Pantomime and Illusion

[sweetwater]

T h e A r t o f a n U n k n o w i n g
A poststructural opinion doesn’t impress itself in the want of a construct to express […]

once as stood upon the river's edge and frost
delighted to see the end of what oftentimes
was seen as fragrant and free in the fraying gentle
evening of darkly lit passage along cobble and rock
through tired gazing and misleading
advances staring from the corners of smoke
and mirroring stanzas stands the running wild

as faltering sky on the hill and mote
the altogether reminder of yellow stained
flowers on pages of unwound thoughts
and dreams not fountained by youth nor sorrow
left searching for answers to an evening's
quarry and tools to fix the broken heart of morning

[…] the irony of construct […]

The poem as metaphor or representation of an illusion or without a point of reference and as ironic as the ending scene of Antonioni’s Blow-Up, and whether the poem itself represents as construct the metaphor of a pantomime. The reader having participated in the illusion as poem is left with the loss of an objectivity that becomes itself and the irony of its construct. The poem aesthetically is represented metaphorically as playing tennis without rackets or playing football without a football or the lacking of an objectivity in the same way as the Photographer (Blow-Up) is searching in the enlargement for something that he/she cannot find.
Antonioni though conscious of the lack of objectivity is involved in the act or the art of an unknowing! Or it is seen as the Director’s experience or interpretation of an experience and representative of itself, where both interpretations are valid in the bi-reference.
Ambiguity is seen more from the perspective of a Critic. The Director is more involved. The Critic values the work of art in its relationship negotiated with the Critic. The photographer’s realization in the ending scene is represented as having a broken heart or seen to be involved with an emotional disturbance having failed in his quest of an objectivity and expressed facially in the countenance of a frown. The realization of the literal.