A 51-dimensional embedding of the ReeTits generalized by Coolsaet K.

By Coolsaet K.

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168) In an androcentric universe, everything rhymes, and ‘torches’ (stars) illumine the human. But this is rejected by behaviour which knows nothing of such fittingness, and subverts the idea of language as a structure adequately representing reality. Night, though silent, is active as ‘quench’ suggests. The first stanza simultaneously asks that night surrenders its power to attract, and evokes a deeper attraction, in a night without stars. The thousand spirits stray, betraying what they possess, the day, and sweet joys.

168). Adrian also sets, in addition to Blake and Keats’s two night poems, Klopstock’s ‘The Festival of Spring’ (Die Frühlingsfeyer), a text whose ‘spirit of humble glorification’ (290) relates to the Romanticism which Adrian plays with, since he allows no dominance by the voice (expression of personal subjectivity) over the accompaniment. In contrast to Blake and Keats, Friedrich Gottlieb Klopstock (1724–1803), the ‘highsoaring poet’ (287), is the poet ‘expressing and arousing enthusiastic reverence’.

Perhaps they are implied in ‘The Clod & the Pebble’. Day and night appears in the two ‘Nurse’s Songs’ and in ‘A Little Girl Lost’ where ‘the curtains of the night’ – perhaps seen in the illustration to ‘Infant Sorrow’ (Songs of Experience) – contrast with ‘rising day’. In Songs of Experience, night is the deeper, only state possible for ‘A Poison Tree’ or ‘The Sick Rose’. It is the moment anticipated in ‘My pretty Rose Tree’, locking together sexual strife, jealousy, possession, and acceptance of suffering, all confirming the ego.

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