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.' And then, when the spy is unmasked: 'And when Ithink I gave him some of my steak!' - the supreme breach of trust.Commonly associated with chips, steak communicates its nationalglamour to them: chips are nostalgic and patriotic like steak.Matchtold us that after the armistice in Indo-China 'General de Castries,for his first meal, asked for chips'.And the President of the Indo-China Veterans, later commenting on this information added: 'Thegesture of General de Castries asking for chips for his first mealhas not always been understood.' What we were meant tounderstand is that the General's request was certainly not a vulgar63 64 mystical plans to reach the infinite: he constantly sought to shrinkit, to populate it, to reduce it to a known and enclosed space, whereThe Nautilus and the Drunken Boatman could subsequently live in comfort: the world can draweverything from itself; it needs, in order to exist, no one else butman.The work of Jules Verne (whose centenary was recentlyBeyond the innumerable resources of science, Verne invented ancelebrated) would be a good subject for a structural study: it isexcellent novelistic device in order to make more vivid thishighly thematic.Verne has built a kind of self-sufficientappropriation of the world: to pledge space by means of time,cosmogony, which has its own categories, its own time, space,constantly to unite these two categories, to stake them on a singlefulfilment and even existential principle.throw of the dice or a single impulse, which always come off.Evenvicissitudes have the function of conferring on the world a sort ofThis principle, it seems to me, is the ceaseless action of secludingelastic state, making its limits more distant, then closer, blithelyoneself.Imagination about travel corresponds in Verne to anplaying with cosmic distances, and mischievously testing theexploration of closure, and the compatibility between Verne andpower of man over space and schedules.And on this planet whichchildhood does not stem from a banal mystique of adventure, butis triumphantly eaten by the Vernian hero, like a sort of bourgeoison the contrary from a common delight in the finite, which oneAntaeus whose nights are innocent and 'restoring', there oftenalso finds in children's passion for huts and tents: to encloseloiters some desperado, a prey to remorse and spleen, a relic fromoneself and to settle, such is the existential dream of childhood andan extinct Romantic age, who strikingly shows up by contrast theof Verne.The archetype of this dream is this almost perfect novel:health of the true owners of the world, who have no other concernL'Ile mystérieuse, in which the manchild re-invents the world, fillsbut to adapt as perfectly as possible to situations whoseit, closes it, shuts himself up in it, and crowns this encyclopaediccomplexity, in no way metaphysical nor even ethical, quite simplyeffort with the bourgeois posture of appropriation: slippers, pipesprings from some provocative whim of geography.and fireside, while outside the storm, that is, the infinite, rages invain.The basic activity in Jules Verne, then, is unquestionably that ofappropriation.The image of the ship, so important in hisVerne had an obsession for plenitude: he never stopped putting amythology, in no way contradicts this.Quite the contrary: the shiplast touch to the world and furnishing it, making it full with an egg-may well be a symbol for departure; it is, at a deeper level, thelike fullness.His tendency is exactly that of an eighteenthcenturyemblem of closure.An inclination for ships always means the joyencyclopaedist or of a Dutch painter: the world is finite, the worldof perfectly enclosing oneself, of having at hand the greatestis full of numerable and contiguous objects.The artist can have nopossible number of objects, and having at one's disposal another task than to make catalogues, inventories, and to watch outabsolutely finite space.To like ships is first and foremost to like afor small unfilled corners in order to conjure up there, in closehouse, a superlative one since it is unremittingly closed, and not atranks, the creations and the instruments of man.Verne belongs toall vague sailings into the unknown: a ship is a habitat before beingthe progressive lineage of the bourgeoisie: his work proclaims thata means of transport.And sure enough, all the ships in Jules Vernenothing can escape man, that the world, even its most distant part,are perfect cubby-holes, and the vastness of their circumnavigationis like an object in his hand, and that, all told, property is but afurther increases the bliss of their closure, the perfection of theirdialectical moment in the general enslavement of Nature.Verne ininner humanity.The Nautilus, in this regard, is the most desirableno way sought to enlarge the world by romantic ways of escape or65 66 of all caves: the enjoyment of being enclosed reaches its paroxysmwhen, from the bosom of this unbroken inwardness, it is possibleThe Brain of Einsteinto watch, through a large window-pane, the outside vagueness ofthe waters, and thus define, in a single act, the inside by means ofits opposite.Einstein's brain is a mythical object: paradoxically, the greatestMost ships in legend or fiction are, from this point of view, like theintelligence of all provides an image of the most up-to-dateNautilus, the theme of a cherished seclusion, for it is enough tomachine, the man who is too powerful is removed frompresent the ship as the habitat of man, for man immediately topsychology, and introduced into a world of robots; as is wellorganize there the enjoyment of a round, smooth universe, ofknown, the supermen of science-fiction always have somethingwhich, in addition, a whole nautical morality makes him at oncereified about them.So has Einstein: he is commonly signified bythe god, the master and the owner (sole master on board, etc.).Inhis brain, which is like an object for anthologies, a true museumthis mythology of seafaring, there is only one means to exorcizeexhibit.Perhaps because of his mathematical specialization,the possessive nature of the man on a ship; it is to eliminate thesuperman is here divested of every magical character; no diffuseman and to leave the ship on its own.The ship then is no longer apower in him, no mystery other than mechanical: he is a superior, abox, a habitat, an object that is owned; it becomes a travelling eye,prodigious organ, but a real, even a physiological one.which comes close to the infinite; it constantly begets departures.Mythologically, Einstein is matter, his power does notThe object that is the true opposite of Verne's Nautilus isspontaneously draw one towards the spiritual, it needs the help ofRimbaud's Drunken Boat, the boat which says 'I' and, freed froman independent morality, a reminder about the scientist'sits concavity, can make man proceed from a psycho-analysis of the'conscience' (Science without conscience, * they said.).cave to a genuine poetics of exploration
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