I suspect it is the abstraction of experience into
the hard form
of fixed type that gives the
image its sense of permanence or
----- Original Message -----
Sent: Wednesday, April 14, 2010 1:27
Subject: Re: The Relative versus The
"Image and Eternity" --
Here's an image -- the last line of a poem I heard in
the yell of the flower found yellow --
-- an image out of Spiritus Mundi !!!
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,