of science fiction. one encounters the documentary and allusive aspect of the work . one must measure XVl . Science. Though veiled and indirect. From the beginning. and in alcohol his means of spiritual elevation. many chapters achieve a rare form of criticism. A twentieth-century Rabelais strikes one as even more preposterous. Faustro/1 contains the spiritual autobiography of Jarry. Jarry's parodies mete out both homage and scurrility.

rnry spheres. of time and place. a commentary nn the other levels of social and historical time.the literary value of the book. The astronomical l•rm syzygy (a conjunction or opposition of planets in a solar 1y11rrn) probably appealed to him because it suggests that some­ thin�& n ki n to crystalline form may emerge at intervals out of the r•tulnm movements of the cosmos. not even that of the picaresque novel or the marvel tale. of discursive argument. per�onal biogra­ l'h y . Despite Jarry's subtitle." But this is already the fourth and final level: the sphere of pataphysics. Its unity of action in the Aristotelian sense concerns the man-god Faustroll. What would have been the anagogical or spiritual sig­ nificance for medieval commentators refers here to a systematic toying with the arrangement of things and their significance until WI aee the improbable hypothesis as real." it falls into no genre. the wise buffoon. and become the tenets of pataphysics. The richest concepts in the book arise within the area of scientific imagination (Jarry affirmed bluntly that there is no other kind). despite undertones of spoofing and quackery. who survives his own death and con­ tinues his travels in the "unknown dimensions" of "ethernity. of character. "a neo­ acientific novel. From this level of mean­ Ina and creation we finally see that pataphysics contains within h1elf. He sacrifices all unities of plot. Three Ullmples will show the range of Jarry's mind. and artistic value. yet for Jarry syzygy also repre­ lfllll the rule of prose style that a word must transfix a momentary XVll . have their application in biographical and lit.

"ether­ nity." To Jarry in 1898 it signified the very principle of creation.") Today scientists and philosophers have stumbled once again over the concept of Clinamen. scientific. an infinitesimal and fortuitous swerve in the motion of an atom. the word is infinitely suggestive. Pataphysician is an exasperating and haunting work. In the final chapters. Jarry." to point to a crossing of ideas concerning the propagation of light. and terms in which to judge its success or failure scarcely exist outside its own pages. the sci­ ence of "laws governing exceptions. poetic. of course. and the dimensions of the universe. Exploits and Opinions of Doctor Faustroll. formed the basis of Lucretius' theory of matter and was invoked by Lord Kelvin when he proposed his "kinetic theory of matter. (For pataphysics is. wrote the recalcitrant reader's response right into the text for Bosse-de-Nage. of reality as an exception rather than the rule. newly attired as Heisenberg's indeterminacy principle. and metaphysical." XVlll . the nature of time.conjunction or opposition of meanings. Clinamen. in one definition. "'Ha ha. Jarry coined the portmanteau term.' he said succinctly. and he did not lose himself in further considerations. From every point of view.

.EXPLOITS 6 OPINIONS OF PATAPHYS ICIAN DOCTOR FAUS TROLL.

.

And thou explain not him to me. I ask thee about the Purusha in the Upanishads. and eight Purushas. mistaking them for something else. and again in their union." S'akalya knew him not.THE BRIHAD A1RANYAKA UPANISHAD . eight deities. . eight places of sight. Moreover robbers took away his bones. Whoever understands those Purushas in their division. so his head fell off. thy head will fall off."There are eight abodes. has overcome the world.

.

Monsieur Faustroll. Ci'Vil Court of First Instance of the Department of Seine. proprietors uf a house situate at Paris. 37. residing in said City. the undersigned. IIIli hnving rung. doctor. rue Richer. Do hereby summon in lh' nam e of the LAW and ofJUSTICE. Bailiff attached to lh. 100 his. and Mme. Rene-lsidore Panmuphle.jJing at Paris. bearing upon its exterior the number 100. and called the aforementioned variously 5 . llll•fnl of 11arious premises dependent upon the house aforementioned. Bonhomme (Jacques). rue Richer. I. knocked. rue Pavee. in session 141 Paris. the aforementioned ll.BOOK ONE PRSCEJED[NG§ I SUMMONS TO PURSUANT 819 ARTICLE Eighteen Hundred and Ninety eight. Pursuant to article 819 ofthe Code of Ci11il Procedure 14rtd at the request ofM . .11ing address f semce at my residence and further at the Town Hall or uf Q borough. 100 his.. and ha11ing proceeded to the I N T H Is YEAR - •fnrementioned house.. the Eighth day of February.

within the maximum period of twenty-f hours. 60 centimes. PANMUPHLE To Monsieur Faustroll. interests. and the next door neighbors declaring to us that this is indeed the resi­ dence of said M. I did proceed forthwith to the Town Hall of Q borough at which place I did personally deliver this present copy to his Worship the Mayor. no person having opened the door to us. Cost: eleven francs 30 centimes. inasmuch as I did find at said premises nei­ ther relations nor servants. costs and distraint. he shall be constrained thereto by all lawful means. Doctor. actions. in respect of Eleven quarters rental of the aforementioned premises due on the First day of January last. who did certificate the original thereto. and notably by the sei�ure and impounding of such goods and chattels as may be present on the premises leased. declaring to the aforementioned that f ailing satisf action of this present Summons within said period oftime. Wheref I did deposit this ore present copy of the foregoing at the premises aforesaid. but that they were unwilling to accept a copy of this writ and. to pay to the claimant into my hands as ten­ our der in full and 11alid quittance the sum of Three Hundred and Seventy-two thousand francs 27 centimes. nor any neighbor willing to accept service of this present copy by subscribing to the original thereto. c/o the Town Hall of Q borough. including 112 sheet of special stamped paper at 0 fr. PariL 6 . without prejudice to those subsequently f alling due and to any and all other rights.and successively. Faustroll.

with a golden­ ytllow skin. in contrast. an auburn ambiguity rhanging according to the sun's position. he was sheathed in a satyric l•l••·k fur. through the judi­ rlnua use of baldness microbes which permeated his skin from the •ruin t o the eyelashes and ate away all the follicles.d for Faustroll to fear that his scalp-hair or eyebrows might fall •ruin down to his feet. apart from his mustachios. without any n.C O N C E R NING OF THE HABITS AND B E A R I NG DOCTOR F A U STR O L L l)octor Faustroll was sixty-three years old when he was born in c:lrcassia in 1898 (the 20th century was [-2] years old). for he was man to an improper degree.. That morning he took his daily sponge bath2 of two-tone wall­ l'•r•r pointed by Maurice Denis. From his 7 . At this age. Doctor Faustroll was A man of medium height. He was beardless. a ince these microbes attack only fresh young hairs. to be absolutely accurate. his eyes. of (8 x 1010 + 109 + 4 x 108 + 5 x 106) atomic diameters. 1 as worn by king Saleh. or. which he retained all his life. apart from a few sea-green muatochios. with a design of trains climbing 11111. his face dean-shaven. the hairs of his head alter­ nAtely platinum blonde and jet black. two capsules of nrdinory writing-ink flecked with golden spermatozoa like Danzig ••·lmnpps.

he drew on over this design a shirt made of quartz fiber. procrastinating for a few quarter-hours between the choicl' of the two asphyxiating make-ups called white hanged man and blue hanged man. for many months past.the only one of the ten which he did not bite . fashionable. a golden-yellow silk waistcoat.seasonable. So as not to embarrass the populace. And. exactly the same color as his skin. with even layers of dust carefuily preserved on them. a long time ago he had given up water in favor of wall­ paper . 8 . he piled emerald and topaz rings right up to the fingernail . screwed into the bone of the ungual phalanx. broken only by the dry geysers of ant-lions. he put on a solar topee. or according to his whim. On his right index finger. and two rubies as buttons for the breast pockets. through the fingernail. after cutting himself down. and a greatcoat lined with blue fox fur.and the line of rings was kept in place by a specially designed linchpin made of molybdenum. very high up. at great expense. with no more buttons than an undervest.up spirals. tiny little gray boots. baggy trousers of dull black velvet drawn tight at the ankles. He hanged himself by this ribbon on a specially constructed gibbet. By way of a tie. he passed around his neck the ceremonial rib­ bon of the Great Strumpet/ an Order invented by himself and patented to avoid any vulgarization.

Nu. 100 bis. IIAI. the latter grant­ lnl ua his assistance in our undertaking. Bonhomme ijacques). which bears at present the number 100. Faustroll. to the nlllc:e of M. do hereby summon in . 3 7 RUE PAVEE . 100 bis. pro­ �rletors of a house situate at Paris. IN SESSION AT PARIS. tenant of various premises dependent upon the house aJilrementioned. we betook ourselves to Paris. Solarcable.1 S E RVI C E OF WRIT IN TH I s YEAR Eighteen Hundred and Ninety-eight. RENE-ISIDORE PANMUPHLE . to pay to myself as Bailiff and bearer of said summons.. pursuant In article 819 of the Code of Civil Procedure and at the request of M. NICIIIL)ING IN SAID CITY.he rAtion in the name of the Law and of Justice M. where hav­ 11111 proceeded and having knocked variously and successively whhout obtaining a reply. at Eight o'clock in the morning.IPP ATTACHED TO THE CIVIL COURT OF FIRST INSTANCE ll� THE DEPARTMENT OF SEINE. 11 THE UNDERSIGNED . rue Richer. and Mme. the sum of Three Hundred and 9 . the husband both in his own name and in support and authorization of the lady his spouse. no. commissioner of police. this ttnth doy of February. residing therein at the aforementioned rue Richer. the l�lrtmentioned having address for service at my residence and fur­ ther At the Town Hall of Q borough. doc­ htr.

The Rime of the Ancient Mariner. with the exception of a bed of polished copper mesh. Works. locksmith at Paris. The Gospel According to SAINT LUKE . POE translations. volume II. COLERIDGE . BERGERAC . 2. 5. in Greek. the named party having refused payment of these claims. rue Nicolas Flame!. some paper-backed and others bound. 3. of an ivory chair and of an onyx and gold table. containing theHistory of the States and Empires of the Sun.Seventy-two thousand francs 27 centimes in respect of Eleven quarters rental of the aforementioned premises without prejudice to other claims. and the History of Birds. Lourdeau. The Ungrateful Beggar. a volume ofE . no. twelve meters long and without bedding. 205 . entry having been effected by M. 4. A. sequestration made of twenty-seven assorted volumes. with the following titles: l. BLOY . 10 . Wherefore I have seized in distraint and placed under the authority of the Law and ofJustice the following objects: C O N C E R N I NG TH E OF D O CTO R E Q U I VAL E N T B O O K S F AUSTR O L L In the premises detailed above. BAUDELAIRE .

Illuminated Defigm. JEAN DE CHILRA . The Hallucinated Landscape$. Ironie und tiefere Bedeutung. Voyage to the Center of the Earth. GRABBE. 26.6. 24. The jasper Cane. An odd volume of the Playf of FLORIAN. 12. MENDES. comedy in three acts . H. PELADAN. Ubu Roi. The Thief. ELSKAMP. Satire. The Childrenf' Crufade. 20. An odd volume of The Thowand and One Nightf. The Sexual Hour. The Tale of Gold and ofSilence. 16. LAUTREAMONT . The Illumination$. 15. 21. VERNE. SCHWOB. Ag/avaine and Selyfette. MAETERLINC K . The Oath of the Little Men. 11 . 7. 22. VERHAEREN . RABELAIS. DESBORDES-VALMORE. KAHN. DARIEN. H. Veue and Profe. 18. RIMBAUD. 10. 17. The Lays ofMaldoror. Teubner's edition. 8. The Oc/yffe'J. 11. HENRI DE REGNIER. VERLAINE. Wifdom. Gog. 9. 13. in the GALLAND translation. 14. Babylon. 27. Scher{. MALLARME . 19.

}ane A11ri/. Saint Cado. It was impossible to enter the cellar due to theflooding thereof. issued by the Oberthiir printing house of Rennes. by AUBRE Y BEARDSLEY . though no barrels or bottles were to be seen. and an old picture. I have assembled the present official report. in absence of the subject of distraint. I have installed as guardian thereof. one of my witnesses named hereunder. 20 centimes. Delmor de Pionsec and Troccon. in the hands of his excellency the aforenamed commissioner of police. to a height of two meters. and without prejudice to any further actions. 37 rue Pavee. commissioner of police. the compilation of which occupied me from eight in the morning until a quarter before three in the afternoon.4 attorneys-at-law. It appeared to be filled. For the copies were used two sheets of official paper costing 1 fr. a poster by TOULOUSE -LAUTREC. Cost thirty-two francs 40 cen­ times. in the Place de !'Opera. the above matter wholly in the presence of and assisted by Messrs. which appeared to us to be value­ less. advertising the Revue Blanche. M. one by BONNARD. three prints hanging on the walls. Delmer de Pionsec. Signed: Lourdeau. and of which I have left a copy for the subject of distraint. at the hour of noon. resid­ ing at Paris. The sale will take place on whatever day shall ulti­ mately be decided. Signed: Delmor de Pionsec. with a mixture of wine and spirits. and with the guardian. 12 .' Signed: Solarcable. a portrait of Doctor Faustroll.In addition. the required witnesses who have with myself signed original and copy. locksmith. And from all the aforementioned facts.

6 Registered at Paris. have signified. resid­ lnl in said City. 37. rue Pavee. BA L attached to the Civil Court IFF •f First Instance ofthe Department ofthe Seine. the present 13 . the husband residing at Paris. electing domicile in my oflltt and further at the Town Hall of Q borough. the 11th day of february 1898. ' True copy certified. rue Pavee.Slaned: Panmuphle. declared. Signed: Liconet. . . and Mme. Faustroll. 37. and under the -�ovt heading deposited copy with M. I. Received five francs.) $ NOTICE E N A BL I N G OF WARRANT SALE I MMEDIATE Eighteen Hundred and Ninety-eight. Rene-lsidore Panmuphle. Bonhomme Oacques). the under­ •lantd. (Illegible. having drunk my fall in the cellar into which he had hurled me. in session at Paris. at the request ofM . bailiff. I N THIs Y E A R * Whereas this present half-sheet of special stamped paper at 60 llntimes is insufficient to record the diverse marvels which I dis­ fiJYtred at the home of the said Doctor Faustroll. the Fourth day of June.

speaking to me personally.M "Since the days when saints and miracle-workers went sailing in stone troughs or on coats of coarse cloth. surfaces without curvature. of surface tension. V. and addressing himself to me. more generally. and that such record may not perish. so that a record may be retained for the Law and forJustice of the said marvels. ar1smg from under the sheets covering the polished copper bed which I was not authorized to seize. Panmuphle. and when Christ walked barefoot on the sea. writ­ carrying bailiff. of capillarity. nor of weightless membranes. 6 C O N C E R N I NG THE IS ' DOCTOR S A S I EVE B O A T. WHICH T O C.deponent provisionally does solicit the favor of his honor the President of the Civil Tribunal of the Seine to authorize. I know of no creature . the description of the ensuing events on un­ stamped paper. in so far as the cost of stamped paper does threaten to exceed largely the amount deposited. equilateral hyperbolae. of the elastic skin which is water's epidermis. said: "It is probable that you have no conception. B O YS Doctor Faustroll. nor.apart from 14 .

capable of making use of the surface of ponds. just as an Interior grill saves it from damage by feet. either from above or beneath.the number of which amounts to about flfteen million four hundred thousand.. as a solid floor. this serves additionally to protect the paraffin glaze from being scratched by reeds. When I place my sieve on the river. . de Romilly has succeeded in boiling l i qu ids in a bell jar whose base was made of gauze with a fairly wide mesh . and the whole sieve has been dipped in melted paraffin. so that one can blow out a candle through the cloth and yet the same cloth will retain its liquid content indef­ Initely. 10lt is true that it has been possible to construct sacks made from a material which allows air and steam to pass through but is Impermeable to water. and the liquid flowing beneath cannot penetrate unless the skin breaks.other than the filiform water-scorpion and the larvae of water-gnats. hut the convexity of my round keel offers no projecting angle. is not a bed but a boat. twelve meters long. then shaken so that this substance (which is never really touched by water).my1elf . 1haped like an elongated sieve. My colleague F. . 15 . luvea the holes empty . while covering the web. "But this bed. fir. while jumping rapids. sixteen thousand only. is reduced by an external non-paraffined shell with much l1raer meshes. and tllf pressure of the water during launching. the water's skin tautens against the holes. The meshes are wide enough to allow the passage of a large pin.

" I said. the liquid will simply pass through the mesh and rejoin the external waves." continued the doctor. and catches flies just as easily.000 drops of castor oil. 16 .000 under the sole influence of thl' pressure of the liquid's elastic skin. . doubtless because it is constructed to carry three people). then. "because the premises are no longer furnished. with the aid of a straw. V.000/1 . " "Doubtless.5 00. " "I also possess an even finer skiff. the vibrations per second of the latter being to the vibrations per second of the former in tlw proportion of 64. in imitation of the beads on spiders' webs. "In this perpetually dry boat (called a skiff. alternately large and small beads. for I am bringing alon�·. you shall accompany me. floats like a boat.that one can allow a thin jet of water to fall on it without submerging it. and someone else to whom you will shortly lw introduced . If I should decide to expel my urates. "ol quartz fiber drawn out by means of a crossbow. Not only that.as my learned friend C. But it is only fitted out for one person. This skiff has every appear ance of a huge genuine spider's web. since I am forced to leave this house . it possesses this advantage over ordinary boats . or if a wave should break over the side. "And since the present one carries three people. 250. Boys has remarked to me .not to mention some others. and can be laden without sinking to the bottom. but at the present moment I have just deposited thereon. 9 I shall henceforth take up my residence."My sieve. .

as II my invariable habit.beings who have managed to escape your Law and your hatclce between the lines of my seized volumes." 10m1 7 C O N C E R N I NG THE CHOSEN FEW the foliated space of the twenty-seven equivalents. "And while I enumerate them. E." 11Yes. . I am all the more convinced of the fiCIIIence of my calculations and of its insubmersibility in that. we shall not be navigating on water but on dry land. And its keel travels on three 11111 rollers at the same level. Arro11 17 . and summon the other person. . taking care to retrans­ late Bnudelaire's translation into Greek. htrt ia a book. Faustroll fllnjured up into the third dimension: Prom Baudelaire. but this navigation in a sieve. though I am not asking your uplnlon about its necessity. which you can seize as the lwtnty-eighth volume and read. so that you may not only contain vuunelf in patience but may also very probably understand me bet­ ltr during the course of this voyage. hand-written by myself. Poe's Silence. A. " 11The skiff is not only propelled by oar blades but also by sue­ lion disks at the end of spring levers.

who was the son of a king: the eye poked out by the tail of the flying horse. running over the sheets. From The Thousand and One Nights. retinue of the Betrothed.From Bergerac. which became cupped hands and carried the spherical universe like fruit. when placed in the skiff. the ancient mariner's crossbow and the ship's floating skeleton. the precious tree into which the nightingale­ king and his subjects were metamorphosed. a at 18 . From Darien. Scapin's lottery ticket. in the land of the sun. the diamond crowns of the Saint-Gothard rock-drillers. the thirteen journeymen tailors massacred dawn by Baron Mordax on the order of the knight of the papal order of Civil Merit. From Desbordes-Valmore. the black pigs of Death. the duck placed by the woodcutter at the children's feet. was sieve upon sieve. From Florian. From Luke. From Coleridge. From Elskamp. the Calumniator who carried Christ on to a high place. which. the eye of the third Kalender. From Kahn. and the fifty-three trees with scored barks. and the table napkin which he tied round his neck beforehand. the hares. one of the golden peals from the celestial gold­ smiths' shops. From Bloy. From Grabbe.

Prom Ubu Roi. Prom Verlaine. From Rimbaud. the sorrel plain where the modern centaur IIIUrted. From Mallarme. the fifth letter of the first word of the first act. the north wind which blew upon the green sea 1nd blended with its salt the sweat of the galley slave who rowed until he was a hundred and twenty years old. and the beautiful today. the scarab. the reflection. Cleopatra. the lights heard by the first blind sister. in the mirror of the shield sil­ Ytred with ancestral ashes. the little bells to which the devils danced dur­ lnl the tempest.From Lautreamont. From Maeterlinck. voices asymptotic toward death. From Rabelais. From Schwob. beautiful as the trembling of hands in alcoholism. of the sacrilegious massacre of the liVen planets. From Mendes. the joyful walk of the irreproachable son of Ptleus in the meadow of asphodels. which vanished over the horizon. From The Odyney. the icicles hurled by the wind of God into till wnters. the cross made by the spade in the horizon's ruur brows. From Peladan. From Rachilde. 19 . From Verhaeren. the bright. the scaly animals imitated by the whiteness of tht leper's hands. the virgin. From Regnier.

bailiff.From Verne. the two and a half leagues of the earth's crust. Meanwhile. \ 20 . substantiating the invisi­ ble ink of sulphate of quinine by means of the invisible infrared rays of a spectrum whose other colors were locked in an opaque box. Rene-lsidore Panmuphle. until he was interrupted by the introdu � tion of the third traveler. began to read Faustroll's manuscript in deep darkness.

.science is that of ll\1 seneral. - . extending as far beyond metaphysics as the lmer extends beyond physics. whether within or beyond 1hr latter's limitations..... above all. pataphysics will be..... preceded by an AI10itrophe so as to avoid a simple pun.B O OK TWO !EllEMENT§ QlF PATA PJBIY§ IC§ TO THADEE NATANSON DEFINITION An epiphenomenon is that which is superinduced upon a rhenomenon.L£'ta tr� cpuatx:a) and actual orthography 'pataphysics.___ � - • 11"7 • �----- 21 . whose etymological spelling should be t1tt ( J. Pataphysics. despite the common opinion that the onlr. Ex: an epiphenomenon being often lll'ridental. the science of the_partic­ ular. 10 is the science of that which is superinduced upon metaphysics. or. and will explain the universe supplementary to this one.... Pataphysics will examine the laws governing excep-liuns.

which symbolically attributes the properties of objects. a hypothesis far less arbitrary than the choice of a concrete unit of positive density such as water? For even this body is a postulate and an average man's point of view. Contemporary science is founded upon the principle of in­ duction: most people have seen a certain phenomenon precede or follow some other phenomenon most often. and is codified only for convenience . since the laws that are supposed to have been discovered in the traditional universe are also correlations of exceptions. Pataphysics is the science of imaginary solutions. how far more apposite would be the law of the ascension of a vacuum toward a periphery. and in order that its qualities.. and conclude there­ from that it will ever be thus. DEFINI T ION . a vacuum being considered a unit of non­ density. ---. will describe a universe which can be . possess no longer even the virtue of originality. should 22 .envisaged in the _place of the traditiona:I one. but in any case accidental data which. depends upon the point of view. this is true only in the majority of cases. �lbeit more frequent ones. \educed to the status of unexceptional exceptions.less ambitiously.and per­ haps should be . described by their virtu­ ality.if that! Instead of formulating the law of the fall of a body toward a center. if not its nature. to their lineaments . Apart from other considerations.

without any justification. he will rarely see an isolated building. except perhaps in the country. These people com­ municate and achieve equilibrium by the outer edge of their bellies. So that we may not abandon. Universal assent is already a quite miraculous and incomprehensible prejudice. elliptic on three sides.a manifestly false proposition since it appears in profile as a narrow rectangular construction. it would be necessary to postulate that the height of human beings should remain more or less constant and mutually equivalent. tangentially. But even the common herd has learned that the real universe is composed of ellipses. and why the devil should one only have noticed its shape at the moment of looking at the time? . But a child who draws a watch as a cir­ cle will also draw a house as a square. and that its members are at one in a so-called universal assent because they are capable of perceiving only those curves having a single focal point. through digression.ade. our usual 23 . as a fas.Perhaps under the pretext of utility. Why should anyone claim that the shape of a watch is round .ades have the appearance of very oblique trapezoids. of course. since it is easier to coincide with one point rather than with two. We must.remain fairly constant. in fact. inevitably admit that the common herd (including small children and women) is too dimwitted to compre­ hend elliptic equations. because. and tradesmen keep their wine in barrels rather than cylinders. and even in a street the fas.

let us reflect. blue in depth and with edges that tend to ebb and flow when it is stretched. -THE TAL ISMAN OF O RAMANE Doctor Faustroll (if one may be permitted to speak from personal experience) desired one day to be smaller than himself and resolved to explore one of the elements. which Aristotle terms heavy.example of water. For this purpose he chose that substance which is-normally liquid. and proclaimed a number of similar absurdities as if they were useful discoveries. the enemy of fire and renascent from it when decomposed 24 . incompressible and horizontal in small quantities. colorless. upon the irrev­ erence of the common herd whose instinct sums up the 1ldepts of the science of pataphysics in the following phrase: \ FAUSTROLL SMALLER THAN FA U ST R O L L TO WILLIAM CROOKES Other madmen cried ceaselessly that the figure one was at the same time bigger and smaller than itself. in this connection. in order to examine any distur­ bances which this change in size might involve in their mutual relationship. having a curved surface. like earth.

coming together. repulsed Faustroll by means of this elastic inertia and became spherical once more. rolled the crystal globe. toward a neighboring globe. lengthened itself along its horizontal diameter into an ovoid myopia. formidable in its fragmentation and noise. as a paradigm of smallness. rang out following the projection all around of new and minute spheres. a temperature determined by this fact. dry and hard as diamonds. which vaporizes at a hundred degrees. with some considerable difficulty. He gave the orb a light tap. through whose transparency the outlines of the universe appeared to him gigantically enlarged. the two spheres sucked each other in.explosively. slipping on the rails of the cabbage-leaf's veins. reflected dimly by the leaves' foil. that 25 . With the tip of his boot the doctor kicked out at this unex­ pected development of the elements: an explosion. as if knocking on a door: the deracinated eye of malleable glass "adapted itself" like a living eye. taking small steps. of course! And having shrunk to the classic size of a mite. and in a solid state floats upon itself water. twice his size. became presbyopic. tapering in the process. was mag­ nified to his original size. until he encountered the Water. paying no attention to his fellow mites or to the mag­ nified aspect of his surroundings. This was a globe. he traveled along the length of a cabbage leaf. 4 The doctor. until sud­ denly a new globe of twice the size rocked placidly in front of Faustroll. whilst his own image.

. each one d�wing along beneath it the image of the tangential point of the universe. . And since. and I'll f. it's :your f het1d which will seT'I'e as t1 figurehetld. ][ ((]) C O N C E R N I NG THE D OG F A C E D KNEW " HA HA " BABOON H U MAN B O S S E . :your arms f :yardarms. :you. WORDS WHO BUT NO TO C H R I S TIAN B E CK Hey. followed its charted currents in the cabbage's subterranean canals .D E . the chlorophyll. . as for :you. .rolled to and fro aU along the green arena. I'll take :your robe for a storm-sail. . . . :your or or body for the hull. saUl Giromon gra11el:y. .N AG E . Beneath everything. well pitch :you into the water with six inches ofsteel in :your stomach for ballast. THE S A L A MA NDER ( L E P I CHON J O U E I C D E IS D I A B L E s ) 1 1 26 . tlt then I sht11l bt1ptize :you: the dirty b . like a shoal of green fishes. :your legs f masts. dis­ torting it according to the sphere's projection and magnifying its fabulous center. when :you are t1 ship. .E U G EN E S U E .

than hydro­ cephalous. This character will prove very useful during the course of this book.Bosse-de-Nage was a dogfaced baboon less cyno. to punctuate some of its overlong speeches: in the manner of Victor Hugo (The Burgraves. less intelligent than his fellows. by means of some strange medication." but more often he enunciated a tauto­ logical monosyllable: "Ha ha. sc. in his case. he could pro­ nounce fairly correctly a few words of Belgian. part I. scarlet on the other. 2): And is that all? . in various passages:1 2 27 . calling the life belt hanging at the stern of Faustroll's skiff "swimming-bladder with inscription thereon. The red and blue callosity which they sport on their but­ tocks was. and he added nothing more." he said in French. as a result of this blemish. so that his flat face was a tricolor. and. and if Bosse-de-Nage (so named because of the double protuberance of the cheeks described above) was not completely familiar with the French language. and grafted on to his cheeks.Nay. the good doctor wanted to teach him to speak. displaced by Faustroll. listen yet: And Plato. Not content with this. azurine on one.

..'QwA..·� �t 5ox:e� Aiyetv ' . xoA:6.M\A. .... . .ol:IUXt .' .''Ecm.Kcilltata Aiye�. � ':1 .'Ope&. . .11e£mata. .ttOft . ...t£v o-Ov.Nat.v.oyoo. ml. eqm.118il· .Eix:�.VTIIUXt..'AA.. .. . £qm.118il Aiye� �. 28 . .L\{x:atov yr/Ov.M4J.. .. .AOOc.'{)p86tata."E�tye.a y&p.'Op9<i).. .L\1\A.. ' . r.ov OJl. y ' £<p11 . .'I>J. mt t'Uq�A&. ."Eotx:e yap.:=..Koj.. I tl .\-' . .t£v.. " .Kat yap £cpco.. �.'AA.a &l.tV£t yap O'l>t�.Kcx.L\1\A.. .L. .. £<p11.Kat .'AA.

.Ilpht£t yap.n&c. . -yap &v.To\Yto !!Ev &A118� Air£�. .IloA:6 ye. .IloU. 29 . . .. .Ileta6� !!Ev o?>v. . . o' oil. .IloA:u !!Ev o?>v �tma.Ti.n&c. .navu !!Ev o?>v.il av�. Here follows the narrative of Rene-lsidore Panmuphle.. .Ilav'tcmaat !!Ev o?>v. . &xi.Ilav't(J)V �tma. y«p oil.Oi>ICOUv xP"fl. . ."� oont. .T\ JlllV.Ilav'tcmaat.n&c.

30 .G A RG A NTUA. like ·that of the boat-fly. making sure of the flat adhesion of his feet as one unrolls a glued poster. ll § lB Y § lEA 9R 'li' E E IB E L G ! A N lt S IB I N S S N FAMILY TO A L FR E D VA L L E TTE Inquiring what men of learning theTe WeTe then in the city. The red metal surface. 9 M P A R. CHAPTER X V I li li C O N C E R NING THE E M B A R K A TIO N IN THE ARK Bosse-de-Nage descended with tiny steps. The curved blades of the oars made a clangorous sound as they scraped along the sides of the old stone walls. carrying the skiff on his shoulder by the ears. began to shine in the sun as the long boat ventured its xyphoid twelve-meter long prow from out of the passageway.BOOK THREE F R. . in imitation of the ancient Egyptians teaching their disciples. ll § T 9 P A R. and what wine they drank theTe.

in place of ballast. facing him. other distant forms followed the direction we were taking. We ploughed through the masses of people as through a dense fog. whose blades moved apart with the surging symmetry of two peacock's feathers preening. and motioning me to sit down. drunk as I was and ready to believe anything). and the acoustical sign of our progress was the screech of tearing silk. and thrust into my hands the handles of the ash-wood oars. overtaking forms looming up from behind me which the sharp-edged oars chopped off �t the legs. swelling up in the bows as a lantern to light our way. I pulled at the oars. then he passed around his elbows the tiller's two guide ropes. Faustroll rubbed the rubicund cheeks of the cabin boy against the grooves of the sliding seat to lubricate the mechanism. squinting between two lanes of moist lines in a gray horizontality. the scorched face glowed more luminously still. maps. 31 . moving in my backward position I knew not whither. The doctor sat aft on his ivory chair: between his legs was the onyx table covered with his compasses. he shackled my feet to two leather fetters at the bottom of the skiff."Ha ha!" said Bosse-de-Nage as he deposited the skiff upon the pavement. on the felt slid­ ing seat (which I could not help obeying. sextants and various other scientific instruments. he threw at his feet. but on this occasion he added nothing to his statement. the curious beings retained from his twenty-seven equivalent books and the manuscript seized by myself.

. as also to interrupt our conversation. "from whose carcass you can see old fogies trembling in senility and young men with red hair. like ichneumon 32 . one could distinguish other figures. and I consulted on successive occasions the teaching of the vessel's mas­ ter. vertical and more or less stationary. Faustroll the doctor. THE SOU ITTY SEA. handwriting-colored birds. giving beaks full of flesh to speckled." said the doctor. WHERE WE DRANK TO L O U I S L . where a pause might be convenient. Faustroll consented to explain to me that the function of navigators was to make land and to drink. C O N C E R N I NG THE ISLE O L FA C T O RY OF CACK. in the same way as did the watchers in the Platonic den. equally cretinous in their speech and their silence. . with his inter­ jections. AND THE NOT L IG H T H O U S E . I gazed at the beings hoving into view from behind me. thus. "This dead body.Between the distant figures which followed us and those near us which crossed our path. while the role of Bosse-de-Nage was to draw the skiff up on to the bank at each halt on our errant way.

" continued Faustroll. waking up suddenly. And because of this inertia he is. if I am not isobic to them. while all these graybeards and young men. the 33 . opening his seized manuscript. " "Ha ha! " said Bosse-de-Nage. then he relapsed into an obstinate silence. in the middle of this vast plain. . . I will show you the map) . on our navi­ gatory route. and this is why (if you both behave." I said. and his nurse. . predicted to him that this was a sign that he would be unable to dissimulate from anyone the inf amous nudity of his calfs muzzle. who was so old that her lore was sufficient to encourage unusually copious stool.are dead. "Only his brain . . are blind and without sticks?" "See here. He suffered from impetigo in childhood. " ." said Faustroll. not a man but an island. " 1 4 "Yes.flies boring into flesh to lay their eggs . "I find him mentioned on my fluvial map as isle of Cack.this dead body is not only an island but a man: he is pleased to call himself Baron Hildebrand of the Squitty Sea.and the anterior motor centers of the medulla . This is why. "but how is it that this crowd of people and birds which has come to scatter obituaries on the corpse can raven upon him with such confidence. he can grow no kind of beard. 1 3 "And since the island is sterile and desolate.

ELEMENTS OF PATAPHYSICS . From all the places where I refuse to drink. have built upon the Baron's carcass a little chapel that they have christened CATHOLIC MAXIMUM. book N. as if it had looked at the sun too long. sub­ terranean. would dose your ears even to its sub­ terranean rumblings. while they are still baying at the moon. The people call them young wild duck. that is to say. Panmuphle. 16 We pataphysicians call them simply and honestly shit­ diggers. � : Concerning Obelischolychnies1 5 for dogs. says Corbiere. or the infrared rays by whose light I have written this book. The lighthouse of the isle of Cack is dark1. Panmuphle. But for moles and for you too. and thus no sound guides one to it. . "This lighthouse nourishes itself upon the pure matter which is the substance of the isle ofCack. organized into a monastery." 34 . And so that it shall not be stolen from them. of truth and beauty. the graybeards. guided by his scent. ch. come like magpies to suck life (their own. No waves break against it. exhaled from his mouth by a leaden blowpipe. and cloacal. in a storm. flights of pages. . a lighthouse lifts its finger to point out from afar the place of safety. The speckled birds have their dovecotes there. exclusive) from the syrupy and smoking jet emanating from the saturnine blowpipe. "A lighthouse raises its pr . the Baron's soul. a lighthouse is as invisible as the ten thousand and first sonic inter­ val is imperceptible. And your cerumen.

They wove themselves into forests. The king of Lace drew out the light as a rope-maker plaits his retrograde line. and then into jewels. Bosse-de-Nage. The Beaux and the Belles strutted and preened in imitation of fans. I could just see straight astern the island's smoke still rising until it was hidden by the doctor's shoulders.we would have been mortally ill had we taken a drink in that island . in my backward motion. gave out only a dim light. our map was refolded and I rowed for another six hours. intermingling like the swimming dance of the Rhine maidens. peacocks. and the threads trembled slightly in the dim light.II ) C O N C E R N I NG THE LAND OF LACE TO A USR E Y B EA RD S L E Y After leaving this displeasing island behind. then they fashioned themselves into a Madonna and her Child in the Christmas snow. until their patient 35 .and Faustroll kept me drawn so upright with the parallel jerks of the two cords of his tiller that. like cobwebs. and gowns. so exhausted from thirst that he was quite livid. but in no way similar to the brutal genesis of the world. like the leaves which hoarfrost engraves on windowpanes. my toes held by fetters. Suddenly a purer light than this emerged from the shadows. my tongue hanging out from thirst .

understood these prodigies very little. and he did not lose himself in further considerations. Bosse-de-Nage. nor probably any openwork boat with a copper skin. the paradox of day burrowing underground arose from Ali Baba screaming in the pitiless oil and the jar's darkness. drawn by its suction disks along a smooth descending road. moving upon three rollers set at the same level.gathering broke up with a cry. manned by a doctor pataphysician. nor bicycle. Just as the white junonians. In this district of Paris no omnibus had ever passed. nor tramway. and as Pierrot serenades the confusion of the moon's entwined ball. as far as I could judge. C O N C E R N I NG THE FOREST OF L OVE TO EMILE B E. who has at his feet the twenty- 36 . nor rail­ way. roost­ ing in a park. complain raucously when the lying intrusion of a lamp apes prematurely the dawn's reflection of their ocelli. "Ha ha. the skiff edged forward." he said succinctly. so an artless shape burgeoned in the forest of raked-over pine pitch.RNA RD Like a tree frog out of water.

M. instead of street lamps we could see ancient monuments of carved stone. who passed the time by jumping on my shoulders and pissing down my back. manned also by a bailiff named Panmuphle (I. finally. and M. a seaweed-green calvary in which the eyes of the women were like nuts cloven horizontally by the suture line of their shells. Arouet. heterosexual ring-dancers blowing into unmen­ tionable flageolets. green statues crouching down in robes folded in the shape of hearts. Here. and a sun burst open in it like the yolk of a prairie oyster bursting in the throat. Charbonnel. dressed in a gaudy smock. "Are you Christians?" asked a bronzed man. The sky opened out too. Thus I remained in charge of the skiff with the baboon cabin boy. and the azure became reddish blue." I answered after some reflection. Rene-lsidore. the undersigned) and by a hydro­ cephalous baboon knowing no words of human language except ha ha. the sea was so warm that it steamed. without further commentary. the redyed costumes of the passers-by were splashes of color more brilliant than opaque precious stones." said Faustroll. but I beat him off with blows from a bundle of 37 .1 7 "I am God.seven most exce�lent quintessences of works brought back by inquisitive men from their travels. The incline opened out suddenly into the triangle of an open space. "Like M. standing in the center of the little triangular town. Renan. "Ha ha!" said Bosse-de-Nage.

as I held them up to protect myself. the furry surface of the earth and of the people's necks being both like cows' hair. Each of the two thousand dancers in the barn offered to Faustroll a girdlecake. "Ha hal" he growled. and behind these there blazed the greenness and fatness of an historiated field of cabbages. disturbing sand-gray toads whose frightened croaks reached me in the boat. from on top of the freshly drained barrels. crowded with people dressed in sapphire-blue velvet.writs. which his guide had given him absolutely free. with two big maps of the country. and stinging the multicolored cheeks of Bosse-de-Nage. Each person present threw a pebble into the sea. couples danced gavottes. stinging the blisters on my hands. but he remembered his solemn oath. The doctor returned to the sound of bells. behind which was a second. to express his fury. hard cube-shaped milk. and the bagpipes. and observed with curiosity from far off the demeanor of the gaily dressed man who had approved of Faustroll's answer. Between the arches were tables· and pitchers and benches set out in a barn and on a threshing floor. Men were wrestling in a blue and yellow meadow. droned out the flight of ribbons of white tinsel and violet silk. The doctor drank from them all. novice oarsman that I was. and different liqueurs in glasses as thick as a bishop's amethyst is wide and hold­ ing less than a thimbleful. one 38 . They were seated beneath a great archway. with di�ond­ shaped faces and down-colored hair.

themselves plump and blue. over the conjoined waves of the dry land. men at the market with their plump yellow pigs. in an eccentric circle of dawn shadow. and the groups of women. On the second map were enumerated all the products of this happy land. and when I had taken up the oars once more. and Faustroll had taken the tiller's silken guide ropes. We rubbed the adipose cheeks of the hydrocephalous baboon against the slide rails of the felt seat. the wave of each group with its crest of white bonnets breaking gently against the ground. the forest surround­ ing the triangular space: the rose-red foliage rising above the blue mass of the grass. worked in tapestry. They were all as blown up as the cheeks of a bagpiper. 39 . And on it was written: The forest ofLove. The Christian host took leave of Faustroll courteously and sailed away in his own boat toward a more distant land. I crouched and stretched out once again in the alter­ nating movements of the oarsman.represented realistically. as full of wind as a bagpipe or a stomach. stuffed into their clothes like sausages. And we could see the red line of the sea's horizon cut the beam of his rose­ colored sail.

the huge king' s head carbonized itself in the moon's furnace. we skirted one final calvary. black. After their bones had first been slashed by the blades of the successive steps. at first sight. mass altar. 40 .1 $ C O N C E R N I NG THE G REAT B LA C K STAIRCASE OF MARBLE TO LEON B L O Y At the valley's mouth. he deposited in our skiff a viaticum of twenty-four Squitty sea-ears skewered on a unicorn's horn. and was forcing the people of the Squitty Sea to climb up on hands and knees. he let the monstrous hunter gorge itself with their flesh from butchers' hooks gripped in his fist. for a gigantic. and. raising his arm from the summit of the calvary. 1 8 At the blunt point of this improbable marble pyramid. between two acolytes strongly resembling cyno­ cephali of T anit. He was grasping a tiger by the scruff of its neck. He welcomed Faustroll with honor. whose fright­ ening height might have led one to take it.

C O N C E R N I NG THE AMORPHOUS ISLE TO FRA NC-NOHAIN This island is like soft coral. decorates with his fishing­ lines the tracks of circular railways resembling the beds of rivers. as the height of his pschent indicated to us. loves and drinks on the verticality of a long ladder. Like Simon Stylites. which are the best caryatids in bad weather. which was motivated by envy. which extends to quadrupeds the benefits of the pedal. Another king. versed in halieutics. amoeboid and protoplasmic: its trees closely resemble the gesture of snails making horns at us. 41 . he has crawled through the drains right down to below the monolith in the main square and has gnawed it away so as to leave a crust only two inches thick. and has no other lamp in his waking hours than the pallor of his nuptials. He works. he hides away in this hollow column. to escape the judgment of his Parliaments. One of his minor achievements is the invention of the tandem. lived upon the devotion of his seraglio. One of its kings. since it is fashionable today to place nothing on the plat­ forms of the capitals but statues. sleeps. And thus he is two fingers' breadth away from the gallows. Its gov­ ernment is oligarchic.

Another. so that we became competent to make full use of our free evenings. Another mimes the thoughts of mankind. will be as brave as they are gay. And while we were banqueting in his company and that of the other kings. on different rungs of the great ladder. who. he claims. and has brought some of these animals to perfection. profiting from a moment of inattention on their part. the rewards of the French Academy. as gay as they are witty. with the aim of com­ puting the qualities of the French. He has manufactured electric dragonflies and has counted the innumerable ants by use of the figure 3. so that there may be nothing inside but what is pure. as on previous days. 42 . Yet another is elaborating a huge tome. in order to devote himself entirely to this labor. intelli­ gible even to animals. with the cruelty of youth. chase fish before them or crush embryonic bites in their bellies. A third king has rediscovered the language of paradise. searching desperately under the quincuncial trees for the venerable absent one. the shouts of the newshawks in the magical square informed us that his nephews were that day.But the trains. he has contrived to lose his young progeny in the forest during a country walk. using personages of whom he has kept only the top half of their bodies. without wasting our talent. Bosse-de-Nage having the job of keeping its foot steady. remarkable for his hairless face. instructed us in use­ ful wiles. consolidate our dead drunk credits and gain.

as we landed. his loins girded with his white and blue diadem. sibyls record 43 . into their coral-red casemates. The skiff s mooring line was fastened around a great tree that swayed in the wind like a parrot rocking itself in the sunshine. and fortified by mad­ repores which retracted themselves. He was dad. in sky and greenery like a Caesar's chariot race. His function is to preserve for his people the image of their gods. and it was like a triangular sail. We drank to his health in liquors distill�d in vegetable hemispheres. And over the doorway of his wives' dwelling place he has captured the ecstasies and contortions of love in a divine cement. too. The king of the islands was naked in a boat. or the equilateral gold of a dried fish brought back from the septentrion. and as red-headed as if he were on a pedestal.II 7 C O N C E R N I NG THE F R AG R A N T ISLE TO PA UL GAUG UIN The Fragrant isle is completely sensitive. Standing apart from the interlacing of young breasts and rumps. He was fixing one of these images to the mast of his boat with three nails.

the formula of happiness. which was just crossing our route. or when he prunes with an axe. but such a leap is not within everyone's power. on his dwarfish trunk a fairground wrestler's tunic aped the Icing's nakedness. and Be mysterious. the young shoots which would disfigure the likeness of the gods. And he fell miserably short. a lamp nourished from the fragrant wellsprings of the earth. As the skiff cast off from the reefs. and with a rumbling from the casters under his base attempted to pursue and clamber aboard the platform of the Omnibus de Corinthe. He possesses also a zither with seven strings of seven colors. the eternal colors. 44 . cracking his posterior lavatory pan with a fissure less obscene than ludicrous. in his palace. we saw the king's wives chasing from the island a little legless cripple sprouting green seaweed like a wizened crab. the weight of fear heavy upon their loins from the vigilant gaze of the Spirit of the Dead. and from the perfumed porcelain of the great lamp's eye. He pushed himself for­ ward jerkily with his cestus-covered fists. which is double: Be amorous. from images of living wood. and. his wives burrow into the hollow of their beds. moving along the shore as he plays his zither. When the king sings.

after pass­ ing through narrow streets of empty houses that spied our approach through faceted eyes of complicated mirrors. I pulled on the oars for sev­ eral hours. ships passed across this sky. and we glided onto the smooth reddish beach. his eye on the compass needle. After having first heard the sea's vertical windowpane. then could be seen the image of the still distant rooftops of the castle of Rhythms. upside down and symmetrical toward invisi­ ble futures. we finally touched with the sonorous fragility of our prow the flight of steps in fretworked wood leading to the nomadic edifice. all root. between the viscosity of groynes like parallel leviathans. decided that we could not be very far northeast of Paris. it was not long before we could see it. which was receding constantly like a mirage. Indefatigable coxswain that I was. while Faustroll sought in vain for a landing place near the castle. which are the sand's skeleton. The silvered sky offered inverted reflections of the monuments to be found on the other side of the green sleep of hulls. held in its place by a fortification of those plants.11 8 C O N C E R N I NG THE IS CASTLE-ERRANT A JUNK WHICH TO G US TA VE KA HN Faustroll. 45 .

We hauled the skiff on to the shore, and Bosse-de-Nage stowed the tackle and treasures in a deep grotto. "Ha! ha! " he said, but we did not listen to the rest of his speech. The palace was a strange junk upon a calm sea quilted with sand; Faustroll assured me that some of the Atlantides lay beneath. Seagulls vibrated like the striking hammers of the sky's blue bell, or the embellishments of a gong's libration. The lord of the island came forward on foot, leaping across the garden planted with sand dunes. He had a black beard, and wore armor of ancient coral; on several fingers he wore silver rings in which turquoises languished. We drank hollands gin and bitter beer, between courses of all kinds of smoked meat. The hours were struck by bells fashioned from all the metals. As soon as the moor­ ing line had been untied by our laconic deck boy, the castle crumbled and died and reappeared mirrored in the sky, from very far away, as a great junk chafing the sand's fire.

46

19
C O N C E R N I NG THE I SLE OF PTYX

TO S TEPHANE MA LLARME

The isle of Ptyx is fashioned from a single block of the stone of this name, a priceless stone found only in this island, which is entirely composed of it. It has the serene translucency of white sapphire and is the only precious stone not ice-cold to the touch, for its fire enters and spreads itself like wine after drinking. Other stones are as cold as the cry of trumpets; this has the precipitated heat of the surface of kettledrums. It was easy for us to land there, since it was cut in table-form, and we had the sensation of setting foot on a sun purged of the opaque or too dazzling aspects of its flame; as with the torches of olden times. One no longer noticed the accidents of things but only the substance of the universe, and this is why we did not care whether the flawless surface was a liquid equilibrated according to eternal laws, or a diamond, imper­ vious except under a light falling directly from above. The lord of the islands came toward us in a ship: the funnel puffed out blue halos behind his head, magnifying the smoke from his pipe and imprinting it on the sky. And as the ship pitched and tossed, his rocking chair jerked out his welcoming gestures. From beneath his traveling-rug he drew four eggs with painted

47

shells, which he handed over to Doctor Faustroll after first taking a drink. In the flame of the punch we were drinking, the hatching of the oval embryos broke out over the island's shore: two distant columns, the isolation of two prismatic trinities of Pan pipes, splayed out in the spurt of their cornices the quadridigitat� hand­ shake of the sonnet's quatrains; and our skiff rocked its hammock in the newborn reflection of the triumphal arch. Dispersing the hairy curiosity of the fauns and the rosy bloom of the nymphs aroused from their reverie by this mellifluous creation, the pale motor vessel withdrew its blu·e breath toward the island's horizon, with its jerking chair waving goodbye.

.z o
C O N C E R NING THE CYCLOPS, T H E IS L E OF HER, S WA N

AND

T H E GR EAT CRYSTAL

W HIC H IS

OF

TO HENRI D E REGNIER

The isle of Her, like the isle of Ptyx, is one single jewel, with out­ jutting octagonal fortifications, resembling the basin of a fountain
*

Since the writing of this book, the river around the island has turned into a funeral wreath.

[Author's note.]

48

as pure and simple as a powder puff. for this would dull the surface. and the two parallel mirrors of the earth and the sky preserve their reciprocal emptiness like two mag­ nets eternally face to face. Seignioral. the bouquets of spray hover at a little height in horizontal sheets like clouds. unless in the manner of a ricochet skimming the surface. mirror-like (it was natural that the islands should appear to us as lakes. When the fluttering of the fan is rapid enough. during our navigation over dry land). not even its own. The island's surface is of still water. more or less. 49 . means. and that the syllable her. one can glimpse the whole island through its transparency. The map gave it the name of the isle of Herm. and one cannot imagine a ship sailing through it. like the root of a genealogical tree.of jasper. and sometimes it beats its wings without breaking the ambient silence. for this mirror reflects no ripples. and the fall opens out like a pavonine19 jet of water. because it is pagan and consecrated to Mercury. AU conduct in this land is formal. It has never been known for the gardeners of the isle of Her to allow the jet of a fountain to fall again into the basin. there sails there a great swan. and the inhabitants called it the isle of Hort. as in olden times when this word signified customary. Nevertheless. because of its magnificent gardens. Faustroll instructed me that one should interpret a name only from its ancient and authentic root.

made him break off at that point. It reflected the light toward us like the eight-rayed stone of the heraldic serpent. back to back in a Janus fram�. The lord of the island could. they evoked the image of Balkis. the doctor informed me.20 but we are not obliged to imitate the stratagems of Ulysses. centimeters thick. 5 x 10 . Faustroll calculated that the doub\e mirror was exactly 1 . cut by his orders according to the erstwhile hierarchy of the syrinx. And I retreated far from the island. no doubt. 22 His female retainers. as Bosse-de-Nage expressed succinctly the general stupefaction: "Ha ha!" he said. discern dearly through these mirrors those ultraviolet elements hidden from us. gave us a display of dancing on the glassy lawns of the island.. I pulled on the oars. summoned from Sheba by Solomon. He approached with small steps between a double row of reeds. whose donkey's feet were betrayed by the hall's crystal floor. but when they lifted their trains to walk upon this sward less glaucous than w�ter.The lord of the island is a Cydops. Before his frontal eye was hung a forehead-chain endasping two silvered mirrors. whose dresses spread out like the ocelli of peacocks' tails.2 1 his major-domos served us with sugar and with quarters of citron. for at the sight of their capripede dogs and their fleece skirts we were seized with fright and flung ourselves into the skiff lying at the foot of the jasper landing-steps. but his state of fright. perpendicularly enough 50 .

"Ha ha!" stammered the papio. the doctor joyfully drank some gin with Captain Kidd.for Faustroll's head to conceal from me in a short while the gaze of the lord of Her. but the impact of a steel cylin­ drocone against his left zygomatic apophysis made short work of his third word. shaped like the four demi-diagonals of separate arms able to advance in any direction. and managed to dissuade him from setting the 51 . or as the punch bowl full of blood spattered out by the fall of shooting stars. and quadrangular. And without awaiting a more detailed reply. We realized that we had approached within gun range when a bul­ let tore off Bosse-de-Nage's right ear and four of his teeth. After these salutations. Then we saw that it was mobile. and the artificial eye in its orbit of mother-of­ pearl resembling the reflecting glass of a semaphore lamp. the kinetic island hoisted the skull and kid. 2 JI C O N C E R NING T H E IS L E OF C Y RI L T O MAR CEL S C H WO B The isle of Cyril first appeared to us as the red fire of a volcano. with a helix at the four corners. armored.23 and Falistroll the flag of the Great Strumpot.

PAPIO CYNOCEPHALUS. After drinking.skiff on fire (it was. to the jaw-gaping horror ofBosse-de-Nage. on the bank of a bottle-green back­ water. and we visited the interior of the island.after robbing us from the main yard (the skiff had no main yard). but so that one may follow the opaque undulations of the dazzling lava. one can soon see no more than if one were surrounded by a shadowless dark­ ness. They are born and die without ever growing old. whither we escaped as quickly as possible because of the marine animals which ravage the seashore at ebb tide. Because the red glow of the volcano is blinding. relit his pipe in the lava. their particolored umbels sleep. The lamps and the volcano exhale a livid light. incombustible) and from hanging Bosse-de-Nage and myself . and farther inland. We all fished for monkeys in a river. there are children who run about the island with lamps. and until we reached the open sea we were accompanied by Kidd's words of farewell and by the dim lights like lackluster jellyfish. despite its paraffin varnish. used his ship-boarding scimitar as a calamus and with an ink made of gunpowder and gin tattooed upon the forehead of our dose-mouthed cabin boy these words in blue: BOSSE -DE-NAGE . the captain. 52 . like the port-side light of the Boat of the Dead. Lamp shades wander there like glaucous and pink crabs. in the hulks of worm-eaten barges. and gave orders to the light-children to escort the skiff down to the sea. resplendent with his curling mus­ tachios.

warlike and sacerdotal. then dazzled by the glare of a long stained­ glass window. but I failed to understand why he was clanging 53 . His sermon was rhetorical and very Latin.as loud as all the Brabantine chimes of ebony. cedar. oak. along which our keel lay symmetrically. while at his left was slung his great two-handed sword. into the cen­ ter of the great portal of Snoutfigs cathedral. maple. studded with balas rubies and black diamonds. its hilt fashioned from a golden crescent. sorb wood and poplar from Ringing isle . Like the prefatory cough of chair legs being shifted. glared at the assembly.C O N C E R N I NG OF T H E G R E AT S N O U T F IG S CHURCH TO LA U R E N T TAI L HA D E We could already hear bells . my oars grated on the flagstones of the nave. Friar John climbed into the pulpit. His chasuble was of chain mail. using the tiller's silken cords. Instead of rosaries. Attic.when I suddenly found myself between two black walls. beneath an archway. without deigning to warn me. had shot the skiff like an arrow. an olive-wood cith­ ern dangled on his right hip. The awesome figure. and Asiatic at the same time. in its scabbard of horned-viper's skin. The doctor.

and its claws grated together like stammering 54 . and being. like the pagurian. Friar John drew his great sword. Just as the smoke rose from the falconet. I saw the Snout. the shot ploughing open the orator's right temple and splitting his armet as far as his ton­ sure. it hides this and its rudimentary sex in a concealed shell. for fear of outrunning his thoughts. It is respectable and well­ proportioned.and clinking from his sollerets to his gauntlets. It has horns which serve it as a nose and as tongue-papillae. two claws of uneven length and ten legs in all. shaped like long fingers issuing from its eyes. laying bare the optic nerve and the right lobe of the brain. forgot him­ self so far as to think visibly: "Ha hal" But he said not a word. vulnerable only in its fundament. a pungent steam was exhaled from the throats of the congregation and congealed into the shape of a squat monster at the foot of the pulpit. while everyone drew back. Suddenly a bronze bullet was fired from a falconet bound to a counter-faced slab by four iron chains. inordinately interested. in every way comparable to the hermit crab or pagurian. making as if to attack the Snout. but without affecting that stronghold of understanding. as God is infinitely similar to man. nor could I com­ prehend his phrases. That day. to the dear anxiety of those present. The Snout retreated. the point of its shell first. arranged like the rounds of a fencing bout. Faustroll remained impassive and Bosse-de-Nage.

The sword blade. At this point. He winkled it from its shell with the forked tip of his sword. And the combat would have been the very image. the monster having advanced slightly while its adversary descended the twelve steps. he was able to bend the skiff appreciably. to right. except Bosse-de-Nage. in all its vicissitudes. blunted itself against the creature's hairy codpiece. Faustroll set the skiff in motion. of a bullfight if the bull Shell-Bottom had made a direct onslaught instead of attempting a thrust at the end of its circular flight. the bejeweled preacher remounted the pulpit for his 55 . and chopped its fundament into as many pieces as there were people present in the nave. And the sail of taut copper glowed like a crescent moon.mouths. However. this was possible because his tiller did not simply cQntrol a flat rudder aft but bent the long keel. Friar John was easily able to meet the Snout at its own level. With myself manipulating my suction disks to adhere to the granite's dangerously polished surface. but nei­ ther he nor we ourselves. the doctor led me toward the mon­ ster. to left. wanted to taste this offering. from the fore-end. upward or downward. By this artifice. flashing as it was drawn from its horned­ viper's skin sheath. according to his directional requirements. By pulling his guide ropes harder. And in its roundabout route our navigation twisted back on itself like the wedding ring of an amphisbaena's Narcissus kiss.

The commonest plants there were the side-drums.sermon. I swear. after welcoming us in these terms. he exclaims: Never. who delights to hear the sound of cymbals. led us to his plantations which were fortified by aeolian marker poles of bamboo." says the Chi-Hing. in his bed. iridescent as words. the magrepha and hydraulus. sambuca. beams like starry paths leading from the church. alone. were purged of their crass humor and applauded him. awakening. 56 . we departed once more toward the nearby bells of Ringing isle. And his flock. shall I forget the happiness that I feel!" The lord of the island. the beggar's-guitar and vina. Z J C O N C E R N I NG THE R I NG I NG I SLE TO CLA UDE TER RASSE "Happy the sage. "in the valley where he lives. and Faustroll did not consult the stars further. the ravanastron. archlute and bandore. for our way was lit by the beams of the great windows. a recluse. In a conservatory there arose the many necks and geyser breath of the steam-organ given to Pippin in 757 by Constantine Copronymus. the kin and the tche. As for us. no longer possessed by the Snout's spirit.

alone in his bed on awaken­ ing. at dawn and twilight. I swear. on a mountain slope. wanting to try out his voice before joining in the universal musical refrain. And. zampogna and English bagpipe. At the summer sol­ stice.and imported into Ringing isle by Saint Cornelius of Compiegne. At night. "who. coelophone. At the winter solstice the atmospheric sonority drops from a cat' s cursing to the buzzing of wasps and bumblebees and the vibration of a fly's wing. the Bengali chere. ha. the sun and moon explode like divorced cymbals. Saturn dashes together his sistrum and his ring. and the skiff exhaled its chromatic course at the beat of my oars. drank with him wormwood distilled on the mountain tops. Toward the two heavenly bodies 57 . reaching a pitch of overshrill ardor like that of insects hovering over the plants of our native fields. the Brittany bagpipe. he sings: Never." he cried. but the two heav­ enly bodies dashed together in a kiss of reconciliation and the planter celebrated this clangorous event thus: "Happy the sage. before taking leave. "Ha. ser­ pent. Here one could breathe in the perfume of the piccolo. here. saxhorn and anvil. all the above-named flowers blossom." began Bosse-de-Nage. shall my desires go beyond what I already possess!" And Faustroll. The temperature of the island is regulated by consulting ther­ mometers called sirens. oboe d'amore. delights to hear the sound of cymbals. contrabassoon and sarrusophone. bombardon.

from our skiff. at this moment. pet. semper nos amor occupet. oc­ " cu-pet. a-mor oc-cu. . " The white-bearded energumen concluded the coprolalic phrase with a throaty cry and an obscene contortion. on the hill where he dwells. From his throne perfumed with harps. and the seraphic soprano took up the refrain accompanied by the choir of angels. cu.e r G § IS� �� � �� I que biba •· mus The old man bellowed the selection of foul syllables. he lies 58 . Thrones. the lord of the island gloried that his creation was good. delights to hear the sound of cymbals. pet. a-mor mor. we could see the crumbling of his armor made of enameled cardboard or puppeteer's pasteboard and the blooming of the forty-five-year-old sistine dwarf's squalid beard. and as we drew away we could hear this melody: "Happy the sage who. a little naked child and a white-haired ancient sang on two lofty columns. alone in his bed. which was moored at the foot of this chubby and child­ like body's stele. Powers and Dominions: . . toward this double disk of silver �nd of gold they sang: -fiD! r· ) I J J Nocte di. in awakening.striking the hours of union and division of the black key and the diurnal key.

we reached the land of the Cimmerii and the hermetic Shades. of the vermiform appendix of a caecum. For the first time I under­ stood that it was possible to reach the undersurface of the tangible horizon and see the sun from so close up.in tranquillity and swears that he will never reveal to the vulgar the reason for his joy!" C O N C E R NING THE THE H E R M ETI C AWAITED SHADES D EATH AND K I NG WHO TO RA CHIL DE After passing the river Ocean. some of which expand into caverns. which differ from this river as two non-liquid planes may differ . as regards the stability of its surface. much resembles a great street or boulevard. There is a monstrous toad whose mouth is flush with the Ocean's surface and whose function is to devour the sunken disk. It genuflects daily in its circular 59 . It abounds in blind alleys and culs-de-sac.that is to say. in size and in division. In one of these the day-star was wont to puff itself up. The place where the sun sets has the appear­ ance. the way the moon eats the clouds. between the folds comprising the Town's mesentery. which.

communion; at this moment steam rises from its nostrils, and the great flame arises which is the souls of certain people. This is what Plato called the apportionment by lots of souls outside\the pole. And its genuflection, because of the structure of its limbs, is also a squatting. The duration of its deglutitory jubilation is therefore without dimension; and since it digests to the rhythm of a vigorous punctuality, its intestines remain unconscious of the transitory star which, in any case, is indigestible. It burrows a passage in the sub­ terranean diversity of the earth and emerges from the opposite pole, where it purges itself of the excrements with which it has soiled itself. It is from this detritus that the devil Plural is born. In the land where the sun is eternally dormant, there is a king who is its officer of the guard and due to share its fate, awaiting death each day; he believes that a night will some time remain perennial, and inquires after the evacuations of the toad on the horizon. But he has no time to consider the star hastening, its belly wobbling, into the adjoining cavern: he carries a mirror on his navel which gives him a reflection of it. His sole pastime is built from a house of cards, to which he adds a story each morning; here, once a month, the lords of the transpontine islands come to debauch themselves. When the castle is capped with one story too many the star will flash through it in its course, and that will be a considerable cataclysm. But the king has been sufficiently judicious not to build it on the ecliptic plane. And the castle keeps its bal­ ance in exact proportion to its height.

60

Since evening was descending as Bosse-de-Nage drew our skiff up on to the bank, the king was awaiting death as usual, and the toad was gaping functionally. The palace was swathed in blackness; couches had been prepared for the bodies, and philters to deaden the consciousness of agony. Bosse-de-Nage, though not profess­ ing it by a thoughtlessly variegated loquacity, prided himself on being deontological, and thought himself in honor bound to dress up in a black costume and to crown his skull - which resembled an ill-favored cucurbit - with a Belgian hat capable of storing up luminous vibrations in wave lengths equal to those of his costume, the crown of which resembled half a defunct globe. And the night computed its hours so exactly that lamps had to be lit. Suddenly the toad's descending colon thundered, and the non­ alimentary bolus of pure fire took its usual path once more toward the pole of the devil Plural. In a striking metamorphosis the mourning color of the hang­ ings turned into pale rose. The philters were drunk joyfully through the reeds of Panpipes, and when little women were laid out on the red-hot couches, Bosse-de-Nage thought the time had come to bring matters to a point: "Ha ha! " he declared in a summary fashion, but he saw that we had guessed his thoughts, and watched with great surprise the simplicity of his Belgian hat roll upon the carpet with the recalci­ trant din of an sweep's iron brush.

61

BOOK

FOUR

C 1E lP H A L 9 RGY

C O N C E R N I NG MARINE

THE

L A N D -TI D E

AND

THE

BISHOP

MENDACIOUS

TO PA UL VA LERY

Faustroll took his leave while the night was still hanging, like a pope, from four of the cardinal points. And I asked him why he did not stay drinking until the sun's next sudden plunge, he arose in the skiff and, with his foot on the neck ofBosse-de-Nage, made soundings along our route. He confided to me that he was afraid of being caught unawares by the ebb tide, since the period of syzygy was nearing its end. And I was seized with fear, because we were still rowing where there was no water, between the aridity of the houses, and soon we were
as

62

and few people are aware of it. Now it was midday. as it was easy to tell by the numbers on the wall. for an end to our drifting journey was that the thickness of the earth beneath our feet as far as its center was no longer deep enough to satisfy our honor. through the subsidence in the reflux. and we put into port. in front of the four thousand and fourth house of the rue de Venise. He then gave orders to Bosse-de-Nage to cast anchor. worthy of his Doctrine. overlooked by doors wider than the street but less agape than women waiting on the uniformity of their beds. assuring us that the sole pretext. through the albugineous sky over this narrow street being excellent. and told me to note down the fact that the terrestrial radius had already shrunk 1 . the earth is bulging with intercostal muscles and breathes according to the moon's rhythm. and that the ground was sinking toward its nadir.coasting along the pavements of a dusty square. But the regularity of this breathing is very gentle. the doctor was talking about the earth's tides. Faustroll took some astral measurements. 4 x 1 0 ·6 centimeters. Faustroll raised the 63 . Between the ground levels with their floors of beaten earth. I know now that apart from the flux of its humors and the diastole and systole which pump its circulatory blood. and I thought that one of us must be drunk. like a fathomless depth revealed in a nightmare. the visibility. As far as I could understand. the alley's narrow length as deserted as an empty belly.

fished up off the coast of Poland. but. Suddenly he pointed. was all encrusted with stones from the depths and could easily be lifted up in the front and at the back. his daughter. and to his two sons. and I was not very surprised to see arise fror:n the thresh­ old of one of the barest and most sordid hovels a marine personage abstracted from book XIII of Aldrovandi's Moniteri. which I touched. and.question of berthing the skiff in some deep shelter. Distinguished and Extravagant. more particularly the type of bishop which was at one time. according to the book. presented to Bosse-de-Nage an ear fig24 gratis. his chasuble. Then he inquired of us whether it would be agreeable to us. The marine bishop Mendacious made an obeisance before Faustroll. and when the skiff was intruded into the vaulted berth and the door's valve closed once more. hardly at all above the knees. His miter was of fish scales and his cross like the corymb of a reflexed tentacle. because of the chaste adherence of the cutis. to: 64 . he presented me to Visited. having the appearance of a bishop. quite succinctly.

the bishop's daughter. filled once again each unit of the ascending line of hectoliter cups in the mov­ ing belt which crossed the table in front of the doctor and passed. Distinguished and Extravagant drank as thirstily as anhydrous sulphuric acid. whole. near the raised throne of Bosse-de-Nage.D RIN K TO P I E R R E O UI L L A R D However. empty of its contents. He sucked in water from a decanter of gold beaten as thin as the wave length of green light. At one time he had been in the habit of mixing this last sub­ stance with bread and Melun cheese. but had succeeded in suppressing the supererogatory vanity of these solid condiment�. York and Westphalia. from Strasbourg. all dripping with Johannisberger. served on a tray made of the fUr (rather 65 . However. Bishop Mendacious refreshed himself exclusively with fresh water and rat's piss. roasted. as their names had made me suspect. and three of their jowls would have encompassed a cubic meter of firewood. I gave myself a thirst by swallowing a sheep that had been roasted alive while racing along a petrol-soaked track until done to a turn. Bayonne. on her knees under the table. Faustroll lifted with his fork toward his teeth five hams. and boned. the Ardennes.

than peltry, since the bishop wanted to be fashionable), of the freshly flayed fox of a drunkard,25 in season, and quite equal to a twentieth of the latter's weight. Such luxury is not vouchsafed to all: the bishop kept rats at enormous expense, and also, in rooms paved with funnels, a whole seraglio of drunkards, whose conver­ sation he imitated: "Do you think," he said to Faustroll, "that a woman can ever be naked? In what do you recognize the nakedness of a wall?" "When it is devoid of windows, doors, and other openings," opined the doctor. "Your reasoning is good," continued Mendacious. "Naked women are never naked, especially old women." He drank a great draught straight out of his carafe, whose point of sustentation was erect on its viscous carpet, like a root torn from its burial place. The catenulate conveyor belt of cups full of liquid or wind chanted like the incision made in a river's belly by the rosary of an illuminated towboat. "Now," continued the bishop, "drink and eat. Visited, serve us with some lobster!" "Was it not once fashionable in Paris," I hazarded, "to offer these animals in courtesy, like a snuff-taker proffering his snuff­ box? But, from what I have heard, people were in the habit of refusing them, claiming that they were hairy pluripedes and repul­ sively dirty." "Ho-hum, ho-hum," condescended the bishop. "If lobsters are

66

dirty and non-depilated, it is perhaps a proof that they are free. A nobler fate than that of the can of corned beef which you carry on a ribbon round your neck, doctor navigator, like the case of a pair of salted binoculars through which you like to scrutinize people and objects. "But, listen:
THE LOBSTE R AND THE CAN OF CORNED BEEF WHICH DOC TOR FAUSTROLL WORE ROUND HIS NECK

Fttble TO A . -F. HER OLD

A can of corned beef, chained like a lorgnette, Saw a lobster pass by which resembled her fraternally. He was armored with a hard shell On which was written that inside, like herself, he was free

(Boneless and economica� ;26
And beneath his curved tail He was probably hiding a key with which to open her. Lovestricken, the sedentary corned beef Declared to the little automobile can of living potted meat

of bones,

67

That if he would deign to become acclimatized, By her side, in the world's shopwindows, He should be decorated with several gold medals."

"Ha ha," meditated Bosse-de-Nage, but he did not develop his ideas more comprehensively. And Faustroll interrupted the frivolity of the conversation with an important speech.

CAPITALLY

Doctor Faustroll commenced: "I do not believe that an unconscious murder is therefore nec­ essarily motiveless: it is not governed by any command emanating from us and has no link with the precedent phenomena of our ego, but it certainly follows an external order, it is within the order of external phenomena, and it has a cause that is perceptible by the senses and is therefore significant. "I have never had the desire to kill except after seeing a horse's head, which has become for me a sign, or an order, or more pre­ cisely a signal, like the down-turned thumb in the arena, that the time has come to strike the blow; and lest you should smile, I shall

68

explain to you that there are doubtless several reasons for this. "The sight of a very ugly object certainly provokes one to do what is ugly. Now, what is ugly is evil. The sight of a revolting condition incites one to revolting pleasures. The appearance of a ferocious muzzle with the bones showing impels one to a ferocious act and the stripping of the bones. Now, there is no object in the whole world as ugly as the head of a horse, except perhaps that of the grasshopper, which is almost exactly similar without having the gigantic size of the former. And you know that the murder of Christ was foreshadowed by the following fact: that Moses, so that the Scriptures might be accomplished, had permitted the eating of the bruchus, the attacus, the ophiomachus and locust,27 which are the four species of grasshopper." "Ha ha!" interposed Bosse-de-Nage by way of digression, but he could find no valid objection. "And furthermore," continued Faustroll imperturbably, "the grasshopper is not altogether a monstrous animal, having normally developed members, whereas the horse, born for indefinite defor­ mation, has already, since the origin of its species, although endowed originally by nature with four feet furnished with fingers, succeeded in repudiating a certain number of its fingers and in jumping about on four solitary hooves, exaggerated and horny, like a piece of furniture sliding on four rollers. The horse is a planchette. "But the head alone, although I cannot define my reasons -

69

And the Apocalypse said precisely in signifying the fourth scourge that: 'Death was mounted upon a pale horse. but Bishop Mendacious interrupted him to conclude: "Well.and up to the present time the solipedes are cut up rather than guillotined . "And Baron Munchausen was never braver at war and better at killing than on the day when. if you are curious to know why I am rarely incited to murder in the street.' And the war's homicides derive from equitation.we may be 70 . and that a multitude does not possess the ability to give an order.perhaps because of the simple enormity of its teeth and the abom­ inable rictus natural to it . must be isolated. I would reply that a signal. so an individual is not an individual for me when he appears in the company of several of his equals. where the horrible head multiplies in front of all the vehicles. and a thousand intelligences form a mob moved by instinct.is for me the sign of all ferocity or rather the sign of death. he noticed that he had left half of his mount on the other side of the sharp girder. to be heard. And just as a thousand drums do not make as much noise as a single drum. the portcullis surmounted. so long as we never talk with you in the presence of a decapitated horse .' Which I interpret thus: 'those whom Death comes to visit see first the head of the horse. doctor." "Ha ha!" exclaimed Bosse-de-Nage appropriately. "Now. and I maintain that a head is only a head when separated from its body.

and what is more. "28 . X X I V . " Then he sent us to sleep with a macaronic Greek harangue. but when its blade was dulled he drew it along his teeth. tossing my head.z 8 C O N C E R N I NG PEOPLE. I could only make out the last perfect proposition: "• • • EEIOYAAE>AI.D E . he took no pleasure in sharpening his scythe. in which. with Mendacious in the lead. . S YMPA THE T I CA L L Y The little squat mower arrived and started to work. Since the episcopal nature of his vestments 71 .BEROALDE DE VERVI LLE. with a sound like f r o o o o o c. OF THE AND DEATH MORE OF A NUMBER OF ESPECIALLY B O S S E . 29 After drinking. He gave such strokes with his scythe that he filled a quarter of a wag­ onful of hay.permitted to consider your murderous temptations as an agreeable paradox. so vigorous was he. we took a walk through foggy streets. H O W T O S U CCEED. or more. Thus he saved time.N AG E T O M O NS I E U R D E I B L E R .

the flame was red. very calm. and giving them graciously to Bosse-de-Nage to carry. The saffron combustion of the fifth day decimated all cuck­ olds and bailiffs clerks. without exception. of women. and revealed the categorical poison in the air. of small children." for. he was opposed to all idle verbiage. And I was not yet aware of the bishop's charity in allowing the shop signs to fall down. The second day. but I was of a superior grade. faced with the toughness of a gilt molding30 above a horse-butcher's shop. as one knows. lit a small perfumed candle which burned for seven days. as if inadvertently. The gliding flight hovered as an animal mask and as a twofold gaze from above and below. The blue crackling of the sixth day hastened the impending end of all bicyclists. there was a remarkable epizootic disease among those quadrupeds considered edible on condition that they were ruminative and possessed a cloven hoof. who 72 . The first day. The fourth day. and the death of all scavengers and soldiers. Suddenly the crosier's curling head began to uncurl. the latter thanking him with the single word: "ha ha. no one except the doctor and myself noticed that he was unhook­ ing the shop signs with his crosier. of all those at least.gave people the impression that he was probably an honest man. Faustroll. The third.

spreading his four limbs out on the ground and strangling him from behind. when the doctor had relaxed the grip of his fingers.fasten their trouser cuffs with lobster claws. Mendacious unhooked the shop signs with his hands. whereas I was not molested by the doctor. and Faustroll was overtaken again by insanity. and. said in two words: "Ha ha!" and these were the last two words he uttered. And the fog dissipated weightlessly in centrifugal directions. The bishop took to his heels. for I was armored with my name Panmuphle. But Faustroll crouched over the baboon. after ask­ ing for a leg-up from Bosse-de-Nage. but not quickly enough to pre­ vent Faustroll from tearing off his miter while it was still alive. before the arch of a riding school's great door. The light changed into smoke on the seventh day. and Faustroll had a breathing space. 73 . Bosse­ de-Nage made a sign that he wished to speak.

.P I RON 3 1 We may properly treat here of the customary and succinct speech of Bosse-de-Nage. it is more judicious to use the orthography AA. until he's tumbled. is the formula of the principle of identity: a thing is itself. It proclaimed in Bosse-de-Nage effort. together with the most probable cause of its premature interruption. for the aspiration h was never written in the ancient languages of the world. with the former obviously equal to the lat­ ter. All unaware He won't. " he said concisely. and the consciousness of his inferiority. know it's there. servile and obligatory labor. A juxtaposed to A. It is at the same time the most excellent refutation of this very proposi- 74 . but we are in no way concerned with the accidental fact that he usually added nothing more.C O N C E R N I NG EVI D E N T SOME FURTHER THE AND M O RE "HA HA " MEAN I NGS OF WORDS . . "HA HA. In the first instance. so that it may be made clear that it is with rea­ sonable intention and not from mockery that we have always reported it in its full extent. And I'll declare He's mooning up some landscap'd alley where A ha ha lurks ahead. .

until the letters become con­ founded. Pronounced quickly enough. The first A was perhaps congruent to the second. and was refractory to the idea of progress. nor of the Universe. But this duality proves also that the perception of Bosse-de­ Nage was notoriously discontinuous. nor of the indeterminate. which may he defined as the Several. of dis­ tance. not to say discontinuous and analytical.even when issuing from the obscene hiatus of the mouth of Bosse-de­ Nage. in addition. he had evidently no notion of the Holy Trinity. Let us content ourselves with noting that since Bosse-de-Nage usually uttered only AA and nothing more (AAA would he the medical for­ mula Amalgamate}. if not indeed in time. It would he a complicated problem to study. which commences at three. when we write them. and we will therefore willingly write thus: A A. just as two twins are never horn together . One may confidently assume that he could only perceive space in two dimensions. as it does. of greatness and duration. implying. = 75 . unsuited to all syntheses and to all adequations. nor of the undefined. nor of all things triple. it is the idea of unity. of symmetry. a spiral figure. whether the first A was the efficient cause of the second. of the two principles of good and evil. Pronounced slowly. since the two A's differ in space. it is the idea of duality.tion. of echo.

ha ha would have designated a special sail placed beneath the jibs. on the boulevards.H 76 . And in his public life he never understood the use. until his death.Nor of anyone else. in fact. befouling and ravaging everything indiscriminately. he indeed felt that his wife was chaste with him. these meanings being very well-known. the day he was married. of those iron kiosks whose popular name derives from the fact that they are divided into three triangular prisms and that one can use only one-third at a time. an armed pit or military well into which chrome steel bridges may collapse. We have purposely omitted to say. and that AA may still be read on the medals struck at Metz. 32 and he remained. but he could not tell whether she was a virgin. And. that ha ha is a ditched gap in a wall at the end of a gar­ den path. If Faustroll's skiff had had a bowsprit. branded thus by Captain Kidd: BOSSE -DE -N AGE Papio cynocephalus.

being unaccustomed to attend to matters niri in pontificalibus. Y )0 C O N C E R NING A T H O U S A N D VA R I E D M A TTE R S T O P I E R R E L O TI But the bishop. The jolly little man waddles from right to left on the hemis­ pericity of his base. victualled with a thousand varied matters suitable to encourage a crap. was in a bad way of busi­ ness. and the bishop would have recognized. decapitated of his miter. I. the sprinting legless 77 . had he been a member of the expedition at that time. he entered his closet. For which reason. On the little table where ordinarily rolls of paper unfold them­ selves.BOOK F IV E 9 1F IF R C JI A I. a fat little bust of a jolly little man with a scrubby little beard paraded in beetle-green.

37 rolled inside this concave mirliton.cripple expelled from Fragrant isle." said Mendacious. You have not yet made use of my services in this way. . "36 He jumped nimbly into the designated pit. the Christian faith permits 'JOU to read with serenity the most somber subjects. 78 . "as is the case with her. then. "but" (pointing to the bishop's amethyst). . and like an iron gauntlet sliding down the banisters of a staircase. but you will see that it is even more me. supported him with their feet. "Read perseveringly with all your eyes. the reverbera­ tion of his zinc bowl died away along the double turn of the depository pipe: but the verses of Messrs. if onl'Y 'JOU knew!"3 5 "You have decided me. Deroulede and Yan­ Nibor. "Take your place. This paper is sovereign. ?" said the bishop. . . I found out later that he had met him. nay even with your most secret eye. It would b . " he said. The palmate legless cripple raised himself up on the artificial heels of his bowl and offered the bishop courteously a pad of squared paper as an abstersive: "I had reserved it for m'Y mother. 'JOU so. on the vulgar clock in the sitting room of an old lady. It is time: I alone can still distinguish behind nearly all these accumulated words THE BOTTOMLESS ABYSS. among these piles of less efficacious suppositories. "34 "This paper is then going. at less expense and looking even more like himself.

Let us read with the other side's eye: the last ritual cleansing. brrr. . . . • . . . . . this ter­ rible little bed. brrr . It is freezing hard general sinister impression brr. she is already halfway into the abyss heuh heuh. the poor corpse. eheuh . . . . agonizing nightmare. Horrible moment. . . . chen. . brr . still reading. brr . . . the doctor says that she will not last the night Off with you. the pale forehead. Brrr. - Melanie. you are doing fine. . . "Carry on. " " The bitter struggle of the end. hatsch. Must she then die Latent Obscure . . . Bitter tears. . . who have practically become members ofthe f amily " . . . . . . . . . .) "In the train of a regiment. . the great bed. who comes from a stock of devoted old servants. • . The momentary oblivion induced by sleep. Heuh. "Tra ratatat!" (The bishop hums joyously. • . . . • . do not be afraid of inconveniencing me: I shall sleep right next door in the Arab room. • . . " 79 . " The cold bores into one's bones" (bis). Her life is drawing to a close" (Veiled drum). the horrible little bed.Reading by the Bishop while going about his business. A verse. . " agreed the bishop. . "brrr . . . . brrr. "Courage. . Latent Obscure is leaving us. brr . the dear f ace. frog! down into the shades below." cried out the little man from below. The moment ofagony has been consummated brr. . . brr . . . . our faithful . DEATH OF LATENT OBSCURE "Brr.

good smiling eyes. "that regret for Latent Obscure welled up in me with that intensity and in that peculiar f which brings tears." telephoned the inhabitant of the pipe. . ratatat! " The dear voices and the dear sounds sad . tiny box. f all is suddenly orm or calm." echoed the little man. so " "LATENT OBSCURE HAS LEFT US ! ! ! thanks be to God. . . "These GREEN PALMS . "A warm sun. "Thanks. • . brrrrr . " panted the leaves in their suc­ cessive service. Big cupboard. an ash. 80 . . " continued the bishop remorselessly. . . so pretty!" " Vague impressions. " said the bishop sitting down again. . " "Thank you for your good wishes." exclaimed the bishop. brr. all becomes normal. "placed crosswise on the breast. getting up. I am smoking an oriental cigarette!" "Perhaps this is the last time. infinitely sad. . and suddenly." We rise and descend like ghosts. . " The pale features. . something indescribable thrown as if in haste. . . The pale pale winter's day. the gentle smile! Latent Obscure smiles so softly. a mist. suddenly forced to resume his reading. . supreme image. seated at the top of my chimney. f orgotten. serene countenance. " continued Mendacious modestly. and there is a veil. Open windows. Obsessive impression. Brrr . "I am delighted to see that you are not leaving us yet. . . "Heuh! eheuh. . . . and reading with extreme concentration. . • .

aka-San?" asked the little man after a certain while.aka-San did some very dirty things in her box during the quite pardonable unconstraint of her last hours. " quoth Panurge. marine bishop. Brrr . I'm hyplotiz­ ing38 myself. Ho-hu. . "No. cousin of Mr. it is necessary to know that the valve installed at the neck of the pit's mouth was of thin rubber. Without stopping. . brr . and to be familiar with the dis­ coveries of Mr. that a liquid jet 81 . Mendacious. one should be aware that a stream of water falling upon an india-rubber sheet stretched over the upper end of a tube constitutes a microphone. the illustrious inventor of the telephone. "39 ] I C O N C E R N I NG THE M U S I CAL J ET "How do they call thee?" "Chaw-turd. . ratatat . " "Is your name K. 2 5 Now. at your service. Graham Bell.PA NTA G R UE L . I l l . rat. .of the memory of those beings who have returned to the ETERNAL NOTHINGNESS. T�e rosary for the dead. Bounty! bounty! In splashes. tat. ho-hu! Long as a lance. in fire and in blood! After the fashion of the rhinoceros. . Chichester Bell. . . Why?" "Because K.

: "Henceforth (ped. T� Isle of Drums." The L.breaks up at certain rates more easily than at others and. 8-E-B pedal): "May your grief be soothed by our songs! (F-A sharp). • . crotchet-rest. : "No! (Pedal. AlexcmJre cmJ G. Fly away to the low murmur of the waves (ji'lle flats. natura�. words by P. Lo-: (c) ti (E flat) shall be your supreme name (SIC). c./m. pedal. lyric by Rtynt�ldo H. if you would charm our solitude. . common time.). . according to its nature. Loti. " Others: "Fei. Others: May your dire sorrow (G-B sharp). organ note). some of them GENTLY (E-G-C-E . one should not be scandalized if we mention that the bishop's loins secreted this quite unconsciously musical jet whose amplified vibra­ tions he perceived at the moment of taking leave of his reading. A. Lo-ti (E flat.) let him be named Lo-ti. B . Ht�rtm411n.] 82 . " Some women propose the name: "Atari. W . pedal. CRYSTALLINE) "Stranger (G natural-B). In the land of songs. And give you another (A flat) like the mountain flowers ( G sharp. THE LITTLE WOMEN (piano. In the land of loving (crotchet­ rest).. glorifying the little man. W . finally. one must change your name (GENTLY) whose syllables are too rude." All surrounding him: "It is the moment of baptism! (RATHER SOLEMNLY). Voices of little women* arose. [Author's note. cresc. three sharps). will respond to certain sounds in preference to others. " The L. ped." • Sic. Two qUd'l'er-rests) Lo-ti (B-F.

manifested itself.): "In the land of songs. 83 . and laid on hands. the bishop resecured his ring. could not really die . W . having only existed imaginarily. confirming by this approved gesture the benediction of the L. Loti. is interrogative. the music ceased. p. greater than itself. Lo-ti (E flat. for it awaits an exposition in present space. said "ha ha" respectfully. In the land of loving.(in the key ofb flat) -ess you! (Great uproar).THE LITTLE WOMEN (CONT. HOW ONE OBTAINED C A N VA S TO P I E R R E B O NNA R D Faustroll carried out a subfumigation. awaiting orders. and (p.who. Loti shall be your supreme name (two crotchet­ rests). Then he simply cut off the jet. beginning of all things. the aspersion being com­ pleted.) we ble. and the specter of Bosse-de­ Nage . " The valve opened. and the appendix. then was silent. namely that the a. I discovered that day a new meaning of this invaluable word. of a sequence in duration. Lo-ti we name you. E flat) we name you.

"You will ask a policeman the way to the National Department Store.-P. Laurens. Detaille. thirty-eight doz�n florins for M. Henner. . and prepared to depart. eighty thousand maravedi for M. ." said the doctor. since his canvas is stamped. " "Apart from ha ha. J. . Laurens and Tartempion. with the figure of a poor man." "Ha ha. Henner." I said to Faustroll. you will. A sufficient payment will be seventy-six million guineas for M. called Au Luxe Bourgeois. "but would it not be more honorable to allocate this gold toward the costs of my pro­ ceedings." said Bosse-de-Nage to show that he had understood. Pour over each of them a pile of gold. and five billion francs. forty-three centimes for M. in place of a trademark. Bonnat. until their mouths are silenced beneath its rising tide. J. without a word. and if necessary abstract the quantities of canvas by sheer cunning?" 84 . " . You will throw the remaining coppers into the faces of the other clowns. Bouguereau. "You will convey my compliments to the department managers Bouguereau. And so as not to waste time in the grip of their haggling. as well as a tip in kopeks."Here are a few billions in cash. Bonnat. Tartempion. Detaille. "This is all very well. to their horde of assistants and to the other subsidiary salesmen. 40 and there you will buy several ells of canvas. rummaging in his ruby-buttoned waistcoat pockets. seventeen thou­ sand seraphs for M. for M.-P. " I insinuated maliciously. .

winking. all things were transmuted into the sovereign metal at the contact of the marvelous become real. and when. "but I have found by experiment that the benefit extends only to those whose brain is that selfsame stone" (through a watchglass embedded in the fontanel of his skull he showed me this stone a second time) . the artisan of the Great Work contented himself with running his strong fingers through the pointed sumptuousness of his luminous beard. and his hurried exit carried with it the most ardent protestations of his zeal. and said: 'How beautiful is yellow!'42 "I could easily transmute all things. on this first day of the world. set in one of his rings). genuflect before the Degas and the Whistlers. the doctor continued: "When Vincent van Gogh had unluted his crucible. Turning toward me. " agreed Bosse-de-Nage wholeheartedly."I will explain to you what my gold really is. . for I also possess this stone" (he showed it to me." said the doctor. Bare your head before the Poor Fisherman. enter a small room arranged for this purpose. bow before the Monets. . prostrate your­ self at the feet of Renoir and lick the sawdust of the spittoons at the foot of the frame of Olympia!"41 " Ha ha. and cooled the integrated matter of the true philosopher's stone. And to Bosse-de-Nage: "One last word: so as to wash the shoptalk out of your prog­ nathous jaws. 85 . There the ikons of the Saints shine forth. grovel in the presence of Cezanne.

Henri Rousseau. "that one could possibly give gold to these people which would remain gold and worthy of being gold in their wallets? "That same in which they are now submerged will also spread the well-adjusted streams of its flux over their canvas.Bosse-de-Nage returned with eleven scenery vans filled with vertical stacks of unredeemed canvases. he appointed to the control of this mechanical monster M.43 "Do you think. 86 ." ended Faustroll. called the Customs-officer.44 artist painter decorator. in every way comparable to the matter with which babies beshit themselves. It is young and virgin. mentioned with honor and medal-holder." And after aiming the beneficent lance of the painting machine at the center of these quadrilaterals dishonored by irregular colors. who for sixty-three days embellished most painstakingly the impotent diversity of the grimaces from the National Department Store with the uniform stillness of chaos. my friend.

BOOK SIX A V ll§ ll '][' '][' 0 L lJ C lJ ll lJ § 1 1 C 0 N C E R N I NG THE TERMES 45 Now. like the scratching on a table of a fingernail. The great bed. the pulsation stopped. possessed a heart capable of pumping out with its open and dosed fist the projection of circling blood. and poured upon the ground the worm-eaten hours of its sand. then continued up to eleven. . --·---·� ---=- 87 . The watch's tick-tock. . who had loved her like the infinite series of numbers. strokes. squatted upon the naked­ ness of the earth. that ancient part of the world's nebula. Visited desired to discover whether. Amid this rhythmical silence. carved out by knife. Faustroll. underneath the spiral-painted tapestry. a �n nili__Qr a nail. She counted nine . beat �ar her gr. Faustroll was sleeping next to Visited.

The bishop's daughter heard her own sleep before any further beats. the termes. for she did not survive the fre­ quency of Priapus. In the sealed palace which alone ruffled this dead smoothness. swayed and veered in infinitely varied directions. and these did not disturb her. Meanwhile. after there was no one left in the world. the lighter colors nearest to the surface. and followed its own whim in blowing onto the walls' canvas the succession of primary colors ranged according to the tubes of its stomach. animated inside by a system of weightless springs. On the oak of the decrepit bed. . CLI NAMEN 46 TO PA UL F O R T . this mod- 88 . like a spinning top. the only monument standing in a deserted and razed Paris. like a pousse­ l'amour in a bar. revolved in azimuth in the iron hall of the Palace of Machines. the Painting Machine. it dashed itself against the pillars. lent the isochronism of the throbbing of its head to the simulation of Faustroll's heart. comparable to the invisibility of a red louse with yellow eyes. .

The king's hair does not stand on end. in their ascent. the color of the metal of a roofer's anvil. but droops like a walrus's wet whiske. describing a circle around Nebuchadnezzar.ern deluge of the universal Seine. the unforeseen beast Clinamen ejaculated onto the walls of its universe: NEBUCHADNEZZAR CHANGED INTO BEAST What a beautiful sunset! or rather it is the moon. the compasses close and open up again. the pointed ends of his hair make no effort to squeeze shut the sensitive pimples which people this limp seaweed with zoophytes reflecting all the stars: tiny wings flutter to the rhythm of a toad's webbed feet. The sky is a sulphurous gold so red that there is really nothing missing but a bird five hundred meters high capa­ ble of wafting us a breeze from the clouds.rs. The eyes' sorrowful pupils. With one point on the roof. One arm chants the metamorphosis. the very type of all these flames. but too romantic! There are towers with eyes and beaks and turrets capped like little policemen. after a flight exactly as black as a martin's. Thus the bird: The great Angel. crawl toward the knees of 89 . who is not angel but Principality. or like the oily stopper of an Italian flask. The architecture. Pitiful pleas swim up against the stream of tears. swoops down. Two watching women sway at the wind-swept windows like drying straitjackets. is most lively and even rather mov­ ing. like a porthole in a hogshead of wine greater than a ship.

-.the wine-lees colored sky. it holds the little Island shaped like a chrysalis. imploring the inexorable angel (Woan 't yew p'-lay 90 . in the form of a rectangle. white.� � --. THE RIVER AND THE MEADOW The river has a fat. TOWARD THE CROSS At one end of the Infinite. who is green except for the pink of his bifid tongue. And the horned fish. A green Pierrot rushes up. Down the rectangle's diagonal comes the angel. a neck with many wrinkles. There is a barrier around the rectangle. The Meadow in its green gown is asleep. is the white cross where the demons have been executed together with the unrepentant Thief. And all the devils. spread their caudal fins out wide like acro­ bats' legs. its head in the hollow of its shoulder and neck. praying calm and white like the wave's foam. a blue skin with green downy hair. but the angel has enchained the newborn monster in the blood of the vitreous palace and thrown him into the bottom of a bottle. and.-. a monkey trick of the divine Ichthys. A blood-covered creature with hair standing on end and lenticular eyes is coiled around the tree.----arms.---. weaving from side to side and turning cartwheels. pressed to its heart. surge back toward the cross driven through the Dragon.� -. with five-pointed stars studding the bars. soft face for the smack of oars. in the shape of mandrills or clowns. Between its -.� -.

They . GOD FORBIDS ADAM AND EVE TO TOUCH THE TREE OF GOOD AND EVIL. mistuh Loya/?). Behind the wall where it hides. as his red cheek rends the lions on the tapestry. the wall's substance. shaking their downs' straw wigs encrusted with sea-salt. old and looking like time and like the old man of the sea lapidated by Sinbad. It is baptized with poison.. Ancient monsters. THE ANGEL LUCIFER RUNS AWAY God is young and gentle. LOVE The soul is wheedled by Love who looks exactly like an iridescent veil and assumes the masked face of a chrysalis. with a rosy halo. It walks upon inverted skulls. Adam adores and looks to see if Eve also adores. THE CLOWN His round hump hides the world's roundness.blue. The tree's base is twisted and its leaves aslant. His robe is blue and his gestures sweeping.with me. The other tree'!! are doing nothin� apart from being green.47 plod toward the Passion. violet in the artificial absence of the iridescent veil that it 1s weavmg.e·�� th7ir knees. . laugh into their green beards. The angel Lucifer. claws brandish weapons. plunges with his gilded horns toward the lateral ether. The heart remains red and. . Clubs and diamonds are embroi- • 91 .

his eyes still climbing. 6�� f�Ud. --- IN THE NETHER REGIONS The fire of the nether regions is of liquid blood. One lies down on the road. _ dropping his guitar. Another waits with his back to the mountain. " FARTHER! FARTHER! " CRIES GOD TO THE MEEK The mountain is red. a serpent darts his 92 .. turning away its head. the sun and the sky are red. near his bottles. The heads of suffering have sunk down. stretched to where the fire is abated.'w1ic>"'rave'nofl'eac1lea"'itCCriie·fiiiil­ hl. if it be not a widowed gallows. FEAR CREATES SILENCE Nothing is terrifying. The b��ttllos-e. Fear. The rocks surge upward. a bridge with dry piers. and an arm is raised from each body like a tree from the sea bed. and one can see down to the very depths. and the sun waits for obedience before it will set. A finger points toward its peak.ckward on to his hands. There. the absolute summit lost to view. The finger still points. keeps its eyelids lowered and the lips of the stone mask dosed. and a shadow which is content to be black.de red on the crimson silk of his garments.-d fl�st.ins �own a��--h·�. and toward the sun and the grass he makes a benedictory aspersion with his tinkling aspergillum.

the blue sky turns violet. Fire glows red from the idea of ascension. EMERGING FROM HIS BLISS ._ JUST A WITCH Her hump to the rear. and the index of the road to the Devil.. which signi£es: FROM TOP TO BOTTOM . and above the ass's cross. The sky is blue. blesses and sows and makes the sky bluer.. All this blood is aflame and held within the rock whence people are hurled.W:�._..____body. .venom. carries it on his brand new man'§ sho�lder.!. The little star becomes a halo. vegetation of the bright red sky. at the end of the road's Above the _. GOD CREATES THE WORLDS God arises haloed by a blue pentagram.. It is a blade steeped in blood from the wound.::!t!.:=--_ ·•-a.._ 9rm. FROM BETHLEHEM TO THE GARDEN OF OLIVES It is a little red star.. above the crib of the Mother and Child. 93 .. she goes under the claws. and above his image in ---·-�the wood�E�����Jl�!lt9. are eyes and a beard which bleed also. And there is a red angel for whom one single gesture suffices. God has lifted the weight of the cross from the animal and . hair whistling in the flight of the broomstick with which she has transfixed her­ self. neck twisted. belly to the fore.__ _. The road is as straight and white as the arm of one cruci£ed Alas! the cross has become bright red..l}. The black c�� becomes rose.__.

Faces. And the only thing not created is the white robe of Form itself. mushrooms bloated with rottenness. spring up evenly and red in the windowpanes of agony. or the communion of the two palms of one praying or swimming. twin spheres. • KHURMOOKUM . becomes slit-eyed and decks his cheeks with bunting. sails in pursuit of the soul. The third old man veils himself with the white wing of his hair and announces desper­ ately that beauty returns to the skull by polishing his own. The second rejoices in the external equilibrium of spectacles. a larger orb behind this dome. and weighs his diagnostic in the libration of dumbbells. or rather these are not the arms but the two divisions of the head of hair. against the current of the stream of tears. watches the lover who. The suns are great four­ leaved clovers. in bloom. . in the attitude of daily devotion called by the Brahmins . THE DOCTORS AND THE LOVER In the bed. his eyebrows joined upward by their inner points in the shape of cranes in flight. there is a floating of outstretched arms. The first doctor. 94 .and the gold of the stars mirrors the halo. And the center of this head of hair curves like a dome and undulates like the movement of a leech. trapezoidal in character. calm as a green sea. vegetating upon the dead man. The fourth. without understanding. like the cross.

BOOK S EVE N K 1Hl llJ RM 9 9 K llJ M (The Sundhya.. unsinkable because of its oily coating.. The meshed base.. reared up the head of its prow under the pull of Faustroll's tiller. 48 ] $ C O N C E R N I NG T H E G REAT SHIP M O U R .. �.... The disappearance preceding the apparition of the corpses of the seven day's murder squinted toward us from the other side of the reticular bars protecting us........014. and its gesture was the opposite of the charitable crosier of Mendacious.Z E N C L £ 49 The sieve..� ..D E . rested upon the waves' denticulation like a sturgeon upon several harpoons. and beneath it was a keyboard of water and air alternately. 95 . or the daily Prayers ofthe Brahmins). which would have burst into flames like a puerile resin in the city quietly consumed by fire and death.

or a stationary balloon. which means Horse-muzzle­ bearing-scythe. loomed up on the immediate horizon like a black sun. like a ledge on the vault's brink. moistened in his mouth. having the appearance under the bright arch at the tunnel's end of an eye without its leather blinker. the banks dis­ appeared and the sky and the river became comparable and undifferentiated. approaching the fixity of its own painted pupils. Faustroll maneuvered the skiff into an aqueduct six hundred meters wide along which the canal barges were vomited into the river. That is to say. and the skiff became the pupil of a great eye. Immobile barrels stemmed the current at express speed. On the invisible towpath.shaped-patches. Faustroll scraped the paraffin from the bottom of the boat. as one seeks refuge under one's bedclothes in the once-and-for-all blackness. and the water was night. with a dizziness to left and to right whose feathers I was ordered to stroke with my two oars. And to escape these things. The 96 . green in a yellow iris. clopped the front horseshoes of the file of four animals bearing the sign of death.The toad from the isle of Shades snapped up the sun for its supper. treading awkwardly with their hooves. With his topaz-be ringed forefinger. (Here ends the narrative of Panmuphle) The great ship Mour-de-Zencle. rolled into balls.

were named the mouths of Panmuphle and Faustroll.50 then joined his palms in an atti­ tude of praying or swimming. Thus did Doctor Faustroll make the gesture of dying. The great ship Mour-de­ Zende passed like a black iron over an ironing board. The penultimate and the last meshes where the water wove its barnacles and let its double hymen be violated by anti-peristaltic tongues. The copper shut­ tle glittering with its setting of air bubbles. and the jaws exhaling the breath from their bones. with a noise opposite to the deglutition of an emptying bathtub. procuring fresh canvas in the name of God. Faustroll. The sieve rocked in its last pulsation. at the age of sixty-three. 97 .artesian well (hell was in Artois that day) swirled hissing around their feet. in the manner of daily devotion called Khurmookum by the Brahmins. imitated coins falling in water or the water spider's nest. steeped in the painting machine's lustral water a different sky to that of Tyndall. fading away with the soul. and the echo of the sixteen horny fingers of the preterite horses whispered KHURMOOKUM beneath the vault's exit.

following the proposition of the learned Professor Cayley.. all art and all science. -�---�� - Thus cogitated the marine bishop as he swam over the ship­ wreck of the mechanical boat.. .. rather than more probably a monster (Faustroll defmed the universe as that which is the exception to oneself)? --------. .. the phrases and pitches of all the sounds 98 . -.. .. all the haggling of the hosiers of every town. However. .. could only decipher the pro­ legomena. Faustroll had noted a small fragment of the Beautiful that he knew..... of which Panmuphle.. dur­ ing the syzygy of words.51 a single curve drawn in chalk on a blackboard two and a half meters long can detail all the atmos­ pheres of a season. .C O N C E R N I NG THE LINE The bishop reads the letter from God TO FELIX FENEON In the manuscript. _ . ....••••. which is to say All. and a small fragment of the True that he knew.. he remembered that.. through this facet.. over the carcass of Panmuphle and the body of Faustroll.. but can one tell if All is a regular crystal. all the cases of an epidemic. and one could have reconstructed._.. over the sunken quintessential works. interrupted by the monotonous prolixity of the baboon.ro.. . ...

all art and all science were written in the curves of the limbs of the ultrasexagenarian ephebe. and their progression to an infinite degree was prophesied therein. 99 . according to the position of each listener or participant. so the progress of the solid fUture entwined the body in spirals. The Morgue harbored for two days on its slab' 2 the book revealed by God concerning the glorious truth spread out through the three (four or n for some people) directions of space. For. the wallpaper of Faustroll's body was unrolled by the saliva and teeth of the water. donned the realm of the unknown dimension. together with the phases. Faustroll. which the ear is unable to setze.of all the instruments and of all the voices of a hundred singers and two hundred musicians. Like a musical score. finding his soul to be abstract and naked. And behold. just as Professor Cayley recorded the past in the two dimensions of a black surface. Meanwhile.

if one can measure what one is talking about and express it in numbers. which constitute the 100 . but I do not think you will have imagined that I was dead. Where I am I have only discovered a very short time ago. It is a fact. FORK Telepathic letter from Doctor Faustroll to Lord Kelvin "My dear colleague. sed pleniores haustus ad religionem reducere. H . Death is only for common people. nevertheless. that I am no longer on earth. "It is a long time since I have sent you news of myself.FRANCIS BACON 17 C O N C E R N I NG THE WATC H THE AND M E A S U RI N G THE T U N I NG ROD. For we are both of the opinion that.BOOK E IG H T lE 'f lBi lE JR NI 'f Y TO L O UIS D U M U R Leves gustus ad philosophi4m movere f ortasse ad atheismum.

the earth. in the same way that I know that quartz is situated else­ where.sole reality. the only valid sign for me of space. and for the mean solar second. then one has some knowledge of one's subject. being measurable and a means of measuring. I should suffer the same anguish of isolation as a residual molecule several centimeters distant from the others in a good modern vacuum of Messrs. And. Panmuphle. before or to the side. in the realm of hardness. Sir. Sir.more numerous than his teeth. the ruby elsewhere than the diamond. Now. in terms of which the heart of my terrestrial body beat . my skiff of metallic cloth. having lost my books. up to the present moment I knew myself to be elsewhere than on earth. "But was I elsewhere in terms of date or of position. and their thirty-two skin­ folds . and those two old Kantian aspects of thought. Tait and Dewar. the society of Bosse-de-Nage and Monsieur Rene-Isidore . and less honorably so. "The body is a more necessary vehicle because it supports 101 . my senses.than the prose of Latent Obscure. after or nearer? I was in that place where one finds oneself after having left time and space: the infinite eternal. perhaps the molecule knows that it is several centimeters away! For one single centimeter.for these things I would have given my soul. bailiff. if one includes the wisdom teeth . "It was natural that. the diamond than the posterior callosities of Bosse-de-Nage. despite the usefulness to me of this commodity in informing you of these curiosities. than the ruby. even then.

an authentic copy in brass of the traditional standard..�:. which I would have had running all this time.tJg." . "As for my mean solar second.hlrlt.!J:e rform secular .t�!.000. I had left in one of my pockets by mistake my centimeter.I1� . A good watch. A tuning fork.��-�?.. were I to have remained on the earth I still could not have been certain of retaining it safely and of being able to measure time validly through its medium. "If in the course of a few million years I have not terminated my pataphysical studies. thanks to MM. it is certain that the period of the earth's rotation around its axis and of its revolution around the sun will both be very different from what they are now. would have cost me -aneior6"itin"'fpriC���: �a.!intd�lel(m.. Its period had been carefully 102 .p���.. 54 as far as measu�ements of size are concerned._ ��t ���!��P. and through clothes one's pockets.�g .� .��. ?. ?!:. nor even with C.:2�� ��n­ t:Y !�������-�?. Mechain and Delambre.}l .mx.f. which permits the wandering and posthumous souls of interplanetary savants to concern themselves no further with this old globe.��m�� }J.���u�ty r it _ re es �t ___ -- "For these reasons.· i��: � �#i��� ! . �-� side___mo___the_i���E.. one whose period of vibration would have retained the same value over a certain number of million years with an error of less than 1 : 1 . I possessed a vibrator better arranged for permanence and for absolute accuracy than the hairspring of a chronometer. more portable than the earth or even the terrestrial quadrant. .G .t: �Q�i. one's clothes. S.�J.

and his tuning fork. including the Sorting Demon of Maxwell. I have seen the two rows of spectrums. or SOME­ WHERE. I believe. downward and toward the horizon.892 X 10·5 • 56 103 . in order to eliminate the least effect of terrestrial gravity. and his measuring rod. albeit with a little time and perseverance. having had to work without even the aid of :flint implements. which is the same thing. Sir. before I embarked in the skiff. I found a substance with which to make a piece of glass.55 who succeeded in grouping particu­ lar types of movement in one continuous widespread liquid (what you call small elastic solids or molecules): a substance as plentifUl as one could desire. since I carry on me the one thousand millionth part of a quarter of the earth's circumference. that it is indeed this state which constitutes death. by our colleague Professor Macleod. according to your instructions. 57 which is 5 . in terms of mean solar seconds. I have engraved the lines and lit the two candles. in the shape of silicate of aluminum. who has lost his watch. "But I suddenly remembered your teachings and my own previous experiments.determined. Since I was simply NOWHERE . having met various demons. Imagine the perplexity of a man outside time and space. and on dry land as is my atavistic habit. "I no longer had even my tuning fork. and the yellow spectrum has returned my centimeter to me by virtue of the figure "Now that we are happy and comfortable. with the prongs of the tuning fork being pointed successively upward.

which consequently is not luminiferous. to be as 104 . I pray. Thus it fUlfils exactly the mathematical ideal worked out by Navier. of a system of rigid links joined together.more honorable than being attached to the surface of the globe by attraction. to note a few impressions for you. At my posthumous leisure I shall arrange it to have zero moment of momentum as a whole and to reduce it to the state of a mere spring balance. at first sight. and having rapidly rotating flywheels piv­ oted on some of the links. to the touch. Furthermore. "Eternity appears to me in the image of an immobile ether. which I can easily distinguish . "It will lose none of its qualities as a result of these modifica­ tions. and Cauchy. Ether has always appeared to me. I would describe luminif­ erous ether as circularly mobile and perishable. "Luminiferous ether together with all material particles. I am of the opinion that one could reduce consid­ erably the complexity of this spring balance or this luminiferous ether by substituting for the linked gyrostats various systems of circulation of liquids of infinite volume through perforations in infinitely small solids.possesses the form. it constitutes an elastic solid capable of determining the magnetic rotation of the plane of polarization of light discovered by Faraday. "Moreover.my astral body having good pataphysical eyes . permit me. Poisson. And I deduce from Aristotle (Treatire on the Heavens) that it is appropriate to write ETHERNITY.

the rotation of a paddle at the top end of each screw shaft. But I took a piece of brass and fashioned a wheel in which I cut two thousand teeth. inverted pyramids. the second was rediscovered in the absolute 105 ." C O N C E R N I NG THE SUN AS A C O OL S O L I D Secorul letter to Lord K. in a few meters of viscous fluid. which are the bases of long. Sidgwick had achieved in similar circumstances. "I was quite disinterested in this mechanical spectacle.el'llin "The sun is a cool. and homogeneous globe. Lord Rayleigh. copying everything which Monsieur Fizeau. with which the whole surface is thinly covered. not hav­ ing found again my mean solar second and being distraught at the loss of my tuning fork. thread-cut. Each is mounted on a screw and its movement toward the center would cause.999 kilometers long. their points one kilometer from the center. and Mrs. if I had the time. solid. . Its surface is divided into squares of one meter. 696.elastic as jelly and yielding under pressure like Scottish shoe­ makers' wax. " Suddenly. .

in a few years you will see sunspots on it.measure of 9. to recognize color. "60 106 . which I clasp between the hebetude of the abstract fingers of my astral body. were obliged to come into equilibrium. having reconquered all perception.58 and the pyramids. like myself. it will shrink in a diminution of three-quarters. and the horizontal gold of foxes' tails. and the fixed matter. by bor­ rowing a sufficient quantity of Sir Humphry Davy's repulsive motion. perpendicularly to the sun. in its great age. temperature. which consists in dura­ tion and size. in the movement of time. The sun became viscous and began to turn on its axis in twenty-five-day cycles. I understand that the weight of my brass wheel. deprived of my senses. Soon. . 4 1 3 kilometers per mean solar second of the Siemens unit. is the fourth power of eight meters per hour. and a few quarter-centuries will determine their periods. 59 in the actual number of revo­ lutions per second. the screw shafts and the screw nuts disappeared. forced to descend on their threads since they found themselves. . taste. the cross with a blue center. the red brushes toward the nadir and the zenith. "And now I am being initiated into the science of all things (you will receive three new fragments from two of my forthcoming books). and various qualities other than the six. I hope. "Farewell: I can glimpse already. in order to remain stable.

if it pleaseth thee. of the Pataphysics of Sophrotatos the Armenian. I pray thee:for I shall question thee. the second being barred with bastardy and the f ourth revealing the distinction and evil engraved in the wood of the tree of knowledge. 107 . Then speak.) ·-----··-·-··-·�··� · · · FrtJgment ofthe Di4logue upon the Erotic MATHETES Tell me. thou whom we have named the Geometer because thou knowest all things by the means of lines drawn in different directions.19 AC C O R D I NG TO I B I CRAT E S THE G EOMETER (Little sketches on PtJt4physics ttfter lbicrtJtes the Geometer tJnd his dmne tetJcher SophrottJtos the ArmenitJn. therefore. o Ibicrates. to know thy thoughts upon love. and hast given us the veritable portrait of three persons of God in three escutcheons which are the quart essence of Tarot symbols. o Mathetes. trtJnsi4ted tJnd brought to light by Doctor FtJUstroll. Answer. I hope·most ardently. and th��t me. inscribed in red on sulphurous papyrus. IBICRATES That at least is exactly true. thou who hast deciphered the imper­ ishable because unknown fragments.

the Reverend Father Ubu. o Ibicrates. and there results simply their progeny. For the Geometer. And contradictorily Egypt erected its steles and obelisks perpendicularly to the cruciferous horizon. these two signs cancel each other out or impreg­ nate each other.MATHETES Before all else. The juxtaposition of the two signs of the binary and the ternary gives the shape of the letter H. instruct me. of the Society ofJesus. ex-king of Poland. 61 in which is to be found the sole practical demonstration of the identity of opposites. corbeled the forehead of Eros with a horizontal bandelet. And in the matter of the dispute between the sign Plus and the sign Minus. all the more identical because they are con­ trary. has written a great tome entitled C es ­ Antichrist. o Mathetes. and the sign Minus of those who study mathematics. IBICRATES The Greek poets. which is Chronos. which is the bend or fess of the blazon. father of Time or Life. and thus embraces mankind. a ar 108 . in the eternal significance of these. having noticed how all the philosophers have incar­ nated love in beings and have expressed it in different symbols of contingency. by means of the mechanical device called physick-stick. which is male. thus creating the sign Plus. which becomes egg or zero. And Eros being the son of Aphrodite.. his hereditary arms were ostentative of woman.

love may still be con­ sidered to be God. And the third abstract sign of the tarots. veritably. emblem of the religion of char­ ity and love.MATHETES Is this possible. finally. Lucifer erect horned with his belly and his two wings. I agree. it represents the Tau or the cross. more particularly. or. is what we call the Club. these being the unity of two ideas. which is the Holy Ghost in his four directions. contemplating itself.lines. the phallus which is dactylically triple. o Ibicrates? IBICRATES Absolutely indeed. reversed. o Mathetes MATHETES Then to some extent in our temples today. or. at least. ljke the medicinal cuttle­ fish. thirdly. inscribes within itself another tetragon half as great as itself. good. in consequence. horizontal . 109 . and evil is the sym­ metrical and necessary reflection of good. the tail. according to Sophrotatos the Armenian. the two wings. in truth. although. in somewhat abstruse forms. or. and the head of the bird. when one eliminates from the latter object all negative . or the idea of the number two. o Ibicrates? IBICRATES The tetragon of Sophrotatos.that is to say.

. TOGETHER: Homo est Deus. If souls are independent. likewise hermaphroditic. while Evil. Dialogue between the t ree thirds of the number t ree. Man is tetrahedral because his souls are not independent. PANTAPHYSICS 62 AND CATACHEMY II Further {rtlgment God transcendent is trigonal and the soul transcendent theogonal. or indifferent at the very least. 1 10 . Therefore he is a solid. man is God {MORAL SCIENCE) . engenders parturition. There are three souls (cf. The tetragon. being hermaphroditic. engenders God by interior intuition. I believe. o Mathetes. Plato).to a certain degree. . DEUS: Tres animae sunt tres personae hominis. and God is spirit. God immanent is trihedral and the soul immanent equally trihedral. indeed. MAN: The three persons are the three souls of God. consequently trigonal also.

without dimension. POSTULATE: Until we are furnished with more ample information and for greater ease in our provisional estimates. rb of God) in the orm of a Y. let us suppose God to have the shape and symbolic appearance of three equal straight lines of length a. They are the three apexes of another equilateral triangle cir­ cumscribed around the traditional one. but the three Persons should not be regarded as being either its angles or its sides. to endow him with any number of them greater than zero. emanating from the same point and having between them angles of 120 degrees. From the space enclosed 111 . how­ ever. We shall content ourselves with two dimensions. Symbolically God is signified by a triangle. Therefore. for the clarity of our exposition. it is permissible. by definition. This hypothesis conforms to the revelations of Anna Katherina Emmerick. who saw the cross (which we may consider to be the symbol of the V'. so that these flat geo­ metrical signs may easily be written down on a sheet of paper.CONCERNING THE SURFACE OF GOD God is. a ac w 1c s e explains only by the physical reason that no arm of human length could be outstretched far enough to reach the nails of the branches of a Tau. and though he possesses no dimensions. if these dimensions vanish on both sides of our identities.

2y the side of the triangle to which it is perpendicular.(oo. In another respect.P. Let x be the median extension of one of the Persons a.oo + O .a.a . Therefore x = oo . Thus we have: X = oo . we propose to calcu­ late the surface. and 1 12 .N . y g1ve us x. But N = oo .0 and p = 0.0 x = .between these lines.0) - a - 0 = oo . or from the triangle obtained by joining the three farthest points of these straight lines. the right triangle whose sides are a.a . N and P the exten­ sions of the straight line (a + x) in both directions ad infinitum.

. = COROLLARY: At first consideration of the radical -.. we can determine: That the straight line 2y...Jo (-a + a) o..Jo . That the two straight lines a make. if we construct the figure according to the values obtained for x and y. has its point of intersection on one of the straight lines a in the oppo­ site direction to that of our first hypothesis. Whence and . also.. since x .Jo .. we can affirm that the surface calculated is one line at the most. which we now know to be 2 . in the second place./o. = 113 . .. together with the first one.Jo . that the base of our triangle coincides with its apex.a.By substituting for x its value of (-a) one arrives at a2 = (-a)2 + f = a2 + f. Therefore the surface of the equilateral triangle having for bisectors of its angles the three straight lines a will be s = y (x+a) s = .

in either direction. . so that a is not a line but a point.. ... the length a is nil.. GOD IS THE TANGENTIAL POINT BETWEEN ZERO AND 1 14 . .���-��e ._. definitively: INFI NIT Y ... that. .. but it is more correct to attribute the sign + to that of the subject's faith.a + a + O = oo is the shortest distance between 0 and oo. Which conforms to the dogma of the equivalence of the three Persons between themselves and in their totality... _.Let us note.:!!PJ!. and what is more can only attain 2 .... And one should say: ± God Which conforms to the belief in the two principles. and can define God thus: DEFINITION: God is the shortest distance between zero and infinity. But God being without dimension is not a line.t�hich direction? one may ask... but Plus-and­ Minus. We can say that a is a straight line connecting 0 and oo.. --�.._. _________..angles at least smaller than 60°..Jo by coinciding with the first straight line a.. - i.. We shall reply that His first name is not Jack._R. according to the formula oo ..0 .. Therefore..-.. in fact.�!£!1� �he �.

Faustroll. Stanley Chapman and Stefan Themerson for valuable suggestions and criticisms. TITLE AND CONTENTS As Roger Shattuck points out in the section he devotes to "Alfred Jarry: Poet and 'Pataphysician" in his The Banquet Years (see Bibliography). "a nee-scientific novel. " The subtitle. and in particular to M. the name of the hero. The 1955 edition of Faustroll even goes so far as to omit the 115 . may be taken to be a combination of the words Faust and Troll (a goblin or imp).nor even envisaged.NS 'Il' lE§ BY SIMON WAT S O N TAYLOR ACKNOWLEDGMENTS The translator wishes to express his great indebtedness to the Coll�ge de 'Pataphysique. In 1896 Jarry appeared as one of the trolls in Lugne­ Poe's production of Peer Gynt (the Scandinavian Faust!) at the TheAtre de I'CEuvre." is printed only in the first edition ( 1 9 1 1). without whose advice and criticism this English version could not have been undertaken . The epigraph from the Upanishads is omitted from later editions. Thanks are also due to Roger Shattuck. Latis and to Jean Ferry. Jarry's intention was perhaps to imply that his (autobiographical) hero was "the imp of science. as is the table of contents.

COLERIDGE: Jarry's translation of the Rime of the Ancient Mariner was first published in 1 92 1 . The word "gidouille " appears frequently throughout the cycle of Ubu plays in general reference to Father Ubu's regally protruding stomach. 1955). BOOK ONE CHAPTER 2 1 .marginal bailiff's seals from the heads of chapters 1 . Jarry made a fm· translation of this play under the title of Les Sil�es. C HAPTER 4 Doctor Faustroll's equivalent authors: LEON BLOY: see notes. and has been revived by the Coll�ge de 'Pataphysique. and the word "pata­ physician" from the title! This translation is from the first edition (which contains the fewest typo· graphical errors. an astonishing and hitherto rare book. misreadings. 3 . 3. In English in the original." Sic. has been republished by Jean-Jacques Pauvert (Paris. It has been translated into 1 16 . published in 1898." 2. MARCELINE DESBORDES-VALMORE: French writer and poet (1785. Ch. and omissions) collated where necessary with the original MSS. "A few sea-green mustachios.l 859). CHRISTIAN DIETRICH GRABBE: German poet (1801-1836). 5. Jarry wrote in both MSS of F4UStroll "unes moustaches vert de mer. GEORGES DARIEN: The Thief. The "Ordre de Ia Grande Gidouille" was promulgated by Jarry in his Almanach du P�re Ubu (1899). "Strumpot" is an inspired verbal invention by Cyril Connolly. MAX ELSKAMP: Belgian poet (1862-1931). 1 5 .

2 1 . 4. London. Ch. 5. JEAN DE CHILRA: a pen name (and anagram) of Rachilde. for whom see notes. Chs. CATULLE MENDES: French writer (1841-1909) . Satire." and "Pionsec" also means "stale pedant". AUBREY BEARDSLEY: see notes. V. see note on Claude Terrasse. REGNIER: see notes. 7. 1 3 . 1955). GUSTAVE KAHN: see notes. MALLARME: see notes. see illustration on tide page). Ch. 20. inventor of the radio-micrometer. Ch. "Liconet" can be read "lui con est. "Lourdeau" means blockhead. Ch. 19. see note to Book Two. 2 3 . BOYS: 6 English physicist ( 1 855-1944). for the real Demolder. JOSEPHIN (SA. MARCEL SCHWOB: see notes. Ch.. "Troccon" can be taken as a play on the name Trochon. "Delmor d e Pionsec" i s a near-anagram of "Demolder espion. For the Ret�Ue Blanche. 1 17 . author of several popular scientific texts. 6. 2 3 and 32. 1 8. "troc con" means a "damn stupid bargain.R) PELADAN: French writer (1858-1 9 1 8). 24.English by Barbara Wright: Comedy." Trochon was a bicycle dealer who tried persistendy but unsuccessfully until Jarry's death to collect from him the balance due on the bicycle Jarry had bought. lron'Y and Deeper Meaning (Gaberbocchus. 1 890. Ch. including Soap Bubbles and The Forces Which Mould Them (London. and note to Book Three. Ch. " C HAPTER c. etc. founder of the Salon de Ia Rose-Croix. PIERRE BONNARD: see notes. "Panmuphle" is the equivalent of universal snout.

" the celebrated word invented by Jarry which provoked the disorders that continued throughout the first performance of the play at the Thiitre de l'CEuvre in 1896. 22-23. he retained the quotation from the first volume. " FLORIAN: quotation from his play Les Deux Billets. Ch.." The Thousand and One Nights: LXIInd night. Though he changed this to Enluminures in his MS. In French. is entirely pataphysical). London. 1897. in Grabbe's play. .e. . 1 959. from the poem "Consolatrice des affligh. Grabbe).translated into French in 1 892. 4.a single-sculler. Act II. "skiff" is "as" . GRABBE: "the knight of the papal order of Civil Merit" is the Devil. Faustroll must have grown weary at the 2 1/z league stage. 9. A dry joke of Jarry's. The general sense of this chapter is largely derived from these short essays (although the application. Jarry turned the Freiherr von Mordax into "Baron Tual. and now reprinted (Doubleday. May 1 956. New York. London. VERNE: the expedition in fact reached 35 leagues beneath the earth's surface. Paris. 8. 9. scene 1. Heinemann. "merdRe. CHAPTER 7 ELSKAMP: Jarry had originally made the eighth seized book Salutations dont d'Angeliques. In Les Silenes (see note. and a "one" in dominoes . 1 960). This paragraph is a paraphrase from Sir William Crooke's presidential address to the Society for Psychical Research. I need hardly say. 1 18 . Ubu Roi: i. See Jean Ferry's arti­ cle in Les Cahiers du College de 'Pataplrysique. See notes. Ch. "as" also means an ace in cards.

Paris. 119 . "baboon" is "papion"). but refused FtJUStroll. "patte a physique. "Le pichon joueic deis dia­ bles" is Provens. 1 1 . For an erudite dis­ cussion of the possible origins of the name. : his presidential address to the Society for Psychical Research in London on January 29. A simple pun in French. Ch. 22-23. CHAPTER I O CHRISTIAN BECK: Belgian writer (1879-1916). to which Jarry began to contribute in 1 896." the name of a strange traditional procession in which the participants were dressed as devils and satyrs. e. 1897. The address was trans­ lated into French and printed in the Rt'I/Ut Scientifiqut. Quotation from Sue.. is largely responsible for the theme and some of the phraseology of this chapter. friend of Jarry and fellow con­ tributor to the review Mercure. L4 StJltJmtJndre.g. Wrote also under the pen name of Joseph Bossi a novel Les Erreurs and later another novel Le Papillon (in French. The Revue BltJnche published his MesstJline and Le Surmale. May. see Noel Arnaud in the CtJhiers du Coll�ge dt 'PtJttJphysiqut.al dialect for "le petit jeu des diables.BOOK TWO THADEE NATANSON: a collaborator on the Revue BltJncht. XIV. CHAPTER 8 10. no. F. 1 897. thus Bosse-de-Nage can mean "bottom-face.S.R. which was directed by his brother Alexandre. BOSSE-DE-NAGE: "nage" or "nache" means "buttocks " in old French. which Jarry offered to them after it had been turned down by the Mercure de FrtJnce." as Jarry suggests." CHAPTER 9 SIR WILLIAM CROOKES.

That is true. .It does in fact appear to be so.Well.That is also my opinion.Very right. .That is so.Absolutely. .That is indeed necessary. . PLATO: the translation is as follows: . . . .I agree. .It is very true. he replies. . . . . . and most strongly. . he replies. . .Thou speakest wisely. . he replies.By all means. . . . . .Certainly. he replies.It is thus. . .It is true.By all means indeed.I think so.I recall. 1 20 .It seems.By all manner of means. he replies.Yes. .It is obvious. he replies. .That is so.It is dear.I am also of that persuasion. .It is an obvious fact. even to a blind man.Thou speakest truth. indeed.That is doubtless right.12.

.What? . Jarry contributed regularly to the Mercure and extracts from Faustroll were originally published in the review (chapters 6 and 10 to 25).It is absolutely necessary. . Ch.Very much indeed.. married to Rachilde (see notes. Jarry shared a house at Corbeil. pen name of Louis Libaude (1869-1922).not to 121 . In 1 890. in fact. the "Phalanstere. . 26) and two other friends.Thou speakest truth.How true that seems. Founded in 1892 L'Art Litt&ttire which published Jarry's first texts. 24) and Jarry's greatest and most faithful friend. the Mercure de Frtlflce.How could that be otherwise? .How could it be otherwise? . . They quarrelled.We admit it. indeed. . At the time of writing Faustroll. and Lormel published in 1 897 a story called Entre Soi in which J arry and his friend Leon-Paul Fargue appear as "Ia Tete de Mort" and "!'Androgyne" . Herold (see notes.That is logical. CHAPTER LOUIS L • • • 1 2 : Louis Lormel.What then? . Rachilde.How could that be so? . . Vallette. with a group of writers belonging to the "symbolist" movement. Ch." with Vallette.Very much. BOOK THREE ALFRED VALLETTE: French writer. founded a fortnighdy review.

The author has "mer d'Habundes. attacking Lormel and his collaborators. author of La Vie de jesus. frequented by Bernard. an artists' colony at that time. Fran�ois-Marie Arouet who took the pen name Voltaire. 14. Victor Charbonnel. CHAPTER 14 EMILE BERNARD: the French painter who invented the "symbolist" technique in painting and influenced Gauguin. 1 3 . This chapter is full of allusions to different drawings by Beardsley.. Jarry. "Le Bois d'Amour" is also the title of a painting by Bernard. Derived from Rabelais (IV. French historian. among others. 16." phonetically "merde abunde" derived from Rabelais {1. originally a priest. This is Jarry's riposte. 1 22 . " But the identity of Baron Hildebrand remains obscure. 4) which has apparently not survived. 22)." phonetically "Hildebrand." CHAPTER 1 3 AUBREY BEARDSLEY: a friend of}arry who made a portrait ofhim (see Ch.their advantage. 15. ulrra-symbolists and Catholics. He founded La Raison in 1 901. who quit Holy Orders in 1897 and gave a series of anticlerical lectures. Gauguin. French writer and journalist. etc. Le Bois d'Amour is a locality ofPont-Aven in Brittany. The author has "halbran" which is phonetically equivalent to "hale-bran" ­ "heave-cack. Ernest Renan. 9): "a cui foyard toujours abunde merde" ("squitty ass never lacks for shit"). The author has "tie de Bran. 17. Bernard collaborated with Jarry on the latter's luxuriously illustrated L'Ymagier and Perhinderion. a lighthouse in the form of an obelisk.

among many other works. to which Jarry was a regular contributor. CHAPTER 16 FRANC-NOHAIN: French poet. pobnes amorpbes (1898). Ch." but changed it. The others remain obscure. As regards the other five kings in this chapter.CHAPTER 15 LEON BLOY: one of the six writers included in the twenty-seven "equivalent" books of Doctor Faustroll to whom a subsequent chapter is also dedicated. the author of. In the French." Jarry originally wrote in his MS "autel de messe noir. in which he appears as the hero Marchenoir (Biackstep). CHAPTER 17 PAUL GAUGUIN: Jarry and Gauguin were together at Pont-Aven in 1 894 (see note. 1 4) and probably knew each other previously. whose refrain was: SOUS LES QUINCONCES NOUS NE RETROUVONS PAS NOS ONCLES. subsequently by Uon-Paul Fargue and Jarry. The 1 23 . the reference in the last paragraph is to a poem. as the legless cripple ("cui de jatte"). a name which inspires the tide of this chapter. The unfortunate Pierre Loti makes his first (anonymous) appearance in Paustroll at the end of this chapter. "monumental autel de messe. since both were con· tributors to the review Essais d'Art Libre (1892-94). Ronde des Neveux lnattenliones. He appears as the last of the six kings in this chapter. founded the review C4114rd Semvage in 1903. One of Franc-Nohain's collections of verse was entitled Plates. 18. the third king may be identified as Jules Renard. no doubt out of deference for Bloy's susceptibilities. noir. Le Dlsespere. author of Histoires Naturelles. from Plates. edited first by Remy de Gourmont.

" the tide of which was doubtless derived from the Latin proverb Non licet omnibus t�dire Corinthum. For more about Loti. Jarry was his guest there in 1895. 124 . old Jarry's footnote refers to Mallarm�'s death in 1898. I only have three rhymes in ix. in which occurs the line: "Finir loin des ports en jonque bizarre. In the nominative." To answer Mallarm�'s query: the word is. etc. Les Palais Nomt�des. do your best to send me the real meaning of the word ptyx: I am assured that it does not exist in any lan­ guage. C HAPTER 1 8 GUSTAVE KAHN: French poet and literary critic. and wrote a homage Le Grt�nd Pt�n est Mort! in the Alm��n��ch du P�re Ubu Illustrl Uanuary. which I would far prefer so that I may have the pleasure of creating it through the magic of rhyme. The tide of this chapter is derived from Kahn's first book of poems.Omnibus de Corinthe on which he fails to get a footing was a short-lived quarterly satirical review. He attended the lat­ ter's funeral. . Mallarm� writes: " . 30 and notes thereto. ptykos. unknown in ancient Greek. describing itself as an "illustrated vehicle of general ideas. CHAPTER 1 9 MALLARME: another of the six among the twenty-seven "equivalents" to whom a chapter is also dedicated. In a letter. the alternative ptykbe was used (from which we derive "triptychj. the sense being a f or thickness. Kahn is one of the six writ­ ers included in Doctor Faustroll's library to whom a chapter is subsequently dedicated. The title of this chapter is inspired by Mallarmes sonnet based on the ending -yx. addressed to Lefebvre and Casalis. 1899). where Kahn used to spend holidays. in this nominative singular form. see Ch." This island represents the coast at Knocke in Belgium. one ofjarry's earliest admir­ ers. ptyki. but is found ofren in its conjugation. . edited by Marc Mouclier.

. 125 . mean­ ing "spread like a peacock. Hermocrate. Hermotine. "the skull and kid": Jarry writes "Ia t@te de mort et le chevreau" instead of "Ia tete de mort et les tibias" ("skull and crossbones") for a pun on the name of this chapter's hero. and. a syrinx is a pipe made of reeds (Panpipes) cut in this manner. "cut . Schwob is also one of the six writers in Doctor Faustroll's library to whom a chapter is subsequently dedicated. who dedicated Ubu Roi to him. In the French. In the French." a word coined by R�gnier in the above text. There is also. all of which contain a number of characters whose names begin with Her (Hermes. La C12rme de }12spe (1 897). one of the many small literary and poetry reviews of the epoch." i. not strictly a citron perhaps. 22. a reference here to La Syrinx. in addition. C HAPTER 2 1 MARCEL SCHWOB: friend of Jarry. as an heraldic shield is parted per bend sinister.e. "poncire". the word "taille " ("cut") having that meaning in heraldic terminology. R�gnier is described as "celui qui cyclope" because of the monocle he wore. " 20. 2 1 . no doubt. 1 9. consists of three collections of stories. Les Vies lm12gin12ires included sections devoted to Cyril Tourneur and Captain Kidd. 23. from Proven�al pomsire (pomme de Syrie).CHAPTER 20 HENRI DE R�GNIER: another of the six writers to whom a chapter is also dedicated. "pavonne. Hermagore. ln Jarry's Almtmdch du Pere Ubu. . Among his works. Hermogene). the twenty-first of Doctor Faustroll's "equivalent" books. according to the erstwhile hierarchy of the syrinx. a kind of lemon.

La Chanson du Decervelage) and com­ posed the music for Pantagruel. si par elle s'affirme l'individu!" Shortly afterward he was himself severely wounded when an anar­ chist bomb exploded in the restaurant Foyot (1 894). a Chinese flute with mouthpiece in center and three holes on each side. an ancient violin of India.1 9 1 9). vina. Marche des Polonais. k. the name of the house being L'lle Sonnante. friend of Jarry. beggar's guitar.a seven-stringed lute. a seven-stringed Chinese lute. "Ia grande l!glise de Muflefiguiere. as a term of opprobrium. tche. The musical instruments: ravanastron. the poet Franc-Nohain. the "opera bouffe" which Jarry wrote in collaboration with Eugene Demolder. ballads ("mufle" means "snout. the Bible's sackbut. 1 26 . si le geste est beau! Qu'importe Ia mort de vagues humanites. " This is derived by suggestion from Rabelais' word "papefiguiere" (IV. Vuillard. The line of music: from Mozart's Motet Burlesque.• CHAPTER 22 LAURENT TAILHADB: French poet (1854.in. Author of Au Ptrys du Mufle. He was a collaborator of the anarchist journal Le Libertaire. CHAPTER 23 CLAUDE TERRASSE: composer. J arry lived at the home of Terrasse dur­ ing 1 904-05 . On the evening of the anarchist Vaillant's terrorist attack in the Chamber of Deputies (1893) Tailhade said: "Qu'importent les victimes. an ancient stringed instrument of dubious identity. and St!rusier. 45). "cad. a theater launched by Jarry and Terrasse together with the painters Pierre Bonnard. which was played in 1 897 at the Theatre des Pantins in Paris. perhaps incorrect: Wright prefers "a kind of bagpipe in the Middle Ages". generally accepted translation for "turlurette" (era Charles VI). bandore." "lout"). the primary and most ancient instrument of India ." "muzzle. and a group of actors. a lute-like instrument of the Middle Ages." or. sambuca. Chapter title: in French. wrote music for Ubu Roi (Ouverture d'Ubu Roi.

the Mercure de France (see note to Book Three) whose offices were in the rue de l'Echaude {celebrated by Jarry in the Chanson clu Dicerveitlge ). Alfred}arry ou le Surmale des Lettres. under the pen name Jean de Chilra. Among the visitors.magrepha. Rachilde wrote a book about Jarry. " The "her­ metic shades" invoke Mercury. an ancient form of organ. chhi. a novel La Princesse des Tbl�bres. The "river Ocean" may be considered to be the Boulevard St.e. sarruso­ phone. In this and the following chapters of Faustroll. a large Bengali trumpet. a mid 1 9th-century brass instrument invented for military bands." The identity of "the devil Plural" remains inscrutably obscure. to the same reviews. The Mercure is again evoked by the monthly orgies of the transpontine lords: i. CHAPTER PAUL VALERY: 25 friend of Jarry and contributor. 1 0) can be distinguished by his Belgian hat. the persons to whom 1 27 . Ch. a small Hebrew organ. Germain. the Tuesday salons held by Rachilde on its premises. " BOOK FOUR CHAPTER 24 In explanation of the chapter title: Rachilde wrote in 1896.e. The image of the toad was inspired by an indignant article in the review La Plume {1897) comparing Rachilde to "a little toad trying to fly. She had also written a novel Madame Ia Mort (1898) and a collection of stories Imitation de Ia Mort (1903).ampogna. of course. She liked Rachilde to be taken as a man's name: hence "the king. i. a late 19th-century hybrid "organ. at one time. lrydraulus. but perhaps he represents simply the "vulgar mob of detractors" of the Mercure. (one of Jarry's novels is entitled Le Surmdle). an Italian peasant bagpipe. In 1 928. coelophone. Christian Beck (see notes. z.

It was as tall as a man. de serpentibus et dracontibus. A fishing (and drinking) companion ofJarry at Corbeil. " A literal rendering of the German "Ohrfeige. 24. 11il ]arry Jit Mertbe d'un ton fier Et Vt�lleue lit des lpreu��es A . it became restless and was thrown back into the sea. The marine bishop Mendacious (Mensonger): in Book XIII of the 16th­ century naturalist Ulissi Aldrovandi's De animalibus inf ectis. de monstris. but more particularly a translator (Greek. German . Herold was a cycling (and drinking) companion of)arry's. and an unusual telegram from 128 . the phenomenon is illustrated with a commentary indi­ cating that "this creature was captured on the coast of Poland in 1 5 3 1 . offered to the king. ." CHAPTER 2 6 PIERRE QUILLARD: founded the review La Pltiade." "a box on the ears. Jarry has "une figue d'oreille. Sanskrit. and eventually expert in political science and ethnology.the chapters are dedicated are no longer "described" in the text. Faustroll is. 1 897 issue of the Mercure contains a Ballade a Ia louange de quelques-r. The March. Latin.ms with the following quatrain: Quillard p{t�int celles que le f er Du sombre Abd-ul-Ht��id 11 { !leu'lles. it seemed to bear a miter on its head and to be dad in an episcopal robe. . in the original French edition. translator.) The quotation from the A 'rt�nyaka Upanishad at the beginning of ." This print was first reproduced in 1895 in the fifth number of L'Ymagier. from Herold's translation. -FERDINAND HEROLD (to whom the "Fable" is dedicated): a poet and dramatist. a writer. an illustrated review edited by Jarry and Remy de Gourmont.

22. the ophiomachus and the locust": Septuagint.HEROLD 25. An imaginary word that can be read phonetically "c'est sous Ia taille" ("it's below the waist"). I. one may notice. 29. Moffatt: "migratory locust. 1 1 .Herold to Jarry at Corbeil during 1898 has survived: I HAVE JUST DRUNK AN EXCELLENT MARC BRANDY . CHAPTER 27 27. erudite 1 29 . This line is in English in the original. the name of Beroalde only appears in 18th-century editions. was one of France's last Public Executioners. beede and grasshopper". bald locust. Authorized Version: "locust. or name of author. This astonishing book is presented in the form of a banquet attended by historical personages of different eras discoursing on every possible theme. with satirical anecdotes. . The author has "le renard fratchement ecorche d'un ivrogne": "ecorcher un renard" means "to vomit. " Deibler was France's Public Executioner of the epoch. bald locust. parodies. Originally published about 1 6 1 0. XI. 26. and his authorship is problematical. grasshopper. in this case "sympathetically. etc. ett. Andre Obrecht. (How to Succeed . Lev. 1629). chopping locust." See Rabelais. without date. Le Moyen de Parvenir I Oeuvre conten411t La raiton de tout ce qui a etU." 28. erotic stories. the only one among those to whom chapters of FttUStroll are dedicated to benefit by an added adjec­ tive. . C HAPTER 28 MONSIEUR DEIBLER: Anatole Deibler is. The nephew of Deibler's wife. . place. "the bruchus. tera I . ) attributed to Fran�ois Beroalde (ca. & . the attacus. puns. 1 556- ca.

" BOOK FIVE CHAPTER 30 In this chapter Jarry makes use (a posteriori. La Tante Obscure)." 33. " 30.. B�roalde was a convert to Catholicism. returned to Protestantism. " i. All the words in italics in this chapter are quotations from the above­ mentioned book (sometimes the order is transposed in the cause of the pataphysical analogy). Tt�nte Claire nous quitte. the aristocracy.e. BoMefoux (Dictionrl4ire de marine a 'l'oiles et a 'l't�peur.quotations. 32. and 6nally. "pissotiere. Translation of the verse from Piron by Stanley Chapman. more especially of the story therein. 1 85 5) describes this little known sail as a "petite voile de fan­ taisie et d'un usage peu utile"! It was known in England as a "Jimmy Green. CHAPTER 2 9 3 1 . . so to speak) of Loti's Li'I'Te de La Pitie et de La Mort. devoted the revenue of his canonry to debauchery. A horse's head. being without religious conviction. and became Canon of Tours." phonetically "pisse au tiers. According to Colletet "he frequented gambling dens and tav­ erns. womankind. This story becomes Ld Mort de Ldtente Obscure (phonetically. and all manner of tempo­ ral and spiritual pretensions. "Iron kiosques. . "A speci31 sail placed beneath the jibs. obscure allegories and indiscriminate attacks upon both the Catholic and Protestant churches. Loti's dedication of Le Li'I'Te de It� Pitie et de It� Mort actually reads: "A ma mere bien-aim�e I Je d�die ce livre I Sans crainte. parce que Ia foi chr�tieMe lui permet de lire avec ser�nit� les plus sombres choses." And the author's preface 1 30 . . 34.

which is a quotation from the story. ra. usually adorned with strips of paper and humorous verse. who is paralyzed. 36. . and the italicized last paragraph of the chapter. imploring them not to mock a theme which is "sacred" to him!) are in fact "il vous ennuiera tant. you so. 39. She dies eventually in her box. means exacdy what it appears to mean! CHAPTER ] I The musical jet: a scientific experiment described by C. and fellow contributor to the ReYUe Blanche." "Vers de mirliton" is a phrase meaning vulgar doggerel or trashy verse. Kaka-San and Toto-San are beggars.begins: "Ce livre est encore plus moi. . 3 7. . "It would b. . 38. . "I alone . if only you knew!" The closing words of Loti's pref­ ace (addressed to his literary enemies. The "department managers" mentioned by Doctor Faustroll in 131 . illustrator of Jarry's Almanach du Pere Ubu. Sic. Boys (see notes. along in a box on rollers. 6) in his Soap Bubbles (Lecture III) and invoked here by Jarry (in an entirely pataphysical application. except that Jarry places the last two (significant!) words in capital letters. " 35. . A mirliton is a "toy musical instrument with vibrating parchment reinforcing the voice. C HAPTER ]2 PIERRE BONNARD: friend of Jarry since 1 893. The Musee du Luxembourg. . V. which ambiguity I have preserved in the English. . of course). 40. ABYSS ": transcribed literally from Loti's story Rtve. Super-patriotic poets of the era. Kaka-San really is the name of a character in Loti's story La chanson des 'llieux epoux. Ch. and Toto-San draws Kaka-San. where academic paintings acquired by the State were exhibited. si vous saviez! " Jarry has simply en.

published in 1 894. who probably met him in 1 893. "Olympia" by Manet. Jarry lived briefly with Rousseau in 1897 during one of the former's periodic domestic crises. "Discovered" as a painter by Jarry. 34. ce bon Vincent. notes. "How beautiful is yellow! ": inspired by Gauguin's text Natures Mortes. all exhibitors at the Beaux Arts in 1897." Larousse (19th-c. From 1 894 Jarry wrote articles on Rousseau and published the latter's lithograph of "La Guerre" in his L'Ymagier. Ch. which Jarry associates in the following chapter to the artistic ejaculation of the "unfore­ seen beast Clinamen" (q. Rousseau painted a portrait of Jarry which was exhibited at the Salon des Independants in 1895. In the French.v. 42. in 1893 this became the 1 32 . Un besoin de chaleur. lueurs de soleil qui rechauffaient son §me. "toiles non declouees. en horreur du brouillard." which could also mean "pictures still hanging on the walls. A." 43. on Van Gogh.) gives the meaning "termite.) C HAPTER 34 PAUL FORT: founded the The§tre d'Art in 1 8 9 1 . J. 4 1 . il l'a aime le jaune. "The Poor Fisherman" is by Puvis de Chavannes. An equivocal Latin word.' " BOOK SIX CHAPTER 33 45. " The sense here is of priapic ejaculation." "a young bough cut off" or in late Latin "a wood-worm. which can signify "a green and living branch.the following paragraph are identifiable as fashionable painters of the time. ce peintre de Hollande. a contempo­ rary critic remarked of this painting: "Notice his portrait of a poet (M. which says: "Oh! oui. Alfred Jarry) whose hair was so long that the catalogue thought fit to describe the pic­ ture as 'Portrait of Mme." 44. ed.

20). "Mister Loyal" is. only just sufficient for one to be able to speak of a modification of equilibrium. and the sentence is a classic part of the duologue between a clown and this ringmaster." "bias. John Tyndall. the traditional name of the blue-coated Equestrian Director. Fort edited a review. 12) from the Greek word for "sickle. a philosophic theory central to the Epicurean system which Lucretius explains in De Rerum Natura as follows: Atoms fall head­ long through space. The name is derived from a famous circus family. Lord Kelvin (see notes. mistuh Loyal?": in French "voulez-vous jouier avec moa.Th��tre de l'CEuvre. 46. "Inclination. which published the first extracts from Ubu Roi. 37) claims (in his essay Steps towarcls a ki"Mtic theory of matter) the ideas of Epicurus and Lucretius as the basis of the modern theory of matter. in which all its properties are seen to be merely attributes of motion. 47. Le Livre d'Art. Ch. where Ubu Roi was produced by Lugn�-Poe in 1896. The word "zencle" was invented by Rabelais (1. B O O K S EVEN CHAPTER 35 48. 19th-century Irish physicist. "Woan't yew p'-lay with me. carried on by their own weight. It is as a result of this "swerve" or clinamen that so-called solid bodies are formed from the atoms or primordi4. in French circus parlance. whose chemical experiment with 133 . 49. At undetermined moments and in undetermined points of space. mister Loyal?" the dialect indicating the fact that the great downs in French 1 9th-century circus were English. In English in the original." 50." But the clinamen principiorum or "swerve" of Lucretius is a more complicated concept. "Mour" (mourre) means "muzzle" and is found in Rabelais (III. they manifest a minute quasi-deviation.

one of the first to encourage Jarry as a writer. " C HAPTER 37 LORD KELVIN: i. English physicist whose Popular Lectures and Addresses. slab. " CHAPTER 3 6 FELIX FENEON: writer and a collaborator on the ReYUe Blanche. Constitution of Matter. cit. 19th-century English mathematician. was translated into French in 1 893. I. 37) in his Popular Lectures and Addresses as "Tyndall's blue sky. one of whose experi­ ments {relative to the law of variation) is quoted by Kelvin. . " BOOK EIGHT LOUIS DUMUR: playwright and one of the founders of the Mercure de France. . Sir William Thomson. and which Jarry interprets from a pataphysical standpoint while adhering closely to the letter - if not the spirit .vacuum tubes is referred to by Kelvin (see notes. The reason for this dedication is certainly the long article which Dumur wrote on Ubu Roi in the Mercure in 1 896.we theory of light. Arthur Cayley.e. London. possibly to atheism.of the original. Ch. "The Morgue • . 189 1 . He makes use especially of the chapters Electrical units of measurement. "A light sip will incline one to philosophy. Vol. but a fuller draught will lead one back to religion. 5 1 . . . 2nd (enlarged) edition. op. " might also be rendered "Pride displayed for two days on her lectern. . 52. 53. The reader is referred to the above-mentioned work for a full appreciation of 1 34 . Steps towards a kinetic theory ofmatter and The w.

p. and time).) 57. As two examples out of many. the luminiferous ether. cit. . p. and J arry. . 100. 54. . 1 1 8-1 19. with Kelvin. 56. 144 seq. paddles and other paraphernalia are all invoked by him to illustrate his scientific expositions." and the squares. diamond is reckoned harder than ruby. 8 1 : " . CHAPTER 38 The title of this chapter is derived from the essay On the sun's heat from Kelvin. the watch. mathematicians metttioned by Kelvin. Needless to say. length. A centimeter.. pyramids. even the Scottish shoemaker's wax are to be found seriously expounded in the pages of Kelvin in connection with practical scienti£ic experiments. " . . . pp.. com­ pare Jarry. op. In this essay Kelvin does indeed describe the sun as "a cool solid. the measuring rod. the Scottish physicist. The title of one of the chapters in Popular Lectures. describing the experi­ ment in "dissipation of energy" ofJames Clerk MaJCWell. 101. pp. ruby than quartz. the rotating flywheels and linked gyrostats. op. physicists. This amount of a centimeter is the wave length of yellow light in the spec­ trum (Kelvin. the sentence beginning at the bottom of p. Compare Kelvin. 5 5 . quartz than glasshard steel. 58. "Centimeter gramme second" (the unit of force defined in terms of the units of mass. cit. " The names mentioned in this chapter are all those of distinguished scien­ tists . op. with Kelvin. the tuning fork.413 kilometers per mean solar second.astronomers. cit. . the next sen­ tence on p.Jarry's splendid interpretation of Kelvin." 135 . screws. the Siemens unit in absolute measure is 9. 80: "I often say that when you can measure what you are speaking about and express it in numbers you know something about it •.

C HAPTER 4 1 ANNA KATHERINA EMMERICK: an unlettered mystical fantasist. Jarry's remark: "This book will not be published integrally until the author has acquired suffi­ cient experience to savor all its beauties in full.that if we are to number the senses at all. Sic. p. " Let this remain. and. cit. 341)." 60." CHAPTER 39 6 1 . CHAPTER 4 0 62. that we have six senses . "Pataphysics is the science . textually. 261): "I am going to prove to you. either as the beginning of a deliberately unfinished sen­ tence ("Pataphysics is the science . it might equally well read "Pataphysics is science. . underneath this.59. Even this superbly poetic paragraph is derived directly from Kelvin. ": In the original. This refers to Kelvin's remark at the beginning of his essay The six gatewtrys of knowledge (op. the final pataphysical mystery. we must make them six. Meditations on the Passion) under the influence of divine inspiration. in his essay The wa'Ye theory of light (op cit. describing a phenomenon known in physical optics as "Haidinger's Brushes.g. ) or. Caesar-Antichrist is a "drama" by Jarry originally published in 1895 by the Mercure Je France. . the last words of the book are followed by the word END in the center of the page. The final sentence. who produced some highly imaginative revelations of the life of Christ (e. "La Pataphysique est la science. if one takes it to be a complete " sentence. . . p. . " The French may be translated with important differences in nuance. . . ." (See illustration on inside back cover. In the original MS of Faustroll.) 1 36 . .

4. CLAUDE: A/fred]arry." Gallimard. 1979. (Listing of English translations and critical works in English. Simon Watson Taylor has suggested I provide a brief bibliography covering the years since 1 965 to accompany the republication of his translation. 1979 and 7/8. 1 988. "Pleiade. the bibliographies below should be consulted by readers requiring more detailed information. ALASTAIR: }arry et l'Angleterre. (L'Etoile-Absinthe is the journal of the Socittt des Amis d'A/fred]arry. BROTCHIE. 46. This list is not intended to be exhaustive. tom. In view of this. B I B L I O G RA P H I ES RAMEIL. 1/2. essai de bibliographie critique. and this period has seen no slackening of interest in Jarry's works in either France or the English-speaking world . in L'Etoile-Absinthe. HENRI: Bibliographie G&a&ale. 1980. Oeuwes completes.IB R IB l R SG JR A P H Y BY ALASTAIR BROTCHIE It is thirty years since the first appearance of the English translation of Faustroll. in Alfredjafry.quite to the contrary. in L'Etoile-Absinthe.) BORDILLON. 1 990. Paris.) 1 37 . III.

a Critical and Biographical Study. 1989. London. London. Paris. (The best biography. New Directions. Simon Watson Taylor. 1 974. New York.) 1 968. trans. tom. trans. New York. Atlas Press. d'Ubu roi au docteur Faustro/1.) (On Jarry's graphic BEAUMONT. revised edition Vintage Books. C R I T I C AL E D I T I O N S O F 1 993.) (The Gestes et opinions du docteur Faustro/1. Oeuvres com­ pl�tes. Martin's Press. (Notes and commentary by 138 . trans. Ralph Gladstone and Barbara Wright. trans. posthumous. 1 984.) 1968.) 1 972. 1 977. 1992. Grove Press. P R I N C I PAL TRANSLATI O N S The Ubu Plays. works. 1 958. Messalina. (A good biography in English. in Alfred Jarry. 'pataplrysician. Gestes et opinions du docteur Faustroll. I. gravures et dessins d'Aifred Jarry. Atlas Pess. first. Caesar Antichrist. Cyril Connolly and Simon Watson Taylor. ROGER: The Banquet Years.G E N E RAL W O R KS O N JARRY ARNAUD. John Harman. Paris. ed. edition. Coll�ge de 'Pataphysique et Le Cercle du livre Fran�ais. St. Antony Melville. · The Supermale. lain White. SHATTUCK. New York. Fasquelle. New York. 1 985. KEITH: Alfredjarry. NOEL: Alfredjarry. Atlas Press. Visits of Love. Paris. London. Paris. New York." Gallimard. trans. La Table Ronde. Days and Nights. MICHEL: Peintures. London. ARRIVE. Atlas Press. 'patapbysician. "Pieiade. 1 969. Michel Arrive. FAU STROLL 191 1 . trans. Harcourt Brace. Alexis Lykiard.

(The ultimate annotated edition: 280 pp. RUY: Clefs pour itJ 'PtJttJphysique. 1988." Gallimard. Paris. 'ptJttJphysicitJn. tJce STILLMAN. Pion. "Pohie. Cymbalum Pataphysicum. LAUNOIR.") EHRICH. in L'Etoile­ Absinthe 49/50. PATRICK: Alfred jtJrry. in Kentucky RomtJJJce Qu. in SubsiditJ PtJttJphysictJ. 22. VARIOUS: NtJvigtJtion de FtJustroll. of text!) CRITICAL TEXTS ON FAUSTROLL BEHAR. GA YOT . 1973. PAUL: Les Probl�mes du FtJustroll. {Introduction and notes by Noel Arnaud and Henri Bordillon. College de 'Pataphysique. 1979. 199 1 . PETITFAUX.trierly. of notes to 93 pp. XXVI. 1 990. GEORGES: De ltJ Surf de Dieu. PUF. Paris. 1956.) Gestes el opinions du docteur FtJustro/1. Colloque de Cerisy. RIEWART: Docleur FtJustroll et Diogenes Teufelsdroeckh. 1 980. 'ptJltJphysicitJn (suivi de L'Amour tJbsolu). 1 969. Paris. 1985. 1 . Seghers. Belfond. 1 39 . Paris. in Alfred jtJrry. (The author uses the Equivalent Books from FtJUStroll to construct Jarry's "self-portrait. 1985. HENRI: Les Cultures dejtJrry. 22/23. LINDA: Physics tJ7Ul PtJttJphysics: The Sources of FtJustroll.Gestes et opinions du docleur FtJuslroll. BESNIER. a special issue of the CtJhiers du Colltge de 'PtJttJphysique. Paris.

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Pataplrysics is the science the science .��1}>11@iltiff � @ @i}>il�il@Im� @!r liD r�t rr £ UJJ �tiff ill ® 1111� IP £tiff £ IP nnw� n © n£ � "Pataphysics . above all. . is the sctence of that which is superinduced upon metaphysics. and will explain the universe supplementary to this one . . .. . Pataphysics is . Pataphysics will examine the laws governing exceptions. despite the common opinion that the only science is that of the general.95 CANADA £8 . whether within or beyond the latter's limitations. .Alfred J arry EXACT CHANGE $ 1 3. 95 UK . .95 USA $ 1 9. . " of imaginary solutions. . the science of the particular. Pataphysics will be. extending as far beyond metaphysics as the latter extends beyond physics..