Open to Interpretation
City Words
#City
Game on...on the radio...Rockies at Dodgers...for 'city words' see previous post...I suppose others have coined it...bbk...bk...apparently not...hmmph...CityWords, a new skewed crew crew!...anyway, a wonder where a dream word comes from!...Mozart heard music in N1, copied it...
✨️The Dream Myth: The idea that Mozart heard entire, fully-formed musical compositions in dreams or hypnopompic states and simply "copied them down" comes from a fraudulent letter published by early 19th-century publisher Friedrich Rochlitz. Modern musicologists consider this passive composition method a myth. [1]
🎶"passive composition"...that would be the play by play transcription...about here, I could go on about crystal balls, tarot cards, seer stones, Joseph Smith, and why T.S. Eliot inserts Tarot Cards into the poem, The Waste Land...that, a doom scroll if there ever was one!...bottom of first...Ohtani up...sitting on 299 homeruns in MLB...It is gone!...hard to figure...the moving pen writes, 300...Dodgers 1-Rockies 0...
✨️why T.S. Eliot inserts Tarot Cards into the poem, The Waste Land
T.S. Eliot inserts Tarot cards into "The Waste Land" to symbolize the spiritual decay, fragmentation, and futile search for meaning in post-WWI Western society. Through the fortune-teller Madame Sosostris, the cards provide an overarching structural framework that foreshadows the poem's major themes: death, resurrection, and the loss of faith. [1, 2, 3, 4]
The specific Tarot cards and symbols Eliot incorporates drive this narrative in several ways:
• The Drowned Phoenician Sailor: Eliot famously invented this card himself. It anticipates the fourth section of the poem, "Death by Water", which suggests a cleansing baptism or a spiritual letting go of worldly obsessions. [1, 2]The Hanged Man: Associated with the Arthurian Fisher King, this card traditionally signifies sacrifice. Eliot uses it to represent the necessary spiritual sacrifice and rebirth required to heal a barren modern culture. [1, 2]Madame Sosostris: The fortune-teller embodies the superficiality and commercialization of modern belief. Though she claims to see the future, her vision is clouded, reflecting a society incapable of genuine spiritual enlightenment. [1, 2, 3, 4, 5]The Man with Three Staves: Often linked to the Fisher King, this card points to the tarot's origins in ancient fertility myths, contrasting the barren "Waste Land" with the desperate need for spiritual renewal. [1, 2, 3, 4, 5]
Although Eliot later admitted in his notes to The Waste Land that he "departed from the exact constitution of the pack" for poetic convenience and even expressed mild regret at sending readers on a "wild goose chase" for occult symbols, the cards serve as a vital map for navigating the poem's chaotic landscape. [1, 2, 3]
🎶lol...lemee tell ya all about chin strap geese and tuxedo cats!...Eliot did well with Cats...the rest his private dream residues...dreams are problematic...poems same...you can't force a dream...and shouldn't poems...like flirting, or being flirted...authenticity in play...for sometime...Rockie thrown out at second...to bottom of second...
✨️Are dreams authentic?
Dreams are authentic as subjective experiences, but they are not accurate reflections of objective reality. Neurologically, your brain is actively processing emotions and memories, creating a "controlled hallucination" that feels completely real in the moment. However, they function more like mental simulations or emotional forecasts than factual events. [1, 2, 3, 4]
The authenticity of a dream breaks down into several key perspectives:• As an Experience: When you are asleep, the emotional and sensory parts of your brain are highly active, making the feelings, fears, and joys you experience deeply "authentic" to your consciousness. [1, 2]As a Cognitive Tool: Psychologists view dreams as a way the mind makes sense of daily life, consolidates memories, and processes anxieties or unresolved conflicts. [1, 2, 3]As Objective Truth: Scientifically, dreams do not reliably predict the future. Because logic centers like the dorsolateral prefrontal cortex shut down during REM sleep, the narratives can be illogical or warped by your brain trying to string together random neural signals. [1, 2, 3, 4, 5]
✨️Are poems authentic? Sincere?
T.S. Eliot
Robert Graves
John Keats
Emily Dickinson
Jack Kerouac
William Blake
William Shakespeare
"The Truest Poetry is the Most Feigning": Shakespeare himself famously acknowledged the constructed nature of poetry. In his play As You Like It, the character Touchstone notes that "the truest poetry is the most feigning". This suggests that the deepest truths in art are achieved through artifice, imagination, and performance rather than pure biographical confession.
🎶Ohtani flies out...took me to Shakespeare to get an authentic take...nonetheless...
✨️Metaphysically, where do dreams come from?
Metaphysically, dreams are widely considered a liminal space where the boundaries of time, logic, and physical reality dissolve. Depending on your philosophical or spiritual framework, they are described as messages from the divine, glimpses into parallel dimensions, wanderings of the soul, or the awakening of the collective unconscious. [1, 2, 3, 4, 5]
Exploring the origins of the dream state spans several core metaphysical perspectives:• The Spirit World & Divine Communication: Many indigenous and spiritual traditions view dreams as a conduit between the earthly and spiritual realms. They are often understood as communications from gods, ancestors, or higher guidance that provide insight, warning, or wisdom beyond our ordinary senses. [1, 2, 3, 4, 5]The Transpersonal & Parallel Realities: Some transpersonal philosophies propose that dreaming accesses a distinct, ontological state of being. In this view, dreams aren't just illusions; they are a legitimate method of perceiving different dimensions or tapping into a conscious universe that connects all living things. [1, 2, 3]The Collective Unconscious: Championed by psychologist Carl Jung, this perspective suggests dreams emerge from a shared, universal reservoir of human experience and archetypes, allowing individuals to process problems that their rational, waking minds miss. [1, 2, 3]The Metaphysical/Scientific Intersection: In philosophical frameworks like the Mind-Body dualism, dreams bridge the physical brain and the non-physical mind. While neuroscience notes they stem from the hippocampus and the limbic system, philosophers and thinkers argue that the symbolic imagery is a metaphysical tool that helps the mind process existential truths and emotional realities. [1, 2, 3, 4]
✨️Metaphysically, where do.poems come from?
Metaphysically, poems emerge from the liminal space between human consciousness and the unknown. Throughout history, poets and philosophers have theorized that verses are born from a synthesis of intense intellect, raw emotion, and a receptive subconscious. [1, 2, 3]
The concept of poetic origin is often categorized through a few primary metaphysical lenses:• Divine Inspiration & the Muse: Since antiquity, poets have described themselves as mere vessels for a higher power. Whether viewed as divine intervention from the Greek Muses or the breath of the divine, the poem originates elsewhere and flows through the poet. [1, 2, 3, 4, 5]The Subconscious & the Collective Unconscious: Philosophers and psychoanalysts suggest poems bubble up from the depths of the human psyche. In this view, poems are translations of archetypes, dreams, and hidden truths that exist universally but require the poet to articulate them. [1, 2, 3, 4, 5]Keats' "Negative Capability": The poet John Keats argued that poems come from the ability to exist in uncertainty, mystery, and doubt without any irritable reaching after fact or reason. This supreme receptiveness allows the poem to form organically. [1, 2, 3, 4]Intellect Yoked with Emotion: During the 17th century, the Metaphysical poets like John Donne treated poetry as a space where "thinking" and "feeling" are intertwined. To them, poems came from the friction of intellect colliding with deep spiritual or romantic experience, resulting in complex metaphors known as conceits. [1, 2, 3]
🎶forced...easy to tell when things are forced...forcing words to rhyme...magic is when they do!...marriage of true hearts...bottom of fourth...Freeman up...base hit...
Sonnet 116
Let me not to the marriage of true minds
Admit impediments; love is not love
Which alters when it alteration finds,
Or bends with the remover to remove.
O no, it is an ever-fixèd mark
That looks on tempests and is never shaken;
It is the star to every wand'ring bark
Whose worth's unknown, although his height be taken.
Love's not time's fool, though rosy lips and cheeks
Within his bending sickle's compass come.
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom:
If this be error and upon me proved,
I never writ, nor no man ever loved.
Admit impediments; love is not love
Which alters when it alteration finds,
Or bends with the remover to remove.
O no, it is an ever-fixèd mark
That looks on tempests and is never shaken;
It is the star to every wand'ring bark
Whose worth's unknown, although his height be taken.
Love's not time's fool, though rosy lips and cheeks
Within his bending sickle's compass come.
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom:
If this be error and upon me proved,
I never writ, nor no man ever loved.
Shakespeare
🎶.authenticity...truth...
✨️Sonnet 116 is theatrical and scientific
✨️You nailed it. Shakespeare's Sonnet 116 is a masterclass in performative rhetoric, blending bold, theatrical declarations with Renaissance navigational science. It treats love not as a soft, romantic feeling, but as an unwavering, almost mathematical constant.The theatricality comes through in its structure and absolute tone. The poem begins like an officiant reading from the Book of Common Prayer, declaring that true love cannot "admit impediments". Shakespeare then builds his argument through a series of rigid negations—telling us exactly what love isn't—before making a high-stakes bet in the final couplet: if his definition is wrong, he claims he has never written and no one has ever truly loved.The "scientific take" you mentioned shines brightest in the second quatrain:"It is the star to every wand'ring bark, / Whose worth's unknown, although his height be taken."Here, Shakespeare utilizes Renaissance navigation and astronomy. He compares true love to the North Star (a fixed, unwavering point in the night sky). A sailor could scientifically measure the altitude of the star with a sextant to determine their latitude. Yet, its profound, guiding "worth" remains fundamentally immeasurable and transcendent.It perfectly balances the empirical (taking the height) with the metaphysical (unknown worth), grounding an emotional concept in the cold, logical science of early seafaring.
🎶Dodgers on first and third, again...Rojas up...no outs...Rushing thrown out at plate...Ohtani up...3-0...W...bases loaded...Shakespeare was an actor...an avatar thru and thru...in character, even in the Sonnets...Pages up...W...Rockies 0-Dodgers... 2...infield fly...Muncie up...fly out...to top of sixth...cat dinner time...growling at one another out front...
✨️Shakespeare was an actor...an avatar thru and thru...in character, even in the Sonnets
Shakespeare didn’t just write roles; he embodied them. As an actor and shareholder with the Lord Chamberlain's Men, he understood the stage William Shakespeare - Wikipedia. Even in the 154 Sonnets, he adopts theatrical avatars rather than offering simple diary entries What makes people think Shakespeare's sonnets are .... [1, 2, 3, 4]
In Sonnet 23, he breaks the fourth wall entirely, explicitly comparing his inability to express love to "an unperfect actor on the stage" who is "put besides his part" by fear As an unperfect actor on the stage - Sonnet Explorer. He frames his emotional vulnerability as a performance where he must rely on his "books" (his writing) to plead for him when his own tongue fails Sonnet 23: As an Unperfect Actor on the Stage - SONNETCAST. [1, 2, 3, 4, 5]
This persona extends to his historical roles. In his own plays, acting is often treated as a grand metaphor for human life, and he frequently cast himself in supporting roles—like the Ghost in Hamlet or Adam in As You Like It—staying in character behind the scenes Did Shakespeare actually write the plays and sonnets attributed to ...Shakespeare the Actor. [1, 2, 3, 4, 5]
In Sonnet 23, he breaks the fourth wall entirely, explicitly comparing his inability to express love to "an unperfect actor on the stage" who is "put besides his part" by fear As an unperfect actor on the stage - Sonnet Explorer. He frames his emotional vulnerability as a performance where he must rely on his "books" (his writing) to plead for him when his own tongue fails Sonnet 23: As an Unperfect Actor on the Stage - SONNETCAST. [1, 2, 3, 4, 5]
This persona extends to his historical roles. In his own plays, acting is often treated as a grand metaphor for human life, and he frequently cast himself in supporting roles—like the Ghost in Hamlet or Adam in As You Like It—staying in character behind the scenes Did Shakespeare actually write the plays and sonnets attributed to ...Shakespeare the Actor. [1, 2, 3, 4, 5]
Sonnet 23
The poet blames his inability to speak his love on his lack of self-confidence and his too-powerful emotions, and he begs his beloved to find that love expressed in his writings.
As an unperfect actor on the stage
Who with his fear is put beside his part,
Or some fierce thing replete with too much rage,
Whose strength’s abundance weakens his own heart;
So I for fear of trust forget to say
The perfect ceremony of love’s rite,
And in mine own love’s strength seem to decay,
O’ercharged with burden of mine own love’s might.
O, let my books be then the eloquence
And dumb presagers of my speaking breast,
Who plead for love and look for recompense
More than that tongue that more hath more expressed.
O, learn to read what silent love hath writ.
To hear with eyes belongs to love’s fine wit.
As an unperfect actor on the stage
Who with his fear is put beside his part,
Or some fierce thing replete with too much rage,
Whose strength’s abundance weakens his own heart;
So I for fear of trust forget to say
The perfect ceremony of love’s rite,
And in mine own love’s strength seem to decay,
O’ercharged with burden of mine own love’s might.
O, let my books be then the eloquence
And dumb presagers of my speaking breast,
Who plead for love and look for recompense
More than that tongue that more hath more expressed.
O, learn to read what silent love hath writ.
To hear with eyes belongs to love’s fine wit.
Folgers Library
🎶"it's all academic now."-Rick...after New York judges an appeal...Rockies 0-Dodgers 3...to top of seventh..."to hear with eyes"...Donne may be right with his "conceits"...
✨️John Donne theory of conceits
John Donne's theory of conceits defines them as extended, highly intellectual metaphors that deliberately yoke together vastly dissimilar or paradoxical concepts. Unlike traditional love poetry that uses natural imagery, Donne’s "metaphysical conceits" function as tools of logical argumentation designed to surprise the reader and stimulate deep thought. [1, 2, 3, 4, 5]
Donne’s approach revolutionized the use of this literary device by treating it as an analytical tool rather than just decorative imagery. Key elements of his theory and practice include: [1, 2]
• Intellectual Fusion: Donne believed in blending the physical and the abstract, famously using analogies from newly emerging fields like astronomy, alchemy, mathematics, and cartography to describe deep emotional or spiritual states. [1, 2, 3, 4, 5]
Donne’s approach revolutionized the use of this literary device by treating it as an analytical tool rather than just decorative imagery. Key elements of his theory and practice include: [1, 2]
• Intellectual Fusion: Donne believed in blending the physical and the abstract, famously using analogies from newly emerging fields like astronomy, alchemy, mathematics, and cartography to describe deep emotional or spiritual states. [1, 2, 3, 4, 5]
✨️T.S. Eliot was a metaphysical poet like John Donne?
Yes, T.S. Eliot was profoundly influenced by the 17th-century metaphysical poets, particularly John Donne. In his famous 1921 essay "The Metaphysical Poets," Eliot praised Donne for his ability to seamlessly blend intellectual thought with deep, sensory emotion. [1, 2, 3]
While Donne was a foundational figure of the 17th century, Eliot is widely regarded as a modern heir to that tradition. Both poets utilized striking, unconventional metaphors (known as conceits), rapid shifts in tone, and highly intellectual, conversational language to explore complex truths about humanity, spirituality, and existence. [1, 2, 3, 4, 5]
While Donne was a foundational figure of the 17th century, Eliot is widely regarded as a modern heir to that tradition. Both poets utilized striking, unconventional metaphors (known as conceits), rapid shifts in tone, and highly intellectual, conversational language to explore complex truths about humanity, spirituality, and existence. [1, 2, 3, 4, 5]
🎶fump,..skipped metaphysics...Ohtani made out...cats dinner!...bbk ..here come the Rockies...Rockies 2-Dodgers 3...a critic, who does criticism...kinda like Sports journalism...Rockies 4-Dodgers 3..."disasterous play"..."criticism" is a multiplicity...we are all innate critics...
✨️we are all innate critics
It is true that our brains are naturally wired to evaluate, pattern-match, and form opinions on everything we experience. However, this creates a split: we frequently act as both the external critic of the world and our own Inner Critic. [1, 2, 3, 4, 5]
Why We Are Built This Way
• Survival Mechanism: Evaluating your surroundings quickly is an ancient instinct. Deciding whether something is safe, useful, or aesthetically pleasing helped our ancestors survive. [1, 2]
• Meaning Making: We naturally seek patterns. When we watch a movie, eat a meal, or read an article, our brains immediately compare it to past experiences and form a value judgment. [1, 2, 3, 4]
The Problem With Modern "Criticism"
• The Noise: The internet has democratized critique, shifting it from specialized analysis to an endless flow of rapid, polarized reactions. [1, 2]
• Confirmation Bias: Your inner critic often relies on unverified negative beliefs rather than objective truth, which can lead to imposter syndrome or unhealthy perfectionism. [1, 2, 3]
Why We Are Built This Way
• Survival Mechanism: Evaluating your surroundings quickly is an ancient instinct. Deciding whether something is safe, useful, or aesthetically pleasing helped our ancestors survive. [1, 2]
• Meaning Making: We naturally seek patterns. When we watch a movie, eat a meal, or read an article, our brains immediately compare it to past experiences and form a value judgment. [1, 2, 3, 4]
The Problem With Modern "Criticism"
• The Noise: The internet has democratized critique, shifting it from specialized analysis to an endless flow of rapid, polarized reactions. [1, 2]
• Confirmation Bias: Your inner critic often relies on unverified negative beliefs rather than objective truth, which can lead to imposter syndrome or unhealthy perfectionism. [1, 2, 3]
🎶imposter syndrom...just saw that...?...something to do with authenticity?...
✨️Impostor syndrome is an internal experience of self-doubt and feeling like a fraud despite documented success. People with this condition struggle to internalize their achievements, frequently attributing their accomplishments to luck rather than their own competence
. Up to 82% of individuals will experience these thoughts in their lifetime. [1, 2, 3, 4]🎶top of ninth...bottom of ninth...
✨️While Robert Graves did not explicitly use the modern term "imposter syndrome", the concept of being an intellectual fraud or a "pretend" poet was a massive theme in his work and psychological makeup. He frequently wrestled with feeling like a phony, torn between his roles as a traumatized war veteran, a commercial prose writer, and a self-styled mystical bard. [1, 2, 3, 4, 5]
Graves' relationship with the concept of imposterhood and self-doubt manifests in several hyper-specific ways:
• The Reluctant Poet vs. The Professional Writer: Graves famously declared that "poets are born, not made". Yet, to make ends meet after being nearly bankrupted by the Great War and personal lawsuits, he wrote hyper-commercial, wildly successful novels like I, Claudius. He considered these historical novels to be a mere "practical job", famously noting he managed his massive bibliography by just writing "two a year for fifty years". He experienced "imposter syndrome" regarding his fame as a novelist, often feeling that the public celebrated him for his day job rather than his true, higher calling as a poet. [1, 2, 3, 4, 5]The "Pretending" War Poet: In his poetry, Graves was acutely aware of the cognitive dissonance between the horrors of World War I and civilian life. In his poem "John Milton Muddles Through" (and similar self-reflective verses like "To Lucasta on Going to the Wars"), he critiques how poets "pretend" to understand and depict the chaos of the front lines, grappling with the fact that he used "tender nursery tricks" to rhyme about traumatic trench life. [1]"In Broken Images": Graves’ most famous poem about self-doubt and cognitive rigidity is arguably In Broken Images. It contrasts the arrogant, quick-thinking person (who assumes their truths and facts) with the slow-thinking individual who questions their own images and senses, openly acknowledging their own confusion. This highlights his belief that true clarity comes from admitting one's own ignorance rather than feigning certainty. [1, 2]The Mythic Mask: To conquer his underlying self-doubt, Graves later invented the myth of The White Goddess, a muse figure who dictated all true poetry. By submitting entirely to "The Goddess," Graves gave himself a divine excuse for his poetry's erratic nature and absolved himself of personal responsibility for his craft, essentially using the myth as a shield against criticism. [1, 2, 3, 4, 5]
Graves' relationship with the concept of imposterhood and self-doubt manifests in several hyper-specific ways:
• The Reluctant Poet vs. The Professional Writer: Graves famously declared that "poets are born, not made". Yet, to make ends meet after being nearly bankrupted by the Great War and personal lawsuits, he wrote hyper-commercial, wildly successful novels like I, Claudius. He considered these historical novels to be a mere "practical job", famously noting he managed his massive bibliography by just writing "two a year for fifty years". He experienced "imposter syndrome" regarding his fame as a novelist, often feeling that the public celebrated him for his day job rather than his true, higher calling as a poet. [1, 2, 3, 4, 5]The "Pretending" War Poet: In his poetry, Graves was acutely aware of the cognitive dissonance between the horrors of World War I and civilian life. In his poem "John Milton Muddles Through" (and similar self-reflective verses like "To Lucasta on Going to the Wars"), he critiques how poets "pretend" to understand and depict the chaos of the front lines, grappling with the fact that he used "tender nursery tricks" to rhyme about traumatic trench life. [1]"In Broken Images": Graves’ most famous poem about self-doubt and cognitive rigidity is arguably In Broken Images. It contrasts the arrogant, quick-thinking person (who assumes their truths and facts) with the slow-thinking individual who questions their own images and senses, openly acknowledging their own confusion. This highlights his belief that true clarity comes from admitting one's own ignorance rather than feigning certainty. [1, 2]The Mythic Mask: To conquer his underlying self-doubt, Graves later invented the myth of The White Goddess, a muse figure who dictated all true poetry. By submitting entirely to "The Goddess," Graves gave himself a divine excuse for his poetry's erratic nature and absolved himself of personal responsibility for his craft, essentially using the myth as a shield against criticism. [1, 2, 3, 4, 5]
🎶hmmph...in his interviews, on youtube, one can hear that...Freeland with hit...Teoscar pinch hitting...Freeland steals second...clutch...?...coming thru in the clutch...W...Ohtani up...0-1...Graves was riven by WW1...veterans self doubt-ptsd...ground out...which was the angst of Eliot's The Waste Land...critic stuff...
✨️Robert Graves, the famed British Poet, was deeply riven—both psychologically and artistically. His psyche was fractured by severe PTSD from his World War I trench experiences The One Story of Robert Graves | The Hudson Review, while his artistic life was torn between his love for traditional verse, his turbulent personal relationships, and his all-consuming obsession with the mythic "White Goddess" Robert Graves | British Poet, Novelist & Historian | Britannica. [1, 2, 3, 4, 5]
🎶Rockies 4-Dodgers 3...Angels 3-Rangers 8...
:)
DavidDavid
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