These poems are followed by James Crowden's "The Garden, Wild, Belmont, Lyme," placed here for two reasons: it is in the same genre, poetry, and yields a revealing, creative view of an important physical setting in Fowles's life, his garden wild and tame, yet another reconciliation of opposites which reflects the ongoing Heraclitean
dialectic so prevalent in his work.
quotation in Theophrastus was first adduced by Bernays(5) who immediately corrected it in a manner which made it say just the opposite of what was written in the manuscripts, namely: [GREEK TEXT NOT REPRODUCIBLE IN ASCII] Character.
Thus, for example, Jowett commented: "The Eleatic principle of Being, and the Heraclitean
of Becoming, the doctrine of the unity and that of the multiplicity of things, [Plato] has, in his doctrine of Ideas, quite as much blended as opposed."(27) This sYnthesis is particularly evident in the Timaeus where the creation of the universe is represented as a synthesis of permanent Ideas and changing matter.
On thc face of it, Henry could not care less about it, affirming at every moment that "the world is a Heraclitean
flux" (Barth 1967: 126) and assuming a number of different guises, posing as colonel Peter Sayer, John Coode, Timothy Mitchell, and last but not least, Lord Baltimore himself.
One of my favorite poets (and a great theologian), Gerard Manley Hopkins, summed up the significance of the Resurrection in a poem with the jawbreaking title, "That Nature Is a Heraclitean
Fire and Of the Comfort of the Resurrection." Hopkins sees simultaneously in the world of nature two things: its teeming life and vitality counterposed to death and decay.
Parmenides refused to step into Heraclitean
waters once, much less twice.
By no means exhaustive, this thematic grouping of some nine poems would include early poems such as "Heaven-Haven" and "The Habit of Perfection," in addition to self-defining sonnets of desolation such as "I wake and feel the fell of dark" and "My own heart let me more have pity on," as well as bravura performances such as "Felix Randal," "Harry Ploughman," and "Tom's Garland." Situated at the climax of this grouping, the exploded sonnet "That Nature is a Heraclitean
Fire and of the comfort of the Resurrection" represents a special moment in Hopkins's oblique confrontation with urban impoverishment.
Endurance and Perdurance, however, are contraries, not contradictories: they cannot both be true, but they can both be false if the Heraclitean
(Humean, some will say) is right that nothing can possibly persist through time.
What is distinctly Heraclitean
is the enrichment of this physical doctrine with figurative and poetic overtones.
Nothing can last; no purpose endure or survive; for Moderns have tumbled into an Heraclitean
world of ennui and agitation where, from moment to moment, the same coat cannot be borne; indeed, the same coat has even ceased to fit.
The accumulated range of Western conceptions of change runs a full gamut from a Heraclitean
flux, where change was everything, to the fixed empyrean of the Middle Ages, in which it was inconceivable.