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much absence. However much the Piper dwells in the midst of nature’s splendor, the Lamb’s song has not yet come to be; and it is precisely this, the child’s reminder, that awakens in the Piper the soul ache for Splendor, its metaphysics. It is the very absence of Poiesis lofty splendor that compels him to write the Lamb’s song. Compelled by the child, he is moved by the necessity to affirm the other, the holy, the sacred; and he shall grasp it from his deepest innate recollection, be it Jung’s collective unconsciousness, the archetypes, or Plato’s collective supra-consciousness, the universals, so that “every child may joy to hear.”
The moment he attempts to grasp the ineffable, it vanishes, just like the child, it begins its delirium to find the Lamb, Our Savior, staining the waters, the pure, the clear, with our vain attempt, the stain, our subjectivity, distortions, and we begin to perish, to suffer, and the self, losing its way, disappears.24
If SII’s compels the Piper towards lofty Poiesis, SEI’s Introduction is the nostalgia for it. What little or grand beauty and Poiesis the Piper-Bard brings into being in SII, it returns to Anti-Poiesis in SEI, the negation of
24 Si Kongtu. Las Veinticuatro Categorías de la Poesía. Ed. Pilar Gonzalez. Madrid: Gráfica España, S.A., 2012. 71.
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