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A question that should be on
Your mind this evening is why?
Why are the people of Greece--
Why is the nation of Greece--getting
Spanked & punished by their EU
German & French economic overlords?
We should be saluting tonight’s
Referendum NO vote results,
The Greek electorate voting against another
Devastating round of economic sanctions,
Voting NO on more years of austere living.
In fact, it should be U.S. foreign policy to
Support complete Greek withdrawal from
The European Union. That’s right:
“Euro No, Drachma naí!”
The EU is fiscal tyranny,
Led by the EU autocrats,
Angela Merkel & whomever is sitting in the
French baby high chair these days.
Isn’t it a strange coincidence that the
EU whip, always seems to be cracking on
Their swarthier brethren,
Their southern European members,
The Spaniards, Portuguese, Italians &,
The Greeks.
The Greeks have had enough.
One would expect nothing less from
These fiercely independent
Hellenistic people.
And you can **** the Greek people
Up their ***** all you want &
Many of them might like it, but
The Greeks will survive,
Survive as they have for nearly 3,000 years,
Give or take a Kalamata olive or two.
We breathe the air of Greek culture,
Deep respiration of so much of
What we still call learning these days.
We owe the Greeks: it was
Greek inception of so much
Math & science &
Countless other right-brain
Spatial ability & logical precision; not to
Mention so many left-brain contributions in
Sociology & ethics,
Politics & democratic government,
Geography & religion,
Education & philosophy,
Sculpture & art, philosophy,
Live theater & literature.
We owe the Greeks.
Had we interceded with the Brits on Greece’s behalf,
Reminding them that we bailed out their sorry ***-cheeks
After two 20th Century world wars, perhaps
The British Museum might have Fedexed
The so-called Elgin Marbles--
Those boosted friezes,
Jacked right off the
Parthenon façade,
Should have Fedexed them back to
"Eleftherios Venizelos,"
Decades ago.
George’s wife, that foxy babe
Amal Clooney sure thinks so.
We owe the Greeks.
The world owes the Greeks.
Let us all help the Greeks.
Let’s encourage them to quit the EU.
To Greeks I say: trust & patience,
You’ve got the sun.
You’ve got the sea.
A clean white landscape,
Ouzo & Retsina,
Spanakopita & Moussaka.
The Greek Islands:
Crete & Mykonos,
Santorini & Corfu,
Rhodes & Ios
Samos & ****** . . .
We owe you.
We love you.
We will come to you.
Mateuš Conrad Apr 2016
perchance an epic was necessary, to consolidate the scattered thinking, and indeed, once a certain life, and was lived with a cherishing heart, the heart broke, and life turned from adventures to a more studious approach, and in here, a comfort was found, never before imagined explorations - of course sometime a tourist in the arts does come, but such tourists quickly fade, and the pursuit becomes more enshrined - to levitated towards epics is perhaps the sole reason for the cherished memory of some - and how quickly all can revolve around a searched for theme, after many incorporations were minded - as one to have travelled the Mediterranean, another to have been eaten by the great mandarin silkworm of the library of Kangxi - heading along the silk route with spices - indeed the great mandarin silkworm of the library of emperor Kangxi; as i too needed a bearing - to inspect the trickster of lore and the godly blacksmith of the north.

by instruction - an accumulation of the the zephyrs
into a vector, headed north,
toward the gluttonous murk of ice, jesting
with aches to the bulging and mesmerised crescendo
of adrift stars captured in the tilting away -
to think of an epic, to keep out-of-time of
spontaneity and thistle like swiftness in the last
days of summer, that Mercury brings the new
tides of the tetravivaldis -
   brought by the λoγος of a γoλας -
for reasons that satisfy the suntan copper of
the ***** - the λoγος of a γoλας - yet not toward
Monte Carlo or any hideout of money well invested
and greedily spent for a charm -
no, north bids me welcome from afar -
this norðri fløkja, this    ᚾᛟᚱᛞᚱᛁ       ᚠᛚᚢᚲᛃᚨ -
by my estimate, i could not take the nonsense
of numerology of a certain specialisation,
i took what was necessary, i pillaged the temple
of Solomon, perhaps that the dome of the rock
might stand - with its glistening dome and
its sapphire mosaics - i don't belong among
palm trees and date trees - hence i turned to
deciphering and subsequently encrypting -
as i have already with *ᚱᚨᛒᛖ
:
the journey of an Æsir through a birch forest
on a horse.
                    with this method in mind:
(a) ᚾᛟᚱᛞᚱᛁ       (b) ᚠᛚᚢᚲᛃᚨ:

(a)
the need to acquire possessions accumulating
into an estate, is a journey encountered
day by day, although a journey on ice

(b)
cattle only thrive near water,
auruchs did not, and hence illuminated
their way to extinction,
         by way of the Æsirs' harvest
(to eat up diversity of life, and create
a godless world of man).

my escape route came from ᚠ - mirroring שִׂ
although the former standing, the latter sitting
down, although the former fathomable
to my pleasure, the latter unfathomable
to ascribe numbers to letters for patterns -
i seek no patterns, hence my sight turned to
the northern sights, and meanings amplified.
                
the greeks were intended to explore abstracts,
having stated a triangle
they invented the ² symbol and what not,
it was because
they didn't bother extracting a phonetic unit
from something definite,
they classified such endeavours barbarian,
what reasonable greek of 13% reason and
87% reality would extract alpha from
the sound you made when
saying ansur (ᚨᚾᛋᚢᚱ) - i.e. attention -
i.e. deriving a definite sound differentiation
for alphabetical rubrics from a definite thing
(in whatever classification that might be)?
the greeks used the alphabetical rubric of
crafting a definite sound from an indefinite thing,
so they said: acronym, aardvark, assumption,
                       α                 α      α     α,
then they said α² - there are no antonyms -
but indeed there were, hence the Trojan nation
settling in the boot, that's Italy,
the Romans escalated the greek theory
beyond taking out a definite sound distinguished
from other distinguishable sounds,
abstracting what the alphabetic sound assured
a list under alpha: assumption, advantage,
acorn, etc. -
the latins were the first atomist after the greeks,
the greeks believed in atoms, but had no
microscopes to prove atoms existed,
such scientific faith found no parallel;
the latins ensured this was true,
ending with castrato sing-along -
the latins furthered abstracting sounds from
definite orientation which the greeks did
working from ice into iota,
the latins just sang i, i, i -
of course chiral behaviourism of such dissection
emerged - hatch a plan, plan a chisel -
it's very piquant i mind to let you know -
the greeks abstracted nouns in order to create
the alphabet, the barbarians still used
proper nouns to speak proper, the greeks
thus created synonyms and antonyms to add
to the spice of life - after all,
not deriving definite alphas from
cursors that acknowledged points of origins
created diacritical stressing like comma and
semis of colon and macron, not deriving them
from definite things, shunning a helpful
vocabulary bank to an unhelpful vocabulary
banked: synonyms and antonyms the Gemini's
birth of rhetoric;
but the latins were rejected with their atomic theory
of pronunciation, since they became laden
with diacritics - punctuation marks of a different sort,
you can measure a man sprint one hundred metres,
but is that also measuring a man to say
mān or män or mán? i know that the slavic ó = u
given the scalpel opening the ensō to craft a parabola -
but it's not necessarily an accent debate
but a punctuation debate... the emergence of
the diacritic symbols above the letters is due
partly to their joy of the popes listening to
castrato operas and the fact that the romans
went too far... hence the chiral nature of certain
symbols when dittoing - the barbarians used
definite things to assert definite sounds -
the greeks used indefinite things to assert definite
sounds - mind you, if the romans became too
abstract with their little units that became engraved
with punctual accenting, then the greek letters
became laden with scientific constants as necessarily
fathered, unchanging in the pursuit of Heraclitus' flux -
for example... Pythagoras and the hypotenuse:
                            σ / κ² = α² + β² -
           or?
                             c² (ć) = a² (ą) + b² / š (bubble beep
                                                           bop barman backup hop
                                                           of shackled kakah
                                                           or systematic oscillation
                                                           for bzz via burp);
πρ² is still more stable
                                 than what the latin alphabet allows -
hence why greek phonetic encoding was used in
science, and latin phonetic encoding was used in music,
can't be one or the other - added to the fact that
latin encoding had too many spare holes with
the evolution of numbers, and greek didn't have them,
hence β-reduction in lambda calculus and F-dur and A#

the one variant of the grapheme (æ) they didn't include
among expressions: graphite and grapheme
was the variant - gravitating to an entombing
of the excess aesthetic - geresh stress -
somehow the twins match-up to a single womb:
àé vs. áè: V vs. Λ - Copernicus wrote over all
of this with the flat earth uselessness
in terms of navigation - flat earth is useless...
huh? flat earth is the only system that gave
Columbus the chance to explore the new world -
no flat earth no Columbus -
that satellite named Luna was no tool
in navigating across the Atlantic - believe me
i'm sure -
                  or that grapheme (æ) varied like statistics
or like the characters in the book of genesis
that famous adam und eve (kim and kanye):
chances came, chances went:
it was still a draw on the tongue tied decipher:
àè and áé proved another notation for plurality
was necessary, not at the beginning of the word,
but after, hence the possessive article 's,
we could have parallelism, there was a crux,
how once the chiselling of letters came about,
more economic to chisel in a V than a U,
both the same, much easier though...
almost barbaric i might say...
sigma (Σ) enigma rune e (ᛖ) - this compass
is a ******* berserker, god knows if it's
mount Everest or the Bermuda Δ

but one thing is for certain, never you mind how
a language is taught unless you mind it,
not that conversational athenian is really what
i'm aiming at - but a lesson is a lesson nonetheless,
out of interest something new,
richard von Coudenhove-Kalergi,
and what preceded him, namely pan-slavism,
just when the polish-lithuanian commonwealth
did a little Judaic trick of its own,
although snorkelling in the waters of not writing
history for less a time than israel -
you can't beat ~2000 under water - although
you could if your little tribe had an einstein
among them, or proust or spinoza, then
you could effectively become a whale, popping
an individual out from the rubble to say a polite
'hello' and 'when will the dessert be served?'
but indeed, learning a language on your own,
how to learn from scratch, the greek orthography,
and why omicron and not omega,
the give-away? sigma - purely aesthetic reason,
                             νoμισματων

                             nomismaton

omicron                                                 omega

                 you write omicron at the front
                 and omega at the back
                 pivot letter? two: σ     μ &
                 νoμι-                                -ατων
                      ­                     |
                 anything here  
                 will use o            and anything
                                              here uses ω

alike to sigma:
                          χωρας (choras, i.e. country)

sigma (ς) not sigma (σ), i.e. digitalising languages
without a clear connectivity of letters,
block-a-brick-block-a-brick-digit-digit-digit
you learn that handwriting is gone,
two options, your own aesthetic reasons now,
remember, some paired for the ease of handwritten
flow - digitalised language changes the aesthetics,
you make your own rules (considering exceptions
of oh mega mega, ergo revision -

                                       χoρας,

but still the sigma rule, others esp. o mega
you stamp on them like βλαττια, i.e. cockroaches -
κατσαρίδα                 not         κατςαρίδα

all perfectly clear when you explore plato's
dialogue from the book Θηαετητυς (as you might
have noticed, the epsilon-eta project is still
in the storage room of my imagination) -
but indeed in the dialogue, between socrates
and the "hero" of the book theaetetus -
a sample, without an essay on the theory
of knowledge -
socrates: ...'tell me theaetesus, what is Σ O?'
theaetetus: yes, my reply would be that it is
                    Σ and O.
socrates: so there's your account of the syllable,
                isn't it?
theaetetus: yes.
socrates: all right, then: tell me also what your
                  account of Σ is.
                                                             ­   (etc.
or as some might say, a shrug of the shoulders,
a hmmpf huff puff of hot air, impractical interests
and concerns - well, better the impractical
problems than practical problems, less feet
shuffling and nail-biting moments with your
tail between your legs and an army of
intellectuals working out what went wrong
and how history will solve everything by
the practical problems repeating themselves) -
you know that inane reaction - others would just say
Humphrey Bogart and nonetheless get on with it.

some would claim i was begot a second time,
not in the sixth month period of the aqua-flesh,
how did i actually related to the life aquatic,
for nine months i was taught to hold my breath,
however did this happen?
a miracle of birth? ah indeed the miracle of
a crutch for a woman - spinal deformities -
9 months, sort to speak, in water or some other
fluid - merman - a beastly innovation -
next you'll be telling me beyond this life
we turn into centaurs, given the Koran's promise -
you'd need the appetite of a breeding horse
to satiate the 72 - or thereabouts - martyr or
no martyr - 72? that's pushing it -
or as they say among children - a chance playground
without swings or sandpits, but very careless
gravitational pulling toward a certain direction;
nonetheless, they might have that i did indeed
settle of a sáttmáli                  ᛋᚨᛏᛏᛗᚨᛚᛁ
                  við         ­                  Vᛁᛞ
                  tann                         ᛏᚨᚾᚾ
                  djevul                      ᛞᛃᛖVᚢᛚ -
the hands you see, fidgety -
     hond handa grammur burtur    úr   steðgur
     ᚻᛟᚾᛞ  ᚻᚨᚾᛞᚨ  ᚷᚱᚨᛗᛗᚢᚱ   ᛒᚢᚱᛏᚢᚱ  ᚢᚱ   ᛋᛏᛖᛞᚷᚢᚱ
         the hands give an ardent pursuit
                                                 away from rest -
well not that my poems will ever reach
the islands in question - and indeed an
uneducated guess propels me - what does it matter,
λαλος babbler meant anything, indeed λαλος,
language as my own, is a language that i can
understand - and should anyone omit
disparities - a welcome revision would never tease
nor burn my eyes - but the phonetic omission
peeved me off: woad in water, ventricles in a
variety of entanglements - it's just not there -
and indeed, orthographically, if there are no more
optometric involvements of omicron's twin -
then the stance is with you to use whichever pleases,
i can't tell the difference, unless i was a pedantic
student, aged 70, with a granddaughter i wanted
to be wed teasing a millimetre's worth of
phonetic differentiation between the two -
POTATO PA'H'TAYTOE TOMATO TA'H'MAYTOE -
linguistically one's american and the other
is british, which looks like greek and latin
upside-down and in a mirror: pəˈteɪtəʊ, təˈmɑːtəʊ;
or as the spaghetti gobblers would put it:
the tetragrammaton is working on their
texan drawl (dwah! ripples in china) -
or the high-society new england ******* *******
coo with a cuckoo's load of clocks -
before being sent off to england for a respectable
education, something en route Sylvia Plath -
but not to ol' wee scoot land - ah nay - well
perhaps for a year and then talk of north european
barbarism of a deep friend pizza and mars bar.

and when descartes finished with christina
queen of sweden, she became an animate portrait
of feminine attempts at philosophising,
she was basically ostracised from society,
well, not society per se, she didn't become a stray
dog, but she forgot certain functions of
the upper tier - lazily modern man decides
to hide phenomena from understanding
individual instances, with the kantian guise
of a noumenon, hence cutting his efforts short -
indeed queen christina of sweden was ostracised
by society - only after descartes finished educating her;
and indeed to most people a little bit of sloth
equates to an amputation of some sort -
yet only with the x-files' season 2 episode 2
i've learned of the effects of prolonged alcohol
"misuse", that little boxing match in my liver?
it's not a pain as such, it's actually a hardening
of soft tissue - with prolonged alcohol exposure
soft tissue organs harden, notably the liver -
and it's not a pain, it's a hardening.
but indeed queen christina of sweden was ostracised
by her tier of socialites - i'm glad diogenes
didn't get to her, but then again a bit of cloth
goes a long way this far north -
yet unlike the encounter with napoleon by hegel
diogenes' encounter with alexander lasted longer -
which tells you the old method does no service
to a little bit of material accumulation -
but perhaps the acumen was briefer when you were
ably living in a barrel - and to think, as only
that being the sole expression, not so much
a body without organs as stated in the thesis
of anti-oedipus by deleuze and guattari -
a consideration for a body without limbs - prior
to a footprint an imprint on the mind -
carelessly now, a diarrhoea of narration -
how rare to find it - perhaps this idea of epic
poetry is a default of writing per se -
with this my whatever numbered entry i seize
to find escape in it - a lack of ambition -
a loss of spontaneity that's a demanded mechanisation -
by volume, by inaneness - to reach a single
technique accumulative zenith, and then back
into the ploughing, rustic scenery and the
never-bored animals - i rather forget such escapades -
and there i was dreaming of a grand
runic exploration - some imitable game -
some scenic routes - yet again -
Nicholas Herman Dec 2010
The President we'll call Philip
he was not able to get up
from reading the works of victories
of men who forced bending of knees
He dreamed of being of their ilk
of fame, glory, honey and milk
first he read the accounts of Troy
Scribbles in dust made by the boy
"Achilles, so brave and so strong
nothing you did was ever wrong.
Such purpose was in your fighting
A shame I only have writing
for I would have loved conversing
with you a man, none were cursing
How truly noble it was for
you, to return corpse of Hector
to his father who was King Priam
not without first making a dime.
You knew how to take all you could
but spared the King's life as you should".
Now he reads of Odysseus
"I wish he had been among us,
an educated wiser man,
Oh I just love all of his plans,
For Rhesus dwelling in white tents
(a symbol which surely had meant,
to show that he held no wealth)
in darkness Greeks would run in stealth
open the tents and move inside,
making sure those sleeping had died.
Odysseus you were clever,
**** the prophecies forever
You take fate into your own hands
mercy to **** a sleeping man,
so he would not have to suffer
through a way of death much tougher".
Next he reads of the Trojan horse
for which he cries and has remorse
"O Greeks, so valiant and so brave
why oh why this war can't you save?
you've lost Achilles, this I know,
but please oh please, please do not go".
(A note for readers there must be,
Philip reads only partial history,
he skips the parts without action,
The plot he knows just a fraction,
he wants to learn what he should do,
how and why have past been thought through)
"You've fought hard for the past ten years,
Now you give into foolish fears.
Stay the course and continue war,
What the **** were you fighting for?
To fight, lose and admit defeat?
but why leave a gift at the feet,
of Trojan gates that you despised?
at this I am very surprised".
Skipping ahead Philip did find
something that boggled his great mind,
"The Horse into Troy has been brought!
carrying the Greeks they had fought,
What a marvelous plan indeed
Hot **** I wish I could have seed
The god-like Greeks three days confined,
ambush the city in no time.
Mars must have blessed all of the Greeks
being the god of horses he seeks
to reward men bearing his sign
allowing plots to work out fine
The Greeks won and in such a way
killing all Trojans without delay,
Truly the will of the gods above
smiling down on Greeks they love
The noblest of all victories
men killing every enemy
since all Trojan men had held arms
no moral rule did the Greeks harm,
Mercy they gave to the women,
Grief sorrow and pain were ridden
by a blade so lovingly swung,
so they not see their husbands hung
Mercy to children given too,
with no parents they in days few
would starve, having integrity,
the Greeks took kids in groups of three
slit the throats of two quite nobly,
the last they put into slavery,
how kind it was to let one live,
and repaid by the work he gives,
I need not read on, I know now
Where to gain my glory and how.
A country resources many
So I can steal every penny
Lead a great, glorious attack
What country, Which? Of course Iraq.
A symbol? I need one to show
A ship, a banner, will it glow?
God is on my side I proclaim
I will do this deed using his name
I will be just in this conflict
A quick death to all I inflict
so they don't suffer through the pain
but let them sleep and fight in vain,
victory no matter how late
I use tricks to obliterate".
He throws the book, opens the door,
"I am going to lead you in WAR!!"
Yells at uninterested few
on the table sit books in view,
ones he did not open at all
Anabasis, A War Of Gaul,
Xerxes, Hannibal, lie unread,
not needing to know what they said.
Copyright Nicholas Herman 2006
Mateuš Conrad Aug 2016
have you ever made a spider a Palestinian? i have, today, refreshing the paint-job on the back of my house, a whole family strutting away from fresh paint being applied (poets cure boredom, they simply don't know it), the cardigans erase & rewind, my uncle would be perfect with his age to work out the demographics - my age circuit, 30 and listening to the palette of those in full-throttle of the 1990s - anyway, refreshing the paint on the back of my house, not for dough, but for the sweat of my brow - learning i succumb to acrophobia on the ladder - but i did it anyway... i love phobias, they're not the fear, they're like a box of chocolates... you never know what will make you startle... it's not permanent, phobias shouldn't be considered permanent, they're too reflexive... and we all know that nibbling them in the reflective realm immediately suggests irrationality, not to a reaction, but to a continuum of a reaction: a ladder, a giant spider to boot. but i never watched a spider eat fresh paint... watched the ******* do the nibble on paint... ***** - a getty cardinal spider shooting paint pollutants with its leg, eating the Chernobyl cocktail, the rainbow melt in a puddle of oil spill... junkies everywhere; so that done, a beer and a quick look at the Olympics...

if table tennis was as relevant as table tennis -
i prefer table tennis,
judo is too cool too - classic Greek wrestling
with feet to match the hands -
i think in terms of the Olympics we're in
the Gobi desert - so many sports are shown only
once every 4 years, the once that don't make the dough...
i'd prefer the Olympics without the pop culture
exponents that keep us hungry for spectacles
during the 4 years apart -
hand-ball, Romania thrashed by Angola -
ladies first, of course,
and weight-lifting, weighs in at 48kg and lifts
80+kg... well Jihad John versus G.I. Jane...
a pretty match up... look, i came from a certain background
i won't be making politically correct statements,
if it weren't for my personal initiative i'd be scooping
grub from an industrial flat surface roof like my father...
i don't mind getting paid... i just love the fact that i will
and if ending up homeless, i have enough heart already
to start a religion, or something.
of course i'll miss my personal library of books and albums,
who wouldn't? i'll join the divorcee crew and it'll be
like it always was supposed to be.
but am i really that ridiculous? think about it,
i use ridiculous words in my vocabulary, after all i went
to a catholic school, it was bound to happen -
not true secular cool, sorry -
but is my usage of certain words completely penniless
more ridiculous in the form of an oligarch buying
a pearl entombed in a custard pie? of a yacht for a month
at Monte Carlo? seriously? if i utilise the words
Paraclete or Antichrist after just skimmed rereading of
a psychiatrist's religious venture in Jung's *answer to Job

am i as ridiculous as those barons?
i don't think so... i read that book like Flaubert instructed
concerning all books: read in order to live it -
a book is a transplant, some leave a heart, come a ****,
some a brain, some a pint of blood with a book...
i hope to leave the worm of hell licking your ear for a sloppy
Jim - read Jung... almost atypical German Christian
intelligentsia byproduct, neutral Swiss just after the second
world war... Freud read Nietzsche and so did Mussolini...
****** was very much Jung... it's a strange book...
we all know that the Greeks hijacked Judaism...
the Romans were like: whatever that meant...
shoved it into a cauldron of the prefix omni-
and attributed to the prefix geographies and geometries
all inclusive (herr deutsche came along though) -
but the Greeks hijacked the oddity of Judea at that
special time because they had scientific inclinations
rather than aesthetic inclinations of the Romans,
and they wanted answers... got **** all...
it's not the Jews that thought the Greek involvement
ridiculous, it was the Romans... hence the omni-
and -presence, -potency, etc. - the Greeks just had
those mythical names for ****... Logos, Sophia...
that's the funny thing with mythology and history -
the book of Revelation by the looks of it simply looks
like a redemption of Oedipus... mythology is a logic
of history where either none was recorded on papyrus
since no one required hush-hush intrigue talk and people
spoke to each other face to face rather than to a profile -
mugs and mustard seeds -
you can always buy the book, C. G. Jung answer to Job,
it's peppered with too much Greek, and very little
Roman care... the theological addition of a globalised world
(under monotheism, failed and thriving, whichever)
is bound to play the montage of omni- and simply add -
God = omnivocab - i have my limitations of words -
i had to censor or rather select a vocabulary in order
to process the interchanges to reach a conclusive churning
without an ultimate goal other than to preserve a continuum,
like Balzac boring everybody with the 19th instalment of
the human comedy. so after reading this book on religious
matters by a psychiatrists i'm sorta bothered...
i'm tripping... obviously not seeing any hyper-geometry
of your choice... i just think the Greeks did the most horrid
hoarding and looting know to man... which reflected
the looting of Byzantium and never reaching the Holy Land...
the barbarians never cared to be honest, they only
started caring when they started to castrate the boys
for the "holy" choir rather than circumcise them...
then they went Berserk... the book of revelation can only
mean the quantum mechanics of history, bound to
mythology - Oedipus was very real... the blackened
heart of Greeks even though Aristotle, Socrates, Plato...
that intellectual import and expression didn't help...
after all Eddie Gein gave birth to the latter part of the 20th
century pop culture... Texas Chainsaw... Haemorrhoid Hannibal,
House of a 1000 Corpses.. history and journalism
dismisses mythology, i dismiss journalism as simply
a hyper-sensitivity that keeps dialectics out of the picture,
a monologue of opinions... mythology just doesn't seem
that insensible given our perspective into history with Darwin
and millions of years ago with the sea-turtles... you know
how gossip works... it sooth the reality of it had happened...
because we prefer oysters and chicken thighs to digest than
the tales of Eddie, oh yeah... Fe Maiden... d'uh!
the Greeks looted the Hebrews to purge themselves of
Oedipus... the weakness came by keeping estranged with
Narcissus and iconoclasm... you want an extract?
bombshell blonde at your bidding -
assumptio mariae: mary as the bride is united with the son
in the heavenly-chamber, and as sophia, with the godhead
.
basically Mary is a schizophrenic ****-child of lust
for a Roman centurion who makes the story of a ****** birth
her wish to bed-wet her son (Jesus) into joining **** John
and Toe into her ****** (***** *****, like her already)
in heaven - she thinks her body will **** her "******-birth"
son and her wisdom (Sophia is her alias, or nickname)
will **** god in the head. oh hell this is sacrilege -
i'm not afraid of it... boo! ha! caught you mouth dry with the
boogie man. so this is a psychiatrist reasoning his religion...
as i said, the Greeks had no omni- Roman put the **** back
into his boots before he starts river-dancing...
all these quizzical ultra-mythical words that the Greeks
used starting with the Logos and Hippocrates were attached
to the failed Platonism of the unconverted Damocles principle
and the tyrant succumbing to drink and never bound to
a sober wish for anything more - (i'm guessing his intentions
were laid with Nietzsche as source of discipleship) - in short
let's just say that Platonism failed in practice,
and it needed a populist movement, a redemption from
the curse of Oedipus came from Hebrew with the schizoid-birth,
Joseph bin Adam was: better bite that ****** of the cow-fruit
and remind her of the stoning practices around here -
oh it's all pretty much Eastenders around here, it's
not the ******* Vatican marble corridors, we're talking
Gaza dust sneezing while whipping the donkey's *** to
move along... split-mind: beautiful metaphor... premature
dementia, obviously misunderstood... if premature "dementia"
while so much creativity among the split-minded...
it's like all the zodiac signs became jealous of Gemini,
incorporating Gemini-Solipsism... well, i have a neck like a bull
and a *****-count like a charging bull... but the thinking
behind the 3.a.m. is kinda staggering... oh right, you want
more quirky clues from Jung's book:
- silvia loret
- maritza mendez
- aria giovanni             (get a hybrid and i'll believe in Disneyland) -
****, that ain't what i was going to write, never mind,
you get a chance to see the palette of what's fudge for
fucky-fucky sized 16+ and what the Renaissance men
knew would be better than duck-feathers in pillows;
- meister eckhart: gott ist selig in der seele
- puer aeternus: vultu mutabilis albus et ater
    (of changeful countenance, both white and black)
- pius XII's apostolic constitution (munificentissimus dei)
   words like muni-imus really make you train in
    grammatical arithmetic, don't they? playing doctor with
   them as to where to cut them for a aqua format of rivers
   is quiet like reciting a 5x table up to 30 (sometimes)
- oportebat sponsam, quam pater desponsaverat, in θalmis caelestibus habitare (the bride whom the father had espoused had to abide in the heavenly bridal-chambers): st. john damascene (encomium in dormitionem);

summa summarum?
Nietzsche answered Job... this is my answer to Jung as also an answer to Lot - **** your daughters, your wife turns into a pillar of salt... and i equate that as a precursor to the man of sorrows on the ****** crucifix - salt is a metaphor for misery (that's etymology for you); and the Roman phonetic encoding survived over the fates of Egyptian and Babylonian is precisely why the adopted son of Caesar later made his uncle's adopted nephew his successor - as with the four dogma canon gospels, we're replicas of the tetragrammaton... well... i was never confirmed, i'm one short of joining the god-men that came out from catholic school after choosing a name for themselves they could have changed not having wished to be known by the two names given to them by their parents... few did... i just ended up an acronym of Einstein: M C E.
Mateuš Conrad Feb 2017
but somehow,
i write to peer into visualising
         my thought
pattern,
   or at least, how i can construct it
on the basis that:
i just walked about 6 miles
and drank 5 cans of beer
and smoked a few cigarettes
   and sat on a bench in a public space.

i really do believe that with man
having overcome the natural world
(to some degree),
industrialised the rearing of pigs for
pork, creating the bonsai tiger
that's a cat...
      god, i dread this anglophone
existential narrative of going way way back
and then coming into the present...
   walking zombie like
in the aftermath of unearthing the big bang
and finding dinosaur bones...
excavating Hades has never had so many
pitfalls...
       but this is the anglophone narrative,
that we currently live in,
  ask anyone in Tuscany and they're like:
come Friday, bring a bottle of wine,
have dinner...
       look at my beautiful house...
ever see the *appleton tower
in Edinburgh?
built in the 1960s... meaning:
too many people were on aßid...
    c (see) s (esse) **** (ah yes)
(takes a break and empties his bladder)...
who in Venice might have a care
to keep this ref. in mind,
   who on earth, if not the english
have it? i go to Poland and people talk
about the butcher's and know the butcher's
name, small world and all that...
    i'm starting to think that
keeping the big bang ref. point in pop
culture is eating away at the everyday...
   and all this talk of dinosaurs...
   before they unearthed dinosaur bones
they were drawing dragons,
giant iguanas...
    i guess the snake is the abstract
version of a dinosaur... the remains:
no limbs...
     it has to be...
  like the way i took my tongue for a walk
today...
      what with our concrete body
and our abstract counterparts....
  one word on the tip of my tongue,
passing a bench where some would have
said in spotting a *** sitting on it...
sure, the *** look, the worn shoes...
but what *** can be seen
  eating a strange fruit from a paper
bag, watching a family of: mama, papa
and two kinder, smile and drop
that small fruit into his gob?
   as i was walking with my grandfather
he asked: who is that?
  i said: a philosopher.
   evidently the conversation was in polish
and the word in question is:
  fi-lo-zof...
the church is still there, the bench too,
the memory prompts itself sometimes,
a bit like a knee ****...
  and that got me thinking about
the concept in Jewish tradition...
   ayin (nothingness) -
             so ע‎ spoke to א (adam / aleph)...
but i need to get something off my chest...
ever find a 20 quid banknote in a puddle
or a 10 quid banknote in a puddle,
and given the current times,
an old fiver on a street pavement?
money again...
    i have...
and when you do, and then later spot
a penny on the street...
or when you have actually made
your own wine, rather than bought it
in a supermarket...
  how odd it looks, that penny,
how gravity prone,
as if it was supposed to be lost,
dropped, spared the agony of economics?
i was walking the streets tonight and
i looked at it (walking and listening
to distance's repercussions album
can feel a lot like going to a gig,
it's classified as dub-step, but it's really
ambient music,
just that the real ambient music
is, pretty much listening to a very old
refrigerator, the ones that made a sound,
had a heart of some sort,
like putting your head against an old
box, that's no longer a box, but a size 0
model... that leaves you null when
considering the static transmission of
channel 0) - oh my...
how we look into the future with
so much nostalgia these days,
  forget the ancient greeks, forget the nostalgia
of philosophers bound by that rule
of thumb in the 19th and the 20th century...
we're waving: bye bye odes to that old trash,
not to be rude, but i have been exposed to
so many technological advances in the past
20 odd years that i have no plot,
no novel, apart from the one given to me,
and if i do a pish-poor job of recording it,
then woo-hoo to me, i passed the Tao threshold,
the world can happen, and i can just
enter a realm of, finally being able to forget...
still, a penny on a street isn't a 20 quid banknote,
and given the improvement,
that it has turned all Australian on me,
i don't even need to dry it off to later spend it
if it's found floating like an ice-berg
in a puddle...
             and i think: why are pennies so real?
i mean, it's staring right back at me,
it's looks almost like an excalibur...
or the profanity plagiarised with thor's hammer...
i don't want to pick it up...
    it's so gravity prone on the pavement
like a pebble, or like a copper statue of a
"very important" person in parliament sq.,
that just get riddled with communism
in a capitalistic society, i.e. vandalism...
     the penny bewildering...
   i can't visualise what i'd do with it,
because i couldn't do much with it...
        it's just copper on stone...
     a bit like looking at a newspaper
of the day lying about at 10pm near an empty packet
of cigarettes, the sort of motif of:
let's trash the place...
      it's just one son of Hades lying on a more
elongated presence of yet another son of Hades:
copper on concrete,
   the next thing that comes after
grinding sand into glass: crunchy stone
mashed up with enough tar to make up a road...
england, of all places, has particular rooting
in a history of the roman empire,
out of all the nations that succumbed to its power
it has the most fond memories of the dusty one,
which i find quiet odd, and most of the times
slightly bewildering...
    given that i don't have it...
lucky you, an ethnic mongrel, papa was a singing
Irishman, mama was a a nigerian,
and you all ended up speaking the same tongue...
unlucky me, mongrel of the soul...
escapism of polymaths, because it makes sense,
or how mono-lingual have that thing called
patriotism and a land-to-body relantionship
in general, whatever flag is being flown...
bilinguals have a memory-to-body
relationship, it's hard to avoid it, a bit like seeing
a mountain and saying: we'll walk right through it...
so yeah,
having found a 20 quid banknote i was already
scheming for the next *****-up,
   i could already see a potential for it,
i knew it was worth something...
it's hard to see that sort of dynamic with a penny...
let's just say that sort of dynamic doesn't
exactly exist...
          the penny is fixed to the cement,
it's not moving anywhere,
    when a *** asks for spare change
you just start to think: change? spare tire?
is that equivalent?
      because money, as a concept,
as the original concept for a universal language
that everyone could suddenly understand,
or just did, once the "thing" was implemented
was the original translation vehicle...
        money is by far the sole reason we have
3 dimensional talk, why we have ambiguity,
while humanity enforcing laws is always so thesaurus
prone when talking about it,
   in the root of jurisprudence...
           i can talk idle: say things thing nothing
and then become a pedestrian to concrete items,
a daffodil, a t-****... i can relaly turn on the grey button
and it all becomes vague,
    and rarely bound to be, as a whole, bound
by a glue known as mystifying.
some might call it a case of giving account
of: ibin balām...
the other one riding a donkey...
                    or as i like to call it:
   convering with the "angel" that spared me,
who shook me into an epileptic frenzy when i was on
the verge of dying, saying:
now you, do what unto yourself, what others
did unto you.
    i have to admit, drinking myself to death is
the most pleasurable event in my life...
    it's this metalic electricity produced by my left
hemisphere, most of the time?
a bit like sitting on an electric chair,
without a wet sponge placed on my head
so that the electricity can pulverize the alveoli pattern
of my neurons... keep moist, he says,
   and i just think of my brain and the colour red,
and the decay of red, first into brown, and then into black...
and how people who deny my misery to
later become: a bit annoying, gnat-like...
still, that penny on the street,
  and how i would have reacted differently
had i found a 20 quid banknote...
and how i do...
   to see this unit of the concept, just... useless!
the concept of money becomes all the more apparent,
and i know that people in wealthy countries don't
seem to appreciate the basic unit of their currency,
they prefer fixed prices, they prefer pondering
a worth of a toothbrush, priced at a pound's worth
than care for a penny... they say
    it's so close, but so far away,
how spare change is reserved for children and beggars...
how pennies never seem to add up to anything
if you see but one on a pavement...
                it's only copper... it's not exactly gold...
ah hell... what if we really did brag about
gambling on a fixed, but an otherwise fluctuation
price of a painting?
  well... we wouldn't be saying: priceless!
   a bit like the anima of buying football players...
yes, some of us like using our minds,
to study philosophy, perhaps even lension a care
to write poetry... and all the more:
in a non-manipulative care to then translate it back
into: suppose chess?
                           only when language becomes
too 1 dimensional, or at least 2 dimensional,
i.e. verb / vector... then we're in trouble,
in the quicksand, in the mud, in the trenches...
i did mention something prior, didn't i?
ah, hebrew...
            slaves in america invented the
deconstructionism of jazz and blues...
  thank you very much... dub-step and the first
thing i think of when thinking about africa
is a drum... or knowing when and when not to
knock on things...
   i don't think the echo minds playing
that game of knocking down ginger...
    i guess i am the one left with a land
that's tattooed with germans and russians...
i get the ******* grafitti of neo-nazis who
experienced something more than the blitz...
plus, i have that Auschwitz to give caring tourists
a helping hand into sighing over...
   but all that i owe concerning myself,
ibin balām... riding my little donkey...
        ever find those riding donkeys more menacing
than those riding horses? balām, jesus, don quixote...
but it's in the alphabet of the hebrews,
i can't really get over it...
hence the original muse, a single word,
fi-lo-zof... and the concept: ayin sof...
what the greeks later made into σoφια...
yes, that monotheistic gender-neutral pronoun
some of us ascribe the noun god to...
god is such an unfatastical noun...
the real fantastic noun is the tetragrammaton...
hell... i'm convinced... i'm actually converted
in a sense of not really bothering with
the rituals... the ritual i imposed on myself
is to repeatedly think about it...
    and it really is a fantastic noun,
so mathematically fertile,
Y and the x, y, z axis of the math canvas...
and trig of W that's cosine rather than M and therefore
sine... and how the H is almost like deja vu
joke, before the tangens enters segregational...
and all i just thought is more than a thousand
bulls readied for a pagan sacrificial rite...
    it's the sof in the ayin sof that's hard to find...
say, it's easy to spew enough books to bore
a thousand people over a thousand generations
if you use a system of encoding that gives no
name to the units...
   the greeks have alpha, the romans only a.
the greeks have beta, the romans only b.
   which probably means that writing can be more
easily done, and to a greater number and extent...
but thinking? it's not really done...
people would rather be perverse and hostile and
impolite because of this shortening of said
units of sounds... which is another reason why
the anglophone world is rife with onomatopoeias...
    and how i found: singing intside your head
is half a whistle, and less than a ****...
    so how did sof come about, as a concept?
the hebrews call it ayin (nothingness),
and when next to the word sof call it
ain (without) sof (end), i.e. the endless one...
   so where did the syllable zof come in here
and where did the Greeks extend that into sophia?
i can see sof, but i can't see where it came from,
sure, there's the usual noun for a sound,
e.g. ש‎ (shin) and ך‎ (kaf)...
             forget the greeks for a moment...
  the romans wrote the music, there was no name
for a, b, c, d, e... we're talking ancient greeks,
therefore all ancients... they enclosed sounds differently
back then... the greeks ensured there was some
alphabetical cohesion, like looking
into a dictionary under the rubric o,
and finding omega, onomatopoeia and oh my god!
i know what you're thinking, semitic languages
and neanderthals... why did they persist
and having become instinct? try sanskrit and 1 billion
hindus... or the chinese... they're the same...
historically speaking...
oh please, i like the cognitive impetus of drinking:
you want to take hold of these brats on the british
isles? you have some alternative suggestion?
the roman alphabet is the gateway "drug",
i.e. א‎ (man), a, ע‎ (god), á,
  or: from above... something descending...
then i start to think it's a case of articles,
even though aleph (א) and ayin (ע) are phonetically
identical, they are totally different...
it's almost like saying: ah for that one,
and ah for a one? close proximity and the rule,
that you wouldn't say an one... but a one...
funny... english is like that, hello! welcome!
hope you realise it, without diacritical marks
being, well, i wouldn't say absolutely necessary,
but a helping hand....
too many examples to choose from,
i make so many instances of it being true that
i forget to make up my life with
a care for romantic misendeavours...
so yeah... i'm looking for O in the semitic alphabet
that still remains in use...
     hebrew... because i really can't do phonecian...
i'm loooking for the word sof...
    you know, like homeland, sol, solomon...
i want to cut off the unnecessary bits
and put a word together...
i can't seem to find a full-circle of an omicron
or omega...
  i say omega, you cut off -mega and attach an -o-,
and the thing fizzes and i write bomb!
and you cut off -elta, -psilon....
                      ah... ~appa and the need to write
pass... double consonants...
     i just wanted to write duck...
like duck the ******* bomb, rather than quack?!
the semites are a breed of people
that simply hide things, mostly vowels...
the new wave of people with robots
simply write excess number of consonants
and omit them...
     they're there, but they're only there
because there will be two layers of the same language
being inscribed... given omni-literacy...
          hence the current youth congregating under
the banner of acronyms and something akin
to sign language in their use of emojis...
  :)... no, that's bad... :(....
                                              i'm still looking
for the sof...
    the closest i came to it was with
ש‎י‎ך‎,
      it would have been easier with the greek
expression of teaching the neanderthal semites...
again, i like te jews, they're the most
"docile" / persistent semites...
   i know they're not vogue, but that's why
i rather keep hebrew than arabic...
or because of my skin, i sorta have to keep
the runes for safekeeping and upkeep...
we kept them for a reason,
    we kept the runes so this wouldn't happen,
how christianity gave us a life of psyche
but erased our origin, our alphabet,
no point calling it a "big bang",
at leas the russians got cyrilic,
and turned **** into шit...
     i'm still looking for O in hebrew, semitic,
the reason is that they're such a small number
and their phonetic encoding as as "neanderthal"
as that of sanskrit and mandarin alphabets...
  and that's the prejudice...
   i don't like it... i find all the mysteries
in my impetus to write bound to them...
    wait... weren't we not the ones stressing
the vogue of our times?
    i see a bunch of torn shirts and well worn shoes
from where i'm standing...
i'm still finding it hard to find an O in the hebrew form...
am i missing something?
    i mean, ****, cut off all the necessary
bits of greek, you get roman: alpha (a-),
      beta (b-)... and obviously the excess aesthetic
so that it all looks nice... cat, kettle, scythe...
                                           key, scatter, skew...
smooth, cool, caseload...
                 our current times will be a joke th
RAJ NANDY Feb 2015
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
When I composed the History of Western Art in Verse & posted the series on 'Poetfreak.com', few Indian poet friends requested me to compose on Indian Art separately. I am posting part one of my composition here for those who may like to know about Indian Art. Thanks & best wishes, -Raj
RAJ NANDY Nov 2014
Friends, in the Introductory portion we have seen how Herodotus
gave birth to the subject of 'History'. Now I conclude this true story
by quoting a poem by the English poet Edgar O' Shaughnessy, which
is very appropriate for my Story! Please take your time to read, there is no hurry! Thanks, -Raj Nandy.

        HISTORIANS  AFTER  HERODOTUS
Herodotus became the trail blazer with his narration
of History,
Inspiring several Greek and Roman chroniclers as  
we subsequently get to see!
There was Thucydides, Livy, Sallust, Xenophon, and
Polybius,
Not forgetting chroniclers like Julius Caesar, Tacitus,
and the oft quoted Plutarch!
The Roman scholar Cicero had called Herodotus the
‘Father of History’;
But later the Greek historian Plutarch criticized him
for his many hearsay inaccuracies!
Even though Herodotus had cautioned his readers in
his Historical narrations, -
About those hearsay accounts and doubtful portions!
Greek historian Thucydides, who was a junior and a
contemporary of Herodotus,
For his accurate historical rendering of ‘The
Peloponnesian War’ between Athens and Sparta, -
Was praised by later scholars very much!

CYCLIC AND LINEAR PATTERNS OF HISTORY:
Herodotus believed in Nemesis and a repetitive
pattern of History.
While Thucydides with his strict investigation drew
a line between myth and reality!
Thucydides viewed history as a political struggle
based on the nature of man;
And felt that since human nature does not change
often, -
The past events would reoccur once again !
The Greeks believed in this cyclic notion of History,
Also developed a prose style to narrate their stories!
Unlike the Greeks, Roman History did not begin in an
oral Homeric tradition,
But they had a ready-made Greek model for their
historical narrations!
Roman historiography began after the Second Punic
War against Hannibal of Carthage,
When Quintus Flavius Pictor wrote Rome’s History
in Greek, instead of Latin!     (around 200BC)
Cato the Elder, was the first to write in Latin Rome’s
History,
While the Roman Livy born in Padua in 59 BC, was
praised for introducing a ‘milky richness’ of style  
for narrating these true stories !
From Julius Caesar’s accounts we learn about the
Gallic Wars and events of those ancient days;
But he Romans had used History for propaganda
and self-praise !
Also to make the conquered world to look up to them
with wonder and admiration;
For the Romans were creating History with their
conquests in a steady progression!

CYCLIC VIEW OF TIME AND HISTORY
Perhaps the cyclic view of Time has influenced the
cyclic concept of History to a great extent,
Since this cyclic view was held by many of those
Ancients !
Ancient doctrine of 'eternal return' like the seasons
of Summer, Autumn, Winter and Spring, existed
in old Egypt, and the Hindu religion;
Also with the Greek Pythagoreans and Stoic
conceptions;
As well as in the Mayans and the Aztec Civilizations!
In the East, cyclic theory of History as succession of
dynastic rule developed in China,
While the Vedic Hindus developed their theory of
Cycles of Yugas!    (epoch or era)
Writing of Indian History had commenced with
the Colonial British initially,
Who had criticized India for its lack of a sense of
History and Historiography!
The ancient Hindus were more concerned with
religious philosophy, and the essence of existence,
Rather than getting absorbed with historical details!
The Hindus divide cosmic time into cyclic eras of
Satya, Tretra, Dwapara, and Kali Yugas;
With each era covering many thousands of our
human eras!
These Yugas or Cyclic segments of time is said to
repeat itself in a cyclic motion, -
Which had perhaps mystified their early views
of a clear Historical perception.
However, later Indian historians have corrected
the earlier British interpretations, -
By dividing Indian History into Ancient, Medieval
and Modern Periods,
Replacing the earlier Hindu, Muslim, and British
Periods as Colonial segregation!
And also by correcting the British Aryan Invasion
Theory as Aryan Migration;
Based on more accurate historical research and
better perception!

CHRISTIAN AND LATER VIEWS OF HISTORY:
St. Augustine during the 4th century AD, systematized
the Christian view of History, -
As a struggle between the City of God and the City
of Man, where the City of God gains victory, -
Establishing peace and prosperity!
The Christian view is therefore Linear with a
positive beginning and an end;
A providential view from the Creation of Adam
till the Day of Last Judgment!

THE RENAISSANCE: (14TH - 17TH CENTURIES):
During this period the theological view gradually
begun to fade, giving rise to the Cyclic concept of
History,
As illustrated by the decline and fall of the mighty
Roman Empire, immortalized by Edward Gibbons
in his narrated story!
This cyclic view was also maintained by Oswald
Spengler, Nikolai Danilevsky, and Paul Kennedy,
during the 19th and the 20th Centuries.

AGE OF ENLIGHTENMENT : THE 18TH CENTURY
This period advocated the use of reason to obtain
objective truth, when human beings made all the
difference freed from superstition and bigotry;
Which led to favoring a Linear and a progressive
view of History.
Voltaire symbolizing the spirit of this age had
supported human wit and education, -
Since only enlightened people could give History
a positive direction !
For Karl Marx Feudalism was followed by Capitalism,
and Capitalism by Communism.
History of existing Society as the History of Class
Struggle - was Karl Marx’s new concept!
For social material forces drove History, and this
‘historical materialism’ as a revolutionary view, -
many later Scholars did accept!

SOME MODERN CONCEPTS ABOUT HISTORY
Now I share the views of three of our renowned
Historians; the German Oswald Spengler, the
British Arnold Toynbee, and the American
Carroll Quigley,
To provide you with three different concepts
of History.
Oswald Spengler (1880-1936):
Spengler’s reputation rests on his work titled
‘Decline of the West’, considered as a major
contribution to social theory;
Where he rejects the ‘Linear’ view in favor of
definite, observable, and unrelated cycles of
History!
Rejecting the Eurocentric view of History and its
Linear division into ‘Ancient-Medieval-Modern’
Eras,
Spengler recognizes eight ‘high cultures’ which
evolve as organism, following the cycles of
growth, development, and decline;
And his views astonished the Western mind!
These high cultures were the Babylonian,
Egyptian, Chinese, Indian, Mexican ( Mayan&
Aztec), Classical (Greece& Rome), Arabian,
and Western or Euro-American!
Cultures have a life span of about a thousand
years each,
So the Western Civilization too shall decline one
day, - Spengler did teach!

Arnold Toynbee (1889-1975):
Toynbee’s 12 volumes on ‘A Study of History’
covers a wider spectrum of 23 Civilizations,
Where he rejects Spengler’s cynical theory of
growth and decline of Western Nations!
“Civilization is a movement and not a condition,
a voyage not a harbor”, Arnold said;
Like human beings Civilizations were free to chart
their own course with the capacity to ‘consciously’
choose its destiny, he had felt!
Arnold moves on to formulate his Theory of
‘Challenge and Response’, since by responding to
such challenges Civilizations could move on !
These challenges could be social or environmental
he had said;
The Greeks responded to their growing population
by taking to the seas and maritime trade,
And also prospered as their overseas colonies had
begun to spread!
Toynbee’s Civilization start to decay when they lose
their moral fiber,
He perhaps over emphasized the religious and
cultural aspects, ignoring those economic factors!
But his views were certainly more popular than
the cynical Spengler!

Carroll Quigley (1910-1977):
Quigley’s scientific trained mind could not accept
either of the above views,
So he created a synthesis of Spengler and Toynbee,
while paying History its dues!
Quigley laid down seven stages for the evolution
of Civilization;
Commencing with Mixture, Gestation, Expansion,
Conflict, Universal Empire, Decay, and Invasion!
His Civilizations are neither groups nor individuals,
But each is a system which share some common
traits.
In Quigley’s model each system come into being
adapted to their environment;
But since environment always changes, Quigley
states with some relish, -
Systems which cannot adapt themselves, must
necessarily perish!

WE ARE ALL LIVING PARTICIPANTS IN THE
  LONG UNFOLDING HUMAN STORY!
“Know Thy Self” said Socrates, and the Delphic
Oracle had pronounced that he was wisest of
the Greeks!
To know ourselves truly we must know about
our past,
For this evolutionary process shall continue as
long as the Human species last!
Today we remain as a living monument to the
past,
We continue to make History as long as humans
on this planet shall last!
Our planet earth is around 4.5 billion years old;
While the first ****-erectus emerged around
two million years hence - we are told!
By walking ***** the two hands became free to
develop,
With flexible fingers and the rotating thumb;
Which was crucial for shaping the destiny of
the Human species on earth!
Our Civilization proper dates back to about
five thousand BC,
Thus an emerging pattern we can easily see!
With the development of human consciousness
we have learned to delve inwards, -
To discovered within a vast macro world!
Now, I would love to conclude this narration by
quoting from the English poet Arthur William
Edgar O’Shaughnessy’s book ‘Music and
Moonlight’;       (1874)
Do try to follow the philosophical content relevant
to the Cyclic History of Mankind!

“We are the music makers,
And we are the dreamers of dreams,
Wandering by lone sea-brakers,
And sitting by desolate streams;
World losers and world forsakers,
On whom the pale moon gleams;
Yet we are the movers and shakers
Of the world for ever, it seems.

With wonderful deathless ditties,
We build up the world’s great cities,
And out of a fabulous story
We fashion an empire’s glory.
One man with a dream, at pleasure,
Shall go forth and conquer a crown;
And there with a new song’s measure
Can trample an empire down.

We, in the ages lying
In the buried past of the earth,
Built Nineveh with our sighing,
And Babel itself with our mirth;
And overthrew them with prophesying
To the old of the new world’s worth;
For Each Age Is a Dream That’s Dying,
Or One That Is Coming To Birth.”

Thanks my readers and poet friends,
Sincerely hope you will now appreciate
History better, and love its contents!
**ALL COPYRIGHTS ARE WITH THE AUTHOR
RAJ NANDY OF NEW DELHI
Friends, those who have read part one will find the concluding portion in this narration of mine, which I tried my best to simplify! Mentioned the two basic views of History, the Linear & the Cyclic views in my narrated Story! Hope you liked the poem quoted at the end by me ! Thanks, -Raj
RAJ NANDY Aug 2018
THE ENIGMA OF TIME IN VERSE: PART TWO
Dear Friends, having introduced ‘The Enigma of Time in Verse’ in Part One, along with few selected poetic quotes, I now mention what some of the important Philosophers thought about Time down the past centuries. But while doing so, I have tried my best to simplify some of those early concepts for better understanding and appreciation of my readers. If you like it, kindly re-post the poem. Thanks,  – Raj Nandy of New Delhi.

          THE ENIGMA OF TIME IN VERSE : PART TWO
   I commence by quoting Sonnet 60 of Shakespeare about Time,
   Hoping to seek some blessings for this Part Two composition of
   mine!
“Like as the waves make towards the pebbled shore,
  So do our minutes hasten to their end;
  Each changing place with that which goes before,
  In sequent toil all forwards do contend.
  Nativity, once in the main of light,
  Crawls to maturity, wherewith being crown’d,
  Crooked elipses ’gainst his glory fight,
  And Time that gave doth now his gift confound.
  Time doth transfix the flourish set on youth
  And delves the parallels in beauty’s brow,
  Feeds on the rarities of nature’s truth,
  And nothing stands but for his scythe to mow:
  And yet to times in hope my verse shall stand,
Praising thy worth, despite his cruel hand.”

              PHILOSOPHY OF TIME
Animals are said to live in a continuous present,
Since they have no temporal distinction of past, future,
or the present.
But our consciousness of time, becomes the most
distinguishing feature of mankind.
Though we are mostly obsessed with objective time, -
As the rotation of our Earth separates day from night.
With the swing of the pendulum and the ticking of clocks,
Which regulates our movements, while we try to beat the clock!
But the ancient theologians and philosophers of India and
Greece,
Who were among the first to ponder about the true nature
of all things,
Had wondered about the subjective nature of time;
Was time linear or cyclic, was time endless or finite?

GREEK PHILOSOPHERS ON TIME:
I begin with Heraclitus, the Pre-Socratic philosopher of 6th Century BC born in Ephesus.
He claimed that everything around us, is in a constant state of change and flux.
You cannot step into the same river twice Heraclitus had claimed,
Since water keeps flowing down the river all the while and never
remains the same.
This flow and change in Nature is a process which is ceaseless.
The only thing which remains permanent is impermanence!
Here is a quote from poet Shelley reflecting the same idea:
“World on world are rolling ever
  From creation to decay
  Like the bubbles on a river
  Sparkling, bursting, borne away.”

Now Heraclitus was refuted by Parmenides, born in the Greek colony of Elea,
On the western coast of Southern Italy, as his contemporary.
Parmenides said that our senses deceive us, since all changes are mere illusory!
True reality was only eternal and unchanging ‘Being’, which was both indivisible and continuous - filling up all space.
Zeno, a pupil of Parmenides, through his famous ‘Paradox of Achilles and the Tortoise’ had shown, that when the tortoise was given a head start,
Swift footed Achilles could never catch up with the tortoise,
Since the space between the two were infinitely divisible, resulting in the impossibility of movement and change in motion!
Now the Greeks were never comfortable with the Concept of Infinity.
They preferred to view the universe as continuous existing ‘Being’.  
However, unlike Heraclitus’ ‘world of change and flux’,
Both Parmenides and Zeno have presented us, with a static unchanging universe!
Thus from the above examples it becomes easy for us to derive,  
How those Ancient Greeks had viewed Time.
Time has been viewed as a forward moving changing entity;
And also as an illusory, continuous and indivisible Being!
To clarify this further I quote Bertrand Russell from his ‘History of Western Philosophy’;
“Creation out of nothing, which was taught in the Old Testament, was an idea wholly foreign to Greek philosophy. When Plato speaks of creation, he imagines a primitive matter, to which God gives form as an artificer.”

PLATO AND ARISTOTLE ON TIME:
For Plato, time was created by the Creator at the same instance when he had fashioned the heavens.
But Plato was more interested to contemplate on things which lay
beyond the sway of time and remained unchangeable and eternal;
Like absolute Truth, absolute Justice, the absolute form of Good and Beauty;
Which were eternal and unchangeable like the ‘Platonic Forms’, and were beyond the realm of Time as true reality.
Plato’s pupil Aristotle was the first Greek philosophers to contemplate on reality inside time, and provide a proper definition as we get to see.
He said, “Time is the number of movement in respect to before and after” - as a part of reality.
To measure time numerically, we must have a ‘before’ and an ‘after’, and also notice the difference objectively.
Therefore, time here becomes the change which we see and experience.
Time takes on a linear motion moving from the past to the present;
And to the unknown future like a moving arrow travelling straight.
Aristotle had developed a four step process to understand everything inside of Time and within human experience:
(a) Observe the world using our senses,
(b) Apply logical rules to these observations,
(c) To go back and consult past authorities, if your logic agrees with their logic,
(d) Then only you can come to a logical conclusion.

No wonder in our modern times, experiments conducted by the LDC or the Large Hadron Collider, located 100m underground near the French-Swiss border,
By going back in time simulates the ‘Big Bang’ conditions, that moment of our universe’s first creation.
The scientists thereby, study the evolution of our universe with time, which  resulted in the  finding of the Higgs Boson !  (On 4thJuly 2012)

NOTES :  All elementary particles interacting with the Higg's Field & obtain Mass, excepting for photons & gluons which do not interact with this field. Mass-less photons can travel at the
speed of light with a mind boggling 186,000 miles per second! Now this LDC is a Particle Accelerator 27 kms long ring-shaped tunnel, made mostly of superconducting magnets, inside which two high-energy particle beams are made to travel close to the speed of light in opposite directions, and the shower of particles resulting from the collision is closely examined, presuming that these similar shower of particles must have been produced at the time of the ‘Big Bang’ some 13.8 million years ago, at the time of Creation! Sound like fiction? Well, Prof. Peter Higgs got the Noble Prize for Physics, for locating the particle called ‘Higgs Boson’ among those shower of particles, on 10th Dec. 2013.

NOW TO LIGHTEN UP MY READERS MIND, FEW TIME QUOTE I NOW PROVIDE :

“TIME WASTES OUR BODIES AND OUR WITS,
  BUT WE WASTE TIME, SO WE ARE QUITS!” – Anonymus.

‘Time is a great Teacher, but unfortunately it kills its Pupils!’ – HL Berlioz

“Lost , yesterday, somewhere between sunrise and sunset, two
   golden hours,
   Each set with sixty diamond minutes.
   No reward is offered, for they are gone forever!” – Horace Mann


PLOTINUS & ST. AUGUSTINE ON TIME:
Now getting back to our Philosophy of Time, there was Plotinus of the 3rd Century AD,
The founder of the mystical Neo-Platonic School of Philosophy.
He had followed Plato’s basic concept of Time as “the moving image of eternity.”
Mystic Plotinus tried to synthesize both Aristotle and Plato by saying that the entire process of cosmic creation,
Flows out of the ONE  through a series of emanation!
This ONE gave rise to the ‘Divine Mind’ which he called the ‘Realm of Intelligence’ and is an aspect of reality,
When everything is understood in terms of Platonic Forms of Truth, Justice, the Good, and Beauty.
However, the later Christian theologians had interpreted this ONE of Plotinus, -
As the Christian God, the Divine Creator of the Universe.
For God is eternal, in the sense of being timeless, in God there is no before or after, but only a timeless present.

Now this lead St. Augustine, to formulate a very admirable relativistic theory of Time!
St. Augustine, the greatest constructive teacher of the Early Christian Church, had written in Book XI of his ‘Confessions’ during  5th century AD, -
His thoughts about the enigma of Time which had perplexed the Greek philosophers of earlier centuries.
To simplify St. Augustine’s thoughts, I now paraphrase for the sake of clarity.
Time can only be measured while it is passing, yet there is time past, and time future in reality.
To avoid these contradictions he says that past and future can only be thought of as present: ‘past’ must be identified with memory, and ‘future’ with expectation.
Since memory and expectation being both present facts, there is no contradiction.  
“The present of things past is memory, the present of things present is sight; and the present of things future is expectation,” - wrote St. Augustine.

This subjective notion of time led St. Augustine to anticipate Rene Descartes the French philosopher the 17th Century,
Who proclaimed “Cogito, ergo sum” in Latin, meaning “I think, therefore I am”, and is regarded as the Father of Modern Philosophy.

Now cutting a long story short I come to Sir Isaac Newton, well known for his Laws of Motion and Gravity.
Newton speaks of ‘Absolute Time’ which exists independently, flowing at a consistent pace throughout the universe, which can only be understood mathematically.
Newton’s ‘Absolute Time’ had remained as the dominant concept till the  early years of the 20th Century.
When Albert Einstein formulated ‘Theory of Space-time’ along with his Special and General Theory of Relativity.

Now the German philosopher Leibniz during 17th century, had challenged Newton with his anti-realist theory of time.
Leibniz claimed that time was only a convenient intellectual concept, that enables to sequence and compare happening of events.
There must be objects with which time can interact or relate to as ‘Relational Time’ he had felt.
Ernst Mach, like Leibniz towards the end of 19th Century, said that even if it was not obvious what time and space was relative to,
Then they were still relative to the ‘fixed stars’ i.e. the bulk of matter in the universe.

CONCEPT OF TIME AS 'SPECIOUS PRESENT' :
During late 19th century, Robert Kelley introduced the concept of ‘spacious present’, which was the most recent part of the past.
Psychologist and philosopher William James developed this idea further by describing it as ‘’the short duration of which we are immediately and incessantly sensible’’
William James also introduced the term “stream of consciousness” into literature as a method of narration,
That described happenings in the flow of thought in the mind of the characters, - likened to an internal monologue!
This literary technique was later used by James Joyce in his famous novel ‘Ulysses’.

TIME CONCEIVED AS DURATION: HENRI BERGSON (1859 -1941)
Next I come to one of my favourite philosopher the French born Henri Bergson.
The Nobel Laureate and author of ‘Time and Free Will’ and ‘Creative Evolution’.
Will Durant in his ‘Story of Philosophy’ says Bergson was ‘the David destined to slay the Goliath of materialism.’
It was Bergson’s ‘Elan Vital’ that life force and impelling urge, Which makes us grow and transforms this wandering planet into a theatre of unending creation.
For Bergson, time is as fundamental as space; and it is time that holds the essence of life, and perhaps of all reality.
Time is an accumulation, a growth, a duration, where “duration is the continuous progress of the past which gnaws into the future and which swells as it advances.
The past in its entirety is prolonged into the present and abides there actual and acting.
Duration means that the past endures, that nothing is lost.
Though we think with only a small part of our past; but it is with our entire past that we desire, will, and act.”
“Since time is an accumulation, the future can never be the same as the past, -
For a new accumulation arises at every step, and change is far more radical than we suppose…the geometric predictability of all things, Which is the goal of a mechanistic science, is only a delusion and a dream!”  
Bergson goes on in his compelling lyrical style:            
“For a conscious being, to exist is to change, to change is to mature,
to mature is to go on creating one’s self endlessly. Perhaps all reality is time and duration, becoming and change.”
Bergson differed with Darwin's theory of adaptation to environment, and stated;
“Man is no passively adaptive machine, he is a focus of redirected force, a centre of creative evolution.”

Martin Heidegger, the German thinker in his ‘Being and Time’ of 1927, had said:
“We do not exist within time, but in a very real way we are time!”
Time is inseparable from human experience, since we can allow the past to exist in the present through memory;
And even allow a potential future occurrence to exist in the present due to our human ability to care, and be concerned about things.
Therefore we are not stuck in simple sequential or linear time, but can step out of it almost at will!

CONCLUDING  PART  TWO OF ENIGMA OF TIME IN VERSE
In this part I have tried to convey what the Ancient Greek Philosophers had felt about Time in a simplified way.
Also some thoughts of Medieval and Early Modern philosophers and what they had to say.
Where Sir Isaac Newton stands like a colossus with his Concept of Time, Laws of Motion, and Gravity.
Not forgetting Henri Bergson, one of my favourite philosopher, of the mid-19th and the mid-20th Century.
All through my narration I had tried to hold the interest of my readers, and also educated myself as a true knowledge seeker.
In my concluding Part Three I will cover few Modern Philosophers along with the relativistic concept of time.
Certainly not forgetting the space-time theory of our famous Albert Einstein!
Thanks for reading patiently, from Raj Nandy of New Delhi.
  *ALL COPY RIGHTS ARE WITH THE AUTHOR ONLY
RAJ NANDY Apr 2015
Dear Poet Friends, being fond of Art, I wanted to compose on
this topic for a long time in a simplified form! Egyptian Art and
Architecture influenced the Early Greeks, who in turn influenced the Romans and other civilizations! Initially Art and architecture, religion and culture, were all closely inter-related! Real distinction emerged with the Italian Renaissance. Here I have used only a portion of my personal notes. Hope you find this interesting to read! Sorry for the length! Kindly give Comments after you have managed to read the entire portion in your spare time. Thanks, -Raj

INTRODUCTION TO THE STORY
OF WESTERN ART IN VERSE:
          PART ONE
    * BY RAJ NANDY

INTRODUCTION
Art over the centuries has been variously defined,
But an all embracing definition is rather hard to find!
Ayn Rand defined Art as a recreation of reality according to
artist’s values, his view of existence, and choice;
Who recreates by a selective rearrangement of the elements
of reality, and not simply out of a void!
Study of Art History is a study of man’s creative evolution;
A progress of his wakened consciousness, and a restless
striving towards perfection!
The progress of his mind, taste and skill, which has gradually
evolved through past traditions;
Finding ultimate expression in his multi-faceted creations!
I commence this story from its earliest days, and mention those
Ancient Civilizations which influenced Art in many ways.
Art has been greatly influenced by religion, culture and history;
Therefore, knowing these aspects becomes necessary to
fully appreciate this Art Story!

PREHISTORIC STONE AGE ART:
Let us take a ride on the magic carpet of History, down
past millenniums to begin our Art Story;
Right into the ancient Paleolithic, Mesolithic and Neolithic
Eras of the Stone Age,
When early humans left their creative imprints on rock
surfaces and on walls of caves!
Long before the evolution of any proper coherent speech
or communication,
In some 350 caves of France and Spain are seen paintings
of large wild animals like horses, antelopes and bison;
Bearing witness to the story of gradual human evolution!
The cave paintings of Chauvet, Cosquer, and Lascaux, date
between 8000 and 1700 BC,
Drawn by nameless and faceless people who emerged from
an inhospitable Ice Age;
Those nomadic tribes who were hunter-gatherers living in
pre-historic caves!
The Story of Art therefore begins before recorded History,
Pieced together by scholars with the help of science and
archeology!
During the Neolithic Period beginning around 8,000BC,
Ancient man became gradually sedentary, engaging in
agriculture and animal husbandry!
With these nomads settling down in small communities,
Art became mystical and monumental in range;
As seen in the megalithic (large stone) structures of the
famous Stonehenge!
This type of post and lintel structure is also found in ancient
Egyptian architecture, and later in Greece as its special
feature!
Art History spans the entire history of mankind,
Right from the pre-historic days, up to our modern times!
Man’s everlasting quest for immortality lies etched on
rocks and raised stone edifices, defying marauding Time!

MESOPOTAMIAN ART (3500-300BC) :
Let us now travel fast forward on our magic carpet to reach
the Fertile Crescent,
Where the Tigress and the Euphrates Rivers flow, to the
Ancient Civilization of the Sumerians! (3500-2300BC)
The birth of civilization has been traced to Southern
Mesopotamia, where the Sumerians built their first cities,
As the earliest River Valley Civilization around 3500 BC!
It was a period when writing got invented in its earliest
Cuneiform form;  (around 3400 BC)
When Patriarch Abraham established the worship of a Single
God, in a revolutionary religious reform! (Judaism)
Mesopotamian Civilization as the source of our earliest
surviving Art dates back to 3500BC;
When major civilizations like the Sumerian, Akkadian,
Babylonian, Hitties, Assyrian, and the Persians, in this
chronological sequence, contributed to Art History!
Mesopotamian Art in general glorified their powerful rulers
and their connection with divinity;
Reflected on their city gates, palace complexes and ziggurats,

are scenes of both victorious wars and their prosperity!
Art was then highly functional and repetitive; depicting
love of beauty, a sense of order, and power of hierarchy,
- in their sculptures and motifs.
However, no signatures were ever found bearing the name
of the Artist!
It is interesting to note that both the potter’s wheel and the
cart wheel, made their first appearance around 3500 BC
and 3200 BC respectively;
With the Sumerians contributing to art and culture, and the
progress of Human Civilization immensely!
(Ziggurats are semi-pyramid like structures with steps, a temple complex located in the center of all ancient Sumerian cities-states! Saragon the Great of Akkad from the North, defeated the Sumerians in the South, & united entire Mesopotamia around 2300 BC, for the first time in Mesopotamian History, & they ruled for 200 years.)

ANCIENT EGYPTIAN ART :(3000 BC -500BC)
Next we travel to an isolated area of north-east Africa,
Where the White Nile flows down from Lake Victoria.
The Nile enters Upper Egypt traveling through Sudan,
Is joined by the Blue Nile at Khartoum to become one!
Continues its flow north through Egypt Lower, flowing
into the Mediterranean as the World’s longest river!
Historian Herodotus had called Egypt ‘the gift of the Nile’;
Ancient Egypt became a rich treasure trove of art and
architecture for all times!
The Nile valley area was protected by the desert on its
east and the west;
In the north by the Mediterranean, and towards the
south by a rugged mountainous terrain!
Annual flooding of the Nile along with an effective
irrigational network,
Ensured Egypt’s prosperous stability, congenial for her
many innovative architectures and art works!
Egyptian Art got shaped by her geography, mythology
and her polytheistic religion;
Also by their preoccupation with after-life and belief in  
the immortal soul’s continuation;
Thus elaborate funeral rites were performed by priests for  
the body’s preservation by mummification! *
(
’KA’= was a real astral twin or stellar double of an Individual, which continued to exist even after death, requiring the same sustenance as the humans, so food offerings were made in the coffins! ‘BA’= shaped like a human-headed bird, composed of non-physical attributes of an Individual. ‘BA’ collected the deceased’s personality after death from the mummified remains & united it with the ‘KA’, making a person complete; thereby making it possible for the person to be reborn as ‘AKH’ (Star), - in its ultimate unchanging form, to join Osiris in the ‘Happy Fields’! Since this journey to the next world was fraught with danger, magical funerary spells & rites were performed by the priests, with incantations from the ‘Book of the Dead’, inside the funeral chamber of the Pyramid!)

Art During Old, Middle, and New Kingdom Period:
Egyptian Art was concerned with ensuring continuity of the
universe, their Gods, the King and the people;
A projection into eternity a version of reality pure and free
from all earthly evil!
Therefore in ancient Egyptian society, conformity over
individuality was always encouraged;
Artists worked in groups with conservative adherence to
rules, order and form,
And all individual artistic initiatives strictly discouraged !
Their earliest pyramids the Mastaba, the Step, and the Bent
Pyramids were all prototypes;
While the Great Pyramid of Giza built for Pharaoh Kufu,
- was the first true pyramid which still survives!
Art comes down to us as ‘funerary art’ designed for the tombs,
Which was to accompany the royalty in their journey to an
afterlife, with its symbolic forms!
This symbolism is seen in their paintings, statues and architecture;
In vibrant color codes of their paintings as a special feature!
Where White was the symbol of purity, Black for death and night;
Green for vegetation or new life, Blue for water and the sky;
Red for life and victory, and Yellow like Gold as the flesh of the
Gods and also the Sun God ruling the sky!
Thanks to Jean-Francois Champollion’s translation of the Rosetta
Stone, (1822)
We are able to decipher many mysteries of the Ancient Egyptian
with the cracking of the Hieroglyphic Code!
Larger than life statues with poise and austere harmony at the
Luxor Temple complex survive;
Symbolic of the individual’s status, while creating zones of
strangeness for imagination to thrive!
(
’Matsaba’= Egyptian for ‘bench’, referred to bench shaped pyramids;
“Step Pyramids” = were like benches placed one on top of the other in
a tapering form going up vertically!)

The Old Kingdom Period covers a five hundred years span
of Ancient Egyptian History, (2686-2181BC)
Known as the ‘Age of Pyramids’, with Pharaohs from the
Third to the Sixth Dynasty!
“The World fear Time, but Time fears only the Pyramids”,
- is an Ancient Egyptian Proverb;
Whose ‘heterogeneous structure’ made it earthquake
proof, making Time to reluctantly serve! #
Here we find formalized figures with long slender bodies,
idealized proportions and large staring eyes;
Where Kufu’s Great Pyramid of Giza raises its mighty head
as the highest, on the west bank of the Nile;
And the mighty Sphinx guard the entrance to those ancient
royal tombs, though defaced, still survive!
These pyramids were like Pharaoh’s getaways to eternity,
An insurance to an afterlife of peace and prosperity!
(# Pyramids with stone blocks of different sizes & shapes made them
Earthquake resistant; & use of pink granite in the inner chambers
made them erosion resistant against Time!)

The Middle Kingdom Period (2040-1650 BC) :
Following 150 years of civil disorder Theban ruler Mentuhotep
the Second, reunified Egypt and ruled up to Nubia, (Sudan)
And began the Classical Era when Block Statues appear,
indicating political stability;
When artisans worked with bronze and copper alloys, designing
exquisite jewelry!
Kings now preferred to be buried in secret tombs, Pyramids
having lost their appeal,
And work began on the west bank of the Nile, in the Valley of
Kings!
(
Inside those rock cut ‘funerary temples’ on the East bank of the
Nile, opposite Ancient Kingdom of Thebes ; Pharaohs from the
Early and Late New Kingdom Periods were buried, including
Tutemkhamen.)

Early New Kingdom Period (1550 -1295 BC):
Between the Middle Kingdom and this Era, Art remained
static for almost a hundred years,
When the Hyksos from the Near East fought the weak Theban
Rulers!
In 1550 BC Theban Prince Ahmose reunited Egypt, and was
succeeded by able rulers, who ushered in the Golden Age!
Art works continued to maintain its basic traditional style,
With successive Kings from the 18th Dynasty consolidating
their kingdom’s wealth and power all the while!
But Egypt witnessed a change with an innovative style in Art,
When Amenhotep IV in 1353 BC became King, initiating a
fresh start!
This king changed his name to ‘Akhenaten’, the spirit of Aten,
-- ‘The disk of the Sun’;
Abandoned the pantheons of Gods with Aten as the ‘sole God’,
and a religious revolution had begun!
His new capital city of Amarna, 200 miles north of Thebes,
Got decorated with a new kind of art work to make it complete!
The statues now appear more realistic displaying emotions,
With fluidity of movement, unlike those rigid earlier creations!
The artistic talent of this Amarna Period gets best exemplified,
In the exquisite bust of Nefertiti, Akhenaten’s Great Royal Wife!
Regarded as ‘icon of international beauty’, a great archeological
find ! **
(
Discovered by a German team of Archeologists in 1912 at Amarna! This 19 inch long limestone Nefertiti statue weighs around 20 kg, now housed in Berlin Museum; comparable only to the artistic Golden Mask of Tutankhamen!)

King Tutankhamen (1336-1327 BC):
Akhenaten’s unpopular rule was short-lived, with those humiliated
Theban priests calling him the ‘Heretic King’!
A nine year old boy Tutankhamen (‘The living image of Amun’),
was next to succeed him!
King Tut restored the worship of Amun, in a back-lash against
Akhenaten;
Shifted the royal palace back to Thebes, with the religious center
at Karnak once again!
King Tut’s short ten year’s rule remained buried in 3000 year’s
of Egyptian History,
Till Howard Carter found his richly laden intact tomb, in the
Valley of the Kings! (1922)
King Tut’s priceless and exquisitely carved golden face mask,
reflected the exalted standard of art work;
Weighing ten kilos, inlaid with semi-precious stones, and eyes
made of obsidian and quarts!
With the King’s early death, the 18th Dynasty of Pharaohs came
to an abrupt end,
And the 19th and 20th Dynasties of the Late Kingdom Period
commenced!
The famous rock temple of Abu Simbel now got built, under the
warrior and builder Ramses II, one of Egypt’s greatest Kings!


Pharaoh Ramses-II of the Late Kingdom Period :
Here I sweep across centuries of Egyptian History, to mention
King Ramses-II’s contribution to our Art Story!
In Shelly’s famous poem titled “Ozymandias of Egypt” he is
immortalized; (Greeks called Ramses-II “Ozymandias”!)
And as the Pharaoh associated with Moses in the movie “The
Ten Commandments”, he is popularized!
Egyptian Art is intrinsically bound with its religion, pyramids,
hieroglyphs, and architecture;
With a concentrated focus on ‘afterlife’ as its special feature!
In 1270 BC young Ramses took over from Seti the First,
And his rule for a period of 66 long years did last!
As the third Pharaoh of the 19th Dynasty, he had ruled with a
firm hand;
Recovered lost territories from the Hittites and the Nubians,
- earlier captured Egyptian lands!
He enlarged the territories of Egypt ensuring prosperity and
stability;
Became renowned as the famous Warrior and Builder King
of Ancient Egyptian History!
Ramses-II had expanded most of the temples, as recorded in
the artistic motifs and hieroglyphic symbols;
Here a special mention must be made of the Temples of Luxor,
Karnak, and Abu Simbel !

Temples of Luxor and Karnak in Ancient Thebes:
Ancient Thebes was located on the eastern bank of the Nile,
where the modern City of Luxor stands;
Thebes was once the capital of the 11th and 18th Dynasties,
And the power and religious center of all Egyptian land!
Gets mentioned in the 9th Book of Homer’s ‘Iliad’ where “heaps
of precious ingots gleam, the hundred-gated Thebes”!
Excavation work began in Thebes during the late 19th century;
And the gradual unearthing of the Temples of Luxor and
Karnak, added a new dimension to Egypt’s Art Story!
It must be remembered always, that the Ancient Egyptians in
those early days,
Structured their temple architecture to the point of ‘Sacred Art’!
With their knowledge of astronomy and geometry, they
aligned their temples so perfectly,
That the light of the rising sun fell on the temple’s innermost
sanctuary! (Temple of Abu Simbel is a great example,)
Where the Egyptian priests, who were also the artists, healers,
mathematicians, astronomers and scribes;
In dimly lit incense-filled sanctuaries performed the sacred rites!
The temples symbolized the cross roads of the cosmos, where
the divine and the mortal met in perpetual harmony!
These divine scenes were integrated into the very fabric of the
Egyptian society through chants and rituals;
With cosmological symbols of magical hieroglyphs, which
priests alone could transcribe in those days!
(
Thebes began to decline rapidly after Alexander the Great
established the port-city of Alexandria as Egypt’s new Capital
around 332 BC !)

Luxor Temple built by Amenhotep-III, was dedicated to God
Amun, his wife Mut and son Khonsu, - the Theban Triad;
Tutankhamen and Ramses-II expanding the temple during the
New Kingdom Period!
Creator God Amun became assimilated with the Sun God Re;
Was worshipped in Thebes, and in the cult centers of Luxor and
Karnak, - as Amun-Re!
The walls and columns of these cult temples were decorated
with carved and painted relief,
Depicting the interaction with Gods, and military exploits of
Egyptian Pharaohs and Kings!
The sun temple of Amenhotep-III at Luxor has many columns
resembling papyrus bundles,
Symbolic of the primeval marsh from where Creation was
believed to have unfolded !
A Sphinx Alley excavated between Luxor an
Mateuš Conrad Jan 2020
.i do expect you to become lost in this labyrinth - at least that's what i'd rather say - sleep-deprivation is for "some" reason to escape the mediocre of having catched the "8 hour wink"... or whatever the Minotaur wouldn't call it... because i wouldn't call it a "problem" of "gender-neutral pronouns" either... i would call it a "problem" of noun-acquisition-status of letters; notably in greek and hebrew.

friends of "the" family have been looking
for on fb,
****... the caron S (š) will not do!
i need to use two alphabets that...
did not nurture yiddish into existence!
cyrillic didn't accept hebrew...
it'll have to do...
it wouldn't be enough to simply write
my name in cyrillic...
and no... in hebrew no less!
since the vowels are hidden...
and inserting the proper hebrew vowel...
it still wouldn't matter that...
my surname is missing... the galician germanic
e(ch)lert or the e(sch)lert...
no... but how is one to insert
the right kind of vowel: all in hebrew niqab
harem of diacritical markers subscript...
when... you don't have...
enough letters as nouns as scientific
constants as the greeks... do...
i guess only η (eta) stands out as a sore thumb /
black sheep... but i am bound to be wrong,
in the meantime:
well it's hardly a letter-with-a-noun
inclined akin to alpha (α) -
otherwise all is well...
we use the prefix prime (the grammaton per se)...
and discard the suffix when constructing words...
ergo? a-lpha...
and so an so forth...
till be arrive at...
blasting your ears nearing deafness because:
beethoven's mrs. H is:
music so you have to shout over it!
loud! what?! loud music!
loud music what?! loud music
to shun the "pain"...
oh... see you in one of those classes
when you can write sign-language for the dead
when you've been allowed to write braille!
see you sputnik ****!
yeah, see you deaf in one year divine John!
but you get the promise that's:
not your everyday latin castrato sing-along...
those greeks sure have all the best
science... stabilizers... not a lot of songs
to sing along to... because their letters
are also noun-status: also have noun-status...
otherwise the ol' prefix use...
and the suffix recycling centre...
a word like: matter...
well...
   ματτερ - no... i will not use the greek word...
i'll state... mmm... hm!
mu implies m- and cutting off the -u...
alpha implies a- and cutting off the -lpha
tau implies t- and cutting off the -au...
epsilon implies e- and cutting off the -psilon
rho implies r- and cutting off the -**...
and so... we have the word matter...
and the recycled materials for...
some other words...

hebrews? hebrews do have... noun-status letters...
(א) aleph - what's vogue?
inserting the iota into the omicron that's
the marriage: φ (phi)...
or whether it's the turning of the iota in
the omicron to provide the opening of the door
θ (theta) to see: that light at the end of the tunnel
delta (Δ)... again... it's only aleph we're "investigating"...

the other letter in hebrew with a noun-status?
(ג) g'imel...
another is (ד) d'alet...
(ז) z'ayin...
(ל) l'amed...
(ס) s'amekh... most certainly (ע) a'yin...
(צ) t'sadi...

interlude: what is the distance
between (א) a'leph and (ע) a'yin?
a kametz...

now we can "debate" - noun-status letters...
the greeks are in the same sort of pickle
as the hebrews...
there can be a debate whether...
the greeks have more than:
alpha, beta, gamma, delta, epsilon, iota,
lambda, omicron, sigma, upsilon, omega
as noun-status letters...

why? because it becomes silly...
(ק) qof and (κ) kappa...
(ר) resh and rho (ρ)...
(שׁ) and... well... to be honest...
that's heading into cyrillic territory...
and the caron S (ш)...
given (ס) samekh and sigma (σ)...

this always happens to me when i come
across a hebrew...
even if he's old and riddled with dementia...
i see him with his polish bride
and i see a "romanian gypsy"...
the feeling is... strange...
this hebrew is like an old cousin of mine...
but it's always a touch of magic...

i am not good at solving crosswords...
(כ) 'xaf' and chi (χ) -
perhaps i have exagerrated the letter-as-noun
status on some of this greek and hebrew...
tightly-knit bed-fellows...
as the boasting resounds in the labyrinth
of the rise and fall of the roman empire...
and the barbarian attempts to have
settled the lands near the seven hills...
and revived the eagle...
spec-ta-cu-lar failures!

the germans should console themselves
with having a crow on their marching banners...
and polacks should...
satisfy themselves with the unicorn myth
of an all-white bald eagle... albino eagle...
and so the harry potter: minus ***** 'arry
can have their unicorns, swans,
honey-badgers, welsh dragon,
st. andrew's gryffindors... etc. -

name, a name... i need to... change it...
obviously...
no hebrew vowels will be used...
since... their use... is devoid of what's already
concrete usage of diacritical markers
in established letters...
if cyrillic and hebrew is to be used...
and not greek and hebrew:
because... well thank you for the new testament
riddle... let's move... away...
to "greater" / other... things....

i can't use a kametz alpha
a tzere epsilon
a chirek iota
a cholem omicron
or a shurek upsilon (omega)...
so all the vowels will have to by cyrillic...

my... latin, name?
mateusz konrad... let's drop the surname...
let's call it a game of:
ibn... or ben... matthew son of konrad...
and since i don't have a... confirmation name...
what name? i would have chosen: Isidore...
after the saint of seville...
or... Ignatius (of Loyola) -
the only fun part of going to a catholic school
was... learning about the counter-reformation
and writing an essay about it...
and their library was decently stacked...
so... plus plus...

this is but a simple exercise...
first the name in cyrillic...
there will not be a full name in hebrew...
which i'll probably lace with greek...
and it will still make all the more perfect
sense... should it be transliterated back
into anglo-ßaß...
yeah: why i don't have a girlfriend...
with these sort of interests?
i guess an hour with a *******
once a year is enough for me...
and for womankind in the hospice of omni...

just following the laziness
of the russian visa authorities are the embassy...
they didn't translate mateusz into matvei
or konrad into: Дракон...
мат-вей...

these are the sort of idiotic tier-1 level
кaцaпс... working in the russian embassy in Loon'don...

because i was never going to be the матвей
who'd **** an илoнa like the 300 deadly mongrel
saracren mameluks or the spartans... no...
i counter the 7 headed beast on her
with every ****** in that one night
i was making my final goodbyes...
but keeping the mikhail bulgakov novel...
through a repose in Warsaw and...
i finished what, "apparently" i wasn't supposed
to finish...

and she is one of those troubled girls...
every ****** partner that meant anything to her...
she will have a tattoo of that lover
on her body... i know my place on her body...
it's on the right shoulder-blade...
the tattoo is of a dragon...
i know because i've met girls like her...
elsewhere...

even as i was being driven home after taking
my mother for her rheumatoid arthritis check-up,
blood test, x-ray... and the pakistani cab-driver
was talking about all the precautions he needs
these days: video ahead of the bonet for insurance
policy... a camera looking in...
and audio recording on his smartwatch...
because what he said... didn't surprise me...
i once picked up a spanish girl - Tamara in a club...
and she decided to take me home
for a one night stand...
as we were approaching the house she was
sharing with three homosexuals
she decided to jump out of the cab...
and make a runner... i calmed the cabbie:
i'll pay for it...
we tried to later **** the hetreosexual way
with her calling me angel because
of my "erectile dysfunction" under the bed sheets
in that putrid smoke of cocoon ***...
like the birth of a rancid moth embryo and
choking from the heat of dust and alcohol
and... what i am alluding to is that some girls
do jump out of cabs to avoid paying the fair...
i knew what the pakistani cabbie was saying...
she owed him 40 quid...
he filed the whole thing to the police...
she accused him of ****** assault...
the story would have fit...
she run from the cab when he tried to sexually
assault her... but... he did have
that audio recording from his smartwatch...
in the end the girl was fined 700 quid...
which is nothing... compared to...
what's that called in h'america? a false accusation?
slander?
i know that girls jump out of cabs...
to avoid paying the fare...
i drove with one... who did just that...
i guess she was so used to this act that she
forgot i was sitting next to her...

- all the *****... but then all the chem-soup
post-psychiatric *******?
the ***** i can stand...
the pills are just tasmanian devilish when
it comes to catching the perfect
battery insomnia recharge...
and always meeting and respecting
the elder of the group darwinistic:
prat pact... a hebrew...
there always needs to be a yew
a *** in the equation...
no... not some english society
uncle tom worth of a high society rabbi...
i mean a jew that will support
west ham... because...
it's an irrational team...
it can fathom beating chelsea (A)...
but then... "forget" to win against...
for god's sake! Norwich (H)!

i know! i know! joseph conrad took his place!
here's my part anagram!
Mатвей Дракон...

the near non-existent diacritical presence
in the english language...
well... no "surprise surprise" if...
you're starting with
и (i) or rather (ı)...
and what's being the flock of salmon
up the river, being caught?
the j but not (ȷ)... imagine my... "surprise"
that the russians arrived at...
и and ı - in tow... ȷ and the й...
the breve...
parabolla or... my eyes only see
the microscopic details when someone
will simply slurr?

- borrowing from yesterday and...
in the early night of winter standing
in the garden with four potatoes
and something else...
looking up at the sky...
i am used to seeing unusual "things"
in the sky -
i'm not unusual when it comes
to having seen a u.f.o. - fluorescent
and squid like in colour -
but i'm also the sort of person that
would carry a few beers for such
spontaneous encounters -
rather running around like a raving
lunatic armed with a camera
filming the whole thing...
i have no proof: i hope my words are enough...
and if they're not?
well... if it can be seen with a naked eye -
i don't need to blink via a technological
feed and argue about: quality of the picture...

but even i wasn't ready for...
what i saw today...
those are roaming stars? aren't they?
and i really did forget to count how
many moved in the same direction
askew - one by one with equal distance
between them - before the distance between
extended - there must have been more than
10 - i'd say there were around 20!

is this always how things are -
when one contemplates the tetragrammaton?

part anagram? well because the russian
do have a version of the hebrew matisyahu...
but they do not have the german conrad
in their language...
probably as to why the germans do not
really have... a yuri or nikita in their language...
nikita after all sounds more feminine than
masculine - anyone could with hindsight
speak of mr. rocketman's lover of
the same same... as not some russian beau
example of the fairer ***...
but a comrade khrushchev...

- and why wouldn't i call those russians
that work in the russian embassy in Loon'don
кaцaпы? for one... they just type letter for letter:
a mateusz / a matthew is a мaтэусз...
for all "legal" purposes...
they already have the сз = ш...
bureucratic purposes...
and no wonder some are like:
how do you say that?
too many consonants some add...
and i really did think that all of us were
allowed to be fully literate...
that's not the case... blowing my own horn...

having a wet ***** over: because i like my given
names... perhaps that's why i didn't want
the confirmation option of being allowed
to change any of my given names: legally...
to one of my own chosing...
when i was 15 / 14 i didn't even known
or think about a name like Isidore...

when the german name became coupled
with a hebrew loan...
otherwise the russian with the first
being an anagram... drakon -
Mатвей Дракон - it's just a name -
it's my name - what's in a name is what's
precisely not in anonymous names
.666 handles and avatars on the internet...
i can own my face - and i can own my name...
because - i kind of like it...

again: on in russian can the west slavic
C be distinguished from the K... Ц -
and back into the cyst of the western lands...
Ç or what came with sigma's tail...
it's so... boring... to have less the different
sounding letters - given no diacritical markers -
and only the "exotica" of spelling -
all the metaphysics in the world combined
and concentrated in greenwich...
but no real orthography...
i could begin the day by bemoaning this poverty
of the english language...
oddly enough as both the outsider coming in...
the immigrant who became a citizen...
and as the insider coming out and coming in
again on that expatriate spectrum of
working from the thesaurus: IMMIGRANT...
for all the beauty of Macbeth...
i can have to ruse myself to bemoan
conventional english... the formal english...
the antithesis poetica...

but i do somewhat "know" why it's called
a tetragrammaton...
i wouldn't classify any of the letters that make it up
as noun-worthy letters...
the kametz (a) and the tzere (e) are nouns...
and letters... but you don't see them when
the hebrew doesn't exfoliate and is left
crude with "missing vowels" for the gentiles
to read...
saying that... calling ה (he) a noun is pushing it...
as is calling ו (vav) a noun...
or י (yod) - although...
the yod could be allowed a noun-status
as... an apostrophe... or a version of the caron -
but the remaining letters of the tetragrammaton...
are "syllables" in that they are consonants...
and when the tetragrammaton comes face
to face with noun-status letters of its own
universe: g (ג) gimel, d (ד) dalet, z (ז) zayin -
l (ל) lamed, s (ס) samekh, ц (צ) tsadi -
resh? shin? the gates are open to allow the question
in... but when...
there's also siamese Adams aleph (א) and Ayin (ע)
being and nothingness respectively...

what could Islam possibly offer me...
intellectually?
when i once asked a muslim what...

alif, lam, meem                                      meant...
he replied... only god knows...
so i thought... only god?
i must have been talking to one of those muslims
who have arabic overlords...
before they can catch a whiff of the almighty
blah'llah...
ا, لَـ, مَـ
again... greek only touches upon...
the initial - the medial and the final
version of sigma...
isolated you would see the capital sigma...
Σ - which could also be treated as the initial
letter - given that the σ looks more like a medial
form - although it's also initial -
whereby ς is the final form -
almost like the english: 's... apostrophe s -
which could be claimed to be an article of possession...
or the plural article when the apostrophe
disappears - or when the ς altogether disappears
when: the possession is plural:
a teachers' strike... e.g.

no not with a fatha - we have our own diacritical
markers... thank you...
but good question...
so... why is the meem written in an isolated
form in the word - yawm (day)...
but not in a final form?
but i do not write in a squiggly line in this digital
arena... perhaps my language looks simply
written... oh yes, the aesthetic of the arabic script
is always stressed...
but even the hebrews think like the greeks
and the latins... in a way...
nothing has to flow in one river-wry format...
there's no isolated letter... of a letter -
as there's no initial no median and no final
form of it... but there is a "question"
of the hiding of vowels...
for gentiles and muhammadians alike...

- perhaps some will call it the trans-community...
there was once a dead poets' society...
evidently with the rise of de-transitioning...
there's now a nag hammadi library society...
circa 1945 when this library was left unchecked
in the hands of: the children
with too many toys and too many sandpits...
probably that one neu-mecca of san francissco...
at least the dead sea scrolls:
that were unearthed at about the same time...
treated the hebrew far better than
the nag hammadi library treated its children...
and why the former power, the vatican,
didn't step in... to control these text...
as they flew out on a *****-nilly without
herr zensor... herr inquisitor...
i will never know...
the scouts of medicine left... black holes
of having advanced in the field of anaesthetics...
too many toys for the the children
with too many sandpits...

- because i would rather the fascination
with a language... than its immediate...
polyglot acquisition and use...
if i put my head to it... perhaps i could
speak the 7 languages my great-grandfather spoke
before jumping into the Niagara Falls
leaving a postcard sent...
but when i peer into the details...
i quiet like these two trenches of mine...
this english this canvas and my eye toward
the east and the south and semites...
just because english is a language without
diacritical markers...
a language filled with metaphysical dialectics:
but missing any mention of orthography...

a hebrew might hide a vowel...
and write only consonants on street signs
for a gentile to read...
but then the gentiles' languages morphed...
and a vowel became distinct...
there is A that begins the word: ah-men...
but there's also an A that is invoked with a tail
to point and identify a tree, an oak:
dąb...
so much for kametz being hidden...
if there's no 2nd tier "complexity" of kametz...
but there is one for the visible...
A - vowel - a vowel with a tail...
but without a name -
as all letters are - whether vowel or consonant...
in the litany and choir of the castratos
of ancient Rome...

pause with me...
what music are you listening to?
i'm listening to... years of denial - burning sun
(veyl channel) - 1,319 views...
i like to... find the better alleys of my entertainment...
as i can't hate kevin spacey...
not because of kevin spacey...
but because of lester burnham...
or more to the point...
why thomas newman reminds me of a...
reincarnation of Satie...
not a Chopin or a Liszt virtuoso of the piano...
not a when a hammer strikes
a line of 88 nails...
but when a butterfly chances the here and there,
on a shy-loot of a beauty of scarce sounds...
just the same of nostalgia for this era of
movies borrows me from out any new
suspence... as that sort of nostalgia creeping
into people born in the 1960s who truly
admire h'american movies from the 1950s...
even i am to blame when i feed
a nostalgia - more to the point for the technicolour
acryllic glow akin to...
richard quine's 1958 bell book and candle...
but of course scandinavian existential cinema
of a Bergman would be in black and white...
black and white photographs...
but if we're talking movies?
Undogmatic & Kernfeld - thought experiments...
Amanti d'oltretomba (1965)...

i will have to refine the greek to hebrew to greek
similarities...
an Ezra Pound can hide behind counting
matchsticks and reading into chinese ideograms...
when lo and behold! some japanese *******
comes up with a minimalism of the on'yomi...
or perhaps japanese is a language
that fuses elements of braille?
no point question the matter since
the mongols famously didn't come over to Japan
to add to the already Mandarin caste of
the kun'yomi...

but no... these greek letters are nouns...
even though π is equivalent to understanding
the wheel a posteriori: as a circle -
prior to there was only a wheel but no
knowledge of the dynamic of the radius,
or the diameter...
but it's still a prefix weak hardly a noun...
alpha and beta are nouns because they
denote something - prefix category shared -
but... the alpha and the beta male...
even gamma rays...
what's that? π-networks of coming back
to point (0, 0) in terms of:
no more than three powers of seperation between
you and some random from hugh yawn'khh?
my bad...
but η, μ, ν, ξ, π, ρ (ρ requires delta epsilon
and sigma to imply island of Rhodes)...
τ - but this is not China and tau is not Tao...
to tow is... to tow...
φ, χ, ψ... these could be names...
but ψ is like a crucifix for psychologists...
so these are... but at the same time:
are not names...
working from Latin, "borrowed"...
A (or aye)... B (queen bee)... C (i çee)...
D (dye or dry or d.i.y.)... E (eh? vowel catcher
arm no. 1 of the tetragrammaton)...
surd if the other arm... most notably in gujarati...
or not...
but this leftoever ancient Latin:
                                sing along! sing along!
a, be, cee, dee, e, ef, gee, h "hatch" / hay,
i, jay, kay, em, en, o, ***, que queue cue,
Ar, Tee, U, Vee, ekhs (x), why (y), zee or general Zod /
Zed... etc.
do i remember the "correct", french pedagogic
sequences of: letters of the alphabet?
i thought the whole "game" was about
the lexicon? and the lexicon within the lexicon
of the correct spelling?
are there 26 letters in the english alphabet?
there are! mein gott!
do i have to monkey-play-me-harmonica -
monkey-play-me-the-acordeon and tap to play
the drums... really? now?!
there were never going to be any alphabetical
sequence of events...
if i can remember that there are 26 letters:
the order of the pedagogues doesn't matter...
the lexicon matters... one's own vo(gue)-ca-bu-Larry...
short of Lawrence...
and shouldn't i give up my Lawrence Vogue...
i will certainly to remember to give
the "correct" order of what begins
with abc- and ends with -xyz...
this is the inbetween...
please see fit to spot a sparrow or a typo...

becuase if the british are to be proud of their past...
proud in the sense that it is...
fermenting and all this decline of the west "thing"...
of the people that has to "somehow" welcome
a revival... кaцaпы (plural of кaцaп)
is a racial slurr - designated for russians...
by those who had a pseudo-isarel interlude...
of what was known as the polish-lithuanian
commonwealth - of the last european pagans -
who didn't become the prussians
and made the bavarian spirit rigid
and militaristic...

i find this part of history... rather... infantile...
i have been taught a version of history
through the lense of infantalism...
perhaps science-fiction was the serious medium
of literature after all -
all of the past - if it is to be called a past -
is prescribed by zeitgeist -
my contemporaries' suggestion to be an infatile dream!
it must be a version of infantilism!
at least: that's my response in relation to:
the past having any aspect of being worth
celebrated...
me struck dumb being coerced by a...
genetic archieology of a past...
what some of the current people invest in...
mirror mirror: on no wall beside
mirror mirror: my face...
speculum speculum: well! there's always history
as etymology!
i don't like the word faciem...
where does visage come from?
oh... right...

quest to perfect the algorithms to escape
the everyday speculum was prime suspicion:
to speculate...
i guess any search engines requires:
etymological root...

mirror mirror: my void eating face...
my pulpit of vanity -
my valley of aeons...
my detail of the smirk the demonic glee...
of your most greyish glee...
of no concern for celebrated beauty...
or at best: no beauty to be exemplified
and stealing memory having invested
in the memory of cinema...
mirare mirare: comesse vacare visage meum...

now that's rather different...
isn't it? a history lesson with...
a stress for a post-scriptum in-and-out
"epilogues" (misnomer) and a return
from the trivia interlude back into the narrative...
only with an understudy of etymology...

who do i look like? some ******* ***
who would use such a ***** word as epistemology?
"epilogue" is a misnomer in the context when...
there was never a justifiable metaphor...
a misnomer is a metaphor:
for the **** by the ocean of the shore
in the vicinity to claim town status - Dover -
albino cliffs: more or less...
epistemology is a word most frequently used
by people... who read to people...
encyclopedic entries... cyclopes reading...
all that matters is the cwowd: which is the Velsh
variation of: that already numb-R lost trill
of tarantula bit anglo-ßaß...
which didn't require zeppelins or h'american
spaghetti accent westerns of draw and drule
and drawl...

such a minor racial slur when it comes
to the russians... soviets or red barons...
you must have never visited Moscow or St. Petersburg...
**** the right sort of ******-up russian girl...
and... if you're lucky!
she's take you to... the russian versailles!
Peterhof -
the racial slur stills remains...
a thank you matka rosiya...
satellite son over 'ere: the bellowing from Berlin
is like a sudden plague of hyenas attempting...
no... the foxes are imitating the hyenas...
which is which or rather: which is why?
a mutual agreement: reciprocated...
a great a great much decent ****...
for both of us...
the memory still feeds me...
oh no, it doesn't haunt me:
it feeds me... i could only find replicas
in brothels... i would never dare usurp
this catherine this tsarina of my memory...
i would never dare invest my personality in someone
else... she can be married her... 3rd time...
and this might be her 10th repentence...
of an 11th lover...
on this sinking ship: Potemkin i go as one -
reincarnation or no...
i still don't believe: this hindu myth of:
only a fixed number of people were every to be
born... and the rest are the harsh realities
of the base focuses of animals...
as we somehow drag these n.p.c. mysterions with
us... whether strangers or fathers or mothers...
are you not attached to your grandson:
dearest "catherine"?

such is the tyrany of the hindu polygamy
trans-temporal polytheism...
a diadem with a mouth for an eye...
and an eye for a mouth: or what better way
to salvage this grief of being only being 20 and 21
when having met and having to vow to
allow ourselves our each his and her seperate
lives...
at least some people call it:
the house of lords... and the house of commons...
on a much grander scale...
oh i'm pretty sure tsar (ras)Putin is much amused...

as i am now speaking with a borrowed tongue:
someone lent me a tongue -
i desired to speak with it -
imagine this complete lack of horror with regards
to being lent -
when reicarnation comes to the fore...
i agree: with "him": a most disagreeable
metaphor for... whatever it is the hindus truly believe
to be: the most humane form of
being allowed a human: self-consciousness
and a relationship to all those teenage
*****-dear-diary entries of... precursors
to the menapause and... the blue blood gremlins
of the big pharma pills-down...
the big pharma *******...

unless asked... always in uniform before your "majesty"...
as with any decent *******...
god forbid one of them thinks i'm jesus christ...
come back...
but never with these... grey-area maidens...
this "tool" will not be aroused
on the simple signature end contract promise
of: he made it to the finish line of a one-night stand!
where's the finish line of a one-night stand?
the next day? the *******, the *******...
her ******? at least the new generation
have the... cipher password for sexting...
or whatever has become of a good old fashioned
**** your brains out?
via you **** a plum sore tattoo into my pelvis
with your coccyx like a well balanced
african body of ivory beauty?!
you know the type... it looks like butter
in moonlight... like... what's the point of a niqab
in africa?! it's already... a warewolf has come
among the wolves...
and how i miss you, i esp. miss you when
i sit on my windowsill and listen to foxes
mating...
how those ******* squeal yank and bite nothing
but bone having omitted both the flesh
and the fur!
i miss you the most when i sit at night -
and listen to foxes mating;
after all... this is essex... this is england...
foxes at around 1am are my cognac...
beside ms. amber: and you know you'll also
be ******* her when i've had my fill...
but oooh... look at me: oooh...
gravy...
but i've watched! crows don't attempt fucky-fucky
tow-dollar sucky-sucky bangkokh style
during the die... all that is black that's worth
the crow is done in the night...
perverted pigeons during the day!
****-*******-me-into-a-voyeurism of their
greedy insect esque antics of coo coo...
then jump onto the rucksack of a female...
and all those beta-male pigeons... and that: huh?!
moment of bewilderement when he "thinks"
he has cooed like an alpha...
only the memory of you...
and all the prostitutes after you...
which always made imagining ******* you again
all that more simple; there was no кaкaшкa
with them to begin with.
ConnectHook Feb 2016
by John Greenleaf Whittier  (1807 – 1892)

“As the Spirits of Darkness be stronger in the dark, so Good Spirits which be Angels of Light are augmented not only by the Divine Light of the Sun, but also by our common Wood fire: and as the celestial Fire drives away dark spirits, so also this our Fire of Wood doth the same.”

        COR. AGRIPPA,
           Occult Philosophy, Book I. chap. v.


Announced by all the trumpets of the sky,
Arrives the snow; and, driving o’er the fields,
Seems nowhere to alight; the whited air
Hides hills and woods, the river and the heaven,
And veils the farm-house at the garden’s end.
The sled and traveller stopped, the courier’s feet
Delayed, all friends shut out, the housemates sit
Around the radiant fireplace, enclosed
In a tumultuous privacy of storm.


                                       EMERSON

The sun that brief December day
Rose cheerless over hills of gray,
And, darkly circled, gave at noon
A sadder light than waning moon.
Slow tracing down the thickening sky
Its mute and ominous prophecy,
A portent seeming less than threat,
It sank from sight before it set.
A chill no coat, however stout,
Of homespun stuff could quite shut out,
A hard, dull bitterness of cold,
That checked, mid-vein, the circling race
Of life-blood in the sharpened face,
The coming of the snow-storm told.
The wind blew east; we heard the roar
Of Ocean on his wintry shore,
And felt the strong pulse throbbing there
Beat with low rhythm our inland air.

Meanwhile we did our nightly chores, —
Brought in the wood from out of doors,
Littered the stalls, and from the mows
Raked down the herd’s-grass for the cows;
Heard the horse whinnying for his corn;
And, sharply clashing horn on horn,
Impatient down the stanchion rows
The cattle shake their walnut bows;
While, peering from his early perch
Upon the scaffold’s pole of birch,
The **** his crested helmet bent
And down his querulous challenge sent.

Unwarmed by any sunset light
The gray day darkened into night,
A night made hoary with the swarm
And whirl-dance of the blinding storm,
As zigzag, wavering to and fro,
Crossed and recrossed the wingàd snow:
And ere the early bedtime came
The white drift piled the window-frame,
And through the glass the clothes-line posts
Looked in like tall and sheeted ghosts.

So all night long the storm roared on:
The morning broke without a sun;
In tiny spherule traced with lines
Of Nature’s geometric signs,
And, when the second morning shone,
We looked upon a world unknown,
On nothing we could call our own.
Around the glistening wonder bent
The blue walls of the firmament,
No cloud above, no earth below, —
A universe of sky and snow!
The old familiar sights of ours
Took marvellous shapes; strange domes and towers
Rose up where sty or corn-crib stood,
Or garden-wall, or belt of wood;
A smooth white mound the brush-pile showed,
A fenceless drift what once was road;
The bridle-post an old man sat
With loose-flung coat and high cocked hat;
The well-curb had a Chinese roof;
And even the long sweep, high aloof,
In its slant spendor, seemed to tell
Of Pisa’s leaning miracle.

A prompt, decisive man, no breath
Our father wasted: “Boys, a path!”
Well pleased, (for when did farmer boy
Count such a summons less than joy?)
Our buskins on our feet we drew;
With mittened hands, and caps drawn low,
To guard our necks and ears from snow,
We cut the solid whiteness through.
And, where the drift was deepest, made
A tunnel walled and overlaid
With dazzling crystal: we had read
Of rare Aladdin’s wondrous cave,
And to our own his name we gave,
With many a wish the luck were ours
To test his lamp’s supernal powers.
We reached the barn with merry din,
And roused the prisoned brutes within.
The old horse ****** his long head out,
And grave with wonder gazed about;
The **** his ***** greeting said,
And forth his speckled harem led;
The oxen lashed their tails, and hooked,
And mild reproach of hunger looked;
The hornëd patriarch of the sheep,
Like Egypt’s Amun roused from sleep,
Shook his sage head with gesture mute,
And emphasized with stamp of foot.

All day the gusty north-wind bore
The loosening drift its breath before;
Low circling round its southern zone,
The sun through dazzling snow-mist shone.
No church-bell lent its Christian tone
To the savage air, no social smoke
Curled over woods of snow-hung oak.
A solitude made more intense
By dreary-voicëd elements,
The shrieking of the mindless wind,
The moaning tree-boughs swaying blind,
And on the glass the unmeaning beat
Of ghostly finger-tips of sleet.
Beyond the circle of our hearth
No welcome sound of toil or mirth
Unbound the spell, and testified
Of human life and thought outside.
We minded that the sharpest ear
The buried brooklet could not hear,
The music of whose liquid lip
Had been to us companionship,
And, in our lonely life, had grown
To have an almost human tone.

As night drew on, and, from the crest
Of wooded knolls that ridged the west,
The sun, a snow-blown traveller, sank
From sight beneath the smothering bank,
We piled, with care, our nightly stack
Of wood against the chimney-back, —
The oaken log, green, huge, and thick,
And on its top the stout back-stick;
The knotty forestick laid apart,
And filled between with curious art

The ragged brush; then, hovering near,
We watched the first red blaze appear,
Heard the sharp crackle, caught the gleam
On whitewashed wall and sagging beam,
Until the old, rude-furnished room
Burst, flower-like, into rosy bloom;
While radiant with a mimic flame
Outside the sparkling drift became,
And through the bare-boughed lilac-tree
Our own warm hearth seemed blazing free.
The crane and pendent trammels showed,
The Turks’ heads on the andirons glowed;
While childish fancy, prompt to tell
The meaning of the miracle,
Whispered the old rhyme: “Under the tree,
When fire outdoors burns merrily,
There the witches are making tea.”

The moon above the eastern wood
Shone at its full; the hill-range stood
Transfigured in the silver flood,
Its blown snows flashing cold and keen,
Dead white, save where some sharp ravine
Took shadow, or the sombre green
Of hemlocks turned to pitchy black
Against the whiteness at their back.
For such a world and such a night
Most fitting that unwarming light,
Which only seemed where’er it fell
To make the coldness visible.

Shut in from all the world without,
We sat the clean-winged hearth about,
Content to let the north-wind roar
In baffled rage at pane and door,
While the red logs before us beat
The frost-line back with tropic heat;
And ever, when a louder blast
Shook beam and rafter as it passed,
The merrier up its roaring draught
The great throat of the chimney laughed;
The house-dog on his paws outspread
Laid to the fire his drowsy head,
The cat’s dark silhouette on the wall
A couchant tiger’s seemed to fall;
And, for the winter fireside meet,
Between the andirons’ straddling feet,
The mug of cider simmered slow,
The apples sputtered in a row,
And, close at hand, the basket stood
With nuts from brown October’s wood.

What matter how the night behaved?
What matter how the north-wind raved?
Blow high, blow low, not all its snow
Could quench our hearth-fire’s ruddy glow.
O Time and Change! — with hair as gray
As was my sire’s that winter day,
How strange it seems, with so much gone
Of life and love, to still live on!
Ah, brother! only I and thou
Are left of all that circle now, —
The dear home faces whereupon
That fitful firelight paled and shone.
Henceforward, listen as we will,
The voices of that hearth are still;
Look where we may, the wide earth o’er,
Those lighted faces smile no more.

We tread the paths their feet have worn,
We sit beneath their orchard trees,
We hear, like them, the hum of bees
And rustle of the bladed corn;
We turn the pages that they read,
Their written words we linger o’er,
But in the sun they cast no shade,
No voice is heard, no sign is made,
No step is on the conscious floor!
Yet Love will dream, and Faith will trust,
(Since He who knows our need is just,)
That somehow, somewhere, meet we must.
Alas for him who never sees
The stars shine through his cypress-trees!
Who, hopeless, lays his dead away,
Nor looks to see the breaking day
Across the mournful marbles play!
Who hath not learned, in hours of faith,
The truth to flesh and sense unknown,
That Life is ever lord of Death,
And Love can never lose its own!

We sped the time with stories old,
Wrought puzzles out, and riddles told,
Or stammered from our school-book lore
“The Chief of Gambia’s golden shore.”
How often since, when all the land
Was clay in Slavery’s shaping hand,
As if a far-blown trumpet stirred
Dame Mercy Warren’s rousing word:
“Does not the voice of reason cry,
Claim the first right which Nature gave,
From the red scourge of ******* to fly,
Nor deign to live a burdened slave!”
Our father rode again his ride
On Memphremagog’s wooded side;
Sat down again to moose and samp
In trapper’s hut and Indian camp;
Lived o’er the old idyllic ease
Beneath St. François’ hemlock-trees;
Again for him the moonlight shone
On Norman cap and bodiced zone;
Again he heard the violin play
Which led the village dance away.
And mingled in its merry whirl
The grandam and the laughing girl.
Or, nearer home, our steps he led
Where Salisbury’s level marshes spread
Mile-wide as flies the laden bee;
Where merry mowers, hale and strong,
Swept, scythe on scythe, their swaths along
The low green prairies of the sea.
We shared the fishing off Boar’s Head,
And round the rocky Isles of Shoals
The hake-broil on the drift-wood coals;
The chowder on the sand-beach made,
Dipped by the hungry, steaming hot,
With spoons of clam-shell from the ***.
We heard the tales of witchcraft old,
And dream and sign and marvel told
To sleepy listeners as they lay
Stretched idly on the salted hay,
Adrift along the winding shores,
When favoring breezes deigned to blow
The square sail of the gundelow
And idle lay the useless oars.

Our mother, while she turned her wheel
Or run the new-knit stocking-heel,
Told how the Indian hordes came down
At midnight on Concheco town,
And how her own great-uncle bore
His cruel scalp-mark to fourscore.
Recalling, in her fitting phrase,
So rich and picturesque and free
(The common unrhymed poetry
Of simple life and country ways,)
The story of her early days, —
She made us welcome to her home;
Old hearths grew wide to give us room;
We stole with her a frightened look
At the gray wizard’s conjuring-book,
The fame whereof went far and wide
Through all the simple country side;
We heard the hawks at twilight play,
The boat-horn on Piscataqua,
The loon’s weird laughter far away;
We fished her little trout-brook, knew
What flowers in wood and meadow grew,
What sunny hillsides autumn-brown
She climbed to shake the ripe nuts down,
Saw where in sheltered cove and bay,
The ducks’ black squadron anchored lay,
And heard the wild-geese calling loud
Beneath the gray November cloud.
Then, haply, with a look more grave,
And soberer tone, some tale she gave
From painful Sewel’s ancient tome,
Beloved in every Quaker home,
Of faith fire-winged by martyrdom,
Or Chalkley’s Journal, old and quaint, —
Gentlest of skippers, rare sea-saint! —
Who, when the dreary calms prevailed,
And water-**** and bread-cask failed,
And cruel, hungry eyes pursued
His portly presence mad for food,
With dark hints muttered under breath
Of casting lots for life or death,

Offered, if Heaven withheld supplies,
To be himself the sacrifice.
Then, suddenly, as if to save
The good man from his living grave,
A ripple on the water grew,
A school of porpoise flashed in view.
“Take, eat,” he said, “and be content;
These fishes in my stead are sent
By Him who gave the tangled ram
To spare the child of Abraham.”
Our uncle, innocent of books,
Was rich in lore of fields and brooks,
The ancient teachers never dumb
Of Nature’s unhoused lyceum.
In moons and tides and weather wise,
He read the clouds as prophecies,
And foul or fair could well divine,
By many an occult hint and sign,
Holding the cunning-warded keys
To all the woodcraft mysteries;
Himself to Nature’s heart so near
v That all her voices in his ear
Of beast or bird had meanings clear,
Like Apollonius of old,
Who knew the tales the sparrows told,
Or Hermes, who interpreted
What the sage cranes of Nilus said;
A simple, guileless, childlike man,
Content to live where life began;
Strong only on his native grounds,
The little world of sights and sounds
Whose girdle was the parish bounds,
Whereof his fondly partial pride
The common features magnified,
As Surrey hills to mountains grew
In White of Selborne’s loving view, —
He told how teal and loon he shot,
And how the eagle’s eggs he got,
The feats on pond and river done,
The prodigies of rod and gun;
Till, warming with the tales he told,
Forgotten was the outside cold,
The bitter wind unheeded blew,
From ripening corn the pigeons flew,
The partridge drummed i’ the wood, the mink
Went fishing down the river-brink.
In fields with bean or clover gay,
The woodchuck, like a hermit gray,
Peered from the doorway of his cell;
The muskrat plied the mason’s trade,
And tier by tier his mud-walls laid;
And from the shagbark overhead
The grizzled squirrel dropped his shell.

Next, the dear aunt, whose smile of cheer
And voice in dreams I see and hear, —
The sweetest woman ever Fate
Perverse denied a household mate,
Who, lonely, homeless, not the less
Found peace in love’s unselfishness,
And welcome wheresoe’er she went,
A calm and gracious element,
Whose presence seemed the sweet income
And womanly atmosphere of home, —
Called up her girlhood memories,
The huskings and the apple-bees,
The sleigh-rides and the summer sails,
Weaving through all the poor details
And homespun warp of circumstance
A golden woof-thread of romance.
For well she kept her genial mood
And simple faith of maidenhood;
Before her still a cloud-land lay,
The mirage loomed across her way;
The morning dew, that dries so soon
With others, glistened at her noon;
Through years of toil and soil and care,
From glossy tress to thin gray hair,
All unprofaned she held apart
The ****** fancies of the heart.
Be shame to him of woman born
Who hath for such but thought of scorn.
There, too, our elder sister plied
Her evening task the stand beside;
A full, rich nature, free to trust,
Truthful and almost sternly just,
Impulsive, earnest, prompt to act,
And make her generous thought a fact,
Keeping with many a light disguise
The secret of self-sacrifice.

O heart sore-tried! thou hast the best
That Heaven itself could give thee, — rest,
Rest from all bitter thoughts and things!
How many a poor one’s blessing went
With thee beneath the low green tent
Whose curtain never outward swings!

As one who held herself a part
Of all she saw, and let her heart
Against the household ***** lean,
Upon the motley-braided mat
Our youngest and our dearest sat,
Lifting her large, sweet, asking eyes,
Now bathed in the unfading green
And holy peace of Paradise.
Oh, looking from some heavenly hill,
Or from the shade of saintly palms,
Or silver reach of river calms,
Do those large eyes behold me still?
With me one little year ago: —
The chill weight of the winter snow
For months upon her grave has lain;
And now, when summer south-winds blow
And brier and harebell bloom again,
I tread the pleasant paths we trod,
I see the violet-sprinkled sod
Whereon she leaned, too frail and weak
The hillside flowers she loved to seek,
Yet following me where’er I went
With dark eyes full of love’s content.
The birds are glad; the brier-rose fills
The air with sweetness; all the hills
Stretch green to June’s unclouded sky;
But still I wait with ear and eye
For something gone which should be nigh,
A loss in all familiar things,
In flower that blooms, and bird that sings.
And yet, dear heart! remembering thee,
Am I not richer than of old?
Safe in thy immortality,
What change can reach the wealth I hold?
What chance can mar the pearl and gold
Thy love hath left in trust with me?
And while in life’s late afternoon,
Where cool and long the shadows grow,
I walk to meet the night that soon
Shall shape and shadow overflow,
I cannot feel that thou art far,
Since near at need the angels are;
And when the sunset gates unbar,
Shall I not see thee waiting stand,
And, white against the evening star,
The welcome of thy beckoning hand?

Brisk wielder of the birch and rule,
The master of the district school
Held at the fire his favored place,
Its warm glow lit a laughing face
Fresh-hued and fair, where scarce appeared
The uncertain prophecy of beard.
He teased the mitten-blinded cat,
Played cross-pins on my uncle’s hat,
Sang songs, and told us what befalls
In classic Dartmouth’s college halls.
Born the wild Northern hills among,
From whence his yeoman father wrung
By patient toil subsistence scant,
Not competence and yet not want,
He early gained the power to pay
His cheerful, self-reliant way;
Could doff at ease his scholar’s gown
To peddle wares from town to town;
Or through the long vacation’s reach
In lonely lowland districts teach,
Where all the droll experience found
At stranger hearths in boarding round,
The moonlit skater’s keen delight,
The sleigh-drive through the frosty night,
The rustic party, with its rough
Accompaniment of blind-man’s-buff,
And whirling-plate, and forfeits paid,
His winter task a pastime made.
Happy the snow-locked homes wherein
He tuned his merry violin,

Or played the athlete in the barn,
Or held the good dame’s winding-yarn,
Or mirth-provoking versions told
Of classic legends rare and old,
Wherein the scenes of Greece and Rome
Had all the commonplace of home,
And little seemed at best the odds
‘Twixt Yankee pedlers and old gods;
Where Pindus-born Arachthus took
The guise of any grist-mill brook,
And dread Olympus at his will
Became a huckleberry hill.

A careless boy that night he seemed;
But at his desk he had the look
And air of one who wisely schemed,
And hostage from the future took
In trainëd thought and lore of book.
Large-brained, clear-eyed, of such as he
Shall Freedom’s young apostles be,
Who, following in War’s ****** trail,
Shall every lingering wrong assail;
All chains from limb and spirit strike,
Uplift the black and white alike;
Scatter before their swift advance
The darkness and the ignorance,
The pride, the lust, the squalid sloth,
Which nurtured Treason’s monstrous growth,
Made ****** pastime, and the hell
Of prison-torture possible;
The cruel lie of caste refute,
Old forms remould, and substitute
For Slavery’s lash the freeman’s will,
For blind routine, wise-handed skill;
A school-house plant on every hill,
Stretching in radiate nerve-lines thence
The quick wires of intelligence;
Till North and South together brought
Shall own the same electric thought,
In peace a common flag salute,
And, side by side in labor’s free
And unresentful rivalry,
Harvest the fields wherein they fought.

Another guest that winter night
Flashed back from lustrous eyes the light.
Unmarked by time, and yet not young,
The honeyed music of her tongue
And words of meekness scarcely told
A nature passionate and bold,

Strong, self-concentred, spurning guide,
Its milder features dwarfed beside
Her unbent will’s majestic pride.
She sat among us, at the best,
A not unfeared, half-welcome guest,
Rebuking with her cultured phrase
Our homeliness of words and ways.
A certain pard-like, treacherous grace
Swayed the lithe limbs and drooped the lash,
Lent the white teeth their dazzling flash;
And under low brows, black with night,
Rayed out at times a dangerous light;
The sharp heat-lightnings of her face
Presaging ill to him whom Fate
Condemned to share her love or hate.
A woman tropical, intense
In thought and act, in soul and sense,
She blended in a like degree
The ***** and the devotee,
Revealing with each freak or feint
The temper of Petruchio’s Kate,
The raptures of Siena’s saint.
Her tapering hand and rounded wrist
Had facile power to form a fist;
The warm, dark languish of her eyes
Was never safe from wrath’s surprise.
Brows saintly calm and lips devout
Knew every change of scowl and pout;
And the sweet voice had notes more high
And shrill for social battle-cry.

Since then what old cathedral town
Has missed her pilgrim staff and gown,
What convent-gate has held its lock
Against the challenge of her knock!
Through Smyrna’s plague-hushed thoroughfares,
Up sea-set Malta’s rocky stairs,
Gray olive slopes of hills that hem
Thy tombs and shrines, Jerusalem,
Or startling on her desert throne
The crazy Queen of Lebanon
With claims fantastic as her own,
Her tireless feet have held their way;
And still, unrestful, bowed, and gray,
She watches under Eastern skies,
With hope each day renewed and fresh,
The Lord’s quick coming in the flesh,
Whereof she dreams and prophesies!
Where’er her troubled path may be,
The Lord’s sweet pity with her go!
The outward wayward life we see,
The hidden springs we may not know.
Nor is it given us to discern
What threads the fatal sisters spun,
Through what ancestral years has run
The sorrow with the woman born,
What forged her cruel chain of moods,
What set her feet in solitudes,
And held the love within her mute,
What mingled madness in the blood,
A life-long discord and annoy,
Water of tears with oil of joy,
And hid within the folded bud
Perversities of flower and fruit.
It is not ours to separate
The tangled skein of will and fate,
To show what metes and bounds should stand
Upon the soul’s debatable land,
And between choice and Providence
Divide the circle of events;
But He who knows our frame is just,
Merciful and compassionate,
And full of sweet assurances
And hope for all the language is,
That He remembereth we are dust!

At last the great logs, crumbling low,
Sent out a dull and duller glow,
The bull’s-eye watch that hung in view,
Ticking its weary circuit through,
Pointed with mutely warning sign
Its black hand to the hour of nine.
That sign the pleasant circle broke:
My uncle ceased his pipe to smoke,
Knocked from its bowl the refuse gray,
And laid it tenderly away;
Then roused himself to safely cover
The dull red brands with ashes over.
And while, with care, our mother laid
The work aside, her steps she stayed
One moment, seeking to express
Her grateful sense of happiness
For food and shelter, warmth and health,
And love’s contentment more than wealth,
With simple wishes (not the weak,
Vain prayers which no fulfilment seek,
But such as warm the generous heart,
O’er-prompt to do with Heaven its part)
That none might lack, that bitter night,
For bread and clothing, warmth and light.

Within our beds awhile we heard
The wind that round the gables roared,
With now and then a ruder shock,
Which made our very bedsteads rock.
We heard the loosened clapboards tost,
The board-nails snapping in the frost;
And on us, through the unplastered wall,
Felt the light sifted snow-flakes fall.
But sleep stole on, as sleep will do
When hearts are light and life is new;
Faint and more faint the murmurs grew,
Till in the summer-land of dreams
They softened to the sound of streams,
Low stir of leaves, and dip of oars,
And lapsing waves on quiet shores.
Of merry voices high and clear;
And saw the teamsters drawing near
To break the drifted highways out.
Down the long hillside treading slow
We saw the half-buried oxen go,
Shaking the snow from heads uptost,
Their straining nostrils white with frost.
Before our door the straggling train
Drew up, an added team to gain.
The elders threshed their hands a-cold,
Passed, with the cider-mug, their jokes
From lip to lip; the younger folks
Down the loose snow-banks, wrestling, rolled,
Then toiled again the cavalcade
O’er windy hill, through clogged ravine,
And woodland paths that wound between
Low drooping pine-boughs winter-weighed.
From every barn a team afoot,
At every house a new recruit,
Where, drawn by Nature’s subtlest law,
Haply the watchful young men saw
Sweet doorway pictures of the curls
And curious eyes of merry girls,
Lifting their hands in mock defence
Against the snow-ball’s compliments,
And reading in each missive tost
The charm with Eden never lost.
We heard once more the sleigh-bells’ sound;
And, following where the teamsters led,
The wise old Doctor went his round,
Just pausing at our door to say,
In the brief autocratic way
Of one who, prompt at Duty’s call,
Was free to urge her claim on all,
That some poor neighbor sick abed
At night our mother’s aid would need.
For, one in generous thought and deed,
What mattered in the sufferer’s sight
The Quaker matron’s inward light,
The Doctor’s mail of Calvin’s creed?
All hearts confess the saints elect
Who, twain in faith, in love agree,
And melt not in an acid sect
The Christian pearl of charity!

So days went on: a week had passed
Since the great world was heard from last.
The Almanac we studied o’er,
Read and reread our little store
Of books and pamphlets, scarce a score;
One harmless novel, mostly hid
From younger eyes, a book forbid,
And poetry, (or good or bad,
A single book was all we had,)
Where Ellwood’s meek, drab-skirted Muse,
A stranger to the heathen Nine,
Sang, with a somewhat nasal whine,
The wars of David and the Jews.
At last the floundering carrier bore
The village paper to our door.
Lo! broadening outward as we read,
To warmer zones the horizon spread
In panoramic length unrolled
We saw the marvels that it told.
Before us passed the painted Creeks,
A   nd daft McGregor on his raids
In Costa Rica’s everglades.
And up Taygetos winding slow
Rode Ypsilanti’s Mainote Greeks,
A Turk’s head at each saddle-bow!
Welcome to us its week-old news,
Its corner for the rustic Muse,
Its monthly gauge of snow and rain,
Its record, mingling in a breath
The wedding bell and dirge of death:
Jest, anecdote, and love-lorn tale,
The latest culprit sent to jail;
Its hue and cry of stolen and lost,
Its vendue sales and goods at cost,
And traffic calling loud for gain.
We felt the stir of hall and street,
The pulse of life that round us beat;
The chill embargo of the snow
Was melted in the genial glow;
Wide swung again our ice-locked door,
And all the world was ours once more!

Clasp, Angel of the backword look
And folded wings of ashen gray
And voice of echoes far away,
The brazen covers of thy book;
The weird palimpsest old and vast,
Wherein thou hid’st the spectral past;
Where, closely mingling, pale and glow
The characters of joy and woe;
The monographs of outlived years,
Or smile-illumed or dim with tears,
Green hills of life that ***** to death,
And haunts of home, whose vistaed trees
Shade off to mournful cypresses
With the white amaranths underneath.
Even while I look, I can but heed
The restless sands’ incessant fall,
Importunate hours that hours succeed,
Each clamorous with its own sharp need,
And duty keeping pace with all.
Shut down and clasp with heavy lids;
I hear again the voice that bids
The dreamer leave his dream midway
For larger hopes and graver fears:
Life greatens in these later years,
The century’s aloe flowers to-day!

Yet, haply, in some lull of life,
Some Truce of God which breaks its strife,
The worldling’s eyes shall gather dew,
Dreaming in throngful city ways
Of winter joys his boyhood knew;
And dear and early friends — the few
Who yet remain — shall pause to view
These Flemish pictures of old days;
Sit with me by the homestead hearth,
And stretch the hands of memory forth
To warm them at the wood-fire’s blaze!
And thanks untraced to lips unknown
Shall greet me like the odors blown
From unseen meadows newly mown,
Wood-fringed, the wayside gaze beyond;
The traveller owns the grateful sense
Of sweetness near, he knows not whence,
And, pausing, takes with forehead bare
The benediction of the air.

Written in  1865
In its day, 'twas a best-seller and earned significant income for Whittier

https://youtu.be/vVOQ54YQ73A

BLM activists are so stupid that they defaced a statue of Whittier  unaware that he was an ardent abolitionist 🤣

— The End —