By David Bevan
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Extra resources for André Malraux : towards the expression of transcendence
Devoid of detail and devoid of flesh, they serve to bestow on the carnal coupling about to take place below a symbolic quality that is both impersonal and de-sexualized. Eroticism, for Malraux, is in all ways, and always, an ultimately negative and unfulfilling experience. But should we go further in our conclusions? Certainly, Malraux's preface to Lady Chatterley's Lover, as we have already observed, invites us to attempt to discover in the erotic "le moyen de notre propre revelation," "le systeme de references de notre vie," and certainly the plastic and iconographic resonance of the Tibetan banner is extremely provocative.
6 On occasion in this novel free indirect style is modified and becomes, in the present tense, more akin to free direct style7 as Kassner7 s imagination, increasingly vivid under the strain of incarceration and torture, is so presented to the reader: Les popes sortis du tertre commencent a avancer, dalmatiques et tiares, sous les croix et les bannieres, et une irr£alite sans limites anime ce tr£sor en marche, cette folie d'orfevre lachee dans les champs boueux, avec toutes les barbes blanches et ces tremblotants reflets de perles et d'argent sous la lune.
These are just some of the questions which must surely be considered if we are to enter fully into Malraux's vision of man. A suitable departure point in seeking some tentative answers would be to note that, in the Lamaist pantheon, intertwined skeletons are usually associated with Yama, the Buddhist Pluto or God of Death;4 indeed, some scholars maintain that in many instances they are actually emanations of Yama himself. Certainly, the stories which surround Yama project most forcefully an intriguingly Malrucian aura of death, dominance, menace, and sexuality.