To describe the texture of things, the aesthetics not of form or of content but of the givenness of the world was always the aim he had in mind, since he believed that the pure happenstance of events could be the subject of an infinite meticulousness of attention and subtlety in rendering. The language for this did not emerge out of a close focus on details, the notion of which was the result of a false analogy with the visual. Words must be preceded by the setting of a linguistic frame and this is not made up out of a palette or menu of disjunct possibilities, but rather out of long narrative lines, endlessly woven. It is out of these extended but largely latent narratives that the verbal resources of any analytic description will be forged. A complete narrative line seems to be extended over a long duration in time, the time of its unfolding, but at the same time is to be grasped in an original unity. A concrete idea when it is sufficiently clear is a complex which exists in a primary sense as a timeless unitary insight, while the apparently simple idea is an abstracted unit, the result of a long cumulative process of deliberate limitation. The dream-like complete world in a grain of sand is the true primary or simple idea. It is at home in a concrete continuum of such ideas rather than the discrete infinity of abstract units. In order to grasp it we must utilise a higher and more real intelligence than the instrumental one that dominates our waking life and its purposeful activities.