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By Schroll H.J., Svensson F.

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Females loud applause (E. 471, K. 171) Silence and invisibility intersect with the ‘Silent Silent Night’, while ‘darkness’ makes this a night-poem. 13 In ‘Never pain to tell thy love’, the lover believes in secrecy, ‘For the gentle wind doth move / Silently, invisibly’. He fears uncertainty, but those second two lines indicate that the wind teaches the need for secrecy. The second stanza is upstream from this conclusion, implying the desire to stabilize, where telling tolls the death-knell. Telling ‘all’ entails death or despair (‘trembling, cold, in ghastly fears’) in a movement which fears giving the self to the power of the Other (which therefore imposes secrecy as a mode of operation) or, in the repeated telling, trying to fix or possess the other (compare ‘Eternity’).

The fifth text, written in 1799, gives a narrative of the world of the Greeks dominated by Apollo and light. This first Enlightenment, however, was unable to deal with death, and had to personify it on the tomb by 46 Blake’s Night Thoughts a youth extinguishing the light. The narrative of Greece is succeeded by the birth of Christ, who is seen by a Greek singer coming to Palestine – a figure of Novalis – as the embodiment of the youth figured on the sarcophagus; Christ is already, then, a figure of resurrection, the fulfilment of sleep and of death.

118), just as ‘piping’ in it recalls ‘Introduction’ to Songs of Innocence. The first two verses, which became the poem in Songs of Experience (E. 28, K. 217), contain material also in ‘A Poison Tree’. Much other material remained unused finally. The first six stanzas are printed by Keynes (E. 28, 797, K. 166–7, 889–90), and I have given them plus his draft versions (K. 166–7): My mother groand! my father wept. Into the dangerous world I leapt: Helpless, naked, piping loud, Like a fiend hid in a cloud.

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