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In addition, the again-ironical demotic use (that great leveller, that bringer-low) of classic, to mean ‘perfect or ideal in its dysfunctionality’, seems to shadow the line. Other examples of outrageous co-presence of a literal and an undercutting idiomatic interpretation include the observation, in 6:2, that the naked Saint Sebastian ‘catches his death’ from the arrows piercing his body, and that (6:4) his situation is ‘priceless’. A particular characteristic of these two-valued expressions, where a high serious sense is undercut – or made more poignant – by a low mocking one, is that the ironizing Babel-toppling effect is instant: no sooner is the idea of pricelessness invoked than it is undercut; no sooner is the magnificent Titanic launched than it is sunk.
Burning bright In the forests of the night. What immortal hand and eye Dare frame thy fearful symmetry? Burnt in distant deeps or skies 19 20 Mick Short The cruel fire of thine eyes? Could heart descend or wings aspire? What the hand dare seize the fire? And what shoulder and what art Could twist the sinews of thy heart? And when thy heart began to beat What dread hand forged thy dread feet? Where the hammer? where the chain? In what furnace was thy brain? What the anvil? What the grasp Could its deadly terrors clasp?
Society: ‘nation’, ‘culture’, ‘community’, ‘tribe’, ‘civilization’, ‘élite’ (as in the ‘society’ page of a magazine). COMMERCE Let us begin, for no particularly compelling reason, with section 2, ‘The Lowlands of Holland’. Notwithstanding its title, this section is immediately oriented more broadly, to ‘Europe’: perhaps Holland is representative of a wider European experience. Even before we try to make continuous sense of the section, we can see a lexical pattern around the idea of fullness.