Category Archives: creative captures

Tubular Transmissions

I really like the rumored-to-be-cancelled Netflix series, Sense8. As we finish catching up with season one, it strikes me that the saturated globe trotting opening sequence provides a nifty psychological priming for what follows: a transcendental thriller, created by The Wachowskis, J. Michael Straczynski, and Lilly Wachowski, Lana Wachowski.

The series explores the aging sci-fi trope: evolutionary advances are to be punished and eliminated by the regressive powers given by consensus, convention and everyday jeopardies. Unfortunately, the series adheres to the biases of the film modality that favors the regressive working through of this conflict in violent ways. Still, with eight international principle roles split between men and women, the show’s recombinations of its cast for the sake of plotting the advance of egalitarian and social justice themes, even if these are contracted to the scale of the various relationships of the sense eight.

Leave a Comment

Filed under creative captures

Extreme Cases

cavepainting

NUMINOSUM

At the threshold of the divine, how to know
But indirectly, to hear the static as
Pattern, to hear the ragtag white noise as song—

No, not as song—but to intuit the song bird
Within the thorn thicket—safe, hidden there.
Every moment is not a time for song.

Or singing? Imagine a Buddha, handmade,
Four meters high of compacted ash, the ash
Remnants of joss sticks that incarnated prayer.

With each footfall, the Buddha crumbles. Ash shifts.
With each breath, the whole slowly disintegrates.
To face it, we efface it with our presence.

An infant will often turn away as if
Not to see is the same as not being seen.
There was fire, but God was not the fire.

Eric Pakey is the author of ten collections of poems, most recently Trace (Milkweed Editions 2013) and Dismantling the Angel (Free Verse Editions 2014). A new collection, Crow-Work, is due out from Milkweed Editions in 2015. He is the Heritage Chair in Writing at George Mason University. Kenyon Review Fall 2011

Werner Herzog on Chickens from Tom Streithorst on Vimeo.

Since most categories are matters of degree (e.g., tall people), we also have
graded concepts characterizing degrees along some scale with norms of various
kinds for extreme cases, normal cases, not quite normal cases, and so on. Such
graded norms are described by what are called linguistic hedges (A4, Lakoff
1972), for example, very, pretty, kind of, barely, and so on. For the sake of imposing
sharp distinctions, we develop what might be called essence prototypes,
which conceptualize categories as if they were sharply defined and minimally
distinguished from one another.

When we conceptualize categories in this way, we often envision them using
a spatial metaphor, as if they were containers, with an interior, an exterior, and
a boundary. When we conceptualize categories as containers, we also impose
complex hierarchical systems on them, with some category-containers inside
other category-containers. Conceptualizing categories as containers hides a
great deal of category structure. It hides conceptual prototypes, the graded
structures of categories, and the fuzziness of category boundaries.
In short, we form extraordinarily rich conceptual structures for our categories
and reason about them in many ways that are crucial for our everyday
functioning. All of these conceptual structures are, of course, neural structures
in our brains. This makes them embodied in the trivial sense that any mental
construct is realized neurally. But there is a deeper and more important sense in
which our concepts are embodied. What makes concepts concepts is their inferential
capacity, their ability to be bound together in ways that yield inferences.
An embodied concept is a neural structure that is actually part of, or
makes use of, the sensorimotor system of our brains. Much of conceptual inference
is, therefore, sensorimotor inference. ( George Lakoff Philosophy in the Flesh )

Leave a Comment

Filed under creative captures, cultural contradictions, social psychology, organizational development

Three Into Four, Repeat. . .

zontalstainedglass

The shuttling to and fro of arguments and affects represents the transcendent function of opposites. The confrontation of the two positions generates a tension charged with energy and creates a living, third thing—not a logical stillbirth in accordance with the principle tertium non datur but a movement out of the suspension between the opposites, a living birth that leads to a new level of being, a new situation. (C.G.Jung)

Four-Elements

see:

On the Importance of Numinous Experience in the Alchemy of Individuation Murray Stein, Ph.D.

River Dharma 46x46

RIVER DHARMA (2017) Stephen Calhoun

Leave a Comment

Filed under analytic(al) psychology, creative captures, experiential learning, psychology, self-knowledge

Compare and Conjoin

creativity

Cube-O-Probe – Locate Creativity?

creativity probe

  • From the symbolic potency of the solar system, which generates the sense of depth suggested by McGilchrist, astrology offers us what in neuroscience is called environmental enrichment, in other words, stimulation of the brain by its physical and social surroundings. As an enriched environment for imagining incoming archetypal energies that can feed bio-dynamic entities such as ourselves, astrology stimulates the brain through its imagination of electrical, chemical, and network charges, arousing us to satisfy our needs for: 1) attachment; 2) control; 3) self identity; 4) pleasure. With astrology these needs can be met on the cosmic and personal scale of an imagination that transforms presumably random events into the narrative of a soul’s journey through the space/time of earth. (Kenneth Warren)

Leave a Comment

Filed under adult learning, creative captures, cultural contradictions, Kenneth Warren, psychological anthropology, Religion, self-knowledge

360 degree Longing For Wilderness + Evidence of Existance

Longing for Wilderness from EpicScapes on Vimeo.

Watch on tablet. Retina iPad is spectacular. The point of this new technology is the user can use the touchscreen to move around the image frame. Browser kludge allow for this navigation too if your desktop system is up-to-date. Negs on Safari.

Leave a Comment

Filed under art, artists, creative captures, visual story, web 2.0+

Addenda: Zeitgeist

I was asked by someone why I thought President-elect Trump was mentally ill. During the campaign I was chastised by someone, by a few someones, for stigmatizing the actually mentally ill by casting mental illness as an insulting description.

Cluster B: flavors of anti-social personality disorder, narcissistic personality order, with some inflections of both sociopathy and paranoia; (plus, how else might we describe Trump’s birther fantasy except as a delusion?) Just sayin’.

Will he successfully bully people into doing his bidding? Will he threaten Iran with tactical nukes? Over on the alt-right, there are some who think a state of emergency might afford Trump the opportunity to do something about all those pesky hippies, tree huggers, SJW’s, feminists, snowflakes, and ivory tower elitists. I won’t locate another source, but there is a blog I frequent that has reached a fever pitch in anticipation of either the defeat of the deep state, DC insiderism, progressivism, collectivism, and both “very similar” political parties, or, alternately, the victory of these same parties over their Drumpf problem.

For my own part, besides understanding how population density is the real explainer here, it strikes me our current government is hoping to etch a black chapter in the future history books. After all the newly fashioned white nationalist Trump/GOP Inc. hopes to to erase the output of the first black U.S. President, and, dial back the policies of the New Deal, (the deal that came to eventually rescue many of the elderly from poverty, while, at the same time, making it possible to visit your elderly parents rather than feed and clothe and take care of them.)

Healthcare, everybody eventually needs it! How to square Christianity with Paul Ryan’s dream of ending some of what he believes is mooching, with this same end also promising literal killing fields–except these fields will be defined by not being located in the homes of GOP congresspersons? Luckily, Trump has promised the new Trumpcare will be cheaper and offer better coverage.

The ACA is spilt M&Ms compared to the bigger eats on the agenda. Trump has come to vanquish the antichrist! Or, he is the antichrist! Maybe not.

Parachute.

Leave a Comment

Filed under creative captures, cultural contradictions, dada, death to fascism

Lesson Ideas

Every day is a god, each day is a god, and holiness holds forth in time. I worship each god, I praise each day splintered down, and wrapped in time like a husk, a husk of many colors spreading, at dawn fast over the mountains split. (Annie Dillard)

The fundamental premise of alchemy is that there are precise correspondences between the visible and invisible worlds, the worlds of matter and spirit, inner and outer, heaven and earth.

Stephen Calhoun artist cleveland ohio

Leave a Comment

Filed under creative captures, education, Religion, self-knowledge, visual experiments, my art

Stirring Together, In the Midst of the Unending Stream

I traced a circle on the ground,
It was a mystic figure strange
Wherein I thought there would abound
Mute symbols adequate of change,
And complex formulas of Law,
Which is the jaws of Change’s maw.
My simpler thoughts in vain had stemmed
The current of this madness free,
But that my thinking is condemned
To symbol and analogy:
I deemed a circle might condense
With calm all mystery’s violence.
And so in cabalistic mood
A circle traced I curious there;
Imperfect the made circle stood
Thought formed with minutest care.
From magic’s failure deeply I
A lesson took to make me sigh.

Alexander Search (Fernando Pessoa)
July 30th. 1907. [1]

artist Stephen Calhoun b1954 USA

Twin Study I. (2016) Stephen Calhoun

“I have always been particularly interested to see how people, if left to their own devices and not informed about the history of the [Mandala] symbol, would interpret it to themselves. I was careful, therefore, not to disturb them with my own opinions and as a rule I discovered that people took it to symbolize themselves or rather some- thing in themselves. They left it as belonging intimately to themselves as a sort of Creative background, a life-producing sun in the depths of the unconscious mind. Though it was easy to see that it was often almost a replica of Ezekiel’s vision, it was very rare that people recognized the analogy, even when they knew the vision -which knowledge, by the way, is pretty rare nowadays.” C.G. Jung, The Terry Lectures

Gemini with respect to psyche, broadly conceived, brings into ‘co-motion’ the regressive chthonic and the transgressive totality. At a higher, finer grain, the twin–as image–represents the prospect of the alchemical marriage. As Gemini, its transformative operations take up scattered elements and brings these back into order.

The Twin is the archetype of recursion. With this repetition, the twin holds the potential for any reassembly, be it playful or serious or trial-and-error. The gesture bends back. Its sound is the yielding reassembly of harmony, via sonic palintropos.

Overnight contents separate, and come to be stirred back together. Gemini.

Cleveland artist Stephen Calhoun

Twin Study II. (2016) Stephen Calhoun

What gets hatched at night, in the lunar phase?

Sometimes the organic pair is subject to fierce moralizing. For example, what of the facile distinction oft made between thinking and feeling, or, head and heart? Their deep structure is blanketed. Heavy associations weigh one of the poles down, like a cinder block tied to a victim’s ankles.

This is like mashing two things together, pulling them back apart, and, finally deciding one has to go! The shadow of the twin is found in the demonization and suppression of the organic opposite, in the making of, and, next, sanctioning against this fallen angel, and finally turning it out (or away.)

(Gemini forensics! Where is the antimony buried?)

A theory of recurrence, such as that of Yeats, in exemplifying the cycling between lunar Antithetical and solar Primary tinctures is a twin study. Fusion with the ideal, and disavowal of the organic opposite provides for the violent dismissal and covering over of this other side.

Where feeling reigns ‘apart,’ this may move vast numbers of voters toward the light cast by the idealized father, concretized to be, well. . .

rather

Leaving, returning. Turning back. . .

[2]

Uncovering bends back the cover.

They do not understand how, though at variance with itself, it agrees with itself. It is a backwards-turning attunement like that of the bow and lyre. -Heraclitus

It lifts up the buried: part, aspect, inferior. The twin is at once separate and a unifier.

Gemini’s hidden holistic relationship to all the houses, tracks the pairings which are the relations discoverable in all projections. Cast from to you.

The phenomena of the twin anchors the resurrection and recovery of the opposites.


see:
The Rhizome and the Flower: The Perennial Philosophy, Yeats and Jung, By James Olney

The Harmonia of Bow and Lyre in Heraclitus Fr. 51 (DK)
Jane McIntosh Snyder, Phronesis Vol. 29, No. 1 (1984) JSTOR

[1] Sacred Geometry of Being: Pessoa’s Esoteric Imagery and the Geometry of Modernism
Patrícia Silva McNeill, Pessoa Plural 6, 2014 (pdf)

[2] Beyond Fascism: W.B. Yeats’s A Vision and the Complexities of His Authoritarian Politics
Justin Abel, Eastern Washington University (pdf)

Leave a Comment

Filed under analytic(al) psychology, creative captures, cultural contradictions, experiential learning, Gregory Bateson, my research, philosophy, psychology

Systematic Ways to Look at Seeming Chaos

'Flying Dutchman' Draft Film Trailer by Alan Nguyen and Sutu from Alan Nguyen on Vimeo.

This Electrified Pirate Ship Was Made with a Virtual Reality Paintbrush

h/t Peter Kirn at Create Digital Music

Leave a Comment

Filed under art, artists, creative captures, nature, visual story

So Humbling, Together

MoonWereOnePixel

If the Moon Were One Pixel

One real world is enough! (G. Santayana)

Bonus enlightenment:

Interactive Journey up Mount Everest

Leave a Comment

Filed under creative captures, Places, science, web 2.0+

drawn or repulsed, instant realization of sympathy or antipathy

TOOLS OF IMAGINATION from Kristyna on Vimeo.

I like mathematics because it is not human and has nothing particular to do with this planet or with the whole accidental universe – because like Spinoza’s God, it won’t love us in return. ~Bertrand Russell, 1912

4SymbolsofYWHY

1.01 'Circles Within Circles' from Simon F A Russell on Vimeo.

Leave a Comment

Filed under adult learning, creative captures, philosophy, psychological anthropology

Beneath the Surface

Sally Mann

Sally Mann Photos at Edwynn Houk

All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril.
?—Oscar Wilde

The Disturbing Photography of Sally Mann

Instill Life The Dark and Light of Sally Mann

Leave a Comment

Filed under art, artists, creative captures

In the Details

Jheronimus Bosch, Touched by the Devil TRAILER from Pieter van Huystee Film on Vimeo.

new Film now playing in NYC: Pieter van Huystee’s Hieronymus Bosch: Touched by the Devil

The Cruel Beauty of Hieronymus Bosch: 500 Years of Breathtaking Imagery

As for the obvious relationship between Bosch and my own art, the director of the documentary ends his interview at Hollywood Soapbox with this:

He added: “It was important for me that the viewer had always the feeling that you’re there next to the painting. … If somebody came to me after the screenings and said, I’ve seen ‘The Garden of Earthly Delights’ many times in real, but he says, ‘It always remains on the distance because it is so detailed. And you don’t come close, and you don’t get emotionally attached to the painting if you see it in real.’ So in the film, in the documentary, I have the opportunity to be very close, sometimes to a square centimeter.”

In many ways, Huystee documents the paintings from the vantage point of Bosch. The director is as meticulous a craftsman, working from close-ups and always focused on the details. “The devil is in the details,” he said. “I hope people can reflect on what he was painting. He was not telling us something. You’re telling yourself something by looking at the paintings.

hieronymus-bosch.org

Leave a Comment

Filed under art, artists, creative captures

The Plan

ABC from Alan Warburton on Vimeo.

An old Zen master always told this fable to unserious students: Late one night a blind man was about to go home after visiting a friend.

“Please,” he said to his friend, “may I take your lantern with me?”

“Why carry a lantern?” asked his friend.

“You won’t see any better with it.”

“No,” said the blind one, “perhaps not. But others will see me better, and not bump into me.”

So his friend gave the blind man the lantern, which was made of paper on bamboo strips, with a candle inside. Off went the blind man with the lantern, and before he had gone more than a few yards, “Crack!” — a traveler walked right into him. The blind man was very angry.

“Why don’t you look out?” he stormed. “Why don’t you see this lantern?”

“Why don’t you light the candle?” asked the traveler.

Leave a Comment

Filed under creative captures, experiential learning, humor, zen

Morphing Fractals

Eternal One, Mighty One, Holy El, God autocrat self-originate, incorruptible, immaculate, unbegotten, spotless, immortal,
self-perfected, self-devised,
without mother, without father, ungenerated,
exalted, fiery,
just, lover of men, benevolent, compassionate, bountiful,
jealous over me, patient one, most merciful.
Eli, eternal, mighty one, holy, Sabaoth,
most glorious El, El, El, El, Iaoel,
you are he my soul has loved, my protector.
Eternal, fiery, shining,
light-giving, thunder-voiced, lightning-visioned, many-eyed… (The Apocalypse of Abraham 17.8-15)

Dionysian art […] is based on the play with intoxication/ecstasy [Rausch], with rapture [Verzu?ckung]. There are two powers in particular that trigger the self-for-gotten ecstasy [Rausch] of the nai?ve man of nature — the drive of spring and the narcotic drink. Their impacts are symbolized by the figure of Dionysus. The principium individuationis in both states is broken; the subjective disappears entirely against the force of the general-human, even the general-natural that is breaking forth. The festivals of Dionysus do not only create a bond between humans, they also reconcile the human with nature. -Friedrich Nietzsche

Leave a Comment

Filed under creative captures, cultural contradictions, nature, philosophy, Religion, self-knowledge

All Aboard

alchemical_narrative-768x994

The Topological Media Lab (TML) was established in 2001 as a trans-disciplinary atelier-laboratory for collaborative research creation. In 2005, TML moved to Concordia University and the Hexagram research network in Montréal, Canada.Its projects serve as case studies in the construction of fresh modes of cultural knowledge and the critical studies of media arts and techno-science, bringing together practices of speculative inquiry, scientific investigation and artistic research-creation practices. The TML’s technical research areas include: realtime video, sound synthesis, embedded sensors, gesture tracking, physical computing, media choreography, and active textiles. Its application areas lie in movement arts, speculative architecture, and experimental philosophy.

monkeys_cards_boel_teniers

Ice Cracking, Einstein's dreams, 2013 from Topological Media Lab on Vimeo.

Leave a Comment

Filed under art, artists, creative captures, music, proto-post-disciplinarity

One Sided Dream

Sea dream by Stephen Calhoun

Sea Dream (Stephen Calhoun)

There is so much of theoretical and practical interest in supposing that art, artistry, and the artistic experience, transcend most, if not all, the closely defended normative socio-cultural-philosophical perspectives about WHAT IS ART? that what I would term “platform issues” become hidden away almost from the get-go.

Google’s Deep Dream platform embeds bizarre animalistic features in uploaded images. Because Google rolls out Deep Dream with a lot of cultural force, the new creative platform receives a huge amount of attention.

Meanwhile, Leonardo Solaas’s Dreamlines (2005-2014) and Doodl (2010-2016), neither of which are one-tricksters like Deep Dream, received almost no attention. Except, there is a creative sub-culture concerned with computer-generated and computer-assisted art. It has been around for fifty years. The first computer-generated art dates back to the sixties. This came to be a movement but, such so-called machine art remains a sub-culture as against what is termed New Media. And, oddly, Digital Art has come to be the catch-all term for anything that is unacceptably ‘facile;’ and so it is that an absurd dividing line has been etched.

gate dream

Gate Dream (Stephen Calhoun) 2016

Can Google’s Deep Dream become an art machine?

“Deep Dream was never about the aesthetics for me,” says Akten, a fine artist and PhD candidate at Goldsmiths University in London. Instead he was impressed by the way the machine learning manages to mimic and interact with human visual perception.

“It might look like Deep Dream is generating say, sparrow’s faces in clouds, but what it is actually doing is generating patterned noise, which our brains try to find meaning in.” Akten. “It creates just enough of a sparrow’s head in a cloud, so that our brains find the rest. Visually, our minds and Deep Dream are doing exactly the same thing. It’s such a perfect mirror. I love that conceptual aspect.”

“which our brains try to find meaning in.”
Palm slap! But, our brains aren’t finding, our brains are composing.

law dream

The Law Dream (Stephen Calhoun) 2016

Because Google Deep Dream traffics in its single trick, and the results are almost always grotesque, it isn’t an appealing tool. Where there is zero control, the end product is not one I really want to see! Still, the above piece intrigues me and likely will be my last creative word, or image, using the GDD facility.

Setting aside the usual prejudices of artists who think any manipulation of pixels is, (for lack of a better all-encompassing term,) decadent, the fundamental expansion of facility provided by processing power, whether it is a Photoshop plug-in or a one-trick neural network, or, advanced repainting as is the case with Processing apps, and Python/Java driven search and manipulation, plus all the other “facile” application platforms, at a minimum reveals possibilities which are not otherwise available.

Add to this elements of trial-and-error, serendipity, and under-determination, and new media techniques put a ton of pressure on, for example, the social and hermeneutic theories, theories which are concerned with masterful individual artistic projections of intentionality within social-historical contexts. I have a lot to assert about all of this from the perspective of a creative person leveraging other person’s programming innovation for the sake of producing visual experiences, and, producing art.

Ironically, Google’s Deep Dream is a play-toy when it is compared with software, the brilliant browser interfaces of Leonardo Solaas, Dreamlines, and the Doodl dashboard (2010-2016,) and, a handful of unique iPad apps. I used the Doodl dashboard to help me create most of my generative art work between 2014-2015.  See: Sun Ra In Heaven (2015).

 

Leave a Comment

Filed under art, artists, creative captures, cultural contradictions, dada, visual experiments, my art

Sophie Munns

Sophie Munns is working as an artist in a vein at least related to my own interests in its appropriation of the seed-bearing section of a plant’s natural life cycle. Her work is more particularly ethically rooted than is my own, yet it seems both of us have eyes cast toward the ground!

Seed Art Labs Studio

Sophie Munns – Tumblr

sophiemunns.weebly.com

interview excerpt via Guernica At Soil Level

Guernica: Has this been the greatest confirmation that you’re on the right path?

Sophie Munns: In 2010, I had some work from my seed lab residency at Brisbane Botanic Gardens in a group show. A woman in her late 60s came in who said she never looks at art and talked to me about my work. She wasn’t terribly articulate or very educated, but she completely surprised me with her reading of my work and project. She said, “Your work is not selfish. It’s amazing.” I felt deeply understood by this woman. I think she saw that this was an art whose intention was for people to wake up to the power of seeds and what they can mean for all humans. It’s not about me projecting my desires by painting things that really only refer to me and my little life. She could see it wasn’t “look at me, the artist” art.

I am driven to want to highlight, make room for, celebrate the many—and sit as far away as possible from the same old elitist position that purposely excludes for the good of only a few. I want to see something happen that is meaningful for all kinds of people; I like seeing when someone very closed has a new experience. I like seeing the change that’s possible when people wake up and realize there is something they can do.

Emphasis is my own. Great interview.

Leave a Comment

Filed under art, artists, creative captures

Hunch a Bunch

BobbyZ9_

“Instinct paints my pictures and guides me to my next subject. It’s the voice that says it’s not here, it’s over there.”
– Tasmanian artist Bobby-Z Lambert

A few days ago my cell phone rang and a voice with a British-like accent just started in, and, after a minute or so I disrupted the caller simply to learn with whom i was engaged with! He introduced himself as a fellow artist, calling from Tasmania, calling from fourteen time zones away at 10:45am in my time zone, calling because he had a hunch ‘we had a bunch in common.’

Bobby-Z had discovered my artwork and then made his way over to this blog. He read enoguh to suggest common interests and possible shared affinities.

This sense of his was revealed to be accurate–after we had spoke for forty-five minutes.

How much respect do I have for persons willing to jump right into the opportunity of relations with complete strangers based on a hunch? I have nothing but respect for such audacious acts.

Who is Bobby-Z?

Bobby-z … and the Miners of Potosi

Bobby-Z Interview Gallery Salamanca

. . .kindred soul.

Leave a Comment

Filed under art, artists, creative captures, friends, personal, serendipity

World’s Whole Frame

The Wild Garden – NOWNESS from NOWNESS on Vimeo.

Another year rolls into spring. Time to get the hands dirty. I have a bohemian flower garden to tend to.

An Anatomy of the World
The First Anniversary
WHEN that rich soul which to her heaven is gone,
Whom all do celebrate, who know they’ve one
—For who is sure he hath a soul, unless
It see, and judge, and follow worthiness,
And by deeds praise it? he who doth not this,         5
May lodge an inmate soul, but ’tis not his—
When that queen ended here her progress time,
And, as to her standing house, to heaven did climb
Where, loth to make the saints attend her long,
She’s now a part both of the choir and song,         10
This world in that great earthquake languished;
For in a common bath of tears it bled,
Which drew the strongest vital spirits out.
But succour’d then with a perplexed doubt,
Whether the world did lose, or gain in this         15
—Because, since now no other way there is,
But goodness, to see her, whom all would see,
All must endeavour to be good as she—
This great consumption to a fever turn’d,
And so the world had fits; it joy’d, it mourn’d;         20
And as men think that agues physic are,
And th’ ague being spent, give over care;
So thou, sick world, mistakest thyself to be
Well, when, alas! thou’rt in a lethargy.
Her death did wound and tame thee then, and then         25
Thou might’st have better spared the sun, or man.
That wound was deep, but ’tis more misery,
That thou hast lost thy sense and memory.
’Twas heavy then to hear thy voice of moan,
But this is worse, that thou art speechless grown.         30
Thou hast forgot thy name thou hadst; thou wast
Nothing but she, and her thou hast o’erpast.
For, as a child kept from the fount, until
A prince, expected long, come to fulfil
The ceremonies, thou unnamed hadst laid,         35
Had not her coming thee her palace made.
Her name defined thee, gave thee form and frame,
And thou forget’st to celebrate thy name.
Some months she hath been dead—but being dead,
Measures of time are all determined—         40
But long she hath been away, long, long, yet none
Offers to tell us who it is that’s gone.
But as in states doubtful of future heirs,
When sickness without remedy impairs
The present prince, they’re loth it should be said,         45
The prince doth languish, or the prince is dead.
So mankind, feeling now a general thaw,
A strong example gone, equal to law,
The cement, which did faithfully compact
And glue all virtues, now resolved and slack’d,         50
Thought it some blasphemy to say she was dead,
Or that our weakness was discovered
In that confession; therefore spoke no more,
Than tongues, the soul being gone, the loss deplore.
But though it be too late to succour thee,         55
Sick world, yea dead, yea putrefied, since she,
Thy intrinsic balm and thy preservative,
Can never be renew’d, thou never live,
I—since no man can make thee live—will try
What we may gain by thy Anatomy.         60
Her death hath taught us dearly, that thou art
Corrupt and mortal in thy purest part.
Let no man say, the world itself being dead,
’Tis labour lost to have discovered
The world’s infirmities, since there is none         65
Alive to study this dissection;
For there’s a kind of world remaining still;
Though she, which did inanimate and fill
The world, be gone, yet in this last long night
Her ghost doth walk, that is, a glimmering light,         70
A faint weak love of virtue and of good
Reflects from her, on them which understood
Her worth; and though she have shut in all day,
The twilight of her memory doth stay;
Which, from the carcase of the old world free,         75
Creates a new world, and new creatures be
Produced; the matter and the stuff of this
Her virtue, and the form our practice is.
And, though to be thus elemented arm
These creatures from home-born intrinsic harm         80
—For all assumed unto this dignity
So many weedless paradises be,
Which of themselves produce no venomous sin,
Except some foreign serpent bring it in—
Yet because outward storms the strongest break,         85
And strength itself by confidence grows weak,
This new world may be safer, being told
The dangers and diseases of the old.
For with due temper men do then forego,
Or covet things, when they their true worth know.         90
There is no health; physicians say that we,
At best, enjoy but a neutrality.
And can there be worse sickness than to know
That we are never well, nor can be so?
We are born ruinous; poor mothers cry         95
That children come not right, nor orderly,
Except they headlong come and fall upon
An ominous precipitation.
How witty’s ruin, how importunate
Upon mankind! it labour’d to frustrate         100
Even God’s purpose, and made woman, sent
For man’s relief, cause of his languishment.
They were to good ends, and they are so still,
But accessory, and principal in ill;
For that first marriage was our funeral;         105
One woman, at one blow, then kill’d us all;
And singly, one by one, they kill us now.
We do delightfully ourselves allow
To that consumption; and, profusely blind,
We kill ourselves to propagate our kind.         110
And yet we do not that; we are not men;
There is not now that mankind which was then,
When as the sun and man did seem to strive
—Joint-tenants of the world—who should survive;
When stag, and raven, and the long-lived tree,         115
Compared with man, died in minority;
When if a slow-paced star had stolen away
From the observer’s marking, he might stay
Two or three hundred years to see it again,
And then make up his observation plain;         120
When, as the age was long, the size was great;
Man’s growth confess’d, and recompensed the meat;
So spacious and large, that every soul
Did a fair kingdom and large realm control;
And when the very stature, thus erect,         125
Did that soul a good way towards heaven direct.
Where is this mankind now? who lives to age
Fit to be made Methusalem his page?
Alas! we scarce live long enough to try
Whether a true-made clock run right, or lie.         130
Old grandsires talk of yesterday with sorrow;
And for our children we reserve to-morrow.
So short is life, that every peasant strives,
In a torn house, or field, to have three lives;
And as in lasting, so in length is man,         135
Contracted to an inch, who was a span.
For had a man at first in forests stray’d,
Or shipwreck’d in the sea, one would have laid
A wager, that an elephant or whale,
That met him, would not hastily assail         140
A thing so equal to him; now, alas!
The fairies and the pigmies well may pass
As credible; mankind decays so soon,
We’re scarce our fathers’ shadows cast at noon.
Only death adds to our length; nor are we grown         145
In stature to be men, till we are none.
But this were light, did our less volume hold
All the old text; or had we changed to gold
Their silver, or disposed into less glass
Spirits of virtue, which then scatter’d was.         150
But ’tis not so; we’re not retired, but damp’d;
And, as our bodies, so our minds are cramp’d.
’Tis shrinking, not close weaving that hath thus
In mind and body both bedwarfed us.
We seem ambitious God’s whole work to undo;         155
Of nothing He made us, and we strive too
To bring ourselves to nothing back; and we
Do what we can to do ’t so soon as He.
With new diseases on ourselves we war,
And with new physic, a worse engine far.         160
This man, this world’s vice-emperor, in whom
All faculties, all graces are at home
—And if in other creatures they appear,
They’re but man’s ministers and legates there,
To work on their rebellions, and reduce         165
Them to civility, and to man’s use—
This man, whom God did woo, and, loth to attend
Till man came up, did down to man descend;
This man so great, that all that is, is his,
O, what a trifle, and poor thing he is!         170
If man were anything, he’s nothing now.
Help, or at least some time to waste, allow
To his other wants, yet when he did depart
With her whom we lament, he lost his heart.
She, of whom th’ ancients seemed to prophesy,         175
When they called virtues by the name of she;
She, in whom virtue was so much refined,
That for allay unto so pure a mind
She took the weaker sex; she that could drive
The poisonous tincture, and the stain of Eve,         180
Out of her thoughts and deeds, and purify
All by a true religious alchemy;
She, she is dead; she’s dead; when thou know’st this
Thou know’st how poor a trifling thing man is,
And learn’st thus much by our Anatomy,         185
The heart being perish’d, no part can be free,
And that except thou feed, not banquet, on
The supernatural food, religion,
Thy better growth grows withered and scant;
Be more than man, or thou’rt less than an ant.         190
Then as mankind, so is the world’s whole frame,
Quite out of joint, almost created lame;
For before God had made up all the rest,
Corruption enter’d and depraved the best.
It seized the angels, and then first of all         195
The world did in her cradle take a fall,
And turn’d her brains, and took a general maim,
Wronging each joint of th’ universal frame.
The noblest part, man, felt it first; and then
Both beasts and plants, cursed in the curse of man.         200
So did the world from the first hour decay;
That evening was beginning of the day.
And now the springs and summers which we see,
Like sons of women after fifty be.
And new philosophy calls all in doubt;         205
The element of fire is quite put out;
The sun is lost, and th’ earth, and no man’s wit
Can well direct him where to look for it.
And freely men confess that this world’s spent,
When in the planets, and the firmament         210
They seek so many new; they see that this
Is crumbled out again to his atomies.
’Tis all in pieces, all coherence gone,
All just supply, and all relation.
Prince, subject, father, son, are things forgot,         215
For every man alone thinks he hath got
To be a phœnix, and that then can be
None of that kind of which he is, but he.
This is the world’s condition now, and now
She that should all parts to reunion bow;         220
She that had all magnetic force alone,
To draw and fasten sunder’d parts in one;
She whom wise nature had invented then,
When she observed that every sort of men
Did in their voyage in this world’s sea stray,         225
And needed a new compass for their way;
She that was best, and first original
Of all fair copies, and the general
Steward to fate; she whose rich eyes and breast
Gilt the West Indies, and perfumed the East;         230
Whose having breathed in this world did bestow
Spice on those isles, and bade them still smell so;
And that rich Indy, which doth gold inter,
Is but as single money coin’d from her;
She to whom this world must itself refer,         235
As suburbs, or the microcosm of her;
She, she is dead; she’s dead; when thou know’st this,

Continue reading

Leave a Comment

Filed under creative captures, nature, personal, poetry, Religion