Architecture as Synecdoche: A Poetics of Trace Author(s): Crystal Downing Reviewed work(s): Source: Pacific Coast Philology, Vol.

23, No. 1/2 (Nov., 1988), pp. 13-21 Published by: Pacific Ancient and Modern Language Association Stable URL: http://www.jstor.org/stable/1316680 . Accessed: 13/02/2013 13:11
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ARCHITECTURE AS SYNECDOCHE: A POETICS OF TRACE

of California, Santa Barbara University

Crystal Downing

of fiction architectural Writers oftenconstruct images withintheir works to pose (as) synecdochesof the textsthat contain them. Their enter within thecourseof thenarrative, characters described edifices seeking like readerswho enter thechaos of quotidian existence outside, escape from fullnessof an autonomous works in search of the metaphoric literary whose languagetranscends the temporality structure of everyday discourse a seem to toward its Some writers correlation margins. gesture beyond textsafter the architectural betweenpartand whole by namingtheir forms Howard'sEnd, theworldsof their thatcenter work:BleakHouse, Mansfield The Castle of Otranto, The Professor'sHouse, Park, Northanger Abbey, The House the Seven and so on. Otherscreate Gables, Heights, Wuthering of in their of textsthrough or semantic, patterns repetition-whether syntactic alliterativeor allusive-a sense of "palpability"(Roman Jakobson)or thatforces thereaderto look at language (SigurdBurckhardt) "corporeality" rather thanthrough it to itsreferents. characters within texts often Similarly, read arbitraryor conventionalsymbols on the texturedsurfaces of architectural the historical, enclosures, purposefully forgetting sociological, and psychological contingencies qualifying language-beyondtheir life--and walls. I choose to call a self-conscious connection betweensynecdochic architecture and thetextured textin whichit appears "architexture."1 As a of artistic microcosm work,architexture unitywithina literary signalsthe desirefora textto becomea microcosmic world,a miracleof rare device whichseeksto shieldreaders from current critical voicesprophesying waror at leastdeconstruction--on thetext. there is an irony toarchitexture, is an ambiguity However, justas there in the term "synecdoche." Some commentators that say synecdoche embodies a metaphoric condensation, whose coherence stands in contradistinction to metonymic others subsumeits identity in displacement; the syntagmatic of thatsame metonymy.2 I see in manyworks contiguity architectural betweenthe poles of metaphorand synecdoches mediating the movement between which embodies"irony"as defined metonymy, by Kenneth Burke:"whatgoes forth as A returns as non-A"(517). Whatgoes forth as metaphor, a body of signifiers a self-sufficient cosmosof creating meaning, returns as metonymy,contingentupon a self-consuming commerce ofmeaning.Whenwriters establish architectural and synecdoches then indicate thatthey cannot enclose and contain their human fully subjects, I believe,are revealing an aesthetic thatwe as readers theyoften, theory
should apply to their texts: a literarywork cannot fully contain its subject even as it creates the illusion of having done so. We have a dialectic matter,

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Crystal Downing

as miseen scenerazed to architexture of architexture as miseen abfme, an aestheticsof presenceundermined deferral of autonomous by meaning, text reducedto aporia. The exposedas intentional sign,theapodictic symbol is that ofarchitexture whatgoesforth as a "poetics ofspace"returns as a irony oftrace. poetics In The Poetics of Space,Gaston Bachelardproposes thatbooks, like architextural spaces, "give our daydreams countless dwelling-places," the to "retain enclosures our memories" (25-26). As part providing necessary of his "valorization of centers of concentrated solitude"Bachelard explains that architectural spaces communicate"cosmicity"to the "imagining consciousness"(xx), enabling it to escape the temporality of quotidian in a momentary existence ofsaying reposeofpoeticspace. He stopsjustshort thatliterary of architecture as that descriptions operate synecdoches might lend "cosmicity"-the sense of a harmonious, self-sustaining system-tothe artificial workof the poet's pen, thusestablishing the textas a seemingly autonomous source foroneiricreflection. Indeed, Bachelardbelieves that "the poetic image has an entity and a dynamism of its own," that"it is referable to a direct A deal of modernist criticism has (xii). ontology" good a similar endorsed view in itsvalorization of "form" as a "solipsistic category of self-reflection" (deMan 4); it even develops architectural to metaphors establishthe literary work as a "container" of meaningwhichinvitesthe entrance of the imagining consciousness. The Phenomenological and the New Critical reader both seek entranceto the same "prison house of that enclosure described a Brombert: language," desiring paradoxical byVictor whichbecomesa "metaphor of thetextual This enclosure (16). prison space" is rooted"in thereligious notion of a happycaptivity" (17), a notionwhich has been explored and the anthropologically by MirceaEliade. In TheSacred Eliade establishes thatreligious man projects thesacredas "a fixed Profane, ofprofane intochaos"(63). In pointintotheformless fluidity space,a center critical the sacred is that fullness whose coherence terms, literary metaphoric stands in contradistinction to a metonymic of the profane. displacement of course,"profane"means "before"or "outside of" the Etymologically, a senseofarchitectural temple, lending spacetoEliade's"fixed point." In one brief offers theexample of a literary passage,Bachelard persona forwhomthespace of a sacredarchitectural enclosure servesas a dwelling ofNotreDame Cathedral, place for"intimate being." Quasimodo, bell-ringer "had grownaccustomed to taking noteof nothing outsidethesacredwalls whichhad afforded hima refuge within their shade. Notre-Dame had been to him,as he grewup, successively theegg,thenest,his home,his country, the universe"(146)3-a complexcosmology of walled escape. Inscriptions cover various parts of the cathedral,transforming walls into text and architextural thetextthatcontains them. Hugo makesexplicit the rendering betweenarchitecture and textthrough another resident within relationship thewallsofNotreDame de Paris, who

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as Synecdoche: A Poetics Architecture ofTrace de Notre-dame, s'etait eprisd'une passionsingulibre pourle portail symbolique cettepage de grimoire ... [un] infernal 6crite en pierre, au saint frontispice le reste 6ternellement de l'6difice. (190) poemeque chante [had been seized witha mostsingular passionforthe symbolical doorwayof in stone,. .. a frontispiece thatpage of magic written to the Notre-Dame, sacredpoemeternally the rest of the (159)4 structure.] sungby

15

Claude Frollo loves the Cathedral

pour sa signification, pour son mythe, pour le sens qu'elle renferme, pour le de sa facade, texte sous le commele premier symbole 6parssous les sculptures second dansunpalimpseste ... (191) its mystic thesymbolic under [forits significance, meaning, languagelurking on itsfront, thesculpture likethefirst text underthesecondofa palimpsest...] (160)

The cathedral ("elle") actually confines, holds in, encloses its signification, as the verb "renfermer" denotes. Claude Frollo seems to believe in the transmutationof "lurking" signifiersinto a signified presence, a wordof base metal into gold that alchemyparallel to the alchemical transmutation he seeks to achieve in a cell at the heart of the cathedral, a room which containsa printing press and whose walls are covered with words. With the this of cell, description Hugo literalizes the metaphorof his famous chapter "Ceci Tuera Cela" [This Will Kill That], in which he focuses on "l'architecture"as "le grand livre de l'humanit6" (210), a book whose form and content-at least in the past-united to create a sacred autonomy of signification:
L'idee m&re, le verbe, n'6tait au fondde tousces edifices, mais pas seulement encore dans la forme. Le templede Salomon,par example,n'6taitpoint la reliuredu livre saint,il 6taitle livre saint lui-meme. Sur simplement chacunedes ses enceintes les pretres concentriques pouvaientlire le verbe aux yeux,et ils suivaientainsi ses transformations traduitet manifesto de sanctuaire en sanctuaire ce qu'ilsle saisissent dans sondernier tabernacle jusqu'A sous sa forme la plusconcrete encore de l'architecture: l'arche.Ainsile qui 6tait verbe "taitenferme dans l'edifice, mais son image 6taitsur son enveloppe comme la figure humaine surle cercueil d'unemomie.(211-212) but [The germinal idea, the verb,was not only the basis of theseedifices, dictated their form.The Templeof Solomon, forexample, the was notsimply coverof a sacredbook,it was thesacredbook itself.On everyone of these concentricenclosures,the priests could read the Word translatedand manifested from visibly; theycould thusfollowits transformations sanctuary to sanctuary untilat last they could seize upon it in its final under tabernacle, its mostconcrete whichwas yetarchitecture: theArk. Thus theWord form, was enclosedin the edifice, but its image was on its outercovering, as the human is carved on thecoffin ofa mummy.] (176) figure

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Crystal Downing

The "Word was enclosed in the edifice,"just as words were enclosed in NotreDame,making us think of thewordsenclosedbetween ("renfermV") thecoversof thenovelwhichcarries thecathedral's name. In each case we thecoverof a sacredbook,"but "thesacredbook seem to have "notsimply itself": the Transcendental "manifested a Metaphysics of Signified visibly," in defiance of theprofane. Presence marks another cathedral-centered novel. WillBrangwen of D. H. Lawrence's Lincoln The Rainbow Cathedral as from time, regards alwaysoutside "Away of time!Between eastand west, between dawnand sunset, thechurch lay like a seed in silence,darkbefore silencedafter death"(201). The germination, of seed,turning conflation and cathedral world, signalsarchitectural space as and autotelic form.This seed embodiesa "circleof silence" autochthonous thatis itself roundwiththerainbow"(201)-reminding encircled--"spanned us of the "concentric enclosures" surrounding"l'arche" of Solomon's "arche"of a rainbow5 is created Temple. Lawrence's by sun shining through one of LincolnCathedral'sfamousrose windows. However,the definite article"the" insteadof "a" beforethe word "rainbow"in Lawrence'stext The novelTheRainbow and signalsa synecdochic relationship. encompasses containsits signifier, LincolnCathedral, just as the buildingenvelops "the rainbow" its interior. was Or, to paraphrase spanning Hugo, "the[rainbow] in theedifice, enclosed butitsimagewas on itsoutercovering." While Lawrence's Brangwenexperiencesin Lincoln Cathedral a "timeless ... theclimax ofeternity, theapexof thearch"(202), consummation his "would never consent to theknitting of all theleapingstone Anna, wife, in a greatroofthatclosedherin,and beyondwhichwas nothing, it nothing, was theultimate confine" to allow theexistential (203). Becauseshe refuses to be reducedto theconfines of an aesthetic "she caughtat little structure, whichsaved her from things, beingsweptforward headlongin the tide of passion" (203) that markedWill's "timelessecstasy" (202). Ratherthan in a synecdochic "rainbow" whichcenters vision,Anna focuseson reveling the metonymic odd little faces carvedin stone" (204), "wicked, gargoyles, whichde-center reverie: escapist
knew little retorted on man'sownillusion, They quitewell,these impsthat
facesmocked. (204) gotin,'thelittle that the cathedral was not absolute. They winked and leered, giving ofthemanythings that had beenleft outofthegreat ofthe suggestion concept

A search for the Transcendental "Arche . . . enferm6dans l'edifice"

church. 'However much there is inside a gooddealthey there's haven't here,

The illusion of metaphoric a new worldcreated fullness, by art,is broken by the presenceof thatwhichis metonymically with,but "leftout contiguous are outsidethefane, and once Annasees them, of,"theenclosure.Gargoyles she mocksWill's "timeless with"a tinkle of profane (205, ecstasy" laughter" emphasismine). Annais "Victrix" as thecathedral, which to Will"hadbeenas a world. a within in his chaos," changes .. perception:

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A Poetics ofTrace Architecture as Synecdoche: that thedoorway wasno Butnow, he realized disillusioned, somehow, sadly itwas false.Outside thecathedral It was toonarrow, weremany doorway.
thatcould neverbe sifted thejewelledgloom. He had through spirits flying losthis absolute.(206)

17

A humanconstruct of providesno doorwayto thetranscendent perceptions is artificial, a "false" form.So also a literary structure absolute autonomous, formcreatedby the temporalplay of arbitrary signifiers.Will ends up art as embodied in edifices which theirties to the foreground envisioning of ruins the Grecian and it seemeda "He the of thought worship, temporal: a temple, tillit was ruined and mixedup withthe was never perfectly temple add thata faneis never winds and theskyand theherbs"(206). We might as being"mixedup" withtheprofane, a faneuntilit is recognized perfectly off from theexistential. can never closeitself that theaesthetic fully So too Quasimodo loses his absolute. Trying to save Esmeralda, he his sacreduniverse, evensay "deconstructs") and defaces (one might strutting face-thestageofhis existence-ashe ripsspatial upon thecathedral fretting its surface. He takeshis finalrepose not in the struts and fretwork from of Paris,but amongthe worm-eaten the spiritual center beams, sanctuary, a decrepit and ofMontfaucon, of rusted outside chains, decaying pillars prison the cityenclosure. The "being"of metaphoric fullnessthatthe cathedral has been defaced---dis-placed-by the temporal represent might "becoming"
of an edifice in ruin. So too "le temple de Salomon . . . est detruit" [the

and "les portes ofSolomon.. . was destroyed] de pierre du sepulchre temple des roisd'Israel... sont brisees" stone doorsofthesepulchers ofthe (206) [the ... have crumbled to Israelite a Rather than Bachelardian kings pieces](172). need for enclosure,for walls as limits,Hugo's final architectural traces demonstratethe desire for dis-closure,for fictionto break open the contingent. We can read otherHugo textsas palimpsests under Notre lurking Dame de Paris just as Claude Frollo read "the symbolic language lurking under the second in a palimpsest"(159). In Quatre-vingt-treize, Hugo describesthe deconstruction tower,whose walls are by fireof a fortress coveredwithbooks; in Le Dernier d'un Condamnd [The Last Day of a Jour he signalsthe insufficiency in a prisoncell whose of revery Condemned], walls "sontcouverts de dessins, de figures de nomsque d'6critures, bizarres, se melent et s'effacent les uns les autres"(441) [are coveredwithwritings, withdesigns, withstrange and nameswhichmixwithand efface each figures, other(translation is condemned to a mine).] The story's protagonist prison house of indecipherable of one writing language;thecontinual displacement notonlydefaces thewalls,it effaces thetexts themselves. Claude by another Frollo'scellin NotreDame is similar to that ofHugo's "condemned":
les inscriptions au hasard,celles-cisur celles-la, debordant les plus fraiches les plus anciennes .. .. C'etait, en effet, une assez confuse meleede effagant toutes les philosophies, de toutes les reveries, de toutes les sagesseshumaines. (307-308)

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Crystal Downing overflowed at random, oneupontheother, themorerecent [inscriptions effacing .... It was, indeed,a confused themoreancient ofall philosophies, mingling all humanreveries, all humanknowledge.] (263)

Hugo employs the word "efface" throughoutNotre Dame de Paris, our senseof skepticism aboutthesufficiency of textual plenitude. confirming In fact,he reiterates the word in the novel's prefaceas he describesan towers: on one ofthecathedral's inscription
du motmysterieux dansla sombre tour ... il ne reste plusrien aujourd'hui grave de Notre-Dame, rien de la destinee inconnue qu'il resumait si L'hommequi a ecritce motsur ce murs'est efface, il y a melancoliquement. du milieu des generations, le mots'estAsontour effac6 du mur plusieurs sidcles, de l'6glise, s'effacera bientot de la terre. I'Fgliseelle-meme peut-etre ce livre.(3-4) C'estsurce motqu'ona fait is todaynothing left ofthat in thegloom wordengraved mysterious [... there of thetowerof Notre-Dame, leftof theunknown of whichit nothing destiny was so cheerless a summary. The manwho wrote thatwordon thatwall was themidst erasedfrom ofthegenerations severalcenturies ago, thewordin its turn has beenerasedfrom thewall ofthechurch, and soon perhaps thechurch itself will be erasedfrom theearth. Thisbookwas written aboutthat word.]6

An effaced inscribed on an architectural enclosure word,"ANATKH"[FATE], whichitself is mutable, of the "fate"of Hugo's text. becoinesrepresentative And thefirst incident within a poet,Gringoire, thattext describes whoseown is effaced text as his highly is the metaphoric play interrupted by metonymic announcespar la voix criarded'un huissier"(51) [processionof sober announcedsuccessively personages, by the shrillvoice of an usher] (42). the poet's responseusing the languageof architexture: Hugo summarizes "Avecquelleamertume il voyait s'&crouler piecea piecetoutson 6chafaudage de gloireet de podsie!"(55) [with whatbitterness did he watchhis edifice of crumble to pieces!](46). Gringoire's text is effaced, as willbe glorious poetry thewordsinscribed on thewallsofNotre Dame de Paris. The ironyof architexture leaves nothingsacred. Even The Old of "the old curiosity Shopby Dickensends withthe obliteration Curiosity that had contained her and their curiosities. Those Nell, shop" grandfather, in Chapter warehouse" One adumbrate thefantastic huddledtogether things in thenovelitself.Butthewalls falldownand themargin as thespace fades, oftheshopis dis-placed oftemporality, a road: byan emblem
The old househad beenlongago pulleddown,and a fine broadroad was in its his stick a squareupon theground where [Kit]woulddrawwith place. Atfirst itused tostand. Buthe soonbecameuncertain ofthespot, and couldonlysay it was thereabouts, he thought, and thatthesealterations wereconfusing.

"entrent processionnellement . . . de graves personnages successivement

"heaps of fantastic things .

. huddled togetherin the curiosity-dealer's

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as Synecdoche: A Poetics ofTrace Architecture

19

a few which Sucharethechanges andso do things about, years bring is told. likea talethat (671-2) passaway,

Withtheword"told"thetaleis ob-literated, as is theshop. Kit,who is often coveredwithink throughout thenarrative, draws,as witha pen, a signifier in an attempt tore-present thesignified oftheOld Curiosity upon theground Shop. But he can leave only tracesof the shop, as the meaningful space ofconfusing "alterations." by thetemporality ("spot")is dis-placed markTheOld Curiosity alterations Shopas well as theOld Confusing was novel contained in his weekly Dickens' originally Shop. Curiosity a clock a text namedforitssynecdoche, Master Clock, Humphrey's publication thenarrator of all theworks whichstoodin thehouse ofMasterHumphrey, Clock. Master Humphrey'sclock that appeared in Master Humphrey's whichwere read to a society in its pendulumcase manuscripts contained of Clock." This framing called "MasterHumphrey's device,thescaffolding TheOld Curiosity relationship parallelto thatof Shop, displaysa synecdochic a sense of increasing like the "enceintes thenovel itself, interiority creating of Solomon's Temple: Dickens' MasterHumphrey's Clock concentriques" which at time contained The Old MasterHumphrey's one contained clock, which until the the Old Once contained, end, Curiosity Shop, Shop. Curiosity theshop passes away,as does "a tale [TheOld we getto thecenter, however, clockis expurgated Shop]thatis told,"just as MasterHumphrey's Curiosity from is eliminated as framing thetext whenMaster Clock device Humphrey's fromthe "FirstCheap Edition: 1848." Profanetemporalduration-as theillusion ofenclosure. by a clock-discloses symbolized This disclosure also closes Lawrence's novel, a closure which is in Lovebeginswiththe third-generation reopenedwhen Women Brangwens who end The Rainbow.Ursula,on thefinalpages of thelatter, a witnesses rainbow whichattests to theinsufficiency ofclosedform:
Sheknew that thesordid hard-scaled and separate on the peoplewhocrept face oftheworld's were that therainbow in wasarched still, corruption living
their bloodand wouldquiverto lifein their ... (496) spirit

Founded in the human,the arch is not an autotelicform;nevertheless, Lawrencewould have it bringto the context a upon whichit is contingent of what life be: glimpse might
to a new growth, new,clean nakedbodieswould issue to a new germination, rainbow theearth'snew architecture, theold, brittle of housesand corruption factories ofTruth, to sweptaway,theworldbuiltup in a livingfabric fitting

tothelight andthewind andtheclean rain ofheaven.Shesaw inthe rising

theover-arching heaven. (496)

The "new architecture" confinements of houses supplantsthe architectural and factories while at the same timegivinga locus of perspective on the world thatcontains them. Thatperspective, is as mutableas the however, rainbow which definesit, for it changes with each new experienceof

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Crystal Downing

sacredspace of that architexture as thereaderseeks,and alwaysfailsto find, in thestruts and frets ofpoeticenclosure. permanency
NOTES 1. The portmanteau word "architexture" has been employedby Mary Ann Caws in A and After in Surrealism and The Eye in theText: Metapoetics of the Passage: Architextures Mannerist toModern, bothpublished in 1981. Her emphasis, is however, Essayson Perception, on thepassagetoperception madebythereader ofreading, primarily uponthephenomenology in thebuilding who participates of thetextin his or hermind. In thelatter work, however, of thetext," whereself-referential she does seek to "emphasize" gestures equally"thesurface She and I have similar intothe"textural." in thisregard, the"textual" transform approaches in different but we applythem are merely heuristic; ways. ForCaws, architectural metaphors in thetexts are synecdochally underdiscussion.Gerard Genette forme,they present employs in yetanother forhimit describes theword"architext" way,as Caws notesin theMetapoetics: towhich the"setofgeneral ortranscendent eachsingular text (181,n 3). categories belongs" 2. PeterSchofer and Donald Rice, in theirarticle"Metaphor, and Synecdoche Metonymy, of recenttheorists' definitions of these Revis(it)ed," providea helpfulsummary divergent threetropes. 3. Bachelard is quoting from s'6tait "le pauvremalheureux directly Hugo's text: accoutum~ ne rienvoirdans ce mondeau delAdes religieuses murailles A leurombre. qui l'avaientrecueilli Notre-Dame avaitete successivement et se d6veloppait, l'oeuf, pourlui,selonqu'il grandissait le nid, la maison,la patrie, l'univers"(177). All quotations of theoriginalFrench are from 1961edition. Guyard's Marius-Francois 4. All translations ofNotre Damede Parisare Walter the 1965Signetedition, J.Cobb's,from unlessotherwise noted. 5. TheOED notesthat"arche"is an obscure form of"arch," one definition ofwhichreads"the rainbow." Its morecommondefinitions of "arche,"takenstraight fromthe French, are 1) Noah's ark,and 2) The arkofthecovenant.Thislatter ark,as we have seen,is Hugo's symbol for the Transcendental the former ark is used by Lawrence to symbolizeWill Signified; searchfor a sacredcenter ofrarefied as a newly-wed, Will Brangwen's meaning.Forinstance, "felt so secure, as though thishouse weretheArkin theflood, and all therestwas drowned" (147). To Will,Anna "was the ark,and the restof the world was flood" (187). As their movesbeyond itshoneymoon WillseeksescapeinLincoln Cathedral. bliss,however, marriage 6. Thispreface, essential to Hugo's architextural is notprinted in manyeditions, assumptions, that ofSignet.The translation is byJohn from the1978Penguin here, then, Sturrock, including edition(25). WORKS CITED Gaston. ThePoetics MariaJolas.Boston: Bachelard, Beacon,1969. ofSpace. 1958. Trans. Victor.TheRomantic TheFrench Tradition. Princeton: Princeton Prison: Brombert, UP, 1978. Kenneth.A Grammar andA Rhetoric Burke, ofMotives ofMotives.New York:World,1962. on Perception, Mannerist toModern. Princeton: Caws, MaryAnn. TheEyein theText: Essays Princeton UP, 1981. A Metapoetics in Surrealism and After.Hanover:UP of ofthePassage:Architextures --. New England, 1981. in Rousseau, and Proust. deMan,Paul. Allegories Nietzsche, Figural ofReading: Language New Haven:Yale UP, 1979. Charles.TheOld Curiosity 1972. Dickens, Shop.Ed. AngusEasson. Harmondsworth: Penguin,

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A Poetics ofTrace as Synecdoche: Architecture

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and theProfane: TheNature Eliade, Mircea. TheSacred ofReligion.1957. Trans.WillardR. Trask. NY: Harcourt, 1959. I. Ed. Jacques d'unCondamnd. Ouvres Roman Jour Completes: Hugo,Victor.Le Dernier 1985. Seebacher.Paris:Laffont, Trans. Walter 1965. TheHunchback J.Cobb. NY: Signet, --. ofNotre-Dame. de Paris:1492. Ed. 1961. Guyard.Paris:Garnier . Notre-Dame Freres, Marius-Franqois to theEdition Notre-Dame of 1831." Sturrock. New - "Preface John ofParis.Trans. 1978. York: Penguin, Ed. Jean Boudout. Paris:Garnier, 1967. - Quatre-vingt-treize. 1981. D. H. TheRainbow. 1915. New York: Lawrence, Penguin, and Donald Rice. "Metaphor, and Synecdoche Peter Revis(it)ed." Schofer, Metonymy, 21 (1977): 121-49. Semiotica

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