“Preludes” speaks of an experience of collective time in the modern city as it fractures, interrupts, and repeats itself, eliciting a groundhog-day-esque feeling of recurring stasis and disillusionment.
The goddess Venus is an essential example of this multidimensionality. Even though she is an explicitly feminine figure––as a mother goddess of love, sexuality, and beauty––she played an extremely important role in Roman religion and national identity.
Each author’s language “is sent, failing, on a wandering journey of endless mediation,” unable to cement and bring home a fixed meaning, leaving their works at the meeting point of music and language.
When law requires “only” confession for its functioning, what exists beyond this axiomatic logic? Where does confession reach its limits? Where do its uses turn on themselves?
Eliot’s representation of the senses is wide, and can be both personal to the intended reader, or more universalized, general descriptions which portray the poignant scenes for which Eliot is so famous.
Fear is poison / pain and pleasure / Some people get off on it / I try to stay away. / Only place I’m comfortable is isolation. / Truthfully. / I'm alive.
Don’t be fooled we will always take our pride and joy wherever we go / Because that will never be left behind, nuestra alegria / Sin importar lo bueno o lo malo, ay que disfrutar de la vida como sea
Through constant oscillation between the imagined and the tangible, Auden presents the problem of love; even when the “you” only exists in the imagined past, the speaker cannot help but try, through language, to bring them into the tangible present.