Please sir, may I have sum Moore

[Terrance]

>From Erich Heller

The Artist's Journal into the Interior pp. 107-70


It was not in vain that we called Hegel the theologian of
the Greek religiousness of his time. For his definition of
Classical art is the aesthetic version of the dogma of the
Incarnation: the Word made not flesh but a work of art-a
work of art so perfect that it leaves no room for the mind
to play with its
distinctions between 'Form' and 'Gehalt,' form and content,
or 'being' and 'meaning.' The vision of Greece that
Winckelmann, Goethe, Schiller, Hoelderlin, Rilke, and many
others strove to express in dithyramb, disquisition,
aphorism, or elegy: the 'edle Einfalt,' the noble
simplicity, as opposed to the unaristrocratic 
'Zwiespaeltigkeit,' the vulgar dualisms, the ruinous
tensions, and the seven deadly ambiguities of a later
age-the composure of greatness with which Greek art charmed
Winckelmann; the ideal concreteness, the pure present, the
oneness of the real and the transcendent, in the enjoyment
of which Goethe's troubled soul found calm and repose among
the antiquities of Italy; the poetic beauty that, as
Schiller puts it in his poem 'The Gods of Greece,' was for
the Greeks the shining outer form of the living truth, and
not, what elegiacally he knew it was in his time, a poetic
monument only to what had perished in life; the
thoughts of the universal spirit not quietly ending in the
inner soul of the poet as they do in Hoelderlin's hymn 'As
if on a Feastday...' but, as in the Hellas of his poem
'Bread and Wine,' filling the habitations of men with the
noonday light of their divine luminosity; the torso of
Apollo of which Rilke felt that the eyes of its spirit were
gazing through every pore of the stone, putting to shame the
poet's own existence--the vision, in short, of the Spirit's
having entered, in that unique Greek moment of history, the
body of the human world, pervading it with the luster of its
presence, has been rendered by Hegel in the idiom of his
aesthetic theology. 

On Thomas Moore. I convinced that the Rocket is not the
white whale and the Pequad. 
It is certainly the Ship, the oil, the lamps burning, the
science, an anti-transcendental American "Romanticism" or
Neo as in Moore,  but more importantly, the Rocket is NOT
alive, cybernetics no. 
It is man made, anti-natural, a betrayal yes, Weissmann's
plastic cunt S&M.  Whitehead, Bergson, have to look into
that more and Moore,  fascinating readings, but young Tom's
sophomoric eruditions, math, science, these are indeed, as
Moore points out but forgets at times, I think
(Siegal/Stark, Religion/Science), just what P candidly
admits in SL Intro.

Connectedness a style, but  in Pynchon there are opposites
that remain in conflict, not yin-yang, more like the Herero,
and it is  metaphysical & religious. P's connection to yin
yang is not its dialectic, but its silence, the Earth and
not the Word, the Earth not made Word, so Carl G. Jung is
less helpful I think than Freud and the Marcuse's reading
of, and that against the dialectical reading by neos like
Brown. 

Hume, seeking this principle of connectedness wrote,

Though it be too obvious to escape the observation, that
different ideas are connected together; I do not find that
any philosopher has attempted to enumerate or class all the
principles  of association; a subject however, that seems
worth of curiosity. To me, there appear to be only three
principles of connexion among ideas, namely, Resemblance,
Contiguity, in time or place, and Cause or Effect. 

But here is that "scientific reality, essentialist. See that
Resemblance and Contiguity? Yes, like Wittgenstein's Family
Resemblances. P's sophomoric reading in philosophy may be
more revealing, NO?
Weissmann is not guilty.