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The Scriptorium

Showing posts with label reading. Show all posts
Showing posts with label reading. Show all posts

Sunday, December 23, 2012

Platonic Forms, Time, and Narrativity (Paper)



Platonic Forms, Time, and Narrativity

The following paper will argue that the act of unchanging being through time is incompatible with Plato's epistemological view of humans. The argument will be preceded with a brief introduction of three core ideas: Time, Platonic Ethics, Narrativity. As Plato argues in the Euthyphro, the idea of piety must be unchanging and constant in order for the idea of piety to carry any weight. If the idea of piety must remain the same regardless of time in order for it to be 'Piety' and therefore carry metaphysical weight, humans must be able to understand piety in its fullness, which is to say that humans must be in a state of Being in order to fully understand Pietyª.
Time is a series of interlocking moments as realized through the human(s) perception. In Heraclitus' work, with which it seems that Plato would tend to agree*, he presents an understanding of time in which you have four basic premises: 1) That ‘X equals X’ at , meaning that X exists at a moment in time, hence being. 2) That time is infinitely divisible. 3) That, because time is infinitely divisible, you can have no ‘moments in time’ because for everything that you label a moment you will be able to further divide that moment. 4) That because you cannot have any moments in time at no time can ‘X equal X’ which results in a world not of being but in a world of becoming. While this is logically correct in the sense that all the premises accurately reflect a logical conclusion we are concerned with presenting the accuracy of these premises in the first. Heraclitus uses the metaphor of a river to explain his ideas about the constant flux of the world and the constant change that takes place. Plato notes that according to Heraclitus, it is impossible to step into the same river twice. By this he means that the river is constantly changing and that the person entering the river would never be able to step into the same water twice, for this water would have been removed down river and replaced by new water. In order for this to be possible he stands in support of an ever changing world with no definable moments in time. This ever-changing phenomenon is not without faults, among them assumptions that time takes place regardless of humans and disregarding the fact that time and its divisibility is contingent upon the constructs usefulness to humans.
In order for this ever-changing world to be rational it must be exhibited by physical matter held in a vacuum otherwise this pretense does not hold up well in the physical world. We shall start with the first premise. ‘X equals X’. This premise may come across as straightforward but must be explained here for it has implications on the rest of the argument. The statement of ‘X equals X’ is a statement of Being while ‘X does not equal X’ stands to mean that the item is nonexistent. Unlike statements of Becoming, Being implies that at a specified time, , a physical item actually existed whether in a physical or metaphysical form. This is juxtaposed to a statement such as Heraclitus' that we live in an ever-changing world. His world view is a clear statement in favor of Becoming in which we take a relative existence dependent upon what is exerting power upon us and the setting that we find ourselves in. According to Heraclitus, at all times then we are simply Becoming with no moment of Being.
In collusion with relativity goes dependence. Time, in order to exist, is dependent on people. Because of this time is something that is created, by humans, in order to give shape and meaning to the world around us. In the absence of humans, time does not exist. As previously stated, time is imposed by humans on a situation either while it is happening or after it has happened, and occasionally both. We require time’s dependence upon ourselves in order to construct a world in which to live with relative ease and it is for this reason that moments in time exist. This usefulness of time, in planning events, remembering actions, and keeping schedules is the reason for its existence, not some ethereal notion. Time is because we say it is. Because we create time it is of the utmost usefulness to ourselves that we also enable us to note moments in time. These moments are also relative to those viewing them. A scientist may measure things in nanoseconds for his work but an hourly worker will measure theirs in minutes. Moments, as part of a time that we create, are created for their usefulness to us. The impact of time on Platonic Ethics, particular the acquirement of knowledge of the Forms, is massive as will be shown below. The view of time that is held by Plato, via Heraclitus, is incompatible with the epistemological system which Plato describes. Before an examination of these problems the reader will find a detailed description of The Theory of the Forms and Narrativity.
Platonic Ethics is having and holding ethical virtue and knowledge over a continuous time frame with the intent on becoming more knowledgeable over time as displayed in The Republic Book V-VI. The basic principle upon which The Theory of the Forms is based is participation, particularly participation in the the Forms themselves. The Forms are metaphysical traits that exist separately from humans but are present in the world through different objects' participation in them. For instance, a person is tall because they participate in the form of Tallness. In a more basic understanding, anything that can be denoted as a adjective, whether it is a color, size, or description of any kind, is a reflection of that things participation in said forms. In addition to these forms is an overarching Form of The Good, under which all forms fall. A trait of all forms are that they are forms of good. The way in which humans understand the various objects around them and, in some sense, their own being itself, is through their understanding of forms. These forms are discoverable through dialectic discussions with other intelligent beings. This dialectical discussion introduces problems for the Theory of the Forms.
If Forms, and therefore knowledge, are discoverable through discussion then these discussions must take place between two people during a specified period of time. This time that is spent in discussion must, by necessity, take place in a world of Becoming. The reason behind this necessity is simple. If neither individual has any prior knowledge of the form they are attempting to find, such as Piety, then the individuals must be changing as they attempt to reason a definition for Piety. This dialectics will be labeled R. The time that they spend reasoning will be labeled S. The moment when they discover the true definition of the form of Piety will be labeled D. Now during the period of R both participants are using knowledge that they already have. This knowledge constitutes part of their Being. During S the participants are therefore to be considered in a state of Being. The problem arises that once they discover the true definition of Piety and therefore have the Form of Piety they can no longer be the same selves. Upon realizing D the participants have either: A- passed into a state of becoming during which they learn the Form of Piety and then revert into a state of Being after having learned this or B- passed from one state of Being into a new state of Being without having a state of Becoming. Through the first way of thinking the participants have retained narrativity and see themselves as the same Beings that did not have D previously but now have D. In the second way of interpretation the participants must reject narrativity in favor of Being different people, one person when they did not know D and a different person now that they know D.
One of the most important ideas contained in The Theory of the Forms is the idea that once a person has begun to understand forms as forms themselves they are ethically required to help other beings, through dialectics, to understand these forms. Now if dialectics is the only way to discover forms and forms are what allow us to understand the intelligible things around us, it stands to reason that through dialectics all knowledge has the ability to follow.
Narrativity is the act of being the same 'self' through a continuous time frame. This is to say that a being with Narrative identity sees their body and mind as existing as the same entities at different moments in time. At T¹ X is X. At T² X is X. At T³ X is X and so on. One who constructs their identity of self through a narrative time line is the same being as they were last year, 10 years ago, etc. The opposite of a narrative construction of self is a non-narrative construct. In non-narrative constructions of the self the individual sees themselves as fundamentally different people at different times. For example at T¹ the person is X, at T² the person identifies as Y and at T³ the person identifies as Z. In each of these cases the person does not necessarily identify with their previous selves because their new self is not a narrative begun in the last self. So while a person with a narrative construction of self lives in a state of Becoming the non-narrative person lives in a state of Being. The narrative person is in a state of becoming because they are constructing different ideas of themselves at different points in time while still maintaining that they are the same person. The impact of this view is tied closely to time and change over time as will be seen below.
If we are not the same person over time then it is impossible for us to understand any unchanging idea while in a state of Becoming. Being held in a state of constant Becoming means that our bodies and ideas are subject to change at random. However, this change would subject Piety, or any other Form for that matter, to the corruption of change. Because of this the person would have to reject a narrative life in exchange for a life of pure moments. In these moments that individual would be in a state of Being rather than in a state of Becoming. This state of being would mean that they are a whole, unchanging individual at that point in time. However, this view would mean that any individual would only have so much time in which to utilize a particular form because once they were able to move to the next point along their narrative they would in effect become a different self. While becoming this different self does not necessarily mean that they would no longer understand the form of X, they would, of necessity understand it in a different way and therefore incompletely. This different way of understanding would corrupt the original understanding of any particular form. For example, X understands the form of Piety at T¹. The duration of X understanding Piety is dependent on the duration of T¹ due to his state of being being connected to T¹ in the same fashion. X is only in a state of Being for the duration of T¹ and then becomes Y at T². Once T² is reached Y now understands Piety at a different moment in time as a different Being enclosed in a state of Being that will also only last until the end of T². When T² becomes T³ then Y, who was once X, is now Z. This is the crux of the problem. While the Forms themselves do not change the human understanding of them, by necessity, must change. There are only a few ways in which humans have the ability to understand a form in its entirety. We must either remain in a constant state of Being or our understanding of the forms is not impacted by the way we change. As one will see in the following there are problems with both of these hypotheses.
The first hypothesis to overcome is that we exist in a constant state of Being. There are some very fundamental problems with remaining in a state of constant Being. The first problem one could typically expect to face is that of change. If one is in a state of constant Being then how do they change, either physically or mentally? Any person would be stuck in this state without motion, thought [because it requires motion to think], or change of any kind. Living in this state would be equivalent to non-existence. One would not be able to feel, think, grow, age, die. One would not have a will either, because of the need to think in order to will. So while one would be a physical being they would stand as a statue in a vacuum, neither feeling nor knowing.
The other possibility is that our understanding of the forms does not change in relation to our state of Being. This however is wrong. It is through our change in Being that we learn, either from a state of Being to a new State of Being or remaining in a constant state of Becoming. Remaining in a constant state of becoming will make our understanding of any Form relative to our state of being and the time at which we are in these states of being. However, if one was to adopt a truly non-narrative view of their self identity then they would still be faced with the problem of the statue as mentioned above.
In essence the reason why Plato's epistemological view of humans and the Forms that they strive for is incompatible with the actualities that he presents about the Forms is that humans, by necessity must construct themselves as narrative beings. This places the human in question in a state of constant Becoming. While in this state of Becoming the individual would not be able to comprehend the full truth of the Forms. This is due to the fact that their perception of the Forms changes depending on their current state of Becoming in much the same way that a person cannot step into the same river twice with the Form being the river one originally steps into. Therefore the only way to understand forms would be to exist solely in a state of Being like the Forms themselves do. However, as stated above, this is not possible for the Human to do and still retain their 'humanity'. The solution here would be to view time as a human construct that can be changed via thought. By this it is meant that people are able to conceptualize time into units that are most useful to them.˜ By being able to conceptualize the self as a narrative Becoming construct that also has episodic bouts of pure Being would make it possible to understand Plato's Forms in their fullness without the problem of becoming statue-like. It would allow the individual to engage in moments of Being while still reverting to a narrativity of becoming when necessary.


Bibliography

Published Work
Hutchins, Robert Maynard. "Plato." In Great books of the Western World. [Private library] ed. Chicago: Encyclopædia Britannica, 1987. Books 1-7.

Strawson, Galen. "Against Narrativity."Ratio XVII, no. 4 (2004): 428-452.

Unpublished Work

Eames, Jeremy. .”Biomedical Platonic Ethics”. Unpublished manuscript, University of South Florida (2012)
Eames, Jeremy. . “Heraclitian Time”. Unpublished manuscript, University of South Florida (2011)

ªHere piety is used as a stand in for every form. Whether Justice, Love, Tallness, etc.
*Fragment 41; Quoted by Plato in Cratylus . The further breakdown on time and becoming is attributed to Heraclitus and is understood that Plato agrees with Heraclitus and his world of becoming.
It is labeled S so as to not confuse it with other designations for time in different scenarios presented in this paper.
˜The truthfulness of this is a matter best left for further debate.

Tuesday, October 16, 2012

The Wind (Poem)

The Wind



Wind, always is the day Wind, always only stays
All else seems to fade with each passing of the day

wanderlust, you might be but do you collect
these paths you tread and these miles you see

blown from your mind ah the winds they are kind
these paths you've tread leave nothing in their stead

These winds caress but they do not obey
the faces you've seen it has blown them away

but if only the wind was so easy to hate
just a depriver of thoughts, the stealer of fate

but we must take such as we have
the good with the bad, the happy and sad

These winds to, they mend whats been broken
they wear down the hills into fields unbroken

Until the you wander on past the scene
then try to remember like a half-recalled dream

It is here the wind does you no favor
it should be forgotten but becomes something to savor

the woman she stood by the shop door
the wind in her hair but her feet on the floor

she turns to leave and catches your eye
then smiles and nods and walks right on by

The wind it is still, it bothers you not
you set her face in your mind, clearly besot

the days turn to years and you've lived out your lot
but you can still see her face, the wind serves you not

this is one hill it has not worn down
for it was still that day in that small little town

this is the problem of missed opportunity
and why the wind is a thing of beauty

things that could have or would have been
are the toys of of the treacherous wind

Saturday, July 28, 2012

Sartre on Bad Faith (Paper)


 In Being and Nothingness, Jean-Paul Sartre introduces a concept termed bad faith. In the following brief analysis of the term the reader will view the origins and definitions of the term bad faith, their relation to the existential, as well as the use of bad faith in Sartre's other works. In total, the reader will find a compelling reason why the term bad faith can be applied to humans.

To lie to one's self. To be a deceiver of the soul. To understand and recognize and then to ignore. These are the traits that are indicative of someone who is in bad faith. "We shall willingly grant that bad faith is a lie to oneself, on condition that we distinguish the lie to oneself from lying in general." (Sartre, Being and Nothingness p. 87) Sartre paints a literary picture in his work, Being and Nothingness, that portrays exactly what is at stake for a person who acts according to bad faith. According to Sartre the person who acts in bad faith is essentially performing an act of self-negation. While anyone is capable of telling a lie the person who tells a lie must also be in possession of the truth. (Sartre, Being and Nothingness p. 87). To be in bad faith that person knows the truth of their beliefs, actions, etc, but refuses to acknowledge these truths. The being that they have is therefore based on negating this very being. This self-lying is different from the lying that one might do to others. IN lying to others "The liar intends to deceive and he does not hide this intention from himself..." (Sartre, Being and Nothingness p. 88). In order for a man to truly be in bad faith he must be in possession of a truth and unwilling to recognize that truth. Once informed of the idea of bad faith the reader should see how bad faith is portrayed in other works by Sartre.

In the play No Exit, Sartre is able to display the way that bad faith would mold individuals into what they are. The one act play in which bad faith becomes evident, No Exit is about three people who have died and are now stuck in hell together. Hell in this instance is a drawing room decorated in Second Empire Style. The play was written in 1944 in France and could have been meant as a commentary on the German occupation of Paris. The three people that are kept in this drawing room are: a mother who cheated on her husband and then threw her illegitimate daughter, new-born, off a balcony, a man who joined the army but deserted before killing anyone, and a lady who seduced her cousin's wife while she was living with them. The room that they are stuck in has no mirrors, therefore the people trapped there could not see themselves as they want to see themselves but can only see themselves through the others in the room. The lack of a mirror can be representative of the lack of reflection on their actions that the people are capable of. The reflections are not corporeal with out a mirror. Instead they are forced to look inside themselves to understand who they are.
Estelle is the one looking for a mirror. With her dependency on mirrors the reader can clearly see the Narcissism inherent in her being. Because she refuses to see herself as she really is and relies instead upon her reflection in a mirror she is the character that is in bad faith the most. She is torturing herself by refusing to know herself as she is. With her torturing herself she inflicts torture on the other occupants, namely Garcin. (Sartre, No Exit )
Garcin is the cowardly soldier. He desperately wants reassurance that he is in fact not a coward. His desire is for peace and quiet more than the other characters. He had ambitions while alive to create a pacifist newspaper but never does. He runs from his actions and then seeks to rewrite them in his memory. (Sartre, No Exit )
Inez wants to be with Garcin, sexually. She works as the mirror for Estelle, to Estelle’s terror. When Inez describes what she sees in Estelle, she makes Estelle afraid/terrorized. She is the only one in the room who is able to see herself for what she is. She also attempts to make Garcin see himself as what he is. At one point she says, "So carry on, Mr. Garcin, and try to be honest with yourself-- for once." (Sartre, No Exit p. 38) This is at the point that she attempts to make Garcin realize that all the justifications that he has fabricated for running away from the army are just fabrications meant to enable him to live with his choices. Inez believes that Garcin understands that he is a coward but denies the truth to himself.
The play revolves around the idea of bad faith. Estelle is the one that is most clearly in bad faith. Garcin is much more ambiguous. He comes across as very indecisive. Inez is the only one who understands why she is placed int he drawing room. She is the only one who does not have bad faith. She understands that her person is defined by her actions. In her case she is defined by the terrible actions that she willingly did. She is the one who attempts to lead, unwittingly, the others to realize why there are in Hell. Hell is other people. There are problems with this way of thinking. In recognizing the negative forces that effect us one must also suppose that these negatives assure the existence of positives. While Garcin wants to focus solely on the negative he does so at the expense of the positive. The negation implies the possibility of the truth. (Sartre, No Exit )
The act of being requires an affirmation of the self by the individual. In addressing bad faith Sartre tries to identify why some people see themselves differently than they actually are. By being what you are and knowing what you are the individual is not living in bad faith. But if the individual acknowledges that they are being in one sense and deny that they are being in that one sense then they are, in essence, living by negation. They refuse to live positively and instead they live through denial. They deny who they are and, by doing so, they deny that they are, in fact, being. They are in a backwards fashion. (Sartre, No Exit )
It is my belief that Sartre portrays the human condition in a convincing fashion. In Being and Nothingness he portrays humanity as existing in a sort of equilibrium. Humans are capable of realizing who they are but shy away from doing so. Sartre uses the example of the waiter who is not a waiter. The waiter knows that he is not 'being' a waiter but is rather being a person who is playing at being a waiter. Sartre states that the waiter is merely a role in which the person playing at waiter is. (Sartre, Being and Nothingness p. 102). The man, acting as a waiter, knows that through such actions he is thereby given rights that pertain to such actions. (Sartre, Being and Nothingness p. 102). "I am a waiter in the mode of being what I am not" (Sartre, Being and Nothingness p.103). By saying this Sartre is affirming that in the first degree he is a man that has being and in the second degree is a man that chooses to act as a waiter, but he is never in the mode of being a waiter.
Through many different mediums Sartre assaults the way that most humans cope with their choices. In his work Being and Nothingness he describes in theoretical detail the way that many people suppress their true being in favor of something that they would rather think themselves being. In No Exit he supplies his reader with visceral evidence of people engaging in the act of self-denial. This evidence, coupled with his theory on being, drives the reader to be moved into accepting his bad faith as a legitimate explanation for understanding the self denial that humans visit upon themselves.




























Bibliography
Sartre, Jean. No exit, and three other plays. Vintage International ed. New York: Vintage International, 1989. Print.
Sartre, Jean, and Hazel Estella Barnes. Being and nothingness. New York [etc.: Washington Square Press, 1992. Print.

Tuesday, March 27, 2012

'Run, Lola Run' An Analysis (paper)


A classic look at German existentialism, Run Lola Run clearly portrays the type of philosophy Germany is famous for. The live in the moment style and the way that the three different scenes are portrayed clearly illustrates the philosophical concept known as "all possible worlds" in which individual actions can drastically change the way that a world turns out to be. What some people have termed to be moral tendencies in the film are little more than various outcomes of different events. In no way does the story take a moral stance. That really is the genius of the movie. It simply states what life could be and makes no assumptions about what life actually is. Within this framework we will observe the ways in which the film uses realism and anti-realism, verisimilitude, characterization, and flashbacks to present its subject matter in a curiously fun way.
The film itself, as mentioned above, exudes philosophical musings. The director has broken the film into three different but equally important pieces. That of acceptance, that of anger, and that of acceptance. In the first run Lola takes the path of accepting that her father is leaving her and her mother and proceeds to find many already robing the convenience store. She plays a mostly passive character throughout the first run not making thing happen but rather allowing things to happen to her. In the second run she becomes angry with her father and proceeds to rob the bank that he works for in order to save her boyfriend. In this role she is working in an active capacity to save her boyfriend instead of allowing things to happen to her. The third and final run plays into the theme of 'amor fati'*. In this run Lola surrenders her ability to either be worked upon or to work upon the world. In accordance with the philosophy of 'amor fati' she allows fate to decide her future, as is evident in the way that she trusts the roll of the roulette wheel in the casino. The common theme throughout each of these encounters is not whether or not her actions or lack of actions are moral or not but whether she achieves her desired outcome or not. Next we will inspect how realism and anti-realism factor into this film.
The idea of having a film that is split into three different scenes about the same story may seem strange, and it is. The way the movie makes up for this is through its use of, for the most part, a realistic setting and actions that the ordinary viewer might find plausible for the situation that Lola is in. For instance, the entire film is actually filmed in Berlin, the actual setting for the movie. For the main core of German viewers they would be presented with a location that they would have had at least passing familiarity with. This might reinforce the way in which they view the film as recounting a possible day in the life of Lola and Manni. On the flip side of this however are the strange nuances that are added to the film, such as the ability for Lola to break glass with her voice when she is in a rage. While this is not a characteristic most people would have the director chose to include it in the film. The pressing question is: why? Even thought he director had gone through the effort to present most other facets of the movie as being realistic he added in this particular attribute to Lola. This was possibly the directors way of saying that the film, as much as it reflects reality does not, in fact, hold to be the absolute reality. In other words the film is meant to not show a realistic setting. The genius of the film however is to reconcile both of these realities into something comprehensible to the viewer. Here verisimilitude proves particularly adept.
Reconciling the outlandish qualities of the film to everyday viewers expectations of real life is a somewhat tall order. The way in which I will argue for verisimilitude in this particular film might seem to be out of the ordinary to some, and they would be correct. The easiest way to convince an audience that something is like their actual life to to provide them with a way to relate to the film. Normally this might be construed as making a film as realistic as possible and to siphon out any unrealistic elements. While this is perfectly acceptable the director of this film seems to arrive at the same believability through a completely opposite route. By this it is meant that the inclusion of certain unrealistic elements actually improves its verisimilitude. The particular example that fits here is that of the animated sequences. When a person views these sequences they are fully aware that the images they are viewing are not of live actors but of animated figures. Despite this fact I believe it is entirely plausible for a viewer to understand more about the character, and therefore characterization, of these more two dimensional characters simply because the viewer interprets that there is less information to know about an animated character than about a full-fledged person. Because of this idea they feel as though they can connect more with a character that they can more easily understand. Therefore the idea of verisimilitude is effective through a non-real medium.
The final idea that is presented in the movie is that of flashbacks. The reader, however, should take caution here as the flashbacks in this film are not your typical flashbacks. Instead of the traditional flashback the viewer is presented with a 'rerun'. Essentially the viewer watches the same film three times. In the case of 'Run, Lola Run' the flashback turns out to be a completely different reality for the characters. The greatest part about this is the fact that in parts of the film inklings of these other realities are still manifest in the minds of the participants. A prime example is when Lola has the gun while she is robbing the bank. She seems to remember, as if from some other life that the safety on a gun must be turned off in order to uses. In her current reality though she seems to actively remember this and turns the safety of the gun off. In this way the different runs in the film are flashbacks in that they are remembering another scene in the film.
In all the film 'Run, Lola Run' uses several great film tools to set it apart from other movies of its kind. The philosophical undertones of the film encourage the viewer to actively think about the film and the meaning behind it, if there is one, while actively watching the film. The way the director uses realism and anti-realism at the same time engraves a strange image in the viewers mind when used in conjunction with the flashbacks. However all of these are made to seem more familiar to the viewer when combined with verisimilitude and the interesting 2D characterization. The importance of the movie in world-wide cinema is even more important however than the actual film itself. The way in which this film allows a person to view film opens up a large Pandora-like box for other directors to explore and therefore the legacy of the film, while great in and of itself, it eventually outshone by the brilliance of the directors use of his professions paradigms.
*“Love of Fate” (from the Latin)

Saturday, November 19, 2011

Tired (Poem)

Well here I am at 1:19 at night and I decided that it would be a grand idea to post an update. This time I figured some happier poetry was in order. This is a poem I wrote for my girlfriend to add a little more to her da. I hope you enjoy it. Like with all poetry feel free to use this under a creative commons.


If you have ever been camping then I think you might understand
The amazement in which I first held your hand
Imagine a fire that’s been put out by the rain
it has extinguished the warmth and light so arcane

But when you poke around inside the ashy mess
you find tucked inside an ember a la heart in chest
burning away without any thought of going out
yet think of how long it took you to find this fiery sprout

the rain itself had tried its best to put out this brand
but no matter the pain you've found someone to take your hand
what you once thought impossible has happened before your eyes
and believe it not its a beautiful person that doth arise

You've blown on my ember and rekindled its spirit
and I tremble when you say my name so that I can barely hear it
Maybe its that I’ve lit your flame anew
but just know that these kinds of things are quite seldom and few

The way you hold me when we lay side by side
fills me with joy that, its true, I struggle to quite hide
the way you run you fingers all throughout my hair
leaves me in another world yet still laying there

the way that this has happened is entirely a surprise
and to me it doesnt make sense, pure logic it does defy
The nights I spend with you grow that ember stronger
and I can tell that what we have should go on a great time longer

You know that I am not the richest man but I love to see you smile
and laugh and roll about when I’ve tickled you for a while
you really dont know how much good you've show a poor old heart like mine
and I look exceedingly forward to beautiful things we'll get in time

But enough about what I have felt let me show you what you are
to this poor old heart of mine that you've managed to set afire
With easy grace do you look upon me laying there
and fall on down beside me and stroke upon my hair

Your caress is gentle and appropriately so
from here to where does our joinéd journey go
Its such a wonder and such a delight
to have a wonderful you in my life