Submit your work, meet writers and drop the ads. Become a member
Painters, by the highest degree of inspiration,
And poets who with the Muse commune,
Command in their respective trades un-
Common craftmanship, exquisite creation
Of pen and brush upon the parchment
And canvass, through unfettered figment.

Gifted: poets, painters and musicians. Three
Geniuses on this terrestrial plane, with mind
As efficient as the moon in its fullest grind,
As do all artistic souls whose mastery
In finest workmanship are seen. Worship
The God of arts ye astronauts in spaceship,

For poets and painters are cardinal in artistic
Enrolment--and no less endowed are many another
Like sculptors--with thoughts solitary and cryptic.
RAJ NANDY Nov 2015
GREAT ARTISTS & THEIR IMMORTAL WORKS :
CONCLUDING ITALIAN RENAISSANCE IN
VERSE.  -  By Raj Nandy, New Delhi.

Dear Readers, continuing my Story of Western Art in Verse chronologically, I had covered an Introduction to the Italian Renaissance previously. That background story was necessary to appreciate Renaissance Art fully. Now, I cover the Art of that period in a summarized form, mentioning mainly the salient features to curb the length. The cream here lies in the 'Art of the High Renaissance Period'! Hope you like it. Thanks, - Raj.

                          INTRODUCTION
“Painting is poetry that is seen rather than felt, &
  Poetry is painting that is felt rather than seen.”
                                                        – Leonardo Da Vinci
In the domain of Renaissance Art, we notice the
enduring influence of the Classical touch!
Ancient Greek statues and Roman architectures,
Inspired the Renaissance artists in their innovative
ventures!
The pervasive spirit of Humanism influenced
creation of life-like human forms;
Adding ****** expressions and depth, deviating
from the earlier stiff Medieval norms.
While religious subjects continued to get depicted
in three-dimensional Renaissance Art;
Portraits, **** figures, and secular subjects, also
began to appear during this great ‘Re-birth’!
The artists of the Early and High Renaissance Era
are many who deserve our adoration and artistic
due.
Yet for the sake of brevity, I mention only the
Great Masters, who are handful and few.

EARLY RENAISSANCE ARTISTS & THEIR ART

GITTO THE PIONEER:
During early 13th Century we find, Dante’s
contemporary Gitto di Bondone the Florentine,
Painting human figures in all its beauty and form
for the first time!
His masterwork being the 40 fresco cycle in the
Arena Chapel in Padua, depicting the life of the
****** and Christ, completed in 1305.
Giotto made the symbolic Medieval spiritual art
appear more natural and realistic,
By depicting human emotion, depth with an
artistic perspective!
Art Scholars consider him to be the trailblazer
inspiring the later painters of the Renaissance;
They also refer to Giorgio Vasari’s “Lives Of
The Eminent Artists,” - as their main source.
Giotto had dared to break the shackles of earlier
Medieval two-dimensional art style,
By drawing lines which head towards a certain
focal point behind;
Like an illusionary vanishing point in space,
- opening up a 3-D ‘window into space’!
This ‘window technique’ got adopted by the
later artists with grace.
(
Giorgio Vasari, a 16th Century painter, architect & Art
historian, was born in 1511 in Arezzy, a city under the
Florentine Republic, and painted during the High
Renaissance Period.)

VASARI’s book published in 1550 in Florence
was dedicated to Cosimo de Medici.
Forms an important document of Italian Art
History.
This valuable book covers a 250 year’s span.
Commencing with Cimabue the tutor of Giotto,
right up to Tizian, - better known as Titan!
Vasari also mentions four lesser known Female
Renaissance Artists; Sister Plantilla, Madonna
Lucrezia, Sofonista Anguissola, and Properzia
de Rossi;
And Rossi’s painting “Joseph and Potiphar’s
Wife”,
An impressive panel art which parallels the
unrequited love Rossi experienced in her own
life !
(
Joseph the elder son of Jacob, taken captive by Potiphar
the Captain of Pharaoh’s guard, was desired by Potiphar’s
wife, whose advances Joseph repulsed. Rossi’s painting
of 1520s inspired later artists to paint their own versions
of this same Old Testament Story.)

Next I briefly mention architects Brunelleschi
and Ghiberti, and the sculptor Donatello;
Not forgetting the painters like Masaccio,
Verrocchio and Botticelli;
Those Early Renaissance Artists are known to
us today thanks to the Art historian Giorgio
Vasari .

BRUNELLESCHI has been mentioned in Section
One of my Renaissance Story.
His 114 meter high dome of Florence Cathedral
created artistic history!
This dome was constructed without supporting
buttresses with a double egg shaped structure;
Stands out as an unique feat of Florentine
Architecture!
The dome is larger than St Paul’s in London,
the Capitol Building of Washington DC, and
also the St Peters in the Vatican City!

GILBERTI is remembered for his massive
15 feet high gilded bronze doors for the
Baptistery of Florence,
Containing twenty carved panels with themes
from the Old Testament.
Which took a quarter century to complete,
working at his own convenience.
His exquisite naturalistic carved figures in the
true spirit of the Renaissance won him a prize;
And his gilded doors were renamed by Michel
Angelo as ‘The Gates of Paradise’!
(
At the age of 23 yrs Lorenzo Ghiberti had won the
competition beating other Architects for craving the
doors of the Baptistery of Florence!)

DONATELLO’S full size bronze David was
commissioned by its patron Cosimo de’ Medici.
With its sensual contrapposto stance in the
classical Greek style with its torso bent slightly.
Is known as the first free standing **** statue
since the days of Classical Art history!
The Old Testament relates the story of David
the shepherd boy, who killed the giant Goliath
with a single sling shot;
Cutting off his head with Goliath’s own sword!
Thus saving the Israelites from Philistine’s wrath.
This unique statue inspired all later sculptors to
strive for similar artistic excellence;
Culminating in Michael Angelo’s **** statue of
David, known for its sculptured brilliance!

MASSACCIO (1401- 1428) joined Florentine
Artist’s Guild at the age of 21 years.
A talented artist who abandoned the old Gothic
Style, experimenting without fears!
Influenced by Giotto, he mastered the use of
perspective in art.
Introduced the vanishing point and the horizon
line, - while planning his artistic works.
In his paintings ‘The Expulsion from Eden’
and ‘The Temptation’,
He introduced the initial **** figures in Italian
Art without any inhibition!
Though up North in Flanders, Van Eyck the
painter had already made an artistic innovation,
By painting ‘Adam and Eve’ displaying their
****** in his artistic creation;
Thereby creating the first **** painting in Art
History!
But such figures greatly annoyed the Church,
Since nudes formed a part of pagan art!
So these Northern artists to pacify the Church
and pass its censorship,
Cleverly under a fig leaf cover made their art to
appear moralistic!
Van Eyck was also the innovator of oil-based paints,
Which later replaced the Medieval tempera, used to
paint angles and saints.

Masaccio’s fresco ‘The Tribute Money’ requires
here a special mention,
For his use of perspective with light and shade,
Where the blithe figure of the Roman tax collector
is artistically made.
Christ is painted with stern nobility, Peter in angry
majesty;
And every Apostle with individualized features,
attire, and pose;
With light coming from a single identifiable source!
“Render unto Caesar the things that are Caesar’s,
and unto God things that are God’s”, said Christ;
Narrated in Mathew chapter 22 verse 21, which
cannot be denied.
Unfortunately, Masaccio died at an early age of
27 years.
Said to have been killed by a jealous rival artist,
who had shed no tears!

BOTTICELLI the Florentine was born half a
century after the Dutch Van Eyck;
Remembered even to this day for his painting
the ‘Birth of Venus’, an icon of Art History
making him famous.
This painting depicts goddess Venus rising out
of the sea on a conch shell,
And the glorious path of female **** painting
commenced in Italy, - casting a spell!
His full scale **** Venus shattered the Medieval
taboo on ******.
With a subject shift from religious art to Classical
Mythology;
Removing the ‘fig-leaf cover’ over Art permanently!

I end this Early Period with VERROCCHIO, born
in Florence in fourteen hundred and thirty five.
A trained goldsmith proficient in the skills of both
painting and sculpture;
Who under the patronage of the Medici family
had thrived.
He had set up his workshop in Florence were he
trained Leonardo Da Vinci, Botticelli, and other
famous Renaissance artists alike!

FOUR CANONICAL PAINTING MODES OF
THE RENAISSANCE:
During the Renaissance the four canonical painting
modes we get to see;
Are Chiaroscuro, Sfumato, Cangiante and Unione.
‘Chiaroscuro’ comes from an Italian word meaning
‘light and dark’, a painting technique of Leonardo,
Creating a three dimensional dramatic effect to
steal the show.
Later also used with great excellence by Rubens
and the Dutch Rembrandt as we know.
‘Sfumato’ from Italian ‘sfumare’, meaning to tone
down or evaporate like a smoke;
As seen in Leonardo’s ‘Mona Lisa’ where the
colors blend seamlessly like smoke!
‘Cangiante’ means to ‘change’, where a painter
changed to a lighter or a darker hue, when the
original hue could not be made light enough;
As seen in the transformation from green to
yellow in Prophet Daniel’s robe,
On the ceiling of Sistine Chapel in Rome.
‘Unione’ followed the ‘sfumato’ quality, but
maintained vibrant colors as we get to see;
In Raphael’s ‘Alba Madonna’ in Washington’s
National Gallery.

ART OF HIGH RENAISSANCE ERA - THE
GOLDEN AGE.

“Where the spirit does not work with the
hand there is no art.”- Leonardo

With Giotto during the Trecento period of the
14th century,
Painting dominated sculpture in the artistic
endeavor of Italy.
During the 15th century the Quattrocento, with
Donetello and Giberti,
Sculpture certainly dominated painting as we get to
see!
But during the 16th century or the Cinquecento,
Painting again took the lead commencing with
the great Leonardo!
This Era was cut short by the death of Lorenzo the
Magnificent to less than half a century; (Died in 1493)
But gifted great masterpieces to the world enriching
the world of Art tremendously!
The Medieval ‘halo’ was now replaced by a fresh
naturalness;
And both Madonna and Christ acquired a more
human likeness!
Portrait paintings began to be commissioned by
many rich patrons.
While artists acquired both recognition and a status
of their own.
But the artistic focus during this Era had shifted from
Florence,  - to Venice and Rome!
In the Vatican City, Pope Julius-II was followed by
Pope Leo the Tenth,
He commissioned many works of art which are
still cherished and maintained!
Now cutting short my story let me mention the
famous Italian Renaissance Superstar Trio;
Leonardo, Raphael, and Michael Angelo.

LEONARDO DA VINCI was born in 1452 in
the village of Vinci near the City of Florence,
Was deprived of a formal education being born
illegitimate!
He was left-handed, and wrote from right to left!
He soon excelled his teacher Varrocchio, by
introduced oil based paints into Italy;
Whose translucent colors with his innovative
techniques, enhanced his painting artistically.
Sigmund Freud had said, “Leonardo was like a
man who awoke too early in the darkness while
others were all still asleep,” - he was awake!
Leonardo’s  historic ‘Note Book’ has sketches of a
battle tank, a flying machine, a parachute, and many
other anatomical and technical sketches and designs;
Reflecting the ever probing mind of this versatile
genius who was far ahead of his time!
His ‘Vituvian Man’, ‘The Last Supper’, and ‘Mona Lisa’,
Remain as his enduring works of art and more popular
than the Leaning Tower of Pisa!
Pen and ink sketch of the ‘Vitruvian Man’ with arms
and leg apart inside a square and a circle, also known
as the ‘Proportion of Man’;
Where his height correspondence to the length
of his outstretched hands;
Became symbolic of the true Renaissance spirit
of Man.
‘The Last Supper’ a 15ft by 29ft fresco work on
the refectory wall of Santa Maria, commissioned
by Duke of Milan Ludovic,
Is the most reproduced religious painting which
took three years to complete!
Leonardo searched the streets of Milan before
painting Judas’ face;
And individualized each figure with competence!
‘Mona Lisa’ with her enigmatic smile continues
to inspire artists, poets, and her viewers alike,
since its creation;
Which Leonardo took four years to complete
with utmost devotion.
Leonardo used oil on poplar wood panel, unique
during those days,
With ‘sfumato’ blending of translucent colors with
light and shade;
Creating depth, volume, and form, with a timeless
expression on Mona Lisa’s countenance!
Art Historian George Varasi says that it is the face
of one Lisa Gherardini,
Wife of a wealthy Florentine merchant of Italy.
Insurance Companies failed to make any estimation
of this portrait, declaring its value as priceless!
Today it remains housed inside an air-conditioned,
de-humidified chamber, within a triple bullet-proof
glass, in Louvre France.
“It is the ultimate symbol of human civilization”,
- exclaimed President Kennedy;
And with this I pay my humble tribute to our
Leonardo da Vinci!

MICHEL ANGELO BUONARROTI (1475-1564):
This Tuscan born sculptor, painter, architect, and
poet, was a versatile man,
Worthy to be called the archetype of the true
‘Renaissance Man’!
At the age of twelve was placed under the famous
painter Ghirlandio,
Where his inclination for sculpting began to show.
Under the liberal patronage of Lorenzo de Medici,
He developed his talent as a sculptor as we get
to see.
In the Medici Palace, he was struck by his rival
Torregiano on the nose with a mallet;
Disfiguring permanently his handsome face!
His statue of ‘Bacchus’ of 1497 and the very
beauty of the figure,
Earned him the commission for the ‘PIETA’ in
St Peter’s Basilica;
Where from a single piece of Carrara marble he
carved out the figure of ****** Mary grieving
over the dead body of Christ;
This iconic piece of sculpture which along with
his ‘David’ earned him the ‘Superstar rights’!

Michel Angelo’s **** ‘DAVID’ weighed 6.4 tons
and stood 17 feet in height;
Unlike the bronze David of Donatello, which
shows him victorious after the fight!
Michel’s David an epitome of strength and
youthful vigour with a Classical Greek touch;
Displayed an uncircumcised ***** which had
shocked the viewers very much!
But it was consistent with the Mannerism in Art,
in keeping with the Renaissance spirit as such!
David displays an attitude of placid calm with
his knitted eyebrows and sidelong glance;
With his left hand over the left shoulder
holding a sling,
Coolly surveys the giant Goliath before his
single sling shot fatally stings!
This iconic sculpture has a timeless appeal even
after 500 years, depicting the ‘Renaissance Man’
at his best;
Vigorous, healthy, beautiful, rational and fully
competent!
Finally we come to the Ceiling of the Sistine
Chapel of Rome,
Where Pope Julius-II’s persistence resulted in the
creation of world’s greatest single fresco that was
ever known!
Covering some 5000 square feet, took five years
to complete.
Special scaffoldings had to be erected for painting
scenes from ‘The Creation’ till the ‘Day of Judgment’
on a 20 meter’s high ceiling;
Where the Central portion had nine scenes from
the ‘Book of Genesis’,
With ‘Creation of Adam’ having an iconic significance!
Like Leonardo, Michel Angelo was left-handed and died
a bachelor - pursuing his art with devotion;
A man with caustic wit, proud reserve, and sublimity
of imagination!

RAFFAELLO SANZIO (1483-1520):
This last of the famous High Renaissance trio was
born in 1483 in Urbino,
Some eight years after Michel Angelo.
His Madonna series and decorative frescos
glorified the Library of Pope Julius the Second;
Who was impressed by his fresco ‘The School
of Athens’;
And commissioned Raphael to decorate his
Study in the Vatican.
Raphael painted this large fresco between 1510
and 1511, initially named as the ‘Knowledge of
Causes’,
But the 17th century guide books referred to it
as ‘The School of Athens’.
Here Plato and Aristotle are the central figures
surrounded by a host of ancient Greek scholars
and philosophers.
The bare footed Plato is seen pointing skywards,
In his left hand holds his book ‘Timaeus’;
His upward hand gesture indicating his ‘World
of Forms’ and transcendental ideas!
Aristotle is seen pointing downwards, his left
hand holds his famous book the ‘Ethics’;
His blue dress symbolizes water and earth
with an earthly fix.
The painting illustrates the historic continuance
of Platonic thoughts,
In keeping with the spirit of the Renaissance!
Raphael’s last masterpiece ‘Transfiguration’
depicts the resurrected Christ,
Flanked by prophets
Ola Radka Jan 2017
We all paint our lives.
The mountains of challenges,
The rivers of tears,
The waterfalls of joy.

We mix the colours of sorrow and laughter
And add the colours of experience and the years that passed.
The souls we will always remember
And the moments we will never forget.
ryn  Jan 2015
A Poet's Heart
ryn Jan 2015
.
A poet's heart isn't like any other...
It's the tears that trickle with radiance through words.
     It's a treasure trove that hides but longs to
     be found.
          It's a book shelved high that wants to
          be read.
               It's the freest of all birds caged but
               unbound...

A poet's heart isn't like any other...
It doesn't beat to the capable strokes of the artist.
     It doesn't pump in the most vibrant of
     colours.
          It doesn't wield a paintbrush to
          translate its thoughts.
               But it can see through the eyes of
               painters...

A poet's heart isn't like any other...
It doesn't conform to the conventional parameters of lyrics.
     It doesn't bind itself to the requirements
     of musical harmony.
          It doesn't follow the conventions of
          genres.
               But it sings its voice loud without
               restrictions of melody...

A poet's heart isn't like any other...
It's an open secret, that whispers in metaphoric codes.
     It's an exploding universe, that merges
     back into galaxies.
          It's a sought after painting, that boasts
          of unfathomable beauty.
               It's an everlasting song, that echoes
               within the poet that embodies...
.
Dedicated to all of you...

If you're reading this...
This is for you...
.
Mateuš Conrad Sep 2018
. you're using all the right words: for all the wrong reasons... and let's face it: if women own the monopoly on reproductive avenues... then men hold the ego-key, to slot their presence, through a door, that curbs or gives allowances, to what is thought... *** was nether a transluçent enterprise... oh look... the Roma sigma pops up... dire straits: de profundis - money for nothing riff - boogie boogie... milkshakes from the 1950s 'n' all... you know what my biggest pet peeve is? the englih language imitating ancient Latin, i.e. not applying diacritical "punctuation" markers to close in on syllables and make the language atomic (i.e. H is hydrogen, He is helium)... **** me... the same Brits who lived in the 19th century, are not the same Brits living in the 21st century... no wonder the fertility rate is s ****** low.... try ******* an english bride... no thank you; i'd rather **** a female gorilla.

the milkman passes my house
at, circa, 3am...
see the van skid around the bend
up the hill...
            
i listen to music at volumes
equivalent to my father working
the construction site -
i'll be deaf by the time i'm 50...
     and guess what:
                  for the music i'm listening
to? it'll be worth it...

dittoing out:
   have the criticism of post-modernists
ever suffer?
doubt: doubt, is the modern
relief from existentialist
    negation...
  
why is doubt being attacked?
doubt is half than that outright
******* of denial
proposed by French existentialists...
doubt is good in that it's
tornado of emotions,
you want to imitate Christ on
Golgotha?
  you doubt, and achieve the pinnacle
of the passion...
you start negating?
     you're, nowhere...

    on your own...

came the noun-phobia of philosophers -
the tinkers and tailors
of a.. what seems to be:
a noun-phobia
  guaranteed with fog...
   and thing..

  the term
  "thing" presupposes
the supposition of tree...
     which subsequently serves
the proposition: let's hide in it!

      philosophy and its infamous
noun-phobia -
               thing...
           and it's nihil...
  its nothing...
      
                 a ******* cul de sac -
     epigram -
       of quasi morse encoding -
     braille to boot -
September is coming -
           van Morrison (moondance) -
hiding autumnal chill -
           pan-Europeanism:
proto-"africa": either in Hindustan -
or Siberia;

suppose a moon, suppose a shadow by
candlelight, some edgy urban solo -
as a bricklayer i could raise kids
and crux on a woman -
          chicken / doctoral itching with
a blunt nail are called scratchings -
       hand-writing:
             less digits in the digital
formatting - and more
calligraphy...
                      the rotten handwriting
of general practitioners...
     Hippocrates might have made an oath...
but in terms of a handwritten cipher?
no clue...
               the canvas of a monkey
onomatopoeia within the confines
of a custard of a lexicon...
   a mouth thus opens -
a month begins -
instead of a tongue ejected from
the ivory temple -
  a sludge crescendo of a quasi
                 cascade of sludge gluing the
whole theater into
a replica of a Russian drinking game...

....                 ⠞⠓
          ...     ⠑⠁⠑
     ...           ⠞⠑
    ............                  ⠞
...                      ⠥ ⠎
     : : :           -  ⠎          
   ........ : ....           ⠕?

100 wolves of the continent...
for, but 1, fox,
of the English isles...
   i'll settle for that ratio...
and then i'll bite to ensure
a signature!

  howl all you want...
but have you ever found seagulls
annoying up the river?
more annoying than magpies
or crows?
             the wolves can howl
all they want..
ever endear the ear
to hear a fox "laughing"?
   no?
  might as well listen to me.
i cradle that sound,
above the chariots
of a human newborn...
        i grieve!
   i am... sombre gsture...
    a past, a passing,
a future, a wicker man within:
torch...
   banquette of souls!

    let's interlude -

   touko "tom" laaksonen -
    how can people "do" sober
           when entertaining such
extravagances....
        is it empathy, or sympathy?
            in the name of the either,
with either being the sum
of what wll never be a sum
allowance,....
     to gain from...
                  why not
       ****-ease up the ****
    for a zeppelin-esque
                            bomb drop -
(minor the Nagasaki) -
                    and hand-piked ****
with the cusp of your hand -
         throne of thrones -
  flagship?
   "king of kings":
  like ****...
  the holy trinity of
       the no. 1, as the no. 2,
   and subsequently the no. 3:
**** (father),
       take a **** (son)...
            ******* (the holy ghosts)...
king of kings,
never sat on the throne
of thrones...
   i always hated "artists"...
    painters -
   plagiarists -
      cheque sketchers...
             plagiarists...
         ******* indentation
from holding a pen to add to having
exposure to a grammatical examination...
       quality cinema:
panorama take on a versus of
heavy editing...
                     and there was a time
frame to encompass dialogue...
      somehow it fits:
the verbal myopic -
            the entire pre-
& post- canvas of a blinking eye...
   always the question of the
pre-industrialißed sketch;
words predating metaphor
akin to  -
  words versus metaphor
in genesis -
   format? anecdotal.

      in writing:
            by one hand alone,
made into two...
        my, my...
  what a ****** self-portrait
"assumption"...
        a self-portrait...
a wish for color,
with nothing to show,
but the relief of encompassed bones;
that become a disembodied
skeleton - minus a purpose
of tendon attachments...

∟          "contra"    Δ          -
equilateral my ***...

            a few days spent within the confines
of a Promethean *****,
     there be, elemental insomnia
of an electric bespoke...
if Prometheus stole fire,
who, in in all for ****'s sake
stole the saber of Zeus,
the thunderbolt -
electricity, who?
who craved the insomnia?!
             this Frankenstein-esque
insomnia-zombification -
             white as is white:
with all the dermatological
copper take on broken shins...
         should ivory coco -
come between piglet *** copper
auburn in terms of autumn...
******...
             *******!

take your ****** *** elsewhere,
and then... start spelling
it with a missing G...
when citing Niger...
  you do the double dip of the NBA...
you count the second dip...
why do i love Batman as the best
superhero?
  not of his superhero powers,
he has none...
          his enemies are
the only interesting
counter-factoids of
having implemented an existence
for.
   there is no exacting of
a superhero,..
   but there is enough
to mind an antithesis...

          tylko wieśniak
by wydział film w tym,
          bo sie nie rusze -
    cegła, kamień -
       pień - mur -
           i by mówił - w tym
co zamarzło -
          to co ostygłe -
    w co z tym samym -
        meine filmisch -
      i skakaniem świec -
   od i na nagim cieniem -
   pytać nad pyche -
       tanz! tanz!
                 moje iskry słów...
   sto! i lat,
    o wielbłąd churem o
grzbiet da, i da,
       iskra; alfabetu!
    bogiem impromptu
o czym warty: -gień.


- suppose a moon, suppose a shadow,
by candlelight - within the confines of
mercury - that quickened silver -
some edgy urban solo -

      as a bricklayer or a cobbler  -
shoes that deviate from ushering
an echo -
          i could raise children and keep
a woman: only if she decided
upon not allowing me
a leash -
            what a saddening affair
of minds and freedom...
           chicken doctoral -
i don't know: vanity of the impossible
mortal gain...

    the monkey onomatopoeia
    within the confines of a custard
of  lexicon....

          that Victorian image proof
source of envisioned Braille in
the confines of a primate...
  
handwriting:
itches, scratches, chicken esque
clucking... which is what
handwriting looks like these days,
what, with the coding...
    semi plumber,
half the electrician...
  and certainly null when it comes
to calligraphic invigoration...

- homosexuality was always a contingency
escapade to release suppressed yearnings -
a sudden but a non-fulfillment questioning
celibacy...

               you can enforce curbing homosexuality,
but then there are two outlets...
the perversity: or the question...
of Ayn and Sophia...
                          
        greeks ****** the hebrews in the hole
without an outlet - zee heed: with a missing A...
      Ayn - Aleph -
                    twin Adam -
          perhaps a Siamese abomination...

mind you... the forbidden fruit?
sounds more like... the forbidden flesh...

thee burdensome walking
the already burdened earth: as the fruit,
somewhere between the flesh of man's last predator,
contained, on land, and his hidden desire
for revenge and introspection,
a denial of commonality and shared purpose -
thou shall not consume
that which also hunts you -
little or no concern with equal
     measure of forbidding, that which you pet...
the forbidden "fruit",
in between the flesh of a sabertooth tiger,
and Cain's fruit of famine and incompetence:
               cannibalism...

   and why would you think about
drinking a ms. amber with pepsi...
pepsi! to coca -
and not slide in a slice of lemon
while you're at it?
  terrible mistake...
       well... one way to get y'er vit amins...

        and why is it that all the best
movies these days are about homosexuals?
the dutch girl for starters...
   me, drinking, watching t.v.?
either **** good drama,
a western,
   or a movie about a *******
homosexual...
          did i mention that i think that
homosexuality is an auxiliary escapade plan?
natural, of course,
    but i'd hate to have to life
a doubled up life -
then again...
     perhaps i would...
           me? i have a new girlfriend -
Sophia - and her ****: Philip -
           so am i expected to make demands
for the child they might end up
called Ayn, or Aleph?
                - the Wahhabi hypocrisy
    concerning music, or rather, censoring it...
but... but i thought the adhan:
the call to prayer: was sung,
rather than abiding by the catholic
credo murmur?
     no?
                         my bad... you know better...
i'll send you a postcard from
the Galapagos Islands,
if i find the time, to find:
    that 4th dimensional concept doing
the trigonometric shoom! elsewhere -
on a tangen "bias": **** knows where -
like a comet - missing a tail -
shoom!                                       gone.

shrapnel:

            not enough thrills for a hard-on...
... images... drawings...
   apparently fine art is not enough
stimulation to ******* to for these Arabs...
****? .....   in general?
cartoons.... cartoons of women....
   ... because?
well... apparently the niqab...
  extends beyond the realm of...
  readily available attire...
            women on the street?
   pornographic "actresses"?
                       you see the cartoon?
it's all ******* ******...
                  oh don't get me wrong...
amy adams?
  buff as an exploding Hindenburg...
    the pale ginger - milchskin...
                - unrelated:
   how about i sneak a skunk into
        a coco chanel perfumery -
while advocating that people will still
call it a: scent just shy of roses and strawberries.

- people have heard of incels -
but have they heard of Vcels?
    huh?!
   yeah, yeah... voluntary celibacy -
i know what a ****** sounds and looks like -
and, to be honest?
   there's hardly any rhetorical ***
involved -
         a bit like jerking off...
              monkish chants -
Byzantine -
     the fear of man,
   when his own inability flourishes:
     in a woman...
                          
these acts have become well trodden...
so well trodden that i'm
authentically surprised that anyone
would still goosestep them into
their mundane plagiarism's existence...
    replica invigoration:
turns out...
    
   zeit ist nicht gerade, aber
kreisförmig
...

                              touko "tom" laaksonen...
i.e. tom of finland...
   question: you think a macron over
one of those As
                     would do the trick in terms
of spelling correction?

  touko "tom" laaksonen...
you seriously can only watch European cinema
while drinking...
    again... invigorating the english language:
one baby step at a time -
a simple grapheme -

    the vater's S Z interchangeability -
   synchronised contra synchronized -
    settled -
    synchronißed -
                       sometimes the slithering S
of a snake -
   otherwise the rigid totem with
a torso of a zebra...
                     hardly a major investment -
but when i see English having moved
from the Elizabethan Shaky Steward of
thou etc. -
       imitating ancient Latin -
    coordinating the Greenwich study of
dyslexia...
            Joyce...
              no diacritical application?
   hell...
                 might as well release a bull
into a China shop...
                 or a rottweiler into chicken shack...
still... why is there an orthographic aesthetic
in practice, hovering over I and J,
  when there's no difference, as suggested
in CAPiTAL letterIng?
                                       ah... i see...
the english "think" they can bypass the para-
frontier, and the orthographic frontier
and race down to the metaphysics...
        first?
   you explain why it's i and not ι,
  and why it's j and not ȷ.
Poets are cryptographers
painters, with vivid canvas,
abstract sword that cuts
and sews.

Imagine a poet
painting an ocean with a big head,
blonde crayon and tiny fish,
running in its big mouth.

I ween a bard
Or cinematographer,
capturing a beautiful city,
with skyscrapers, big ben
and no living bodies.

Yes it's a paint,
a beautiful art work
Or a mirror of semantics
Surrealism-
Of a world
where dreams get shattered
Poets are painters.
Amitav Radiance  Jul 2014
Colors
Amitav Radiance Jul 2014
We are all painters
Holding a color palette
Conceiving a painting
It’s how we mix the colors
Depending on our imagination
Whether we paint happiness
Or scenes of saddened gray
Situations yield the paintings
Sometimes splashing all colors
Or else black colors gloom
Universe has mostly dark energy
Yet, we have found our colors
To paint our abode, we inhabit
No matter, colors of joy and sorrow
We celebrate all colors
We are all painters, wielding the brush
To create new colors of hope
K Balachandran Jun 2013
Two painters unseen,  leisurely take turns,
to change the color to one or the other,
relentless they strive, the world looks on,
but never could they succeed,
even after all these years of love's labor.

A third, the pale faced dreamy charmer,
is out of such intense competitiveness;
wanted the world only to be seen through her veil,
her goal is more artistic,casual.
An enchanting smile, none would forget,
flits across her face whenever she appears.
Her cool rays, and silver veil charms lovers' hearts.
MBJ Pancras Sep 2015
An enigmatic smile she’s dressed with to chant mystery,
Poets and bards with their magical poesy tried the mystery,
Philosophers and thinkers broke their minds to unravel the secrecy,
Scientists and law makers built hypotheses and verdicts to read hers,
Painters and sculptors fatigued with their colours and clay,
Actors and directors enacted to unknot the thread of obscurity.
Odes and epics, long-written, attempted to sing Lisa’s Smile;
But reflections of their beloveds’ smile read in their verses,
Philosophies and thoughts expressed in huge volumes;
But less understood even the painter’s invention,
Theories and laws built around Science and Law;
But little is the outcome of their propositions sans the mystery,
Colours and clay played on mighty imaginative realms;
But Mona Lisa ne’er spoke of her mystery Smile.
Enactments on massive stages thrilled the collective audiences;
But Mona Lisa hid the mystery of her Smile.

I walked around the garden of poetry with fragrance of mystery,
I saw a poem in her distinctive beauty ruling my mind’s eye.
She smiled at my heart and in turn my heart smiled at her,
Her smile taught me a mystery and it took time to read it;
Yet there was a veil betwixt us, and I took my plume to write.
She took my heart unto her, and I romped in joy.
She’s been decked with melody and rhymes,
And the string of verses stretched beyond the horizon,
Where the mystery of Lisa’s Smile be found.
She took me with her beyond the horizon,
And I followed her with no utterance till our destination.
She laughed at me for my silence;
Yet she smiled unto me; but her smile looked unfathomable.

She smiled and smiled at me; yet she had no utterance for me;
She looked a little bit puzzling unto me, and I had no answer;
Yet her smile dwelled in me, and I invoked the Muse of Poetry.
“Thou art to be a silent lover, and her smile is the answer unto thee,
She’s the Mona Lisa; she can’t speak, but smile and smile.”
I lay on the soil of the kingdom of poetry, imbibing Lisa’s Smile,
I adorn her smile; I worship her smile; I revere her smile,
Let me not move away from the garden of poetry
Till Lisa’s Smile is translated unto me.

I waited and waited and I found the answer:
Lisa smiles and her smile is the love of silence.
My heart rests in silence that her love is felt within.
She uttered into me:”Speak not, but love with smile,
And that the mystery of my Smile and my Smile lasts.”

I know why Mona Lisa smiles.
She loves me with her silent Smile.
About Mona Lisa
It is full summer now, the heart of June;
Not yet the sunburnt reapers are astir
Upon the upland meadow where too soon
Rich autumn time, the season’s usurer,
Will lend his hoarded gold to all the trees,
And see his treasure scattered by the wild and spendthrift breeze.

Too soon indeed! yet here the daffodil,
That love-child of the Spring, has lingered on
To vex the rose with jealousy, and still
The harebell spreads her azure pavilion,
And like a strayed and wandering reveller
Abandoned of its brothers, whom long since June’s messenger

The missel-thrush has frighted from the glade,
One pale narcissus loiters fearfully
Close to a shadowy nook, where half afraid
Of their own loveliness some violets lie
That will not look the gold sun in the face
For fear of too much splendour,—ah! methinks it is a place

Which should be trodden by Persephone
When wearied of the flowerless fields of Dis!
Or danced on by the lads of Arcady!
The hidden secret of eternal bliss
Known to the Grecian here a man might find,
Ah! you and I may find it now if Love and Sleep be kind.

There are the flowers which mourning Herakles
Strewed on the tomb of Hylas, columbine,
Its white doves all a-flutter where the breeze
Kissed them too harshly, the small celandine,
That yellow-kirtled chorister of eve,
And lilac lady’s-smock,—but let them bloom alone, and leave

Yon spired hollyhock red-crocketed
To sway its silent chimes, else must the bee,
Its little bellringer, go seek instead
Some other pleasaunce; the anemone
That weeps at daybreak, like a silly girl
Before her love, and hardly lets the butterflies unfurl

Their painted wings beside it,—bid it pine
In pale virginity; the winter snow
Will suit it better than those lips of thine
Whose fires would but scorch it, rather go
And pluck that amorous flower which blooms alone,
Fed by the pander wind with dust of kisses not its own.

The trumpet-mouths of red convolvulus
So dear to maidens, creamy meadow-sweet
Whiter than Juno’s throat and odorous
As all Arabia, hyacinths the feet
Of Huntress Dian would be loth to mar
For any dappled fawn,—pluck these, and those fond flowers which
are

Fairer than what Queen Venus trod upon
Beneath the pines of Ida, eucharis,
That morning star which does not dread the sun,
And budding marjoram which but to kiss
Would sweeten Cytheraea’s lips and make
Adonis jealous,—these for thy head,—and for thy girdle take

Yon curving spray of purple clematis
Whose gorgeous dye outflames the Tyrian King,
And foxgloves with their nodding chalices,
But that one narciss which the startled Spring
Let from her kirtle fall when first she heard
In her own woods the wild tempestuous song of summer’s bird,

Ah! leave it for a subtle memory
Of those sweet tremulous days of rain and sun,
When April laughed between her tears to see
The early primrose with shy footsteps run
From the gnarled oak-tree roots till all the wold,
Spite of its brown and trampled leaves, grew bright with shimmering
gold.

Nay, pluck it too, it is not half so sweet
As thou thyself, my soul’s idolatry!
And when thou art a-wearied at thy feet
Shall oxlips weave their brightest tapestry,
For thee the woodbine shall forget its pride
And veil its tangled whorls, and thou shalt walk on daisies pied.

And I will cut a reed by yonder spring
And make the wood-gods jealous, and old Pan
Wonder what young intruder dares to sing
In these still haunts, where never foot of man
Should tread at evening, lest he chance to spy
The marble limbs of Artemis and all her company.

And I will tell thee why the jacinth wears
Such dread embroidery of dolorous moan,
And why the hapless nightingale forbears
To sing her song at noon, but weeps alone
When the fleet swallow sleeps, and rich men feast,
And why the laurel trembles when she sees the lightening east.

And I will sing how sad Proserpina
Unto a grave and gloomy Lord was wed,
And lure the silver-breasted Helena
Back from the lotus meadows of the dead,
So shalt thou see that awful loveliness
For which two mighty Hosts met fearfully in war’s abyss!

And then I’ll pipe to thee that Grecian tale
How Cynthia loves the lad Endymion,
And hidden in a grey and misty veil
Hies to the cliffs of Latmos once the Sun
Leaps from his ocean bed in fruitless chase
Of those pale flying feet which fade away in his embrace.

And if my flute can breathe sweet melody,
We may behold Her face who long ago
Dwelt among men by the AEgean sea,
And whose sad house with pillaged portico
And friezeless wall and columns toppled down
Looms o’er the ruins of that fair and violet cinctured town.

Spirit of Beauty! tarry still awhile,
They are not dead, thine ancient votaries;
Some few there are to whom thy radiant smile
Is better than a thousand victories,
Though all the nobly slain of Waterloo
Rise up in wrath against them! tarry still, there are a few

Who for thy sake would give their manlihood
And consecrate their being; I at least
Have done so, made thy lips my daily food,
And in thy temples found a goodlier feast
Than this starved age can give me, spite of all
Its new-found creeds so sceptical and so dogmatical.

Here not Cephissos, not Ilissos flows,
The woods of white Colonos are not here,
On our bleak hills the olive never blows,
No simple priest conducts his lowing steer
Up the steep marble way, nor through the town
Do laughing maidens bear to thee the crocus-flowered gown.

Yet tarry! for the boy who loved thee best,
Whose very name should be a memory
To make thee linger, sleeps in silent rest
Beneath the Roman walls, and melody
Still mourns her sweetest lyre; none can play
The lute of Adonais:  with his lips Song passed away.

Nay, when Keats died the Muses still had left
One silver voice to sing his threnody,
But ah! too soon of it we were bereft
When on that riven night and stormy sea
Panthea claimed her singer as her own,
And slew the mouth that praised her; since which time we walk
alone,

Save for that fiery heart, that morning star
Of re-arisen England, whose clear eye
Saw from our tottering throne and waste of war
The grand Greek limbs of young Democracy
Rise mightily like Hesperus and bring
The great Republic! him at least thy love hath taught to sing,

And he hath been with thee at Thessaly,
And seen white Atalanta fleet of foot
In passionless and fierce virginity
Hunting the tusked boar, his honied lute
Hath pierced the cavern of the hollow hill,
And Venus laughs to know one knee will bow before her still.

And he hath kissed the lips of Proserpine,
And sung the Galilaean’s requiem,
That wounded forehead dashed with blood and wine
He hath discrowned, the Ancient Gods in him
Have found their last, most ardent worshipper,
And the new Sign grows grey and dim before its conqueror.

Spirit of Beauty! tarry with us still,
It is not quenched the torch of poesy,
The star that shook above the Eastern hill
Holds unassailed its argent armoury
From all the gathering gloom and fretful fight—
O tarry with us still! for through the long and common night,

Morris, our sweet and simple Chaucer’s child,
Dear heritor of Spenser’s tuneful reed,
With soft and sylvan pipe has oft beguiled
The weary soul of man in troublous need,
And from the far and flowerless fields of ice
Has brought fair flowers to make an earthly paradise.

We know them all, Gudrun the strong men’s bride,
Aslaug and Olafson we know them all,
How giant Grettir fought and Sigurd died,
And what enchantment held the king in thrall
When lonely Brynhild wrestled with the powers
That war against all passion, ah! how oft through summer hours,

Long listless summer hours when the noon
Being enamoured of a damask rose
Forgets to journey westward, till the moon
The pale usurper of its tribute grows
From a thin sickle to a silver shield
And chides its loitering car—how oft, in some cool grassy field

Far from the cricket-ground and noisy eight,
At Bagley, where the rustling bluebells come
Almost before the blackbird finds a mate
And overstay the swallow, and the hum
Of many murmuring bees flits through the leaves,
Have I lain poring on the dreamy tales his fancy weaves,

And through their unreal woes and mimic pain
Wept for myself, and so was purified,
And in their simple mirth grew glad again;
For as I sailed upon that pictured tide
The strength and splendour of the storm was mine
Without the storm’s red ruin, for the singer is divine;

The little laugh of water falling down
Is not so musical, the clammy gold
Close hoarded in the tiny waxen town
Has less of sweetness in it, and the old
Half-withered reeds that waved in Arcady
Touched by his lips break forth again to fresher harmony.

Spirit of Beauty, tarry yet awhile!
Although the cheating merchants of the mart
With iron roads profane our lovely isle,
And break on whirling wheels the limbs of Art,
Ay! though the crowded factories beget
The blindworm Ignorance that slays the soul, O tarry yet!

For One at least there is,—He bears his name
From Dante and the seraph Gabriel,—
Whose double laurels burn with deathless flame
To light thine altar; He too loves thee well,
Who saw old Merlin lured in Vivien’s snare,
And the white feet of angels coming down the golden stair,

Loves thee so well, that all the World for him
A gorgeous-coloured vestiture must wear,
And Sorrow take a purple diadem,
Or else be no more Sorrow, and Despair
Gild its own thorns, and Pain, like Adon, be
Even in anguish beautiful;—such is the empery

Which Painters hold, and such the heritage
This gentle solemn Spirit doth possess,
Being a better mirror of his age
In all his pity, love, and weariness,
Than those who can but copy common things,
And leave the Soul unpainted with its mighty questionings.

But they are few, and all romance has flown,
And men can prophesy about the sun,
And lecture on his arrows—how, alone,
Through a waste void the soulless atoms run,
How from each tree its weeping nymph has fled,
And that no more ’mid English reeds a Naiad shows her head.

Methinks these new Actaeons boast too soon
That they have spied on beauty; what if we
Have analysed the rainbow, robbed the moon
Of her most ancient, chastest mystery,
Shall I, the last Endymion, lose all hope
Because rude eyes peer at my mistress through a telescope!

What profit if this scientific age
Burst through our gates with all its retinue
Of modern miracles!  Can it assuage
One lover’s breaking heart? what can it do
To make one life more beautiful, one day
More godlike in its period? but now the Age of Clay

Returns in horrid cycle, and the earth
Hath borne again a noisy progeny
Of ignorant Titans, whose ungodly birth
Hurls them against the august hierarchy
Which sat upon Olympus; to the Dust
They have appealed, and to that barren arbiter they must

Repair for judgment; let them, if they can,
From Natural Warfare and insensate Chance,
Create the new Ideal rule for man!
Methinks that was not my inheritance;
For I was nurtured otherwise, my soul
Passes from higher heights of life to a more supreme goal.

Lo! while we spake the earth did turn away
Her visage from the God, and Hecate’s boat
Rose silver-laden, till the jealous day
Blew all its torches out:  I did not note
The waning hours, to young Endymions
Time’s palsied fingers count in vain his rosary of suns!

Mark how the yellow iris wearily
Leans back its throat, as though it would be kissed
By its false chamberer, the dragon-fly,
Who, like a blue vein on a girl’s white wrist,
Sleeps on that snowy primrose of the night,
Which ‘gins to flush with crimson shame, and die beneath the light.

Come let us go, against the pallid shield
Of the wan sky the almond blossoms gleam,
The corncrake nested in the unmown field
Answers its mate, across the misty stream
On fitful wing the startled curlews fly,
And in his sedgy bed the lark, for joy that Day is nigh,

Scatters the pearled dew from off the grass,
In tremulous ecstasy to greet the sun,
Who soon in gilded panoply will pass
Forth from yon orange-curtained pavilion
Hung in the burning east:  see, the red rim
O’ertops the expectant hills! it is the God! for love of him

Already the shrill lark is out of sight,
Flooding with waves of song this silent dell,—
Ah! there is something more in that bird’s flight
Than could be tested in a crucible!—
But the air freshens, let us go, why soon
The woodmen will be here; how we have lived this night of June!
brian mclaughlin Aug 2015
There's a problem that painters
and poets both have
living life full of feelings
requiring they have a strong salve

for their critics abound
claiming that they know all
providing discouragement
and causing a spirit to fall

these painters and poets
they bring us their art
there's no one way to see it
though an open mind is a start

we must learn to observe
finding what's there for us
instead of going off half cocked
and causing a fuss

a critique is opinion
we're all entitled to one
but to critique to be mean
ruins everyone's fun
MBJ Pancras Sep 2015
An enigmatic smile she’s dressed with to chant mystery,
Poets and bards with their magical poesy tried the mystery,
Philosophers and thinkers broke their minds to unravel the secrecy,
Scientists and law makers built hypotheses and verdicts to read hers,
Painters and sculptors fatigued with their colours and clay,
Actors and directors enacted to unknot the thread of obscurity.
Odes and epics, long-written, attempted to sing Lisa’s Smile;
But reflections of their beloveds’ smile read in their verses,
Philosophies and thoughts expressed in huge volumes;
But less understood even the painter’s invention,
Theories and laws built around Science and Law;
But little is the outcome of their propositions sans the mystery,
Colours and clay played on mighty imaginative realms;
But Mona Lisa ne’er spoke of her mystery Smile.
Enactments on massive stages thrilled the collective audiences;
But Mona Lisa hid the mystery of her Smile.

I walked around the garden of poetry with fragrance of mystery,
I saw a poem in her distinctive beauty ruling my mind’s eye.
She smiled at my heart and in turn my heart smiled at her,
Her smile taught me a mystery and it took time to read it;
Yet there was a veil betwixt us, and I took my plume to write.
She took my heart unto her, and I romped in joy.
She’s been decked with melody and rhymes,
And the string of verses stretched beyond the horizon,
Where the mystery of Lisa’s Smile be found.
She took me with her beyond the horizon,
And I followed her with no utterance till our destination.
She laughed at me for my silence;
Yet she smiled unto me; but her smile looked unfathomable.

She smiled and smiled at me; yet she had no utterance for me;
She looked a little bit puzzling unto me, and I had no answer;
Yet her smile dwelled in me, and I invoked the Muse of Poetry.
“Thou art to be a silent lover, and her smile is the answer unto thee,
She’s the Mona Lisa; she can’t speak, but smile and smile.”
I lay on the soil of the kingdom of poetry, imbibing Lisa’s Smile,
I adorn her smile; I worship her smile; I revere her smile,
Let me not move away from the garden of poetry
Till Lisa’s Smile is translated unto me.

I waited and waited and I found the answer:
Lisa smiles and her smile is the love of silence.
My heart rests in silence that her love is felt within.
She uttered into me:”Speak not, but love with smile,
And that the mystery of my Smile and my Smile lasts.”

I know why Mona Lisa smiles.
She loves me with her silent Smile.
Mona Lisa's Smile
Morgan Mercury Oct 2013
I found you in the cracks of winter between puffing breaths of cold air like a dragon, on that cold Wednesday afternoon. I swore your eyes were the ocean, and I could see all the way to Europe. You held your books like a shield guarding your chest and you introduced yourself like a king.

We talked of Bukowski and Frost in between sips of lukewarm water. I fell in love with every pause you took and every time you blinked my heart beat increased. I was surprised you couldn't feel it from across the table.

You showed me the scars on your legs and arms you've gotten over the years. One from jumping off a roof into a pool. One randomly showing up when you woke up that morning. And one from that time you had a tumor removed from your chest. You told me don't feel sorry for you and don't feed you sympathy because you have been full for years.

We spent the next couple of months telling secrets. You told me I was the first person you have ever felt comfortable with in a long time. You kissed me so silently and slowly it was like breathing underwater. Forgive me if I sound selfish but I could not stay under the water any longer and I couldn't hold my breath for another second. I gave all my wishes and stars to you that night. I wrote poetry on your skin that we created when our hands touched.

We explored the mountains and ate picnics every Saturday afternoon. We ran from the rain as we saw the clouds roll in, we sat in the car and played truth or dare for an hour straight. I promised you I will love you until we're old and I'll have to feed you with a spoon until this action isn't anymore romantic but necessary instead.

It was a Tuesday at 2:35 in the morning when you were experiencing pain. I drove you to the hospital.

Our love was like a mother teaching a daughter how to slow dance for the first time; clumsy.
You didn't know how to hold me properly anymore because you were to busy holding medical bills in your hands. When I see these papers my mind loses focus and all those words form one big blur, and they become wet with warm teardrops smudging the news across the white crinkled paper. I turned off the tv that night and we actually looked at each other staring like we were both blank canvases and had painters block for the first time ever. That night you packed a suitcase and went away in a taxi. The hospital wasn't too far away but I couldn't bare to see you walk into that place again.

It was cold and it was Sunday. The doctors tried everything they could but it was already too big and eating you away. Old friends were always bitter when they weren't welcomed back but stormed in like a hurricane destroying everything the future has to hold. Your eyes were colorless and your hands were too fragile to hold anything. My heart was beating out of my chest and my palms were shaking. It felt like I was holding an earthquake.

You were only 21.

You had a warm heart and a beautiful brain. You were drained like rain-soaked up from the earth. I wished I could have taken you places and brought you flowers. But it was always too cold to go somewhere and all the flowers have disappeared away until next spring. For on now I'll just have to bring you back to life through words and hope not to cry. Another love is too far away to see and my vision is blurry but I don't want it to be clear. For I fear that I will once again become too selfish because I can't wait forever for you because death is miles away, and I'm not ready to see that side of my life. But when tomorrow starts without you I guess I'll just go home because, sweetheart, all the dust has disappeared.

Let us praise the time when we flew to Vegas one night because we were board. Praise the moment when we were so full of glee that time we won $20, and how we ignored that fact we lost $600. Praise the day our car broke down on the side of a mountain and so we finally got a chance to talk to each other and confess our problems. Praise that moment we meet on that frosty December. I hope your ghost waltzes at sunset with my shadow. I know it's only been a few years since we meet but for me, it was a lifetime of happiness.  Let it be known you are engraved into my brain and I'll always remember the time I saw you clutching books to your chest and puffing dragon breath.
just rambling

— The End —