Dimensiuni ale limbajului n context carceral

stanzas four, five and six shape the REM or the rapid eye movement state in which the dreamer’s sole
resources are his memory and his imagination. On a more general basis, the REM segments are the periods
during our sleep in which dreams occur. They result in the rapid movement of the eyes from right to left and
backwards.
Having in mind that the speaker entered the dream state with the sense of loss and depression as parts
of the prophane, the dream brings a refutation of those feelings just as sad person dreams of happy moments.
Thus, the feelings of depression and loss are counterbalanced by the sense of regaining the person that is
absent through the use of memory, imagination and concrete imagery. In other words, the speaker re-lives his
past experience. There is also a kind of spiritual torpor and memory offers a form of transcendence, a mystical
calmness.
The next stanza, namely the seventh, represents the peak of this dream ecstasy in which the hymen
extends till the proximity of death resulting into what is scientifically called the deep sleep state. This phase is
textually marked by abstract nouns which make the stanza rather vague. Or this vagueness is full of meaning
only in the propinquity of death. Again, on a more general basis, the deep sleep state is the phase in which
bodily functions almost stop (low breathing, rare hearts beats, blood circulation is reduced to life sustaining
organs, brain functions dwindle). Even though the nearness of death is strongly felt, the speaker releases
himself from this fear. ‘[T]he secret of some wonder-thing’ could be seen as a sum of spiritual truths that
transcends death and, therefore, removes the fear of death.
Nevertheless, the moment of awakening comes. This state of coming back to reality is reflected in the
interplay of light and shadow on the verge between sleep and awakening even though in the ninth stanza we
are still in an abstract reality. This moment of awakening is the moment of delusion in which the speaker
performs an anagnorisis 1 . All regrets and delusions flourish at this moment because mysticism and the
ecstasy of dream involve the abandonment of egocentric desires and feelings in a movement from the id to the
ego, from the unconscious to the conscious.
The poem ends with the image of the falling night making the circle complete. But although the
environment is almost the same, the speaker is not. He is rather the desengañado who has passed through a
mystical experience and realised that nothing could be kept forever. He has learned that his individual will
could not stand against the inevitable rhythm of life symbolised by the ever-renewable flood of the tide. In
contrast with the first stanza, the concluding image is painted in furious movements. Now, the hymen goes
even deeper because between the image at the beginning of the poem and the one concluding the poem
something has happened and it cannot be grasped again. The dream ecstasy has consumed its effervescence in
a moment of time and in a portion of space but the distance between dream and reality is so vast that it cannot
be thought of. Because of its deepness, the hymen loses its identity and meaning.