*it's a dead, obviously, working from per se, i only used prae to be near per, i could have used foris, or even ante, but given the dictionary and the necrosis of the Latin tongue per se as in: per - by rather than in - and se - himself rather than itself, you can imagine the complications of coining a phrase for the antidote of in-itself, i.e. outside-itself.*
revision of Enya: **** away **** away,
against the wind against the wind;
mash up... brrrrapt big up big up east end
Loud Don... bonkers bunch...
now that is random,
i wanted to make a serious point,
and i will (insert snigger)... eventually.
what i wanted to communicate was the revenge of
von Kleist against Kant...
Kant is the enemy of poetry we're led to believe,
i can imagine, only Heidegger took Holderlin seriously
and lectured on his poetry,
von Kleist committed suicide out of despair
having read Kant's critique...
but what i want to do:
to take each poetic technique out of poetry, and
then use each technique to describe it's origin...
so for example metaphor... given that poetry is
ensō (one smooth stroke) - ever watched the t.v.
series Wolf Hall? it's about the dealings of Thomas
Cromwell, all matters of intrigue, Henry the VIII,
and Anne Boleyn... so the metaphor describing
poetry... at the end of Wolf Hall
Anne Boleyn is about to be decapitated, because
she ****** like Catherine the Great (although i'm
sure the myth about the horse by polish / lithuanian
conspirators isn't true... or applicable to Anne)
and that offended the king...
so on the scaffold, there's the swordsman (using a sword
was a clean affair, axes were brutal, imagine hacking
at stump of wood, or like Longinus Podbipięta,
who with a Teutonic sword cut three Turk
heads in one go, so Longinus Podbipięta vouched
to a lady his chastity that he'd bed her if he also
cut three Ottoman heads in one go ref. Sienkiewicz
with fire and sword - the sword
that cut ****** Mary's head was, blunt)...
so there's this scene in Wolf Hall, ah man, the swordsman
is classy, Thomas Cromwell asks him, 'will it be a clean
death?', 'only if she doesn't move',
so on the scaffold, he takes his shoes off, speaks into her right
ear as if she's expecting the swing to come from there
and then with great stealth moves in the other
direction and cuts her head off from the left...
so i guess poetry is a metaphor of that, an ensō,
an evolution from haiku: one smooth stroke and you're done:
nothing airy fairy, like you need to sigh...
no... you need to drop the anchor:
poetry prae se, as described by metaphor.
May 8, 2016
May 8, 2016 at 9:24 AM UTC
*it's a dead, obviously, working from per se, i only used prae to be near per, i could have used foris, or even ante, but given the dictionary and the necrosis of the Latin tongue per se as in: per - by rather than in - and se - himself rather than itself, you can imagine the complications of coining a phrase for the antidote of in-itself, i.e. outside-itself.*
revision of Enya: **** away **** away,
against the wind against the wind;
mash up... brrrrapt big up big up east end
Loud Don... bonkers bunch...
now that is random,
i wanted to make a serious point,
and i will (insert snigger)... eventually.
what i wanted to communicate was the revenge of
von Kleist against Kant...
Kant is the enemy of poetry we're led to believe,
i can imagine, only Heidegger took Holderlin seriously
and lectured on his poetry,
von Kleist committed suicide out of despair
having read Kant's critique...
but what i want to do:
to take each poetic technique out of poetry, and
then use each technique to describe it's origin...
so for example metaphor... given that poetry is
ensō (one smooth stroke) - ever watched the t.v.
series Wolf Hall? it's about the dealings of Thomas
Cromwell, all matters of intrigue, Henry the VIII,
and Anne Boleyn... so the metaphor describing
poetry... at the end of Wolf Hall
Anne Boleyn is about to be decapitated, because
she ****** like Catherine the Great (although i'm
sure the myth about the horse by polish / lithuanian
conspirators isn't true... or applicable to Anne)
and that offended the king...
so on the scaffold, there's the swordsman (using a sword
was a clean affair, axes were brutal, imagine hacking
at stump of wood, or like Longinus Podbipięta,
who with a Teutonic sword cut three Turk
heads in one go, so Longinus Podbipięta vouched
to a lady his chastity that he'd bed her if he also
cut three Ottoman heads in one go ref. Sienkiewicz
with fire and sword - the sword
that cut ****** Mary's head was, blunt)...
so there's this scene in Wolf Hall, ah man, the swordsman
is classy, Thomas Cromwell asks him, 'will it be a clean
death?', 'only if she doesn't move',
so on the scaffold, he takes his shoes off, speaks into her right
ear as if she's expecting the swing to come from there
and then with great stealth moves in the other
direction and cuts her head off from the left...
so i guess poetry is a metaphor of that, an ensō,
an evolution from haiku: one smooth stroke and you're done:
nothing airy fairy, like you need to sigh...
no... you need to drop the anchor:
poetry prae se, as described by metaphor.