There’s a metaphysical ‘tradition’ that maintains the difference between essence and existence, or between God and finite beings. Neither is reducible to the other. Naturally we spend most of our time exploring finite beings like ourselves. But what would it mean to ‘explore’ essence? Usually we resort to a convenient skepticism—-except in art. Art somehow is given allowance to explore essence in light of what seems appropriate, the aesthetic aspects of the beautiful— color, shape, and so on.
But even in the analysis of art we come up against the distinction, a kind of line between what reflects existence in the modes of appearance and the sense of essence conveyed by the work of art. Art is irreducibly double. But we can think about art in the between. This doubleness that makes thinking about art possible also accounts for the wonder that is irreducible from the experience of art.
The experience of art may be said to involve a ‘breakthrough’ between the categories of existence and essence. In an essay on Edwin Muir Heaney quote an early poem ‘October at Hellbrunn’:
The silent afternoon draws in, and dark
The trees rise now, grown heavier is the ground,
And breaking through the silence of the park
Farther a hidden fountain flings its sound.
Charles Wright Littlefoot (2007)
This looks like your basic lyric: the opening of a ripe moment, the equivocations of desire, the dialectics of the erotic ladder, all ending in the equivocity of the self.
But it fulfills an ‘other’ promise: the erotics of the ‘same’ or rather the flip side of the dialectic. He cites the ‘unloved.’ His list concludes with the least of these. Whence Eros?
If the erotic dialectic collapses under the paradoxical question, where does the energy come from? Instead of dialectical climax, we have the ‘other’ value system, the ‘with’ or other side of metaxy. Meta, as Desmond points out repeatedly, means both with and beyond, thus splitting the dialectical atom. ‘This chirper lost in the loose leaves’ of the mix of the between (metaxu).
As dialectic ends with the no-end of frustrated Eros, the metaxy ends in the original energy of community—-not erotic fulfillment but agapeic communication. ‘It’ -— the nameless chirper—- reminds us of … us.
See God and the Between, p 291
‘Composing a poem is a way of leaving the self behind and getting involved in something larger.’ Robert Bringhurst, The Tree of Meaning, 145.
Bringhurst uses the word ‘self’ to mean an impulse to erotic sovereignty (Desmond): this has to be left behind. The lyric narrative as I show in my readings first engages with the world outside the self on which it has designs. The given univocal world—-say a landscape. As the lyric proceeds the self becomes entangled in this ‘world’ it is destined to leave. In the end, from the point of view of the self, every poem is posthumous.
‘The inner image of the verse is inseparable from the numberless changes of expression which flit across the face of the teller as he talks excitedly.’ From ‘Conversations about Dante’ in ‘The Selected Poems of Osip Mandelstam,’ trans Brown and Merwin.
This dynamic helps us understand how the luminous individual’ emerges in/from the text. The analytical kit includes discourses on the face and Desmond on ‘the intimate universal’ with its recognition of tacit dimensions of meaning stored and nourished in the flesh.
Texs from Weil and Desmond to come.