By Derrida Jacques
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After the ravishment, the possession. In Quidquid volueris Gustave dearly marks these two moments of ecstasy. ), "Djalioh's soul expanded ... he trembled under the weight of an inner voluptuousness ... " The second moment is more important; one might say that the first occurs only in preparation for the second, and that the little boy is looking for a way to take his leave, to slip away unnoticed, sheepishly, down the drain. Briefly, the aim is not even quietism, it is stupefaction, the presence of the soul in the body, which is so muddled that it could well be called absence.
This is not a question of what is acquired but of what is made explicit. No matter; the little boy experiences his history with feelings formed in his prehistory. The displacement prompts him to make a modification-either smash everything or restore it. But this obligation is projected onto a shackled sensibility and can be felt only in terms of fate; the child finds himself 42 A PROBLEM at an intersection of fatalities. One might imagine that such interactions, the influence of an educator, of the family circle, of tasks so forcibly imposed that what is experienced, crossed by a current of expressive generosity, would partially destroy the introverted avarice that characterizes the child-who would discover that the fullness of "feeling" demands communication.
The future writer in him dreams of glory, he tells us about his professional preoccupations; the contradiction that makes any transcription of his ecstasies impossible worries him, here; how will he make himself known as the brilliant poet that he is? But these worries are only the echo of older and deeper preoccupations. There was the undifferentiated plenitude, the child lived in it joyfully, and then all at once the descent again into the fire, the summoning, the forcible return to the words of others: "Gustave, where are you?