Besides, answered Goethe, we hear this substitution of g for k, not merely amongst actors, but even amongst theologians. I once experienced an incident of this sort. When I, some five years ago, stayed at Jena, and lodged at the Fir Tree, theological student one morning presented himself. After he had conversed with me very agreeably, he made, as he was just going, request of most peculiar kind. He begged me to allow him to preach in my stead on the next Sunday. I saw which way the wind blew, and that the hopeful youth was one of those who confound g with k I therefore answered that I could not personally assist; but that he would be sure to attain his object if he would apply to Archdeacon Koethe. -Conversations with Eckermann John Koethe is widely recognized as one of our foremost Romantic poets, an inheritor of the tradition of Stevens and Ashbery. Koethe is also philosopher by trade, and in his recent collection of essays, Poetry at One Remove (University of Michigan, 2000), he attempts to bring his art and his profession together by offering a coherent view of poetry and mentality Rather than assess his attempt to bridge the gap between modes of speculation, I will consider Koethe's understanding of poetry, both for the light it sheds on Koethe's own poetic project and, more generally, as study in the fortunes of romanticism. Koethe conceives of poetry as an achievement of the agonistic sublime, as subjectivity's contestation of its objective setting in world that has no place for it and which threatens to reduce it to nonexistence. Such romantic understanding of the poet's task is perhaps most associated with Harold Bloom, and Koethe explicitly aligns himself with Bloom's interpretation of Romantic poetry as an art devoid of subject but subjectivity' domain of internalized quests whose goal is the achievement of former self. What does it mean to want to achieve former self? When one comes across such phrases in Bloom, the temptation is to read them as religious utterances, formulas lifted from Gnosticism, Orphism, or some even more obscure byway of belief. Koethe's taste for speculation runs to philosophy, as evidenced by his characteristic gloss on the notion of selfless self as of pure subjectivity, conceptually prior to its objectification in the form of the human person. Both Koethe and Bloom believe in poetry that can assert itself against what Wallace Stevens called the escapades of death that fill these external regions!' They part company, however, over the question of the possible efficacy of transformation. While Bloom, at certain stages of his sprawling career, has been less than sanguine about the power of poetry to dominate the universe of death, he is more inclined to the ecstatic optimism of an Emerson than the fatalistic pessimism of Freud. Koethe takes gloomier view. h im, assertions of are always made in the face of futility, and the poet is confronted with the inevitable that the condition of transcendental subjectivity is finally unsustainable. Koethe does not explicitly formulate his divergence from Bloom, but one way to tease it out is through an examination of Koethe's readings of Stevens. The book opens with reading of Stevens's Notes Toward Supreme Fiction which is meant to demonstrate the poet's recognition of the futility of speculation. Koethe disclaims any pretense of being either literary scholar or critic, so it would be unfair to complain that he doesn't take into account interpretations of Stevens on which the poet appears to triumph over reality, rather than submit to its rebuff of poetic pretensions. However, the discerning reader will note that Koethe gets his reading afloat by practicing the art of selective citation. instance, when he quotes the opening lines of Stevens's poem, Koethe halts at For moment in the central of our being, suggesting that Stevens is only committing to flicker of power, transitory gleam. …
Read full abstract