MDDM18: German

[jbor]

on 28/1/02 2:02 PM, Terrance at lycidas2 at earthlink.net wrote:

>> "Religious bodies here cannot be distinguish'd from Political Factions."
> 
> "As a rule here, advises [Washington], "ye may speak your Minds upon any
> Topik Political. But on no account, ever discuss religion."  M&D278
> 
> Kinda like the Pynchon list.


Religious factionalism in the colonies has figured prominently in these last
few chapters. I'm tempted to write that the sympathies of the text are with
the Moravian Brethren/Quakers - mine certainly are - in that they seek to
shelter rather than slaughter the Indians, but it's not as simple as that,
expressed succinctly by Dixon at 311.13. That Dixon is conflicted, and is
sensitive towards the hardship and suffering which has driven "that brave
Paxton vermin" to lives of such desperation and cruelty, is actually a mark
of his insight and fellow-feeling rather than a moral lapse, in my opinion.

Also, the allegiances between rival religious groups, as well as the way
that faiths are manifested, seem to keep shifting around, which makes
nailing down anything concrete a bit difficult. For me, anyway.

I agree with just about all your observations: the ribald carpenters; that
detail of Dixon's sexual dalliances, and whether or not he does actually
dally, is deliberately kept offstage by Pynchon (and that this isn't just
down to Wicks and the children, and that there is a lot of sexually explicit
data and innuendo in the Rev.d's tale-telling); that comparisons between
characters from _GR_ and _M&D_ don't take us far; and that it is "the living
planet" theme which is introduced again in the conversation between Dixon
and Dolly at 'The Flower-de-Luce'.

The sexual subtext between Dixon and Dolly in that encounter certainly
struck me. They seem to dance all around the subject, but the insinuations
are understood by both. Molly brings the topic up - flirts in fact - by
suggesting what Dixon's erotic preferences might be. (299.30) Dixon plays
along with this. Then, just when Dixon makes his initial move Dolly shifts
away. (300.9) Dolly alludes to a relationship between Dixon and Mason, and
Dixon recoils from this "Suggestion", even though it was unstated. She then
becomes coy, bats her eyelashes (a slight reversion to her previous
incarnation as a floozie), and takes *that* "Suggestion" off the table by
referring to Molly. Then, they ease into intimacy with one another by
deferring the topic of conversation to their respective offsiders. Next,
Dixon alludes to a relationship between Dolly and Franklin, which seems to
strike a nerve with the girl. I suspect that her excess formality and show
of respect here is covering up for something: perhaps Dolly is a little put
out that old Ben *hadn't* made a move on her. Anyway, Dixon does manage to
ingratiate himself here, and is readily accepted into Dolly's and Molly's
company and confidence (though, not their bed/s apparently), much to Mason's
surprise. (303.17-26)

It interests me, on a reflexive level, that "smoke and mirrors" is something
which is common to each of the taverns and coffee houses the boys visit.
Pynchon is able to convey an awful lot of historical information through the
disembodied voices of some of "the locals" in these interludes. (eg. 293.19,
305, 309) Though moderately effective, it does come over as a bit lazy, even
pedestrian, at times.

In light of the subject line, I guess the other obvious point to make is
that there is a significant absence of anything to do with France or the
French in Philadelphia at this time. In this respect I'd say that the
spelling of the name as 'Flower-de-Luce' is significant - a deliberate
Anglicisation.

best