ring
rubbers is different without them.

IV

The earliest poetry forms a second group:

Twilight

The intention is to eliminate the difference between time and space
in favor of the idea of poetry. The poems want to represent the
effect of twilight on the landscape.

In this case the unity of time is necessary to a certain degree.
The unity of space is not required, therefore not observed. In
twelve lines the twilight is represented on a pond, tree, field,
somewhere... its effect on the appearance of a young man, a wind, a
sky, two cripples, a poet, a horse, a lady, a man, a young boy, a
woman, a clown, a baby-carriage, some dogs is represented visually.
(The expression is poor, but I can find nothing better)

The author of the poem does not want to portray a landscape that is
thought to be real. The poetic art has the advantage over painting
of offering "ideal" images. That means--in respect to the Twilight:
the fat boy who uses the big pond as a toy, and the two cripples on
crutches in the field and the woman on the city street who was
knocked down by a cart-horse in the half-darkness, and the poet who,
filled with desperate longing, is thinking in the evening (probably
looking through a skylight), and the circus clown in the gray rear
building who is sighing as he puts on his boots in order to arrive
punctually at the performance, in which he must be funny--all these
can produce a poetic "picture," although they cannot be composed like
a painting. Most still deny that, and for that reason recognize, for
example, in the "Twilight" and similar pictures nothing but a
mindless confusion of strange performances. Others believe,
incorrectly, that these kinds of "ideal" pictures are possible in
painting (for example, the Futurist mish mash).

The intention, furthermore, to grasp the reflex of things
directly--without superfluous reflections. Lichtenstein knows that
the man is not stuck to the window, but stands behind it. That the
baby-carriage is not screaming, but the child in the baby-carriage.
Because he can only see the baby-carriage, he writes: the
baby-carriage cries. It would have been untrue lyrically had he
written: a man stands behind a window.

By chance, it is conceptually also not untrue: a boy plays with a
pond. A horse stumbles over a lady. Dogs swear. Certainly one must
laugh in an odd way when one learns to see: that a boy actually uses
a pond as a toy. How horses have a help