PREVIOUS NEXT FIRST In recklessness...
XLII
Cezanne's Apples, Peaches, Pears, and Grapes...
In recklessness
the bug
tosses its thread

over my head
from a convenient log

then almost a Glow
it soars
on silent oars

--Adagio--

until it reaches
its Goal:

MY OWN
fruit bowl !

Moist peaches
apples (browned)
grapes
melons & cakes
it takes

& flees for ground

LAWD!!

But I can't help admire
in one that small
the courage

O Th'Gall
of a so grand desire

when one so huge as Mankind is
chases but after lost traces

of timeless waves that frame
the long ago diminuendo of its being

to a blind, meaningless (fleeing
from Causes cosmic into Mortal cases
... Man's calculations,

discretions, suspicions expire
on th'Fizz

around the Human parenthesis'
ever-dwindling gyre

to his ) infinitesimal Entire. 46

^{46} The purpose of such an elongation being to slow down the sense, feeling, or flow of reading (also the disordering of the placing of the rhymes, etc.); and to contrast the abrupt ending that must balance out the entire body of the poem --and this clearly outweighs it-- with the word "Lawd" used as fulcrum. It is unlikely this poem will escape unscathed the criticism of those who think it fails with its conclusion, not noticing that it does not build up to a conclusion so much as it only stops at a contrast: here the only values that interest me are size-to-purpose (as if to deduce importance from purpose): A rather questionable equation no one will fail to notice is more an irrelevant ratio than a meaningful "relevancy" --Had I been after some relevant conclusion I would have tried to definitely portray the bug's action as not being reckless and the actions of Mankind as being timorous (hiding behind the "subterfuge" of a self- seeking mission). Such a contrast may throw light on both sides but it would fall short of actually ascertaining (or, merely assigning?) the "any" given cosmic merits of either thing contrasted here: The contrast supersedes the thing contrasted so that the latter can be assigned unequal importance within the work & the point of comparison [which marks the one wholly from the other] can be shifted downwards in proportion to where I wish the emphasis to fall --in this case, the irony of having the bug as the central object while Mankind is only a convenient (secondary) subject of the comparison (which turns about the fulcrum "Lawd"). The counterweight is the stark "Adagio" [of line 9] which so proportionally stabilizes the entire structure into art (for art must never abandon form; whether it is the physical form and/or intellectual integrity, unity): Art centers upon the contrast --in the work-- Between the "reckless gall" of the bug, and Mankind's "blind ... chase." The contrast is all the more ironic because the bug seems selfish but is instead "bigger" than a Mankind which "selfishly" pursues self-deception as a means of avoiding the "real" task of some more worthy --egalitarian-- pursuit (social consciousness). "Bigness" in the sense of selflessness (e.g. bigger than oneself). "Blind subterfuge" as our delusion of "the eternal goal" (of seeking our reason for being). When I had to impose a sense of hurry, the text was "accordioned" into a sort of staircase being shut (like a Venetian blind) so the eyes slide down the structure to the fulcrum ("Lawd") which is its floor. [also see CDXII]@

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