mike,
it's wasn't too much to find this on the web which I did because I'm curious
how you can take it to further the acorn/oak// dancer/dance line, which also
seems to be implied in the current discussion of transactional-causality.
Perhaps, a deeper reflection on mortality and reified culture as in "Both
nins and mothers worship images /but those the candles light /are not as
those that animage a mohter's reveries, but keep a marble or a bronze
repose." ? Transposed into its cultural and historical context, Yeats would
seem to afirm the inseparability of a transactional causality from an
organismic one, something I hear in what Dianne posted. I have issues with
the description of transactional causality as Eugene described it at a much
more basic level: The example of bad/evil people/acts is really circular
work since people are called bad/evil because they do bad acts but usually
acts are called bad/evil because they are opposed to good/virtuous acts, not
because they issue forth from bad/evil people. The process of
co-constitution of opposites is precisely the kind of movement that Hegel
illuminated (obscurely?) in his account of logic; constitution of emergent
units at each succeding level of resolution of opposites in both society as
history and psychology as mind/spirit. But Hegel would probably deny that
there are good or bad people since neither determination is part of the
notion of people/humans
Among School Children
I WALK through the long schoolroom questioning;
A kind old nun in a white hood replies;
The children learn to cipher and to sing,
To study reading-books and histories,
To cut and sew, be neat in everything
In the best modern way -- the children's eyes
In momentary wonder stare upon
A sixty-year-old smiling public man.
I dream of a Ledaean body, bent
Above a sinking fire. a tale that she
Told of a harsh reproof, or trivial event
That changed some childish day to tragedy --
Told, and it seemed that our two natures blent
Into a sphere from youthful sympathy,
Or else, to alter Plato's parable,
Into the yolk and white of the one shell.
III
And thinking of that fit of grief or rage
I look upon one child or t'other there
And wonder if she stood so at that age --
For even daughters of the swan can share
Something of every paddler's heritage --
And had that colour upon cheek or hair,
And thereupon my heart is driven wild:
She stands before me as a living child.
Her present image floats into the mind --
Did Quattrocento finger fashion it
Hollow of cheek as though it drank the wind
And took a mess of shadows for its meat?
And I though never of Ledaean kind
Had pretty plumage once -- enough of that,
Better to smile on all that smile, and show
There is a comfortable kind of old scarecrow.
What youthful mother, a shape upon her lap
Honey of generation had betrayed,
And that must sleep, shriek, struggle to escape
As recollection or the drug decide,
Would think her Son, did she but see that shape
With sixty or more winters on its head,
A compensation for the pang of his birth,
Or the uncertainty of his setting forth?
Plato thought nature but a spume that plays
Upon a ghostly paradigm of things;
Solider Aristotle played the taws
Upon the bottom of a king of kings;
World-famous golden-thighed Pythagoras
Fingered upon a fiddle-stick or strings
What a star sang and careless Muses heard:
Old clothes upon old sticks to scare a bird.
VII
Both nuns and mothers worship images,
But thos the candles light are not as those
That animate a mother's reveries,
But keep a marble or a bronze repose.
And yet they too break hearts -- O presences
That passion, piety or affection knows,
And that all heavenly glory symbolise --
O self-born mockers of man's enterprise;
VIII
Labour is blossoming or dancing where
The body is not bruised to pleasure soul.
Nor beauty born out of its own despair,
Nor blear-eyed wisdom out of midnight oil.
O chestnut-tree, great-rooted blossomer,
Are you the leaf, the blossom or the bole?
O body swayed to music, O brightening glance,
How can we know the dancer from the dance?
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