This poem is composed of Sheet Poetry. The 3 Parts, speak alone and then dialogue in sequence, the Poem is followed as if guided by the Musical Notation for returning to the Head, Repeating choruses and proceeding to the Coda.

The Poem is written with the musical theory of discordance and alludes to Bach’s, equal temperament and the Greek system of Pythagorean Modes. The Pluralism in the musical language and the polysemous use of words allude to the context of art and historical juxtaposition of sequence and order and the use of suggestion in propaganda and modern use of cognitive dissonance.

The Broad influence of Society of Spectacle and the Discrete charm of the bourgeois, Mc Mullen’s Ghost Dance and not stated but there of Michael Foucault, drawing on a broad sweep of political philosophy from The Republic of Plato through to the enlightenment and political philosophy of the modern era.

The metaphor of a Wheel, revolving with each revolution of the wheel necessary plagiarizing and repeating the mistakes of the previous revolution. The poem argues for a Resolution to a discord through the harmonies of the voiceless always ignored and always excluded from the Bourgeoisie. Neo-Liberalism is the New Credo of the Bourgeoisie in the terms of this poem and it rejects representative politics for the corrupt charade that it is.

Tritone substitution: F♯7 may substitute for C7, and vice versa, because they both share E♮ and B♭/A♯ and due to voice leading considerations.  Play (help·info)

Publications[edit]

Works published in Bentham’s lifetime include:

• Short Review of the Declaration (1776). An attack on the United States Declaration of Independence.[56]

Dissonance

Shelley, Percy Bysshe, 

1792-1822. en
A. defence of poetry,

[1904]

A DEFENCE OF POETRY

A DEFENCE
OF POETRY

PERCY BYSSHE SHELLEY

EDITED BY MRS. SHELLEY

REPRINTED FROM THE
EDITION OF MDCCCXLV
The Eolian Harp
BY SAMUEL TAYLOR COLERIDGE
composed at clevedon, somersetshire
The stilly murmur of the distant Sea
Tells us of silence.

And that simplest Lute,
Placed length-ways in the clasping casement, hark!
How by the desultory breeze caressed,
Like some coy maid half yielding to her lover,
It pours such sweet upbraiding, as must needs
Tempt to repeat the wrong! And now, its strings
Boldlier swept, the long sequacious notes
Over delicious surges sink and rise,
Such a soft floating witchery of sound

Poetry, in a general sense, may be
defined to be “the expression of the
imagination:” and poetry is connate

12

with the origin of man. Man is an
instrument over which a series o ex-
ternal and internal impressions are
driven, like the alternations of an ever-
changing wind over an Aeolian lyre,
which move it by their motion to ever-
changing melody. But there is a prin-
ciple within the human being, and
perhaps within all sentient beings,
which acts otherwise than in the lyre,
and produces not melody alone, but
harmony, by an internal adjustment of
the sounds or motions thus excited to
the impressions which excite them.
It is as if the lyre could accommodate
its chords to the motions of that which
strikes them, in a determined propor-
tion of sound; even as the musician
can accommodate his voice to the
sound of the lyre. A child at play by
itself will express its delight by its voice
and motions; and every inflexion of
tone and every gesture will bear exact
relation to a corresponding antitype in
the pleasurable impressions which

13

awakened it; it will be the reflected
image of that impression; and as the
lyre trembles and sounds after the
wind has died away, so the child seeks,
by prolonging in its voice and motions
the duration of the effect, to prolong
also a consciousness of the cause. In
relation to the objects which delight a
child, these expressions are what poetry
is to higher objects.

The savage (for
the savage is to ages what the child is
to years) expresses the emotions pro-
duced in him by surrounding objects in
a similar manner; and language and
gesture, together with plastic or picto-
rial imitation, become the image of the
combined effect of those objects, and
of his apprehension of them. Man in
society, with all his passions and his
pleasures, next becomes the object of
the passions and pleasures of man; an
additional class of emotions produces
an augmented treasure of expressions;
and language, gesture, and the imita-
tive arts, become at once the repre-

14

sentation and the medium, the pencil
and the picture, the chisel and the
statue, the chord and the harmony.
The social sympathies, or those laws
from which, as from its elements,
society results, begin to develop them-
selves from the moment that two
human beings co-exist; the future is
contained within the present, as the
plant within the seed; and equality,
diversity, unity, contrast, mutual de-
pendence, become the principles alone
capable of affording the motives ac-
cording to which the will of a social
being is determined to action, inas-
much as he is social; and constitute
pleasure in sensation, virtue in senti-
ment, beauty in art, truth in reasoning,
and love in the intercourse of kind.
Hence men, even in the infancy of
society, observe a certain order in their
words and actions, distinct from that
of the objects and the impressions
represented by them, all expression
being subject to the laws of that from

‘5

which it proceeds. But let us dismiss
those more general considerations
which might involve an inquiry into
the principles of society itself, and
restrict our view to the manner in
which the imagination is expressed
upon its forms.

In the youth of the world, men dance
and sing and imitate natural objects,
observing in these actions, as in all
others, a certain rhythm or order. And,
although all men observe a similar,
they observe not the same order, in
the motions of the dance, in the melody
of the song, in the combinations of
language, in the series of their imita-
tions of natural objects. For there is
a certain order or rhythm belonging to
each of these classes of mimetic repre-
sentation, from which the hearer and
the spectator receive an intenser and
purer pleasure than from any other:
the sense of an approximation to this
order has been called taste by modern
writers. Every man in the infancy of

16

art, observes an order which approxi-
mates more or less closely to that from
which this highest delight results: but
the diversity is not sufficiently marked,
as that its gradations should be sensi-
ble, except in those instances where
the predominance of this faculty of
approximation to the beautiful (for so
we may be permitted to name the
relation between this highest pleasure
and its cause) is very great.

Hence
the fame of sculptors, painters, and
musicians, although the intrinsic pow-
ers of the great masters of these arts
may yield in no degree to that of those
who have employed language as the
hieroglyphic of their thoughts, has
never equalled that of poets in the
restricted sense of the term; as two
performers of equal skill will produce
unequal effects from a guitar and a
harp. The fame of legislators and

22

founders of religions, so long as their
institutions last alone seems to exceed
that of poets in the restricted sense;
but it can scarcely be a question,
whether, if we deduct the celebrity
which their flattery of the gross opin-
ions of the vulgar usually conciliates,
together with that which belonged to
them in their higher character of
poets, any excess will remain.

We have thus circumscribed the
word poetry within the limits of that
art which is the most familiar and the
most perfect expression of the faculty
itself. It is necessary, however, to
make the circle still narrower, and to
determine the distinction between
measured and unmeasured language;
for the popular division into prose and
verse is inadmissible in accurate phi-
losophy.

Sounds as well as thoughts have
relation both between each other and
towards that which they represent,
and a perception of the order of those

relations has always been found con-
nected with a perception of the order
of the relations of thoughts. Hence
the language of poets has ever affected
a certain uniform and harmonious recur-
rence of sound, without which it were
not poetry, and which is scarcely less
indispensable to the communication
of its influence, than the words them-
selves, without reference to that pecu-
liar order. Hence the vanity of trans-
lation; it were as wise to cast a violet
into a crucible that you might discover
the formal principle of its colour and
odour, as seek to transfuse from one
language into another the creations of
a poet. The plant must spring again
from its seed, or it will bear no flower
and this is the burthen of the curse
of Babel.

In a drama of 
the highest order there is little food for 
censure or hatred; it teaches rather 
self-knowledge and self-respect. Nei- 
ther the eye nor the mind can see it- 
self, unless reflected upon that which 
it resembles. The drama, so long as it 
continues to express poetry, is as a 
prismatic and many-sided mirror, 

4*

which collects the brightest rays of
human nature and divides and repro-
duces them from the simplicity of these
elementary fprms, and touches them
with majesty and beauty, and multi-
plies all that it reflects, and endows it
with the power of propagating its like
wherever it may fall.

But in periods of the decay of social
life, the drama sympathises with that
decay. Tragedy becomes a cold imita-
tion of the form of the great master-
pieces of antiquity, divested of all
harmonious accompaniment of the
kindred arts; and often the very form
misunderstood, or a weak attempt to
teach certain doctrines, which the
writer considers as moral truths; and
which are usually no more than spe-
cious flatteries of some gross vice or
weakness, with which the author, in
common with his auditors, are infec-
ted. Hence what has been called the
classical and domestic drama. Addi-
son’s “Cato” is a specimen of the one;

43

and would it were not superfluous to
cite examples of the other! To such
purposes poetry can not be made sub-
servient. Poetry is a sword of light-
ning, ever unsheathed, which consumes
the scabbard that would contain it.
And thus we observe that all dramatic
writings of this nature are unimagina-
tive in a singular degree; they affect
sentiment and passion, which, divested
of imagination, are other names for
caprice and appetite. The period in
our own history of the grossest degra-
dation of the drama is the reign of
Charles II., when all forms in which
poetry had been accustomed to be
expressed became hymns to the tri-
umph of kingly power over liberty and
virtue. Milton stood alone illumina-
ting an age unworthy of him. At such
periods the calculating principle per-
vades all the forms of dramatic exhi-
bition, and poetry ceases to be expressed
upon them. Comedy loses its ideal uni-
versality: wit succeeds to humour; we

44

laugh from self-complacency and tri-
umph, instead of pleasure; malignity,
sarcasm, and contempt succeed to
sympathetic merrimentj we hardly
laugh, but we smile. Obscenity, which
is ever blasphemy against the divine
beauty in life, becomes, from the very
veil which it assumes, more active if
less disgusting: it is a monster for which
the corruption of society for ever brings
forth new food, which it devours in
secret.

Men, from causes too intricate 
to be here discussed, had become insen- 
sible and selfish: their own will had 
become feeble, and yet they were its 
slaves, and thence the slaves of the will 
of others: lust, fear, avarice, cruelty, and 
fraud, characterised a race amongst 
whom no one was to be found capable 
of creating in form, language, or insti- 
tution. The moral anomalies of such 
a state of society are not justly to be 
charged upon any class of events im- 
mediately connected with them, and 
those events are most entitled to our 
approbation which could dissolve it 
most expeditiously. It is unfortunate 
for those who can not distinguish 
words from thoughts, that many of 
these anomalies have been incorpora- 
ted into our popular religion. 

56

It was not until the eleventh centu-
ry that the effects of the poetry of the
Christian and chivalric systems began
to manifest themselves. The principle
of equality had been discovered and
applied by Plato in his Republic, as the
theoretical rule of the mode in which
the materials of pleasure and of power
produced by the common skill and
labour of human beings ought to be
distributed among them. The limita-
tions of this rule were asserted by him
to be determined only by the sensibility
of each, or the utility to result to all.
Plato, following the doctrines of Tim-
aeus and Pythagoras, taught also a
moral and intellectual system of doc-
trine, comprehending at once the past,
the present, and the future condition
of man.

Whilst the mechanist abridges, 
and the political economist combines 
labour, let them beware that their 
speculations, for want of correspond- 
ence with those first principles which 
belong to the imagination, do not tend, 
as they have in modern England, to 
exasperate at once the extremes of 
luxury and want. They have exempli- 
fied the saying, "To him that hath, 
more shall be given; and from him that 
hath not, the little that he hath shall 
be taken away." The rich have become 
richer, and the poor have become poor- 
er; and the vessel of the state is driven 
between the Scylla and Charybdis of 
anarchy and despotism. Such are the 
effects which must ever flow from an 
unmitigated exercise of the calculating 
faculty. 

p.70

Luther is well known for using anal and defecatory metaphors throughout his more polemical writings (i.e. Table Talk), although most were aimed at the Papacy. However, the reformer was so fond of all things scatological, that he even utilized fecal wordplay in explaining his theology. He once expressed his readiness to depart from this world in the formula, “I am the ripe shard and the world is the gaping anus.”

 Whilst the mechanist abridges, 
and the political economist combines 
labour, let them beware that their 
speculations, for want of correspond- 
ence with those first principles which 
belong to the imagination, do not tend, 
as they have in modern England, to 
exasperate at once the extremes of 
luxury and want. They have exempli- 
fied the saying, "To him that hath, 
more shall be given; and from him that 
hath not, the little that he hath shall 
be taken away." The rich have become 
richer, and the poor have become poor- 
er; and the vessel of the state is driven 
between the Scylla and Charybdis of 
anarchy and despotism. Such are the 
effects which must ever flow from an 
unmitigated exercise of the calculating 
faculty. 

It is difficult to define pleasure in its
70

highest sense; the definition involving
a number of apparent paradoxes. For,
from an inexplicable defect of harmo-
ny in the constitution of human nature,
the pain of the inferior is frequently
connected with the pleasures of the
superior portions of our being.

Poetry is not like reasoning, a
power to be exerted according to the
determination of the will A man can-
not say, “I will compose poetry.” The
greatest poet even can not say it; for
the mind in creation is as a fading coal,
which some invisible influence, like an
inconstant wind, awakens to transitory
brightness; this power arises from with-
in, like the colour of a flower which
fades and changes as it is developed,

77

and the conscious portions of our na-
tures are unprophetic either of its ap-
proach or its departure. Could this
influence be durable in its original purity
and force, it is impossible to predict the
greatness of the results; but when
composition begins, inspiration is al-
ready on the decline, and the most
glorious poetry that has ever been com-
municated to the world is probably a
feeble shadow of the original concep-
tions of the poet.

Poetry is the record of the best and
happiest moments of the happiest and
best minds. We are aware of evanes-
cent visitations of thought and feeling
sometimes associated with place or
person, sometimes regarding our own

79

mind alone, and always arising unfore-
seen and departing unbidden, but ele-
vating and delightful beyond all expres-
sion: so that even in the desire and the
regret they leave, there cannot but be
pleasure, participating as it does in the
nature of its object. It is as it were the
interpenetration of a diviner nature
through our own; but its footsteps are
like those of a wind over the sea, which
the coming calm erases, and whose
traces remain only as on the wrinkled
sand which paves it. These and cor-
responding conditions of being are ex-
perienced principally by those of the
most delicate sensibility and the most
enlarged imagination; and the state of
mind produced by them is at war with
every base desire. The enthusiasm of
virtue, love, patriotism, and friendship
is essentially linked with such emotions;
and whilst they last, self appears as
what it is, an atom to a universe. Poets
are not only subject to these experien-
ces as spirits of the most refined organ-

80

isation, but they can colour all that
they combine with the evanescent hues
of this ethereal world; a word, a trait
in the representation of a scene or a
passion will touch the enchanted chord,
and reanimate, in those who have ever
experienced these emotions, the sleep-
ing, the cold, the buried image of the
past, Poetry thus makes immortal all
that is best and most beautiful in the
world; it arrests the vanishing appari-
tions which haunt the interlunations of
life, and veiling them, or in language
or in form, sends them forth among
mankind, bearing sweet news of kind-
red joy to those with whom their sisters
abide abide, because there is no portal
of expression from the caverns of the
spirit which they inhabit into the uni-
verse of things. Poetry redeems from
decay the visitations of the divinity in
man.

least in relation to the percipient.
“The mind is its own place, and of
itself can make a heaven of hell, a hell
of heaven.” But poetry defeats the curse
which binds us to be subjected to the
accident of surrounding impressions.
And whether it spreads its own figured
curtain, or withdraws life’s dark veil
from before the scene of things, it

82

equally creates for us a being within
our being. It makes us the inhabitants
of a world to which the familiar world
is a chaos. It reproduces the common
universe of which we are portions and
percipients, and it purges from our in-
ward sight the film of familiarity which
obscures from us the wonder of our
being.

85 

It is presumptuous to determine that
these are the necessary conditions of all
mental causation, when mental effects
are experienced unsusceptible of being
referred to them. The frequent recur-
rence of the poetical power, it is obvi-
ous to suppose, may produce in the
mind a habit of order and harmony
correlative with its own nature and
with its effect upon other minds. But
in the intervals of inspiration, and they
may be frequent without being durable,
a poet becomes a man, and is abandoned
to the sudden reflux of the influences
under which others habitually live. But
as he is more delicately organised than
other men, and sensible to pain and
pleasure, both his own and that of
others, in a degree unknown to them,
he will avoid the one and pursue the
other with an ardour proportioned to
this difference. And he renders himself
obnoxious to calumny, when he neglects
to observe the circumstances under
which these objects of universal pursuit

86

and flight have disguised themselves in
one another’s garments.

Plato insists that the laws of Magnesia⁴⁵ must be set to music – a music that, like the laws themselves, must never be changed – and not only sung but also danced to in chorus with the accompaniment of the lyre (812a-e). And Plato insists on several occasions in the Laws that all mousike, including his own, is imitative and representative (e.g., Laws 668a6, b10; 669c; 802c-d;7; 803a-b; 854b). In other words, the laws must be poetized and set to music and therefore “performed” in a fashion reminiscent of “dramatic poetry”.

• Acting white
• House Negro
• Jump Jim Crow
• List of ethnic slurs
• The Brothers Brothers
• Race traitor
• Stepin Fetchit
• Stockholm syndrome
• Sycophant

ncle Tom syndrome

From Wikipedia, the free encyclopedia

Illustration of Tom and Eva by Hammatt Billings for the 1853 deluxe edition of Uncle Tom’s Cabin.

Uncle Tom syndrome is a concept in psychology.[1] It refers to a coping skill where individuals use passivity and submissiveness when confronted with a threat, leading to subservient behaviour and appeasement, while concealing their true thoughts and feelings. The term “Uncle Tom” comes from the title character of Harriet Beecher Stowe‘s novel Uncle Tom’s Cabin, where the African American slave Tom is beaten to death by a cruel white master for refusing to betray the whereabouts of two other slaves.

In the American racial context, Uncle Tom is a pejorative term for blacks that give up or hide their ethnic or gender outlooks, traits, and practices, in order to be accepted into the mainstream—a so-called race traitor. In African American parlance this is also derogatorily known as an Oreo cookie: black on the outside, and white on the inside.[2]

In race minority literature Uncle Tom syndrome refers to blacks that, as a necessary survival technique, opt to appear docile, non-assertive, and happy-go-lucky. Especially during slavery, blacks used passivity and servility to minimize retaliation and maximize own survival.[3] Key notions are integrity and self-respect. For instance, the Aboriginal Australian Corranderrk are reported to have conformed to European ways while still retaining group dignity and individual self-respect, thereby not succumbing to the Uncle Tom syndrome.[4]

In a broader context the term may refer to a minority’s strategy of coping with oppression from socially, culturally or economically dominant groups involving suppression of aggressive feelings and even identification with the oppressor, leading to “forced assimilation/acculturation” of the cultural minority.[5]

See also[edit]

• Uncle Tom
• House Negro
• Self-hating Jew
• Useful Jew
• Stockholm syndrome
• Race traitor
• Uncle Ruckus
• Self-hating Negro

Origin and meaning[edit]

This section needs expansion. You can help by adding to it. Relevant discussion may be found on the talk page. (June 2015)

“At the peak of comic Flip Wilson‘s popularity, some of his contemporaries criticized him for not doing enough to advance the cause of African-Americans. After all, his hit television program, The Flip Wilson Show, gave him access to millions of viewers each week in the heavily segregated America of the early 1970s. Yet his humor was lighthearted and apolitical.Richard Pryor even told Flip he was ‘the NBC house Negro’.”

https://en.wikipedia.org/wiki/False_consciousness

Engels[edit]

Ideology is a process accomplished by the so-called thinker. Consciously, it is true, but with a false consciousness. The real motive forces impelling him remain unknown to him; otherwise it simply would not be an ideological process. Hence he imagines false or apparent motives. […]

It is above all this appearance of an independent history of state constitutions, of systems of law, of ideological conceptions in every separate domain, which dazzles most people. If Luther and Calvin “overcome” the official Catholic religion, or Hegel “overcomes” Fichte and Kant or if the constitutional Montesquieu is indirectly “overcome” by Rousseau with his “Social Contract,” each of these events remains within the sphere of theology, philosophy or political science, represents a stage in the history of these particular spheres of thought and never passes outside the sphere of thought. And since the bourgeois illusion of the eternity and the finality of capitalist production has been added as well, even the victory of the physiocrats and Adam Smith over the mercantilists is accounted as a sheer victory of thought; not as the reflection in thought of changed economic facts but as the finally achieved correct understanding of actual conditions subsisting always and everywhere […]

Bach and just and mean temperament