The Poems of a Dead Metaphysician

By William J. Long

THE POEMS OF A DEAD METAPHYSICIAN will injure a reader with the meanings of a mosaic murder, of a crucified dithyramb, of denomination, of a bog that can only be found in a cryptic system of molten, psychological forethought, something which will force a fomentation of idiosyncrasy and simulacrum to terminate, where madness can stand as a pedigree and interpose the like of a witch... of an intonation whose intellectual management leads one to huddle with the icy ideas of a holocaust-house, of an infinity of future forms whose only purpose is to cause the assassination of an asylum and to build a system of what is an institutionalized position of griffin-like creatures: all of whom will serve as the domestic mentors of the futilitarian days to come.

• Language: English
• Publisher: Xlibris US
• Release date: Nov 29, 2005
• ISBN: 9781477160206

William J. Long

William J. Long (1867-1952) was an American United Church of Christ minister and a well-known naturalist of the early 20th century. He is the author of over 20 books, including School of the Woods, Secrets of the Woods, and Brier-Patch Philosophy.

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Copyright © 2005 by J. William Long.

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CONTENTS

Prolegomenon

Abstract

Endnotes

Prolegomenon

The following poems present a mordacious point of view, one in which

there can be seen at the various levels of axiology—or moral and ethical

systems of evaluation—verbal paintings whose purpose is to cause the reader

to descend down into those vicious, subterranean areas of human culture,

where one is driven into the categories of history, literature and psychology,

in an effort to first view the actions of the homo psyche and then to valuate

these behaviors, each of which is designed to convey an understanding of

the several mortal conditions that are essential to everyday existence.

Abstract

Metaphysical poetry is a process whereby the writer tugs upon a force that

is liberated up out of the subconscious mind, to that conscious area of

imagination where an image of an object can be perceived as something

analytical, and where such a category can grow into an idea whose essence

is derived from a viewed, existential finality: it is the quantified whole, the

stock totality that forms a completed expression that is without a

recognizable meaning which reaches into a whirl of descriptive information

whose purpose will sometimes move beyond the concentrated effort of the

writer. This area of something, an explanatory treatise of delineative

representation, illustrates a scheme of intention, or a designated project of

written configuration, which then becomes a direction toward an immediate

motivation, whose theater of existence suddenly charges into this dream-

like composition motive, a pattern of permeated nothing, or a place that

seems full of casualty and execution, of morality, wanton fix and quality, a

literature of ruinous fatality, where we find a psychological fastigium whose

parting message gives critique to that critical evaluation which seems to

fold into a characteristic conglomeration that will exercise an exhausted

interpretation replete with geminated vistas whose only gesture is to signal

and then to define motion.

Vide Meaning in the Visual Arts,

by Erwin Panofsky.

Historical Unschlicklichkeit1

That change of what is to rearrangeBecomes a Welterfahrendesleben:

A life-experiencing-the-world consciousness,

Which serves the forces of the historical stage.

What is a crypt then becomes a crown that

imprisons the clothed closure of a bar,

A chattel of a chase-historical race of a tsar,

Whose methodological psychology forms a sociology too far.

Vide The Use and Abuse of History,

by Friedrich Nietzsche.

Historical Falschheit2

The grave thought is one that is bound

Up in the mind of a haunted grave,

one that cannot be saved from the

Vicious historical malison, of a medieval cave.

it is the sedulous source of historical drain,

of that ruckus rubric that fails to

Purge puritanical purpose from history:

That culminates in a disaffirmation of what is insane.

Vide The Use and Abuse of History,

by Friedrich Nietzsche.

Historical Erwagung3

Cerebrate, cogitate, deliberate and think,

Examine ponderosity, the historical position,

While meditating over the change of range

And the project of