------------------------------ Content-Type: text/plain blake-d Digest Volume 1996 : Issue 20 Today's Topics: Re: "divinely inspired" what? Mythistory: Escaping the Analytical Mill Re: Mythistory: Escaping the Analytical Mill Unidentified subject! Re:Changing subscriptions Question: Songs of Experience Re: "yet to see any insights..." Re: "yet to see any insights..." Re: Question: Songs of Experience Re: Question: God's Hiddeness and Songs of Experience Re: Question: God's Hiddeness and Songs of Experience Re: "yet to see any insights..." comments Re: Question: God's Hiddeness and Songs of Experience Re: Question: Poison Tree Inquiry of Lombardi Re:Re: Inquiry of Lombardi Blake sighting/software Re: No Eros Pit Re: Poison Tree, Inquiry of Lombardi, etc. Re: No Eros Pit ------------------------------ Date: Thu, 21 Mar 1996 01:51:17 -0600 (CST) From: hmm To: blake@albion.com Cc: blake@albion.com Subject: Re: "divinely inspired" what? Message-Id: Content-Type: TEXT/PLAIN; charset=US-ASCII "They say poets never or rarely go _mad_...but are generally so near it that I cannot help thinking rhyme is so far useful in anticipating and preventing the disorder." -- Byron, letter to Miss Milbanke, 1813. I've been lurking around for a while now, and this seems to be the perfect thread with which to emerge. My name is Michael Uchtman; I'm a Master's student. I've always admired Blake, but I've only recently been able to dig deeply into his more 'complex' works. How this fits in with the thread? I think Blake was a visionary in the truest sense of the word. He saw the reality in a fundamentally different way than most, creating a unique mythology and philosophy (if the two are any different). Now whether these visions were prophetic or hallucinatory, I don't really care to speculate. Either way, it's always been commonplace to consider people like this mad in some way. m c647749@showme.missouri.edu ps. there was a question recently about why _songs_ and _marriage_ tend to be taught rather than _milton_ or something like that. the former are popularly considered the 'easiest' of Blake's works, relying less than most on Blake's cosmology. His later works would require too much set-up work. Hell, just explaining who all the characters are and their respective symbolic values, etc., would probably take more time than Blake is usually allotted in surveys. ------------------------------ Date: Thu, 21 Mar 1996 06:45:35 -0600 (CST) From: William Neal Franklin To: blake online Subject: Mythistory: Escaping the Analytical Mill Message-Id: Content-Type: TEXT/PLAIN; charset=US-ASCII I was listening to a woman earlier this afternoon who was making an important point about how myth is becoming history. She was talking about Afro-centrism, but I soon began to think of the ramifications for those of us who study William Blake. For example, in discussions last year we found ourselves engaged in conversations regarding gnosticism and zen, and before we knew it we were engaged in something like this debate about myth and history. It should be obvious that New Age ideas (such as post-Beatles popular Zen) could not have been anywhere near the intent of Master Blake. The resounding NO!!!!!!!!!!!!!! of Paul Weinfield still resounds in our ears. The admonition to stick to the facts is important, as I knew then and still know now. Yet.... Blake studies, it seems to me, has a very solid basic core of understanding. We trust our gurus, or argue with them, from a settled core of Blakean beliefs. We have compiled a more or less solid history about the man, about his works, and about the symbology involved. We invoke Bentley's *Records* and Erdman's *Concordance* and if we don't come up with evidence, we suppress the claim before it can get out and make us foolish. We want to be good historicists, and that is as it should be in light of the credibility we want as wise literary professionals. But what of the mythos? What, for example, about the sound of a Blakean ballad? There is no evidence I can find of a single extant melody. Should we conclude, then, that Blake never sang? Or that if he did, we can never hear it because he had not the art of writing music? Myth has to do with something beyond history. It goes beyond the evidences and exercizes the imagination. It involves divine inspiration, but more immediately, it involves the psyche--that part of our perception that goes beyond the evidences of our vegetable senses. Can there be no place in Blake Studies for imaginative progression out of the prompts given us by our Poet? I like to render poetry into music. I've done it with Emily Dickinson and now I find it happening with William Blake. I know better than to claim authenticity for the melodies, but that seems to me to be a minor issue. I am not retrieving history--I am participating in the ongoing life of the poem. I am part of the Blakean Mythos when I sing to my harp, and it matters not whether Blake ever sang the melody I sing. I think he would be more pleased that the song was my own, even where I borrowed his words. The point of this ramble? Just that facts and proofs have boundaries, and that what really intrigues me are the implications set up by the larger contexts suggested within the Blakean cosmos. Can we not propose frames of reference outside the explicit and canonical structures of thought? To remain forever within the world of academic empiricism seems to me to be exactly what Blake warned against--the Mill. Yet I know the dangers. I have suffered illusions. I have presented poorly thought-out ideas to professors and have paid for my sins by receiving poorly thought-out renderings from my own students. The freedom I seek leads sometimes to such crazy imaginings that I can't help but understand why some throw up their hands in horror and insist upon strict adherence to the evidences. Enough! The sun rises. The comet fades from sight. Another day has arrived and I must not avoid these papers any longer. William Neal Franklin ...beset by analytics ------------------------------ Date: Thu, 21 Mar 96 11:26:11 EST From: Kevin Lewis To: blake@albion.com Subject: Re: Mythistory: Escaping the Analytical Mill Message-Id: <9603211636.AA19782@uu6.psi.com> William F., If this is a church-state issue, metaphorically speaking, could it be approached usefully by encouraging Blakeans to give to Caesar what is Caesar's and to the Lord what is the Lord's? Caesar, Urizen. The Lord, Los. Although as an academic determined to remain as fully human as possible I take refuge in a certain controlled compartmentalization (read schizophrenia), I do think Urizen and Los (Caesar and the Lord) are to be embraced together in tension. Not to reduce your eloquent statement to an unwanted simplicity, at least not intentionally, but could we not agree that the cistern and the fountain, Reason and Energy, work together by working against each other? Poets and artists will always make the most insightful critics. But it doesn't work the other way round, does it? Oh well. Kevin Lewis ------------------------------ Date: Thu, 21 Mar 1996 21:28:56 -0500 From: WomansWay@aol.com To: blake@albion.com Subject: Unidentified subject! Message-Id: <199603220228.VAA28789@emout05.mail.aol.com> response. Check out susan fox,'s Poetic form in Blakes Milton and John Howards Blakes Milton. We sre creating an opera on Blakes Milton if you are interested in contributing. Dana Harden Golgonooz@aol.com ------------------------------ Date: Thu, 21 Mar 1996 21:53:20 -0500 From: WomansWay@aol.com To: blake@albion.com Subject: Re:Changing subscriptions Message-Id: <960321210630_358289208@emout08.mail.aol.com> Dear Seth, I have tried twice to change my subscription address to Golgonooz@aol.com unsuccessfully. Please help me. I tried to send this to you directly at http://www.albion.com/welcome/albion with an invalid addressee response. Dana Harden ------------------------------ Date: Fri, 22 Mar 96 00:29:46 -0500 From: Kevin Lombardi To: "Blake List-Serve" Subject: Question: Songs of Experience Message-Id: <9603220529.AA15587@uu6.psi.com> Content-Type: text/plain; charset="US-ASCII" Dear Blake EnTHUSiasts: Currently, I am a high school student-teacher in central California and have had a fine time teaching Blake to seniors, but I have questions about the Songs of Experience. In his Introduction, the last stanza reads: "Turn away no more: Why wilt thou turn away The starry floor The watery shore Is given thee till the break of day." What is behind his exhortation to "Earth" here? I'm struggling to interpret these lines. Finally, in "A Poison Tree," Blakes compares the contrasting expressions of wrath toward a friend and a foe, with the foe dying from biting into an apple. Certainly, there are strong allusions to the Garden of Eden myth. If this is true, would I be wrong to assume that the poem is written from Satan's viewpoint, where the "friend"=God and the "foe"=man or Adam? Do I run into difficulties with this interpretation in the first line, "I was angry with my friend?" Thanks for your help in advance. Kevin (klomba@ocsnet.net) ------------------------------ Date: Fri, 22 Mar 1996 03:24:29 -0500 From: AllegraZek@aol.com To: blake@albion.com Subject: Re: "yet to see any insights..." Message-Id: <960322023422_452117747@emout09.mail.aol.com> On the 20th I sent a cryptic note and received the kind of response I expected. One who teaches (what? feeling?) responded that too often "Blake is relegated to mere thought. . when we who love him ought to be more atuned [sic] to the feelings of his songs." He/she then talked about the discourse of this list. He/she then wondered why I don't "think the discussion is intellectual enough." I suggest that he/she look at his message and see how "intellectual" is as out of place as his teaching Blake's feelings. But I thank him for his response because it answered mine: if this is the level of this list, I plan to unsubscribe as soon as I send. Cheerio, Londoners. ------------------------------ Date: Fri, 22 Mar 96 07:53:36 CST From: Mark Trevor Smith To: blake@albion.com Subject: Re: "yet to see any insights..." Message-Id: <9603221403.AA05623@uu6.psi.com> As "editor" of this list, I prefer not to interfere as a matter of policy. I advise members of the list not to rise to bait such as that which has been thrown and is still being thrown by some fool who probably makes a hobby out of such irritation. One of the unfortunate side effects of this marvelous new means of communication is the opportunity for such foolishness by such fools. If you take my advice, you will simply ignore this fool (and if necessary Seth will take steps to remove the fool from the list). Every response to him encourages him to continue in his folly, not in his wisdom. Let us then be wise in his stead and continue our mental fight on our various levels. On Fri, 22 Mar 1996 03:24:29 -0500 said: >On the 20th I sent a cryptic note and received the kind of response I >expected. One who teaches (what? feeling?) responded that too often "Blake is >relegated to mere thought. . when we who love him ought to be more atuned >[sic] to the feelings of his songs." He/she then talked about the discourse >of this list. He/she then wondered why I don't "think the discussion is >intellectual enough." I suggest that he/she look at his message and see how >"intellectual" is as out of place as his teaching Blake's feelings. But I >thank him for his response because it answered mine: if this is the level of >this list, I plan to unsubscribe as soon as I send. Cheerio, Londoners. Good bye. We will miss you and your superior understanding of Blake and of us. Please do not forget your threat to unsubscribe, which I have seen at least twice now. ------------------------------ Date: Fri, 22 Mar 1996 12:26:53 -0600 (CST) From: hmm To: blake@albion.com Subject: Re: Question: Songs of Experience Message-Id: Content-Type: TEXT/PLAIN; charset=US-ASCII On Fri, 22 Mar 1996, Kevin Lombardi wrote: > Finally, in "A Poison Tree," Blakes compares the contrasting expressions > of wrath toward a friend and a foe, with the foe dying from biting into > an apple. Certainly, there are strong allusions to the Garden of Eden > myth. If this is true, would I be wrong to assume that the poem is > written from Satan's viewpoint, where the "friend"=God and the "foe"=man > or Adam? Do I run into difficulties with this interpretation in the > first line, "I was angry with my friend?" If I've noticed anything about Blake, it's that one-to-one correspondences in his symbols, allusions, etc., are very rare. I read the Edenic allusions as a comparison between hiding and revealing. Like the angry man hid his anger from his foe, God hid the knowledge of good and evil from us. By eating the fruit "poisoned" by forbiddon knowledge, we fell. Things kept hidden, even if God his the one hiding them, fester (cf. "Marriage of H. and H." -- "Expect poison from standing water"). If you want to correspond this with the poem exactly, I suppose that would make us god's foes; if we were his friends, he would have just told us. I'm not sure what I think of that, though... m c647749@showme.missouri.edu ------------------------------ Date: Fri, 22 Mar 1996 14:18:13 -0800 (PST) From: Michael Kerze To: blake@albion.com Subject: Re: Question: God's Hiddeness and Songs of Experience Message-Id: Content-Type: TEXT/PLAIN; charset=US-ASCII The hiddeness of God is a venerable and often "hidden" tradition in the Jewish and Christian traditions (and others too). Isaiah says: Truly thou art a God who hides himself! This evocative symbolism is the key to understanding Blaise Pascal, I believe, who reads history, nature, and scripture as a process of God hiding himself and creating veils, the penetration of which is the true drama of redemption. In Proverbs, I believe, are the lines something to the effect that: it is the delight of God to hide things, and the delight of kings to plumb them. Thus the hideness of God is both obstacle to knowledge of divine things but also invitation to enter the shadows behind the veil. Therein meanings are rarely straightforward for they depend for their appreciation upon the degree of spiritual depth of the king, poet, scholar, scientist, or believer trying to understand. To enter the veil is to approach the horizon, the other side of which is mystery--mystery the nature of which is not that it cannot be explained but that it cannot be exhausted. Thus God's hiddeness in Blake's poetry engages the inexhaustability of the divine human relation. For me, it makes Blake continually refreshing. But I am not a Blakean scholar--just someone who found Blake burned upon his heart ever since reading Marraige of Heaven and Hell as a kid. I am sure that if I could comprehend his systems of symbolism, Los and Urizen and the rest, I could know something brilliant. But when I read Blake, I can't read a lot at one time; the brilliance gives way to obscurity and I get trapped in the hideness. The discussion about the The Poison Tree will send me back to the Songs of Experience with a new touch of fear and trembling--a fruitful discussion, indeed. ------------------------------ Date: Fri, 22 Mar 1996 19:12:32 -0500 From: grayrobe@pilot.msu.edu (Robert M. Gray, Jr.) To: blake@albion.com Subject: Re: Question: God's Hiddeness and Songs of Experience Message-Id: <199603230012.TAA118922@pilot16.cl.msu.edu> Content-Type: text/plain; charset="us-ascii" Michael, Your comments-- >The hiddeness of God is a venerable and often "hidden" tradition in the >Jewish and Christian traditions (and others too). >Thus God's hiddeness in Blake's poetry engages the inexhaustability of >the divine human relation. For me, it makes Blake continually >refreshing. But I am not a Blakean scholar--just someone who found Blake >burned upon his heart ever since reading Marraige of Heaven and Hell as a >kid. I am sure that if I could comprehend his systems of symbolism, Los >and Urizen and the rest, I could know something brilliant. --are interesting and insightful, but if you look carefully into the character of Urizen especially, as well as the Priests and such in the Marriage, you might find that it is indeed that "hidden" aspect of Christianity/Institutionalized religion, especially of the Old Testament sort, that lies (unintentional pun) at the heart of the problem for Blake. It creates a kind of separation, what for Blake must be an *internal* alienation, if all divinities indeed reside in the human breast, which suggests (to me anyway) that what you call "the divine human relation" is in actuality a worldly (generational, perhaps?) human division, most likely at the subject/object level, which creates as one of the commenters on "The Poision Tree" referred to as The Fall. Food for thought anyway. Rob ------------------------------ Date: Fri, 22 Mar 1996 19:57:03 -0500 From: "Nathan P. Miserocchi" To: blake@albion.com Subject: Re: "yet to see any insights..." Message-Id: <9603230057.AA15913@abacus.bates.edu> Content-Type: text/plain; charset="us-ascii" After reading Mark's post I couldn't resist a small anecdote, even when I have nothing "insightful" to say at the moment. There is a list-serv for the college radio station where I work. A person who subscribed to the list wrote an entire page consisting of the word "*%&#," followed by, "This list sucks, RBC is better than this. Unsubscribe me *%&$." The adminstrator of the list heard the request, looked at the evidence, weighed, calculated, thought, licked wounded pride... and to this date the sender of the delightful message is receiving mail from the list. As for everyone else on the list, they know how to use the "D" key. Even the most affluent and wisest kings need their fools. In other words, "allegra," we are laughing at you, and at no expense except your own. Thanks! -nathan ------------------------------ Date: Fri, 22 Mar 1996 21:27:12 -0600 From: rsquibbs@cswnet.com (RONALD SQUIBBS) To: blake@albion.com Subject: comments Message-Id: <199603230327.VAA10501@troi.csw.net> Content-Type: text/plain; charset="us-ascii" I am a student of Blake's Prophetic Books, both academically and otherwise, and I enjoyed reading the letters and comments which were posted during the past week. One must remember that Blake comes out of a great tradition of "enthusiasm." While this term specifically denotes his ecstatic (though hardly anti-intellectual) embrace of a radical Protestantism, his works certainly do not suffer from a reading charged with an enthusiastic, personal involvement. The questions and comments I have read on this page, while perhaps not as oriented towards a minute dissection of the complexities of Blake's vision as the constant complainer would like, nonetheless display a genuine interest and love of Blake's work. Reason should always follow desire, and it is only through a deep and loving engagement with Blake's poetry that meaningful (and helpful) criticism can arise. In the meantime, perhaps the complainer can suggest some weighty topics for discussion rather then just carp about the lack of such ideas. On a final note, my access to this page has been provided by my parents' computer, and as my week-long visit home is coming to a close, I'll no longer be able to keep in touch. If access can be provided by a terminal on my campus, I'll certainly re-subscribe and contribute something of more substance. R. Squibbs ------------------------------ Date: Sat, 23 Mar 1996 05:01:27 -0500 From: WaHu@aol.com To: blake@albion.com Subject: Re: Question: God's Hiddeness and Songs of Experience Message-Id: <960322205251_175273185@emout07.mail.aol.com> Hidden = Mystery the Great, Rahab, Babylon, Hecate, Nightmare and her Ninefold, Lake Udan Adan (sic?), Public Morality, Public Charity, school christmas pageants & coupons good for $1 off on your next purchase of breakfast cereal. You are right about ol' B. Pascal. His line of thinking is brilliantly exploded by Beckett in his astounding and I think very Blakean poem Whoroscope. (The speaker of which is R. Descartes, but who can tell frog mathematicans apart without a scorecard?) Give it to Gillot.... Them were the days I sat in the hot-cubbard throwing Jesuits out of the skylight.... Hugh Walthall wahu@aol.com ------------------------------ Date: Sat, 23 Mar 1996 17:19:13 -0500 (EST) From: Ruegg Bill To: blake@albion.com Subject: Re: Question: Poison Tree Message-Id: Content-Type: TEXT/PLAIN; charset=US-ASCII The latest from the "mines of postmodern deconstruction": Option erase The "foe" in "A Poison Tree" is the subject whose gaze is redirected. Rather than risking a direct confrontation with his other, he displaces his desire onto an object he thinks can be controlled, "an apple bright." This apple is the physical manifestation of the speaker's repressed wrath. I see a proton The apple, the object of desire, invites the male body of the foe into the "garden," while the night has "veild the pole" or hidden the phallic power structure that corrupts the male body. That this action takes place in a garden, a fertile place, and centers around a fruit that the speaker has in a sense given birth to marks the return of the repressed female body, which reappears with a vengeance. Poisoner ate The actual eating of the apple is left out of the poem's narrative. Like victims of amnesia, we are left with the last memory before the traumatic one. Somehow we have been implicated in the construction of the memorial the speaker has erected in its place. What magic has been worked in this representation? To get hold of something by its likeness, to be the foe reaching for the apple, the poet using a metaphor, seems to have dire consequences. The swallowing up of contact by its copy, the displacement of desire onto drive, is a way of mapping the other. It seems that Blake has ironically placed the object, the apple, the memorial, next to the object it ironically replaces--the phallus, the "veild pole." In so doing, he has perhaps brought us face to face with the ideological consequences of how our drive to make meaning is structured by our own denials and repressions. No Eros Pit Best, Bill ------------------------------ Date: Sat, 23 Mar 1996 14:34:42 -0800 (PST) From: Matthew J Dubuque To: blake@albion.com Subject: Inquiry of Lombardi Message-Id: Content-Type: TEXT/PLAIN; charset=US-ASCII As an attorney, I have found that it is always relevant, but not always dispositive, to view the answer to a question in interpreting the meaning of a question. This seems relevant to the first inquiry "What is behind the exhortation to Earth?" The next poem in Songs of Experience is "Earth's Answer". I think it addresses your question. The last stanza, in which a plea is made to free Love from its bondage of heavy chains seems consistent with the interpretation that the Introduction is a classic clarion call of Blake's to Freedom and imagination, free from "single vision and Newton's sleep". As for your analysis of A poison tree, I would not overemphasize the comparative aspects of this poem. Only two lines out of sixteen is devoted to how the writer dealt with anger toward his friend. The rest deals with a comparison of how anger matures and develops like a fruit, i.e. it takes time to ripen, etc. Lest that seem too shallow, it is obvious that there is symbolism here to the Garden of Eden and other things. I agree with c64779's point that Blake's symbolism is on multiple levels (hence his contempt for "single vision" and Newton's sleep); the point I am making is that it is less a comparison between good and evil as it is an exposition of evil. This is consistent with the general Manichean analysis that Songs of Innocence deals with "good" and Songs of Experience deals with evil. But don't forget that the apple in Eden was of the knowledge of the DIFFERENCE between good and evil. As Gregory Bateson notes, (and his family has a large collection of Blake original manuscripts), perhaps the first evil was the SEPARATION of the world into good and evil. This is consistent with Blake's Marriage of Heaven and Hell to some extent, i.e. that it is the endless abstractions and classifications that are the curse of Descartes, Newton, and Locke. virtual@leland.edu.com ------------------------------ Date: Sat, 23 Mar 1996 23:34:36 -0500 From: WaHu@aol.com To: blake@albion.com Subject: Re:Re: Inquiry of Lombardi Message-Id: <960323233435_254368676@emout08.mail.aol.com> The DIFFERENCE between good and evil? Before they were DIFFERENT, were they the same? (A rhetorical question if I ever heard one) Hugh Walthall wahu@aol.com ------------------------------ Date: Sun, 24 Mar 1996 17:29:51 -0600 From: jmichael@seraph1.sewanee.edu (J. Michael) To: blake@albion.com Subject: Blake sighting/software Message-Id: <9603242334.AA11181@uu6.psi.com> Content-Type: text/plain; charset="us-ascii" A question for the list: On a recent visit to the High Museum in Atlanta, I noticed in their gift shop a series of literary software packages aimed at children. One of the programs was devoted entirely to Blake. The software is produced by a company called Persimmon and, according to the label, includes sound, games and other activities as well as (presumably) the texts. The price was $25. Is anyone familiar with this software? I find it ironic that Blake's own multimedia efforts are no longer considered sufficient to stimulate the young, but I want to be informed before I condemn. Jennifer Michael ------------------------------ Date: Sun, 24 Mar 1996 19:27:42 -0500 From: TomD3456@aol.com To: blake@albion.com Subject: Re: No Eros Pit Message-Id: <960324192740_254885833@emout04.mail.aol.com> Didn't you mean o, a sterno pie! ------------------------------ Date: Sun, 24 Mar 1996 19:27:51 -0500 From: TomD3456@aol.com To: blake@albion.com Subject: Re: Poison Tree, Inquiry of Lombardi, etc. Message-Id: <960324192744_254885880@mail06> Kevin- Re the Poison Tree, I think you will run into trouble assuming that the speaker is Satan. Since when did Satan reconcile with God by telling him his anger? I think the poem is primarily a really canny and useful portrayal of the way our minds work, and a recommendation of truthfulness over pious hypocrisy. In terms of the Eden myth, I would guess that the God of the Eden story would have to be the speaker. After all, he's the one who created the tree and the apple. (And be aware that in Jerusalem, Blake says that the God of many churches--those that preach vengeance for sin--is actually Satan, mistakenly worshipped under the names of Jesus and Jehovah.) Regarding this whole question of Good and Evil, you might do best by having students read at least sections of "A Vision of the Last Judgment" (from Erdman's edition). I think it contains Blake's clearest statements about this issue, such as: "The Combats of Good & Evil ... Christ... Comes to Deliver Man the ... not Satan the Accuser we do not find anywhere that Satan is accused of Sin he is only accused of Unbelief & thereby drawing Man into Sin that he may accuse him.... Satan thinks that Sin is displeasing to God he ought to know that Nothing is displeasing to God but Unbelief & Eating of the Tree of the Knowledge of Good & Evil... Many persons such as Paine & Voltaire ... say we will not converse concerning Good & Evil we will live in Paradise & Liberty You may do so in Spirit but not in the Body as you pretend till after the Last Judgment ... While we are in the world of Mortality we Must Suffer... there will always be as many Hypocrites born as Honest Men & they will always have superior Power in Mortal Things You cannot have Liberty in this World without Moral Virtue & you cannot have Moral Virtue without the Slavery of that half of the human Race who hate Moral Virtue... It is not because Angels are Holier than Men or Devils that makes them Angels but because they do not Expect Holiness from one another but from God only... Angels are happier than Men <& Devils> because they are not always Prying after Good & Evil in one Another & eating the Tree of Knowledge for Satans Gratification." And my favorite passage comes in the middle of these: "Men are admitted into Heaven not because they have governd their Passions or have No Passions but because they have Cultivated their Understandings. The Treasures of Heaven are not Negations of Passion but Realities of Intellect from which all the Passions emanate in their Eternal Glory..." I wish _I'd_ read that in high school! --Tom Devine ------------------------------ Date: Sun, 24 Mar 1996 21:19:25 -0500 (EST) From: Ruegg Bill To: blake@albion.com Subject: Re: No Eros Pit Message-Id: Content-Type: TEXT/PLAIN; charset=US-ASCII Good one! I didn't think of that. How about "Poet Airs One" _____________________________________________________________________________ "My God, It's full of Stars" * bruegg@ucet.ufl.edu* Bill Ruegg*English*4008Turlington*University of Florida*Gainesville*FL*32611 _____________________________________________________________________________ On Sun, 24 Mar 1996 TomD3456@aol.com wrote: > Didn't you mean > > o, a sterno pie! > -------------------------------- End of blake-d Digest V1996 Issue #20 *************************************