Simurgh Tree
William Blake’s
poem about a tiger, isn’t. Although indubitably concerned with the role of a
creator, the description of the central figure of a feline predator, native to Eurasia’s
Steppe, Indo-China, and Australia, is designed to query the benevolence of God
to the extent that ‘The Tyger’ (1794) is a metaphor for the Satanical. A
central concept of the Christian Old
Testament of the Bible, which is
the Torah and Talmud of Judaism, that is, their history and law, is that of the
prelapsarian paradise of Eden, where the lion and the lamb, for example, are
represented as living in peaceful co-existence, before the expulsion of Eve,
the woman, and Adam, the first man created by God, after Satan, the angel
turned into a serpent by God for rejecting God’s plan that the human host be
greater than the angelic, gave to Eve ‘the fruit of the tree of the knowledge
of good and evil’, which it was death to taste, ‘You shall be as gods.’ (Gen: 3. 5) Expelling Eve and Adam from
Eden for rejecting the ‘fruit of the tree of life’, which was immortality, God
nevertheless promised Eve her ‘seed’ would prevail, ‘You shall crush the head
of the serpent with your foot, but he will bruise your heel.’ (Gen: 3. 15) Hermaphrodites are called
futanarian, and Adam was hermaphroditic, according to Jewish Midrash, which explains why Eve is
depicted as created by God from the side or rib of Adam, that is, she was a
birth from self-fertilization, which is a species’ trait of the human ‘foot’
race. After the inauguration of slavery in ephemerality, the role of Satan as a
predator was established, as Eve’s, representing the human host womb of women’s
seed, its prey:
‘Tyger Tyger,
burning bright,
In the forests of
the night;
What immortal hand
or eye,
Could frame thy
fearful symmetry?’
Although the concept of women’s seed seems
tangential to the poem by Blake, its relevance is fundamental. Most critics
have glossed the last line of the first stanza as a whimsical piece of writing
designed to draw attention to the difficulties posed to both author and reader
in adjusting their vision to the exigencies of rhyme. In simple terms,
‘symmetry’ doesn’t rhyme with ‘eye’, whereas the demands of the rhyming pattern
are that it ought to. For the line to fit in, ‘symmetry’ should be read as
‘simmer’ and ‘try’, which is logical in that liquids simmer, if fire is
applied, and fire is the theme of the poem; insofar as Blake attributes to the
tiger that elemental quality. However, it’s more likely that ‘try’ is an
instruction to the reader to understand why it is that ‘simmer’ is associated
with what’s symmetrical. Every predator needs its prey, which is the meaning of
the allusion to the Simurgh bird. Emblem of Persian Iran’s Sassanian Empire,
predecessor to the first Moslem Rashidun (632-61 C.E) Caliphate of Islam, after
the death of the Prophet Mohamed, to whom the angels of God dictated their Koran (610-30 C.E.), according to
tradition, the Simurgh symbolizes benevolence, which is what Blake is asking
the reader of the poem to cogitate:
‘In what distant
deeps or skies.
Burnt the fire of
thine eyes?
On what wings dare
he aspire?
What the hand, dare
seize the fire?’
Blake’s inquiry is ambivalent in that,
although the tiger appears to be the subject, there appears to be a contrasting
allegory of an aery creature, which the writer is pursuing, while seemingly
doubting God as the creator. Traditionally, the Simurgh bird is big and female.
While she can bare the face of a man, she's a peacock, with the head of a dog,
and the claws of a lion, that can carry off an elephant or a whale, which gives
rise to Blake's allusion to the ocean deep, whereas the following paired lines
of the second stanza of the poem refer to a creator’s apparent transgression,
or a wooer’s. That Satan is a wooer of God, as well as a rival, seems to be
Blake’s theme. However, the question seems posed by the Simurgh herself: is the
creator her mate? According to Iranian legend, the Simurgh, like the mythical
Phoenix, renewed herself in fire, which suggests that Blake’s poem is the
Simurgh’s challenge to the creator. Be her mate in the fire, or be her
consumer. That the tiger was a creature of prey, 'after the fall of man', means
it's a recreation of Satan's, that is, renewal, or consumption, is what awaits
her:
‘And what shoulder,
& what art,
Could twist the
sinews of thy heart?
And when thy heart
began to beat.
What dread hand?
& what dread feet?’
Although the third stanza of the poem has the
appearance of being about the creation of the tiger by God, there’s a reference
to what comes later in the poem, ‘the lamb of God’, as the butcher’s
‘shoulder’, that is, the powerful shoulder muscles of the tiger are made
symmetrical with those of a ‘shoulder of lamb’, which is a chop. That Jesus
‘Christ’, ‘the chosen’, is a ‘lamb chop’ to Blake sits uneasily with the belief
of Christians in the New Testament of the Bible, based on Jesus’
teaching, ‘Love your neighbor as you love yourself.’ (Mk: 12. 31) According
to the New Testament, which the Christians believe supersedes that of
the Old Testament of the Jews, Jesus, born uncontaminated by male semen,
from his mother, the Virgin Mary, depicted in Christian iconography as crushing
the head of the serpent with her foot, that is, Jesus, as the seed of Eve, was
killed after being found with a woman by his disciple, Judas, who gave Jesus to
the Jewish Pharisees, the religious police, who presumably had instructions
that women’s seed wasn’t to breed, who gave Jesus to the Romans, who sentenced
Jesus to be crucified atop the hill of Calvary outside the city of Jerusalem,
where he was nailed to a cross of wood and died there, but experienced
Resurrection and Ascension to heaven in prefiguration of that of women’s seed.
With God’s promise of immortality proven, the
Christian church flourished thereafter, although the nomenclature of priests as
‘shepherds’, wearing ‘dog collars’, and congregations as ‘flocks of sheep’, suggests
immortality as a ‘sugar tit’ for being butchered as animals for food, rather
than that ‘the foot of God’, which is the hermaphroditic human race, should produce
brainpower sufficient to give itself immortality, through medical science, and
colonize the planets amongst the stars of heaven, through technological
progress, to escape being the food of the ‘meat safe’ guards, who’re associable
with the dreaded hands and feet of the meat hammer, that is, the butcher, as
much as the padded claws of the tiger stalking its kill. That Jesus’ eponym was
‘the sacred heart’ suggests that Blake is referring to those fearful sinews of
the lamb of God, Jesus, slaughtered by the Romans, like an animal, during the
reign of the Emperor, Tiberius Caesar Augustus (14-37 C.E.), with the
additional ignominy attached to the dread hands and feet of the despiser,
Longinus, who thrust his spear into the side of ‘the Second Adam’, saying
satirically, ‘Surely, this was the son of God.’ (Matt: 27. 54) Clearly
no Eve was to be born from that woman’s seed. From the artistic perspective,
the creator was enduring an art attack:
‘What the hammer?
what the chain,
In what furnace was
thy brain?
What the anvil?
what dread grasp.
Dare its deadly
terrors clasp?’
The allusion to the butcher’s meat hammer is
followed by a reference to the enslavement of the human host’s womb by male
semen, which is the serpent’s seed, as Jesus’ disciple, John, saw in his
apocalyptic vision of the future, Revelation, ‘The dragon was wroth with
the woman and went to wage war on the remnant of her seed.’ (Rev: 12.
17) Although the ‘red dragon’ (Rev: 12. 4) is Satan, according to John’s
prescience, men, as distinct from women’s seed, aren’t exempt from blame, as
they ‘… cursed the God of heaven for their pains and their sores, but refused
to repent of what they had done.’ (Rev: 16. 11) What they’d done was prefer
being slavers in butchery, which essentially is a homosexual disease, as they
take from behind, like animals with their prey. Blake, as a successor to John, was
predicting the ‘blood plague’ (Rev: 11. 6), that is, the ‘incurable
killer disease’, AIDS, which was discovered by DR Congo, in the late 20th
century, as a mutant variant of simian immune deficiency virus (SIV), transmitted
between homosexuals, during sterile mockery of the human act of sexual
reproduction, as infected semen in the anus. The human immune deficiency virus,
becoming acquired immune deficiency syndrome (AIDS), collapsed the organs of
the body before brain death. Blake’s furnace in the brain is the virus of hell.
As poets are primarily concerned with the ear, that is, rhyme, Blake’s hammer
and anvil analogy refers to the small bones of the ear, which are tripartite,
having the stirrups also, which are also called the steppes, while Blake
conceives the human as being ridden by a rider, for example, AIDS, as a symptom
of what drives the killer, who is unintelligent in that they don’t seem to be
able to understand that they shouldn’t chop:
‘When the stars
threw down their spears
And water'd heaven
with their tears:
Did he smile his
work to see?
Did he who made the
Lamb make thee?’
Blake’s question isn’t about the tiger, it’s
about men, the butcher. 15th century French seer, Michel
Nostradamus, foresaw a ‘last king of the Mongols’, who were a horde of horsemen
that, sweeping the steppe regions of Eurasia, pillaging the peoples that lived
there, were a metaphor for the demon in the stirrups of the ear, that is, the Steppes,
driving the human host to kill, which chopping displaces shopping in the
psychopathic mind. The tiger is Blake’s metaphor for the butcher, while the
Simurgh bird, symbol of the Sassanid Empire, is his metaphor for ‘fearful’ benevolence,
as it’s desirable to rulers that the butchered be peaceful, ‘The dragon stood
before the woman, who was about to give birth, so that it might devour her
child the moment it was born.’ (Rev: 12. 4) According to Jesus’
disciple, John, the child is Jesus, in his ‘Second Coming’ to the Earth, as ‘he
who will rule the nations with an iron scepter’, to prevent women’s seed from
being butchered, as he was, ‘Leave her alone.’ (Mk: 14. 6) According to
Jesus’ disciple, John’s apocalypse, the stars were thrown down as spears by the
dragon, Satan, ‘His tail swept a third of the stars out of the sky and flung
them to the Earth.’ (Rev: 12. 4) Eve wasn’t the first woman, who was
Lilith, according to Jewish Midrash, who rejected Adam, as she didn’t
want to lie beneath him, so begat a horde of demons with the angel, Samael
(poison of God). Moreover, as God drowned the first creation, which contained
Eve and Adam, in a flood, before allowing the patriarch, Noah, to save his
family and animals in a floating Ark, the stars thrown down by Satan were Lilith
and Samael’s children, who’d colonized the planets there, which would be the
reason for the Jews’ depicting Lilith and Samael (the boy son of God) as breeding
a race of demons, as they weren’t misogyny.
‘See the sunlight,
we ain't stopping
Keep on dancin'
'til the world ends
If you feel it, let
it happen
Keep on dancin'
'til the world ends.’2
United States of America’s pop music star Britney
Spears’ lyrics to her song, ‘Till The World Ends’ (2011), from the album, Femme
Fatale, indicate that the light of the sun won’t stop her dance, which will
go on until the world ends. Traditionally, it’s vampires that fear the
sunlight, which suggests Britney’s challenge to the dragon is that the Spears
of this Earth will go on dancing, as amongst the North American Plains Indians,
during the period of the colonization by Europeans, wars were declared by the
breaking of spears. That the mass media Empire of the United States is centered
upon the district of Hollywood, city of Los Angeles, West coast state of
California, is called ‘Babylon’, after Jesus’ disciple John’s vision, suggests that
stars throwing down Spears is archetypal, ‘Mystery, Babylon the great, mother
of harlots and of the abominations of the Earth.’ (Rev: 17. 5) Babylon (c.
4000 B.C.), as the capital city of the Persian Empire of Darius I, was at war
with Greece (499-49 B.C.), which institutionalized homosexuality in pederasty
for that purpose, whereas Hollywood ‘Babylon’ implemented the Hays code
(1930-67), which effectively prevented women’s penis from ever being seen, that
is, the human foot race, ‘... women, in love scenes, at all times have `at
least one foot on the floor` (in other words, no love scenes in bed).`3 The
limitation on Britney Spears’ dancing is that she can’t show anyone her foot, as
the stars threw down their Spears.
Although it wasn’t a challenge from Hollywood’s
point of view, for women’s seed it was, that is, mainstream media appearances
were essential, or the human futanarian species of God would never be. Instead,
men and women would continue to be manufactured, as a single male creature
wearing each other’s clothes, as a transvestite TV, sundered from its true
hermaphroditic nature, hurling its spears at itself, as the slavers in
homosexuality and pederasty for war provided self-extinction. An anti-Christian
‘black mass’ entertainment for worshipers of Satan to enjoy, ‘The second beast
was given power to give breath to the image of the first beast, so that the
image could speak and cause all who refused to worship the image to be killed.’
(Rev: 13. 15) It’s the coffin of the Simurgh curse (smokers), where
benevolence from, or towards, the female, is cursed by misogyny with extinction,
as the penis of the human species is smoked down to its butt by the homosexual
slaver, who wants it.
If the ‘second beast’ is Covid, that is,
severe acute respiratory syndrome (SARS), AIDS is the first, which scientists
believe weakened the human system to the point that it became susceptible to the
SARS virus that, emerging from the land of the dragon, red (communist) China,
at a Wuhan city hospital, in December 2019, killed upwards of 6,000,000 people
globally, before a vaccine was available, for example, Russia’s Sputnik V,
developed by Moscow’s Gamaleya Research Institute of Epidemiology and
Microbiology. Symptoms of Covid were brain damage and flatulence, which helped
explain President of the Russian Federation Vladimir Putin’s deployment of the
TOS 1 and 2 heavy flamethrower system, as the communist Red Army’s main field
weapon, after the 24th February, 2022, invasion of the Ukraine. The
first stage launched missile spread a flammable gas, while the second stage
fierily ignited it, causing lung collapse, like Covid did virally, that is, the
coffin of cremation was the ‘vid’ being made, after the initial launch of
homosexuality’s ‘biological weapon’, AIDS.
That Covid emerged in communism, that is, from
Russia through China, with the red dragon as the leitmotif of an ideology promulgated
by German economics philosopher Karl Marx, in Das Kapital (1868), always
associated with the color red, doesn’t seem coincidental, as AIDS was uncovered
by DR Congo, a ‘satellite’ nation of ‘soviet’ Russian Communism, in 1983, where
soviet refers to the concept of decentralized government. After the defeat of
Germany in World War Two (1939-45), following upon the similar defeat of Kaiser
Wilhelm II’s ambitions to enslave the Earth in World War One (1914-18), with
the Red Army capturing the capital city, Berlin, Russia became the
decentralized government of Eastern European nations ‘liberated’ by the Red
Army, a form of relationship with the Union of Soviet Socialist Russia (USSR),
known as the Soviet Empire, adopted by many countries outside Europe, including
DR Congo.
The October 1917 Russian Revolution, led by
Vladimir Ilyich ‘Lenin’, to overthrow Tsar Nicholas II’s oligarchy, resulted in
the establishment of Marxism, ‘from each according to his abilities to each
according to his needs’. However, even before the WWII dictatorship of Josef
Stalin, it was evidently a ‘slogan’ used as a euphemism for slavery, similar to
the fascist ideology of WWII German Reichsführer, Adolf Hitler, whose ‘slave
labor’, konzentrationslager camps, were virtually identical with
Stalin’s gulag, ‘labor camps’. As a former colonel with the Committee
for State Security, that is, the KGB, elected in 1999, after the restitution of
independence to countries formerly dependent, represented in the West as the dissolution
of the USSR (CCCP), Putin’s benefiting from communism’s research into biological
weapons enabled the twofold deployment in bio-chemical warfare of the AIDS/SARS
TOS 1 and 2 virus of hell.
In Central, East, and South East Europe, regions
were often administered as draco voivode, that is, by ‘war dragons’, a
euphemism for military governorship, for example, 15th century Prince
of Wallachia (later modern Romania), Vlad Dracul III, model for Irish writer
Bram Stoker’s 1897 vampire novel, Dracula, was a draco voivode, infamous
for impaling his defeated rivals on stakes of wood, like the sharp faggots of
homosexuality’s AIDS’ virus, ‘A great sign appeared in heaven: a woman clothed
with the sun, with the moon under her feet and a crown of twelve stars on her
head. She was pregnant and cried out in pain as she was about to give birth.
Then another sign appeared in heaven: an enormous red dragon with seven heads
and ten horns and seven crowns on its heads.’ (Rev: 12. 1-2) In
geopolitical terms, the European Union, with its blue flag, corresponded to the
twelve stars, while the ‘red dragon’ was the communist Russian Federation, with
its seven regions; Far Eastern, Siberian, Ural, Volga, North Western, Southern,
and Central, with Vladimir Putin there, as its President, in the capital city
of Moscow’s Kremlin, elected in 1999, posing a threat to the growth of the European
Union (EU), in ordering the invasion of the Ukraine, by the Red Army on
February 24th, 2022, to prevent that nation’s membership.
The ‘woman clothed with the sun and with the
moon at her feet’ is an AIDS symbol, as the moon is only a bright jewel to
children, whereas adults know it as a symbol of sterility, for example, Isis is
the sun goddess of ancient Egypt, popularly conceived as having the power of
sexual resurrection by English novelist D. H. Lawrence in The Man Who Died
(1929), while the symbol of the Independent State of Iraq and Syria, that is,
ISIS, which came to prominence, after the deposing of Iraq’s President Saddam
Hussein by the US’ army in 2003, with the declaration by the resistance leader
of occupied Iraq, Abu Bakr Al-Baghdadi, of himself as the Caliph of Islam, is
the sterile moon. That the sun and the moon of Jesus’ disciple John’s vision is
of Islam is difficult for Christians. Where Islam differs from
Judeo-Christianity primarily is the permission the Koran gives to Moslem
families having four wives, which derives from the second son of Abraham,
Ishmael, being the child of Hajer, a concubine, who illegitimates Islam for
Christianity, whereas polygamous Islam affords futanarian women’s seed the
opportunity to reproduce within a tradition that normatively expects women to
remain hidden beneath a one-piece coverall, the black burka, publicly.
That Blake’s poem is about the Simurgh of
benevolence is a reflection upon geopolitical realities. The pre-Islamic people
of Iran were Eurasian migrants, whose population, 75% decimated by the Mongol
horde of Eurasia’s Genghis Khan, from 1219-21, had been Iranians since the
second millennium B.C., that is, the Simurgh bird was that Iran’s Summer, which
is the role of civilization for the invader, whereas Autumn, for example,
corresponds to the Ottoman Empire of the Moslem Turks (1299-1922), before the
Winter of MS Windows, where women’s dowries, that is, business wealth, shared
through marriage, became the determinant factor in geopolitics. As Russia’s ruler
was a Tsar, so Iran had a Shahnshah, that is, Tsar of Tsars, with the national
symbol of the sun, and the lion, holding a scimitar, which is a sword, curved
like the moon, while a star and moon are also the international symbol of the
nations of Islam. That the hammer and the sickle are communism’s, as AIDS is
characterized by sick red cells, Islam’s scimitar and sickle moon similarly
represent a human race dying through men’s preferring enslavement and/or
invasion to their own local artisanry or that of another people’s. The
perspective of the invading Mongol horde of Genghis Khan was that pillaging was
what Iran was for, while Putin’s invasion of the Ukraine, after that nation was
given independence, along with other nations of the former communist bloc, in
1991, that is, Armenia, Azerbaijan, Belarus, Estonia, Georgia, Kazakhstan, Kyrgyzstan,
Latvia, Lithuania, Moldova, Tajikistan, Turkmenistan, and Uzbekistan, suggests
the same. That the bones of the ear are called hammer and anvil, with the
stirrups, called the steppes, suggests that Putin’s war, like others, were
driven by ears listening to plague aims, ‘Authority was given to them over a
fourth of the Earth, to kill by sword and by famine and by plague and by the
wild beasts of the Earth.’ (Rev: 6. 8) The four horsemen of John’s
apocalypse are war, famine, plague and death, which is what’s in the stirrups
of the Steppes, as homosexuality’s in the region of being a sterilizer’s
religion, ridden by demons:
‘Tyger Tyger
burning bright,
In the forests of
the night:
What immortal hand
or eye,
Dare frame thy
fearful symmetry?
Although
false teeth are put in a jar for sterilization, the fearful symmetry of the
vampire are the hollow incisors it sinks into the neck of the victim to drink
its blood to have immortality, which is what the parasite has been doing with
the human race since Eden, according to God’s serpent symbol, Satan, who grew
wings, according to John’s vision, and breathes fire, according to legend and
Putin’s TOS. Stoker’s Dracula was set in the Hungarian province of
Transylvania, later modern Romania, although Magyar is the name that the
Hungarians give to themselves, as ‘tooth fairy’ has the same meaning as actor
Ralph Fiennes in the role Patrick Dollarhyde in the movie made from Thomas
Harris’ 1981 novel, Red Dragon (2002), who kills women, while actor Ted
Levine as ‘Buffalo Bill’, the character Jame Gumb in Harris’ The Silence of
The Lambs (1988), made into a 1991 film, killed women, skinned them, and wore
them as ‘women suits’, which suggests that the vampires that grow into their
stirrups in the Steppes are from a jar, that is, they’re homunculi, as
the ancient alchemists described them, after the theory of each individual
sperm containing a ‘little man’, sometimes conflated with succubi, phantasms
about women, who grow through sexual congress with the sleeping, and male incubi,
similarly, corresponding to the Moslem alaqah, according to the Al-Mu‘Minun,
‘The Believers’ chapter of the Koran, ‘We created man … a drop …. an alaqah
… leech … a mudghah (chewed substance) …’ (23: 12-14) The teeth from a
jar would possess the human host as a parasite, which might be the reason for
Satan’s being depicted as a dragon, throwing down the stars amongst the planets
putatively colonized by Lilith and Samael.
Whereas
Lilith was the first woman, according to Jewish Midrash, misogynistic
interpretations assume Eve to be a succubi, that is, women’s seed are
the equivalent of Iran to the Mongol horde of Genghis Khan, which is the reason
for Blake’s tiger being associated in the popular mind with that of Rudyard
Kipling’s anthropomorphic tales in the Jungle Book (1894), made by animators,
Walt Disney Productions, as a 1967 movie, where the fearsome tiger’s Shere Khan,
stalking the ‘man cub’, Mowgli, through a jungle of the subcontinent of India, as
an Indo-Iranian symbol of the period of the Veda scriptures (c. 1500-500
B.C.), with its belief in listening, śruti, in order to see the pictures,
which aren’t the occluding video that the aparuseya, superhumans, have
them living in, and sharing aspects of the ancient Mazdayasna religion,
founded by Iran’s Prophet Zoroaster, where the creator, winged Ahura Mazda, personifies
an omniscient, but not omnipotent, good, influencing the creation through physical,
spiritual, and mental emanations, corresponding to what developmental
psychologist, Carl Gustav Jung (1875-1961), called archetypes.
As the
extermination of evil species is a duty imposed upon Mazis, ‘ethnic cleansing’,
that is, the elimination of non-devotees of the Mazi religion, equivalent to
animal sacrifice, which along with drug abuse was rife when Zoroaster was born,
is obligatory. However, as Dror Ben Ami explained in a 2015 issue of The
Jerusalem Post, ‘… the blood sacrifice of Jesus was a more effective way to
remove sins [than animals, which are still sacrificed for their efficacy in
Judaism] ...'4 As Jesus was a lay preacher, during the Empire of Rome’s occupation,
it was also a useful way of suppressing minority opinion. Although in Judaism
the butchered meat of animal sacrifice is made available for public consumption,
as with homosexual communities preoccupied with ‘outing’, that is, exposing
enemies, Mazis built ‘Towers of Silence’, where exposed bodies were devoured,
ostensibly by carrion birds, while Jesus’ death by crucifixion, that is, upon a
cross of wood, resembling the structure of an airplane, prefigures ‘birds’ of
the modern type of the 21st century, dispensing bums, laying sterilizing
‘eggs’ from B1, ‘Bone’, and B2, ‘Spirit’ bombers, as the homosexuals have an
outing together, resulting in the butt-smoking extermination of the Simurgh
ring of dissent to slavery by QR (queer) code amongst the perforce quiescent ‘remnant’
of women’s penis’ seed.
As US’
rock group, The Eagles, presciently prophesied in their lyric to ‘Hotel
California’ (1976), from the album of the same name, ‘We are all just prisoners
here of our own device.’5 It was the Greek god, Prometheus, who had his liver
eaten daily by an eagle, after its immortal tissue renewed itself each night,
like ‘phone batteries, ‘They stab it with their steely knives, but they just
can't kill the beast.’ As Jesus’ disciple John wrote, ‘The number of a man is
the number of a beast and his number is six hundred three score and six.’ (Rev:
13. 8) Without women’s seed, the human population is held at 66.6%, and what
remains of human brainpower’s a ‘phone battery farmer’s, ‘We are programmed to
receive. You can check out any time you like, but you can never leave.’ Just as
stabbing at the ‘phone doesn’t bring release, giving fire to humanity was the
reason for the father god Zeus’ punishing Prometheus, as they turned their farters
into flamethrowers. Bright out of the brain, eyes burning in the furnace.
1 Blake, William
‘The Tyger’, Songs of Experience, 1794.
2 Gottwald, Lukasz,
Alexander Kronlund, Max Martin, Kesha Sebert, ‘Till The World Ends’, Femme
Fatale, Jive, 2011.
3 TV Tropes,
http://tvtropes.org/pmwiki/pmwiki.php/Main/FootPopping/ .
4 Ami, Dror Ben
‘Metaphors in the Torah: The Roles of Blood and the Liver in Removing Sin’, The
Jerusalem Post, February 10th, 2015, 18:57 pm, https://www.jpost.com/Blogs/Torah-Commentaries/Metaphors-in-the-Torah-The-Role-of-the-Blood-and-the-Liver-in-Removing-Sin-390469 .
5 Felder, Don, Glenn
Frey, and Don Henley ‘Hotel California’, Hotel California, Asylum
Records, 1976.