Discover The Secret Of Immortality

Discover The Secret Of Immotality

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Milton The Sky is an Immortal Tent Built by the Sons of

The sky is an immortal tent built by the Sons of Los And every space that a man views around his dwelling-place Standing on his own roof or in his garden on a mount Of twenty-five cubits in height, such space is his universe And on its verge the sun rises and sets, the clouds bow To meet the flat earth and the sea in such an order'd space The starry heavens reach no further, but here bend and set On all sides, and the two Poles turn on their valves of gold And if he moves his dwelling-place, his heavens also move Where'er he goes, and all his neighbourhood bewail his loss. Such are the spaces called Earth and such its dimension. As to that false appearance which appears to the reasoner As of a globe rolling through voidness, it is a delusion of Ulro. The microscope knows not of this nor the telescope they alter The ratio of the spectator's organs, but leave objects untouch'd. For every space larger than a red globule of Man's blood Is visionary, and is created by the Hammer of Los And...

Hope Not for Immortality

The snows have scattered, grasses now return to the fields and leaves to the trees the earth undergoes its regular changes and shrinking rivers flow within their banks. The Grace, with the Nymphs and her twin sisters, ventures to lead the dances naked. The year and the hour, which snatches away the life-giving day, warn you not to hope that this will last forever (lit., warn that you should not hope for immortal things). The cold becomes mild with the west winds, spring is trampled on by summer (lit., summer tramples on spring), itself going to die as soon as fruit-bearing autumn has poured forth its crops, and soon sluggish winter returns.

The Anxiety Of Influence

We shall often find that not only the best, but the most individual parts of the poet's work may be those in which the dead poets, his ancestors, assert their immortality most vigorously. And I do not mean the impressionable period of adolescence, but the period of full maturity.

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Thus darkend the Shadowy Female tenfold & Orc tenfold Glowd on his rocky Couch against the darkness loud thunders Told of the enormous conflict . Earthquake beneath around Rent the Immortal Females, limb from limb & joint from joint And moved the fast foundations of the Earth to wake the Dead

Endymion A Poetic Romance Excerpt

A thing of beauty is a joy for ever Its loveliness increases it will never Pass into nothingness but still will keep A bower quiet for us, and a sleep Full of sweet dreams, and health, and quiet breathing. Therefore, on every morrow, are we wreathing A flowery band to bind us to the earth, Spite of despondence, of the inhuman dearth Of noble natures, of the gloomy days, Of all the unhealthy and o'er-darkened ways Made for our searching yes, in spite of all, Some shape of beauty moves away the pall From our dark spirits. Such the sun, the moon, Trees old and young, sprouting a shady boon For simple sheep and such are daffodils With the green world they live in and clear rills That for themselves a cooling covert make 'Gainst the hot season the mid forest brake, Rich with a sprinkling of fair musk-rose blooms And such too is the grandeur of the dooms We have imagined for the mighty dead All lovely tales that we have heard or read An endless fountain of immortal drink, Pouring unto us...

He Did Not Love Her Anymore

That brilliant, farfetched woman Who drank coffee in our garden And the days Father fed me Absinthe through a sugar cube So I would be asleep by noon And wake to find Ramona posing Naked with a tambourine. Tonight the whole world is a garden In which the immortal whispers Something about art And its opportunities Memory like a bolt of silk In a tailor's arms Can be made into anything Especially misfortune, Especially the year Ramona spent In a wrath almost biblical And so far from the world Not even the moon could find Her study in Paris

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Of the Sleep of Ulro and of the passage through Eternal Death and of the awaking to Eternal Life. But the perturbed Man away turns down the valleys dark Saying. We are not One we are Many, thou most simulative Phantom of the over heated brain shadow of immortality Seeking to keep my soul a victim to thy Love which binds To open the Eternal Worlds, to open the immortal Eyes

At A Vatican Exercise excerpt

The Latin speeches ended, the English thus began Hail native language, that by sinews weak Didst move my first endeavouring tongue to speak, And mad'st imperfect words with childish trips, Half unpronounc'd, slide through my infant lips, Driving dumb Silence from the portal door, Where he had mutely sate two years before Here I salute thee and thy pardon ask, That now I use thee in my latter task Small loss it is that thence can come unto thee, I know my tongue but little grace can do thee Thou needst not be ambitious to be first, Believe me I have thither pack'd the worst And, if it happen as I did forecast, The daintest dishes shall be serv'd up last. I pray thee then deny me not thy aid For this same small neglect that I have made But haste thee straight to do me once a pleasure, And from thy wardrobe bring thy chiefest treasure Not those new-fangled toys, and trimming slight Which takes our late fantastics with delight, But cull those richest robes, and gay'st attire Which deepest...

Anaphora of first element of compounds

With *n- RV 1. 32. 7 apad ahasto, cf. 1. 116. 5 7. 6. 3 8. 70. 11 10. 37. 7, 39. 5 AV Paipp. 11. 1. 8 Il. 9. 63 a pyrwp ade ioros aveorios Od. 1. 242 dloros dnvoros, 4. 788 doiros dnaoros Hes. Th. 489 (iviKnros Kal aK S s Sigrdrifumal 19. 5-6 oviltar oc ospiltar. The paired epithets applied to Dawn in RV 1. 113. 13 ajaramrta (that is, ajara amrta), 'unageing, immortal', correspond in sense, and partly in etymology, to the Homeric adavaros Kal (iyrfpaos (Il. 2. 447 (iyrfpaov adavt r v re). Other Vedic and Avestan examples include RV 1. 47. 2 trivandhurena trivrta 'three-', cf. 118. 2 10. 94. 7 dasavanibhyo dasakaksiyebhiyo dasayok-trebhyo dasayojanebhiyah dasabhisubhyah 'ten-' 8. 22. 12 visvapsum visvavariyam 'all-' 1. 113. 12 rtapa rtejiOh 'right-', cf. 7. 66. 13 2. 21. 3 janabhakso janamsahah 'people-' 8. 81. 2 tuvikarmim tuvidesnam tuvTmagham tuvimatram 'strongly' Y. 39. 3 yavaajyo yavaBsvo 'of eternal life, of eternal benefit', cf. 4. 4, Yt. 19. 11.

Now Art Has Lost Its Mental Charms

Now Art has lost its mental charms France shall subdue the world in arms.' So spoke an Angel at my birth Then said Descend thou upon earth, Renew the Arts on Britain's shore, And France shall fall down and adore. With works of art their armies meet And War shall sink beneath thy feet. But if thy nation Arts refuse, And if they scorn the immortal Muse, France shall the arts of peace restore And save thee from the ungrateful shore.'

Eliot Tradition And The Historical Sense

Conscious engagement with writing by others. In 'Tradition and the Individual Talent', Eliot explains why. He argues that the poet should have a 'historical sense', writing not only 'with his own generation in his bones', but 'with a feeling that the whole of literature of Europe from Homer and within it the whole of the literature of his own country has a simultaneous existence and composes a simultaneous order'. It is only with this knowledge that the poet will be capable of writing something genuinely new and worthwhile 'we shall often find that not only the best, but the most individual parts of his work may be those in which the dead poets, his ancestors, assert their immortality most vigorously' (1980 14). In Eliot's view the most individual poet is likely to be the one who is most 'traditional', in the particular sense explained here.

Lecture Thirty Nine Adrienne Rich and the Poetry of Protest

Scope Lecture 39 brings us to the final poet in the course, Adrienne Rich, a frankly feminist poet who stakes her ground in the world of political power and change. Rich denies the familiar conceit that the poet's words are immortal, insisting instead that we are all a part of history, vulnerable and engaged whether or not we want to be.

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She burst the Gates of Enitharmons heart with direful Crash Nor could they ever be closd again the golden hinges were broken And the gates broke in sunder & their ornaments defacd t792 Beneath the tree of Mystery for the immortal shadow shuddering Brought forth this wonder horrible a Cloud she grew & grew Till many of the dead burst forth from the bottoms of their tombs In male forms without female counterparts or Emanations t793 Cruel and ravening with Enmity & Hatred & War In dreams of Ulro dark delusive drawn by the lovely shadow t794

Anonymous Later Poets 123 A1

Aelian On Animals That dolphins have a natural liking for singing and the flute, witness Arion of Methymna by token of the statue 2 at Cape Taenarum and the inscription thereon, which runs 'By immortal guidance this equipage saved Arion son of Cycleus from the Sicilian main.' The hymn of thanksgiving to Poseidon which testifies to the dolphins' love of music was composed by Arion 3 as a meed of gratitude not only to him but to them. It is as follows

The Wanderings of Oisin Book III

Fled foam underneath us, and round us, a wandering and milky smoke, High as the Saddle-girth, covering away from our glances the tide And those that fled, and that followed, from the foam-pale distance broke The immortal desire of Immortals we saw in their faces, and sighed. And that I would leave the Immortals, their dimness, their dews dropping sleep.

On the Religious Memory of Mrs Catherine Thomson my Christian Friend Deceased Dec 16 1646

When Faith and Love, which parted from thee never, Had ripened thy just soul to dwell with God, Meekly thou didst resign this earthly load Of death, called life, which us from life doth sever. Thy works, and alms, and all thy good endeavour, Stayed not behind, nor in the grave were trod But, as Faith pointed with her golden rod, Followed thee up to joy and bliss for ever. Love led them on and Faith, who knew them best Thy handmaids, clad them o'er with purple beams And azure wings, that up they flew so drest, And speak the truth of thee on glorious themes Before the Judge who henceforth bid thee rest, And drink thy fill of pure immortal streams.

Death Be not Proud John Donne

(1633) While discussion continues over the order in which John Donne wrote the individual poems that compose his Holy Sonnets, the critic Helen Gardner has argued convincingly that Death Be Not Proud was published in 1633. Structured as a variant of the Italian, or Petrarchan, sonnet, the poem's rhyme scheme is abbaabbacddcee. Donne became popular while serving as the dean of St. Paul's, writing and preaching sermons that also occupy an important position in his works. As one who tended to the spiritual life of others, he dealt regularly with death, and the sonnet probably reflects the theme of hope he attempted to pass to the grieved. He had two strict views about the soul. He believed it immortal by the will of God and believed that a virtuous soul is taken to heaven at the moment of death it does not linger to

On The Death Of Waller Aphra

Waller's name, a new spark in the dull ashes strives, and the poet hears Waller's tuneful verse and his song divine, inspiring her. In a two-word line formatted for effect, she cries, But oh following her exclamation with a rhetorical question, with the answer again calling attention to the deceased's importance What inspiration, at the second hand, Can an immortal elegy command Unless, like pious offerings, mine should be made sacred, being consecrate to thee. Behn follows the traditional approach of deeming her own work acceptable only through its association with that of Waller. Behn continues with the classical allusion to immortality gained by writers through their words, Waller's expressions described as wit sublime with judgment fine and strong. The name Sacharissa in line 20, Soft as thy notes to Sacharissa sung, refers to Lady Dorothy Sidney, Waller's love in the 1630s and the subject of many of his lyrics. Behn then compares her own writing to decaying flowers, contrasting...

Amoretti Sonnet 75 One day I wrote her name upon the strand Edmund Spenser 1595

This sonnet, like the previous one in Amoretti, addresses the courtship between Edmund Spenser and Elizabeth Boyle. The rhyme scheme follows the linked quatrain pattern of the Spenserian sonnet, and themat-ically it plays with the familiar conceit of immortality. The speaker begins the octave by setting a scene at the beach one day, when he writes his beloved's name in the sand however, as is to be expected, the waves come in and wash the name away. So once again, he writes the name upon the sand, and once again, the waves come in and wash it away. The beloved chastises him for his vanity that would allow him vainly to attempt to immortalize in this manner someone such as she, who is mortal, and who eventually will be wiped out of all memory, just as her name has been erased from the beach. In the sestet, however, the speaker protests the beloved's self-deprecating assessment of the situation, claiming that she shall live forever because his verses will make her name famous, and her...

Written On A Blank Space At The End Of Chaucers Tale Of The Flowre And The Lefe

The church bells toll a melancholy round, Calling the people to some other prayers, Some other gloominess, more dreadful cares, More harkening to the sermon's horrid sound. Surely the mind of man is closely bound In some blind spell seeing that each one tears Himself from fireside joys and Lydian airs, And converse high of those with glory crowned. Still, still they toll, and I should feel a damp, A chill as from a tomb, did I not know That they are dying like an outburnt lamp, -That 'tis their sighing, wailing, ere they go Into oblivion -that fresh flowers will grow, And many glories of immortal stamp.

Michael Cornelius Writing Center

In Sonnet 13, which Michael Drayton dedicates To the soul (something he also does for Sonnet 12), the author utilizes the same metaphysical genre he used in the 12th sonnet. Yet while the subject matter of Sonnet 12 is inspiring and hopeful, Sonnet 13 reflects the grim tone of Sonnet 8. The poems use the metaphor of decay, but in Sonnet 13, the decay is focused on inanimate objects Metals do waste and fret with canker's rust, The diamond shall once consume to dust, And freshest colours with foul stains disgraced (ll. 2-4). Even the author's words, immortal in Sonnet 6, are now fallible to decay Letters and lines we see are soon defaced (l. 1). In some ways, the sonnet reads as a response to Dray-

Amoretti Sonnet 74 Most happy letters framd by skilfull trade Edmund Spenser

The speaker begins the first quatrain with a paean to the letters that make up the name of Elizabeth, because three women bearing that name have made him happy, giving him gifts of body, fortune and of mind (l. 4). The second quatrain announces that the first gift came from his mother, who gave him life, while the second gift came from the queen, who has honored him and given him riches. The third quatrain is dedicated to his beloved, who has raised his spirit out of the dust of his widowhood therefore, of all the people alive, she is most deserving of his praise and glorifying. The final couplet, then, hopes that the three Elizabeths might live forever for giving him those graces.

Shakespeares sonnets Sonnet 115 Those lines that I have writ before do lie William

Shakespeare (1599) Though many of William Shakespeare's sonnets engage in the monumentum aere perennius (from the poet Horace, a monument more lasting than bronze) trope, this poem does so in a novel and unique manner, combining two themes of the sonnet sequence immortality through procreation and immortality through artistic creation. The trope figures the poem as a verbal or textual monument, which will outlast both the sonnet's speaker and the object of desire. In other cases in the sequence, the speaker has encouraged the young man to beget children and thereby create a lasting monument to himself in the images of his own children, but here the love that the speaker has for the young man, exemplified through the poem itself, is described as an immortal and ever-growing child. The poem moves into a self-referential register in the second quatrain. Grammatically, the second quatrain is simply a description of the activities or accidents of personified Time. King's decrees change,...

Ask Me No More Where Jove Bestows Thomas Carew 1640 One of the

Astell was somewhat of an anomaly for her era, publishing tracts and literature supporting women's natural equality to men. While never a proponent of female independence from society's patriarchal structure, she believed that women should be allowed to reach their full potential within economic and legal subordination to their fathers and husbands. At age 18 she wrote the poem Ambition, lambasting men for their desire for earthly immortality through writing, rather than for spiritual immortality. She also commented on her disregard for those who criticized her words because they did not meet cultural expectations that women remain passive. In addition to writing two pamphlets and six books, Astell engaged in a spirited correspondence with the Reverend John Norris of Bemerton, discussing the love all Christians owe to God. In 1689 she presented a collection of her religious poetry, known to later scholars as the Rawlinson Manuscript, to the archbishop of Canterbury.

Wallace Stevens and the supreme fiction

Neither Pound nor Eliot would have considered Stevens' question about reality and the imagination to be particularly important to the writing of poetry. For Pound it was not possible to define the poetic imagination apart from the structures and insights contained in history, mythology and cultural tradition, all of which supplied the poet with both his inspiration and his primary subject. For Eliot, the defining feature of poetry was not how successfully it negotiated between reality and the imagination, but rather how fully it engaged literary tradition the best poems, according to Eliot, were those in which the poet's predecessors assert their immortality most vigororously. In the work of modernists like Pound and Eliot, we can speak

On His Majestys Recovery From The Smallpox 1633 William Cart

Cartwright displays the intelligent craftsmanship that made him a favorite of his day. He offers an excuse not only for himself, as court chronicler, but for others who may have written of the king's ailment. He also uses punctuation for emphasis in a manner that asks the reader of his poem to focus attention on the king's strengths, not his illness, intimating what he predicts will happen in the future. Also of note is Cartwright's acceptance of his own immortality through writing and, equally important, through his relationship to the king and the court. His conscious consideration of future generations betrays his hope that his poetry's existence will extend far beyond his own, a desire that was fulfilled.

Gondibert Excerpt William Davenant

(1651) William Davenant remains most important for his involvement in restoring drama to the stage after the long Cromwellian moratorium on public performance. However, he was also a poet, who wrote the incomplete romantic epic poem Gondibert while imprisoned as a Royalist by Cromwell's forces. Set in Lom-bardy, Gondibert followed the adventures of feudal knights. Davenant based the poem's quatrain form on Sir John Davies's Nosce Teipsum, or, Know Thyself (1599), a poem of natural philosophy that considered the relationship of the soul to the human body and senses, as well as the soul's immortality. In turn, Gondib-

Pindars Fragments Threnoi

Philosophical mystics seem to have had much in common cf. Hdt. ii. Si. Totat 'Op'ftxolat xaXEG j.Evoiat xa t Baxytxolat, eouat oe Atyu xtotat xa riuS-ayopstotat. Miiller in his Hist, of Greek Lit. ch. xvi., which should be read on this subject, points out that, whereas in Homer only the specially favoured, such as Menelans, the son-in-law of Zeus, are admitted to Elysium, while of the rest even the best lead but a joyless existence (cf. the well-known lament of Achilles in Od. xi. 4S9), Pindar, on the contrary, holds out some form of Paradise to all who can win it by their virtue. He is at one rather with Hesiod, according to whom all the heroes (dXptoi r-ptosg) assemble in the Islands of the Blest (Wks. 169). See 01. ii. 1. 61 seq. Zeller, in his Pre-Soeratie Philosophy, Introd. sec. ii., asserts that Pindar is speaking of the future rewards not of the pious in general, but only of those initiated in the mysteries. I see, however, nothing in the text to support the limitation, with...

Ode Upon A Question Moved Whether Love Should Continue Forever An Edward Herbert 1665 An

Meander adopts a tender approach in the penultimate stanza, assuring Celinda that no doubt should touch, Much less your fairest mind invade, because Were not our souls immortal made, our equal loves can make them such. The religious purist might raise an objection to Meander's last statement, as Herbert suggests that man can make his own soul immortal through sharing an equal and pure love. However, the sharing of the idealistic love that Herbert celebrates would represent a state of grace on earth, causing those sharing it to feel they had already achieved a heavenly state. He concludes with a roundly metaphysical sentiment, as Meander declares,

Hind And The Panther The John

The lengthy poem is divided into three parts. The First Part runs to 572 lines, The Second Part to 722 lines, and The Third Part to 1,298 lines, with a format of rhyming couplets. The beginning lines introduce various animals and make clear their allegorical significance. That the poem focuses on religion and faith is made clear by 27 references to grace or variant terms, such as mercy, kindness, and forgiveness, where grace is superior to nature. Dryden describes A milk white Hind, immortal and unchang'd, adding she is unspotted, innocent within as contrast to the spotted panther. Because she knows no sin, she does not fear danger. He describes a history of her being hunted by horns and hound but offers a paradox in line 8, And doom'd to death through fated not to die, at which point the reader understands she is not a typical deer. Dryden will focus on other animals as well, supplying information that alerts readers to their allegorical significance, with several representing...

The Clashing Of Codes A Definition Of Modernism

Literary theorists often draw up two columns of binary oppositions to illustrate the structural and functional relations of a particular text (see the metaphor-metonymy columns in Chapter 5, pp. 134-5). Choose a modern poem and first identify the structural tension that to you seems to be its most prominent feature. For 'Whispers of Immortality' you might identify metrical regularity versus referential incoherence for 'Spring and All' you might isolate speech (the unstructured progress of the syntagm) versus writing (the static presence of the line). Then go on to identify other oppositions that are within or at least addressed by the text. You will, I believe, find that it is difficult to maintain a regular and stable distinction between the horizontal and vertical axes of the columns. For example, with 'Whispers of Immortality' you might identify

Figurative Language In To Her Father With Some Verses

Brated woman poet and playwright who met an early death of smallpox, as would Killigrew. More comfortable than Philips with her role as a poet, Killigrew stated her hope that art would give her immortality when she wrote in Poems by Mrs. Anne Killigrew (1686), When I am Dead, few Friends attend my Hearse, And for a Monument, I leave my verse. She still had concerns about public reaction to her work, as expressed in Upon the Saying That My Verses Were Made by Another. In that poem she acknowledged her debt to Philips, writing that she owed not her glory to a beauteous face It was her radiant soul that shone within. Adopting the rhetorical stance of the late 17th century, she engaged in extreme modesty in writing To My Lord Colrane, In Answer to His Com-

Characteristics of divinity

Despite the occasional myth of a god such as Baldr who was killed, it is a basic feature of the gods that they are immortal.22 In Vedic as in Greek, they are often referred to as 'the immortal gods', or simply 'the immortals' devil amft h RV 3. 4. 11, cf. 5. 69. 4 6. 15. 18, 18. 15 7. 2. 11 amft h 7. 63. 5 Il. 1. 520 ev adavaroiai deoiaiv, etc. 9. 110 adavaroi, etc. The synonym an poros, which corresponds exactly to Vedic amfta- (*n-mr-to-), is used in the singular formula deos an poros (22. 9, 358, al.), but for the gods in the plural the inherited word had been displaced by the newer adavaroi. The old lexeme appears in Avestan as amosa-, and in Zoroastrian theology the divine entities that Zarathushtra had associated with Ahura Mazda are called the Amosa Sponta, 'Bounteous Immortals'. In Latin, the expected *immortus is replaced by the extended form immortalis. The gods are the di immortales, or occasionally immortales alone. Just as we have seen the phrase 'all the gods' in Vedic...

Description Of Cookeham

As Lanyer closes, she hopes, When I am dead thy name in this may live (206), expressing the traditional desire for immortality for her subject that literature could afford. While the influence of the countess on her estate proved great, that on the poet proved even greater, as Lanyer concludes about her subject, Whose virtues lodge in my unworthy breast, And ever shall, so long as life remains, Tying my heart to her by those rich chains (208-210).

The Romantic Paradox A Summary

And its consequent designation as a speech act and our broader awareness of the cultural, stylistic, biographic and socio-political codes upon which it draws. The primary cause of this interpretive disjunction is their continuous and unremitting interfusion of the referential and the material dimensions of the linguistic sign. It becomes virtually impossible to base a naturalisation upon a clear distinction between the internal, interconnected sign systems of each poem and the points at which the semantic, contextual and cultural designation of each dominant thematic sign (Psyche, Innocence, Experience, The Idiot, Tintern Abbey, Immortality, Kubla Khan, The West Wind) connects with its counterparts in the world outside the text.

Hypercanonical Keats and the pantheon of living poets

The poems we care most about in Keats's 1820 volume are the odes (and Shelley's 1820 Prometheus Unbound volume, while dominated by a drama, also included a sustained exploration of the ode in poems such as Ode to Heaven, Ode to the West Wind, and Ode to Liberty ). But we might think about these odes differently if we did not place them in a tradition of the philosophical or sublime ode, marked by such masterworks as Wordsworth's Immortality Ode and Ode to Duty, or Coleridge's Ode to the Departing Year and Dejection An Ode, but instead thought about them alongside the then better-known odes written for public occasions, such as Byron's Ode to Napoleon Bonaparte, Wordsworth's Thanksgiving Ode of 1816, and the various odes Southey wrote in his position as Poet Laureate, including his Ode for St. George's Day, written in 1820, with its celebration of

Anatomy Of The World An

Previous classical references, as victors of competitions in ancient Greece won crowns of laurel, of which bay is one type. Her next line echoes that imagery, But oh a crown of glory ne'er will die as she skillfully moves from a classical tradition into a religious one and returns to the theme of immortality. The speaker references the title as she states, This I'm ambitious of, no pains will spare To have a higher mansion there, referencing the biblical statement of John 14 2, In my Father's house are many mansions. She therefore echoes a promise, calling upon the highest of all authorities to validate her poem.

Figuretive Language In Cymbeline

Collins concludes by writing that tears will be constantly shed and thoughts will focus on Fidele, who will be Belov'd, till life could charm no more And mourn'd, till Pity's self be dead. Fidele will enjoy immortality through thoughts and words. Collins does his part, although Shakespeare's verse achieved an easy immortality on its own, to guarantee that the two characters' devotion to Fidele, and Fidele himself, shall never be forgotten.

Intrapoetic Relationships

Freud recognized sublimation as the highest human achievement, a recognition that allies him to Plato and to the entire moral traditions of both Judaism and Christianity. Freudian sublimation involves the yielding-up of more primordial for more refined modes of pleasure, which is to exalt the second chance above the first. Freud's poem, in the view of this book, is not severe enough, unlike the severe poems written by the creative lives of the strong poets. To equate emotional maturation with the discovery of acceptable substitutes may be pragmatic wisdom, particularly in the realm of Eros, but this is not the wisdom of the strong poets. The surrendered dream is not merely a phantasmagoria of endless gratification, but is the greatest of all human illusions, the vision of immortality. If Wordsworth's Ode Intimations of Immortality from Recollections of Early Childhood possessed only the wisdom found also in Freud, then we could cease calling it the Great Ode. Wordsworth too saw...

From Absalom and Achitophel i

So easy still it proves in factious times, With public zeal to cancel private crimes How safe is treason, and how sacred ill, Where none can sin against the people's will Where crowds can wink, and so offence be known, Since in another's guilt they find their own. Yet fame deserved no enemy can grudge The statesman we abhor, but praise the judge. In Israel's courts ne'er sat an Abbethdin With more discerning eyes, or hands more clean Unbribed, unsought, the wretched to redress Swift of dispatch, and easy of access. Oh, had he been content to serve the crown, With virtues only proper to the gown Or had the rankness of the soil been freed From cockle, that oppressed the noble seed David for him his tuneful harp had strung, And Heav'n had wanted one immortal song. But wild Ambition loves to slide, not stand And Fortune's ice prefers to Virtue's land. Achitophel, grown weary to possess A lawful fame, and lazy happiness, Disdained the golden fruit to gather free, And lent the crowds his...

Adornment scenes epiphanies and their cultic background

Subsequently, Aphrodite was tended to by her traditional companions (see Plate 9) The Charites there bathed her, anointed her with oil, deathless oil as it shines upon the immortal gods, ambrosial sweet-smelling oil which had been perfumed for her. When she had clothed herself well with all her fine garments around her skin, adorned with gold, Aphrodite the lover of smiles rushed towards Troy (61-6) This feature marks the difference between the heroic epic and the hymn. Whereas Hera's adornment is an element central to the context of the burlesque and has therefore a predominantly narrative function, the one of Aphrodite, by its setting in a temple, may recall a ritual epiphany in which the goddess's specific power is revealed. Here as elsewhere (Od. 8,364f. and in Hymn. Hom. VI), Aphrodite has attendants who bathe and anoint her in the Odyssey, as in Hymn. Hom. V, it is the Charites, in Hymn. Hom. VI, it is the Horae alone. In this case one might assume that the presence of...

The allseeing allknowing god

Another Homeric epithet of Zeus is evpvona, since antiquity often interpreted as 'with far-reaching voice', but originally probably 'with wide vision', referring to his ability to survey the world from his lofty station. Hesiod warns unjust rulers that 'the eye of Zeus sees everything and notices everything'. 'Thrice countless are they on the rich-pastured earth, Zeus' immortal watchers of mortal men, who watch over judgments and wickedness, clothed in darkness, travelling about the land on every road.' In the Iliad it is the Sun who 'oversees everything and overhears everything', and for that reason he is invoked, together with Zeus, as a witness to oaths. But in tragedy it is more often Zeus who is called 'all-seeing'.20

Cleveland John

Finch self-consciously comments on her own endeavors, denying that she seeks the immortality available to writers whose works became a revered part of poetic tradition. Because she has previously referenced Behn and Philips, that tradition remains important to Finch, who, despite her protestations, probably hoped

Baile And Aillinn

Nor thegrey rush when the wind is high, Before my thoughts begin to run On the heir of Uladh, Buan's son, Baile, who had the honey mouth And that mild woman of the south, Aillinn, who was King Lugaidh's heir. Their love was never drowned in care Of this or that thing, nor grew cold Because their hodies had grown old. Being forbid to marry on earth, They blossomed to immortal mirth.

Endymion Book I

An endless fountain of immortal drink, Immortal, starry such alone could thus Now, if this earthly love has power to make Men's being mortal, immortal to shake Ambition from their memories, and brim Their measure of content what merest whim, Seems all this poor endeavour after fame, A love immortal, an immortal too.


So spake Ololon in reminiscence astonishd, but they Could not behold Golgonooza without passing the Polypus A wondrous journey not passable by Immortal feet, & none But the Divine Saviour can pass it without annihilation. For Golgonooza cannot be seen till having passd the Polypus It is viewed on all sides round by a Four-fold Vision Or till you become Mortal & Vegetable in Sexuality Then you behold its mighty Spires & Domes of ivory & gold And Ololon examined all the Couches of the Dead. Even of Los & Enitharmon & all the Sons of Albion And his Four Zoas terrified & on the verge of Death In midst of these was Miltons Couch, & when they saw Eight Immortal Starry-Ones, guarding the Couch in flaming fires They thunderous utterd all a universal groan falling down Prostrate before the Starry Eight asking with tears forgiveness Confessing their crime with humiliation and sorrow.


Eighteenth-century treatises on poetry tend to launch into its defense, heralding it as the genre most able to teach us, in Pope's words, Things unknowncognitive and emotional (Essay on Criticism, l. 575, in Pope 1988). As the most profound of all that is inexplicable, God was considered a tricky subject best approached through a form able to handle mystery gently, releasing the reader from the strictures of reason and into the realms of religious experience. Milton had already stressed the significance of poetry for a thorough, general education and stated that while philosophical rhetoric was perhaps more subtly complex, poetry was more simple, sensuous and passionate, able to speak to the heart as well as the mind (Milton 1951 68). As John Sitter argues, poetry was considered a powerful pedagogical tool in the eighteenth century because it was deemed best able to depict sensory things, such as the experiential and the mystical (Sitter 2001 140). Poetry, it was thought, sweetened...


Was living panting like a frighted wolf, and howling He stood over the Immortal, in the solitude and darkness Upon the darkning Thames, across the whole Island westward. A horrible Shadow of Death, among the Furnaces beneath The pillar of folding smoke and he sought by other means, To lure Los by tears, by arguments of science & by terrors Terrors in every Nerve, by spasms & extended pains While Los answer'd unterrified to the opake blackening Fiend Los answer'd. Altho' I know not this I know far worse than this I know that Albion hath divided me, and that thou O my Spectre, Hast just cause to be irritated but look stedfastly upon me Comfort thyself in my strength the time will arrive, When all Albions injuries shall cease, and when we shall Embrace him tenfold bright, rising from his tomb in immortality. They have divided themselves by Wrath. they must be united by Pity let us therefore take example & warning O my Spectre, O that I could abstain from wrath O that the Lamb Of God...


Forthwith from Albions darkning r ocks came two Immortal forms t288 Saying We alone are escaped. O merciful Lord and Saviour, We flee from the interiors of Albions hills and mountains From his Valleys Eastward from Amalek Canaan & Moab Beneath his vast ranges of hills surrounding Jerusalem.


It seem'd no force could wake him from his place But there came one, who with a kindred hand Touch'd his wide shoulders, after bending low With reverence, though to one who knew it not. She was a Goddess of the infant world By her in stature the tall Amazon Had stood a pigmy's height she would have ta'en Achilles by the hair and bent his neck Or with a finger stay'd Ixion's wheel. Her face was large as that of Memphian sphinx, Pedestal'd haply in a palace court, When sages look'd to Egypt for their lore. But oh how unlike marble was that face How beautiful, if sorrow had not made Sorrow more beautiful than Beauty's self. There was a listening fear in her regard, As if calamity had but begun As if the vanward clouds of evil days Had spent their malice, and the sullen rear Was with its stored thunder labouring up. One hand she press'd upon that aching spot Where beats the human heart, as if just there, Though an immortal, she felt cruel pain The other upon Saturn's bended neck She laid,...


You who shall pretend to despise Art & Science I call upon you in the Name of Jesus What is the Life of Man but Art & Science is it Meat & Drink is not the Body more than Raiment What is Mortality but the things relating to the Body, which Dies What is Immortality but the things relating to the Spirit, which Lives Eternally What is the joy of Heaven but Improvement in the things of the Spirit What are the Pains of Hell but Ignorance, Bodily Lust, Idleness & devastation of the things of the Spirit


I see thy Form O lovely mild Jerusalem, Wingd with Six Wings In the opacous Bosom of the Sleeper, lovely Three-fold In Head & Heart & Reins, three Universes of love & beauty Thy forehead bright Holiness to the Lord, with Gates of pearl Reflects Eternity beneath thy azure wings of feathery down Ribbd delicate & clothd with featherd gold & azure & purple From thy white shoulders shadowing, purity in holiness Thence featherd with soft crimson of the ruby bright as fire Spreading into the azure Wings which like a canopy Bends over thy immortal Head in which Eternity dwells Albion beloved Land I see thy mountains & thy hills And valleys & thy pleasant Cities Holiness to the Lord I see the Spectres of thy Dead O Emanation of Albion. Thy Bosom white, translucent coverd with immortal gems A sublime ornament not obscuring the outlines of beauty Terrible to behold for thy extreme beauty & perfection Twelve-fold here all the Tribes of Israel I behold Upon the Holy Land I see the River of Life &...


Albion cold lays on his Rock storms & snows beat round him. Beneath the Furnaces & the starry Wheels & the Immortal Tomb Howling winds cover him roaring seas dash furious against him In the deep darkness broad lightnings glare long thunders roll The weeds of Death inwrap his hands & feet blown incessant And washd incessant by the for-ever restless sea-waves foaming abroad Upon the white Rock. England a Female Shadow as deadly damps Of the Mines of Cornwall & Derbyshire lays upon his bosom heavy Moved by the wind in volumes of thick cloud returning folding round His loins & bosom unremovable by swelling storms & loud rending Of enraged thunders. Around them the Starry Wheels of their Giant Sons Revolve & over them the Furnaces of Los & the Immortal Tomb around Erin sitting in the Tomb, to watch them unceasing night and day And the Body of Albion was closed apart from all Nations. Time was Finished The Breath Divine Breathed over Albion Beneath the Furnaces & starry Wheels and in the...

John Sitter

William Collins's Ode on the Poetical Character is arguably the most difficult English lyric poem written before the 1790s and one of the most difficult of any era. Confronting the nature of its difficulty directly may best help one appreciate the 25-year-old poet's high achievement. That difficulty stems in part from Collins's personal vision and in part from historical and generic conventions. Since its revival in the seventeenth century, the ode, descending generally from Pindar and Horace, was associated with loftiness and obscurity see ch. 28, The Ode . These expectations persisted into the early nineteenth century thus, Wordsworth's ode Intimations of Immortality comprises grander diction, statelier syntax, more abrupt transitions, and more speculative philosophy than his lesser lyrics. But Collins seems to have regarded the ode as a medium for psychological exploration to a greater extent than had seventeenth-century predecessors such as Ben Jonson, Abraham Cowley, Andrew...


Man is a Worm wearied with joy he seeks the caves of sleep Among the Flowers of Beulah in his Selfish cold repose Forsaking Brotherhood & Universal love in selfish clay Folding the pure wings of his mind seeking the places dark Abstracted from the roots of Science then inclosd around t1008 In walls of Gold we cast him like a Seed into the Earth Till times & spaces have passd over him duly every morn We visit him covering with a Veil the immortal seed With windows from the inclement sky we cover him & with walls And hearths protect the Selfish terror till divided all


In Eden Females sleep the winter in soft silken veils t418 Woven by their own hands to hide them in the darksom grave But Males immortal live renewd by female deaths. in soft Delight they die & they revive in spring with music & songs Enion said Farewell I die I hide from thy searching eyes


Leave all futurity to him Resume thy fields of Light t634 Why didst thou listen to the voice of Luvah that dread morn To give the immortal steeds of light to his deceitful hands No longer now obedient to thy will thou art compell'd To forge the curbs of iron & brass to build the iron mangers t635 To feed them with intoxication from the wine presses of Luvah


Enitharmon stretchd on the dreary Earth t702 Felt her immortal limbs freeze stiffning pale inflexible His feet shrink withring from the deep shrinking & withering t703 And Enitharmon shrunk up all their fibres withring beneath As plants witherd by winter leaves & stems & roots decaying Melt into thin air while the seed drivn by the furious wind Rests on the distant Mountains top. So Los & Enitharmon Shrunk into fixed space stood trembling on a Rocky cliff Yet mighty bulk & majesty & beauty remaind but unexpansive As far as highest Zenith from the lowest Nadir. so far shrunk t704 Los from the furnaces a Space immense & left the cold Prince of Light bound in chains of intellect among the furnaces But all the furnaces were out & the bellows had ceast to blow Of Enitharmon but her groans drown the immortal harps


Every day he viewd the fiery youth With silent fear & his immortal cheeks grew deadly pale Till many a morn & many a night passd over in dire woe Forming a girdle in the day & bursting it at night The girdle was formd by day by night was burst in twain Falling down on the rock an iron chain link by link lockd Enitharmon beheld the bloody chain of nights & days Depending from the bosom of Los & how with griding pain t712 He went each morning to his labours. with the spectre dark Calld it the chain of jealousy. Now Los began to speak t713 His woes aloud to Enitharmon. since he could not hide His uncouth plague. He siezd the boy in his immortal hands While Enitharmon followd him weeping in dismal woe Up to the iron mountains top & there the Jealous chain Fell from his bosom on the mountain. The Spectre dark Held the fierce boy Los naild him down binding around his limbs The accursed chain O how bright Enitharmon howld & cried t714 Over her son. Obdurate Los bound down...


Once how I walked from my palace in gardens of delight The sons of wisdom stood around the harpers followd with harps Nine virgins clothd in light composd the song to their immortal voices And at my banquets of new wine my head was crownd with joy When thou didst bear the golden cup at the immortal tables And drunken with the immortal draught fell from my throne sublime


And the wing like tent of the Universe beautiful surrounding all Or drawn up or let down at the will of the immortal man Vibrated in such anguish the eyelids quiverd Weak & Weaker their expansive orbs began shrinking Pangs smote thro the brain & a universal shriek Redoubling his immortal efforts thro the narrow vales


Here bound to fiery mangers furious dash their golden hoofs Striking fierce sparkles from their brazen fetters. fierce his lions t761 Howl in the burning dens his tygers roam ill the redounding smoke In forests of affliction. the adamantine scales of justice Consuming in the raging lamps of mercy pourd in rivers The holy oil rages thro all the cavernd rocks fierce flames Dance on the rivers & the rocks howling & drunk with fury The plow of ages & the golden harrow wade thro fields Of goary blood the immortal seed is nourishd for the slaughter The bulls of Luvah breathing fire bellow on burning pastures Round howling Orc whose awful limbs cast forth red smoke & fire That Urizen approachd not near but took his seat on a rock And rangd his books around him brooding Envious over Orc t762


It remaind permanent a lovely form inspird divinely human Dividing into just proportions Los unwearied labourd The immortal lines upon the heavens till with sighs of love Sweet Enitharmon mild Entrancd breathd forth upon the wind The spectrous dead Weeping the Spectres viewd the immortal works Of Los Assimilating to those forms Embodied & Lovely In youth & beauty in the arms of Enitharmon mild reposing First his immortal spirit drew Urizen s Shadow away t857 From out the ranks of war separating him in sunder Leaving his Spectrous form which could not be drawn away Then he divided Thiriel the Eldest of Urizens sons Urizen became Rintrah Thiriel became Palamabron Thus dividing the powers of Every Warrior Startled was Los he found his Enemy Urizen now In his hands. he wonderd that he felt love & not hate His whole soul loved him he beheld him an infant Lovely breathd from Enitharmon he trembled within himself


Fear not O poor forsaken one O land of briars & thorns Where once the Olive flourishd & the Cedar spread his wings Once I waild desolate like thee my fallow fields in fear Cried to the Churchyards & the Earthworm came in dismal state I found him in my bosom & I said the time of Love Appears upon the rocks & hills in silent shades but soon A voice came in the night a midnight cry upon the mountains Awake the bridegroom cometh I awoke to sleep no more But an Eternal Consummation is dark Enion The watry Grave. O thou Corn field O thou Vegetater happy More happy is the dark consumer hope drowns all my torment For I am now surrounded by a shadowy vortex drawing The Spectre quite away from Enion that I die a death Of bitter hope altho I consume in these raging waters The furrowd field replies to the grave I hear her reply to me Behold the time approaches fast that thou shalt be as a thing Forgotten when one speaks of thee he will not be believd When the man gently fades away in his...


They see him whom they have piercd they wail because of him They magnify themselves no more against Jerusalem Nor Against her little ones the innocent accused before the Judges Shines with immortal Glory trembling the Judge springs from his throne Hiding his face in the dust beneath the prisoners feet & saying t988 Brother of Jesus what have I done intreat thy lord for me


And now fierce Orc had quite consumd himself in Mental flames Expending all his energy against the fuel of fire The Regenerate Man stoopd his head over the Universe & in t997 His holy hands recied the flaming Demon & Demoness of Smoke And gave them to Urizens hands the Immortal frownd Saying


The spirit-stirring drum, the ear-piercing fife, The royal banner, and all quality, Pride, pomp, and circumstance of glorious war And, O you mortal engines, whose rude throats The immortal Jove's dread clamors counterfeit, Farewell Othello's occupation's gone Othello, Act iii. Sc. 3. SHAKESPEARE.

Neoclassical Order

As we have seen, Whig writers emphasized the need for new, original, sublime poetry to reflect the changed circumstances of public life. The rejection of the constraints of neoclassicism was seen as a blow for literary liberty. Such ideas appear in some contrast with the emphasis on order and authority in Tory poetry and literary criticism of this period. Alexander Pope's Essay on Criticism (1711), a poetic treatise on the art of writing good literary criticism and good poetry, has long been seen as an influential example of the importance of poetic decorum in this period. Pope's Essay surveys the art of criticism, relating his discussion of matters of form, tone, and content back to the prescriptions and examples of classical authors. In advising his readers to Learn hence for Ancient Rules a just Esteem To copy Nature is to copy Them (ll. 139-40), he reminds his readers that even the author of the immortal Aeneid learnt that the best way to tap Nature's Fountains was through the...

Miroslav Holub

Poets love to speak a lot, mainly about poetry. Scientists tend to avoid the terrifying word science. Nobody can discuss 'immunology' or 'palaeontology'. The only thing to speak about in 'science' are fullerones, CD 45* cells, or trilobites. Poetry has gone on being discussed in about the same manner for the last 2000 years over the same time-span science has changed in a fundamental way at least three times, from speculative to classificatory and experimental, from comprehensible to almost incomprehensible in terms of human everyday logic, struggling with the 'fluent nature of things'. A poet may find this fact important, proving the immortality of poetry and the temporary nature of science. For me, the necessity of science is immanent to mankind, and so is the necessity of poetry. However, it is a lot easier to chat about something so indefinable and personal as poetry. I utterly dislike this sort of intellectual chatter, as is evident from the first stanzas of my poem 'Literary...

Matthew Campbell

Day Lewis, like many Irish and English writers of the 1930s, ended that decade with little hope for the legislative influence of the Shelleyan poet and turned deliberately 'inward'. The global market is now pursuing takeover and merger by violent means, so, 'Drawing from poetry's capital what we can', poets must tune the martial resonance of political poetry down to aesthetic questions of adequacy and appropriateness in the midst of a historical trauma which is 'No subject for immortal verse'. Failing in this, poets can find themselves taking sides and then defending 'the bad against the worse' ('Where are the War Poets ' 1940).

The food of the gods

The Greek word that corresponds exactly to amstam (*n-mr-to-m) is a porov. We do not find this used by itself of the divine food, but we find a porov etSap (Hymn. Ap. 127, Aphr. 260), which should not be understood as 'immortal food' but as 'food of non-dying'.126 It is alternatively called an pooiov . . . etSap or d pooin, 'ambrosia'. It is a nice detail that it can 126 In the same way the phrase an pora revxea, used of the armour that the gods gave to Peleus (Il. 17. 194, 202), must originally have meant 'armour of non-dying, invincible armour'. Apollo in 16. 680 anoints Sarpedon's body with ambrosia and wraps it in an pora ei ara, a relic of a version in which he was granted immortality. be fed to the gods' horses they too need to be immortal. Mithra's steeds likewise 'are immortal, having been reared on supernatural food (mainyus.xvarsda)'.127 In other countries the divine nourishment was conceived in different forms. I have quoted the testimony that Odin did not eat but only...


Wordsworth begins composition of what would become Ode Intimations of Immortality Wordsworth completes the Immortality Ode Such lists, organized under an unstable opposition, cannot but grossly simplify the terms of the essays that follow, all of which are alive to the peculiar, multiple claims of poetries in this period. Wordsworth's Immortality Ode (as Chandler suggests) offers a movement unto itself that also gestures beyond itself. This doubleness - poetry-in-itself v. poetry-for-itself and -beyond-itself - is written into Romantic aspiration and into the essays here gathered. As Rowland observes, poetry and its ascendant lyric logic penetrated the novel so deeply that certain passages in fiction might be seen as poetry by other means (which in turn suggests to us one way to define all of Walter Scott's novels balladry by other means) and certainly Don Juan has long been read as poetry's novelistic riposte to the novel. So too Nick Groom's discussion of poetry and antiquities...

With Crossreferences

Immortality Eternity Immortality Present, The Time Future Eternity Immortality Past, The Present, The Time Heaven Eternity Immortality Sky Star Immortality Consolation Eternity Heaven Soul Man Age Death Gentleman Immortality Life Mind Progress Thought Time Virtue Immortality Immortality Life


BEFORE the starry threshold of Jove's court My mansion is, where those immortal shapes Of bright aerial spirits live insphered In regions mild of calm and serene air, Above the smoke and stir of this dim spot Which men call Earth, and, with low-thoughted care, Confined and pestered in this pinfold here, Strive to keep up a frail and feverish being, Unmindful of the crown that Virtue gives, After this mortal change, to her true servants Amongst the enthroned gods on sainted seats. Yet some there be that by due steps aspire To lay their just hands on that golden key That opes the palace of eternity. To Such my errand is and, but for such, I would not soil these pure ambrosial weeds With the rank vapours of this sin-worn mould. ELD. BRO. I mean that too, but yet a hidden strength, Which, if Heaven gave it, may be termed her own. 'Tis chastity, my brother, chastity She that has that is clad in complete steel, And, like a quivered nymph with arrows keen, May trace huge forests, and...

Ancient sources

With the significant exception of the Immortality Ode and a few other poems, Wordsworth also tends to the regularity of Horatian forms, as we can see in his juvenile translation of Horace's O fons bandusiae, his Ode to Duty, his Ode to Lycoris, and his Ode of 1816 ( When the soft

Accentual inventions

And the eight- and nine-line heterometric ode stanzas with which Wordsworth begins his Immortality Ode, and the eight-line stanzas of pentameter and tetrameter, with trimeter lines for emphasis, in Coleridge's Monody on the Death of Chatterton - a poem Coleridge worked on for the whole of his life as a poet. 37 Chatterton's ten-line poems clearly have been an influence upon the various ten-line stanzas Keats invents for his Ode to a Nightingale, Ode on Melancholy and Ode to a Grecian Urn. Keats's Endymion, dedicated to Chatterton as the stretched meter of an antique song, acknowledges his debt.

Eliots Ara Vos Prec

The poem in Ara vos Prec which most directly relates to Eliot's writings on classicism is 'Whispers of Immortality' (1918) it anticipates the argument of 'The Metaphysical Poets' published a year later. In the first half of the poem Eliot describes the sensibility of John Webster and John Donne, whom he thought achieved a union of thought and feeling in their writings. Of Webster, best known for his macabre tragedies, The Duchess of Malfi and The White Devil, Eliot writes that he 'knew that thought clings round dead limbs Tightening its lusts and luxuries', and Donne 'was such another Who found no substitute for sense, To seize and clutch and penetrate'. The second half of the poem provides a contrast with the first, suggesting that in modern life sensuality (represented by the curvaceous Russian Grishkin, unconstrained by corset) is proximate to, but has no contact with, the shaping power of the intellect ('Abstract Entities Circumambulate her charm') (1969a 52-53). Eliot adds a...

Epitheta ornantia

A number are shared by different branches of the tradition and may represent a common inheritance. Several of them will come into view in other contexts, for example 'immortal gods' in Chapter 3, 'broad earth' and 'dark earth' in Chapter 4, 'swift horses', 'prizewinning horses', 'well-wheeled chariot' in Chapter 12. Here are some others.26

The divine smith

Is especially associated with the hosting of a feast at which the De Danann drank an ale that made them immortal and exempt from old age and dis-ease.120 This recalls Tvastr's and the Rbhus' intimate connection with the vessel or vessels that held the gods' drink. In the Iliad (1. 597 f.) Hephaestus appears as the cupbearer who plies the gods with draughts of nectar. We cannot but suspect a common background to these stories. back at least to the Neolithic period, and may be assumed in some degree for the Indo-Europeans. They pictured their gods anthropomorphically, and if they pictured them in dwellings and with material possessions, they may well have told of a particular god who made these things for them. Two motifs that recur in different branches of the tradition stand out as potentially significant the making by a special artificer of the chief god's distinctive weapon (Indra's and Zeus' bolt Lug's spear), and the craftsman god's association with the immortals' drinking. This...


Behold Jerusalem in whose bosom the Lamb of God Is seen tho slain before her Gates he self renewd remains Eternal & I thro him awake to life from deaths dark vale The times revolve the time is coming when all these delights Shall be renewd & all these Elements that now consume Shall reflourish. Then bright Ahania shall awake from death A glorious Vision to thine Eyes a Self renewing Vision t981 The spring. the summer to be thine then Sleep the wintry days In silken garments spun by her own hands against her funeral The winter thou shalt plow & lay thy stores into thy barns Expecting to recieve Ahania in the spring with joy Immortal thou. Regenerate She & all the lovely Sex From her shall learn obedience & prepare for a wintry grave That spring may see them rise in tenfold joy & sweet delight Thus shall the male & female live the life of Eternity Because the Lamb of God Creates himself a bride & wife That we his Children evermore may live in Jerusalem Which now descendeth out of heaven...

Universe Poems

For eighteenth-century believers, the horror of the last day was magnified by Newton's discoveries, the final destruction of the universe all the more shocking given its size and reach. Establishing this immensity in Christian terms was a strong motivation for many poets of the period David Mallet's The Excursion (1728) offered a survey of the earth and heavens to present the energy of God's love as gravitational pull Henry Baker's The Universe A Poem Intended to Restrain the Pride of Man (1734) details the intricacy of nature and astronomy as evidence for God's existence Isaac Browne's Of Design and Beauty (1734) reads the aesthetic quality of nature's design as a divine parallel to the universe's spruce order and Henry Brooke's Universal Beauty (1735) focuses on the human heart as a benevolent echo of a harmonious creation. Young's Night Thoughts on Life, Death, and Immortality was so successful because of its capacity to lyrically blend the epic realms of the universe with the...

Eros Conquers Zeus

In the Theogony, Eros is introduced as one of the first primeval entities, after Chaos (116) and Gaia (117) Eros, the most beautiful among the immortal gods, the limb-loosener, who overcomes the mind and thoughtful will of gods and men in their hearts (120-3) But there is a difference between Aphrodite's authority and Eros'. Whereas she arouses the gods' desire, but explicitly overcomes mortals and animals, Eros' power in the hymnic introduction of the Theogony is extended without exception to the immortal gods (ndvtwv ts Gswv ndvtwv t' avGpwnwv Sd vatai sv atrGsaai voov Kai sni pova ouAriv 121f.). This is an expansion also in comparison with Zeus' power in Works&Days (3). In order to define


But Albions sleep is not Like Africa's and his machines are woven with his life Nothing but mercy can save him nothing but mercy interposing Lest he should slay Jerusalem in his fearful jealousy O God descend gather our brethren, deliver Jerusalem But that we may omit no office of the friendly spirit Oxford take thou these leaves of the Tree of Life with eloquence That thy immortal tongue inspires present them to Albion Perhaps he may recieve them, offerd from thy loved hands. Bath, mild Physician of Eternity, mysterious power Whose springs are unsearchable & knowledg infinite. Hereford, ancient Guardian of Wales, whose hands Builded the mountain palaces of Eden, stupendous works Lincoln, Durham & Carlisle, Councellors of Los. And Ely, Scribe of Los, whose pen no other hand Dare touch Oxford, immortal Bard with eloquence Divine, he wept over Albion speaking the words of God

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