Page 20 - GALIET EMBERS & SAPPHIRE: Milton IV

Echo participating in Echoness. Echoness as the cause of Echo.25 Plato.
Parmenides’ what-is, what can be said, thought about,26 reflecting back as that which is not.
Music as libation, pouring, and the Muse’s musings pouring.
As Nietzsche claims, music is not, in fact, a twice-mimesis of reality (like painting or poetry, as Plato postulated): it is reality itself, the very expression of the Will in Schopenhauer’s sense.27
25 Echoness is the cause of Echo, because its very source is the pure language of Lady Chastity. In this sense, it does not resemble the mimetic echo of the puppeteers in Plato’s cavern.
26 Parmenides apprehends what is as is; also identified with being. For it is the same to apprehend and to be. Fr. 4. Mainly, one cannot inquire about what is not. Waterfield, Robin. The First Philosophers. Parmenides. Fragment 4. (Clement Miscellanies 6.23.3) Oxford: Oxford University Press, 2000. 58. Parmenides’ theory suggests deductive knowledge (logos and legein as opposed to mythos); even though it is, paradoxically, derived from a goddess since he is also a poet and a prophet. If what is refers strictly to deductive knowledge, then Myth and Poetry to Parmenides might be deemed as what is not.
27 Schopenhauer believes that art, unlike reason, reveals the eternal forms in varying degrees, passing, successively, from architecture to sculpture, to painting, to lyric, and tragic poetry to music. Music, in particular, is almost a revelation of the Will, because it is beyond every spatial representation; it is the very expression of sentiment just as it is: pure, real and removed from causal motivations. Music is the pure abstraction of suffering and joy, and consequently, the liberation of the Will s suffering, given its serene vision and dominion. Music is the highest expression of universal language: geometry and number, hence a-priori. Schopenhauer. The World as Will and Representation. Trans. E.F.J. Payne. New York: Dover Publications, 1969.
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