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This antithesis between the awful certitude of will-driven instinct and the fancy-prone irresolution of human reason provides the animating tension of Hawk Roosting. The hooked head and hooked feet of the predator represent, like the human brain, organic objectifications of the rapacious will, but they are free from the falsifying dream that debilitates the brain and causes it to send delayed or faulty commands to the extremities by which it survives. One aspect of this dream is the tendency to construe surroundings aesthetically rather than strategically. Phenomena that we find pleasant or exhilarating - the high trees. . . . the airs buoyancy and the suns ray - are of advantage to the hawk in its hunt for prey. Schopenhauer finds enormous value in absorbed aesthetic contemplation precisely because it releases the contemplator, for the moment, from the stringent urgencies of will, enabling him or her to become the pure subject of will-less knowing and thus to be taken out of the stream of time and of all other relations (World 1 17). Hughess poem as aesthetic artifact embodies this phenomenon, but simultaneously subverts it by explicitly reinstating the ascendancy of the anticontemplative, aggressively immediate will. This is a point to which I will return later in considering Hughess artistic development in a Schopenhauerian light.
This antithesis between the awful certitude of will-driven instinct and the fancy-prone irresolution of human reason provides the animating tension of Hawk Roosting. The hooked head and hooked feet of the predator represent, like the human brain, organic objectifications of the rapacious will, but they are free from the falsifying dream that debilitates the brain and causes it to send delayed or faulty commands to the extremities by which it survives. One aspect of this dream is the tendency to construe surroundings aesthetically rather than strategically. Phenomena that we find pleasant or exhilarating - the high trees. . . . the airs buoyancy and the suns ray - are of advantage to the hawk in its hunt for prey. Schopenhauer finds enormous value in absorbed aesthetic contemplation precisely because it releases the contemplator, for the moment, from the stringent urgencies of will, enabling him or her to become the pure subject of will-less knowing and thus to be taken out of the stream of time and of all other relations (World 1 17). Hughess poem as aesthetic artifact embodies this phenomenon, but simultaneously subverts it by explicitly reinstating the ascendancy of the anticontemplative, aggressively immediate will. This is a point to which I will return later in considering Hughess artistic development in a Schopenhauerian light.
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