By Craig Robinson

An research of the paintings of the Poet Laureate Ted Hughes, near to the German thinker Heidegger and delivering shut textual research of a few of the poems and performs.

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Shamanic initiation demands a rending of the individual from all that constitutes his or her past ... the shaman's sacrifice of self. The dismemberment is a way of speaking about a psychological breakthrough, a sacrifice of ego in order to found a new self, as in Jung. 'The Bear' is a symbolic culmination to the stripping-away undertaken in Part I, and points also to an interpretative context in which the confrontation with death is not an end, but a stage in the quest for new inner strength.

You are aware, in a horizonless and slightly mesmerized way, like listening to the double bass in orchestral music, of the fish below there in the dark. At every moment your imagination is alarming itself with the size of the thing slowly leaving the weeds and approaching your bait. Or with the world of beauties down there, suspended in total ignorance of you. And the whole purpose of this concentrated excitement, in this arena of apprehension and unforeseeable events, is to bring up some lovely solid thing like living metal from a world where nothing exists but those inevitable facts which raise life out of nothing and return it to nothing.

As in the Cave Birds poem 'After the first fright', his attempts at self-justification only re-enact his crime in front of his judges: 'What have I done now? (Self-justifying) Whatever I've done, I've done in the name of sanity. Yes, I can say that. ' At the play's end Marcus has made no progress; he is finally possessed by what he had rejected - he starts to tum into the dog he has always hated, and shoots himself. The works of Hughes' third period are to slow and control the moment of possession so that it becomes creative.

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