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Critical Analysis #2
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| Critical Analysis #2 |
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dracula68 Junior Member
since 2008-09-07
Posts 30Illinois |
author. author Kill all gods by the fourth act. Yes, yes you must, by all means, show the guns and lay out the plot as well. To reminisce in the myths of our ancestors most high, most anointed and statuesque and lay out the desperation that followed the public demands blood and reason in equal measure. So let the guns blaze and the knives twist. Kill the hero who battles the gods in the fourth act along with them so the last act can be left to life and people - the people, yes, in the final act milling around the stage while glancing over the program for sons' and daughters' names. People conversing near the proper red exits or lingering beneath the antiseptic lights flickering in the hallway entrances, who crane their necks to catch a glimpse of the hero who just might come back for real sooner than anyone thinks to chat a while, informally. People waiting and lingering as they idly mention birthdays and congratulate promotions as they fidget unsure of stepping out into the cold tunnel, exiting for good into the parking garage light while others sweep around the footlights, mop the stage, clean the gods' fake blood from the rubber knives and remove the stage lights while waiting for applause no one will give them, second bows that never come and the curtain no one is ready to close |
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| © Copyright 2008 Michael Pacholski - All Rights Reserved | |||
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BROTHER JOHN Member
since 2006-04-06
Posts 386 |
Dear Dracula, Thanks for your comments on "The Shell." I am not versed enough in poetry to critique the techs of this poem. But I keep pondering, if all the gods are killed, will anyone be left alive? If by gods you mean authority, lawlessness follows. BJ |
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dracula68 Junior Member
since 2008-09-07
Posts 30Illinois |
The idea behind this poem comes from Nietzsche. Without getting into detail, his basic question was "Once we have killed God, what can come next? We've already done the most monumental, horrible, stupendous thing anyone can possibly do. What do you do for an encore?" Agreeing or disagreeing with Nietzsche's assumption isn't important (at least not for the poem), it's what you do as an artist with the scenario. My answer is that, we just mill around, check our watches, small talk here and there. Thoreau called it "living lives of quiet desperation." |
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