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Friday, January 9, 2015

Otis Escapes, parts 4091 - 4094

 4091. Then the crows come to the amphitheater. At first they are just as obtuse as the boy, but later they settle down and watch. Being birds, they understand the subtitles of the drama, and appreciate it, although they do not show it. The crows are the true audience of the play and they possess the minds on which you must hope to make your mark.


 4092. But, as I said at the beginning, it is the amphitheater itself that is the most important image in the dream. The outdoor setting indicates that the artist’s work must never be intended for one specific audience only, because ultimately it is, of necessity, directed to all mankind for all time. 


 4093. But the amphitheater is yet more; it is also an indication that the universe is the audience for the work of art, in the end. The mountains in the distance attend the play, the clouds in passing, may view just one act, but still they make up a part of the audience. If the amphitheater is surrounded by trees, then the trees are also important members of the audience.


4094. I am sure by now that you are expecting me to wax poetic and begin to describe in my usual way, the intelligence of rocks, and the sensitivity of the wind to subtleties and nuisances of a line of poetry. It is easy to dismiss ideas like that, I know, because there is no concrete evidence to support these notions.

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