CI 11

next bend, once again {maybe it should be a woman, seeing how I have basically raped the idea of truth anyhow; ok, maybe I should omit that…Nah!}. Maybe yes, maybe no, who has the authority to make any predictions about the course of the future indeterminate by such small undertakings as love, ideology, or godhood.

In no way am I sorry that the ending to the bulk of it is so shoddy, but the paper is bunk. Just face it, people cannot and will not take the responsibility of their actions nor develop the proper cerebral functions, even though resource has little to do with the argument, and also honor. Are the two unconnected, are the compliments really different if only it is the outlook of a man on the world of seven billion different faces.

Yes, messy truths support the refinement of cleaner ones, and the cleaner ones deteriorate into messy ones once again. All cycles are viscous cycles, all balances are unbalances, all parallel lines cross, all lies harbor truth, and all hate fosters love. Go now, bother me no more with Trivial Pursuit and squabble amongst yourselves for an old change of pace in those nice new shoes.                                                    *

THE TYGER (William Blake)

Tyger! Tyger! burning bright

In the forests of the night,

What immortal hand or eye

Could frame thy fearful symmetry?

In what distant deeps or skies

Burnt the fire of thine eyes?

On what wings dare he aspire?

What the hand dare sieze the fire?

And what shoulder, & what art.

Could twist the sinews of thy heart?

And when thy heart began to beat,

What dread hand? & what dread feet?

What the hammer? what the chain?

In what furnace was thy brain?

What the anvil? what dread grasp

Dare its deadly terrors clasp?

When the stars threw down their spears,

And watered heaven with their tears,

Did he smile his work to see?

Did he who made the Lamb make thee?

Tyger! Tyger! burning bright

In the forests of the night,

What immortal hand or eye

Dare frame thy fearful symmetry?

{I thought that was clever, that last bit with the shoes, *sigh*, so bored}The Tyger, aptly named for the purposes of my essay, written by the oh-so-popular William, surname Blake {there will be no more interruptions here because this is a serious essay that you will find interesting}. As it will be made much clearer, the Tyger in question is in fact not a tiger at all. It is, much as the rest of the poem, a symbolic and indirect means of conveying to an intellectual audience a deep-rooted argument in religion. It was so very concise and perfectly flawless in its execution, his poem had not one wasted syllable, it was all accounted for and stated in the closest way to where there was still nearly a direct connection between the words and their implications, indeed also to the central implications. That is not to say that it is in any small way a little poem, for in fact the subject matter is at the heart of many areas of our human existence and of course the mysteries therein. To simplify these matters greatly, it is a false tiger, as is made easily seen by the form of the poem as well as the misnomer, all in purpose to highlight the real Beast within: Satan. How is he, what he is, where is he, when he is, and why he is as he most certainly is, with no doubts in-so-far as to that identity existing.

To be clearer as mud, let it be realized that any satanic figure could be used with no further restrictions, that they would only at most push back the actual reality of the queries behind a few more political webs. Yet those considerations are completely irrelevant once it is understood the basic complexity of the answer/question duality which can only exist in fundamental circles. It is also more so a greater mystery to ponder the actual genesis of evil itself, a theme which is not lost in this epic proposal; upon observation, the whole of half of The Tyger is devoted entirely to such a central question, and there are only seven lines that do not at least relate to the first page within the first chapter in supernatural history. It does not state within any indefatigably biblical parameters the nature of this mystery. There is still so much more…

Not that anyone is looking at an expert’s opinion here within this particular facet of analysis, but there is much to be discussed in the matter of structure. After a great deal of work, it was finally realized that the only consistent theme was seven, with a pool of fuzzy mathematics and numerology beneath it; and so the generic consensus is that it is variant iambic tetrameter. For example, three was consecutive and common, six was a large factor, because three, two and one were all present as dominant or paired syllables, although three was a rare part of this, yet was present elsewhere. Four was, and two, making eight a common syllable count, a distant second to seven, which had seventeen lines of seven, while only eleven lines of eight, with one mysterious line of iambic triameter of six syllables in the sixth line. And of the central seventeen lines of writing, there are merely six of the eleven eights while conversely ten lines in the seven base, with one six that was previously highlighted.

While all of it would appear random by observing the facts, the style and syntax of the poetry makes it much more evident that it is carefully crafted. Another simple means which is more than meets the eye is the rhyme scheme: a,a,b,b;c,c,d,d;…until the final stanza which then is back to a,a,b,b. This combined with the symbols that is partially submerged in the depths of metaphysics is enough to create the entire poem into an irony of the Tyger’s symmetry, an interesting and clever means of conveying a thought by means of an antithetical parallelism.

The form is possibly a pseudo-form, a form that belies having a shape of a certain type, like an amoeba; but if this Tyger is a shape-shifting entity, how is it that it possesses symmetry? It is symmetry because it is all asymmetrical; every guise is the form of the same form, only in a different time and place, which are treated perfectly symmetrical, because the laws of the Beast and the laws of the universe cannot be changed out for convenience nor can they change in time. These things are as they were wrought in the First Firsts: “What immortal hand or eye/Could frame thy fearful symmetry?” (3-4). Also, to tie things closer, the old fashion of writing made it sound as “eye” in symmetry, a statement which could have been intended for the perceptions of a man to see it all as the same thing. Nevertheless, the case is that the meaning is essentially the complementation of both these understandings into one whole. One more connection is that of numbers; twenty-four, the lines and the number of hours in a day, given once more that at all times the fire of the Tyger’s eyes blaze with the same unmistakable wrath.

“What the hammer? What the chain?/In what furnace was thy brain?” (13-14). There is so much sustenance in these fourteen syllables; there is a great deal of metaphoric contemplation to be done. First of all, the hammer, an age old symbol for creation, for the forming of metalwork in flames, is to imply that there is need of employment of skill to create this carnal image. To juxtapose it to a chain could mean worlds, it implies the need of slaves, or that god was destined and compelled to fashion it, bound by steel chains leading through time imposing the necessity in the future for the machinations of hate and evil to be operating. Who was it that could have forged the mind from the flames that encapsulate the essence of his being, keeping in mind that the mystical number seven is the premier of the stanza? Also, it would seem that it implies more than any symbol to say “what” as in the truth that there was no such sites for the creation of demons and especially their king, that it would take a forge of power greater than that of evil, or to turn evil into a means to form unto it a figure worthy of representing the basis of its existence: fire, pure, unadulterated, destructive and yet alive.

There is one greater thing left: “Tyger! Tyger! burning bright/in the forests of the night,/ What immortal hand or eye/Dare frame thy fearful symmetry?” (21-24). There is a specific inclination in the poem, to spend all day in the furnace, all night in the forest, that it progresses on the axis of twenty four increments, a six part program, in the first and last hours straight in the night, ending back to essentially the same spot in the earliest hours or lines in the poem, thus the day night consideration. Also, the day is equated with a furnace, perhaps the sun itself, a common symbol for the sovereignty of god, while the direct focus on the darkness is to draw out the fire within the Tyger, he who ravages the forest of life. The world lies in wait at night, asleep until the coming of day, while those who live elsewhere, in the realm of the Tyger, are all awake at night, when the brilliance of the master they choose to serve is most apparent. Both of these contrasts which have been unspoken and interwoven serve to create the illusion of the symmetry of the day, ruled by the sun, and the night, the time when the hunters and deceivers are fully at work, the cogs in their mental machines operating. The forest is in fact the only living image, an oddity which is only been made obvious at night, a specific parallelism with the bleak outlook of the day which is supposedly a means of perpetuating the night, instead of the night being a means to perpetuate the day through sleep. The overall picture is that the differences are in fact similarities, and that evil operates at all times, in all ages, because the light is a compliment and supplement to the darkness. Is it so that he feels that god is a supplement to Satan, and vice versa? It is all in the symmetry of the worlds.

*

As I previously made note, happiness could most likely be added to the fantasy section of the bookstore, because it is so unlikely and melodramatic to have a “happily ever after” {ok, resuming interruptions}. It saddens me to agree with those who would do this, but reality, and all that comes with it, is my territory of

 

Advertisements
This entry was posted in Uncategorized. Bookmark the permalink.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s