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About Walter Pater. Walter Pater. Books by Walter Pater. Trivia About Aesthetic Poetry. We notice at this point the lack of equilibrium between them. At this point, he encroaches into her space, offering her food but is bitten in the process. He cries out loud, but his human cry falls into a void and is unheard; she is completely unaware of his pain. It is interesting to note that his shout does not break into her space. This is poignantly expressed in the following lines:. His adolescence saw him crucified into sex, Doomed, in the long crucifixion of desire, to seek his consummation beyond himself.
Divided into passionate duality, He, so finished and immune, now broken into desirous fragmentariness, Doomed to make an intolerable fool of himself In his effort toward completion again. Though in Tortoise Gallantry. In fact, by moving deliberately away, the female is also denying her own basic needs.
In Natural terms, both of them need completion. All their movements should therefore be spontaneously directed towards this moment of fulfill ment. When she does finally succumb, the union that results from the force that has pulled the male tortoise forward becomes spiritually uplifting, due to the pain or suffering that has preceded the moment. It is a pain caused from within his own body. Crucifixion therefore refers to the inner turmoil or chaos in nature; the suffering that creation experiences in its movement toward completion and in the continuation of the species within constant time.
However this is not the case. It is a repetition with a certain difference or change. Without sight or scent or hearing the powerful magnetic current vibrates from the hypogastric plexus in the female, vibrating on to the air like some intense wireless message. Even more so, in Tortoise Gallantry , the female does not seem as completely nonchalant to male advances as the female in the previous poem is. Even the title of this poem, Tortoise Gallantry is less sarcastic, suggesting bravery and respect for a female who can balance her inner and outer needs.
Fragmented lines express unfulfilled longing , while vivid imagery and internal rhyme add to the poignancy of the aesthetic experience. Notice how vividly this experience is portrayed:. He is unwillingly pulled towards his desired object , as if by a stronger mysterious force.
The number four once again intrudes as an indication of the fourth dimension of time, announcing the sound or cry coming from another time-zone. As such, the tiny yet audible cry of the tortoise moves from being a particular experience to a general one encompassing all beings. We notice how fragmented lines become more pronounced, as if gather ing speed. In this way, Lawrence gives evidence that the tortoise is faster than man and that it furthermore.
W ith each memory caus ing a heart-throb, r hythm moves accordingly. Breathlessly and rhythmically, one after the other , memories thus gain momentum , until finally all are forgotten and laid aside, for one single moment of extreme emotion, the climax of all memory, in a final cry:. This last, Strange, faint coition yell Of the male tortoise at extremity, Tiny from under the very edge of the farthest far-off horizon of life.
This comprises a separation from the spiritual and then a union — an uplifting and then a subsiding experience of pleasure as the soul leaves , temporarily go ing beyond the body and then returning. Through their movement and flux , the poems go beyond the purely aesthetic experience , opening up philosophical and scientific implications.
E ach poem or image is held together in cosmic, horizontal time by the sense of movement running throughout, and the resulting image of tortoises is a four dimensional one. In the end, what remains in our minds are the timeless experiences of creative beauty: the eternal now of each moment harmoniously enclosed within units of memory. Babich E.
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Bell , Michael. Lawrence: Language and Being. Cambridge, England: Cambridge University Press, Carman ,Taylor. Volume 28, Number 2, Eggert , Paul. Gott J. Gurudev , Sujata.
Walter Pater's "Dante Gabriel Rossetti" versus His "Aesthetic Poetry"
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Keese , Andrew. Lawrence Studies. Lawrence , D. The Letters of D. Warren Roberts, James T. Boulton and Elizabeth Mansfield. Cambridge: Cambridge UP, Fantasia of the Unconscious. London: The Big Nest, Lawrence: Vol II: June ctober , ed. George J. Zytaruk and James T. Boulton Cambridge, Cambridge University Press, , , Lungstrum , Janet. Peter J. Virginia: Virginia UP,