By James Land Jones
The author's vital goal is to teach that the poetry of Keats and Yeats is expert via a suite of assumptions, a method of apprehension, which marks it as a undeniable type of poetry: Romantic poetry characterised specifically by way of the weather of mythic considering analyzed by means of Cassirer and Eliade.
Introduction: The intent for Myth
Chapter One: Soul Making
I "Curious Conscience"
II "My robust identification, My genuine Self
III "A Greeting of the Spirit"
Chapter : solidarity of Being
I "Energy" and "Essence"
II "Beauty in All Things"
Chapter 3: The monstrous Idea
I "From Feathers to Iron"
II "An Interchange of Favors"
III "Time Annihilate"
IV "The Finer Tone"
Chapter 4: the good Moment
I "There the entire Gyres Converge in One"
II "Fellowship Divine"
Chapter 5: Melancholy's Sovran Shrine
I "The shorelines of Memory"
II the 2 Hyperions
Conclusion: Adam's Dream
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Artaud's plans for subverting and revitalizing culture, h is longing for a new type of human personality illustrate the limits of all thinking about revolution which is anti-political. Cultural revolution that refuses to be pol itical has no· where to go but toward a theology of culture-and a soteriology. "I aspi re to another life," Artaud declares in 1927. All A rtaud·s work i s about salvation, theater being the means of saving souls which he meditated upon most deeply. Spiritual transformation is a goal on whose behalf theater has often been enlisted in this century, at least since Isadora Duncan.
What these doctrines have in com mon i s that they a re a11 relatively late, decadent transfor· mations of the Gnostic thematics. From Renaissance a lchemy Artaud d rew a model for his theate r : like the symbols of alchemy, theater describes "philosophical states of ma tter" and attempts to transform them. 58 Approaching A rtaud he was retu rned to France. But none of these already formulated, schematic, historically fossilized secret doc· trines could contain the convulsions of the l iving Gnostic imagi nation in A rtaud's head.
However, because it was not as an actor but as a d i rector that he hoped to advance the candidacy of these arts, he soon had to renounce one of them-cinema. Artaud was never given the means to d i rect a film of his own, and he saw his inten tions betrayed in a film of 1 928 that was m ade hy another d i rector from one of his screenplays, The Seashell and the Clergyman. His sense of defeat was reinforced in 1929 by the arrival of sound, a turning point in the history of film aestheti cs which Artaud wrongly prophesied-as did most of the small number of moviegoers ·who had taken films seriously throughout the n ineteen-twent ies-would termi nate cinema's greatness as an art form.