16 SHADES OF BLUE
An October morning in Paris presents him with a "completely supportless blue"; two days later, in front of the pictures in the Salon, he speaks of "the good conscience of these reds, these blues"; Thereupon while crossing the Place de la Concorde, the poet becomes aware of "an ocean of cold...barely blue"; while the houses in the backgroud loom in a "blue dove-grey". The obelisk, around whose granite there is always "a glimmering of blond old warmth holds an ancient Egyptian shadow-blue" in its heiroglyphic hollows...Intensity of perception increases, and with it the wealth of nuances in the experiencing of blue: a "self-contained blue" (in van Gogh) is joined by a "listening blue" and a "thunderstorm blue" in Cezanne, with "sky-blue" and "sea blue" as the only conventional mentions of the color. Until, in the end, in the second letter from Prague, a "bourgeois cotton blue" and a "light cloudy blueishness" evoke the whole scale of a color as it was painted by the artist and named by the poet: from a "densely quilted blue" through "waxy blue," "wet dark blue," "juicy blue" to that slope of curved hills in a van Gogh: "full of revolt, Blue, Blue, Blue."
"like a great thunderstorm"