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...uction]],” defines the “emotional conditions” of the poems in this book ({{harvnb|Tomlinson|1987|p=27}}). Here, the earth decries unnatural restrictions plac ...he imposer of moral bondage (see {{harvnb|Tomlinson|1987|pp=28, 47}} and {{harvnb|Greenblatt|2018|p=55}}).}} {{ln|10}}

...maginations; it is the truest and fullest form of imaginative practice” ({{harvnb|Makdisi|2015|p=112}}). }}<br /> ...childern’s religious instruction with catechistic questions and answers ({{harvnb|Greenblatt|2018|p=50}}). Similar questions are mused about by the speaker o

...ter—creating an unsettling atmosphere that is carried throughout ''SE'' ({{harvnb|Paulin|2007}}).<br />{{sp}}Compare this poem to its ''contrary'', the “[[ ...beginning and who now calls to the Earth to reawaken with a new vision ({{harvnb|Gardner|1969|pp=131–132}}).}}

...ody, like eyes, lungs, and sexual organs, could be permanently effected ({{harvnb|Tomlinson|1987|p=34}}).}}<br /> ...classified with beggars and with vagrants, considered to be criminals” ({{harvnb|Ackroyd|1995|p=125}}).}}

...that the values expressed as divine in ''SI'' are negated by experience ({{harvnb|Tomlinson|1987|pp=41–42}}). }}<br /> ...from real spiritual life and enslaves them to a cold, abstract system” ({{harvnb|Tomlinson|1987|p=40}}). Here, it’s the ''system'' that matters, not the p

...ation, mystery, forbidden knowledge, and “religious and sexual tyranny” ({{harvnb|Gardner|1969|pp=51, 55}}).<br />{{sp}}Compare this poem to its ''contrary'' ...ease” that corrupts desire and makes love—especially women’s love—a sin ({{harvnb|Gardner|1969|p=127}}). It could also reference Satan in Genesis that broug

...likely a girl here, brings nature to her heart—birds, plants and humans ({{harvnb|Tomlinson|1987|p=33}}). Compare this poem to its ''contrary'', the “[[The ...e is repeated and suggests that the child speaker of the poem is a girl ({{harvnb|Tomlinson|1987|p=33}}). ''Bosom'', too, suggests near her heart, where the

...many different “dramatisations of various mental states and attitudes” ({{harvnb|Ackroyd|1995|p=141}}).<br />{{sp}}Compare this poem to its ''contraries'', ...reserve them as remembrances of more innocent times for when he grows up {{harvnb|Tomlinson|1987|p=27}}). Indeed, the child disappears at the moment the pipe

...ty in that we are all trapped in our earthly bodies and long to be free ({{harvnb|Ackroyd|1995|p=125}}). }}<br /> ...ace in the dark, as sweeps were easy marks for predators and pedophiles ({{harvnb|Ackroyd|1995|p=125}}).}} while yet my tongue

...e late 18th century is a terrible time in which to be living in London” ({{harvnb|Bloom|2003|p=43}}).}}<br /> ...m ideologies imposed upon the masses especially related to commerce (see {{harvnb|Thompson|1993|pp=175 ff.}} for an extended discussion).}} street,

...ic effort, like the statue of Ozymandias, will last throughout the ages ({{harvnb|Bloom|2001|p=18}}).}}<br /> ...s. The poem becomes the interface or time warp where they come together ({{harvnb|Bloom|2001|p=18}}). A similar ambiguity resides around ''where'' it is they

...s: going from “who made thee” to who could ''possibly'' have made thee? ({{harvnb|Makdisi|2015|p=215}}). While the lamb is cuddly, cute, and innocent made by ...critic Hazard Adams, purifies something or is being purified (quoted in {{harvnb|Bloom|2003|p=21}}). The image is brilliant, but Blake also seems to be sugg

...holiness distinct from man is impossible to the affections” (quoted in ({{harvnb|Tomlinson|1987|p=39}}).}}<br />

...rew culture and the interplay of opposites that’s dominant in scripture ({{harvnb|Pesta|2004|p=70}}).<br />{{sp}}The poem is an example of ''[[w:Reification ...ight'' to a primal position of beauty, reversing readers’ expectations ({{harvnb|Ashton|1972}}). “Walks” suggests movement, like the graceful progress

...side'' where ''no birds sing''—or no inspiration speaks to him anymore ({{harvnb|Garrett|1987|p=36}}). Similarly, this could be a poem about the fading vita ...is so because it has always been so, and no other cause need be sought” ({{harvnb|Garrett|1987|p=35}}).}}

...nd becomes a theme that is emphasized throughout Odysseus’ ''Apologue'' ({{harvnb|De Jong|2004|p=231}}).}} that time, ...a current''—but elsewhere it could be a malevolent force, like Poseidon ({{harvnb|Hexter|1993|p=126}}).}}

...utral translation with Fitzgerald’s—“skilled in all ways of contending” ({{harvnb|Homer|1990|loc=1.1}})—paean to Odysseus as the hero. Wilson’s translati

...egins his more philosophical musings that characterize his mature works ({{harvnb|Bloom|2008|p=117}}). }}<br />

...id hope and expectation that time and experience will never disappoint” ({{harvnb|Garrett|1987|p=47}}). Ultimately this is a cold, deceptive vision wrought b ...ere'', to seize, and refers to a crime of theft through the Middle Ages ({{harvnb|Nersessian|2021|p=45}}). }}

{{Center|{{Large|[The Sirens]}}{{refn|From the ''[[Odyssey]]'', Book 12 ({{harvnb|Homer|1996|pp=272–277}}).}}<br /> ...od himself'' was able to help Odysseus arm himself against Circe’s magic.{{harvnb|Hexter|1993|p=160}}).}}

...d gone by, but that still life must be fought out to the end” (quoted in {{harvnb|Ricks|1989|p=113}}). The figure of Odysseus, the hero of Homer’s ''Odysse ...ctim of a life-weariness, an ''ennui'' that cannot be cured by idleness ({{harvnb|Ricks|1989|pp=114–115}}).}} {{ln|5}}

...ter only able to recall “some vague and dim recollection” of the vision ({{harvnb|Abrams|1986|p=353}}). }} }} ...aspects of the pleasure dome—even maybe threatening its very existence ({{harvnb|Perry|2015}}). }}

...sserts, “normality and suffering coexist and may indeed be inseparable” ({{harvnb|Emig|2000|p=129}}).}} how well, they understood

...up she mixed a drink for me, / adding the drug—she hoped to do me harm” ({{harvnb|Homer|2018|loc=10.316–317}}). I have not read Watson’s translation yet,

...ecision, albeit risky, to walk a different beat—the song is in 7/4 time ({{harvnb|Unterberger|2017}}).<br />{{Sp}}I guess this song feels personal to me righ

** See {{harvnb|Wade|2019|}} on the importance of Mailer’s account of “the curious art ...{{sfn|Mailer|2003|p=91}} (Also see {{harvnb|Mailer|2004|pp=558–559}} and {{harvnb|Mailer|Mailer|2006|p=7}}.)

...sts and often depends on violence, particularly that of a sexual nature ({{harvnb|Nersessian|2021|p=49}}). Ovid confronts this relationship between art and v ...m about bodies changed is also a poem about what having a body changes” ({{harvnb|Nersessian|2021|p=54}}). I can’t help, too, but think of Enkidu’s curse

...ref=harv }}</ref>  — distrust of conformity and group consciousness;<ref>{{harvnb|Butler|2010|p=55}}; {{cite book |last=Whitworth |first=Michael W. |date=200 ...''' represents an artistic ordering<ref>{{harvnb|Butler|2010|pp=57–58}}; {{harvnb|Whitworth|2008|p=7}}.</ref>  —  grand narratives are gone or reinterp

...ia of the unlived life” that taunts those who lack drive or imagination ({{harvnb|Bloom|2001|p=10}}).}} <br /> ...“poised between a blessed vision of unity and the catastrophe of chaos” ({{harvnb|Perry|2010|p=148}}).}}

...of ''Lipton’s'' and one he continues to explore in subsequent works (see {{harvnb|Lennon|Mailer|Lucas|2020}}).}} The former he likens to the forces that regu ...018|p=335}}{{efn|“Love Buds” was printed for the first time in 2017, see {{harvnb|Mailer|2013}}.}} Both stories concern two friends visiting a whorehouse, bu