Bowl, Cat and Broomstick [play] (OP) | |
---|
Carlos Among the Candles [play] (OP) | |
---|
Three Travelers Watch a Sunrise [play] (OP) | |
---|
The Sail of Ulysses (OP) | |
---|
Desire & the Object (OP) | |
---|
Owl’s Clover, A Duck for Dinner (OP) | |
---|
Owl’s Clover, The Old Woman and the Statue (OP) | |
---|
From the Journal of Crispin (OP) | |
---|
Lettres d’un Soldat (OP) | |
---|
Looking Across the Fields and Watching the Birds Fly | |
---|
To an Old Philosopher in Rome | |
---|
An Ordinary Evening in New Haven | |
---|
Thinking of a Relation between the Images of Metaphors | |
---|
Description without Place | |
---|
Crude Foyer | |
---|
Chocorua to Its Neighbor | |
---|
Extracts from Addresses to the Academy of Fine Ideas | |
---|
Man and Bottle | |
---|
Dry Loaf | |
---|
The Man with the Blue Guitar | |
---|
Like Decorations in a Nigger Cemetery | |
---|
Sea Surface Full of Clouds | |
---|
Peter Quince at the Clavier | |
---|
The Comedian as the Letter C, iv: The Idea of a Colony | |
---|
Metaphors of a Magnifico | |
---|
Le Monocle de Mon Oncle | |
---|
line 7 (i.7): | I wish that I might be a thinking stone. |
| |
line 20: | Of what was it I was thinking? |
| |
line 56: | But on the banjo’s categorical gut, |
| |
line 7 (i.7): | Thinking of your blue-shadowed silk, |
| |
line 70 (iv.16): | Its bluest sea-clouds in the thinking green, |
| |
line 55 (xvi.1): | If thinking could be blown away |
| |
line 62 (vi.10): | The thinking of art seems final when |
line 63 (vi.11): | The thinking of god is smoky dew. |
line 320 (xxviii.4): | Thinking the thoughts I call my own, |
| |
line 9: | Brown as the bread, thinking of birds |
| |
line 11: | A manner of thinking, a mode |
| |
line 123 (vi.1): | Of systematic thinking . . . Ercole, |
line 125 (vi.3): | Of what do you lie thinking in your cavern? |
line 131 (vi.9): | Half sun, half thinking of the sun; half sky, |
line 134 (vi.12): | To be happy because people were thinking to be. |
line 146 (vi.24): | Half thinking; until the mind has been satisfied, |
| |
line 47 (x.2): | Of daylight came while he sat thinking. He said, |
line 64 (xiii.4): | And from what thinking did his radiance come? |
line 83 (xvii.3): | The stone, the categorical effigy; |
line 107 (xxii.2): | But resting on me, thinking in my snow, |
| |
line 2: | That merely by thinking one can, |
| |
line 98 (iv.30): | One thinking of apocalyptic legions. |
line 114 (v.16): | The categorical predicate, the arc. |
| |
Title: | Thinking of a Relation between the Images of Metaphors |
| |
line 353 (xx.11): | Who sits thinking in the corners of a room. |
| |
line 80: | And frame from thinking and is realized. |
| |
line 28: | Too much like thinking to be less than thought, |
| |
line 47 (v.1): | Here I keep thinking of the Primitives— |
| |
line 441 (IV.89): | But on the banjo’s categorical gut, |
| |
line 70 (iv.27): | Thinking of heaven and earth and of herself |
| |
line 568 (iii.12): | But of what are they thinking, of what, in spite of the duck, |
line 574 (iii.18): | Is each man thinking his separate thoughts or, for once, |
line 575 (iii.19): | Are all men thinking together as one, thinking |
line 576 (iii.20): | Each other’s thoughts, thinking a single thought, |
| |
line 9: | So that thinking was a madness, and is: |
| |
line 33 (iii.3): | Thinking gold thoughts in a golden mind, |
| |
line 145: | “He will be thinking in strange countries |
line 151: | “He will be thinking in strange countries |
line 155: | “He will be thinking in strange countries |
| |
line 2: | I was always affected by the grand style. And yet I have been thinking neither of mountains nor of morgues. . . To think of this light and of myself . . . it is a duty. . . . Is it because it makes me think of myself in other places in such a light . . . or of other people in other places in such a light? How true that is: other people in other places in such a light. . . If I looked in at that window and saw a single candle burning in an empty room . . . but if I saw a figure. . . If, now, I felt that there was someone outside. . . The vague influence . . . the influence that clutches. . . But it is not only here and now. . . It is in the morning . . . the difference between a small window and a large window . . . a blue window and a green window. . . It is in the afternoon and in the evening . . . in effects, so drifting, that I know myself to be incalculable, since the causes of what I am are incalculable. . . |
| |
line 27: | Oh, poetess is just the word at twenty-two! What you are thinking of is forty-two. |
line 55: | I was not thinking of that. I was thinking merely of the expression it gives to the portrait. That expression is vitally biographical. |
line 86: | As you like. My portrait is not a failure. Broomstick is right. A poetess should be of her day. But he is thinking of the poetess of forty-two: the sophisticated poetess. I am thinking of the unsophisticated poetess of twenty-two. If she happens to look like one of the dark-haired and dark-eyed Peloponnesians, that is not a rococo pose. It is an unaffected disclosure of her relationship. |
line 118: | I am sorry. I was thinking of a white holder. I thought we had come up the stalks and were going around the edge of the holder. |
line 128: | Pshaw! And imagine Bowl’s thinking it new. Only because he wanted to think well of his poetess. She is young. Therefore she is new. Or therefore her poetry is young. That is one of the most persistent of all fallacies. Her poetry is young if her spirit is young—or whatever it is that poetry springs from. Not otherwise. This emotional waste, like the first poem, the one about twilight, this stale monism like The Shadow of the Trees, this sophisticated green, green, green—it is all thirty years old at the least. Thirty years at the very least. I might even put it in the last century. But aside from the poems we have actually heard—and I daresay the book is full of others just like them—what I hold against Claire Dupray, above everything else, is just that she is not herself in her day. To be herself she must be free. She looks free (looking at the portrait). But she is not free in spirit, and therefore her portrait fails. |