“Patria One: The Characteristics Man”

Parallel," chapter 5 of Psychology and Alchemy (volume 12 of the Collected Works). 14. See Steve McCaffery and b.p. nichol, eds., R. Murray Schafer: A Collection, (Bancroft: Arcana Editions, 1980). 15. See Adams, R. Murray Schafer, pp. 14044 . 16. Joseph L. Henderson, "Ancient Myths and Modem Man," in Carl G. Jung, ed., Man and His Symbols (New York: Dell, 1968), p. 131. Compare Bruno Bettelheim , The Uses of Enchantment: The Meaning and Importance ofFairy Tales (New York: Vintage, 1977), pp. 303-10. 17. Compare Strauss's Ariadne auf Naxos, likewise a study of the relation of comedy to tragedy; Schafer in the "Looking" and "Lazzi" numbers of The Greatest Show introduces the same commedia dell'arte figures that surround Strauss's ?.erbinetta. 18. See Anne G. Ward et al., The Quest for Theseus (New York: Praeger, 1970), pp. 232-33 . 19. "The Place of the Princess," p. 30. 20. "Harry Somers' Riel on Stage and Television ," in Schafer, On Canadian Music, p. 58. 21. Schafer, On Canadian Music, p. 76. 22. Schafer, On Canadian Music, p. 78; for a provocative critique of this concept, see Leon Surette, "Here Is Us: The Topocentrism of Canadian Literary Criticism," Canadian Poetry, No. 10 (Spring 1982), pp. 44-57. 23. Schafer, On Canadian Music, p. 77. Stephen J. Adams teaches English at the University of Western Ontario. While his literary interests include Frost, Eliot, and particularly Ezra Pound, he has written extensively on music and has written a booklength study of Murray Schafer. Journal of Canadian Studies "Patria One: The Characteristics Man" R. MURRAY SCHAFER Following the atavistic ritual of The Princess of the Stars, Patria 1: The Characteristics Man plunges immediately into the modern metropolis - that is, the metropolis of 1975, when the work was completed - where we find Wolf on one of his most alarming and futile expeditions in search of the Princess. In the text he is known by the initials D.P., though he is sometimes referred to as Wolfman, Beast, or Wolfie; the Princess too has assumed the earthly name of Adriadne and is evidently already well advanced in her wanderings. Patria 1 is the first of two studies on the theme of alienation. In The Characteristics Man the immigrant D.P arrives in a new country understanding neither the language nor the social customs. He seems to be a sensitive, shy man, lean and ductile, with a Chaplinesque ability to show by limb and eye what he is experiencing. He does not arrive alone but rather with a horde of disenfranchised fugitives seeking asylum and a chance to change their old colours for new opportunities. Absurdly he sprouts the numeral 1 on his jersey, advertising that he is both the protagonist and the figure closest to a cipher. Operating on the principles of selfinterest and pleasure, the new land presents no insurmountable impediments to the vast majority of newcomers whose past lives appear to have been short on opportunity in these areas. D.P.'s quest, however, is of another order, making adjustment more difficult, with the result that he is abused and humiliated as he is tossed from one absurd experience to another in a manner that should keep the audience transiently provoked and flustered . In fact, he is so baffled by his new surroundings that throughout the work he speaks not a single word. What we discover about his thoughts or his past is transmitted by a schizophonic voice on 207 Vol. 23, Nos. 1 &: 2 (Printemps!Eti 1988 Spring/Summer) a loudspeaker, the voice of "an acquaintance ... or perhaps merely someone investigating the story." The work unfolds in a series of 33 episodes or editing units, played without intermission, culminating in D.P.'s mental collapse and suicide. The pace is fast and none ofthe episodes is developed to any great depth; the effect is cumulative. As in Greek drama, the audience knows of the impending tragedy right from the start. The first image is a prescient flash of the final scene and we are further reminded of this by frequent news clips on television monitors throughout the performance. The important thing, however, is that although the audience knows the conclusion, they must be constantly...