NPPF: pie ala Maud, Keat's version

[Glenn Scheper]

> the last verse of "Ode on Melancholy" is worth a glance:

I recognize Keats is amongst my AF fellows. Oh, that was Yeats.
Well, lets see what I can read into Keats' _Ode on Melancholy_:

John Keats - Ode on Melancholy
http://www.englishhistory.net/keats/poetry/melan.html

01 No, no, go not to Lethe, neither twist
02 Wolf's-bane, tight-rooted, for its poisonous wine;
03 Nor suffer thy pale forehead to be kiss'd
04 By nightshade, ruby grape of Proserpine;
05 Make not your rosary of yew-berries,

 1-5 identify four poisons to avoid.  I suggest after
 seeing 6-8, these are four males types, paralleling
 the first four letters to males in _Revelation_.

06 Nor let the beetle, nor the death-moth be
07 Your mournful Psyche, nor the downy owl
08 A partner in your sorrow's mysteries;

 6-8 identify three partner types to avoid. I suggest
 they parallel three females of Rev's last letters.

 Beetle, moth, and owl have wings, which wings I say
 signify female labia: To wit: Rev's four beasts each
 have six wings before and behind, full of holes (i.e.,
 mouth and vagina). Isaiah's seraphim have two covering
 their face, two covering their feet, probable metaphor
 of genital, and two fly, i.e., stimulated to ejaculate.
 That is, Isaiah's seraphim are autocunnilingtrices (AC).

09 For shade to shade will come too drowsily,

 9 X-reflexive can be written X-to-X. Lord-of-Lords, etc.
 It will come too, drowsily, as if unexpected as a thief,
 only last, after the Cinderella or Narcissus has missed
 out on all more typical dyadic adulterations of the body.

10 And drown the wakeful anguish of the soul.

 The pre-metamorphosis fellow is quite the servant to his
 parents, and rule-bound generally, neurotic calculating
 machines without appropriate somatic stops and brakes.

11 But when the melancholy fit shall fall

 Melancholy is concommitant to AF/AC. Compare Millay's
 "I screamed, and--lo!--Infinity Came down and settled
 over me; Forced back my scream into my chest..." or
 Dickinson's "my strings are snaps", "blown to powder".

12 Sudden from heaven like a weeping cloud,

 Heaven is merely sky, but signals AF/AC because of the
 (I say typical) inverted discovery position, when Atlas
 shoulders the earth, genital overhead poetically put as
 bird, cloud, sun, sword, tree, forest; and female: tent.

13 That fosters the droop-headed flowers all,

 Droop-headed signals the requisite Cinerella humility,
 unassertiveness, avoidance requited to steer clearly
 through adolescence to the solitary mage's discovery.

 Flowers suggest to me humans; Fruit those transformed.

14 And hides the green hill in an April shroud;

 I've been working on Rev's term 'emerald' a long time.
 It is a rainbow (gk:iris) around the throne, a throne
 clearly pertains to AF/AC, so it could be eyesight or
 the mouth. Rev's fourth pale horse (and verge of AF)
 is gk:chloros, green, which may suggest unripe, virgin.

 Since this poem is more about AC than AF, see seraphim.

15 Then glut thy sorrow on a morning rose,

 Morning: Sun-rising, east, the ancient custom of facing
 east to identify compass point, with the AF/AC practice
 of rolling the legs up and over the head, relate AF to
 the transit of the Sun and all east and morning tropes.

 To glut is oral. Rose easily suggests a female genital.

16 Or on the rainbow of the salt sand-wave,

 A rainbow requires you are looking in the same direction
 as the sun's rays are pointing. Hence, if your face were
 the shining, the sun, then opposite you is the rainbow.

 The breakers suggest the overarching of AF/AC position.

17 Or on the wealth of globed peonies;

 In Rev., fullness and goldenness relate to ejaculation.
 < gk paionia, after paion, epithet of Apollo. Nuf said.

18 Or if thy mistress some rich anger shows,

 Thy mistress: reflexive. Rich: above. anger: Rev's term
 wrath is gk:urgy, near cognate of orgy, while orgasm is
 from a Sanskrit root for violence, urja.

19 Emprison her soft hand, and let her rave,

 Prisons contain, as can the mouth. Hand is documented
 as an ancient euphemism for genital. Raving suggests
 to me a speech act, as well as for being carried away.

20 And feed deep, deep upon her peerless eyes.

 Feeding is oral. The mouth is deep. The vagina is deep.
 You are feeding deep to deep. Eyes, gk:opthalmos can be
 just holes, even as in English, in the eye of a needle.
 Peerless: Eyes that cannot see / Excalibre, sui generis.

21 She dwells with Beauty - Beauty that must die;

 Let's waltz around my referents: From so much AF in the
 bible, I deduce technical Truth is found only in the
 self-reflexive speech act of AF. From Emily Dickinson,
 who compares herself, Beauty, lain dead next to Truth,
 a dead male who says, "We are the same", I see Beauty
 is in AC. And such is the enchantment, the in-singing.

 This is I suggest, the poetic death, that of PF L 131.

22 And Joy, whose hand is ever at his lips

 Joy, jouissance, ejaculation, hand:genital to mouth.

23 Bidding adieu; and aching Pleasure nigh,

 Calling-out, confessing, commanding to Come; God the
 word which is itself, AF/AC. Ache in a spine stretch?

24 Turning to poison while the bee-mouth sips:

 Like the worm entered the gourd that shaded Jonah,
 and turned it bad, making a metamorphosis of Jonah.

25 Ay, in the very temple of Delight

 Temple = mouth, place of praise. Praise is perfected
 in the mouths of babes and sucklings, fixing meaning.

26 Veil'd Melancholy has her sovran shrine,

 Veiled by the Shekhaina, labial tent over her face.
 Who else IS-there, there, that she is not sovereign?

27 Though seen of none save him whose strenuous tongue
28 Can burst Joy's grape against his palate fine;
29 His soul shall taste the sadness of her might,
30 And be among her cloudy trophies hung.

 I suggest 27-30 relate a comparable male, and that
 she is only detectible by others male or female who
 share in some univeral one-ness of a sanctification,
 the uncommonness of AF/AC. See Brann's Iconoclast:
 "and kiss the grape until its youthful sap changes"

 This is like Pynchon's Zoyd trying to scope out Frenesi
 in the next hotel room, but Zoyd's revealed failure in
 V belie's to me Pynchon's loss of faith in such tantric
 meditative watching.

 But enough of this poem. Give me another!
 
Yours truly,
Glenn Scheper
http://home.earthlink.net/~glenn_scheper/
glenn_scheper + at + earthlink.net
Copyleft(!) Forward freely.