Dilating Time while Remurmuring Eternity
a formless void without mind or life,
a shadow spinning before the beginning
over a silent static sea,
unlit altar of eternity,
fathomless vortex of the Infinite Zero.
Some readers will no doubt call this omschooled doggerel "repetition with tedium," or "artlessness with sincerity." But if I had any time at all this morning, it wouldn't be difficult to provide additional examples of this technique from genuine licensed poets such as Blake, Yeats, Donne, or Suzanne Sommers.
Another interesting way to express the symmetry of eternity, according to Bomford, is through what is called antithetic parallelism. This is a literary device in which a statement is made and then repeated with the terms in reverse order. He cites the spontaneous utterance of a person on trial whose case was close to reaching a verdict: "I was about to lose my liberty.... My freedom was about to go."
Interestingly, Bomford points out that "the richest source of such antithetic parallelism familiar to the English-speaking reader is in the Book of Common Prayer," for example,
O God, thou knowest my folly:
the wrongs I have done are not hidden from thee.
I am the talk of those who sit in the gate,
and the drunkards make songs about me.
The following examples may not be exact antithetic parallelisms, but at least I can now see what Petey was driving at:
Nothing is real.
NOTHING is realized.
That's it in a knotshall.
The nature of reality,
the rapture of nihility....
A drop embraced by the sea
held within the drop.
Know you're nought
you naughty boy.
In fact, I can also see that the Cosmobliteration section of the Coonifesto has a number of examples of the "unchanging cry," i.e., exclamations used to express eternity, such as
Om, now I remurmur!
Finn again, we rejoyce: salvolution, evelation, ululu-woo-hoo-aluation!
Whoops, where'd ego?!
So long. So short! Whoosh! there went your life.
Holy creation, shabbatman, time to rejewvenate (oy!).
Wu, full frontal nullity!
I am? That! O me ga!
You know, I feel a little self-conscious analyzing Petey's text, but I realize that no one else is ever going to ever do it, so it might as well be me.
Anyway, Bomford then cites the excellent example of Eliot's Four Quartets, which reflects upon how words may be used in the struggle to express the still silence of eternity:
Into the silence. Only by the form, the pattern,
Can words or music reach....
Or say that the end precedes the beginning,
And the end and the beginning were always there
Before the beginning and after the end.
And all is always now. Words strain,
Crack and sometimes break, under the burden,
Under the tension, slip, slide, perish,
Decay with imprecision, will not stay in place...
I actually cited this very passage on page 5, as a preface to the cracked and broken punnish antics of Cosmogenesis. How to reach up into the silence with blustering and unruly words? Hell, I don't know. Ask Petey, who, like Eliot, is not above occasionally lifting a line from elsewhom. Here this literary kleptomaniac holographically playgiarizes with John Lennon, Leonard Cohen, Neil Finn, James Joyce, Van Morrison, Miles Davis, and Joe Strummer, all at once:
Relax and float downstream.
A hole in the river.
Only drowning men can see it.
Slipping away, softly now.
Beneath the waves, ocean of being.
So quiet in here.
Don't touch that dial!
In reference to Eliot, Bomford notes that "A reversal of beginning and end is needed to make the expression of eternity more complete: the combination of two penultimate forms together more strongly points to the ultimate."
The combination of two penultimate forms together. Hmm, once again I can see what Petey was up to with many of his puzzling paradoxables, since he was attempting to convey an unbleatable state of mind that is technically unglishable to our wordly whys:
nobodaddy, no mamafestation,
nothing but neti.
Darkness visible the boundless all....
unborn thus undying,
beginning and end of all impossibility,
empty plenum and inexhaustible void.
Who is? I AM.
A wake. Alone.
Likewise, there are numinous examples of the conjunction of contrasting penultimates in Cosmobliteration:
all-negating Void Supreme
darkness within darkness,
benighting the way brightly.
The body, an ephemeral harmelody of adams
forged from within stars,
our life, a fugitive dream
within the deathless, sleeping
Too old, older than Abraham,
too young, young as a babe's I AM.
We'll meet again.
Up ahead, 'round the bend.
The circle unbroken, by and by.
A Divine Child,
a touch of infanity,
a bloomin' yes.
In this last passage, the ultimate purpose of the cosmos (the ancient God's-end) is conjoined with the boundless joy of the brand new infant (godsend) -- that most precious and fleeting of flowers, which, like all flowers, always says Yes! to the gift of existence. What do they not know that we do, and how can we forget it?
To be continued....