The Lute Player…

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A Garden is a lovesome thing, God wot!

Rose plot,

Fringed pool,

Ferned grot,

The veriest school of Peace; and yet the fool contends that God is not—

Not God! in Gardens! when the eve is cool?

Nay, but I have a sign:

T’is very sure God walks in mine.

My Garden.

Thomas Edward Brown – Manx Poet
Edwin Austin Abbey – The Lute Player

Dear Friends,
A shortish one today… We cover a couple of relatively unknowns today, Thomas Edward Brown, a Manx poet from the 19th century, and Edwin Austin Abbey, an American illustrator/Painter who was a figure in the Pre-Raphaelite Brotherhood. Both had great influence in their day, but faded with the changing taste of modern times. Maybe a bit of attention can change that a bit. Our entry is rounded up with a Cornish Story, and a wonderful Petes’ Pick.
Watched “A Good Year” last night wonderful film, recommended.
Off to work, hope all is well in your world.
Gwyllm
On The Menu:

The Links

Petes’ Pick: Starseed

Pixy Gathon; or, The Tailor’s Needle

Thomas Edward Brown – Manx Poet

Artist – Edwin Austin Abbey
Edwin Austin Abbey was one of the most celebrated artists of his day. Born in Philadelphia, he briefly studied art at the Pennsylvania Academy under Christian Schuessele. Before he was 20 years old, he was enjoying a brilliant career as an illustrator of poetry and drama for Harper’s Weekly. Then in the late 1870s, Abbey left America for England to pursue a career as a large-scale history painter. While in England, he was elected to the Royal Academy and admitted to the elite artistic circle of the Pre-Raphaelites.
As a result of his growing reputation at home and abroad, Abbey was about to undertake what would become his most famous commission. He was invited by American sculptor Auguste Saint-Gaudens in 1890 to produce the mural cycle The Quest for the Holy Grail for the McKim, Mead, and White Boston Public Library, which was completed in 1901

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The Links:

Police raid finds tomato growing operation

Mystery cat takes regular bus to the shops

Dreamed up phone number leads man to a bride

Volcano’s fury throws up mystery fish

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Petes’ Pick: Starseed

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Edwin Austin Abbey The Penance of Eleanor, Duchess of Gloucester (detail)

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Pixy Gathon; or, The Tailor’s Needle
“BAD times! Master Trickett,” said Betsy Humming, as she turned her wheel, at which she was most industriously spinning, “bad times! for tho’ I be at work from morning to night, and do spin as fine Kersey, tho’ I say it who ought not to say it, as any in Crediton, nobody comes to buy. Never had so little to do all the years I’ve worked for a living–’tis all along with the coming in of the Scotch King.”
“Very bad times, neighbour,” replied Trim Trickett, the tailor, “for nobody wears out their clothes as they used to do in the old Queen’s time; or alters their fashions as the great folk did in the days of Elizabeth. Except a pair of trunk hose for master Justice, Sir Simon de Noodle, and a doublet for his young son; and a new gown for Dame Westcott, I have not had a job to keep my needle going for these two months. Never had such bad times, since I first crossed a leg in the way of business.”
“You’ve as much as you deserve, and more too, Master Trickett; and so have you, Betsy Humming,” said Gammer Guy, a cross-grained old crone, who was sitting in the easy chair by the chimney nook, leaning on her staff. She was one of those village gossips who do little themselves, and spend most of their time in hindering their neighbours.
“No thanks to you, Gammer Guy, if any good luck comes to me, or to any body else,” said the tailor; “for if ill wishing be as bad as ill doing, as some folks think, a body need not go far to find it, when you be near. I know what some people do say of other people.”
“And what do they say of other people?” asked Gammer Guy, “for I know you mean that hit for me, Master Trickett; but do you suppose every body means harm, or does it, because they be old and past work?”
“No, Mother Guy, I think no such thing,” replied Trim. “There is old Anastatia Steer bed-ridden now; I never thought any ill of her, nor said it, tho’ she be the oldest woman in the county; and may be in all England.”
“Ah! poor old soul,” said Betsy Humming, “I’ve spun the woollen for her shroud for her long ago, and that by her own desire to oblige her; tho’ I’m not to be paid for it till she be dead, and calls for it.”
“Then I reckon you won’t much longer be out of pocket, Betsy,” said the tailor.’
That’s true enough, Trim,” replied Betsy; “and if I be called on soon for the shroud, you’ll have to make it;. and that will be grist, to your mill, Master Trickett. And then she has so many relations; and her great great grandchildren’s children be so many, I reckon you’ll have to make a mourning suit for them all, women and men; and what a wind-fall will that be for you! How your needle will go day and night to have the doublets, and hose, and the gowns, and the kirtles ready for the funeral! And I shall sell them some of my black kersies, and times will be better; and we shall have something else to do than to stand and talk about ‘em.”
“Well! if ever I heard the like!” said Gammer Guy, “You and Trim Trickett to go for to settle a poor harmless old neighbour’s death after that fashion! And all to put money into your own pockets! O its a cruel and a very wicked thing! Who’s ill-wishing now I trow?”
“Not I,” said Trim, “I be sure.”
“Nor I,” said Betsy Humming.
“Did you not talk of old Anastatia Steer’s death? and what a profit it would be to you both, before it comes?”
“Yes; but we did not say we’d kill her,” said Betsy.
“Nor wish her dead neither,” said Trim, “we only said she was like to die soon.”
“And is not that bad enough,” exclaimed Gammer Guy.. “What’s the harm with old Anastatia that you should talk of her in such a way; and she only been bed-ridden these last six months?”
“Why, is she not said to be one hundred and forty years old complete? And don’t folks come far and near to see her, as a cuerossity?” said the tailor. “And doesn’t she fail faster and faster every day? She can’t live for ever like the wandering Jew.”
“But she has no doctor,” said Gammer Guy,” and so may last for many a year yet to come.”
“She is blind,” said Betsy Humming.
“And deaf,” said Trim.
“And has never a tooth in her head, and can’t feed her-self,” said Betsy.
“And has lost her memory, and the use of her limbs,” said Trim.
“But she’s alive, and eats, drinks, and sleeps,” said Gammer Guy.
“So she may,” said Trim; “but I do say, for all that, old Anastatia Steer being one hundred and forty years complete, bed-ridden, blind, deaf, and helpless, may be supposed able to die soon, without anything going contrary to the rules of Natur, and without any ill-wishing from me and my neighbour, Betsy Humming; and we both wish her no harm.”
Gammer Guy, who was given to have ill thoughts and suspicions of everybody, shook her head; and after taking a cup of warm spiced ale, with an egg beat up in it, at Betsy Humming’s cost, repaid her hospitality by spreading at the next two or three neighbours where she called in for a gossip, that she was quite sure Betsy Humming, for the sake of selling some of her black kersies, and Trim Trickett, for the sake of having to make ‘em up as mourning suits, were both of them ill-wishing poor old Anastatia Steer, who was comfortable in her bed, free from all sickness, and might last as long as the king himself, let alone their wicked wiles. But such ill-wishing was as bad as a downright murdering of her.
It was so indeed in popular opinion, at the time of my tale, in the West of England; when poor old women and men, if they once got the character of ill-wishing, were sure to be taken up as witches, wizards, or sorcerers, and were in danger of being tried for their lives, and burnt under the law against witchcraft, which was particularly patronised by King James the First.
Now it so happened, that Anastatia Steer unluckily died suddenly within two or three days after this discourse, of no disease whatever, according to all appearance, except that from which there is no escape–worn-out nature. No sooner did Betsy Humming hear of it, than she produced the woollen shroud, spun by herself ten years ago to oblige the departed; and Trim very innocently solicited custom in his way from the friends and relatives of the deceased.
But what was his surprise, and that of his neighbour, the honest spinster of kersies, to find doors shut in their faces, backs turned upon them, and an expression of universal abhorrence at the very sight of them, as if they carried about the plague, at that time rife in a distant part of the county of Devon. It was too bad; and Trim hearing from his little boy, Johnny Trickett, that it was commonly reported all over Crediton, that he and Betsy Humming had ill-wished poor old Anastatia out of the world, he grew furious, and at once accused cross-grained Gammer Guy of having done this injury to the fame of two honest souls. Never was tailor so angry as he; and he protested that he would have justice on his defamer, even if he sought it at the throne of King James the First. But before he could seek that majestic person to obtain it, the town constable sought out him and his supposed associate, Betsy Humming, and both of them were taken into custody on the very serious charge of having conspi
red, by witchcraft and diabolical arts, the death of Anastatia Steer for their own selfish purposes and profit.
That was an awful morning on which the luckless tailor and spinster appeared before the Justice of the Peace. They were ushered into an old Gothic hall, venerable from age and the smoke of many generations. About the walls hung antiquated portraits of various judges, knights, esquires, and ladies, representing, in a goodly row, all the De Noodles who had flourished and died since the days of the Conquest.
Sir Simon, the living representative of his distinguished family, seemed to carry the, grandeur and importance of his long line of ancestry all in his own person. He had a proud and austere air; was tall and lank, of a somewhat withered appearance, with thin lips, and little pinky eyes, and a sharp-hooked nose, with a pair of barnacles stuck on the end of it that pinched so close as to cause him to speak through it with a small squeaking voice. He wore a large pair of trunk hose, a rich doublet, and a black velvet cap stuck on the crown of his head; and when seated in his high-backed carved oak-chair, with his clerk on his right hand, prepared with pen, ink-horn, and paper, to take the depositions, and Master Constable, a figure as broad as he was long, bearing his staff of office, on the other side, Sir Simon altogether presented the spectacle of a solemn, stately old gentleman, whose nod or whose frown was enough to scare the poor creatures who were brought before him on such a charge.
After surveying the accused with no very encouraging scrutiny, and hearing a general statement of the case, Sir Simon proceeded to examine Gammer Guy and the rest of the witnesses. The evidence was by no means satisfactory; and of the “says he,” and “says she,” and “says I,” and “says you,” that make up so much of evidence in a country place, there was a very sufficient share. Though told with many alterations and much exaggeration, nothing more really appeared against the accused than has already been related; not a single fact could be brought against either party except the following, viz., that Betsy Humming had a very favourite black cat, which she was known to fondle and pet considerably; that pussy had been seen to sit by her side and on her knee, and to raise her tail quite into Betsy’s face; that the said cat would purr to her in a very suspicious manner when pleased, or when her mistress rubbed down her back, or gave her from her own bowl some of her milk porridge. The cat, it was solemnly deposed, in the opinion of Gammer Guy and many other credible witnesses, was no other than a familiar or evil spirit, employed by the aforesaid Betsy to do her wicked will.
And as a further evidence of her league with the tailor to do deeds of darkness, it was proved that he kept in his cottage a tame, old raven, of which he was very fond; and the witness who proved this, said, he would like to know what any honest man could have to do with a raven about his dwelling? And that the cat being black and the bird of the same colour, was such a sign of agreement in wickedness as could not be mistaken.
His worship, the justice, on hearing all this, gravely shook his head, and muttered, in an under tone, “Very suspicious.”
His clerk shook his head in assent to the sapient observation of his master, and master constable gave three shakes of his; one, it is to be presumed, in concurrence with his worship’s opinion; another in assent to the echo of his clerk, and the last in confirmation of both the former with his own. At length the hearing of the evidence against the accused closed.
Sir Simon de Noodle looked very wise, shook his head again, leant back in his chair, twisted his thumbs, hemmed thrice, and then–asked his clerk what he thought of the matter. The clerk consulted the constable in an undertone of voice; and the constable whispered with old cross-grained Gammer Guy, who, amongst the many bitter charges she on that morning made against Trim, forgot not to state that he had called her an old fool.
Trim, seeing so much consultation going on, not knowing what would be the result, and fearing nothing less than hanging if the justice took up the matter with the assistance of so many counsellors, rashly stepped forward, and proposed that the nearest relatives of the deceased, who had come into some property by her death, should be called upon to say whether there might not be great probability of poor old Anastatia Steer, in the one hundred and fortieth year of her age, managing to die a natural death, without the assistance either of witches or wizards, or witchcraft of any kind.
Now the relatives of the deceased were far more disposed to settle the matter reasonably than the enemies of Trim and Betsy, had they been left to themselves. But Gammer Guy would interfere; and as Sir Simon de Noodle was, in respect to knowledge of the law, quite as much an old woman as herself, he did not check her. So she persuaded the friends of the dead to drop prosecution for witchcraft and murder solely on the accused subscribing to the following conditions of ordeal: namely, that Betsy Humming should spin one hundred and forty threads (that being the number in agreement with the years of the deceased), and spin them so fine, that they should all, pass through, and remain in the eye of Trim Trickett’s needle with which he usually worked in his shop. But unless this were done by the expiration of one month, and if they eventually failed in such object, then they should both be put upon their trial for witchcraft and murder. The ordeal was a severe one; and the luckless spinster and tailor looked at each other aghast with affright. But Betsy had a stout heart, far stouter than the tailor; and so, raising her hand after a minute’s pause, she gave Trim an encouraging slap on the back, exclaiming, “Never start from the trial, man! never fear. We have done no wrong; let us do right still; and trust the rest to all the good saints in the calendar. I can spin with a clear conscience, and you can thread a needle with an honest man’s hand; and so I’ll try which can spin the finest, I or the spiders. ‘Tis ‘for life or death, Master Trickett, so never fear; but look to pass one hundred and forty of my threads through your needle, till a hundred and forty stick in it.”
“But if the thing fails,” said Trim.
“Why then it fails,” replied Betsy; “and in one month we be tried for witchcraft and murder; but that can’t make us guilty of such wickedness; and if there’s law or justice to be had in the land, we’ll have it, Trim, in some way or other.”
Trim shook his head; but the bystanders observed that the black cat, which had been brought before the justice as a guilty party in the business, raised her tail three times as Betsy spoke, and a murmur of dread ran through the assembly. Even Sir Simon de Noodle did not like the sign, nor the understanding it seemed to indicate between the witch and her familiar, and directed the constable to detain the cat, saying–that the said cat was to be considered as remanded in point of law. Master constable bowed profoundly to this command; and a bag was ordered to convey pussy out of the court to the safe keeping of the law officer. The cat took her removal very ungraciously; and as she scratched and resisted, and mewed loudly, on being forced into the bag, it was considered as an unequivocal proof of her being a familiar spirit in a feline form.
Sir Simon de Noodle now proceeded most solemnly to confirm the conditions of ordeal. But as, for the sake of his dignity, he fancied he must do something out of his own head, he rendered the conditions still harder by ordering that Betsy Humming and Trim Trickett should be forthwith sent to gaol, there to spin the one hundred and forty threads, and there to pass them within the eye of the needle; and the sapient justice added, that unless they could accomplish thi
s task before the expiration of the month allotted for the purpose, he thought the evidence so strong against both of them, that he doubted not one would be burned alive, and the other certainly hanged.
All this was very cruel. Betsy Humming spun from, morning till night, and till she nearly blinded herself with the fineness of her work; but Tim could not get more than ten or a dozen threads through the eye of his needle. They were so poor that they had nothing to live on but prison fare–bread and water; and only straw in their cold, stone cells to sleep upon. For the first week, when they met every day in the court-yard of the gaol, it was only to bewail their ill-fortune, though Betsy’s heart was still stouter than Trim’s.
But (according to a trite and true observation), as in this world there is no condition, however good, but some drawback is found to attend it, so is there none, perhaps, so miserable but some consolation is afforded to lighten the load of inevitable suffering. Now this was exactly the case with Trim Trickett. He was the parent of a little boy named Johnny; an only child, and a very good one. Johnny, seeing how hard his poor father fared, could not bear the thoughts of his having nothing to eat but bread and water; and so he determined to do as other boys did (for there was a great demand for them at this time), and go and work in the mines, to save as much as he could of his small weekly pittance to get some comforts and a little meat for. his father; and, if it were necessary, to live on bread and water himself, so that he might but help his suffering parent.
I shall not detain you, my young friends, with giving you any long account of a Cornish mine, more than to tell you, that, at a very great depth below the surface of the earth, running in lines on beds, called lodes, people find a vast deal of copper ore. This is dug out and smelted with fire, so as to free it from the dross mixed with it, and then it becomes a valuable metal; and the copper-smith works it into many useful things for household and other purposes. A pit, or hole, is made in the earth, and sometimes a mine is found and worked several hundred feet below the surface; and men are let down into it with buckets, not unlike those used at a well. Water is always found in mines; very large machines, therefore, are erected, by which it is constantly pumped up, or the men would be drowned whilst digging out the copper ore. As the light of day cannot penetrate thus deep in the earth, the miners used candles in lanterns; but, in our days, more frequently the safety lamp invented by Sir Humphrey Davy. Boys are much wanted in mines, to do many slight matters of work; such as to wheel small quantities of the ore in barrows to the heap, whence the men remove the load above ground. They are sometimes also employed to pick and wash the copper, so as to free it from the loose earth with which it is mixed. In many other things they are likewise very useful.
Now, at the time of my story, a man named Tregarrens, who was of a morose and tyrannical disposition, wanted a lad to help him do his work in the mines; and seeing little Johnny was a willing and active lad, he engaged him at once; and the pay he was to give him was rather more than the boy expected. Johnny went, therefore, eagerly to work, but he soon had cause to rue having placed him-self under his new master; for on all occasions, whether he deserved it or not, the poor lad was abused and maltreated by this tyrant below-ground in a very vexatious manner, and kicked, and cuffed, and thrashed for the smallest, and oftentimes for no offence at all.
Among other practices in the mine, Johnny observed that the miners anxiously worked wherever they heard a sort of hammering noise within the rock. Their belief was, that this hammering was made by a Pixy, named Gathon, a great frequenter of mines, but who acted with considerable caprice. Sometimes he would hammer where there was nothing but rubble to be found; and then the men would hear him laughing heartily at having so misled them, and caused their labours to be in vain. Whilst, at other times, quite unexpectedly, he would hammer and disclose to them the richest and, hitherto, undiscovered ore.
One day, when Tregarrens’ mood had been more than usually brutal, so that poor little Johnny had received several blows of a very severe kind (though he would not think of quitting his employer, on account of the pittance which enabled him to help his father), he could no longer resist giving vent to his feelings. He sat down in an obscure corner amongst the rocks, where nobody was at work, where it was dark and gloomy, and cried as if his young heart would break; the tears literally poured down his cheeks as he endeavoured to wipe them away with his hand.
Whilst he thus sat deploring his hard lot, all at once he saw a bright and greenish light stream upon the opposite side of the rock; and, on looking up, beheld with surprise the queerest little boy he had ever seen. He was very low in stature, but such limbs! they seemed to be composed of rolls of fat; with a face like a ball, and so full and red, with a nose as round as a bottle; whilst the eyes, that were small, gleamed out of his head like a couple of bright burning coals in a blacksmith’s forge. He had very large ears, hairy and long, resembling those of a donkey, and a tail that he twirled and twisted about, and at last rested the end of it, which was full and bushy, upon his shoulder. He carried a hammer in his little fat hand, and was as naked as when he was born; but that never troubled him. To complete the whole, there was a look in his face, merry and waggish.
Johnny did not know what to make of such a strange creature, and was afraid to speak to it. But my little gentleman did not stand for ceremony; so he said, laughing as he spoke, “Don’t be frightened at me; I’m your friend, Johnny Tricket, and am come to do you good; for I’m a good natured little fellow, as you may see by my being so fat. I am Gathon the mining man; look at my hammer! Ho, ho, ho,” continued he laughing, “I am just come from calling off that tyrant your master, Tregarrens, who intended to thrash you, for being absent from the gallery when he wanted you to help to do his work. But as he started to come hither, to look after you, I hammered away furiously in the great rock near his standing; and off he went to call the men to batter for what they won’t find, a new run of copper ore. Ho, ho, ho!”
Johnny was greatly startled, and could not forbear expressing a fear that the disappointment would cause his master to be in a worse humour with him. “Never mind that,” said the Pixy, “haven’t I deceived them finely? Ho, ho, ho! Let Gathon alone for a frisk and a trick, when he’s in the mood to make fools of the fellows. But now, Johnny Trickett, leave off crying and hear me; for I’m your friend; and let me tell you that you may have a worse than Pixy Gathon the hammering man.”
Johnny’s surprise at seeing and hearing a real Pixy was very great. But the poor boy recollected that he had done no harm, though he had suffered a great deal; and so he took heart, and thanking his new friend for his good in intentions, begged him to go on.
“Well then, this is what I have to say. Johnny Trickett, I pity you much; and your father once did me a good turn, though without knowing it, and I’m not ungrateful. He once cracked a nut, into which, as it was hollow, a wicked old witch had squeezed me, and as you may see, I’m not the most easily to be so squeezed, and so he let me out; and though I bobbed up against his nose, he never raised a hand to brush me rudely off or to hurt me; and now I’ll repay his good deed, by doing good to his son, and to him into the bargain. Don’t cry, my boy, but continue to bear patiently the ill treatment of Tregarrens, till the end of the month your poor father is to be in gaol, and I will do what no mortal creature could do to
serve your father; since for every kick and cuff which you take patiently from your tyrant below ground, I’ll pass a thread of Betsy Humming’s spinning through the eye of your father’s needle. And no fear of a hundred and forty cuffs coming to your share, my lad, before the month is ended.”
“Say five hundred and no fear, but I’ll have ‘em all and take them patiently,” said Johnny joyfully; “and then my dear father will be safe and out of gaol.”
“That he will,” said Pixy Gathon, “and I shall rejoice in doing him good!” And with that the little fellow tumbled three times head over heels and whisked about his tail to show his joy on the occasion.
“I’m sure, master Gathon,” said Johnny, “that father will be grateful; and if it would be no offence to you, and you would like to have them, instead of running about naked in that fashion, father would be very glad to make you a little pair of hose, and charge nothing for them.”
“Pixies never wear hose–thank you all the same for the offer, master Johnny; but I’ll serve you and your father too without seeking reward;” and so for the present little Gathon took his leave, popped into a nook among the rocks, and was for the time seen no more.
True indeed was the assurance of the Pixy, Johnny got so many kicks and cuffs, and so well did Gathon keep his word, that, to his exceeding joy and surprise, the tailor, who was not in the secret, found sometimes five or six threads, or more, passed in one day through the eye of his needle from the skein he already possessed of Betsy Humming’s spinning. Still there wanted a great number of threads to make up one hundred and forty.
In the meanwhile his good little son continued to labour in the mines, and to receive all his injuries with a cheerful as well as a patient spirit. On one occasion, however, his tyrant was so brutal in the fury of his passion, for some slight offence, as to strike the lad a violent blow when he stood close to the mouth of the shaft or pit; he reeled and fell down it. The poor boy must have been killed on the spot, but for the ready services of his friend Gathon. The Pixy had been hammering near the spot, when seeing the lad’s danger he whisked into the bucket, and caught him in it ere he reached the ground, landing him in perfect safety.
Tregarrens, when he saw the lad tumble down the shaft, had been in a terrible fright; not that he cared a rush for the boy’s life; but he knew well, that had Johnny lost it by his means, he should be turned out of his place, and be brought up before a magistrate for his conduct on a very serious charge. When, therefore, he found that the lad had only fallen into the bucket, and that he had not so much as a scratch by way of injury, it was such a relief to his fears, it did what nothing else could have done in all the world, it actually put him in a good humour with little Johnny. This was the very thing which, at the moment, the lad least desired; for there was only ONE day left to complete the month allotted for his father’s ordeal; and his needle wanted but ONE thread more to complete the number of one hundred and forty.
Johnny was, therefore, in a terrible fright when, on that last day, Tregarrens, for the first time since he had been in his employ, called him a good boy; and not a sign of a cuff could he trace in his master’s face or in his manner towards him. At this crisis, hoping to excite in him something like an angry mood, so that it could but procure from him one gentle kick, or if only a box on the ear, he purposely did his task of work negligently; and left two or three wheel-barrows with the ore, standing in the way of Tregarrens, so that he stumbled over one of them and nearly broke his shins. Many other little matters did he neglect in the duty of the day, with the last forlorn hope of obtaining but one more cuff; but none came. Tregarrens had not yet quite recovered from the joy occasioned by his being relieved from the fright of supposing he had killed little Johnny; so that he could not so immediately favour him with a renewal of rough kindnesses or tyranny.
In this dilemma, his fat little friend once more came to his aid; for having bound himself by the honour of a Pixy only to pass a thread through Trim’s needle whenever his son took a cuff patiently; it was not in the power of such a gentleman Pixy as he was, to break his word. But he bethought him of a way to come to Johnny’s relief. Whilst Tregarrens was at work in the mine, he heard himself repeatedly called by his name, accompanied by peals of laughter, and the most insulting and provoking expressions. He looked round, and saw only Johnny standing near him. He at once accused him of these insults; but Johnny ever loved the truth, and protested he had not spoken a word.
Tregarrens doubted this much; but still keeping his temper, he once more turned to his work in the rock. Whilst so engaged, peals of laughter and renewed insults met his ears, as if spoken by some one close at his elbow., there could be no mistake, for at his elbow stood little Johnny.
Now fully provoked, Tregarrens turned and gave the lad a most hearty box on the ear. Johnny, delighted to think that this blow taken patiently would procure the desired end and his father’s liberty, exclaimed–” Thank you, thank you, Master Tregarrens,” and fairly cut a frisk or two in the joy of his heart.
Tregarrens, thinking all this was done in mockery, and to add insult to insult, forgot his former forbearance, and in the extremity of his rage, snatched up his pickaxe, with which he was working, and would have knocked poor little Johnny on the head, had not, at that moment, a most furious hammering in the rock met his ear, from the end of the gallery. Thinking that this was an indication where the rich ore might be found, for he had toiled all that day with very little effect, his covetousness overcame even his fury; and he rushed forward to find the exact spot before the mysterious hammering could cease.
No sooner was he gone, than from out an obscure chink in the rock, near where Johnny stood, popped Pixy Gathon; with his usual joyousness of spirit, he tumbled bead over heels by way of frolic, without doing the slightest injury to a large bright bottle, shining like gold, and almost as big as himself, which he carried under his arm. At length he squatted down after his fashion, and indulging in a hearty laugh to think how he had provoked, played upon, and finally deceived Tregarrens, he bade Johnny get up in all haste and follow him.
Johnny lost not a moment in obeying his whimsical friend; and they soon came beneath the shaft, where was hanging (suspended from aloft) the empty bucket, at a considerable height from the ground on which they stood.
“Get in this moment,” said the Pixy, “and I will give the signal to those above to raise the bucket.”
“I cannot reach it,” said Johnny, “it is so high above my head.”
“Never mind that,” replied little Gathon, “but catch hold of my tail; and I’ll whisk you into it in a second. But first take this bottle; it is filled with gold. Take it to your father; it will make him a rich man for life. It is honestly come by; for I’ve dug deep in the earth to get it up for him; and I make him a present of it. But, though he will not see me, for I don’t shew myself above ground, that’s not the way of the hammering man, I shall be with him before you; for I will keep my word, and this day will pass the last thread through the eye of his needle. Farewell, my boy; and whenever you hear us of the Pixy race ill spoken of as mischievous elves, remember there was one little fellow among them who served you well at the hour of your need; and do us justice as good-natured folk sometimes. when we are pleased, and bestir ourselves at a pinch.”
So saying, the Pixy raised his t
ail, Johnny seized hold of it as a ship boy would of a rope when in danger of tumbling overboard; he held fast, and in another second little Gathon whisked him into the bucket, pulled a bell, and up went Johnny from the regions below to the surface of the earth.
Need I tell what followed on that memorable morning? That the one hundred and forty threads were completed; and that Betsy Humming and Trim Trickett were set at liberty and pronounced innocent; for they had successfully undergone the ordeal. Even the innocence of the black cat was made apparent; for Master Constable, on opening the bag in the presence of the justice, found her dead! which, as she had been allowed no food, clearly proved she was not a familiar, who could have lived without it. Sir Simon de Noodle admitted the fact of innocence tested and proved, as pussy had very properly died from an empty stomach. Trim shared the contents of the bottle with Betsy Humming; his little boy was taken into the service of Sir Simon’s lady as a very pretty page; and the golden bottle became a sign in Watling Street, London; where multitudes of people, and even King James himself went to satisfy their curiosity by seeing one hundred and forty threads within the eye of the tailor’s needle.

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Edwin Austin Abbey The Penance of Eleanor, Duchess of Gloucester

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Thomas Edward Brown – Manx Poet

THE WELL
I am a spring —

Why square me with a kerb ?

Ah, why this measuring

Of marble limit ? Why this accurate vault

Lest day assault,

Or any breath disturb ?

And why this regulated flow

Of what ’tis good to feel, and what to know?

You have no right

To take me thus, and bind me to your use,

Screening me from the flight

Of all great wings that are beneath the heaven,

So that to me it is not given

To hold the image of the awful Zeus,

Nor any cloud or star

Emprints me from afar.

O cruel force,

That gives me not a chance

To fill my natural course;

With mathematic rod

Economising God;

Calling me to pre-ordered circumstance

Nor suffering me to dance

Over the pleasant gravel,

With music solacing my travel —

With music, and the baby buds that toss

In light, with roots and sippets of the moss !

A fount, a tank

Yet through some sorry grate

A driblet faulters, till around the flank

Of burly cliffs it creeps ; then, silver-shooting,

Threads all the patient fluting

Of quartz, and violet-dappled slate

A puny thing, on whose attenuate ripples

No satyr stoops to see

His broken effigy,

No naiad leans the languor of her nipples.

One faith remains —

That through what ducts soe’er,

What metamorphic strains,

What rthymic filt’rings, I shall pass

To where, O God, Thou lov’st to mass

Thy rains upon the crags, and dim the sphere.

So, when night’s heart with keenest silence thrills,

Take me, and weep me on the desolate hills!

CRISMA
TO HIS GODSON
Childe Dakyns, I’d have had thee born

To other heritage than ours,

To larger compass, nobler scorn,

Faith, courage, hope than dowers

The old and impotent world.

So had thy powers

Been tuned to primal rhythms : in Noah’s ark
Thou might’st have dreamed thy dove-bemurmured dream;

Or lain and heard old Nimrod’s sleuth-hounds bark,

Echoing great Babel’s towers;

Or played with Laban’s teraphim.
Or nearer, yet remote from us,

Thou might’st have grown a civic man

Protagonist to Aeschylus;

Or blocked Pentelican

For Phidias ; or, foremost in the van,

Whose lithe-armed grapplings broke the Orient’s pride,

Thou might’st have fought on Marathon’s red beach;

Or, olive-screened by fair Ilissus’ side,

Surprised the sleeping Pan;

Or heard the martyr-sophist preach.
Perchance, to higher ends devote,

A fisher on Gennesareth,

Thou might’st have heard him from the boat,

And loved him unto death,

Who, with the outgoing of his latest breath,

Desired the souls of men : thy thought to lay

His pillow in the stern, when blast on blast

Came sweeping from the ridge of Magdala;

Thy charge to ward all scathe

From that supreme enthusiast.
Or, still in time for purpose true,

Though haply fallen on later years,

Thou might’st have stemmed the Cyprian blue

With Richard and his peers,

Cross-dight as chosen God’s own cavaliers;

Or borne a banner into Crecy fight;

Or with Earl Simon on the Lewes fields

Stood strong-embattled for the Commons’ right,

Or scattered at Poitiers

The wall of Gallic shields.
Or, borne with Raleigh to the West,

Thou might’st have felt the glad çmprise

Of men who follow a behest

Self-sealed, and spurn the skies
Familiar ; leaving to the would-be wise

These seats ; as wondering not in any zone

If some sweet island bloom beneath their prow:

” Let the daft Stuart maunder on his throne!

Let slack-knee’d varlets bow!

We will away !—the world has room enow!”
Childe Dakyns, it may not be so!

The long-breathed pulse, the aim direct

The forces that concurrent flow,

Charged with their sure effect—

Sure joy, childe Dakyns, must thou not expect;

But fever-throb ; but agues of desire,

Like zig-zag lightnings scrabbled on a cloud;

Irresolute execution ; paling fire

Of Hope ; life’s springs by cold Suspicion bowed—

All these thou needs must know;

And I will meet thee somewhere in the crowd.
Ah then, childe Dakyns, what of generous ire,

Of Honour, Truth, of Chastity’s bright snow,

The pitying centuries have allowed

To us forlorn, thou child elect,

Grant me to see it on thy forehead glow!

THE DHOON
” Leap from the crags, brave boy!

The musing hills have kept thee long,

But they have made thee strong,

And fed thee with the fulness of their joy,

And given direction that thou might’st return

To me who yearn

At foot of this great steep —

Leap! leap ! “
So the stream leapt

Into his mother’s arms,

Who wept

A space,

Then calmed her sweet alarms,

And smiled to see him as he slept,

Wrapt in that dear embrace

And with the brooding of her tepid breast

Cherished his mountain chillness—

O, then — what rest !

O, everywhere what stillness ‘

The third son of the Rev.Robert Brown and Dorothy Thompson, and younger brother of the eminent Baptist divine, the Rev. Hugh Stowell Brown. Educated partly in the parish school at Braddan and partly by his father, T.E. Brown went to King William’s College at the age of 15. He secured several valuable successes at both the College and later at Oxford. In 1854 he obtained the highest academic honor, that of a Fellowship at Oriel. He was Vice-Principal of King William’s College from 1855 to 1861 when he became headmaster of the Crypt Grammar School, Gloucester. He published several volumes of verse, the first being ‘ Betsy Lee, and other Poems,” in 1881, and the whole were collected and published in one volume shortly after his death on a visit to Clifton. He is noted for notable for setting many of his poems in the Manx dialect. Many of his letters were also collected and published after his death and they have been praised for their candor and insight into the workings of a working poet’s mind.
Edwin Austin Abbey – Green

April 10th and all That…

Best Viewed In FIreFox
“Political language… is designed to make lies sound truthful and murder respectable, and to give an appearance of solidity to pure wind.”

George Orwell
(Kris Kuksi – The Mouth Of Hades)

Tuesday is upon us, like a rush of wind. Hope you enjoy this edition, as we go down some different paths together….
Gwyllm
On The Menu:

Quotes From The Ozone

Alan Watts: Does The Wake Steer The Ship?

The Changeling and his Bagpipes

Pete’s Pick #2: Pitch Black – Lost in Translation

Poetry: Yeats, the later years…

Featured Artist: Kris Kuksi…

Kris Kuksi
“It is far to objectionable to even begin to agree upon what art is or what great art should be. Therefore, it is most certain that myself within this occupation be true to my tastes and to expel those pressures to conform to art-trends new or old.”
His art best fits into ‘Fantastic Realism’, yet the overall body of works have no specific category as seen in his broad range of ideas. He feels that using many directions and styles in art are necessary to express his voice and he feels that to succumb to just one style is without growth or diversity. A quiet and gentle man, Kris Kuksi continues his ideas of beauty and the strange in art while living a lifestyle suited to a nocturnal and oftentimes impulsive individual.

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Quotes From The Ozone…
“Nature has given us two ears, two eyes, and but one tongue – to the end that we should hear and see more than we speak.”

Socrates
“If you want to become Yogis, you will have to get a move on.”

Aleister Crowley
“By and large, language is a tool for concealing the truth.”

George Carlin
“So to describe myself in a scientific way, I must also describe my surroundings, which is a clumsy way getting around to the realization that you are the entire universe.”

Alan Watts
“The more you can increase fear of drugs and crime, welfare mothers, immigrants and aliens – the more you control all the people.”

Noam Chomsky
“Mere opinions, in fact, were as likely to govern people’s actions as hard evidence, and were subject to sudden reversals as hard evidence could never be. So the Galapagos Islands could be hell in one moment and heaven in the next, and Julius Caesar could be a statesman in one moment and a butcher in the next, and Ecuadorian paper money could be traded for food, shelter, and clothing in one moment and line the bottom of a birdcage in the next, and the universe could be created by God Almighty in one moment and by a big explosion in the next and on and on.” – Kurt Vonnegut (Galapagos)
“I’m completely in favor of the separation of Church and State. My idea is that these two institutions screw us up enough on their own. So both of them together is certain death.”

George Carlin
“I know that my unity with all people cannot be destroyed by national boundaries and government orders.”

Leo Nikolaevich Tolstoy
If you are looking for vengeance, be sure to dig two graves.

Chinese saying
“There is more to life than increasing its speed.”

Gandhi
Imagine the folly of allowing people to play elaborate games which do nothing whatever to increase consumption. It’s madness…

Brave New World
“The head monkey at Paris puts on a traveller’s cap, and all the monkeys in America do the same.”

Henry David Thoreau
“I have the terrible feeling that, because I am wearing a white beard and am sitting in the back of the theatre, you expect me to tell you the truth about something. These are the cheap seats, not Mount Sinai.”

Orson Welles
“In this theater of man’s life, it is reserved only for God and angels to be lookers-on.”

Pythagoras
“As the archaeology of our thought easily shows, man is an invention of recent date. And one perhaps nearing its end.”

Michel Foucault

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Petes’ Pick:Soundpicture 1995 #1

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Alan Watts: Does The Wake Steer The Ship?
Alan Watts: The course of Time is very much like the course of a Ship. Here’s the ship, it leaves a wake, the wake fades out and that tells us where the ship has been.
In just the same way that our past tells us what we have done. But as we go back into the past, and we go back and back, to prehistory and we use all kinds of instruments & scientific methods for detecting what happened. We eventually reach a point where all record of the past fades away in just the same way as the wake of a ship.
The important thing to remember in this illustration is that the wake doesn’t drive the ship, anymore than the tale wags the dog!


“I have realized that the past and future are real illusions,

that they exist in the present, which is what there is and all there is.”

-Alan Watts

——-

(Kris Kuksi – Parasite and Host)

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The Changeling and his Bagpipes
A certain youth whom we shall here distinguish by the name of Rickard the Rake, amply earned his title by the time he lost in fair-tents, in dance-houses, in following hunts, and other unprofitable occupations, leaving his brothers and his aged father to attend to the concerns of the farm, or neglect them as they pleased. It is indispensable to the solemnities of a night dance in the country, to take the barn door off its hinges, and lay it on the floor to test the skill of the best dancers in the room in a single performance. In this was Rickard eminent, and many an evening did he hold the eyes of the assembly intent on his flourishes, lofty springs and kicks, and the other fashionable variations taught by the departed race of dancing-masters.
One evening while earning the applause of the admiring crowd, he uttered a cry of pain, and fell on his side on the hard door. A wonderful scene of confusion ensued,–the groans of the dancer, the pitying exclamations of the crowd, and their endeavours to stifle the sufferer in their eagerness to comfort him. We must suppose him carried home and confined to his bed for weeks, the complaint being a stiffness in one of his hip joints, occasioned by a fairy-dart. Fairy-doctors, male and female, tried their herbs and charms on him in vain; and more than one on leaving the house said to one of his family, “God send it’s not one of the sheeoges yous are nursing, instead of poor wild Rickard!”
And indeed there seemed to be some reason in the observation. The jovial, reckless, good-humoured buck was now a meagre, disagreeable, exacting creature, with pinched features, and harsh voice, and craving appetite; and for several weeks he continued to plague and distress his unfortunate family. By the advice of a fairyman a pair of bagpipes was accidentally left near his bed, and ears were soon on the stretch to catch the dulcet notes of the instrument from the room. It was well known that he was not at all skilled in the musical art; so if a well-played tune were heard from under his fingers, the course to be adopted by this family was clear.
But the invalid was as crafty as they were cunning; groans of pain and complaints of neglect formed the only body of sound that issued from the sick chamber. At last, during a hot harvest afternoon when every one should be in the field, and a dead silence reigned through the house, and yard, and out-offices, some one that was watching from an unsuspected press saw an anxious, foxy face peep out from the gently opened door of the room, and draw itself back after a careful survey of the great parlour into which it opened, and which had the large kitchen on the other side. Soon after, the introductory squeal of the instrument was heard, but of a sweeter quality than the same pipes ever uttered before or after that day. Then followed a strain of such wild and sweet melody as held in silent rapture about a dozen of the people of the house and some neighbours who had been apprised of the experiment, and who, till the first enchanting sound breathed through the house, had kept themselves quiet in the room above the kitchen, consequently the farthest from the changeling’s station.
While they stood or sat entranced as air succeeded to air, and the last still the sweetest, they began to distinguish whispers, and the nearly inaudible rustle of soft and gauzy dresses seemingly brushing against each other, and such subdued sounds as a cat’s feet might cause, swiftly pacing along a floor. They were unable to stir, or even move their lips, so powerful was the charm of the fairy’s music on their wills and their senses, till at last the fairy-man spoke–the only person who had the will or the capacity to hold conference with him being the fairy-woman from the next townland.
He.–Come, come! this must be put a stop to.
The words were not all uttered when a low whistling noise was heard from the next room, and the moment after there was profound stillness.
She.–Yes, indeed; and what would you advise us to do first with the anointed sheeoge?
He.–We’ll begin easy. We’ll take him neck and crop and hold his head under the water in the turnhole till we’ll dhrive the divel out of him.
She.–That ‘ud be a great deal too easy a punishment for the thief. We’ll hate the shovel red-hot, put it under his currabingo, and land him out in the dung-lough.
He.–Ah, now; can’t you thry easier punishments on him? I’ll put the tongs in the fire till the claws are as hot as the dive!, and won’t I hould his nasty crass nose between them till he’ll know the difference between a fiery faces and a latchycock. [a]
She.–No, no! Say nothing, and I’ll go and bring my liquor, drawn from the leaves of the lussmore; [b] and if he was a sheeoge forty times, it will put the inside of him, into such a state that he’d give the world he could die. Some parts of him will be as if he had red-hot saws rasping him asunder, and others as if needles of ice were crossing and crossing each other in his bowels; and when he’s dead, we’ll give him no better grave nor the bog-hole, or the outside of the churchyard.
He.–Very well; let’s begin. I’ll bring my red-hot tongs from the kitchen fire, and you your little bottle of lussmore water. Don’t any of yez go in, neighbours, till we have them ingradients ready.
There was a pause in the outer room while the fairyman passed into the kitchen and back. Then there was a rush at the door, and a bursting into the room; but there was no sign of the changeling on the bed, nor under the bed, nor in any part of the room. At last one of the women shouted out in terror, for the face of the fiend was seen at the window, looking in, with such scorn and hate on the fearful features as struck terror into the boldest. However, the fairy-man dashed at him with his burning tongs in hand; but just as it was on the point of gripping his nose, a something between a laugh and a scream, that made the blood in their veins run cold, came from him. Face and all vanished, and that was the last that was seen of him. Next morning, Rickard, now a reformed rake, was found in his own bed. Great was the joy at his recovery, and great it continued, for he laid aside his tobacco-pipe, and pint and quart measures. He forsook the tent and the sheebeen house, and took kindly to his reaping-hook, his spade, his plough, and his prayer-book, and blessed the night he was fairy-struck on the dance floor.
The mutual proceedings of the intruding fairies and the intruded-on mortals, are not always of the hostile character hitherto described. It is with some pleasure that we record an instance where the desirable re-exchange was effected without those disagreeable agencies resorted to in the case of “Rickard the Rake.”
[a] Attempts at two law terms. The author has been acquainted with peasants to whom law terms and processes were as familiar as ever they were to poor Peter Peebles.
[b] Great Herb. The Purpureus Digitalis, Fairy-finger, or Foxglove.

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Pete’s Pick #2: Pitch Black – Lost in Translation

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Poetry: Yeats, the later years….

TO A SHADE
IF you have revisited the town, thin Shade,

Whether to look upon your monument

(I wonder if the builder has been paid)

Or happier thoughted when the day is spent

To drink of that salt breath out of the sea

When grey gulls flit about instead of men,

And the gaunt houses put on majesty:

Let these content you and be gone again;

For they are at their old tricks yet.

A man

Of your own passionate serving kind who had brought

In his full hands what, had they only known,

Had given their children’s children loftier thought,

Sweeter emotion, working in their veins

Like gentle blood, has been driven from the place,

And insult heaped upon him for his pains

And for his open-handedness, disgrace;

Your enemy, an old foul mouth, had set

The pack upon him.

Go, unquiet wanderer,

And gather the Glasnevin coverlet

About your head till the dust stops your ear,

The time for you to taste of that salt breath

And listen at the corners has not come;

You had enough of sorrow before death–

Away, away! You are safer in the tomb.
September 29, 1913.


EASTER, 1916
I HAVE met them at close of day

Coming with vivid faces

From counter or desk among grey

Eighteenth-century houses.

I have passed with a nod of the head

Or polite meaningless words,

Or have lingered awhile and said

Polite meaningless words,

And thought before I had done

Of a mocking tale or a gibe

To please a companion

Around the fire at the club,

Being certain that they and I

But lived where motley is worn:

All changed, changed utterly:

A terrible beauty is born.
That woman’s days were spent

In ignorant good will,

Her nights in argument

Until her voice grew shrill.

What voice more sweet than hers

When young and beautiful,

She rode to harriers?

This man had kept a school

And rode our winged horse;

This other his helper and friend

Was coming into his force;

He might have won fame in the end,

So sensitive his nature seemed,

So daring and sweet his thought.

This other man I had dreamed

A drunken, vain-glorious lout.

He had done most bitter wrong

To some who are near my heart,

Yet I number him in the song;

He, too, has resigned his part

In the casual comedy;

He, too, has been changed in his turn,

Transformed utterly:

A terrible beauty is born.
Hearts with one purpose alone

Through summer and winter seem

Enchanted to a stone

To trouble the living stream.

The horse that comes from the road,

The rider, the birds that range

From cloud to tumbling cloud,

Minute by minute they change;

A shadow of cloud on the stream

Changes minute by minute;

A horse-hoof slides on the brim,

And a horse plashes within it

Where long-legged moor-hens dive,

And hens to moor-cocks call.

Minute by minute they live:

The stone’s in the midst of all.
Too long a sacrifice

Can make a stone of the heart.

O when may it suffice?

That is heaven’s part, our part

To murmur name upon name,

As a mother names her child

When sleep at last has come

On limbs that had run wild.

What is it but nightfall?

No, no, not night but death;

Was it needless death after all?

For England may keep faith

For all that is done and said.

We-know their dream; enough

To know they dreamed and are dead;

And what if excess of love

Bewildered them till they died?

I write it out in a verse–

MacDonagh and MacBride

And Connolly and Pearse

Now and in time to be,

Wherever green is worn,

Are changed, changed utterly:

A terrible beauty is born.
September 15, 1916.

THE SECOND COMING
TURNING and turning in the widening gyre

The falcon cannot hear the falconer;

Things fall apart; the centre cannot hold;

Mere anarchy is loosed upon the world,

The blood-dimmed tide is loosed, and everywhere

The ceremony of innocence is drowned;

The best lack all conviction, while the worst

Are full of passionate intensity.
Surely some revelation is at hand;

Surely the Second Coming is at hand.

The Second Coming! Hardly are those words out

When a vast image out of Spiritus Mundi

Troubles my sight: somewhere in sands of the desert

A shape with lion body and the head of a man,

A gaze blank and pitiless as the sun,

Is moving its slow thighs, while all about it

Reel shadows of the indignant desert birds.

The darkness drops again; but now I know

That twenty centuries of stony sleep

Were vexed to nightmare by a rocking cradle,

And what rough beast, its hour come round at last,

Slouches towards Bethlehem to be born?

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(Kris Kuksi – Fall of Rome)

Into The Wild Hunt…

Best Viewed In FireFox…
(John Byam Liston Shaw – Diana of the Hunt)

Hymn to Diana
Queen and huntress, chaste and fair,

Now the sun is laid to sleep,

Seated in thy silver chair,

State in wonted manner keep:

Hesperus entreats thy light,

Goddess excellently bright.
Earth, let not thy envious shade

Dare itself to interpose;

Cynthia’s shining orb was made

Heaven to clear when day did close:

Bless us then with wishèd sight,

Goddess excellently bright.
Lay thy bow of pearl apart,

And thy crystal-shining quiver;

Give unto the flying hart

Space to breathe, how short soever;

Thou that mak’st a day of night,

Goddess excellently bright.
– Ben Jonson

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A bit of a mashup today… Site Info, Art, Activism, Music… Take your pick.

Sun is out, if only for a little while. If you haven’t been here for awhile, check out the weekend entries… short but sweet!
Have a brilliant Monday!
Gwyllm

On The Menu:

Diane Darlings’: “The Red Queen”

Radio Free EarthRItes Update

Petes Pics: Sheila Chandra: Lament of McCrimmon/Song of the Banshee

Einstein Quotes

2 Wheel Solution

2 Zen Koans…

Another One From Peter:”The Zuvuya Sequence”

Collected Zen Poems…

Art:John Byam Liston Shaw
(1872 – 1919)Byam Shaw carried the torch of Pre-Raphaelitism across the turn of the century, a period when books and exhibitions had renewed interest in the Brotherhood’s work. In his paintings he revived the Brotherhood’s use of bright, pure glazes and restated their belief of the importance of truth and sincerity in art. Moreover, he turned to literature and history for inspiration. Literary allusions and elaborate symbolism were used to great effect by William Holman Hunt in his The Awakening Conscience to reveal some of the more pressing social problems of the age.
Byam Shaw was a late follower of the Pre-Raphaelites, and was especially influenced by John William Waterhouse. He was born in India (his father was a legal official), the family returning to England in 1878 or 1879. Both parents encouraged him in art as a child, only giving him the most decorative books, and surrounding him only with that which was beautiful. From 1880 he was tutored by J. A. Vintner, until 1887 when his father died. His mother, keen for Byam Shaw to continue painting although the rest of the family opposed the idea, arranged for him to be taken to see John Millais, who advised that the young man should immediately start working towards a studentship at the Royal Academy Schools. To this end, he studied at St John’s Wood School for two years, and was then able to enter the Academy Schools in 1890. He studied there until 1892, and then shared a studio with the artist Gerald Metcalfe. Later, together with Vicat Cole, he founded a school of art in Kensington. Eleanor Fortescue Brickdale later taught at this school.
Byam Shaw painted pictures inspired directly by the Pre-Raphaelites, commencing with his first picture exhibited at the Royal Academy, Rose Marie (1893), taken from a Rossetti poem, as was We Too, She Said (1895) (from The Blessed Damozel).More symbolist works include Whither (1896), showing a couple, the woman asleep in the arms of the man, who stares at the sea-maidens of his imagination flocked around the boat. He also painted portraits. He was a strong designer, and did many book illustrations after being encouraged in black-and-white work by the artist Gerald Moira, whom he met while at the Academy Schools. He contributed to the magazine Comic Cuts, and then many children’s books for Cassells, and became one of the foremost illustrators of his time. However, much of his illustrated work is in colour in the cheaper, poorer-quality reproduction books.
Two of his paintings, Jezebel (1896) and The Prodigal’s Return, are at the Russell-Cotes Museum, Bournemouth. Love’s Baubles (1897), a most decorative picture with jewel-like colours, is at the Walker Art Gallery. In Austalia, The Comforter is in the Adelaide Art Gallery.

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I am pleased to announce that we now have the 3rd chapter of Diane Darlings’ Red Queen novel on Earthrites.org. Please check it out!
We also have a new featured video on earthrites.org home page. More changes on the way, so stay tuned!

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EarthRites Radio…

The Music Channels have undergone a transformation and are now broadcasting 24/7. Doug has done some re-engineering, and we have a huge, ever changing show. We have it on a random feed, which is taking some very interesting twist and turns.
If you haven’t checked it out, you should… some very good listening. We just put up another 24 hours of music, and will continue to update the playlist as we go along. If you have any request, please feel free to let us know….
Turn On – Paste Into – Your Internet Radio Player!

-o-o-0-0-O Radio Free Earthrites! O-0-0-o-o-

http://87.194.36.124:8000/radio

http://87.194.36.124:8001/radio-low

http://87.194.36.124:8002/spokenword

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(John Byam Liston Shaw – Rising Spring)

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Petes Pics: Sheila Chandra: Lament of McCrimmon/Song of the Banshee

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Some Quotes sent to me from my sister Tina….
“There are only two ways to live your life. One is as though nothing is a miracle. The other is as though everything is a miracle.”

“Logic will get you from A to B. Imagination will take you everywhere.”

“Look deep into nature, and then you will understand everything better.”

“Love is a better teacher than duty.”

– ALBERT EINSTEIN

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2 Wheel Solution
I stopped into a coffee shop this week and found this item printed on postcard. What a great idea, positively Ghandian in thought and application. A bicycle, the simplest of transportation devices after our own two feet… No petrol, no ethanol, human power applied directly to the situation on hand.

Bikes To Rawanda

So… if you want to make a real difference, one that functions, one that works, consider giving to this organization.

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Two Koans…
Koan: The First Principle
When one goes to Obaku temple in Kyoto he sees carved over the gate the words “The First Principle”. The letters are unusually large, and those who appreciate calligraphy always admire them as being a mastepiece. They were drawn by Kosen two hundred years ago.
When the master drew them he did so on paper, from which the workmen made the large carving in wood. As Kosen sketched the letters a bold pupil was with him who had made several gallons of ink for the calligraphy and who never failed to criticise his master’s work.
“That is not good,” he told Kosen after his first effort.
“How is this one?”
“Poor. Worse than before,” pronounced the pupil.
Kosen patiently wrote one sheet after another until eighty-four First Principles had accumulated, still without the approval of the pupil.
Then when the young man stepped outside for a few moments, Kosen thought: “Now this is my chance to escape his keen eye,” and he wrote hurriedly, with a mind free from distraction: “The First Principle.”
“A masterpiece,” pronounced the pupil.


The Tea-Master & the Assassin
Taiko, a warrior who lived in Japan before the Tokugawa era, studied Cha-no-yu, tea etiquette, with Sen no Rikyu, a teacher of that aesthetical expression of calmness and contentment.
Taiko’s attendant warrior Kato interpreted his superior’s enthusiasm for tea etiquette as negligence of state affairs, so he decided to kill Sen no Rikyu. He pretended to make a social call upon the tea-master and was invited to drink tea.
The master, who was well skilled in his art, saw at a glance the warrior’s intention, so he invited Kato to leave his sword outside before entering the room for the ceremony, explaining the Cha-no-yu represents peacefulness itself.
Kato would not listen to this. “I am a warrior,” he said. “I always have my sword with me. Cha-no-yu or no Cha-no-yu, I have my sword.”
“Very well. Bring your sword in and have some tea,” consented Sen no Rikyu.
The kettle was boiling on the charcoal fire. Suddenly Sen no Rikyu tipped it over. Hissing steam arose, filling the room with smoke and ashes. The startled warrior ran outside.
The tea-master apologized. “It was my mistake. Come back in and have some tea. I have your sword here covered with ashes and will clean it and give it to you.”
In this predicament the warrior realized he could not very well kill the tea-master, so he gave up the idea.

___________
Another One From Peter:”The Zuvuya Sequence”

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(John Byam Liston Shaw – The Kelpie and the Highlander)

Collected Zen Poems…

If you want to be free,

Get to know your real self.

It has no form, no appearance,

No root, no basis, no abode,

But is lively and buoyant.

It responds with versatile facility,

But its function cannot be located.

Therefore when you look for it,

You become further from it;

When you seek it,

You turn away from it all the more.

– Linji


Where beauty is, then there is ugliness;

where right is, also there is wrong.

Knowledge and ignorance are interdependent;

delusion and enlightenment condition each other.

Since olden times it has been so.

How could it be otherwise now?

Wanting to get rid of one and grab the other

is merely realizing a scene of stupidity.

Even if you speak of the wonder of it all,

how do you deal with each thing changing?

-Ryokan


The monkey is reaching

For the moon in the water.

Until death overtakes him

He’ll never give up.

If he’d let go the branch and

Disappear in the deep pool,

The whole world would shine

With dazzling pureness.

Hakuin


The past is already past.

Don’t try to regain it.

The present does not stay.

Don’t try to touch it.
From moment to moment.

The future has not come;

Don’t think about it

Beforehand.
Whatever comes to the eye,

Leave it be.

There are no commandments

To be kept;

There’s no filth to be cleansed.
With empty mind really

Penetrated, the dharmas

Have no life.
When you can be like this,

You’ve completed

The ultimate attainment.

-Layman P’ang (740-808)


1. Experience Chan! It’s not mysterious.

As I see it, it boils down to cause and effect.

Outside the mind there is no Dharma

So how can anybody speak of a heaven beyond?
2. Experience Chan! It’s not a field of learning.

Learning adds things that can be researched and discussed.

The feel of impressions can’t be communicated.

Enlightenment is the only medium of transmission.
3. Experience Chan! It’s not a lot of questions.

Too many questions is the Chan disease.

The best way is just to observe the noise of the world.

The answer to your questions?

Ask your own heart.
4. Experience Chan! It’s not the teachings of disciples.

Such speakers are guests from outside the gate.

The Chan which you are hankering to speak about

Only talks about turtles turning into fish.
5. Experience Chan! It can’t be described.

When you describe it you miss the point.

When you discover that your proofs are without substance

You’ll realize that words are nothing but dust.
6. Experience Chan! It’s experiencing your own nature!

Going with the flow everywhere and always.

When you don’t fake it and waste time trying to rub and polish it,

Your Original Self will always shine through brighter than bright.
7. Experience Chan! It’s like harvesting treasures.

But donate them to others.

You won’t need them.

Suddenly everything will appear before you,

Altogether complete and altogether done.
8. Experience Chan! Become a follower who when accepted

Learns how to give up his life and his death.

Grasping this carefully he comes to see clearly.

And then he laughs till he topples the Cold Mountain ascetics.
9. Experience Chan! It’ll require great skepticism;

But great skepticism blocks those detours on the road.

Jump off the lofty peaks of mystery.

Turn your heaven and earth inside out.
10. Experience Chan! Ignore that superstitious nonsense

That makes some claim that they’ve attained Chan.

Foolish beliefs are those of the not-yet-awakened.

And they’re the ones who most need the experience of Chan!
11. Experience Chan! There’s neither distance nor intimacy.

Observation is like a family treasure.

Whether with eyes, ears, body, nose, or tongue –

It’s hard to say which is the most amazing to use.
12. Experience Chan! There’s no class distinction.

The one who bows and the one who is bowed to are a Buddha unit.

The yoke and its lash are tied to each other.

Isn’t this our first principle… the one we should most observe?

-Master Xu Yun

—-
(John Byam Liston Shaw – Jezebel)

Stand Up And Be Counted…

ORGANIZE ORGANIZE ORGANIZE…! Take Our Communities Back!
Peters’ Pick: 1 Giant Leap

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Make Every Act An Evo/Revolutionary Act.
Bright Blessings,
Gwyllm

A Small Visit With Aldous

Best Viewed In FireFox
“If we could sniff or swallow something that would, for five or six hours each day, abolish our solitude as individuals, atone us with our fellows in a glowing exultation of affection and make life in all its aspects seem not only worth living, but divinely beautiful and significant, and if this heavenly, world-transfiguring drug were of such a kind that we could wake up [the] next morning with a clear head and a undamaged constitution – then, it seems to me, all our problems (and not merely the one small problem of discovering a novel pleasure) would be wholly solved and the earth would become paradise.”

-Aldous Huxley (1894 – 1963)

If the doors of perception were cleansed everything would

appear to man as it is, infinite. —William Blake
—-
We all went to our friend Ed’s surprise pizza dinner with a hoard of friends. Good Fun! Ed was delightful as ever, and totally surprised.
He thought he had escaped all the attention by heading off to Joshua Tree with Janice for a camping trip on the past weekend…
Yes, the birthday was on the weekend, but the party caught up with him anyway. Here is Ed, and all fun and laughter he has brought into our lives!
Great Pizza, nice drinks and wonderful company!
Happy Birthday Ed!

—-
Todays’ entry is loosely based on Aldous Huxley. We have some quotes, an extract from Albert Hoffmann’s wonderful book… Peter has chosen a nice bit of music, and Christina Rossetti weaves her poetic magick.
Here we are at Friday, sun is shining and the weekend beckons!
Have Fun!
Gwyllm
On The Menu

Pete’s Picks:Niyaz

Huxley Quotes

Meeting with Aldous Huxley – Albert Hoffmann [From LSD, My Problem Child Chapter8]

Poetry: Goblin Market -Christina Rossetti

Art: Robert Venosa & Gwyllm

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Pete’s Picks:Niyaz

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Huxley Quotes:
Most island universes are sufficiently like one another to Permit of inferential understanding or even of mutual empathy or “feeling into.” Thus, remembering our own bereavements and humiliations, we can condole with others in analogous circumstances, can put ourselves (always, of course, in a slightly Pickwickian sense) in their places. But in certain cases communication between universes is incomplete or even nonexistent. The mind is its own place, and the Places inhabited by the insane and the exceptionally gifted are so different from the places where ordinary men and women live, that there is little or no common ground of memory to serve as a basis for understanding or fellow feeling. Words are uttered, but fail to enlighten. The things and events to which the symbols refer belong to mutually exclusive realms of experience.
An intellectual is a person who has discovered something more interesting than sex.

At least two-thirds of our miseries spring from human stupidity, human malice and those great motivators and justifiers of malice and stupidity: idealism, dogmatism and proselytizing zeal on behalf of religous or political ideas.

Experience teaches only the teachable.
Maybe this world is another planet’s hell.

Most human beings have an almost infinite capacity for taking things for granted.

That all men are equal is a proposition which, at ordinary times, no sane individual has ever given his assent.
The author of the Iliad is either Homer or, if not Homer, somebody else of the same name.

There’s only one corner of the universe you can be certain of improving, and that’s your own self.

After silence, that which comes nearest to expressing the inexpressible is music.

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(Robert Venosa – Astral Circus)

Meeting with Aldous Huxley – Albert Hoffmann

[From LSD, My Problem Child Chapter 8]
In the mid-1950s, two books by Aldous Huxley appeared, The Doors of Perception and Heaven and Hell, dealing with inebriated states produced by hallucinogenic drugs. The alterations of sensory perceptions and consciousness, which the author experienced in a self-experiment with mescaline, are skillfully described in these books. The mescaline experiment was a visionary experience for Huxley. He saw objects in a new light; they disclosed their inherent, deep, timeless existence, which remains hidden from everyday sight.
These two books contained fundamental observations on the essence of visionary experience and about the significance of this manner of comprehending the world-in cultural history, in the creation of myths, in the origin of religions, and in the creative process out of which works of art arise. Huxley saw the value of hallucinogenic drugs in that they give people who lack the gift of spontaneous visionary perception belonging to mystics, saints, and great artists, the potential to experience this extraordinary state of consciousness, and thereby to attain insight into the spiritual world of these great creators. Hallucinogens could lead to a deepened understanding of religious and mystical content, and to a new and fresh experience of the great works of art. For Huxley these drugs were keys capable of opening new doors of perception; chemical keys, in addition to other proven but laborious ” door openers” to the visionary world like meditation, isolation, and fasting, or like certain yoga practices.
At the time I already knew the earlier work of this great writer and thinker, books that meant much to me, like Point Counter Point, Brave New World, After Many a Summer, Eyeless in Gaza, and a few others. In The Doors of Perception and Heaven and Hell, Huxley’s newly-published works, I found a meaningful exposition of the experience induced by hallucinogenic drugs, and I thereby gained a deepened insight into my own LSD experiments.
I was therefore delighted when I received a telephone call from Aldous Huxley in the laboratory one morning in August 1961. He was passing through Zurich with his wife. He invited me and my wife to lunch in the Hotel Sonnenberg.
A gentleman with a yellow freesia in his buttonhole, a tall and noble appearance, who exuded kindness- this is the image I retained from this first meeting with Aldous Huxley. The table conversation revolved mainly around the problem of magic drugs. Both Huxley and his wife, Laura Archera Huxley, had also experimented with LSD and psilocybin. Huxley would have preferred not to designate these two substances and mescaline as “drugs,” because in English usage, as also by the way with Droge in German, that word has a pejorative connotation, and because it was important to differentiate the hallucinogens from the other drugs, even linguistically. He believed in the great importance of agents producing visionary experience in the modern phase of human evolution.
He considered experiments under laboratory conditions to be insignificant, since in the extraordinarily intensified susceptibility and sensitivity to external impressions, the surroundings are of decisive importance. He recommended to my wife, when we spoke of her native place in the mountains, that she take LSD in an alpine meadow and then look into the blue cup of a gentian flower, to behold the wonder of creation.
As we parted, Aldous Huxley gave me, as a remembrance of this meeting, a tape recording of his lecture “Visionary Experience,” which he had delivered the week before at an international congress on applied psychology in Copenhagen. In this lecture, Aldous Huxley spoke about the meaning and essence of visionary experience and compared this type of world view to the verbal and intellectual comprehension of reality as its essential complement.
In the following year, the newest and last book by Aldous Huxley appeared, the novel Island. This story, set on the utopian island Pala, is an attempt to blend the achievements of natural science and technical civilization with the wisdom of Eastern thought, to achieve a new culture in which rationalism and mysticism are fruitfully united. The moksha medicine, a magical drug prepared from a mushroom, plays a significant role in the life of the population of Pala (moksha is Sanskrit for “release,” “liberation”). The drug could be used only in critical periods of life. The young men on Pala received it in initiation rites, it is dispensed to the protagonist of the novel during a life crisis, in the scope of a psychotherapeutic dialogue with a spiritual friend, and it helps the dying to relinquish the mortal body, in the transition to another existence.
In our conversation in Zurich, I had already learned from Aldous Huxley that he would again treat the problem of psychedelic drugs in his forthcoming novel. Now he sent me a copy of Island, inscribed “To Dr. Albert Hofmann, the original discoverer of the moksha medicine, from Aldous Huxley.”
The hopes that Aldous Huxley placed in psychedelic drugs as a means of evoking visionary experience, and the uses of these substances in everyday life, are subjects of a letter of 29 February 1962, in which he wrote me:
. . . I have good hopes that this and similar work will result in the development of a real Natural History of visionary experience, in all its variations, determined by differences of physique, temperament and profession, and at the same time of a technique of Applied Mysticism – a technique for helping individuals to get the most out of their transcendental experience and to make use of the insights from the “Other World” in the affairs of “This World.” Meister Eckhart wrote that “what is taken in by contemplation must be given out in love.” Essentially this is what must be developed-the art of giving out in love and intelligence what is taken in from vision and the experience of self-transcendence and solidarity with the Universe….
Aldous Huxley and I were together often at the annual convention of the World Academy of Arts and Sciences (WAAS) in Stockholm during late summer 1963. His suggestions and contributions to discussions at the sessions of the academy, through their form and importance, had a great influence on the proceedings.
WAAS had been established in order to allow the most competent specialists to consider world problems in a forum free of ideological and religious restrictions and from an international viewpoint encompassing the whole world. The results: proposals, and thoughts in the form of appropriate publications, were to be placed at the disposal of the responsible governments and executive organizations.
The 1963 meeting of WAAS had dealt with the population explosion and the raw material reserves and food resources of the earth. The corresponding studies and proposals were collected in Volume II of WAAS under the title The Population Crisis and the Use of World Resources. A decade before birth control, environmental protection, and the energy crisis became catchwords, these world problems were examined there from the most serious point of view, and proposals for their solution were made to governments and responsible organizations. The catastrophic events since that time in the aforementioned fields makes evident the tragic discrepancy between recognition, desire, and feasibility.
Aldous Huxley made the proposal, as a continuation and complement of the theme “World Resources” at the Stockholm convention, to address the problem “Human Resources,” the exploration and application of capabilities hidden in humans yet unused. A human race with more highly developed spiritual capacities, with expanded consciousness of the depth and the incomprehensible wonder of being, would also have greater understanding of and better consideration for the biological and material foundations of life on this earth. Above all, for Western people with t
heir hypertrophied rationality, the development and expansion of a direct, emotional experience of reality, unobstructed by words and concepts, would be of evolutionary significance. Huxley considered psychedelic drugs to be one means to achieve education in this direction. The psychiatrist Dr. Humphry Osmond, likewise participating in the congress, who had created the term psychedelic (mind-expanding), assisted him with a report about significant possibilities of the use of hallucinogens.
The convention in Stockholm in 1963 was my last meeting with Aldous Huxley. His physical appearance was already marked by a severe illness; his intellectual personage, however, still bore the undiminished signs of a comprehensive knowledge of the heights and depths of the inner and outer world of man, which he had displayed with so much genius, love, goodness, and humor in his literary work.
Aldous Huxley died on 22 November of the same year, on the same day President Kennedy was assassinated. From Laura Huxley I obtained a copy of her letter to Julian and Juliette Huxley, in which she reported to her brother- and sister-in-law about her husband’s last day. The doctors had prepared her for a dramatic end, because the terminal phase of cancer of the throat, from which Aldous Huxley suffered, is usually accompanied by convulsions and choking fits. He died serenely and peacefully, however.
In the morning, when he was already so weak that he could no longer speak, he had written on a sheet of paper: “LSD-try it-intramuscular-100 mmg.” Mrs. Huxley understood what was meant by this, and ignoring the misgivings of the attending physician, she gave him, with her own hand, the desired injection-she let him have the moksha medicine.

_____________
(Robert Venosa – Prana Exhalation)

Poetry: Goblin Market

(Christina Rossetti)
Morning and evening

Maids heard the goblins cry:

“Come buy our orchard fruits,

Come buy, come buy:

Apples and quinces,

Lemons and oranges,

Plump unpecked cherries,

Melons and raspberries,

Bloom-down-cheeked peaches,

Swart-headed mulberries,

Wild free-born cranberries,

Crab-apples, dewberries,

Pine-apples, blackberries,

Apricots, strawberries;—

All ripe together

In summer weather,—

Morns that pass by,

Fair eves that fly;

Come buy, come buy:

Our grapes fresh from the vine,

Pomegranates full and fine,

Dates and sharp bullaces,

Rare pears and greengages,

Damsons and bilberries,

Taste them and try:

Currants and gooseberries,

Bright-fire-like barberries,

Figs to fill your mouth,

Citrons from the South,

Sweet to tongue and sound to eye;

Come buy, come buy.”
Evening by evening

Among the brookside rushes,

Laura bowed her head to hear,

Lizzie veiled her blushes:

Crouching close together

In the cooling weather,

With clasping arms and cautioning lips,

With tingling cheeks and finger tips.

“Lie close,” Laura said,

Pricking up her golden head:

“We must not look at goblin men,

We must not buy their fruits:

Who knows upon what soil they fed

Their hungry thirsty roots ?”

“Come buy,” call the goblins

Hobbling down the glen.

“Oh,” cried Lizzie, “Laura, Laura,

You should not peep at goblin men.”

Lizzie covered up her eyes,

Covered close lest they should look;
Laura reared her glossy head,

And whispered like the restless brook:

“Look, Lizzie, look, Lizzie,

Down the glen tramp little men.

One hauls a basket,

One bears a plate,

One lugs a golden dish

Of many pounds weight.

How fair the vine must grow

Whose grapes are so luscious;

How warm the wind must blow

Thro’ those fruit bushes.”

“No,” said Lizzie: “No, no, no;

Their offers should not charm us,

Their evil gifts would harm us.”

She thrust a dimpled finger

In each ear, shut eyes and ran:

Curious Laura chose to linger

Wondering at each merchant man.

One had a cats face,

One whisked a tail,

One tramped at a rat’s pace,

One crawled like a snail,

One like a wombat prowled obtuse and furry,

One like a ratel tumbled hurry skurry.

She heard a voice like voice of doves

Cooing all together:

They sounded kind and full of loves

In the pleasant weather.
Laura stretched her gleaming neck

Like a rush-imbedded swan,

Like a lily from the beck,

Like a moonlit poplar branch,

Like a vessel at the launch

When its last restraint is gone.
Backwards up the mossy glen

Turned and trooped the goblin men,

With their shrill repeated cry,

“Come buy, come buy.”

When they reached where Laura was

They stood stock still upon the moss,

Leering at each other,

Brother with queer brother;

Signalling each other,

Brother with sly brother.

One set his basket down,

One reared his plate;

One began to weave a crown

Of tendrils, leaves and rough nuts brown

(Men sell not such in any town);

One heaved the golden weight

Of dish and fruit to offer her:

“Come buy, come buy,” was still their cry.
Laura stared but did not stir,

Longed but had no money:

The whisk-tailed merchant bade her taste

In tones as smooth as honey,

The cat-faced purr’d,

The rat-paced spoke a word

Of welcome, and the snail-paced even was heard;

One parrot-voiced and jolly

Cried “Pretty Goblin” still for “Pretty Polly;”—

One whistled like a bird.
But sweet-tooth Laura spoke in haste:

“Good folk, I have no coin;

To take were to purloin:

I have no copper in my purse,

I have no silver either,

And all my gold is on the furze

That shakes in windy weather

Above the rusty heather.”

“You have much gold upon your head,”

They answered all together:

“Buy from us with a golden curl.”

She clipped a precious golden lock,

She dropped a tear more rare than pearl,

Then sucked their fruit globes fair or red:

Sweeter than honey from the rock,

Stronger than man-rejoicing wine,

Clearer than water flowed that juice;

She never tasted such before,

How should it cloy with length of use?

She sucked and sucked and sucked the more

Fruits which that unknown orchard bore;

She sucked until her lips were sore;

Then flung the emptied rinds away

But gathered up one kernel-stone,

And knew not was it night or day

As she turned home alone.
Lizzie met her at the gate

Full of wise upbraidings:

“Dear, you should not stay so late,

Twilight is not good for maidens;

Should not loiter in the glen

In the haunts of goblin men.

Do you not remember Jeanie,

How she met them in the moonlight,

Took their gifts both choice and many,

Ate their fruits and wore their flowers

Plucked from bowers

Where summer ripens at all hours?

But ever in the moonlight

She pined and pined away;

Sought them by night and day,

Found them no more but dwindled and grew grey;

Then fell with the first snow,

While to this day no grass will grow

Where she lies low:

I planted daisies there a year ago

That never blow.

You should not loiter so.”

“Nay, hush,” said Laura:

“Nay, hush, my sister:

I ate and ate my fill,

Yet my mouth waters still;

Tomorrow night I will

Buy more:” and kissed her:

“Have done with sorrow;

I’ll bring you plums tomorrow

Fresh on their mother twigs,

Cherries worth getting;

You cannot think what figs

My teeth have met in,

What melons icy-cold

Piled on a dish of gold

Too huge for me to hold,

What peaches with a velvet nap,

Pellucid grapes without one seed:

Odorous indeed must be the mead

Whereon they grow, and pure the wave they drink

With lilies at the brink,

And sugar-sweet their sap.”

Golden head by golden head,

Like two pigeons in one nest

Folded in each other’s wings,

They lay down in their curtained bed:

Like two blossoms on one stem,

Like two flakes of new-fall’n snow,

Like two wands of ivory

Tipped with gold for awful kings.

Moon and stars gazed in at them,

Wind sang to them lullaby,

Lumbering owls forbore to fly,

Not a bat flapped to and fro

Round their rest:

Cheek to cheek and breast to breast

Locked together in one nest.
Early in the morning

When the first cock crowed his warning,

Neat like bees, as sweet and busy,

Laura rose with Lizzie:

Fetched in honey, milked the cows,

Aired and set to rights the house,

Kneaded cakes of whitest wheat,

Cakes for dainty mouths to eat,

Next churned butter, whipped up cream,

Fed their poultry, sat and sewed;

Talked as modest maidens should:

Lizzie with an open heart,

Laura in an absent dream,

One content, one sick in part;

One warbling for the mere bright day’s delight,

One longing for the night.
At length slow evening came:

They went with pitchers to the reedy brook;

Lizzie most placid in her look,

Laura most like a leaping flame.

They drew the gurgling water from its deep;

Lizzie plucked purple and rich golden flags,

Then turning homewards said: “The sunset flushes

Those furthest loftiest crags;

Come, Laura, not another maiden lags,

No wilful squirrel wags,

The beasts and birds are fast asleep.”

But Laura loitered still among the rushes

And said the bank was steep.
And said the hour was early still,

The dew not fall’n, the wind not chill:

Listening ever, but not catching

The customary cry,

“Come buy, come buy,”

With its iterated jingle

Of sugar-baited words:

Not for all her watching

Once discerning even one goblin

Racing, whisking, tumbling, hobbling;

Let alone the herds

That used to tramp along the glen,

In groups or single,

Of brisk fruit-merchant men.

Till Lizzie urged, “O Laura, come;

I hear the fruit-call but I dare not look:

You should not loiter longer at this brook:

Come with me home.

The stars rise, the moon bends her arc,

Each glowworm winks her spark,

Let us get home before the night grows dark:

For clouds may gather

Tho’ this is summer weather,

Put out the lights and drench us thro’;

Then if we lost our way what should we do?”
Laura turned cold as stone

To find her sister heard that cry alone,

That goblin cry,

“Come buy our fruits, come buy.”

Must she then buy no more such dainty fruit?

Must she no more such succous pasture find,

Gone deaf and blind?

Her tree of life drooped from the root:

She said not one word in her heart’s sore ache;

But peering thro’ the dimness, nought discerning,

Trudged home, her pitcher dripping all the way;

So crept to bed, and lay

Silent till Lizzie slept;

Then sat up in a passionate yearning,

And gnashed her teeth for baulked desire, and wept

As if her heart would break.
Day after day, night after night,

Laura kept watch in vain

In sullen silence of exceeding pain.

She never caught again the goblin cry:

“Come buy, come buy;”—

She never spied the goblin men

Hawking their fruits along the glen:

But when the noon waxed bright

Her hair grew thin and grey;

She dwindled, as the fair full moon doth turn

To swift decay and burn

Her fire away.
One day remembering her kernel-stone

She set it by a wall that faced the south;

Dewed it with tears, hoped for a root,

Watched for a waxing shoot,

But there came none:

It never saw the sun,

It never felt the trickling moisture run:

While with sunk eyes and faded mouth

She dreamed of melons, as a traveller sees

False waves in desert drouth

With shade of leaf-crowned trees,

And burns the thirstier in the sandful breeze.

She no more swept the house,

Tended the fowls or cows,

Fetched honey, kneaded cakes of wheat,

Brought water from the brook:

But sat down listless in the chimney-nook

And would not eat.
Tender Lizzie could not bear

To watch her sister’s cankerous care

Yet not to share.

She night and morning

Caught the goblins’ cry:

“Come buy our orchard fruits,

Come buy, come buy:”—

Beside the brook, along the glen,

She heard the tramp of goblin men,

The voice and stir

Poor Laura could not hear;

Longed to buy fruit to comfort her,

But feared to pay too dear.

She thought of Jeanie in her grave,

Who should have been a bride;

But who for joys brides hope to have

Fell sick and died

In her gay prime,

In earliest Winter time,

With the first glazing rime,

With the first snow-fall of crisp Winter time.

Till Laura dwindling

Seemed knocking at Death’s door:

Then Lizzie weighed no more

Better and worse;

But put a silver penny in her purse,

Kissed Laura, crossed the heath with clumps of furze

At twilight, halted by the brook:

And for the first time in her life

Began to listen and look.
Laughed every goblin

When they spied her peeping:

Came towards her hobbling,

Flying, running, leaping,

Puffing and blowing,

Chuckling, clapping, crowing,

Clucking and gobbling,

Mopping and mowing,

Full of airs and graces,

Pulling wry faces,

Demure grimaces,

Cat-like and rat-like,

Ratel- and wombat-like,

Snail-paced in a hurry,

Parrot-voiced and whistler,

Helter skelter, hurry skurry,

Chattering like magpies,

Fluttering like pigeons,

Gliding like fishes,—

Hugged her and kissed her,

Squeezed and caressed her:

Stretched up their dishes,

Panniers, and plates:

“Look at our apples

Russet and dun,

Bob at our cherries,

Bite at our peaches,

Citrons and dates,

Grapes for the asking,

Pears red with basking

Out in the sun,

Plums on their twigs;

Pluck them and suck them,

Pomegranates, figs.”—

“Good folk,” said Lizzie,

Mindful of Jeanie:

“Give me much and many:”—

Held out her apron,

Tossed them her penny.

“Nay, take a seat with us,

Honour and eat with us,”

They answered grinning:

“Our feast is but beginning.

Night yet is early,

Warm and dew-pearly,

Wakeful and starry:

Such fruits as these

No man can carry;

Half their bloom would fly,

Half their dew would dry,

Half their flavour would pass by.

Sit down and feast with us,

Be welcome guest with us,

Cheer you and rest with us.”—

“Thank you,” said Lizzie: “But one waits

At home alone for me:

So without further parleying,

If you will not sell me any

Of your fruits tho’ much and many,

Give me back my silver penny

I tossed you for a fee.”-

They began to scratch their pates,

No longer wagging, purring,

But visibly demurring,

Grunting and snarling.

One called her proud,

Cross-grained, uncivil;

Their tones waxed loud,

Their looks were evil.

Lashing their tails

They trod and hustled her,

Elbowed and jostled her,

Clawed with their nails,

Barking, mewing, hissing, mocking,

Tore her gown and soiled her stocking,

Twitched her hair out by the roots,

Stamped upon her tender feet,

Held her hands and squeezed their fruits

Against her mouth to make her eat.

White and golden Lizzie stood,

Like a lily in a flood,—

Like a rock of blue-veined stone

Lashed by tides obstreperously,—

Like a beacon left alone

In a hoary roaring sea,

Sending up a golden fire,—

Like a fruit-crowned orange-tree

White with blossoms honey-sweet

Sore beset by wasp and bee,—

Like a royal virgin town

Topped with gilded dome and spire

Close beleaguered by a fleet

Mad to tug her standard down.
One may lead a horse to water,

Twenty cannot make him drink.

Tho’ the goblins cuffed and caught her,

Coaxed and fought her,

Bullied and besought her,

Scratched her, pinched her black as ink,

Kicked and knocked her,

Mauled and mocked her,

Lizzie uttered not a word;

Would not open lip from lip

Lest they should cram a mouthful in:

But laughed in heart to feel the drip

Of juice that syrupped all her face,

And lodged in dimples other chin,

And streaked her neck which quaked like curd.

At last the evil people

Worn out by her resistance

Flung back her penny, kicked their fruit

Along whichever road they took,

Not leaving root or stone or shoot;

Some writhed into the ground,

Some dived into the brook

With ring and ripple,

Some scudded on the gale without a sound,

Some vanished in the distance.
In a smart, ache, tingle,

Lizzie went her way;

Knew not was it night or day;

Sprang up the bank, tore thro’ the furze,

Threaded copse and dingle,

And heard her penny jingle

Bouncing in her purse,

Its bounce was music to her ear.

She ran and ran

As if she feared some goblin man

Dogged her with gibe or curse

Or something worse:

But not one goblin skurried after,

Nor was she pricked by fear;

The kind heart made her windy-paced

That urged her home quite out of breath with chaste

And inward laughter,
She cried “Laura,” up the garden,

“Did you miss me?

Come and kiss me.

Never mind my bruises,

Hug me, kiss me, suck my juices

Squeezed from goblin fruits for you,

Goblin pulp and goblin dew.

Eat me, drink me, love me;

Laura, make much of me:

For your sake I have braved the glen

And had to do with goblin merchant men.”
Laura started from her chair,

Flung her arms up in the air,

Clutched her hair:

“Lizzie, Lizzie, have you tasted

For my sake the fruit forbidden?

Must your light like mine be hidden,

Your young life like mine be wasted,

Undone in mine undoing

And ruined in my ruin,

Thirsty, cankered, goblin-ridden?”—

She clung about her sister,

Kissed and kissed and kissed her:

Tears once again

Refreshed her shrunken eyes,

Dropping like rain

After long sultry drouth;

Shaking with aguish fear, and pain,

She kissed and kissed her with a hungry mouth.

Her lips began to scorch,

That juice was wormwood to her tongue,

She loathed the feast:

Writhing as one possessed she leaped and sung,

Rent all her robe, and wrung

Her hands in lamentable haste,

And beat her breast.

Her locks streamed like the torch

Borne by a racer at full speed,

Or like the mane of horses in their flight,

Or like an eagle when she stems the light

Straight toward the sun,

Or like a caged thing freed,

Or like a flying flag when armies run.
Swift fire spread thro’ her veins, knocked at her heart,

Met the fire smouldering there

And overbore its lesser flame;

She gorged on bitterness without a name:

Ah! fool, to choose such part

Of soul-consuming care!

Sense failed in the mortal strife:

Like the watch-tower of a town

Which an earthquake shatters down,

Like a lightning-stricken mast,

Like a wind-uprooted tree

Spun about,

Like a foam-topped waterspout

Cast down headlong in the sea,

She fell at last;

Pleasure past and anguish past,

Is it death or is it life?
Life out of death.

That night long Lizzie watched by her,

Counted her pulse’s flagging stir,

Felt for her breath,

Held water to her lips, and cooled her face

With tears and fanning leaves:

But when the first birds chirped about their eaves,

And early reapers plodded to the place

Of golden sheaves,

And dew-wet grass

Bowed in the morning winds so brisk to pass,

And new buds with new day

Opened of cup-like lilies on the stream,

Laura awoke as from a dream,

Laughed in the innocent old way,

Hugged Lizzie but not twice or thrice;

Her gleaming locks showed not one thread of grey,

Her breath was sweet as May

And light danced in her eyes.

Days, weeks, months, years

Afterwards, when both were wives

With children of their own;

Their mother-hearts beset with fears,

Their lives bound up in tender lives;

Laura would call the little ones

And tell them other early prime,

Those pleasant days long gone

Of not-returning time:

Would talk about the haunted glen,

The wicked, quaint fruit-merchant men,

Their fruits like honey to the throat

But poison in the blood;

(Men sell not such in any town:)

Would tell them how her sister stood

In deadly peril to do her good,

And win the fiery antidote:

Then joining hands to little hands

Would bid them cling together,

“For there is no friend like a sister

In calm or stormy weather;

To cheer one on the tedious way,

To fetch one if one goes astray,

To lift one if one totters down,

To strengthen whilst one stands.”
(Robert Venosa – Ayahuasca Dream)

Tales From Cornwall….

Wednesday morning, early on… Grey over the city, machinery stirring on the road digging up Hawthorne one more time.

Had a nice visit with a friend last night, had out the books on Britain as he is going over in 3 weeks. Suggested he take a few extra days…. and wander. It seems he will.

An entry today based around Cornwall. (this came out of last nights visit)

More on the way, but you knew that…

Gwyllm

On The Menu:

The Links

Pete’s Pick:Savina Yannatou – Ah Mon Die

3 Cornish Tales

(PV) Utada Hikaru – Sakura drops

The Cornish Poet: John Harris

Artist: Robert Anning Bell

_________

(Robert Anning Bell – when in the chronicle of wasted time)

________

The Links:

Do animals have telepathy?

Briton loses extradition fight over US military hacking

Past Lives and Why We Don’t Remember

Ancient human unearthed in China

Animal attraction

___________

Pete’s Pick:

Savina Yannatou – Ah Mon Die

___________

(Robert Anning Bell – The Magic Chrystal)

Persons Spirited Away to Fairy Land

When unmolested, fairies bring good fortune to places they frequent; but they are spiteful if interfered with, and delight in vexing and thwarting people who meddle with them. It is well known ‘that they can’t abear those whom they can’t abide.’ Then there were the tales of persons spirited away to fairyland, to wait upon the small people’s children and perform various little domestic offices, where the time has passed so pleasantly that they have forgotten all about their homes and relations, until by doing a forbidden thing they have incurred their master’s anger. They were then punished by being thrown into a deep sleep, and on awakening found themselves on some moor close to their native villages. These unhappy creatures never, after their return, settled down into work, but roamed about aimlessly doing nothing, hoping and longing one day to be allowed to go back to the place from whence they had been banished. They had first put themselves into the fairie’s power by eating or drinking something on the sly, when they had surprised them at on of their moonlight frolics; or by accepting a gift of fruit from the hands of one of these little beings.

_______

Cornish Fairies: The Lost Child

It was a lovely evening, and the little boy was gathering flowers in the fields, near a wood. The child was charmed by hearing some beautiful music, which he at first mistook for the song of birds; but, being a sharp boy, he was not long deceived, and he went towards the wood to ascertain from whence the melodious sounds came. When he reached the verge of the wood, the music was of so exquisite a character, that he was compelled to follow the sound, which appeared to travel before him. Lured in this way, the boy penetrated to the dark centre of the grove, and here, meeting with some difficulties, owing to the thick growth of underwood, he paused and began to think of returning. The music, however, became more ravishing than before, and some invisible being appeared to crush down all the low and tangled plants, thus forming for him a passage, over which he passed without any difficulty. At length he found himself on the edge of a small lake, and, greatly to his astonishment, the darkness of night was around him, but the heavens were thick with stars. The music ceased, and, wearied with his wanderings, the boy fell asleep on a bed of ferns. He rellated, on his restoration to his parents, that he was taken by a beautiful lady through palaces of the most gorgeous description. Pillars of glass supported arches which glistened with every colour, and these were hung with crystals far exceeding anything which were ever seen in the caverns of a Cornish mine. It is, however, stated that many days passed away before the child was found by his friends, and that at length he was discovered, one lovely morning, sleeping on the bed of ferns, on which he was supposed to have fallen asleep on the first adventurous evening. There was no reason given by the narrator why the boy was “spirited away” in the first instance, or why he was returned. Her impression was, that some sprites, pleased with the child’s innocence and beauty, had entranced him. That when asleep he had been carried, through the waters to the fairy abodes beneath them; and she felt assured that a child so treated would be kept under the especial guardianship of the sprites for ever afterwards. Of this, however, tradition leaves us in ignorance.

_________

(Robert Anning Bell – Cupids’ Visit)

St Levan Fairies

Years since–the time is past now–the green outside the gate at the end of Trezidder Lane was a favourite place with the Small Folks on which to hold their fairs. One might often see the rings in the grass which they made in dancing, where they footed it. Mr Trezillian was returning late one night from Penzance; when he came near the gate, he saw a number of little creatures spinning round and round. The sight made him light headed, but he could not resist the desire to be amongst them, so he got off his horse. In a moment they were all over him like a swarm of bees, and he felt as if they were sticking needles and pins into him. His horse ran off, and he didn’t know what to do, till, by good luck, he thought of what he had often heard, so he turned his glove inside out, threw it amongst the Small Folk, and ere the glove reached the ground they were all gone. Mr Trezillian had now to find his horse, and the Small Folk, still determining to lead him a dance, bewildered him. He was piskie-led, and he could not find out where he was until broad daylight. Then he Saw he was not a hundred yards from the place at which he had left his horse. On looking round the spot where he had seen the Small Folk dancing, he found a pair of very small silver knee-buckles of a most ancient shape, which, no doubt, some little gentleman must have lost when he was punishing the farmer. Those who knew the families will well remember the little silver buckles, which were kept for some time at Trezidder and some time at Raftra.

__________

(PV) Utada Hikaru – Sakura drops

___________

The Cornish Poet: John Harris

FALMOUTH FIRE 1862.

Midnight was on the mountains,

Midnight was on the town,

And sleep, the balmy seraph,

Came sweetly, gently down,

Sealing the lids of sorrow,

Hushing the storm of strife,

And calming down to quiet

The busy hum of life.

The stars were in their dwellings,

Watching the world below,

And on her path of silver

The white moon travell’d slow;

When forth the monster hurried,

With fury on his crest,

And fire upon his forehead,

And flames upon his breast.

With awful, savage grandeur,

The roof he rushes o’er,

Forcing his flaming fingers

Through window and through door.

The ships within the harbour,

The boats a-near the place,

Are shining in the anger

That flashes from his face.

With lurid look he rushes

Across the narrow street,

Thrusting his red arms upward,

Which in the centre meet,

And hiss with raging fury,

No waters scarce can tame,

Or art avail to lessen,

A canopy of flame.

The youth, the timid maiden,

And manhood in its prime,

Old age, o’errun with wrinkles,

And whiten’d much by time,

The mother with her baby

Beneath the shining star,-

All rush before the monster,

Whose eyelids flash afar.

Yet, in this dread tornado,

The breeze of mercy flows;

No human life was injured

In all this rush of woes.

God saved the stricken parent,

And child upon his knee:

No lot, however bitter,

But it might bitterer be.

We pass not by the matron,

Who, in the dreadful roar,

Rose up to leave her dwelling,

Perchance for evermore;

And from the shelf her Bible

She snatch’d with tearful eyes,

The best of all her treasures,

Her chiefest, richest prize.

God bless the noble-hearted,

For many a generous deed,

For bounty richly flowing,

In this the time of need!

In other climes are heroes,

Whose names illustrious stand;

But none are truly greater

Than in our native land.

‘The Fall of Slavery’ (1838)

Musing by a mossy fountain,

In the blossom month of May,

Saw I coming down a mountain

An old man whose locks were grey;

And the flowery valleys echoed,

As he sang his earnest lay.

“Prayer is heard, the chain is riven,

Shout it over land and sea;

Slavery from earth is driven,

And the manacled are free;

Brotherhood in all the nations;

What a glorious Jubilee!

“God has answered, fall before Him,

Laud His majesty and might;

On thy knees, O earth, adore Him:

Now the black is as the white;

Hallelujah! hallelujah!

Every bondsman free as light.

“Whip and scourge, and fetter broken,

Far away in darkness hurled;

This a grand and glorious token,

When millennium fills the world.

Hallelujah! O’er the nations

Freedom’s snowy flag unfurled.

“God has answered! Glory, glory!

O’er the green earth let it speed;

Sun and stars take up the story,

Nevermore a slave shall bleed;

Shout deliverance for the freeman,

Send him succour in his need.

Glory be to God the Giver.

Slavery now shall brand no more;

From the fountain to the river

Freedom breathes on every shore.

Hellelujah! Hallelujah!

Brotherhood the wide world o’er.”

THE CORNISH CHOUGH.

Where not a sound is heard

But the white waves, O bird,

And slippery rocks fling back the vanquish’d sea,

Thou soarest in thy pride,

Not heeding storm or tide;

In Freedom’s temple nothing is more free.

‘T is pleasant by this stone,

Sea-wash’d and weed-o’ergrown,

With Solitude and Silence at my side,

To list the solemn roar

Of ocean on the shore,

And up the beetling cliff to see thee glide.

Though harsh thy earnest cry.

On crag, or shooting high

Above the tumult of this dusty sphere,

Thou tellest of the steep

Where Peace and Quiet sleep,

And noisy man but rarely visits here.

For this I love thee, bird.

And feel my pulses stirr’d

To see thee grandly on the high air ride,

Or float along the land,

Or drop upon the sand,

Or perch within the gully’s frowning side.

Thou bringest the sweet thought

Of some straw-cover’d cot,

On the lone moor beside the bubbling well,

Where cluster wife and child,

And bees hum o’er the wild:

In this seclusion it were joy to dwell.

Will such a quiet bower

Be ever more my dower

In this rough region of perpetual strife?

I like a bird from home

Forward and backward roam;

But there is rest beneath the Tree of Life.

In this dark world of din,

Of selfishness and sin,

Help me, dear Saviour, on Thy love to rest;

That, having cross’d life’s sea,

My shatter’d bark may be

Moor’d safely in the haven of the blest.

The Muse at this sweet hour

Hies with me to my bower

Among the heather of my native hill;

The rude rock-hedges here

And mossy turf, how dear!

What gushing song! how fresh the moors and still!

No spot of earth like thee,

So full of heaven to me,

O hill of rock, piled to the passing cloud!

Good spirits in their flight

Upon thy crags alight,

And leave a glory where they brightly bow’d.

I well remember now,

In boy-days on thy brow,

When first my lyre among thy larks I found,

Stealing from mother’s side

Out on the common wide,

Strange Druid footfalls seem’d to echo round.

Dark Cornish chough, for thee

My shred of minstrelsy

I carol at this meditative hour,

Linking thee with my reed,

Grey moor and grassy mead,

Dear carn and cottage, heathy bank and bower.

(The Cornish Chough, Pyrrhocorax pyrrhocorax, is a medium-sized bird related to the crow with a red curved beak. It was once common in Cornwall and in fact is the Cornish national symbol. Sadly, however, the bird became extinct in Cornwall in the early 1970s, although it still lives in Wales and Scotland. The good news is that it seems to be making a return.

John Harris was born in 1820 in Bolenowe, a small village not far from Camborne, in Cornwall. His father was a miner at Dolcoath Tin Mine where young John also started at the age of 10. he began writing poetry as a child, usually in the open air where he was inspired by nature. After 20 years working in the mine, one of his poems was eventually published in a magazine. It attracted notice, and he was encouraged to produce a collection, which was published in 1853. Shortly after, he obtained a position as a Scripture Reader in Falmouth, where he stayed until his death in 1884.

(Robert Anning Bell – The Daisy Chain)

The Turf For Tuesday

Best Viewed In FireFox

(Eleanor Fortescue-Brickdale – Natural Magick)

Today’s Serving! Out to Clients…

Talk Later,

Gwyllm

On The Menu

The Links

Petes’ Picks:Berrogüetto en Colindres – Permafrost

Erik Davis: Synthetic Meditations – Cogito in the Matrix

Four Sufi Poets

Artist: Eleanor Fortescue-Brickdale

___________________

The Links:

Witch hunting continues in Rajasthan

The evolution of sex roles

Editorial: Eliminate all school holidays

The Witches of Lillhärdal

____________________

Petes’ Picks:

Berrogüetto en Colindres – Permafrost

____________________

Synthetic Meditations – Cogito in the Matrix

Erik Davis

This piece appears in the collection Prefiguring Cyberculture: An Intellectual History (MIT Press, 2003)

Find what Descartes wanted, what it was possible for him to want, what he coveted, if only half consciously.

— Paul Valery

The only thing real is waking and rubbing your eyes.

— The Fall

Introduction: Techno Cogito

Of all the lumbering giants of the Western philosophical tradition, none resembles a punching bag more than René Descartes. He gets it from all sides: cognitive scientists and phenomenologists, post-structuralists and deep ecologists, lefty science critics and New Age holists. The main beef, of course, is the stark divide that Descartes drew between mind and body, a dualism that, by its very claim of rationality, now appears even more obscene than the religious dualisms that stretch back to Zarathustra. Nearly across the board, contemporary thought calls us to defend and affirm the body that Descartes rendered a machine, a soulless automata under our spiritual thumb. It doesn’t really matter that the body so affirmed is itself multiple and even contradictory: the materialist object of biology, the phenomenological bed of Being, a feminist site of anti-patriarchal critique, the New Age animal immersed in Gaia’s enchanted web. Regardless of the framework, the song remains the same: we are bodyminds deeply embedded in the world. For many thinkers now, the sort of abstract, disengaged soul-pilot pictured by Descartes — the “I” immortalized in the famous cogito ergo sum — is not only bad thinking, but, ideologically speaking, bad news.

In many ways I share this urge to trace the networks that embed consciousness in phenomenal reality, and to insist on the extraordinary (though not exclusive) value of causal explanations rooted in the history of matter. But I am no absolutist. The fact that Descartes keeps popping up like a Jack-in-the-box suggests that a splinter of the cogito remains in our minds, some fragmentary intuition or insightful glimpse that we cannot accommodate and so wall off in order to reject. I am not interested in philosophically defending the cogito, or at least the metaphysical cogito we are familiar with: the rational and disengaged instrumentalist manipulating the empty machinery of matter. But I am interesting in probing for that splinter, which I suspect is lodged somewhere in the apparently yawning gap between self-conscious awareness and the phenomenal world — a gap that, despite some hearty attacks from nondualists East and West, continues to inform subjectivity.

One zone that magnifies this gap is technoculture. Cyberspace and its allies (AI, VR, robotics) are shot through, on socio-cultural, methodological and philosophical planes, with a profound if often unconscious Cartesianism. First and foremost, this Cartesianism is what one might call “technical:” the operating assumption that the mathematical recoding of reality is the golden road to the mastery of nature. But this assumption has powerful and various socio-cultural ramifications as well. As we’ll see, some archetypal technopop fantasies — downloaded minds, manipulative technological demiurges, the breakdown between VR and real life — derive in part from the Cartesian imagination.

One field of technoculture particularly marked by Cartesian assumptions is Artificial Intelligence. Classical AI conceives the mind as a disembodied symbolic processor manipulating representations and information in order to reason about and influence the world. Perception, sensation, and behavior are seen as inputs and outputs of an essentially logical machine, a machine whose essential activity is, to take an example fetishized by the AI community, expressed in chess. Though starkly reductive when compared to humanist or existential conceptions of consciousness, classical AI has the peculiar characteristic of reinforcing the familiar “Christian” priority of mind over matter. [1] The ultimate fantasized outcome of this line of thought, famously characterized in chilling detail by the Carnegie Mellon roboticist Hans Moravec, is the ability to upload the mind into silicon — effectively immortalizing the subject. After all, since there is nothing magical about the processes that coax the mind from our neural flesh, then nothing in theory should prevent a computer from simulating an individual brain to such a degree that the self originally booted up by the physical brain couldn’t re-emerge inside the simulacrum.

In light of the pivotal role that absolute doubt plays in Descartes’ Meditations — the doubt that calls into question the existence of the world presented by our senses — it is important to underscore how thoroughly the uploading scenario depends on erasing the material distinction between reality and copy. In essence, the argument goes, we already live inside a virtual reality; sights, sounds, textures and flavors are all ghosts in the brain, woven out of pre-configured cognitive patterns and the incoming signals we receive from senses that shape those signals on the fly. These signals do not carry the things themselves, but only information about those things. In this view, I am not tied to the world. “I” am a kind of foam that forms atop a swirling stew of memory, perception, and various recursive loops staged in the virtual operations of the brain. However, the flipside of this rather contingent if not degrading view of subjectivity is that the self that might one day find itself a computer would be, for all intents and purposes, me. The difference between the material brain and the simulated brain does not effect the ontological status of the mind that arises from the formal operations of both organic and synthetic neural networks.

Unfortunately, classical AI hasn’t been able to make much practical headway over the decades , and this failure has created room for rival theories and strategies to arise. In the 1980s, the MIT roboticist Rodney Brooks helped revolutionize his field with ideas that challenged the symbolic and Cartesian assumptions of AI. Instead of the classical approach to automata, which attempts to program them with complex centralized symbolic representations of the world around them, Brooks imagined robots who learned about their environment by exploring it according to simple behaviors distributed throughout the mechanism. The results of these simple interactions are then subsumed into higher global behaviors — a “bottom up” rather than “top down” approach. Tellingly, the inspiration for Brooks’ first robots were not chess-playing automata, but insects.

Even from Brooks’ own pragmatic perspective, his ideas were always more than mere design strategies. Turning away from the Cartesian premises of classical AI, Brooks held that cognition emerges from the history and memory of the organism’s interactions with the world around it, interactions which are thoroughly distributed throughout the body. In human beings, the increasingly complex behaviors emerging from lower-order processes ultimately lead to consciousness, but at no point does some distinct, underlying, and potentially self-sustaining formal symbolic language of representation pop up. To be conscious is to be engaged in a world that embeds and defines the subject.

One can overplay the conflict between symbolic and behaviorist AI — the “society of mind” model championed by Marvin Minksy, a towering figure in classical AI, shares a number of important characteristics with many of the more “bottom up” theories of human consciousness. But for most cultural theorists who have waded into the field, the distinction is key. For many critics, the rationalist Enlightenment ideals that undergird classical AI are just as ripe for attack as the rest of the Enlightenment project, whereas the behaviorist AI model can be seen to affirm pet concepts like contingency, relativity, and situated embodiment. In How We Became Posthuman, for example, N. Katherine Hayles has offered, in the name of a sophisticated account of embodiment, a historically rich critique of the rhetoric of disembodiment found in much AI and cybernetics. She shows how the apparent incorporeality of information — an incorporeality which is essential for the uploading model — is itself the product of ideological forces and institutional practices which serve to obscure the social and material bases that circulate and produce information. In this latest transform of historical materialism, then, the tension between Brooks and Minksy involved a distinctly moral dimension. As noted by Michael Mateas, a creator of a number of AI-based artworks, “[behaviorist AI] is associated with freedom and human rights and [classical AI] with oppression and subjugation.” [2]

Readers of cultural theory should be familiar with the various associations and lines of thought that would lead to the denigration of symbolic AI, as the science is so clearly open to critiques of patriarchy, logocentricity and the white privilege of disembodiment. It may also be the case that the Cartesian project will contribute little to the task of constructing mobile machine minds (the jury is still out). But the philosophical and even psychological underpinnings of Cartesianism are not so easily written off, let alone banished. As Slajov Zizek notes, academia continues to be haunted by the specter of the Cartesian cogito. In other words, we have by no means sealed up the mad void out of which the cogito first arose — a void which in some sense founds modernity. So whatever happens to the vast edifice of rationalist procedures derived from Cartesian science and mathematics, the splinter of Descartes’ true cross — the cogito — will continue to puncture the increasingly posthuman spaces of technoculture. In fact, I take Zizek at his cryptic word when he claims that Cartesian subjectivity is not only alive and kicking, but that only now, in the age of the Internet, are we truly arriving at it.

I. The Evil Genie

With his otherworldly skepticism, Descartes cracked open the ontologically consistent universe of the premodern mind. He split the “great chain of being,” and that split became the subject, a creature he came to identify as a rational and individual soul fundamentally divorced from the world of extension. How did Descartes, through his own philosophical unfolding, open up this revolutionary split? As he explains in the Meditations, he begins by undermining his conventional habits of thought and perception through the operation of hyperbolic doubt. Sitting robed at his fire, holding a piece of paper not so different than the one you’re now reading, Descartes subjects himself to a series of “what if?” scenarios, soberly swallowing the conceivable possibility that he might be insane, or dreaming, or that an evil genie, “exceedingly potent and deceitful,” might be conjuring up the illusions that he takes to be reality.

The next stage of the story is well-known: having plumbed the pit of doubt, Descartes realizes that even if reality is an elaborate deception engineered by an evil demon, there remains someone who is being deceived. To put it another way, even as Descartes strives to think everything false, “he” is still there, a something that thinks, and which therefore participates in existence. With this move, Descartes chiseled his keystone, reifying the subject who doubts into a metaphysical foundation. And though the cogito itself winds up resting on the even more fundamental foundation of God — a story which we will leave by the wayside — the subject remains the first move in Descartes’ pivotal game. “Observing that this truth ‘I am thinking, therefore I exist’ was so solid and secure that the most extravagant suppositions of the skeptics could not overthrow it, I judged that I need not scruple to accept it as the first principle of philosophy that I was seeking.” [3]

Despite the likelihood that few readers find the cogito mantra very solid and secure at this stage of the history of thought, I cannot resist taking a few pot shots. Turning within and recognizing that thinking is going on gives one no warrant to assume that an “I” exists whose predicate is thought. There is simply thinking. Admittedly, this move only shifts the problem, because there is still the “one” who recognizes that thinking is going on, the one who is tempted to assume the mantle of an “I who thinks.” But even if we grant that this “one” and “I” truly exist, we have not healed the gap. The one who is aware that thinking is going on does not become transparent to itself by positing an I that thinks, because there is no reason, except for habits of speech, to identify the I that thinks with the one who is aware. In other words, I am not (the) one. Or, if you prefer, one does not think. Rather, as Zizek characterizes the situation, it is the “Thing that thinks.” [4] To this a philosopher stung by the Buddhist bug might add that there is no compelling intuitive reason to move from “Thinking is going on” to “some thing is thinking.” Why reify the process in the first place? The whole shadow-play of substance and identity may be nothing more than conceptual imputation, a whirlpool of linguistic reflexivity arising in the foundationless stream of mental activity, boundless and unclear. The one who is aware may not be a one at all. There is simply the mind’s intrinsic mirror-like capacity to reflect phenomena that arise.

I mention these concerns because a great deal of Buddhist philosophy and practice is explicitly designed to undermine the precise act of introspective reification which founds the cogito — the act of hardening James’ “stream of consciousness” into a substantial self. But the invocation of Buddhism also lets us recognize an aspect of Descartes’ method that is generally overlooked. His first meditation, wherein he imagines the evil genie, is not simply a skeptical argument; it is also a procedure, an introspective experiment that erodes the cognitive ground that Descartes (thinks he) stands upon. In this sense, his meditation is a meditation, one not altogether unlike the more analytic meditations found in, say, the Gelugpa school of Tibetan Buddhism. Throughout their careers, Gelugpa monks will engage in contemplative practices which take the explicit form of dialectically interrogating the conceptual assumptions which structure their own consciousness. Winging it without a lama, Descartes found his own way of pulling the rug out from under his mundane convictions, a practice he clearly hopes the reader will indeed try at home. The recipe: seriously take on the possibility of the evil genie, and see what remains. Don’t slip back into your familiar habits. Risk the dark.

The distinction between the Meditations as the record of a conceptual experiment and the Meditations as a philosophical system is mirrored in the fact that Descartes is really talking about two cogitos. On the one hand, there is the epistemological void of doubt that conditions and expresses the first “I think.” On the other hand, there is the res cogitans that Descartes subsequently constructs: a substantial and rational locus of thought and will, a self-transparent representation in a series of representations ultimately and necessarily established by God. Derrida and Zizek have both drawn attention to the cleft between these two cogitos. Derrida makes a distinction between Descartes’ initial ahistorical passage through the madness of hyperbolic doubt, and the subsequent shelter the philosopher takes inside the historical structure of reasons and representations. [5] Zizek in turn brings up the Lacanian distinction between the subject of the enunciation and the subject that is enunciated. As we will see in more detail later, the former is an empty, logical variable devoid of the fantasies and representations that materialize personality, whereas the latter, in this case the res cogitans, is the conceptual “stuff” that fills in that void.

Descartes himself papered over this difference, believing that the “I think” ineluctably implied a rational person transparently aware of his own status as a thinking thing. In a sense, though, Descartes simply displaced the split between the two cogitos onto the grosser division between mind and body, a division that, in the Discourse anyway, is the first conclusion that follows the discovery of the solid and secure cogito: “From this [the cogito] I recognized that I was a substance whose whole essence or nature is to be conscious and whose being requires no place and depends on no material thing. Thus this self…is entirely distinct from the body…and even if the body were not there at all, the soul would be just what it is.” [6]

Today this line of thinking smells like religion. Descartes, of course, remained a believing Catholic throughout his life: there is no Cartesianism without God, because God guarantees the order of representations that vanquishes the evil genie. At the same time, we would be amiss to lay Descartes’ rhetoric of disembodiment at the feet of Christianity, for though Descartes was convinced that his account of the cogito supported Church doctrine, theologians in Descartes’ day were by no means settled on the issue of whether we would eventually get our bodies back in the afterlife. Cartesian disembodiment seems to arise at least as much from the “gnostic” tendencies inherent in the reification of rational interiority as from the structures of 17th century belief.

Nonetheless, the Christian life certainly carried with it a tradition of disciplinary detachment, if not outright loathing, of the body. This basic distrust of carnal reality can be largely chalked up to Augustine, who, perhaps under the lingering influence of the Manicheaen dualism he imbibed as a youth, reconceived the body as a perverse and untrustworthy product of Adam’s sin. In his eyes we are torn between the “two loves” of body and soul. For Augustine, the desires and dispositions of the flesh are no longer natural expressions of an ordered world but our own inner demons, idiotically and destructively repeating their endless fall away from God.

This is harsh stuff, bemoaned by everyone today from hedonic New Agers to critical historians of thought. But Augustine’s rejection of the body also went hand-in-hand with his revolutionary interiority, an intensification of inwardness that, as Charles Taylor explains in Sources of the Self, was transformed by Descartes into the cogito, the seed of modern subjectivity. Augustine did not look to God primarily as the ordering principle of the cosmos that surrounds us — a view you could characterize, risking a certain simplicity, as the Platonic legacy. Instead, Augustine turned away from the world and conceived of God as the basis for our own knowing activity. By shifting the location of what Taylor calls “moral sources,” Augustine thereby pried open a space of radical reflexivity within awareness. Suddenly our own experience of ourselves as subjects peels back from embodied experience, becoming the separate space of an internal order illuminated with an inner light. “Do not go outward; return within yourself. In the inward man dwells truth.” [7]

Descartes rationalized this spiritual withdrawal into the skeptical questioning that opens the Meditations. Descartes also transformed Augustine’s two loves into two substances, one of which he neatly renders void. In other words, once Descartes identifies the soul as an immaterial consciousness, he reduces the remaining material world, including the body, into a hollow coordinate space of extension utterly devoid of the occult forces that animated premodern matter. But he does so not simply to render the material world a fit object for mathematical analysis. As Taylor astutely argues, the striking withdrawal of spirit from the material world enables Descartes to maintain the adamantine form of the rational soul he had crystallized as the res cogitans. Compared to the Platonic soul, which realizes its eternal nature by becoming absorbed in the supersensible, “the Cartesian discovers and affirms his immaterial nature by objectifying the bodily.” [8]

This of course is what mechanism is all about. By reconceiving the world of bodies and nature under the sign of the machine, one also constructs a new picture of man as an instrumental agent of his own incorporeal will. But where to draw the line in the bodymind? For Descartes, the human being is basically an automata that moves according to the disposition of its limbs and organs — a doll with advanced plumbing. Given his lingering commitment to the soul, which he lodged in the ajna chakra (aka, the pineal gland), Descartes’ radical mechanism was not yet absolute — that would have to wait a century, until La Mettrei’s L’homme-Machine. Nonetheless, as John Cottingham notes, Descartes characterized many activities that we would consider “psychological” as blind functions of the animal machine. Memory, internal passions, the imprinting of sensation on the imagination — none of these demand the intervention of the soul. However, where mental attention is needed, Descartes posits a separate rational agent, a conscious spirit capable of diverting the flows of the body into various channels.

Descartes avoided a lot of grief by simply identifying agency with consciousness (which I will generally refer to as the phenomenal field of awareness, both concentrated and diffuse.) In the world of making dinner and paying cable bills, we also adopt this identification: we become aware of a need or desire, and seemingly choose to act and plan accordingly. But what happens when there is a split between awareness and agency, at least in theory? What happens when I take on board the consideration that I am not actually thinking and doing, but that “the Thing” is thinking and doing? In some sense, this split between awareness and agency defines the anxiety of post-Romantic, increasingly cybernetic subjectivity. The mechanistic philosophy that Descartes birthed is now thoroughly undermining — at least in scientific terms — the notion of a single incorporeal point of awareness, rationality, and control. Today, we are anxious because we do not and cannot know who or what is pulling the strings of the subject. Throughout elite and mass culture, we argue and wonder about where the pivot of control lies: with corporate cabals or strands of DNA, with brainwashing advertisers or karmic forces, with historical forces or the structure of language, with the unconscious or the market’s invisible hand. We wonder if our own sense of agency is actually blind causation in disguise, nothing more than a negative feedback loop in a cyborganic system of memes and genes. We wonder to what degree we are “programmed” — by media or social regimes, introjected concepts or neural pathways laid down in infancy. Or we project the anxiety into the technological field: Are machines becoming conscious, are they going to run the show, are they already running the show?

These doubts reach their most audacious limit in the techno-fantasies of paranoid schizophrenics, but they also lurk in cultural phenomena like conspiracy theory and X-Files fandom. They even exist to some degree in the popular discourse surrounding evolutionary psychology, which finds Cro-Magnon subroutines lurking beneath every sorrow and lust. The paradox is that these doubts place us back in front of Descartes’ fire, with a bathrobe on and a book in our hands, pulling the rug out from under the world. Today the void is not epistemological — we no longer care particularly about how it is we seem to know things. The void we face is the self — how or why (or even if) we perceive ourselves as conscious agents in the first place. This, I believe, is why it is only now that we arrive at the cogito.

If now is the time, then where is the place? According to the Lacanian from Ljubljana, the answer is cyberspace, the supreme techno-fantastic implementation of illusion and control. “Only in cyberspace do we approach what Cartesian subjectivity is all about,” Zizek claims, noting that virtual space is simply the materialization of the evil genie’s deceptive powers. We all wonder about reality now, how it is constructed, the claims of space and time. So it is hard to avoid occasionally slipping into giddy cyber-doubt: “What if everything is just digitally constructed, what if there is no reality to begin with?” [9] These are obvious questions, of course, the kind of thing that intrigues drug users or 14-year-olds. But the “naivete” of these questions is simply a sign of their universality, and it shouldn’t prevent one from taking them seriously. As adults, we learn to not ask “What is reality?” or “Who am I?” because we know there are no answers, and so either develop more complex questions or drop the whole line of inquiry. But these interrogations aren’t only questions; they are also devices. If you sit with them without trying to find an answer, they can eat away at certainty and resistance, taking you to the point of bafflement, disassociation, insight. And somewhere, a stage along this path, lies the pure cogito, the void of the subject that is “our” homeless home.

II. THE LABYRINTH

In Neuromancer, the Odyssey of cyberlit, William Gibson delineated the Cartesian fantasy of cyberspace with the precision of a nanotechnologist. With its “lines of light ranged in the non space of the mind,” Gibsonian cyberspace unfolds as an abstract, disembodied realm of geometry in motion, splayed across a three-dimensional coordinate system devoid of all secondary qualities but color.[10] In essence, the fantasy-reality of cyberspace, of virtual reality, is an analog of Descartes’s view of matter: a zone of spatial extension under the rule of causality and essentially identical “to what the geometers call quantity.” [11] Even today’s budding 3D Internet and game consoles achieve, or at least suggest, Descartes’ abstract virtualization of the material world into infinite mechanized extension.

Gibson also hit the Cartesian nail on the head when he characterized his hero Case’s banishment from cyberspace as a fall into “the prison of his flesh.” The dualistic deferral of the body encouraged by virtual technologies is so often lamented today that neither it nor its supposed Cartesian origins need repeating. Obviously, virtual technologies encourage a distinct shift of identification away from our phenomenal embeddedness in the material world where we eat, defecate, and die. In How We Became Posthuman, Hayles characterizes this shift in epochal terms: a movement away from the embodied dialectic of presence and absence, and towards an informational dialectic of pattern and randomness. Given this it’s not surprising that the embrace of pattern has enabled some computer scientists to reconstellate dualism in the name of mechanistic monism — a paradox that, I would argue, has always been implicit in the Cartesian foundations of the modern engineer.

Cyberspace is Cartesian in an epistemological sense as well, because the growth of the Internet as a medium of knowledge raises deeply Cartesian questions about the status of the external world — say, for example, the snoozing hippos or bubbling coffee pots we see through supposedly “live” webcams. In his article “Telepistemology: Descartes’ Last Stand,” Hubert Dreyfus argues that Descartes’ original skeptical turn was itself partly inspired by the appearance of new perceptual media. The telescope and microscope both extended perception while simultaneously opening up doubts about the reliability of those perceptions. At the same time, sense organs were also increasingly imagined as transducers bringing information to the brain — senses that, as in Descartes’ example of the phantom limb, could not always be trusted. Similarly, today’s new media, as well as the new models of the nervous system they breed, have re-invoked the evil genie. “New tele-technologies such as cellular phones, teleconferencing, telecommuting, home shopping, telerobotics, and Internet web cameras are resurrecting Descartes’ epistemological doubts.” [12]

Dreyfus notes ironically that most professional philosophers are no longer very interested in these epistemological questions. The problem is that the sophomores who slouch into today’s philosophy classes (or ignore them altogether) increasingly live in a world defined by virtual technologies, cyborg entertainments, and the popular fictions — sonic as well as narrative — that construct those emerging technocultural spaces and the shifting subjectivities they imply. These kids are already down with the evil genie. At the very least, they’ve seen The Matrix, the phenomenally successful 1999 Wachowski brothers film that imagined a vast simulation lorded over by evil computers and populated by hundreds of thousands of duped human beings.

The claim that so-called “consensus reality” is an elaborate construct that enslaves perception and occludes our “true” condition is hardly original. A staple of science fiction, where it was deployed with greatest sublimity by Philip K. Dick, the “false reality” set-up has become an increasingly common theme in Hollywood, from The Truman Show to Dark City. But I would also like to suggest that the “False Reality” set-up attempts to narrate a fundamental split in consciousness between consensus reality — or in Lacanian terms, the Symbolic — and the capacity of the human mind to disengage from the immediate claims of that reality. Skepticism can open up such doubts of course, but so will the ancient, non-philosophical evidence of dreams, drugs, or altered states of consciousness. This is why we find false realities popping up everywhere, from Indian dream fables to Gnostic myths of cosmic prisons to Zhuangzi’s famous question: “How do I know I am a man dreaming he was a butterfly, and not a butterfly dreaming he is a man?” The fundamental accessibility of the False Reality scenario also accounts for its cheesy, adolescent character, a comic-book quality that makes sophisticated intellects cringe. And yet, if Descartes’s meditations did indeed help spawn the modern subject, then that subject — who is, in some sense, “us” — emerges from the shadow of such pulp musings.

Besides being a rite of passage for any budding cogito, the “false reality” question becomes especially unavoidable in the age of virtual technologies. These technologies constantly narrate their own totalizing dreams of “building worlds” and “providing experience,” and produce — consciously or not — the corresponding “gnostic” desire to escape the prison of manufactured dreams. I’d like to think both these factors help explain the immense popularity of The Matrix, especially among younger viewers. Alongside the video-game fight scenes and the nifty FX, The Matrix presented a narrative that articulated the seductive disassociation one feels as a subject of the popular digital spectacle, as well as the yearning for the cracks in the symbolic surface that offer the possibility of escape — an ultimately spiritual transcendence that, in one of the film’s more interesting twists, is actually embodiment.

So we too are in that decrepit hotel room with Lawrence Fishburn’s Morpheus, who is really speaking to us when he addresses Neo, the ever-wooden Keanu Reeves:

You know something. What you know you can’t explain, but you feel it. You’ve felt it your whole life, felt that something is wrong with the world. You don’t know what, but it’s there like a splinter in your mind, driving you mad.

Establishing the itch — which I suppose most of us share, however we interpret it — Morpheus offers to scratch. He will give Neo “nothing more” than knowledge of the truth (ie, no solution to the problems posed by the truth). Moreover, this knowledge comes wrapped in the package of immediate experience. “No one can be told what the Matrix is,” says Morpheus. “You have to see it for yourself.” This lends it an explicitly gnostic character — not only did the Gnostics of antiquity believe that we were immortal sparks slumbering in an illusory cosmos manufactured by an evil or ignorant demiurge, but they also held that escape occurs through knowledge of our condition, a knowledge that is necessarily non-ordinary and experiential.

So like the serpent in the Garden of Eden, which the Nag Hammadi codex “The Secret Book of John” claims was a liberating Christ in disguise, Morpheus offers Neo a pill. Neo, of course, swallows the molecular package, which is really the most heroic act in the film. For Neo must then face his own Cartesian “passage through madness,” melting into a mirror that alludes not only to Lewis Carroll but to the mystic-psychotic collapse and disappearance of the externalized ego that stabilizes our inner void. As Neo phases out of the Matrix, he opens up, however briefly, the fractured bardo that is the secret thrill of every fan of the “false reality” genre: the moment when baseline reality dissolves but no new world has yet emerged in its pixelating wake. This is the most radical moment of the cogito, but it’s tough to sustain. In The Matrix , the flux quickly crystallizes into what Morpheus, sampling Baudrillard, calls the “desert of the real”: a ruined planet dominated by evil AIs who keep humanity mentally imprisoned inside the computer-generated Matrix. At this point, The Matrix stages an orthodox reversal of gnosticism’s dualistic undermining of the world. Just as Irenaeus affirmed the reality of Christ’s material body against the docetist claim that God merely simulated human flesh, so do Morpheus and crew affirm the reality of the suffering material body against the mundane dream of the Matrix. Moreover, they do so in the name of the One who will come, a One that organizes the reality of their struggle the way that God provides the ultimate foundation for Descartes’ metaphysical vertigo. [13]

The body is an understandable object of nostalgia in virtual fiction, though rarely in a pop film is the real we are rooting for so grimly depicted. At the same time, The Matrix subtly undermines the apparently “solid and secure” foundation of the flesh. Consider two intercut scenes focused on food. While the crew of Morpheus’ ship, the Nebuchadnezzar, eat yucky nutritious slop (“everything the body needs”) in a parody of communion, the Judas-like Cypher dines on steak inside the Matrix. Cypher agrees to betray Morpheus in exchange for blissful ignorance: to wake up rich and happy in the Matrix, with all memories of the desert of the real removed. Meanwhile, back on the ship, the young Mouse brags about having designed a sexy virtual character that Neo had earlier encountered in a training simulation. Mouse offers to arrange a sexual (pornographic?) encounter with the woman for Neo; when the other crew members give him grief, Mouse calls them hypocrites: “To deny our own impulses is to deny the very thing that makes us human.” Here Mouse recognizes one paradox of desire — that the body’s carnal impulses are fused with “virtual” fantasy — but he mis-states the case: what makes us human is the gap between impulses and the alienated awareness that both the object of those impulses and the body that wants them is in some sense virtual.

The Matrix also undercuts any simple valorization of carnality in its portrayal of the “virtual bodies” which play such an important role in the guerrilla war Morpheus wages within the Matrix, where he struggles against the all-powerful evil agents (sentient programs disguised as human beings). In this struggle, the knowledge that the Matrix is unreal is not sufficient to bend its rules; the freedom fighters must train their false Matrix bodies in order to leap through the air, bend spoons, and, ultimately, slow time. In other words, “the body” becomes a virtual field of affect and extension that resists what they already know, a resistance that gives way not through further knowledge but though practice. Here the film is even more “Eastern” than the debt its fight scenes owe to Hong Kong cinema and Japanese video games would suggest. As in yoga, T’ai chi, and other martial arts, the mind awakens through the disciplined and devotional unfolding of the capacities and energies of the body. Of course, the bodies trained for the Matrix are composed of code, no more fleshy than the brutes and ninjas in Mortal Kombat. But that misses the point: the “magical” body — a body immortalized in Chinese and Japanese popular cinema, as well as the half-Hollywood hit Crouching Tiger, Hidden Dragon — arises through a practice that constructs a liminal phenomenological vehicle between body and mind, a vehicle which is simultaneously virtual and carnal. [14] Similarly, though the “bodies” that players of first-person computer games like Quake and Doom control are not actual, they are certainly phenomenological. [15]

Manex, the company behind The Matrix’s excellent special FX, placed a strong emphasis on the phenomenological or subjective dimension of such virtual bodies. In popular film, most digital FX depict the “objective” world of extension — either new macroscopic worlds (The Phantom Menace), natural or supernatural phenomenon (Twister, Spawn), or microscopic scales of perception (Heavenly Creatures). These images present a publicly accessible “real” space. But verisimilitude, fantasized or otherwise, ultimately limits FX, which have nothing intrinsically to do with representation or reality and everything to do with mobilizing new phenomenological openings and synesthetic becomings. FX are not really about what we see; in fact, they are not “about” anything at all. They reconfigure how we see, and how that subjective seeing mutates into often ambiguous and explosive feelings and relations. That’s what makes them so hard to talk about — “pure” effects are much more like roller-coasters or the space-time distortions of drugs then they are like signs or icons. [16]

What makes the The Matrix such a great FX movie is that the film maps its “false reality” theme onto the objective/subjective divide that underpins the visual rhetoric of Hollywood FX. The Matrix as such characterizes the imprisonment of FX by verisimilitude — FX as illusion, as secular Fairyland, as the seamless artificial product of what Disney calls “imagineering.” But when Neo reaches the peaks of his power, FX become an expression of his own subjective mastery of speeds and slownesses. The most notable FX device here is the bullet-time photography featured, most memorably, in the scene where the leather-clad Neo confronts an agent on the roof of a building and manages to slow down time enough to lean away from the agent’s oncoming bullets. Using an array of multiple still cameras whose images are subsequently treated like animation cells, the technique creates the effect of a single camera sweeping in a long arc around a static or very brief slice in time. Time appears to slow, and yet the movement of the (virtual) camera keeps things up to speed. So Trinity, who watches Neo dodge the gunfire, comments on how fast he moved, as fast as an agent. But for the viewer, as, significantly, for Neo, the action moves like molasses.

The affirmation of slowness is remarkable enough, especially given the usual strategy of overwhelming the audience at a peak moment with quick cuts and superfast images. Slowness is the phenomenological effect that Neo must master in order to detach himself from the logic of the Matrix while remaining inside its narrative framework — a slowness that is manifested in both mind (this is Keanu Reeves after all) and body. In the final action sequence, Neo is apparently killed by an agent inside the Matrix. Then a kiss from Trinity, monitoring Neo on the Nebuchadnezzar, revives the hero in the material world. With this carnal affirmation, Neo returns to the Matrix, where he stops a barrage of bullets in mid-air, slowing down time to the point of stasis. It is only then, when he fully inhabits the gap he has opened in virtual time, that he “sees into” the Matrix. The hallway before him melts into rushing streams of green computer code — the “Real” beneath the Matrix’s symbolic fantasy. When the head agent subsequently engages him in hand-to-hand combat, Neo’s movements are cool, slow, meditative, almost bored. He has seen through the fantasy in the midst of the fantasy, a seeing which is the equivalent of dying. He becomes the One.

But this gnostic-Christian resolution is not for us, or most of us anyway, for we have no access to such singular foundations, Cartesian or otherwise. For us there is no One, no deus ex machina who can found the order of true representations that describe the mechanisms driving the production of the phenomenal world (including its proliferating pockets of digital simulation). The digital figures that Neo glimpses, after all, are representations of electrons flip-flopping through material circuitry, and at that point, neither the pattern of bits nor the electro-dynamic substrate can claim ontological priority. The moment of subjective transformation that interests us is much earlier, before Neo even hears that Morpheus thinks he’s the One. It is the moment when Neo swallows a pill in a seedy room, and becomes, for a spell, no-one at all.

III. A Crack in the Sky

In the great eighth chapter of the Confessions, Augustine describes his endless difficulties cleaving to God, at one point comparing his situation to a sleeping man. Though he knows that Jesus Christ is for him, the call of the world and the lusts of the body weigh on him like slumber, and he feels like a fellow who, though he knows that it is time to get out of bed, keeps hitting the snooze button. “Just a little bit longer,” he keeps telling God, “let me sleep a little more.” Though he partly blames the body, Augustine identifies sleep less with carnal lust than with “the force of habit, by which the mind is swept along and held fast even against its own will.” [17]

Besides underscoring how fundamental the natural analogy of awakening is to both religious and philosophical discourse, this passage provides an angle on the somewhat peculiar paragraph that closes Descartes’ first meditation. Earlier, Descartes had convinced himself that only by embracing hyperbolic doubt — hypostasized as the evil genie — could he undermine the habitual force of his “old and customary opinions.” As he closes the meditation, however, Descartes admits how difficult it is to keep these habits at bay, acknowledging that “a certain indolence” continually creeps in, drawing him back to his ordinary perceptions of life. Taking Augustine’s analogy a step further, Descartes compares his state to a prisoner dreaming of his liberty, a captive who, when sensing that the moment of awakening is at hand, “conspires with the agreeable illusions that the deception may be prolonged.” [18] Descartes then admits a fear that does not trouble Augustine: that even if he does awaken, he will not be able to see his way out of the darkness unleashed by the genie.

Here we taste something of the frightening vertigo opened up on the way to the cogito. Despite the rational and theological foundations that soon come, Descartes’ initial movement has nothing intrinsically to do with philosophical concepts — the evil genie as a “possible world” — and everything to do with the phenomenological process of emptying oneself by turning that self inside-out through doubt. Descartes decoupled his internal awareness as much as possible from the contents of consciousness, effectively declaring “I am not in this dressing gown, not before this fire, not holding a piece of paper.” Like a shaman offering his body to the ferocious spirits of the underworld, Descartes submitted himself to the genie, who tore away the certainties that stabilize the ordinary non-skeptical self in its sleep of habit. But Descartes did not even have the ontological stability of the shaman’s premodern cosmos to rely on, for the void that he opened up was precisely the void that separates the modern mind from the great chain of being.

For Descartes, this was a passage through madness, a madness that subsequently founds the modern sense of disjunction from tradition and the enchanted world. The paradox is that even the acknowledgment of such madness affirms the certainty that, for Descartes, grounds the cogito. As Derrida explains, “the Cogito escapes madness only because at its own moment, under its own authority, it is valid even if I am mad, even if my thoughts are completely mad.” [19] In other words, the cogito stabilizes itself in the gap that opens up between the madness of thought and the I whose thoughts are mad. One might even say that the cogito is on the far side of madness, a cool and impersonal witness, utterly untethered from the objects that arise in thought and perception. “This is why it is not human,” says Derrida, “but rather metaphysical and demonic.” Descartes then draws back from this “zero point” into factual historical structures of thought, and it is these structures — at least the metaphysical ones — that are now almost ritualistically vilified. The Descartes we love to hate knows where he stands. But as Derrida states, “Nothing is less reassuring than the Cogito at its proper and inaugural moment.”[20]

Even the conceptual condensation of the cogito that follows Descartes’ passage through madness is none too comfy. In mapping his dualistic divide between mind and body, Descartes separates the pure modes of consciousness that characterize the incorporeal res cogitans, such as intellection and volition, from those mixed modes that also depend upon the body, such as imagination and sensation. As John Cottingham notes, this division leads to a rather creepy state of affairs: after death, “the soul will be devoid of all particularity,” condemned to an eternity of chewing over abstract and general ideas. [21] Later Christian Cartesians had to jump through hoops explaining how any sort of personality could survive this distillation — indeed, how such impersonal souls could even be distinguished from one another at all. In other words, the cogito is essentially inhuman, at least in the sense that it does not participate in the order of habits, memories, images, and symbolic identifications that structure embodied personality and the perceptual stream of ordinary life.

The first time that Neo returns to the Matrix after joining Morpheus’ crew, he passes one of his favorite restaurants. “They have really good noodles,” he recalls, his words trailing off as he realizes that the dispositions and memories that structured his personality are, at least from the perspective of his new reality, utterly false. Realizing that he can no longer sustain, or desire, his normal round of identifications, he asks Trinity what it all means. “That the matrix cannot tell you who you are,” she responds. If you hit the pause button right there, before the film fills in this space of not-knowing with Neo’s emerging identity as a Christ hero, then you are at the empty heart of the subject.

This picture of the cogito differs significantly from the now-classic postmodern portrait of the “decentered subject”. That vision essentially claims that the crusty old idea of the individual — the self-aware “Cartesian” locus of will and understanding — has been decentered in the light of its fundamental multiplicity and the myriad elements that make up the construction of identity — floating signifiers, ideological forces, historically constituted forms. But as Zizek explains, what really decenters the subject is the fact that the subject that enunciates is not the subject of the enunciation. The subject that enunciates is a logical void, a kind of empty place holder — $ in Lacanese — for the material that, loosely speaking, congeals into the personality, ie, the subject of the enunciation. This material is largely determined by the already established network of the Symbolic (aka, the Matrix). The fact that the symbolic identifications that attempt to found the subject of the enunciation are themselves constructed and drifting without foundation is almost beside the point; what is decentered is the point of speaking (or knowing) itself; ie, the cogito.

In this account, the cogito does not arise from the Symbolic. Instead, it emerges “at the very moment when the individual loses its support in the network of tradition; it coincides with the void that remains after the framework of symbolic memory is suspended.” [22] Zizek’s most forcefully futuristic account of this void appears in his discussion of the paradox posed by Blade Runner: the subject who knows she is a replicant. “Where is the cogito, the place of my self-consciousness, when everything that I actually am is an artifact — not only my body, my eyes, but even my most intimate memories and fantasies?” [23] Here Zizek takes one of Descartes’ more paranoid musings to its logical conclusion. In the second Meditation, Descartes asks himself, observing a street below, “What do I see from the window beyond hats and cloaks that might cover artificial machines, whose motions might be determined by springs?” [24] This is not simply a mercilessly skeptical spin on the perennial problem of “other minds;” it is also, mutatis mutandis, an inquiry into the (replicant) self within. How deep does your automata go? Zizek’s paradoxical and beautiful conclusion is that Blade Runner’s replicants become, in recognizing their own artificial nature, “pure subjects.” As far as the subject of the enunciation goes, they know they are replicants, not human beings, which is why Rachel weeps when Deckard (Descartes?) tells her the truth. But it is precisely at that moment, when her confusion over whether she is human or not melts into nostalgia for a lost humanity, that Rachel is most like us — that is, most human.

Zizek concludes that “I am a replicant” is the statement of the subject at its purest. But we might just as easily say “I am an avatar,” or simply “I am online.” For as The Matrix suggests, cyberspace — the technologized space of virtuality, which is simultaneously an actual informational matrix and that various narratives that shape and underpin that matrix — increasingly constitutes the Symbolic as such, and thus begins to infect and dominate the material of subjectivity. As Zizek explains, cyberspace externalizes us, translating the contents of subjectivity into an objective space of technical operations. So on the one hand we have the endless play of virtual identity, in which we lend “reality” to stray fragments of the psyche by externalizing them into a field of technologically sustained symbolic intersubjectivity. On the other hand, we enter a paranoid dystopia, where our every move is tracked, controlled, and manipulated by an increasingly intelligent virtual environment. In either case, there is a deprivation of sorts, although this deprivation comes with a twist. “What you are deprived of are only your positive properties, your personality in the sense of your personal features, your psychological properties. But only when you are deprived of all your positive content, can one truly see what remains, namely the Cartesian subject.” [25]

The ferocity of this deprivation will only increase as e-commerce intensifies its marketing technologies. The dream of e-commerce could be dubbed “molecular marketing:” the thoroughly targeted individual whose unique desires and dispositions have been data-mined, tracked, extrapolated, commodified, and, most importantly, fed back to the target in a personalized, even obscenely intimate form. In this process, the statistical generalities that govern demographics are brought down to the scale of the individual without losing their abstract and utterly impersonal instrumentality. The new goal is to anticipate and nudge the precise and singular unfolding of subjectivity in its encounter with information and commodities. Perhaps in the future, our own shifting moods, interests, and needs will be so sensitively monitored that, just as we are able to glean useful sociological data from the fantasies generated by the demographic “science” of marketing, we will be able to read our own state of mind by the variations in the incoming streams of newsfeeds, ads, and animated spiels. Say that we mention our anxiety about a forthcoming corporate review in a post to an apparently open but corporate-sponsored elist on modern business practices. The next morning we may find a pop-up adbot offering the latest anti-anxiety neuro-cocktails, specifically designed to generate the proper degree of subservient enthusiasm. One day we may reach the point when our needs and desires are fully externalized as semi-autonomous avatars, so that we hardly need to intervene in order to “satisfy” the identifications that structure the subject of the enunciation.

Similar problems arise with the great dream of virtual reality, which, in its fantasized image at least, at once fulfills the contents of consciousness and subtly alienates the subject from those contents. In the standard account, VR and other designer realities create a plastic playground of the self, allowing us to explore and experience the hidden “real me” lurking beneath that mask of socially constrained subject positions and the ever-present resistance of the Real. But even if we accept this naive account of the self, the very engine of virtual production undermines the “fullness” of the simulated experience. McLuhan described the evolution of technologies as a progressive amputation of human capabilities; with virtual reality, or the similar plasticity of material reality achieved through nanotechnology, we amputate the drives and desires that structure the subject by fully externalizing them and feeding them back to the subject. It’s the problem of the hedonist: the self that manipulates and refines techniques of pleasure is not the same self that luxuriates in those experiences, and this anxious gap yawns ever wider the more rounds we make on the technical pleasure circuit. (The appeal of S&M partly derives from apparently splitting these two functions between two individuals).

So as designer realities radically fulfill the contents of fantasy, the existential remainder Ð that modern spark which voids or demythologizes all fantasy — becomes ever more refined and impossible to avoid. Then it will be even more obvious that we are not our avatars — that the Matrix cannot tell us who we are. We still won’t know who we are, of course, because that quest for equivelence itself is a mode of the symbolic, a way to “resolve” the ambivalent emptiness of the pure subject by injecting it back into the round of identifications. But we will know that, like the sages in the Upanishads or Descartes before the genie’s fire, we are Neti, neti — not that, not that. We are not just contingent historical agents embedded in a finite horizon of meaning, but nor are we the solid and secure foundation of the res cogitans. And though we emerge from the process of embodiment, we are not “the body,” if by the body we mean a fixed chunk of space-time or a founding representation or a neurobiological object of science. In this sense, the supposed plenitude of the oncoming world of designer reality disguises a great renunciation-machine: an engine of the pure subject.

Though I have no room to explore my argument here, I believe the kind of via negativa suggested here describes the “native” spirituality of the post-Romantic modern subject. In his 1928 essay, “Freedom Without Hope,” René Daumal — Gurdjieffean pataphysician, Sanskrit scholar, and author of Mount Analogue, one of the 20th century’s few masterworks of spiritual literature — described this rather astringent path in terms reminiscent at once of surrealist manifestos and the Traditionalist rants of René Guénon:

The essence of renunciation is to accept everything while denying everything. Nothing that has a form is me; but the determining factors of my individuality are thrown back on the world….The soul refuses to model itself on the image of the body, of desires, of reason; actions become natural phenomena; and man acts the way lightning strikes. In whatever form I find myself, I must say: that is not me. By this negation, I throw all form back to created Nature [or cyberspace], and make it appear as object. I want to leave whatever tends to limit me — body, temperament, desires, beliefs, memories — to the sprawling world, and at the same time to the past, for this act of negation creates both consciousness and the present; it is a single and eternal act of the instant. Consciousness is perpetual suicide. [26]

Authentic consciousness, for Daumal, is simply the pure subject constantly re-awakening to itself. And in an utterly un-Cartesian move, this vast impersonal awareness is reached only through the negation of individual autonomy. Freedom — for this is what Daumal is talking about — has nothing to do with the Cartesian image of an operator lodged in the theater of the mind. That supposedly free agent is just an avatar roving around, slurping noodles, getting and spending, running on auto-pilot.

Zizek seems to waver on whether this pure subject is accessible to us through the ascesis of dis-identification, or whether it remains the subject of the unconscious alone, available only in theory or the cracks of language. In his essay on Daniel Dennett, he asks “What if the ultimate paradox of consciousness is that consciousness–the very organ of ‘awareness’– can only occur insofar as it is unaware of its own conditions?” [27] But this implies that the site of consciousness is fixed. In other words, even if the paradox Zizek describes holds, the site of consciousness could nonetheless shift as more and more of its structuring conditions are brought into the circuit of consciousness. This is one way of characterizing the sort of psychological self-observation and self-programming whose various permutations infest the cybernetic world of self-help. Here the claim is that certain conditions that structure consciousnes can be known, recognized, and managed. At the same time, this process shifts the seat of consciousness into another frame, maintained by another set of unknown structures.

The pure subject is a void, a not-knowing, a suicide. But this void moves, an empty roaring stream we enter without resolution or understanding. For just as we cannot know what a body can do, neither can we know what consciousness can do — especially when it is becoming-empty, which if the Nyingmapas are right is equivalent with becoming-radiant. So I’ll leave you with the challenge the Sixth Ch’an Patriarch threw at his students: Show me your original face. What original face? The face you had before your parents were born. That is, before you tried to find yourself in the symbolic matrix of identification and signification, a “before” that does not lie in some foundational past but in the bottomless pit of the passing present.

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Foot notes removed/ Sorry about that!

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Four Sufi Poets

The chamber of your heart

Go sweep out the chamber of your heart.

Make it ready to be the dwelling place of the Beloved.

When you depart out,

He will enter it.

In you,

void of yourself,

will He display His beauties.

The tavern-haunter wanders alone in a desolate place,

seeing the whole world as a mirage.

The tavern-haunter is a seeker of Unity,

a soul freed from the shackles of himself.

Through the chamber of the heart is small,

it’s large enough for the Lord of both worlds

to gladly make His home there.

-Mahmud Shabistari

Love Came

Love came

flowed like blood

beneath skin, through veins

emptied me of my self

filled me

with the Beloved

till every limb

every organ was seized

and occupied

till only

my name remains.

the rest is It.

– Abu Said Abil Kheir

I am the One Whom I Love

I am the One whom I love, and the One whom I love is myself.

We are two souls incarnated in one body;

if you see me, you see Him,

if you see Him, you see us.

– Al Hallaj

My Eyes Pour Out Tears

He left me, and himself he departed;

What fault was there in me ?

Neither at night nor in the day do I sleep in peace;

My eyes pour out tears !

Sharper than swords and spears are the arrows of love !

There is no one as cruel as love ;

This malady no physician can cure.

There is no peace, not for a moment,

So intense is the pain of separation !

O Bullah, if the Lord were to shower

His grace, My days would radically change !

He left me, and himself he departed.

What fault was there in me ?

-Bulleh Shah

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(Eleanor Fortescue-Brickdale – In the Spring Time)

Psychedelic Heroines…

“An artist is somebody who enters into competition with God.” – Patti Smith

I would like to dedicate this edition to all the wonderful Women in the Entheogen Movement….

Here is to our brave sisters who have harrowed both heaven and hell, survived 2000 years or persecution, and still carry on.

Here is to those that went before, and those who are with us now: Laura Huxley, Ro Woodruff Leary, Ann Shulgin, Sacha Delia , Diane Darling, Kat Harrison, Maria of Oaxaca, and all the other Women who have been in the forefront for all these years and have held onto the High Ideal…

This Entry is for you….

Bright Blessings,

Gwyllm

On The Menu

The Links

Danielle Dax: Tomorrow Never Knows

Scottish Legends and Traditions: The Pechs

Danielle Dax – Cathouse

Poetry: Patti Smith

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The Links:

Research Links ‘Ecstasy’ to Survival of Key Movement-Related Cells in Brain –

Celebrity haunt in drugs raid

Designer Drug Studies In Japan

New York City Is Hell for Pot Smokers

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Danielle was flying the Psychedelic Flag when nobody else was stepping up to the plate. Her music had a wonderful footing in Surrealism. She now makes her living as a gardener in London….

Danielle Dax – Tomorrow Never Knows…

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Scottish Legends and Traditions: The Pechs

“Long ago there were people in this country called the Pechs; short wee men they were, wi’ red hair, and long arms, and feet sae braid, that when it rained they could turn them up owre their heads, and then they served for umbrellas. The Pechs were great builders; they built a’ the auld castles in the kintry; and do ye ken the way they built them?—I’ll tell ye. They stood all in a row from the quarry to the place where they were building, and ilk ane handed forward the stanes to his neebor, till the hale was biggit. The Pechs were also a great people for ale, which they brewed frae heather; sae, ye ken, it bood (was bound) to be an extraornar cheap kind of drink; for heather, I’se warrant, was as plenty then as it’s now. This art o’ theirs was muckle sought after by the other folk that lived in the kintry; but they never would let out the secret, but handed it down frae father to son among themselves, wi’ strict injunctions frae ane to another never to let onybody ken about it.

“At last the Pechs had great wars, and mony o’ them were killed, and indeed they soon came to be a mere handfu’ o’ people, and were like to perish aft’ the face o’ the earth. Still they held fast by their secret of the heather yill, determined that their enemies should never wring it frae them. Weel, it came at last to a great battle between them and the Scots, in which they clean lost the day, and were killed a’ to tway, a father and a son. And sae the king o’ the Scots had these men brought before him, that he might try to frighten them into telling him the secret. He plainly told them that, if they would not disclose it peaceably, he must torture them till they should confess, and therefore it would be better for them to yield in time. ‘Weel,’ says the auld man to the king, ‘I see it is of no use to resist. But there is ae condition ye maun agree to before ye learn the secret.’ ‘And what is that?’ said the king. ‘Will ye promise to fulfil it, if it be na anything against your ain interests?’ said the man. ‘Yes,’ said the king, ‘I will and do promise so.’ Then said the Pech ‘You must know that I wish for my son’s death, though I dinna like to take his life myself.

My son ye maun kill,

Before I will you tell

How we brew the yill

Frae the heather bell!’

The king was dootless greatly astonished at sic a request; but, as he had promised, he caused the lad to be immediately put to death. When the auld man saw his son was dead, he started up wi’ a great stend,’ and cried, ‘Now, do wi’ me as you like. My son ye might have forced, for he was but a weak youth; but me you never can force.

And though you may me kill,

I will not you tell

How we brew the yill

Frae the heather bell!’

“The king was now mair astonished than before, but it was at his being sae far outwitted by a mere wild man. Hooever, he saw it was needless to kill the Pech, and that his greatest punishment might now be his being allowed to live. So he was taken away as a prisoner, and he lived for mony a year after that, till he became a very, very auld man, baith bedrid and blind. Maist folk had forgotten there was sic a man in life; but ae night, some young men being in the house where he was, and making great boasts about their feats o’ strength, he leaned owre the bed and said he would like to feel ane o’ their wrists, that he might compare it wi’ the arms of men wha had lived in former times. And they, for sport, held out a thick gaud o’ em’ to him to feel. He just snappit it in tway wi’ his fingers as ye wad do a pipe stapple. ‘It’s a bit gey gristle,’ he said; ‘but naething to the shackle-banes o’ my days.’ That was the last o’ the Pechs.”

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One more from Danielle. Wonderful Stuff!

Danielle Dax – Cathouse

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Poetry: Patti Smith

“I don’t consider writing a quiet, closet act.

I consider it a real physical act.

When I’m home writing on the typewriter, I go crazy.

I move like a monkey.

I’ve wet myself, I’ve come in my pants writing.”

–Patti Smith

Poem for Jim Morrison & Bumblebee

Dream of life

Na na na na na

Na na na na na

I’m with you always

You’re ever on my mind

In a light to last a whole life through

Each way I turn

the sense of you surrounds

in every step I take

In all I do

Your thoughts your schemes

captivate my dreams

Everlasting, ever new

Sea returns to sea

And sky to sky

In a life of dream am I

When I’m with you

Deep in my heart

How the presence of you shines

In a light to last a whole life through

I recall the wonder of it all

Each dream of life I’ll share with you

Sea returns to sea

And sky to sky

In a life of dream am I

When I’m with you

I’m with you always

You’re ever on my mind

In a light to last a whole life through

The hand above

turns those leaves of love

All and all a timeless view

Each dream of life

Flung from paradise

Everlasting, ever new

Dream of Life

Dream Of Life

Na na na na na

autobiography

(1971)

great human wild animal

amoral

an outlaw

keep watch over her

I was born in Illinois…mainline of America…

beat to shit…Chicago tenement

big red eyed rats in the night…dead rats to tease at night

Morning…I waited for the organ grinder

with my nickel for the monkeys tin cup

gingerbread man…cotton candy man

bad girl setting fire to the oil cans

run like hell escape on the icemans truck

I was a limping ugly duck

but I had good luck

Mama filled me with fantasy…my bears danced at midnight

even my toybox had a soul

Mama called me her goat girl…little black sheep

I loved my brother and sister: Todd and Linda

we drank each others blood…we were double blood brothers

we rolled in fields…three white wolves…we practised telepathy

no one could separate us…our minds were one

One, little one eye…I had an eyepatch…I walked like a duck

In the years the nursery children cried Quack Quack

I didn’t care and didn’t fight back

I floated off…fantasy gave me fire…I was made of water

the moon caused tidal waves and I’d cry like a coyote

I learned to drift…magik…tarot pack

I paraded in thirty disguises

and when people laughed at my carnival family

We didn’t care…We had armor:

Daddy was a tap dancer…acrobat…wild horse

tracing pornography through the bible.

Mama was the dream of every sailor…bootlegged whiskey

called spirits from evenings half moon…dream weaver

We braved hurricanes…a new baby came…I named her Kim

the neighbors were suspicious…they called us witches

we didn’t care…we were laughing and dancing and damned

and there was always music

Hank Williams crying off the lonesomes

funny valentine…Patty Waters

beat of the drum…bartok

song of the swamp rat

rock and roll music

rock and roll music

Rythum

On my own…my own rythums:

rythum of the railroad

steamheat of the factory

Alabama blues on a migrant bus

but as a blueberry picker I failed…I dreamed too much

the berry crop died…my mother smiled.

I ran off…I traveled…I broke down

kept running…TB trapped in the lung…spitting on the railroad track

I shook…I drank…rythum of one too many rhums

Drunk and broke down I slinked home…grabbed my sisters hand

and away we run…We took a freighter to Iceland

railway to Paris…Pigalle and wine in a black dress

I joined the fire eaters and sang in the streets…using all I learned

from Lotte Lenya…Bob Dylan…and motorcycle rock n’ roll

We lived near a wishing well…milked goats…capture snails

and crawled back to New York.

New York my greatest love:

Rise of the building

flash of 42nd street…the pool halls…the hustlers

the trucks along tenth avenue

the helicopter yards

ghost of Jackson Pollock

human shit and dead dog floating on the Hudson River

moving…I kept moving

dreaming:

Panama…heart of adventure

the hot life of Mexico

the drunkard…the dock worker

Rythum…flash of white hair…winter

the Jesters…the Paragons

rise of the blue heron

breathe through the great rythum

scream through the Shepard

sing through that rock n’ roll music

rock n’ roll music

rock n’ roll music

rock n’ roll

Where duty calls

In a room in Lebanon

they silently slept

They were dreaming crazy dreams

in foreign alphabet

Lucky young boys

cross on the main

The driver was approaching

the American zone

The waving of hands

The tiniest train

They never dreamed

they’d never wake again

Voice of the Swarm

We follow we fall

Some kneel for priests

Some wail at walls

Flag on a match head

God or the law

And they’ll all go together

Where duty calls

United children

Child of Iran

Parallel prayers

Baseball Koran

I’ll protect Mama

I’ll lie awake

I’ll die for Allah

In a holy war

I’ll be a ranger

I’ll guard the streams

I’ll be a soldier

A sleeping Marine

In the heart of the ancient

Ali smiles

In the soul of the desert

the sun blooms

Awake

into the glare of all out little wars

Who pray to return to salute

the coming and dying of the moon

Oh sleeping sun

Assassin in prayer

laid a compass deep

Exploding dawn

and himself as well

Their eyes for his eyes

Their breath for his breath

All to his end

And a room in Lebanon

Dust of scenes

Erase and blend

May the blanket of Kings

Cover them and him

Forgive them Father

They know not what they do

From the vast portals

of their consciousness

they’re calling to you

star fever

[from a copy of Todd Rundgren’s 1973 album A Wizard, A True Star, which includes a Patti “Band-Aid” poem. It’s 3-1/4″ by 12-1/2″, the background is a pinkish bandaid, and the poem is printed in green ink, in her handwriting.]

They can not harm me

They can not harm me

They can only

burn out my eyes

beat my limbs

black and blue

legs cant run

hands cant play

face cant sing

cant sing cant say

They can not harm me

They can only

turn in my eyes

rip out my teeth

spit pure ivory

carve my face like a clock

alarm me clock clock me

bleed me scape goat me

chain me to a rock me

rock me rock me

clever as a fox me

brand a star on/my left shoulder

a star on my left

clever as a fox

my spirit lights

behind the boulder

holding to my name forever

Knowing I’ll go on forever

Spirit laughing free as water

in a ring of fire

with its hair aflame

Saturday In Paradise….

(James Archer – Queen Guinevere, circa 1860)

Blessing of the Elements

Grace of the love of the skies be thine,

Grace of the love of the stars be thine,

Grace of the love of the moon be thine,

Grace of the love of the sun be thine,

Grace of the love and the crown of heaven be thine.

A wee entry for Saturday. Sanding Cabinets, and generally trying to get motivated under rainy skies. Where have all the good times gone? They are here, right now, this moment, this life.

A Blessing on You and Yours,

Gwyllm

—-

On The Menu:

Peters’ Saturday’s Pick

Scottish Tales: The Fox Outwitted

Lyrics From My Favourite Drinking Band

From Rowan: Lyre Bird

Poetry:”Arthur in Avalon”

Art: James Archer

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Peters’ Saturday’s Pick!

Juana Molina – No es tan cierto

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Scottish Tales: The Fox Outwitted.

ONE day the fox succeeded in catching a fine fat goose asleep by the side of a loch; he held her by the wing, and making a joke of her cackling, hissing, and fears, he said–

“Now, if you had me in your mouth as I have you, tell me what you would do?”

“Why,” said the goose, “that is an easy question. I would fold my hands, shut my eyes, say a grace, and then eat you.”

“Just what I mean to do,” said Rory; 2 and folding his hands, and looking very demure, he said a pious grace with his eyes shut.

But while he did this the goose had spread her wings, and she was now half way over the loch; so the fox was left to lick his lips for supper.

“I will make a rule of this,” he said in disgust, never in all my life to say a grace again till after I feel the meat warm in my belly.”

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Lyrics From My Favourite Drinking Band….(The Kinks)

‘Where Have All The Good Times Gone’

Well, lived my life and never stopped to worry bout a thing

Opened up and shouted out and never tried to sing

Wondering if I’d done wrong

Will this depression last for long?

Won’t you tell me

Where have all the good times gone?

Where have all the good times gone?

Well, once we had an easy ride and always felt the same

Time was on our side and I had everything to gain

Let it be like yesterday

Please let me have happy days

Won’t you tell me

Where have all the good times gone?

Where have all the good times gone?

Ma and pa look back at all the things they used to do

Didn’t have no money and they always told the truth

Daddy didnt have no toys

And mummy didn’t need no boys

Won’t you tell me

Where have all the good times gone?

Where have all the good times gone?

Well, yesterday was such an easy game for you to play

But lets face it things are so much easier today

Guess you need some bringing down

And get your feet back on the ground

Won’t you tell me

Where have all the good times gone?

Where have all the good times gone?

Where have all the good times gone?

_________________________

Lyre Bird

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Poetry:”Arthur in Avalon”

by John Arthur Blaikie

(James Archer – La Mort d’Arthur)

I.

Stricken of man, and sore beset of Fate,

He lies amid the groves of Avalon;

What comfort mete ye unto Uther’s son,

O mournful Queens? What styptic to abate

Life’s eager stream? Alas, not theirs to sate

His soul with earthly vision! he hath done

With mortal life, and chivalry’s bright sun

Is darkened by the powers of hell and hate.

Lo! now, the garden of his agony

Is very sweet, though dread the hour, and drear

With utterless spell of horrid potency;

The barrèd east beyond the brightening sea,

Thick with portentous wraiths of phantom fear,

Is flushed with triumph, stirred with melody.

II.

“Glory of knighthood, that through Lyonesse

Was as a lamp, O selfless soul and pure,

What though thy visionary rule endure

So ill the assault of envy? Not the less

Thy victory, though failure thee oppress;

Not sterile thy example, and most sure

The seeded fruit; with might thou shalt allure

For evermore through life’s embattled press

Thy spiritual sons to follow thee;”

The mystic Four their solemn vigil keep

Until day break, and eastward silently,

Over the kingless land and wailing deep,

The sacrificial symbol fire the sky;

Then they arise, no more to watch and weep.