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Prikvačeni tweet
Harold Bloom (1930-2019) With a host of furious fancies Whereof I am commander, With a burning spear and a horse of air, To the wilderness I wander. By a knight of ghosts and shadows I summoned am to tourney Ten leagues beyond the wide world's end: Methinks it is no journey.pic.twitter.com/DOYKp9YJgi
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(W. B.) Yeats’s voice is fierce but (Wallace) Stevens’s is very quiet, as he is the poet who listens for and somehow renders what lies beyond representation, “the hum of thoughts evaded in the mind.”
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The hidden refrain of these secret or dark sayings is that we are blinded by an overwhelming sense that we have come after the event, indeed, after ourselves. What the gnostic Jesus warns against is retroactive meaningfulness.
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The emphasis of this Jesus is upon a pervasive opacity that prevents us from seeing anything that really matters.
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What is most remarkable in these sayings is the repeated insistence that everything is already open to you. You need but knock and enter. What is best and oldest in you will respond fully to what you allow yourself to see.
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Sometimes, as I contemplate organized, institutional Christianity, historical and contemporary, it seems to me a very weak misreading of the teachings of Jesus.
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No scholar ever will define what Gnosticism was or is, but its negations are palpable... Nothing mediates the self for the Jesus of the Gospel of Thomas. Everything we seek is already in our presence, and not outside ourself.
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The shamanism of Empedocles, so strangely reborn in Yeats’s A Vision, Lawrence’s Fantasia of the Unconscious, and Graves’s The White Goddess, proposes a preternatural catharsis to heal a magical spirit in us.
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Montaigne may be a kind of tenuous link between Shakespeare and Moliere: Montaigne would be all that they might have had in common. His motto, "What do I know?," is a fit epigraph for both playwrights.
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Transcendentalism, in Shakespeare, tends to be available only in its withdrawal and departure, as when we hear the music of the god Hercules abandoning his favorite, Antony. Shakespeare, even at his darkest, is reluctant to abandon his protagonists.
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To turn against representation is to renew Plato's polemic against the poets, yet we do not sense any transcendental element in Shakespeare's dialectical revulsion from shadows.
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Arthur Rimbaud, heir of both Hugo and Baudelaire, was potentially a stronger poet than either, just as Hart Crane, influenced by Eliot and Stevens, possessed poetic gifts that could have transcended the work of both precursors.
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No poet in English seems to me as extreme and fortuitous as Tennyson in his sudden moments of recognition of his own powers, bursts of radiance against a commonplace conceptual background that cannot accommodate such radiance.
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Vast and subtle intellect cannot in itself make a poet; the essential qualities are inventiveness, mastery of trope and craft, and that weird flair for intuiting significance through rhythm to which we can give no proper name.
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"There is a world hidden in the very act of sensible perception which we must recover." Henry Corbin
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Whether Freud would have compounded this self-realizing instinct with his “detours towards death” I do not know, but I think it is probable.
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In the final phases of Browning, Hardy, Yeats, and Stevens, the poet’s Will raises itself against Nature, and this antithetical spirit breaks through a final anxiety and dares to represent itself as what Coleridge called self-determining spirit.
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Coleridge reminds us that there can be no origination without discontinuity, and that only the Will can interrupt the repetition-compulsion that is nature.
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If Shakespeare brings us a secular salvation, it is partly because he helps ward off the philosophers who wish to explain us away, as if we were only so many muddles to be cleared up.
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Since most poets, and all translators, of every era, write a period style, a gracious skepticism ought to be maintained as to what it is that we actually are reading, at any time.
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Just as nearly every generation of poets declares against “poetical diction” and insists that it (at last!) is bringing poetry closer to the common language, so nearly every fresh wave of translators proclaims triumph over all the malefactors who have gone before.
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