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Carl Jung's work on introverted and extroverted personality types based on four functions of thinking/feeling (the rational) and intuition/sensation (the irrational) has been modified by various experts in relational dynamics, most especially Meyers Briggs and its various off shoots. Some sort of personality test is now administered by businesses interested in relational dynamics and team productivity" Active listeners, North thinkers, Explorers, negotiators…all these terms used by education and corporate movements are meant to gauge the mechanisms of personality by which we see, move through, and relate to the world. It is nothing new. Shakespeare and other dramatists used the four humors in their construction of characters. Astrology links the personality types to stars, dates, location and time of birth. All these systems of gauging personality types are inexact, what we might call, if we used a machinist's term, an "eye ball estimate." But, as such, they can be useful for entering constructs. Eye ball estimates are dangerous if you are doing close work, but, if you are first entering a structure (and relational dynamics are a structure) it might be a foolish waste of time not to do a quick eye ball estimate of the work at hand. Our mistakes are most egregious when we confuse a useful inaccuracy (an eye ball estimate) for a true measure, but it may be equally dangerous not to use our gut instincts (sensations) or intuitions when approaching or apprehending a structure. We must not think of personality types then as a determinate, but as a good eye ball estimate of how a certain type might relate to the world. To use a designation from Meyers Briggs, no two ENFP's (Intuitive extrovert feeling Perceivers) are alike, though they share many tendencies toward, and certain affinities for how they view and relate to the world.. To wax Machinist again, they are all "specialty molds" under a certain type of mold set–modifications of a type.
Dislogistic: tending towards sociopathy, dadaism, insanity, nihilism, alienation.
Neutral: tending towards the Non-conformist, free spirited, ironic, agnostic, and favoring uncertainty, unsentimental feeling toward engagement with form and experiment.
Laudatory: Liberated, self realized, spiritual rather than religious, emotionally complex, but not dependent on the feeling faculty, and oriented toward formal innovation.
This movement towards the domination of the irrational functions existed in romanticism and the decadent/aesthetic movements, but their chief filter as to the irrational functions of intuition and sensing moved from feeling (sensibility) to thinking (realism). First feeling in an ever more complex ambiguity dominated as the chief subsidiary function. Now, thinking as system/process dynamic dominates (Post-modernity). If I had to tie this schema of relational dynamics into one broad look at literary history, I would do so as follows:
Before Modernism: Either the feeling or thinking (rational functions) dominate with sensing and intuition (the irrational functions) acting as the chief filtering mechanisms in terms through which image and metaphorical invention play out the agreed upon tropes of thought/feeling. This made for a literature in which feeling is more or less uniform, and thinking also uniform in terms of the audience and auditor: fellow feeling, fellow thinking. The co-ordinates of thought and feeling were largely "understood." Sensation and intuition moved through images and rhetorical schemas that expressed known tropes of feeling/thinking. Their diversity increased as the commonly agreed upon feelings and thoughts become less stable. By the time of the Romantics, the interest in the Gothic (a genre of literature in which sensation and intuition begin to dominate thought and feeling) and the break down of the agrarian life under the terms of urbanization and industrialization lead to a reversal of functions: Sensing and intuition begin to dominate (Poe, Baudelaire, Rimbaud) and thoughts and feelings turn towards becoming supporting mechanisms, filtering the discoveries and creations of the irrational sensing or intuitive functions into the forms of symbolist, imagist, surrealist, cubist, dadaist, objectivist, and, most recently, language poetry. In any of these schools, either feeling or thought could be the prime secondary function, but with language poetry and its objectivist forebearers, all feeling becomes suspect as a reliable filter, and thought becomes the prime secondary function for intuition and the sensation of process. In terms of intuition, the rise of the subjective, the unconscious, and the surreal. In terms of sensation, the null position of science which claims to have no eye ball estimates, no preconceived thoughts and feelings toward the sensual world, but only the scientific method by which it tests all things under the rule of deductive process. In terms of poetry Oppen called it "A rigorous test of sincerity."
The opposition of intuition/sensation to thought/feeling
Scientists have little trouble admitting much discovery is made through intuition, but they are loathe to admit that feeling or thinking (in terms of preconceived assumptions and notions) has anything to do with the discoveries of science. Nothing that cannot be proven through scientific and controlled experiment is considered to be valid. The position on thought and feeling is a null position.All must be testable under the laws of method. This may seem the opposite of intuition, and, to a degree, it is, but its antipathy is more towards preconceived thoughts and feelings than toward the irrational function of intuition. We tend to think of science as "rational" but this is an over identification of the word rational with objective thinking which is the populist view of science (which, by the way, is not at all scientific). Intuition also shows more antipathy towards feeling/thought as prime functions than toward sensation. We might describe modernism then as a slow movement away from the dominance of thought/feeling with an agreed upon set of contexts toward the dominance of intuition/sensation, with no agreed upon context.
During the transition period of this shift, fear, neurosis, a sense of doom and emptiness begin to dominate. There is no set context for one's thoughts, feelings, or actions, and where there is a context, it usually appears in the form of parodying, deconstructing, or dismantling older, once stable beliefs, images, and metaphors. Oddly, God gets jettisoned from the world around the time intuition and sensation begin to dominate. God after all is best understood in societal terms as contextual authority, the context of all authority. The chief expression of God is through the dominating and rational functions of thought/feeling. God in this sense is antithetical both to sensation and intuition. It is not the authority, or power, or even arbitrary power that an intuition/sensation based literature protests in traditional beliefs in God, but, rather the grounding in a context of authority, power, and arbitrary power known as God that can not allow either for verifiable science, or the undogmatic mysteries of intuition. Mystics, to an extent, were always dangerous to God in this contextual sense. The operative word is agreed upon "context." In a sense we could see modernism as an attempt to wrestle arbitrary power away from the overly contextualized scene, from agreed upon contexts, or ground of "God", and not only God, but all previously agreed upon contexts–especially as God is expressed through preordained contexts of thought/feeling. Rather than seeing the old literature as believing in God, or proceeding from a context of belief, we could re-phrase it this way: Pre-modernist literature: God equals the context of the given. Modernist: God equals an "away from" or a "toward" the context of the uncertain. All must be grounded in having no ground. God is either too late or too early, missing over here or there, but never of this moment or of this place. To paraphrase Kafka: the messiah will arrive the day after he is no longer necessary. God is either arriving or receding, and so God cannot be the context of either intuition or sensation. God exists then only in the subsidiary functions of thought/feeling. Yet God's attributes: power, arbitrary power, not only continue through modernism and post-modernism, but grow in proportion to the fact that there is no longer an agreed upon context or locality. Thus God's absence in the form of a non-contextual and all pervading power is everywhere (see Kafka, see Panopticon). In a sense, while God disappears, the power, especially the irrational and arbitrary power of God through intuition and sensation is distilled into all places and situations.While thought and feeling may no longer proceed on the given contexts of a dogma, the arbitrary power grows in direct proportion to losing its chief name/context. In this sense, the atrophy of God's name and context leads to a hypertrophy of those powers usually associated with God:
Dislogistic: totalitarian forms of regime and the literary movements drawn to them (Futurists, Pound and Eliot, Communist writers).
Neutral: belief in social reforms and systems of redistribution that replace God's providence, mercy towards the poor, and sense of equality within organized and supposedly non-arbitrary forms of governmental "providence" (social programs, the dole, unemployment, welfare, health care, etc)
Laudatory: Self actualized and evolved human beings (the hipsters and life style leftists) who need no power in heaven to live with compassion and wisdom upon the earth.
Let us look at this in terms of the irrational functions as independent from a rationalized deity/ contextual schema of agreed upon thoughts/feelings:
In Terms of the Intuitive:
1. Spirituality, belief in the supernatural, powers beyond the so called natural laws but with little or no dogma (though often elaborate methodology) opposed to rational religion. Mechanisms of discovery independent both of dogma and scientific method. To a certain degree,part of the rigor of magic, but without the agreed upon communal contexts of magic. Private and subjective ceremonies rather than social ones.
2. Re-location of the context for such power in the "Self" or in the self's "communion" with forces in the terms of a visions quest, and self-created self (lifestyle) and expressed through myth (the primal) and futuristic speculations, as well as a sense of the present anchored in certain mechanisms of "mindfulness and "attention". Many of these mechanisms are borrowed from Eastern forms of Yoga, meditation, and the practice of manipulating energy (most often one's own energy, or the energy of nature rather than other human beings).
3. Improvisation as a way of trusting seeming chaos as a more complex form or of order.
In terms of sensation:
Positivism in all its variations as progress, as "learning experience" as self-experimenting, as mind/body balance. Nutrition, aerobic perfection, and the belief in sensation for its own sake or as a mind altering experience. The manipulation of matter as a mechanism for well being: drugs, altered states, body-engineering, the mind as neural re-mapping. Any physical sensation made optimal or toward the optimal, and, when in context with a non-physical or metaphysical concept, the transformation of such a concept to the realm of the meta-biological.
We might see recent developments in post structuralism as the extension of "against a contextualized and localized deity" to all power structures–a destabilizing and deconstructing of the language of discourse itself. Feeling and thinking are functions of discourse. They imply rational choice. Sensation and intuition lose their power when they enter too deeply into discourse (having to be filtered through feeling/thought as subsidiary functions) and can best maintain power through mystification, non-cognitive abstraction, or hypertrophic resorts to process (ceremonies, rituals, routines); the medium as message, paint as paint, poem as thing made out of words. This is the question: is this extension against contextualized structures of power, an attack on power itself, or merely a more elaborate terministic screen of order (fractal and chaotic order) with the unconscious purpose of hiding the arbitrary power under the terms of sheer process? In effect, a movement from "I" and "We" to "it says so." In the shift of filtering mechanisms from the nuanced feeling states of catharsis, and epiphany (the chief subjective states) to a realm where sincerity and rigor of methodology become disassociated from coherent feeling/thinking states, intuition and sensation become the highest "virtues." Self consciousness is often, under this dominance of the irrational functions, a playing with tropes of self as mechanism (meta-fictions). The self becomes a fabrication, the other a fabrication, and the relationship between them is seen at a remove from emotion towards the filtering mechanism of thought. In effect, introverted or extroverted intuition/sensation as dominating functions with thinking as the secondary function and feeling in a tertiary or inferior position. If the intuition is introverted, the thought will be extroverted, seeking, in however difficult a way to make the intuitions of the subconscious articulate through some sense of system, usually a complex system that is fractal in its particulars. This system will not be applied as with an ENTP, but will be more along the lines of an interpretive schema of process and ceremony, "pure system"–more the tendency of the INTP.
I think it important to remind the reader here that this is an eye ball assessment of tendencies, and that giving any literary era a personality is not much different than saying the wind whispers. It's a personification, an attributing of human motives to inhuman things, but this does not rule out its usefulness. I want to look at what I consider a poem in a transitional phase between late romanticism/realism, and modernism, a poem that emphasizes intuition and sensation, and places thought/feeling in subsidiary positions: "The Love Song of J Alfred Prufrock." Before I do, I want to make a distinction between emotion and feeling, as well as thought and idea. Emotions and ideas may belong as much to the realm of the irrational and the sensational as intuition and sensation. An emotion turns up, unbidden, and we may not know we are "feeling it" until we say: "I feel sad (the judging, interpretive, rational function). The judgment may be wrong as when a person attracted to another feels they are terrified (the hormonal relationship between fear and certain forms of attraction are well documented). Feeling and thought then are judgment functions. They rationalize to affirm or refute an emotion or idea, and to express sensations and intuitions.. We decide. We will. Perhaps it would be better then to call intuition/sensation undetermined functions, and feeling/thought acts of will. Knowing this might serve us in entering this great poem.
The Love Song of J Alfred Prufrock
Eliot first wrote Prufrock in 1909 (though I do not trust Eliot in this respect anymore than I trust Coleridge, and it would suit his purpose to say he wrote the poem in 1909 in order to escape the charge of being in the midst of the modernist revolution. Eliot would much prefer not to be in any midst). As the case may be, it was published in 1917, and is part of the modernist movement that precedes and presages the dadaist/nihilist slant modernism took after world war one. It is a frightening and grotesque poem, but no more so than "The Walrus and The Carpenter" or the opening of Dickens' Bleak House (I think Elliot's famous fog owes something to Dickens' Fog in Bleak House). Much has been made of his innovations in rhyme and meter, but they are not innovations. The off-meters of Prufrock are taken from many precedents of the time, one being the off-meters of light verse, and nonsense verse, as well as a poet who does not get enough credit for being a goad to Eliot: Vachel Lindsey. Lindsey was also from St. Louis and far more famous at the time than Eliot could ever hope to be. Like Eliot, he believed in the primal, and atavistic rhythms that might be found in metrical experiment. His poem "The Congo" was a performance piece that now seems rather naive and dated (as well as unintentionally racist), Lindsey became famous for performing it. His tendency to perform put him in the camp with Sandburg, and it was the Sandburg's and Lindsey's of American poetry that Pound, Eliot, and the modernists replaced. We might see this as two possible roads that diverged in a wood. American poets chose the road less taken called modernism, and it made all the difference. Had they taken the road of Lindsey and Sandburg, American poetry may have ended up linked to music and spken word much sooner. More on that at another time. Like Eliot, Lindsey screwed around with sonic and metrical effects obsessively. Some teachers might stress the irony of this poem, its implied attack on the enervated posturings of the vapid and superfluous modern day "Hamlet." I am more interested in the absence of feeling and thought in the poem. Sensation seems to be the order of the day here, yet sensation denuded of will, and based partially on paralysis. terms that might prove useful here: Phatic language (In Eliot's case, Phatic allusion), neurasthenia (Made popular, and at a fever pitch in the early 20 th century, with sanotariums all over Scotland and England for its treatment. Elliot's wife was diagnosed as having it). The symptoms fit the tenor of Prufrock's twitchiness), Bovarysme (neurasthenia and Bovarysme are favorite terms of Eliot–not me) and what I call pathetic troth (The attempt to woo by appealing to another's sense of pity, either by saying self denigrating things about one's person, or saying that the world is sad, so let's get it on. "Carpe diem" is a more vigorous form of pathetic troth).
So let's put these terms together: Phatic Language (allusion), neurasthenia, bovarysme and pathetic troth.
Phatic language (From the Penguin dictionary of literary terms and Literary theory):
Phatic derives from the Greek phasis, 'utterance.' A term in linguistics which derives from the phrase 'phatic communion invented by the anthropologist Bronislaw Malinowski. It was applied to language used for establishing an atmosphere and the communication of feelings rather than of ideas, and of logical and rational thoughts. Phatic words and phrases have been called 'idiot salutations" and, when, they generate to a form of dialogue, 'two-stroke conversations.' It seems that the term may also be applied to the kind of noises that a mother makes to her baby, a lover to his mistress, and a master to his dog.
By phatic allusion, Elliot sets an atmosphere in contrast to Prufrock's paralysis of action. If this is a love poem, it is a love poem that constantly deconstructs itself and never gets to the point, which makes it a species of "pure courtship" (pure in the sense that it serves no utiliatrian end other than its utterance), Eliot alludes to several poems of courtship, namely Andrew Marvel's "To A Coy Mistress."
"To squeeze the universe into a ball, and roll it towards some overwhelming question."
Marvell's poem gets to the point by pussy footing all around the point and then zeroing in for the kill: listen, we are going to die, we don't have much time, let's get it on ("Carpe Diem"–cease the day). Prufrock says: Indeed, there will be time." This both deconstructs the "Carpe Diem" idea of time being of the essence, and is a form of phatic appeal: "we can wait, do we really need to draw the moment to its crisis? Come on. We have time. Indeed, we have time for indicisions and revisions until the taking of toast and tea…. Prufrock is, in part, a travesty and deconstruction of the idea of carpe diem, but it uses and misuses the devices of carpe diem in order to show that such pathetic appeal to action has become phatic–an idiot's game of fellow feeling. This device of phatic allusion is a major part of Elliot's schtick. His allusions are meant as much to deflate the force of literary history as to bring it to bear. "there will be time" is also an allusion to the Tomorrow, and Tomorrow, and Tomorrow speech in Macbeth:
There would have been time for words such as these:
Tomorrow, and tomorrow, and tomorrow
creeps in its petty pace from day to day…
The communion Eliot would engender here is to contrast his indecisive hero to the "Coy Mistress" of Marvell. Where once the love object was coy, the so called lover is coy, hemming and hawing. His other phatic repetitions:
In the room the women come and go,
Talking of Michelangelo.
Do I dare? (eat a peach, disturb the universe).
The section in the poem where Prufrock imagines others noting his bald spot, his thinning hair, his thinning legs–all a species of phatic chit chat, and the fellow feeling of casual remark. Something on the order of this sort of conversation:
"Meg! Meg Darling! How wonderful to see you! OH look what you've done with your hair!"
"Do you like it?"
"Like it? I love it! It's, it's amazing how good you look. How is John?"
"John got the promotion."
"Oh my God! That's wonderful! I can't think of any one who deserves it more… and you… are you happy?"
"I can't complain… I saw Marcy Wentworth yesterday… poor girl… the divorce seems to have sent her into a tailspin."
"I know… Oh my God, did you see how much weight she's gained?"
"Anti-depressants… you really need a hundred yoga classes for every pill… I bet that's it… she looks terrible… poor Marcy, and her hair looks like it's falling out."
"It does seem a bit thin… My daughter Lisa lost all the weight she gained during her pregnancy. My God, what I wouldn't give to be 22 and able to lose weight like that."
"Isn't that the truth… listen I have to run… is your number still the same?
"I'll give you a call. We have to catch up."
"Let's do that."
"We will I promise… well, good seeing you."
"You, too." (air kiss).
Eliot, by juxtaposing his chit chatting, nervous, twittery Prufrock against the allusions to Marvel, to Shakespeare, to the idea of "Carpe Diem," implies that all of history has been made phatic and, largely beside the point. The social observances and pleasantries that once held society together have become forms of insanity, the inability to say what one really means, the inability to act (do I dare) have denuded feeling and thought of all substance. Michelangelo is a subject of idle chit chat for women in a room. We might do well to see how Elliot juxtaposes allusion against the Phatic and frantic questions Prufrock poses. There is a great deal of frantic questioning, and refelction, but nothing, absolutely nothing happens, as with the Rabbit in Lewis Carol's work: "I'm late, I'm late, for a very important date. No time to waste, hello, goodbye, I'm late, I'm late, I'm late, I'm late:"
I grow old… I grow old…
I shall wear the bottoms of my trousers rolled."
Shall I part my hair behind? Do I dare to eat a peach?"
As Molinowski said, this is not language come forth out of logic, or a rational schema of thought, but language meant to create an atmosphere of fellow feeling (or to mock fellow feeling), also of fear, and disassembling, of timidity, and nervous enervation. The train of thought is inward, and in some sense, Prufrock's conjectures are as stream of consciousness as Molly Bloom's meanderings. There are repetitions galore, verbal ticks that come and go as randomly as the women in the room talking of Michelangelo. Sensation (there is much made of the fog, of the tea and marmalade, of the city streets)and intuition (in the form of somewhat hysterical conjectures) prevails and the thoughts and feelings serve the enervated sensation and the intuitions. This is a poem written in transition between agreed upon feelings and thoughts, and their collapse. It is pastiche, but pastiche that laments– that pines for a significance both the narrator and his creator are convinced has been lost. No one can say what they mean, because meaning itself is lost: "that is not what I meant at all."
As I said, Postmodernist question the validity of all discourse, and here, in Elliot, the deconstruction of relationship and discourse is already prevailing. Instead of making a bridge between the present and the past, Elliot lets them sit side by side, each oddly ridiculous in the light of the other, a cohabitation which shows as much about their disparity as their connection. Eliot is a master of non-sequitor. The use of parataxis (one thing after another, without conjunctions, without priority or relation to order), the use of something akin to non-sequitor (a phrase or an allusion just thrown in), the deconstruction of formerly poetic images (Evening is a patient etherized upon a table), all of these tricks will become standard fair for modernist and post modernist poets. And we may know the dissenters from this school by their hatred of allusion, and disconnection. Thought in this poem becomes, in the sense of Flaubert, an inventory of received ideas. Feeling becomes "oh dear me what shall become of me?" and enervation as to any decisive action. The most animate forces in the poem, the forces that act at all are inhuman. The fog is far more lively and humanly active than Prufrock: it licks, rubs, lingers, slips and sleeps, as does the smoke. Streets follow. The afternoon sleeps, stretches on the floor, malingers. Personification swells to the size of a supernova while human action is all conjectural. As with introverted sensation the world of the senses is alive and threatening to swamp consciousness. The unconscious life of the natural world is projected on to the subconscious sensations of the introverted. The fog that is so active at the beginning of Prufrock echoes another equally famous, lively and surreal fog in Dickens' Bleak House, a novel about a generations long law suit that goes nowhere–a suit, a courtship, a troth that sinks into the bureaucracy of its own process and leaves nothing in its wake. So much for both the phatic allusions, and the use of phatic utterance. Let's move to neurasthenia.
This was one of Elliot's favorite words to describe his age, and a very popular buzzword at the time. First coined in 1869, it had become as pervasive a diagnosis by the turn of the century as ADHD, OCD, or depression is now. One of the pet names for it was "Americanitus":
Americans were supposed to be particularly prone to neurasthenia, which resulted in the nickname "Americanitis" (popularized by William James). Today, the condition is still commonly diagnosed in Asia. (Wikepedia)
The symptoms of neurasthenia were exhaustion of the central nervous system's energy reserves brought on, Beard believed, by modern civilization–particularly the urban industrial experience. It was associated with upper or upper middle class people, especially professionals with sedentary employment. Listlessness, fatigue, nervous exhaustion (a lot of fretting but no action), a lack of will. Freud (I love this guy) thought that it might be attributed to excessive masturbation. It's chief symptom was fatigue, listlessness. Elliot used it in a more broad metaphorical sense for the lack of significant action or will power in his age. French languor and enui were fairly common literary conceits by the time, and Prufrock owes a debt to this sort of tired, and flatulent sense of superfluous and weary via the Symbolists. All sensation becomes introverted. One receives sensations, dwells in them, but is powerless to act upon them. Neurasthenia would give way to an almost violent despair by the time Elliot wrote The Wasteland.
Madame Bovary dreams of perfect romantic feeling states, and more so, dwells in an inner realm of hyper sensations which are more and more fantastic and hysterical as she heads towards her ruin. She is close to sociopathic in her quest for higher transports, and, in all situations where real love is called for (her child, her husband) she is cruelly indifferent and even hostile. Bovary wants what is promised in romance novels. Her name becomes associated with people who saw life as a series of scenarios. Here, in Prufrock's conjectures about the immediate and less immediate future, we find the hero of the poem imagining himself a pair of claws scuttling alone the sea bottom. He projects himself into old age where he will wear his trousers rolled. He imagines what people are thinking of him. He puts himself into several imaginary situations, and then retreats from any real action. Unlike Madame Bovary, he does not act on his fantasies, attempting to make them come true. He is content to let them pass before his mind's eye:
But as if a magic lantern threw the nerves in patterns on a screen
In modern terms, we have all become voyeurs of the real. We do not participate. We live in our imaginations and fantasies. Real life is too overwhelming. The mermaids cannot drown us, but "human voices wake us, and we drown."
Pathetic troth
In all courtship, the lover is beneath the beloved in terms of worthiness, in terms of desirability, and, when this is not literally true, it is true in a tongue and cheek way, or the poet feigns subservience. So all courtship poems are, to a certain degree, a pathetic troth, a plighting and a promising of bliss if so and so will just agree to be with the one who loves.. In Prufrock, the ratio of pathetic to troth is totally out of proportion. Supposedly, he is addressing a "you." At one point she lays beside him on a pillow, or he imagines her doing so. Her's is the only voice in the poem to be directly quoted and it says: He offers her a sky that is like a patient etherized upon a table. He offers her street that follow like an argument of insidious intent. He offers her loneliness, and urban squalor, and he offers a self he calls balding, and aging, and not at all a Hamlet. The Adynaton (hyperbolic appeal to doing the impossible) is reverse adynaton. Not only is the impossible impossible; but the possible and even the typical is, also, out of the question. Only in his fantasies has he heard mermaids singing each to each. He says he does not think that they will sing for him. He offers the supposed "beloved" a man who claims he should have been a pair of claws. This love song seems anything but, and yet it is a love song in so far as it is a lament, a courting to action, and the lost meanings of courtship.. His "beloved" is that action he is incapable of. I said before that sensation and intuition do not fare well when they enter discourse for they are not determined or willed functions. They may exhibit their wears, or passively watch the introverted movie of the subconscious played out through the magic lantern, but they hold discourse only through the subsidiary functions of feeling and thought, and, here in this poem feeling has become a series of vapid tropes plus nervous exhaustion, and thought has become a series of phatic allusions and received ideas. "The Love Song of J Alfred Prufrock" might be seen in the light of another famous poem, Dover Beach. Anthony Hecht did a wonderful job of pointing out the delay and hemming and hawing of the speaker in this earlier poem by writing a sort of update on it called "A Dover Bitch." In that poem, the girl says it is lousy to be addressed as "some last cosmic resort." She is thinking: "fuck me already, and get it over with." Sensation turned introverted is "pure" sensation. Intuition filtered through nervous exhaustion and received ideas is merely the fear of death, an inconsequence so vast that it leaves the very sky inert like a patient etherized upon a table.
In Mathew Arnold's "Dover Beach," the narrator can still make a plea for fidelity in a world where belief has retreated. By the time of Prufrock, such a plea is impossible. Yet, one can still lament the loss of will, of "I" or "we" said so. By the time of the mid century there is no grief at all among the most experimental writers for the loss of will, or the impotence of will. Process becomes its own will–a bureaucracy of sensation and intuition in which the discourse of feeling and thought is a series of tropes. that do not always adhere. Feeling is muted to the point of being almost absent. Of all the poets who master this reversal of dominant functions, there is none greater than Wallace Stevens, though, being a vital and creative admirer of George Santyanna, Stevens redeems thought and feeling as a species of sensation and intuition–what he calls the poem of earth. He claims poetry must resist the intelligence–almost. Reality is a necessary angel. In a sense, Stevens treats thoughts and feelings as decors, as scenic events. As scenery they may still hold beauty, but one's actions must be those of sensation and intuition. That arbitrary power that lies in "because" is handed over to an it–the process of the poem, the poem as an utterance made out of words, an "order" making machine in which a great disorder is still an order, in which the "rage to order" is detached from all stable thought, all stable feeling, and given over to a dominant sensation and intuition. So this is my eye ball estimate. I find it useful as a gadget to enter a poem, but it is not accurate at close work. At close work, one will find a thousand exceptions to this rule, but this does nothing to negate the rule. As Kafka said: "The crows maintain that a single crow could destroy the heavens; doubtless this is so, but it proves nothing against the heavens, for the heavens signify simply: the impossibility of crows."


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Monaco police chief visits INTERPOL ahead of landmark General Assembly
Head of INTERPOL commends Monaco's commitment to international police cooperation
LYON, France –Monaco's Director of Public Security and Head of National Central Bureau (NCB), Régis Asso was briefed on recent law enforcement successes involving the Principality during his visit to the world police body's General Secretariat headquarters in Lyon.
During meetings with Director Asso and Deputy Director Richard Marangoni, INTERPOL Secretary General Ronald K. Noble highlighted INTERPOL's Project Millennium as an area where Monaco has had a considerable influence on successful law enforcement cooperation.
Project Millennium targets transnational Eurasian organized crime groups whose activities include drug trafficking, human smuggling, money laundering and extortion all over the world. In a recent case, police in Monaco requested INTERPOL Blue Notices for two Russian men following an armed robbery of a jewellery shop in Monte Carlo. Through the Project Millennium network, the two men were positively identified and linked to other robberies which had occurred in Switzerland.
Other recent successes include the recovery in Paris of a statue stolen from a boutique in Monaco in March 2013, and the arrest of the two suspects just days later, thanks to swift collaboration and information exchange between the INTERPOL NCBs in Monaco, Paris and Brussels.
Monaco has also played a key role in INTERPOL's Project Pink Panthers. The project centralizes information relating to hundreds of suspected international jewel thieves linked to more than 300 robberies in 35 countries, with the value of stolen jewellery estimated at more than EUR 330 million and has already let to hundreds of arrests across the globe, including in Monaco.
"These cases involving Monaco are prime examples of what can be achieved when police around the world take advantage of the global tools and services offered by INTERPOL to share critical information and cooperate to bring criminals to justice," said Secretary General Noble.
"Monaco is to be commended for its commitment to enhancing international law enforcement collaboration, and working with its counterparts globally and with INTERPOL to make the world a safer place," concluded the INTERPOL Chief.
With the origins of INTERPOL rooted in the first International Criminal Police Congress organized and held in Monaco in 1914, to mark 100 years of international law enforcement cooperation the Principality is hosting the 2014 INTERPOL General Assembly.
"Our visit is a key opportunity to lay the groundwork for close collaboration in the planning of the INTERPOL General Assembly in November 2014 in Monaco, and it underlines the strong and longstanding partnership which exists between the national police of Monaco and INTERPOL," said Director Asso.
In addition to the General Assembly in Monaco, preparations are under way on various activities to commemorate the anniversary throughout the coming year.

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Tretinoin-Mequinol/Selected Photosensitizers Interactions
This information is generalized and not intended as specific medical advice. Consult your healthcare professional before taking or discontinuing any drug or commencing any course of treatment.
Medical warning:
Severe. These medicines may interact and cause very harmful effects and are usually not taken together. Contact your healthcare professional (e.g. doctor or pharmacist) for more information.
How the interaction occurs:
Tretinoin and other medicines such as fluoroquinolones, phenothiazines, sulfonamides, and thiazides increase your sensitivity to sunlight.
What might happen:
Using tretinoin-mequinol with fluoroquinolones, phenothiazines, sulfonamides, or thiazides can increase your skin's sensitivity to sunlight. You may burn more quickly, your sunburn may be more severe than normal, and you may develop tingling in the skin.
What you should do about this interaction:
Let your healthcare professionals (e.g. doctor or pharmacist) know right away that you are taking these medicines together.Avoid prolonged sun exposure, tanning booths, and sunlamps. Use a sunscreen and wear protective clothing when outdoors.Your healthcare professionals may already be aware of this interaction and may be monitoring you for it. Do not start, stop, or change the dosage of any medicine before checking with them first.
- 1.Solage (tretinoin-mequinol) US prescribing information. Barrier Therapeutics, Inc. April, 2007..


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From press reports
Future management of the Sam D. Hamilton Noxubee National Wildlife Refuge (NWR) will be the topic of public discussion at three public scoping meetings in January.
The U.S. Fish and Wildlife Service has started work on a long-term management plan for the Refuge, a process expected to take two years. Staff will prepare a revised Comprehensive Conservation Plan (CCP), which is a practical guide for managing the Refuge over the next 15 years. The scoping meetings are part of a process being followed for the new CCP which will ensure compliance with the National Environmental Policy Act (NEPA) as directed by the Council on Environmental Quality regulations. The public scoping meeting details are:
• 5 p.m. to 7 p.m. Jan. 18 at the Noxubee Civic Center in Macon; • 5 p.m. to 7 p.m. Jan. 22 at the Lake Tiak O'Khata Conference Center in Louisville; and • 5 p.m. to 7 p.m. Jan. 24 at the Shriner's Club in Starkville.
In addition to handouts and poster materials, staff will be available to answer questions. Participants will be able to submit comments and sign up for a mailing list to receive information about the CCP.
Public comments are welcome at any point in the two-year process.
The CCP provides a unique opportunity for the Service to involve individuals and local communities in the long-term management of a National Wildlife Refuge. The Service invites the public to provide comments to the following questions, as well as comments about any other issue, opportunity or concern they may have for the Refuge:
1. What makes Sam D. Hamilton Noxubee NWR special or unique for you? 2. What do you value most about the Sam D. Hamilton Noxubee NWR? 3. What would you like to see the future hold for Sam D. Hamilton Noxubee NWR?
The Refuge was established in 1940 primarily for the purpose of protecting migratory birds and other wildlife and their habitats. The Refuge lies in the central section of the East Gulf Coastal Plain. It currently encompasses 47,152 acres, with an additional 6,138 acres in the approved acquisition boundary. The Refuge is situated in three Mississippi counties (northeastern Winston, southern Oktibbeha, and northwestern Noxubee) in the northeast portion of Mississippi. The Noxubee River, a tributary of the Tombigbee, flows through the central portion of the Refuge from west to east.
Management on the Refuge emphasizes habitat benefiting waterfowl and migratory birds. Direct management of the red-cockaded woodpecker and the pine habitat which this species depends is also occurring. The Refuge has a very active public use program and provides a large number of visitor opportunities including those associated with hunting, fishing, wildlife observation and photography, environmental education, and interpretation. The Refuge maintains a modern visitor center and has hosted visitors from 48 states and 7 countries.
For more information about the planning process, please contact Michelle Paduani, Natural Resource Planner, USFWS or Steve Reagan, Project Leader, USFWS, at (662) 323-5548. Comments may be submitted via mail to Refuge Manager, 2970 Bluff Lake Road, MS 39739, or e- mailed to email@example.com.
Please note: Federal government mailing lists must be released to the public upon request in accordance with the Freedom of Information Act of 1974.
The mission of the U.S. Fish and Wildlife Service is working with others to conserve, protect and enhance fish, wildlife, plants and their habitats for the continuing benefit of the American people. We are both a leader and trusted partner in fish and wildlife conservation, known for our scientific excellence, stewardship of lands and natural resources, dedicated professionals and commitment to public service. For more information on our work and the people who make it happen, visit www.fws.gov.


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Murphy North Carolina Campgrounds & RV Parks
Listed below are some of the Campgrounds and RV Parks located in the Murphy North Carolina area.
Although we at the Mountain City Guide have done our best to obtain the most recent and accurate information, The Mountain City Guide accepts no responsibility with regards to the accuracy of information in any of the maps or information provided here or the regulations therein. No personal information is collected by the Mountain City Guide unless you provide it by filling out one of our advertising forms or link exchange form, see our Privacy Policy.
MountainCity Guide.com provides numerous links to other Websites. These links are for the reader's convenience and MountainCity Guide.com does not accept any responsibility for the content of these other sites, nor for the experience that the reader has with these sites.
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Bupropion/Antipsychotics Interactions
This information is generalized and not intended as specific medical advice. Consult your healthcare professional before taking or discontinuing any drug or commencing any course of treatment.
Medical warning:
Moderate. These medicines may cause some risk when taken together. Contact your healthcare professional (e.g. doctor or pharmacist) for more information.
How the interaction occurs:
Both bupropion and antipsychotics may make you more susceptible to having a seizure.
What might happen:
There is an increased risk that you may have a seizure while taking these medicines together.
What you should do about this interaction:
Let your healthcare professionals (e.g. doctor or pharmacist) know that you are taking these medicines together. If you have or think you have had a seizure, get medical attention right away.Your healthcare professionals may already be aware of this interaction and may be monitoring you for it. Do not start, stop, or change the dosage of any medicine before checking with them first.
- 1.Wellbutrin (bupropion hydrochloride) US prescribing information. GlaxoSmithKline December, 2013.
- 2.Zyban (bupropion hydrochloride) US prescribing information. GlaxoSmithKline June, 2016.


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From the Tampa Bay Times comes the All Eyes photo blog, featuring the best photojournalism from the Times staff and beyond.
The Buzz offers the latest news on Florida politics and elections from the staff of the Tampa Bay Times. With frequent updates and scoops, this blog has become a must-read for political junkies all over the state.
Bay Buzz offers the latest news on Tampa Bay politics and elections from the staff of the Tampa Bay Times, with frequent updates from Citrus, Hernando, Hillsborough, Pasco and Pinellas counties.
Get inside the world of Florida education with Times staff writer Jeffrey S. Solochek and the rest of the Times education reporting team. We'll bring you up-to-date information about the latest education trends, fads and news, taking time to break down proposed laws and dig deep into local school issues
Living in a convenient and connected world means keeping up to date on the latest technology and gadgets. We will help you sort out what's worth exploring for your own tech needs, we'll give you a one-stop guide to some of the newest products on the market.
Bucs Beat is the online destination for Buccaneer fans interested in the latest news about the team. Tampa Bay Times reporters Rick Stroud, Greg Auman and Matt Baker provide regular updates.
Follow the progress of the Tampa Bay Rays from the winter meetings to spring training through the season with beat writer Marc Topkin.
Follow the Tampa Bay Lightning on and off the ice with beat writer Joe Smith and the Tampa Bay Times sports staff. What will the season bring? Who will return?
Football, basketball, volleyball, track and field, soccer... the list goes on, and the Bulletin is your source for all USF sports news and opinion provided by Joey Knight and the Tampa Bay Times sports staff.
Florida Gators, Florida State Seminoles, Miami Hurricanes and UCF Knights fans, welcome to the Sunshine State blog for all your news about your favorite college teams.
Tampa Bay Times sports columnist Tom Jones shares his sports analysis, perspective and more.
Tampa Bay Times sports columnist Martin Fennelly offers his occasional take on all things sports and beyond.
Celebrity gossip
Make this your morning stop for a fresh serving of pop smarts and just plain cool things from around Tampa Bay and the nation. Compiled by rogue journalists within the Times, it'll have snarky celebrity gossip, pithy observations and fun links to amuse you and your friends.
The Deal Divas are on the prowl in Tampa Bay, sniffing out hot fashion finds that won't leave your wallet in ruins. From Saks to Target, boutiques to thrift stores, the Divas leave no shopping stone unturned.
True Culture
Relive the music, movies and culture of the greatest decade ever with Tampa Bay Times online editor Steve Spears. A teen during the decade, Steve is obsessed with everything from Duran Duran to Journey, John Hughes to John Cusack, and parachute pants to Reaganomics.
Soundcheck is your backstage pass to the Tampa music scene, from the best Tampa bands to the hottest Tampa concerts. Join us in the pit and sing along.


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Brand New Building, brand new Interiors, one of the premium complex in Mahalaxmi with modern amenities such as Swimming Pool, club House, Gymnasium, Squash Court, Cafetria and much more.
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Real Estate Mumbai newsletters are the most interesting as they give you the latest market reports and research and bring you updated with the current market trends, demands etc.
Since 1993, Real Estate Mumbai assists you in finding residential and commercial properties on Rent or Sale in Mumbai.
Real Estate Mumbai services include Property Search, short listing properties, drafting leave and license agreements and providing relocation services in Mumbai.
3 BHK 2500 Sq.ft. in 10th Road, Juhu
2½ BHK 1377 Sq.ft. in Jogeshwari Vikroli Link Road , Andheri East
4 BHK 4000 Sq.ft. in 9, Bomanji Petit Road., Warden Road