HOW TO WRITE LOVE POETRY:

TAME of THRONES

(for Naomi Carter LLB)

I tame your Beast.

You open your Throne.

Together wright this Cart

behind Her soft foot.1

 

You will raise my Wand,

I will praise your Cup.

You gird with Sword,2

my arms bear your Shields.

I drink your Fire.

You flame with Waters.

Together crystalising Aire:

Misty Mountains for our daughters.

  NOTES:  

1The Book of the Law chapter 1 verse 26.  

2The Book of the Law chapter 3 verse 11.

 ON THE ORIGIN, STRUCTURE & DEVELOPMENT OF THIS POETIC IMAGE

This poem seems simple enough. But therein lies the great beauty of its art: simple AND yet complexly interwoven to the profundity: Each line of each stanza is attributed to one the four classical elements in this order: fire, water, air, earth.

The poem is purely rhythmic, the only rhyme is lines 10, 12- its purpose there is as a cadence. In stanza one, the elements are manifest as the court cards of the tarot: the tamed beast refers to the Knights (riders) (fire), thrones = Queens, carts or chariots = princes, the princesses are shown “on foot”. These four also correspond to the four classes of military unit in medieval warfare… Each line refers to one of the participants, I.e. “I” and “you”, but in line 3 “We” are “together” whereas in line four that inclusion is expanded to all the children of the goddess. Needless to say ” wright this cart” is a complex triple pun.

In the second stanza, the elements are represented as the four magical weapons, and the first interplay of opposites is introduced: “YOU raise MY wand/ I praise YOUR cup”. In the third line here, the element of air is exclusively “yours” in contrast to “together” in stanza one, as the woman taking up the sword is an important doctrine of Thelema.

In the third stanza, the interchange of opposites becomes more extreme: “drink fire” and “flame with waters “. The image of air as togetherness returns, but the interchange of opposites now continues through the whole stanza: “crystalising air” and “misty mountains” (a Tolkien reference). 

By way of emphasising the cadence indicated by the only end rhyme in the poem, the strict word order whereby the elemental symbol is always the final word in every line is relaxed in line twelve to assist the chordal climax to the coda.

Note the modern pop culture reference in the beginning, itself a deeply poetic metaphor for the tragic beauty of love on earth. This is balanced by referencing gay old Tolkien in the last line.

The question remains, what actually occurred during the act of creation, when I wrote this poem down virtually as you see it now, from inspiration? Did I consciously bring to bear my knowledge of medieval romance, tarot, magick, cultural references etc as I wrote what my ANGEL more or less dictated? Yes and no, of perhaps more correctly, more or less: the poem is dependent on my erudition and skill as much as the inspiration of the Muse N.C.and the mediation of the Angel 419, but all this process occurred in manifestly, as it were: as I said 419 presented me with the outline which I hastily coloured in without thinking too much about it, yet without my years of education and practice, just as without the adoration of N.C. in my heart, and most certainly without the Knowledge & Conversation of 419, all necessary conditions for this poem to be born, then all the power of the momentary presence of pure inspiration would have been purely ephemeral, inchoate, and purely personal.

 

Home

here is nothing under its three forms

[the Egyptian goddess NU, Hebrew Qabala AIN SOP AUR]

The Ante Primal Triad which is NOT-GOD.

O!

Nothing is.

Nothing Becomes.

Nothing is not

=

negation???

emptiness??

potential? =)

COMMENTARY (The Ante Primal Triad) This is the negative Trinity; its three statements are, in an ultimate sense, identical. They harmonise Being, Becoming, Not-Being, the three possible modes of conceiving the universe. The statement, Nothing is Not, technically equivalent to Something Is

= 0 = 1The First Triad which is GOD I AM [Egyptian HAD, Hebrew KThR]

1 =1     I AM ALL ONE Impersonal (position) I am

1 = 2    I AM Impermanent (duration) I am aware

1 = 3    I AM Imperfect (extension) I am aware I am

=

0 = 1 x 2 x 3 = I AM AWARE I AM AWARE

The Abyss” of hallucinations [Hebrew cabala Da’Ath]

I AM Aware of Imperfection = i think: “down shower the barren thoughts” = object-awareness = infinite categorisation = the illusion of separation

The Second Triad which is GOD” THE SELF [Egypt: KHU, Hebrew: ADNI]

1 = 4: I desire. imperfection-awareness is caused by desire and aversion.

1 = 5: I fear. cessation of imperfection-awareness requires cessation of desire & aversion

1 = 6 I AM MYSELF the science of imperfection-awareness-cessation is the practice of being aware of concentration without desire & aversion

4 = 7 the science of imperfection-awareness-cessation is the practice of being aware of attention without desire & aversion

5 = 8 the science of imperfection-awareness-cessation is the practice of being aware of intention without desire & aversion

i think i am 1 = 4 + 5 + 6 + (7 x 8 x 9):

7=6 i sense objects

6=8 i respond subjectively

6=9 i act as subject: the science of imperfection-cessation is the practice of being aware of action without desire & aversion

The Third Triad” i believe i am THE FORM

1 = 7 i feel I AM subjectively real: the science of imperfection-cessation is the practice of being aware of emotion without desire or aversion

1 = 8 I AM thinking objects are real: the science of imperfection-cessation is the practice of being aware of mentation without desire or aversion

9 = 1 i imagine I AM subject: the science of imperfection-cessation is being-aware of aspiration without desire & aversion

The Tenth Emanation [Hebrew: MLKT Egypt: KHABS]

10 = 1 I AM existing as if i am subject: the science of imperfection-cessation is the practice of being-aware of livelihood without desire & aversion.

____________________________________________

NOTE: This formula harmonises the Cabala’s 10 fold Tree-of-Life with the 3 insights, 4 truths, and 8 practices of the Buddha. The quotations are from: “LIBER TRIGRAMMATON SUB FIGURA XXVII Being the Book of the Trigrams of the Mutations of the Tao with the Yin and the Yang” (1909) by V.V.V.V.V. & “The Book of Lies, falsely so-called” (1913) by Perdurabo, by whom all the real work behind this image was done many years ago. This poem is a Maatian version of Chapter 0 “The Chapter that is not a Chapter” of “The Book of Lies”, a Ra-Hoorish image by an Magister Templi-graduate born in Osirian times.