Presentation 31

Transcript (PDF)

The Future and The New Past Presentation 31 of 52 Presentation 3-5 Presented by Roger Weir Saturday, August 1, 2015 Transcript: We come to the 31st presentation in this year of preparation. And this particular year 2015 presentation series, The Future and the New Past about the establishment of a continuity of time with the tensegrity of structures that occur within that continuity. So that there is an architecture. And in particular this is the architecture of civilization. In nature time is the dynamic. It is the dynamic energy. And many times, we have covered how this is really the first dimension. That space is literally blossoms it's three dimensions out of time and in a very deep and high mysterious way. In civilization, time becomes triadic, and a space becomes a single dimension, a single dimension of infinity. So that consciousness as a dimension of civilization is an infinite field. Whereas in the phenomenal universe, uni-verse, one place, the fabric of space time as four dimensions has the dynamic of time woven into the three dimensions of space. So that literally it's a fabric. And it is curve able and in fact, curves. And what gives it the curvature is gravity, gravitation. So that the carrier of electromagnetic energy, electro for the space phenomenology magnetic for the time weaving dynamic. And in Einstein, extremely heavy gravity curves space-time, its fabric, to a point to where it dips through the phenomenal horizon and becomes literally a black hole. It still exists phenomenally but is a proof that the fabric of space-time is subject to gravity. And that search for gravity waves goes on. And it's very difficult to detect, especially when the realization will eventually surface, understandably, that that gravity waves are actually the ripples of space. That space itself not only curves, but ripples, and gravity sends out these ripples. And it's not so much that they're waves, that they are space that becomes able to be condensable. In civilization with three-time forms, the time forms tend then to act in this way. They have ripples in them that are only evident in nature, in natural time, over very long periods of time. The time period of evolution on this particular planet takes a huge leap about half a billion years ago. It's called the Cambrian explosion. And Precambrian there are largely geologies with some life forms like bacteria and so forth. Single celled and so forth. But with the Cambrian explosion, one begins to find an evolutionary proliferation of new life forms that have since come even to include us. The insight into this is that in nature, the waves of time are so widely spaced. And even in cultures like not just human cultures or prehuman cultures, but there are instinctive cultures in birds. Birds learn how to build nests. They never take a course in architecture. Prides of lions are set up so that the lionesses do the hunting, and the males do the protecting of them and the proliferating, etc., etc. So that in nature it takes a long time for these animal cultures, out of which human culture began to make its evolutionary development. Not just our Homo sapiens or hominids that go back a couple of million years. But going on back to pre-hominid species of great apes and so forth. Goes back at least 7 million years and on back to the beginning of primates in that ilk. Chimpanzees go back. Gorillas close to tens of millions of years easily. But in civilization, there is a speeding up of time in its triplet quality that emerges. And what emerges it, as we have seen, is the ability for language to be utilized in an evolutionary way. And civilization proper emerges when language shifts from being an oral communication exclusively to beginning to have a written language in signs that are no longer limited, to be just signs, notation, but are able to be read. Written to be read. And this development of a written discursive language in its early fundamentals goes back to about 4350 B.C. Before then, there are certain signs that are used in notation. For instance, numeracy has always had a kind of a notational sign, but literacy is only a little over 6000 years old. And with the development of a literate language, those few who could read and then write began to evolve faster. They would speed up. And it came after about 350 years that there were a few rare human beings, Homo sapiens, who were able to read and write with enough comprehension that they were beginning to have a dimension of visioning that exceeded the four dimensions of nature enough to be noticeable. And out of this comes the myth of Adam and Eve in the Garden of Eden. And it is the woman who first notices this. Doesn't notice it in an identification, but notices that in a quality of her receptiveness. And out of this, the classic sense of deep wisdom being feminine. Like a deep wisdom of philosophy, which is philo love of Sophia. Wisdom. Feminine. And that this quality of deep receptivity noticing that something is different. When Peter Jackson finally got The Lord of the Rings onto film in three great films just a few years ago. Before anything is shown on the screen, the figure who becomes in the films, Galadriel, the female Elf superior, who is mysterious, narrates, and she says, "Something has changed in the world. I can taste it in the water. I can smell it in the air. Something has changed." So that about 6000 years ago, 4000 B.C. Is a beginning of the receptivity of deep wisdom in women that something has changed. Something is different. And what is different is that when this is shared so that the masculine becomes aware as well by eating the fruit of that tree of knowledge, one becomes aware that you are naked for the first time. Doesn't mean that you weren't wearing skins, but there is now an exposure where basically you can experience being nude, being naked. This is unnatural in the sense of nature. But as it is unnatural, it is also supernatural. Both ways. Because the time has speeded up from the establishment of a reference wave, of a written language, written and read language. They go together now becomes a carrier wave of that reference wave. And the carrier wave is that one realizes that something about you, Adam and Eve and then their children, that we essentially really underneath it all are naked. And we need to cover that nakedness. That nudity. And that takes us out of nature in the sense of self consciousness. One can return to nature. One can go not just to nudist camps, but to any occurrence of, of human naked sharing ness. And one comes back to the primordiality of nature. But in a civilization, there is from that carrier wave, with that reference wave, an increasing problematic that occurs not just the way that Adam and Eve deal with it to use the mythos, but the way in which their sons deal with it. Cain and Abel. Abel is make…is able to make a sacrifice that is still seems acceptable in nature while Cain's sacrifice is not acceptable because it's it still has that distancing. It doesn't, in the offering, find its rhythm in nature. It finds a rejection. And ends up in a murder. And ends up in an exile. And ends up by proverbially there needing to be a third son named Seth. And through thousands of years there is this quality that something here in this triad of those three sons is a secret that needs to be understood. And when there was a second carrier wave, some 2000 years later, about 2000 B.C., that was so powerful in its understanding that it isn't that we are naked. It's that we can raise the written language and the read language so that the written language when read out loud takes the supernatural of writing and reading and brings it back into the ancient cultural voracity of an oral reading. And so, the early form of a written language to be read out loud is a poetic. It has a cadence, has many cadences, but it has rhythm. And it also has a quality of repose. In fact, Rhythm and Repose were a subtitle of an illustrated book very much like this on time by Jung's great long time, one of his great long-time secretaries, Marie-Louise von Franz time. This one is The Mystic Spiral Journey of the Soul by Jill Pearse, who was the editor for the whole series. There must have been several dozen of these volumes. Here's one on King Arthur, etc., etc. Rhythm and Repose. So that a poetic has its ability to have a cadence, but to have an artistic cadence where the pauses are a part of the poetic. A necessary part. They're not the absence of sound, but it is the presence of meaning that continues where the sound can be silent. The meaning can have a silence to it. And so, one finds eventually in great works of art, the ability to read a poetic takes an artist to be able to do this. In the meantime, in those thousands of years, the deep wisdom of having the spirit of meaning in a receptivity of silence. In a receptivity, it's very feminine. And still have that high drama of a masculine meaning, of having the cadence of those pauses have words that make it apparent that these are meaningful pauses, meaningful rhythm with cadences. And all of this is wrapped almost like an enigma because it is so apparent. It's not mysterious or hidden at all. It is not only apparent, one cannot get away from it. And that is, in order to write and read, there have to be symbols that are distinct from each other by spacing. Like on a piano, there are 88 keys. But even though they're close, they're not continuous. They're spaced. Mutually spaced. Because when one organizes the spacing, now you have an ability to have sets of symbols that with their organized spacing or spaces between the sets, you're able to have a compositional scaler for those sets. For arranging those sets, in the case of a piano, to have 11 sets of eight. So that you have an instrument capable of the lyric quality of a poetic of a Mozart. Which is almost revelatory. As it was when the harpsichord of the Baroque was finally given over to the nascent romantic music that, My God, here you can express something incredibly refined and be able to have this in a way that what can be understood now is a whole realm of the personal. And so you find more and more, instead of the intelligent grouping of a Bach, which is incredibly remarkable in being able to master all of the techniques of a particular instrument or instruments of acquire acquiring, and all of a sudden it leaps into a presence which exudes and is shareable. Not just because it is in a church, but it can be there in a concert hall or in a salon. And in this way, a poetic has a wonderful, civilizing quality to it. One of the difficulties with the 19th century leading into the 20th century. Those two centuries saw something that was almost polarizing to them, that went back not just to the previous 18th century, the 1700's, but originated in the middle of the 17th century. And that was that the ability to write a discursive symbolic language like a mathematics, took an incredible leap as a reference wave. It allowed for something that had been explored before. Had been explored almost 2400-2500 years before but had never achieved the ability to refine itself indefinitely. The phrase in the 1680's was that it was an infinitesimal calculus way to calculate meaning. Because one could either do it individually or one could do it differentially. With the sine qua non of 0 to 1. Yes, that's counting. That's just one. No, there is an infinitesimal gradation between zero and one. And it can be now not only calculated, it can be expressed. It can be written. And the same vice versa from one back to zero. So that the mathematician of language symbolically by Newton and Leibniz and developing calculus beginning about 1650 but maturing by the 1680's. But it was so rare, it was almost as rare as the time of Eve beginning to understand that one is naked. Now it was possible for some people to understand that they were infinite. Not just mystically infinite, but one could express it in a mathematic. Of indefinite application and that the application would be to be able to have new arrangements of sets of symbols called early equations. It's an identification that yes, this is a polarity in balance. It's an equation. And that once one is able to understand and to express and to have read and communication what those equations mean and put together larger than just 11 sets, eventually of pages and pages. Newton's Principia Mathematica is many, many hundreds of pages. By the 1700's, it was proving to be an incredible challenge because Newton wrote in Latin, and by that time most people were reading and writing and speaking in national languages, French, German, etc. And the first person, as we have talked about previously, to be able to understand how to translate Newton's Principia into out of the Latin into a viable language, which was French, was Madame du Châtelet. Who was the long-time lady of Voltaire. And as Voltaire was with her for almost 20 some years, while she was working on making the translation of Newton, he was working on making his artistic translation of Leibniz and wrote eventually his classic Candide. Dr. Pangloss is Leibniz. So, Voltaire and Madame du Châtelet brought the amortization of language one into satire and one into translation. The satirical became through Voltaire, and not just Candide, but many of his works. But the tone of it was that it changed the nature of recitals into a dramatic presentation. Instead of there being masses, there were operas. So that one had a quality change in civilization. And in the French language, because finally Newton's Principia, the mathematization of language, appealed to the French language mind, culture, civilization. One had a jump in the capacity of those who had mastered the mathematics of calculus en Français. Like Joseph Fourier, who developed a whole series of transforms that one could write out. One could read if you were educated, if you were civilized. And you could then not only utilize this as we do, even into the 21st century, Fourier transforms, but they translate also into an indefinite because the field has infinite modifications to it. I have books on Fourier optical optics, etc. etc. etc. They're all done in recent decades. What happens in the 19th to 20th century is that this began to take hold in such a way that French language persons, largely men at the beginning, where understanding something that was being broached but from the peripheries, especially in the language of English and of German. In French, it was being experienced in presence. And so, you have right at the cusp of the coming into the 20th century, you have, for instance, a pair of men who understood the incredible realizations that can come out of the development of a whole new philosophy of not just mathematics, but of physics, etc. And one of them is Henri Bergson, and the other is the great Count, who pioneered the way in which pilot waves were mathematically understood to be solitons, solitary waves that do not lose their energy as they concourse through space. That there are such people as pilot wave people. And Louis de Broglie writing about pilot waves about 1921-22 comes exactly at the point where Henri Bergson is able to move from books like Time and Free Will into Creative Evolution. And you begin to have a quavering in German and in English that something has shown that we are really naked in a cosmos that is daunting. We cannot any longer expect that we're going to be able to control the world that we have made. And just at that time, Niels Bohr from a Danish German language continent, pairs with the English Lord Rutherford. And 1922, the first book appears on subatomic structure. The splitting of the atom in terms of writing and reading already. And in England, T.S. Eliot writes The Wasteland, and W.B. Yeats begins understanding that he better retire to his private tower in the west of Ireland because it's getting very heady swimming in this incredible transformation that's in progress. And the stability was given him by his wife, whose receptivity made it possible for Yeats to be able to understand she could receive better than he could create. And we're going to take a little break and come back to deep wisdom. END OF SIDE ONE Let's come back. Let's come back to the crisis from the late 19th century into the beginning of the 20th century. And by 1922 it was apparent that there was a crisis at hand that had been there festering for a long time. One of the ways in which a masculine human being deals with a crisis is to find out what to do. The complement to that in a feminine way is to discover how life can continue. And in this way when T.S. Eliot is writing his Wasteland in 1922 and James Joyce is writing his Ulysses in 1922, and you have the incredible thing of two masculine heroes of the 20th century at the same time doing something that's in parallel. And they had never met. They had nothing to do with each other. It is only when one has a historical consciousness in its kaleidoscopic sets of possible meaning, matured from an appreciation of a poetic in all the different arts, especially the art of the pilot person, the prismatic person, the pilot wave person. And one can begin to recognize, aww yes, she is similar. He is similar and so forth. In 1922 in W.B. Yeats' life, by that time, he was quite well known. Quite famous. Not only as a poet, but as a playwright and as a writer. His book on Irish fairy tales had been a big seller in the 19th century. In 1917 as the First World War sank in deeper and deeper, he was moved to buy an old tower in the west of Ireland in County Galway. Its Irish name, Gaelic, Thoor Ballylee. Thoor Ballylee because it had been built by Vikings. Thoor, one of the Gods of Viking mythology. Thoor Ballylee Valhalla was an old Norman, as they say, in Architecture, tower near a stream. And in 1922, finally, Yeats was able to get married to a woman whose repose not only matched his poetic, masculine genius to compose, but introduced him to a deeper wisdom than he knew. And Georgie Hyde-Lees marrying Yeats signaled to Yeats and to her as they discussed it, that they should absent themselves from the London Dublin roller coaster that they were in, in terms of being conspicuous cultural people. They were very well known in occult circles as well as in art circles. The Hermetic Order of the Golden Dawn and many other things. They decided they needed to take a time out and she suggested that they move out into Thoor Ballylee to his tower. And in 1922 they moved out there to the rural Galway to this tower. And exactly at that time in Switzerland, in Zurich, one of the most prominent rising stars in psychology and psychotherapy, Carl Jung, realized that he also had to have a place to go to. And he bought some land to outside of Zurich about 20 miles or so. And he saw in a vision for himself that he should build a tower. So, while Yeats and his wife were moving into their tower in Ireland, Jung and his wife moved into their tower, which they called Bollingen, for which the whole Bollingen series is named. And these towers. These are two towers, not Tolkien towers, exactly, but the opposite. These are visionary towers. And one of the indications for Jung is that though he was a professional, well known, famous published psychotherapist, psychoanalyst, he suddenly wrote around 1922 something that a few years later he had publisher put out an edition just for himself. Himself, his wife, a couple of close friends, and that was it. It's called Seven Sermons to the Dead, Septem Sermones ad Mortuos. The Seven Sermons to the Dead, written by Basilides in Alexandria, the city where the East touches the West. Translated into English by 1925 by H.G. Baines. How does it come then that the German language in Jung surfacing in such a way that he not only buys outside of the urban metropolitan Zurich, his own little tower like Yeats, going to the far west in Ireland. Both towers because they needed to have the receptivity calm of those towers with the women that they were with, to be able to absorb visionary qualities that were out distancing their ability to compose. The Seven Sermons to The Dead, translated by Baines into English, begins just a few sentences. "The dead came back from Jerusalem, where they found not what they sought. They prayed me, let them in and besought my word. And thus, I began my teaching." So, this spirit from Alexandria from almost 2000 years before Basilides who by the way, was famous at the time in the 2nd century A.D. as one of the most powerful of all the Gnostics. Inhabiting not just the psyche of Jung, but his spirit as a great composer of his prismatic person. "Hearken," he goes on. I begin with nothingness. Nothingness is the same as fullness. Nothingness is both empty and full. As well may say anything else of nothingness as, for instance, white it is. Or black. Or again it is not. Or it is a thing that is infinite, and eternal hath no quality since it has all qualities. It's called in Greek, a pleroma. This is how Jung begins. And his tower, and he kept adding on to it. He added a second tower and then a couple of stories in between to link the towers. And then a garden area that finally became fenced in with stone because he was building by hand everything himself. Designing it and building it, just like Yeats, redoing Thoor Ballylee, his tower. Only for Yeats. His tower became wherever he was with his wife, Georgie. And because he was getting quite well known, they would travel and wherever they would stay was where the repose was. And she began about the same time that you had Seven Sermons to The Dead translated into English, Yeats wrote a poem called The Tower. And began then to realize that one of his great recent poetic volumes, Jason…uh, Michael Robartes and the Dancer, that the poetic figure of Michael Robartes was inhabiting the repose of his wife and dictating to her, but it was coming out in automatic writing. Flowing and cascading. She filled pages and pages. The pages became whole satchel full. Finally filled a suitcase under the hotel bed or wherever they were staying. And finally, Yeats realized her deep wisdom of receptivity was bringing in more than his masculine composing was able to envision. And so, he began putting his powers of poetic into play to see what all of this automatic writing of hers amounted to. And in 1925, he published A Vision. And just a few years later, you started a series in Zurich, The Vision Seminars, where he took the hysterical ramblings of a woman under therapy and was able to tease out the entire mythos of what it was that she was hysterical about. That she wasn't hysterical at all. She was transcendental and could be understood. Just like Yeats understood his wife wasn't just doing channeling somebody. It had a whole structure of meaning. And by the end of the 1930's, Yeats had refined in his old age A Vision, and in 1937 published a revised version of it where he had understood she had received in deep wisdom something that was important for the civilization of all. Just as Jung understood, finally, that he had received the ability to understand a vision for civilization that eventually would lead him towards the end of his life. He lived to be 86, but when he was 80 years old, he published and was it was translated into English, Mysterium Coniunctionis. It's subtitle, An Inquiry into The Separation and Synthesis of Psychic Opposites in Alchemy. One of the great early works when he was looking at how this was coming out. Coming out not only in the 1920's but increased in the 1930's and from 1930 to 1934. He did The Vision Seminars in Zurich and to just those undergoing analysis or those who were analyzed themselves. And they all collectively understood that this was leading somewhere in its coming conclusion to a whole new seminar series. And when it was finally later on published in English in The Bollingen Series, it's two huge volumes, and it's Nietzsche's Zarathustra [Thus Spoke Zarathustra]. Friedrich Nietzsche. The Titanic dynamic German philosopher whose young brilliance at classics. He did an early genius book on Greek tragedy, showing that it came in pairs. In a pair. It had Dionysian themes. It had Apollonian themes. And they became a standard in psychotherapy, in poetry that the Dionysian breaks free from forms and the Apollonian makes new forms that accommodates and increases the freedom in a structure. So that the Dionysian increases its energy to break free from that, etc., etc. And so that you have this peculiar quality which is not just a psyche at war with opposites but that it is somehow an essential to civilization to understand their paired-ness. When Mysterium Coniunctionis was translated into English finally and published in 1963. I bought this when I was graduating after five years from the University of Wisconsin. My signature at the time with a little self-symbol. They only published because Jung would not let them publish in his collected works the third volume of Mysterium Coniunctionis. Because the third volume, though, was the key to his great Opus Magnum. Was not by him. It was by Marie-Louise von Franz. She is the one who, having been a genius at Latin and Greek since she was a schoolgirl all her life. And towards the end of his life, she had already bought a plot of land just outside of Bollingen, where she built her own tower. So that his twin tower Bollingen estate right on Lake Zurich and hers up on the hill behind. A four-square tower, quite large and very sumptuous. She had discovered in reading in Albertus Magnus from the Middle Ages that Thomas Aquinas, who is the doctor of the Roman Catholic Church. His many volumes Summa Theologica, is The Torah of the Catholic Church. On his deathbed, age 49, he was dying early. Had incredible visions and he wrote them out. But the church refused to bring these visions into play. Into print. Into, into sharing. She discovered a secret manuscript that had been copied out by something that had been taken by hand. And she called her commentary and translation of it and study of it into German. And then it was translated into English R.F.C. Hull, who did Jung's complete 20 volume Collected Works, did that as well. But it's not in black covers. It's in a red cover like The Red Book, Carl Jung's secret Encyclopedia, visionary manuscript. It's called Aurora Consurgens. Aurora in Latin is an alchemy, especially. Is the dawning. The dawning of convergence of coming together. Not just coming together, of flowing and transform together. And it's incredible to realize that at the time that she was beginning to do work on Aurora Consurgens doing the initial translating. Beginning to think of having her own tower. All this while Yeats from 1934 to 1939, was lecturing on Nietzsche's Zarathustra in Zurich in the German language. And all this time Nazi Germany was devastating Europe and creating a situation where September 1st, 1939, World War Two, officially would be declared on. Even though the invasion of many countries had already been affected. And a massive technological military greater than any in the world at the time, had already been built. This quality permeates because Nietzsche was the philosopher that was the energizing insight in an odd masculine only way. No repose. No receptivity. Just the aggressive getting, got it. And it has nothing to do with Zarathustra. Second of May 1934. In the English translation, "We will now begin the first chapter of the introductory discourse of the Superman, The Last Man." Because Nietzsche is all about the Übermensch, the Superman. Who as a super-man will take control of the way in which everything is arranged so that it can be put into its order. That will stay for an immense long time. Well, how long will it stay? At least a millennium. Why? Because millennial transforms. Are apocalyptic. And meant to be the end of that and the beginning of ours for the next 1000 years. A Reich. A Third Reich. Here's the English translation of Nietzsche. This is how Thus Spake Zarathustra begins. When Zarathustra was 30 years old, he left his home and went into the mountains. There he enjoyed his spirit and his solitude and for ten years did not weary of it. But at last, his heart changed and rising. One morning with the rosy dawn, The aurora. He went before the sun and spake unto it. Thou great star what would be thy happiness if thou had us not for those for whom thou shyness. For ten years has thou climbed hither into my cave. Thou wouldest have wearied of thy light and of the journey, had it not been for me. And blessed the for it. Low I am weary of my wisdom. Like the bee that hath gathered too much honey, I need hands outstretched to take it. I would fain bestow and distribute until the wise have once more become joyous in their folly and the poor happy in their riches. Nietzsche. Nietzsche's Zarathustra. Fortunately, I've done a translation of Zarathustra's original Gothas from 2000 B.C. Actually, written about 1925 B.C. when he was 75 years old. He was then the age I am now. This is how Zarathustra's…. the set of Gothas is arranged so that there is a beginning Gotha, then there's a set. Then there's another set. And then there's a closing set. And the second set is called Ahuna Vairya in Avestic. Freedom's choice in English Translation. "Ah, to the highest I pray with hands spread glost to spirit Mazda first and pure. In Asha as ordered deeds are good herod mind. This pleases creation soul." Asha is a spirit of truth personified in a feminine spirit of exactness. What is really received. Herod is in a vestige is power of manifesting. Similar to Tae in the Daoist Chinese sense, where unity or oneness is the strict wholeness, the integral upon which all else phenomenally is empirically based. This is how Zarathustra actually begins. At the same time that Yeats and Jung are in this reverberation in between them, a Czech poet writing in the German language who is from Prague. His name was Rilke. His parents were not German. In fact, his original name was Rene. And his wisdom mentor, older woman lover, Lou-Andreas Salomé said Your name should be Rainer, not Rene. And so, his name is Rainer Maria Rilke. And he was put up very frequently by women who were quite wealthy or even royal in their homes or their palaces. And one place he was situated was Duino Castle, and he was writing the ten Duino Elegies to the new spirit of the age. When all of a sudden in February of 1922, because of his ability to have a deep feminine wisdom repose within a masculine creative composition in the space of just days, in the midst of writing the Duino Elegies, he wrote The Sonnets to Orpheus. The great translation of The Sonnets to Orpheus was done in 1942. And it is by M.D. Herter Norton, published by W.W. Norton in New York. She is a co-founder of the publisher. Her name is Norton. It's Norton Publishing. There's still there. They publish hundreds of great books every year. M.D. because her name legally was Mary. It's a woman. Her birth name was Margaret. At the same time that she was translating The Sonnets to Orpheus in many other poems by Rilke to another woman, E.M. Butler for Eliza Marian Butler, published in 1941. Just a few months before one of the really great biographies of Rainer Maria Rilke, published by Cambridge University Press. And she writes in her introduction, because she's publishing this in 1941, in the midst of World War Two in England, which is being bombarded by the Nazis. Especially London, to destroy them. She writes, The disruptive forces let loose in this age, and they do not date from yesterday, are responsible, amongst other things, for reading poetry, rending it and tearing life apart. This is a tragic situation which may end by brutalizing humanity irretrievably. And has already seriously inhibited the civilizing function of poetry. It is true that great artists and writers at the height of this as of every other situation continue to master life and to interpret its mystery. But the widening gulf between the war haunted machine-driven multitude and the heart-stricken modern poets is such that words cannot carry over it. Mary translated the first of The Sonnets to Orpheus. It was published just months after that introduction was published by Cambridge. There rose a tree. Oh, pure transcendency. Oh, Orpheus singing. Oh, tall tree in the ear. And all was silent. Yet even in the silence new beginning, beckoning. Change went on. Creatures of stillness thronged out of the clear. Released wood from lair and nesting place. And it turned out that not from cunning and not from fear were they so hushed within themselves. But harkening below. Bellow and cry and roar seemed little in their hearts. And where before hardly a hut had been to take this in a covert out of darkest longing with an entrance way were, whose timbers tremble. You built temples for them in their hearing. And we'll close today with the second part of Mary Herder's translation of Sonnets to Orpheus. When he finished the first set, 20 some sonnets, another immediately came. And this is the first one of those. Breathing you invisible poem. World space constantly in pure interchange with our own being. Counterpoise wherein I rhythmically happen. Solitary wave whose gradual sea I am. Most sparing you of all possible seas winning of space. How many of these places in space have already been within me? Many a wind is like a sun to me. Do you know me? You ere. Still full of places once mine. You one-time smooth rind, rounder and leaf of my words. More next week. END OF RECORDING