Saturday, August 4, 2018

10. Mystical Heart Diagrams of Paul Kaym



 Crisp repoductions at Lexicon here

The mystical heart diagrams of Paul Kaym @ Levity

The Helleleuchtender Hertzens-Spiegel, (A Bright, Shining Heart-Mirror), Amsterdam and Gdansk, Heinrich Betkius,1680, a visual interpretation of John Tauler, in the form of sixteen copper-plate engravings. is thought have been been compiled and edited by Paul Kaym from writings of Abraham von Franckenberg . The title page indicates that it written on the doctrine of Johannes Tauler (an "illuminated" 14th century German mystic), but it takes much from the mystical Jakob Boehme. Kaym had written to Boehme in 1620 asking him about the 'end of time', and was answered in letters 8 and 11 of Boehme's, later published, Epistles (numbers 4 and 5 in Collection 1 of THE EPISTLES OF JACOB BOEHME) which Kaym published as OF THE END TIMES.  

Time has ended over and over since then. Kaym also wrote commentaries on the Song of Songs and the Book of Revelation. He is called an eschatologist and a theosophist, believed in the thousand years, an immanent end of the world and dissed the organized rituals of religion for inward illumination for spiritual growth. He held internal, inward and inner,  internal absolution, inward Baptism, and inner union with the divine. Sounds like Matthius Bauman, born just after.  Helleleuchtender Hertzens-Spiegel is a spiritual journey of the human heart in images of obstacles of enlightenment. The sixteen images were most likely engraved by Nicolaus Häublin, who illustrated works for German followers of Boehme.

The Mystical Heart Diagrams of Paul Kaym @ Jacob boehme online


The following are from a 1705 Amsterdam edition which includes only the first 14 diagrams. Nos. XV and XVI are taken from adern facsimi

Brightly illuminating Hertzens mirror: by means of a threefold presentation ..., I. The Erknnnis, II. The exercise, and then III. The secret of true godliness, that is, the whole act, Krafft and Hertzens theologia ... with highly valuable Kupffer figures ..., including a short-fisted yet complete prayer booklet, or devotional spear

 by Wehrd, N. of ; Tauler, Johannes, ca. 1300-1361






Tuesday, June 5, 2018

Portrait of a Tulip

Gardens, half a yard of daylilies, borders of tulips and herbs, dozens of pots of African violets on every window sill, extraordinary cakes, pies, coffees, roasts, doughnuts made by the kitchen artist, gaudy Dutch plates and cups handed down from the mother’s grandmother, hymns sung acapella at church services, handmade chests, old trunks filled with garments and show towels, all very rich in touch and significance themselves, but added to each generation so that in succession double stitched wool car blankets accumulate alongside large shipping boxes of chocolate and metal containers of sugar from the Franklin Sugar Refining Co., Philadelphia, vases, Stangl ceramics.As to the hymns, there was a lot of singing. When the services of morning and afternoon ended the evening sing began. This was not as tedious as it might sound in an era that lacked modern diversions, especially since much singing was acappella, more open to expression and interpretation than that accompaniment by an organ.

Four days later, evening, a message on my machine.
“This is Aunt Libby. Don’t call in more than a half hour.”
I am too late. Next morning there are two calls, one message in a faint voice, “you are cleared to call Carol Watkins November 3, 4 or 5 around noon to arrange visit.”

I come home after badgering tennis balls with Shakespeare. Tell each one of the conflict of business and art. Who’s your favorite poet? Save the pearls.
I call right after lunch, on the new number, her private room.
I have the green light.

“I’m not coming to see your house you know. When do you want me to come.”
“Not before 10 AM.”
She has had to change all the addresses on her magazine subscriptions. It will take her till June she thinks.
“No, when in weeks and months?”

I ask, “is there something you want me to take from your house? Where are the photographs of your father, the watercolor of Jesse.”
“You’re welcome to anything in photographs. Marvin’s album of old plane stamps is in the cocktail table of living room. Old photographs are in the bottom of the wardrobe in the back bed room. The watercolor is in the little chest in the hall, in blue plastic. You can do pretty much what you want.”

What you want is to take them to dinner and a show.

11/13/04

Call to confirm visit. Yesterday she got her easy chair and lamp delivered. Says it’s too bad they have to be in a hospital instead of her house, which observation raises questions.

She, “if anybody had told me I would have to endure this I couldn’t possibly.”
Articulate, “I am busy making myself happy, being cheerful to people. I got an idea from a meditation book about putting monsters in the closet so that’s what I do with the possibilities of what I may have to go through. I put them in the closet.” But her monsters turned into such wimps.

Terminal, but on aspirin? Does she believe in the favor of God in a quiet death?

11/24/04

Her lawyer cooks his turkey in two parts. First soaked in brine and cooked, then the white meat is removed and the brown meat cooked later while the white is kept moist. This, people, is on a need to know basis. She is a thoroughly institutionalized turkey, so we talk about gassing cats. You see the connection.

Somebody we can’t mention, has just mercifully gassed their cat. Quality of life issues. My AZ nephew doesn’t have the guts to get rid of his. I ask how she’d like to be done. She says her brother nearly did himself in one time while gassing cats in his garage with good old carbon mono. She says she has no thoughts except that the monster is behaving decently in his closet.

I close with, “Aunt Libby, my friend, my aunt. She, “my ancestor.”

11/30/04

Various birds descend. Susan, Christy, Robert, Cynthia etc are coming to visit December 16th or so. She says she hopes she won’t be too vegetative from the medications when they come. Aspirin can just loop you out. Too vegetative, she has these observations that provoke silence in me. Four or five thoughts come at the same time and none of them do I permit
expression. After all, it’s a little late to say what I want after so many years.

She introduces the notion of selecting the day of your death, gives some examples.
I tell her, not that I’m in denial, that as far as I’m concerned she’s not going to die, not that I want or would ever think of limiting her choices in any way, can’t have that, but what death?

They say the creed all their lives then when it matters they renege, “life everlasting!” I’ve known her all my life, but it is inevitable that this attitude too will be taken.

She told the factotum that she’s heard that Drs. can identify the last two weeks, so she says she’ll just give him a call, sort of a snooze alarm to prepare, but he didn’t like that much, maybe he likes her more than is good for him, as other men have.

He’ll get over it!

Ha. She is just not forthcoming to the male race. I have an advantage over them because I knew her before she knew that I knew her. She didn’t know I was conscious during all the embraces and hugs and kisses. She didn’t know I was conscious as a five year old sleeping in her bed. She says I think she’s a saint. But I have to tell her others do, not me. I think she’s a beautiful woman.

She absolutely crowed at her announcement that she was marrying Marvin. Felt like she really put one over that time.

I used to taunt her horribly about the greeting card profanations of Easter and Mother’s Day promoted by department stores such as her own ilk. Pro mercantile, she says, “don’t you believe in Mother’s Day?” The graphologist was right about her, “while you possess much emotional depth, you do not make it a practice to display your feelings.”

Selecting the day of death she has already counseled a Catholic lady on the afterlife from John 14, which she now quotes to me and says “you get a new body but it may be spiritual, you will recognize each other, but there will be no gender.”

The lady says, “say it again, say it again.”

Since you’re going to be seeing people in heaven, I ask her, “when I die are you going to come running up to me and say na na na na?”

She’s not going to bite on that one either. We bandy Lewis’s Great Divorce with the grass and light so real they hurt your feet and eyes.

No, she says, she’s doing pretty well on her new pain schedule. A Tylenol every four hours and now a small Percocet at night that gives hallucinations from 9:30 to 11:30. Has had a good intellectual talk with Senior Pastor about the end of things.

I tell her that volume 2 of the 3, A Tulip Blooms From the Heart, is going to be ready and sent to her in pre-proof next week. How it’s all about love. She quotes Thornton Wilder, Bridge of San Luis Rey “…but the bridge is love.” Yes it’s love, love in love about love in life. Beginning or end, alive or dead, the old and young remember each other. The young are influenced by the old to a thousand generations of those that love Him. Still going.

“Here’s their story,” I tell her, going through the table of contents by memory, “you’re last, sweetheart.”

Henry is first, tragedy, gravity, humor, laughter, joy. All you Pennsylvania Dutch nuts. She’s said for years she comes of a line of peasants way back to Adam. It’s because they ate wheat and the Italians ate pasta, she maintains. Food makes the man. The individual character traits, the strengths are also common to the community.

As if I’m getting too close she says she never liked having her picture taken, tells me of the worst picture she ever took was in 1944 when she was a plane spotter. In that day planes were everywhere and people were on the roof of the Media courthouse to forestall the Nazis, sending warning descriptions downtown for analysis. She worked in the Chestnut Street branch, her own version of MI 5. Had to get clearance. One morning they herded them into a prison-like room at 4 AM and took their pictures. Yes she destroyed it, the jail mug.

“No, I don’t think you’re going to die,” I say.

Henry and Anna and Flo and Howard and Jay and Bea are still living, still challenging youth with their lives’ boundaries.

She says people are praying for her.
“Can I pray for you.”
Yes.
“Can I pray for you now.”
Yes.
Can I pray for you out loud?”
Yes.
I do.
We say goodbye.

12/7/04

Call around 5. No answer. Call again. No answer. Resisting asking Mr. Riddle again, I call again.

“So you’re still there?”

Yes, on the new regime of Tylenol, and wowsie, just had a Percocet.

Are you hallucinating?

No, but she’s learning to ask for help. There are these rituals of self defense where she has a box of tissues and flashlight on one side of the pillow, call button on the other, feet slightly exposed at the bottom of the bed. Has hot feet!

We talk of releasing life.

She told factotum: “I had written up an obituary but I guess I lost it. I guess I can do another one for you before you need it.”

Mellow.

Says she has told Pastor she wanted no family eulogies. Said what Robert and I did at the parents’ occasion was a sibling contest. I’m silent.

But she wants to fight about it, says, well you’re being awfully silent. You think her finger is on the call button here? Is there any shock value in the remark?
“You see the world through ideas and eyes that oppose romance,” is what I would say if I replied. I tell her that I’m practicing negative capability, holding in mind two conflicting truths without having to choose between them. Just sittin’ releasin’.

I ask why her sister claimed she was the family deviate. She says that she always thought her sister had an abnormal immune system because she got twice what others got only once, that she even contracted impetigo from one of her students in her first teaching job. As to the sister’s religion, who was only 10 when her father died, Uncle Will, having a daughter her age, Gladys, sent both to camp with the Reformed. Later she was Presbyterianized.

Lib says she has warned Pastor that family is going to descend on her death. So he should look out. But I’m descending now, it’s Thanksgiving, seat belt fastened. She saw her picture in A Tulip Blooms from the Heart, Vol. II, says it was taken at 15 ½ for her school year book, that Jake’s letters were really pathetic in their presenting the view that he was caring for his grandchildren. Grind his bones.
Her façade is opaque as ever, referring to her letters therein. Somehow she thinks I have earlier letters. I don’t. She says she had mixed feelings at her father’s death. That Anna tried to give her children normalcy in that June of ’29, after Grandfather Jake’s death, had a house party at graduation at Penn State where she was a house mother, then a surprise birthday party for Lib’s 19th. Sounds rather like a celebration.

She is pleasantly surprised that Carole Watkins stayed up all night reading her story, called A Red Portfolio. I tell her it needs to be called Conversations with a …. We can add different words here depending. Beastie?

She says that although Bee was always kind to Rena she also always thought her an intruder and never warmed to her. And who has Lib ever warmed to? I told her that when Edwin Arthur Yeo and Rena visited in Pittsburgh I had heard my mother say words to this effect and as soon as they arrived went up to Rena and told her “I think you’re pretty.” As to saving Browns Mills from the auction block she quotes Shakespeare “be not the first by which the new is tried…” meaning, bear realistically the fact that loss wins. My decreasing sympathy for realists thinks loss sucks.

Keep a low key. Even keel. Don’t keel over, is that it? Don’t rock the baby. Releasing life.

I should send her Chang Pomes. Then she would complain I’ve gone from garrulity to brevity.

On the theology of sin and self examination she says she can’t help, i.e., after charging sibling rivalry at two successive funerals! Yes, she missed her biweekly shower attending a jazz Te Deum concert at the Rest Home, strings, oboe, viola, violin, everything but a harp. That’s coming. Saints or sinners, I can’t make up my mind. Joey & Melissa, Robert, Cynthia, Sue, Christy, Nick, then, as of 12/26 Aeyrie, me, Anne.

I say, do you remember who I am.

“I can’t forget it.”

Always opaque, she says “we feel we have to protect the image we have of ourselves, therefore we say nothing or everything.” She is learning to ask for help for sure.
She is interested in the subject of dying on demand. The old folk’s grapevine has it that within limits people can die when they want to, that is when they have accomplished their desires. The aged are as culpable of myth and fantasy as children, scheme with great cunning. The underbelly of the institution, the secret code of the resigned spreads in little cocktail hours and wine tastings, usually among the little old ladies, who glow and giggle to each other like Sexton and Plath about their boy death, about how they want to die. That’s where they share the initiated secrets, tell each other how. The glory of pneumonia. Then they boast to their sons and daughters, like they just got an A on their homework, that they know how to do it.

In some sense she is more beautiful than she has ever been, the pink chair she sits in is reupholstered with silver thread, silk and rose. Sometimes she wears a pink sweater and the white hair flies out over the sides of her head. She jokes that they think she’s an angel. It’s a little spare, flying just the same, halo around a sun on fall days in the mountains. The aurora whitens the brow. Since we are in the mountains now, I saw a cliff with patches whiten in the blizzard, a little locus amoenus, the lovely place. She should be proud to wear it. This is not the nature of the golden age though, but the silver verge of afterlife, beauty swallowed up in light. Beauty is the highest flesh can come to it. Human garden spots disappear like grass, a residue greater than memory, the fruit, the spiritual fruit of the life they don’t see or we either. Life and visage culminate in a suspended natural law, the corn is gold, the ox with the lion, earth recreated. You in the midst of Broadway think this exaggeration? The Lord himself shall descend from heaven with a shout.

Virgil, before the Renaissance, had “the ram in his pasture change his fleece’s color.” (5)
See the gold flower in her face?
Where silver is can gold be far behind?
They believe a certain godly nature to be in the gold!
Black wires turn to white, silver wings, the mild accepting eye.
There are more sudden ways to go, in a flash of exuberance all fleshed up, but consider the true case, for a minute, the case of the vine raising its “clusters on the neglected thorn” (5)

Hallowed does not mean softened, eyes lit with resignation. She had not lost her temper until some days after the Thanksgiving visit, signs off the phone again with bite. Do you want beauty in the flesh, the dreaded subcutaneous layers shimmering slightly, intact when they walk? Or with the deeper being life eternal, the faithful kind, your own mother if you like, whom gravity has flattened to the skeleton of face? Do you want the brow, the bone, the bite, the jaw await the resurrection? You love more the flesh you’re about to lose.

On this verge she won’t play my game any more than I play hers. She wants to say something outrageous to provoke me. I want her to speculate, something she disdains as a purely male phenomenon, therefore beneath her, “When you come running up to me when I get to heaven what are you going to say?”

She really wants to tell me she has found another misspelled word, a factual error in this manuscript.

12/9/04

It is December 9. I live in Phoenix but planted a red oak last year. Its leaves now are changing red, vermillion, scarlet, maroon, will end in brown. Across the street a cottonwood turns gold. Leaves shower the street, covered in gold. I pull back the curtain, sit in a chair. Maturity is not a new thing. Get it? Just disrespected among argumentative youth who have such grave reserve about authority.

Not to offend, but it suggests her relatives should get in touch with their eternal selves, just look at the last name on the driver’s license. Equivocating theys, something I’ve always wanted to do, they never bothered to Americanize it. It’s just as old world as ever. Isn’t the new world anyway just a bunch of nuts cracked open?
Sadly for puerility, their last name combines meanings of completion and maturity. Yes and no it is Tolkien’s ring and winter’s age, white hoarfrost up to the knees. The man-woman is ripe, filled like the lieder in the northern ear.

They snipped off their braids of hair and stored them in the trunks. Now I’ve got them.

It doesn’t suggest death, effort satisfied, it implies progeny and ancestry. The bone-hard skeleton of principle, the virtue proven circumstances, the solo 90 year old who converses first with God each day. Certainty seems to bring youth into judgment. "I'm as good as you are! Who are you to tell me what to do?"

Who wants to grow old? Everybody. Maturity balances, reconciles, adjusts. Youth exaggerates, advocates, accelerates. Less is more, we say. Arrested development is not maturity. Ironically, maturity prolongs youthfulness, decreases lines in the face, diminishes toil, fret and care. Why not balance, reconcile, adjust? "Well, you have to learn it for yourself." (Ecclesiastes 8:1).

12/15/04

She doesn’t see how all the obese women on her floor manage to maintain their weight with the portions they are given, worries for their handlers’ effort in moving them all. She’s in the middle of family visits. Joe III and Melissa last weekend, Robert, Susan, this. They have not called to confirm. Don’t expect it. But I tell her I see it could get better, communication, because when people get older they get wiser? She says that visiting a relative on the way out reminds them of family.

I amuse her with my vigilance and care of children, because she sees people divesting themselves of them. Maybe they don’t realize how long it takes to grow up, 38 years. Depending on their choices that is near or far. Look at Milton. The modern shudders. Milton was close to and dependant on his father until this age. You don’t want your children to grow up to be Milton do you?

She says she expects it of me, look at my care at extending the life of our old dog. Other people would have gassed him. She says, because he is an analogical joke between us, you won’t get rid of him as long as I’m alive. Not true. He left Palm Sunday, she waited till the Saturday after Easter. He’s blind in one eye, can’t hear, his right hip makes him walk in circle, he’s incontinent at best, can’t get up, can’t sit down, has to have 5 minute breaks when he walks across the street, pants like he’s run a mile. His last days were heart howling.

I already told her how my father made me watch him drown the kittens. Multiple times. I don’t tell her that Joggy is the agent of deliverance to our family. God can work in a dog. Sounds like a story from Guideposts. He can’t really stand up unless he leans against something. When he leans on me it is just about like rocking your son to sleep in your arms at 3 AM when he has a fever. He perks up when he sees another dog just about the way she does when visited. Makes her feel a little special for people to fly out to see her from the earth.

But you don’t have to worry darlings, earth isn’t going to end, death is going to be swallowed up in victory.

She says she’s still not in total agreement about my effort to collect and distribute her things. I tell her, just say so and I’ll cancel it. But she says, “oh no.” Far be it from her to make decisions.

One of my tennis buddies is going to give away his wife’s wedding ring! Well why not. The people in church gave theirs in the offering plate. Along with their 54 Chevy Belair. Another guy gave the royalties for his talking book, $110,000. Just stood up and announced it. I myself bought shares in the restoration of a grammar school.

In a way I considered it reparation for Jacob the Elder (see Book III). All these Christians giving everything away. One time we took 11 large boxes of medical supplies and drugs to St. Vincent De Paul. Just carried it up to their storeroom. Never got a thank you. Sent also a large amount to missionaries in Thailand. Never heard a word. In those days if you were in leadership in any way at all you got invited to a dinner in the sanctuary and afterward pledges and checks were taken. The first time you think it is maybe a dinner of appreciation. All this worn furniture, just auction it off. My grandfather’s tables and chairs and copper kettles. His letters gone. This old world.

Farewell sorrow,praise God the open door,
I ain’t got no home in this world anymore.

Her original opinion was that it was all tawdry used junk anyway. “So what do you care what happens to it?” But of course it matters.

Do you reject the body, the material? Spurn the flesh? Immolate temptation? Up in smoke. Is that a heresy, the rejection of the body, or shall we keep the body under. Mind body opposition. Marriage is honorable in all? Do you know what happens in marriage people? Like she says, in heaven there is no gender. Get it while it’s hot. The earth is the Lord’s, he gave us the dominion of his hands. Make up your mind. Opposition or union. Sow to the flesh, reap the spirit? “I believe in the “communion of the saints, the forgiveness of sins, the resurrection of the body, and life everlasting.” They all think they’re going to live eternally in heaven, but the joke is they won’t be there five heavenly minutes when oops, it’s back down to earth again. Then the passenger pigeon and the buffalo, the apache but not the businessman will thrive. Oh the restored prairie, pure ocean.

Do you have a vision of the afterlife, the new heavens and the new earth? Read to the end. Does she think that a piece of the true cross is meaningless, the Bible of St. John, the manuscripts of the Pope? Nothing material is invested with meaning. Do you hear the Mennonite here? Put not your trust in horses.

Her visitors are praising my art on her wall and the written Tulip on her table. Her lawyer wants to take Aeyrie’s 16x 20 print home when she dies, which she is thinking about doing while they are consider her history. The earth wave on the wall changes colors in the light and gets comments. Now she calls me Bosy, referring to James Boswell, Dr. Johnson’s biographer. I think I am learning to write. She says nobody has ever been able to understand what I wrote. Reductionists. Realists. Let us not prize ordinary men. Visitors want to borrow the Tulip. It helps to be told by the press? It’s some kind of democratic thing, beauty and truth, depends on press agents. The puzzle has many pieces and the more you fill in the better you understand the rest. Tulip and Portrait show the huge conflict between my childhood memories and the present person she is, the great unexplained silence of conspiracy in the family of Mennonites.

Odd notes left over. The house next door, 198K. If she sells for that she can live on it a year and a half at $300 a day plus the lawyer. “There’s only one electric line to the attic.” That explains it! “Jerry broke the plumbing,” cost her $67. She thinks I’m Bosy because Boswell rewrote. Her friend Betty wants to write. The yellow forsythia in the turquoise vase was kept by the school.

Monday, March 19, 2012

Norwegian Dower Chest, 1889

A  hand made painted and rosemaled decorated Norwegian immigrant dower chest inscribed with the name Magdeli Jahns dr [dotter] Laupsa 1889.

To Display this chest the last day of the old year ending, the new year beginning, both chest and year represent a way of life that you may think no longer exists, but it does, and is chronicled here, close on the heels of present virtuality. An app where speech itself is superseded and thought is made into text. However, since you don't know what you think until you speak, the mind is essentially inchoate in communicating with its physical vessel without the medium of speech, and must make simple its multifarious instructions to communicate with the physical--that is the purpose to illustrate how this happens in the speech and writing and writing of this chest. Some pains are taken to explain this in  Language In Voices Out and The Alien Voice.

It seems this chest was made for the young woman Magdeli to come to America, if only because that is where it ended up, in Prescott, Arizona, at an auction with the effects of an old family. It had another box on top as it rested on the auction floor. We removed this and stood guard to prevent any further scratches. It is painted a blue swirl
on the inside top and till, and down two thirds toward the bottom. Two folio sized pages of writing were folded up inside the till. The writing was in ink, in a flowing assured hand on a sturdy ruled tablet paper. I scanned it at the time and it seemed a meditation upon a wedding, hence, a dower chest, but it celebrates a dower for the Wedding of Christ and the church. The writing references King Solomon, but with such poetic speaking as if it were written by Donne with the assurance of Blake. The writing of the decorated outside is Norwegian, but this written proclamation is in British, as is clear from its spellings. No results yet for the author, but a number of efforts were tried. 

For anybody who loves Pennsylvania chests, this chest and its decoration offer contrasts and similarities of several kinds. It feels as if it was hand made by her father from thick barn wood. The bottoms boards have shrunk. It is held by irregularly spaced dovetails and black  iron hasps, hinges and lock. The front is rosemaled, the background and the whole painted brown, and looks as if the front were varnished. It is painted black below and above the center hasp in front and up the sides to mimic the ironwork.

Both floral designs of the front panel are hand painted with slight differences. Leaves form orange swirls downward to meet black swirls coming up from the pedestal base or foot of the design. Each panel is enclosed in squares of orange.

Flower petals go up the black strips on the ends painted to look like metal, also in the center under the lock, which is in the shape of a heart, further evidence of dower.

The whole is painted brown with an overlay of varnish. The sides are irregularly dovetailed, showing they were hand done. Metal straps hinged in the back extend over and down the top from the back to the lip.

 The content suggests Donne. The British spelling of centre in the third paragraph suggests that generic origin. The fourth paragraph, "before us today" suggests a public address, a sermon. The many references to her attire are bolded to show the fine linen in every such chest. 
  ***

This writing  found in the till of a hand made painted decorated immigrant (Norwegian) trunk, that is, a dower chest, inscribed with the name Magdeli Jahns dr[dotter] Laupsa 1889 purchased at auction January 2007 is a prophecy of what is to come.
 Here is the text:
Eph 5- 15-21  Matt 22. 1-14 “Come behold King Solomon, with the crown wherewith his mother crowned him in the day of his espousals, in the day of the rejoicing of his heart.”

It was written for Him, who was greater than Solomon. Mother earth of whose substance his body is composed—thrust a crown of thorns upon his head, in the day of His suffering and death. He would not take the crown before His resurrection, because in His death, all nature died: in His resurrection the new creation first appeared. 

The resurrection of Jesus was His true divine birth as man into that condition in which God had determined that man should be. Jesus is the only true man, the only one, on whom the eye of God can rest with satisfaction, the only one who fulfills God’s purpose when He said “Let us make man in our image.” 

Around Him all the cycles of time revolve, all the purposes of God from the beginning (when there was no man) centre in Him. All the mighty acts of God in heaven and earth and under earth have in Him their chief doer. Is there treasure hid in the field? He it is who searches for it. Is there a goodly pearl? He is the merchant, who sells all that He has, that He may buy that pearl. Is there a sheep lost from the fold of God? He it is who leaves the ninety and nine who never strayed and seeks the lost one till he finds it and bringeth it home on his shoulders rejoicing. A world restored! Not one of them is lost.
And so we have before us today the climax, the crowning act in the salvation of our race, the marriage of the King’s son, and His Coronation.
He would not take the crown when offered it upon earth! He would not take the crown when He sat down at the right hand of the majesty on high! He would not take the crown without His bride. 
The prophetic scriptures give us two views of the woman the church; the one sits a queen before the time without Her Lord, without them who wait their resurrection. Of the other it is said  “Unto her it was granted that she should clothed in fine linen, clean and white for the fine linen is the righteousness of saints. It is the wedding garment provided by the King. The King’s servants clothe the guests therewith freely.
 It is not a splendid vesture covering filthy rags, the defilement remaining beneath such a condition would be horrible even upon the earth, how much more so in the presence of the King? It is the righteousness of Christ imputed to us, imparted to us, in wrought in us. The righteousness of Christ indeed! Made effectual by the Holy Ghost in purging out the old nature, and assimilating our character with His so that we also become righteous.
It is a gradual painful self sacrificing work but necessary for we know that “without holiness, no man will see the Lord” and into those pure gates “Entereth nothing that defileth or maketh a lie.” 
The King’s daughter is all glorious within; his clothing is of wrought gold.” She shall be brought unto the King in raiment of needle work with gladness and rejoicing shall they be brought, they shall enter into the King’s palace. Instead of thy fathers shall by thy children, whom thou mayest make princes in all the earth – when the First fruits are caught away—there is heard a loud voice in Heaven saying “Now is come salvation and strength, and the Kingdom of God, and the power of his Christ wherefore rejoice ye heavens, and ye that dwell in them.
When Babylon is destroyed – “the four and twenty elders, and the four living creatures, fall down and worship God that sat upon the throne saying Amen, hallelujah and a voice came out of the throne saying Praise our God all ye his servants small & great, and I heard the voice of a great multitude, and as the voice of great waters, and as the voice of might thunderings saying Allelujah For the Lord God omnipotent reigneth. Let us be glad and rejoice, and give honour to Him For the marriage of the Lamb is come, and His wife hath made herself ready- Then shall the Heavens rejoice and the earth be glad. Then shall the sea roar and the fullness thereof.” 
            Then shall creation which once grew for Him a crown of thorns yield Him such honour, that it shall be said to all the intelligent beings around the throne of God “Come see King Solomon with the crown wherewith his mother crowned Him, in the day of His espousals, in the day of the rejoicing of His heart.
When we meditate on these things we think, who is sufficient for them? Let us who are strengthened by the Cup of Salvation, and the bread of everlasting life answer joyfully By the grace of God we are.
And unto the Father and to the Son and to the Holy Ghost only as be ascribed in the Church all honour & glory, might, majesty, dominion and blessing now henceforth and forever. Amen.
 Let this be the call for the new year. We no more have such chest but shall get them.

After bidding for the chest we found the  marriage troth handwritten in the till:
 “Come behold King Solomon, with the crown wherewith his mother crowned
 him in the day of his espousals, in the day of the rejoicing of his heart.”

 Chests of old wood, fraktur, rosemaling, folk arts are as extinct to us as electricity soon enough. The new chair of the Joint Chiefs, Martin Dempsey, worries that the lack of redundancy in the internet puts all our social-technical systems at risk. Redundancy means here also that books, chests, linens, crafts, even writing itself, all things done by hand, set aside by the virtual machine invention will incapacitate society in their loss, for there is an app where typing is superseded and speech is automatically translated to text. This results in much loss of mental clarity and depth, for syntactic relations make new pathways in the brain that establish cognitive grasp.

 Comparisons to follow in the manufacture of brain pathways Faulkner's sentences produce great mental strength in those who read them.

Tuesday, August 23, 2011

2. Way Into The Flowering Heart

This is the same double day lily that grew in Anna's garden in Media but which Elizabeth revealed came originally from Uncle George's farm in Worcester, home of the Schwenkfelder emphasis on inner spirituality over outward form. They brought saffron to America and declined amalgamation with the United Church that swallowed most of the other pietistic groups. Their pastors were chosen by lot from the congregation like Mennonites. Several of Uncle George Reiff's daughters, Katie, Lena and Susie, were members.

Raising Hands with the Mind

A lily is the centerpiece of this imagination that transfers Christ and His redemption to nature. Perhaps the likeness is more than symbolic. Among architectures of furnished rooms and philosophies of hymns, gardens and kitchens, this sacrament is the inner garment of earth.

The inward care of earth, the great poem of earth that remains to be written, Wallace Stevens says in The Necessary Angel), finds its unspoken search of the  devotional attitude flowering in Johann Arndt's Paradies Gartlein, the book that would not burn (Sachse, German Sectarians, I, 245, and in Gerhard Tersteegen's Spiritual Flower Garden of the Inner Soul (Geistliches Blumen-Gärtlein inniger Seelen, 1729, Germantown 1747), which was also sung. So if it is said that “Pennsylvania German folk art is basically spiritual in concept and its motifs and designs are non-representational expressions of traditional Christian imagery” (Stoudt, vii),  there is some likeness here with theologian Cornelius van Til calling it a Christian earth along with a Christian moon and sun. Citing Stoudt in defense of the lily is a little like taking Wallace Stevens as he is, a Pennsylvania Dutchman, for we delight to equivocate Dutch men. Stoudt says that when the underlying faith of this people was lost, so was its art. Wallace Stevens also changed from a Berks County farmer to a poetry sophisticate.

If you're of this folk you will be feeling better when you understand that before its elaboration in the writing of Boehme and in Pennsylvania's Ephrata Cloister the lily in the hymns and gardens is an image from the Song of Songs . This inner garden of the larger medieval setting of the terrestrial paradise, of  the German Minnesong and baroque German religious poets (Stoudt, 56), Bernard of Clairvaux and even more obscure Dionysian Neoplatonists, contemplated the lily much as did the English metaphysical poets. Hymnists and poets “escaped to illuminated writings, to the decorated chest, and to pottery” (Stoudt, 92). So a four fold progression accounts the Bible, Boehme, hymns and folk art.

Blossoming the Lily
Fraktur
 As its primary philosopher, Jacob Boehme, was vexed with the soil of this flowering, for the lily was of the earth. "A fair flower grows out of the rough earth which is [also] not like the earth, but declares by its beauty the power of the earth, and how it is mixed of good and evil; so also is every man, who, out of the animal, wild, earthly nature and quality, is born again so as to become the right image of God."

This flower was to the soil what the human was to the animal, except that man was also a plant. For Boehme the image of God in man in the earth emerged as if from a plant: "For those who are a growth of such a kind, and are shooting forth into the fair lily in the kingdom of God and are in process of birth, have we written this book” (Jacob Boehme, Six Theosophic Points, 4). So "he will blossom like a lily" (Hosea 14.5) making a paradise where none was before. This imaging of the man as a plant overcame the notion that nature was tainted with the human. As all creation groans and travails for its redemption,  the man is both its fall and its rise.

A flowering heart would connote a flowering mind much as the mystical heart diagrams of Paul Kaym, Helleleuchtender Hertzens-Spiegel (1680) give as a series of heart-head images engraved by Nicolaus Häublin, who illustrated the works of Boehme. Many works of alchemy find comfort in Boehme, who exchanged letters with Kaym whose16 engravings showing how the heart is attacked,  receiving light waves from the sun and moon, as in letters 8 and 11 of Boehme's, later published, Epistles. Paul Kaym had written to Boehme in 1620 asking him about the 'end of time', and was so answered. Kaym also wrote  commentaries on the Song of Songs and the Book of Revelation. That these  are concomitant awith alchemical texts or other mystical Boehme letters is irrelevant to the fact an air clogged with unseen spiritual beings. The study of alchemical texts cannot produce such life altering effects, it rather defeats them, since the person is bogged in rituals and sacrifices that only embroiled them further in darkness, as witnessed by the brows of patrons at S.  Weiser books. Why do the rich and the royal families seek alchemy then, if it’s only for profit? Because they have no other means of life.

 The lily as an image of nature's redemption, is not however drawn strictly as a botanical lily. This Lily is unknown, a stylized “use of natural events and objects to describe spiritual conditions." Stoudt said that such collective images underlay the life of the Pennsylvania Dutch in hymns, flowers, pottery and linens and “produced an American decorative art which, with few minor exceptions, is the only indigenous art of its kind in our land” (3).

The last thing Pennsylvania Germans  would want to seem is spiritual, which partly explains the discredit Stoudt suffered even if the spiritual intellectuals, Conrad Beissel (1691-1768), baker, founder of Ephrata and Boehme, a shoemaker, were peasants. Boehme influenced Milton, Newton and Emerson, they say, and was early translated to English (1647-1661). At the other end of the centuries Wallace Stevens, baptized at his death, reaffirmed his early life in this tradition of luminous indicia of imagination in his The Necessary Angel, a reflowering from his mother's Bible. The hymnals sang of die unfgehende lilie, the opening lily, the lilen-Zweig, the lily twig and wohlriechenden lilen, the fragrant ones (Stoudt, 85, 89, 95). This inescapable Dutch “tulip,” as Stoudt has it, was an “inarticulate belief in [all] the artist’s heart.” (Pennsylvania German Folk Art, 15).

Detail, silver napkin ring Berks County c. 1880
Pennsylvania German art embodies a spirit of  Inwendigkeit, interior, innerness that decides everything material and immaterial by the mind. Marriage is an imagination, dress an imagination, praising God is an imagination, raising hands with the mind and with the arms. All things are first and last imagined, whether household effects such as chests, linen, plates, or  fraktur art, all celebrate an “uncontaminated good within natural reality” (Stoudt, Pennsylvania German Folk Art, 101). Is it too much to say all human life is this way?

Friday, April 22, 2011

6. The Inself Border. Good Friday Riding Westward. Leaf Meditation.


Can  word be both text and the image,  graffiti over-top? We cannot deny the inself in three dimensions even if it lives in four. The truest representation is the sculpted. A scientist claims to the artist, "you made the leaf, but I discovered it," but the sculptor replies, "you described it, plucked it, preserved it in glue. It is a construct of your mind and mine," but neither of them did. Neither have traveled to that far country from which when you return you cannot speak and if you did no one would believe.

  The Branch cries out to the image seen and the word spoken and the word longs to be seen. Fraktur text and image twine these together, Concrete poems, vispo pretend  to do it on paper and type. Blake illustrates. We must know the leaf inself alive. The botanist who presses a leaf  must know the leaf alive, but image and word are incompatible.

 The Cover

So the Inself concedes the Out as leaf, or in human terms, mask, a covering of face for what exists but cannot be seen. It can't be seen because it is thought which does not exist in language, but in image
This is all Levinas before I knew him.
Walking one side of this border, up against it, cross immediately the other side.
The Speech of Corn

Twine a poem about a branch,
it will not leaf.
Tendrils do not speak.
 The Inself  speaks the plant.
What is the speech of corn?

What says aloe? Every thing has breath. Plants breathe light. THOSE WHO LOOK TO HIM ARE RADIANT.  I will consider in my dwelling place like a clear heat upon herbs, a cloud of dew in the midst of harvest.

 At Altamira many millennia of horses and bulls had no words, but rhythm and color. They had no language, nothing written the stones cry.  Breuil says art was an extension of hunt, the worship of life, a celebration.

 These matter when the content is greater than itself. The words show something more than mundane. Why else make the effort?  Charles Williams designs the figure of a woman and stretches it over the kingdom of Logres, over all of Europe (see the endpapers of Taliessin Through Logres, Oxford, 1938), like the Cave at Altamira and its bison, except Williams' Europe is Logres, Arthur's kingdom, and did not exist as the bison in the real, or it did and now only remains expressed on the cave wall, as the bison, Williams' Taliesin.

Inself sounds like Inscape. A true statement about Hopkins is that "seen from one point of view Hopkins' work is some dozen nearly perfect lyrics. Seen from another perspective it is a heterogeneous collection of documents...but within this seemingly chaotic mass we can detect a certain persistent structure." J. Hillis Miller. This describes life on the borders. 

Take the border between image and word.
The verbal is the interior leaf,  
images the internal sense,
the leaf inself of the seen,
the leaf inseen of the self.

Thursday, February 10, 2011

Introduction: Paradise Narrations

Paradise Narrations, the Restoration of Paradise

A desire to restore earth was forming in the minds of artists concomitant with the industrial revolution, Blake's chimney sweep. Before the present crisisof paralysis- immobilized  agencies unable to effect  remediation. There was more likely to be a hundred billion subsidy of the car industry than to get a 100 mile a gallon engine. We would have a a 200 mph one. Reinvention paralysis is also metaphorical. Do not sleep past dawn but rise in the night. Thoughts start before four. Creation travails with its problem sons. You could wish they were out of the way, but not if worse were in store. We may go on with daily life, but then wonder why the lights go out. Right up to the end shibboleths of the past argue as if they meant something. Doctrines of the false imagination finish the day and sleep yet another night in evasion and denial.

Empathy for the world is empathy for ourselves, our own healing lies in friendship with the burrow. Whatever the creature is, it is ourselves we endanger, call it salmon, coral reef, shark, prairie dog. What isn't endangered is the exotic importation, the rampant catfish of the Mississippi, non native fish in all streams. When we think to preserve the pristine, we think native with profiling, but our own safeguards and boundaries, whatever they were, surrender to the exotic. The boundaries! This is progress right up until there is no division or all division between us and the natural world. The boundaries, the way we treat nature we treat ourselves, the techniques we use to save it we must use on ourselves, for surely we know that the continuity of folk patterns, which sounds less offensive than to say continuity of nations, that these folk patterns are all that hold us on the ground. Surrendered, the root and stalk of families, will just float away. Kafka's narrators keep talking, for always in the background of their inquiries they seek to find themselves in the other, as though they passed themselves on the street and failed to recognize, which sounds like Borges. It's like they lived in a world surrounded by themselves that they could see but did not know, shadows, simulacrums, puppets, dolls, which look back at them and have the same thoughts they do but neither one knows it. That is what the loss of the wild did to the man, cut him off from himself, so he stumbles in his mind narcotic paralysis but does not see himself as himself, just as those Wonk Yaps seem not to recognize themselves, and even the fiction must be published as if it were an essay.

Kafka's last stories are examples of empathy, always an understanding of a thinking being in Eden in the thoughts of one not an enemy of the world, "Report to an Academy," "Investigations of a Dog," "The Burrow," "Josephine the Singer." The Burrow is after all a disquieted householder maintaining his home. In the silence of narration, "my forehead-that unique instrument," perfectly illustrates our day. The ape in "Report" gives its life for ourselves, just as the hunger artist does, different states of self imprisonment Kafka is prescient about. The ape become a man is now considered by the European Court of Human Rights for treatment  the same  as people. Cases are pending in Spain and Austria, to keep them "from being tortured" (Michele Stumpe, Great Ape Project International). Kafka's animals understand themselves in the natural but the citizens are confused. "The Village Schoolmaster,"obsesses like a rabbi about the the existence of the being that is not, the giant mole which he suspects is a picture of ourselves. To borrow  identity from the natural means to reckon pit pony who went blind in British coal mines an image of ourselves imprisoned by forces we can only feel elsewhere.

Of what does paradise consist, the mountain, dramatic sunsets or the mouse, wee and huge? Two views of it, the outward, where the thing is surface, and the inward, vested with  understanding, a corn field resurrection, a pine tree transformed as Van Gogh makes field and sky alternate, so that if enough people see them they  come to pass.  Dylan Thomas built a synagogue in an ear of corn (A Refusal to Mourn) a church the size of a snail / With its horns through mist and the castle / Brown as owls, and the heron priested shore (Poem in October). Blake in Songs, Roethke, The Far Field, though demented, Lawrence, Birds, Beasts and Flowers (1923), T. H. White, The Book of Merlyn, Ted Hughes, Barry Lopez, Aesop patches of these inhabitants the Wolverine, Field Notes, empathy for the biological,  and for the dead in Apologia. T. H. White's instructs of the animals to Arthur in The Book  of Merlyn sprung from his translated 12th century bestiary, The Book of Beasts.

These amount to a naming of the animals, for to name a thing you must understand its nature, dream of it, meditate it like St. Francis, but not like a government biologist thinning wild horse herds or elk to protect cattle. It is the level of care than makes these things possible, for if you don't care you lose it, masquerading human good as a care of the wild. How Adam took care of the garden, meaning the lives within it, might need some examination, so preconditions of paradise exist, the main one is health; you must think free of hindrance, fatigue, prejudice, greed.
 Paradise goes further. Free of the separation which we reckon occurred with the serpent. If we say America is a paradise, as in myth before its discovery, but that America is besieged by enemies who call it a colonial fantasy of sexism and racism, it is what you call it. Thinking makes it so. Enemies of paradise destroy forests, prairies and animals, dystopia over utopia, symbols of destruction over innocence that fantasies of paradise invite. It's hard to imagine paradise in an age of experience that denies even while it longs for memories of wholeness it forgot. Was there peace? Rational discourse takes paradise as a waste. Nobody wants the inferno, but there is no succor in the disconnect.
You long for paradise and its art, yearn for it but are told it doesn't exist, that its ideas are counterfeit, and its art, your deepest longing, you can't believe. Talk like this is a trick.  Do believe. When it was in the interest of nineteenth and twentieth century scholars they believed, which does not mean they personally thought paradise existed or the extant art of its form. Were paradise the free speech of what pleases, earth's captives of pleasure gardens on TV, could have their paradises with all comfort. But the art of paradise is not about us. It's about the creatures wild or domesticated that live in a green Thought in a green Shade. Paradise kept with hands brings the natural to the human. Get over disbelief. The child believes, my Wordsworth says, but the adolescent diminishes, imitates the adult. In the private paradise of their minds they go to pillage the garden. Ask and get a perplexed look. One believes in profit. One believes in success. But if you would look for paradise believe as though it were lost. Find a piece. Evening conversations begin, "did you find any paradise today?" Everyone is  looking.

Wednesday, December 22, 2010

3. Fraktur and the Secret Furniture of Jerusalem's Chamber. Pennsylvania Dutch Paradise.

This is the same double day lily that grew in Anna's garden in Media but which Elizabeth revealed came originally from Uncle George's farm in Worcester, home of the Schwenkfelder emphasis on inner spirituality over outward form. They brought saffron to America and declined amalgamation with the United Church that swallowed most of the other pietistic groups. Their pastors were chosen by lot from the congregation like Mennonites. Several of Uncle George Reiff's daughters, Katie, Lena and Susie, were members.

Raising Hands with the Mind

A lily is the centerpiece of this imagination that transfers Christ and His redemption to nature. Perhaps the likeness is more than symbolic. Among architectures of furnished rooms and philosophies of hymns, gardens and kitchens, this sacrament is the inner garment of earth.

The inward care of earth, the great poem of earth that remains to be written, Wallace Stevens says in The Necessary Angel), finds its unspoken search of the  devotional attitude flowering in Johann Arndt's Paradies Gartlein, the book that would not burn (Sachse, German Sectarians, I, 245, and in Gerhard Tersteegen's Spiritual Flower Garden of the Inner Soul (Geistliches Blumen-Gärtlein inniger Seelen, 1729, Germantown 1747), which was also sung. So if it is said that “Pennsylvania German folk art is basically spiritual in concept and its motifs and designs are non-representational expressions of traditional Christian imagery” (Stoudt, vii),  there is some likeness here with theologian Cornelius van Til calling it a Christian earth along with a Christian moon and sun. Citing Stoudt in defense of the lily is a little like taking Wallace Stevens as he is, a Pennsylvania Dutchman, for we delight to equivocate Dutch men. Stoudt says that when the underlying faith of this people was lost, so was its art. Wallace Stevens also changed from a Berks County farmer to a poetry sophisticate.

If you're of this folk you will be feeling better when you understand that before its elaboration in the writing of Boehme and in Pennsylvania's Ephrata Cloister the lily in the hymns and gardens is an image from the Song of Songs . This inner garden of the larger medieval setting of the terrestrial paradise, of  the German Minnesong and baroque German religious poets (Stoudt, 56), Bernard of Clairvaux and even more obscure Dionysian Neoplatonists, contemplated the lily much as did the English metaphysical poets. Hymnists and poets “escaped to illuminated writings, to the decorated chest, and to pottery” (Stoudt, 92). So a four fold progression accounts the Bible, Boehme, hymns and folk art.

Blossoming the Lily
Fraktur
 As its primary philosopher, Jacob Boehme, was vexed with the soil of this flowering, for the lily was of the earth. "A fair flower grows out of the rough earth which is [also] not like the earth, but declares by its beauty the power of the earth, and how it is mixed of good and evil; so also is every man, who, out of the animal, wild, earthly nature and quality, is born again so as to become the right image of God."

This flower was to the soil what the human was to the animal, except that man was also a plant. For Boehme the image of God in man in the earth emerged as if from a plant: "For those who are a growth of such a kind, and are shooting forth into the fair lily in the kingdom of God and are in process of birth, have we written this book” (Jacob Boehme, Six Theosophic Points, 4). So "he will blossom like a lily" (Hosea 14.5) making a paradise where none was before. This imaging of the man as a plant overcame the notion that nature was tainted with the human. As all creation groans and travails for its redemption,  the man is both its fall and its rise.

A flowering heart would connote a flowering mind much as the mystical heart diagrams of Paul Kaym, Helleleuchtender Hertzens-Spiegel (1680) give as a series of heart-head images engraved by Nicolaus Häublin, who illustrated the works of Boehme. Many works of alchemy find comfort in Boehme, who exchanged letters with Kaym whose16 engravings showing how the heart is attacked,  receiving light waves from the sun and moon, as in letters 8 and 11 of Boehme's, later published, Epistles. Paul Kaym had written to Boehme in 1620 asking him about the 'end of time', and was so answered. Kaym also wrote  commentaries on the Song of Songs and the Book of Revelation. That these  are concomitant awith alchemical texts or other mystical Boehme letters is irrelevant to the fact an air clogged with unseen spiritual beings. The study of alchemical texts cannot produce such life altering effects, it rather defeats them, since the person is bogged in rituals and sacrifices that only embroiled them further in darkness, as witnessed by the brows of patrons at S.  Weiser books. Why do the rich and the royal families seek alchemy then, if it’s only for profit? Because they have no other means of life.

 The lily as an image of nature's redemption, is not however drawn strictly as a botanical lily. This Lily is unknown, a stylized “use of natural events and objects to describe spiritual conditions." Stoudt said that such collective images underlay the life of the Pennsylvania Dutch in hymns, flowers, pottery and linens and “produced an American decorative art which, with few minor exceptions, is the only indigenous art of its kind in our land” (3).

The last thing Pennsylvania Germans  would want to seem is spiritual, which partly explains the discredit Stoudt suffered even if the spiritual intellectuals, Conrad Beissel (1691-1768), baker, founder of Ephrata and Boehme, a shoemaker, were peasants. Boehme influenced Milton, Newton and Emerson, they say, and was early translated to English (1647-1661). At the other end of the centuries Wallace Stevens, baptized at his death, reaffirmed his early life in this tradition of luminous indicia of imagination in his The Necessary Angel, a reflowering from his mother's Bible. The hymnals sang of die unfgehende lilie, the opening lily, the lilen-Zweig, the lily twig and wohlriechenden lilen, the fragrant ones (Stoudt, 85, 89, 95). This inescapable Dutch “tulip,” as Stoudt has it, was an “inarticulate belief in [all] the artist’s heart.” (Pennsylvania German Folk Art, 15).

Detail, silver napkin ring Berks County c. 1880
Pennsylvania German art embodies a spirit of  Inwendigkeit, interior, innerness that decides everything material and immaterial by the mind. Marriage is an imagination, dress an imagination, praising God is an imagination, raising hands with the mind and with the arms. All things are first and last imagined, whether household effects such as chests, linen, plates, or  fraktur art, all celebrate an “uncontaminated good within natural reality” (Stoudt, Pennsylvania German Folk Art, 101). Is it too much to say all human life is this way?

Thomas Merton illumines fraktur against "the blindness of 'single vision' which sees only the outward material surface of reality, not its inner spiritual form and the still more spiritual 'force' from which the form proceeds" (74). Shaker "work of the craftsman's hands had to be an embodiment of 'form.' The form had to be an expression of spiritual force. The force sprang directly from the mystery of God through Christ in the Believing artist" (79). The believing artist, given these forms in hand and mind by a spiritual force, God in Christ, would not find illumination outside these beliefs. Merton says Shaker art has "something to do with what Blake called 'the secret furniture of Jerusalem's chamber'" (74), that "a work-a-day bench, cupboard, or table might also and at the same time be furniture in and for heaven" (74). For Merton it is also obvious that "Shaker inspiration was communal...due not to the individual craftsman but to the community spirit and consciousness of the Believers" (76).

Anabaptists like the Shakers practice the communal production of their forms. Merton says Shaker forms were "a better, clearer, more comprehensible expression of their faith than their written theology" (76), which is what Stoudt says of Pennsylvania art, whose theology was a mythology seeing the outer surface through the inner form, the "spiritual force from which the form proceeds" (Merton, 74).

Merton, Shakers, Blake and fraktur celebrate images of the natural fruition of paradise, a renewal of plant and animal that finds human life amid these images as a means of the flowering heart. Frakturs covered with lilies in the shape of a tulip, images of a tulip blooming from a heart, roosters, flower-stars or any field or haystack transformed by the renewing mind, a spider, a fly, a rooster, child, cow, farmer, sky, grass endowed with plain dress by unplain people ornate in their inner lives, "their only advertisement was the work itself" (Merton, 79) in the field, orchard and plant. Spiritual conditions made out of the natural set Pennsylvanians apart. This celebration of life was much opposed to the surrounding English culture whose domination of peoples and empires had commercial motives.

Believing and Doing

Recapturing this Lily Age might be like trying to live out the prophecies of Blake, meditating mental archetypes, giant forms. But the Lily has as much to do with the artifact as the Elohim have to do with the hex.  Both are round. You can't get the Lily by running counterfeit. The Lily Age is not about nostalgia for a thing that once existed, stone pullers, horseback riders. You have to live it. Paradise is not an external state. It is interior, matching something unseen, mirrored in the seen, connected to an organic field, an image of the Kingdom of God, the ground out of which the Lily grows. Artifacts may be said to leave a trail of crumbs to show the external where it belongs.

To this comparison of  fraktur and Shaker add  Blake's relation of art and text. Blake's images, his decoration, languished in much the same way as fraktur text, divorced, when his work was neither reproduced nor understood. Even though Weiser says "Fraktur existed for the sake of the texts," and "a few selected images to convey the message," nobody read those texts, much less took them seriously. Weiser says it was because of a "preoccupation with death and religious themes" (xxvii), but such themes abound everywhere in English poetry, so why should it diminish the German? Separated from the text, fraktur decorations resemble Blake's art divorced from his writing. The visual image was accepted before the written.

If we could prove it was something esoteric it would get a following, but how can there be a vision in fraktur when it had multiple authors? The vision is communal but not as esoteric among its practitioners as Blake among the scholars who spin a theory of imagination out of his evangel Jerusalem. Until Erdman or Frye, critics were affronted at the idea of a coherent system in Blake. Their cousins among Pennsylvania critics are equally affronted at a hidden meaning of fraktur texts. Stoudt started to find it out, but his pietist peasants and Catholic saints got little support for a hidden world in hymns. It affronted scholars also when he claimed a personal transcendentalism for thousands of Pennsylvanians a century before New England. Pennsylvania could have been credited had it come after, but coming before was not allowed. What is a personal transcendentalist? You have the idea and live it instead of talk about it. It sounds like the Hopi elders.

 Seeing life from inside out takes getting used to. It always seems impossible from the outside, which asks how it is possible even to be immersed in a name, let alone to remain there. It is rather like that series of embeddings that take place in many of the Psalms.
 [Coming someday, a consideration of German Literary Influences in the American Transcendentalists.]
Stoudt's Pennsylvania mystics ally with the Shakers. Thomas Merton's Seeking Paradise: The Spirit of the Shakers (2003) has a view of The Inner Experience.  Merton's phrase "images of Paradise" translates this art of making. It is about believing and doing, "the peculiar grace of a Shaker chair is due to the fact that it was made by someone capable of believing that an angel might come and sit on it" (Shakers, 85).

Such believing is a stumbling block to visions among the critical classes, the prescient Milton taking dictation of the Holy Spirit each night to compose Paradise Lost, the Shakers, who "believed their furniture was designed by angels--and Blake believed his ideas for poems and engraving came from heavenly spirits" (85). It is a great irony that Blake says his poem entitled Milton was dictated to him (Ruthven, 63). A little of this frustrates a lot of rationalist.

 The relation of Pennsylvanians to decoration of tulips, hearts, stars and crowns, Mennonites turning flowers into bookmarks to bring paradise indoors, linens, furniture and pottery of communal tulips that grow from paper to linen and wood, letters that whirl, signatures in spirals and stipples, a plain board, cap or or cup  of inner spiritual form from which the outer proceeds, greater decoration the less.

K. K. Ruthven. Critical Assumptions.
 Frederick S. Weiser and Howell J. Heaney. The Pennsylvania German Fraktur. Breingigsville: The Pennsylvania German Society, 1976.

ATTIC OR BASEMENT

Inquiry into this folk mind grasps for the unseen paradox that if unknown and unsigned, how art, anonymously more than itself,  multiplied b...