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There is the raw self evidence of the play on words

There is the raw self evidence of the play on words

WHAT I actually WILL BE EXPRESSING about A Wish Carry out is not necessarily as we've seen it in this article, 1 but as I have pondered it before, throughout the mind's eye, along with some regret that will, even though I'd long been convinced to stage it, for one reason or other—perhaps the forbidding prospect—I never came to be able to carry out that. That the idea is getting interest nowadays, and certainly not solely here, may be telling you something, although as along with its Swedenborgian intimations, triplex naturel, occulted symbols, the “round bored holes and a clover leaf around the entry, ”2 often the visual warp with the mirrored refractions or, with particular shifts and reversals regarding vision, recessions connected with overall look in a sort of video camera obscura—the dark image of the cloud muting this dark picture of a new tower—we may not end up being sure what it is definitely. Or, maybe, appallingly, merely also sure, so substantially so that a few free psychic question level we may well desire we didn't realize, such as the Quarantine Master at the Dire Straits who wants he could forget (238). If, for Strindberg, what there were to be recognized came in several measure from the vicissitudes in the unconscious, with the libidinal information transformed into phallic aconites plus vulvous grottos, or a body growing to be Fingal's Give, there is also the raw self-evidence, the banality, brutality, inequitably unchangeable, implacable state connected wi