(urth) The hut in the jungle

Sat Nov 17 03:28:28 PST 2007

Hello Tony,

Thursday, November 15, 2007, 11:48:30 PM, you wrote:

> I've long been intrigued by the mystery of whether Severian and Agia
> actually travel to the past, or whether the people in the hut are
> simply "chant-caught" Urthians as Agia argues. There seems to be ample
> evidence for either interpretation.

> On the one hand, the Gardens seem too big for the building that
> contains them, contain species which the Curator cheerfully describes
> as "extinct", and there's just sky where we should see panes of glass.
> And Robert and Marie talk like genuine 20th century people - where
> would Urthians, even chant-caught Urthians, get such ideas as
> mail-planes and painting in Paris from?

> On the other hand, Wolfe allows Agia to expand on her explanation -
> that Father Inire has invested the gardens with a "conjuration" that
> entraps visitors - at some length. The minds of such victims bend to
> conform to their surroundings, the edges of the glass panes are simply
> concealed by tree limbs, and so forth.

> Broadly speaking, Agia's explanations are rationalist: it's all
> trickery, it's literally done with mirrors. Whereas if we accept
> Severian's observations at face value, then something miraculous is
> taking place. Are we being left to choose the explanation that most
> appeals to us?

> Perhaps, but on the third hand, Agia is the one who seems to be on the
> back foot. Severian trumps every answer she gives with another
> question, until she acknowledges that she doesn't have all the
> answers. That suggests that the miraculous explanation really *is* the
> right one, and that Wolfe is cautioning us against Agia's brand of
> hard-headed scepticism.

> These days I tend to favour a middle road: the Gardens *do* bend back
> in time, but Urthian visitors aren't real in that past. They're
> ghosts, "spirits of the future" as Robert says. Robert can temporarily
> see them because he's sick with malaria, Isangoma because he's a
> shaman. The Gardens have a seductive effect on the minds of sensitive
> people, as Agia says, but this is due to their deep roots in Urth's
> past rather than some sort of deliberate ploy on the part of Father
> Inire and the Autarch.
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"The tokoloshe, Preceptress. The tokoloshe come. But the Proud One in his condescension will protect us. He is the mighty commander of all tokoloshe! When he roars, they hide beneath the fallen leaves."
"Robert, I think he's lost his mind."
"He has eyes, Marie, and you don't."
"What do you mean by that? And why do you keep looking out that window?" Quite slowly, the man turned to face us. For a moment he looked at Agia and me, then he turned away. His expression was the one I have seen our clients wear when Master Gurloes showed them the instruments to be used in their anacrisis.
"Robert, for goodness' sake tell me what's wrong with you."
"As Isangoma says, the tokoloshe are here. Not his, I think, but ours. Death and the Lady. Have you heard of them, Marie?"
The woman shook her head. She had risen from her seat and opened the lid of a small chest.
"You wouldn't have, I suppose. It's a picture?an artistic theme, rather. Pictures by several artists. Isangoma, I don't think your Proud One has much authority over these tokoloshe. These come from Paris, where I used to be a student, to remonstrate with me for giving up art for this."

1) Isangoma is dying of fear.  That is pretty clear.
2) They are actually from the past - or at least their memories war. That is the purpose of the Gardens - to preserve the memory of the past.

Severian is certain he was actually in the past:

The Claw of the Conciliator, chapter 31

"I had been so entranced by the spectacle below me that I had not noticed when Hildegrin left the roof. Now he darted?if so large a man can be said to dart?into the crowd and laid hold of Apu-Punchau.
What followed I hardly know how to describe. In a way it was like the little drama in the house of yellow wood in the Botanic Gardens; yet it was far stranger, if only because I had known then that the woman and her brother, and the savage, were chant-caught. And now it seemed almost that it was Hildegrin, Dorcas, and I who were wrapped in magic. The dancers, I am sure, could not see Hildegrin; but they were somehow aware of him, and cried out against him, and slashed the air with stone-toothed cudgels.
Apu-Punchau, I felt certain, did see him, just as he had seen us on the rooftop and as Isangoma had seen Agia and me. Yet I do not believe he saw Hildegrin as I saw him, and it may be that what he saw seemed as strange to him as the Cumaean had to me. Hildegrin held him, but he could not subdue him. Apu-Punchau struggled, but he could not break free. Hildegrin looked up to me and shouted for help."

3)  Death and Maiden:

http://en.wikipedia.org/wiki/Death_and_the_Maiden
http://www.lamortdanslart.com/fille/maiden.htm

"This theme has a multi-faceted past . It is rooted in very old mythological traditions: among the ancient Greeks, the abduction of Persephone (Proserpine among the Romans) by Hades (Pluto), god of Hell, is a clear prefiguration of the clash between Eros and Thanatos. The young goddess gathered flowers in company of carefree nymphs when she saw a pretty narcissus and plucked it. At that moment, the ground opened; Hades came out of the underworld and abducted Persephone.

This old vision will take a new form at the end of the 15th century and become the theme of Death and the maiden, which will culminate in Germany at the Renaissance. In many dances of Death already figured a representation of Death with a fine lady or with a beautiful virgin. The image of a young woman was also found in the three ages and Death. However in both cases, there was no trace of erotism. But with Death and the maiden theme, something new happened. People discovered a dark bound between sexuality and death. ....

Made by Marianne Stokes in 1900, this painting brings a new twist the well-known story of Death and the maiden. Here, Death is neither a decaying corpse nor a skeleton, but a winged woman dressed in black.
...
When you first look at this oil painting by Egon Schiele (1915), it takes some time to understand its title: Death and the Maiden. A man and a woman sit on a white sheet, in a surreal landscape of rocks in which you can distinguish parts of human faces.  "

Also, there is a song by Schubert: Der Tod und das Mädchen
http://en.wikipedia.org/wiki/Death_and_the_Maiden_%28song%29

"Das Mädchen:
Vorüber! Ach, vorüber!
Geh, wilder Knochenmann!
Ich bin noch jung, geh Lieber!
Und rühre mich nicht an.

Der Tod:
Gib deine Hand, du schön und zart Gebild!
Bin Freund, und komme nicht, zu strafen.
Sei gutes Muts! ich bin nicht wild,
Sollst sanft in meinen Armen schlafen!

The Maiden:
Pass by! Oh, pass by!
Go away, fierce man of bone!
I am still young, go my dear!
And do not touch me.

Death:
Give me your hand, you beautiful and delicate form!
I am a friend, and am not come to punish.
Be of good cheer! I am not savage,
You will sleep softly in my arms!"

-- 
Best regards,
 Stanislaus                           mailto:sbocian at poczta.fm

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