I am particularly referring to :
_At the end of your journey, you'd have discovered
a solution that was there before you started._
Which brought me to Richard Strauss' autobiography, where he says that at
the end, finally, you understand the meaning of it all (which might also be
his boasting, not particularly liked by Nietzsche).
And what also interests me in what you are saying is:
_Do we perhaps, in
'expressing ourselves', respond to the exigencies of something beyond and
prior to language in all its definition?_
Which allows for the possibility of reading a certain fatalism in it. I am
noticing that Alison is pragmatically contesting my observations a priori.
And here my rational side is satisfied, because the deeper you go into the
analysis of your self, you will always find a rational input, if you start
it out in this way.
Still (by following the Romantic school) ... those higher spheres to which
only poetry can accede. Weren't they something beyond? Or that dissolving of
the "anchor points" as John Kinsella defines them, within one single poem
where "ambiguity becomes increasingly larger".
I've pasted the two paragraphs below for your reference, anny
___________________
Choices, certainly. But there would be choices made in finding one's way (by
iteration) through a maze. At the end of your journey, you'd have discovered
a solution that was there before you started.
This might be put another way. Much has been made of how we sort out short
term semantic ambiguity in garden path sentences such as 'A cricketer hit a
six pound pigeon with a baseball bat' (which reveals itself sequentially) or
(more puzzlingly counterfactual) 'A gentle man out shooting ducks and an
elephant flies overhead', and so forth. The semantic problems here are
purely illustrative. It's that feeling of dithering between different sorts
of sound, form and sense that interests me very much more. Do we perhaps, in
'expressing ourselves', respond to the exigencies of something beyond and
prior to language in all its definition?
From: "Christopher Walker" <[log in to unmask]>
To: <[log in to unmask]>
> Anny:
>
> <snip>
> It highlights a little the fatalism that comes out from C. Walker's
> comments.
> <snip>
>
> That's a serious (and puzzling) misreading of what I've been trying to
say.
>
> CW
|