Page 24 - GALIET INSIGHT IN THE LIGHTNING: Coleridge IV

nurturing and shaping his mad creativity unnoticed. It is imagination’s shaping spirit and forming power, too, that has ‘wings of healing’ (VIII, 128) and is likened to a ‘mountain birth’ (VIII, 129) whose cheerful gaze reminds Wordsworth, too, that “our birth is but a sleep and a forgetting” (IO, V, 1) and that in our state of sleep, something lives that nature remembers (IO, IX, 131-132): the poem of the poem 3⁄4
essence, substance, ousia.
Oneness. The romantic imager is not a mirage.
It is he-she, who wears imagination’s wings and traverses infinite cosmologies and timelines 3⁄4 humble, beautiful and sublime 3⁄4 that encircle binaries of being: anti-poesy and poesy, labyrinths and utopia, linearity and circularity. It is the poet’s glorious Hermetic imagination, that links subjectivity and objectivity, as if Hermes too were an intersubjective bridge across the chasm of existence. And then imagination is none and more than these. It is that ancient altar between earth and the heavens, gods and humans where a cosmotheandric union touches every sinew with the syllables of heaven. It is the soul and stars and Pythagoras’ melodic spheres, whose roundness and fullness, redeems and encircles self-god-cosmos, syllogism and myth, physics and metaphysics, fusing all things with all things into an ontological paradise, where Wordsworth and Coleridge say yes to the energy of the spirit and to a mythological18 and
18 Words as Greek ‘mythos’ and not ‘epos’ (sound-voice) or ‘legein’ (selection, harvest or cause impact on an audience) but as a means of self-revelation of being.
—24—