Everyone knows that William Blake was a great reader. What isn't generally known; what is in fact a great mystery is where he got the books or where he did the reading. I haven't succeeded in finding any information about that (tell me if there is any).
Blake went to school for part of one day; that's all the formal education he seems to have acquired. Of course he had some journeyman training. However he appeared to be the most learned person of his generation, which makes him what we call an autodidact -- self-educated.
Very likely his learning began with the Bible; that's demonstrated by the use he made of the Bible in his creative work. He had a thorough acquaintance with the Bible, but he never confined himself to a literal understanding; he didn't see it as history -- no, as poetry. The primary difference is that poetry is susceptible to various meanings, depending on the perception of the reader. Likewise the meaning of any element of the Bible is various, depending on the perception of the reader.
Among the Books of the Bible that he favored he named Ezra and Isaiah; but in MHH he mentioned Ezekiel; he had a conversation with Ezekiel (plate 13). Some of his works demonstrated a considerable acquaintance with Revelation, in the same way that John had shown an extensive acquaintance with The Old Testament.
In a Letter to Flaxman Blake wrote:
"Now my lot in the Heavens is this; Milton
lovd me in childhood & shewd me his face, Ezra
came with Isaiah the Prophet, but Shakespeare in
riper years gave me his hand; Paracelsus & Behmen
appeard to me."
If you're serious about William Blake here's your reading list:
Jacob Boehme: Aside from the Bible nothing meant more to Blake than William Law's translation of this German mystic (some would say Gnostic). The more of Boehme you read, the more Blake you will see and understand. (the English called him Behmen.)
John Milton: Blake identified strongly with Milton -- and had some marked differences with him. Paradise Lost had a great influence on him. In Plate 6 of MHH he said that Milton "was a true Poet and of the Devils party without knowing it". In Vision, writing The Book of Milton he found it necessary to call Milton back from Heaven to correct his spiritual mistakes (much like God sent his Son to save the world).
Swedenborg: Blake's parents had been attracted to this Swedish philosopher and mystic. He and his wife likely attended the Swedenborg Church in London. But he soon saw the man's deficiencies -- and lampooned him in some early works. He undoubtedly learned something from Swedenborg and lamented about him in Milton, "O Swedenborg! strongest of men, the Samson shorn by the Churches! "
Shakespeare is given by Blake as one of his significant literary relationships. I haven't found that in reading Blake. David Whitmarsh apparently has a lot of say on that score.
Paracelsus (1493-1541): To learn how this man affected Blake you might best consult Milton Percival's Circle of Destiny (probably the best introduction to Blake). He has a chapter on Alchemical Symbolism, and reading this will help you understand how and why the furnaces come up so often in the major prophecies.
Although Thomas Taylor was one year younger than Blake, his translations of Plato and the Neo-Platonists led our poet's interests emphatically in that direction. Thereafter the Greek and Roman myths loomed large in Blake's poetry and pictures.
Homer was a major source for Blake's works. Although he expressed some contempt for Homer, he drew heavily on Homer's stories, using Ovid more often than Homer himself. To get some understanding of how Blake used Homer take a look at my file on myths. The Sea of Time and Space is directly about the Odyssey, a pictorial description in fact (of course it's about a lot of other things as well).
Hermes Trismegistus was a special interest of Blake's as well as a dozen similar arcane and esoteric works too numerous to discuss in this post. But perhaps there will be more to come.
Showing posts with label Homer. Show all posts
Showing posts with label Homer. Show all posts
Thursday, January 14, 2010
Tuesday, September 29, 2009
Circle of Destiny II
The last post included a link to the Arlington Tempera. You may see it as an excellent portrayal of the Circle of Destiny.
One of the common names for the picture is The Sea of Time and Space. However Damon suggested The Circle of Life as a more appropriate term.
The sea in the picture is only one of several vital scenes; it occurs in the left foreground. The right hand part portrays the Cave of the Nymphs, found in the 13th book of the Odyssey. In fact it's from an interpretation of the cave by Porphyry, a 3rd century a Neoplatonist philosopher.
The upper left portrays Eternity. The center shows two prominent characters. The man kneeling on the shore has been given several names: Odysseus by Kathleen Raine, Luvah by Damon, Albion/Jesus by Digby, or better yet, Everyman (you and I). He has gotten close to completion of the circle of destiny; without looking at the sea he is throwing the girdle of Leucothea which she had lent him to be able to swim ashore (Blake used Book 5 of the Odyssey for this feature).
Behind 'Everyman' stands a woman, perhaps Athene (Raine), Vala (Damon), the anima (Digby). (This shows how Blake says different things to different people -- much like the Bible!)
On the right side of the picture there's an image you might imagine as a double escalator with the right side going down and the left up. Down the northern come the souls with a hankering for mortal life. Up the southern may go Everyman:
"when once he did descry
the immortal man who cannot die
Through evening shades he hastes away
to close the labors of his day."
We can only suppose that Everyman, responding to the radiant woman's signal, looked up and moved!
There's a lot more to the circle of destiny; if anyone shows an interest, I'll be glad to expand on it.
Tell me what you think.
One of the common names for the picture is The Sea of Time and Space. However Damon suggested The Circle of Life as a more appropriate term.
The sea in the picture is only one of several vital scenes; it occurs in the left foreground. The right hand part portrays the Cave of the Nymphs, found in the 13th book of the Odyssey. In fact it's from an interpretation of the cave by Porphyry, a 3rd century a Neoplatonist philosopher.
The upper left portrays Eternity. The center shows two prominent characters. The man kneeling on the shore has been given several names: Odysseus by Kathleen Raine, Luvah by Damon, Albion/Jesus by Digby, or better yet, Everyman (you and I). He has gotten close to completion of the circle of destiny; without looking at the sea he is throwing the girdle of Leucothea which she had lent him to be able to swim ashore (Blake used Book 5 of the Odyssey for this feature).
Behind 'Everyman' stands a woman, perhaps Athene (Raine), Vala (Damon), the anima (Digby). (This shows how Blake says different things to different people -- much like the Bible!)
On the right side of the picture there's an image you might imagine as a double escalator with the right side going down and the left up. Down the northern come the souls with a hankering for mortal life. Up the southern may go Everyman:
"when once he did descry
the immortal man who cannot die
Through evening shades he hastes away
to close the labors of his day."
We can only suppose that Everyman, responding to the radiant woman's signal, looked up and moved!
There's a lot more to the circle of destiny; if anyone shows an interest, I'll be glad to expand on it.
Tell me what you think.
Circle of Destiny II
The last post included a link to the Arlington Tempera. You may see it as an excellent portrayal of the Circle of Destiny.
One of the common names for the picture is The Sea of Time and Space. However Damon suggested The Circle of Life as a more appropriate term.
The sea in the picture is only one of several vital scenes; it occurs in the left foreground. The right hand part portrays the Cave of the Nymphs, found in the 13th book of the Odyssey. In fact it's from an interpretation of the cave by Porphyry, a 3rd century a Neoplatonist philosopher.
The upper left portrays Eternity. The center shows two prominent characters. The man kneeling on the shore has been given several names: Odysseus by Kathleen Raine, Luvah by Damon, Albion/Jesus by Digby, or better yet, Everyman (you and I). He has gotten close to completion of the circle of destiny; without looking at the sea he is throwing the girdle of Leucothea which she had lent him to be able to swim ashore (Blake used Book 5 of the Odyssey for this feature).
Behind 'Everyman' stands a woman, perhaps Athene (Raine), Vala (Damon), the anima (Digby). (This shows how Blake says different things to different people -- much like the Bible!)
On the right side of the picture there's an image you might imagine as a double escalator with the right side going down and the left up. Down the northern come the souls with a hankering for mortal life. Up the southern may go Everyman:
"when once he did descry
the immortal man who cannot die
Through evening shades he hastes away
to close the labors of his day."
We can only suppose that Everyman, responding to the radiant woman's signal, looked up and moved!
There's a lot more to the circle of destiny; if anyone shows an interest, I'll be glad to expand on it.
Tell me what you think.
One of the common names for the picture is The Sea of Time and Space. However Damon suggested The Circle of Life as a more appropriate term.
The sea in the picture is only one of several vital scenes; it occurs in the left foreground. The right hand part portrays the Cave of the Nymphs, found in the 13th book of the Odyssey. In fact it's from an interpretation of the cave by Porphyry, a 3rd century a Neoplatonist philosopher.
The upper left portrays Eternity. The center shows two prominent characters. The man kneeling on the shore has been given several names: Odysseus by Kathleen Raine, Luvah by Damon, Albion/Jesus by Digby, or better yet, Everyman (you and I). He has gotten close to completion of the circle of destiny; without looking at the sea he is throwing the girdle of Leucothea which she had lent him to be able to swim ashore (Blake used Book 5 of the Odyssey for this feature).
Behind 'Everyman' stands a woman, perhaps Athene (Raine), Vala (Damon), the anima (Digby). (This shows how Blake says different things to different people -- much like the Bible!)
On the right side of the picture there's an image you might imagine as a double escalator with the right side going down and the left up. Down the northern come the souls with a hankering for mortal life. Up the southern may go Everyman:
"when once he did descry
the immortal man who cannot die
Through evening shades he hastes away
to close the labors of his day."
We can only suppose that Everyman, responding to the radiant woman's signal, looked up and moved!
There's a lot more to the circle of destiny; if anyone shows an interest, I'll be glad to expand on it.
Tell me what you think.
Wednesday, September 2, 2009
SPIRITUAL DESCENDENTS
Apparently Blake eventually realized that he had been
blessed and singled out to give what he had received,
not to to the small circle of folks around him, but
to the generations which would follow. The furious
effort that he put into his work in spite of the
slight affirmation he received, indicates to me that
he believed that his influence could penetrate
history as psychological development caught up with
him. He could look back at Homer, Jesus and Paul
(among others), who produced not for their
contemporaries but for their spiritual descendants,
and seek to be among them.
__________________________________________
Of this frontispiece for JERUSALEM, Erdman says: "We may suppose that Los in his London human form as William Blake, is entering a dark place with his illumination, as Jesus enters Hell with his key; that he is leading us toward a scene of action; that his arresting hand invites our attention; that he is preparing to give himself, as Milton on the title page of Milton." Los Entering The Grave
SPIRITUAL DESCENDENTS
Apparently Blake eventually realized that he had been
blessed and singled out to give what he had received,
not to to the small circle of folks around him, but
to the generations which would follow. The furious
effort that he put into his work in spite of the
slight affirmation he received, indicates to me that
he believed that his influence could penetrate
history as psychological development caught up with
him. He could look back at Homer, Jesus and Paul
(among others), who produced not for their
contemporaries but for their spiritual descendants,
and seek to be among them.
__________________________________________
Of this frontispiece for JERUSALEM, Erdman says: "We may suppose that Los in his London human form as William Blake, is entering a dark place with his illumination, as Jesus enters Hell with his key; that he is leading us toward a scene of action; that his arresting hand invites our attention; that he is preparing to give himself, as Milton on the title page of Milton." Los Entering The Grave
Tuesday, August 25, 2009
ROBES OF BLOOD
Larry wrote: KNEELING MAN AT THE SHORE
The features and meanings in the
Arlington Tempera are subject to various interpretations; that's true in fact of all works of art. In particular color representations of this picture reveal things lost to monochrome viewers. The kneeling man at the shore wore a crimson robe. The red robe contributes to Damon (A BLAKE DICTIONARY) seeing the red-robed man kneeling on the shore as Luvah, the Zoa who represented the emotions to Blake. Raine viewing the scene from the Greek mythological perspective, saw him as Odysseus, Digby (SYMBOL AND IMAGE IN WILLIAM BLAKE) saw him in a function of Blake's larger mythological structure as Albion and Jesus who represent the total Humanity.
The contrast between Raine's (BLAKE AND TRADITION) and Digby's interpretations of the picture show how full is the meaning conveyed by the artist to two scholars in very different disciplines. The Greek origin of the setting comes out in Raine's identification of the images(and the total story) as very clearly an adaptation of the Odyssey. Cave of the Nymphs Meanwhile the same images lend themselves in a more direct sense to the system that Blake created; to a great degree a psychological one. (Digby perceived the Greek story told here in strictly Jungian terms.)
In all likelihood Blake portrayed this image to convey all three facets of the complex character: the red robed man on the shore should be seen as by Damon as Luvah; and as by Raine as Odysseus; and as by Digby as Albion and Jesus. Since the kneeling man is wearing a red robe he suggests to Blake readers a recurring image whether we see him as Odysseus, Luvah, Jesus or Albion.
Blake used 'robes of blood' as a major symbol in his poetry. Look at:
FOUR ZOAS 1-13.8-9; E308:
"Eternity appeard above them as One Man infoldedIn Luvah[s] ROBES OF BLOOD & bearing all his afflictions"
FOUR ZOAS 2-32.13-14; E321
"The heavens were closd and spirits mournd their bondage night and day And the Divine Vision appeard in Luvahs ROBES OF BLOOD"
FOUR ZOAS 7a-87.43-4; E369|
"Turn inwardly thine Eyes & there behold the Lamb of God Clothed in Luvahs ROBES OF BLOOD descending to redeem"
Blake undoubted knew well the account in Rev. 19 of the appearance of the Christ at the end times, including verse 13: "And he was clothed with a VESTURE DIPPED IN BLOOD: and his name is called The Word of God." (KJV)
And finally we come to plate 42 in MILTON including:
"Then as a Moony Ark Ololon descended to Felphams Vale
In clouds of blood, in streams of gore, with dreadful thunderings
Into the Fires of Intellect that rejoic'd in Felphams Vale
Around the Starry Eight: with one accord the Starry Eight became
One Man Jesus the Saviour. wonderful! round his limbs
The Clouds of Ololon folded as a GARMENT DIPPED IN BLOOD
Written within & without in woven letters: & the Writing
Is the Divine Revelation in the Litteral expression:
A Garment of War, I heard it namd the Woof of Six Thousand Years"
We may suppose that Digby's acquaintance with these accounts led him to name the man on the shore Albion - Jesus.
Would anyone care to exegete this last passage? (Damon suggested spiritual war)
Ellie's reply:
I've heard it said that life is a struggle. We can't expect to get through it without being battered and bruised. In our daily relationships we endure wounds and inflict wounds, inadvertently as well as deliberately. Most of our wounds are to our psyches, both our own and those whom we attack through our own unconscious defensiveness or projection.So we ourselves can be seen as the bloodied robes. Our psyches as well as our bodies are 'a clothing for the Soul Divine'. Joy and Woe In as far as we can see ourselves as members of the 'body of Christ'(1st Corinthians 12:27), as participants in the Divine Humanity which Blake called Albion, we also are the bloodied robes which Blake spoke of in regard to Luvah and Jesus. Sacred though these raiments be, they can be washed and mended and rewoven into unsullied garments suitable for entry into Jerusalem.
ROBES OF BLOOD
Larry wrote: KNEELING MAN AT THE SHORE
The features and meanings in the
Arlington Tempera are subject to various interpretations; that's true in fact of all works of art. In particular color representations of this picture reveal things lost to monochrome viewers. The kneeling man at the shore wore a crimson robe. The red robe contributes to Damon (A BLAKE DICTIONARY) seeing the red-robed man kneeling on the shore as Luvah, the Zoa who represented the emotions to Blake. Raine viewing the scene from the Greek mythological perspective, saw him as Odysseus, Digby (SYMBOL AND IMAGE IN WILLIAM BLAKE) saw him in a function of Blake's larger mythological structure as Albion and Jesus who represent the total Humanity.
The contrast between Raine's (BLAKE AND TRADITION) and Digby's interpretations of the picture show how full is the meaning conveyed by the artist to two scholars in very different disciplines. The Greek origin of the setting comes out in Raine's identification of the images(and the total story) as very clearly an adaptation of the Odyssey. Cave of the Nymphs Meanwhile the same images lend themselves in a more direct sense to the system that Blake created; to a great degree a psychological one. (Digby perceived the Greek story told here in strictly Jungian terms.)
In all likelihood Blake portrayed this image to convey all three facets of the complex character: the red robed man on the shore should be seen as by Damon as Luvah; and as by Raine as Odysseus; and as by Digby as Albion and Jesus. Since the kneeling man is wearing a red robe he suggests to Blake readers a recurring image whether we see him as Odysseus, Luvah, Jesus or Albion.
Blake used 'robes of blood' as a major symbol in his poetry. Look at:
FOUR ZOAS 1-13.8-9; E308:
"Eternity appeard above them as One Man infoldedIn Luvah[s] ROBES OF BLOOD & bearing all his afflictions"
FOUR ZOAS 2-32.13-14; E321
"The heavens were closd and spirits mournd their bondage night and day And the Divine Vision appeard in Luvahs ROBES OF BLOOD"
FOUR ZOAS 7a-87.43-4; E369|
"Turn inwardly thine Eyes & there behold the Lamb of God Clothed in Luvahs ROBES OF BLOOD descending to redeem"
Blake undoubted knew well the account in Rev. 19 of the appearance of the Christ at the end times, including verse 13: "And he was clothed with a VESTURE DIPPED IN BLOOD: and his name is called The Word of God." (KJV)
And finally we come to plate 42 in MILTON including:
"Then as a Moony Ark Ololon descended to Felphams Vale
In clouds of blood, in streams of gore, with dreadful thunderings
Into the Fires of Intellect that rejoic'd in Felphams Vale
Around the Starry Eight: with one accord the Starry Eight became
One Man Jesus the Saviour. wonderful! round his limbs
The Clouds of Ololon folded as a GARMENT DIPPED IN BLOOD
Written within & without in woven letters: & the Writing
Is the Divine Revelation in the Litteral expression:
A Garment of War, I heard it namd the Woof of Six Thousand Years"
We may suppose that Digby's acquaintance with these accounts led him to name the man on the shore Albion - Jesus.
Would anyone care to exegete this last passage? (Damon suggested spiritual war)
Ellie's reply:
I've heard it said that life is a struggle. We can't expect to get through it without being battered and bruised. In our daily relationships we endure wounds and inflict wounds, inadvertently as well as deliberately. Most of our wounds are to our psyches, both our own and those whom we attack through our own unconscious defensiveness or projection.So we ourselves can be seen as the bloodied robes. Our psyches as well as our bodies are 'a clothing for the Soul Divine'. Joy and Woe In as far as we can see ourselves as members of the 'body of Christ'(1st Corinthians 12:27), as participants in the Divine Humanity which Blake called Albion, we also are the bloodied robes which Blake spoke of in regard to Luvah and Jesus. Sacred though these raiments be, they can be washed and mended and rewoven into unsullied garments suitable for entry into Jerusalem.
Monday, January 14, 2008
Perennial Reader
Everyone knows that William Blake was a great reader. What isn't generally known; what is in fact a great mystery is where he got the books or where he did the reading. I haven't succeeded in finding any information about that (tell me if there is any).
Blake went to school for part of one day; that's all the formal education he seems to have acquired. Of course he had some journeyman training. However he appeared to be the most learned person of his generation, which makes him what we call an autodidact -- self-educated.
Very likely his learning began with the Bible; that's demonstrated by the use he made of the Bible in his creative work. He had a thorough acquaintance with the Bible, but he never confined himself to a literal understanding; he didn't see it as history -- no, as poetry. The primary difference is that poetry is susceptible to various meanings, depending on the perception of the reader. Likewise the meaning of any element of the Bible is various, depending on the perception of the reader.
Among the Books of the Bible that he favored he named Ezra and Isaiah; but in MHH he mentioned Ezekiel; he had a conversation with Ezekiel (plate 13). Some of his works demonstrated a considerable acquaintance with Revelation, in the same way that John had shown an extensive acquaintance with The Old Testament.
In a Letter to Flaxman Blake wrote:
"Now my lot in the Heavens is this; Milton
lovd me in childhood & shewd me his face, Ezra
came with Isaiah the Prophet, but Shakespeare in
riper years gave me his hand; Paracelsus & Behmen
appeard to me."
If you're serious about William Blake here's your reading list:
Jacob Boehme: Aside from the Bible nothing meant more to Blake than William Law's translation of this German mystic (some would say Gnostic). The more of Boehme you read, the more Blake you will see and understand. (the English called him Behmen.)
John Milton: Blake identified strongly with Milton -- and had some marked differences with him. Paradise Lost had a great influence on him. In Plate 6 of MHH he said that Milton "was a true Poet and of the Devils party without knowing it". In Vision, writing The Book of Milton he found it necessary to call Milton back from Heaven to correct his spiritual mistakes (much like God sent his Son to save the world).
Swedenborg: Blake's parents had been attracted to this Swedish philosopher and mystic. He and his wife likely attended the Swedenborg Church in London. But he soon saw the man's deficiencies -- and lampooned him in some early works. He undoubtedly learned something from Swedenborg and lamented about him in Milton, "O Swedenborg! strongest of men, the Samson shorn by the Churches! "
Shakespeare is given by Blake as one of his significant literary relationships. I haven't found that in reading Blake. David Whitmarsh apparently has a lot of say on that score.
Paracelsus (1493-1541): To learn how this man affected Blake you might best consult Milton Percival's Circle of Destiny (probably the best introduction to Blake). He has a chapter on Alchemical Symbolism, and reading this will help you understand how and why the furnaces come up so often in the major prophecies.
Although Thomas Taylor was one year younger than Blake, his translations of Plato and the Neo-Platonists led our poet's interests emphatically in that direction. Thereafter the Greek and Roman myths loomed large in Blake's poetry and pictures.
Homer was a major source for Blake's works. Although he expressed some contempt for Homer, he drew heavily on Homer's stories, using Ovid more often than Homer himself. To get some understanding of how Blake used Homer take a look at my file on myths. The Sea of Time and Space is directly about the Odyssey, a pictorial description in fact (of course it's about a lot of other things as well).
Hermes Trismegistus was a special interest of Blake's as well as a dozen similar arcane and esoteric works too numerous to discuss in this post. But perhaps there will be more to come.
Blake went to school for part of one day; that's all the formal education he seems to have acquired. Of course he had some journeyman training. However he appeared to be the most learned person of his generation, which makes him what we call an autodidact -- self-educated.
Very likely his learning began with the Bible; that's demonstrated by the use he made of the Bible in his creative work. He had a thorough acquaintance with the Bible, but he never confined himself to a literal understanding; he didn't see it as history -- no, as poetry. The primary difference is that poetry is susceptible to various meanings, depending on the perception of the reader. Likewise the meaning of any element of the Bible is various, depending on the perception of the reader.
Among the Books of the Bible that he favored he named Ezra and Isaiah; but in MHH he mentioned Ezekiel; he had a conversation with Ezekiel (plate 13). Some of his works demonstrated a considerable acquaintance with Revelation, in the same way that John had shown an extensive acquaintance with The Old Testament.
In a Letter to Flaxman Blake wrote:
"Now my lot in the Heavens is this; Milton
lovd me in childhood & shewd me his face, Ezra
came with Isaiah the Prophet, but Shakespeare in
riper years gave me his hand; Paracelsus & Behmen
appeard to me."
If you're serious about William Blake here's your reading list:
Jacob Boehme: Aside from the Bible nothing meant more to Blake than William Law's translation of this German mystic (some would say Gnostic). The more of Boehme you read, the more Blake you will see and understand. (the English called him Behmen.)
John Milton: Blake identified strongly with Milton -- and had some marked differences with him. Paradise Lost had a great influence on him. In Plate 6 of MHH he said that Milton "was a true Poet and of the Devils party without knowing it". In Vision, writing The Book of Milton he found it necessary to call Milton back from Heaven to correct his spiritual mistakes (much like God sent his Son to save the world).
Swedenborg: Blake's parents had been attracted to this Swedish philosopher and mystic. He and his wife likely attended the Swedenborg Church in London. But he soon saw the man's deficiencies -- and lampooned him in some early works. He undoubtedly learned something from Swedenborg and lamented about him in Milton, "O Swedenborg! strongest of men, the Samson shorn by the Churches! "
Shakespeare is given by Blake as one of his significant literary relationships. I haven't found that in reading Blake. David Whitmarsh apparently has a lot of say on that score.
Paracelsus (1493-1541): To learn how this man affected Blake you might best consult Milton Percival's Circle of Destiny (probably the best introduction to Blake). He has a chapter on Alchemical Symbolism, and reading this will help you understand how and why the furnaces come up so often in the major prophecies.
Although Thomas Taylor was one year younger than Blake, his translations of Plato and the Neo-Platonists led our poet's interests emphatically in that direction. Thereafter the Greek and Roman myths loomed large in Blake's poetry and pictures.
Homer was a major source for Blake's works. Although he expressed some contempt for Homer, he drew heavily on Homer's stories, using Ovid more often than Homer himself. To get some understanding of how Blake used Homer take a look at my file on myths. The Sea of Time and Space is directly about the Odyssey, a pictorial description in fact (of course it's about a lot of other things as well).
Hermes Trismegistus was a special interest of Blake's as well as a dozen similar arcane and esoteric works too numerous to discuss in this post. But perhaps there will be more to come.
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