***** dishes piled peripherally
Melting muscles begging to be built
Education egging me on evilly
Facebook friends warning I may wilt
Clothes choking roomish rubble
Coldhearted clocks click callously
Traffic tickets to trouble
Prodding for payment perniciously

Mashup

Part I (and there is a Part II & III)

I mashup me, myself, and perhaps thee too.


Excerpts from my poems about poets, poetry and the process of compositions. In chronological order, earliest to latest.
---------------------------------------------------------­------------------

With words we paint,
With syllables we embrace,
Tasked and ennobled,
We are forever fully employed,
Missionaries to all,
You too, are one as well,
Your fate can't be renounced,

when the rusted unborn poem notion is almost done,
but remains unpublished,
for no beginning, no title, can be found,

Then I recall the cornucopia days,
when poems spilled forth like
there would never be a when they wouldn't,

I revisit my old friends, couplets, twins and triplets,
seeded inside every tear, happy or sad,
sweetly and freely,

my old friends, reread,
words rearranged in new combinations,
old poems, plants bearing new fruits,
re-titled all of them, one name,
a collection entitled,
My Solace.

My eyes, my eyes, see only the
Totality of this moment.
When mastery of multi-tasking
Is the single best poem this man ever
Penned with his entirety,
Of which not word survived
For its unspoken silence was its glory.

My compact with you is to
remind us all, through
music, dance, words (poetry) and love,
This is the only compact
with the power of human law.

Color me flesh ****,
Color me blue bottled,
Red ripped asunder,
The sweetness ascribed to my love poetry,
A subtraction of the bitterness of a failed life.
Colorist of my seams, my woven words,
I am white now, my canvas completed,
Waiting for another poet to write over it,
And chaining new words to what was prior writ.

Al,  what you did not ask was this:
With each passing poem,
I am lessened within, expurgated,
In a sense part of me, expunged,
Part of me, passing too,
Every poems birth diminishes me.

You ask me how I find the time,
(To write)
But time is not the issue,
For they, are all prepared, needing only recognition,
For they, are all in readiness, needing only composition.

For who's who in poetry
is all of us!
saviors and failures,
recorders and decoders,
night writers of the oohs and aahs
of dreams and nightmares.

When this poet cannot,
no longer, anymore,
tastes his poems upon your lips,
keep your poems within his heart,
then he breathes no more,
and becomes one who was, yet is,
because of you, in poetry.

Awful poetry, some good, you will write.
But write and write till your heart be calmed,
For even ancient kings felt the anguish  of the soul,
And we profit even today by King David's psalms.

This wizened fool has his hands full,
Mouths to feed, bread to earn and bake,
As midnight is almost nigh,
He rests prone and adds a verse to this old poem
He long ago scribbled down, grimace-smiles now,
Realizing there is little difference tween him and the
Sad Eyed Teenagers of the Lowland.

For poetry salves his wounds still, even now,
Unashamedly, he thinks, hallelujah!

The poem is the afterbirth,
A conflicts resolution, an outcome,
Battlefield debris, the residue of
An exacting vision, a sentiment surging,
And your army of words, inadequate to the task,
Fighting to capture that insight flashed,
Each word a soldier, disheveled,
Crying, let me live, let me be saved,
Let me make a poem,
Let it be inscribed upon my victorious flag.

The poem is the sweat left upon the brow,
Having exercised the five senses,
The salt of struggle and debate,
It's completion, each word,
Both a victory and a defeat.

To write but a single line,
That uplifts the heart,
Eases pain, gives delight to strangers,
And makes you laugh out loud
With shivery pleasure,
That usurps a whole day and night,
That is a poet's true measure.

Mastery of the poetic,
Measured not in quantity,
But in tears of satisfaction
When others love the taste
Of newly born stanzas
Upon their lips,
couplets born and transcribed
In the wee hours of the morn.

You can have my love, my soul,
But leave to me the labor of poetry.
Loving you with words is my domain,
The speciality of my terrain,
So no more hasta la pasta if you please,
And by the bye, I would love some
Tonight, say around eight,
At a restaurant where the moon is
The only light illuminating our faces.

Until you have bent your ear to Shakespeare's sonnets,
Till you have laughed with Ogden Nash,
Wept with Frost, visited Byron's ghost,
Read the songs of King Solomon,
And once you
Despair of being their equal,
Shed your winter coat of worry,
***** your courage to the sticking point,
Begin to write then with reckless courage,
Unfettered abandon, make a fool of yourself!

Scout the competition.
Weep, for you and I will never surpass
The giants who preceeded us, and yet,
Laugh, cause they thought the same thing as well...

All I can say is
En Garde!
I will be coming back soon enough.
because you are my best poem,
and the there will always be another stanza needed...

I am no Houdini, it's quite simple,
After 5 years, I read her like a book,
A book of my poems that she has inspired,
Entitled the Mysteries of True Love.

Each letter, a morsel in your mouth,
Each phrase, a fork full of pleasure,
Each stanza, a full fledged member in a tasting menu,
Perfect only in conjunction with the preceding flavor,
and the one that follows,  and the one that follows.

Taste each poem upon thy tongue and then pass it on,
you know how....

Each word, whether chewed thoroughly,
or lightly placed upon a bud for flavor,
needs the careful consideration of your mouth.

When I hear Shakespeare
My own voice is stilled, it's poverty exposed,
I am ashamed of every word I ever wrote.
Hush me not, for t'is true,
Yet I write on for an audience of one, on but one subject,
A subject, a life, mine,
yet, still unmastered, even after decades of trying.

My poverty exposed, unmasked
for what it is worth, or not.

Lest you think this is paean to men
Another grand male boast,
Be advised this ditty be writty
By a man who, while no longer gritty,
Just put jelly on his scrambled eggs
And ketchup on his toast!

Mmmmmmm there might be a poem
Lurking in that too...

So baby,
shut it down,
turn me on,
make me warm for real,
glide your now practiced fingertips on my grizzled cheek,
whisper a phony "ugh,"
cause I know, you will read
this iPad love poem
and cherish us for evermore.

Soul of brevity, poetically,
I'll never be, this insightful critique,
("Your poems are too long")
I've received in multiplicity, from sources internationally,
perhaps, lucky me, you've read this far?

Surely still a chance that an angel will touch my lips,
my internal parts sign a final treaty, inside an armistice,
night sweats sighs a thing fully forgot,
poetry writing can now be dispatched,
maybe that will be my Act III,
if I can stay awake for it.

Walk a Single Word.
To write a poem, a single word select,
embrace it with a fullness that lovers, family and friends
and the *** who cut you off in the middle lane
do daily provide

Grasp said word, walk it onto a yellow, blue lined, legal pad,
touch said word with the whisper of a single tear, a single curse,
like a pebble in a pond,
said word will miracle expand
hugging you with concentric circles of lines of poetry,
visionary words and stanzas that almost complete themselves
and you

The rhymes you will require, the meter you will select,
no need to struggle, hug your child and as Abraham told Isaac,
God and Google will provide

The simple trickster, a wordsmiths, even your average poet laureate,
got nothing on you that you don't already possess, to offer them
Plenty stiff competition.

Therefore,
My life is mine to take,
Should I wish to choose the
Place, date, the time
To let the poetry cease,
I will announce it mostly gladly
with a blessing of
Shehecheyanu* and a
Smiling "by your leave."

Sometimes the pen, unnecessary.
The poem, fully formed, in his mouth, born.

Silent back labor, unbeknownst the existence
Of such a thing, yet knowing now
His contractions, coming fast and furious,
Eyes many centimeters dilated,
The sac's fluid breaks upon the poet's tongue,
He pronounces in a single breath his
Immaculate Completion

When his hand to mouth, goes,
Like Moses, when he touched the burning coals,
The words are signaled, freedom!
The words announce:
We are now created, conceived and
This new oxgenated atmosphere is now our
final resting place.

This child, the poem, this exhalation,
Once freed, is lost to him,
It's been renamed, retitled,
by hundreds of newly adopted parents as
Ours.

Words needed to create another love poem for my beloved,
Nose and toes, ******* and eyes all regularly poetically,
Cherished,
Now I have knuckled under
And competed a full poetic body scan
And have paid tribute to each n'every part of you,
Even your knuckles...which I am busy kissing
While writing this poem in my distracted mind.

The next time it be for the morning meal,
I will eat it in bed,
far from their kitchen hiding places,
And celebrate my heroics with original
Frosted Flakes and milk,
And extra sugar just for spite!
The bedroom fairies, living under the pillow,
Emerge to beg in iambic pentameter,
Won't get nary a bite,
Until they they return the poems they stole
From my midnight dreams.

I am exhausted. So many gems to decorate
My body, my soul. I must stop here,
So many of you have reached out, none of you overlooked.

Overwhelmed, let us sit together now
And celebrate the silence that comes after the
Gasp, the sigh, that the words have taken from
Our selves, from within.


On and on thru the night,
Riffing, rapping, rambling, and spitting,
Ditties and darts, couplets and barbs,
Single words and elegies,
Free verse and a lot of fking curse words,
It was a moment, a time
that deserved
to be preserved,
and so this poem got writ

You may think this story apocryphal
Which is another way of saying untrue,
But I got his boarding pass and it is signed,
To this crazy poetry dude, long may you rasp,
And it is signed by Mr. P. Simon, a big fan,
And it has never since that day,
Left my grasp

Some poems never end,
Nor meant too.
Alliterative phrases, invitations,
Add a verse, a word, even a sound,
An exclamation of delight,
A stanza in its own right.

Unfinished work, forever additive, collaborative.
Modify mine, pass it on.

Read somewhere some poems never end,
Now I understand that better,
Cause there are no bandages, stitches that can close,
Cause there are no pills, switches that can shut off,
The ripping sound, the cutting noise, the raging inside
Heard blocks away, almost reaching a house where you live,
And dying in the same **** place that
Poems come from after midnight.

And even if I am stranger now,
I'll prove useful to have around,
Giving you poetry precisely couture designed by command,
So I fully expect to be hugging you happy
Soon enough.
You'll see.

No matter combo or organized, a good nights sleep
Elusive
So poetry is my default rest position,
My screen savior.

**So when I warn,
All my poems are copywrighted,
My meaning simple, words crystal,
They belong to us, but mostly to you
Who are reading these words

decisive defense
derailed the dictator's
dreams of dominance

The Norwegian Rune Poem

Here you have both alliterative Fornyrðislag meter, and end rhyme.

Fé vældr frænda róge;
fðesk ulfr í skóge.

Úr er af illu jarne;
opt lypr ræinn á hjarne.

Þurs vældr kvinna kvillu;
kátr værðr fár af illu.

Óss er flæstra færða för;
en skalpr er sværða.

Ræið kveða rossom væsta;
Reginn sló sværðet bæzta.

Kaun er barna bölvan;
böl görver nán fölvan.

Hagall er kaldastr korna;
Kristr skóp hæimenn forna.

Nauðr gerer næppa koste;
nöktan kælr í froste.

Ís köllum brú bræiða;
blindan þarf at læiða.

Ár er gumna góðe;
get ek at örr var Fróðe.

Sól er landa ljóme;
lúti ek helgum dóme.

Týr er æinendr ása;
opt værðr smiðr blása.

Bjarkan er laufgroenstr líma;
Loki bar flærða tíma.

Maðr er moldar auki;
mikil er græip á hauki.

Lögr er, fællr ór fjalle foss;
en gull ero nosser.

Ýr er vetrgroenstr viða;
vænt er, er brennr, at sviða.

Translation:

Wealth is a source of discord among kinsmen;
the wolf lives in the forest.

Dross comes from bad iron;
the reindeer often races over the frozen snow.

Giant causes anguish to women;
misfortune makes few men cheerful.

Estuary is the way of most journeys;
but a scabbard is of swords.

Riding is said to be the hardest for horses;
Reginn forged the finest sword.

Ulcer is fatal to children;
death makes a corpse pale.

Hail is the coldest of grain;
Christ created the world of old.

Need gives scant choice;
a naked man is chilled by the frost.

Ice we call the broad bridge;
the blind man must be led.

Harvest is a boon to men;
I say that Froði was generous.

Sun is the light of the world;
I bow to the divine decree.

Týr is a one-handed God;
often has the smith to blow.

Birch has the greenest leaves of any shrub;
Loki was fortunate in his deceit.

Man is an augmentation of the dust;
great is the talon-span of the hawk.

Waterfall is a River falling from a mountain;
but ornaments are of gold.

Yew is the greenest of trees in winter;
it is wont to crackle when it burns.

Helen held Hank's hand
hoping her hand holding had
hastened his heart

After taking a gulp of water, M. opens a new Word document, inhaling deeply. He begins to write a sort of Introduction or Author’s Note:

‘This is to be my first real poem. No *******, cheesy rhyming or painfully forced verbiage. I am now only a seeker of truth…’

M., having just crushed two Focalin pressed pills, rolls a five-dollar bill and proceeds to insufflate, pausing momentarily when the line is halfway finished; he exhales before immediately finishing it off. His sinus burns fiercely. There is something masochistic about his preferred method of ingestion w/r/t pills. And but with a sudden albeit expected (in fact, M. was utterly beholden to it) rush of vitality, M. spends the next ten minutes finishing his half-page poetic manifesto [sic] (which term he actually wrote as a heading. “Poetic Manifesto”, that is), before beginning what he considers to be the first stanza. He likes that the location of the beginning of his poem is ambiguous. And so he begins thusly, consciously avoiding conventional rhyme scheme, instead opting for what he considers to be abstract.

‘My first poem, ostensibly an attempt at catharsis, was in fact a failed expression of my latent desire to be accepted. For today it’s a poem and last week a novel; tomorrow I’ll ferociously ******* some fashionably obscure, formidably pretentious prose [sic]. Consuming all but absorbing nothing…’

If he is to discover vicious truths [sic] in his writing, he cannot hold anything back. He thinks of a double-entendre using the word ‘blunt’, but decides not to employ it. Perhaps yesterday. Suddenly, M. begins to ruminate on his poem from the day before, which had earned him the opposite of acclaim from his peers. He must simply do the opposite of what he had done before! When he resumes writing, M. eventually begins to subconsciously fall back into the 12-syllable AABB rhyme scheme of his yesterday’s poem.

‘…Perhaps the following phase will stick for more than a wretched week.
Why have I wasted words on wan, vapid, wheezing lines
Of sickeningly phony, sophomoric, pseudo-sentimental ****?
Surely you see the salient theme,
That from which I hide,
Refusing to acknowledge life’s flaccid, tan **** as it floats in front of me,
Beckoning me forth,
A one-eyed, furiously fetid viper...’

M. chortles at his alliterative stanza’s ending. ‘This is how I write,’ he mutters to himself, maintaining a straight face. He writes without pause for nearly an hour. He is pleased.

‘…A generalist—that’s what I tell myself I am,
Because simply knowing a few facts,
Even for forty or fifty fields,
Is surely worthy of that
Respect which is given to those men and women
Who earn it by grinding away
At that which determine the sycophant vermin
Is worthy of lifting a lash…’

Hours pass. The poem approaches two thousand words in length. After taking a truncated cigarette break (the break, not the cigarette, was truncated), M. continues where he left off.*

‘…Believe you not for a second the frost-bitten-phallus,
That Freudian façade [sic],
The false faces I display to fake friends
Whose frequent fornication
Fills my mind with fossilized fleas,
******-spiritual formication [sic]
For which there’s no vaccine…

…Once I’ve come down from the mountainous apogee atop which I sit,
Calmly surveying the ever-receding landscape through the lens of fleeting euphoria
Which, fading faster always, gives way to—no, I will not say it—I refuse to legitimate her lies.
As I descend with increasing speed,
specters of judgment torment me into insanity…
    
B  r  e
a   t  h
     e  ;

...this feeling I simply cannot bear—
their sirens threaten to burst my eardrums.
Although it’s undoubtedly pathetic,
I can no longer lie to myself;
I desire the approval
of those specters
who haunt
m-
e
...’

M. begins to hyperventilate, panicking at his embarrassment at publishing such a bad poem the day before. He grasps his heart, which is beating out of his chest. The fear of cardiac arrest simply increases his anxiety. Laying down on the ****-carpeted floor, M. attempts to meditate, imagining this to be how it might feel to do TM on *******. Minutes then an hour pass.
Suddenly, a much-welcomed epiphany presents itself to M.; as if it fluttered through his window and hovered, eerily still in the way that only hummingbirds can be, just in front of his face. So obvious does it seem (the epiphany) that he begins to laugh maniacally in the pitch of a female voice either pre-pubescent or near-dead; a kind of

YEE!    

YEE!      

YEE!    

HEEEE!

HE!

HEE!                      

HEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE!

sound.
After minutes of uncontrollable mirth, M. holds his abdomen and makes the lugubrious [sic], delirious noises of tired suffering. After a few more YEE’s and HEEEE’s escape, he begins to regain control, trying not to focus on what he’d realized w/r/t futility as it relates to shame, but certainly ensuring that he won’t forget. M. sits in his chair with a old-man grunt, the sort of noise over which wives divorce their husbands.
He sips water.
M. opens a new document and begins to type:

For what do we write, we talentless wretches?
To publish some
gooey garbage
in hopes
that some fleet of demonic tween-age sociopaths
adopts our work as part of the canon of cuntiness?  

Not we, the veritable “un-poets”,
Our haphazardly-conceived writing stinks,
No, it reeks of fetid, smegmatic phalluses;
Of a ****** of maniacal madmen,
Blue-balled after an abysmal night/morning
Tossing crumpled ***** of money
At Patti’s plump-lipped, positively putrid-looking

&&&&               *****               &&&&

In an I-95 truck stop;
“Taste **** and *****
At Trucker Tom’s ***** Taphouse
                                        Where friends meet
                                            and literally throw money
                                              into syphilitic snatches.”

We write for the duty of identity,
We who might be found with a serious face on,
Writing rhyming, rhythmic,
quasi-**** lines of lead-heavy, snobbish lifeforce-larcen.
The sort of **** that keeps you from getting up in the morning.

But of course we are writers, as sure as the sea
Is blue, the day is long, who daresay that I am wrong?
And he who
doth [sic] dare,
I point to that long
******* I posted
ere the day began.
There lies his evidence though it belongs in the can.

My heart goes numb
And my stomach turns sour
When it becomes apparent
That best male actor
Has been won by a man
With an alliterative name
And I still have
The same number of
Oscars
As Leonardo DiCaprio

sonorous symphonies simper at the
soirees of my sincere
sibling while I
stand by
scowling

Caedmon's Hymn: a Modern English Translation of the Old English (Anglo-Saxon) Poem

"Cædmon's Hymn" was composed sometime between 658 and 680 AD and appears to be the oldest extant poem in the English language. Information follows the poem for anyone who’s interested.

Cædmon's Hymn (circa 658-680 AD)
loose translation/interpretation by Michael R. Burch

Humbly we honor heaven-kingdom's Guardian,
the Measurer's might and his mind-plans,
the goals of the Glory-Father. First he, the Everlasting Lord,
established earth's fearful foundations.
Then he, the First Scop, hoisted heaven as a roof
for the sons of men: Holy Creator,
mankind's great Maker! Then he, the Ever-Living Lord,
afterwards made men middle-earth: Master Almighty!



Bede's Death Song (circa 731 AD)
ancient Anglo-Saxon/Old English lyric poem
loose translation/interpretation by Michael R. Burch

Facing Death, that inescapable journey,
who can be wiser than he
who reflects, while breath yet remains,
on whether his life brought others happiness, or pains,
since his soul may yet win delight's or night's way
after his death-day.



Translator's Notes: "Cædmon's Hymn" is one of the oldest surviving examples of Anglo-Saxon alliterative verse. By way of illustration, in the first line I have capitalized the repeating sounds:

Humbly Now we HoNour HeaveN-kiNGDom's GuarDiaN

In defense of my interpretation that Caedmon may have regarded God as a fellow Poet-Creator, please let me point out that the original poem employs the words scop and haleg scepen. Anglo-Saxon poets were called scops. The term haleg scepen seems to mean something like "Holy Poet" or "Holy Creator/Maker" because poets were considered to be creators and makers. Also the verb tīadæ has been said to mean something like "creatively adorned." So I don't think it's that much of a stretch to suggest that a Christian poet may have seen his small act of creation as an imitation of the far greater acts of creation of his Heavenly Father.

As in the original poem, each line of my translation has a caesura: a brief pause denoted by extra white space (which may not show up in some browsers). In each line, there are repeated vowel/consonant sounds. This alliteration gives alliterative verse its name. The original poem is also accentual verse, in that each line has four strong stresses, and the less-stressed syllables are not counted as they are in most other forms of English meter (such as iambic pentameter). My translation is not completely faithful to the original rules. For instance, I have employed a considerable amount of internal alliteration (which gives me more flexibility in the words I can employ). And some of my lines contain more than four stresses, although I think there are still four dominant stresses per line. For instance, in the first line: HONour, HEAVen, KINGdom's GUARDian. In the second line: MEASurer’s, MIGHT, MIND-PLANS. And so on. I don't think the technique is all-important. The main questions are whether the meaning is clear, and whether the words please the ear. Only you, the reader, can decide that, and you don't need a high-falutin' critic to tell you what you like!

I believe the poem is "biblical" in its vision of creation. According to the Bible, the earth was set on an immovable foundation by the hand of God. (Little did the ancient writers know that the earth is actually a spinning globe whizzing through space at phenomenal speeds!) We see this foundation in line four. Next, in line five, we see the hand of God creating the heavens above, where according to the Bible he then set the sun, moon and stars in place. (The ancient writers again got things wrong, saying that the earth existed first, in darkness, and that the sun, moon and stars were created later; we now know that the earth's heavier elements were created in the hearts of stars, so the stars existed long before the earth. The writers of Genesis even said that plants grew before the sun was formed, but of course they had never heard of photosynthesis.) The poem's last line sounds a bit more Germanic or Norse to me, since Middle Earth is a concept we hear in tales of Odin and Thor (and later in the works of J. R. R. Tolkien). But that makes sense because when Saint Augustine of Canterbury became the first Christian missionary to evangelize native Britons, I believe it was the policy of the Roman Catholic Church to incorporate local beliefs into the practice of Christianity. For instance, because sun gods were worshiped in Rome, the Sabbath day became Sun-day, and the birth of Christ became December the 25th (the day the winter sun is "resurrected" and the days begin to lengthen, heralding spring). So in northern climes we should expect to see some "fusion" of Norse and Germanic myths with Christianity. For instance, there was never a mention of "hell" in the Hebrew Bible; the Hebrew language did not even have a word that meant "hell" at the time the books of the Old Testament were written. The closest Hebrew word, Sheol, clearly means "the grave" and everyone went there when they died, good and bad. The Greek word Hades also means the grave, and likewise everyone went there when they died. Hades had heavenly regions like the Elysian Fields and Blessed Isles and thus was obviously not hell! "Hell" is a Norse term. If this subject interests you―for instance if someone has said you are in danger of "hell" and need to be "saved" from it―you many want to read my simple, logical proof that There Is No Hell in the Bible.

Keywords/Tags: Caedmon, Hymn, Old English, Anglo-Saxon, translation, God, religion, religious, praise, worship, oldest poem, first poem, Bede

Sleepy Swagger Striding the Sideline,
the Sidewalk, the Street.
Soundlessly Slugging through
the Daunting Day Dawning Deep
Within the Weary, Worn, Walls of
the Hapless Hearts of
Various Vicarious Victors
Cunningly, Cleverly
Questing and Questioning
For the Forgotten and Frail.

The Anglo-Saxon Rune Poem

Each line consists of two half-stanzas, following the alliterative verse form of Fornyrðislag, or Old Meter.

Feoh byþ frofur fira gehwylcum;
sceal ðeah manna gehwylc miclun hyt dælan
gif he wile for drihtne domes hleotan.

Ur byþ anmod ond oferhyrned,
felafrecne deor, feohteþ mid hornum
mære morstapa; þæt is modig wuht.

Ðorn byþ ðearle scearp; ðegna gehwylcum
anfeng ys yfyl, ungemetum reþe
manna gehwelcum, ðe him mid resteð.

Os byþ ordfruma ælere spræce,
wisdomes wraþu ond witena frofur
and eorla gehwam eadnys ond tohiht.

Rad byþ on recyde rinca gehwylcum
sefte ond swiþhwæt, ðamðe sitteþ on ufan
meare mægenheardum ofer milpaþas.

Cen byþ cwicera gehwam, cuþ on fyre
blac ond beorhtlic, byrneþ oftust
ðær hi æþelingas inne restaþ.

Gyfu gumena byþ gleng and herenys,
wraþu and wyrþscype and wræcna gehwam
ar and ætwist, ðe byþ oþra leas.

Wenne bruceþ, ðe can weana lyt
sares and sorge and him sylfa hæfþ
blæd and blysse and eac byrga geniht.

Hægl byþ hwitust corna; hwyrft hit of heofones lyfte,
wealcaþ hit windes scura; weorþeþ hit to wætere syððan.

Nyd byþ nearu on breostan; weorþeþ hi þeah oft niþa bearnum
to helpe and to hæle gehwæþre, gif hi his hlystaþ æror.

Is byþ ofereald, ungemetum slidor,
glisnaþ glæshluttur gimmum gelicust,
flor forste geworuht, fæger ansyne.

Ger byÞ gumena hiht, ðonne God læteþ,
halig heofones cyning, hrusan syllan
beorhte bleda beornum ond ðearfum.

Eoh byþ utan unsmeþe treow,
heard hrusan fæst, hyrde fyres,
wyrtrumun underwreþyd, wyn on eþle.

Peorð byþ symble plega and hlehter
wlancum [on middum], ðar wigan sittaþ
on beorsele bliþe ætsomne.

Eolh-secg eard hæfþ oftust on fenne
wexeð on wature, wundaþ grimme,
blode breneð beorna gehwylcne
ðe him ænigne onfeng gedeþ.

Sigel semannum symble biþ on hihte,
ðonne hi hine feriaþ ofer fisces beþ,
oþ hi brimhengest bringeþ to lande.

Tir biþ tacna sum, healdeð trywa wel
wiþ æþelingas; a biþ on færylde
ofer nihta genipu, næfre swiceþ.

Beorc byþ bleda leas, bereþ efne swa ðeah
tanas butan tudder, biþ on telgum wlitig,
heah on helme hrysted fægere,
geloden leafum, lyfte getenge.

Eh byþ for eorlum æþelinga wyn,
hors hofum wlanc, ðær him hæleþ ymb[e]
welege on wicgum wrixlaþ spræce
and biþ unstyllum æfre frofur.

Man byþ on myrgþe his magan leof:
sceal þeah anra gehwylc oðrum swican,
forðum drihten wyle dome sine
þæt earme flæsc eorþan betæcan.

Lagu byþ leodum langsum geþuht,
gif hi sculun neþan on nacan tealtum
and hi sæyþa swyþe bregaþ
and se brimhengest bridles ne gym[eð].

Ing wæs ærest mid East-Denum
gesewen secgun, oþ he siððan est
ofer wæg gewat; wæn æfter ran;
ðus Heardingas ðone hæle nemdun.

Eþel byþ oferleof æghwylcum men,
gif he mot ðær rihtes and gerysena on
brucan on bolde bleadum oftast.

Dæg byþ drihtnes sond, deore mannum,
mære metodes leoht, myrgþ and tohiht
eadgum and earmum, eallum brice.

Ac byþ on eorþan elda bearnum
flæsces fodor, fereþ gelome
ofer ganotes bæþ; garsecg fandaþ
hwæþer ac hæbbe æþele treowe.

Æsc biþ oferheah, eldum dyre
stiþ on staþule, stede rihte hylt,
ðeah him feohtan on firas monige.

Yr byþ æþelinga and eorla gehwæs
wyn and wyrþmynd, byþ on wicge fæger,
fæstlic on færelde, fyrdgeatewa sum.

Iar byþ eafix and ðeah a bruceþ
fodres on foldan, hafaþ fægerne eard
wætre beworpen, ðær he wynnum leofaþ.

Ear byþ egle eorla gehwylcun,
ðonn[e] fæstlice flæsc onginneþ,
hraw colian, hrusan ceosan
blac to gebeddan; bleda gedreosaþ,
wynna gewitaþ, wera geswicaþ

Modern English Translation

Wealth is a comfort to all men;
yet must every man bestow it freely,
if he wish to gain honour in the sight of the Lord.

The aurochs is proud and has great horns;
it is a very savage beast and fights with its horns;
a great ranger of the moors, it is a creature of mettle.

The thorn is exceedingly sharp,
an evil thing for any knight to touch,
uncommonly severe on all who sit among them.

The mouth is the source of all language,
a pillar of wisdom and a comfort to wise men,
a blessing and a joy to every knight.

Riding seems easy to every warrior while he is indoors
and very courageous to him who traverses the high-roads
on the back of a stout horse.

The torch is known to every living man by its pale, bright flame;
it always burns where princes sit within.

Generosity brings credit and honour, which support one's dignity;
it furnishes help and subsistence
to all broken men who are devoid of aught else.

Bliss he enjoys who knows not suffering, sorrow nor anxiety,
and has prosperity and happiness and a good enough house.

Hail is the whitest of grain;
it is whirled from the vault of heaven
and is tossed about by gusts of wind
and then it melts into water.

Trouble is oppressive to the heart;
yet often it proves a source of help and salvation
to the children of men, to everyone who heeds it betimes.

Ice is very cold and immeasurably slippery;
it glistens as clear as glass and most like to gems;
it is a floor wrought by the frost, fair to look upon.

Summer is a joy to men, when God, the holy King of Heaven,
suffers the earth to bring forth shining fruits
for rich and poor alike.

The yew is a tree with rough bark,
hard and fast in the earth, supported by its roots,
a guardian of flame and a joy upon an estate.

Peorth is a source of recreation and amusement to the great,
where warriors sit blithely together in the banqueting-hall.

The Eolh-sedge is mostly to be found in a marsh;
it grows in the water and makes a ghastly wound,
covering with blood every warrior who touches it.

The sun is ever a joy in the hopes of seafarers
when they journey away over the fishes' bath,
until the courser of the deep bears them to land.

Tiw is a guiding star; well does it keep faith with princes;
it is ever on its course over the mists of night and never fails.

The poplar bears no fruit; yet without seed it brings forth suckers,
for it is generated from its leaves.
Splendid are its branches and gloriously adorned
its lofty crown which reaches to the skies.

The horse is a joy to princes in the presence of warriors.
A steed in the pride of its hoofs,
when rich men on horseback bandy words about it;
and it is ever a source of comfort to the restless.

The joyous man is dear to his kinsmen;
yet every man is doomed to fail his fellow,
since the Lord by his decree will commit the vile carrion to the earth.

The ocean seems interminable to men,
if they venture on the rolling bark
and the waves of the sea terrify them
and the courser of the deep heed not its bridle.

Ing was first seen by men among the East-Danes,
till, followed by his chariot,
he departed eastwards over the waves.
So the Heardingas named the hero.

An estate is very dear to every man,
if he can enjoy there in his house
whatever is right and proper in constant prosperity.

Day, the glorious light of the Creator, is sent by the Lord;
it is beloved of men, a source of hope and happiness to rich and poor,
and of service to all.

The oak fattens the flesh of pigs for the children of men.
Often it traverses the gannet's bath,
and the ocean proves whether the oak keeps faith
in honourable fashion.

The ash is exceedingly high and precious to men.
With its sturdy trunk it offers a stubborn resistance,
though attacked by many a man.

Yr is a source of joy and honour to every prince and knight;
it looks well on a horse and is a reliable equipment for a journey.

Iar is a river fish and yet it always feeds on land;
it has a fair abode encompassed by water, where it lives in happiness.

The grave is horrible to every knight,
when the corpse quickly begins to cool
and is laid in the ***** of the dark earth.
Prosperity declines, happiness passes away
and covenants are broken.

Bursting,
bounding,
blazing;
boldly blasting, breaking branches, birch
beneath boughs, boots bruising blackberry brambles,
bashing buried boulders,

she shot;
sprinting,
spittle-spitting,
screaming,
singing,
sundering scarlet sumac screens,
seeking secret solitude,
scrying,
simple,
silent safety,
solace.

Hand softly against your cheek.
Lips pressed to your ear.
The whisper drifts into your consciousness, almost inaudible.
It's a request. A wish. A desire. A quench for passion.
The words tickle your canal as they enter.
The hairs on the back of your neck stand up tall.
The speaker does not own these words but rather they own you.
Captivating, filled with desire, a yearning, wanting more.
As they trickle in, you process the slivering snakelike progression of words that just met your ear.
"Kiss me."
The very word "kiss" can set you on fire.
There's something about the word.
The way it's sharp and bold in the beginning...
Yet...electrifying at the end.
It is drawn out, poetic, tongue tying.
If you close your eyes, you can almost envision getting lost in the letters.
First, there's the K.
That crisp, clean K that is proud yet does not boast.
That K cuts like a knife, no not a knife, a kite, it cuts like a kite, soaring high into the sky. Never planning on coming down.
Then, you've got the I.
It stands tall but it's shy and sandwiched in the middle.
It cowers from the past and even more fearful of what is to come.
It is elusive, slightly ****, coy, perhaps even unattainable.
Then you've got the electrifying, alliterative "ss."
Almost as if you're not ready for the word to end, holding, dare I say, clinging onto those last precious letters, dragging out every last sound.
Every last breath has come to this.
"Kiss."
It comes and then goes before you can say it.
Fearful of missing it.
You hang onto that "S" for it is the last thing that ties you to this.
Kiss. Kiss. Kiss.
Once you've said it, never stop saying it.
Kiss Kiss Kiss.
All good things, though, must go. Then the time comes to let it be.
So then you say,"Kiss me."