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To fill a Gap
Insert the Thing that caused it -
Block it up
With Other - and 'twill yawn the more -
You cannot solder an Abyss
With Air.
(Emily Dickinson, c. 1862)
[it uses a distinction that other things I've read does not: these lyrics are marked by their use of synecdoche, where the part stands for the whole, and metonymy, where the images are narratively or associatively related rather than expressly compared.]
[there's also a whole lot of psychoanalytic interpretation stuff. amazing how much it looks like putting your brain into innuendo squad mode and layering on the psych talk about it.]
the point about the goblins is that they represent - whether consciously, unconsciously, or as a result of ambiguity - both real tempters of the other sex (i.e. males) and paranoid projections of temptation.
'On the Wing' (1862) Christina Rossetti
Once in a dream (for once I dreamed of you)
We stood together in an open field;
Above our heads two swift-winged pigeons wheeled,
Sporting at ease and courting in full view: -
When loftier still a broadening darkness flew,
Down-swooping, and a ravenous hawk revealed;
Too weak to fight, too fond to fly, they yield;
So farewell life and love and pleasures new.
Then as their plumes fell fluttering to the ground,
Their snow-white plumage flecked with crimson drops,
I wept, and thought I turned towards you to weep:
But you were gone; while rustling hedgerow tops
Bent in a wind which bore to me a sound
Of far-off piteous bleat of lambs and sheep.
[it looks more interesting on the page in the book, but LJ just makes everything line up straight anyways]
the speaker is careful not to confuse punishment (the loss of 'life and love and pleasures new') with guilt, which remains deliberately unassigned.
am collecting quite a few poems that seem interesting.
The fact that the vast majority of them seem interesting for reasons that somehow relate to Torchwood is just one aspect of the eternal mystery that is my mind.
Insert the Thing that caused it -
Block it up
With Other - and 'twill yawn the more -
You cannot solder an Abyss
With Air.
(Emily Dickinson, c. 1862)
[it uses a distinction that other things I've read does not: these lyrics are marked by their use of synecdoche, where the part stands for the whole, and metonymy, where the images are narratively or associatively related rather than expressly compared.]
[there's also a whole lot of psychoanalytic interpretation stuff. amazing how much it looks like putting your brain into innuendo squad mode and layering on the psych talk about it.]
the point about the goblins is that they represent - whether consciously, unconsciously, or as a result of ambiguity - both real tempters of the other sex (i.e. males) and paranoid projections of temptation.
'On the Wing' (1862) Christina Rossetti
Once in a dream (for once I dreamed of you)
We stood together in an open field;
Above our heads two swift-winged pigeons wheeled,
Sporting at ease and courting in full view: -
When loftier still a broadening darkness flew,
Down-swooping, and a ravenous hawk revealed;
Too weak to fight, too fond to fly, they yield;
So farewell life and love and pleasures new.
Then as their plumes fell fluttering to the ground,
Their snow-white plumage flecked with crimson drops,
I wept, and thought I turned towards you to weep:
But you were gone; while rustling hedgerow tops
Bent in a wind which bore to me a sound
Of far-off piteous bleat of lambs and sheep.
[it looks more interesting on the page in the book, but LJ just makes everything line up straight anyways]
the speaker is careful not to confuse punishment (the loss of 'life and love and pleasures new') with guilt, which remains deliberately unassigned.
am collecting quite a few poems that seem interesting.
The fact that the vast majority of them seem interesting for reasons that somehow relate to Torchwood is just one aspect of the eternal mystery that is my mind.