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First Communion of Anaemic Young Girls in the Snow; Alphonse Allais (1883)
Dans ces bois du Djinn, où s'entasse de l'effroi,
Dance et bois du gin ou cent tasses de lait froid.
Dance et bois du gin ou cent tasses de lait froid.
Ineluctable modality of the visible: at least that if not more, thought through my eyes. Signatures of all things I am here to read, seaspawn and seawrack, the nearing tide, that rusty boot. Snotgreen, bluesilver, rust: coloured signs. Limits of the diaphane. But he adds: in bodies. Then he was aware of them bodies before of them coloured. How? By knocking his sconce against them, sure. Go easy. Bald he was and a millionaire, maestro di color che sanno. Limit of the diaphane in. Why in? Diaphane, adiaphane. If you can put your five fingers through it, it is a gate, if not a door. Shut your eyes and see.
Stephen closed his eyes to hear his boots crush crackling wrack and shells. You are walking through it howsomever. I am, a stride at a time. A very short space of time through very short times of space. Five, six: the nacheinander. Exactly: and that is the ineluctable modality of the audible. Open your eyes. No. Jesus! If I fell over a cliff that beetles o'er his base, fell through the nebeneinander ineluctably. I am getting on nicely in the dark. My ash sword hangs at my side. Tap with it: they do. My two feet in his boots are at the end of his legs, nebeneinander. Sounds solid: made by the mallet of Los Demiurgos. Am I walking into eternity along Sandymount strand? Crush, crack, crick, crick. Wild sea money. Dominie Deasy kens them a'.
Stephen closed his eyes to hear his boots crush crackling wrack and shells. You are walking through it howsomever. I am, a stride at a time. A very short space of time through very short times of space. Five, six: the nacheinander. Exactly: and that is the ineluctable modality of the audible. Open your eyes. No. Jesus! If I fell over a cliff that beetles o'er his base, fell through the nebeneinander ineluctably. I am getting on nicely in the dark. My ash sword hangs at my side. Tap with it: they do. My two feet in his boots are at the end of his legs, nebeneinander. Sounds solid: made by the mallet of Los Demiurgos. Am I walking into eternity along Sandymount strand? Crush, crack, crick, crick. Wild sea money. Dominie Deasy kens them a'.
Won't you come to Sandymount,
Madeline the mare?
Rhythm begins, you see. I hear. A catalectic tetrameter of iambs marching. No, agallop: deline the mare.
Open your eyes now. I will. One moment. Has all vanished since? If I open and am for ever in the black adiaphane. Basta! I will see if I can see.
See now. There all the time without you: and ever shall be, world without end.
Proteus; Ulysses; James Joyce
“If the world were in space alone, it would be rigid and immovable, without succession (nacheinander), without change, without action; but we know that with action, the idea of matter first appears. Again, in the world were in time alone, all would be fleeting, without persistence, without contiguity (nebeneinander), hence without coexistence, and consequently withoutpermanence; so that in this case also there would be no matter.”
The World as Will and Representation, First Book; Arthur Schopenhauer
"We may define colour as the limit of the Diaphane in determinately bounded body."
"We may define colour as the limit of the Diaphane in determinately bounded body."
"The object of sight is the visible, and what is visible is (a) colour and (b) a certain object which can be described in words but which has no single name. Now there is clearly something which is transparent, and by 'transparent' I mean what is visible,a nd yet not visible in itself, but rather owing its visibility to the colour of something else: light as it were the proper colour of what is transparent."
Aristotle, De Sensu (3:439b) and De Anima (3:418b)
