Ferdinand

Ferdinand, the protagonist and narrator of Céline’s novels, describes himself as a “lucid super-seer,” suggesting that the artist possesses visionary capabilities that offer deeper insights into reality than mere historical accounts could provide. Despite facing condemnation as a traitor and the looming threat of a death sentence, Ferdinand maintains a clarity of vision that distinguishes him from those around him, many of whom indulge in fantasies of regaining power and privilege. This delusion is particularly evident among the vacationers at Baden-Baden and the residents of the chateau in Sigmaringen, who cling to the hope that Germany will triumph in the war. Such escapism comes at a cost, involving the suffering that accompanies facing the brutal realities of a war-torn world and the inherent danger of opposing those in authority. Ironically, a group of children with mental retardation provides the cover that eventually allows Ferdinand, the super-seer, to reach Denmark successfully.

Ferdinand's role is often that of an observer rather than an active participant, due to his powerlessness and ambiguous status. However, his selfless medical work in Sigmaringen demonstrates an exception to this passivity. Despite previous failures to establish a sustainable medical practice—stemming from a pessimistic view of society and a reluctance to demand payment—Ferdinand shows remarkable dedication to his patients, even purchasing medicines with his own limited resources. His humor is sharp and his language incisive, yet he navigates situations adeptly to avoid confrontations that could jeopardize his precarious safety.

His experiences in Hanover present a different perspective. A city once perceived as sad and dull before the war now strikes Ferdinand as livelier, transformed by the flames that consume it. This observation exemplifies the metamorphosis of experience through the artist's lens. As Ferdinand delves into Hanover’s underground galleries, he embodies the archetype of the underground man—not only a fugitive from his homeland but also a seeker of life’s darker, more telling aspects. In these subterranean depths, he contemplates his medical practice, paralleling his role as an author who dissects society with a pen instead of a scalpel, exposing its ailments without offering remedies.

Le Vigan

Le Vigan serves as a double to Ferdinand concerning lucidity. Known for portraying alienated, mystical characters, Le Vigan finds life imitating art as his mental state declines, particularly during his stay at Zornhof. Living in a vermin-infested room, he becomes irrationally paranoid about being consumed by rats, reflecting his fear of capture and execution by the Resistance. He attempts to escape reality by spending prolonged periods in a trance-like state, muttering to himself. His unfounded confession to the murder of Baron von Leiden stems from a mixture of guilt and fear. Seeking protection under the law could provide him a semblance of order and end his flight from French justice. Moreover, by confessing to this crime, he hopes to exorcise his collaborator guilt without confronting the specifics of his actions. Eventually, as he chooses not to accompany Ferdinand and Lili further, he nears insanity, experiencing delusions of martyrdom and mimicking Christ's crucifixion pose, as if assuming the world's sins. His solitary journey to Rome, the heart of Catholicism, might be viewed as a kind of pilgrimage allowing him to indulge in his protective delirium.

Lili

Lili, Ferdinand’s wife and a professional dancer, decides to share in her husband’s fate. Her character is not deeply developed, yet she embodies the role of a graceful, resilient survivor. Through her efforts to maintain her dancing skills, Lili symbolizes the enduring presence of art, even under the most adverse circumstances. Her perseverance underscores the necessity for Ferdinand to survive, so he can eventually transform his experiences into the artistic trilogy.