or three years, out of key with his time,
He strove to resuscitate the dead art
Of poetry; to maintain "the sublime"
In the old scene.  Wrong from the start--

No, hardly, but seeing he had been born
In a half-savage country, out of date;
Bent resolutely on wringing lilies from the acorn;
Capaneus; trout for factitious bait;

[idmen gar toi pant, hos eni Troiei]
Caught in the unstopped ear;
Giving the rocks small lee-way
The chopped seas held him, therefore, that year.

His true Penelope was Flaubert,
He fished by obstinate isles;
Observed the elegance of Circe's hair
Rather than the mottoes on sun-dials.

Unaffected by "the march of events,"
He passed from men's memory in l'an trentuniesme
De son eage; the case presents
No adjunct to the Muses' diadem.


II

The age demanded an image
Of its accelerated grimace,
Something for the modern stage,
Not, at any rate, an Attic grace;

Not, not certainly, the obscure reveries
Of the inward gaze;
Better mendacities
Than the classics in paraphrase!

The "age demanded" chiefly a mould in plaster,
Made with no loss of time,
A prose kinema, not, not assuredly, alabaster
Or the "sculpture" of rhyme.


IV

These fought in any case,
and some believing,
		pro domo, in any case . . .

Some quick to arm,
some for adventure,
some from fear of weakness,
some from fear of censure,
some for love of slaughter, in imagination,
learning later . . .
some in fear, learning love of slaughter;
Died some, pro patria,
		non "dulce" non "et decor" . . .
walked eye-deep in hell
believing in old men's lies, then unbelieving
came home, home to a lie,
home to many deceits,
home to old lies and new infamy;
usury age-old and age-thick
and liars in public places.

Daring as never before, wastage as never before.
Young blood and high blood,
fair cheeks, and fine bodies;

fortitude as never before

frankness as never before,
disillusions as never told in the old days,
hysterias, trench confessions,
laughter out of dead bellies.


V

There died a myriad,
And of the best, among them,
For an old bitch gone in the teeth,
For a botched civilization,

Charm, smiling at the good mouth,
Quick eyes gone under earth's lid,

For two gross of broken statues,
For a few thousand battered books.

“Theatricality and representation,” notes Jean-Francois Lyotard, “far from having to be taken as libidinal givens… result from a certain labor on the labyrinthine… a labor which prints these particular folds and twists, the effect of which is a box closed upon itself, filtering impulses and allowing only those to appear on the stage which come from what will come to be known as the exterior, satisfying the conditions of interiority.” (Libidinal Economy, page 3)

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