By Katherine Ebury (auth.)
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26, p. 21). The book’s strange geometries of time will be examined as a response to Wyndham Lewis’s critique of Joycean relativistic temporality in Time and Western Man. 1 of the Wake, in which the sudden appearance 28 Modernism and Cosmology of the cosmological science of spectroscopy transforms the children’s game of riddles depicted in the chapter into a much more complex problem of sexuality and of knowledge. This chapter argues that the Wake’s obscurity owes something to a notion of light’s spectral mystery and that Joyce’s text functions as a kind of optical instrument that reveals a hidden strangeness within the everyday.
In the first edition Yeats distanced himself further from the voices of these poems through named characters, including Michael Robartes, as well as ‘Aedh’ and ‘Mongan’, to fill the place of the speaker in these poems, though these names became the generalised ‘He’ in later editions. However, even if absurdity is present, this cosmic valuing of love is also part of the process of desire; Arthur Symons suggested in a contemporary review that these poems depict a ‘love to which the imagination has given infinity’ (1906, p.
Thus, as Harold Bloom has suggested, in this text, ‘cosmology and psychology go together’ (1970, p. 216). Although some aspects of Yeats’s depiction of the stars are familiar from the practice of astrology (for example, in the notion of ‘as above, so below’), there is an urgency to his portrayal of these relationships which suggests that he saw his work as responding to contemporary concerns, including those of the new physics and its cosmology. In a cancelled typescript of the second edition of A Vision, Yeats wrote that he imagined the cosmos as a ‘four dimensional sphere’ (2008, p.