re-organ-eyes

[urthona2]

They can't get out they do circles in the trap.

...descent into nightmare dismally recycling itself...

...chains of the mind lockd up
In fetters...

"You shall not bring me down to believe in such fitting and fitted I know better"

[urthona2]

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
His holy hands recied the flaming Demon & Demoness of Smoke
And gave them to Urizens hands the Immortal frownd Saying


Luvah & Vala henceforth you are Servants obey & live
You shall forget your former state return O Love in peace
Into your place the place of seed not in the brain or heart
If Gods combine against Man Setting their Dominion above
The Human form Divine. Thrown down from their high Station
In the Eternal heavens of Human Imagination: buried beneath
In dark Oblivion with incessant pangs ages on ages
In Enmity & war first weakend then in stern repentance
They must renew their brightness & their disorganizd functions
Again re-organ-ize till they resume the image of the human
Cooperating in the bliss of Man obeying his Will
Servants to the infinite & Eternal of the Human form


Luvah & Vala descended & enterd the Gates of Dark Urthona
And walkd from the hands of Urizen in the shadows of Valas Garden
Where the impressions of Despair & Hope for ever vegetate
In flowers in fruits in fishes birds & beasts & clouds & waters
The land of doubts & shadows sweet delusions unformd hopes
They saw no more the terrible confusion of the wracking universe
They heard not saw not felt not all the terrible confusion
For in their orbed senses within closd up they wanderd at will
And those upon the Couches viewd them in the dreams of Beulah
As they reposd from the terrible wide universal harvest
Invisible Luvah in bright clouds hoverd over Valas head
And thus their ancient golden age renewd for Luvah spoke
With voice mild from his golden Cloud upon the breath of morning
Come forth O Vala from the grass & from the silent Dew
Rise from the dews of death for the Eternal Man is Risen


She rises among flowers & looks toward the Eastern clearness
She walks yea runs her feet are wingd on the tops of the bending grass
Her garments rejoice in the vocal wind & her hair glistens with dew


She answerd thus Whose voice is this in the voice of the nourishing air
In the spirit of the morning awaking the Soul from its grassy bed

[urthona2]

“You become what you behold.” -William Blake (1757-1827, English poet, painter)

Art: William Blake, “Woman Clothed with the Sun”

what you see is what you get eh

[urthona2]

[urthona2]

somehow i didnt get around to checking ramhornd.blogspot.com/ yesterday

i see their post was also about the disorganized mind--i seem to be a many steps ahead this time

experience i suppose--those too seem much more cautious and judgmental, ie making some site changes after i joined lol--like closing an open book--that happens often enuf in my wake

Monday, May 27, 2013
PSYCHOLOGICAL TASK

[urthona2]

"When will this mortal world put on immortality? Only when the selfhood puts on imagination." blake

“Experience is a brutal teacher, but you learn. My God, do you learn.” C.S. Lewis

[urthona2]

ramhornd.blogspot.com/2013/05/songs-of-innocence-experience-2.html


Friday, May 31, 2013
INNOCENCE & EXPERIENCE 2






Blake has created similar images for the two plates to lead us to noting the meaning of both similarities and differences we observe. Perhaps most obvious of the similarities is that the central figures are both 'setting forth' as are the figures on the frontispieces of Milton and of Jerusalem. As usual Blake invites us to undertake a spiritual journey as we enter an unfamiliar world which has the potential for transforming our thinking.

The differences in the two images may best be addressed by asking questions:
Why is the child airborne in a cloud or sitting on the man's head?
Why is the landscape enclosed or open?
Why does one man gaze at the child, one at the reader?
Why does one man carry a musical instrument?

We are looking for our own answers in the pictures and in the poetry. Blake intended to open the minds of his readers into the world of imagination not to introduce him to a rigid system for interpreting life.

[urthona2]

William Blake – Songs of Innocence and Experience - Analysis

Blake's Songs of Innocence and Experience (1794) juxtapose the innocent, pastoral world of childhood against an adult world of corruption and repression; while such poems as "The Lamb" represent a meek virtue, poems like "The Tyger" exhibit opposing, darker forces. Thus the collection as a whole explores the value and limitations of two different perspectives on the world. Many of the poems fall into pairs, so that the same situation or problem is seen through the lens of innocence first and then experience. Blake does not identify himself wholly with either view; most of the poems are dramatic--that is, in the voice of a speaker other than the poet himself. Blake stands outside innocence and experience, in a distanced position from which he hopes to be able to recognize and correct the fallacies of both. In particular, he pits himself against despotic authority, restrictive morality, sexual repression, and institutionalized religion; his great insight is into the way these separate modes of control work together to squelch what is most holy in human beings.

The Songs of Innocence dramatize the naive hopes and fears that inform the lives of children and trace their transformation as the child grows into adulthood. Some of the poems are written from the perspective of children, while others are about children as seen from an adult perspective. Many of the poems draw attention to the positive aspects of natural human understanding prior to the corruption and distortion of experience. Others take a more critical stance toward innocent purity: for example, while Blake draws touching portraits of the emotional power of rudimentary Christian values, he also exposes--over the heads, as it were, of the innocent--Christianity's capacity for promoting injustice and cruelty.

The Songs of Experience work via parallels and contrasts to lament the ways in which the harsh experiences of adult life destroy what is good in innocence, while also articulating the weaknesses of the innocent perspective ("The Tyger," for example, attempts to account for real, negative forces in the universe, which innocence fails to confront). These latter poems treat sexual morality in terms of the repressive effects of jealousy, shame, and secrecy, all of which corrupt the ingenuousness of innocent love. With regard to religion, they are less concerned with the character of individual faith than with the institution of the Church, its role in politics, and its effects on society and the individual mind. Experience thus adds a layer to innocence that darkens its hopeful vision while compensating for some of its blindness.

The style of the Songs of Innocence and Experience is simple and direct, but the language and the rhythms are painstakingly crafted, and the ideas they explore are often deceptively complex. Many of the poems are narrative in style; others, like "The Sick Rose" and "The Divine Image," make their arguments through symbolism or by means of abstract concepts. Some of Blake's favorite rhetorical techniques are personification and the reworking of Biblical symbolism and language. Blake frequently employs the familiar meters of ballads, nursery rhymes, and hymns, applying them to his own, often unorthodox conceptions. This combination of the traditional with the unfamiliar is consonant with Blake's perpetual interest in reconsidering and reframing the assumptions of human thought and social behavior.

[urthona2]

ramhornd.blogspot.com/2013/06/innocence-experience-3.html

innocence and experience are the two contrary states of the soul that must be passed thru--states are stages of error