"grapple them to thy soule, with hoopes of steele"
hamlet again on the night of a total lunar eclipse, gracefully, and also the title of my friends page, a change enacted nearly a fortnight ago.
he surprised himself by a sudden impulse to write poetry—he did so sometimes, loose, galloping octo-syllabics in the vein of scott—and when he had taken his place on a boulder, near some fairy falls and shaded by a whip of a tree that was already radiant with new leaves, it still more surprised him that he should have nothing to write. his heart perhaps beat in time to some vast indwelling rhythm of the universe.
in your public life...
words that embody your presence are "purgatory."
words that embody things that may be a part of you are "affair, alien, camera, coin, demand, dream, duke, globe, home, joke, key, king, lock."
in your private life...
words that embody your presence are "circus, copper, crown, hermit, hunger, invader, nation, number, obelisk, pulse, sacrifice, sound, stone."
words that embody the people or things that you interact with are "drama, hell."
words that embody people or things in your periphery are "anonymity, exhaustion, satisfaction, syzygy."
the card on the far left represents the fourfold or mystical vision: still viewing through the previous three, we now add a spiritual element, revealing unseen aspects of the object. the moon, when reversed: clarity, control and peace in troublesome times. increased psychic abilities. temptations, small problems and minor setbacks overcome. the dawning of a new day.
a man was hanged by the neck until he was dead.
"whence do you come?" saint peter asked when the man presented himself at the gate of heaven.
"from california," replied the applicant.
"enter, my son, enter; you bring joyous tidings."
when the man had vanished inside, saint peter took his memorandum- tablet and made the following entry:
"february 16, 1893. california occupied by the christians."
in the case of the drama, things are a little better: the theatre-going public like the obvious, it is true, but they do not like the tedious; and burlesque and farcical comedy, the two most popular forms, are distinct forms of art. delightful work may be produced under burlesque and farcical conditions, and in work of this kind the artist in england is allowed very great freedom. it is when one comes to the higher forms of the drama that the result of popular control is seen. the one thing that the public dislike is novelty. any attempt to extend the subject-matter of art is extremely distasteful to the public.