of strangeness, flight (it hangs like a shuttlecock at the height, before it falls), and of threatening». (J., 1874, 249) L'incontro con le cose del mondo, nel loro essere corpi percepibili, mobilita il soggetto, ne accende il corpo «in tutti i sensi»: «The bluebell... / apposite the light/they stood... The heads are then like thongs and solemn and grain and grape colour... but / through the light/they carne in falls... vertical themselves: The bluebells in your hands baffk you with their inscape, made to every sense: if you draw your fingers through them... the long stalk rub and click... making a brittle rub and yostle... and then there is the faint honey smell and in the mouth the sweet gum when you bite them. But this is easy, it is the eye they baffle». (J., 1871, 208) Un corpo che mentre «sente», confrontandosi col proprio oggetto, misurandolo con precisione - forma, grandezza, posizione, colore, rumore, odore, sapore - ugualmente «sente» sé stesso, misura la propria consistenza di corpo («My taste was me; / Bones built in me, flesh filled, blood brimmed thè curse» da un sonetto del 1885), e di «selfbeing»: «When I consider my selfbeing, my consciousness and feeling of myself, that taste of myself, of I and me above. and in all things, which is more distinctive than the taste of ale or alum, more distinctive than the smell of walnutleaf or camphor... nothing explains or resembels it, except so far as this, that other men to themselves have the same feeling... searching nature I taste self but at one tankard, that of my own being»14 • Ma la�ompromissione sensoriale del corpo eccezionalmente, spasmodicamente, contratto, dell'occhio «che cresce-·con l'immagine» fino a confondersi in essa («... I and 41
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