MDMD (6)--Ch. 18 & 19 Obs

[RICHARD ROMEO]

Ch 18--random Obs

These chapters have two main threads:  to bring into focus the 
increasingly confused mind of Charles Mason and also to show the 
similarities between Mason and his mentor, James Bradley.
We learn that Mason along with Dixon whitewash their report to the Royal 
Society, not mentioning any of the horrific things that were encountered 
or were subjected to (including the Society's offending letter).  We 
learn of Mason's rather pathetic galavant around London, visiting dubious 
places like Cock Lane, to entice Rebekah to appear, than visit his sons 
who he hasn't seen in awhile.  Does he think Rebekah will play tricks for 
him?  No wonder she doesn't show and finally realizes she wants him home, 
with her sons, the closest he'll get to her.
As the chapter moves along we get a glimpse of Mason's anger and spiteful 
feeling towards the Peaches (as will be apparent vis-avis Bradley fully 
in the next chapter) who do not wish him at Bradley's deathbed because 
people will talk.  He speculates that Bradley's wedding was arranged by 
Sam Peach, Sr. so as to obtain all of Bradley's professional works.  
There is a hint of anger at Bradley who for all the work Mason did for 
him, all Mason received in return was a Thanks.  But it is still clear 
Mason loved the man despite this. In fact, I would argue, that Bradley 
and Mason share similar tempermants and experiences--both marry younger 
women, both are obsessive about their profession and in their love for 
their wives, both lose their wives, and both continue to search the stars 
for them.  This chapter is filled with juxtapositions of astronomy and 
desire, in some cases, very poignantly. (Halley's Comet)
Mason is also: very glum--he's described as a "a warrior who's lost his 
Lord". (185);
downright creepy--p.188 riding thru the forest, hearing the hunting owls 
(mythological symbol of death and evil) and learning of evil as "an 
independent force, using "death-faced hunters" as a way into the secular 
air, for purposes unknown".  This is essentially one of the precepts of 
satanism;.
passionate when seeing Susannah Peach's face in Miss Bradley's face--he 
thinks he'll "disintegrate" but is too numb over Bradley's passing;
resolute and poignantly so, searching for Rebekah's face in the skies;
as mentioned, apparently very naive in social situations and his view of 
them--witness his view of bloodless passion in the Vrooms and his own 
self-condemnation when reviewing his past love for Susannah.
So we see many sides of Mason.  In Ch. 19, Mason's depression will spill 
over into satire and a final jab at his pal Bradley.

Ch 19 continues the thread brought up in Ch. 18--Mason's confusion and 
anger at Bradley which spills over into a bit of claret-driven and 
outlandish story-telling  about Bradley and his involvement in the 
"stealing" of those 11 days, back in 1752. I would argue, Mason makes 
Bradley look like a  brown-noser in his conversation with Macclesfield 
and invites the cronies at the George to infer of his full complicity in 
the deed.  One can argue as well that Mason is somehow compensating for 
his ineffectual explanations to his father about the 11 days and 
therefore finds fuel to power his crazy tale.  The tale also allows Mason 
to incorporate his obsessions vis-a-vis Rebecca, ghosts, and the "living 
dead", not to mention his somewhat screwball notion of marital fidelity 
in such an arrangement et. al. into it. 
One is left with the feeling that despite all of Mason's furious emotions 
during the last three chapters and strange actions, he will do right for 
his sons.  Can it be Rebekah is getting through to him...   

Richard Romeo
Coordinator of Cooperating Collections
The Foundation Center-NYC
212-807-2417
rromeo at fdncenter.org