03-25-2012, 02:11 PM
If the good on earth be the slightest reflection of heaven
then this must be only the slightest shadow of Hell,
***
I am not sure what noun this pronoun stands for--
of course 'this' expands to cover what the poet
wants covered-- and the word can throw back to
a thousand words, or 11 words.
The conditional 'if; then,' here (I'll stab at it), cut,
says, "If good is a reflect of heaven; then, it is a
reflect of hell."
The entire poem, taken bulkly is one major premise and
one minor premise in an Aristotelian syllogism of the
First Figure, Mode AAA-- figure and mode optional
(I chose the simplest).
The poem is a sustained deduction where clause after
clause pile and pile and build and build. This is not an
immediate poem, but one that lives in a kind of causal
efficacy. It relies on strict dependencies on truth state-
ments made earlier and later, each to each.
A difficult poem.
This poem is 'composed.' Runs in sequence. There are
no radiations and unfoldings. No slips into immediate
experience; all though carefully erected filtres.
**
for I know I am not yet fully in hell.
Milton then was twice the fool.
**
These 'thens' force the reader back to antecedents;
thus, the reading triples in re-runs.
**
No Being of any awareness would choose
even this mild reflection of Hell
above the faintest echo of Heaven.
***
Now the poem becomes, and earlier, dialectic--
divided, uncertain. This Heart of Darkness is not
eating hippo meat, but 'crossing' with St John.
**
Only owing to the fact that we are never without
the presence of God could one believe such an inanity.
***
One must define 'belief.'
rh
(unedited for context-- but I am to blame for
the nonesense I have written)
then this must be only the slightest shadow of Hell,
***
I am not sure what noun this pronoun stands for--
of course 'this' expands to cover what the poet
wants covered-- and the word can throw back to
a thousand words, or 11 words.
The conditional 'if; then,' here (I'll stab at it), cut,
says, "If good is a reflect of heaven; then, it is a
reflect of hell."
The entire poem, taken bulkly is one major premise and
one minor premise in an Aristotelian syllogism of the
First Figure, Mode AAA-- figure and mode optional
(I chose the simplest).
The poem is a sustained deduction where clause after
clause pile and pile and build and build. This is not an
immediate poem, but one that lives in a kind of causal
efficacy. It relies on strict dependencies on truth state-
ments made earlier and later, each to each.
A difficult poem.
This poem is 'composed.' Runs in sequence. There are
no radiations and unfoldings. No slips into immediate
experience; all though carefully erected filtres.
**
for I know I am not yet fully in hell.
Milton then was twice the fool.
**
These 'thens' force the reader back to antecedents;
thus, the reading triples in re-runs.
**
No Being of any awareness would choose
even this mild reflection of Hell
above the faintest echo of Heaven.
***
Now the poem becomes, and earlier, dialectic--
divided, uncertain. This Heart of Darkness is not
eating hippo meat, but 'crossing' with St John.
**
Only owing to the fact that we are never without
the presence of God could one believe such an inanity.
***
One must define 'belief.'
rh
(unedited for context-- but I am to blame for
the nonesense I have written)