Within the dream-parallel, within the “bare, spacious room” where Ra, Osiris, and Amen appeared and startled the poet into those eyes of amber shining, into the recognition that “we are at the cross-roads,” and the poet responds with “ecstatic agency,” with the desire to renew the covenant not only with “the new Sun” but with the reader-as-initiate to “light a new fire” and reclaim “forever and ever Amen.”
H.D.’s response to those who question the importance of poetry in times of crisis is: “but if you don’t even understand what words say, // how can you expect to pass judgement / on what words conceal?” . WHAT DO WORDS CONCEAL? Part of this project is to better understand what words conceal by revealing their referential possibilities. Moreover, if we can better understand what words conceal, then perhaps we can answer the questions posed in section : “What saved us? what for?”
Section  ended with the word “Amen.” If we remember from a previous post, “Amen” meant hidden, but he was also at one point the god of air, of breath. This seems to relate to the idea of concealment and revelation. That what words conceal, if discovered, will permeate the air and give us breath. Or that what words conceal are in the air itself, always there but hidden in the smoke of war, or has become as forgotten as the importance of breath. This also relates to the verse 29 in the Deuteronomy chapter: “The secret things belong unto the LORD our God: but those things which are revealed belong unto us and to our children for ever, that we may do all the words of this law.” By revealing what is concealed (secret) thru seeing in a new light, we may not only know what words say, but we “MAY DO” the words of the secret wisdom.
SO, now that the poet has renewed the fire of the covenant, what is the poet’s first ACT? Here is section  (and again another shift in tone…this passage is actually one of the most SPOKEN WORD parts of all of Trilogy (actually, reminds me a little of some of Barbara Jane Reyes’s work (in the sense that it’s BADASS), AND it has attitude) it also is quite funny) ::
is most difficult to disentangle
from its art-craft, junk-shop
paint-and-plaster medieval jumble
of pain-worship and death-symbol,
that is why, I suppose, the Dream
deftly stage-managed the bare, clean
early colonial interior,
without stained-glass, picture,
image or colour,
for now it appears obvious
that Amen is our Christos.
QUESTION: WHY IS THIS THE FIRST ACT? WHAT IS SO IMPORTANT ABOUT THIS “DISENTANGLING” or “DISENTANGLING” IN GENERAL? FOR EACH COMMENT, I WILL DONATE $1 to the “FLARF DEFENSE TEAM.” THANKS!!!
(paintings from top to bottom: rembrandt, dali, dali, caravaggio)