The ten prose pieces which are discussed in this chapter have, with one exception, been treated only in a cursory fashion.¹ Scant critical examination of these difficult pieces has usually offered little more illuminating than an abstract adverb. Perhaps one reason for this respectful neglect might be their apparent cryptic and impenetrable quality. The present effort attempts to discuss these pieces within a coherent framework of theoretical correlatives, thereby seeking to give access to, but not explain away, their characteristic enigmatic quality. Theoretical correlations which form the foundation of the discussion are the continental philosophy of phenomenology, Roman Jakobson's previously mentioned theory of metonymic writing and, with three specific pieces in mind, Kandinsky's theory of art.