[from Notes Toward a Supreme Fiction, by Wallace Stevens:]
IX
The romantic intoning, the declaimed clairvoyance
Are parts of apotheosis, appropriate
And of its nature, the idiom thereof.
They differ from reason’s click-clack, its applied
Enflashings. But apotheosis is not
The origin of the major man. He comes,
Compact in invincible foils, from reason,
Lighted at midnight by the studious eye,
Swaddled in revery, the object of
The hum of thoughts evaded in the mind,
Hidden from other thoughts, he that reposes
On a breast forever precious for that touch,
For whom the good of April falls tenderly,
Falls down, the cock-birds calling at the time.
My dame, sing for this person accurate songs.
He is and may be but oh! he is, he is,
This foundling of the infected past, so bright,
So moving in the manner of his hand.
Yet look not at his colored eyes. Give him
No names, dismiss him from your images.
The hot of him is purest in the heart.
[...]
[All rights reserved by the author's estate - Please do not copy]
IX
The romantic intoning, the declaimed clairvoyance
Are parts of apotheosis, appropriate
And of its nature, the idiom thereof.
They differ from reason’s click-clack, its applied
Enflashings. But apotheosis is not
The origin of the major man. He comes,
Compact in invincible foils, from reason,
Lighted at midnight by the studious eye,
Swaddled in revery, the object of
The hum of thoughts evaded in the mind,
Hidden from other thoughts, he that reposes
On a breast forever precious for that touch,
For whom the good of April falls tenderly,
Falls down, the cock-birds calling at the time.
My dame, sing for this person accurate songs.
He is and may be but oh! he is, he is,
This foundling of the infected past, so bright,
So moving in the manner of his hand.
Yet look not at his colored eyes. Give him
No names, dismiss him from your images.
The hot of him is purest in the heart.
[...]
[All rights reserved by the author's estate - Please do not copy]
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