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Extra resources for An Outline Of The Theory Of G-Sets
Ruskin is himself almost aware of this: "no 14 · Strange Chords: Masterful Geometries great man ever stops working till he has reached his point of failure: that is, to say, his mind is always far in advance of his powers of execution, and the latter will now and then give way in trying to follow it" (x, 203). But Ruskin's points of failure, as the branching nodes of a "multicursal" labyrinth that leads to the pathos of a kind of "honourable" self-defeat and decomposition, are not merely those of execution, but also, as will become apparent, of the imagination taken to the repletively explosive edge of breakdown.
I heard them cry—the peacocks. Was it a cry against the twilight Or against the leaves themselves Turning in the wind, Turning as the flames Turned in the fire, Turning as the tails of the peacocks Turned in the loud fire, Loud as the hemlocks Full of the cry of the peacocks? Or was it a cry against the hemlocks? Out of the window, I saw how the planets gathered Like the leaves themselves Turning in the wind. I saw how the night came, Came striding like the color of the heavy hemlocks I felt afraid.
And the quarreling, that quarreling among the "Alpine Roses"— you naughty dear—which was perhaps healed in the moonlight ("Send for the Lady to the Sagitarry," and tell her to bring her handkerchief)—the fact of that quarreling among the "Alpine Roses," the later moonlight, as if off water, and all the time Keats, like Cupid's shaft of fire, "quenched in the chaste beams," with Blake—"you stupid thing"—quite mad, though his plough, yes, his plough, adorned with "Gold and Gems," as if seeking nothing less than the arts of peace.
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