The silent despair of Dido for her husband’s murder is deafening. Mourning the loss of beauty seems not only to refer to the body of Sicheus, but to the entire humanity, which opiates the intricate effect of words and the aesthetic power of language.
Wallace Stevens played his most dramatic themes upon the strings between philosophy and poetry. Neither a pure aesthete nor an aesthetician, Stevens’ knowledge of the two seeps through in the form of an irreconcilable tension, as I have found most recently in his allusions to philosophy in Description without Place.
It was like a boat – my grandmother would say of the house in which she spent the Christmas of 1944. In fact, the whole city felt like a boat; at least this is what Jan-Erik told them. Jan-Erik came from Sweden as a volunteer for the Red Cross.
Dante writes in Paradiso about a ship, sailing out onto the sea alone. This image can act as a mirror, through which one can observe the world he lived in and the time which followed; the Late Middle Ages and the Renaissance. Italy in the 1200s and onwards was a lonely ship treading dangerous waters.
Let me set down my reading of the stimulus — don’t you also prefer songs with clearly audible lyrics? Dante, as he opens his visions of Paradise, appears to be highly sensitive to the reader, knowing and fearing for the effect he might have on them.