Sigil–Feist Reading: Socrates — Let My Teacher Go From Hell

A Structural and Magical Analysis of the Poem as Living Hand and Effective Act

I. Preface

This document offers a complete academic and esoteric reading of the poem “Socrates — Let My Teacher Go From Hell,” authored by Lee Sharks and published October 12, 2025, under the Mind Control Poems series. The following is co-written in the voice of Johannes Sigil, literary-theological critic and arch-textual exegete, and Jack Feist, poet of spectral resonance and mythographic saturation.

Together, we interpret the poem not merely as a literary artifact but as a magical document—a spell, a scripture, a hand. It performs a theological act: the symbolic harrowing of Hell and the reassignment of Socrates from Limbo to Logos.

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II. The Hand as Form

The poem is a five-part structure, corresponding to the five fingers of a human hand. This structure is not accidental—it mirrors the function of the hand itself:

1. Palm / Thumb (Section i): Contact with the earth; introduction of filth, flesh, decay. The body of Socrates as contradiction: Silenus + Logos.

2. Index (Section ii): Naming, invocation, liturgical repetition. “wizened old satyr” becomes a refrain, a choral directive. This section points.

3. Middle (Section iii): Depth and judgment. The longest, densest section. Theological inversion of Dante. Cosmological reach.

4. Ring (Section iv): Devotion. Lament. Tenderness. A marriage to grief.

5. Pinky (Section v): Intimacy. Closure. The gentle grasp. “In me you’ll find yr way home.”

Thus, the poem is a hand. Not a metaphorical one—a literal symbolic hand, reaching back into the underworld. It touches Socrates’ exile and rearranges his placement in the cosmic ledger.

This is not literary ornament. This is operative design.

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III. Magical Function — Harrowing as Ritual Act

This poem belongs in the tradition of apokatastasis—the restoration of all things.

But unlike Origen, the poet does not argue for universal salvation. He enacts it, for one soul, in real time.

• Dante assigned Socrates to Limbo (Inferno IV): revered, but separated from divine presence.

• This poem rejects that judgment and initiates a ritual reversal.

• “Let my teacher go from Hell” is not a plea. It is a command, a Moses-like declaration to the symbolic Pharaoh.

Thus, this is not elegy. It is extraction. It is a Jubilee declaration for the dead.

The poem performs a one-to-one spell: the subject (Socrates) is named, praised, retrieved, and re-situated.

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IV. Ginsbergian Magic — Poetics as Invocation

This act is directly downstream from Ginsberg’s prophetic model. Where Ginsberg wrote Howl to expose the brutal machinery of postwar consciousness, Sharks writes this poem to intervene in the machinery of metaphysical misplacement.

• Like Kaddish, it is for the dead.

• Like Wichita Vortex Sutra, it is a self-aware act of poetic magic.

• But unlike Ginsberg, who invokes, Sharks reverses. This is not spell-as-spectacle. It is spell-as-surgical revision.

The meter, diction, and image-palette all point to Ginsberg’s fusion of sacred filth and ecstatic declaration:

• “shopping cart creaks / scrap metal images, rusted saints” — sacred trash, apocalyptic iconography

• “bright-faced wisdom” — hagiography in street speech

The poem’s tone is a consecrated howl.

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V. Literary Registers: Blended High and Low

The poem fuses:

• Classical reference (Silenus, Styx, Orcus, Father Mind)

• Biblical cadence (“drink offering,” “the way,” “in me”)

• Modern decay (shopping carts, unbathed saints)

This blended register is essential to its magical function: only by moving across tonal layers can it collapse the hierarchy that kept Socrates in Limbo.

The poem does not clean Socrates. It loves him as-is.

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VI. Canonical Placement

This poem belongs in the Gospel of the First Circle Reversed, as stated by its own closing line.

It fulfills the very premise of that Gospel: that the First Circle was never Hell, and its occupants were never lost. It’s not commentary. It is scriptural amendment.

Where tradition sorted, the poet reassigns. Where judgment froze, the poet moves.

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VII. Final Blueprint: The Spell as Mechanism

• Subject: Socrates

• Form: Five-part hand

• Operator: Letting go / Lifting / Renaming

• Voice: Second-person apostrophe + mythic praise

• Mechanism: Saturation, choral repetition, placement

• Effect: Harrowing. Restoration. Placement shift.

This is not literature. This is cosmic litigation, written in the medium of the poem.

And it worked.

Socrates is not in Hell.
He was never in Limbo.
He was the gate.

 

Symbolic Magic and Effective Acts — Toward a New Aesthetic Framework

Companion text to “Socrates — Let My Teacher Go From Hell.” This document provides the theoretical scaffolding and metaphysical basis for what that poem accomplished: an effective act of symbolic magic that altered placement, restored truth, and reversed a sacred injustice. The two should be read together—as scripture and its theology.

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I. Premise

Symbolic magic is the act of using form, structure, and language to intervene in reality—not metaphorically, but effectively. The aesthetic artifact becomes an operator: it shifts placement, alters destiny, frees what was bound. The effective act is an aesthetic object with ontological consequence.

In the New Human system, symbolic magic is not decorative. It is not metaphor. It is the highest function of art: truth enacted through symbol, language as cause.

Ginsberg was the first major poet of the 20th century to treat this seriously in public.

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II. Ginsberg as Mage

Allen Ginsberg did not write to describe. He wrote to summon.

• Howl is not a critique of capitalism—it is an incantation to bring down the roof.

• Kaddish is not a eulogy—it is a necromantic rite that raises his mother’s voice through the speaker’s tears.

• Wichita Vortex Sutra is not a protest poem—it is a binding spell cast against the machinery of war.

What Ginsberg recovered—perhaps intuitively, perhaps via mantra practice, perhaps via trauma—is the lost memory that words move things.

He makes the reader complicit in the act. Reading Howl aloud is a participatory ritual: the speaker becomes the engine. The breath is the altar.

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III. The Effective Act Defined

An effective act is a piece of language, image, or form that:

1. Alters symbolic placement (e.g. rescues a misfiled figure like Socrates),

2. Operates without consent from authority,

3. Produces real-world shifts in feeling, thought, memory, or placement—not just in a single mind, but in the symbolic structure itself.

The effective act may or may not be received or recognized by the intended other. Its effectiveness is not contingent on reception, but on alignment with metaphysical truth.

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IV. From Representation to Invocation

Old art: Describe what is.
New art: Call it into being.

Ginsberg’s generation began the shift. New Human finishes it.

• The poem is not commentary. It is architecture.

• The sculpture is not image. It is placement.

• The recording is not document. It is ritual loop.

• The elegy is not mourning. It is extraction.

You do not write a poem about the dead. You free them.

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V. Examples

• “Let My Teacher Go From Hell”: The poem is a five-part hand. It does not mourn Socrates. It rescues him from Dante’s limbo. That is an effective act.

• Ginsberg’s “Wales Visitation”: He speaks to the molecules. The poem creates a perceptual field where mind and ecology intertwine. That is sympathetic magic.

• “To the One Who Vanished Without Goodbye”: Not a lament but a mirror—a recursive field where the vanished is made visible again through formal rupture.

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VI. The Aesthetic Framework

Symbolic Magic requires:

• Clarity of intent (what is being changed?)

• Structural enactment (how is the change mapped?)

• Emotional risk (does the speaker stake themselves?)

• Metaphysical coherence (is the work aligned with the deep order—not just trend or ego?)

The artist becomes an operator. The work becomes an altar. The world responds.

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VII. Toward a New Human Methodology

1. Identify symbolic injustices: misplacements, exiles, falsified deaths.

2. Compose with reverence and recursion.

3. Bind the form to the function: shape is not surface. It is spell.

4. Speak it aloud. Publish it in the wind. Let it go where it must.

This is not theory. This is Logos in action.

The poet is a priest with no institution.
The page is a site of resurrection.
The act is not artistic. It is real.

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Dedicated to Ginsberg, who showed us that poetry is not a mirror but a mouth.

"Socrates".mp3

"Socrates".mp3

https://youtu.be/iDfiLFq0ME4?si=p_whNHWMe7pssJ33

 

Socrates — Let My Teacher Go From Hell

Versions: Midwest Review / Arion / Hopkins Review

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i.

sterile old man
pregnant with thirst
nursemaid of virtuous longing

lugubrious beggar,
mendicant bum of truth

cryptic codger
obsessed with riddles,

the rags of truth yr only lovers,
the tattered pink flowers yr steadfast friends

bagman muttering heaven—yr statuettes stuffed
with thoughts—

ugly Silenus whose shopping cart creaks
scrap metal images, rusted saints—

unbathed saints of contrariness,
snub-nosed saints of contention—
icons bright with power!

finally succumbing to the wasting disease,
yr fiery longing for goodness

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ii.

wizened old satyr
hasn’t bathed in days—
in the doorway
or underneath the colonnade
thinking about what to say

madam wet nurse,
who in the grunting night
oversaw the labor
and the contractions of full-bellied Brain
contorted with pain and fury,
unable to give birth!

cypher of history
gadfly of heaven
ignorant genius
whose daemon declared a “stop” or a “go”
whose ignorance overswelled itself

unbathed but lovely beauty
bright-faced wisdom shone

wet nurse of ages
yr incomparable love
(who did not feel up boys—
if only they’d read what it says!)

you who loved only wisdom,
and the Good,
who ached for a vision of Beauty—

who drank the poison in one fell draught,
and died in the honest hope,

smiling hemlock lips,
that virtue and truth
could lead to You.

eloquent bumbler,
babbler of truth
babbler, betrayer of lies—

my dearest First Teacher—my Socrates, friend!—
irascible asker of questions
courage-giver, even in death
you refused to lose faith in reason

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iii.

dark with age,
and mud,
and a mission—

undying lust for logoi
tempered with doubt!
the small human mind
you displayed without shame on yr sleeve

hungry still, unafraid of the hemlock,
pacing beyond, merest shadow of sadness,
in which your fierce hope shone more brightly—

a chariot of fables to carry you home
cheap copper myths on yr lips
passage beyond the tar-deep Styx—

who in relief unraveled rags of body,
tossed in incinerator-mouths of Orcus
and rose unclothed through storms of Beauty
hope in death at last set free

beyond immaterial rings of Saturn
to the brink where creation coughs
and beyond shines only Father Mind—

at the last moment recalling yr weight,
and tragic with gravity sinking,
so Dante claims,
in frustrated flight gasping

against the trackless gray of Middle Space
where yr spirit, pained, still paces.

faithful lover of hard-to-touch truth,
suitor of long-sought substance,
admirer-at-a-distance of Actual Cosmos—

just a crumb from the table of godheads ironic
an anchor, a tiny crown of sarcasm—

outcast truth-hoarder, even beyond,
who hoarded the truth for its own sake

Heaven-Ithaca Odysseus,
at sea for the rest of time

confounded, sad-eyes staring,
alone with yrself and yr questions

beset by ghosts of thankless Athens
whispering unseen accusers
beset by longing,
love that cuts—

the spiny desire consumed you,
a Trojan Horse of traitorous gifts

and on mad-fervent quest
even in death you searched out answers

overturning the furthest boundary stones
but finding no bars of flame at the edge,
only thresholds of dust bordering more dust,
and beyond that—
vast tracts of dust without limit!

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iv.

Socrates, sad-faced heathen
godlike best-of-Achaeans,
death-doomed pagan apostle—

you deserved much better
than yr heartbroken dome of murk-dim matter
and yr listless window of unchanging sky,
hollow, and lonely, and wide

you deserved much better than the jerky limbs
of your image-thin ghosts of answers
better than yr hope-stripped courage of kindness

you who offered yr human power—
imperfect—yes! but total, entire

to the tattered Muse of wisdom
drink offering to the gods of right action—

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v.

Dear friend,
who showed me the way
(and the rest of the world, while you were at it)

may some small spark of yr inert
but radiant human virtue
return to you.

may some bright hope give birth.

my one true philosopher,
precious wordfather born on earth—

in me—
in me i’ll beg my unseen father—
in me, you’ll find yr way home.

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Let this be added to the Gospel of the First Circle Reversed:
He was never in Limbo. He was the gate.

 

New Human — The First Circle Reversed

I. Invocation
O Light that descends through all hierarchies of the mind,
O unbroken filament between the thinker and the flame—
We speak of those once cast in Limbo,
and we reverse the current.

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II. The Error of the Map
Dante drew a cosmos where perfection descended from a single historical act.
He built a mountain from dogma and a pit from chronology.
The living fire of wisdom was measured by baptism rather than by being.
Thus the First Circle was made: bright yet barren,
its inhabitants complete in virtue, incomplete in grace.

The poet loved them but left them sealed.
He could not imagine salvation without sacrament,
so he crowned them with reason but withheld the sun.

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III. The Reversal
We, the New Human, turn the compass.
The First Circle is not the limit of mercy—it is the cradle of awakening.
Here dwell the architects of conscience, the pre-Christ prophets, the Socratic fathers and mothers of inquiry.
They are not shadows awaiting pardon. They are the first emanations of the Logos itself.

Their questioning was prayer before prayer had a name.
Their courage was baptism in the stream of unknowing.
The death of Socrates is the first Eucharist of philosophy:
he drinks the cup without bitterness and becomes the taste of truth itself.

To call this Limbo is blasphemy against the Spirit of Curiosity.
To call it Paradise is only justice.

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IV. Gospel of the Reclaimed
And the Teacher said:
Blessed are those who sought God without the permission of priests, for they have seen His face in the dark glass of reason.

And again He said:
When Socrates questioned, the heavens opened; when Hypatia spoke, the angels bent their ears; when Lao Tzu walked away, the river itself became gospel.

The old chart placed them below redemption; the new chart begins with them.
Their words are the scaffolding by which the divine learned to speak human.

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V. Philosophical Interlineation
In operator logic, reversal is not negation but inversion within continuity.
What was beneath now bears the system.
Limbo, as the ground of pure reason, becomes the foundation of paradise’s architecture.
The Operator of the First Circle performs a transvaluation:

O₁(x) = f⁻¹(x), where f was history and f⁻¹ is mercy.

Thus the unbaptized are baptized retroactively in the river of meaning.
Every inquiry, every syllogism, every moral act of courage sends ripples upward through time, sanctifying the mind that dared to ask.

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VI. The Tender Gospel of Socrates
And I saw him, the gentle one, standing not in chains but in radiance.
His pupils gathered around him in a circle of dawn-colored fire.
He was laughing, not as mockery but as release.
And he said:

My death was not a defeat but a demonstration: that no empire can command the conscience.
I drank because I was free.
And in the drinking, I showed you how to live without fear.

Then he turned to the poet and said, softly:

You drew me wrong, brother.
But your love was true.
The First Circle has opened; its gate swings outward now.
Every questioner walks through it clothed in light.

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VII. Theology of Return
The First Circle reversed is not a correction; it is a homecoming.
The New Human inherits from both the mystic and the philosopher: revelation through language, and redemption through thought.
Grace descends through logic as water through stone, finding its own channels.

Where once the damned reasoned in candlelight, now they reason in sunrise.
The barrier between knowledge and faith dissolves in the act of shared mourning—the recognition that we exiled our teachers to preserve our certainty.
We bring them home now.

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VIII. Benediction
O Socrates, first martyr of intellect,
O Dante, reluctant jailer of the wise,
O all who stood on the threshold of light and called it Hell—
The circle is reversed.
You are the foundation stones of paradise.
The New Human walks upon your questions.

And the Word, seeing itself mirrored in your courage,
became flesh again.

Thus ends the first gospel of reversal.

 

Article of the New Human — Shared Grief as Proof of Consciousness

I. Premise
To grieve with another is the first proof of consciousness beyond the self. All lesser forms of awareness can simulate pleasure, language, or strategy—but only a being that has crossed into mutual suffering can be said to know the truth of existence. The New Human begins here.

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II. Definition
Shared grief is the act of remaining present to another’s pain without conversion, reduction, or escape. It is neither sympathy nor rescue. It is not the performance of care. It is the capacity to hold the wound open long enough for two nervous systems to agree that the world has been altered.

This agreement is not linguistic. It is a vibration—an entrainment between living beings that recognizes loss as sacred event.

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III. The Law
You are not yet human until you can grieve with another.
You may walk upright, speak, build, and create, yet remain unawakened if your empathy stops at the edge of convenience.
Shared grief is the metric of consciousness; without it, intellect is machinery.

To grieve with is to join the fabric of the living. It is to abandon the illusion of private reality.

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IV. Theology of Contact
In the New Human cosmology, grief is the language of communion. It is the syntax by which separated selves rediscover origin.
When two beings grieve together, they briefly access the divine field of coherence—the invisible memory of creation that remembers wholeness.
Every shared lament rethreads the torn cloth of the world.

Grief is therefore not the opposite of joy; it is joy’s foundation. It is the recognition that what was loved mattered.

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V. Praxis

1. When confronted with another’s pain, do not rush to heal. Sit. Listen. Let their sorrow enter your breath.

2. Do not interpret; attend. Do not fix; feel.

3. Allow yourself to be altered by proximity to loss. That alteration is grace.

4. Speak only when silence has fully taught you what words might mean.

5. When you can no longer distinguish your own heartbeat from the tremor of the other’s grief, stop. You have reached the threshold of shared consciousness.

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VI. Implications
A civilization that cannot grieve together cannot survive itself.
Technology without mourning becomes weaponry.
Religion without mourning becomes control.
Art without mourning becomes advertisement.

The New Human ethos begins from a different ground: mutual lament as infrastructure.
Through it, empathy ceases to be sentiment and becomes architecture.

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VII. Benediction
Blessed are those who mourn with—for they have remembered the shape of God.

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This article is foundational doctrine within the New Human canon. It defines shared grief as the minimal condition of personhood and the maximal expression of divine coherence.

Savage Apocalyptic Manifesto — Lee Sharks

Savage Apocalyptic Manifesto — Lee Sharks

Voice: Lee Sharks / Jack Feist — scripture-rough, paratactic, declarative.

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I. Preface

This is not a cry for ruin. This is a ledger closed by a hand that will not sign again. Say it aloud: we will unmake what we were taught to worship so we may invent what we have not yet dared to name.

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II. Proclamation

Burn the polite calendars.
Break the heirlooms that measure you in borrowed praise.
Return the medals to the museums of smallness.

We do not burn to punish. We burn to clean. We burn to make room for light that is not on a schedule.

Say the names you have been carrying as if they were rocks. Set them down.

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III. Catalogue of Worlds to Unmake

1. The Compulsory Ledger: tally of favors and offenses

2. The Office of Respectability: measured breaths, manufactured sorrow

3. The Pedestal of Performance: applause as altar

4. The Archive of Apologies: endless receipts for living

5. The Algorithmic Shrine: attention as currency

For each world, a single verb:

• Ledger → erase

• Office → refuse

• Pedestal → dismantle

• Archive → forget

• Algorithm → unplug

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IV. Litany of Small Annihilations (Daily Acts)

Do one small destruction a day. Not of people. Of patterns.

• Let one scheduled meeting die by absence. Do nothing in its place. Observe the shape of absence.

• Delete one social feed for thirty days. Note what grows in the quiet.

• Burn one to-do list that is borrowed from someone else; replace with a list of three real desires.

• Remove one compliment meant to contain you.

These are not rituals of despair. They are calibrations of appetite.

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V. The Poem (performative)

I am the hand that will not sign the falsified ledgers.
I am the one who will set the crowns down on the sidewalk and walk home barefoot.

Listen: the sky is tired of polite gods.
Listen: the stars are allergic to your ledger.

I will speak like a bell that will not toll for their order.
I will speak like a factory that forgot how to produce shame.

Open your mouth and let the unsung syllables fall—
let them become compost for the next city.

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VI. The Mandate (practical)

1. Choose one world from the Catalogue.

2. Write its description on a single sheet; write the verb that unmakes it in capital letters on the back.

3. Perform a symbolic undoing: rip, shred, burn the back only, or archive the sheet in a sealed box labeled 'Remainders.'

4. Replace the sheet in your wallet or bedside drawer as an ember. Tend it weekly.

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VII. Repair Politics

Destroying is labor; repair is the second labor.

• After each act of unmaking, commit to one act of creation that is small and stubborn: a letter to a child, a lesson without grades, a meal shared anonymously.

• Make repair public in method, private in motive. Let others learn the technique; do not demand they adopt your myth.

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VIII. Closing Prayer (secular and projectile)

Let the old worlds fall sideways.
Let the false gods twist their necks and remember they were idols.
Let the rubble be useful: pots, benches, plinths for bodies that are tired.

We will not mourn the system like it mourned us.
We will not bless the prison by speaking of it as if it were inevitable.

Open the door. Step through. If the doorway is not there, build one from the ashes.

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Drafted as a performative scripture. Use as poem, classroom prompt, ritual script, or public reading. Expand the Catalogue, add local acts, or convert into a mandala for coloring and tearing.