Page 9 - GALIET Memory and Poiesis: On Apollo's Wings IV

where the poet’s idealism must be awakened to suffering through remembrance. Hence, in a finite circularity, parts of the fragments of Hyperion: A Fragment appear in The Fall of Hyperion: A Dream. Towards the narrative end, A Dream beckons and returns to the distant memory of A Fragment where the Titans’ never-ending lamentations and Hyperion’s intentions to lead the war against the Olympians are narrated. As a result, A Fragment appears as the anti-chamber 3⁄4 poesy 3⁄4 that follows its chamber 3⁄4 memory 3⁄4 in A Dream, a memory whose eyes only see subjectively, in half-vision and which only poesy can mediate and fill with meaning. Every revolution, then, is at first, a partial revolution that fails in the eyes of memory, dying in part, and being fully reborn, alive to complete its circle within the sun’s course3 just as the poet- visionary and young Apollo are fully and completely edified only after they are reborn poetically and prophetically.
Moreover, both poems storm and stress many of the romantic themes. Hyperion: A Fragment and The Fall of Hyperion: A Dream, mark the change from an old-world order to a new one while singing about ideals of renewal, beauty, truth, poetry and knowledge and the tragic tensions between symmetry and asymmetry, chaos and order, necessity and liberty, the ideal and
3 Derrida, Jacques. Given Time. Trans. Peggy Kamuf. Chicago: University of Chicago Press, 1992. 6
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