Tagged: magic

Edgar Allan Poe and Evocation of Anchors in Poetry

The Bells

by Edgar Allan Poe

 

[01:56] <@MadQueen> <.<
[01:56] <@MadQueen> >.>
[01:56] <@MadQueen>  HEAR the sledges with the bells –
[01:56] <@MadQueen>                      Silver bells !
[01:56] <@MadQueen> What a world of merriment their melody foretells !
[01:56] <@MadQueen>           How they tinkle, tinkle, tinkle,
[01:56] <@MadQueen>                 In the icy air of night !
[01:56] <@MadQueen>           While the stars that oversprinkle
[01:56] <@MadQueen>           All the heavens, seem to twinkle
[01:56] <@MadQueen>                 With a crystalline delight ;
[01:56] <@MadQueen>              Keeping time, time, time,
[01:56] <@MadQueen>              In a sort of Runic rhyme,
[01:56] <@MadQueen> To the tintinnabulation that so musically wells
[01:56] <@MadQueen>       From the bells, bells, bells, bells,
[01:56] <@MadQueen>                      Bells, bells, bells –
[01:56] <@MadQueen>    From the jingling and the tinkling of the bells.
[01:56] <@MadQueen>   Hear the mellow wedding bells
[01:56] <@MadQueen>                      Golden bells!
[01:56] <@MadQueen> What a world of happiness their harmony foretells !
[01:56] <@MadQueen>           Through the balmy air of night
[01:56] <@MadQueen>           How they ring out their delight !
[01:56] <@MadQueen>                 From the molten-golden notes,
[01:56] <@MadQueen>                      And all in tune,
[01:56] <@MadQueen>                 What a liquid ditty floats
[01:56] <@MadQueen>       To the turtle-dove that listens, while she gloats
[01:56] <@MadQueen>                      On the moon !
[01:56] <@MadQueen>              Oh, from out the sounding cells,
[01:56] <@MadQueen> What a gush of euphony voluminously wells !
[01:56] <@MadQueen>                      How it swells !
[01:56] <@MadQueen>                     How it dwells
[01:56] <@MadQueen>                 On the Future ! how it tells
[01:56] <@MadQueen>                 Of the rapture that impels
[01:56] <@MadQueen>              To the swinging and the ringing
[01:56] <@MadQueen>                 Of the bells, bells, bells,
[01:56] <@MadQueen>      Of the bells, bells, bells, bells,
[01:56] <@MadQueen>                      Bells, bells, bells –
[01:56] <@MadQueen>     To the rhyming and the chiming of the bells !
[01:56] <@MadQueen>  Hear the loud alarum bells –
[01:56] <@MadQueen>                           Brazen bells !
[01:56] <@MadQueen>  What tale of terror, now, their turbulency tells !
[01:56] <@MadQueen>            In the startled ear of night
[01:56] <@MadQueen>            How they scream out their affright !
[01:56] <@MadQueen>                 Too much horrified to speak,
[01:56] <@MadQueen>                 They can only shriek, shriek,
[01:56] <@MadQueen>                           Out of tune,
[01:56] <@MadQueen>  In a clamorous appealing to the mercy of the fire,
[01:56] <@MadQueen>  In a mad expostulation with the deaf and frantic fire,
[01:56] <@MadQueen>                    Leaping higher, higher, higher,
[01:56] <@MadQueen>                    With a desperate desire,
[01:56] <@MadQueen>                 And a resolute endeavor
[01:56] <@MadQueen>                 Now — now to sit or never,
[01:56] <@MadQueen>            By the side of the pale-faced moon.
[01:56] <@MadQueen>                    Oh, the bells, bells, bells !
[01:56] <@MadQueen>                    What a tale their terror tells
[01:56] <@MadQueen>                           Of Despair !
[01:56] <@MadQueen>         How they clang, and clash, and roar !
[01:56] <@MadQueen>         What a horror they outpour
[01:56] <@MadQueen>  On the bosom of the palpitating air !
[01:56] <@MadQueen>            Yet the ear, it fully knows,
[01:56] <@MadQueen>                  By the twanging,
[01:56] <@MadQueen>                  And the clanging,
[01:56] <@MadQueen>              How the danger ebbs and flows ;
[01:56] <@MadQueen>         Yet, the ear distinctly tells,
[01:56] <@MadQueen>               In the jangling,
[01:56] <@MadQueen>               And the wrangling,
[01:56] <@MadQueen>         How the danger sinks and swells,
[01:56] <@MadQueen>  By the sinking or the swelling in the anger of the bells –
[01:56] <@MadQueen>                    Of the bells –
[01:56] <@MadQueen>        Of the bells, bells, bells, bells,
[01:56] <@MadQueen>               Bells, bells, bells –
[01:56] <@MadQueen>     In the clamour and the clangour of the bells !
[01:56] <@MadQueen>     Hear the tolling of the bells –
[01:56] <@MadQueen>                       Iron bells !
[01:56] <@MadQueen>  What a world of solemn thought their monody compels !
[01:56] <@MadQueen>         In the silence of the night,
[01:56] <@MadQueen>         How we shiver with affright
[01:56] <@MadQueen>      At the melancholy meaning of their tone !
[01:56] <@MadQueen>             For every sound that floats
[01:56] <@MadQueen>              From the rust within their throats
[01:56] <@MadQueen>                     Is a groan.
[01:56] <@MadQueen>             And the people — ah, the people –
[01:56] <@MadQueen>             They that dwell up in the steeple,
[01:56] <@MadQueen>                   All alone,
[01:56] <@MadQueen>            And who, tolling, tolling, tolling,
[01:56] <@MadQueen>                 In that muffled monotone,
[01:56] <@MadQueen>             Feel a glory in so rolling
[01:56] <@MadQueen>                 On the human heart a stone –
[01:56] <@MadQueen>       They are neither man nor woman –
[01:56] <@MadQueen>       They are neither brute nor human –
[01:56] <@MadQueen>                    They are Ghouls: –
[01:56] <@MadQueen>             And their king it is who tolls ;
[01:56] <@MadQueen>             And he rolls, rolls, rolls, rolls,
[01:56] <@MadQueen>                      Rolls
[01:56] <@MadQueen>                 A pæan from the bells !
[01:56] <@MadQueen>             And his merry bosom swells
[01:56] <@MadQueen>                 With the pæan of the bells !
[01:56] <@MadQueen>             And he dances, and he yells ;
[01:56] <@MadQueen>        Keeping time, time, time,
[01:56] <@MadQueen>        In a sort of Runic rhyme,
[01:56] <@MadQueen>                 To the pæan of the bells –
[01:56] <@MadQueen>                     Of the bells :
[01:56] <@MadQueen>        Keeping time, time, time,
[01:56] <@MadQueen>        In a sort of Runic rhyme,
[01:56] <@MadQueen>                 To the throbbing of the bells –
[01:56] <@MadQueen>              Of the bells, bells, bells –
[01:56] <@MadQueen>                  To the sobbing of the bells ;
[01:56] <@MadQueen>         Keeping time, time, time,
[01:56] <@MadQueen>             As he knells, knells, knells,
[01:56] <@MadQueen>         In a happy Runic rhyme,
[01:56] <@MadQueen>                  To the rolling of the bells –
[01:56] <@MadQueen>              Of the bells, bells, bells –
[01:56] <@MadQueen>                  To the tolling of the bells,
[01:56] <@MadQueen>        Of the bells, bells, bells, bells –
[01:56] <@MadQueen>                      Bells, bells, bells –
[01:56] <@MadQueen>     To the moaning and the groaning of the bells.

 

This poem is one of my absolute favorite examples of beautifully executed iambic pentameter.  It evokes emotions with not only with the descriptions but also with the overall sounds of the vowels, and words used to make those descriptions. They have been programmed in layers since birth from everyday life and interaction with society. The poet sees the layers and will utilize as many as possible concurrently.

These are the tools a poet needs to perform an anchor evocation.

  • The “feel” of words.
  • Their definitions.
  • The theatrical presentation and conveyance of the message.

These things all help to illicit responses responses in the reader predicted by probability and anchored by previously experienced emotions.  Using sound is a subtle way of affecting  the reader and  getting the subconscious reaction the author intends. When this is used in tune with the words chosen it’s a powerful evocative of a magical act; combining conscious and subconscious layers of effect and consensual culturally ingrained symbolism.

An example in The Bells by Edgar Allan Poe is the sprialing change of tone and feeling  from”light and merry” to ”dark and terrifying” at the end.  The use of wording such as “the tintinnabulation that so musically wells” is a stark contrast to “what a world of solemn thought their monody compels”.

This is direct conscious manipulation of basic minor emotional anchors.

To add to the power of of its delivery the indentations and offset of the above text was done purposely in an attempt to match the way Poe originally wrote it. There is debate among scholars as to what, if any, importance this may have. However most will agree that the undulations of words create a unique form and face to the poem.

Forms, shapes, patterns and outlines can all illicit an almost intuitive response by a programmed reaction. It seems the shape of the poem is to assist with the overall “falling” theme synthesized on multiple levels and layers within the piece.

 

Fare thee well wordslingers. And we are well met

 

pom pic

The Pomegranate Prophesies

As a Gift to you Dear Reader, The PostHyperMeta Cabal has decided to Give out The Pomegranate Prophesies COPY LEFT and TOTALLY FREE this Chaoflux 2012 in honor of the Late Eris Nancy Discordia (may she rest in peace). This Book has been in the works for well over a year and contains over 300 pages of Absurdist Magic Written by Rev. Billy F. Sasquatch with Glorious Contributions By:

Rev. MadQueen, Rev. Akana Shadowfyre, Rev. Lewis Carpathia, Doktor Metis O’Bedlam, Seth Moris, Thee Vicar Ov Tzeentch, Rev. Kiki, Ave Cthonos, Nyte, Vectress Ouroboros Ov the Qao, Monsignor Feldspar Ov Void, Alejandrew “Puffin” Paparox, Hokurai, Nylus, Beck Beckerton, and some random Discordians.

Funktastic Cover Illustration by Doktor Metis O’Bedlam

It has been a long road to this point and it has been a labor of love.

Enjoy:

http://www.scribd.com/doc/82132897/The-Pomegranate-Prophecies

looking glass layout

Looking Glass Tarot Layout

The Looking Glass layout was developed based on a traditional three card layout, including a draw for past, present and future aspects of a situation.

This is a linked layout developed specifically for two separate readers to do in unison, each reader taking a different perspective of the reading.

One reader will read for the “Action” side of the question; action representing outside forces, environment, and manifestation of will, both the querents and opposing influences.

The other reader draws on the “Emotional” side of the situation. Reflecting the inner state of the querent that lead to the correlative action, the emotional crescendos reached in the past, present and future of the layout.

Although based on a three card layout reading, four cards are drawn.The past and present are both single card draws, the outcome however, is a two card draw. In the sequence the third card is the cause for outcome, or the catalyst that leads to the predicted answer. This serves as a guide to what state, being it internal or external, can change the current present of the situation. The future is not set it is fluid and changeable. Having the cause of outcome is a useful tool as it can be a marker as to how to bring forth or change the predicted future.

Linking between readers is an important part of this reading, through the looking glass of sight the link is made so the emotional aspects will reflect the action aspects and visa-versa. The synchronicity of the reading is shown in these reflections. Good linking methods to employ are things like direct energy linking, synchronized music listened to by both parties, beginning shuffling the cards at the same time, focus on the issue at hand. When doing tarot I first get myself in a state of gnosis and visualize activating the chakras with focus on the throat charka for communication, the third eye for sight and the crown for connection with divine intelligence. You can play with different linking methods to strengthen the link between readers, but we have found that simply focusing on the issue and small tangible synchronizations are effective. This layout can be used by any two tarot readers.

Little_Red_by_God_X

The Little Red God

One of my fav. poems ive used it as a chant to boost my self worth and confidence, and have plans for proper invocation/evocation of “the little red god” in the near future, which the results of will be posted in the forums.

The Little Red God

Here’s a little red song to the god of guts,
Who dwells in palaces, brothels, huts;
The little Red God with the craw of grit;
The god who never learned how to quit;
He is neither a fool with a frozen smile,
Or sad old toad in a cask of bile;
He can dance with a shoe-nail in his heel
And never a sign of his pain reveal;
He can hold a mob with an empty gun
And turn a tragedy into fun;
Kill a man in a flash, a breath,
Or snatch a friend from the claws of death;
Swallow the pill of assured defeat
And plan attack in his slow retreat;
Spin the wheel till the numbers dance
And bit his thumb at the god of Chance;
Drink straight water with whisky-soaks,
Or call for liquor with temperance folks;
Tearless stand at the graven stone,
Yet weep in the silence of night, alone;
Worship a sweet, white virgin’s glove,
Or teach a courtesan how to love;
Dare the dullness of fireside bliss,
Or stake his soul for a wanton’s kiss;
Blind his soul to a woman’s eyes
When she says she loves and he knows she lies;
Shovel dung in the city mart
To earn a crust for his chosen art;
Build where the builders all have failed,
And sail the seas that no man has sailed;
Run a tunnel or dam a stream,
Or damn the men who finance the dream;
Tell a pal what his work is worth,
Though he lose his last, best friend on earth;
Lend the critical monkey-elf
A razor — hoping he’ll kill himself;
Wear the garments he likes to wear,
Never dreaming that people stare;
Go to church if his conscience wills,
Or find his own — in the far, blue hills.

He is kind and gentle, or harsh and gruff;
He is tender as love — or he’s rawhide tough;
A rough-necked rider in spurs and chaps,
Or well-groomed son of the town — perhaps;
And this is the little Red God I sing,
Who cares not a wallop for anything
That walks or gallops, that crawls or struts,
No matter how clothed — if it hasn’t got guts.

– Unknown