“The intense feeling, ecstatic or terrible, without an object or exceeding its object, is something which every person of sensibility has known; it is doubtless a subject of study for pathologists. It often occurs in adolescence: the ordinary person puts these feelings to sleep, or trims down his feelings to fit the business world; the artist keeps them alive by his ability to intensify the world to his emotions.” (T. S. Eliot, “Hamlet and His Problems”)
“In using the myth, in manipulating a continuous parallel between contemporaneity and antiquity, Mr. Joyce is pursuing a method which others must pursue after him… It is simply a way of controlling, of ordering, of giving a shape and a significance to the immense panorama of futility and anarchy which is contemporary history. (T.S. Eliot, “Ulysses, Order and Myth”)
How can we construe the enormity, the inextricable nature of our accumulations of historical consciousness? These things form a sort of tapestry, though less ordered a form than that word invokes, which must be, or should be, or inherently are, amalgamated and explored at length through our artistic endeavors.