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Thie poem is related, I think, to TWL's :
"These fragments I have shored against my ruin."

The use of separate images not connected to a whole,
a part standing for the whole, a kind of synecdoche,
reflects the perceptual influences of popular culture
which focuses, esp. in advertising, on the physical being
of the human as a collection of parts, a machine.
See H.M. McLuhan's THE MECHANICAL BRIDE,
esp. the section with the same title. It is reflected in cubism
and other early 20th century art explorations.

Yeats in his own "Fragment" poem saw this depersonalisation
producing the mechanical mentality as a kind of hypnotism:

               Fragments
I
Locke sank into a swoon;
The Garden died;
God took the spinning -jenny
Out of his side.

II
Where got I that truth?
Out of a mediums mouth.
Out of nothing it came.
Out of the forest loam,
Out of dark night where lay
The crowns of Nineveh.

Cheers,
Peter
    
----- Original Message ----- 
From: "Dunja Seselja" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Tuesday, September 05, 2006 7:53 AM
Subject: Re: Identity of the speaker in 'Preludes'


> --- marcin ostrouch <[log in to unmask]> wrote:
> 
> > 
> > Would you agree that the "dismembement"  of the
> > "They" (synecdochic 
> > "feet", "hands"), and the atomised world, to which
> > the speaker in 
> > Preludes is awaken,  is analogous to Cartesian
> > "mutilation" of the One 
> > ("infinitely gentle, infinitely suffering thing")?
> 
> Heh, interesting you ask about the line I've just
> wondered about myself, at the end of my previous mail
> (before reading this mail of yours)! This opposition
> sounds interesting, will have to think about it... 
> 
> Dunja
> 
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