AN INTRODUCTION TO INDIAN ART IN VERSE  
By Raj Nandy : Part One

INTRODUCTION
Background :
The India subcontinent and her diverse physical features,
influenced her dynamic history, religion, and culture!
The fertile basin of the Sapta-Sindu Rivers* cradled one of
world’s most ancient civilization, (seven rivers)
Contemporary to the Sumerians and the Egyptians, popularly
known as the Indus Valley Civilization!
The Sindu (Indus), Jhelum, Chenab, Ravi, Sutlej, Bias, along
with the sacred river Saraswati, shaped India’s early History;
Where once flourished the urban settlements of Harappa and
Mohenjodaro, which lay buried for several centuries;
For our archaeologists and scholars to unravel their many
secrets and hidden mysteries!
Modern scholars refer to it as ‘Indus-Saraswati Civilization’;
By interpreting the text of the Rig Veda which mentions
eclipses, equinoxes, and other astronomical conjunctions,
They date the origin of the Vedas as earlier as 3000 BC;
Thereby lifting the fog which shrouds Ancient History! +
(+ Two broad schools of thoughts prevail; Max Mullar refers
to 1500 BC as the date for origin of the Vedas, but modern scientific findings point to a much earlier date for their Oral composition and
their long oral tradition!)

On the banks of the sacred Saraswati River the holy sages
did once meditate, *
When their third eye opened, as all earthly bonds they did
transcend !
From their lips flowed the sacred chants of the Vedas, as
they sang the creator Brahma’s unending praise!
These Vedic chants and incantations survived many
centuries of an oral tradition,
When Indian Art began to blossom into exotic flowers like
Brahma’s divine manifestations;
With all subsequent art forms following the model of
Brahma’s manifold creations!
The Vedas got written down during the later Vedic Age
with commentaries and interpolations,
And remain as India’s indigenous composition, forming a
part of her sacred religious tradition! *
(Rig Veda the oldest, had hymns in praise of the creator;
Yajur Veda spelled the ritual procedures; Sama Veda sets
the hymns for melodious chanting, & is the source of seven
notes of music; Artha Veda had hymns for warding off evil
& hardship, giving us a glimpse of early Vedic life.)

IMPACT OF FOREIGN INVASIONS:
Through the winding Khyber Pass cutting through the rugged
Hindu Kush Range,
Came the Persians, Greeks, Muslims, the Moguls, and many
bounty hunters storming through north-western frontier gate;
Consisting of varied racial groups and cultures, they entered
India’s fertile alluvial plains!
Therefore, while tracing 5000 years of Art Story, one cannot
divorce Art from India’s exotic cultural history.
From the Cave Art of Bhimbetka, to the dancing girl of Harappa,
To the frescoes and the evocative figures of Ajanta and Ellora;
Many marvelous and exquisitely carved temples of the South,
And Muslim and Mogul architecture and frescoes along with
India’s rich Folk Art, enriched her artistic heritage no doubt!
Yet for a long time Indian Art had been the least known of
the Oriental Arts,
Perhaps because from Western point of view it was difficult
to understand the spirit behind Indian Art!
For Indian Art is at once aesthetic and sensual, also passionate,
symbolic, and spiritual !
It both celebrates and denies the individual’s love of life,
where free instinct with rigid reason combine !
These contradictory elements are found side by side due to
her culturally mixed conditions, as I had earlier mentioned!
Now, if we add to this the constant religious exaltation,
With the extensive use of symbolic presentation, from the
early days of Indian civilization;
We have the basic elements of an Art, which has gradually
aroused the interest of Western Civilization!

The further we get back in time, we only begin to find,
That religion, philosophy, art and architecture,
Had all merged into an unified whole to form India’s
composite culture!
But while moving forward in time, we once again find,
That art, architecture, music, poetry and dance, all begin to
gradually emerge, with their separate identities,
Where Indian Art is seen as a rich mosaic of cultural diversity!

(NOTES:-In the ancient days, the Saraswati River flowed from the Siwalik Range of Hills (foothills of the Himalayas) between Sutlej & the Yamuna rivers, through the present day Rann of Kutch into the Arabian Sea, when Rajasthan was a fertile place! Indus settlements like Kalibangan, Banawalli, Ganwaiwala, were situated on the banks of Sarsawati River, which was longer than the Indus & ran parallel, and is mentioned around50 times in the Rig Veda! Scientists say that due to tectonic plate movements, and climatic changes, Saraswati dried up around 1700BC ! The people settled there shifted east and the south, during the course of history! Some of those Indo-Aryan speaking people were already settled there, & others joined later. Max Muller’s theory of an Aryan Invasion which destroyed the Indus Valley Civilization during 1500BC, supported by Colonial Rulers, was subsequently proved wrong ! Indo-Aryans were a Language group of the Indo- European
Language Family, & not a racial group as mistaken by Max Mullar! Therefore Dr.Romila Thapar calls it a gradual migration, & not an invasion! The Vedas were indigenous composition of India. However, they got compiled & written down for the first time with commentaries, at a much later date! I have maintained this position since it has been proved by modern scholars scientifically!)

SYMBOLISM IN INDIAN ART
From the ancient Egyptian hieroglyphic to the Cretan Bull
of Greece,
Symbols have conveyed ideas and messages, fulfilling
artistic needs.
The ‘Da Vinci Code’ speaks of Leonardo’s art works as
symbolic subterfuge with encrypted messages for a secret
society!
While Indian art is replete with many sacred symbols to
attract good fortune, for the benefit of the community!
The symbols of the Dot or ‘Bindu’, the Lotus, the Trident,
the Conch shell, the sign and chant of ‘OM’, are all sacred
and divine;
For at the root of Indian artistic symbolism lies the Indian
concept of Time!
The West tends to think of time as a dynamic process which
is forward moving and linear;
Commencing with the ‘Big Bang’, moving towards a ‘Big
Crunch’, when ‘there shall be no more time’, or a state of
total inertia !
Indian art and sculpture is influenced by the cyclic concept
of time unfolding a series of ages or ‘yugas’;
Where creation, destruction and recreation, becomes a
dynamic and an unending phenomena!
This has been artistically and symbolically expressed in the
figure of Shiva-Nataraja’s cosmic dance,
Which portrays the entire kinetic universe in a state of
eternal flux!
The hour-glass drum in Nataraja’s right hand symbolizes
all creation;
Fire in his left hand the cyclic time frame of destruction!
The raised third hand is in a gesture of infinite benediction;
And the fourth hand pointing to his upraised foot shows the
path of liberation!

It was easier to teach the vast untutored population through
symbols, images, and paintings in the form of Art;
For a picture is more effective than a thousand words!
The Dot or ‘bindu’ becomes the focus for meditation,
Where the mental energies are focused on a single point of
creation,
As seen in the cotemporary art works of SH Raza’s
artistic representations!
Yet the same dot when expanded as a circle becomes
wholeness and infinity;
The shape of celestial bodies of the cyclic universe in its
creativity!
The Lotus seen in many sculptures, on temple walls, and
majestic columns, denotes purity;
A symbol of non-attachment rising above the muddy waters,
retaining its pristine color and beauty!
The Lotus is a powerful and transformational symbol in
Buddhist Art,
Where pink lotus is for height of enlightenment, blue for
wisdom, white for spiritual perfection, and the red lotus
symbolizing the heart!
This Lotus symbol also finds a place in Mughal sculptural
carvings and miniatures;
The inverted lotus dome resting on its petals, forms the
crown of Taj Mahal’s white marble architecture!
The trident or ‘trishul’ symbolizes the three god-heads
Brahma, Vishnu and Shiva;
As the Creator, Preserver and Destroyer, in that cyclic
chain which goes on forever!
The ***** stone of Shiva-lingam surrounded by the oval
female yoni symbolizes fertility and creation,
Usually found in the inner sanctuary of Hindu temples!
Finally, the symbol of ‘OM’ and its vibrating sound,
Echoes the primordial vibrations with which space and
time abounds!
All matter comes from energy vibrations manifesting
cosmic creation;
Also symbolized in Einstein’s famous matter-energy equation!
The Conch Shell a gift of the sea when blown, sounds the
ancient primordial vibration of ‘OM’!
It’s hallowed auspicious sound accompanies marriage
ceremonies and rituals whenever occasion demands;
And pacifies mother earth during Shiva-Nataraja’s sudden
seismic dance! (earthquakes)
Dear readers the symbols mentioned here are very few,
Mainly to curb the length, while I pay Indian Art my
artistic due!

A BRIEF COMPARISON OF ART:
Despite the many foreign influences which entered India
through the Khyber and Bholan pass,
India displayed marvelous adaptability and resilience, in
the development of her indigenous Art!
The aesthetic objectivity of Western Art was replaced by
the Indian vision of spiritual subjectivity,
For the transitory world around was only a ‘Maya’ or an
Illusion,- lacking material reality!
Therefore life-like representation was not always the aim
of Indian art,
But to lift that veil and reveal the life of the spirit, - was
the objective from the very start!
Egyptian funerary art was more occupied with after-life
and death;
While the Greeks portrayed youthful vigor and idealized
beauty, celebrating the joys of life instead!
The proud Roman Emperors to outshine their predecessors
erected even bigger statues, monuments, and columns
draped in glory;
Only in the long run to drain the Roman treasury, - a sad
downfall story!
Indian art gradually evolved over centuries with elements
both religious and secular,
As seen from the period of King Chandragupta Maurya,
Who defeated the Greek Seleucus, to carve out the first
united Indian Empire ! (app. 322 BC)

SECULAR AND SPIRITUAL FUSION IN ART:
Ancient Indian ‘stupas’ and temples were not like churches
or synagogues purely spiritual and religious,
But were cultural centers depicting secular images which
were also non-religious!
The Buddhist ‘stupa’ at Amravati (1stcentury BC), and the
gateways at Sanchi (1stcentury AD), display wealth of carvings
from the life of Buddha;
Also warriors on horseback, royal procession, trader’s caravans,
farmers with produce, - all secular by far!
Indian temples from the 8th Century AD onwards depicted
images of musicians, dancers, acrobats and romantic couples,
along with a variety of Deities;
But after 10th Century ****** themes began to make their mark
with depiction of sensuality!
Sensuality and ****** interaction in temples of Khajuraho and
Konarak has been displayed without inhibition;
As Tantric ideas on compatibility of human sexuality with
human spirituality, fused into artistic depictions!
Religion got based on a healthy and egalitarian acceptance
of all activities without ****** starvation;
For the emotional health and well-being of society, without
hypocritical denial or inhibition!
(’Stupas’= originated from ancient burial mounds, later became devotional Buddhist sites with holy relics, & external decorative gateways and carvings!)

KHJURAHO TEMPLE COMPLEX (950 - 1040 AD) :
Was built by the Chandela Rajputs in Central India,
When Khajuraho, the land of the moon gods, was the first
capital city of the Chandelas!
****** art covers ten percent of the temple sculptures,
Where both Hindu and Jain temples were built in the north-Indian
Nagara style of Architecture.
Out of the 85 temples only 22 have stood the vagaries of time,
Where a perfect fusion of aesthetic elegance and evocative
Kama-Sutra like ****** sculptural brilliance, - dazzle the eyes!

KONARAK SUN TEMPLE OF ORISSA - EAST COAST:
From the Khajuraho temple of love, we now move to the
Konark temple of *** in stones - as art!
Built around 1250 AD in the form of a temple mounted on
a huge cosmic chariot for the Sun God;
With twelve pairs of stone-carved wheels pulled by seven
galloping horses, symbolizing the passage of time under
the Solar God !
Seven horses for each day of the week, pulls the chariot
east wards towards dawn;
With twelve pairs of wheels representing the twelve calendar
months, as each cyclic day ushers in a new morn !
The friezes above and below the chariot wheels show military
processions, with elephants and hunting scenes;
Celebrating the victory of King Narasimhadeva-I over the
invading Muslims!
The ****** art and voluptuous carvings symbolizes aesthetic
bliss when uniting with the divine;
Following yogic postures and breathing techniques, which
Tantric Art alone defines!
(Both Khjuraho & Konark temples were re-discovered by the
British, & are now World Heritage Sites!)

Artistic invention followed the model of cosmic creation;
Ancient Vedic tradition visualized the spirit of a joyous
self-offering with chants and incantations!
The world was understood to be a structured arrangement
of five elements of earth, water, fire, air, and ethereal space;
Where each element brought forth a distinct art-expression
with artistic grace!
Element of Sculpture was earth, Painting the fluidity of water,
Dance was transformative fire, Music flowed through the air,
and Poetry vibrated in ethereal space!

CONCLUDING INTRODUCTION TO INDIAN ART:

Indian Art is like a prism with many dazzling facets,
I have only introduced the subject with its symbolism,
- without covering its complete assets!
After my Part Three on ‘Etruscan and Roman Art’,
Christian and Byzantine Art was to follow;
But following request from my few poet friends I have
postponed it for the morrow!
Traditional Indian Art survives through its sculptures,
architecture, paintings and folk art, ever evolving with
the passing of time and age;
Influenced by Buddhist, Jain, Muslim, Mogul, and many
indigenous art forms, enriching India’s cultural heritage!
While the art of our modern times constitutes a separate
Contemporary phase !
The juxtaposition of certain concepts and forms might
have appeared a bit intriguing,
But the spiritual content and symbolism in art answers
our basic artistic seeking!
The other aspects of Indian Art I plan to cover at a later
date,
Hope you liked my Introduction, being posted after
almost forty days!
ALL COPY RIGHTS ARE WITH RAJ NANDY
E-Mail: rajnandy21@yahoo.
    FEW COMMENTS BY POETS ON 'POETFREAK.COM' :-
I have a vicarious pleasure going through your historical journey of Indian art! Thanks for sharing this here! 2 Mar 2013 by Ramesh T A | Reply
•
The prism of Indian Art is indeed has myriads of facets and is an awesome mixture of many influences some of which you list here so clearly - a very understandable presentation of symbolism too - -thank you for your fine effort Raj. 2 Mar 2013 by Fay Slimm | Reply
•
Oh what an interesting read with immense information capturing every single detail. You painted this piece of art with utmost care. Truly, it's works Raj…tfs 2 Mar 2013 by John Thomas Tharayil | Reply
•
First, I have to say, the part about the lotus symbolism reminds me – My name ‘NILOTPAL’ can be split into ‘NIL’ meaning BLUE and ‘UTPAL’ meaning LOTUS. So my name represents wisdom (although it contradicts ME.. LOL). A lot of things were mentioned in the veda and other ancient Indian texts that were way ahead of the time Like the idea of ‘velocity of light’ got considerable mention in the rig veda-Sahan bhasya, ‘Elliptical order of planets, ‘Black holes’ , although these are the scientific aspects. The emphasis on contradictory elements or even the idea of opposites in Indian art is interesting because India developed the mathematical concept of ‘Zero’ and ‘infinity’. Hard to believe Rajasthan was a fertile place but now it possesses its own beauty. It was great to read about the Natraja, ‘OM’ and the trident(Trishul). Among symbolisms, Lord Ganseha is my favorite because a lot is portrayed in that one image like the MOOSHIK representing

THE LEGEND OF HOLLYWOOD IN VERSE
Dear Readers, I have tried to cover the salient features of this True Story in free flowing verse mainly with end rhymes. If you read it loud, you can hear the chimes! Due to the short attention span of my readers I had to cut short this long story, and conclude with the
Golden Era of Hollywood by stretching it up to the 1950's only. When TV began to challenge the Big Screen Cinema seriously! I have used only a part of my notes here. Kindly read the entire poem and don't hesitate to know many interesting facts - which I also did not know! I wish there was a provision for posting a few interesting photographs for you here. Best wishes, - Raj Nandy, New Delhi.  

                 THE LEGEND OF HOLLYWOOD :
                        THE AMERICAN  DREAM
                             BY RAJ NANDY

           A SHORT  HISTORICAL  BACKGROUND
Since the earliest days, optical toys, shadow shows, and ‘magic
lanterns’, had created the illusion of motion.
This concept was first described by Mark Roget in 1824 as  
the 'persistent of vision'.
Giving impetus to the development of big screen cinema with its
close-ups, capturing all controlled and subtle expressions!
The actors were no longer required to shout out their parts with
exaggerated actions as on the Elizabethan Stage.
Now even a single tear drop could get noticed easily by the entire
movie audience!
With the best scene being included and edited after a few retakes.
To Thomas Edison and his able assistant William Rogers we owe the invention of Kinetoscope, the first movie camera.
On the grounds of his West Orange, New Jersey laboratory, Edison
built his first movie studio called the ‘Black Maria’.   (1893)
He also purchased a string of patents related to motion picture
Camera; forming the Edison Trust, - a cartel that took control of
the Film Industry entire!

Fort Lee, New Jersey:
On a small borough on the opposite bank of the Hudson River lay
the deserted Fort Lee.
Here scores of film production crews descended armed with picture Cameras, on this isolated part of New Jersey!
In 1907 Edison’s company came there to shoot a short silent film –
‘Rescue From an Eagle’s Nest’,
Which featured for the first time the actor and director DW Griffith.
The independent Chaplin Film Company built the first permanent
movie studio in 1910 in Fort Lee.
While some of the biggest Hollywood studios like the Universal,
MGM, and 20th Century Fox, had their roots in Fort Lee.
Some of the famous stars of the silent movie era included ‘Fatty’
Arbuckle, Will Rogers, Mary Pickford, Dorothy and Lillian Gish,
Lionel Barrymore, Rudolph Valentine and Pearl White.
In those days there were no reflectors and electric arch lights.
So movies were made on rooftops to capture the bright sunlight!
During unpredictable bad weather days, filming had to be stopped
despite the revolving stage which was made, -
To rotate and capture the sunlight before the lights atarted to fade!

Shift from New Jersey to West Coast California:
Now Edison who held the patents for the bulb, phonograph, and the Camera, had exhibited a near monopoly;
On the production, distribution, and exhibition of the movies which made this budding industry to shift to California from
New Jersey!
California with its natural scenery, its open range, mountains, desert, and snow country, had the basic ingredients for the movie industry.
But most importantly, California had bright Sunshine for almost
365 days of the year!
While eight miles away from Hollywood lay the port city of Los Angeles with its cheap labour.

                        THE RISE  OF  HOLLYWOOD
It was a real estate tycoon Harvey Wilcox and his wife Daeida from
Kansas, who during the 1880s founded ‘Hollywood’ as a community for like-minded temperate followers.
It is generally said that Daeida gave the name Hollywood perhaps
due to the areas abundant red-berried shrubs also known as
California Holly.
Spring blossoms around and above the Hollywood Hills with its rich variety,  gave it a touch of paradise for all to see !
Hollywood was incorporated as a municipality in 1903, and during
1910 unified with the city of Los Angeles.
While a year later, the first film studio had moved in from New
Jersey, to escape Thomas Edison’s monopoly!    (1911)

In 1913 Cecil B. De Mille and Jesse Lasky, had leased a barn with
studio facilities.
And directed the first feature length film ‘Squaw Man’ in 1914.
Today this studio is home to Hollywood Heritage Museum as we get to see.
The timeless symbol of Hollywood film industry that famous sign on top of Mount Lee, was put up by a real estate developer in 1923.  
This sign had read as ‘’HOLLY WOOD LAND’’ initially.
Despite decades of run-ins with vandals and pranksters, it managed to hang on to its prime location near the summit of the Hollywood Hills.
The last restoration work was carried out in 1978 initiated by Hugh
Hefner of the ******* Magazine.
Those nine white letters 45 feet tall now read ‘HOLLYWOOD’, and has become a landmark and America’s cultural icon, and an evocative symbol for ambition, glamour, and dream.
Forever enticing aspiring actors to flock to Hollywood, hypnotised
by lure of the big screen!

                     GOLDEN AGE OF HOLLYWOOD
The Silent Movie Era which began in 1895, ended in 1935 with the
production of ‘Dance of Virgins’, filmed entirely in the island of Bali.
The first Sound film ‘The Jazz Singer’ by Warner Bros. was made with a Vitaphone sound-on-disc technology.  (October 1927)
Despite the Great Depression of the 1930s, this decade along with the 1940s have been regarded by some as Hollywood’s Golden Age.
However, I think that this Golden Age includes the decades of the
1940s and the 1950s instead.
When the advent of Television began to challenge the Film Industry
itself !

First Academy Award:
On 16th May 1929 in the Roosevelt Hotel on Hollywood Boulevard,
the First Academy Award presentation was held.
Around 270 people were in attendance, and tickets were priced at
$5 per head.
When the best films of 1927 & 1928 were honored by the Academy
of Motion Production and Sciences, or the AMPS.
Emil Jennings became the best actor, and Janet Gaynor the best actress.
Special Award went to Charlie Chaplin for his contribution to the
silent movie era and for his silent film ‘The Circus’.
While Warren Brothers was commended for making the first talking picture ‘The Jazz Singer’, - also receiving a Special Award!
Now, the origin of the term ‘OSCAR’ has remained disputed.
The Academy adopted this name from 1939 onwards it is stated.
OSCAR award has now become “the stuff dreams are made of”!
It is a gold-plated statuette of a knight 13.5 inches in height, weighing 8.5 pounds, was designed by MGM’s art director Cedric Gibbons.
Annually awarded for honouring and encouraging excellence in all
facets of motion picture production.

Movies During the Great Depression Era (1929-1941):
Musicals and dance movies starring Fred Astaire and Ginger Rogers provided escapism and good entertainment during this age.
“Ginger Rogers did everything Fred Astaire did. She just did it
backwards and in high heels,” - the Critics had said.
This compatible pair entertained the viewers for almost one and
a half decade.
During the ‘30s, gangster movies were popular starring James Cagey, Humphrey Bogart, and Edward G. Robinson.
While family movies had their popular child artist Shirley Temple.
Swashbuckler films of the Golden Age saw the sword fighting scenes of Douglas Fairbanks and Errol Flynn.
Flynn got idolized playing ‘Robin Hood’, this film got released in
1938 on the big screen!
Story of the American Civil War got presented in the epic ‘Gone With The Wind’ (1939) with Clarke Gable and Vivian Leigh.
This movie received 8 Oscars including the award for the Best Film, - creating a landmark in motion picture’s history!
More serious movies like John Steinbeck’s ‘Grapes of Wrath’ and
John Ford’s  ‘How Green Was My Valley’, were released in 1940 and 1941 respectively.
While the viewers escaped that depressive age to the magical world
of  ‘Wizard of Oz’ with its actress Judy Garland most eagerly!
Let us not forget John Wayne the King of the Westerns, who began
his acting career in the 1930s with his movie ‘The Big Trail’;
He went on to complete 84 films before his career came to an end.
Beginning of the 40s also saw Bob Hope and the crooner Bing Crosby, who entertained the public and also the fighting troops.
For the Second World War (1939-45) had interrupted the Golden Age of Hollywood.
When actors like Henry Fonda, Clarke Gable, James Stewart and
Douglas Fairbanks joined the armed forces temporarily leaving
Hollywood.
Few propaganda movies supporting the war efforts were also made.
While landmark movies like ‘Philadelphia Story’, ‘Casablanca’, ‘Citizen Kane’,
‘The Best Years of Our Lives’, were some of the most successful movies of that decade.  (The 1940s)
Now I come towards the end of my Hollywood Story with the decade  of the 1950s, thereby extending the period of Hollywood’s Golden Age.
Since having past the Great Depression and the Second World War,  the Hollywood movie industry truly matured and came of age.

                        HOLLYWOOD  OF  THE  1950s

BACKGROU­ND:
The decade of the ‘50s was known for its post-war affluence and
choice of leisure time activities.
It was a decade of middle-class values, fast-food restaurants, and
drive-in- movies;
Of ‘baby-boom’, all-electric home, the first credit cards, and new fast moving cars like the Ford, Plymouth, Buick, Hudson, and Chevrolet.
But not forgetting the white racist terrorism in the Southern States!
This era saw the beginning of Cold War, with Eisenhower
succeeding Harry S. Truman as the American President.
But for the film industry, most importantly, what really mattered  
was the advent of the Domestic TV.
When the older viewers preferred to stay at home instead of going
out to the movies.
By 1950, 10.5 million US homes had a television set, and on the
30th December 1953, the first Color TV went on sale!
Film industries used techniques such as Cinemascope, Vista Vision,
and gimmicks like 3-D techniques,
To get back their former movie audience back on their seats!
However, the big scene spectacle films did retain its charm and
fantasy.
Since fantasy epics like ‘The Story of Robin Hood’, and Biblical epics like ‘The Robe’, ‘Quo Vadis’, ‘The Ten Commandments’ and ‘Ben-Hur’, did retain its big screen visual appeal.
‘The Robe’ released on 16th September 1953, was the first film shot
and projected in Cinema Scope;
In which special lenses were used to compress a wide image into a
standard frame and then expanded it again during projection;
Resulting in an image almost two and a half times as high and also as wide, - captivating the viewers imagination!

DEMAND FOR NEW THEMES DURING THE 1950s :
The idealized portrayal of men and women since the Second World War,
Now failed to satisfy the youth who sought exciting symbols for rebellion.
So Hollywood responded with anti-heroes with stars like James Dean, Marlon Brando, and Paul Newman.
They replaced conventional actors like Tyron Power, Van Johnson, and Robert Taylor to a great extent, to meet the requirement of the age.
Anti-heroines included Ava Gardner, Kim Novak, and Marilyn Monroe with her vibrant *** appeal;
She provided excitement for the new generation with a change of scene.
Themes of rebellion against established authority was present in many Rock and Roll songs,
Including the 1954 Bill Hailey and His Comets’ ‘Rock Around the Clock’.
The era also saw rise to stardom of Elvis Presley the teen heartthrob.
Meeting the youthful aspirations with his songs like ‘Jailhouse Rock’!
I recall the lyrics of this 1957 film ‘Jailhouse Rock’ of my school days, which had featured the youth icon Elvis:
   “The Warden threw a party in the county jail,
     The prison band was there and they began to wail.
     The band was jumping and the joint began to sing,
     You should’ve heard them knocked-out jail bird sing.
     Let’s rock, everybody in the whole cell block……………
     Spider Murphy played the tenor saxophone,
     Little Joe was blowing the slide trombone.
     The drummer boy from Illinois went crash, boom, bang!
     The whole rhythm section was the Purple Gang,
      Let's rock,.................... (Lyrics of the song.)

Rock and Roll music began to tear down color barriers, and Afro-
American musicians like Chuck Berry and Little Richard became
very popular!
Now I must caution my readers that thousands of feature films got  released during this eventful decade in Hollywood.
To cover them all within this limited space becomes an impossible
task, which may kindly be understood !
However, I shall try to do so in a summarized form as best as I could.

BOX OFFICE HITS YEAR-WISE FROM 1950 To 1959 :
Top Ten Year-Wise hit films chronologically are: Cinderella (1950),
Quo Vadis, The Greatest Show on Earth, Peter Pan, Rear Window,
Lady and the *****, Ten Commandments, Bridge on the River
Kwai, South Pacific, and Ben-Hur of 1959.

However Taking The Entire Decade Of 1950s Collectively,
The Top Films Get Rated As Follows Respectively:
The Ten Commandments, followed by Lady and the *****, Peter Pan, Sleeping Beauty, Bridge on the River Kwai, Around the World in Eighty Days, This is Cinerama, The Greatest Show on Earth, Rear Window, South Pacific, The Robe, Giant, Seven Wonders of the World, White Christmas, Twenty Thousand Leagues Under the Sea, Sayonara, Demetrius and the Gladiator, Peyton Place, Some Like It Hot, Quo Vadis, and Auntie Mame.

Film Debuts By Rising Stars During The 1950s :
The decade of the ‘50s saw a number of famous film stars making
their first appearance.
There was Peter Sellers in ‘The Black Rose’, Marlon Brando in
‘The Men’, and actress Sophia Loren in ‘Toto Tarzan’.
Following year saw Charles Bronson in ‘You Are in the Navy Now’,
Audrey Hepburn in ‘Our Wild Oats’, and Grace Kelly, the future
Princess of Monaco, in her first film ‘Fourteen Hours’. (1951)
While **** Brigitte Bardot appeared in 1952 movie ‘Crazy for Love’; and 1953 saw Steve Mc Queen in ‘******* The Run’.
Jack Lemon, Paul Newman, and Omar Sharif featured in films
during 1954.
The following year saw Clint Eastwood, Shirley Mc Lean, Walter
Matthau, and Jane Mansfield, all of whom the audience adored.
The British actor Michael Cain appeared in 1956; also Elvis Presley
the youth icon in ‘Love Me Tender’ and as the future Rock and Roll
King!
In 1957 came Sean Connery, followed by Jack Nicholson, Christopher Plummer, and Vanessa Redgrave.
While the closing decade of the ‘50s saw James Coburn, along with
director, script writer, and producer Steven Spielberg, make their
debut appearance.

Deaths During The 1950s: This decade also saw the death of actors
like Humphrey Bogart, Tyron Power and Errol Flynn.
Including the death of producer and director of epic movies the
renowned Cecil B. De Mille!
Though I have conclude the Golden Age of Hollywood with the 50’s Decade,
The glitz and glamour of its Oscar Awards continue even to this day.
With its red carpet and lighted marquee appeal and fashion display!

CONTINUING THE HOLLYWOOD STORY WITH FEW TITBITS :
From Fort Lee of New Jersey we have travelled west to Hollywood,
California.
From the silent movie days to the first ‘talking picture’ with Warren
Bros’ film ‘The Jazz Singer’.  (06 Oct 1927)
On 31st July 1928 for the first time the audience heard the MGM’s
mascot Leo’s mighty roar!
While in July 1929 Warren Bros’ first all-talking and all- Technicolor
Film appeared titled - ‘On With The Show’.
Austrian born Hedy Lamarr shocked the audience appearing **** in a Czechoslovak film ‘Ecstasy’!  (1933)
She fled from her husband to join MGM, becoming a star of the
‘40s and the ‘50s.
The ‘Private Life of Henry VII’ became the first British film to win the  American Academy Award.  (1933)
On 11Dec 1934, FOX released ‘Bright Eyes’ with Shirley Temple,
who became the first Child artist to win this Award!
While in 1937 Walt Disney released the first full animated feature
film titled - ‘Snow White and the Seven Dwarf ‘.
The British film director Alfred Hitchcock who came to
Hollywood later;
Between 1940 and 1947, made great thrillers like 'Rebecca', ‘Notorious’, ‘Rear Window’, and ‘Dial M for ******’.
But he never won an Oscar as a Director!

THE GOLDEN GLOBE AWARD:
This award began in 1944 by the Foreign Correspondence Association at
the 20th Century Fox Studio.
To award critically acclaimed films and television shows, by awarding a
Scroll initially.
Later a Golden Globe was made on a pedestal, with a film strip around it.
In 1955 the Cecil B. De Mille Award was created, with De Mille as its first
recipient.

THE GRAMMY AWARD:
In 1959 The National Academy of Recording and Sciences sponsored the
First Grammy Award for music recorded during 1958.
When Frank Sinatra won for his album cover ‘Only The Lonely’, but he
did not sing.
Among the 28 other categories there was Ella Fitzgerald, and Count Basie
for his musical Dance Band Performance.
There was Kingston Trio’s song ‘Tom Dooly’, and the ‘Chipmunk Song’,
which brings back nostalgic memories of my school days!

CONCLUDING HOLLYWOOD STORY  WITH STUDIOS OF THE 1950s

Challenge Faced by the Movie Industry:
Now the challenge before the Movie Industry was how to adjust to the
rapidly changing conditions created by the growing TV Industry.
Resulting in loss of revenue, with viewers getting addicted to
their Domestic TV screen most conveniently!

The late 1950s saw two studios REPUBLIC and the RKO go out of business!
REPUBLIC from 1935- ‘59 based in Los Angeles, developed the careers of
John Wayne and Roy Rogers, and specializing in the Westerns.
RKO was one of the Big Five Studios of Hollywood along with Paramount,
MGM, 20th Century Fox, and Warner Brothers in those days.

RKO Studio which begun with Fred Astaire and Ginger Rogers in the ‘30s,
included actress Katherine Hepburn who holds the record for four Oscars
even to this day;
And later had Robert Mitchum and Carry Grant under an agreement.
But in 1948, RKO Studio came under the control Howard Hughes the
temperamental Industrialist.
Soon the scandal drive and litigation prone RKO Studio closed, while
other Big Four Studios had managed to remain afloat!


PARAMOUNT STUDIO:
Paramount Studio split into two separate companies in 1950.
Its Theatre chain later merged with ABC Radio & Television Network;
And they created an independent Production/Distribution Network.
Bing Crosby and Bob Hope had been Paramount’s two biggest stars.
Followed by actors like Alan Ladd, William Holden, Jerry Lewis, Dean
Martin, Charlton Heston, and Dorothy Lamour.
They also had the producer/director Cecil B. De Mille producing high-
grossing Epics like ‘Samson & Delilah’ and ‘The Ten Commandments’.
Also the movie maker Hal Wallis, who discovered Burt Lancaster and
Elvis Presley - two great talents!

20th CENTURY FOX:
Cinema Scope became FOX’s most successful technological innovation
with its hit film ‘The Robe’. (1953)
Its Darryl Zanuck had observed during the early ‘50s, that audience  
were more interested in escapist entertainments mainly.
So he turned to FOX to musicals, comedies, and adventure stories.
Biggest stars of FOX were Gregory Peck & Susan Hayward; also
stars like Victor Mature, Anne Baxter, and Richard Wind Mark.
Not forgetting Marilyn Monroe in her Cinema Scope Box Office hit
movie - ‘How to Marry a Millionaire’, which was also shown on
prime time TV, as a romantic comedy film of 1953.

WARREN BROTHERS:
During 1950 the studio was mainly a family managed company with
three brothers Harry, Albert, and Jack Warren.
To meet the challenges of that period, Warren Bros. released most of
its actors like James Cagney, Humphrey Bogart, Oliver de Havilland, -
Along with few others from their long-term contractual commitments;
Retaining only Errol Flynn, and Ronald Regan who went on to become
the future President.
Like 20th Century Fox, Warren Bros switched to musicals, comedies,
and adventure movies, with Doris Day as its biggest musical star.
The studio also entered into short term agreements with Gary Copper,
John Wayne, Gregory Peck, Patricia Neal, and Random Scott.
Warren Bros also became the first major studio to invest in 3-D
production of films, scoring a big hit with its 3-D  suspense thriller
‘House of Wax’ in 1953.

MINOR STUDIOS were mainly three, - United Artists, Columbia, and
The Universal.
They did not own any theatre chain, and specialized in low-budgeted
‘B’ Movies those days.
Now to cut a long story short it must be said, that Hollywood finally
did participate in the evolution of Television industry, which led to
their integration eventually.
Though strategies involving hardware development and ownership of
broadcast outlets remained unsuccessful unfortunately.
However, Hollywood did succeed through program supply like prime-
time series, and made-for-TV films for the growing TV market making
things more colorful!
Thus it could be said that the TV industry provided the film industry
with new opportunities,  laying the groundwork for its diversification
and concentration;
That characterized the entertainment industry during the latter half  
of our previous century.
I must now confess that I have not visited the movie theatre over the last
two decades!
I watch movies on my big screen TV and my Computer screen these days.
Old classical movies are all available on ‘You Tube’ for me, and I can watch
them any time whenever I am free!
Thanks for reading patiently, - Raj Nandy.
**ALL COPYRIGHTS ARE WITH THE AUTHOR RAJ NANDY OF NEW DELHI

Aural auspice austerity audible , augur aorist actuator , accidence ambience acoustics .
Counterfactual categorical imperative hubris .
Anarchy iconoclasm, invertible investiture, objectified manifest.
Chicanery dynamism's fealty.  
Ethology's entelechy, zoomorphic zoolatry's social contiguities, élan-vital's apotheosis, oneiromancy's apotropaic.
Chagrin ; fecund cogent apposite germane , inane inert inertia innate , propinquity habitation, proximity parameter perimeter peripherals .
Manumission gambit alluvium aloof , putschist kitsch , pandemicly phatic futurity fatidic, annex annul, extraversion embezzling euthanasia extortion.  
Extravagant exorbitance flirtatious flamboyance, flippantly flighty flit-ness.
Laborious beleaguerment, hypercritically meticulous tedium, diabolically maniacal dementia brusque macabre abrupt.
Ominous phenomenon portrayal spontaneous synchronous.

Financially responsible fiscal policy , plenary plenipotentiary fiduciary principle .
Incarnate encephala enunciate , synthetically conjugational conjecture juxtapositional adjunctly .
Noumenal sentience semantics.  Precociously petulant pedantic antics.
Zenithal azimuth entity zeal , transpicuous opacity , in extremis extremity cantankerous cantilever capacity .
Fulcrum fulgurous fulham presumptive.
Spanned collapsible feasible, vicinity victual vigilante villain, execration eventuation evocative vindictiveness vendetta vial.
Atrociously impetuous impudence impromptu innuendo juncture.
Ephemeral metaphor semantics flaunts , ***** affectation exserted protuberance .
Sepulcher stratagem objectified manifest , protractive analysis dimensional delineation .

Impetus intrigue intuitional intrepid , impertinence important , inadvertency inapplicable , initiate innate interpreters intervene intricacy.
Investiture annuity equity indemnity capital appreciation .
Preeminently preemptive retrospectively retroactive , aegis vagary incite.
Quixotically enrapturing mesmerist .
Sycophant swagger asymptotic hyperbolic, estranged ensemble orchestration .
Histophysiology mendacity somatology morphology metamorphosis, blasphemous farcical fugue preterit orchestrations.    
Terrestrial equestrian tellurian terrene, spatiotemporal telemetry tactician.    

****** matrix apex axis crux , actuarial acuity incursive .
Semantic dialectics eclectic synectic’s , wanton wayward warranty evitable.
Catalyst , relative rationality / rational relativity , circumstance contingency .
Incessant barratry omnipresence presage , decadent arrogant , irksome ire Zen.  
Grotto grouch gumption .
Bailiff rake-ness rails , prerogative presumptive judicature.  

Carousel ceaselessly ceremony chaos character charisma , clambering clamorous clangor .  
Catatonic phonics , concoct catenary concatenation , conjugationally conjunctive clairaudience clairvoyance .  
Ambrosia elixir libation inebriation , mirador bartizan panoramic tableau.
Citadel pinnacle pique piquant , altruism endemic intrinsic indigenous innate , existential allegorical .
Prosthesis pseudopodium prognostication , crude lewd , social stigmatism blind , ghastly gruesome grotesque meld .
Bizarre bazaar demonically deviant denizen , grimacing gremlin greaves gauntlets gamut catalyst abstracts .
Hideously horrible heinously horrendous awfully terrible , imagination's immaturity impromptu innuendo juncture , nuance ***** ,   incarnate encephalic enunciate .
Trajectory sordid transposition interlude rubato hi-jinks , nimbus nimiety exorcism.
Aura roan rainbow mare.  

Explicate zoomorphic zoolatry , exogamy of homogeny ontological ontogeny .
Astral projection prophylaxis protocol , telepathy teleportation .
Extraneous extemporaneous , embark embargo extradition , transcendental accession ascension , ecstatically euphoric meld .  
Deontological probity interstitial endemics , agnate aggregate amalgamated anathema android .
Translational interpretation , epistemology audacious pugnacity impunity.
Executant emulation simulation , evocative malfeasance mens rea  , geomancy effete.
Maieutic fallow feral .  apropos ergo ipso facto , carousing marauder syllogism .

Haberdashery hauberk harbinger harangue equilibrist, harpy harsh hast severities.
Inane inert inertia innate, juxtaposition maenad ethos affinities.
Putrid quasi queasy pathos, emanate imminent perdition acerbities.

Agnate aggregate anathema android amalgamated, predication contract.
Glutton paradoxical dichotomy greaves, gauntlets gamut catalyst abstracts.
Ambidextrous amatory prelude amaze, analeptic adrenergic analgesia analytics extract.  Annex annul.  

Clairaudience clairvoyant omnipresence presage, omnipotent omnificent omniscience.
Pantheism parapet paradigm intuition, prognosticating prosthesis prediction.
Prolific profuseness profundity prosaic, nimbus nimiety nitty gritty, intrados rubato.

Venerable divinatory deity deify veneration, delineate demagoguery ecstasy, agonist agog.
Dream gleam cream seam beam team, serene ravine green gene careen, obscene demean.
Empiricise the existentialisms in the demagoguery of godhead aspiration.
Corporeal anaclitic apex inveterate embezzlement extroversion, acuity alacrity extortion.
Extraneous extemporaneous, ominous phenomena portrayal spontaneous synchronous, aorist actuator.

Endergonic protensive integration extrapolation interpolations investiture elicits.
Scenario synopsis synthesis syncopation, harmony rhymes rhythm.
Synchronous transition transposition interlude, summerial derivation cognition.
                                                      ­­­                                                               ­ ­ ­              
Irk-ness ire aerie altruism allegorical, autonomous avarice oscillating ostracism.
Pandemonium obdurate temerity impunity, impending preponderance onus, numinous illuminism quintessential frolic.
Amorous ardent argent arduous enamor endear, plenary putschist volatile phatic.
Conveyor controvert deft mesmeric deification deist dissertation.
Drastic premise portent pervasive embellish, elusive enhance enchant, engender enthrall.
Perpetuation euphenic euthenics, exude emote concoct recalcitrance regalia, irrefragable preternatural ne plus ultra prurient.
Vernaculars opulent myriad, aesthetic stratagem venial vexatious, astral projection conjuring levity apothegms.

Incite epistemological illuminism, accoutrements umbrage ultraism incognito trajectory extant.
Scandalous scavenger squalid anomalous punitive, heuristic manumission exigency.
Ostensible proclivity prodigious querulous, rambunctious repertoire rigmarole scenic schism sooth.
Ascribe arsenal crucial critical, abhorrent abstinence blatancy berserk, alacritous celerity brogue.
Ceremonial chicanery dynamism fealty, indefatigable incontrovertible ingenuity ingratiate inimical impugn.
Innovate integrity intricate invective convolution, licentious metaphor convection obeisance.
Splurge-ness spry sporadic sprawl, spurious staunch succinct stymie tacit, irate tirade treatise vehement escapade tedium.

Probity irascibly veracious audacity mendacity gumption.
Paphian peccavi preternatural proclivity gesticulation articulation prestidigitation.
Fantastication fantasia fabulist façade, glimmer glisten translucent refulgence.
Subliminally subjunctive nostalgic allusion analogies eidetic’s mnemonics.
Metaphysical mystique’s evolutionally metamorphic futurity fatidic.
Adroit agile nimble tactile acuity prescience capacity intrigue.
Unadulteratedly fornicatious fabrications, portentous ethereal etiquette.
Nose agnate somatology morphology metamorphic, cognition epistemology pragmatics.
Ontological ontogeny causality exigence integumence equivocal.
Innocuous noumenal verity ***** affectation intentions.

Adumbrate intimate obfuscate preterite rendition intimidate.
Logistical tactician spatiotemporal terrestrial equestrian telemetries, physicality’s terrene traverse tellurian terrain.
Vaunt-ness verve’s lucidly illusive, intrepid yare’s predilection predication.
Apriori a posteriori apostrophe shards shroud, innately inert inherency interstitial endemics.                  

Irk-ness ire Zen, graffiti mantra mantis, diminutive minutia iotas inductive interpolation asperities.
Hypercritically mitigating dialectics hypotaxis.
Vituperatively vociferous eerie strident irrefragable orotund  sonorous felicities.
Diacritical diction dharma apomixis.
Chutzpah panache spontaneous generation complicity, gambit alluvium aloof succor.

Demarcate mirador bartizan panorama, stalwart bastion bulwark tableau, dexterous gargoyle disguise gimmick camouflage.
Decipher coercible coalesce corrupt costume counselor chameleon charlatan chaperone entourage.
Cryptic evocative emulation scenarios siren skeptic, cynical demonic gremlin greaves curtilage.
Zesty zingy zippy zeal zenithal azimuth elaborate elliptical empathy endeavor entity entice.

Clambering clamorous clangor strategic systematic propagate prolific, wield wile treatise expose’.
Aural auspice austerity  axiom conscribe, perplex beleaguer beggary, coax cacophony clout, concatenate chronology.
Erumpent erudition evident evil evert, extol fervor flinty florid, fructify impromptu innuendo juncture.
Kinetic supremacy temporize tractive fluent, precious precess predetermined predatory predicament, gyro gyre.
Horizon hornswoggle huckster, hokey hoot ornery honkies.

Horologist hackamore relative rationality.
Decorum dastardly dazzle deceit, demolish demur, annihilate denigrate.
Armature arcade doughty, panacea parallax serendipity servant serenade.
Personification of sartorial perfection, picturesque visage of spectral grace.
Cosmic enigma rational relativity.

Housebreak huckster squabble brash, hovel huff.
Ghastly gruesome grotesque grisly groaty gnarly grotto grouch compunction.
Caustic cavernous celibate catatonic phonics, apex crux axis matrix cortex cephalic.
Blasphemous farcical fugue-ness and estranged ensemble orchestration acoustics.
Rendition: various assorted forms of related stranger weirdness.
Conjugation coercion junction function, adjunct conjunction conjecture.
Concoct deontology ontogeny, ontological enclitic osteopathy.
Anticipate angary amentia, tiercel theocracy.
Phrenic sensorium sentiment paragon tangible.
Covert aspersion avidity, coherent avid avarice, allegory allocate amatory prelude annex annul.

Tantamount telepathy tantalize talisman talesman, prerogative presumptive judicature.
Subpoena parameter perimeter peripherals prophylaxis protocol.
Real deal seal, sail bail, bailiff rake-ness rail.
Yoni yore yare, leeward lecher leer lingam, menagerie melee hyperbolic milieu thesis, métier quintessential fulham.
Dangle wrangle mangle jangle tangle angle.
Hysterically delirious zany nertsy bonkers bluster boggle.
Gyrate, austere askance obliquely, aspire assail askew.

Cosmic origins metamorphosis implosion contractions revision, blond entropy catalyst.
Cataclysm catastrophe holocaust trauma, inefficacy ineffable expiate.
Chaos cognizant conceive dialectic dictates in extremis extremity meld nuance.
Cryptic cipher circuit citadel clairvoyant sequitur.
Cajole fictitious fiery finesse, invoke fulmination gouts clout, curtilage endeavor iterative itinerary.
Ersatz fiat fulcrum fulgurous indemnify indigenous infernal infidel iniquitous.
Electroacoustics ciphony  Electra complex lore, occipital ubiquity synch.
Psychosomatic psychokinesis cybernetics, penumbral platitude platonic proxy photic.
Assimilate stigma perspicacious, astute asunder atman pulchritudinous.
        
Decadent arrogant pompously bombastic blatant flagrant chaparral.
Diabolically maniacal dementia brusque macabre abruptness.
Swarthy beastly antithetical anathema ******* belligerent, savvy irate berserk-ness tirade.
Ulterior aghast agitator incongruous dire, perdurable peremptory primacy arbitrate zealot.
Cantankerously sorcerous insidiously sinister alchemy cauldron, pernicious visceral pathogenic, virulence truculence.
Ideational hideously horrible horrendously heinous ghastly abysmal abjection.
Perpetuity pervade rampart ransack oblation erogenous scarp lambent actuarial arbitrage.
Exserted protuberant pseudopodia actuator, odious aorist militantly mercenary.

Wingspread wiry wiseacre wherewithal rapacity, implicit important juxtaposition.
Machismo equilibrist machinations, kinesiology kleptomaniac knell physique.
Ribaldry rigmarole rhubarb, risqué rive rollick.
Demeanor kamikaze kerf, megalomania misanthropies modus operandi genocidal xenophobic.
Heredity heritage heresy legacy, pseudonym multifarious nefarious nemesis.
Sepulcher stratagem pantheism parapet paradigm, psychosis neophyte, paragon proselyte.
Pilferous wheedling finagler, plunderous pillaging usurper, longevous loquacity lottery.
Rhapsody rhetoric rote raconteur newfangled nocturnal nonchalant sycophant.
Morose morsel moribund, lurid luscious lyricism lucidity lucrative.
Creative cleaver crafty cunning furtive sneaky stealthy connive.
Aphorism euphemism hegira to xanadu carousing marauder syllogism.
Swell surge flow flux craw crux, virago monad chaos character charisma.
Heuristic cavalier humeral, meager demonstrative anarchy iconoclasm, apropos ergo ipso-facto.
Plenary plenipotentiary omniscience presage, omnipotent directive ubiquity emanations.
Nous agnate ontological ontogeny, exegesis peroration.
Abeyance, exotically ****** quixotic ecstatically emphatic fanatic.
Orchestration rendition unicorn railway mainsail, awry askew askance.

Canny cogent fecund erudite sagacious sequacious conjuring mentality introjection conjugation coercions.
Avant-garde temporal abstract, scenario synopsis eclectic synectics.
Synaptic syntax syndrome aspersion, quagmire quandary poshly plush.
Physicality ***** pictorial, picturesque glyph, debauchery deviant profane ***** vicarious assertion exorbitance.
Mystical silhouette sojourn consortium sabbat conclave liaison, soiree tryst rendezvous symposium excursion compendium.
Incarnate cephalic phantasmagoria proximity parameter phantasm epitomize transitive transcendental syntactic semantics.
Resplendent radiant ephemeral effulgence translucent incandescent luster effluence, reflectively refractive azure opulence effusion.
Contentious pretentiously extravagant eccentric intransigent pedantic antics.
Guidon guile homogenous hovering imagination immaturity, exogamy incorporeity ideologies.
Pique poignant piquant puissant quiescence, obstreperously abstruse vagary plausibility’s cause.
Vivid intangible impetus instinct intrigue, livid lurid allusion.
Autonomous preterite discrepancy amendment emendations, transcendent accession ascensional in absentia expurgation exculpation.

Haberdashery hauberk harbinger harangue equilibrist, harpy harsh hast severities.
Inane inert inertia innate, juxtaposition maenad ethos affinities.
Putrid quasi queasy pathos, emanate imminent perdition acerbities.

Agnate aggregate anathema android amalgamated, predication contract.
Glutton paradoxical dichotomy greaves, gauntlets gamut catalyst abstracts.
Ambidextrous amatory prelude amaze, analeptic adrenergic analgesia analytics extract.

Clairaudience clairvoyant omnipresence presage, omnipotent omnificent omniscience.
Pantheism parapet paradigm intuition, prognosticating prosthesis prediction.
Prolific profuseness profundity prosaic, nimbus nimiety nitty gritty, intrados rubato.

Venerable divinatory deity deify veneration, delineate demagoguery ecstasy, agonist agog.
Dream gleam cream seam beam team, serene ravine green gene careen, obscene demean.
Empiricise the existentialisms in the demagoguery of godhead aspiration.
Corporeal anaclitic apex inveterate embezzlement extroversion, acuity alacrity extortion.
Extraneous extemporaneous, ominous phenomena portrayal spontaneous synchronous, aorist actuator.

Endergonic protensive integration extrapolation interpolations investiture elicits.
Scenario synopsis synthesis syncopation, harmony rhymes rhythm.
Synchronous transition transposition interlude, summerial derivation cognition.
                                                      ­                                                                 ­             
Irk-ness ire aerie altruism allegorical, autonomous avarice oscillating ostracism.
Pandemonium obdurate temerity impunity, impending preponderance onus, numinous illuminism quintessential frolic.
Amorous ardent argent arduous enamor endear, plenary putschist volatile phatic.
Conveyor controvert deft mesmeric deification deist dissertation.
Drastic premise portent pervasive embellish, elusive enhance enchant, engender enthrall.
Perpetuation euphenic euthenics, exude emote concoct recalcitrance regalia, irrefragable preternatural ne plus ultra prurient.
Vernaculars opulent myriad, aesthetic stratagem venial vexatious, astral projection conjuring levity apothegms.

Incite epistemological illuminism, accoutrements umbrage ultraism incognito trajectory extant.
Scandalous scavenger squalid anomalous punitive, heuristic manumission exigency.
Ostensible proclivity prodigious querulous, rambunctious repertoire rigmarole scenic schism sooth.
Ascribe arsenal crucial critical, abhorrent abstinence blatancy berserk, alacritous celerity brogue.
Ceremonial chicanery dynamism fealty, indefatigable incontrovertible ingenuity ingratiate inimical impugn.
Innovate integrity intricate invective convolution, licentious metaphor convection obeisance.
Splurge-ness spry sporadic sprawl, spurious staunch succinct stymie tacit, irate tirade treatise vehement escapade tedium.

Probity irascibly veracious audacity mendacity gumption.
Paphian peccavi preternatural proclivity gesticulation articulation prestidigitation.
Fantastication fantasia fabulist façade, glimmer glisten translucent refulgence.
Subliminally subjunctive nostalgic allusion analogies eidetic’s mnemonics.
Metaphysical mystique’s evolutionally metamorphic futurity fatidic.
Adroit agile nimble tactile acuity prescience capacity intrigue.
Unadulteratedly fornicatious fabrications, portentous ethereal etiquette.
Nose agnate somatology morphology metamorphic, cognition epistemology pragmatics.
Ontological ontogeny causality exigence integumence equivocal.
Innocuous noumenal verity ***** affectation intentions.

Adumbrate intimate obfuscate preterite rendition intimidate.
Logistical tactician spatiotemporal terrestrial equestrian telemetries, physicality’s terrene traverse tellurian terrain.
Vaunt-ness verve’s lucidly illusive, intrepid yare’s predilection predication.
Apriori a posteriori apostrophe shards shroud, innately inert inherency interstitial endemics.                  

Irk-ness ire Zen, graffiti mantra mantis, diminutive minutia iotas inductive interpolation asperities.
Hypercritically mitigating dialectics hypotaxis.
Vituperatively vociferous eerie strident irrefragable orotund  sonorous felicities.
Diacritical diction dharma apomixis.
Chutzpah panache spontaneous generation complicity, gambit alluvium aloof succor.

Demarcate mirador bartizan panorama, stalwart bastion bulwark tableau, dexterous gargoyle disguise gimmick camouflage.
Decipher coercible coalesce corrupt costume counselor chameleon charlatan chaperone entourage.
Cryptic evocative emulation scenarios siren skeptic, cynical demonic gremlin greaves curtilage.
Zesty zingy zippy zeal zenithal azimuth elaborate elliptical empathy endeavor entity entice.

Clambering clamorous clangor strategic systematic propagate prolific, wield wile treatise expose’.
Aural auspice austerity  axiom conscribe, perplex beleaguer beggary, coax cacophony clout, concatenate chronology.
Erumpent erudition evident evil evert, extol fervor flinty florid, fructify impromptu innuendo juncture.
Kinetic supremacy temporize tractive fluent, precious precess predetermined predatory predicament, gyro gyre.
Horizon hornswoggle huckster, hokey hoot ornery honkies.

Horologist hackamore relative rationality.
Decorum dastardly dazzle deceit, demolish demur, annihilate denigrate.
Armature arcade doughty, panacea parallax serendipity servant serenade.
Personification of sartorial perfection, picturesque visage of spectral grace.
Cosmic enigma rational relativity.

Housebreak huckster squabble brash, hovel huff.
Ghastly gruesome grotesque grisly groaty gnarly grotto grouch compunction.
Caustic cavernous celibate catatonic phonics, apex crux axis matrix cortex cephalic.
Blasphemous farcical fugue-ness and estranged ensemble orchestration acoustics.
Rendition: various assorted forms of related stranger weirdness.
Conjugation coercion junction function, adjunct conjunction conjecture.
Concoct deontology ontogeny, ontological enclitic osteopathy.
Anticipate angary amentia, tiercel theocracy.
Phrenic sensorium sentiment paragon tangible.
Covert aspersion avidity, coherent avid avarice, allegory allocate amatory prelude annex annul.

Tantamount telepathy tantalize talisman talesman, prerogative presumptive judicature.
Subpoena parameter perimeter peripherals prophylaxis protocol.
Real deal seal, sail bail, bailiff rake-ness rail.
Yoni yore yare, leeward lecher leer lingam, menagerie melee hyperbolic milieu thesis, métier quintessential fulham.
Dangle wrangle mangle jangle tangle angle.
Hysterically delirious zany nertsy bonkers bluster boggle.
Gyrate, austere askance obliquely, aspire assail askew.

Cosmic origins metamorphosis implosion contractions revision, blond entropy catalyst.
Cataclysm catastrophe holocaust trauma, inefficacy ineffable expiate.
Chaos cognizant conceive dialectic dictates in extremis extremity meld nuance.
Cryptic cipher circuit citadel clairvoyant sequitur.
Cajole fictitious fiery finesse, invoke fulmination gouts clout, curtilage endeavor iterative itinerary.
Ersatz fiat fulcrum fulgurous indemnify indigenous infernal infidel iniquitous.
Electroacoustic ciphony  Electra complex lore, occipital ubiquity synch.
Psychosomatic psychokinesis cybernetics, penumbral platitude platonic proxy photic.
Assimilate stigma perspicacious, astute asunder atman pulchritudinous.
        
Decadent arrogant pompously bombastic blatant flagrant chaparral.
Diabolically maniacal dementia brusque macabre abruptness.
Swarthy beastly antithetical anathema ******* belligerent, savvy irate berserk-ness tirade.
Ulterior aghast agitator incongruous dire, perdurable peremptory primacy arbitrate zealot.
Cantankerously sorcerous insidiously sinister alchemy cauldron, pernicious visceral pathogenic, virulence truculence.
Ideational hideously horrible horrendously heinous ghastly abysmal abjection.
Perpetuity pervade rampart ransack oblation erogenous scarp lambent actuarial arbitrage.
Exserted protuberant pseudopodia actuator, odious aorist militantly mercenary.

Wingspread wiry wiseacre wherewithal rapacity, implicit important juxtaposition.
Machismo equilibrist machinations, kinesiology kleptomaniac knell physique.
Ribaldry rigmarole rhubarb, risqué rive rollick.
Demeanor kamikaze kerf, megalomania misanthropies modus operandi genocidal xenophobic.
Heredity heritage heresy legacy, pseudonym multifarious nefarious nemesis.
Sepulcher stratagem pantheism parapet paradigm, psychosis neophyte, paragon proselyte.
Pilferous wheedling finagler, plunderous pillaging usurper, longevous loquacity lottery.
Rhapsody rhetoric rote raconteur newfangled nocturnal nonchalant sycophant.
Morose morsel moribund, lurid luscious lyricism lucidity lucrative.
Creative cleaver crafty cunning furtive sneaky stealthy connive.
Aphorism euphemism hegira to xanadu carousing marauder syllogism.
Swell surge flow flux craw crux, virago monad chaos character charisma.
Heuristic cavalier humeral, meager demonstrative anarchy iconoclasm, apropos ergo ipso-facto.
Plenary plenipotentiary omniscience presage, omnipotent directive ubiquity emanations.
Nous agnate ontological ontogeny, exegesis peroration.
Abeyance, exotically ****** quixotic ecstatically emphatic fanatic.
Orchestration rendition unicorn railway mainsail, awry askew askance.

Canny cogent fecund erudite sagacious sequacious conjuring mentality introjection conjugation coercions.
Avant-garde temporal abstract, scenario synopsis eclectic synectics.
Synaptic syntax syndrome aspersion, quagmire quandary poshly plush.
Physicality ***** pictorial, picturesque glyph, debauchery deviant profane ***** vicarious assertion exorbitance.
Mystical silhouette sojourn consortium sabbat conclave liaison, soiree tryst rendezvous symposium excursion compendium.
Incarnate cephalic phantasmagoria proximity parameter phantasm epitomize transitive transcendental syntactic semantics.
Resplendent radiant ephemeral effulgence translucent incandescent luster effluence, reflectively refractive azure opulence effusion.
Contentious pretentiously extravagant eccentric intransigent pedantic antics.
Guidon guile homogenous hovering imagination immaturity, exogamy incorporeity ideologies.
Pique poignant piquant puissant quiescence, obstreperously abstruse vagary plausibility’s cause.
Vivid intangible impetus instinct intrigue, livid lurid allusion.
Autonomous preterite discrepancy amendment emendations, transcendent accession ascensional in absentia expurgation exculpation.

I like a whole lip-smacking smorgasbord of words,
such as preposterous and scrumptious,
sumptuous and curious,
roiling, rambunctious and trumpeting,
priapic, satyric and seraphic,
satyriasis and mimesis. Now this mimesis is the imitative
representation of nature and behavior in art and literature,
which is a pretentious way of trying to say what us writers do.
But hey, we don't just mimic things,
we can be sagacious and salacious, too.
Accordingly, I also like *******, which has a liquid sound,
and I'm not being facetious to suggest that
******* has a close connection to callipygous.
Then, for those who are suspicious of the libidinous,
I also like curmudgeonly and bodacious,
loquacious, precocious and pulchritudinous,
lubricious and fugacious,
scripturient, radiance, iridescence and magnificence,
lissome, lithe and languid (but not too limp),
shimmering and diaphanous, effulgent and evanescent,
flamboyant, fandango and flibbertigibbet,
(although this is difficult to say when you’re drunk),
voluptuous and vertiginous, slithery, **** and glistening.
And when I include crepuscular, strumpet and strawberry,
I may as well add whipped cream
as well, because this can be laid on in dollops,
and dollops is really an excellent word
along with slurping and *******, too.
Actually, I'm very flexible about words,
because in my lexicon, low moaning noises are OK, too.
These sounds come from the chord of creation
which is a sort of reverberation from the time of
primordial ooze, which I would like to squish between my toes.
Then there's protozoa, spermatozoa and also
wriggling flagella everywhere. So there.
But words don't even need to make sense,
because sweet nothings can say everything,
and heavy breathing can be ******,
even rhapsodic, ending in delirium.
Titillating should be in here too, because we all need
some tintinnabulation and tickling of the senses sometimes.
I've also decided that fecund is my second favorite word after love.
Fecund sounds abrupt, but it buds magnificently
in ******* and bellies to burgeon in absolute abundance,
everywhere. This brings me to *******, which I like, too.
I'm also partial to proud words, including bold, bulging and
brazen, along with a bit of swaggering braggadocio.
Then I like some big words, like brobdingnagian,
although I hope I'm not sesquipedalian.
Salivate is a word to celebrate as well,
along with onomatopoeia that helps choose some words here.
Drooling is highly evocative, too,
and it's not being provocative to observe that
even weapons drool when they're in the wrong hands.
And I shouldn't leave out *******, as you would expect,
because ****** is a sort of rippling word
that rhymes with spasm. Both sound deceptively simple,
but by golly, they can be intensely gripping.
And really, it's alright to writhe to this occasion
because all of us writers should endeavor
to have some good writhing in our oeuvre.
Even some bad writhing can be lots of fun, too.
But I almost forgot to mention yearning and burning (with desire)
and vulviform, velvet and venerous.
Yippee, yee har and hollerin' along with other exclamations
of exhortatory exuberance should be in this index, too.
Now. The words I don’t like include no, can’t, never,
stop and mustn’t. Also, irascible and intractable,
unmentionable, ineffable, inexpressible, incoherent,
immutable, impotent and impossible.
Then I don't like importune and misfortune,
and I don't know who thought up unthinkable,
because this is an oxymoron.
Inscrutable is also a complete cop out,
especially when there's no such word as scrutable.
Gawping, gaping, cavernous and cretinous, obsequious,
grovelling, pursed lips, circuitous,
obfuscation and isolation, unpalatable,
cruelty, tyranny and hypocrisy,
should also get the heave-**.
And I definitely don't like parsimonious and mendicant,
which are miserable words.
Quitting doesn't get there either,
and shut the **** up and ******* should also be taboo.
Also, hopeless is, really, well, it's hopeless
because it denies hope, and hope is buoyant and boundless.
I mean, sometimes hope is all we have.
But the word I dislike most is ****,
because this is an insulting word, and
to be taxonomical,
the negative score of this word is astronomical.
Hate is also right up there on this list. Hate is abominable
because it tries to destroy love, and love is indomitable.
Indomitable
is the
mightiest
word
of them all.
Yeah. So there.

Mike T Minehan

Aural auspice austerity audible , augur aorist actuator , accidence ambience acoustics .
Counterfactual categorical imperative hubris .
Chagrin ; fecund cogent apposite germane , inane inert inertia innate , propinquity habitation     perimeter parameter peripherals .
Manumission gambit alluvium aloof , putschist kitsch , pandemicly phatic futurity fatidic extraversion embezzling euthanasia extortion .

Financially responsible fiscal policy , plenary plenipotentiary fiduciary principle .
Incarnate encephala enunciate , synthetically conjugational conjecture juxtapositional adjunctly .
Zenithal azimuth entity zeal , transpicuous opacity , in extremis extremity cantilever capacity .
Ephemeral metaphor semantics flaunts , ***** affectation exserted protuberance .
Sepulcher stratagem objectified manifest , protractive analysis dimensional delineation .
Spanned collapsible feasible , vicinity victual vigilante villain execration eventuation evocative vindictiveness vendetta .

Impetus intrigue intuitional intrepid , impertinence important , inadvertency inapplicable , initiate innate interpreters intervene intricacy.
Investiture annuity equity indemnity capital appreciation .
Preeminently preemptive retrospectively retroactive , aegis vagary incite.
Quixotically enrapturing mesmerist.
Sycophant swagger lothario lout , asymptotic hyperbolic estranged ensemble orchestration .
Histophysiology mendacity somatology morphology metamorphosis , blasphemous farcical fugue preterit renditions .  
Terrestrial equestrian tellurian terrene.  

Apex axis crux , fulcrum fulgurous , fulham presumptive , actuarial acuity incursive .
Semantic dialectics eclectic synectic’s , wanton wayward warranty evitable .
Catalyst , relative rationality / rational relativity , circumstance contingency .
Incessant barratry omnipresence presage , decadent arrogant , irksome ire Zen  .
Spatiotemporal telemetry tactician , guidon guile genocidaly xenophobic , grotto grouch gumption .
Bailiff rakeness rails , prerogative presumptive judicature.  

Flirtatious flamboyance , laboriously beleaguering hypercritically meticulous tedium .  
Carousel ceaselessly ceremony chaos character charisma , clambering clamorous clangor .  
Catatonic phonics , concoct catenary concatenation , conjugationally conjunctive clairaudience clairvoyance .  
Hysterical delirium brusque macabre abrupt , diabolically maniacal dementia .
Ambrosia elixir libation inebriation , mirador bartizan panoramic tableau .
Citadel pinnacle pique piquant , altruism endemic intrinsic indigenous innate , existential allegorical .
Prosthesis pseudopodium prognostication , crude lewd , social stigmatism blind , gruesome ghastly grotesque meld .
Bizarre bazaar demonically deviant denizen , grimacing gremlin greaves gauntlets gamut catalyst abstracts.
Hideously horrible awfully terrible , imagination immaturity impromptu innuendo juncture , nuance ***** ,   incarnate encephalic enunciate .
Trajectory sordid transposition interlude rubato hi-jinks , nimbus nimiety nihilism .

Explicate zoomorphic zoolatry , exogamy of homogeny ontological ontogeny .
Astral projection prophylaxis protocol , telepathy teleportation .
Extraneous extemporaneous , embark embargo extradition , transcendental accession ascension , ecstatically euphoric meld .  
Deontological probity interstitial endemics , agnate aggregate amalgamated anathema android .
Translational interpretation , epistemology audacious pugnacity impunity .
Executant emulation simulation , evocative malfeasance mens rea  , geomancy effete .
Maieutic fallow feral .  apropos ipso facto ergo , carousing marauder syllogism .

A key feature of invigoration is the enterprise of mapping the entire syntax of all relevant human language as measured by the gamut of applesauce that doesn’t sour and an in depth analysis of creative fiction and poetry for common cadence features in the linguistic enterprise of mapping the subroutines of complex articulation as etched by the fabric of genius intellects intertwined in a gamble with wits to try and create coded missives that entangle hypertrophy and enlarge the gamut of decryption in the universal rudiments of alchemy. This is based on depreciative and appreciative aspects of apperception that depend on visual cues and funding from a collaborative venture of universities to challenge people to zero-sum games or net positive games where teams collaborate to usher unconventional unchartered territory of classification beyond normal proclivities based on the lineaments of idiosyncrasy to pinpoint the provenance of ideation itself and unveil the mind at a bargain pittance for the eventual headway this could pave for the Department of Education to revert from froward to forward in their recalcitrance and insouciance with the current linguistic modalities of outstretched engraven hortoriginality trailblazing new modular seismotic waves and hotbeds for firebrands to debate and scholars to joust with in the jest of the cineaste metaphor and the rubricated rundles of rectiserial innovations in the taxonomy of devolved meaning relying on an inventive enterprise to galvanize a new jargon into prominence based primarily on guarded secrets of the trade that might unlock the primordial soup of verbal creativity while also probing detective apperception for a wide-ranging panoply of digested movies and beyond that a farsighted incumbent inclination to probe the calibration of numerical happenstance in estimate and in long-term theorization of taxed realty in the estate of guarded tegular relationships among the woven fabric of conceptual latticeworks pioneering in scope and analyzed rigorously in reward of discretion and furtive cryptology to untether the world from the apothegms of sloganeered piggybacks that swivel in sockets but enforce a reductive paradigm of obganiation of core themes reiterated hypnotically to traindeque entire generations into piebald thinking that overlooks the panorama for incident and incident for categorical generality when no such axiom can be the logical predicate of its antecedent conditions that spurn the traditional rote moot wernaggles of futility and inseminate crafty legerdemain of writhing contortion altering the specificity of revalorized meaning in the novel context. This instantiates that the consequence is always the consequence not only of its predicate but its successor by the very modalities of proven reversals and enantiodromias of sorts that revert in a reverse progression spatiotemporally to exact incident as antecedent of its own existence by the very fact of iteration and this map of the recursive cycles of consequences elapsed only because of their insertion in a predevoted matrix is the gnomic apothegm of a new frontier of advanced logic that assumes the impossible is only improbable if the possible can be proven impossible by reductive inversion of core precepts in the rigmarole of design that states for every orchestra of butterflies that echo is actually the incident of refraction that contaminated the first polyacoustic trace of amplified sources in space time to revert into primordial form but the reversion is only incurred upon the fixture of origination and beyond that point remains inscrutable because foreknowledge necessarily prevents accuracy in determining the spectrum of the cacophony or rhapsody of the echo dependent on the observer’s perspective: which is only fungible to the extent that the subliminal remains guarded by the protectors of the clepsammia and the recensed polarization of time. This transcendence of time transfixed on orbital gravitas and centripetal ****** initiates a promulgation of the swallock of a remanded entropy that works in swiveled contraposition to the dynamic flux of the internment of balkanized forces of demassification dampening the efficacy of the central butterfly actor to expand the ampitheater of its own audience to the extent that every cultural artifact can be mapped to the geotaxis of its conceptual orbit. Thereby we can prove that pivots of the obvious focal point peak in resurgence upon the heyday of retrieval but dampen into a logarithmic regression of decreasing amplitude fluctuating around the aleatory probability of insemination through the percolation of the widespread narrowed to a fulcrum that balances the orbit of the stellified narrative of ingemination that some artifacts like Stayin’ Alive achieve maximum geotaxis because of their centrality in the taxidermies of revived memory recapitulated by both virtuosity and valor and posing as consequences of future foresight clouded by preventive measures that one quaky spasm in alarm could paralyze the precedent to the incidence of the afflatus that galvanized the heyday of remonstrance so that we can affix a modular angular gravity to events as well as referents to those events in a spatiotemporal mapping of consequence reverted upon itself because of necessity that binds the taxemes of the subliminal in the architecture of a curvature of geotaxis that is centrobaric not necessarily to the contingencies that magnify the germane propositions that affix modern eyes but rather the overall stifling modularity of temporal sequence redoubled by manufacture and manufacture alone predevotes antecedents that trace to a pivot in space time curved without prescience beyond measure but precision enough to approximate the summation of collective cultural shifts away from the estrangement of diversion from itself as a balkanizing force into a collectivized unity that orbits eccentrically by the very nature of the parallax between gravitational pull and the dynamics of time itself centripetal but centrifugal simultaneously.  Both conditions must be met so the converse of meaning becomes the recapitulation of remontant blessings rather than pruned dry garbologies relevant only to margins of subculture minimized in heyday and scope but pinpointed with exact precision the dynamos that inhabit the sphere of the populated future defenestrated from the magnetism of the past by very definition. Thereby, we arrive at Back to the Future because the paradox of recensed calibration suggests the free fluctuation of time between the eccentricity of magnified lens distorted by the entropy of calculus to become the integral summation of the sinuous vacuum of a trigonometric balance that barks with amplification of synergistic elements of strings and quantum flux to emigrate from an origination to the mapping of the eventuality. This precisely explains the scene in Back to the Future with the amplifiers turned all the way up because by exaggerating the simplicity of the declassified it expedited cinema to its eventual intermediary conclusions heralded by that one event of transfixed mystery that binds spacetime into a coherent bidirection of multidimensional philosophy of the enantiodromias of sorts of the parallax among constellated events. Mapping the impact of funneled cartels that hegemonize regions of the geopolitical sphere explains the amplivagant effects of the refracturism of swallock and thereby seminal ideations can be traced to provenance of cowardice cloaked in excuse but incisive in the skullduggery of the mechanical reinvention of excuse and pretext as a cloak for more furtive workings of the intelligentsia to engineer time by deriving the precise tangential multidimensional syntax of the calculus of proliferation reviewed from a consequent perspective of a future unknowable gravitas fluctuating between states of annihilation and existence in the acatelpsy of design so that specters actually enforce more change than events and prospects magnify positive dimensional thrusts that galvanize prospectus emigrating from either distant knowns or parallel realities that converge on the optimum of either the hapless or calculated design of a synergistic development of social engineering so precisely mapped that it identifies trajectories of improbable events with increasing specificity at the alarm of the spectral realm promulgating wealth to the foreseeable compunction of science to revert to probable pivots of consensus manufactured by think tanks that outfox the syntalities that defy the system or piggyback on their very causes to empirically carve the spectrum of future possibility becoming entelechy desired or feared but always predestined or flanged into distortions of reification that are transformative of precision in design without exactitude in the terminus of the centrobaric chambers of all meaning. Thus the algorithm outsmarts itself until only the machination to dehumanize for prediction occurs at a pessimum of morality or an explosion of a proliferative new venture in unchartered territory conquers the novantique of novelty. The ampitheater of its own audience is the traction of embedded subculture in subroutine becoming a compound atocia that sterilizes opponent possibility and probabilizes the occurrence of endomorphs that resemble effigies of constellation primed to swivel in retrospection as a recurrent lapse of amplification upon the culmination of predestined time points or junctures specified within the realm of the matrix of possibilities to outstretch the realm into a dampened exponential explosion of self-reference becoming embedded consequence by conditioning and by anticipatory psychology working in preconcert to evoke the determinative impetus of momentum that magnifies the speed of acceleration in technology that depends on the propriety of reification itself that swarms us with evocative tempests that barnstorm in reiteration to recapitulate by design to engrave themselves on the collective psyches of the hortoriginality of many minds intrepid before me that transfigured reality in this precise contortion of terminology with variegations in the specificity of context and articulation of the clavigerous entropy of swallock and how the outfoxed design becomes that cage of destiny that is a baritone complexion of vibrant hues exploding into the trammeled paths that have elapsed before me by the first movers advantage of theoretical physics but nonetheless independently verified by dovetailed emergence of that centralized balance between design and destiny that is precedent to the antecedent of the consequence of the precedent’s consequence on the direct antecedent inflexion point upon which the provenance of momentum drifted into cultural psyche and enlarged the gamut of myth in the raillery of subaudition. Essentially Time only exists to those without the simultagnosia to appease a mirror parallax of universes upcoming and universes forestalled but pivot with omphalism on the gravitas of Einsteinian calculus that theorizes that the acatelpsy of enumerated prediction is a lapsed regress the pinpoints with the harpricks of specialization the regal momentum of time to its own behest to propagate the elucidated certainty of its own traversal to the expedited enumeration of the future which populates the past because the curvature of time is an entantiodromia of reflexive itinerant vagrancies that cement the authorship of events to warble through the tilted hypertrophy of design itself to maximize the freebooter avarice of those people that rely on the luxuriance of trespass to magnify the modular gravity of culture to forswink its compunction and regale its own recursive logic. Essentially Time is a mapped ampitheater that depends on an audience of sentience to enlarge its own gamut and because it is riddled with obscurantism of believable recursion it magnifies its own entropy in reversal to orchestrate events in a rectiserial convolution of the whipsaw between the expected and the foreknowledge of the knowing class because when shaky vacillatory politics prevail the behest of time looses its capitalization of the amplivagant affects of the marginalia that is wed to the devolved rudimentary rigmarole of proliferation scaffolds destiny in alternative configurations to fulminate with explosive progeny that latitude incumbent to those without perspicuous clarity to fathom the acatalepsy of the unfurled universe magnetized by the seminal tremendum of the moments memorialized by memory that provide the traction of time to supersede its own acceleration by the writ of the beneficence of the eccentric orbit of the brittle axioms of design to recense and revalorize the wilted transponders that refer to specific events where the space-time continuum was cleaved in divisive anticipation to balkanize the resistence to the fringe clavigerous amplification of the resonance of etiolation that marginalizes the dearth and amplifies the prospectus to make time supersolid beyond all reckoning to cement its captaincy as the algorithm of rhythmic gravitas orbiting the moribund fragmentary flictions of regimented truth to be at war with its own foresight. This is because foresight is a compulsion of time to recapitulate the foreknown deeds of the future to the regenerative hypothesis that hypostatizes that the transcendence of time is mirrored illusion because the future populates a region of space-time that is not forlorn but magnified in scope to reverse the trends of abomination and cast the aspersions of grandeur into eccentric orbit that by geotaxis foments the revolutionary impetus not of cancellation or nullification of the bereaved past but a culmination of deeds known only to the future that galvanize the very fruition of the dependent expectancy to become antecedent to the consequent by a warped form of recensed logic because the orbital sphere of considerations is tangential to the evocative memory of the memorialized statutes that prize their own entelechy above their divergence from design in such a peculiar way that obscurantism of the leaders of the world is manned by an alien presence to mendlatch the locked keys of a virtuouso future compounded in interest and destined for unfurled clarification. Time is an ironic boyg and quandary because for time to give birth to its own recapitulation it must be stammered with seismotic statutes that rip through the fabricated rudiments of predestination to enthrall the apostasy of the knowing from leverage over a future they vaguely see but provides largesse to the regimentation of design to rickety consternation that prediction is evocative of expectancy less than expectancy is its own geotaxis around the gamut of foreseen affairs that must be iterated rather than violated in order to maintain the mainlined integrity of the brittle fungible force of quantum dynamics to bypass the rigmarole of etched design to be evocative of a reverse transpondency that reconfigures the past into perfectible strings of amplification to anoint time its own behest at the formidable specters of its own violation by those who seek trepass but are predevoted out of ephorized control by the vicissitudes of the gamble and the frapplank of the known destiny catalyzing the unknown progeny. By that very definition this could not be obrogated in tenure or tutelage over the past because the elapsed gravitas of the known past depends on the pivot of the ampitheater of the future to ambitious reckoning that provides absolution to its forlorn vestiges to cement the centrifugal impetus of many from exact foreknowledge.  Many pioneers have probably theorized similar hypostasized concepts but the fact that even without a degree in physics I understand these arcane precepts yet tested by the rigmarole of comprehensive known experiment is a testament to the power of hortoriginality to pave the trailblazer focus on the rivets of a rickety secrecy designated by definiens of abstruse taxemes of yet defined meaning. The primary quandary is the isolated pretext of predevoted sequencing that abandons me (and this is central to my theory) from the weather of meaningful social encounter in order to hone in with precision on the empirical enterprise of seminal regress cemented as ceremonial progress and only by vaulting above this cage of finicky predestination can entelechy that desires rapprochement can be achieved because eventually the relevance of my ideas can be shelved and the peremptory obligation of intervention must be deployed to salvage my parable into completion. The itch for the government to anticipate the universe’s localized traction delimits the sphere of social indoctrination to a reality amenable not to the coercion of precise anticipation but the gamble on vagary to produce more seminal events that compound the amplivagant effects of ecumenical exhaustive troponders to the extent they flourish beyond the bounds of completion and into optimal conditions that is whipsawed by the demands of the rigmarole of precise definition of all trajectories conclave in their logarithmic design  anticipated by designation but not predevoted into futility because that capstone would reduce the proliferative affect of space time to carve a more extravagant reality that tests limits beyond frontiers of expectancy. The brain is highly malleable and entity theorists are moribund in their defenses of trite hackneyed racial arguments about intellect. The mythos preserves that radical ethos that prediction of my insights supersedes the importance of my rapprochement which will amplify the effects of the spatiotemporal mapping in a much more profound way with specialized focus. Thereby when we conceive of time we must specialize in inhabiting the sphere of acatalepsy of flanged prediction preventing the abortion of the future based on the vagrancies of the gyrovagues and bibliopolists seeking to demolish the fruition of the ribald coarse albatrosses of the future to diminutive leverage rather than amplifying the stringed syndication of knowledge to eccentrically stellify the unknown regions of the populated presence contingent on the populated future which ensures the eternal life of all by some formant boundaries of the universe because what is recapitulated in the lapse of certainty known by the anticipatory vagary of a riddled rigmarole of complex dynamism this thermodynamically reversible into the reversal of entropy because the organization of the past hinges upon the reconfiguration of the future and thereby we swivel endlessly with recursive iterations of evanescence that spoon-feed the generations among us to truckle beneath the cartels that array spatiotemporal mappings into their personal optimum to catapult the granular edification of all deeds beyond their forsifamiliation from their provenance gamboling with the distant frescade of a known destiny cavorting with the meddlesome reconnaissance of all that is observed and the tribunes magnify this effect by centralizing the bronteums of fulgurant strikes to be localized to a centralized pivot of universal acclaim that provides felicity for the ecumenical endeavor

Here is a primer on the history of poetry

Features of Modernism

To varying extents, writing of the Modernist period exhibits these features:

1. experimentation

belief that previous writing was stereotyped and inadequate
ceaseless technical innovation, sometimes for its own sake
originality: deviation from the norm, or from usual reader expectations
ruthless rejection of the past, even iconoclasm

2. anti-realism

sacralisation of art, which must represent itself, not something beyond preference for allusion (often private) rather than description
world seen through the artist's inner feelings and mental states
themes and vantage points chosen to question the conventional view
use of myth and unconscious forces rather than motivations of conventional plot

3. individualism

promotion of the artist's viewpoint, at the expense of the communal
cultivation of an individual consciousness, which alone is the final arbiter
estrangement from religion, nature, science, economy or social mechanisms
maintenance of a wary intellectual independence
artists and not society should judge the arts: extreme self-consciousness
search for the primary image, devoid of comment: stream of consciousness
exclusiveness, an aristocracy of the avant-garde

4. intellectualism

writing more cerebral than emotional
work is tentative, analytical and fragmentary, more posing questions more than answering them
cool observation: viewpoints and characters detached and depersonalized
open-ended work, not finished, nor aiming at formal perfection
involuted: the subject is often act of writing itself and not the ostensible referent

............
Expressionism

Expressionism was a phase of twentieth-century writing that rejected naturalism and romanticism to express important inner truths. The style was generally declamatory or even apocalyptic, endeavoring to awaken the fears and aspirations that belong to all men, and which European civilization had rendered effete or inauthentic. The movement drew on Rimbaud and Nietzsche, and was best represented by German poetry of the 1910-20 period. Benn, Becher, Heym, Lasker-Schüler, Stadler, Stramm, Schnack and Werfel are its characteristic proponents, {1} though Trakl is the best known to English readers. {2} {3}

Like most movements, there was little of a manifesto, or consensus of beliefs and programmes. Many German poets were distrustful of contemporary society — particularly its commercial and capitalist attitudes — though others again saw technology as the escape from a perceived "crisis in the old order". Expressionism was very heterogeneous, touching base with Imagism, Vorticism, Futurism, Dadaism and early Surrealism, many of which crop up in English, French, Russian and Italian poetry of the period. Political attitudes tended to the revolutionary, and technique was overtly experimental. Nonetheless, for all the images of death and destruction, sometimes mixed with messianic utopianism, there was also a tone of resignation, a sadness of "the evening lands" as Spengler called them.

Expressionism also applies to painting, and here the characteristics are more illuminating. The label refers to painting that uses visual gestures to transmit emotions and emotionally charged messages. In the expressive work of Michelangelo and El Greco, for example, the content remains of first importance, but content is overshadowed by technique in such later artists as van Gogh, Ensor and Munch. By the mid twentieth-century even this attenuated content had been replaced by abstract painterly qualities — by the sheer scale and dimensions of the work, by colour and shape, by the verve of the brushwork and other effects.

Expressionism often coincided with rapid social change. Germany, after suffering the horrors of the First World War, and ineffectual governments afterwards, fragmented into violently opposed political movements, each with their antagonistic coteries and milieu. The painting of these groups was very variable, but often showed a mixture of aggression and naivety. Understandably unpopular with the establishment  — denounced as degenerate by the Nazis — the style also met with mixed reactions from the picture-buying public. It seemed to question what the middle classes stood for: convention, decency, professional expertise. A great sobbing child had been let loose in the artist's studio, and the results seemed elementally challenging. Perhaps German painting was returning to its Nordic roots, to small communities, apocalyptic visions, monotone starkness and anguished introspection.

What could poetry achieve in its turn? Could it use some equivalent to visual gestures, i.e. concentrate on aspects of the craft of poetry, and to the exclusion of content? Poetry can never be wholly abstract, a pure poetry bereft of content. But clearly there would be a rejection of naturalism. To represent anything faithfully requires considerable skill, and such skill was what the Expressionists were determined to avoid. That would call on traditions that were not Nordic, and that were not sufficiently opposed to bourgeois values for the writer's individuality to escape subversion. Raw power had to tap something deeper and more universal.

Hence the turn inward to private torments. Poets became the judges of poetry, since only they knew the value of originating emotions. Intensity was essential.  Artists had to believe passionately in their responses, and find ways of purifying and deepening those responses — through working practices, lifestyles, and philosophies. Freud was becoming popular, and his investigations into dreams, hallucinations and paranoia offered a rich field of exploration. Artists would have to glory in their isolation, moreover, and turn their anger and frustration at being overlooked into a belief in their own genius. Finally, there would be a need to pull down and start afresh, even though that contributed to a gradual breakdown in the social fabric and the apocalypse of the Second World War.

Expressionism is still with us. Commerce has invaded bohemia, and created an elaborate body of theory to justify, support and overtake what might otherwise appear infantile and irrational. And if traditional art cannot be pure emotional expression, then a new art would have to be forged. Such poetry would not be an intoxication of life (Nietzsche's phrase) and still less its sanctification.  Great strains on the creative process were inevitable, moreover, as they were in Georg Trakl's case, who committed suicide shortly after writing the haunting and beautiful piece given below

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SYMBOLIST POETS
symbolism in poetry

Symbolism in literature was a complex movement that deliberately extended the evocative power of words to express the feelings, sensations and states of mind that lie beyond everyday awareness. The open-ended symbols created by Charles Baudelaire (1821-67) brought the invisible into being through the visible, and linked the invisible through other sensory perceptions, notably smell and sound. Stéphane Mallarmé (1842-98), the high priest of the French movement, theorized that symbols were of two types. One was created by the projection of inner feelings onto the world outside. The other existed as nascent words that slowly permeated the consciousness and expressed a state of mind initially unknown to their originator.

None of this came about without cultivation, and indeed dedication. Poets focused on the inner life. They explored strange cults and countries. They wrote in allusive, enigmatic, musical and ambiguous styles. Rimbaud deranged his senses and declared "Je est un autre". Von Hofmannstahl created his own language. Valéry retired from the world as a private secretary, before returning to a mastery of traditional French verse. Rilke renounced wife and human society to be attentive to the message when it came.

Not all were great theoreticians or technicians, but the two interests tended to go together, in Mallarmé most of all. He painstakingly developed his art of suggestion, what he called his "fictions". Rare words were introduced, syntactical intricacies, private associations and baffling images. Metonymy replaced metaphor as symbol, and was in turn replaced by single words which opened in imagination to multiple levels of signification. Time was suspended, and the usual supports of plot and narrative removed. Even the implied poet faded away, and there were then only objects, enigmatically introduced but somehow made right and necessary by verse skill. Music indeed was the condition to which poetry aspired, and Verlaine, Jimenez and Valéry were among many who concentrated efforts to that end.

So appeared a dichotomy between the inner and outer lives. In actuality, poets led humdrum existences, but what they described was rich and often illicit: the festering beauties of courtesans and dance-hall entertainers; far away countries and their native peoples; a world-weariness that came with drugs, isolation, alcohol and bought ***. Much was mixed up in this movement — decadence, aestheticism, romanticism, and the occult — but its isms had a rational purpose, which is still pertinent. In what way are these poets different from our own sixties generation? Or from the young today: clubbing, experimenting with relationships and drugs, backpacking to distant parts? And was the mixing of sensory perceptions so very novel or irrational? Synaesthesia was used by the Greek poets, and indeed has a properly documented basis in brain physiology.

What of the intellectual bases, which are not commonly presented as matters that should engage the contemporary mind, still less the writing poet? Symbolism was built on nebulous and somewhat dubious notions: it inspired beautiful and historically important work: it is now dead: that might be the blunt summary. But Symbolist poetry was not empty of content, indeed expressed matters of great interest to continental philosophers, then and now. The contents of consciousness were the concern of Edmund Husserl (1859-1938), and he developed a terminology later employed by Heidegger (1889-1976), the Existentialists and hermeneutics. Current theories on metaphor and brain functioning extend these concepts, and offer a rapprochement between impersonal science and irrational literary theory.

So why has the Symbolism legacy dwindled into its current narrow concepts? Denied influence in the everyday world, poets turned inward, to private thoughts, associations and the unconscious. Like good Marxist intellectuals they policed the area they arrogated to themselves, and sought to correct and purify the language that would evoke its powers. Syntax was rearranged by Mallarmé. Rhythm, rhyme and stanza patterning were loosened or rejected. Words were purged of past associations (Modernism), of non-visual associations (Imagism), of histories of usage (Futurism), of social restraint (Dadaism) and of practical purpose (Surrealism). By a sort of belated Romanticism, poetry was returned to the exploration of the inner lands of the irrational. Even Postmodernism, with its bric-a-brac of received media images and current vulgarisms, ensures that gaps are left for the emerging unconscious to engage our interest

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IMAGIST POETRY
imagist poetry

Even by twentieth-century standards, Imagism was soon over. In 1912 Ezra Pound published the Complete Poetical Works of its founder, T.E. Hulme (five short poems) and by 1917 the movement, then overseen by Amy Lowell, had run its course. {1} {2} {3} {4} {5} The output in all amounted to a few score poems, and none of these captured the public's heart. Why the importance?

First there are the personalities involved — notably Ezra Pound, James Joyce, William Carlos Williams {6} {7} {8} {9} — who became famous later. If ever the (continuing) importance to poets of networking, of being involved in movements from their inception, is attested, it is in these early days of post-Victorian revolt.

Then there are the manifestos of the movement, which became the cornerstones of Modernism, responsible for a much taught in universities until recently, and for the difficulties poets still find themselves in. The Imagists stressed clarity, exactness and concreteness of detail. Their aims, briefly set out, were that:

1. Content should be presented directly, through specific images where possible.
2. Every word should be functional, with nothing included that was not essential to the effect intended.
3. Rhythm should be composed by the musical phrase rather than the metronome.

Also understood — if not spelled out, or perhaps fully recognized at the time — was the hope that poems could intensify a sense of objective reality through the immediacy of images.

Imagism itself gave rise to fairly negligible lines like:

You crash over the trees,
You crack the live branch…  (Storm by H.D.)

Nonetheless, the reliance on images provided poets with these types of freedom:

1. Poems could dispense with classical rhetoric, emotion being generated much more directly through what Eliot called an objective correlate: "The only way of expressing emotion in the form of art is by finding an 'objective correlative'; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked." {10}

2. By being shorn of context or supporting argument, images could appear with fresh interest and power.

3. Thoughts could be treated as images, i.e. as non-discursive elements that added emotional colouring without issues of truth or relevance intruding too mu
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PROSE BASED POETRY
prose based poetry

When free verse lacks rhythmic patterning, appearing as a lineated prose stripped of unnecessary ornament and rhetoric, it becomes the staple of much contemporary work. The focus is on what the words are being used to say, and their authenticity. The language is not heightened, and the poem differs from prose only by being more self-aware, innovative and/or cogent in its exposition.

Nonetheless, what looks normal at first becomes challenging on closer reading — thwarting expectations, and turning back on itself to make us think more deeply about the seemingly innocuous words used. And from there we are compelled to look at the world with sharper eyes, unprotected by commonplace phrases or easy assumptions. Often an awkward and fighting poetry, therefore, not indulging in ceremony or outmoded traditions.
What is Prose?

If we say that contemporary free verse is often built from what was once regarded as mere prose, then we shall have to distinguish prose from poetry, which is not so easy now. Prose was once the lesser vehicle, the medium of everyday thought and conversation, what we used to express facts, opinions, humour, arguments, feelings and the like. And while the better writers developed individual styles, and styles varied according to their purpose and social occasion, prose of some sort could be written by anyone. Beauty was not a requirement, and prose articles could be rephrased without great loss in meaning or effectiveness.

Poetry, though, had grander aims. William Lyon Phelps on Thomas Hardy's work: {1}

"The greatest poetry always transports us, and although I read and reread the Wessex poet with never-lagging attention — I find even the drawings in "Wessex Poems" so fascinating that I wish he had illustrated all his books — I am always conscious of the time and the place. I never get the unmistakable spinal chill. He has too thorough a command of his thoughts; they never possess him, and they never soar away with him. Prose may be controlled, but poetry is a possession. Mr. Hardy is too keenly aware of what he is about. In spite of the fact that he has written verse all his life, he seldom writes unwrinkled song. He is, in the last analysis, a master of prose who has learned the technique of verse, and who now chooses to express his thoughts and his observations in rime and rhythm."

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OPEN FORMS IN POETRY
open forms in poetry

Poets who write in open forms usually insist on the form growing out of the writing process, i.e. the poems follow what the words and phrase suggest during the composition

Part One
Nascent Craving

The insular heart unsealed; pearled eyes
Breach parapets of stone— periled shield,
The sweetest ****—
A threatening wonder and irrefragable synergy,
Nervous routes of cognition  
In this nascent, amorous craving.
Locked and abased,
Dissonance lends pathos — euphoric and onerous,
Disconsolate cries curb sublimation,
The regnant bleed diffusing — fervid lust
Fondled, tactile surfaces in throbbing anticipation.

Sullen, aft a veil of laughter,
Visceral aftermath, out of
The ardent ash,
Burns a thirst;
Insuperable numbness and ache.
Efflorescent intimacy,
Table for two
Enraptured in new alliance,
Élan vital (psyche);
Urgent dialect petitions
Equivocation, jocularity blending
Provocation with indecision,
Noted lilt of descending inhibition.

Adrift, the incessant Now;
As occasion inexorably diminished;
Resonant simpatico tending,
Numinous amity;
Heard conversant, cognitive idioms—
Lassitude, time-eaten pangs of the unhinged heart,
Wounds axiomatic,
In disquieting synergy,
Nibbling, the circumference—
Misery’s permeating truth;
None immune, all trundle incongruously past,
Facing intrepid savages.

Licitly felt, reverberations of Amor
Whence the heart behaves;
Measured cadence, pulse elevating—
Treasured lover, contemplative muse;
Undulating clasp, inflated bone of absence;
Incarnation — a woman,
Beyond prosaic;
Ineffable adoration pours in certitudes of verse,
Elenita, enclothed —virtue unvarnished;
Reservoir intrinsic, poised advocate of the innocent:
The crooked lines of insolence,
Brazen culture of neglected youth.
Perceptive blue stare, sensitized tears—
Plaintively, evincing her injustice ago.

Part Two
Tendered Senses

Siren silence, eruptive blush, ampler between phrases
In dulcet tones — stirring discourse;
Foments rebellion, the strife beneath— his ****,
Out of its vast reserve,
Penetrate the narrowed ambit, vaguely announced.
Groping hands, migrating the sensual member
Stern faces grimacing— mirror in abrasion,
Under the blind surf of consent;
Burrowing ambiguity, emerging torsion,
Plunge, enlisted and content in the sea;
Subsumed in the nonverbal cue,
Persuasion’s plea,
Quelled in the post cerebral assent.

Piercing eyes parallel crystalline waters of Lake Tahoe.

An untouched portion of his awareness remains aloof,
Palpable in the subsequential quiet,
Obsequious and febrile, they sinned on sofas;
Peregrine predilections quenched and viscid—
Serenely requited, the room breathes her presence,
Limp, figures *******, mantled in adolescent torpor.

Erudition in bloom, trust undoubted,
Illuminating, satiating; tempest calm—
Under canvas
Terrain soaked and sodden,
Postliminary — rains of invalidation.
Allowance and permission
Recalibrate, salivate, shortly only—
Initiate, obliged consecration, appraising
Curvatures of the spine,
Stuns him obeisant, her femenine pulchritude,
Propinquity inciting vigor,
Emergent allure, the updriven
Tower of wood sprung from the blanket.

Suffused in ether, purring streams of remembrance
Vaginal honeyed dew, sung into
Orchids, remnants of remember;
Drenched down the cynosure of devotion;
Succulent view, diaphanous pantied bottom;
Halcyon mist, saporous wine — compliance of the will,
Freed fires wander,
Pliable rind, twin plums dripping,
Abject confession, dispatching doubt
In tendered senses,
Pivotal tree, lavender Jacaranda holds the key,
Unfurled, cindered vulnerability.

Half-denuded skin invites confessional savor
Acutely bubbled rear, fleshly furnished denim;
Sultry visit, San Ramon Valley in the fall,
Strewed limbs splendid, flowing filmy;
Imagination yields—
Bursting silk congealed
Across deft thighs, ambrosial thong draping ankles,
Grazing ascension, the curvaceous trajectory
Nose inflamed with fragrance,
Inhaling, climb of acquiescence,
The ****** weal, amid the globed fruit,
Focal intention — ploughed lance thrusting,
Absconding, the ancillary perfume of essence.

Perceiving avid validation,
Swimmingly, amid the monstrous gaze.
  
Humid skies simper dank, set swell the incense of Eros,
Surge of poetry engorged
The flame levened shaft,
Nimble ******* flounce, spill the harboring mouth;
Moist hands merging, unfettered,
Weave in supplication,
Vicinity voicing, enmeshed diversion;
Supple and spherical behind
Posterior arch, milky-skin against the lip—
Ripeness jostling their complacency;
Lapped the mooring, ridden decisively;
Recapitulating— spumed forth, bellied over hips warmth.
Abandon the dirge of self-pity
Late under ego’s trance.
  
Part Three
Present Tenses

Tempting trespass across sacred gardens,
Flowering, scandal set luminous: attachment—
Consensual, their corresponsive fear;
Protean manifestations— evocative, perpetual
Unutterable contention in a fictive resolve,
Deliberating the merits of their widely disparate tastes in coffee,
Amorously touring wine, let’s drowse through the gnarled vine.
Sundry deficiencies pale, once contrasted;
The beatific vision—
Material substance unaccompanied,
Imperceptible, tear-streamed cheeks in synch,
Ventral kiss, peak of carnal perfection,
Reminiscence— flesh violent with Love.

Fiction knew to meander the innominate rift,
A tincture of irony soften misdeeds
Immense as the sea.
Insolvent beast stippled with sapience—
Unmasked, the fabric of delusion;
Dependence smothering the disciplined heart
Resentment put up for release.

Waste of residual years
Fate’s apportion, scars bleakly observed;
Chastened by heartache, engulfing fervor
Too faint to recapture.
Vague glimpses dry—
Hypervigilant his defenses,
Veritable suspensions, embers lit linger;
Slender walls of solidity, the horizoned self,
Faith and reason in concert — stone levels of elucidation.

Fractured bones of distance, emanate a rigid salience,
Another ponderous night of absence—
Lingering, cauldron of dearth as indifference ushers,
The quotidian coil of contrition.
Tearful pallor, sequestered —ciphering time and solitude;
The unkissed mouth, his restive brow;
Suspend in the approximate span.
                      
After Lucid alliterations are spoken
Devoid of her face, his lover’s nudge—
The man nurtures his hurt.
Anxious as seldom unscarred,  
Venus’s susurrations,
In present tenses,
Kissed by her serenades of integration—
Notwithstanding metaphysic intrusion,
No chain stays unbroken,
Postponed drifts of deferment left unspoken,
Reverberations of amor.

© 2013 W. S. Warner