Sorry, CR, I knew it was quoted but thought you were lifting it to apply it
to the poem. My mistake.
At 10:51 PM 2/26/2007, cr mittal wrote:
>Your [GSB's] interpretation of Sweeney-Eliot is quite ingenious, Ken.
>The opinion you attribute to me, however, is Patricia Sloane's.
>Ken Armstrong <[log in to unmask]> wrote:
>--On Saturday, February 24, 2007 6:14 PM -0800 cr mittal
> > Bleistein's knee and arm problems are similar to those displayed by
> > Sweeney, who steps forth in "Sweeney Among the Nightingales" amid
> > recollections of Agamemnon (the Trojan War?).
> > Apeneck Sweeney spreads his knees
> > Letting his arms hang down to laugh (1-2)
>However, the poem doesn't end here, so whether it is a saggy bending of
>the knees (not knee, it is both now) or an apeneck, it doesn't make sense
>to interpret it without noticing the action and context of the poem. The
>next two lines unfold a new dimension of Sweeney-Eliot that has developed
>out of the action of the first two. The laughter is of the person who has
>been released from a destructive attachment, that attachment being to the
>city of man, often, after all, in league with the church. Here, his neck
>swells to maculate giraffe. I.e, his neck grows (he gains a new
>perspective)and becomes spotted, that is he is mixed in nature and has the
>perspective now to know it. As Guy Brown points out, that is the import of
>the first stanza of this poem. To make a conclusion about this stanza
>without noticing any of this is at least misleading.
> > All racist caricatures are alike. They paint the despised group --
> > any group -- as simian or sub-human."
>Again, the picture is of Sweeney-Eliot, bringing to us a specific action
>in this poem among interrelated poems.
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