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<p align="center" style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt">THE
ARIMASPIAN LEGACY AND SLOW CHILDREN AT PLAY</font></font></p>
<p style="text-indent:0.5in;margin-bottom:0.14in;line-height:115%">
“<font face="Times New Roman, serif"><font style="font-size:12pt">The
Arimaspian Legacy” and “Slow Children at Play” appeared as
Cheap Street Chapbooks in 1987 and 198</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">9</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">,
respectively, and are collected in </font></font><font face="Times New Roman, serif"><font style="font-size:12pt"><i>Starwater
Strains</i></font></font><font face="Times New Roman, serif"><font style="font-size:12pt">
and </font></font><font face="Times New Roman, serif"><font style="font-size:12pt"><i>Innocents
Aboard</i></font></font><font face="Times New Roman, serif"><font style="font-size:12pt">.</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%">“<font face="Times New Roman, serif"><font style="font-size:12pt">THE
ARIMASPIAN LEGACY” SUMMARY:</font></font></p>
<p style="text-indent:0.5in;margin-bottom:0.14in;line-height:115%">
“<font face="Times New Roman, serif"><font style="font-size:12pt">The
Arimaspian Legacy” begins with a quote from Herodotus’ </font></font><font face="Times New Roman, serif"><font style="font-size:12pt"><i>Histories</i></font></font><font face="Times New Roman, serif"><font style="font-size:12pt">,
indicating that tales of the one eyed men of the north (called
Arimaspians) and their enemies, the griffins which zealously guard
golden treasure from them, originate with the Issedonians and have
been passed on by the Scythians.</font></font></p>
<p style="text-indent:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">The
narrator describes his late friend David, who is survived by a few
family members, and their childhood meeting at a chess club. He
relates how they gave each other names as children and had similarly
bookish interests, even living close enough to visit each other via
bicycles. He calls David by the surname Arimaspian. Their meetings
often involved boasting. “[David] was exceedingly proud of whatever
he possessed: his geese were every one a swan.” The narrator also
describes one of David’s possessions: the dubiously ebony handle of
an eyeglass bearing the initials M.H., which David used to burn his
own initials, D.A., into the grip of a Finnish knife.</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> David
became an astronomer and antiquarian book collector, though the
narrator is reluctant to call him a true collector because of the
random nature of his acquisitions. He stuffed his inherited
Victorian home with stacks of books. On the narrator’s last visit,
David had to give him his own chair so his guest could sit in the
book-crowded residence. </font></font>
</p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> One
night David arrives at the narrator’s house carrying a narrow
carton “embellished with golden foil – surely the kind that
distillers of the best class provide at Christmas”. David says
that he has fulfilled his life ambition and found the book that “no
one buys” – one that always disappears when you come back for it.
He says the book was “eight hundred and sixty-five thousand miles
across” (the diameter of the sun) but he has reduced it to a
regular book size through translation, in a blue cover embellished
with a golden griffin. David says that griffins are spirits rather
than fabulous beasts and references Sumer, Akkad, and Ur, also
indicating that he is now “potentially the master of the world.”</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> David
goes on to say that these Griffins, “come midwinter[,] … fly from
the sun with new strength for the Tree,” and that the covetous
Aramaspians (whose name means “one-eyed”) who attempt to steal
their gold are half blinded by the sun. According to David, sunspots
have spelled out a solar code which he has been able to translate
into Chaldean and then into English. He claims, “Someone left it
there to get us started,” and that it is the secret to many powers
of controlling both the human body and the external world.</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> Stepping
over the window ledge after indicating that a woman is waiting for
him below, David descends on steps of air towards a woman in a red
jaguar. When he is still three stories from the ground, the sun comes
out and its rays destroy the power of his invisible staircase; he
falls to his death. David leaves his library to the narrator, who is
prone to go through the crates in storage “especially at this time
of year.” He states, “In my dreams, I see him falling, and
griffins bent upon vengeance, bearing the treasures of the sun.”
The story ends with Milton’s quote from Paradise Loss, which
describes a “gryphon” as a Fiend pursuing the Arimaspian who
stole its gold over any terrain by any and all means necessary.</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%">“<font face="Times New Roman, serif"><font style="font-size:12pt">SLOW
CHILDREN AT PLAY” SUMMARY:</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> The
narrator of “The Arimaspian Legacy”, revealed to be Gene, states
that he is perhaps the only one who understand how two child-like
beings have come to live in his building, an understanding which even
these “children” lack. The pair, named Mark and Joe, remind Gene
of the sign reading “Slow Children at Play” outside his building,
though Mark can be quick on occasion. He says they live by begging
and that even simple tasks can take them exorbitant amounts of time.
Gene also infers that they originally came from the ruins to the
south of his building and that they dwell on the eighth floor of his
apartment building, accessible only through stairs, because it was
probably the only door unlocked and because the old landlord did not
like using the stairs (the elevator only ascends to the penultimate
seventh floor).</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> Gene
watches out for the “children” by insuring that they escape the
attention of the caretaker of the property, first by insinuating that
they are residents and then by telling a new poorly educated
groundkeeper that the children’s room is occupied and stealthily
alters the apartment building’s rental diagram to show that their
rent is paid in advance. He classifies Joe as retarded and Mark as
insane. He notes that Joe is only willing to meet Mark’s eyes when
he speaks and is slow of action. He also observes that “some
celestial power meditates his death; so Mark believes.” </font></font>
</p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> On
the winter solstice, when Gene inquires as to their origin, Mark
replies, “I c-came from the sky … J-Joe out of the ground,
G-Gene. Yes! F-from the sky! I f-fell, oh, f-fell so many, many. I
h-had wings,” at which point he extends both his arms and his legs,
making him think of a four winged insect. Mark believes that now he
is doomed to die rather than to fly. Joe asserts, “We have to die,
too, Mark.” Here, Mark notes a crimson sun and asks, “He’ll
k-kill you, too, G-gene? … Today’s his day. He takes your sun
away.” </font></font>
</p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> When
Gene confirms that it is indeed the solstice, Joe is overcome with
terror </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">at
the prospect of the red light he sees through the window flying away.
Gene is reading at his desk, Griffith's </font></font><font face="Times New Roman, serif"><font style="font-size:12pt"><i>Mercenaries
of the Hellenistic World,</i></font></font><font face="Times New Roman, serif"><font style="font-size:12pt">
and covers the author's name at its reminder of the death of his
friend David. He also reassures Joe that the crimson light they see
is not the yellow light of the sun. Joe tries to launch himself
through the window and Mark saves him, saying it is merely a red stop
light.</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> Mark
calms him by promising to cross the river to find “the sun”
together and bring it back. Here Gene admits in his own thoughts that
the window has been tugging at him as well, and that if Joe died, he
would be even more likely to hurl himself through it. They go to
seek out the light. </font></font>
</p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> Passing
through an industrial district, Gene thinks that they are like the
Magi, “wise men who were in fact members of a certain Media tribe,
who followed a star to Bethlehem. We three comprised a half-wit, a
madman and a fool.” As they approach the light, Gene sees a man who
appears to stand in the fire. Joe realizes that the light is not the
sun, but the man asserts that it is indeed. Joe pleads with him to
bring it back. The man says, “It has never gone … but I will
bring all of you again to it … because the time is not yet.” He
looks disdainfully on Mark, but more kindly on Joe. </font></font>
</p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> He
then turns around and says that the hour is come, and at his back was
“an entire new being: a live griffin, eagle-clawed and many-winged.
Its eagle's head screamed,” and Gene staggers backwards to the
car, believing this to be the start of his psychotic episode. The
light seems to grow larger and more brilliant, and he notes that the
figure before it “was horned like a Viking or a devil; and as I
looked, it roared like a lion.”</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> Gene
writes his psychologist of the event, and admits that Joe's visit the
next day makes him doubt that he actually lost his reason. Gene told
Joe that he was ill, and the boy admits that he has been ill from
eating out of the dumpster, “because they spray for flies.” Gene
later thinks of the nickname of the devil, “the Baal of Flies”.
He tells Joe he is going to see a specialist, and Joe says, “we
were just paying … you played, too. … Last night you played with
us.” He says that they do not get hurt, because they “take care
of each other.” He looks out the window at the sunlit river,
smiling.</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> The
ending of the text </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">is</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">
a quote from </font></font><font face="Times New Roman, serif"><font style="font-size:12pt"><i>De
Mundo</i></font></font><font face="Times New Roman, serif"><font style="font-size:12pt">
in which all sing together, moving in a dance around heaven and unite
in harmony “whose cause is one, and whose end is one. It is this
harmony which entitles the All to be called Order, and not disorder.”</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><br>
<br>
</p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt">DISCUSSION:</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> There
are many religious, historical, and thematic implications of these
two stories, but it is fruitful to view them in the vein of Wolfe’s
previous Solstice story, “At the Point of Capricorn”, in which a
syncretic blend of pagan myth and Christian cosmology weave a dense
tapestry. The first story ends without </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">identifying</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">
the narrator </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">as
Gene</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">.
It maps the struggle between the griffins and the Aramaspians onto
that of David’s hunger for knowledge and power and his death
through some spiritual or supernatural agency, which steps in to
prevent him from using powers beyond those of mortals. In this case,
the power seems to dwell with the sun, and the Christmas wine David
brings coupled with the indication that our narrator seeks to look
for the book during the Christmas season is of course related to the
Winter Solstice. </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">At
the solstice, </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">
less sunlight will allow the narrator to search for </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">David's</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">
volume without fearing the sun’s full strength. While this is
fairly simple, the second story complicates matters metafictionally
by turning our narrator into Gene, something which Wolfe has done
before in his “Procreation” series, and by bringing possibly
angelic and demonic characters into direct interaction with our
narrator, despite his claims of a “psychotic episode” to explain
away what he has witnessed.</font></font></p>
<p style="text-indent:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">The
obvious importance of the winter solstice to primitive cultures makes
it significant to the modern world as well: the point at which the
sun reaches its weakest point but then immediately begins to grow
stronger, bringing warmth, sustenance, </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">and
continued fertility as the cyclic seasons turn</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">;
given its importance in many pagan rituals, it was an equally obvious
time for placing the birth of Christ on the calendar. The necessity
of sacrifice mapped by Frazier in his </font></font><font face="Times New Roman, serif"><font style="font-size:12pt"><i>Golden
Bough</i></font></font><font face="Times New Roman, serif"><font style="font-size:12pt">,
which also touched on Christ’s life story as another expression of
this eternal cycle of death and rebirth tied to renewal, is also
innately tied to this time of year. However, at times these stories
seem to bring in an almost </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">G</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">nostic
world view in which the reality that we know through the senses is
artificial, and our scheme of heaven and hell fails to adequately
describe the harmony of the spheres, where high and low can work
together for a higher purpose and human life and reality, </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">the
material plane, might be described as</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">
mere child’s play.</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> One
of the important thematic ideas that arises in “Slow Children at
Play” involves the minor suicidal pull of Gene’s window, the one
David fell to his death from in showing off his control over reality.
The mysterious light which seems to be retreating in this story
resonates not only with the sun but with the idea of paradise itself,
and the need to return to the divine and be free from mortal life
perhaps cause both Gene and Joe’s temptation to hurl themselves
from the window. </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">If
Mark has fallen from Paradise, the pull is not as strong, but Joe
seems to have risen up from a lower level, seeking to come ever
closer to the symbol of paradise and salvation.</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">
Of course, Joe’s compulsion </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">seems</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">
much stronger </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">than
Gene's</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">
(perhaps he has been longer deprived of the communion with God or
whatever celestial power is symbolized by the light than the other
characters, especially given Mark’s tale of losing his wings and
falling to earth). </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">The
being who guards the sun also seems far kinder to Joe than to Mark.</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">
The similarity between the terms for Griffin and Cherub in some
Mesopotamian languages will be discussed below in Mythical Allusions,
but the being guarding the light whose back forms both a lion and a
horned devil functions as </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">a</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">
guardian Cherub, </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">the
same angel which was</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">
tasked with keeping fallen man from Eden and earthly paradise. This
</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">figure
is described in almost oxymoronic language, </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">bridging
the gap between </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">descriptions
of</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">
unholiness and divinity </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">in</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">
fascinating </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">fashion</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">:
the horns of a devil or Viking juxtaposed with the symbol for Christ,
the lion, and a syncretic story that ties together gold, nuclear
power, the sun and the ancient myths of griffins with the
descriptions of a Cherub from Biblical sources, primarily the book of
Ezekiel. </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">In
addition, the winter solstice/Christmas story of the sun's waning
power is directly tied into the life story of Christ by Gene's
sentiment: he feels that they are the three Magi, following the star
to salvation. The moment in history of which he speaks, when God
becomes man, is one in which some tragedy and sacrifice becomes
necessary for the greater good and for salvation, one which increases
holiness rather than destroys it, for Christ is born to die. The
waxing and waning of the light and Gene's perception of this Cherub
as perhaps evil in nature constitutes an incomplete understanding of
a world view in which good and bad, high and low, death and life, are
all necessary and work in harmony.</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> The
kindness th</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">e</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">
figure shows to Joe is very interesting, as it seems from his
reaction to the fly repellant in the dumpster and Gene’s rumination
that the devil, the Baal or Lord of Flies (Beelzebub) might be
involved. This would make Joe a demon who has risen up to the
material plane. Whether he is simply a servant or a fly </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">echoes
</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">the
insectile description of Mark and the idea that he might have lost
four wings – </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">a
description which jives with Ezekiel's accounts of cherubs, found
below under Religious Allusions</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">.
A subservient devil and a fallen angel playing </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">together</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">,
somehow innocent of the understanding of the choice between good and
evil, are treated differently by this Cherub/Griffin. </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">Perhaps
the title refers to humanity in trying to understand the actions and
the cosmology of the universe, simply slow children trying to play a
game, but it must also comment on the comparative innocence of both
the fallen angel and the risen demon.</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt">MYTHICAL
ALLUSIONS:</font></font></p>
<p style="text-indent:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">Herodotus,
Pliny, and Strabo all speak of the one-eyed Arimaspoi who covet gold
and war with their neighbors, the griffins who guard it. David
mentions Sumer and Akkad, and the religion of </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">both</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">
had parallels with </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">many
</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">Babylonian
and Hebrew stories. </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">Sumerians
and Akkadians</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">
envisioned the universe as a dome surrounded by water. The earth, the
firmament, and the water itself all became associated with deities.
One of the Sumerian and Akkadian myths involves Anzû, “a divine
storm-bird and the personification of the southern wind and the
thunder clouds.” This demon, half man and half bird, stole the
Tablets of Destiny from Enlil, hiding them in a mountain.
Eventually, whether at the hands of Marduk or the arrows of Ninurta,
Anzû was killed. (“Anzû </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">(mythology)</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">”)</font></font></p>
<p style="text-indent:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">Much
as David’s book was meant to give him vast power, the tablets of
destiny conferred upon Enlil (or Enki, depending on the story) in
Sumerian myth was the source of his authority over the universe.
David is guilty of the same theft here as Anzû, though the bird
imagery is confused and combined with the description of the conflict
between the Griffins and the Arimaspians in Herodotus and other
sources. It seems that David considers himself something like
Prometheus or Anzû, but in reality he maps to the one eyed men,
“half blinded by the sun,” who cannot see clearly because of
their avarice </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">and
longing </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">for
gold or authority, staring too long into an immense power. Clearly
all of these stories also echo the myth of Prometheus, punished for
bringing fire to man, tormented by an eagle in his bondage. (The
Griffin, of course, usually has the body of a lion and the head and
wings of an eagle).</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> The
Akkadian word for Griffin, karubu (implying a winged creature), is
linguistically related to Cherub (kuribu), fitting in with the theme
of an angelic protector. Even the descriptions of Cherubim from
Ezekiel match very well, with both lion and eagle features.</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> The
woman at the red jaguar waits for David, but it is unclear if she is
just a mortal or something more. The reverence for Jaguars </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">exists</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">
in Mayan and Aztec religions rather than in those of Sumer and
Akkadia, so the symbolic importance of her car might be a dead end in
determining her identity. </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">In
any case, t</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">he
revolving flame in “Slow Children at Play” seems to be guarded by
the griffin/cherub, who says that it is indeed the “sun”.</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt">THE
TREE:</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> In
“At the Point of Capricorn”, the solstice ceremony also involves
the mention of a tree that is used to call back the sun, and here
background mythology involves gold being used as an energy source for
some mythic tree, fed by the effort of the flying Griffins. We are
all aware that the tradition of the Christmas tree has pagan origins;
trees were used in an attempt to appease the sun gods who diminished
in power until the solstice. This can be seen in the use of the
evergreen in Egyptian practices worshipping Ra, with the Romans and
their Saturnalia, and of course with the Druids and Vikings as well
(the Cherubim in “Slow Children at Play” also has horns like a
Viking’s helm). </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">It
might very well be that the Yggdrasil or world tree is meant, with
celestial energy fueling it, but just as likely the warmth for the
tree David speaks of is symbolic in nature and related to these pagan
and Christian solstice rituals.</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt">GOLD,
THE MAGNIFYING GLASS, AND M.H.:</font></font></p>
<p style="text-indent:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">David’s
proclivity for golden and gold-accented things is derivative of the
Arimaspian myth. His magnifying glass with its golden initials seems
to represent a way not only to harness and focus the power of the
sun, but also focuses two eyes into one lens. This may turn David
into a symbolic Arimaspian as well, when he looks through it.
Speculation on the actual meaning of M.H. on the magnifying glass
could lead just about anywhere, with no real way of determining if we
are correct save perhaps David’s proclivity for gold: he collects
gold gilt volumes and there is gold foil on his wine of choice. The
initials are also in gold. This might even be a brand designation.
His obsession with the ultimate gold, the message of the sun via
sunspots transmuted into a book, might invoke the alchemical text by
John Dee, the </font></font><font face="Times New Roman, serif"><font style="font-size:12pt"><i>Monas
Hieroglyphica</i></font></font><font face="Times New Roman, serif"><font style="font-size:12pt">,
which deals extensively with cosmogony and decryption. David
harnesses the power of the sun with the magnifying glass to inscribe
his own initials in a metaphorical process similar to harnessing the
sun to create his ideal book. However, given the symbolic import of a
magnifying glass, the text leaves assigning a definite explanation
for M.H. fairly open. Even something as obscure as Mycroft Holmes
could be implied (whose specialism is impractical and indolent
omniscience, after all, compared to his brother Sherlock’s
practical deductive skills), or even a scientist who works with gold
whose initials happen to be M.H. </font></font>
</p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> Whether
intentional or not, there are some striking echoes between the themes
of Dee’s manuscript and these short stories. The </font></font><font face="Times New Roman, serif"><font style="font-size:12pt"><i>Monas
Hieroglyphica</i></font></font><font face="Times New Roman, serif"><font style="font-size:12pt">
operates under the cabalistic idea that manipulation of the letters
and symbols of the Hebrew language can be used to influence the world
and the cosmos due to some kind of astral relationship between
language and the signs of the zodiac. This is similar to the
decoding David performs in which the sun spot patterns become the
text he has sought all his life. According to Michael Walton, Dee’s
treats “the Monad’s interpretation as an art of writing which
revealed all astronomical knowledge, both the greater astronomy of
the heavens and the lesser astronomy of alchemy.” (118) Dee also
believed this was the key to “all things visible and invisible”.
If indeed the M.H. initials invoke Dee’s work at all, then
mathematics and the Hebrew language have been replaced with nuclear
science and Chaldean, respectively. This association with Chaldea
resonates with the historical Chaldean Oracles, which are Greek
commentaries on a poem of Chaldean origin. In this poem, the first
intellect emanates fiery rays which are interpreted by the second
intellect, the Demiurge, to understand and influence the cosmos.
Even the symbol of Dee’s Monad can resemble a magnifying glass in
some of its components, which are broken down below: </font></font>
</p>
<p style="margin-bottom:0.14in;line-height:115%"></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"><a href="http://www.jwmt.org/v2n13/partial.html">http://www.jwmt.org/v2n13/partial.html</a>
</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">(Turner).</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt">The
spirits of Sumer and Ur also resonate with the tale of Prometheus,
stealing fire for man. The provenance of flame in Zorastrian thought
is well known, and the cosmic significance of the solstice to the
story is equally apropos. </font></font>
</p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt">THE
HARMONY OF THE SPHERES AND GNOSTICISM</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> The
poem that concludes “Slow Children at Play”, </font></font><font face="Times New Roman, serif"><font style="font-size:12pt"><i>De
Mundo</i></font></font><font face="Times New Roman, serif"><font style="font-size:12pt">,
is included in a footnote to Hans Jonas’ treatise on </font></font><font face="Times New Roman, serif"><font style="font-size:12pt"><i>The
Gnostic Religion: The Message of the Alien God and the Beginnings of
Christianity</i></font></font><font face="Times New Roman, serif"><font style="font-size:12pt">,
in which the harmony of astral bodies and the cosmos is discussed.
</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">It
could very well be that this is the source Wolfe used in finding the
poem. The book states</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">:</font></font></p>
<p style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt"> The
Pythagoreans had found in the astral order the proportions of the
concordant musical scale, and accordingly had called this system of
the spheres in operation a harmonia, that is, the fitting together of
a many into a unified whole. Thereby they created the most
enchanting symbol of Greek cosmic piety: “harmony,” issuing in
the inaudible “music of the spheres,” is the idealizing
expression for the same fact of irrefragable order that astrology
stresses less optimistically in its own context. Stoic philosophy
strove to integrate the idea of destiny as propounded by contemporary
astrology with the Greek concept of harmony: … its action as it
affects terrestrial conditions and the short lived beings here. And
since the stellar movements are actuated by the cosmic logos and this
logos functions in the world—process as providence (pronoia), it
follows that in this wholly monistic system heimarmene itself is
pronoia, that is, fate and divine providence are the same. The
understanding of and willing consent to this fate thus interpreted as
the reason of the whole distinguishes the wise man, who bears
adversity in his individual destiny as the price paid by the part for
the harmony of the whole. (259)</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt">The
text goes on to present a Gnostic revaluation of the idea of this
harmonic piety and presents this cosmic order as anti-divine, yet it
seems that in this case the Wolfe story sticks with the pre-Gnostic
valuation of the solar bodies and even integrates Judeo Christian
“good” and “evil” angels as mere children at play.</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> The
mixed symbolism of the fallen angel with almost insectile multi-part
wings, the aversion Joe has to the fly repellent, the satanic and
Christian imagery used to describe the griffin like figure taking the
sun in the second story (described with horns like a devil but
roaring like a lion, which is symbolic of Christ): all of these
conflicting symbols create a confusing cosmology where good and evil
are blurred together. Marcion’s heresies of the world as a fallen
illusion might even fit in to this scheme.</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt">BIOGRAPHICAL
ALLUSIONS:</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> Much
like “On the Train” and a few of Wolfe’s other short shorts,
these stories have some biographical details. According to the
Wolfewiki, </font></font>
</p>
<p style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%"><a name="_GoBack"></a>
<font color="#000000"><font face="Times New Roman, serif"><font style="font-size:12pt">A
friend of Wolfe's, David Taylor, provided inspiration for the
character David in The Arimaspian Legacy. In a Q and A style
interview posted on Fantastic Metropolis, Wolfe made the following
comment. "Of course I have ten thousand memories connected with
books. How about being introduced to Dickens by my friend David
Taylor, who had been reading Pickwick and talked like Mr. Jingle when
he described the book? David has been dead for more than 40 years,
but you will find him as David Arimaspian in my story “The
Arimaspian Legacy." (“The Arimaspian Legacy”)</font></font></font></p>
<p style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font color="#000000">“<font face="Times New Roman, serif"><font style="font-size:12pt">Slow
Children at Play” was based in part on an actual light -- a
mysterious light in this case -- which I saw once and have never seen
again. It's also based on a traffic sign about a half a block north
of this house. (“Slow Children at Play”)</font></font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt">MORAL
IMPLICATIONS:</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> In
addition to retelling the story of Prometheus, in this case involving
not merely altruism but also self-aggrandizement, the second story in
the sequence paints an almost astonishing moral picture of the
cosmos. The title “Slow Children at Play”, while it comes from a
sign which sometimes depicts two children on a teeter totter, is
another example of semiotic slippage in Wolfe, where he applies the
imperative “[Go] Slow(!)” to instead function as an adjective.
The insinuation that Mark fell from heaven and is a celestial being
while Joe came from below and is repelled by fly treatments as a
possible minion of the Lord of the Flies shows the high and the low
living together, innocent of good and evil, almost as if they are </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">at
play </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">in
the mortal plane. Perhaps this sign showed the two children on the
teeter totter as some of those “Slow Children at Play” signs do –
one descending from on high, the other on his way up from the bottom,
such that Mark and Joe are headed in opposite directions, one falling
and one rising, but balanced for a time in the middle on the material
plane.</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"></p>
<p style="margin-bottom:0.14in;line-height:115%"><br>
<br>
</p>
<p style="text-indent:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">Both
are ignorant of money and other earthly concerns. The overlaying of
Gnostic thought, in which the cosmos is composed of an Empyrian,
Etherial, and Elemental world matches the levels implied by the story
as Mark and Joe meet in the middle. In “reality”, they are
simple children without the burden of excessive sin. The idea that
high and low ultimately serve the divine purpose is repeated in Wolfe
several times, but it is very cryptic in this story. Why is a fallen
angel consorting with a minion of B</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">ee</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">zebu</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">b</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">
in Gene’s apartment building? Is this simply to show how spiritual
forces move and work in the real world innocent of free will and
culpability, as these children are innocent?</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt">LIERARY
ALLUSIONS:</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> Gene
mentions that the author’s name, G.T. Griffith, reminds him of
David’s death, which of course is because of its similarity to
griffins. However, Wolfe was almost certainly familiar with this
tome, </font></font><font face="Times New Roman, serif"><font style="font-size:12pt"><i>Mercenaries
of the Ancient World</i></font></font><font face="Times New Roman, serif"><font style="font-size:12pt">,
from doing research for his Latro novels.</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt">BIBLICAL
ALLUSIONS</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> The
description of Cherubim as having four wings and dispensing fire
comes from the book of Ezekiel. This description definitely shows
the manner in which Wolfe conflated the Griffin and Cherubim. The
four faces of the cherubim are that of an eagle, a lion, a man, and
an ox (or a cherub in a later description). It is quite clear that
Wolfe has taken the leonine, aquiline, and linguistic similarities to
heart in his construction of the supernatural beings in his story.
</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">The
Book of Ezekiel </font></font><font face="Times New Roman, serif"><font style="font-size:12pt">describes
Cherubim at length, and even shows them playing with fire</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">:</font></font></p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">1
In the thirtieth year, in the fourth month on the fifth day, while I
was among the exiles by the Kebar River, the heavens were opened and
I saw visions of God. </font></font>
</p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">2
On the fifth of the month--it was the fifth year of the exile of King
Jehoiachin-- 3 the word of the LORD came to Ezekiel the priest, the
son of Buzi, by the Kebar River in the land of the Babylonians. There
the hand of the LORD was upon him. </font></font>
</p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">4
I looked, and I saw a windstorm coming out of the north--an immense
cloud with flashing lightning and surrounded by brilliant light. The
center of the fire looked like glowing metal, </font></font>
</p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">5
and in the fire was what looked like four living creatures. In
appearance their form was that of a man, </font></font>
</p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt">
6 but each of them had four faces and four wings. </font></font>
</p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">7
Their legs were straight; their feet were like those of a calf and
gleamed like burnished bronze. </font></font>
</p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">8
Under their wings on their four sides they had the hands of a man.
All four of them had faces and wings, </font></font>
</p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">9
and their wings touched one another. Each one went straight ahead;
they did not turn as they moved. </font></font>
</p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">10
Their faces looked like this: Each of the four had the face of a man,
and on the right side each had the face of a lion, and on the left
the face of an ox; each also had the face of an eagle. </font></font>
</p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">11
Such were their faces. Their wings were spread out upward; each had
two wings, one touching the wing of another creature on either side,
and two wings covering its body. </font></font>
</p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">12
Each one went straight ahead. Wherever the spirit would go, they
would go, without turning as they went. </font></font>
</p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">13
The appearance of the living creatures was like burning coals of fire
or like torches. Fire moved back and forth among the creatures; it
was bright, and lightning flashed out of it. 14 The creatures sped
back and forth like flashes of lightning. </font></font>
</p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">Ezekiel
1: 1-1</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">3</font></font></p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">22
Spread out above the heads of the living creatures was what looked
like an expanse, sparkling like ice, and awesome. </font></font>
</p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">23
Under the expanse their wings were stretched out one toward the
other, and each had two wings covering its body. </font></font>
</p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">24
When the creatures moved, I heard the sound of their wings, like the
roar of rushing waters, like the voice of the Almighty, like the
tumult of an army. When they stood still, they lowered their wings. </font></font>
</p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">Ezekiel
1:22-24</font></font></p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">3
Now the cherubim were standing on the south side of the temple when
the man went in, and a cloud filled the inner court. </font></font>
</p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">4
Then the glory of the LORD rose from above the cherubim and moved to
the threshold of the temple. The cloud filled the temple, and the
court was full of the radiance of the glory of the LORD. </font></font>
</p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">5
The sound of the wings of the cherubim could be heard as far away as
the outer court, like the voice of God Almighty when he speaks.</font></font></p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">6
When the LORD commanded the man in linen, "Take fire from among
the wheels, from among the cherubim," the man went in and stood
beside a wheel. </font></font>
</p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">7
Then one of the cherubim reached out his hand to the fire that was
among them. He took up some of it and put it into the hands of the
man in linen, who took it and went out. </font></font>
</p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">8
(Under the wings of the cherubim could be seen what looked like the
hands of a man.) </font></font>
</p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">Ezekiel
10:3-8</font></font></p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">Their
entire bodies, including their backs, their hands and their wings,
were completely full of eyes ...</font></font></p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">Ezekiel
10:12</font></font></p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">Each
of the cherubim had four faces: One face was that of a cherub, the
second the face of a man, the third the face of a lion, and the
fourth the face of an eagle. </font></font>
</p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">Ezekiel
10:14</font></font></p>
<p align="left" style="margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">UNANSWERED
QUESTIONS:</font></font></p>
<p align="left" style="margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt"> What
do the M.H. initials on the magnifying glass really signify?</font></font></p>
<p align="left" style="margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt"> Who
is the woman in the red jaguar?</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt">CONNECTION
WITH OTHER WORKS</font></font><font face="Times New Roman, serif"><font style="font-size:12pt">:</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt"> The
idea of the monad was expressed overtly in “Procreation”, but
here it attains a mystical alchemy of consciousness. Much like “At
the Point of Capricorn”, these stories deals with the mysterious
resonance between the pagan and Christian worlds and a spiritual
exploration of solar events, especially the obviously and
symbolically gravid winter solstice/Christmas season in which the sun
loses power and is then reborn. Both “Slow Children at Play” and
“The Friendship Light” may have been based on the same mysterious
light that Wolfe once saw. The idea that all creatures, high and low,
serve a harmonious goal consonant with the will of God will be
repeated in both Long Sun and Short Sun, as well as in many other of
Wolfe’s later stories.</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%"><font face="Times New Roman, serif"><font style="font-size:12pt">RESOURCES:</font></font></p>
<p style="margin-bottom:0.14in;line-height:115%">
<font color="#1c1c1c">“<font face="Times New Roman, serif"><font style="font-size:12pt">Anzû
</font></font><font face="Times New Roman, serif"><font color="#1c1c1c">(Mythology)”.
Wikimedia Foundation, Inc. 18 November 2014. Web. January 5, 2015.</font></font></font></p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt"><i>Holy
Bible: New International Version</i>. Grand Rapids, Zondervan, 1978.</font></font></p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
<font face="Times New Roman, serif"><font style="font-size:12pt">Jonas,
Hans. <i>The Gnostic Religion: The Message of the Alien God and the
Beginnings of Christianity</i>. Boston: Beacon Press, 1958.</font></font></p>
<p align="left" style="margin-left:0.5in;margin-bottom:0.14in;line-height:115%">
“<font face="Times New Roman, serif"><font style="font-size:12pt">Slow
Children at Play.” Wolfe-wiki. October 27, 2010. Web. Januray 5,
2015.<a href="http://www.wolfewiki.com/pmwiki/pmwiki.php?n=Stories.SlowChildrenAtPlay">http://www.wolfewiki.com/pmwiki/pmwiki.php?n=Stories.SlowChildrenAtPlay</a></font></font></p>
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<font face="Times New Roman, serif"><font style="font-size:12pt">Turner,
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<font face="Times New Roman, serif"><font style="font-size:12pt">Walton,
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