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MYTH AND THE SACRIFICE OF THE SON IN THESTRUCTURE OF PAUL CLAUDEL'S CINQ GRANDES ODES

Paul Claudel's Cinq Grandes Odes, although among the masterpieces ofearly twentieth-century French poetry, remain only partially understood.Most studies have followed the poet himself in interpreting them as thecelebration of an orthodox Christian world-view. However, this schematicinterpretation does not do justice to dieir extreme density, complexity andpower. Nor does it take into consideration the multiple layers ofpsychoanalytic and mythological significance which have been demonstratedin Claudel's theatre. Among these recent interpretations is that of Andr£Espiau de la Maestre, who, in his exhaustive study of Claudel's humanisticand syncretistic early period, has shown that the poet was deeply influencedby classical, Oriental and Romantic works, and that his later condemnationsof their paganism should not hide the persistence of this influence ' Thus,the present study is intended to continue diis approach: to interpret theOdes from a new perspective, by focusing on one virtually unknown aspectof their structure, die role of myth

On the surface, it seems at first difficult to discern any structural patterncommon to the five Odes. Critics have concentrated on stylistic traits such asrepetition and negation, which play a major role in die Odes but which arerelatively constant diroughout die collection.2 Claudel himself characterisedhis technique of composition as a musical one: he uulises "leitmotivs" whichappear and reappear, providing both continuity and movement.' However,we have chosen to penetrate to a deeper level, and to study the organisationof the Odes according to anthropologically and psychoanalytically deter-mined notions of structure. At this level, in spite of Uieir formal and diematicdiversity, the Odes all fall into a mythical pattern which one could call the"Sacrifice of the Son". The pattern is one of sacrifice because it follows anorganic curve from conception to birth and maturity; then undergoes a pain-ful symbolic death and afterlife. It thus expresses Claudel's most profoundspiritual reality, both a celebration of birth and life, and a compulsive needto sacrifice diis life in order to be reborn into a purified, but disembodied,symbolic afterlife.

This compulsion is well known in Claudel's theatre, where it acquires itsmost spectacular form in L'Annonce fade a Mane. In die Cinq Grandes Odes, ittakes the form of an insistent identification with die Crucifixion. Andr£Vachon has studied die dieme of die second birth in Claudel's works fromdiis Christian perspective, as a reflection of the Easter celebration of deadi

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and rebirth.4 The Crucifixion theme is the primary reason for the choice oftide here as the "Sacrifice of the Son". However, the Crucifixion as Claudelexperiences it symbolically, poetically and emotionally in die Odes is anextremely complex phenomenon. We dius suspect that die myth of diesacrifice of the son in fact preceded die Crucifixion for Claudel: that is, thevarious origins of the myth in diverse pre-Christian structures were the realmotivating forces behind the apparently Chrisdan symbolism. And in effectdie obsessive persistence of die pattern, even when its Chrisdan value is notemphasised, suggests diat die roots of die pattern go much deeper dian theChrisdan Crucifixion. Moreover, since the central figure in this symbolicdrama is die "Son", we have extended his funcuon to include the Oedipaldieme of propitiatory sacrifice to die direatening powers of Fadier orModier. Aldiough Claudel was fully aware of die mydiical density withwhich he was investing the dieme of sacrifice, the Oedipal conflicts remainon an unconscious level. However, the work of Michel Malicet has bnlhandyshown diat a psychoanalyuc interpretauon of Claudel's works, which placesdie point of view of die Son at die centre of die poet's vision, is illuminaungand invaluable.5 In die Odes, diis unconscious Oedipal level appearsdirough themes, images and tradidonal Freudian symbolism, and its effect,as we will show later, is to deepen and to develop die significance of thedieme of sacrifice.

Claudel's strong need for spiritual and poedc doctrines which emphasisecircularity, repetition and a return to the origin is already well known Thecircular structure of die universe, which Georges Poulet analysed in diepoet's Art poitique and odier works, implies this idea of timelessness, andAndre Vachon has shown that die poet's conversion, relived and repeateddiroughout his works, is frequendy presented as a return to die shadows ofdie pre-birth state.6 For an andiropologist and historian of religions such asMircea Eliade, diis attitude is typical of primiuve man's need to deny histori-cal dme and to immobilise events in die eternal realm of archetypes.7 ThusClaudel's need to repeat die sacrifice pattern again and again already situateshis creadon on a mydiical level. It also suggests diat his identification with dieCrucifixion goes beyond die Chrisdan dieme of deadi to die self. The dramaof birth and death which repeats itself throughout die Odes ulumately cor-responds to a subconscious, elemental, mydiical explorauon of die secret oflife. The organic curve, as it returns again and again to its point of origin andevolves towards its exuncdon, forms a conunuous reflection on itself and itsown reason for being.

This explorauon of die mystery of life dirough repeuuon is presentdiroughout the Odes on die stylistic level, and is explicidy stated severaldmes, most notably in die often-quoted passage of "Les Muses":

Ainsi quand tu paries, 6 po€te, dans une Enumeration delectableProfeYant de chaque chose le nom,Comme un pere tu l'appelles myst£rieusementdans son pnncipe, et

selon que jadis

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Tu parucipas a sa creation, tu cooperes a son existence!Toute parole une re'pe'ution.8

However, the connection between the structural and the ontological func-tion of the pattern is particularly evident in the second Ode, "L'Esprit etl'Eau". In this Ode, die original Creation is presented from die beginning asdie source of die poet's individual destiny, which simply repeats God's deter-mining act. The retelling of Genesis which starts it off is accompanied by anannouncement of strong determinism; even die Ode itself is simply amomentary return to die vast pool of human words and acts which haveexisted since the Creauon

De nouveau apres les longues routes terrestres,Void l'Ode, void que cette grande Ode nouvelle vous est pre"sente,Non point comme une chose qui commence, mais peu a peu

comme la mer qui 6tait la,La mer de toutes les paroles humaines avec la surface en divers

endroitsReconnue par un souffle sous le brouillard et par l'ceil de la matrone

Lune! (p.235)The crucifixion of Christ which is evoked a few pages later necessarily resultsfrom diis decisive, determining moment; and die poet's anguished separationfrom his beloved "Rose" at the end of the poem is merely his own imitationor repetition of Christ's sacrifice:

Rose, je ne verrai plus votre visage en cette vie!Et me void tout seul au bord du torrent, la face contre terre,Comme un penitent au pied de la montagne de Dieu, les bras en

croix dans le tonnerre de la voix rugissante. (p 246)Thus his own destiny was foreseen from the very beginning, at the momentof die Creation of the world and time, and the structural curve of the Odefrom birth to deadi reflects this.

The need for regeneration by a return to the source also explains Claudel'semphasis on die moment of birth, and even on intra-uterine life before birdi.Most of the Odes start off with an evocation of a pagan stage in die poet's lifeand work, which represents this state of waiting for emergence to life. At thebeginning of "Magnificat", for example, the poet evokes his walks throughdie long streets of Paris, towards Notre-Dame where he will be reborn, andwhich is described as "l'Ovale" (p.249). These long streets and oval, enclosedspace evoke life widiin die mother's womb, in preparauon for the real secondbirth to Christianity. In die same way, Zeus and Peking in the second Ode,die Dionysian, nocturnal opening in the Fourth, and die "humanist" ques-tioners of die Fifth all suggest pagan, pre-Christian forces. They are followedby a symbolic birth which takes various forms, but which is illustrated withthe greatest violence and intensity at the beginning of the first Ode:

Je vous ai reconnu, 6 conseil complet des neuf Nymphes intdrieures!Phrase mere' engm profond du langage et peloton des femmes

vivantes!

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Presence cr^atnce! Rien ne naitrait si vous n'e'tiez neuf!Voici soudain, quand le poete nouveau comble de l'explosion

intelligible,La clameur noire de toute la vie noue"e par le nombril dans la

commotion de la base,S'ouvre, l'accesFaisant sauter la cloture, le souffle de lui-memeViolentant les machoires coupantes,Le fre'missant Nov£naire avec un cri! (p.222)

We should note here that none of the Odes reproduces die same patternin exactly the same way. Thus, it is in the first two or diree Odes that we findthe greatest emphasis on the beginning, on the moment of birth. This is oneexplanation of Claudel's curious alteration in the tradmonal list of Muses in"Les Muses". He substitutes Mnemosyne, mother of the Muses, for Calliope,the epic Muse, places Mnemosyne at the beginning of the Ode; and suggeststhat her domain, Memory, will generate die rest of his creation. We haveseen that the second Ode starts off with a retelling of the Creauon, and thebeginning of this Ode celebrates die poet's "embarcation" on a maternal Sea,which is also his discovery of his own creative powers The "gardienne" of thelast Ode generates the entire symbolic edifice of the "Maison Ferme'e" in theact of creating life: "Entends, comme une vie qui souffre division, le battementde notre triple cceur. / Void que tu n'es plus libre et que tu as fait part a d'autresde ta vie, / Et que tu es soumis a la ne'cessite' comme un dieu / Inseparable sansqui Ton ne peut pas vivre" (p.279).

Thus, diroughout the Odes, the first secuon represents a pre-birth stageand a subsequent moment of birth, both on the textual and on die spirituallevels. The Ode and the poet himself are bom together in thejubilant, simul-taneous discovery of die world and of words.

The next stage in this organic development is the growth of die Odetowards a type of spiritual maturity or expansion, this is seen in the passagesin which the poet exalts his own art and its ability to use human language toexpress the truth of the physical world. Thus die second group of Muses in"Les Muses" is no longer the invisible, maternal "Nymphes nourncieres", butthe more powerful, visible "Nymphes inspire'es" who realise the potenualprovided by the first group. In "L'Esprit et l'Eau", diis is the stage in whichthe poet's language succeeds in reconciling die two opposing domains,heaven and earth; and in the Third and Fourth Odes, this middle section alsorepresents a type of equilibrium between the poet's two contradictor)'vocations. In Strophe II of "La Muse qui est la Grace", this stage is markedspatially, by the poet's effort to stabilise his position, neither advancing norretreadng, but consohdaung his role as intermediary between the physicaland spiritual worlds- "Mais mon devoir n'est pas de m'en aller, ni d'eue ailleurs,ni de lacher aucune chose que je tiens, / Ni de vaincre, mais de register, / Etni de vaincre, mais de register, et de tenir a la place que j'occupe! / Et ni devaincre, mais de n'etre pas vaincu" (p.271). However, this is also the stage

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which is the most difficult to define and to situate in die type of organicgrowth-curve I have been sketching out. This is because most of ClaudeFsinterest is centred on the beginning and the end of die cycle, on die birthimages and on die moment of sacrificial deadi.

The moment of this symbolic "deadi" represents a type of dramatic crisisbringing to a head die particular problems which have inspired die creauonof each Ode. Thus the amorous, but violent, explosive scene which concludes"Les Muses" realises die true potential and meaning of the poeuc inspirationwhich die other Muses brought to die poet; yet it also negates diis inspira-tion. As we have seen, in the second Ode "Rose's" departure brings about apainful, crucifying moment of truth in which die poet gives up his physicaland independent being in order to become the empty receptacle of God. In"Magnificat", the symbolic death finalises a crisis in which the poet wishes todie to his bodily, individual self and coincide widi God. During this crisis heimplores: "Je pre'fere l'absolu. Ne me rendez pas a moi-meme", and after hissymbolic deadi to the self he thanks God: "Soyez be"ni, mon Dieu, qui m'avezde'livre' de moi-meme, /(•••) parce que vous ne m'avez pas abandonne' a moi-meme. / Mais parce que vous m'avez accepte" comme tine chose qui sert et qurest bonne pour la fin que vous vous proposez" (pp.255,257). The birth of hisdaughter, in which he was simply a means to transmit the divine seed of life,has resolved diis particular crisis and provided a means to attain an earthlyform of afterlife. The symbolic death which the poet undergoes in "La Musequi est la Grace" realises the fusion of the male and female voices which havebeen fighting to dominate the poet's creauon. "O passion de la Parole! 6retrait! 6 terrible solitude! 6 separation de tous les hommes! / O mort de moi-meme et de tout, en qui il me faut souffrir creation! / O sceur! 6 conductrice1

6 impitoyable, combien de temps encore?" (p.273).It is at this stage that the importance of myth becomes die most obvious;

and die Fourth Ode contains bodi the most dramatic and the most mydiically-mfluenced symbolic death At die beginning of the poem die poet evokes theGreek mystery religions and the drunken ecstasies of Dionysus's followers;later the Muse recalls this pagan drunkenness.

Celui qui a bu seulement plein son £cuelle de vin nouveau, il neconnait plus le cre"ancier et le proprie'taire; (. ..)

Mais le voici qui bondit tout nu comme un dieu sur le theatre, la tetecoiffe'e de pampres, tout violet et poisseux du pis sucr£ de la grappe,

Comme un dieu au cote' de la thymele', brandissant la peau dun petitcochon plein de vin qui est la tete du roi Penthe'e, (...) (pp.268-9)

These references situate the Ode's action in a mythical, Dionysian realmwhere drunkenness can lead both to mystical ecstasy and to destruction.Pentheus, king of Thebes in Euripides's Tlie Bacchae, is destined to be dis-membered by crazed Maenads, like Orpheus in anodier myth, and likeDionysus himself at the hands of his enemies 9 This direcdy recalls the poet'ssymbolic death later in the Fourth Ode, which is described by die Muse as amutilation or laming:

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Et cependant je te serai plus exigeante et cruelle que si je dictais lemot et la virgule,

J usque tu aies appris la mesure que je veux (. . .) tu l'apprendras,serait-ce avec le hoquet de l'agonie! (...)

Je ne t'ai point permis de marcher comme les autres hommes d'unpied plan,

Car tu es trop lourd pour volerEt le pied que tu poses a terre est blesse\ (p.272)

This parallel can be taken further; not only the poet's sacrificial Crucifixionin the Fourth Ode, but all of the imaginary crucifixions in the Odes reflect thesame type of myth. These cults include the Greek Dionysian and Eleusinianmysteries and Orphic religion, the Babylonian cult of Ishtar and Tammuz,the Egyptian worship of Isis and Osiris, and the Phrygian cult of Cybele andAttis.l0 They all include a story of a young male god, who is the son of theMother-Goddess, as well as her spouse (although Isis and Osiris are brotherand sister). This male god is put to death by his enemies, wild Maenads, jealousZeus, or even his own mother, as in the case of Euripides's Pentheus Therole of the faithful is to bring about his symbolic resurrection by identifyingwith him through the ceremonies of the cult. One can already see why earlierscholars such as Alfred Loisy concluded that Chrisuanity was a modernised,Judaic form of these early mystery' cults the sacrifice of the son throughpainful mutilation prefigures the Crucifixion, and in some cases the son issacrificed to the supreme, divine power." Although this derivation has sincebeen contested by Eliade and others,l2 it is still of interest to our present studyof the Cinq Grandes Odes, since they show traces of both types of source. Forexample, the Muse of the Fourth Ode, alongside her Christian attributes,recalls the murderous female Maenads of the Dionysian cult, as well as the all-powerful, life-and-death-controlling Earth-Mother Cybele. The "FourVirtues" of the last Ode also embody these attributes and are even compareddirectly with "la mere Cybele" (p.285).

It is in the overall pattern of birth-death-rebirth that the mythical sourcesare the most pertinent to the Odes, however. One of the roles of the sacrificialson-victim was as a vegetation-god; he represented the cycle of nature, andthe cults had the urgent function of bringing about his rebirth and therebirth of nature.l3 Gilbert Durand, in his Structures anthropologiques de Vimagi-narre, has shown how this type of myth is related to what he calls "le regimenocturne de l'image": the type of myth which combats the threat of death notby direct resistance, as in the solar "rdgime diurne", but by idenufying withnight and death, by descending to hell and returning, just as the moongradually dies and is reborn each month.14 These myths thus represent a sac-rificial son-victim whose role is to assume diis death and to deliver the rest ofmankind from it. Claudel's insistence on the cyclical nature of his spiritualitinerary, and the recurrence of his symbolic sacrifice from one Ode toanother, suggest that this mythical background has played a major role in hisuse of the patterns. The vegetauon symbolism in the Second and Third

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Odes, notably die image of the fruit-tree (a symbol of all die son gods, butespecially of Dionysus) also strongly supports the mythical basis of thepattern as well as die Christian.15 In this context, the work of Andrd Espiaude la Maestre, who demonstrates that Claudel probably read a number of diepioneering studies in comparative religion during his formative "pagan"period, is of particular relevance 16

One myth which recurs repeatedly in Claudel's works as an allegory ofmutilation, rebirth and eternal life is the myth of Isis and Osiris. One findsimportant and revealing allusions to this cult in Tete d'Or, L'Otage and "Posi-tions et Propositions sur le Vers Francais". The following is Sygne speakingof the crucifix in L'Otage:

L'Homme de bronze a e"te" rompu en morceaux, mais on ne l'a pasfondu en canon et monnaye' en gros sous,

Et de tous cote's j'en ai trouve' les membres £pars, comme on raconted'Isis et d'Osins dans Plutarque,

Lesjambes rompues comme celles du larron, la poitnne qui servaitd'enclume chez le mare'chal ferrant,

Les bras que gardaient deux pieuses vieilles filles, et la tete au fondd'un four de boulanger,

Et Suzanne et moi, les pieds nus, marchant toute une nuit,Nous avons rapporte" le chef sacre" entre nos bras, r^citant nos

prieres.17

By choosing this image Claudel himself strongly suggests die continuitybetween the myth of Osiris and Christianity in his works

Another important explanation for this dieme of die sacrifice of the son isthe Oedipal function. As we have seen, the poet presents his symbolic deadiin every case (except perhaps the first Ode) as a sacrifice to a greater powerIn "La Muse qui est la Grace", this greater power has all die complexity andambiguity of a female, erode yet maternal divinity, while represendng Chris-tian transcendence at the same time. In die second, diird and fifdi Odes, dienecessity which pushes the poet to sacrifice his unique self, and even hisbodily integrity, is oppressive and intense, yet difficult to jusdfy on the con-scious level. This reflects the poet's compulsion to sacrifice himself, and evento castrate himself symbolically, to appease die jealous Father- or Mother-God. Malicet has shown diat in die second Ode, the equivalence between"Mer" and "Mere" evokes die Son's attempt to take possession of a symbolicMother;18 diis transgression is subsequendy punished through a symbolicsacrifice of die poet's own generauve powers to the Father: "O mon Dieu.jene veux plus rien, et je vous rends tout, et rien n'a plus de pnx pour moi,( . .) / Maintenant jailhssent / Les sources profondes, jaillit mon ame sal^e,delate en un grand cri la poche profonde de la purete' se'minale!" (p 246).Similarly, in "Strophe III" of "La Muse qui est la Grace", he laments: "Ainsije travaille et ne saurai point ce que j'ai fait, ainsi l'espnt avec un spasmemonel /Jette la parole hors de lui comme une source qui ne connait point/Autre chose que sa pression et le poids du del" (p.275). Ernestjones's studies

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on the relauonship of psychoanalysis and religion have suggested that thissolution to the Oedipal problem, in which the son submits to the Father insteadof combaung him openly, accounts to some extent for the success of Christianityas a religion.19 This view of the role of Christ and his crucifixion offersanother explanation for the intensity and persistence of the theme in the Odes.At the same time, by showing the continuity on the unconscious level betweenChristianity and the religions which preceded it, Jones helps to account forsome of the mythical density surrounding the theme of sacrifice here.

Finally, the psychoanalytic method offers a useful approach to under-standing the last part of the Odes. The mythical and Oedipal Son-figure, bysacrificing his bodily integrity to the jealous Father or Mother power, gainsaccess to the realm of the beyond, which strongly resembles a return to thewomb or the origin. The most primitive vegetation-god myths saw this lastphase simply as a circular return to the beginning, the same cycle repeatingitself through the recurrent seasons, with no effort at transcendence of thepurely natural realm. More complex myths of death and rebirth, such as theIsis-Osins cult or the Eleusinian and Orphic mysteries, develop this stage ina more purified, transcendent direction and dius form important precursorsto Christianity M We find bodi types of afterlife represented in the Odes. Onthe structural level alone, most of the Odes end with some reference back totheir beginnings, through imagery' or other means. Thus, in "Les Muses",the "Maenad" Erato who concludes the poem resembles the "Bacchic"Terpsichore who began it,21 while at die same time giving the poet access toa cosmic, celestial universe which is simultaneously spiritual and erotic Thesecond Ode also combines the two types of return or afterlife: the last part ofthe Ode repeats the water imagery of the beginning, which was identifiedwith the Sea-Mother, and ends by evoking the feminine figure of Wisdom. Atthe same time, this "return" is on a higher, more abstract and spiritualisedplane, showing the poet's passage to transcendence through sacrifice.

Et maintenant de nouveau apres le cours d'une ann£e, ( .)L'espnt de Dieu m'a ravi tout d'un coup par-dessus le mur et me

voici dans ce pays inconnu.Ou est le vent maintenant? ou est la mer? ou la route qui m'a mend

jusqu'ici!Ou sont les homines? il n'y a plus rien que le ciel toujours pur. Ou est

l'ancienne tempete? (p-246)

The final part of "Magnificat" is the clearest example of a finale which isalso a return to the beginning: we will recall that the Ode began at Notre-Dame, within the poet's spiritual mouher-church. At the end, he attains hissymbolic Promised Land, whose earth and water imagery ver)' clearly signalsit to be a maternal symbol. "Ainsi comme j'ai recu nourriture de la terre,qu'elle recoive a son tour la mienne ainsi qu'une mere de son fils, / Et quel'aride boive a pleins bonds la bdnedicuon par toutes les ouvertures de sabouche ainsi qu'une eau cramoisie" (p.262). The two feminine figures who

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dominate the end of the Fourth Ode, the Muse-Grace and die "espouse noc-turne", are, each in her own way, maternal symbols, and represent the twotypes of afterlife: sublimated and celestial, or human and terrestrial.

The last Ode follows the same basic pattern of sacrifice and rebirth, sincethe poet identifies with Christ's death by descending into his tomb in imagi-nation, and the last verses of the poem evoke a rebirth in the afterlife. How-ever, the "Maison Fermee" of the title is a maternal and uterine symbol whichdominates the entire Ode. Macrocosm and microcosm follow the sameorganic law, and die closed, finite, circular cosmos reproduces die originalgenerative structure of life itself: "Comment Dieu entrera-t-il dans ton cceurs'il n'y a point de place, / Si tu ne lui fais un habitation? Point de Dieu pourtoi sans une £glise et toute vie commence par la cellule" (p.283). Thus, thepoem in some sense remains within this symbolic prebirth, uterine realmfrom beginning to end. It stands in the same relauon to the whole collectionas each Ode's conclusion does to the rest of the individual poems. The"Maison Ferme'e" exists bodi as an indmate, personal symbol of return to theprebirth secunty of die maternal womb, and as a grandiose, metaphysicalvision of the universe. As such, it illustrates the profound, conscious andunconscious syncretism and density which make die Cinq Grandes Odes sucha rich and complex poedc experience.

NINAS HELLERSTEINAtlwns, Georgia

NOTES1 Andrt: Espiau de la Maestre, Humanisme classique el syncrc'tisme mythu/ue chez Paul Claudel

(1880-1892), 2 Tomes, These presentee de\ ant l'Universue''de Pans I Vic 24 fevner 1976 (PansDiffusion H Champion, 1977)

I See Gerald Antoine, Les Cinq Grandes Odes de Claudel ou la boesie de la rfpitition (Pans Minard,1959). and Michel Aulrand, "Claudel, Poetedela Negation dans les Cinq Grandes Odes", Europe,No 635 (mars 1982), pp 124-37

3 See for example Correspondence Paul Claudel-Andrf Gtde (Pans Gallimard, 1949), p 132A Andre' Vachon, be Temps et iespace dans I'aevvre de Paul Claudel (Pans Seuil, 1965)5 See Malicet's three-pan thesis, Lecture psychanalytique de I'cettvre de Paul Claudel, 3 volumes, in

the senes Annales Litt£raires de I'Umversite' de Besancpn (Pans Les Belles-Lettres, 1978-79)

"Georges Poulet, "CEuf, semence, bouche omerte, zero", Ui Nouvelle Revue Fiancaise, 3eannde, no 33 (lCTsept 1955), pp445-66 Andrt; Vachon, pp 14-15

7 Mircea Eliade, Le Mythe de Internet retour (Pans. GaJlimard, 1969), pp 104-58 Claudel, "Les Muses", Cinq Grandes Odes, in CEuvrepoiUque (Pans Gallimard, "La PUiiade",

1967), p 230 All succeeding references will be to this ediuon and will be indicated in the text

"See Euripides, The Bacchae, trans G S Kirk (Cambndge Cambndge University Press,1970), pp 116-18 For Orpheus and Dionysus, numerous sources including Frazer, The GoldenBough (New York Macmillan, 1922), pp 439-40

"'See Alfred Loisy, Les Mtslercs patens (Pans Unverandener NachdruckderAusgabe, 1930,Frankfurt Minerva Verlag, 1983), pp 25-156

I I Loisy, pp 223-46

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16011 Eliade, Birth and Rebirth (New York Harper, 1958), pp 115-1611 Gilbert Durand, Structures anthropologupits de Vimagtnmre (Pans Bordas, 1969), pp 344-4514 Durand, p 22315 See Frazer, p 44916 Espiau de la Maestre, pp 235-5017 Claudel, L'Otage, in ThtfStre, Vol II (Pans GaJlimard, "La Pleiade", 1965), p 232 See also

Teted'Or, in Theatre, Vol I (Pans Gallimard, "La Pleiade", 1967), p 150, and "Positions et Pro-positions sur le Vers Francais", in CEitvres en prose (Pans Gallimard, "La Pleiade", 1965), p 6

"Mahcet, Vol II, pp 60-310 Ernest Jones, "Psycho-Analysis and the Chnsuan Religion", in Essays in Applied Psycho-

Analysis, Vol II (London Hogarth Press, 1951), p.20710 See E O James, The Ancient Gods (New York Putnam, 1960), pp 166, 173-651 Jacques Petit, "Lectures des 'Muses'", Bulletin de la Socie'te' Paul Claudel, no 74 (2* tnmestre

1979), p 3

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