Page 11 - GALIET Memory and Poiesis: On Apollo's Wings IV

completeness and roundness! To Poesy! In her encircling essence! To Poesy! A jovial synthesis! As if the substance of A Fragment was a theatre and its dreamy other, the anti-theatre of visions projecting and adding unto the other fragments of mesmerizing self-similarity, marvelous fractals of Poesy’s poesy, sparks from the muse’s abode where the entire poem dwells in each of its verse-lines, whose oniric interpretations embrace those perennial themes given to aesthetic and political revolution; light and dark, death and rebirth, mimesis and imagination, motion and stillness, and the riddle of attempting to decipher the ineffable, the holier spheres beyond our grand canopy of memory and forgetting.
When Oceanus posits his Eternal-Law proof (Hyperion: 2.177) “first in beauty should be first in might” (Hyperion: 2.181), he highlights a non-violent, aesthetic revolution whereby the Titans’ blindness and innocence causes the beautiful to transform into the sublime in its teleological pursuit of absolute truth and knowledge. Oceanus, hence, naturalizes shifts in power into a Hegelian, dialectical4 master-slave movement whereby “on our heels a fresh perfection treads” (Hyperion: 2:212), and whereby “a power more strong in
4 Please read Keats’s September 18, 1819 letter to George and Georgiana that posits a dialectical view of the French
Revolution.
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