The metaxy or between originated in Plato’s myth Socrates tells about when he consulted about love in The Symposium. Love was the offspring of Plenty and Want. Love dwells in the between (metaxy), always subject to change, always longing for permanence.
Lyric embodies the truth of the metaxy. Though lyric depends on moments of contemplative fullness, erotic arrest, poetically realized in images that have a kind of halo, the flow of verse plunges ahead into the abyss of the between. The dialectic yields to a meta-vision of the ‘porosity’ (Desmond pulls this term from Plato’s myth of fullness and lack). This Rees-Jones calls her middle years.
This pattern, in which the ‘form’ of lyric (let’s call it metaxy or between) emerges from the dialectical narrative of the lyric’s ‘passage,’ is very common. Sort of the DNA of lyric. Deryn Rees-Jones, Erato (Seren).
The Orchards of Syon echos with the theme ‘life is a dream’ but as Rowan Williams observes (Geoffrey Hill: Essays on His Later Work 68), ‘Poesis is what makes the dream other than death, not just a repetition …’
I see in section XXXVI, an emergence of form that, more than bring ‘other than death’ testifies to the presence of ‘form’ itself. The large generic pattern of lyric’s unfoldment—- from the opening determination (the first line) through various qualifying descriptions of the equivocal time/space givens, to the moment I call metaxyturn (note the reference to Celan), and the ensuing reflexivities and confessions. The unfoldment of this sequence brings us to a standstill (tautology has its role in the hovering aporia). In this case, the sense of agapeic (Hell is empty) fuses the personal and the universal in a moment of that remains open to eschatological thought/dream. Return to beginning. The congestion typical of Hill’s late style is dialectic, the grammar of kenotic selving that concludes in festive plurivocity.
Regarding ‘loop holes’ in theory —- say we are talking about the volta in sonnets and fail to mention a change of ‘tone’ or perspective. Since there are always areas untouched by some discussions of rules, assuming the doubleness should be part of the game of poetics. What is missing from our discussion of the rules is covered by our examples. The relevant rules are IN the examples. The big takeaway is that poetics proceeds dialectically ‘between’ rules and examples. Poetics is inherently dialogical. To speak metaxically, poetics is double. It happens BETWEEN rules and examples.