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By Hilda Doolittle

This reissue of the vintage "Trilogy" through H.D. (Hilda Doolittle, 1886-1961), now contains a huge portion of referential notes for readers and scholars, compiled through Professor Aliki Barnstone. As civilian warfare poetry (written lower than the shattering influence of worldwide battle II). "Trilogy's" 3 lengthy poems rank with T.S. Eliot's "Four Quartets" and Ezra Pound's "Pisan Cantos." the 1st publication of the Trilogy, "The partitions don't Fall," released in the course of the "fifty thousand incidents" of the London blitz, continues the wish that even though "we don't have any map; / in all probability we are going to achieve haven,/ heaven." "Tribute to Angels" describes new lifestyles springing from the ruins, and at last, in "The Flowering of the Rod"--with its epigram "...pause to offer/ thank you that we upward push back from loss of life and live."--faith in love and resurrection is discovered in lyric and strongly Biblical imagery.

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Additional info for Trilogy: The Walls Do Not Fall / Tribute to the Angels / The Flowering of the Rod (New Directions Classic)

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W ho is this Lord? H ow may seeds be planted in an immate­ rial thing? W hy should it be good to give thanks? N either the crea­ tive w ill, in the light of which all objects answer to the demand made of them by the searching mind, nor the moral w ill, in the light of which they are subsumed under a prior law of duty, is here put into effect. ” T h e w ill toward relational knowledge plays no part because whatever relation is, is. It may be accepted, and thanksgiving result, it may be rejected and complaint result, but the relation holds.

22 If it cannot be willed into action, how does the principle of gen­ erosity reveal itself, how is the soul made apparent? One of the fa­ mous passages in T h e Prelude is that dealing with skating at night. Clear and loud the village clock tolled six, the boy wheeled about, Proud and exulting like an untired horse he and his companions hiss along the ice, a pack after the hunted hare So through the darkness and the cold we flew, A nd not a voice was idle; with the din Smitten, the precipices rang aloud; T h e leafless trees and every icy crag T in k led like iron i8 THE U N M E D I A T E D VISION and oftentimes W hen we had given our bodies to the wind, A nd all the shadowy banks on either side Came sweeping through the darkness, spinning still T h e rapid line of motion, then at once Have I, reclining back upon my heels, Stopped short; yet still the solitary cliffs W heeled by me— even as if the earth had rolled W ith visible motion her diurnal round!

One could first take the case where the poet tries to convey a meta­ physical idea and fails, not because the idea is poor or false, but because it does not accord with the language of poetry. T h e follow ­ ing passage is typical of T h e Excursion, and, in its original version dating back to 1798, supported C oleridge’s shift from Hartley and Godwin: 61 For, the M an— W ho, in this spirit, communes with the Forms O f nature, who with understanding heart WORDSWORTH 37 Both knows and loves such objects as excite N o m orbid passions, no disquietude, N o vengeance, and no hatred— needs must feel T h e joy of that pure principle of love So deeply, that, unsatisfied with aught Less pure and exquisite, he cannot choose But seek for objects of a kindred love In fellow-natures and a kindred joy.

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