GPT
The poem says modern systems turn science, war, and revolt into puppeted forms of power unless people return to the place where myth began.
The complete universe containing justice in the middle of passion briefly offers a center the earlier institutions lack. But that possibility is threatened by the marriage of geometry and guilt, a phrase that makes power seem mathematically organized and morally diseased at once. The final image of being on strings gives the whole argument a puppet-like helplessness.
Claude
A revised draft of the 'nuclear and mystic' poem (cf. page 13) that now adds a center of meaning - 'the complete universe / Contains justice in the middle of passion' - and an injunction to 'point ourselves / out back to where the myth began', before closing on power's 'strange marriage / of geometry and guilt' that 'has us ostensibility on strings.'
The decisive change from the page-13 version is the imported justice: where the earlier draft drove straight toward puppetry, this one pauses on a universe that 'Contains justice in the middle of passion', then prescribes a return 'to where the myth began' as the corrective to a world run by inhuman replacements. That gives the poem a hinge of hope the first draft lacked, making this take less diagnostic and more confessional. The familiar machinery survives - science 'sent objectively underground', the army and 'the individual revolutionary' both relieved of 'spiritual crises', the closing 'glass' that puppets us - so the redraft reads as the poet deciding how much resolution he will allow himself. Source forms 'spiritual crises' and 'ostensibility on strings' are kept as written.