NOTES

 Dec 27, 2024

The body supports the mind

The mind supports the spirit

What does the spirit support

---

 Dec 27, 2024

The Lark

Milton, Plate 42 [49] (E 143)

"And my sweet Shadow of Delight stood trembling by my side

Immediately the Lark mounted with a loud trill from Felphams Vale"  

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Lark=Angel=messenger=emanation=wife

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https://blakearchive.org/images/but543.1.2.wc.100.jpg

Milton:   To hear the Lark begin his flight
              And singing startle the dull Night
              From his Watch Tower in the Skies
              Till the dappled Dawn does rise

Blake:    The Lark is an Angel on the Wing Dull Night starts from his
Watch Tower on a Cloud.  The Dawn with her dappled Horses arises
above the Earth   The Earth beneath awakes at the Larks Voice

Milton, Plate 15 [17], (E 109)

"But to himself he seemd a wanderer lost in dreary night.
Onwards his Shadow kept its course among the Spectres; call'd
Satan, but swift as lightning passing them, startled the shades
Of Hell beheld him in a trail of light as of a comet
That travels into Chaos: so Milton went guarded within." 

L'Allegro

BY JOHN MILTON

"Come, and trip it as ye go

On the light fantastic toe,

And in thy right hand lead with thee,

The mountain-nymph, sweet Liberty;

And if I give thee honour due,

Mirth, admit me of thy crew

To live with her, and live with thee,

In unreproved pleasures free;

To hear the lark begin his flight,

And singing startle the dull night,

From his watch-tower in the skies,

Till the dappled dawn doth rise;

Then to come in spite of sorrow,

And at my window bid good-morrow,

Through the sweet-briar, or the vine,

Or the twisted eglantine;

While the cock with lively din,

Scatters the rear of darkness thin,

And to the stack, or the barn door,

Stoutly struts his dames before;

Oft list'ning how the hounds and horn

Cheerly rouse the slumb'ring morn,

From the side of some hoar hill,

Through the high wood echoing shrill.

Sometime walking, not unseen,

By hedge-row elms, on hillocks green,

Right against the eastern gate,

Where the great Sun begins his state,

Rob'd in flames, and amber light,

The clouds in thousand liveries dight.

While the ploughman near at hand,

Whistles o'er the furrow'd land,

And the milkmaid singeth blithe,

And the mower whets his scythe,

And every shepherd tells his tale

Under the hawthorn in the dale.

Straight mine eye hath caught new pleasures

Whilst the landskip round it measures,

Russet lawns, and fallows gray,

Where the nibbling flocks do stray;

Mountains on whose barren breast

The labouring clouds do often rest;

Meadows trim with daisies pied,

Shallow brooks, and rivers wide.

Towers, and battlements it sees

Bosom'd high in tufted trees,

Where perhaps some beauty lies,

The cynosure of neighbouring eyes.

Hard by, a cottage chimney smokes,

From betwixt two aged oaks,

Where Corydon and Thyrsis met,

Are at their savoury dinner set

Of herbs, and other country messes,

Which the neat-handed Phyllis dresses;

And then in haste her bow'r she leaves,

With Thestylis to bind the sheaves;

Or if the earlier season lead

To the tann'd haycock in the mead.

Sometimes with secure delight

The upland hamlets will invite,

When the merry bells ring round,

And the jocund rebecks sound

To many a youth, and many a maid,

Dancing in the chequer'd shade;

And young and old come forth to play

On a sunshine holiday,

Till the live-long daylight fail;

Then to the spicy nut-brown ale,

With stories told of many a feat,

How Faery Mab the junkets eat,

She was pinch'd and pull'd she said,

And he by friar's lanthorn led,

Tells how the drudging goblin sweat,

To earn his cream-bowl duly set,

When in one night, ere glimpse of morn,

His shadowy flail hath thresh'd the corn

That ten day-labourers could not end;

Then lies him down, the lubber fiend,

And stretch'd out all the chimney's length,

Basks at the fire his hairy strength;

And crop-full out of doors he flings,

Ere the first cock his matin rings.

Thus done the tales, to bed they creep,

By whispering winds soon lull'd asleep.

Tower'd cities please us then,

And the busy hum of men,

Where throngs of knights and barons bold,

In weeds of peace high triumphs hold,

With store of ladies, whose bright eyes

Rain influence, and judge the prize

Of wit, or arms, while both contend

To win her grace, whom all commend.

There let Hymen oft appear

In saffron robe, with taper clear,

And pomp, and feast, and revelry,

With mask, and antique pageantry;

Such sights as youthful poets dream

On summer eves by haunted stream.

Then to the well-trod stage anon,

If Jonson's learned sock be on,

Or sweetest Shakespeare, Fancy's child,

Warble his native wood-notes wild.

And ever against eating cares,

Lap me in soft Lydian airs,

Married to immortal verse,"

MOCK ON

(E 477) 

Mock on Mock on Voltaire Rousseau
Mock on Mock on! tis all in vain!
You throw the sand against the wind
And the wind blows it back again

And every sand becomes a Gem                          
Reflected in the beams divine
Blown back they blind the mocking Eye    
But still in Israels paths they shine

The Atoms of Democritus
And Newtons Particles of light          
Are sands upon the Red sea shore
Where Israels tents do shine so bright

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Key points about Democritus' atoms:
Indivisible: Atoms cannot be further divided into smaller particles. 
Different shapes and sizes: Democritus believed that different types of atoms had different shapes and sizes, which accounted for the different properties of matter. 
Constant motion: Atoms are always moving through empty space, called "void". 
Unchangeable: Atoms are indestructible and cannot be created or destroyed. 
Important context:
Leucippus:
While Democritus is often credited with the atomic theory, his mentor Leucippus is also considered a key figure in developing the concept. 
Philosophical concept:
Democritus' atomic theory was based on philosophical reasoning, not empirical evidence, as scientific tools to observe atoms were not available at the time.

DEFENSE OF POETRY

National Portrait Gallery, London

Percy Bysshe Shelley by Amelia Curran

SHELLEY

Gutenberg

A Defense of Poetry by P B Shelley   ...

"Poetry is not like reasoning, a power to be exerted according to the determination of the will. A man cannot say, 'I will compose poetry.' The greatest poet even cannot say it; for the mind in creation is as a fading coal, which some invisible influence, like an inconstant wind, awakens to transitory brightness; this power arises from within, like the colour of a flower which fades and changes as it is developed, and the conscious portions of our natures are unprophetic either of its approach or its departure. Could this influence be durable in its original purity and force, it is impossible to predict the greatness of the results; but when composition begins, inspiration is already on the decline, and the most glorious poetry that has ever been communicated to the world is probably a feeble shadow of the original conceptions of the poet. I appeal to the greatest poets of the present day, whether it is not an error to assert that the finest passages of poetry are produced by labour and study. The toil and the delay recommended by critics, can be justly interpreted to mean no more than a careful observation of the inspired moments, and an artificial connexion of the spaces between their suggestions by the intertexture of conventional expressions; a necessity only imposed by the limitedness of the poetical faculty itself; for Milton conceived the Paradise Lost as a whole before he executed it in portions; We have his own authority also for the muse having 'dictated' to him the 'unpremeditated song'. And let this be an answer to those who would allege the fifty-six various readings of the first line of the Orlando Furioso. Compositions so produced are to poetry what mosaic is to painting. This instinct and intuition of the poetical faculty, is still more observable in the plastic and pictorial arts; a great statue or picture grows under the power of the artist as a child in the mother's womb; and the very mind which directs the hands in formation is incapable of accounting to itself for the origin, the gradations, or the media of the process." 

LITTLE WASHINGTON