Part One: The Bridge
1. The Pictorial and the Poetic; The Bridge as a Prophetic Vision of Origins
2. The Visual Structure of Prophetic Vision; a Simultaneous Glimpse Before and Behind
3. Spengler's Reading of Perspective as a Culture-Symbol
4. The Bridge and the Paintings in the Sistine Chapel; Moses and Jesus: Columbus and Whitman; Joseph Stella; El Greco's Agony in the Garden; the Grail; Dionysus and Jesus
5. Counterpoint in The Bridge
6. Foreshadowing and Lateral Foreshadowing; the Grail Quest; Eliot's The Waste Land
7. The Return to Origin; the Total Return to the Womb; the Primal Scene; Vision and Invisibility; the Dual Identification
8. The Reversal of the Figures of Father and Mother in "Indiana"; Crane's Dream of the Black Man by the River; Crane's Quarrel with His Father; the Composition of "Black Tambourine"
9. Crane's Dream of His Mother's Trunk in the Attic
10. Fantasies of Return to the Womb and the Primal Scene; Three Dimensions Reduced to Two as a Sign of Body Transcendence; the Triple Archetype; Goethe's Faust; Plato's Cave Allegory as a Sublimated Womb Fantasy; Helen as Mother; the Influence of Williams and Nietzsche; Demeter, Kore, and the Amerindian Corn Mother
11. Building the Virgin; Crane's "To Liberty"; Lazarus's "The New Colossus"; Helen and Psyche; Astraea and the Constellation Virgo; Demeter and Kore; the Virgin Mary and Queen Elizabeth I
12. The Education of Henry Adams; Arnold's "Stanzas from the Grande Chartreuse"; Wandering between Two Worlds; Seneca's Medea; Whitman and the Rebound Seed
13. "Three Songs"; Golden Hair; "Quaker Hill" and the Motherly Artist; the Return of the Golden Age; Astraea and Atlantis
14. Epic Predecessors: Aeneas and Dido; Survival through a Part-Object; Stellar Translation and the Golden-Haired Grain
15. The Historical Pocahontas and the Mythical Quetzalcoatl; Prescott, Spence, and D. H. Lawrence as Influences on The Bridge; Waldo Frank's Our America and the Image of Submergence
16. Nietzsche and the Return of the Old Gods; Zarathustra and Quetzalcoatl; the Eagle and the Serpent; the Dance
17. The Aeneid, Book 6, and "The Tunnel"; "Cutty Sark" and Glaucus in Ovid; Burns's "Tam o' Shanter"; Glaucus in Keats's Endymion
18. Time and Eternity in "Cutty Sark"; Stamboul Rose, Atlantis Rose, and Dante's Rose; Moby-Dick and "Cutty Sark"
19. The Historical Cutty Sark; Hero and Leander; Jason and the Argo; Dante and the Argo
20. Constellations and The Bridge
21. Constellations Continued; Panis Angelicus
22. Time and Eternity; Temporal Narrative and Spatial Configuration; the Bridge as Memory Place; "Atlantis"; One Arc Synoptic of All Times
23. "Atlantis" and the Image of Flight; Shelley's "To a Skylark"; Pater and the Tears of Dionysus
24. Love and Light; Love-as-Bridgeship; Pater and Botticelli's Venus; Venus and the Rainbow; Foam-Born; Pyramids and Fire; From Ritual to Romance; Venus and Adonis
25. Three Structures; the Visualization of the Womb Fantasy in The Last Judgement; the Transumptive Relationship
26. Michelangelo's Self-Portrait; Marsyas and the Suffering Artist
Part Two: White Buildings and "The Broken Tower"
1. "Legend," "Black Tambourine," "Emblems of Conduct," "My Grandmother's Love Letters," "Sunday Morning Apples"
2. "Praise for an Urn," "Garden Abstract," "Stark Major," "Chaplinesque"
3. "Pastorale," "In Shadow," "The Fernery," "North Labrador"
4. "Repose of Rivers," "Paraphrase," "Possessions"
5. "Lachrymae Christi"
7. "The Wine Menagerie," "Recitative"
8. "For the Marriage of Faustus and Helen"
9. "At Melville's Tomb," "Voyages I, II, III"
10. "Voyages IV, V, VI"
11. "The Broken Tower"
Notes to Part One: The Bridge
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