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
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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
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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
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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

Terrifying are the attent sleek thrushes on the lawn,
More coiled steel than living - a poised
Dark deadly eye, those delicate legs
Triggered to stirrings beyond sense - with a start, a bounce,
a stab
Overtake the instant and drag out some writhing thing.
No indolent procrastinations and no yawning states,
No sighs or head-scratchings. Nothing but bounce and stab
And a ravening second.

Is it their single-mind-sized skulls, or a trained
Body, or genius, or a nestful of brats
Gives their days this bullet and automatic
Purpose? Mozart's brain had it, and the shark's mouth
That hungers down the blood-smell even to a leak of its own
Side and devouring of itself: efficiency which
Strikes too streamlined for any doubt to pluck at it
Or obstruction deflect.

With a man it is otherwise. Heroisms on horseback,
Outstripping his desk-diary at a broad desk,
Carving at a tiny ivory ornament
For years: his act worships itself - while for him,
Though he bends to be blent in the prayer, how loud and
above what
Furious spaces of fire do the distracting devils
**** and hosannah, under what wilderness
Of black silent waters weep.

We didn’t bloom together the way we should have. We never eyed each other across neat soil; both self-conscious and self-righteous as we sipped the sun and, in quiet bursts, raced to touch the sky.  

We weren't planted by gentle hands in soft plots with room to stretch our limbs and shield our eyes, nor to bud in peace and thrive and find identity in both our own bold blossoms and as a pulsing piece of the whole lavish garden.

We didn't bloom because we erupted.
We running-start-swan-dived into stale dirt and were too close from the very beginning.
We didn’t sprout up straight; we snaked and lurked and left no bit of earth untouched by our vibrant, stencil **** fingers declaring ourselves alive.

By harvest we were tangled beyond repair.
By harvest I didn't know me from you and I liked it.

To be so entwined is lovely but depends on a balance
we could only begin to grasp.
To expand but not uproot requires perfect synchronicity maybe not beyond our years but certainly beyond our maturity. We spread out our emotions like tarot cards on a towel in the grass and reflected in your sunglasses I met the silent pieces of me.
In colorful, grim drawings those quiet, ugly bits floated up veins and settled under ribs.
They stayed silent. Until they began to scream.

And you and I- we didn't have the words;
not our own words that we earned and burned while stumbling across months and plains,
tripping over potholes and finding our feet quicker each time.
We had place-holders words we sang back and forth and splashed around and bathed in.
The words we spoke were profound and cardboard.
We were just reading lines, sharing identical scripts and an ache to be seen
so deep and desperate it was sinful.

We maybe shared the humid cling of regret; which hung heavy in stuck-air auditoriums,
it beaded sweat echoed, rolling down spines and turning blood to sticky wax as we whispered in the corner about the things we could say aloud while our minds never left the things we wouldn't dare.

We were mostly ill-equipped.
We joked about hurricanes
We didn't survive the first storm.

I want you to know you really hurt my feelings.
I want you to know you're the first guy I've given my feelings to hurt.
I want you to know I was terrible towards the end.
And I know that. But you gave up on me

You gave up on me at the exact moment I was giving up on myself.
Even as my tongue stung metallic and veins pulsed so hot and loud
through my eardrum that I felt I would explode- it was clean.
It was all remarkably clean.
and sterile.
There were no explosions.
No shattered plates, ****** knuckles or blown out voices
that scratched and rose in time with the sun.

Just a quick slash of rope-
an anchor cut loose and left to sink;
our secrets were set free to
rust over and collect algae.
We were suddenly off the hook
for any vulnerability we might have spilled
on each other in our fits of laughter
and hours of sleep.
A deep sigh of relief.
A deeper sigh of desolation.

The moment exists in sad yellow lighting that must have been added in restrospect.
I tweaked the floor of my memory too:
at that moment I was not wearing flipflops on linoleum- but sinking, slowly and barefoot, into chilly riverbed mud as it turned to ice.

I opened the door and there you stood.
You knew I had been crying and I didn’t try to hide it
it was too exhausting- running on fumes.

And I did expect something from you,
anything from you, that might dull the singed-dagger plunging
stab to my chest with each breath I gulped and spat .
I wanted anything that might reel me in from the cliffs edge
where my thoughts had carried me on horseback.

But you had nothing.
I watched your eyes swallow my swollen lips and pinched, glassy eyes
like a quick, sharp shot of warm whiskey.
Careful to avoid eye contact you slipped ‘**** this,’
under your breath and started to reach for my hand.

You started to, but then after a second suspended
you let your arm fall back to your body.
Head lowered, jaw clenched and you turned and fled with a new heaviness pushing down on your posture.
It looked painful and adult.
It looked like you finally felt the weight of our season.
And watching you go I shrank in lighter and thicker because I felt it too.

We are not going to get a happy ending-
not with each other and not right now.
Maybe not ever.
And that will have to do.
(Though I will miss your hand in mine.
I hope one day you'll remember being tangled with me and it will make you laugh before you cringe because I didn't like to be alone.)

If I wanted to be alone I would just go home.

Words Studied For This Writing:
------------------------------------
English: Zoup, please.
What it sounds like in German: Die Zoup bitte "Or" The Zoup? Bitter.
English: Uh, the night tea is great!
Pronounced in German sounds like: Eww. Is nachte. It's Gros "Or" Eww! Is nasty! It's gross!
English: Here.
Pronounced in German: Here.
English: Ha! I see an icky Sir's downin' Zoup.
German: Huh? - Ick- Taste. -Sie - An Icky herran down en Zoup
English:Yes.
German: Ja "Or" yeah
English: Skinny rides here. Skinny? Hmm.. horseback.
German: Dunne fahrten hier, Dunne. Hmm?  Holtzit back! Or.. Do not **** in here; do not! Hmm?  Holds it back!
English: Oh! I beg!
German: Oh! Ich bitte "Or" Oh! It's better!
English: Come back, Father.....
German: Comeback, Vatter "Or" Come back, Fatter
English: Nexxinline
German: Next in line.


Let's make a story with this .

First Act

-Enter Customer 2 in an American diner. She orders a
unique zebra-flavored soup called Zoup, created on American soil, but it's claimed to have had its origins in a restaurant located in Worms, Germany; as per usual proud fashion.

Customer 2 to Rude Waitress: "Zoup, please."

She sipped the complimentary drink placed before her as she awaited her order. Iced tea, ***** glass. It was reportedly their best tea, brewed by the Barista on the night-shift, whom did only speak in broken English and Spanish. Therefore, when the customer enjoyed her tea, she was glad it was nightfall and privy to the better drink and expressed her approval.

Customer 2 to Night-Shift Barista in simplified language:

"Uh, the night tea is great!"

The Barista nods politely.

Rude Waitress, apparently jealous because she makes the Day-shift tea, is curt to Customer 2:


"Here." she growled, slamming the Zoup on the table.

Things get quiet.

Just then, Customer 2 recognizes a crusty man who claims to have been knighted in a former life before joining a Native American tribe. She addresses him sardonically.

Customer 2 to Crusty Man

:
"Ha!" " I see an icky Sir's downin' Zoup!"

Crusty Man responds, unmoved:

"Yes."

Customer 2 cautioned him that he was being tracked by the infamous international assassin, Skinny.

Customer 2 to Crusty Man in mock Native American tongue:


"Skinny rides here ...

Crusty Man: "Skinny?"


Customer 2 (deepening voice)

"Mmm, horseback."

She makes gestures with her hands of a man riding a horse.
And follows it up with mimicking a successful hit on Crusty Mans life, complete with tongue hanging out of mouth.

The rude waitress then pleads to a deceased priest aloud to return to save them whilst making holy gestures frantically.

Rude Waitress to a deceased Holy Man:

"Oh!" "I beg." "Come back, Father...
Father Nexxinline?"

End First Act


This Final Act was created using the same exact words used in the English language, those in  quotations that is, as were in the First Act: but then translating them into German, the conversation then became a bit more humorous. The Background was filled in to fit the context of the meaning of the words sonic qualities, as certain German words sound similar to English words, though they generally have different meanings. The German word sounds brought a whole new meaning to the English words spoken, and with this contrast I finished the Final Act. Since most do not know how to pronounce certain words and dialects of German language, I took the sounds created within the language and converted them to English words of phonetic similarity. These words were not translated back to English, as that would put the conversation exactly where it began -I rather made them easier to perceive.

Background Final Act/. Skinny from First Act is now in a diner in Worms, Germany, (pronounced like Vorms with  a V.)

We begin with Skinny's response to being asked how is the Zoup by the German Waiter.

Skinny dryly to German Waiter: "The Zoup?" "Bitter."

He takes another spoonful into his mouth.

Skinny: "Ewww!"  "Is nasty!" "It's gross!"

Skinny to German Waiter in disgust: "Here!"

And he pushes the bowl of Zoup into the waiters face.


German Waiter to Skinny expressing consternation

: "Huh?"

Skinny commands him: "Taste!"

The waiter does so reluctantly and winces in clear disgust.

Skinny:

"See?" " Icky heron down in Zoup!"

German Waiter to Skinny knowing German Zoup  is flavored with heron, not zebra, and failing to see the point retorts

: "Yeah?"

Skinny then crude and vengeful 'expresses' a good one from his basest dwelling silently; but deadly with a grin. It was a most foul smell.

The waiter is exasperated with this crudeness and makes commands of his own.

German Waiter to Skinny

:
"Do not **** in here!" 'Do not!"" Hmm?"  "Holds it back!"

The odor horrid reached culmination with another waft of steam from Skinny and  resulted in the excommunication of Skinny.
Skinny yet found himself vindicated and agreed to leave the establishment as was demanded. As he exits in self satisfaction, our waiter tells him not to forget his Zoup and the prideful waiter Stolz mocks him in jest by spooning a mouthful into his jabbering jowls, as he does, he turns pale and ill and silenced, reassuring Skinny he had a reason to be disappointed.

The German Waiter refusing to admit defeat tells him:


"Oh, it's better!" Referring to his bias to the Zoup from Worms, which should be renamed Houp, but the words don't translate that way.

THEN Stolz realized his best customer, Skinny's hefty brother, Fatter, was running out the door in an attempt to escape the stench which lingered and but grew in force, and the waiter pleaded with him to return.

German Waiter to Skinny's brother:

"Come back, Fatter!" but Fatter kept running and giggling sophomorically.

The German Waiter to a diner full of people gasping for fresh air and no desire for Zoup at this moment said in defeatist sheepishness, gulping before asking wishfully... pouting, whispering:


"Next in line?"

A boy born into royalty
Destined to rule over a great kingdom
But sent away by one with ill will for the kingdom
To be killed in a shipwreck
And leave a kingdom without their prince

But a lion pushed the boy in the wreckage to shore
Where a man stood wakeful at night
And took the boy in, giving him life
The man abused the boy in many ways
And the future ruler would leave to rule his kingdom

The boy had always wanted to go North
As if there were something good to the North
Something drawing him to the mountains and rivers
As he had northern blood flowing through his veins
So 'Onward and upward, to Narnia and the North!'

The boy fled his home on the back of a talking horse
Escaping the abusive nature of his supposed-father
To the north where he was meant to be, they fled
From the south the life he was fleeing from
His destined kingdom lying in this northern land to which he travelled

On horseback he rides in a forest
Before hearing the sounds of another horse
And then seeing the sights of another rider
Terrified the horse pulls forward
Then a wild animal gives its mighty roar

Hearing the roar of a mighty lion
The riders and horses go on running from this terror
Until they are united, together in their travels
Then the lion disappears into the mist of the forest
And the travelers, a boy and a girl, and two horses now travel to the north together

The boy stranded in the desert
Away from all things he had known
Without his horse or traveling companions
Without any water to quench his thirst
And he spends the night alone in the dark desert

There on the desert ground, terrified he laid
For behind him stood tombs of the kings of old
And to his forefront laid the desert
He imagined ghosts and ghouls that might come from the tombs
And terrified he laid, there on the desert ground

Then a kitten came to his side
The cat came und nuzzled behind the sleeping boy
It kept him warm through the cold desert night
The boy felt safe with the kitten by his side
As if no one or no thing could possibly harm him

As he slept, he heard the sound of jackals howling in the desert
The boy became fearful once he noticed the absence of the cat
Yet it was at this time that he heard the mighty roar of a lion
And the lions roar made him even more fearful than he was before
But then the howling of the jackals ceased and he was safe

He awoke again later in the night to the cat by his side
The cat comforted him in his loneliness
And kept him warm in the desert night
When it needed to, the cat became a lion and defended the boy
For the lion always wanted what was best for that boy

Then the four travelers ventured north across the desert
Racing against time, and against enemy armies
To get to the kingdom in the north on time to warn the king
But like any desert travelers, they quickly tired
And they required one final push

A lion's roar cams out of the silence of nature
And very quickly the horses sped up to leave the lion's reach
But to no avail as the lion gashed at one of the riders
The terror of the horses propelled them forward
And they made it in time to save the kingdom

The boy was reunited with his father, the king
And he himself became a king when it came high time
The boy married the girl, and became king and queen of the country in the north
For the Lion and the Kitten led them to the north, and to their salvation
Even when they did not know the Lion at all

The Lion is Jesus Christ, God Himself in the flesh
He came to save the boy, and his horse
And his wife and her horse
He came as a fierce lion to redirect
And as a kitten to comfort
He came as a lion to defend
And as a kitten to protect
Jesus Christ came to men
He came as a helpless fetus and infant
And as a small child
He came as a man to teach
And as a man to die
Jesus is fierce when needed
And gracious when needed
For He loves His children
And will not let His children stray far from Him
For much good is to come for the Children of God

Little Toy Soldiers going off to war
None will ever live to  see age twenty four
None of them even  know what they're fighting for
Little Toy Soldiers going off to war

The world has always been this way
With Emperors and Kings
Fighting with toy soldiers
And the glory that it brings

Land, beliefs, religion
The basis of the war
fought by young toy soldiers
Who all die by the score

Time has taught us nothing
But, it's changed the way we fight
War is a full day job
Now that it is fought at night

The boards of little armies
Are now shown up on the screen
With all the little soldiers
Lit in different shades of green

They used to be all metal
Painted up in nice bright shades
With a General on horseback
Leading all his smart brigades

Then, the men were plastic
glued to bits of wood
Behaving as a unit
Just like a soldier should

Now, the war is different
They're up there in different hues
You can watch them fight in real time
Just like on the nightly news

The only thing remaining
The thing that's stayed the same
Is that nobody in power
Know the Little Soldiers names

Little Toy Soldiers going off to war
None will ever live to  see age twenty four
None of them even  know what they're fighting for
Little Toy Soldiers going off to war

The night at the ball
I met a foreign prince
He told me he liked my shoes and smile
And I've seen him around here since

He is a Prince Charming
He searched through the land
However, others had ideas
A spy shook both our hands

Another imposter to the throne
Claimed to be his girl
She took his photo on the side
And cracked our china world

And so, I thought of him again
As he rode on horseback
After many months of zilch
The prince and I, at last?

The prince was very perfect
He was all charm and looks
A part of me could never speak
To the man I knew from books

But soon I finally saw the light
And the prince had just about ceased
Prince Charming is for Cinderella
And I like Beauty and The Beast.

this one girl I used to be friends with, she was so beautiful and never ever did she see it in herself. I used to look at her though, and I used to wish I looked just like her or had a personality as kind and sweet and determined as her. I used to want to be as free of a soul as her and sometimes, even as guarded. It made me sad a lot of the time because she was so depressed and mysterious to me; her life kinda ****** back when I had first met her. I remember we dropped acid together twice and I told her that if ever there was someone I didn’t want to lose, it was her. And then the following year we had a fall out and we don’t talk anymore. I guess people change and that should be okay but sometimes I still wonder about her and what she is doing now and how she spends her friday nights.

then there was this other friend, who I may have even considered myself closer with but in a different way. We used to sneak out of my house during sleepovers when we were younger and sit on the curb and share a cigarette. we’d talk about all the people we miss and how afraid we were of the future. I always felt like I hardly knew her even though she shared most of herself with me. the first time I saw her cry was terrifying to me, but I didn’t tell her that. I remember how pretty I thought she was. physically though. and physically alone. She had a lot birthmarks that made her intriguing and skinny legs with pretty knees. however, she was mean and usually very bitter. one time she told me “I hate people until they give me a reason to like them” and hearing that disappointed me. I tried the most to be her friend again after she walked away but it was no use.

another friend I had I was friends with since I was six. I knew her from pre school and we were inseparable. I could write paragraphs and paragraphs about how amazing that girl is. I could do the same about how bad I felt for her. she was a friend who I never thought I would lose and I remember we had the type of friendship where our parents used to sign us up to do the same sports (horseback riding, gymnastics). after we stopped being friends I heard she fell off the deep end and was doing a lot of drugs. I got back in touch with her recently however she never seemed interested in hanging out and some of my texts went unanswered so I gave up. when I think about her, I still see my 12 year old self, playing mermaids in her pool as if time had stood still. if any of the people I’m writing about read this post, I hope it’s her most of all. miss you.

Him:
Do you want to share my ice cream
play footsie?
Inch by inch
I’ll climb up
You eat

Her:
I want to go horseback riding
By candlelight
With a bottle of wine
squeezing with my thighs
I want a stallion

Wraithlike shadows swiftly crawled toward a miami public chess table, dark green ivy growing along the fading checkered table top. the shadows slithered onto one of the benches, swirling upwards until they formed the shape of a dark toned young man, dressed in a long black punk-style trench coat. he wore leather gloves adorned with old runes, as was his black shirt and bandana he wore to keep his white hair back. there were a few chrome necklaces around his neck, the largest being a pentagram on a heavy chain. he sighed and waved his right hand over the table, demonic chess peices appearing beneath his touch, each one crawling with miniature demons on a blackened spire. he closed his eyes impatiently and let his dark aura spread over the surrounding area. the ivy on the table withered and died instantly along with the flora and fauna within a half mile of him. his eyes glowed a deep red
and his teeth, all of them incisors, extended into fangs. he was startled by a light voice behind
Him, "Leon. this is not the time." leon turned his head swiftly and growled, his features softening as he saw that it was the man he wanted to see. "Luminae... on time as usual. hows life in the Upper?" luminae wore a bright white suit, resembling human armani. he sat down adjacent to leon and waved his own chess peices into existence, each an angelic being weilding swords. they turned to be too bright for leon's eyes and he donned his red-tinted, coffin shaped shades. as the plant life began to regrow, luminae replied, "same as usual... holy war everywhere. i'm only allowed to see you now under supervision of three others." as he said that, three more men stepped out along the paths, clothed much like Luminae. leon half grinned, half scowled at luminae. "the boss had similar orders." leon snnapped his fingers and a trio of demons appeared next to the white clad angels. swords appeared
in the angels hands, ready to potentially cut down their enemies, but luminae waved away their
Suspicions. leon also commanded his overseers to remain shadowed. "you start, luminae."
luminae waved a simple angelic pawn forward, saying, "shame you can't join me in the upper, brother. how's the Foothills?"
leon countered by moving his knight, a grim reaper on horseback, dripping blood on the board, "dark... fiery... what else do you expect from hell?" he wore a deep scowl on his face as he said It, emphasizing the last word. "not a bit of sustenance as far as the eye can see.." luminae had seen through the disguise already, seeing that leon was little more than a charred, demonic skeleton, the fake-flesh creating what used to be the leon that they had known in their earlier lives.
as the chess pieces fell, they either burned or were saved by the opposing side. it came down to their final peices being kings and a single bishop on each side. luminae paused a moment, "you've gotten better at chess."
leon looked away, "its not chess... its a warning.. we are the bishops, luminae."
Luminae looked at leon, eyes narrowed to slits. "what do you mean, leon?"
leon sighed and waved a hand over the board, the peices disintigrating and forming a black scroll with bright red lettering. luminae dared not touch it, but read it, a look of shocked horror creeping across his face.
leon continued, "brother, boss wants me to **** you. you know what happens if we die again.." luminae nodded and waved the peices back into existance, seeing the Holy one as his king, and the ****** one as leon's. he looked at the bishops and saw in detail both of them, superimposed onto the peices.
"how long do i have to prepare, brother?" luminae gripped the hilt of his sword.
leon stood, "its already begun..." out of nowhere, tendrils of darkness wrapped around leon's arm and formed a jagged sword. the fake-flesh had begun burning away, leaving leon's true form, sinister and horrifying, shining black before luminae. empty eye sockets gazed at luminae and a hollow moaning shook the new-grown trees.
"goodbye, luminae." leon began to sink into the ground, falling into the Foothills. luminae watched as leon's guardians transformed into cackling ghouls and were released to wreak havoc on the world. luminae snapped his fingers at his own guardians, who followed the ghouls and destroyed them. "goodbye, brother..." luminae looked back at the four chess peices remaining on the board. he walked over and picked up the demon bishop, now safe to touch, depositing it in his pocket after clutching it tightly against his chest. as he touched it, he felt leon's sorrow, regret and anger. he felt little pity on him, though they had been like brothers in their pre-life, they were sworn enemies in the After. these chess games had been their only way to meet and relive a moment of their old life, granted by the High one and The ****** once every ten years under a neutral pact.
luminae also picked up his bishop and gave it a blessing, replacing it on the table for leon to retreive.
luminae sighed and
walked to the guardians. they all took a prayong stance and uttered a line of scripture, and then they were gone, leaving the park as it had been.
* *
Nero felt the intense flames licking at him from below as he descended. as he plunged deeper, the flames receded but the heat remained. when he finally touched the ground, he walked a winding path, past the ****** souls, each in their own private hell. nero scowled at them as he passed and stepped to a long sloping wall. he shook the gloves off his claws and drew a perfect pentagram into the side, opening a hidden tunnel system. he stepped forward and waved the door closed, then continued walking down the passage, the walls depicting numerous sins, ****, ******, deception, lust, and other such evils, all of which Nero had committed. he walked faster, to satan's chambers. the devil sat boredly on his seat, watching the same smokey images of his minions at work. "nero. welcome back to the foothills." the devils guardians set about beating nero until he could barely move. "you didnt ****
the angel, scaly *******. why?"
nero grunted and attempted to stand, "i wanted more of a challenge,
Thus i let him prepare."
the guardians let him stand. "interesting. but when you face him, you better have enough power to defeat him. i shall bestow upon you the power of ten thousand of my highest demons, do not come back empty handed, or each of their ****** souls will burn in your cursed chest."
the guardian closest to him and punched him in the spine, sending him to the floor. "un-understood... sir..."
a pentagram glowed on the floor around him, and he was bound to the spot. he felt a deep cold in him and then an intense burning as he was given the powers.
all according to plan...
*
luminae turned a corner on the golden street, the massive mansions towering over him. there was only one that he sought though, The Holy Ones' mansion, and his throne. he walked tentatively up the steps to the open gates, and stopped when he heard a commotion. he stopped and turned his head, seeing an angel, covered in runes, obviously a warrior as he had a fighter's vest and a sword in a
Scabbard. the angel had just jumped through a window and into a crowd of people, chased by a few Enforcer class angels. they locked eyes for a moment and luminae raised his hand, flashing first one finger then four. the one winged angel looked confused for a second and stood there in thought. luminae gestured towards the main gates, seeing the enforcers locate the one winged angel. the angel fled and luminae continued up the steps, hands in his pockets. *recruit number one...
* *