The Claritas Strategy
THOMAS MERTON'S UNDERSTANDING: THE CLARITAS STRATEGY by Michael Rukstelis, c.o. At the close of Thomas Merton's only published novel My Argument with the Gestapo, originally written in 1941 while teaching English at St. Bonaventure University in New York, the narrator says "the only reason for wanting to write [is] Blake's reason."1 What "Blake's reason" might mean can be evidenced in an examination of Merton's Columbia University thesis, composed in 1938, on this eighteenth-century poet. Accordingly, I want to pay careful attention to some important portions of that thesis entitled "Nature and Art in William Blake: An Essay in Interpretation." A close reading of the thesis will help readers see how Merton's essay is an important source text, on at least two levels, for later Merton works. On one level, the Blake thesis suggests how Merton's own religious perspective eventually came to be shaped by the interpretive decisions he made about art and about the artistic process, as either are related to the mystic or contemplative experience. On another level the thesis reveals the 1. Thomas Merton, My Mgument with the Gestapo (Garden City, New York: Doubleday & Company, 1969), p. 259. 192 Michael Rukstelis Thomas Merton and the Claritas Strategy 193 beginnings of a symbolic language for vision, which I call here the claritas in both the poet and the mystic, but they both operate differently and on strategy.2 The claritas strategy becomes an important context for readers of different planes" (LE, pp. 444-445). As this facet of the thesis is presented in a Merton, because it suggests to some extent how contemplative insights more distilled form in his Bonaventure lecture notes, the meaning of emerged.
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