Light Bulb

"When we pass into anagogy, nature becomes, not the container, but the thing contained, and the archetypal universal symbols, the city, the garden, the quest, the marriage, are no longer the desirable forms that man constructs inside nature, but are themselves the forms of nature."
Frye-119

" This is not reality, but it is the conceivable or imaginative limit of desire, which is infinite, eternal, and hence apocalyptic [or] the imaginative conception of the whole of nature as the content of an infinite and eternal living body which, if not human, is closer to being human than to being inanimate."
Frye-119

As I read this second entry from Frye I had a little epiphany about Wallace Steven's "The Idea of Order at Key West." Or more specifically I had an epiphany about the first verse in the poem:
She sang beyond the genius of the sea
The water never formed to mind or voice
Like a body wholly body, fluttering
It's empty sleeves; and yet it's mimic motion
Made constant cry, caused constantly a cry
That was not ours although we understood,
Inhuman, of the veritable ocean.

This made me ask myself, what if she was this infinite eternal living body, either human or not, that embodies the imaginative concept of nature? And then it all became all the more clear as I read is lines such as, But it was she and not the sea we heard, It was her voice that made the sky acutest at it's vanishing, She was the single artificer of the world.

This poem is what Frye calls apocalyptic in the world of anagogy, because there is this "She" singing and creating or altering the reality, or the world around the speaker in the poem. In this poem "she" is the image in the anagogical sense because she sort of represents what Frye names as a characteristic of anagogy; "the sense of unlimited power in a humanized form"
The poem never explicitly describes this "she" as being a goddess or of possessing any obvious magical or higher powers other than an exceptionally powerful singing voice, but it is implied in the last two concluding verses what she did indeed project some sort of power or change over them or the world. Something changed : "The maker's rage to order words of sea, Words of the fragrant portals, dimly-starred, and of ourselves and of our origins"

It almost sounds to me that the Maker, this "she" somehow altered language, or words themselves. And in changing the word base of a thing (sea, fishing boats, what have you) the entirety of the thing now is seemingly completely different. I like to imagine that when the speaker of the poem turns around he doesn't understand any of what he sees because this She has changed around the order of everything and now nothing is as it was. "In ghostlier demarcations" What was one way is now another and only the ghost of "ourselves" and/or the sea remain while the newly sung version stands in it's new ordered place.