Possible Images II

IN THE BLACK LAUNDRY THAT RIMBAUD LOCATED, RAINS (QUANTOS) TEND TO come. The measure is excessive, until it reaches—in the exercise of a meaning which is ungraspable but coexistent—a meaning which is extremely extracted for the associations of a verb, of a situation, of a relation, of intercommunication; between the dilated associations ruled by a meaning and a meaning that acts upon a precise, monstrous, simple, repeatable counterpoint. This black laundry comes to open the fabulous opera. In that form of poetic nutrition, similar to the homogeneous diversity of the rain—since history is like a nonexistent and bipolar horizontal rain—poetry advances in its beginning across such a dilated and far-off plane, similar to the vegetal yield that the discourse of the progressive current always differentiates. Similar to a damsel who after having tired in the coarse work of the black laundry, at night keeps watch over her silks in order to attend the fabulous opera. Excuse me if I have used the word "meaning" without defining it in the way in which I would like to make it visible. After having used the instantaneous resources of a network of associations, and while those resources are at times yielded by a voluptuous extrasensoriality, it is this meaning that continually surges up and which winds up being clarified like a hyperbolic proof, like the large fish spotted in their presence by an incredibly soft vertical movement of the liquid mass, provoking this delight in which even the water is extended along the scaly surface, all the while belonging to another realm. Is it perchance necessary to distinguish between meaning as an initial projection and meaning as a tonal result? I now underline this last condition, this incessant desire that makes itself visible for an instant, or it fixes itself upon us with a grotesque insistence. Just as man has reaffirmed the possibilities of his pride in the creation of the orchestra or in the creation of the opera, which are living organisms created by the desire pursued by the secularity of supporting, of achieving a hardness or a resistance for his imagination; of making permanent or pursuable on a continuous basis an enemy who required us to follow his gesture unveiled in time or fixed in space. A firmness and a naturalness, supported by a little monstrosity that afterwards became errant, making fun of the first impositions, who quieted down the immobility and the freezing.

When Rimbaud arrived at the dazzle of the fabulous opera, he was going beyond a relevance to secure an enclosed space. In that way he related to the most unexpected tradition, between the traditions of the Cartesian other which gave us the adequation of primary action and principal form in man. In the same way that the mystery of our answers falls asleep or becomes clearer in relation to a provocative act, presented with a distance so absorbing between one and another, the same provocation being insinuated or extinguished, as if this provocation were showing us only its reverse. I already thought by this same association of acts that the answer in dance or in song to the purification of metals or to the accomplished itinerary of wheat should be as surprising for him, for he who has to contemplate our answers, lost through his own nearness to this provocative act. And if already within its miracle every act detached its form, engendering, in the reiteration, the interweaving of the natural course and the artificial discourse, we were also expecting from form its sequence, detaching its nature in the diversity or in time. Thus, the form changes into an object or into a cognition within being, needing to irradiate, to construct images that are residues of that act through the voracity of forms. Even in the distance that...