CASCAN

It cannot be reproduced and is not amenable to mimesis; each time it is emitted, the magnitude, the (non)meaning and the ramifications vary from one occasion to another; a fact of which all the main characters, including Cascan, Claudius, and Gertrude are acutely cognizant.

Cascan's remark testifies to the point: "In a strange and sinister equation the more we tell the more untold becomes agony and even that which was once said becomes unsayable (Pause)" (2002, 42).

In the ensuing remarks almost all four dimensions are tacitly and intimately entangled: "I REQUIRE THE REAL CRY CASCAN ALL MY LIFE I SOUGHT IT SINCE I WAS A BOY AND PRIOR YES PRIOR TO BOYHOOD." Further ahead he asserts: "IT IS THE CRY OF ALL AND EVERY MOVING THING AND ALL THAT DOES NOT MOVE BONE BLOOD AND MINERAL" (2002, 32).

(15) By the same token, and given the inextricable metonymic relation between the three figural analogues of the affect of proximity, meaning the cry, denudation, and overflowing of fluids, somewhere in the play Cascan calls Gertrude's nakedness "pathetic." Claudius is astounded and asks: "Why pathetic ...