ISTANBUL UNIVERSITY

Multiplication of Spectral Sisters

A Rhizomatic Inquiry on Iris Murdoch's The Black Prince in Relation to Hamlet

Onur E. Ble

Intertextuality ANKE7072
Asst. Prof. nci Bilgin Tekin
14 April 2015

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Thalassa the Forsaken

Das Weib ist nicht schwach. Es gibt starke Seelen
In dem Geschlecht Ich will in meinem Beisein
Nichts von der Schwche des Geschlechtes hren.
(Schiller, Maria Stuart, II.iii.1374-76)

Tartarus was not born, says Dilly, among cruel waves of oblivion, theropsids and leathers of
perfection creeping incognito into the bottom of the battlefield of centres beyond Srid Dhsain,
drowning, neither is it a dead minute, that episteme of labour, sicut te ipsum, the pit of chaosmic
incarnation indifferently yet peacefully clogs into a crippled mare, hearing wherefore should the
Egyptians speak with your drooping ears the quality across afts and displacement inacting upon
her, saved by you from behind the ataraxophobic levee rect and ever elusive in the arms of Iapyx,
Daedalus' son, dismantling her Other out of the brethren, the evil dioecy of cyanide off the
Magdalene mouth like Matthias repressing his woman-selves or a mildewed ear without hands
which afterwittily allege Boole in the spirit of the murder to extend Hamlet's Others, sister-born
brides riding beyond everything and nothing, never beyond others but the Erinyes and the Charites,
goddesses and bodies of all kind, beyond Alpha and Omega through the unknown Real to be
equally forsaken, but mostly beyond their virtual selves to save Anne Ayscough, not Hathaway, who,
like Greek heretics, or Arachne, keeps casting her net over the moon to suspend the eclipse, all in
vain; no, juxtaposed darkness under spatial fusion as it might be, Tartarus was not born. The
unfolded women on their concubines as Mary Webb of manifold deaths must drop the Platonic
injustice into the ruck; My Ocham held thee in bondage, cries Sycorax's razor, in the prologue by
one of Will's sisters, Kimberley, swollen to oblivion and rescued by serpents, micelle flogs justly
bade farewells, hoping a doom much cruelly ahoral yet hammer'd by Ur-Ego's grief of false
euphoria; go there, to null facts of a life humanly foregone, where thou floutest Humely cavities
fulfill'd through jibbering voids of my hoarse, tomb'd jitters, beyond this ocean thus quilted which
thou hast abandon'd, quiet and vengeful, ousted still, a beheaded saviour thou couldst have been,
with heavens of Castillia lowering onto thy neck, haloes of being tongue-catching th' bits. Dilly,
nacido a la soledad, pushes an injector into her slim thigh, through her sackcloth into the faint echo
of cryptomnesia in her interwoven vessels, coming back to life in tears. A common woman called,
say, the Bleached Pleione, departed by the linear moment of murder and hiding her daughters from
the druidess who in her dream is to bifurcate into guys that hold their cause for England, digs out
Thisbe's cradle, bearing the eternal repose of two star-crossed sisters, themselves fathered by their
brother on a bed of luxury and damnd incest unknown prior to Battaile; the pleasure of
destruction passed over generations versus reluctance for good which derivatively returns to petrify
the day despite the submission of the incestious posterity to norms, the desexed bosom, paralysis of
fortune, the ultimate affirmation, die Ewige Wiederkunft, sister-wives whose balm drops all over the
woman's entity, the daughter of Jonah's troops exposing her meagerly cindered lips crowded by
vertices of the vulnerable Thriai's dishonest answers. Dilly's cereus mouth catapults thorns back

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home. The Bleached Pleione, whose first daughter born after the immature penitence eternally
unable to quench the desire to see at least bits of her gobbet alluring the petrified eyes of her son
Anchises, chilling on Anglican Skyros across the ruinous heap of Damascus recreates her through
cruel accumulation of pain and pleasing copulation with the brother-father, that old woman, who
achieves her bodily denial in publicly staging her deed perpetually reduced to a farcical
performance which is in fact reenacted by her concealed daughter on a private bed, is Kim's madre
amante, Arden's absent spirit with no real daughter or a mother of her hollow essence,
unconsummately charming, immanent yet caenogenetically queer, thrice denied, punished with sore
distraction, slowly drifting in a Christian cache of paralysis that would most likely loathe speaking
to you away from the spur under her father's dusty feet with non-oedipal aggression towards
generosity for les pres et les fils tranges and the relative entropy of filiations leeward and
crabwise, as we attempt to collect pride souls into provisory creaks of false norms, bealurpas of
anbid, ravishing the man with the prominent beaver as it was killed by Octavia's belly, a shelter to
dolphines. I did conceal it, O Ingen. The real Hamlet feeding on the worms on a lupa skull found
among many a grave heaving pieces of some holy sledge, with a shovel in his cyanotic, cold,
uptight hand; sisters so poor and dying of the chafing sighs by the royal science, as Ezra Pound
would call, beyond the Fourth World of Mary Stuart, in need of several fathers to deliver, hence the
birth to that second daughter Ingen of the Bleached Pleione after the first leaves her dignifying son,
the paradoxical moment de capiton for the spurious nature of her interdiction that reveals its vanity
and its necessity following the violation. All these did I read, with my demented infamy, ghostly
Krokodilstrnen. Enter Ingen. Forbearance o' vengeance reinforceth th' effacement of thy superego
sadistic, for nomadic intimacy and vouchsaf'd divergence the desirous space of flows with Gordons
noyaded beneath vengefully stompeth, verbally cursing from the tempus above, towards th' molten
heavens evaporating verdict, my verdict, by Adikia, whose bosom should be my verdict, incited
too, lest I be led by Agape, jaded unleashing the vengeance of discretion; rain oaks on the bitter
sound with no risque thorn for thee to pursue nor his jouissance to scorn. O, pardon, pardon! An
affectionate kiss on the soft chin religiously yields to Dilly. As tears of truth rained upon her,
defeated by the cosmic hand. As the actualization of Imago's progressive smokes of the avarishna
blowing beyond Sophia who, brushing bits of disgrace down her slothful skin underground, is the
light to her form ethereally uncoupled, more and more anonymous, stuck in the present, departed as
the crying babe with Tarquin's name of disenchantment, the unborn Kim governs Ingen's intuition
the same way the Bleached Pleione is reduced to a corps-sans-organes, then multiplied as spirits,
one of whom in a crack among forty thousand cracks of Sleep's character invents the entire play in
which she is Ophelia (forty thousand brothers could not with all their quantity of love make up my
sum), too busy to remember in the wake of her unability to draw ambrosia from perky lips of the
billowing daughters in love arboreally growing into the elusive playground of past, nevertheless
content with finitude, at least for, through the illogical resubstraction of the first from the second,
the redemption from immunity, don't you think? Owing not to lack of material conditions but to
surplus intuition, the world gets to know the trivia of extension, by Will in overplus. Ye are washed,
my daughter's flesh. Dilly then moves to grab her triple pillar of the world, they have sharpened

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their tongues like a serpent; adders' poison is under their lips. Selah, raises her fierce claw with
an independent giggle from the corners of her mouth, but the princes of the children of Ammon
said to Hanun, thinkest thou that David doth honour thy father, that he hath sent comforters unto
thee, strikes upon the paper to put words in the mouth of the Bleached Pleione, and scribbles as
follows: Forget, o satyr, did thy salutis forget my remorse of conceiving that wretched twin? There
I, bitter, Word reeking of usurpers on our course firm and rash, whose paths and barks of indolence
or palsied retention of airs cure the Covenant of Noumenal Alienage, with casuistry undone by
aggression; stagger the ghosts, no ones before the life of ecstasy with crowns willingly relinquished
that feel their incarnation, concealing moments of which remainders on a quest feast over death in
the palm of Eleutheria, before Moirai, themselves abused behind the aegis of Savagery and Pathos
whilst dismantling the gnostic unity of regenesis across Eunomia's spectral lines, has her strangle
Demeter's simulacrum of avocation with the homely clamp politely forsaken on the coast of
Hampshire by the price of faulty frustration, God's chaos, spite with of Diablo orgies propping
up our pale vision by the Cult of Habitus and Oblivion which souls of misery spue out, or
commenced or erotic affirmation of psychic nemesis, Truth's supression, the shielded realm of
flattery; when is the blessing? Spoken, awakened, born, a sickly production; the spectre is
apophatic.

Multiplication of Sisters and Ghosts

The passage above, which must be considered as a hypothetical response to Stephen
Dedalus' theory on Hamlet in the chapter Scylla and Charybdis of Joyce's Ulysses, by his sister
Dilly, who builds her own theory upon Woolf's A Room of One's Own, and, having presumptively
lived well into the late 90s, fabricates a cosmos consisting of multiplicities, as opposed both to the
quantitative multiplication (that endows her with a relatively trivial position in Ulysses, a relation
equally manipulated in The Black Prince) and to the Aristotelian tradition of hylomorphic narrative
which is shaped from without (by the rigid man of intellect), of haecceities, of 'the existence,
between form and matter, of a zone of medium and intermediary dimension,' of energetic, molecular
dimensiona space unto itself that deploys its materiality through matter, a number unto itself that
propels its traits through form (Deleuze and Guattari, Plateaus 409), that avoids any oedipal
simplifications (as do Stephen in Ulysses and Bradley in The Black Prince, which comes not only as
a clear-cut derision of psychoanalysis but in more subtle forms of megascopic haeccities

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exemplified in his remark The question of what I would do with it when I captured it was quite
unformulated. The question was rather what it would do to me [123], that comes more of Julian's
partial awareness than Bradley's, contrasted by Priscilla's copsed attitude towards her objects) and
oversimplified explanations such as the prince was a woman (Joyce 254), that functions by use of
multiplicities on both Shakespeare's and Hamlet's part (as well as the character's own behalf) and of
affirmative falsification rather than a dialectical approach, however can be expounded further for
other purposes, should suffice for the scope of this paper, in order to provide for an infrastructural
stratum to place Hamlet and The Black Prince, along with their intertextual relationship in this
frame of reference. It should be noted, however, that such an approach is not a dualistic reversal of
hierarchies, nor does it call for an exchange between their supposedly fixed and molar positions;
rather, it is a transsexual act of becoming-imperceptible that transforms among assemblages on the
plane of consistance, a function of emitting particles that enter the relation of movement and rest,
or the zone of proximity, of a microfemininity, in other words, that produce in us a molecular
woman, create the molecular woman (Deleuze and Guattari, Plateaus 275), or better put, a troop of
women, manifest in imperceptibility, present in abscence, written, to follow Derrida, sous rature,
like specters of Hamlet and Marx, always more than one (Derrida 95) and to be traced not through
identification but differentiation, as Bradley puts it: Looking for someone is, as psychologists
have observed, perceptually peculiar, in that the world is suddenly organized as a basis upon which
the abscence of what is sought is bodied forth in a ghostly manner (83). Perpetual becomings in
The Black Prince (Marloe's simultaneous becoming-Jew and becoming-homosexual, Julien's
becoming-woman through cross-dressing and Hamlet, Bradley's temporary becomings-woman
[e.g., This was part of my excitement in the idea of playing a new role (185), In this context I
was the elderly wife (187).], etc.), however, due to the different regime of signs it belongs to,
which is linked to erotomaniacal-passional deliriums (as a finite succession of linear processes,
beginning abruptly and linked to real or imagined external occasions; they depend on a sort of

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'postulate' concerning a specific object, and enter into limited constellations; they are not so much a
delirium of ideas passing through an extended system of verbal investments as a delirium of action
animated by an intensive investment in the object [erotomania, for instance, presents itself as a
delirious pursuit of the beloved, rather than as a delirious illusion of being loved] [Deleuze, Proust
179].), differs from the disjunctive syntheses in Hamlet, whose regime of signs is that of the
imperial/paranoid delirium of interpretation, which relies on endogenous forces and infinitely
radiates in a circular fashion for the assembly of lingual expenditure: The man of paranoid delirium,
one can always lock him up, he presents all the signs of madness, but otherwise he is not mad at all,
his reasoning is impeccable. The man of passional desire shows no signs of madness, except on
certain points that are difficult to discern, and nonetheless he is mad, his madness manifests itself in
a rash acting out (for example, the assassin) (Deleuze, Two Regimes 14). In other words, complete
lack of a centrifugal signifier, presence of which justifies the verbal investments and the lack of
action in Hamlet, puts The Black Prince in an awkward situation, not only serving to mask
Bradley's erotomania, but also, and more importantly, calling forth the necessity of movement
(that's exactly where Julien comes into play as a girl, defined by a relation of movement and rest,
speed and slowness, by a combination of atoms, an emission of particles: haecceity. She never
ceases to roam upon a body without organs. She is an abstract line, or a line of flight. Thus girls do
not belong to an age group, sex, order, or kingdom: they slip in everywhere, between orders, acts,
ages, sexes; they produce n molecular sexes on the line of flight in relation to the dualism machines
they cross right through. The only way to get outside the dualisms is to be-between, to pass
between, the intermezzothat is what Virginia Woolf lived with all her energies, in all of her work,
never ceasing to become. The girl is like the block of becoming that remains contemporaneous to
each opposable term, man, woman, child, adult. It is not the girl who becomes a woman; it is
becoming-woman that produces the universal girl [Deleuze and Guattari, Plateaus 276].) and the
centripetal construction of appearance of appearance which is fulfilled from without by Loxias, by

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Bradley's equally extrogenous deviations, by coincidental impositions as opposed to functional

ambiguity in Hamlet, that is, the principle of individuation attributed to the god Apollo by Deleuze,
drawing upon Nietzsche: Apollo overcomes the suffering of the individual by the radiant
glorification of the eternity of the phenomenon (Nietzsche and Philosophy 11). In this respect, with
constant assumptions of the apparent role of spirit both seen in characters and the narrative
structure, The Black Prince, in Shakesperean sense, never really begins, at least, never begins to
proceed due to over-repetition of beginnings in the hands of such a spirit, whose ambiguous nature
is too secondary a prerequisite to the Murdoch's universe in which definite questions are rejected
beforehand (even God becomes demon in Bradley's mind), contrary to the singular privilege with
which it is endorsed in Hamlet. That's why Bradley's remark Sex then reveals itself as the great
connective principle whereby we overcome duality, the force which made separateness as an aspect
of oneness at some moment of bliss in the mind of God (211), and its deconstruction thereof,
makes less sense than it would have in the latter regime of signs, that's also the reason of the
easiness with which Freudian analysis (that belongs to the same regime of signs as The Black
Prince and more desperately attempts to place a great signifier into the center which doesn't exist
but must be multiplied in order to step out of the realm of fantasy) is handled by Murdoch; likewise,
allegorically speaking, the rape of Julien is more of a desperate attempt to reestablish the symbolic
order which doesn't exist, to return from the consented myth of savagery to the abusive myth of the
State (incestuous through Hamlet), to halt the movement of Julien's becoming-woman (she is a girl
as long as she is Hamlet, and not the other way), than a homosexual act, a moment of sadism which
has nothing to do with the implied masochism of the earlier chapters, in which Julien was more of a
mother figure (that is according to Deleuze's non-oedipal rendering of masochism, unlike sadism
which is built on chaos, formal and dramatic, following an aesthetic which extends it into 'the
arena of artistic form, language, and the production of pleasure through text.' Masochism's formality
is inscribed explicitly in the contract governing masochist relations between two partners. This

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contract invests masochism with strict rules, roles, and directions. The contract is a narrative in
itself already replete with a scenario, a story, and a dramatis personae. The two parties are playing
the roles that Masoch has instructed them to play. Hence, masochism is both theater and reality.
While the masochistic script structures the masochistic performance, this script is first shaped by
fantasy and then transformed into reality [Thanem and Wallenberg 3, their emphasis].) an
unsuccessful attempt nevertheless, proven by the father coming to tell the truth as the specter, who
comes in different forms. The famous line I am thy father's spirit (Hamlet 1.5.9) reads What a
horrid letter you wrote to me (93) in The Black Prince, the armor of Hamlet's spectral father which
may be but the body of a real artifact, a kind of technical prosthesis, a body foreign to the spectral
body that it dresses, dissimulates, and protects, masking even its identity (Derrida 7) is replaced by
a simple dress of mousy light-brown tweed and a chain belt (Murdoch 93), unmasking the
sensuality of Christian, whose ghostly return (It was as if I had known Christian as a real woman in
some previous incarnation, and were now reliving, perhaps as a punishment, some doomed
perverted spiritual pattern. [I suspect there are many such couples.] Or as if she had died long
before and come back to me as a demon lover [92].) initiates the chronology of the novel, yet is
forced into a sort of what might be called a conscious anachronism by the modern technique of
narration (11), itself betrayed by other so-called spectral roles which foretell what is to come
through speaking of past (even though, as opposed to Hamlet once more, there is less betrayal than
deceit and less of the question what happened? than what is going to happen? in The Black
Prince), taken up by Roger, Julien (To see her among others, straying like a divine form among
others, is to become faint with secret knowledge [239].), Der Rosenkavalier, even Rachel, who
may be considered as Lady Lazarus; in short, there is a spectral mediocrity in multiplication,
endless possibility of simulacrum.

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From Intratextual Vectors to Intertextuality

Within the light of arguments discussed so far, the question whether or not The Black Prince
is an attempt to oust the canonical authority, cultural or artistic, is only partially answered, and shall
remain so, unless the scope of such a question is intended subtextually, in order to find out whether
the novel is compatible with a monomeric treatment and its own authority. For this reason, it is once
more useful to ponder upon modernist texts, which irreversably subverted the system of signs (to
the extent that even a post-modernist text with all its rigor to turn back to the Victorian literature
must but acknowledge itself to be a twisted continuation of the subversion), this time in a Proustian
approach I attempted to apply in the hypothetical theory above, because of the similar intratextual
structures immanent in The Black Prince, with its constant attempt at achieving unity disclosed by
its lack thereof, with its hiatuses and deliquescences that create the necessity of the extrogenous
forces discussed above, which in turn yields to constant multiplications and possibilities.
Correlatively, Deleuze proposes two concepts, which he calls cells and vessels respectively: The
first is a figure that encases, envelops, implies, things, persons, and names are boxes out of which
we take something of an entirely different shape, of an entirely different nature, an excessive
content. [...] Proper names are half-open cases that project their qualities upon the beings they
designate. [...] And in relation to this first figure of envelopment, the narrator's activity consists in
explicating, that is, in unfolding, developing a content incommensurable with the container. The
second figure is instead that of complication; this time it involves the coexistence of asymmetric
and noncommunicating parts, either because they are organizeed as quite separate halves or because
they are oriented as opposing 'aspects' or ways or because they begin to revolve, to whirl like a
lottery wheel that shifts and even mixes the fixed prizes. The narrator's activity then consists in
electing, in choosing; at least this is his apparent activity, for many various forces, themselves
complicated within him, are at work to determine his pseudo-will, to make him select a certain part
of the complex composition, a certain aspect of the unstable opposition, a certain prize in the

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circling shadows. The first figure is dominated by the image of the open boxes, the second by that
of the closed vessels. The first (container/content) is valid with regard to the position of a content
without common measure, the second (part/whole) with regard to the opposition of a proximity
without communication. They undoubtedly commingle regularly, shift from one to the other
(Proust 116-117, his emphasis). The Black Prince is likewise laden with such cells and vessels: The
initials of Bradley along with the name of his story themselves are open boxes which call forth a
content that belongs to an entirely different set of values and regime of signs from that of what they
signify (the same applies to Christian and her Jewish ancestry, plus the training on Buddhism);
purple boots are cells which do not only let Bradley pull a content once so common, but also change
the sensuous quality for the reciever, in this case, the smell of feet, otherwise unpleasant; Julien
possesses, with her encasement of appearances to be decoded and the complication of contradictory
(virtual or real) personae to be explicated through sensual and verbal agencies, the traits of both
figures; Rachel and Arnold as far as their discrepant conducts as well as the rhetorical faculties
incompatible with conditions and motives such as Arnold's encounters and exchanges with
Bradley after he finds out his relationship with his daughter are concerned, along with the
multiplications (as these figures do not only concern people) which deplete the meaning of
phenomena, are apparent vessels of The Black Prince, in which Hamlet and Hamlet are treated in
the same manner. Which Hamlet, and which Hamlet, one may ask, because they are not quite what
the reader has in their contract with the book beforehand: they are ultimate boxes out of which
Julien appears, a vessel-textbook here, not much of a textbook as the sensual qualities evoking in
Bradley through Julien's naive jottings, an ironic comment there, which Bradley picks according to
his state of mind and his manipulative skills; it is not really an act of explicating and unfolding but
random selections (They haven't thought of yet, even in Oxford [161].); it becomes the skull of a
sheep in a parodic scene, a paraphrase whose meaning, once appropriate in the cyclical regime of
interpretation it belonged to, is retained, or a theme over-manipulated until its gravity is depleted.

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However ironic, such an endogenous (dis)organization counterbalancing the regime of signs which
depends on extrogenous forces as discussed in the previous section, due to its relentless diffusion
into the intrinsic subjects of the novel, is not much of a supplantation of the canonical authority as
self-deconstruction, that is to say, deconstruction of the regime of signs to which Hamlet doesn't
belong to begin with. Therefore, it is a suicidal act, an example of self-sacrifice that comes with the
imaginary conquest of the authority (here Murdoch, with a post-modern twist, differs from Proust
who set his work in opposition with Logos while conquering it); this is the sole example of a
centrifugal signifier otherwise absent which comes in maenadic dimers, as Dionysian
martyrdom for the life that justifies suffering (Deleuze, Nietzsche 15). It is an outward
proliferation of innate specters to confront the peripheral authority (not of Hamlet, but of the
imposing apparatuses which shape the modern narrative); such a strategy does not only reject
structuralist interpretations of Hamlet and The Black Prince itself (including the Freudian
approach), but also renders possible an intertextual dialogue all the more complicated, with political
and philosophical implications that move beyond familial closures around the individual.

Conclusion
In this paper, I have attempted to analyze the non-figurative lines connecting Murdoch's The Black
Prince and Shakespeare's Hamlet through concepts of singularity and multiplicity as Deleuze
develops them, with a transitional layer cast beneath. Such abstract forces, which go unnoticed by
structuralists according to Deleuze, determine the concrete and segmentarizable lines, rigid (as in
the institution of marriage) or supple (e.g., extramarital relations), which are functionally parallel to
Habitus and Mnemosine in Deleuze's rendering of the Nietzschean eternal return, respectively: The
puppeteer does not operate according to movements that already represeent the figures to be
achieved. He makes his puppet move according to a vertical line, wherein the puppet's center of

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gravity, or rather, the center of levity, is displaced. It is a perfectly abstract line, not in the least
figurative, and no more symbolic than figurative. The line is mutant because it is made up of as
many singularities as stopping points, and yet these do not break up the line. There is never any
binary relationship or bi-univocal relations between this vertical, abstract line which is for this
reason all the more real and the concrete movements of the puppet (Two Regimes 11, his
emphasis). Self-conscious about its incompability with Hamlet, I have discussed, The Black Prince
generates intratextual forces in a system which depends on extrogenous signifiers (themselves
encountered by extrogenous becomings), which subtly and ironically bring these two works
together, with the necessity of deterritorializing both. Such a relationship can be called sexual (after
all, Woolf knew, if we reverse the statement, that any becoming-woman is sexual [Deleuze and
Guattari, Plateaus 277].), a homosexual one which is not oedipal, repressive or exlusive, but rather
schizoid and inclusive, making a modernist kind of tribute or reference impossible, at the same time
deeming it necessary hold on to the sabaton of antiquity during its own fall, even though it is the
doom of modernity, rather than of the work. It is hence proper to conclude the paper with a brief
quote: We are statistically or molarly heterosexual, but personally homosexual, without knowing it
or being fully aware of it, and finally we are transsexual in an elemental, molecular sense (Deleuze
and Guattari, Anti-Oedipus 70).

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