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I suspect it is the abstraction of experience into the hard form
of fixed type that gives the image its sense of permanence or eternity.
 
P.
----- Original Message -----
From: [log in to unmask] href="mailto:[log in to unmask]">Chokh Raj
To: [log in to unmask] href="mailto:[log in to unmask]">[log in to unmask]
Sent: Wednesday, April 14, 2010 1:27 PM
Subject: Re: The Relative versus The Absolute

"Image and Eternity" --
 
Here's an image -- the last line of a poem I heard in dream:
 
the yell of the flower found yellow --
 
-- an image out of Spiritus Mundi !!! 
 
CR


--- On Wed, 4/14/10, Ken Armstrong <[log in to unmask]> wrote:
Nancy Gish wrote:
> Plotinus said that eternity is in love with the productions of time.  This is the conundrum in both Keats and Yeats because, as Carrol notes, the lovers will never grow old only because they will never live.  From "The Stolen Child" through the last poems Yeats sets up a similar dialectic and irony.  Because the price of being a golden bird is that there is only the love of real birds of which to sing--"birds in the trees/ Those dying generations at their song."  Byzantium is chosen not only because it is eternal but because "an aged man is but a paltry thing/ A tattered coat upon a stick" (i. e. a scarecrow).  And what is there to do when the "masterful images" desert?  "I must lie down where all the ladders start,/ In the foul rag-and-bone shop of the heart."  Only in body and time is there a source for images of eternity--a paradox.

    Sorry, but how is that a paradox? //Where else do images (of anything) come from? F H Bradley titled his major work _Appearance and Reality_. It seems, in relationship,  it could almost have been _Image and Eternity_.  Hence, man is made in the image of God, etc.//

Ken A