Abstract

This paper will consider the metamorphoses, the translations, of the divine occurring in the ecstatic and aesthetic naturalisms of Robert S. Corrington, the poetic philosophizing of Wallace Stevens, and the syntheism of Alexander Bard. In Corrington’s aesthetic naturalism, the notion of the divine elides but also translates into the notion of the sublime. Of great import in this elision, this translation, is Corrington’s reading of Schopenhauer. Schopenhauer, read by Corrington, sees the self as the highest objectification of the Will.2 The genius, the epitome of the self as this highest objectification of the Will, brings the Forms to the spatiotemporal flux of the Will’s violent and aimless..