Can one trust a sonata? Charles Newman, In Partial Disgrace, pt 2

[Of the Professor v. Felix:] The difference between them, after all, was that the Professor truly believed he was the first mortal to set foot in the mind, and like every true colonial assumed that mere priority allowed him to name it and submit it to his laws.

 Like Sterne’s protagonist, Newman’s (Iulus) talks endlessly about his father, Felix (Protestant ‘Marxisant’ and advocate of ‘hands-on mysticism’, who ‘liked it out there on the edge…where one could write in order to stop thinking, and lose the shame of being an author’); here’s some of his advice to the boy:

1. Neither marry nor wander, you are not strong enough for either. 2. Never believe any confession, voluntary or otherwise. And most importantly, 3. [In Latin first, then in English:] Everyone has a cleverer dog than their neighbor; that is the only undisputed fact.

Psalmanazar's Formosa

An illustration from Psalmanazar’s phoney account of the people of Formosa – as fantastic a fake memoir as those of Felix and Iulus. Picture via Wikimedia Commons

Then there are the Pynchonian names of the central characters: Felix Aufidius Pzalmanazar, the ‘Hauptzuchtwart [dog-breeder] Supreme’ and ‘historian of the Astingi’ – a fictitious tribe of the central European plains, in the country of Cannonia (where at dusk ‘everything is the colour of a runaway dog’!), loosely equivalent to Hungary – alludes to the French impostor or con-man, Georges Psalmanazar (1679-1763), who became a brief sensation in Augustan England with his exotic traveller’s tales of ‘Formosa’ and his fake memoirs – a prototype Felix (or Newman).

Much of the novel consists of long, Socratic ‘savage debates’, a ‘battle of the polymaths’, a ‘rhetorical onslaught’, between the sceptic-stoic Felix (who claims, in a typical paradox, that ‘Dialectics do not interest me, though like ballsports, I am good at them’) and his soulmate-antagonist, the Professor, ‘the master speculator’ as Felix provocatively calls him, a thinly disguised Sigmund Freud, who brings a series of disturbed dogs to be analysed and trained by the renowned dog-trainer/breeder – a clear dig at the failings of psychoanalysis, for the Professor can’t cure (or even understand) his own neurotic dogs (see the quotation at the head of this post, which sums up the philosophical difference between them):

“You’re no Jew, Berganza,” he often giggled, “just a Calvinist with a sense of irony.”

Another of those literary allusions with multiple levels of significance is Felix and the Professor being likened for these endless Socratic disputes by Felix’s wife, Ainoha (possibly a name derived from a Basque place-name known for its image of the Virgin Mary, and girl’s name, Ainhoa; or is it just a pun on ‘I know her’?) to Scipio and Berganza: these are the two dogs whose satiric colloquy, with its rhetorical-polemical format based on Erasmus’ Praise of Folly, forms one of the Novelas ejemplares of Cervantes (1613).

I could say so much more about this novel, with its multiple layers and highly charged prose, and wide-ranging, esoteric-comic material, such as the Astingi people’s culture and religion – ‘savage and disconcerted’, Felix calls them), or aphorisms like ‘You can get away with murder in America, but only in Europe can you be really bad’. But it’s more than just a clever puzzle or palindrome of wordplay (though there’s nothing wrong with that) – there’s some interesting insight into Newman’s views on the writing (and reading) process, with which I’ll end (having touched on it briefly in my previous post).

Newman In P Disgrace coverIn a chapter called ‘Ex Libris’ Newman gives Felix’s son Iulus’ account of Felix’s huge literary project: to write a history of the Astingi disguised as a Traveler’s Guide ‘in order to make a market for it’ – which sounds like a dig at American publishers. His description could serve as a heartfelt insight into Newman’s own obsessive, meticulous, never-ending collector’s writing methods and technique:

Working at top speed, he usually produced about one hundred and twenty sentences of impossible terseness per night.

He goes on with what looks like a self-portrait, and a grim discussion of what In Partial Disgrace cost to write:

Writers are people who have exhausted themselves; only the dregs of them still exist. Writing is so real it makes the writer unreal; a nothing. And if one resists being a nothing, one will have the greatest difficulty in finishing anything.

Nor did I know that in his hyperfastidious, shamelessly private mind, he was envisioning a nonexistent genre. For no one ever writes the book he imagines; the book becomes the death mask of creation, it has its own future and survives like a chicken dancing with its head cut off. And the spy knows this better than anyone; to write anything down is to take colossal risk. In life you can mask your actions, but once on paper, nothing can hide your mediocrity.

Ouch.

Later, when shadowy CIA spook Rufus is reflecting on his (triple) agent Iulus’ reports, this is his conclusion:

Of course, there will be those who will ask how far can we trust such a narrator? This is rather like asking the question: can one trust a sonata?

Perhaps Rufus has come to see, after his time in the ‘inchoate’, counterintuitive province of Cannonia, that the usual modes of perception, representation and philosophy don’t apply. And that goes for the ways we interpret written texts: genre and verisimilitude are irrelevant, delusions. Here he considers how the Cannonians and ‘their Astingi comrades’ love ‘puzzles and the darkest riddling’:

…for thinking in their view is not real thinking unless it simultaneously arouses and misleads one’s expectations of symmetry. But their love of riddles has a moral dimension which is easily missed; games for them are also always ethical tests.

When Iulus hears the final colloquy of the Professor and Felix, in which his father, whose life’s literary work has blown away on the wind, fiercely denounces conventional historians (and warrior-thinkers like Marcus Aurelius), he (Iulus) is deeply impressed:

Thus ended my aristocratic education. I had learned everything I needed to know for my career. For life with friends and lovers is essentially this: that we assist each other in recovering and rewriting the book which is always blowing away, when the words don’t mean what you say.

An equally apt summary of the novel and novelist is given with Rufus’ verdict on Iulus and his writings, who he knows to be more than just ‘turncoat, nor a cipher, cryptographer…dissembler, or counterfeit’; he’s reflecting, as most of this novel does, on the nature of narrative:

How I would miss his profound but smiling pessimism, his nacreous intelligence, this fideist to the school of gliding. He was one of those strange people who, having rectitude, didn’t need freedom. Even now, rereading his scattered cantos, it is as if he is sitting in the room talking personally with me, the secret of all great writing.

Ancient dogs and caltrops

A Paean to Dogs in Ancient Times

Domesticated from earliest times in Greece and Italy as hunters of wild goats, deer and hares, dogs also served humans as guardians of the house and stock and as faithful companions (and bedwarmers).

Louis Frederic Schützenberger, Retour d'Ulysse 1884

Louis Frederic Schützenberger, Retour d’Ulysse 1884

The Greek hero Odysseus, after ten years of fighting in the Trojan wars, then ten more of struggles to return home, disguised himself as a beggar in order to surprise the suitors who were pressing his wife Penelope to accept one of them in his absence, presumed dead, while she resolutely cherished his memory. His dog, Argos, at an implausibly advanced age, fallen on evil times, neglected, ill, dozing on a manure heap, pricked up his ears when he heard a familiar step. He wagged his tail and dropped his ears when his master, incognito, had to pass by and ignore the overjoyed dog, who died. Heartbroken that he couldn’t acknowledge his dog’s greeting without betraying his identity, Odysseus wiped away a tear.

Homer and Hesiod mention sheepdogs and watchdogs: the Molossian Hound of Epirus, mastiff-like, Laconian, was the subject of this post of mine some time ago (the Jennings Dog in the British Museum, via Flaubert and Alcibiades).

The Jennings Dog at the British Museum

The Jennings Dog at the British Museum

Xenophon (ca 430-354 BC), better known as a historian and philosopher, also wrote a treatise on the value of hunting as a suitable training for the soldier, for it makes men sober, pious and upright; in this Cynegetikos he extols the Castorian and the Vulpine hounds. The dispositions and ailments of hounds are delineated, and he describes how they should be trained and cared for. If the hare is caught at the first attempt, he says, the hounds should be brought back in to begin the search for another, he says. Psyche, Pluck, Spigot, Hilary, Yelp, Strongboy, Bodkin, all are suitable names, being short and indicative of hounds’ temperaments and qualities.

 

Caltrop

Caltrop

The boar requires a great deal more effort, and stronger nets. Not so much a pursuit as a fight. Dogs are often injured or killed in the boar hunt. Caltrops are useful in the chase, if unsportsmanlike. Darius used them against Alexander at the battle of Gaugamela, Persia. They served to slow the advances of horses, war elephants and humans. The soft feet of camels are particularly susceptible.

Iron caltrops have been found in Virginia that date from the seventeenth century.

In Italy, Umbrian hunters and sheepdogs were renowned as keen-nosed but lacking in courage. Salentine and shaggy-coated Etruscan dogs lacked speed but were keen-nosed.

Lucius Columella (born in Cádiz, ended up writing about agriculture – and a treatise on trees — in Italy, d. ca 70 AD) praises in his Res rustica the incorruptible dog, steadfast avenger or defender (rather poorly scanned translation into English here). The shepherd prefers a white dog because it is then unlikely to be mistaken at dawn or dusk for a wolf. The farmdog, on the other hand, has a more alarming appearance when approached by an evil man in daytime if he be black, with a sonorous bark and growl. At night, however, he can approach the crafty thief with greater security. The joints of its feet and its claws, which the Greeks call drakes, should be very large, like its head.

The Cú faoil or Irish wolfhound, as its name suggests, was used in the hunting of wolves Cuchalain better picbut also as a war dog. It has an ancient history. Names of kings and warriors often had the prefix ‘Cú’ as a sign that they were worthy of the loyalty of a brave hound. The Irish hero Cúchalain won his name by slaying, when he was a child, the ferocious guard dog of Culain, in self defence, and being taken on as replacement.

As early as 279 BC they may have fought alongside Celtic tribes that sacked Delphi. Caesar in the ‘Gallic Wars’ mentions them, and in 391 a Roman Consul named Symmachus writes about receiving as a gift seven ‘canes Scotici’ for fighting lions and bears, to the wonder of all Rome.

From Gaston Phoebus, Le livre de chasse, 13C

From Gaston Phoebus, Le livre de chasse, 13C

Associated with royalty, these dogs were highly prized. Around 210 King John gave Gelert to the Welsh prince Llewellyn. He is the subject of an ancient folktale motif that’s found in stories from around the world, and the 13C hagiographical legend of the Holy Greyhound, St Guinefort; sadly I’ve mislaid my copy of the superb study by Jean-Claude Schmitt of this bizarre cult, which survived into the 1930s in France, despite the opposition of the church. (The dog-headed saint, or Cynocephalos, is Christopher). In the legend this faithful hound was rashly killed by its owner, who believed the dog had mauled his son, when in fact it had bravely saved him from a serpent’s attack (or in some versions, a wolf’s). When he hears his son’s cries, he realises his mistake and buries the dog with great reverence. The grave became a pilgrimage site and was believed to benefit the health of children if taken there by their parents.

By the way, Lesbia’s sparrow was probably a bullfinch.

(All images are in the public domain)