Thursday, 17 July 2014

Alive ! She Cried......... Jim Morrison The Call Of A Distressed Prayer "...& Two Years Have Gone By...."Reminiscing lines from Orange County Suite "...& The People Who Laughed & Made Her Poor Heart Ache" From The Sisyphean Damnation To The Aquarian Dream

A feast of friends
Alive ! She cried
Wating for me outside...

She looked so sad in sleep
Like a friendly hand
Just out of reach
A candle stranded on a beach
When the sun sinks low

An H-bomb in reverse


Well, this is an essay i am attempting to contemplate upon the past events which resurface through the sands of time. "One must imagine Sisyphus happy..." as the French Absurdist Albert Camus says..."the struggle itself towards the heights is enough to fill a man's heart..." while looking through the Kafkaesque view or simply as the ordeals of a higher aspiration...i feel the road for Sisyphus never ends... i mean its beyond the weariness of relentless labour which apparently seems pointless and unfruitful, but i guess its the persevered attempts and his perpective journey is what matters, the story of Sisyphus, his rise as the founder King of Corinth, his hubris and fall to the damnation of Gods transfigures him as an embodiment of the evolutionary nature of man. His back and forth strife may evolute the seed of wisdom involuted in him. The boulder rock may seem the gift of strength, tenacity and endurance- a karmic purgation, a purgatorio.In a Shamanistic way the ordeal may be a boon...who knows as Sisyphus learns? Evolves? Evolutes? A higher dream in the eyes of the Gods? The myth of Sisyphus-the road way to the Aquarian dream. Aquarius-the symbol of transition. A representation of the New Age, and a proposition of love transcending towards an open order of poetry, emotions, expressions beyond mere words, a phase of traquility an embodiment of eternal peace. The need for change and an ascension to higher planes & realms beyond human imagination to end this suffering once and for all....its the road to the valley,the open fields,& the pastoral, where we live happily ever after....where you are happy to be together....really happy to be together...
Below are references from the lines of Jim's ballad Orange County Suite-a perfect embodiment of an aquarian dream, along with his piano compositions the song and its lyrical version of the poem depicts a dream like journey reminiscing various moods, intuitively mystical with a happy note of togetherness

Orange County Suite

Well i used to know someone fair
She had orange ribbons in her hair
She was such a trip
she was hardly there
But i loved her
still the same

There was rain in our wibdow
The FM set was ragged
But she could talk, yeah,
We learned to speak
& one year has
Gone by
Such long long road to seek it
& all we did was break it & freak it
We had all
That lovers ever had
We just blew it
& i'm not sad
Well i'm mad
& i'm bad
& two years
have gone by

Now her world was bright orange
& the fire glowed......

Yeah, we broke thru the window
Yeah, we knocked on the door
Her phone would not answer
Yeah, but she's still home

Now her father has passed over
& her sister is a star
& her mother smokes diamonds
& she sleeps out in the car
Yeah, but she remembers Chicago
The musicians and guitars
& the grass by the lake
& the people who laughed
& made her poor her ache

Now we live down in the valley
We work in the farm
We climb up to the mountains
& everything's fine
& i'm still here
& you're still there
We'er still around

Friday, 20 June 2014

The Bohemianism Of Fin De Siecle -"Things are beautiful to behold but to be them is quite different" From The One Single True Word: Of Rimbaud To Jim Morrison's Wilderness Symbolism

"I shed more tears than God could have required..
Idle youth enslaved to everything; by being too sensitive i have wasted my life.....
Ah, let the time come when hearts are enamoured
I said to myself: Let be, And let no one see you: Do without the promise of higher joys. Let nothing delay you, majestic retirement......
I'm now making myself as scummy as i can. Why? I want to be a poet. And I'm working at turning myself into a seer. You wont understand any of this, and I'm almost incapable of explaining it to you. The idea is to reach the unknown by the derangement of all the senses. It involves enormous suffering but one must be strong and be born a poet, its really not my fault.
I say that one must be a seer, make oneself a seer. The poet makes himself a seer by a long, prodigious,and rational disordering of all the senses. Every form of love, of suffering, of madness; he reaches himself, he consumes all the poisons in him and keeps only their quintessences. This is an unspeakable torture during which he needs all his faith and superhuman strength, and during which he becomes the great patient, the great criminal, the great accursed- the great learned one!-among men.- For he arrives at the unknown! Because he has cultivated his own soul-which was rich to begin with-more than any other man! He reaches the unknown; and even if, crazed, he ends up losing the understanding of his visions, at least he has seen them! Let him die charging those unutterable, unnameable things; other horrible workers will come: they will begin from the horizons from where he has succumbed!

One Single True Word is : Come Back, I want to be with you, I love you . If you listen to this you will prove your courage and sincerity. Otherwise,  I am sorry for you but I love you I kiss you and we'll see each other again....-Rimbaud    
                  A SEASON IN HELL
    Delirium II Alchemy Of The Word

                       It is recovered.
                      What?- Eternity
                   In the whirling light 
                   Of the sun in the sea.

                    O my eternal soul,
                   Hold fast on desire
                   In spite of the night 
                   And the day on fire.

             You must set yourself free
             From the striving of Man 
         And the applause of the World
              You must fly as you can...

                                           -No hope forever
                                                No oriteur
                                         Science and patience
 The torment is sure.

The fire within you
Soft silken embers
Is our whole duty
But no one remembers.

It is recovered.
What? -Eternity
In the whirling light 
Of the sun in the sea.


"I am a slave of my baptism, parents you have caused my misfortune, and you have caused your own"-Rimbaud

The Fin de siecle, saw a revolutionary transformation in the genre of poetics, art and music with the onset of the Symbolic movement. French writers and stalwarts were floored with the use of symbolisms in their poetic artforms. By the likes of Paul Verlain, Stéphanie Mallarme, Arthur Rimbaud, Jules Laforgue, Paul Velary, etc...symbolism became the dawn of the New Age...

Although synonymous yet distinctly different rose the decadent movement and its laurels. Identifying with hermeticism alingned with the tint of Byronic Romanticism, it used precieux (precious), ornamental and morbid subjects. Thematically, the decadents underlined the common yet unconscious historical background of the decadence of the Roman Empire, being expressed through individual motifs and personal expressions. One such example can be traced in Paul Verlain's Langueur from Jadis et Naguere
"I am the Empire, at the end of decadence, who watches the large, white barbarians passing, while composing lazy acrostic poems in a gilded style, in which the languor of the sun dances."


As Jean Moreas puts it, symbolism meant "to clothe the Ideal in a perceptible form". In other words, symbolism is an indirect expression of the inner condition of the Poet's soul and his subjective impression and experiences, penned down in symbols through words. A self-motivated artform, the concept arises from the Poet's epiphany or a moment of immense self realisation, a spiritual hallucination, or through excesses of emotive sensations (synesthesia). The idea emerged in 1857 with the publication of Charles Baudelaire's Les Fleurs du Mal along with the subtle literary legacy of Edgar Allan Poe who in turn had influenced Baudelaire.

As published on 18th September 1886 in his essay Le Manifeste du Symbolisme in Le Figaro, Moreas writes
"In this art, scenes from nature, human activities, and all other real world phenomena will not be described for their own sake; here they are perceptible surfaces created to represent their esoteric affinities with the primordial ideals."

Hence by reference to symbols, allegories and metaphors, the aim was to evoke rather than describe or express. Where the depiction of reality and transcendence projected a spiritual hallucination, unnamed thoughts, unwordly feelings, strange sensations and a weird combination of words whose meaning lied at depth beyond the logical decipher of mere words. Where the Poet became a Schopenhauerian Genius swirling his magic wand among his readers transporting them to a hypnotic, silent esoteric realm used as a microcosmic camouflage of the macrocosmic truth. As Rimbaud himself puts it in The Alchemy Of Words....
"I dreamt of crusades, voyages of discovery that nobody had heard of, republics without histories, religious wars stamped out, revolutions in morals, movements of races and continents.  I used to believe in every kind of magic.
I invented colours for vowels A black, E white, I red, O green, U blue- I made the rules for the form and movement of every consonant, i boasted of inventing rhythms from within me a kind of poetry that all the senses, sooner or later, would recognize. And i alone would be its translator. It began as an investigation, i turned silences and nights into words, what was unutterable, i wrote down. I made the whirling world stand still."


Josephine Peladan, the founder of the Mystic Order Of The Rose+Croix influenced by the medieval secret society of Rosicrusians, an active occultist himself, was highly regarded among the finest admirers of the symbolist movement. He promoted the Symbolists by establishing a state of the art Salon De La +Croix with the six galleries of exihibition space featuring avant garde experimentalism in poetry, arts and music. The elites and stalwarts of Symbolist poetry were associated with the Salon's much known public acclaim.


"Genius is the recollection of childhood at will..."  -Rimbaud.

The essence of symbolism reached its peak in 1884 with the publication of Paul Verlain's essay on Poetes Maudits or The Accursed Poets including Arthur Rimbaud, Stephane Mallarme, Tristan Corbiere, Marceline Desbordes Valmore, Gerad de Nerval and Verlain himself as Pauvre Lelian or Poor Lelain. Based on the victimization of these poets by their talents as an affect of their sensibility -a gift of their art, he claimed them as cursed with their own Geniuses. The idea was based on the aesthetics of Schopenhauer and Charles Baudelaire's poem Bénédiction in Les Fleurs Du Mal

"When by the decree of the supreme powers
The Poet appears in this world bored..."

...Be Blessed, my God, who us suffering
As a divine remedy of our impurities
And as the best and purest essence,
Who prepares the strong for holy pleasures! I know you keep a place in Poet, in the blessed ranks of the holy legions, and you invite him to the eternal feast of Thrones, Virtues, Dominions...."

Where Baudelaire describes the unaffected demeanor of the Poet retaining his inner peace and serenity, irrespective of the nuances of the outer world.

As stated by Schopenhauer "...Only through the pure contemplation....which becomes entirely absorbed in the object....are the Ideas comprehended; and the nature of Genius consists precisely in the preeminent ability for such contemplation.... This demands a complete forgetting of our own person."



"Things are certainly beautiful to behold but to be them is quite different...."

As Schopenhauer states The World As Will And Representation, in accordance to his doctrine of the Primacy of Will, he segregates the dual entities of representation and human will. The belief in the world as artistic representation negates the suffering of the world as the malignant human will. Thereby, art as an representation temporarily escapes the desires, depravation, grim and desolate realities of human will. Hence, emerging as the Plationic Ideal, Art performs the highest ritual of mental purgation escaping the mind to a silent state of self reality beyond the world of striving will. As he states, "On the occurence of an aesthetic appreciation, the will thereby vanishes entirely from the consciousness...." in Schopenhaeur's Parerga and Parilipomena. The Symbolists befitted idea, and adopted it as one of the priciple grounds of Symbolist poetry.

"Perhaps the reason why common objects in still life seem so transfigured and generally everything painted appears in a supernatural light is that we then no longer look at things in the flux of time and in the relation of cause and effect.....On the contrary we are snatched out of that eternal flux of all things and removed into a dead and silent eternity. In its individuality the thing itself was determined by time and by the (causal) conditions of understanding; here we see this connection abolished and only the Platonic Idea is left." - Schopenhauer.


A prized possesion for the Symbolists, it meant a unique amalgation of the sensory organs. The symbols co related with certain distinct visual imagery like colours (Chromesthesia), auditory (sounds) gustatory (tastes) and olfactory (scents) senses etc which can be well noted in this example of Baudelaire's Correspondences

"There perfumes that are fresh like children's flesh,
Sweet like oboes, grean like meadow
And others corrupt, rich and triumphant
Having the exanspiveness of the infinite things
Like amber, musc, benzoin, incenses
Which sing of the raptures of the soul and the senses."

And Rimbaud's Voyelles

A, black, E white, I red, O green , U blue: vowels
I shall tell, one day, of your mystic origins
A, black velvety jacket of brilliant flies
which buzz around cruel smells.
Gulf of shadows; E, whiteness of vapours and of tents
Lances of proud glaciers, white kings, shiverings of cow parsley
I, purples, spat blood, smile of beautiful lips
In anger or in the raptures of penitence

U, waves, divine, shuddering of viridian seas
The peace of pastures dotted with animals, the peace of the furrows
Which alchemy prints on broad studious foreheads
O, sublime Trumpet full of strange piercing sounds
Silences crossed by worlds and by angels
O, the omega, the violet rays of her eyes


The symbolists heralded Theophile Gautier's motto - L'art Pour L'art (Art for Art's Sake) The slogan depicting the radicalism of the French revolution the Bohemianism of Fin De Siecle and its libertine social setting. Where the concept of art was seen as an autotelic - self sufficient work of human talent and consciousness, complete in itself without the need of any moral conjecture or societal norms. The idea suggested in defiance of didatic utilitarianism, insisting that the artist possesed absolute freedom in expression of beyond any moral judgement or function as the value of art stood for art itself . The best explanation of this idea could be found in the work of Edgar Allan Poe, the most influential figure in the birth of symbolism, much admired by Charles Baudelaire.

According to Poe in his 1850 essay The Poetic Principle

"We have taken it into our heads that to write a poem simply for the poem's sake......and to acknowledge such to have been our design, would be to confess ourselves radically wanting in the true poetic dignity and force:-but the simple fact is that we permit ourselves to look into our own souls we should immediately there discover that under the sun there neither exists nor can exist any other work more thoroughly dignified, supremely noble, than this very poem, this poem per se, this poem which is a poem and nothing more, this poem written solely for the poem's sake."


I have streched ropes from steeple to steeple;
Garlands from window to window;
Golden chains from stars to stars,
And i dance.

  Rimbaud's drawing
Laitou (Roches) (Canton d' Attigny) May 73
Dear friend, you see my existence
O Nature, My mother!
O nature, my sister!
O nature my aunt.
Letter to Ernest Delahaye in May 1873.

A protégé, a poet with the most rebellious and restless soul searching for the unknown. Earning the reputation of an archetypal enfant terrible yet subtle sensitive at heart. He truly invented his world as expressed in his Letters of a Seer Letters du voyant. He became what he proclaimed leaving a legacy to future Surrealists, Dadaists and future Poets whose masterpieces and inventive thoughts yet remain indebted to Rimbaud, as his contemporary Paul Velary states -" all known literature is written in the language of common sense-except Rimbaud's ". Following are few of his creations......

My mind turned sour. I bid farewell to the world in poems ssomething like ballads

The Song From The Highest Tower

Let it come let it come
The season we can love

I have waited so long
That at length i forget;
And leave unto heaven
My fear and regret
A sick thirst darkens my viens

Let it come let it come
The season we can love

So the green fields
To oblivion falls,
Overgrown, flowering
With incense and weeds
And the cruel noise
Of dirty flies

Let it come let it come
The season we can love

The Sleeper In The Valley

IItis a green hollow where a river sings
Hanging madly her herbal rags
Silver where the sun
The proud mountain shines

A young soldier open mouthed bare headed
With the nape of his neck bathed in cool blue cresses
Sleeps; she is streched out on the grass, under the sky,
Pale on his green bed where light falls like rain

His feet in the yellow flags, he lies sleeping. Smiling like
A sick child smile, he is having a nap
Cradle him warmly, Nature:he is cold

No odour makes his nostrils quiver,
He sleeps in the sun with, his hand on his chest
Tranquil, At peace. There are two red holes in his right side.


Highly inspired by Rimbaud, the young poet. Jim's lines frame themselves to tell a story....

 I am Rimbaud in a leather jacket.

France is 1st, Nogales round up
Cross over the border
Land of eternal adolescence
Quality of despair
Unmatched anywhere on the perimeter
Message from the outskirts
Calling us home
This the private space of
a new order. We need saviours
To help us survive the journey.
Now who will come.
Now hear this:
We have started the crossing
Who knows? it may end badly.

The actors are assembled
Immediately they become enchanted
I, for one, am in esctasy enthralled
Can convince you to smile?

To speak to the heart
& give the great gift

Could any hell be horrible
More than now and real.

Princess osorrow
Dancing wings of envy
Call me tommorrow

In that year we had a great visitation of energy

Back in those days everything
Was simpler & more confused

I can only smile & fix a meal
& think about the child
Who will one day own you
                                                  -Jim Morrison

Aspiring Jim's poems, I wish to write a series of Symbolist poetry dedicated to Him. In future i might publish them in this blog or launch a kindle edition. Those who delighted can surely read..

Saturday, 7 June 2014

In The Cherry Blossom's Shade, There's No Such Thing As A Stranger....From The Zen Art Of Haiku To The Beat Counterculture, Influences On Psychedelic Rock & Poetics-Jim Morrison

In The Cherry Blossom's Shade,
There's No Such Thing
As A Stranger

                  - Issa

Im troubled immeasurably by your eyes
Struck by the feather of your soft reply
The sound of glass speaks quick disdain
And conceals what your eyes fight to explain.
                                           -Jim Morrison


A form of Japanese short poetry, known as Hokku, was later renamed Haiku by the 19 th century stalwart Zen poet Masaoka Shiki. Traditionally Haiku consists of 17 syllables known as on or morae usually divided into three phrases of 5, 7 and 5 written in a vertical single line in Japanese whereas when translated in English it is written in three parallel lines to facilitate its division into the three subsequent phrases.
Haiku is known for a Kireji or its cutting word which acts as a medium to conjoin the two juxtaposed imageries. The word acts as the connective link differentiating between the two distinct impressions. Generally choosing the beauty of nature as a subject to project its simple naturalness juxtaposed with imageries of daily life brings forth a poignant experience or a moment of awakening.

A Haiku also consists of kigo or seasonal references, metaphors and allusions usually derived from saijiki an account of extensively researched array of such referential words.

In summation, a Zen Haiku as i call it, reflects a moment of naturalness or an Epiphany depicted through simple lines.

Following is the world's most well known haiku
Basho's Old Pond

Old Pond
A frog leaps in
Water's sound.

The four stalwarts of Zen poetry and Haiku as the impressionistic subjective artform.

Another year is gone
A traveler's shade on my head
Straw sandals at my feet- Basho

The greatest Haiku poet of all times, Matsuo Basho is known for his simple lyricism, his journey onto the northern wilderness, reflection of his extensive travels, excellence in the art of linking Haikai verses and his lucid depictions of the surrounding outer world and its impressions in his inner mind. The West's fascination with Haiku and its subjective simplicity projected Basho as an archetypal Zen poet and Haiku as the ideal form of Japanese poetry.

Outliving them
Outliving them all
Ah the cold.....-Issa

Struck by life's experience, poverty and hard times made Kobiyashi Issa, the Buddhist priest of Jodu Sinshu or Pure Land Buddhism (also known as Shin Buddhism) the most humane Zen Poet with his Haikus reflecting irony juxtaposed with time and nature.

This dewdrop world
Is a dewdrop world
And yet and yet...

Trusting the Buddha (Amida), good and bad
I bid farewell
To the departing year- Issa
Idolizing Matsuo Basho came Yosa Buson the third stalwart painter poet of the Edo period . Learning the art of poesy under the tutelage of the Haikai master Hayano Haijin, Buson travelled and wrote extensively. Inspired by Basho's travelogue Oku no Hisomichi or The Narrow Road To The Interior, Buson travelled to Northern Honshu and resumed poetry

In nooks and corners
Cold remains
Flowers of the plum-Buson

In the 19 th century, Masaoka Shiki embarked the reformation of the traditional Haiku and its waning popularity in the modern Meiji period. As a literary critic, Shiki helped in cutting a niche for Haiku in the literary circa considering it as a pivotal form of Japanese heritage and literature. His high regards for Haiku helped in its revival in the modern period with much ardent love and interest along with few cultural reforms in accordance with the changing times. As the influence of Western literature, inspired Shiki to incorporate realism in his Haiku's deviating from the traditional parameters of Haiku writing.

Following the Mahayana path, Zen Buddhism arrived in Japan via China spreading eastwards to Korea and southwards to Vietnam. Initiated by Boddhidharma of India it spread as Chan in China during the 6 th century. Hence, Zen Buddhism carried influences of Chinese Taoism and Confucianism. Emphasising Dhyana or Zazen (Meditative state) and discourses with a zen master as the methods of self-attainment, understanding the principle of 'suchness'-observing reality as it is, 'sunyata' -nothingness, along with the Boddhisattva ideals of insight and 'karuna' compassion.

Practiced at three different schools of Soto, Rinzai and Obaku, the doctrine of Zen preaches the prime ideal of self realisation, introspection, and a direct subjective experience of enlightenment or Sartori, de-mystifying the ardent chanting of sutras and ritual texts.

Japanese Zen became the most popular counterculture conversion during the beat generation in 1950s with post war American youths leading the zen way of life. Zen attracted its many followers due to its minimalistic nature, lack of stringent religious dogmas, along with a lot of importance to liberty, free-mind-space and the importance of subjective self realisation helping in alternate creative exploration of the time.

"One day i will find the right words, and they will be simple......"

Post world war II began a journey...a journey of American youth of the coming new generation renamed as the beat generation. Coined by Jack Kerouac in 1948 during his conversations with John Clellon Holmes, the term 'beat' meant beaten down by society on one hand along with beatific vision and beatitude of music on the other.The movement started as a opposition to authority, social conformity expressing liberty as its ideal along with freedom of speech, literature, poetry. With Buddhism at its helm, zen art and Haiku poetry became important sources of inspiration. As Kerouac writes

"I saw that my life was a vast glowing empty page and i could do anything i wanted........"


In the mid 1950s, the beats conjoined to form the avant garde alternate poetic movement in San Francisco owing to the growing alternate literary scene. Founded by Kenneth Rexroth, a second generation modernist and literary critic highly inspired by Japanese Haiku, along with the beats formed the nucleus of the West Coast wing of the movement. The infamous Six gallery reading of Ginsberg's Howl and other performances by the likes of Gary Synder, Philip Whalen, Michael McClure and was also fictionalized in the second chapter of Kerouac's The Dharma Bums.


The beatniks meant living life on your own terms and the people who envisaged this dream envisioned life beyond cross cultural barriers, beyond societal norms, beyond familiar ties, beyond an ordinary life.....The Ones embodying this spirit included Jack kerouac, Allen Ginsberg, William. S. Burroughs, Michael McClure, Neal Cassidy and Gary Synder. The beatnik life style along with the most influential and inspiring Beat Literature includes Jack Kerouac's On The Road, The Subterraneans, The Visions of Cody, Big Sur, Sartori in Paris, The Dharma Bums, etc.. Allen Ginsberg's Howl, Kaddish and other poems.


Apart from the Beatles, early Pink Floyd, Grateful Dead and Bob Dylan . The beat culture extensively influenced The Doors music as well . Jim's favourite being Kerouac's writings made him exclusively read, contemplate and write his own poetic compositions.


A barn
A cabin attic
Your own face mirrored in
The stationary window

White wings of rabbits
Grey velvet deer
The Canyon
The car, a craft wretched in

Sudden movements
& your past to warm you
In the Spiritless night

The lonely HWY
Cold hiker
Afraid of the wolves and his own shadow.

Saturday, 31 May 2014

A Penny For The Old Guy.......& Godheads Of The Little Mind-Jim Morrison's The Lords And The New Creatures

Sentence upon sentence
Words are healing

Words got me the wound
& will get me well

If you believe it


The end of the rainbow

Put all my screaming phantasies
Into one giant

Image of self -image-propagation
Image of elation

Limit 1st free

Image of Utopia
A slaughter of phantoms

Innocent guilty

The Human World
Bounded by words
& dust

Sweet soft & velvet

Medium trust.
                          - Jim Morrison


The blind clairvoyant of Thebes, Tiresias had the gift of foresight and prophecy bestowed by Zeus (The King Of the Gods). For seven years he was transformed into a woman by Hera and blinded by Athena. The Prophet of Apollo and the son of Everes and Chariclo, Tiresias prophesied for the seven generations at Thebes also being a personal advisor to the Phoenician prince Cadmus.
He also appears to Odysseus in the book XI of Odyssey and is associated with Thebes legendary history.

Tiresias's oracular powers were invoked by the following methods
By hearing and interpreting a birdsong as he had been bestowed the power by Athena, the ability to decipher bird's decoded messages through thier songs.
Secondly, by invoking visions in the holy sacrificial smoke created by burnt offerings or by invoking and commincating with the spirits (nekyia).

Tiresias finds mention in an array from traditional to modernist literature including Ovid's Metamorphoses, Milton's Paradise Lost, Dante's Inferno, Sophocle's Oedipus The King and Antigone, Euripedes The Bacchae and The Phoenician Women, Lord Alfred Tennyson's poem Tiresias, Eliot's The Waste Land along with allusions in The Hollow Men.....

Thank You Oh Lord
For the white blind light
Thank You Oh Lord
For the white blind light
A city rises from the sea
I had a splitting headache
From which the future's made.....
                                            - Jim Morrison


Eliot's The Hollow Men derives its title by the combination of The Hollow Land, a romance by William Morris and The Broken Men a poem by Rudyard Kipling. The old guy (Fawkes) is the referenced to the ritual burning of the straw man effigy . Other references include the agrarian mythos of Frazer, the Lord's Prayer, Shakespeare's Julius Caesar and Joseph Conrad's An Outcast Of The Islands.

A penny for the old guy .....

Walking Alone
At the hour when we are trembling 
With tenderness 
Lips that would kiss 
Form prayers to broken stone......

Eyes that i dare not meet in dreams...
.....these do not appear
There, the eyes are
Sunlight on a broken column
There is a tree swinging
And voices are
In the wind's singing
More distant and more solemn
Than a fading star.....

The above lines are attributed to Beatrice in reference to her character depiction in Dante's The Divine Comedy.

Beatrice has been the subject of Dante's Platonic Love and ideation and had been modelled in many of his works including Dante's La Vita Nuova and The Divine Comedy with significant references in Paradiso and Purgatorio Cantos  where she serves as a guide, an incarnation of beatific love as her name implies, taking over Virgil (Dante's companion in Purgatorio) thereby leading Dante through the pathway to heaven or the beatific vision.

The Hollow Men marks the end of Eliot's Inferno post The Waste Land leading towards Purgatorio in Ash Wednesday.

Let me be no nearer...........

Behaving as the wind behaves
No nearer.........

Not that last meeting place.........

........The eyes are not here
There are no eyes here
In this valley of dying stars
In this hollow valley
This broken jaw of our lost kingdoms
Sightless, unless 
The eyes reappear
As the perpetual star
Multifoliate rose......

The only hope of empty men.....


The myth of the fisher king sprung from the roots of Celtic mythology. Among the King Arthurian legends the myth of the fisher king is associated with the Grail Legend along with arrival of Percival as the healer knight accompanied by Sir Galahad and Sir Bors.
In mythology, the fisher king is depicted as the forebearer or the keeper of the Holy Grail, who loses his potency by a inflicted injury. His impotence brings forth infertility in his kingdom, thus forcing him to strive on fishing in the river of his Corbenic castle until a magician, healer or a knight arrives in his land to cure him of the inflicted wound.
In other versions of the myth, the wounded king appears to be the father while the  task of fishing is undertaken by the son who is entitled as the fisher king. This account is echoed many times through the mythos of T.S. Eliot's The Waste Land.


This is the way the world ends 
This is the way the world ends
This is the way the world ends 
Not with a bang but with a whimper.

Celebrated on November 5th every year, the Guy Fawkes Day or rather the Guy Fawkes Night commemorates the failure of the Gunpowder plot of 1605 involving England's House Of Parliament capturing Fawkes a failed revolutionary and an arsonist. Ever since, the event is celebrated every year by lighting ritual bonfires setting ablaze straw man effigies of Fawkes as a mark of victory over conspiracy.


Eliot uses the imagery of an ironic juxtaposition of the hollow men and the children at play. The loss of innocence and the worship of false Gods. Dancing around the prickly pear, metaphors the loss of faith and childhood memories.

Here the stone images are raised 
Here they receive

................Here we go around the prickly pear 
Prickly pear prickly pear
Here we go around the prickly pear
At five o clock in the morning.............

In this last of meeting places
We grope together and avoid speech
Gathered on this beach of the tumid river


None of the old Things worked......

Stained eyes
You see time fly

The face changes as the heart beats
& breathes

We are not constant
We are an arrow in flight
The sum of the angles of change

An angel runs
Thru the sudden light
Thru the room
A ghost precedes us
Shadow follows us
And each time we stop
We fall


The end of the dream
will be
When it matters

All things lie
Buddha will forgive me
Buddha will

I can forgive
my injuries
in the name of

Sentence upon sentence
Words are healing

Words got me the wound
& will get me well

If you believe it

                               - Jim Morrison

Monday, 19 May 2014

A Year Of Cosmic Love & Fulfillment- Celebrating The Maiden Year Of Psychedelic Sutra: Jim Morrison & Monalisa

"Le coeur a ses raisons, que la raison  ne connait point........"

"The heart has its reasons, which reason does not know......."

                                                                       -Blaise Pascal

Ah, happy, happy boughs! that cannot shed
  Your leaves, nor ever bid the Spring adieu;
And, happy melodist, unwearièd,   
  For ever piping songs for ever new;
More happy love! more happy, happy love!                                                                             
  For ever warm and still to be enjoy'd,
    For ever panting, and for ever young;
All breathing human passion far above,
  That leaves a heart high-sorrowful and cloy'd,
    A burning forehead, and a parching tongue.  
Who are these coming to the sacrifice?

                                                                     - John Keats, Ode On A Grecian Urn

"For years i had awaited this dewy mist trickling from my eyes........"

                                                                     - Monalisa

It has been a year now since the inception of this blog......with its viewers all over the globe i feel elated at being able to communicate the truth unveiled by the relentless faith, devotion and most importantly love as Jim puts it, to bring forth among the world the REAL JIM MORRISON yet unknown to people....i hope my words echo in your hearts......\

To have just come wondering
if the world is real
it's sick to see the shape she's made of
What wandering lunacy have we soft created?
 Certain no one meant itsure someone started
 Where is he?Where is he or it when we need her?
 Where are you?In a flower?
To have just been born for beauty & see sadness
 What is this frail sickness? 
Plato hath expelled the poets since they instilled irrational emotions and fervour in people, reviving itself through Aristotle's In Defence Of Poesy - the irrationality of the Hyper Real comes alive through the words of what i call poetic Possibilities, since every word uttered in spacetime lattice bears an involuted potentia of physical manifestation or else the choice of remaining as a wave form in accordance to the quantum theory. Hence, poesy finds its complete orchestration, its self enactment in this world play as moving to and fro across the bubbles of higher existence.            -Monalisa 

 The following verses are tsaken from John Keats Ode To A Nightingale and Jim Morrison's Wilderness.....

 It was the greatest night of my life
Although i still had not found a wife
I had my friends right there beside me
Indians scattered on dawn's highway bleedin
Ghosts crowd the young child's fragile eggshell mind
We scaled the wall
We tripped thru the graveyard
Ancient shapes were all around us
No music but the wet grass
felt fresh beside the fog.
- Jim Morrison
"The weariness, the fever, and the fret       
Here, where men sit and hear each other groan;
Where palsy shakes a few, sad, last gray hairs,         
Where youth grows pale, and spectre-thin, and dies;               
Where but to think is to be full of sorrow 
And leaden-eyed despairs,         
Where Beauty cannot keep her lustrous eyes,            
Or new Love pine at them beyond to-morrow
Away! away! for I will fly to thee........"
Tis not through envy of thy happy lot 
But being too happy in thine happiness,—             
 That thou, light-winged Dryad of the trees                      
In some melodious plot      
Of beechen green, and shadows numberless,              
Singest of summer in full-throated ease."
- John Keats

Wednesday, 30 April 2014

The Archetypes Of Beauty: Plato, Carl Jung & Joseph Campbell The Poet As Its Beholder:Jim Morrison's Coming In The Present World

We live, We die & death NOT ends it......
Journey we more into the night the American Night ......
                                 THE CONNECTORS

What is Connection?
When two motions, thought to be infinite & mutually exclusive, meet at a moment
Of Time?
Time does not exist.
There is no time.

-Time is a straight plantation.  
                                         - Jim Morrison


Poetry in its innate form holds the highest potential of human expression and imagination. It could be defined as the medium to attain emotive perfection, a Cathartic purgation and over all an immaculate sense of cosmic harmony. As the notes on a guitar string or the keys of a piano that brings forth music to the ears, poetry and its rhythmic or non rhythmic words brings forth life to the soul. As Human existence would be meaningless in the absence of a Cosmic poet whom we address as the Divine creator or a Master architect similarly poetics in itself finds its highest recognition through the perception of beauty..... Deriving its flow through an underlying sense of beauty as its vortex point, thereby opening up all possibilities and potentialities within itself.
                                            - Monalisa


"Those who know, not only that the Everlasting lies in them, but that what they, and all things, really are is the Everlasting, dwell in the groves of the wish fulfilling trees, drink the brew of immortality, and listen everywhere to the unheard music of eternal concord."
                                                  - Campbell

Referrenced from the Jungian archetypes and the collective Unconscious to Arnold Von Geppe's Rites du passages including a detailed study of Frazer's Golden Bough to Ethnography and folklore alongwith influences from James Joyce's Ulysses and Finnegan's Wake comes forth Joseph Campbell's The Hero With A Thousand Faces enriched with the concept of monomyth a term borrowed from Joyce's Finnegan's Wake. Dealing with mythological accounts dating back to centuries across distant historical places weaving forth an inspirational journey,an adventure,a psychological insight and a spiritual quest that leads to A Becoming.

"The fantasy is a reassurance—promise that the peace of Paradise, which was known first within the mother womb, is not to be lost; that it supports the present and stands in the future as well as in the past (is omega as well as alpha); that though omnipotence may seem to be endangered by the threshold passages and life awakenings, protective power is always and ever present within or just behind the unfamiliar features of the world. One has only to know and trust, and the ageless guardians will appear. Having responded to his own call, and continuing to follow courageously as the consequences unfold, the hero finds all the forces of the unconscious at his side. Mother Nature herself supports the mighty task. And in so far as the hero's act coincides with that for which his society is ready, he seems to ride on the great rhythm of the historical process."
                                                                                                   - Campbell

"A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man."

Borrowed from Joyce's Finnegans Wake, the term monomyth is extensively used by Campbell to best describe the mythical voyage of the hero passing through different phases. The Hero's Journey in other words, the concept of monomyth is hence used to outline or highlight the synonymity of the classical myths to other myths or narratives varying from different source or ages sharing a similar pattern or plot structure. As Campbell discovers the underlying symmetry or the shared ideas following the same as if a part of a unified consciousness coming from different civilizations. Such synonymity can be traced in the stories of Buddha, Moses, Jesus, Prometheus, Osiris......following a similar lineage. Influenced by Ethnographer Arnold Van Geppe's Les Rites de Passage (The three stages of The Rites Of Passages) the fundamental stages in Campbell's monomythical narrative are classified into three structural sections respectively. First -Departure or Separation, secondly- the Quest or Initiation, leading to the third - Final Homecoming or Return.

"Freedom to pass back and forth across the world division, from the perspective of the apparitions of time to that of the causal deep and back—not contaminating the principles of the one with those of the other, yet permitting the mind to know the one by virtue of the other—is the talent of the master. The Cosmic Dancer, declares Nietzsche, does not rest heavily in a single spot, but gaily, lightly, turns and leaps from one position to another. It is possible to speak from only one point at a time, but that does not invalidate the insights of the rest. The individual, through prolonged psychological disciplines, gives up completely all attachment to his personal limitations, idiosyncrasies, hopes and fears, no longer resists the self-annihilation that is prerequisite to rebirth in the realization of truth, and so becomes ripe, at last, for the great at-one-ment. His personal ambitions being totally dissolved, he no longer tries to live but willingly relaxes to whatever may come to pass in him; he becomes, that is to say, an anonymity."


"It is not anywhere in another thing, as in an animal, or in earth, or in heaven, or in anything else, but itself by itself with itself,"
                                        - Plato Symposium of the Form of Beauty 

 Plato's the theory of ideas or the theory of Forms serves as a testimony for the existence of archetypes. According to the Platonic Ideation the real world which we sense is nothing more than a mere emulation or imitation of the reality which transcends us. The Platonic forms are in every sense real and more fundamental than the outer physical world of human imperfection which is born out of mimicking the Ideal Forms.
As Plato writes in his defence against Heraclitus' s concept of nothingness and flux in which there are no things to be known as they exist in a state of constant flux or flow and are ever changing whereas Platonic Ideals are unchangeable fundamental Forms...
"But if the very nature of knowledge changes, at the time when the change occurs there will be no knowledge, and, according to this view, there will be no one to know and nothing to be known: but if that which knows and that which is known exist ever, and the beautiful and the good and every other thing also exist, then I do not think that they can resemble a process of flux, as we were just now supposing.
Since these things are so, we must agree that that which keeps its own form unchangingly, which has not been brought into being and is not destroyed, which neither receives into itself anything else from anywhere else, nor itself enters into anything anywhere, is one thing."
                                                                      - Plato, Timaeus.


The Platonic Allegory Of The Cave can be considered as the best example to exemplify or substantiate the concept of Plato's Forms and Ideas. As the men locked inside a cave can only see and interpret hazy forms or shadows created on the cave walls by firelight rather than seeing the real objects or people outside. Thus, alike the perception of the cave men which thrives on to the Imprints of outside world without a glimpse of its reality similarly human perception can only intuit the Idealistic forms without really touching them or physically sensing them. Hence Platonic Ideals or Forms can be intuitively felt rather than physically sensed.


 "The archetype is the introspectively recognizable form of a priori psychic orderedness".
                                                    - Carl Jung

Termed as The Primordial Images by Jung borrowing from Swiss Historian Jacob Burckehardt, which he later developed to " The Dominants Of The Collective Unconscious" in 1917 finally using the term Archetypes in his 1919 essay ' Instinct And The Unconscious. As according to Jung, Archetypes are archaic universal patterns embedded in the deep layers of our unconscious mind transforming themselves when entering consciousness into certain idealistic forms or notions based upon our culture and upbringing. Hence, archetypes are subjective images of the Ideal latent in the collective unconsious. Thus, archetypal forms are often associated with Heroic forms as the Ideal Lover, Warrior, King, etc as discussesd in The Hero With A Thousand Faces . Whereas Jung's interpretation of archetypes goes beyond stereotypes to even realistic notions such the archetypes of Mother, Father, the Child, the Hermit or the wise old man, the Trickster, along with archetypal motifs such as the Apocalypse, Exodus, Deluge, or the Judgement Day.

Archetypes are essential form constructs of the unconsious lacking solidity and are more superfluous and ambiguous moreover a fuzzy ideation of some principles, they are metamorphosed into something more real and solid only once they find representation in the outer world or are manifested through art, music or poetics...
Rejecting the Tabula Rasa, Jung concludes that individuals are not born as empty systems which generate meaning and interpretations only through the interaction with the outer world. On the contrary, they at birth bear the psychic imprints of the archetypes predestined for them determining their behaviour, choices and preferences.
Jungian Archetypes are based on a detailed study of  Kantian forms, Platonic Ideas and Schopenhaeur's Prototypes. The Unus Mundus as Jung puts it, to describe the unified consciousness and a unitary nature underlying all phenomena including not only the human psyche and the collective unconscious but all matter and energy, influencing Nobel Lauréate Wolfgang Pauli and Astronomer Johannes Kepler as they held in following truth....

The absence of inert meaning and its abstract nature makes Archetypes a psychic embodiment of a higher truth and a underlying greater universal order.

Ending with the lines of Campbell.....

"The hero is the champion of things becoming, not of things become, because he is. 'Before Abraham was, I AM.' He does not mistake apparent changelessness in time for the permanence of Being, nor is he fearful of the next moment (or of the 'other thing'), as destroying the permanent with its change. 'Nothing retains its own form; but Nature, the greater renewer, ever makes up forms from forms. Be sure there's nothing perishes in the whole universe; it does but vary and renew its form.' Thus the next moment is permitted to come to pass."

Sunday, 20 April 2014

From The Romantics To The Natural Cycle Jim Morrison & Archetypes of the Unconscious

"The tree which moves some to tears of joy is in the eyes of others only a green thing that stands in the way. Some see nature all ridicule and deformity...some scarce see Nature at all. But, to the eyes of the man of imagination. Nature is imagination itself."

"To see a World in grain of sand
A Heaven in a wild flower,
Hold infinity in the palm of your hand
And Eternity in an hour."

                                         - William Blake, Auguries of Innocence


"For the human body is so designed by nature that the face, from the chin to the top of the forehead and the lowest roots of the hair, is a tenth part of the whole height;.............The other members, too, have their own symmetrical proportions, and it was by employing them that the famous painters and sculptors of antiquity attained to great and endless renown.
Similarly, in the members of a temple there ought to be the greatest harmony in the symmetrical relations of the different parts to the general magnitude of the whole." 
                                                       - Vitruvius, De Architectura (The Ten Books On Architecture) Book III Chapter I "On Symmetry: In Temples And In The Human Body."
Vitruvius believed in the human form as the ideal manifestation of nature providing the perfect proportions for the Classical architectural orders. Da Vinci's above sketch was in honour of the master architect. An epitome of depicting the micro-cosmic significance through the human body in reference to the macro-cosmic workings of the Cosmos can be traced to the underlying presence of a Divine symmetry or a Cosmic harmony so profound yet so subtle which entangles itself expressing through all forms of nature and life.
Jim's presence can be felt from the following lines. The first consecutive lines Not to touch the Earth - Not to see the sun is taken from one of his favourite book Frazer's The Golden Bough
And are titles of its sub chapters...

Not To Touch the Earth
Not to see the sun
Nothing left to do
But run run run
Let's run
Let's run

The house upon the hill
Moon is lying still
Shadows of the trees
Witnessing the wild breeze.....
Run with me
Let's run
Run with me
Run with me
Run with me
Let's run

.......We should see the gates by morning
We should be inside evening...

Sun sun sun
Burn burn burn
Moon moon moon
I will get you soon soon soon

Another Jim's favourite..........

"Tyger! Tyger! Burning bright
In the forests of the night,
What immortal hand or eye
Could frame thy fearful symmetry? "
                                      -William Blake, Songs Of Experience


The Fibonacci sequence in mathematical terms is derived following the integer sequence, starting from 0 or 1 it continues adding the two consecutive numbers deriving the third for example ( 0+1=1; 1+1=2; 1+2=3; 2+3=5; 3+5=8; 8+13=24;.....) resulting in the following sequence
0, 1, 1, 2, 3, 5, 8, 13, 24.......

The most intriguing and interesting presence of the Fibonacci sequence can be found in nature itself. As the Law of Nature binds itself within the resonance of the Fibonacci, sprouting from a leaf to 2 leaves then to 3 to 5 to 8 to 13 to on. From the petals of a yellow chamomile to an unfurling fern, from shells to earthworms and from a spiral galaxy to the human form all bear the Fibonacci number. Mysterious as it can be, nature sure knows its Adolf Zeisig puts forth
 in which is contained the ground-principle of all formative striving for beauty and completeness in the realms of both nature and art, and which permeates, as a paramount spiritual ideal, all structures, forms and proportions, whether cosmic or individual, organic or inorganic, acoustic or optical; which finds its fullest realization, however, in the human form.”


Above image showing the Fibonacci symmetry in a pink daisy.
The Divine Section or Sectio Divina in Latin or Sectio Aurea is the golden ratio occurs when two quantities share the same ratio as to the sum of both quantities shares to the larger quantity. For example if a> b then a:b=a+b:a  that leads the mathematical calculation to the
 Greek constant phi   φ =1+square root of 5/ 2= 1.6180339887....

where a+b/a=a/b= φ 

Architects and Artists like Le Corbusier or Dali used the golden section forming the golden rectangle to achieve artistic and aesthetic perfection

The Sacrament of the Last Supper by Dali also highlights the use of the Golden ratio. Inspired by Matila Ghyka (a Romanian Poet,Mathematician, Diplomat and Philosopher) Dali uses his canvas as a dodecahedron background with the sides and edges forming the golden ratio as depicted below.


Debussy's Reflets dans l'eau (Réflections in water) uses keys in the Fibonacci integer sequence of 38, 21, 13, 8 respectively with its musical climax reaching the phi or the Golden Ratio.


The spiral nebulae or Mollusks shells all grow to form the Golden spirals which are logarithmic in nature with their growth factor phi or the golden ratio. Hence when these structures be it spiralling galaxies or conch shells grow outward further from thee central point they make an unique sequence of the phi or the golden ratio to every quarter of their turn. Thus creating one of the most immaculate beautiful patterns in nature.

Sketch by Walter Russell, an American polymath.
Mandorla in Italian meaning the Almond and Vesica Piscis in Latin meaning the bladder of a fish is a very ancient esoteric sacred geometric symbol consisting of a pattern formed by two intersecting circles of the same radius adjoining at the perimeters with its circumferences passing through the center of the other circle forming an almond shape within. Since antiquity it has been associated with feminine forces of the World Mother, Mother Nature or the Mother Earth due to its nestling, nurture, fertility and protective aspects as all things are born and grow from the Mother.

The use of the Vesica shape can be traced back to antiquity as depicted below in a Manuscript Evangelistar Von Speyer Um 1220 in Badische Landesbibliothek Karlsruhe Germany Circa 1220  showing Christ in a Vesica shape surrounded by the four Evangelists represented by the four animal figures.

THE GOLDEN RATIO IN THE QUANTUM WORLD (Excerpts from an article released by Helmholtz Association Of German Research Centers)
In 2010, the Helmholtz Z Berlin Fur Materlien in association with Oxford and Bristol Universities and also Rutherford Appleton Laboratories found a discovery startling the world of science as we know it....
The quantum world detected for the first time a nano-scale hidden symmetry latent in the atomic structure of a cobalt niobate. This magnetic material was pushed to a quantum state of Uncertainty employing Heisenberg's Uncertainty Principle and the results were baffling human understanding...
Following is an excerpt from the article...

Prof. Alan Tennant, the leader of the Berlin group, explains "The system reaches a quantum uncertain – or a Schrödinger cat state. This is what we did in our experiments with cobalt niobate. We have tuned the system exactly in order to turn it quantum critical."

By tuning the system and artificially introducing more quantum uncertainty the researchers observed that the chain of atoms acts like a nanoscale guitar string. Dr. Radu Coldea from Oxford University, who is the principal author of the paper and drove the international project from its inception a decade ago until the present, explains: "Here the tension comes from the interaction between spins causing them to magnetically resonate. For these interactions we found a series (scale) of resonant notes: The first two notes show a perfect relationship with each other. Their frequencies (pitch) are in the ratio of 1.618…, which is the golden ratio famous from art and architecture." Radu Coldea is convinced that this is no coincidence. "It reflects a beautiful property of the quantum system – a hidden symmetry. Actually quite a special one called E8 by mathematicians, and this is its first observation in a material", he explains.


                                                        -Jim Morrison