ABSTRACT
Explosive, possessive, and accursed, 'Ode Triunfal' demands an essayistic brainstorming in its own image, one which calls on a variety of experiences. The measure of the 'Ode' is the unmeasured, an enormity: it is a sublime object. 'Ode Triunfal' states: 'o presente e todo o passado e todo o futuro'; Burnt Norton, twenty years later, says: 'all time is eternally present'. 'Ode Triunfal' as an interminable fight for the literal quality of the pain sought and welcomed, in an inversion of common sense. 'Ode Triunfal' reconciles itself, therefore, with the epic. Each gesture is only the repetition and the announcement of gestures, pasts, and futures, through a language which preserves itself in it. 'Ode Triunfal' is a recycling machine. In Campos, at the beginning of 'Ode Triunfal', singing itself conquers time: 'Canto, e canto o presente, e tambem o passado e o futuro, / Porque o presente e todo o passado e todo o futuro'.
