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Bronx Peach Nov 2013
365Nectar #46 The High Priestess of Soul            
Fri. November 8, 2013  10:38 P.M.

Deep in the distance
dancing upon the horizon
a deeply distinctive voice
defies definition
bending genres to her will
clearly breaking boundaries
an exiled priestess wails louder than ever
silky, soulful, and spicy Pastel Blues

Little Girl Blue
lettin' it all out
with a wild as the wind
Sinner man
just tryin' to feel good
absolutely refusing to be misunderstood
a strong-willed priestess turns tempermental tunes
into blazing beautiful harmony
putting a revolutionary spell on you
belting  emotional songs of freedom and spirit
Peace of Heart
Nectar of Truth
just in time
to do what you do...
an exiled priestess wails louder than ever
silky, soulful, and spicy Pastel Blues.

Born to a preacher handyman
and housemaid minister
a gospel pop fusion diva
emerges from the Glory of Love
a strange volatile fruit
blossoms into young, gifted, and Black
spitting storms of spiritually smoldering Black Gold
from a silky soul
that scorches the earth
an exiled priestess wails louder than ever
silky, soulful, and spicy Pastel Blues

Masterfully mesmerizing
Black rock
Blood
and Candlesmoke
a fiery flow of
tangy, tantalizing and titillating
under a fog of duality
genius bears two heads
vibrant and intricate
a saucy songstress swings with passion and honesty
an empowered diva
breaks down and let's it all out
just energetic expressive jazz
injected with well composed folklore
live at Ronnie Scotts
an exiled priestess wails louder than ever
silky, soulful, and spicy Pastel Blues

From Newport to Baltimore
an exiled priestess feeds forbidden fruit
and hypnotizes the masses
with tantalizing love me or leave me alone torch songs
a powerful
Four Women
high on Lilac Wine
blush from Broadway Blues Ballads
in Baltimore
See-line woman
goes to hell
to save Little Liza Jane
and shelters in Barbados
Cotton-eyed Joe feeds
Brown Baby controversy
behind Blue Prelude

Did it move you?
Yeah...
Hell yeah.. it moved me too!

Mr. Bojangles wave bye bye to a Blackbird
in chilly winds that don't blow
while willows weep something seemingly
symbolic of soothing
to an African mailman in Central Park

and an exiled priestess wails louder than ever
silky, soulful, and spicy Pastel Blues

The High Priestess of Soul
caged but still singing
shivering sensations
from stubborn sweetness
under sweet strings
that sharply spill and scatter strength
to the sorrowful
that  daily dine and devour
silky, soulful, and spicy
Pastel Blues.
Michael R Burch Apr 2020
Enheduanna, the daughter of the famous King Sargon the Great of Akkad, is the first ancient writer whose name remains known today. Her bio appears after her poems, and it is a fascinating bio...



Temple Hymn 42: an Excerpt

to the Eresh Temple of Nisaba
by Enheduanna (circa 2285-2250 BCE)
loose translation/interpretation by Michael R. Burch

O, house of brilliant stars
bright with lapis stones,
you illuminate all lands!

...

The person who put this tablet together
is Enheduanna.
My king: something never created before,
did she not give birth to it?



Temple Hymn 15
to the Gishbanda Temple of Ningishzida
by Enheduanna
loose translation by Michael R. Burch

Most ancient and terrible shrine,
set deep in the mountain,
dark like a mother's womb...

Dark shrine,
like a mother's wounded breast,
blood-red and terrifying...

Though approaching through a safe-seeming field,
our hair stands on end as we near you!

Gishbanda,
like a neck-stock,
like a fine-eyed fish net,
like a foot-shackled prisoner's manacles...
your ramparts are massive,
like a trap!

But once we’re inside,
as the sun rises,
you yield widespread abundance!

Your prince
is the pure-handed priest of Inanna, heaven's Holy One,
Lord Ningishzida!

Oh, see how his thick, lustrous hair
cascades down his back!

Oh Gishbanda,
he has built this beautiful temple to house your radiance!
He has placed his throne upon your dais!



Temple Hymn 7: an Excerpt
to the Kesh Temple of Ninhursag
by Enheduanna
loose translation by Michael R. Burch

O, high-situated Kesh,
form-shifting summit,
inspiring fear like a venomous viper!

O, Lady of the Mountains,
Ninhursag’s house was constructed on a terrifying site!

O, Kesh, like holy Aratta: your womb dark and deep,
your walls high-towering and imposing!

O, great lion of the wildlands stalking the high plains!...



Temple Hymn 17: an Excerpt
to the Badtibira Temple of Dumuzi
by Enheduanna
loose translation by Michael R. Burch

O, house of jeweled lapis illuminating the radiant bed
in the peace-inducing palace of our Lady of the Steppe!



Temple Hymn 22: an Excerpt
to the Sirara Temple of Nanshe
by Enheduanna
loose translation by Michael R. Burch

O, house, you wild cow!
Made to conjure signs of the Divine!
You arise, beautiful to behold,
bedecked for your Mistress!



Temple Hymn 26: an Excerpt
to the Zabalam Temple of Inanna
by Enheduanna
loose translation by Michael R. Burch

O house illuminated by beams of bright light,
dressed in shimmering stone jewels,
awakening the world to awe!



Temple Hymn 42: an Excerpt
to the Eresh Temple of Nisaba
by Enheduanna
loose translation by Michael R. Burch

O, house of brilliant stars
bright with lapis stones,
you illuminate all lands!

...

The person who put this tablet together
is Enheduanna.
My king: something never created before,
did she not give birth to it?



Lament to the Spirit of War
by Enheduanna (circa 2285-2250 BCE)
loose translation/interpretation by Michael R. Burch

You hack down everything you see, War God!

Rising on fearsome wings
you rush to destroy our land:
raging like thunderstorms,
howling like hurricanes,
screaming like tempests,
thundering, raging, ranting, drumming,
whiplashing whirlwinds!

Men falter at your approaching footsteps.

Tortured dirges scream on your lyre of despair.

Like a fiery Salamander you poison the land:
growling over the earth like thunder,
vegetation collapsing before you,
blood gushing down mountainsides.

Spirit of hatred, greed and vengeance!

******* of heaven and earth!

Your ferocious fire consumes our land.

Whipping your stallion
with furious commands,
you impose our fates.

You triumph over all human rites and prayers.

Who can explain your tirade,
why you carry on so?



The Exaltation of Inanna: Opening Lines and Excerpts
by Enheduanna, the daughter of Sargon I of Akkad and the high priestess of the Goddess Inanna
loose translation/interpretation by Michael R. Burch

Lady of all divine powers!
Lady of the resplendent light!
Righteous Lady adorned in heavenly radiance!

Beloved Lady of An and Uraš!
Hierodule of An, sun-adorned and bejeweled!
Heaven’s Mistress with the holy diadem,
Who loves the beautiful headdress befitting the office of her own high priestess!

Powerful Mistress, seizer of the seven divine powers!
My Heavenly Lady, guardian of the seven divine powers!
You have seized the seven divine powers!
You hold the divine powers in your hand!
You have gathered together the seven divine powers!
You have clasped the divine powers to your breast!

You have flooded the valleys with venom, like a viper;
all vegetation vanishes when you thunder like Iškur!
You have caused the mountains to flood the valleys!
When you roar like that, nothing on earth can withstand you!

Like a flood descending on floodplains, O Powerful One, you will teach foreigners to fear Inanna!

You have given wings to the storm, O Beloved of Enlil!
The storms do your bidding, blasting the unbelievers!

Foreign cities cower at the chaos You cause!
Entire countries cower in dread of Your deadly South Wind!
Men cower before you in their anguished implications,
raising their pitiful outcries,
weeping and wailing, beseeching Your benevolence with many wild lamentations!

But in the van of battle, everything falls before You, O Mighty Queen!

My Queen,
You are all-conquering, all-devouring!
You continue Your attacks like relentless storms!
You howl louder than the howling storms!
You thunder louder than Iškur!
You moan louder than the mournful winds!
Your feet never tire from trampling Your enemies!
You produce much wailing on the lyres of lamentations!

My Queen,
all the Anunna, the mightiest Gods,
fled before Your approach like fluttering bats!
They could not stand in Your awesome Presence
nor behold Your awesome Visage!

Who can soothe Your infuriated heart?
Your baleful heart is beyond being soothed!

Uncontrollable Wild Cow, elder daughter of Sin,
O Majestic Queen, greater than An,
who has ever paid You enough homage?

O Life-Giving Goddess, possessor of all powers,
Inanna the Exalted!

Merciful, Live-Giving Mother!
Inanna, the Radiant of Heart!
I have exalted You in accordance with Your power!
I have bowed before You in my holy garb,
I the En, I Enheduanna!

Carrying my masab-basket, I once entered and uttered my joyous chants ...

But now I no longer dwell in Your sanctuary.
The sun rose and scorched me.
Night fell and the South Wind overwhelmed me.
My laughter was stilled and my honey-sweet voice grew strident.
My joy became dust.

O Sin, King of Heaven, how bitter my fate!

To An, I declared: An will deliver me!
I declared it to An: He will deliver me!

But now the kingship of heaven has been seized by Inanna,
at Whose feet the floodplains lie.

Inanna the Exalted,
who has made me tremble together with all Ur!

Stay Her anger, or let Her heart be soothed by my supplications!
I, Enheduanna will offer my supplications to Inanna,
my tears flowing like sweet intoxicants!
Yes, I will proffer my tears and my prayers to the Holy Inanna,
I will greet Her in peace ...

O My Queen, I have exalted You,
Who alone are worthy to be exalted!
O My Queen, Beloved of An,
I have laid out Your daises,
set fire to the coals,
conducted the rites,
prepared Your nuptial chamber.
Now may Your heart embrace me!

These are my innovations,
O Mighty Queen, that I made for You!
What I composed for You by the dark of night,
The cantor will chant by day.

Now Inanna’s heart has been restored,
and the day became favorable to Her.
Clothed in beauty, radiant with joy,
she carried herself like the elegant moonlight.

Now to the Noble Hierodule,
to the Wrecker of foreign lands
presented by An with the seven divine powers,
and to my Queen garbed in the radiance of heaven ...

O Inanna, praise!



Enheduanna, the daughter of the famous King Sargon the Great of Akkad, is the first ancient writer whose name remains known today. She appears to be the first named poet in human history and the first known author of prayers and hymns. Enheduanna, who lived circa 2285-2250 BCE, is also one of the first women we know by name. She was the entu (high priestess) of the goddess Inanna (Ishtar/Astarte/Aphrodite) and the moon god Nanna (Sin) in the Sumerian city-state of Ur. Enheduanna's composition Nin-me-šara ("The Exaltation of Inanna") details her expulsion from Ur, located in southern Iraq, along with her prayerful request to the goddess for reinstatement. Enheduanna also composed 42 liturgical hymns addressed to temples across Sumer and Akkad. And she was the first editor of a poetry anthology, hymnal or songbook. Now known as the Sumerian Temple Hymns, this was the first collection of its kind; indeed, Enheduanna so claimed at the end of the final hymn: "My king, something has been created that no one had created before." And poems and songs are still being assembled today via the model she established over 4,000 years ago! Enheduanna may also have been the first feminist, as she made Inanna the supreme deity. Keywords/Tags: Enheduanna, translation, Akkad, Sumer, Nanna, Inanna, Ur, Sumerian temple hymns, Gishbanda, Ningishzida



The Love Song Of Shu-Sin
(the earth's oldest love poem, Sumerian, circa 2,000 BC)
loose translation/interpretation by Michael R. Burch

Darling of my heart, my belovéd,
your enticements are sweet, far sweeter than honey.
Darling of my heart, my belovéd,
your enticements are sweet, far sweeter than honey.

You have captivated me; I stand trembling before you.
Darling, lead me swiftly into the bedroom!
You have captivated me; I stand trembling before you.
Darling, lead me swiftly into the bedroom!

Sweetheart, let me do the sweetest things to you!
My precocious caress is far sweeter than honey!
In the bedchamber, dripping love's honey,
let us enjoy life's sweetest thing.
Sweetheart, let me do the sweetest things to you!
My precocious caress is far sweeter than honey!

Bridegroom, you will have your pleasure with me!
Speak to my mother and she will reward you;
speak to my father and he will award you gifts.
I know how to give your body pleasure—
then sleep, my darling, till the sun rises.

To prove that you love me,
give me your caresses,
my Lord God, my guardian Angel and protector,
my Shu-Sin, who gladdens Enlil's heart,
give me your caresses!
My place like sticky honey, touch it with your hand!
Place your hand over it like a honey-*** lid!
Cup your hand over it like a honey cup!

This is a balbale-song of Inanna.

This may be earth's oldest love poem. It may have been written around 2000 BC, long before the Bible's "Song of Solomon, " which had been considered to be the oldest extant love poem by some experts. The poem was discovered when the archaeologist Austen Henry Layard began excavations at Kalhu in 1845, assisted by Hormuzd Rassam. Layard's account of the excavations, published in 1849 CE, was titled Nineveh and its Remains. Due to Nineveh's fame (from the Bible) , the book became a best seller. But it turned out that the excavated site was not Nineveh, after all, as Layard later discovered when he excavated the real Nineveh.

As a surrogate for Inanna, the bride's mother would be either Ninlil or possibly Ningal, both goddesses.

As a surrogate for Inanna, the bride's father would be either Enlil or possibly Suen, both gods.

Shu-Sin was a Mesopotamian king who ruled over the land of Sumer close to four thousand years ago. The poem seems to be part of a rite, probably performed each year, known as the "sacred marriage" or "divine marriage, " in which the king would symbolically marry the goddess Inanna, mate with her, and so ensure fertility and prosperity for the coming year. The king would accomplish this amazing feat by marrying and/or having *** with a priestess or votary of Inanna, the Sumerian goddess of love, fertility and war. Her Akkadian name was Istar/Ishtar, and she was also known as Astarte. Whichever her name, she was the most prominent Mesopotamian female goddess. Inanna's primary temple was the Eanna, located in Uruk. But there were many other temples dedicated to her worship. The high priestess would choose a young man who represented the shepherd Dumuzid, the consort of Inanna, in a hieros gamos or sacred marriage, celebrated during the annual Akitu (New Year)ceremony, at the spring Equinox. The name Inanna derives from the Sumerian words for "Lady of Heaven." She was associated with the lion-a symbol of power-and was frequently depicted standing on the backs of two lionesses. Her symbol was an eight-pointed star or a rosette. Like other female love and fertility goddesses, she was associated with the planet Venus. The Enlil mentioned was Inanna's father, the Sumerian storm god, who controlled the wind and rain. (According to some god/goddess genealogies, Enlil was her grandfather.)In an often-parched land, the rain god would be ultra-important, and it appears that one of the objects of the "divine marriage" was to please Enlil and encourage him to send rain rather than destructive storms! Enlil was similar to the Bible's Jehovah, in that he was the supreme deity, and sometimes sent rain and plenty, but at other times sent war and destruction. Certain passages of the Bible appear to have been "borrowed" by the ancient Hebrews from much older Sumerian texts such as the Epic of Gilgamesh. Such accounts include the creation myth, the Garden of Eden myth, and the myth of the Great Flood and a mankind-saving ark. However, the Hebrew scribes modified the accounts to suit their theology, so in the Bible there is only one "god" who controls everything, and thus behaves like an angel at times and like a demon at others. And that is understandable if one posits that one god controls the weather, since earth's weather is unpredictable and at times seems like a blessing and at other times like a curse.



Untitled Heresies: The ur Poems

& GAUD said, “Let there be LIGHT VERSE
to illuminate the ‘nature’ of my Curse!”
—michael r. burch

reverse the Curse
with LIGHT VERSE!
recant the cant
with an illuminating chant
,etc.
—michael r. burch

Can the darkness of Christianity with its “eternal hell” be repealed via humor? It’s time to recant the cant, please pardon the puns.

if ur GAUD
is good,
half the Bible
is libel.
—michael r. burch

Christianity replaces Santa Claus with Jesus, so swell,
and coal, ashes and soot with an “eternal hell.”
—Michael R. Burch



day eight of the Divine Plan
by michael r. burch

the earth’s a-stir
with a GAUDLY whirr...

the L(AWE)D’s been creatin’!

com(men)ce t’ matin’!

hatch lotsa babies
he’ll infect with rabies
then ban from college
for seekin’ knowledge
like curious eve!

dear chilluns, don’t grieve,
be(lie)ve the Deceiver!

(never ask why ur Cupid
wanted eve stupid,
animalistic, and naked.)

ah-men!

Keywords/Tags: Enheduanna, Poetess, Sumer, Sumerian, Akkad, Akkadian, Saragon, Ur, High Priestess, Hymn, Hymns, Hymnist, Psalm, Psalms, Psalmist, Prayer, Prayers, Lament, Lamentations, Goddess, Nanna, Inanna, Ishtar, Astarte, Aphrodite, Sauska, Ornament of Heaven, mrbtr, mrbtran, mrbhymn
Michael R Burch Apr 2020
Lament to the Spirit of War
by Enheduanna (circa 2285-2250 BCE)
loose translation/interpretation by Michael R. Burch

You hack down everything you see, War God!

Rising on fearsome wings
you rush to destroy our land:
raging like thunderstorms,
howling like hurricanes,
screaming like tempests,
thundering, raging, ranting, drumming,
whiplashing whirlwinds!

Men falter at your approaching footsteps.

Tortured dirges scream on your lyre of despair.

Like a fiery Salamander you poison the land:
growling over the earth like thunder,
vegetation collapsing before you,
blood gushing down mountainsides.

Spirit of hatred, greed and vengeance!

******* of heaven and earth!

Your ferocious fire consumes our land.

Whipping your stallion
with furious commands,
you impose our fates.

You triumph over all human rites and prayers.

Who can explain your tirade,
why you carry on so?



Temple Hymn 15

to the Gishbanda Temple of Ningishzida
by Enheduanna (circa 2285-2250 BCE)
loose translation/interpretation by Michael R. Burch

Most ancient and terrible shrine,
set deep in the mountain
like a mother's womb ...

Dark shrine,
like a mother's wounded breast,
blood-red and terrifying ...

Though approaching through a safe-seeming field,
our hair raises as we near you!

Gishbanda,
like a neck-stock,
like a fish net,
like a foot-shackled prisoner's manacles ...
your ramparts are massive,
like a trap!

But once we’re inside,
as the sun rises,
you yield widespread abundance!

Your prince
is the pure-handed priest of Inanna, heaven's holy one,
Lord Ningishzida!

Oh, see how his thick, lustrous hair
cascades down his back!

Oh Gishbanda,
he has built this beautiful temple to house your radiance!
He has placed his throne upon your dais!



Temple Hymn 7: an Excerpt
to the Kesh Temple of Ninhursag
by Enheduanna
loose translation by Michael R. Burch

O, high-situated Kesh,
form-shifting summit,
inspiring fear like a venomous viper!

O, Lady of the Mountains,
Ninhursag’s house was constructed on a terrifying site!

O, Kesh, like holy Aratta: your womb dark and deep,
your walls high-towering and imposing!

O, great lion of the wildlands stalking the high plains!...



Temple Hymn 17: an Excerpt
to the Badtibira Temple of Dumuzi
by Enheduanna
loose translation by Michael R. Burch

O, house of jeweled lapis illuminating the radiant bed
in the peace-inducing palace of our Lady of the Steppe!



Temple Hymn 22: an Excerpt
to the Sirara Temple of Nanshe
by Enheduanna
loose translation by Michael R. Burch

O, house, you wild cow!
Made to conjure signs of the Divine!
You arise, beautiful to behold,
bedecked for your Mistress!



Temple Hymn 26: an Excerpt
to the Zabalam Temple of Inanna
by Enheduanna
loose translation by Michael R. Burch

O house illuminated by beams of bright light,
dressed in shimmering stone jewels,
awakening the world to awe!



Temple Hymn 42: an Excerpt

to the Eresh Temple of Nisaba
by Enheduanna (circa 2285-2250 BCE)
loose translation/interpretation by Michael R. Burch

O, house of brilliant stars
bright with lapis stones,
you illuminate all lands!

...

The person who put this tablet together
is Enheduanna.
My king: something never created before,
did she not give birth to it?



The Exaltation of Inanna: Opening Lines and Excerpts
by Enheduanna, the daughter of Sargon I of Akkad and the high priestess of the Goddess Inanna
loose translation/interpretation by Michael R. Burch

Lady of all divine powers!
Lady of the resplendent light!
Righteous Lady adorned in heavenly radiance!

Beloved Lady of An and Uraš!
Hierodule of An, sun-adorned and bejeweled!
Heaven’s Mistress with the holy diadem,
Who loves the beautiful headdress befitting the office of her own high priestess!

Powerful Mistress, seizer of the seven divine powers!
My Heavenly Lady, guardian of the seven divine powers!
You have seized the seven divine powers!
You hold the divine powers in your hand!
You have gathered together the seven divine powers!
You have clasped the divine powers to your breast!

You have flooded the valleys with venom, like a viper;
all vegetation vanishes when you thunder like Iškur!
You have caused the mountains to flood the valleys!
When you roar like that, nothing on earth can withstand you!

Like a flood descending on floodplains, O Powerful One, you will teach foreigners to fear Inanna!

You have given wings to the storm, O Beloved of Enlil!
The storms do your bidding, blasting the unbelievers!

Foreign cities cower at the chaos You cause!
Entire countries cower in dread of Your deadly South Wind!
Men cower before you in their anguished implications,
raising their pitiful outcries,
weeping and wailing, beseeching Your benevolence with many wild lamentations!

But in the van of battle, everything falls before You, O Mighty Queen!

My Queen,
You are all-conquering, all-devouring!
You continue Your attacks like relentless storms!
You howl louder than the howling storms!
You thunder louder than Iškur!
You moan louder than the mournful winds!
Your feet never tire from trampling Your enemies!
You produce much wailing on the lyres of lamentations!

My Queen,
all the Anunna, the mightiest Gods,
fled before Your approach like fluttering bats!
They could not stand in Your awesome Presence
nor behold Your awesome Visage!

Who can soothe Your infuriated heart?
Your baleful heart is beyond being soothed!

Uncontrollable Wild Cow, elder daughter of Sin,
O Majestic Queen, greater than An,
who has ever paid You enough homage?

O Life-Giving Goddess, possessor of all powers,
Inanna the Exalted!

Merciful, Live-Giving Mother!
Inanna, the Radiant of Heart!
I have exalted You in accordance with Your power!
I have bowed before You in my holy garb,
I the En, I Enheduanna!

Carrying my masab-basket, I once entered and uttered my joyous chants ...

But now I no longer dwell in Your sanctuary.
The sun rose and scorched me.
Night fell and the South Wind overwhelmed me.
My laughter was stilled and my honey-sweet voice grew strident.
My joy became dust.

O Sin, King of Heaven, how bitter my fate!

To An, I declared: An will deliver me!
I declared it to An: He will deliver me!

But now the kingship of heaven has been seized by Inanna,
at Whose feet the floodplains lie.

Inanna the Exalted,
who has made me tremble together with all Ur!

Stay Her anger, or let Her heart be soothed by my supplications!
I, Enheduanna will offer my supplications to Inanna,
my tears flowing like sweet intoxicants!
Yes, I will proffer my tears and my prayers to the Holy Inanna,
I will greet Her in peace ...

O My Queen, I have exalted You,
Who alone are worthy to be exalted!
O My Queen, Beloved of An,
I have laid out Your daises,
set fire to the coals,
conducted the rites,
prepared Your nuptial chamber.
Now may Your heart embrace me!

These are my innovations,
O Mighty Queen, that I made for You!
What I composed for You by the dark of night,
The cantor will chant by day.

Now Inanna’s heart has been restored,
and the day became favorable to Her.
Clothed in beauty, radiant with joy,
she carried herself like the elegant moonlight.

Now to the Noble Hierodule,
to the Wrecker of foreign lands
presented by An with the seven divine powers,
and to my Queen garbed in the radiance of heaven ...

O Inanna, praise!



Enheduanna, the daughter of the famous King Sargon the Great of Akkad, is the first ancient writer whose name remains known today. She appears to be the first named poet in human history and the first known author of prayers and hymns. Enheduanna, who lived circa 2285-2250 BCE, is also one of the first women we know by name. She was the entu (high priestess) of the goddess Inanna (Ishtar/Astarte/Aphrodite) and the moon god Nanna (Sin) in the Sumerian city-state of Ur. Enheduanna's composition Nin-me-šara ("The Exaltation of Inanna") details her expulsion from Ur, located in southern Iraq, along with her prayerful request to the goddess for reinstatement. Enheduanna also composed 42 liturgical hymns addressed to temples across Sumer and Akkad. And she was the first editor of a poetry anthology, hymnal or songbook. Now known as the Sumerian Temple Hymns, this was the first collection of its kind; indeed, Enheduanna so claimed at the end of the final hymn: "My king, something has been created that no one had created before." And poems and songs are still being assembled today via the model she established over 4,000 years ago! Enheduanna may also have been the first feminist, as she made Inanna the supreme deity. Keywords/Tags: Enheduanna, translation, Akkad, Sumer, Nanna, Inanna, Ur, Sumerian temple hymns



The Love Song Of Shu-Sin
(the earth's oldest love poem, Sumerian, circa 2,000 BC)
loose translation/interpretation by Michael R. Burch

Darling of my heart, my belovéd,
your enticements are sweet, far sweeter than honey.
Darling of my heart, my belovéd,
your enticements are sweet, far sweeter than honey.

You have captivated me; I stand trembling before you.
Darling, lead me swiftly into the bedroom!
You have captivated me; I stand trembling before you.
Darling, lead me swiftly into the bedroom!

Sweetheart, let me do the sweetest things to you!
My precocious caress is far sweeter than honey!
In the bedchamber, dripping love's honey,
let us enjoy life's sweetest thing.
Sweetheart, let me do the sweetest things to you!
My precocious caress is far sweeter than honey!

Bridegroom, you will have your pleasure with me!
Speak to my mother and she will reward you;
speak to my father and he will award you gifts.
I know how to give your body pleasure—
then sleep, my darling, till the sun rises.

To prove that you love me,
give me your caresses,
my Lord God, my guardian Angel and protector,
my Shu-Sin, who gladdens Enlil's heart,
give me your caresses!
My place like sticky honey, touch it with your hand!
Place your hand over it like a honey-*** lid!
Cup your hand over it like a honey cup!

This is a balbale-song of Inanna.

This may be earth's oldest love poem. It may have been written around 2000 BC, long before the Bible's "Song of Solomon, " which had been considered to be the oldest extant love poem by some experts. The poem was discovered when the archaeologist Austen Henry Layard began excavations at Kalhu in 1845, assisted by Hormuzd Rassam. Layard's account of the excavations, published in 1849 CE, was titled Nineveh and its Remains. Due to Nineveh's fame (from the Bible) , the book became a best seller. But it turned out that the excavated site was not Nineveh, after all, as Layard later discovered when he excavated the real Nineveh.

As a surrogate for Inanna, the bride's mother would be either Ninlil or possibly Ningal, both goddesses.

As a surrogate for Inanna, the bride's father would be either Enlil or possibly Suen, both gods.

Shu-Sin was a Mesopotamian king who ruled over the land of Sumer close to four thousand years ago. The poem seems to be part of a rite, probably performed each year, known as the "sacred marriage" or "divine marriage, " in which the king would symbolically marry the goddess Inanna, mate with her, and so ensure fertility and prosperity for the coming year. The king would accomplish this amazing feat by marrying and/or having *** with a priestess or votary of Inanna, the Sumerian goddess of love, fertility and war. Her Akkadian name was Istar/Ishtar, and she was also known as Astarte. Whichever her name, she was the most prominent Mesopotamian female goddess. Inanna's primary temple was the Eanna, located in Uruk. But there were many other temples dedicated to her worship. The high priestess would choose a young man who represented the shepherd Dumuzid, the consort of Inanna, in a hieros gamos or sacred marriage, celebrated during the annual Akitu (New Year)ceremony, at the spring Equinox. The name Inanna derives from the Sumerian words for "Lady of Heaven." She was associated with the lion-a symbol of power-and was frequently depicted standing on the backs of two lionesses. Her symbol was an eight-pointed star or a rosette. Like other female love and fertility goddesses, she was associated with the planet Venus. The Enlil mentioned was Inanna's father, the Sumerian storm god, who controlled the wind and rain. (According to some god/goddess genealogies, Enlil was her grandfather.)In an often-parched land, the rain god would be ultra-important, and it appears that one of the objects of the "divine marriage" was to please Enlil and encourage him to send rain rather than destructive storms! Enlil was similar to the Bible's Jehovah, in that he was the supreme deity, and sometimes sent rain and plenty, but at other times sent war and destruction. Certain passages of the Bible appear to have been "borrowed" by the ancient Hebrews from much older Sumerian texts such as the Epic of Gilgamesh. Such accounts include the creation myth, the Garden of Eden myth, and the myth of the Great Flood and a mankind-saving ark. However, the Hebrew scribes modified the accounts to suit their theology, so in the Bible there is only one "god" who controls everything, and thus behaves like an angel at times and like a demon at others. And that is understandable if one posits that one god controls the weather, since earth's weather is unpredictable and at times seems like a blessing and at other times like a curse.

Keywords/Tags: Enheduanna, Poetess, Sumer, Sumerian, Akkad, Akkadian, Saragon, Ur, High Priestess, Hymn, Hymns, Hymnist, Psalm, Psalms, Psalmist, Prayer, Prayers, Lament, Lamentations, Goddess, Nanna, Inanna, Ishtar, Astarte, Aphrodite, Sauska, Ornament of Heaven, mrbtr, mrbtran, mrbhymn
Michael R Burch Apr 2020
Enheduanna, the daughter of the famous King Sargon the Great of Akkad, is the first ancient writer whose name remains known today. Her bio appears after her poems, and it is a fascinating bio...



Temple Hymn 15

to the Gishbanda Temple of Ningishzida
by Enheduanna (circa 2285-2250 BCE)
loose translation/interpretation by Michael R. Burch

Most ancient and terrible shrine,
set deep in the mountain
like a mother's womb ...

Dark shrine,
like a mother's wounded breast,
blood-red and terrifying ...

Though approaching through a safe-seeming field,
our hair raises as we near you!

Gishbanda,
like a neck-stock,
like a fish net,
like a foot-shackled prisoner's manacles ...
your ramparts are massive,
like a trap!

But once we’re inside,
as the sun rises,
you yield widespread abundance!

Your prince
is the pure-handed priest of Inanna, heaven's holy one,
Lord Ningishzida!

Oh, see how his thick, lustrous hair
cascades down his back!

Oh Gishbanda,
he has built this beautiful temple to house your radiance!
He has placed his throne upon your dais!



Temple Hymn 7: an Excerpt
to the Kesh Temple of Ninhursag
by Enheduanna
loose translation by Michael R. Burch

O, high-situated Kesh,
form-shifting summit,
inspiring fear like a venomous viper!

O, Lady of the Mountains,
Ninhursag’s house was constructed on a terrifying site!

O, Kesh, like holy Aratta: your womb dark and deep,
your walls high-towering and imposing!

O, great lion of the wildlands stalking the high plains!...



Temple Hymn 17: an Excerpt
to the Badtibira Temple of Dumuzi
by Enheduanna
loose translation by Michael R. Burch

O, house of jeweled lapis illuminating the radiant bed
in the peace-inducing palace of our Lady of the Steppe!



Temple Hymn 22: an Excerpt
to the Sirara Temple of Nanshe
by Enheduanna
loose translation by Michael R. Burch

O, house, you wild cow!
Made to conjure signs of the Divine!
You arise, beautiful to behold,
bedecked for your Mistress!



Temple Hymn 26: an Excerpt
to the Zabalam Temple of Inanna
by Enheduanna
loose translation by Michael R. Burch

O house illuminated by beams of bright light,
dressed in shimmering stone jewels,
awakening the world to awe!



Temple Hymn 42: an Excerpt
to the Eresh Temple of Nisaba
by Enheduanna
loose translation by Michael R. Burch

O, house of brilliant stars
bright with lapis stones,
you illuminate all lands!

...

The person who put this tablet together
is Enheduanna.
My king: something never created before,
did she not give birth to it?



Lament to the Spirit of War
by Enheduanna (circa 2285-2250 BCE)
loose translation/interpretation by Michael R. Burch

You hack down everything you see, War God!

Rising on fearsome wings
you rush to destroy our land:
raging like thunderstorms,
howling like hurricanes,
screaming like tempests,
thundering, raging, ranting, drumming,
whiplashing whirlwinds!

Men falter at your approaching footsteps.

Tortured dirges scream on your lyre of despair.

Like a fiery Salamander you poison the land:
growling over the earth like thunder,
vegetation collapsing before you,
blood gushing down mountainsides.

Spirit of hatred, greed and vengeance!

******* of heaven and earth!

Your ferocious fire consumes our land.

Whipping your stallion
with furious commands,
you impose our fates.

You triumph over all human rites and prayers.

Who can explain your tirade,
why you carry on so?



The Exaltation of Inanna: Opening Lines and Excerpts
by Enheduanna, the daughter of Sargon I of Akkad and the high priestess of the Goddess Inanna
loose translation/interpretation by Michael R. Burch

Lady of all divine powers!
Lady of the resplendent light!
Righteous Lady adorned in heavenly radiance!

Beloved Lady of An and Uraš!
Hierodule of An, sun-adorned and bejeweled!
Heaven’s Mistress with the holy diadem,
Who loves the beautiful headdress befitting the office of her own high priestess!

Powerful Mistress, seizer of the seven divine powers!
My Heavenly Lady, guardian of the seven divine powers!
You have seized the seven divine powers!
You hold the divine powers in your hand!
You have gathered together the seven divine powers!
You have clasped the divine powers to your breast!

You have flooded the valleys with venom, like a viper;
all vegetation vanishes when you thunder like Iškur!
You have caused the mountains to flood the valleys!
When you roar like that, nothing on earth can withstand you!

Like a flood descending on floodplains, O Powerful One, you will teach foreigners to fear Inanna!

You have given wings to the storm, O Beloved of Enlil!
The storms do your bidding, blasting the unbelievers!

Foreign cities cower at the chaos You cause!
Entire countries cower in dread of Your deadly South Wind!
Men cower before you in their anguished implications,
raising their pitiful outcries,
weeping and wailing, beseeching Your benevolence with many wild lamentations!

But in the van of battle, everything falls before You, O Mighty Queen!

My Queen,
You are all-conquering, all-devouring!
You continue Your attacks like relentless storms!
You howl louder than the howling storms!
You thunder louder than Iškur!
You moan louder than the mournful winds!
Your feet never tire from trampling Your enemies!
You produce much wailing on the lyres of lamentations!

My Queen,
all the Anunna, the mightiest Gods,
fled before Your approach like fluttering bats!
They could not stand in Your awesome Presence
nor behold Your awesome Visage!

Who can soothe Your infuriated heart?
Your baleful heart is beyond being soothed!

Uncontrollable Wild Cow, elder daughter of Sin,
O Majestic Queen, greater than An,
who has ever paid You enough homage?

O Life-Giving Goddess, possessor of all powers,
Inanna the Exalted!

Merciful, Live-Giving Mother!
Inanna, the Radiant of Heart!
I have exalted You in accordance with Your power!
I have bowed before You in my holy garb,
I the En, I Enheduanna!

Carrying my masab-basket, I once entered and uttered my joyous chants ...

But now I no longer dwell in Your sanctuary.
The sun rose and scorched me.
Night fell and the South Wind overwhelmed me.
My laughter was stilled and my honey-sweet voice grew strident.
My joy became dust.

O Sin, King of Heaven, how bitter my fate!

To An, I declared: An will deliver me!
I declared it to An: He will deliver me!

But now the kingship of heaven has been seized by Inanna,
at Whose feet the floodplains lie.

Inanna the Exalted,
who has made me tremble together with all Ur!

Stay Her anger, or let Her heart be soothed by my supplications!
I, Enheduanna will offer my supplications to Inanna,
my tears flowing like sweet intoxicants!
Yes, I will proffer my tears and my prayers to the Holy Inanna,
I will greet Her in peace ...

O My Queen, I have exalted You,
Who alone are worthy to be exalted!
O My Queen, Beloved of An,
I have laid out Your daises,
set fire to the coals,
conducted the rites,
prepared Your nuptial chamber.
Now may Your heart embrace me!

These are my innovations,
O Mighty Queen, that I made for You!
What I composed for You by the dark of night,
The cantor will chant by day.

Now Inanna’s heart has been restored,
and the day became favorable to Her.
Clothed in beauty, radiant with joy,
she carried herself like the elegant moonlight.

Now to the Noble Hierodule,
to the Wrecker of foreign lands
presented by An with the seven divine powers,
and to my Queen garbed in the radiance of heaven ...

O Inanna, praise!



Enheduanna, the daughter of the famous King Sargon the Great of Akkad, is the first ancient writer whose name remains known today. She appears to be the first named poet in human history and the first known author of prayers and hymns. Enheduanna, who lived circa 2285-2250 BCE, is also one of the first women we know by name. She was the entu (high priestess) of the goddess Inanna (Ishtar/Astarte/Aphrodite) and the moon god Nanna (Sin) in the Sumerian city-state of Ur. Enheduanna's composition Nin-me-šara ("The Exaltation of Inanna") details her expulsion from Ur, located in southern Iraq, along with her prayerful request to the goddess for reinstatement. Enheduanna also composed 42 liturgical hymns addressed to temples across Sumer and Akkad. And she was the first editor of a poetry anthology, hymnal or songbook. Now known as the Sumerian Temple Hymns, this was the first collection of its kind; indeed, Enheduanna so claimed at the end of the final hymn: "My king, something has been created that no one had created before." And poems and songs are still being assembled today via the model she established over 4,000 years ago! Enheduanna may also have been the first feminist, as she made Inanna the supreme deity. Keywords/Tags: Enheduanna, translation, Akkad, Sumer, Nanna, Inanna, Ur, Sumerian temple hymns, Gishbanda, Ningishzida



The Love Song Of Shu-Sin
(the earth's oldest love poem, Sumerian, circa 2,000 BC)
loose translation/interpretation by Michael R. Burch

Darling of my heart, my belovéd,
your enticements are sweet, far sweeter than honey.
Darling of my heart, my belovéd,
your enticements are sweet, far sweeter than honey.

You have captivated me; I stand trembling before you.
Darling, lead me swiftly into the bedroom!
You have captivated me; I stand trembling before you.
Darling, lead me swiftly into the bedroom!

Sweetheart, let me do the sweetest things to you!
My precocious caress is far sweeter than honey!
In the bedchamber, dripping love's honey,
let us enjoy life's sweetest thing.
Sweetheart, let me do the sweetest things to you!
My precocious caress is far sweeter than honey!

Bridegroom, you will have your pleasure with me!
Speak to my mother and she will reward you;
speak to my father and he will award you gifts.
I know how to give your body pleasure—
then sleep, my darling, till the sun rises.

To prove that you love me,
give me your caresses,
my Lord God, my guardian Angel and protector,
my Shu-Sin, who gladdens Enlil's heart,
give me your caresses!
My place like sticky honey, touch it with your hand!
Place your hand over it like a honey-*** lid!
Cup your hand over it like a honey cup!

This is a balbale-song of Inanna.

This may be earth's oldest love poem. It may have been written around 2000 BC, long before the Bible's "Song of Solomon, " which had been considered to be the oldest extant love poem by some experts. The poem was discovered when the archaeologist Austen Henry Layard began excavations at Kalhu in 1845, assisted by Hormuzd Rassam. Layard's account of the excavations, published in 1849 CE, was titled Nineveh and its Remains. Due to Nineveh's fame (from the Bible) , the book became a best seller. But it turned out that the excavated site was not Nineveh, after all, as Layard later discovered when he excavated the real Nineveh.

As a surrogate for Inanna, the bride's mother would be either Ninlil or possibly Ningal, both goddesses.

As a surrogate for Inanna, the bride's father would be either Enlil or possibly Suen, both gods.

Shu-Sin was a Mesopotamian king who ruled over the land of Sumer close to four thousand years ago. The poem seems to be part of a rite, probably performed each year, known as the "sacred marriage" or "divine marriage, " in which the king would symbolically marry the goddess Inanna, mate with her, and so ensure fertility and prosperity for the coming year. The king would accomplish this amazing feat by marrying and/or having *** with a priestess or votary of Inanna, the Sumerian goddess of love, fertility and war. Her Akkadian name was Istar/Ishtar, and she was also known as Astarte. Whichever her name, she was the most prominent Mesopotamian female goddess. Inanna's primary temple was the Eanna, located in Uruk. But there were many other temples dedicated to her worship. The high priestess would choose a young man who represented the shepherd Dumuzid, the consort of Inanna, in a hieros gamos or sacred marriage, celebrated during the annual Akitu (New Year)ceremony, at the spring Equinox. The name Inanna derives from the Sumerian words for "Lady of Heaven." She was associated with the lion-a symbol of power-and was frequently depicted standing on the backs of two lionesses. Her symbol was an eight-pointed star or a rosette. Like other female love and fertility goddesses, she was associated with the planet Venus. The Enlil mentioned was Inanna's father, the Sumerian storm god, who controlled the wind and rain. (According to some god/goddess genealogies, Enlil was her grandfather.)In an often-parched land, the rain god would be ultra-important, and it appears that one of the objects of the "divine marriage" was to please Enlil and encourage him to send rain rather than destructive storms! Enlil was similar to the Bible's Jehovah, in that he was the supreme deity, and sometimes sent rain and plenty, but at other times sent war and destruction. Certain passages of the Bible appear to have been "borrowed" by the ancient Hebrews from much older Sumerian texts such as the Epic of Gilgamesh. Such accounts include the creation myth, the Garden of Eden myth, and the myth of the Great Flood and a mankind-saving ark. However, the Hebrew scribes modified the accounts to suit their theology, so in the Bible there is only one "god" who controls everything, and thus behaves like an angel at times and like a demon at others. And that is understandable if one posits that one god controls the weather, since earth's weather is unpredictable and at times seems like a blessing and at other times like a curse.

Keywords/Tags: Enheduanna, Poetess, Sumer, Sumerian, Akkad, Akkadian, Saragon, Ur, High Priestess, Hymn, Hymns, Hymnist, Psalm, Psalms, Psalmist, Prayer, Prayers, Lament, Lamentations, Goddess, Nanna, Inanna, Ishtar, Astarte, Aphrodite, Sauska, Ornament of Heaven, mrbtr, mrbtran, mrbhymn
Katie Lindsey Apr 2013
The High Priestess
she tells me
all I need to know

She speaks to me
in my dreams
in symbols
in colors

She is high above
the restlessness within me
the blocked chakras
that need breathing

She is high above yet
not too far away
She watches me
She reassures me

The High Priestess
She tells me all that I need to know
She enters me
at times of struggle
She over comes it
not through hostility
through acceptance
She lavishes in it
she sees the lighter side
of the human spirit
and she laughs

she is spirit
she is my spirit
she is I
I am
The High Priestess.

I am.
Michael R Burch Apr 2020
The Exaltation of Inanna: Opening Lines and Excerpts
by Enheduanna, the daughter of Sargon I of Akkad and the high priestess of the Goddess Inanna
loose translation/interpretation by Michael R. Burch

Lady of all divine powers!
Lady of the resplendent light!
Righteous Lady adorned in heavenly radiance!

Beloved Lady of An and Uraš!
Hierodule of An, sun-adorned and bejeweled!
Heaven’s Mistress with the holy diadem,
Who loves the beautiful headdress befitting the office of her own high priestess!

Powerful Mistress, seizer of the seven divine powers!
My Heavenly Lady, guardian of the seven divine powers!
You have seized the seven divine powers!
You hold the divine powers in your hand!
You have gathered together the seven divine powers!
You have clasped the divine powers to your breast!

You have flooded the valleys with venom, like a viper;
all vegetation vanishes when you thunder like Iškur!
You have caused the mountains to flood the valleys!
When you roar like that, nothing on earth can withstand you!

Like a flood descending on floodplains, O Powerful One, you will teach foreigners to fear Inanna!

You have given wings to the storm, O Beloved of Enlil!
The storms do your bidding, blasting the unbelievers!

Foreign cities cower at the chaos You cause!
Entire countries cower in dread of Your deadly South Wind!
Men cower before you in their anguished implications,
raising their pitiful outcries,
weeping and wailing, beseeching Your benevolence with many wild lamentations!

But in the van of battle, everything falls before You, O Mighty Queen!

My Queen,
You are all-conquering, all-devouring!
You continue Your attacks like relentless storms!
You howl louder than the howling storms!
You thunder louder than Iškur!
You moan louder than the mournful winds!
Your feet never tire from trampling Your enemies!
You produce much wailing on the lyres of lamentations!

My Queen,
all the Anunna, the mightiest Gods,
fled before Your approach like fluttering bats!
They could not stand in Your awesome Presence
nor behold Your awesome Visage!

Who can soothe Your infuriated heart?
Your baleful heart is beyond being soothed!

Uncontrollable Wild Cow, elder daughter of Sin,
O Majestic Queen, greater than An,
who has ever paid You enough homage?

O Life-Giving Goddess, possessor of all powers,
Inanna the Exalted!

Merciful, Live-Giving Mother!
Inanna, the Radiant of Heart!
I have exalted You in accordance with Your power!
I have bowed before You in my holy garb,
I the En, I Enheduanna!

Carrying my masab-basket, I once entered and uttered my joyous chants ...

But now I no longer dwell in Your sanctuary.
The sun rose and scorched me.
Night fell and the South Wind overwhelmed me.
My laughter was stilled and my honey-sweet voice grew strident.
My joy became dust.

O Sin, King of Heaven, how bitter my fate!

To An, I declared: An will deliver me!
I declared it to An: He will deliver me!

But now the kingship of heaven has been seized by Inanna,
at Whose feet the floodplains lie.

Inanna the Exalted,
who has made me tremble together with all Ur!

Stay Her anger, or let Her heart be soothed by my supplications!
I, Enheduanna will offer my supplications to Inanna,
my tears flowing like sweet intoxicants!
Yes, I will proffer my tears and my prayers to the Holy Inanna,
I will greet Her in peace ...

O My Queen, I have exalted You,
Who alone are worthy to be exalted!
O My Queen, Beloved of An,
I have laid out Your daises,
set fire to the coals,
conducted the rites,
prepared Your nuptial chamber.
Now may Your heart embrace me!

These are my innovations,
O Mighty Queen, that I made for You!
What I composed for You by the dark of night,
The cantor will chant by day.

Now Inanna’s heart has been restored,
and the day became favorable to Her.
Clothed in beauty, radiant with joy,
she carried herself like the elegant moonlight.

Now to the Noble Hierodule,
to the Wrecker of foreign lands
presented by An with the seven divine powers,
and to my Queen garbed in the radiance of heaven ...

O Inanna, praise!



The Exaltation of Inanna: Opening Lines, an Excerpt
Nin-me-šara
by Enheduanna (circa 2285-2250 BCE)
loose translation/interpretation by Michael R. Burch

Lady of all divine powers,
Lady of the all-resplendent light,
Righteous Lady clothed in heavenly radiance,
Beloved Lady of An and Uraš,
Mistress of heaven with the holy diadem,
Who loves the beautiful headdress befitting the office of her high priestess,
Powerful Mistress who has seized all seven divine powers,
My lady, you are the guardian of the seven divine powers!
You have seized the divine powers,
You hold the divine powers in your hand,
You have gathered up the divine powers,
You have clasped the divine powers to your breast!
Like a dragon you have spewed venom on foreign lands that know you not!
When you roar like Iškur at the earth, nothing can withstand you!
Like a flood descending on alien lands, O Powerful One of heaven and earth, you will teach them to fear Inanna!

Enheduanna, the daughter of the famous King Sargon the Great of Akkad, is the first ancient writer whose name remains known today. She appears to be the first named poet in human history and the first known author of prayers and hymns. Enheduanna, who lived circa 2285-2250 BCE, is also one of the first women we know by name. She was the entu (high priestess) of the goddess Inanna (Ishtar/Astarte/Aphrodite) and the moon god Nanna (Sin) in the Sumerian city-state of Ur. Enheduanna's composition Nin-me-šara ("The Exaltation of Inanna") details her expulsion from Ur, located in southern Iraq, along with her prayerful request to the goddess for reinstatement. Enheduanna also composed 42 liturgical hymns addressed to temples across Sumer and Akkad. And she was the first editor of a poetry anthology, hymnal or songbook. Now known as the Sumerian Temple Hymns, this was the first collection of its kind; indeed, Enheduanna so claimed at the end of the final hymn: "My king, something has been created that no one had created before." And poems and songs are still being assembled today via the model she established over 4,000 years ago! Enheduanna may also have been the first feminist, as she made Inanna the supreme deity. Keywords/Tags: Enheduanna, translation, Akkad, Sumer, Nanna, Inanna, Ur, Sumerian temple hymns
Solent in Expiationem Animarum

Saint John the Apostle says: “Zefián, the computer of the Duoverse of the Verthian world, indicates the order of his creation of the world, according to the transcendental plant living matter, in the interstices of time itself that exists within sidereal time. Noting that matter and time, is governed by all mythological beings in a compartment with monotheism, will be defined by atavistic laws, which are the deity of the intense hiding place of procreation, endowing great contextual residences, for habitat and a world in which larger non-residential scales, which go from passerby between the lines of time, and cosmological phenomena, which in the Duoverse face vicissitudes of the stars and their physicality added to the arcs of memory and emotions. Thus the main task of how the structure of experience surpasses consciousness, to novelize the orthogonal movements of the Universe, but in a Vernarthian world with great explorations of matter, which are quantified and volatilized in the field of its ethereal existence. The laws will be governed by your Zefian computer, describing codes that will verify the fulfillment of pivots in the reactions of the universe, but with refractions when reasoning about the consummate phenomenon. Starting from here in the experienced biology that will overcome the laws of physics, since its value is above the limits that allow the bold line of gravity that bounces in the lines of time, and its distances promoting more discretion when resisting threats. of a possible tiring case, a product of some relative dominance not included in all worlds with each other, in some case that does not rescue us from loss of links of some omitted sidereal reminiscence, attracting us to a universe governed by hemicycles of merely material particles, and not existential biological ones. The dimensions emerge from the beginning of the same universe, but more delayed from the interval and the second limit of the space that rests, to inaugurate the one that comes. Being the orbit of translation twice rotating towards the sun, but nth times rotating on itself, to go out to another stellar dimension not present. Its geometry will be from the intendancy of the resumption of Cinnabar in Tsambika and Helleniká, to later cancel each other out, making their integration in Patmos, on the coast of Skalá, with curvatures that validate the nullity of successive expirations of material lives, between spiritual expirations alive.


Duoverso is born and will be reborn, every time the years are subject to the loss of everything quantifiable and not, under the light that will be lit on all the darkness, Zefián being, in paronymy in which they lack to appropriate the support and merit of to have it absorbed in the tabernacle of Vas Auric, in the privilege of nothingness itself and nobody, adding itself in what is preserved of the physical support of itself. For just sidereal speed, in which it will have to travel on its same axis of rotating time on itself, in paradoxical of the One-dimensional Beams, these coexisting with the same low and high universes, reconverted into angelic vital luminances, creating orbits and optics in the visions of Christian temporality. By empowering them to enable them in the overexcited that derive disorders of intermittency of memory and physics of time, to reinsert themselves in the sequence that inhabits the residual of the speed of the Beam, as a Theo-Philosophical entity, of cellular multiplicity or cells of seasonality. of retrograde times, for the independence of temporality, under the regime of the past made up of an unbelievable yesterday. Overcoming the conserved immediacy of conviction in the One-dimensional Beams (Kafersesuh), it is observed denser when every mortal admits to being due to integrating and later brooding, dissecting organic matter into inorganic matter, suspended in the richness of a world of Faith and Prayer, of the most anti-gregarious desert and lost in the world, but supported by hollow walls, which do not exist in Vernarthian emotional matter.

The movements being physical, they take us on conjectured layers to discern their magnitude, emphasizing the rigor of their measurement on us, instead, the ambivalence of Zefian, delivers in both chromatic the Dark and White Duoverse, under the reference of the behavioral alternations of the Diospyros, source of the arboreal, for the procreation granted in the hands of Leiak. Relying on this equational exercise, with less time to design for its genealogy, but rather on its apocalypse, reinstalled in abolished primary unknown spaces, to have it once again in the light of consciousness, recognized as an inert matter of the past, but living off the immanent eternity of nebulae that personalize the earring of the Caltrop, taking temporality, but not snatching any hand to tear it from his own.

Vernarth says: “In the rhetoric of the Universe-Duoverse theorem, it is worth noting the past with entity, present and future also, connected to the time of Verthian inspiration, Holderlin-Heidegger, on issues of physical habitability, as a complement to the entity, which anticipates the present/future in the vicinity of death in the past and future, but tangentially in lively whims of existentialism-mortality, for a way of being rented out at death, as a way of being, dwelling in death itself and in the act of embodiment having existed, but with its own mandate after having been rented. The Vernarthian World appears in this current, prolonging existence from non-existence, granting complementarity of more past existence, before an unlived death. Ontologically, This theory stems from the One-Dimensional Beams of Kafersesuh, in Ein Karem. Essentially Christian, as the matrix of existence between Ein Karem (Nativity of the Messiah) and Gethsemane, as an interconnection of materiality in metaphysical reflections, a product of the immaterial of life not lived, as an urgent sacrilegious death, and of the anticipated dimension of the life process- death-life of Christian Messianism.

Vernarth says: "with the slaves in my disparate hands, one picked up what the other was carrying. With my right hand, I took the Duoverso, and with the other my porter; I held my reins on the maxims of Elpenor, before falling to the cliff. One naughty day but with the worst pain in my chest, I went to see him in his room, and I structured him as an immortal, at the time of forming the world, "knowing not even being part of an identity" favoring him to be part of me. combustion and ignition due to the friction of the Universe on the Duoverse. Such was that fearlessness and affordability that it decorated me with unexpected tears of belonging by imprisoning me with superfluous boastfulness. But his courage will be mine, and he will have to anticipate being in the middle of grace, as in Gaugamela wounding my two hearts, one deleterious and the other not..., verbatim saying:

Says the Carrier: “I have to agree to your mandate my lord Vernarth, I have arranged my emetic knights to take him to the empyrean, more remote at nightfall. I know that my own death will also take him, for we are double lives loving death, which falls on a night given to the seventh Falangist soldier. In the midst of souls already disheartened by the misfortune of life, in the figure of eternal death that refuses to receive us discouraged "

Vernarth says: "I do not know if I am or will be brave, because I have forgotten to die, rather I do not know what it is ?, but in the midst of the horses and the hosts of the block, from the anvil of Gaugamela that I have not felt it again..., which is death after feeling my hands and legs severed, but not felt when appropriating some amputee. I know that among the Hypaspists we used umpteenth arrows to mobilize their war apparatus 665, but from the wasteland jump we gathered the delirium of the Falangist command in the Seleucid 666 row, rather detached from every man, in a substantial way in favor of the Alexandrian life, "Of course he was already in the hands of eternity, which hurts more than the tip of an arrow, even being unfaithful to his mortality"

and not in the Universe chained to its fractality, rather of its present-present of the new universe for those who make it negative of itself, towards a clone and neatness, granting it recklessness, who continues to sweep its entity, its dimension, its space, the distances, the matter to receive it in their being. Vernarth, besieges the discursive thinking, under the tides of the tenements and the fears of late emotionality, changing to all the best heroics of the follow and all the experiences of harassing flat lights of the target, in the necropolis that speak resurrected, not being chimera in the best leisure districts live, but immortal of a district..., with steps to constitutive slogans of "succumbed cities, but..., with eternity", connoting after all abolished transference, in eternity present between two beings of mortal rank, the Carrier and Vernarth, Vernarth and Heidegger, but here the last one bringing him the closest radiogram between expiration and eternity, with significant death (End and chaos) and eternity (creation), in the limbo-purgation ratio, as the source of the potion. His total contention and affinity in Heidegger's dialectic, passing through a moment that marks his reincarnation, in the rambling of finite eternity, moving away from Vernarthian ontological and metaphysical reasoning. It was attached magnetic in the Universe, feverish kiss in ambitions of the temporal Being, as substantial of perpetual objectivity towards the unworthy survivor of the Vernarthian theories. So far no similarity is compared to whoever wants it or not, it is part of any estimate or spreadsheet of a complex Duoverse, Within the emerging frontis of progeny, there are ranks derived towards the first to form compound swaths of shelters in the Camels Gigas, who from Jerusalem escorted them with their plantar consciences to Ein Karem, then returning to Gethsemane, to finish in the port of Jaffa. Originally arranged by the children of Israel and the strongholds; Vernarth, Saint John the Apostle, Eurydice, Raeder, and Petrobus with animality, Etréstles, and Kanti, to finally mention King David, who goes to his catafalque before leaving for Jaffa, to return winds to Patmos. Of this primogeniture, the legatee is Vernarth, being presented as co-first-born by giving his portion to Saint John the Apostle, for trust assets of the benefit of a third party for both, and granting the patriarchal and reimbursement to each of his inheritances, being of expeditious aim the liberation of the world that lodged them not authentically in the mediocrity of ascendant ancestors. This prerogative will be decisive to define the dimension of the Duoverse and the One-dimensional Beams as consanguinity, simultaneous nascent and mortal worldview, to radiate them in the beams that support the universe, and from this same, they are transferred to the vision of child-man, child-cherub., for the purpose of defining the Universe-Duoverse physically composed of four areas of its consistency. Time, Being, Divinity and the Four Wings of the Cherubim, as a concept of biodiversity in Lepidoptera, Bumblebees, Bees, Wasps, and Fireflies as tetra-winged animal entities, originating the warnings and impositions in cardinals and poles of their primogeniture, rising from chaos, up to now as mandatory Duoverso, constituting the alpha world, rising of the Animalia and the intermediate visions of the heights that guide the material essences of the imperishable spiritual elemental and structural physics. Being ineffable matter, in the stars that prostrate itself, before each pause of advent and of creations that ****** other creative flashes, in pursuit of a gnoseological doctrine, as a slavish instant, ending in another for the study of the meaning of conceiving in the diligently part of a new world, on the borders of the unknown and of repelled nothingness, suspecting itself in the living artery of nihilistic nothingness, without leaning towards nonexistence that endorses it, or perhaps from a twin Duoverso univitelino in the chaos of unfertilized nature..., rather empowered to the first heir by the law of the Messiah district. Allow yourself, in this way, in the face of this premise and history, to continue and be part of an establishing whole, looking for God in a new world and universe as well..., but shaking before the nothingness that sustains it, as a basic knowledge of value and of immobile Faith. The hypothesis Prosapy-Centric, defines blood lineage unifying the Duoverso as follows:

a)Eternal Existentialism:

He talks about how compassionate creation is and its factotum, that it will be better that way. At the entrance to the Vernarth mouth, within its buccal cubic meters, the Zig Zag Universe, the promoter that caused the Duoverse, broke out. Here your thoughts of eternity are born; not from your brain and discernment, psyche or mind. It exists in a present that will be distributed without end or beginning, in the holistic of the anticipated existence of the being itself, so that everything holistically arises from the mouth of Vernarth, becoming the light of his luminance-ejector thought, being in some way the Zigzag universe that emerges from the outgoing access of its mouth and that manifests itself in some change of quantum physics in a state of hyper-connectivity and always present. The Zig Zag, coexists in eclectic variability of angles, creating regularities in its time and displacement. For the sake of results and translational parallelism as a promoter of the Duoverse, based on the holistic that brings together the effect of the word-fact, but eminently aimed at the morphology of extra language of intellect, rather in the kinetics of the language of human zigzag and physical-material, typical in various line segments of lightning and space storms, resembling his lost and bleeding soul in full battle at the site of Arbela. The other meaning is his salvation from the Council of Patmos, being already Installed in the Eclectic and invisible portal of the Evangelist of Saint John, levitating in his sacred basaltic cavern in Katapausis, in the Patmos archipelago (Koumeterium Messolonghi, Chapter 16 / page 114. Editorial Palibrio- USA). They would find themselves in communion with the archaean clan, which would resemble its proper ectoplasm; thus each one forming a unique part in the masonry dictated to redirect them towards their messianic labors at this stage of the ascension. Vernarth; is aware that he will have to enter the cave, after having ceased his work on standby for three months. He continues to fester in myriad wars and parapsychological regressions, he will remain in a daze to dedicate himself to the beautiful landscapes open towards a horizon..., a neighbor to Palaeolithic and astronomical painting. In the flashes of mathematical prayer, you will capture the spiritual intensity that inspired Saint John to build the temple near his cave of the Apocalypse on the island of Patmos. The saint appears only on certain days looking at him from afar to encourage him in his progress..., Portal Eclectic and invisible is the facet of the face of light, after the invisible that manages to be appreciated with the principle of transferring its connectivity of the immaterial with the material, but done in the finished quality of "Merciful", deriving everything in what supports the splendor of the facts and their objective analysis, by no means the same, because the Zigzag universe, originates theory or thoughts from the perspective of external language and integrally unites it through the optimal results, always imponderable and categorical to follow them and attract them to eternal spiritual good. Being exhaustive of the fact of action, although it is subdivided into executability..., it will continue to be timeless, therefore eternal, in the hands of a universe of thick eternity and stationary death.

The final communion of Zig Zag with the Duoverse, will make this key momentum to replace the Universe of the former Vernarthian world, for inflections of the continuous present, more in the distance of the limits that have to originate than by a simple gesturing stupidity of disbelief, abounding more than a universe that is created in eternity, and that will never again resurface as a physical dimension. The successive potentiality of this theory of holism subtracts actions and not facts, since it always culminates in the limit of infinity, always beginning and never-ending, to then restart in a present that is reintegrated into the access of the oropharyngeal and non-cerebral embouchure, since it has of limiting itself in its shock and subsequent confusion of language-emotion and feeling, to change all eternal emotion, always going hand in hand with the unequivocal and assertive light,

b) Being Universal multi-evocation:

Over Rhodes the auroras could be seen retreating, to attract the new luminances crossing between the atmospheres of the ancient worlds, with stars that were ordered among others, descending at great speed from the Universe, fascinating all Greece, coming from celestial bodies that brought from great Relative distances and proximity between the Duoverso and its satellite widening, allowing to grant subsistence, and routes to the nascent species of the Vernarthian sub-mythology. The Sabbath energy Light is overbreathed repair; here Saint John the Apostle influences through the conduit of the Cinnabar towards the Light of the Mashiach, with the intemperance of life on drops of crystallized water as gifts of Taphoric Light, with synoptic signs of transformation of all the green grass growing like a beard on the slopes of the Willows, where Saint John the Apostle goes back to prayer prayers; so such in repetitive sentences and prayers towards the Universe, which were falling as it was on Mount Tabor in the Transfiguration. All this in the fervor of the willow chins that fell from the galaxies, with their cascades one after another in orderly colophons of fervor making the sky a great source of Moshaic and Elijah voices. (Moses and Elijah) to Christianize the holy oils of the radiant glory of the Universe that was complemented by the Heliac Ortho that was appreciated in different coefficients according to this new position of the parameter of Greece, observed from the Constellation of Pisces, being symbolized as piece as SOS, since Eratosthenes tells us about the fish that saved Derceto (Goddess of Assyrian mythology), after falling into a large lagoon. Seeing therefore in the sky as Fum Al Samakah, Arabic for “snout of the fish” (or Fomalhaut star from the Greek translation). Pisces being bright and of the great dimension to mold it as a whole iris, which was rooted from the formal pelagic accent, towards a spectral affinity of the Duoverse, like leaves of Willow temperatures, on the reflection of the Multi-evocation. For antithetical referendum of the Pleiades between light-years that diminish behind the stars of the magnetic field and its exo-planet. It is necessary to consider that in the wisdom of God, there would be his ordering conscience, on each constellation, and then detach itself before each other that guards each one in centuries of light-years, and in each one of the children as light-years of millions, but of numerical present time quantum; that is to say, all translation on average over ups and downs of spatiality and in remote ages, to zero or from null numerals in the integrality of millions of non-existent light-years, but accumulated and equidistant between the Universal Being and Multi-evocation. An example of cartographic observation shows us Greece at Latitude 39.074208 and Longitude 21.824312, influencing the Duoverse as a complement to the rise of Greece with the latitude of the Heliac Ortho, being Sirius eleven days after the Ekadashi and eleven days before the other at 10 °, Maximizing the light herbalism of the unconscious, to systematize the rise of the Universe imbuing Greece. Refulgent and small electromagnetic systems, led by the Divinity, are freeing themselves of all the units that bind in the minimal Units that can expand with the apostolic energy, rather than a trans-human receiver, in blocks of circulation of waves, related to a Defined spatiality, divine and with its own energy of opening of small worlds of provision of light, and radiation emitted by the deleterious convex of invisible essences in properties that are released from overflowing stagnations of creation, and from the skylights that are more distant than the wavelengths than from a breath of Demiourgy in the chemistry of all multidimensional hyper-existential between frequencies of energy widely displaceable by lines of how many..., in static energy of rest. Ultra colors intensify on the coasts of Rhodes, as a sulfur photoelectric effect of Cinnabar, formalizing mechanics in those sedimentary particles, which undulate in anticipation of the precise amalgamation of both universes, evolving towards the matrix of origin of physical and non-biological state and period, but of eternal divine inspiration, from the mouths of Vernarth, as a resurrected Being electro vigorous, dwelling spacious and sinuosities of curvature and psychic spiraling, The Vernarthian nature will call this phenomenon the Son, since it is the similarity of the halo in the Taphoric Light and in its effect of the baptismal of this Christian Universe called Duoverse, in accordance with the presence of Saint John the Apostle light, among the attending raptor niveous. strangers, arrival-departure and between the nebula of pendency in the nimbus gaseous clouds of fields that mutually heard each other recognizing each other..., leaving only Saint John the Apostle in the perfection of the sky as a universal and Duoversal shadow, first of all being of light being baptized, crucified and risen-ascended, in the metaphysical transfer of his body, as a universal body, as a quantum point between the earth and the sky, between the universe and the Duoverse as a complement of gaseous and spiritual atmospheric earth. Ministering in the judicious and prophetic occlusion, being a juridical part among the myriad bundles of Constellar Pisces that supported the transfigured and converted prophets, before a brand new universe, "Duoverso", witness to the amazement at the proximity of the multi-evoked Universal Being.

c) Reflection space (Light-matter)

The Duoverse having been pulled from its entrails from Vernarth's mouth, and objectual free fall is noticed after disengaging from the quantum Universe, rather than an elusive cacophony that unfolds separated from their bodies in all dimensions, except Vernarthian time, Alluding to the stoning him so that he ignores himself in agony and returns to look for him to revive him as Space-Light, in the presence of matter reflected from himself, which will unfold throughout the Hellenic Panagias, from Kímolos to Tsambika, to make the curves the direct passage that once again bends time towards a fragmented dimensionality. Barefoot was the apostle with Vernarth in the three quarters of the axioms and algorithms, where the conceptuality would overcome the low calculation of what was already ministered by them. Creating space for lapses in dreams of the Stairs, with steps of Topaz, in this particular case of Saint John the Apostle, "seeing open skies and angels of God go up and down on the son of man." Here some sidereal Solar gleams are illuminated that have nights for a sunny day, Vernarth resting on the side of the Monastery with a stone on its head and dozing to dream like Etréstles in the Hexagonal Baptistery of the Shepherds in Ein Karem, but of the compact sweetness of the famous luminous Cinnabar ascending vertically where the Yahvic Being, who was presented to him as the Abrahamic patriarchate nexus. Endowing him with celestial dreams about stones that inherit west and east towards the north noon, in space of hallucinations of Jacob's subconscious, for the satisfaction of the luminous pictorial ligament. Thus, a timid but decisive reflex pointer of space and reflection is detected, which includes fragments of spectrum and tonalities of a machine unconscious, to raise the Duoverse in a depressive day of the scathing moment.

d) Physical energy (molecular entropy)

From the bases of Theoskepasti, the physical system emerged in two sums after the movements of the pendular censers that exceed the elliptical of the Cinnabar and the potential of the ejectable force field, for ductility of its forces that emanated from the triad with the archpriest, helping him Etréstles and Kanti, who would take them to the Hellenika Necropolis. They make of their golden bodies the ephemeral speed mechanized in the originality of the homily system, to break in the guardian friction of the gravitational axial of the body of Light of the cinnabar, which received the sulfur kinetics of the defective organic matter that was wrapped in a bizarre alloy of sulfur light, and in all the forces gathered, not rubbing with the cinnabar obelisk, already invaded by the energy that made it superficial, between the shell of the Panagia Theoskepasti covering and the strange normality that made them physical-organic. No scrubbing would continue the movement of the fleeting angle of the anvil of Hephaestus, but the static on the surface, lay unchanged before the forces of the back and forth of the molecules that sank late, shooting from the pendular area of his bowl and then starting with full power for new angles that will take advantage of the mechanics of the forge and the friction clean and **** before the joint, and the resistance of the reactivation of the second period of the movement, to forward them to Tsambika in the response signal. Quantifying later between the inferiority and the intangible shock reaction in the light radiosities of the cinnabar re imparted towards Rhodes, forming resistance, but with immanent entropy, with a high degree of fineness, in such a way that once the conservation rays are fired, the response to Rhodes will come from Kímolos with the particles and combustions of sulfurous gas and mercury, generating entropy of two quantum and physical times between the Dodecanese and Cyclades, knowing that the inert matter is inactivated alive, thus envisioning the contingent presence of iron in the geology of both islands, with more than eighty percent, and of gravitating oxygen for the Vas Auric and its materialization, as a ****** impression reducing its physical dimension and enlarging its water content in pelagic beings of the Aegean. This would suggest the homogeneity of both island territories, appease the conception of substitutions that frolic from north to south, to break their normal balance, depleting what is island land towards oceanic land. In this way they will be mixed entropically for a new generation of fertile life that balances in chaos, already in the hands of Saint John the Apostle and Vernarth, in the main nave of the Monastery that seemed to oscillate atomized and vanished, but then atomically restructured, slyly dividing the canons of traditional entropy, and making it disproportionate to the biodiversity ordering of the sterile and the fertile, reordering itself as a mutable force excluding the reality of act-effect, invested in the integrity of life-death-life, as a molecular target in a double physical dimensional unit, making the prospective universe by splitting from any other format, to become another and another physical dimension. Universe-Duoverse, they shake like two spheres, almost joining each other, but separating into heterogeneous classics, as a panegyric, under the invocation of Conviction and Faith. The universes self-recomposed and redistribute themselves before our eyes, but before the consistent devotion of this homily, it makes them astonishing and phenomenal (everything that happens is recomposed - if the tree fractures, but then it straightens re-fractured, before our eyes being recomposed). Thus the chaos of the Universe is resolved, appropriating a new sequence of continuous creation, starting from the same creative property, but of molecular entropy, almost in adverse defect, but of constriction of the yielded body, to be incorporated into the Cinnabar beam of light. dynamic, generating ignition at the ends of each part of the structure obelisk, in order to release and stimulate on the absorbent..., of the Hexagonal Birthright in Tsambika,

e) One-Dimensional Beams

From the hexagon, everything is dimensioned on the peaks that can be seen in the starry nights from the curved kilometers of Bethlehem. Everything goes on top of the desert mountains and valleys, above the vagaries of climatic heights, and landslides of an entire believing community and its followers. In twelve advancing camels, of which the first six are exclusive to the Birthright, and then the seventh Giga camel is from King David of Bethlehem.

The beams are the architectural support portion of the physical-ethereal God and of his ethereal-physical word, supposedly of advent in grazing of the hardwoods, and the secret anomalies of a new Aramaic message, anticipating the vigor of insects and birds that were grouped together. in the journey that goes back and forth. The Beams are stars of heaven sustained by the Cherubim and the Archangels, through the paths of conversion and the support of the Christian time; haughty and implacable hegemony for the propaedeutic of phylogeny, but more on the very chemistry of creation carrying its winged Lepidoptera tetra, pheromones, and the obfuscation of an elemental nascent child in his own evangelical philosophy from an inter-sword dimensionality, and of the gloom of a manger shouted Kafersesuh, before compendiums of two pyramidal landmarks of inflection of his word in created animals, in the affinities of the world and the Animalia, personalizing shepherds carriers of pollinations, totalizing the generational of the language that is concealed so far, as well as the turns in the musks, and their legitimacies from the Baptistery of the Shepherds in Ein Karem, parabolizing their nomenclature and Polygonia of a child made man, already coexisting! but representing himself as a lifeless man in the fullness of a child of a distinguished canon. and his legitimacies of the Baptistery of the Shepherds in Ein Karem, already coexist! but representing himself as a lifeless man in the fullness of a child of a distinguished canon, that followed him towards the superlative moment of the bending near him, twisting and changing squeezable pressure in the cords that forged his path, towards the cornices and trusses of the upper celestial vault, where the shed of doubts was next to the Cherubs. Giving mechanics to the prism that arched the beams in the horizontal lines, taking them towards the amplitude of other lines, which remained solid before the variation, suspecting mutating to one of sudden two-dimensionality. The sections of the timber framework, which looked fatigued before the primary classification, which showed the attitude of the little Messiah, taking out effulgence from its beams, and rolling on other pillars, postponing the vectors of the tangential, contributing bits in rhomboid specialties, that blurred the cylinders of amplitude and field of vision of all those who remained in their nativity. Making diametrical glances so as not to be distracted and adore him with a broad and rectilinear heart, in transversal visualizing for all, the one-dimensional crossed wood, which in its geometry schematized letters and numbers of kabbalah, which differ in dissimilar resistance of Christic ambivalence, as a forerunner of martyrdom. on the wooden cobblestone of Golgotha. This presaged capacities to read them in the Torah and Zohar, gathering everything in a whole, in those vivid tormenting lapses that he felt in advance, as reversible entropy, turning their substance to prepare them for the day of an abolished martyrdom. Making diametrical glances so as not to be distracted and adore him with a broad and rectilinear heart, in transversal visualizing for all, the one-dimensional crossed wood, which in its geometry schematized letters and numbers of kabbalah, which differ in dissimilar resistance to Christic ambivalence, like the anticipation of martyrdom on the wooden cobblestone of Golgotha. This presaged capacities to read them in the Torah and Zohar, gathering everything in a whole, in those vivid tormenting lapses that he felt in advance, as reversible entropy, turning their substance to prepare them for the day of an abolished martyrdom. which differ in dissimilar resistance to Christic ambivalence, like the anticipation of martyrdom on the wooden cobblestone of Golgotha? This presaged capacities to read them in the Torah and Zohar, gathering everything in a whole, in those vivid tormenting lapses that he felt in advance, as reversible entropy, turning their substance to prepare them for the day of an abolished martyrdom, pigeonholed him towards a pre-existing Hellenistic aspect in characteristics of patronage as a representative figure of a male, and a lady of Ptolemaic Egypt in great iconic religiosity, coexisting as a priestess of a female order in the Greek protocols with him. Becoming inseparable in the preeminence of mother and son, as unilateral gender, and of substantial element for the social and political order that reigned in the ancient era. Laying here the unilateral gender indispensable for the social and political order, which is substantiated at the dawn of the empires of all the time, and the patriarchal society? Symbolically Joshua in this cogitabundant providence, adds the feminine value in the society in the Kafersesuh's outlet of the Judah manger, dispensing mainly to women, A great Zohar light, gathered all towards a whole in those errors that Joshua felt in advance, as reversible entropy, giving back his wise existence to prepare them for the day of his sacrifice. Pre Existing in catharsis and substance of divinity connected with the phylogenetic species, classifying up to an Aramaic pontificate of pheromones settled in the lithospheric site of Gethsemane, in a biological sense and in close coincidence in lapse wading, or the phenomenological simultaneity of Eukaryota and Glaucophyta until late Animalia, giving relation parental in characters of the vibrational timbre of the Beams, and its atavistic pedestal, readapting in evolutionary ellipticals of winged tetra species. Allowing to change the ancestral linguistic accouterments in processes of redesigning the divine genetic historical tree and increasing anomalies in the human earthly culture, and not human anthropomorphic in a reviving profanity of fruitive frequency amplitudes, for those who resort to it, monopolizing and synchronous in diachronicity of their specimens. The lights of Joshua's gazes are the Light of Christian Life and Time, in the entity of Joshua born and bloodless from the nature of Child-Man, but of mortal design in the same compulsion to see the luminescence of life in the manger Kafersesuh and only incorporeal unity. Being in exemption from Ego with its structure of living child and dead man, he rushes rebellious and ostentatious in the architecture of the One-dimensional Beams, yielding the glimpse of the aforementioned progenitor "Eye versus Eye", seeing himself like this..., son hovering in the arteries of a Universal-Duoversal life, from a single dimension of cyclical one-dimensional length, encompassing conjecture and biological, the symbolic-allegorical conception of extreme co-divinity, as an exclusive precept of the delicate infinity of the Being of a Messiah, with paraphrases or glosses of Aramaic exegetical affinity, tracing from a linguistic period. Here are the contortions of the Olive Tree Berna, transfigured into everlasting orality and refractory syllable, to incubate eternal rabbinic gifts of perpetual reluctance, beyond the reach of the ego-annihilating will and of apathetic, inert ultra-affections and of miraculous phenomena.

f) Hexagonal Birthright

Civilization has an arched inflection in its regency at the head of the favorable family caste in the blessing, whose hiding place will have to be entrusted to a clan, having to make inquiries that formerly only related to consanguineal minorities from the same family trunk, thus protecting the pantries and accessories in warfare to consolidate the economy, and invigorate its commercial coffers. The land would be and would be an essential partition insignia for the legitimate transmission of epochs and inter-seasons, which received them from its descendants for representation of geomorphological heraldry, given in its regional condition. In the noise of the seventh seal, heaven was silent for half an hour and the seven angels stood before God, and they gave seven trumpets, the other is to appear in front of the altar with a golden censer, to compile it in other prayers in all the saints, on the golden altar that was in front of and in front of the throne - And from the hand of the angel the smoke from the incense with the prayers of the saints - And the angel took the censer, and filled it with the fire of the altar, and threw it to the earth; and there was thunder, and voices, and lightning, and an earthquake - And the seven angels who had the seven trumpets got ready to blow them - The first angel sounded the trumpet, and there was hail and fire mixed with blood, which were thrown upon the earth ; and a third of the trees were burned up, and all the green grass was burned up - The second angel sounded the trumpet, and like a great mountain burning with fire it was hurled into the sea; and a third of the sea was turned to blood - And a third of the living creatures that were in the sea died, and a third of the ships were destroyed - The third angel sounded the trumpet, and a great star fell from heaven, burning like a torch, and it fell on a third of the rivers, and on the springs of the waters - And the name of the star is Wormwood. And the third part of the waters became wormwood, and many men died because of those waters because they became bitter - The fourth angel sounded the trumpet, and the third part of the sun, and the third part of the moon, and the third part of the stars were smitten, so that a third of them would be dark, and there would be no light in the third part of the day, and also at night - And I looked, and I heard an angel fly through the midst of heaven, saying with a loud voice: !!

"Being in six instants at the Golden Gate of Jerusalem with Saint John the Apostle, they reordered the majority for a protected subordination in the minor family descended from the eldest son, for the purpose of sustaining them to reach the possession of their theological morphology, in this door, being the only one that will remain closed…, until the second coming of the Messiah. The scheme of the camelids in their osteometry tells us that their heads before Advent! Distorted their calypso lights on the surface of their skeletons, locking the jaws of other camelids, thus bypassing the Apostle's strap, which through the foramen of the supraorbital, thickened the strides that pretended immobile before the opening of the Golden Door. Of course, they were prisoners of their self-denial for the length of their footsteps to the rhythm of the sensitive skulls, In the fourth camel Raeder, he cleared the margins that allowed them to increase their attempts to withdraw them from the golden doors, but the dislocation of the orbits of their ocher eyes, denoted their holes in the condylar fossa, distancing the vicinity of the Tehillim advocated by King David in the Seventh Seal of a stuck Giga Camel. The metric form innovates them of ubiquity, for omnipresence in the camels before the gates, and after the gates, thus leaving the site of the eighth gate, deserting the camels behind the gates and arcades pointing to the old cemetery. of the prophecies that Elijah holds, and in procuring generational stoning of inter camelids, which would be channeled into twelve plus another dozen, but behind all, appearing to be six, later joining King David, who would provide the parallelism of the Seventh Seal. This caravan was numbered from one to six, saving the vertices of the Golden Gate that joined modestly at the odd vertices, under the odd cross of the same vertex, which made the equilateral coherent according to the three angles where Vernarth and Etréstles went, and then joined other pairs of vertices in a crucified chain in the flat and secondary complementarily of the seventh angel, but with epilogue character of the Seventh Seal. Thus it would be numbered according to the Gigas Camels, the Golden Gate, governing them for a family of six family angles and a seventh seal, for the performance of the family sustenance of primogeniture in the reinsertion of Saint John the Apostle, since he was banished by Emperor Domitian. Making themselves succulent of the gold of the Seventh Seal, on the collective unconscious of the first-born, for the good of the sub-genitor son. Here the indication goes for the purpose of populating the consecration of granting greater goods to those who second and could lead forces of abandonment and secular sedentary, for the need to welcome sacrifices of goodness and preferences of lay annoyance and earthly secular strengthening. The kinetics would move the six numbered over the vertices of the Sun in three bevels, joining the pairs in vertices covered in the circumscribed mesh of vehemence, which is impacted with the solid Golden Gate of Jerusalem, depositing the concentric radii of the polarized magnet on the struts of the camel of the central ram, for the affinity of the contraption of a trajectory for all Judah, in six predestined latitudes to Ein Karem, in the Hexagonal Baptistery of the Shepherds".

With symmetrical scrupulousness at a certain time, the rounded bisector of the psychic lines of the peritoneum fold of the solitary flanks of the Camels Gigas, towards a vocal peritoneum set six times more than a seventh, was estimated, in the apothem of the two-dimensional figure of the Febo hexagon angel, with less centrality, for the foundation of the Apostle and Vernarth, regulating them by points and sides, on the perpendicular bezels, prostrating towards a more orthodox and straight line, mutinying with radials phases on the bisector..., giving a quotient of odd numbers, which cut the first round of anointing, among all those that were retained in the daydreams of catching them for involuntary deaths. From Gaugamela's stratagem, three thousand muscular Hetairoi descended, towards the implantation of heart nuclei in the camelids, on the Susa Gate and the oblique break marching towards the war site, creating a fissure between camels, and the sphinx of Alexander the Great breaking into the Left-wing of the Golden Gate. This was the casuistry of Vernarth's psychic advance impetus, who once was at the precise moment of stalking, hypnotizing the gap of the Achaemenides, but unaware of that mechanical moment, persists in going after the Giant Camels. He guided them with his right hand to both sides, equipped with heart irons that exorbitated the whispering of his pectoral canals, interrupting the dawn of the Cinnabar, with the antigen readjusting the hinges of the door before falling untimely. Vernarth, with his sinister, calls upon the Hindu family who tried to open the breach of Alexander with his Macedonian baggage, thus preventing him from lying in the reliquary in contrition towards Vernarth himself. The infamous moment must have passed through the swords of some who resisted when fleeing from the held Golden Gate, giving up the rear of Vernarth with the camels recovered and saved from the abandonment of their afflicted hearts, resigning themselves with empty hands and with an outpouring of victory, but with two units confronted in his Portal of Imagination.

g) Reflection temporality

In cavern series, the lava was converted into cations of hydronium, in underground pits that glowed in Tsambika's temporality when the homily was officiated. Some pieces and calcareous boulders rotated random by the humid and dark narrowness of the subterranean reflection, having lived in the heavenly paradise that formed them by the volcanic tube and its syngenetic, by the erosion of the subsoil of Rhodes. The speculative rock icons expired of the symptoms, with albuminous cliffs of the genetics of the Theoskepasti chapel, Etréstles carried under his arm the expiration contract of the Universe, to deliver it with his signature, for the dimensional transfer will. Everything flourished with attractive mineralization systematizations, under an astral posology, In the cognitive, Kanti memorized his wanderings in Crete, imagining his physical body united with his mind on the paths of the shoulder of his ancestry, with batches of clockwork that went and passed through his physiognomic, bathing with the piece wind, but also with the hard shoulder that came straight towards him, showing him new encephalic pathways, which surrendered in epistemological globes, but levitating in excess of the hard shoulder and the unknowns, for states of temporality that became mentalized in pursuit of a supra desire..., disease or typologies long-standing who used the supposed ontological formalization, gave functioning the property of body with the memory of advanced towards a new Duoversality. The officialization of Ars Choralis, is solemnized for processes of emotional property; In this way the cave of Being and its Temporality is made haughty, self-isolating for intra-cave investigations, as corollaries and agility in those who yearned for identity, being able to attach themselves to deities in dozens of epicenes, which would be from tens to ten, thus being seventy tens and a half, which would be seventy-five of the seven tens, and of the unconscious of the syntagm that Etréstles carried away, separating the syntactic of the Vas Auric hypothesis, so that they coexist..., although the pestilential decays before the rolled-up syntactic of Kanti's head. Untreated and conscious-unconscious to his instinct, resorting and harassing the procedural bars, of the Ergo Sum parameter. The temporality of reflection, In momentum ac Diadem, it shone from the third trumpets of the Seventh Seal to the potential of the twilight corrodes and their regions that made the shoulder of the shoulder the awareness of temporality reflected in required dismayed collectivities, to transcribe exhortations to the behavioral pattern of the temporality of love Faust. Little remains immobile, little drive when two masses of consciousness withdraw to the storehouses of the Universe, already advantageous of their exhaustion, but inheriting them in precipitous emotions towards the pre-consciousness factors in the heights of the mountains of Crete and Kímolos.

Kanti the steed says: “Deus Nostri Pontificatus Annis et ad eum, God is my pontificate and my way to Him…, Adonis in the relative absence of credit, before Ephebos with absolute deafness, surprising me here in the Diospyros and neuro archetype flight. I ride farther than my physical-emotional, contributing in the micro-fusions of the tubules, in quantum, and interacting with the fineness of the minuscule substance, within themselves. Almost injuring the storms that vibrate in the mine of a risk prop of a steed, in pursuit of a trance that only ends up being the architect and augur of knowledge..., of when and where it agonizes more than once, but within the limit of the Duoverse crushed at his own peril, continually evaluating himself to transfer a genetic force into my hooves of solid steel, but ornamental and of Reflected Temporality.


h) Expansion and Aramaic Taxonomy

Organic taxonomy, as a pre-ordering order, classifies the harmlessness of language before the invasion of Alexander the Great. Although there were implosions of the Greek language, its transboundary taxonomy would be shifted towards Judea. Pre cited is its variant pharyngolaryngeal tracheo, in this assertiveness and occasionality, it predisposes emphasis on orthographic rather than phonetic incidents, citing Galilea as a precursor of the Aramaic and taxonomic thesis of Gethsemane, prior to its expansive conventionalism of enrapturing her in her differentiation, and in the expansive hotbeds necessary to channel the basic axons of commerce, between antiquity under the prerogative of supplied ethics and pre-classified inputs, such as food and geographic furnishings of economic arts, as well as, the syntax of words that could have curvature and geometry in the forms or linear designs of the time. Any letter could be interpreted as a physiognomic form or as tools of manifest imperialism, coexisting execrable or blessed as languages or keys of immunological communication, with symbolisms of languages spoken in rituals of systematization, and of obfuscation of a metaphysical Messiah, always an angel, for when this is the case. In other words, the water speaks to him in dialects and adults with an oriental language, appearing cryptic in the appointments that are related to the language of the great Extra Universal heritage.
Vernarth's Aramaic is an ***** composed of valuation graduation and generational expansion, opening evolutions combined with the matrix of “Ethereal Spatiality”, towards a channel or rib with a common end in what is done on the margin of Faith. and it is predestined on the basis of object and substance, as a regulatory organism, for groupings of species within the biological language or not, as well as in the fissure of a Cladia of lichen fungi, forming the optics of expression as spelling and not as a utilitarian concept. Amplifying what a camel is; this is how it is importunate, being its **** consensus with the "S" backward in a perfect camelid, the "T" also being a perfect Cobra approaching the three S's of the Syriac Aramaic alphabet. The “Y with L fused” of the Aramaic alphabet with a large elephant, and finally the “H” as a pelican simile, like the pelagornithids or Pelagornithidae, fossilized in the emotional collective of rock tribes, progressing from elephants, camels or pelicans in the search for a literate language and consonant shapes that are attributed to their jaws and pharyngolaryngeal substrates..., observing long vowels, as in the language of an organic universal alphabet. The matrix is timeless, branching out of the mechanics of natural and phenomenal selections, if it is metaphysical or is contributing Demiourgy on the infinity of the encodings or depending on the size of its geo-referencing, it will contribute energy exchanges with predictive purposes of information of orders, and adaptations of the calcified scientific space, Vernarth, dives into the ponds or Naídes of the Aegean and survives, just when the networked volcanoes were swallowing all the seas in the world. It braced being only part of the laps of the sea, tattooing with its gaze the chthonic nymphs, before envious and backsword ogres with gills, which multiplied more than any myth-poetic. Its power of convergence is inhibited by the poetic myths of primordiality and of cosmology as a natural branch in nautical miles traveled by its arms, without knowing who crossed them, survivor, in its advance, and treasuring the arm plunges on and under the scalded clay objects, perhaps as implantation of the muddy and hyper-flood lexicon, empowering itself in its translation from Syria to Patmos, and from linear B Mycenaean to Syriac Aramaic languages,


i)Sub - Verthian Mythology (Camera Obscura)

Adhered to the ancient parallels of the cult, the mythology of Horcondising lashes out. Stale and axiomatic source of pragmatic and rational earth that emanates from this constrained fusion of the Universe in the metamorphosis of Duoverso-Horcondising. Social and genealogical plates date more than seven hundred years from Lombardy and northern Venice in Italy, Spain, and France. The mission of the Horcondising is the transhumant myth, and Chaos of the ancestral family cenacle, in view of a family rule, succeeding in continuous litanies that consecrate rites beyond genetic archaeological death. The consolation of souls will revive and will be under the edict of the Sub-mythology in repose landing in successive parapsychological regressions, which will speak of deaths suffered at the edge of their test tube lives, Under the mythology, there is the sub-fable, prone to boundaries where the statement innovates the entire structure of hermeneutics, as a written notification and complacent verb, for lords of the grass and granaries of granaries, narrating myth-stories in messes of revived verbality. Thus in Rhodes and Patmos, Andronicus of  Rhodes will guard the doorway of his hobbies again, so that these disciplines are conducive to sponsorships of words under reasons of a nature concerning Saint John the Apostle risen in flesh and spirit, in contrast to the conclusions of the reason to leave breathless the destiny that the just cheer and disapproval of diction of not certain science, under ships that cover the commendable salvation in exegetical storms that go from a liberated shelter, as well as in what differs from the et Grammatica institutione arithmetica in that each one writes what it understands, and adds what humanistically makes existence in a biblical alphanumeric dimension, from the imaginary in some of its leaders such as Zefián, Borker, Leiak, Kaitelka, in Hyperdisis and the Zig Zag Universes. Making the mythical an ensemble with deities that rule the infinite, achieving more secular religiosities than in a radius of religion, founded by characters that are already pagan mythology. This is the raison d'être of the sub-mythology, which springs from one already narrated and rationalized, but in the contradiction of what underlies under the very observance that unites itself, forging itself creditor of very new myths within others, with characters that have never been or have been parasitizing on another source of cognition. Thus becoming extensive and prolonged in its passage liers sumptuousness of other arcane myths, within the same ones that inhabit the mythological lie, without blemish from veracity belonging to the living-lie in pursuit of a dead-truth. Even if it is in this way or hermeneutic method, continue to beat and go to meet the Castellar Imaginary del Horcondising and the Camera Obscura, which always live and revive in the sub-imagination, but from a mythical truth in a regime of multitudinous voice. and myth-poetics.

From the sooty Camera Obscura the spindle was obtained over the diameters of each edge, Vernarth of the same chaos, converged from the square but not the spherical world, from this sooty box together with his master Zefián, who polished and shot vines of light over the projection of the same box, and of the quantum ark on the acropolis of Leiak, simulating entelechy in its projection with the ultraviolet light of light similar to the earth, but not square, rather appearing to be a square sphere. After repeated intervals, Vernarth opened the slits of his hands, also hollowed, here other globules appeared but not spheroids, rather quadrilaterals at the end of the third phase in the last three series that showed the complete reflection of a tiny world, that just clamored for amnesty as a matter that had been beginning to form with another factor on a large scale, from this fractality that would appear as Vernarthian sub-mythology. Camera Obscura, in a combination with twelve atomic masses, stands out starting in the irradiation of sexagesimal nomenclature; imagining fractionality between sixty microseconds to sixty in the hexagonal polygon of the Primogeniture and the Baptistery of Ein Karem. Being used in the elevations of the stars and the Heliac Ortho of dawn, which would find the black box that was nailed in its twelve apostolate angles. The whole times were divided into more exact numbers that surrounded him in his Camera Obscura doing trigonometry with other rectangles of three equilateral, making multiples of twelve on the line of the hypotenuse of sixty, dividing by the hexagonal, which is the angular line of the six sides of progression of the Duoverse becoming a spheroid square, for an analogy of Hexagonal Birthright with the multiple of twelve for the sake of the Giant Camels, leading them to the obfuscation of the Horcondising fused with the Duoverse, by means of Pi (π), in the diameter equidistant between the Universe and the Duoverse disintegrated in two by the concentric radius of both geometric units. In the same way, Vernarth multiplied the existence of his new sexagesimal world in nths by sixty followed by infinite numbers of zeros, canceling the radical time of the masses of anodyne particles. The corondels or watermarks, overflowed with all the irregularities of the system, showing the decimal after the comma.


j)Verthian Apostolic Conception - Kashmar

Vernarth, was in Sardinia in the megalithic complexes Nuraga when he conceived his apostolate as a messenger, biologically entrenched in the taxonomic stasis, with a merely profane and urban framework. Whose classification he would transmit to his relatives after long periods in Macedonia, sailing and doing his falconry and philosophical avant-garde chores with Aristotle, in a laxity that invited him after long rejoices to record and sculpting messages with the doves of his village. Near Pella, in the central region of Macedonia, where his general Alexander the Great resided, south of the Axio River, his abode was nomadic and was on a hill near the lakes and mountains surrounded by Greco-Barbarian inhabitants, tracing the Chalkidian league., after the Peloponnesian War. He was in great campaigns in the former Pella, His will as an artist is precisely to be an apostolate of a thought that would intersect with the Yahwist gift to an apostolate of the Apostle Matías, whose connection would provide his transliteration of the post-mortuary link of the Jesus of Nazareth, replacing Judas Iscariot, due to his apostasy. Vernarth, distressed by this episode, became Commander of Alexander the Great, lying already primitive in his ranks of Hetairoi, transcending over the scourge of Judas Iscariot, to face in the arena of Pella. In a reverie near the Thermaic Gulf, he genuflected under the sacrosanct trees near some illustrious Kashmar Cypresses, channeling his furious and tramontane spiritual into the gulf, to take him out of a banal summer in the transition of an immolated soul, and make him walk for thirty days barefoot, without sweet potatoes in his hands to ego stone him, only naming him slavish stubble of the crops in the deleterious nesting places of the Ravens of Kashmar, bidding him so that his blood is ****** by the heels of the rooted trees of Thor forest, usurping his "Gift of Iahvé ”In dishonor of its Hebraic appellation, for the onomatopoeic of its rhetoric, resulting from the feckless roar of black lineage, which will emanate from the mouth of the Aulos, whistling inside the Cobra. In the aforementioned link, the group of twelve was recomposed, being in the gulf and in the incidences of the re-indoctrination of the twelve apostolates, he is with his prayer and atonement in the mystical character for the community worshiping the Kashmar; which roots hardened towards the silent immolation portent as Judas entered the black night, for excessive twists of the bifurcations, intertwining with the Beams of the Thermaic cliff, like a lynx observing the height and its prominence in that of Judas dwindling over the stained areas of hell..., thus its remains were scattered by the synod of bustard birds in the sprayed sky of globular creation, faded by conclusive hordes of the late Neolithic Druid and by the deity Belinus, with ingots of sooty petrified poplar from Hecate boiling in the Underworld. We shoveled over the holm oak groves and their trees, sacralizing their factotum after the ritual of the sanctuary of the thus his remains were scattered by the synod of bustard birds in the sprinkled sky of globular creation, faded by conclusive hordes of the late Neolithic Druid and by the deity Belinus, with ingots of Hecate's sooty petrified poplar boiling in the Underworld. We shoveled over the holm oak groves and their trees, sacralizing their handyman after the ritual of the sanctuary of the thus his remains were scattered by the synod of bustard birds in the sprinkled sky of globular creation, faded by conclusive hordes of the late Neolithic Druid and by the deity Belinus, with ingots of Hecate's sooty petrified poplar boiling in the Underworld. We shoveled over the Holm oak groves and their trees, sacralizing their handyman after the ritual of the sanctuary of the Dodona, in uniformity towards a murmur in the leaves from oak in the spell of man towards an oracle, to consummate it with the mendicant count of the Ziziphus Spina-Christi; hawthorn of the crown of Jesus but with implants of Kashmar, on the crown of Judas already immolated.

Vernarth walked alone through the inlet of Skala, on Patmos, when he had to undertake a trip to Judah, even so, he also walked bi-location in the inlet of Sardinia, after being in the megalithic complex Nugarhe, Vernarth, Etréstles, and Walekiria, they approach matching Tuscany. Once they were instantiated in Sardinia, a coastal sailboat transported them in the middle of a stormy day, it was a great happy day to arrive in La Spezia. Here they parked at night following the Liturgy, standing out those that coincided with Lent of Holy Week, where one day they were seen talking with Petrarca and Laura de Noves. The olive trees keep pietism with the phantasmagoria of the Kashmar, who made the double murmur of the spell of the Duoversal man. Always in Tuscany, the tracks below the garden have been occupied, which has a distant view of the roofs and towers of Florence. The monumental fountain set on a steep hill on a side flank of the garden terrace has a seated god flanked by lions in relief of stucco from a niche decorated with pebble mosaics and padded masonry. " Here at the Verbena of a long feast day, all together with Vernarth get drunk with Corinth Wine, which they brought and did not stop swinging to the rhythm of the music that made them foresee multi-existence beyond limitless sensibilities, turning their role closer to from the instigated destiny to Patmos in the hands of the original Duoverso with translation, rotation and Duoversal Theurgic orbit, for the spell-dogmatic invoking ultra-sensory powers of angels and gods, in order to signify with his country land near Pella,

k)Fractality and Spirit-Cinnabar Dynamics

In the black camera obscura, certainly connected blues made other dark holographic areas that were enlarged super connected to the optical perspective, conceiving of the infinity of a luminescence that was fractalized, the black-blue pre-existing towards the Z pattern = Exp (Z / OB ^ 4), what is the equivalent to the set of the Bernese Olive Tree Rapa, on the border of its Lipogenesis, which would appear in the chromatic version and final maturity of the olive tree, for the fractal exponential of Z =; where all the points of the complex plane Z = (OB, iy) are iterated in the corresponding function Olives Berna in a set of IY, and in all the iterations where an arbitrary constant (Cx, iCy) is added Cinnabar in lines of orthogonal sets X and Y, in such a way that the choice of the constant "seed" will determine the unique shape of the profile and the color of the fractal, once the chromatic pattern has been defined. In the paradigms shown in this continuation, a constant has been chosen, as it will only produce divergence and will have been qualified with the escape velocity algorithm, to contract exact self-similarity stratagems in this, which is the most restrictive type of car. -similarity; requiring the fractal to appear identical at different scales.

The holistic spórtula of the Cinnabar in some pecuniary exercises, are impelled for a tacit and absent society, in Every night beginning at dawn, everyone retreats and the Cinnabar appears like a kaleidoscope apostolizing in glorious joy, where the Aramaic synergy between the Garden of Olives and Gethsemane, is concatenated with the entirety of the Phylogenetic species with the homily in Tsambika and Theoskepasti, such as the new relationship of the link between species that were improper and endemic to the region near the stable in Bethlehem de Kafersesuh, to be inter-inseminated in the banks of the slopes of Gethsemane, in such a way, that the linguistics would begin to be absorbed in Joshua, and it would go for a closer shortcut towards the classification of the traditional and omnipotent variants, which migrated through the Olives to renew and preserve the Aramaic or Aramaic languages, from a shared origin now, for the omnipotent salvific languages that were to be addressed in Gethsemane. Once starting the splendor in the city of the eight gates, and from such interference, involve the Lepidoptera taxon, inseminating the populations of organisms related to lexicons to shed life and language,

l)Vas Auric – Cinnabar (Φ)

The pecuniary prerogative of spórtula, makes the Vas Auric and the Mandylion its residence, tending towards an algebraic sense of the two diametral in a cross by the perpendicular, towards the tension of the shortest segment by the long, tracing a circumference of radius and a half. Homologating in the interposed eclipse of the golden or golden number, for the divine proportion in consequence of irrational fractioning numbers. Shortening the passage of the algebraic numbers with the infinite decimal towards the Cinnabar with seven arches in parentheses reflecting in the partition of the apse in both temples of the homily, making the period of antiquity, files registered in mega center of the quantum memory of Cinnabar, before disrupting the genesis of the Duoverso.

The First Treatise of the Vas Auric fell into the hands of Vernarth, one day of heavy plutonium sheets en masse of the golden number. The vertical avalanche was segmented when the dichotomy of another line that collided with the segments was not altered, or rather omitted by certain temporary blindness of the Duoverso world that it just boasted. Compositions of number Z are made, and subdivision in its cinematographic optics, divided into two slow shots of a small element that became part of the controversy of Vas Auric as a medallion and Auric as Mystic Gold, with distribution laws.

"Zeus wakes up shaky, full of headache saturated in Pro-headache Herbs
Jophiel is speaking this time in the Kabbalistic Torah language...
with its golden commoner and super zone of Organikon Sorousliston Papadikon….
secular music that supplies Zeus with protein albumin,
to make him more human... Zeus accepts Jophiel placing him in his discernment
over the house of Jophiel; divine island to throw cartomancy...
bring the second ray to the Sahasrara on his crown,
pacified love that is the suspicious and risky loser of everything...
risk in the head, especially when condemnation is born!

And the floristics, over the stolon of the veins, moves synchronously with the prolongations, speeds, and acceleration of the emancipated leaves of the first order of the upper crown, up to the lower ones, thickening the golden spirals of a certain type of inflorescence, confining the umbilical zones of Vernarth, and the plantar area of its feet between three and more than a hundred steps that come from certain metamorphoses, creating peduncular areas, acting as a support for Vernarth and its Elder areas, brought from the Bumodos stream, after a string therapy, creating psychic supports to endorse globalized neuralgic. Understanding that the line of his neuralgia oscillates the greater analog of the Messiah in the cross pierced by the Hastae Praetorian, in the most remote of the elliptical of pain, reduplicated by accumulated energy, almost like mystical suffocation. On the part of the growth of the tangent in growth and of the evolution of the reflection, where the attenuation of the opposite effect is unleashed, allowing convalescence zones in signs of propeller blades around the Vas Auric, crossing vertical and horizontal beams of lights, in search of Light Angled and refractory solar, for the palfrey of the Kanti Steed, abstracted from excessive rain, which uncrossed the tempos of the aura of the organic and aerial underground, towards the duplicity of curves of the multi-cloned numbers and angered by their industrious dynamics of skewed movement, towards the effective solar..., tending to the effects of successive trends of the vaporous numeral of Vas Áurico Cinnabar.

m) Psychic Trisomy

The species and somatic acquired deposits of DNA spirals, given their characteristics, will make transformations in more than one cellular taxon for a homologous pair. Here Kaitelka the whale down from Sub-Mythology, will circle in the Baltic Sea, compromising neuralgia in it as a superfluous essence due to its trisomy, making a comparison with psychic trisomies that Vernarth suffered at least four times a month, from the first and eleventh day, after his parapsychological regressions when he sailed over abysses and anesthetized zones on glacial plankton in the North Sea. Kaitelka individualized her cellular regressions, becoming a prehistoric cetacean and when she lagged beyond or before her creation, she transferred psychic trisomies due to her twenty-one chromosome. Kaitelka's karyotype was directed towards the crease of her eyes, due to an infection in the area of her basal inter fins, which disturbed her heart rate in a short interval where Poseidon magnified her coefficient in high amplitude, after being inseminated in a tempered state and gifted as a Super Goddess. Kaitelka in nativity in the transversal valleys sailed in the air atmospheres of Hyperdisis, and she was always seen in the company of Leiak; the omnipresent and vague spirit of the watery ductile dancer, living on the liquefied element with his astringent slimy chin..., seeing him with his grotesque back-breaking swampy lines between knuckles, and hedges of tricks collected before the first station, in one of the first of the three Remaining nights before reaching Joshua de Piedra del Horcondising volcano, that upset her heart rate in a brief interval where Poseidon magnified her coefficient in high amplitude, after being inseminated in a moderate state and gifted as a Super Goddess. About seven hundred meters high she becomes Kaitelka Down godmother, adding the psychic chromosome twenty-two that contracts in the connection with Vernarth, in the extravagant massifs when in the autumn afternoons they collect Ceratocystis fagacearum Fungi, and irradiating them with insects such as the borers. When   Kaitelka recovers its chromosome by detraction in the natural selection of Trisomy, express is spilling on the dry and gelatinous Laurus leaves of all its dead cells, which are promptly seeped from the retracted membranes in frank adhesion, causing regeneration of the disease. After wanderings and ringed symptoms of lesson in the atmosphere of the ecstatic Horcondising, the wooly will be magnanimous and challenged from the chromosome spilled in the emulsion, is contained in the alpha proteins in the transverted Vernarth genome, as a warned whole and abundantly diploid, before reaching the lethal processes of reciprocal adversity, both as a zoo-anthropoid or a triple zoo-anthropoid-botanical effect. Pre-Existing Kaitelka Down with forty-two chromosomes (22 pairs) and the Lepidoptera Agrodiaetus (134 pairs), in its haploid, that is, half remains vitalizing between two species of the sub-mythological world, and in its psychic cellular compound, and later implant it in germ cells for the effect of Venarthian ambivalent psychic transmission and vice versa. By discard, there are four fewer chromosomes than the hommo sapiens and 222 less than the Lepidoptera Agrodiaetus, for a meta sense of flourishing with the power of Poseidon, brother of Zeus, Meta sense and discernment, encephalic they will be cogitated by conscious where their sensory cognitive is interrupted, towards an unconscious through the photons of hypocaloric temperature, to define in the prehistoric psychological memory of their psychic, more than random brain, coexisting of habeas corpus content and remote brain energy, before the magistracy and power of Poseidon that confines him. Graduated from southern impassable seclusion, their memory is isolated in their E-Cloud. Namely; stored in electromagnetic and electrophysiological stimuli, incontinent and weighted in the square miles of floating Poseidon outbursts, in the category of super cetacean down, with only four meager chromosomes from the remnants of the human procedural genome. The trisomy field, On the fourth of August of the year of the Lord, 1617, when Klauss Rittke was cleaning the main stained glass window of the Cathedral of Avignon, he heard heated dialogues between a Friar and a Gentleman, who was once an assistant to the clergy. Klauss could come closer and listen to their conversation more clearly, until the Friar Andrés Panguiette, babbling, demanded of Raymond Bragasse indulgence or one or the other. (Compendium of Marielle Quentinnais). Relating in its narrative evolution, about some Albigenses of this work set in Avignon, time of the Antipopes, crossing with the psychic waves that have just been mentioned, and of prophecies of who precisely Guillaume Bélibaste was born into a Cathar family. Having noted that 1321 in 296 years apart from Marielle Quentinnais, it takes place in Carcassonne on the same day as Bélibaste was executed, given his licentious life breaking Cathar dogmas, incriminating himself with civilians from the region, marrying women in exile, etc., was condemned by the Holy Inquisition, where many were purged for the sole fact of holding biblical books in their abode. Among the flames of his bonfire the prophecy of the laurel will be homologated, whose shadow will fall on the centuries to come. Note the coincidence 3, 700 years ago, where the first signs of life were appreciated on our planet and in the Hylates Forest in Cyprus (700, 000 thousand souls) in the imprint that unifies the Christian scrolls, blowing gold dust on Walekiria's hair..., and being liberated, as a tantric body of physicality. No one spoke, not even the 700, 000 thousand souls who also claimed to be liberated (Vernarth, page 313 - paragraph 2). And finally the seventh portion of the sea, with Poseidon. Here the Psychic numeral of Vernarth and Kaitelka coincide, who appears with the laurel of Guillaume de Bélibaste after almost seven hundred years, facing the unification of the prophecy of the Laurel, whose shadow will hover over the centuries to come. Templars, perfect bone Hommes and Cathars meet, in this historical feat, through the secret path safe from traitors and conspirators thanks to the most surprising allies. Bélibaste's fast-paced story will allow us to get closer to the most unknown ceremonies and rituals of his confession, showing us his revelations in the flames and turning green in the Laurel of 1321 in sync with 2021. Given the little and nothing that exists of the revealing enthronement and the psychic environment, it should be noted that historical facts fly like pollen, with the waves in their same vibrations of the aeolian autogyro. This entails physical vibrational material, which is in every corner of existentialism, without beginning or end, only rewinding through the infinite axon of karma and samskara, for physical-ecological convulsed means and intermediates, in revealing semblances of the primitive psychic field before us, like the Aspís Koilé, as a shield or as an omnidirectional parabolic antenna, bringing us events after events that strangely interchange phases, and intertwined efforts over time in quantum physics and subsequent biophysical changes in the genome chain, especially in its Psychic Trisomy.

to be continued...
DUOVERSE
by
Alexander K Opicho

(Eldoret, Kenya;aopicho@yahoo.com)

When I grow up I will seek permission
From my parents, my mother before my father
To travel to Russia the European land of dystopia
that has never known democracy in any tincture
I will beckon the tsar of Russia to open for me
Their classical cipher that Bogy visoky tsa dalyko
I will ask the daughters of Russia to oblivionize my dark skin
***** skin and make love to me the real pre-democratic love
Love that calls for ambers that will claw the fire of revolution,
I will ask my love from the land of Siberia to show me cradle of Rand
The European manger on which Ayn Rand was born during the Leninist census
I will exhume her umbilical cord plus the placenta to link me up
To her dystopian mind that germinated the vice
For shrugging the atlas for we the living ones,
In a full dint of my ***** libido I will ask her
With my African temerarious manner I will bother her
To show me the bronze statues of Alexander Pushkin
I hear it is at ******* of the city of Moscow; Petersburg
I will talk to my brother Pushkin, my fellow African born in Ethiopia
In the family of Godunov only taken to Europe in a slave raid
Ask the Frenchman Henri Troyat who stood with his ***** erected
As he watched an Ethiopian father fertilizing an Ethiopian mother
And child who was born was Dystopian Alexander Pushkin,
I will carry his remains; the bones, the skull and the skeleton in oily
Sisal threads made bag on my broad African shoulders back to Africa
I will re-bury him in the city of Omurate in southern Ethiopia at the buttocks
Of the fish venting beautiful summer waters of Lake Turkana,
I will ask Alexander Pushkin when in a sag on my back to sing for me
His famous poems in praise of thighs of women;

(I loved you: and, it may be, from my soul
The former love has never gone away,
But let it not recall to you my dole;
I wish not sadden you in any way.

I loved you silently, without hope, fully,
In diffidence, in jealousy, in pain;
I loved you so tenderly and truly,
As let you else be loved by any man.
I loved you because of your smooth thighs
They put my heart on fire like amber in gasoline)

I will leave the bronze statue of Alexander Pushkin in Moscow
For Lenin to look at, he will assign Mayakovski to guard it
Day and night as he sings for it the cacotopian
Poems of a slap in the face of public taste;

(I know the power of words, I know words' tocsin.
They're not the kind applauded by the boxes.
From words like these coffins burst from the earth
and on their own four oaken legs stride forth.
It happens they reject you, unpublished, unprinted.
But saddle-girths tightening words gallop ahead.
See how the centuries ring and trains crawl
to lick poetry's calloused hands.
I know the power of words. Seeming trifles that fall
like petals beneath the heel-taps of dance.
But man with his soul, his lips, his bones.)

I will come along to African city of Omurate
With the pedagogue of the thespic poet
The teacher of the poets, the teacher who taught
Alexander Sergeyvich Pushkin; I know his name
The name is Nikolai Vasileyvitch Gogol
I will caution him to carry only two books
From which he will teach the re-Africanized Pushkin
The first book is the Cloak and second book will be
The voluminous dead souls that have two sharp children of Russian dystopia;
The cactopia of Nosdrezv in his sadistic cult of betrayal
And utopia of Chichikov in his paranoid ownership of dead souls
Of the Russian peasants, muzhiks and serfs,
I will caution him not to carry the government inspector incognito
We don’t want the inspector general in the African city of Omurate
He will leave it behind for Lenin to read because he needs to know
What is to be done.
I don’t like the extreme badness of owning the dead souls
Let me run away to the city of Paris, where romance and poetry
Are utopian commanders of the dystopian orchestra
In which Victor Marie Hugo is haunted by
The ghost of Jean Val Jean; Le Miserable,
I will implore Hugo to take me to the Corsican Island
And chant for me one **** song of the French revolution;


       (  take heed of this small child of earth;
He is great; he hath in him God most high.
Children before their fleshly birth
Are lights alive in the blue sky.
  
In our light bitter world of wrong
They come; God gives us them awhile.
His speech is in their stammering tongue,
And his forgiveness in their smile.
  
Their sweet light rests upon our eyes.
Alas! their right to joy is plain.
If they are hungry Paradise
Weeps, and, if cold, Heaven thrills with pain.
  
The want that saps their sinless flower
Speaks judgment on sin's ministers.
Man holds an angel in his power.
Ah! deep in Heaven what thunder stirs,
  
When God seeks out these tender things
Whom in the shadow where we sleep
He sends us clothed about with wings,
And finds them ragged babes that we)

 From the Corsican I won’t go back to Paris
Because Napoleon Bonaparte and the proletariat
Has already taken over the municipal of Paris
I will dodge this city and maneuver my ways
Through Alsace and Lorraine
The Miginko islands of Europe
And cross the boundaries in to bundeslander
Into Germany, I will go to Berlin and beg the Gestapo
The State police not to shoot me as I climb the Berlin wall
I will balance dramatically on the top of Berlin wall
Like Eshu the Nigerian god of fate
With East Germany on my right; Die ossie
And West Germany on my left; Die wessie
Then like Jesus balancing and walking
On the waters of Lake Galilee
I will balance on Berlin wall
And call one of my faithful followers from Germany
The strong hearted Friedrich von Schiller
To climb the Berlin wall with me
So that we can sing his dystopic Cassandra as a duet
We shall sing and balance on the wall of Berlin
Schiller’s beauteous song of Cassandra;

(Mirth the halls of Troy was filling,
Ere its lofty ramparts fell;
From the golden lute so thrilling
Hymns of joy were heard to swell.
From the sad and tearful slaughter
All had laid their arms aside,
For Pelides Priam's daughter
Claimed then as his own fair bride.

Laurel branches with them bearing,
Troop on troop in bright array
To the temples were repairing,
Owning Thymbrius' sovereign sway.
Through the streets, with frantic measure,
Danced the bacchanal mad round,
And, amid the radiant pleasure,
Only one sad breast was found.

Joyless in the midst of gladness,
None to heed her, none to love,
Roamed Cassandra, plunged in sadness,
To Apollo's laurel grove.
To its dark and deep recesses
Swift the sorrowing priestess hied,
And from off her flowing tresses
Tore the sacred band, and cried:

"All around with joy is beaming,
Ev'ry heart is happy now,
And my sire is fondly dreaming,
Wreathed with flowers my sister's brow
I alone am doomed to wailing,
That sweet vision flies from me;
In my mind, these walls assailing,
Fierce destruction I can see."

"Though a torch I see all-glowing,
Yet 'tis not in *****'s hand;
Smoke across the skies is blowing,
Yet 'tis from no votive brand.
Yonder see I feasts entrancing,
But in my prophetic soul,
Hear I now the God advancing,
Who will steep in tears the bowl!"

"And they blame my lamentation,
And they laugh my grief to scorn;
To the haunts of desolation
I must bear my woes forlorn.
All who happy are, now shun me,
And my tears with laughter see;
Heavy lies thy hand upon me,
Cruel Pythian deity!"

"Thy divine decrees foretelling,
Wherefore hast thou thrown me here,
Where the ever-blind are dwelling,
With a mind, alas, too clear?
Wherefore hast thou power thus given,
What must needs occur to know?
Wrought must be the will of Heaven--
Onward come the hour of woe!"

"When impending fate strikes terror,
Why remove the covering?
Life we have alone in error,
Knowledge with it death must bring.
Take away this prescience tearful,
Take this sight of woe from me;
Of thy truths, alas! how fearful
'Tis the mouthpiece frail to be!"

"Veil my mind once more in slumbers
Let me heedlessly rejoice;
Never have I sung glad numbers
Since I've been thy chosen voice.
Knowledge of the future giving,
Thou hast stolen the present day,
Stolen the moment's joyous living,--
Take thy false gift, then, away!"

"Ne'er with bridal train around me,
Have I wreathed my radiant brow,
Since to serve thy fane I bound me--
Bound me with a solemn vow.
Evermore in grief I languish--
All my youth in tears was spent;
And with thoughts of bitter anguish
My too-feeling heart is rent."

"Joyously my friends are playing,
All around are blest and glad,
In the paths of pleasure straying,--
My poor heart alone is sad.
Spring in vain unfolds each treasure,
Filling all the earth with bliss;
Who in life can e'er take pleasure,
When is seen its dark abyss?"

"With her heart in vision burning,
Truly blest is Polyxene,
As a bride to clasp him yearning.
Him, the noblest, best Hellene!
And her breast with rapture swelling,
All its bliss can scarcely know;
E'en the Gods in heavenly dwelling
Envying not, when dreaming so."

"He to whom my heart is plighted
Stood before my ravished eye,
And his look, by passion lighted,
Toward me turned imploringly.
With the loved one, oh, how gladly
Homeward would I take my flight
But a Stygian shadow sadly
Steps between us every night."

"Cruel Proserpine is sending
All her spectres pale to me;
Ever on my steps attending
Those dread shadowy forms I see.
Though I seek, in mirth and laughter
Refuge from that ghastly train,
Still I see them hastening after,--
Ne'er shall I know joy again."

"And I see the death-steel glancing,
And the eye of ****** glare;
On, with hasty strides advancing,
Terror haunts me everywhere.
Vain I seek alleviation;--
Knowing, seeing, suffering all,
I must wait the consummation,
In a foreign land must fall."

While her solemn words are ringing,
Hark! a dull and wailing tone
From the temple's gate upspringing,--
Dead lies Thetis' mighty son!
Eris shakes her snake-locks hated,
Swiftly flies each deity,
And o'er Ilion's walls ill-fated
Thunder-clouds loom heavily!)

When the Gestapoes get impatient
We shall not climb down to walk on earth
Because by this time  of utopia
Thespis and Muse the gods of poetry
Would have given us the wings to fly
To fly high over England, I and schiller
We shall not land any where in London
Nor perch to any of the English tree
Wales, Scotland, Ireland and Thales
We shall not land there in these lands
The waters of river Thames we shall not drink
We shall fly higher over England
The queen of England we shall not commune
For she is my lender; has lend me the language
English language in which I am chanting
My dystopic songs, poor me! What a cacotopia!
If she takes her language away from
I will remain poetically dead
In the Universe of art and culture
I will form a huge palimpsest of African poetry
Friedrich son of schiller please understand me
Let us not land in England lest I loose
My borrowed tools of worker back to the owner,
But instead let us fly higher in to the azure
The zenith of the sky where the eagles never dare
And call the English bard
through  our high shrilled eagle’s contralto
William Shakespeare to come up
In the English sky; to our treat of poetic blitzkrieg
Please dear schiller we shall tell the bard of London
To come up with his three Luftwaffe
These will be; the deer he stole from the rich farmer
Once when he was a lad in the rural house of john the father,
Second in order is the Hamlet the price of Denmark
Thirdly is  his beautiful song of the **** of lucrece,
We shall ask the bard to return back the deer to the owner
Three of ourselves shall enjoy together dystopia in Hamlet
And ask Shakespeare to sing for us his song
In which he saw a man **** Lucrece; the **** of Lucrece;

( From the besieged Ardea all in post,
Borne by the trustless wings of false desire,
Lust-breathed Tarquin leaves the Roman host,
And to Collatium bears the lightless fire
Which, in pale embers hid, lurks to aspire
  And girdle with embracing flames the waist
  Of Collatine's fair love, Lucrece the chaste.

Haply that name of chaste unhapp'ly set
This bateless edge on his keen appetite;
When Collatine unwisely did not let
To praise the clear unmatched red and white
Which triumph'd in that sky of his delight,
  Where mortal stars, as bright as heaven's beauties,
  With pure aspects did him peculiar duties.

For he the night before, in Tarquin's tent,
Unlock'd the treasure of his happy state;
What priceless wealth the heavens had him lent
In the possession of his beauteous mate;
Reckoning his fortune at such high-proud rate,
  That kings might be espoused to more fame,
  But king nor peer to such a peerless dame.

O happiness enjoy'd but of a few!
And, if possess'd, as soon decay'd and done
As is the morning's silver-melting dew
Against the golden splendour of the sun!
An expir'd date, cancell'd ere well begun:
  Honour and beauty, in the owner's arms,
  Are weakly fortress'd from a world of harms.

Beauty itself doth of itself persuade
The eyes of men without an orator;
What needeth then apologies be made,
To set forth that which is so singular?
Or why is Collatine the publisher
  Of that rich jewel he should keep unknown
  From thievish ears, because it is his own?

Perchance his boast of Lucrece' sovereignty
Suggested this proud issue of a king;
For by our ears our hearts oft tainted be:
Perchance that envy of so rich a thing,
Braving compare, disdainfully did sting
  His high-pitch'd thoughts, that meaner men should vaunt
  That golden hap which their superiors want)

  
I and Schiller we shall be the audience
When Shakespeare will echo
The enemies of beauty as
It is weakly protected in the arms of Othello.

I and Schiller we don’t know places in Greece
But Shakespeare’s mother comes from Greece
And Shakespeare’s wife comes from Athens
Shakespeare thus knows Greece like Pericles,
We shall not land anywhere on the way
But straight we shall be let
By Shakespeare to Greece
Into the inner chamber of calypso
Lest the Cyclopes eat us whole meal
We want to redeem Homer from the
Love detention camp of calypso
Where he has dallied nine years in the wilderness
Wilderness of love without reaching home
I will ask Homer to introduce me
To Muse, Clio and Thespis
The three spiritualities of poetry
That gave Homer powers to graft the epics
Of Iliad and Odyssey centerpieces of Greece dystopia
I will ask Homer to chant and sing for us the epical
Songs of love, Grecian cradle of utopia
Where Cyclopes thrive on heavyweight cacotopia
Please dear Homer kindly sing for us;
(Thus through the livelong day to the going down of the sun we
feasted our fill on meat and drink, but when the sun went down and
it came on dark, we camped upon the beach. When the child of
morning, rosy-fingered Dawn, appeared, I bade my men on board and
loose the hawsers. Then they took their places and smote the grey
sea with their oars; so we sailed on with sorrow in our hearts, but
glad to have escaped death though we had lost our comrades)
                                  
From Greece to Africa the short route  is via India
The sub continent of India where humanity
Flocks like the oceans of women and men
The land in which Romesh Tulsi
Grafted Ramayana and Mahabharata
The handbook of slavery and caste prejudice
The land in which Gujarat Indian tongue
In the cheeks of Rabidranathe Tagore
Was awarded a Poetical honour
By Alfred Nobel minus any Nemesis
From the land of Scandinavia,
I will implore Tagore to sing for me
The poem which made Nobel to give him a prize
I will ask Tagore to sing in English
The cacotopia and utopia that made India
An oversized dystopia that man has ever seen,
Tagore sing please Tagore sing for me your beggarly heat;

(When the heart is hard and parched up,
come upon me with a shower of mercy.

When grace is lost from life,
come with a burst of song.

When tumultuous work raises its din on all sides shutting me out from
beyond, come to me, my lord of silence, with thy peace and rest.

When my beggarly heart sits crouched, shut up in a corner,
break open the door, my king, and come with the ceremony of a king.

When desire blinds the mind with delusion and dust, O thou holy one,
thou wakeful, come with thy light and thy thunder)



The heart of beggar must be
A hard heart for it to glorify in the art of begging,

I don’t like begging
This is knot my heart suffered
From my childhood experience
I saw my mother
Michael R Burch Feb 2020
When Pigs Fly
by Michael R. Burch

On the Trail of Tears,
my Cherokee brothers,
why hang your heads?
Why shame your mothers?
Laugh wildly instead!
We will soon be dead.

When we lie in our graves,
let the white-eyes take
the woodlands we loved
for the *** and the rake.
It is better to die
than to live out a lie
in so narrow a sty.

In October 1838 the Cherokees began to walk the "Trail of Tears." Most of them made the thousand mile journey west to Oklahoma on foot. An estimated 4,000 people, or a quarter of the tribe, died en route. The soldiers "escorting" the Cherokees at bayonet point refused permission for the dead to be buried, threatening to shoot anyone who disobeyed. So the living were forced to carry the corpses of the dead until camp was made for the night. Years after the Cherokees had been rounded up and driven down the Trail of Tears, John G. Burnett reflected on what he and his fellow soldiers had done, saying, "Schoolchildren of today do not know that we are living on lands that were taken from a helpless race at the bayonet point, to satisfy the white man's greed... ****** is ****** and somebody must answer, somebody must explain the streams of blood that flowed in the Indian country... Somebody must explain the four thousand silent graves that mark the trail of the Cherokees to their exile." Keywords/Tags: Cherokee, Native American, Trail of Tears, Ethnic Cleansing, Genocide, ******, Evil, Death, March, Death March, Infanticide, Matricide, Racism, Racist, Discrimination, Violence, Fascism, White Supremacists, Horror, Terror, Terrorism, Greed, Gluttony, Avarice, Lust, ****, mrbpig, mrbpigs



Cherokee Prayer
loose translation/interpretation by Michael R. Burch

As I walk life's trails
imperiled by the raging wind and rain,
grant, O Great Spirit,
that yet I may always
walk like a man.

This prayer makes me think of Native Americans walking the Trail of Tears with far more courage and dignity than their “civilized” abusers.



Native American Prayer
loose translation/interpretation by Michael R. Burch

Help us learn the lessons you have left us
in every leaf and rock.



Native American Travelers' Blessing
loose translation/interpretation by Michael R. Burch

Let us walk together here
among earth's creatures great and small,
remembering, our footsteps light,
that one wise God created all.



Sioux Vision Quest
by Crazy Horse, Oglala Lakota Sioux, circa 1840-1877
loose translation/interpretation by Michael R. Burch

A man must pursue his Vision
as the eagle explores
the sky's deepest blues.



Cherokee Travelers' Blessing I
loose translation/interpretation by Michael R. Burch

I will extract the thorns from your feet.
For yet a little while, we will walk life's sunlit paths together.
I will love you like my own brother, my own blood.
When you are disconsolate, I will wipe the tears from your eyes.
And when you are too sad to live, I will put your aching heart to rest.

Published by Better Than Starbucks and Cherokee Native Americans



Cherokee Travelers' Blessing II
loose translation/interpretation by Michael R. Burch

Happily may you walk
in the paths of the Rainbow.
                  Oh,
and may it always be beautiful before you,
beautiful behind you,
beautiful below you,
beautiful above you,
and beautiful all around you
where in Perfection beauty is finished.

Published by Better Than Starbucks



Cherokee Travelers' Blessing III
loose translation/interpretation by Michael R. Burch

May Heaven’s warming winds blow gently there,
where you reside,
and may the Great Spirit bless all those you love,
this side of the farthest tide.
And wherever you go,
whether the journey is fast or slow,
may your moccasins leave many cunning footprints in the snow.
And when you look over your shoulder, may you always find the Rainbow.

Published by Better Than Starbucks



What is life?
The flash of a firefly.
The breath of the winter buffalo.
The shadow scooting across the grass that vanishes with sunset.
―Blackfoot saying, loose translation/interpretation by Michael R. Burch



Warrior's Confession
loose translation/interpretation by Michael R. Burch

Oh my love, how fair you are—
far brighter than the fairest star!



Cherokee Proverb
loose translation/interpretation by Michael R. Burch

Before you judge
a man for his sins
be sure to trudge
many moons in his moccasins.



Cherokee Prayer
loose translation/interpretation by Michael R. Burch

As I walk life's trails
imperiled by the raging wind and rain,
grant, O Great Spirit,
that yet I may always
walk like a man.

When I think of this prayer, I think of Native Americans walking the Trail of Tears.



The Receiving of the Flower
excerpt from a Mayan love poem
loose translation/interpretation by Michael R. Burch

Let us sing overflowing with joy
as we observe the Receiving of the Flower.
The lovely maidens beam;
their hearts leap in their *******.

Why?

Because they will soon yield their virginity to the men they love!



The Deflowering
excerpt from a Mayan love poem
loose translation/interpretation by Michael R. Burch

Remove your clothes;
let down your hair;
become as naked as the day you were born—

virgins!



Prelude to *******
excerpt from a Mayan love poem
loose translation/interpretation by Michael R. Burch

Lay out your most beautiful clothes,
maidens!
The day of happiness has arrived!

Grab your combs, detangle your hair,
adorn your earlobes with gaudy pendants.
Dress in white as becomes maidens ...

Then go, give your lovers the happiness of your laughter!
And all the village will rejoice with you,
for the day of happiness has arrived!



The Flower-Strewn Pool
excerpt from a Mayan love poem
loose translation/interpretation by Michael R. Burch

You have arrived at last in the woods
where no one can see what you do
at the flower-strewn pool ...
Remove your clothes,
unbraid your hair,
become as you were
when you first arrived here
naked and shameless,
virgins, maidens!



Native American Proverbs

The soul would see no Rainbows if not for the eyes’ tears.
—loose translation/interpretation by Michael R. Burch

A woman’s highest calling is to help her man unite with the Source.
A man’s highest calling is to help his woman walk the earth unharmed.
—loose translation/interpretation by Michael R. Burch

When you were born, you cried and the world rejoiced.
Live your life so that when you die, the world cries and you rejoice.
—White Elk, loose translation/interpretation by Michael R. Burch

What is life?
The flash of a firefly.
The breath of a winter buffalo.
The shadow scooting across the grass that vanishes with sunset.
—Blackfoot saying, translation by Michael R. Burch

Speak less thunder, wield more lightning. — Apache proverb, translation by Michael R. Burch

The more we wonder, the more we understand. — Arapaho proverb, translation by Michael R. Burch

Adults talk, children whine. — Blackfoot proverb, translation by Michael R. Burch

Don’t be afraid to cry: it will lessen your sorrow. — Hopi proverb

One foot in the boat, one foot in the canoe, and you end up in the river. — Tuscarora proverb, translation by Michael R. Burch

Our enemy's weakness increases our strength. — Cherokee proverb, translation by Michael R. Burch

We will be remembered tomorrow by the tracks we leave today. — Dakota proverb, translation by Michael R. Burch

No sound's as eloquent as a rattlesnake's tail. — Navajo saying, translation by Michael R. Burch

The heart is our first teacher. — Cheyenne proverb, translation by Michael R. Burch

Dreams beget success. — Maricopa proverb, translation by Michael R. Burch

Knowledge interprets the past, wisdom foresees the future. — Lumbee proverb, translation by Michael R. Burch

The troublemaker's way is thorny. — Umpqua proverb, translation by Michael R. Burch



Earthbound
an original poem by Michael R. Burch

Tashunka Witko, better known as Crazy Horse, had a vision of a red-tailed hawk at Sylvan Lake, South Dakota. In his vision he saw himself riding a spirit horse, flying through a storm, as the hawk flew above him, shrieking. When he awoke, a red-tailed hawk was perched near his horse.

Earthbound,
and yet I now fly
through the clouds that are aimlessly drifting ...
so high
that no sound
echoing by
below where the mountains are lifting
the sky
can be heard.

Like a bird,
but not meek,
like a hawk from a distance regarding its prey,
I will shriek,
not a word,
but a screech,
and my terrible clamor will turn them to clay—
the sheep,
the earthbound.



Years after the Cherokees had been rounded up and driven down the Trail of Tears, John G. Burnett reflected on what he and his fellow soldiers had done, saying, "Schoolchildren of today do not know that we are living on lands that were taken from a helpless race at the bayonet point, to satisfy the white man's greed ... ****** is ****** and somebody must answer, somebody must explain the streams of blood that flowed in the Indian country ... Somebody must explain the four thousand silent graves that mark the trail of the Cherokees to their exile."

In the same year, 1830, that Stonewall Jackson consigned Native Americans to the ash-heap of history, Georgia Governor George Gilmer said, "Treaties are expedients by which ignorant, intractable, and savage people are induced ... to yield up what civilized people have the right to possess." By "civilized" he apparently meant people willing to brutally dispossess and **** women and children in order to derive economic benefits for themselves.

These nights bring dreams of Cherokee shamans
whose names are bright verbs and impacted dark nouns,
whose memories are indictments of my pallid flesh . . .
and I hear, as from a great distance,
the cries tortured from their guileless lips, proclaiming
the nature of my mutation.
―Michael R. Burch, from "Mongrel Dreams" (my family is part Cherokee, English and Scottish)

After Jackson was re-elected with an overwhelming majority in 1832, he strenuously pursued his policy of removing Native Americans, even refusing to accept a Supreme Court ruling which invalidated Georgia's planned annexation of Cherokee land. But in the double-dealing logic of the white supremacists, they had to make the illegal resettlement of the Indians appear to be "legal," so a small group of Cherokees were persuaded to sign the "Treaty of New Echota," which swapped Cherokee land for land in the Oklahoma territory. The Cherokee ringleaders of this infamous plot were later assassinated as traitors. (****** was similarly obsessed with the "legalities" of the **** Holocaust; isn't it strange how mass murderers of women and children can seek to justify their crimes?)

Native Americans understood the "circle of life" better than their white oppressors ...

When we sit in the Circle of the People,
we must be responsible because all Creation is related
and the suffering of one is the suffering of all
and the joy of one is the joy of all
and whatever we do affects everything in the universe.
—"Lakota Instructions for Living" by White Buffalo Calf Woman, translated by Michael R. Burch



Veiled
by Michael R. Burch

She has belief
without comprehension
and in her crutchwork shack
she is
much like us . . .

tamping the bread
into edible forms,
regarding her children
at play
with something akin to relief . . .

ignoring the towers ablaze
in the distance
because they are not revelations
but things of glass,
easily shattered . . .

and if you were to ask her,
she might say:
sometimes God visits his wrath
upon an impious nation
for its leaders’ sins,

and we might agree:
seeing her mutilations.

Published by Poetry Super Highway and Modern War Poems.



Ali’s Song
by Michael R. Burch

They say that gold don’t tarnish. It ain’t so.
They say it has a wild, unearthly glow.
A man can be more beautiful, more wild.
I flung their medal to the river, child.
I flung their medal to the river, child.

They hung their coin around my neck; they made
my name a bridle, “called a ***** a *****.”
They say their gold is pure. I say defiled.
I flung their slave’s name to the river, child.
I flung their slave’s name to the river, child.

Ain’t got no quarrel with no Viet Cong
that never called me ******, did me wrong.
A man can’t be lukewarm, ’cause God hates mild.
I flung their notice to the river, child.
I flung their notice to the river, child.

They said, “Now here’s your bullet and your gun,
and there’s your cell: we’re waiting, you choose one.”
At first I groaned aloud, but then I smiled.
I gave their “future” to the river, child.
I gave their “future” to the river, child.

My face reflected up, dark bronze like gold,
a coin God stamped in His own image―BOLD.
My blood boiled like that river―strange and wild.
I died to hate in that dark river, child,
Come, be reborn in this bright river, child.

Originally published by Black Medina

Note: Cassius Clay, who converted to Islam and changed his “slave name” to Muhammad Ali, said that he threw his Olympic boxing gold medal into the Ohio River. Confirming his account, the medal was recovered by Robert Bradbury and his wife Pattie in 2014 during the Annual Ohio River Sweep, and the Ali family paid them $200,000 to regain possession of the medal. When drafted during the Vietnamese War, Ali refused to serve, reputedly saying: “I ain't got no quarrel with those Viet Cong; no Vietnamese ever called me a ******.” The notice mentioned in my poem is Ali's draft notice, which metaphorically gets tossed into the river along with his slave name. I was told through the grapevine that this poem appeared in Farsi in an Iranian publication called Bashgah. ―Michael R. Burch



evol-u-shun
by Michael R. Burch

does GOD adore the Tyger
while it’s ripping ur lamb apart?

does GOD applaud the Plague
while it’s eating u à la carte?

does GOD admire ur intelligence
while u pray that IT has a heart?

does GOD endorse the Bible
you blue-lighted at k-mart?



Enheduanna, the daughter of the famous King Sargon the Great of Akkad, is the first ancient writer whose name remains known today. She appears to be the first named poet in human history and the first known author of prayers and hymns. Enheduanna, who lived circa 2285-2250 BCE, is also one of the first women we know by name.

Lament to the Spirit of War
by Enheduanna
loose translation by Michael R. Burch

You hack down everything you see, War God!

Rising on fearsome wings
you rush to destroy the land,
descending like a raging storm,
howling like a hurricane,
screaming like a tempest,
thundering, raging, ranting, drumming,
whiplashing whirlwinds!

Men falter at your approaching footsteps.

Tortured dirges scream
on your lyre of despair.

Like a fiery Salamander you poison the land:
growling over the earth like thunder,
vegetation collapsing before you,
blood gushing down a mountainside.

Spirit of hatred, greed and vengeance!

******* of heaven and earth!

Your ferocious fire consumes our land.

Whipping your stallion
with furious commands,
you decide our fate.

You triumph over all human rites and prayers.

Who can explain your tirade,
why you go on so?



Temple Hymn 15
to the Gishbanda Temple of Ningishzida
by Enheduanna
loose translation by Michael R. Burch

Most ancient and terrible shrine,
set deep in the mountain,
dark like a mother's womb...

Dark shrine,
like a mother's wounded breast,
blood-red and terrifying...

Though approaching through a safe-seeming field,
our hair stands on end as we near you!

Gishbanda,
like a neck-stock,
like a fine-eyed fish net,
like a foot-shackled prisoner's manacles...
your ramparts are massive,
like a trap!

But once we’re inside,
as the sun rises,
you yield widespread abundance!

Your prince
is the pure-handed priest of Inanna, heaven's Holy One,
Lord Ningishzida!

Oh, see how his thick, lustrous hair
cascades down his back!

Oh Gishbanda,
he has built this beautiful temple to house your radiance!
He has placed his throne upon your dais!



The Exaltation of Inanna: Opening Lines and Excerpts
by Enheduanna, the daughter of Sargon I of Akkad and the high priestess of the Goddess Inanna
loose translation/interpretation by Michael R. Burch

Lady of all divine powers!
Lady of the resplendent light!
Righteous Lady adorned in heavenly radiance!

Beloved Lady of An and Uraš!
Hierodule of An, sun-adorned and bejeweled!
Heaven’s Mistress with the holy diadem,
Who loves the beautiful headdress befitting the office of her own high priestess!

Powerful Mistress, seizer of the seven divine powers!
My Heavenly Lady, guardian of the seven divine powers!
You have seized the seven divine powers!
You hold the divine powers in your hand!
You have gathered together the seven divine powers!
You have clasped the divine powers to your breast!

You have flooded the valleys with venom, like a viper;
all vegetation vanishes when you thunder like Iškur!
You have caused the mountains to flood the valleys!
When you roar like that, nothing on earth can withstand you!

Like a flood descending on floodplains, O Powerful One, you will teach foreigners to fear Inanna!

You have given wings to the storm, O Beloved of Enlil!
The storms do your bidding, blasting the unbelievers!

Foreign cities cower at the chaos You cause!
Entire countries cower in dread of Your deadly South Wind!
Men cower before you in their anguished implications,
raising their pitiful outcries,
weeping and wailing, beseeching Your benevolence with many wild lamentations!

But in the van of battle, everything falls before You, O Mighty Queen!

My Queen,
You are all-conquering, all-devouring!
You continue Your attacks like relentless storms!
You howl louder than the howling storms!
You thunder louder than Iškur!
You moan louder than the mournful winds!
Your feet never tire from trampling Your enemies!
You produce much wailing on the lyres of lamentations!

My Queen,
all the Anunna, the mightiest Gods,
fled before Your approach like fluttering bats!
They could not stand in Your awesome Presence
nor behold Your awesome Visage!

Who can soothe Your infuriated heart?
Your baleful heart is beyond being soothed!

Uncontrollable Wild Cow, elder daughter of Sin,
O Majestic Queen, greater than An,
who has ever paid You enough homage?

O Life-Giving Goddess, possessor of all powers,
Inanna the Exalted!

Merciful, Live-Giving Mother!
Inanna, the Radiant of Heart!
I have exalted You in accordance with Your power!
I have bowed before You in my holy garb,
I the En, I Enheduanna!

Carrying my masab-basket, I once entered and uttered my joyous chants ...

But now I no longer dwell in Your sanctuary.
The sun rose and scorched me.
Night fell and the South Wind overwhelmed me.
My laughter was stilled and my honey-sweet voice grew strident.
My joy became dust.

O Sin, King of Heaven, how bitter my fate!

To An, I declared: An will deliver me!
I declared it to An: He will deliver me!

But now the kingship of heaven has been seized by Inanna,
at Whose feet the floodplains lie.

Inanna the Exalted,
who has made me tremble together with all Ur!

Stay Her anger, or let Her heart be soothed by my supplications!
I, Enheduanna will offer my supplications to Inanna,
my tears flowing like sweet intoxicants!
Yes, I will proffer my tears and my prayers to the Holy Inanna,
I will greet Her in peace ...

O My Queen, I have exalted You,
Who alone are worthy to be exalted!
O My Queen, Beloved of An,
I have laid out Your daises,
set fire to the coals,
conducted the rites,
prepared Your nuptial chamber.
Now may Your heart embrace me!

These are my innovations,
O Mighty Queen, that I made for You!
What I composed for You by the dark of night,
The cantor will chant by day.

Now Inanna’s heart has been restored,
and the day became favorable to Her.
Clothed in beauty, radiant with joy,
she carried herself like the elegant moonlight.

Now to the Noble Hierodule,
to the Wrecker of foreign lands
presented by An with the seven divine powers,
and to my Queen garbed in the radiance of heaven ...

O Inanna, praise!



The Exaltation of Inanna: Opening Lines, an Excerpt
Nin-me-šara by Enheduanna
loose translation by Michael R. Burch

Lady of all divine powers,
Lady of the all-resplendent light,
Righteous Lady clothed in heavenly radiance,
Beloved Lady of An and Uraš,
Mistress of heaven with the holy diadem,
Who loves the beautiful headdress befitting the office of her high priestess,
Powerful Mistress who has seized all seven divine powers,
My lady, you are the guardian of the seven divine powers!
You have seized the divine powers,
You hold the divine powers in your hand,
You have gathered up the divine powers,
You have clasped the divine powers to your breast!
Like a dragon you have spewed venom on foreign lands that know you not!
When you roar like Iškur at the earth, nothing can withstand you!
Like a flood descending on alien lands, O Powerful One of heaven and earth, you will teach them to fear Inanna!



Temple Hymn 7: an Excerpt
to the Kesh Temple of Ninhursag
by Enheduanna
loose translation by Michael R. Burch

O, high-situated Kesh,
form-shifting summit,
inspiring fear like a venomous viper!

O, Lady of the Mountains,
Ninhursag’s house was constructed on a terrifying site!

O, Kesh, like holy Aratta: your womb dark and deep,
your walls high-towering and imposing!

O, great lion of the wildlands stalking the high plains!...



Temple Hymn 17: an Excerpt
to the Badtibira Temple of Dumuzi
by Enheduanna
loose translation by Michael R. Burch

O, house of jeweled lapis illuminating the radiant bed
in the peace-inducing palace of our Lady of the Steppe!



Temple Hymn 22: an Excerpt
to the Sirara Temple of Nanshe
by Enheduanna
loose translation by Michael R. Burch

O, house, you wild cow!
Made to conjure signs of the Divine!
You arise, beautiful to behold,
bedecked for your Mistress!



Temple Hymn 26: an Excerpt
to the Zabalam Temple of Inanna
by Enheduanna
loose translation by Michael R. Burch

O house illuminated by beams of bright light,
dressed in shimmering stone jewels,
awakening the world to awe!



Temple Hymn 42: an Excerpt
to the Eresh Temple of Nisaba
by Enheduanna
loose translation by Michael R. Burch

O, house of brilliant stars
bright with lapis stones,
you illuminate all lands!

...

The person who put this tablet together
is Enheduanna.
My king: something never created before,
did she not give birth to it?



Update of "A Litany in Time of Plague"
by Michael R. Burch

THE PLAGUE has come again
To darken lives of men
and women, girls and boys;
Death proves their bodies toys
Too frail to even cry.
I am sick, I must die.
Lord, have mercy on us!

Tycoons, what use is wealth?
You cannot buy good health!
Physicians cannot heal
Themselves, to Death must kneel.
Nuns’ prayers mount to the sky.
I am sick, I must die.
Lord, have mercy on us!

Beauty’s brightest flower?
Devoured in an hour.
Kings, Queens and Presidents
Are fearful residents
Of manors boarded high.
I am sick, I must die.
Lord, have mercy on us!

We have no means to save
Our children from the grave.
Though cure-alls line our shelves,
We cannot save ourselves.
"Come, come!" the sad bells cry.
I am sick, I must die.
Lord, have mercy on us!

NOTE: This poem is meant to capture the understandable fear and dismay the Plague caused in the Middle Ages, and which the coronavirus has caused in the 21st century. We are better equipped to deal with this modern plague, thanks to advances in science, medicine and sanitation. We do not have to succumb to fear, but it would be wise to have a healthy respect for the nasty bug and heed the advice of medical experts.--MRB



Regret
by Michael R. Burch

Regret,
a bitter
ache to bear . . .

once starlight
languished
in your hair . . .

a shining there
as brief
as rare.

Regret . . .
a pain
I chose to bear . . .

unleash
the torrent
of your hair . . .

and show me
once again―
how rare.

Published by The HyperTexts and The Chained Muse



The Stake
by Michael R. Burch

Love, the heart bets,
if not without regrets,
will still prove, in the end,
worth the light we expend
mining the dark
for an exquisite heart.

Originally published by The Lyric



If
by Michael R. Burch

If I regret
fire in the sunset
exploding on the horizon,
then let me regret loving you.

If I forget
even for a moment
that you are the only one,
then let me forget that the sky is blue.

If I should yearn
in a season of discontentment
for the vagabond light of a companionless moon,
let dawn remind me that you are my sun.

If I should burn―one moment less brightly,
one instant less true―
then with wild scorching kisses,
inflame me, inflame me, inflame me anew.

Originally published by The HyperTexts



The Effects of Memory
by Michael R. Burch

A black ringlet
curls to lie
at the nape of her neck,
glistening with sweat
in the evaporate moonlight ...
This is what I remember

now that I cannot forget.

And tonight,
if I have forgotten her name,
I remember:
rigid wire and white lace
half-impressed in her flesh ...

our soft cries, like regret,

... the enameled white clips
of her bra strap
still inscribe dimpled marks
that my kisses erase ...

now that I have forgotten her face.



Villanelle: Because Her Heart Is Tender
by Michael R. Burch

for Beth

She scrawled soft words in soap: "Never Forget,"
Dove-white on her car's window, and the wren,
because her heart is tender, might regret
it called the sun to wake her. As I slept,
she heard lost names recounted, one by one.

She wrote in sidewalk chalk: "Never Forget,"
and kept her heart's own counsel. No rain swept
away those words, no tear leaves them undone.

Because her heart is tender with regret,
bruised by razed towers' glass and steel and stone
that shatter on and on and on and on,
she stitches in wet linen: "NEVER FORGET,"
and listens to her heart's emphatic song.

The wren might tilt its head and sing along
because its heart once understood regret
when fledglings fell beyond, beyond, beyond ...
its reach, and still the boot-heeled world strode on.

She writes in adamant: "NEVER FORGET"
because her heart is tender with regret.



To the boy Elis
by Georg Trakl
translation by Michael R. Burch

Elis, when the blackbird cries from the black forest,
it announces your downfall.
Your lips sip the rock-spring's blue coolness.

Your brow sweats blood
recalling ancient myths
and dark interpretations of birds' flight.

Yet you enter the night with soft footfalls;
the ripe purple grapes hang suspended
as you wave your arms more beautifully in the blueness.

A thornbush crackles;
where now are your moonlike eyes?
How long, oh Elis, have you been dead?

A monk dips waxed fingers
into your body's hyacinth;
Our silence is a black abyss

from which sometimes a docile animal emerges
slowly lowering its heavy lids.
A black dew drips from your temples:

the lost gold of vanished stars.

TRANSLATOR'S NOTE: I believe that in the second stanza the blood on Elis's forehead may be a reference to the apprehensive ****** sweat of Jesus in the garden of Gethsemane. If my interpretation is correct, Elis hears the blackbird's cries, anticipates the danger represented by a harbinger of death, but elects to continue rather than turn back. From what I have been able to gather, the color blue had a special significance for Georg Trakl: it symbolized longing and perhaps a longing for death. The colors blue, purple and black may represent a progression toward death in the poem.



Turkish Poetry Translations

Attilâ İlhan (1925-2005) was a Turkish poet, translator, novelist, screenwriter, editor, journalist, essayist, reviewer, socialist and intellectual.

Ben Sana Mecburum: “You are indispensable”
by Attila Ilhan
translation by Nurgül Yayman and Michael R. Burch

You are indispensable; how can you not know
that you’re like nails riveting my brain?
I see your eyes as ever-expanding dimensions.
You are indispensable; how can you not know
that I burn within, at the thought of you?

Trees prepare themselves for autumn;
can this city be our lost Istanbul?
Now clouds disintegrate in the darkness
as the street lights flicker
and the streets reek with rain.
You are indispensable, and yet you are absent ...

Love sometimes seems akin to terror:
a man tires suddenly at nightfall,
of living enslaved to the razor at his neck.
Sometimes he wrings his hands,
expunging other lives from his existence.
Sometimes whichever door he knocks
echoes back only heartache.

A screechy phonograph is playing in Fatih ...
a song about some Friday long ago.
I stop to listen from a vacant corner,
longing to bring you an untouched sky,
but time disintegrates in my hands.
Whatever I do, wherever I go,
you are indispensable, and yet you are absent ...

Are you the blue child of June?
Ah, no one knows you―no one knows!
Your deserted eyes are like distant freighters ...

Perhaps you are boarding in Yesilköy?
Are you drenched there, shivering with the rain
that leaves you blind, beset, broken,
with wind-disheveled hair?

Whenever I think of life
seated at the wolves’ table,
shameless, yet without soiling our hands ...
Yes, whenever I think of life,
I begin with your name, defying the silence,
and your secret tides surge within me
making this voyage inevitable.
You are indispensable; how can you not know?



Fragments
by Attila Ilhan
loose English translations/interpretations by Michael R. Burch

The night is a cloudy-feathered owl,
its quills like fine-spun glass.

It gazes out the window,
perched on my right shoulder,
its wings outspread and huge.

If the encroaching darkness seems devastating at first glance,
the sovereign of everything,
its reach infinite ...

Still somewhere within a kernel of light glows secretly
creating an enlightened forest of dialectics.

In September’s waning days one thinks wanly of the arrival of fall
like a ship appearing on the horizon with untrimmed, tattered sails;
for some unfathomable reason fall is the time to consider one’s own demise―
the body smothered by yellowed leaves like a corpse rotting in a ghoulish photograph ...

Bitter words
crack like whips
snapping across prison yards ...

Then there are words like pomegranate trees in bloom,
words like the sun igniting the sea beyond mountainous horizons,
flashing like mysterious knives ...

Such words are the burning roses of an infinite imagination;
they are born and they die with the flutterings of butterflies;
we carry those words in our hearts like pregnant shotguns until the day we expire,
martyred for the words we were prepared to die for ...

What I wrote and what you understood? Curious and curiouser!



Mehmet Akif Ersoy: Modern English Translations of Turkish Poems

Mehmet Âkif Ersoy (1873-1936) was a Turkish poet, author, writer, academic, member of parliament, and the composer of the Turkish National Anthem.



Snapshot
by Mehmet Akif Ersoy
loose English translation/interpretation by Michael R. Burch

Earth’s least trace of life cannot be erased;
even when you lie underground, it encompasses you.
So, those of you who anticipate the shadows,
how long will the darkness remember you?



Zulmü Alkislayamam
"I Can’t Applaud Tyranny"
by Mehmet Akif Ersoy
loose English translation/interpretation by Michael R. Burch

I can't condone cruelty; I will never applaud the oppressor;
Yet I can't renounce the past for the sake of deluded newcomers.
When someone curses my ancestors, I want to strangle them,
Even if you don’t.
But while I harbor my elders,
I refuse to praise their injustices.
Above all, I will never glorify evil, by calling injustice “justice.”
From the day of my birth, I've loved freedom;
The golden tulip never deceived me.
If I am nonviolent, does that make me a docile sheep?
The blade may slice, but my neck resists!
When I see someone else's wound, I suffer a great hardship;
To end it, I'll be whipped, I'll be beaten.
I can't say, “Never mind, just forget it!” I'll mind,
I'll crush, I'll be crushed, I'll uphold justice.
I'm the foe of the oppressor, the friend of the oppressed.
What the hell do you mean, with your backwardness?



Çanakkale Sehitlerine
"For the Çanakkale Martyrs"
by Mehmet Akif Ersoy
loose English translation/interpretation by Michael R. Burch

Was there ever anything like the Bosphorus war?―
The earth’s mightiest armies pressing Marmara,
Forcing entry between her mountain passes
To a triangle of land besieged by countless vessels.
Oh, what dishonorable assemblages!
Who are these Europeans, come as rapists?
Who, these braying hyenas, released from their reeking cages?
Why do the Old World, the New World, and all the nations of men
now storm her beaches? Is it Armageddon? Truly, the whole world rages!
Seven nations marching in unison!
Australia goose-stepping with Canada!
Different faces, languages, skin tones!
Everything so different, but the mindless bludgeons!
Some warriors Hindu, some African, some nameless, unknown!
This disgraceful invasion, baser than the Black Death!
Ah, the 20th century, so noble in its own estimation,
But all its favored ones nothing but a parade of worthless wretches!
For months now Turkish soldiers have been vomited up
Like stomachs’ retched contents regarded with shame.
If the masks had not been torn away, the faces would still be admired,
But the ***** called civilization is far from blameless.
Now the ****** demand the destruction of the doomed
And thus bring destruction down on their own heads.
Lightning severs horizons!
Earthquakes regurgitate the bodies of the dead!
Bombs’ thunderbolts explode brains,
rupture the ******* of brave soldiers.
Underground tunnels writhe like hell
Full of the bodies of burn victims.
The sky rains down death, the earth swallows the living.
A terrible blizzard heaves men violently into the air.
Heads, eyes, torsos, legs, arms, chins, fingers, hands, feet ...
Body parts rain down everywhere.
Coward hands encased in armor callously scatter
Floods of thunderbolts, torrents of fire.
Men’s chests gape open,
Beneath the high, circling vulture-like packs of the air.
Cannonballs fly as frequently as bullets
Yet the heroic army laughs at the hail.
Who needs steel fortresses? Who fears the enemy?
How can the shield of faith not prevail?
What power can make religious men bow down to their oppressors
When their stronghold is established by God?
The mountains and the rocks are the bodies of martyrs! ...
For the sake of a crescent, oh God, many suns set, undone!
Dear soldier, who fell for the sake of this land,
How great you are, your blood saves the Muslims!
Only the lions of Bedr rival your glory!
Who then can dig the grave wide enough to hold you. and your story?
If we try to consign you to history, you will not fit!
No book can contain the eras you shook!
Only eternities can encompass you! ...
Oh martyr, son of the martyr, do not ask me about the grave:
The prophet awaits you now, his arms flung wide open, to save!



Sessiz Gemi (“Silent Ship”)

by Yahya Kemal Beyatli
loose translation by Nurgül Yayman and Michael R. Burch

for the refugees

The time to weigh anchor has come;
a ship departing harbor slips quietly out into the unknown,
cruising noiselessly, its occupants already ghosts.
No flourished handkerchiefs acknowledge their departure;
the landlocked mourners stand nurturing their grief,
scanning the bleak horizon, their eyes blurring ...
Poor souls! Desperate hearts! But this is hardly the last ship departing!
There is always more pain to unload in this sorrowful life!
The hesitations of lovers and their belovèds are futile,
for they cannot know where the vanished are bound.
Many hopes must be quenched by the distant waves,
since years must pass, and no one returns from this journey.



Full Moon
by Yahya Kemal Beyatli
loose translation by Nurgül Yayman and Michael R. Burch

You are so lovely
the full moon just might
delight
in your rising,
as curious
and bright,
to vanquish night.

But what can a mortal man do,
dear,
but hope?
I’ll ponder your mysteries
and (hmmmm) try to
cope.

We both know
you have every right to say no.



The Music of the Snow
by Yahya Kemal Beyatli
loose translation/interpretation by Michael R. Burch

This melody of a night lasting longer than a thousand years!
This music of the snow supposed to last for thousand years!

Sorrowful as the prayers of a secluded monastery,
It rises from a choir of a hundred voices!

As the *****’s harmonies resound profoundly,
I share the sufferings of Slavic grief.

My mind drifts far from this city, this era,
To the old records of Tanburi Cemil Bey.

Now I’m suddenly overjoyed as once again I hear,
With the ears of my heart, the purest sounds of Istanbul!

Thoughts of the snow and darkness depart me;
I keep them at bay all night with my dreams!

Translator’s notes: “Slavic grief” because Beyatli wrote this poem while in Warsaw, serving as Turkey’s ambassador to Poland, in 1927. Tanburi Cemil Bey was a Turkish composer.



Thinking of you
by Nazim Hikmet
loose translation/interpretation by Michael R. Burch

Thinking of you is beautiful, hopeful―
like listening to the most beautiful songs
sung by the earth's most beautiful voices.
But hope is insufficient for me now;
I don't want to listen to songs.
I want to sing love into birth.



I love you
by Nazim Hikmet
loose translation/interpretation by Michael R. Burch

I love you―
like dipping bread into salt and eating;
like waking at night with a raging fever
and thirstily lapping up water, my mouth to the silver tap;
like unwrapping the unwieldy box the postman delivers,
unable to guess what's inside,
feeling fluttery, happy, doubtful.
I love you―
like flying over the sea the first time
as something stirs within me
while the sky softly darkens over Istanbul.
I love you―
as men thank God gratefully for life.



Sparrow
by Nazim Hikmet
loose translation/interpretation by Michael R. Burch

Little sparrow,
perched on the clothesline,
do you regard me with pity?
Even so, I will watch you
soar away through the white spring leaves.



The Divan of the Lover

the oldest extant Turkish poem
loose translation/interpretation by Michael R. Burch

All the universe as one great sign is shown:
God revealed in his creative acts unknown.
Who sees or understands them, jinn or men?
Such works lie far beyond mere mortals’ ken.
Nor can man’s mind or reason reach that strand,
Nor mortal tongue name Him who rules that land.
Since He chose nothingness with life to vest,
who dares to trouble God with worms’ behests?
For eighteen thousand worlds, lain end to end,
Do not with Him one atom's worth transcend!



Fragment
by Prince Jem
loose translation/interpretation by Michael R. Burch

Behold! The torrent, dashing against the rocks, flails wildly.
The entire vast realm of Space and Being oppresses my soul idly.
Through bitterness of grief and woe the sky has rent its morning robe.
Look! See how in its eastern palace, the sun is a ****** globe!
The clouds of heaven rain bright tears on the distant mountain peaks.
Oh, hear how the deeply wounded thunder slowly, mournfully speaks!



An Ecstasy of Fumbling
by Michael R. Burch

The poets believe
everything resolves to metaphor—
a distillation,
a vapor
beyond filtration,
though perhaps not quite as volatile as before.

The poets conceive
of death in the trenches
as the price of art,
not war,
fumbling with their masque-like
dissertations
to describe the Hollywood-like gore

as something beyond belief,
abstracting concrete bunkers to Achaemenid bas-relief.



Excerpts from “Travels with Einstein”
by Michael R. Burch

for Trump

I went to Berlin to learn wisdom
from Adolph. The wild spittle flew
as he screamed at me, with great conviction:
“Please despise me! I look like a Jew!”

So I flew off to ’Nam to learn wisdom
from tall Yankees who cursed “yellow” foes.
“If we lose this small square,” they informed me,
earth’s nations will fall, dominoes!”

I then sat at Christ’s feet to learn wisdom,
but his Book, from its genesis to close,
said: “Men can enslave their own brothers!”
(I soon noticed he lacked any clothes.)

So I traveled to bright Tel Aviv
where great scholars with lofty IQs
informed me that (since I’m an Arab)
I’m unfit to lick dirt from their shoes.

At last, done with learning, I stumbled
to a well where the waters seemed sweet:
the mirage of American “justice.”
There I wept a real sea, in defeat.

Originally published by Café Dissensus



The Leveler
by Michael R. Burch

The nature of Nature
is bitter survival
from Winter’s bleak fury
till Spring’s brief revival.

The weak implore Fate;
bold men ravish, dishevel her . . .
till both are cut down
by mere ticks of the Leveler.

I believe I wrote this poem around age 20, in 1978 or thereabouts. It has since been published in The Lyric, Tucumcari Literary Review, Romantics Quarterly and The Aurorean.



The Hippopotami
by Michael R. Burch

There’s no seeing eye to eye
with the awesomely huge Hippopotami:
on the bank, you’re much taller;
going under, you’re smaller
and assuredly destined to die!



Ballade of the Bicameral Camel
by Michael R. Burch

There once was a camel who loved to ****.
Please get your lewd minds out of their slump!
He loved to give RIDES on his large, lordly lump!



The Echoless Green
by Michael R. Burch

for and after William Blake

At dawn, laughter rang
on the echoing green
as children at play
greeted the day.

At noon, smiles were seen
on the echoing green
as, children no more,
many fine vows they swore.

By twilight, their cries
had subsided to sighs.

Now night reigns supreme
on the echoless green.



Unlikely Mike
by Michael R. Burch

I married someone else’s fantasy;
she admired me despite my mutilations.

I loved her for her heart’s sake, and for mine.
I hid my face and changed its connotations.

And in the dark I danced—slight, Chaplinesque—
a metaphor myself. How could they know,

the undiscerning ones, that in the glow
of spotlights, sometimes love becomes burlesque?

Disfigured to my soul, I could not lose
or choose or name myself; I came to be

another of life’s odd dichotomies,
like Dickey’s Sheep Boy, Pan, or David Cruse:

as pale, as enigmatic. White, or black?
My color was a song, a changing track.



Spring Was Delayed
by Michael R. Burch

Winter came early:
the driving snows,
the delicate frosts
that crystallize

all we forget
or refuse to know,
all we regret
that makes us wise.

Spring was delayed:
the nubile rose,
the tentative sun,
the wind’s soft sighs,

all we omit
or refuse to show,
whatever we shield
behind guarded eyes.

Originally published by Borderless Journal



The Shijing or **** Jing (“Book of Songs” or “Book of Odes”) is the oldest Chinese poetry collection, with the poems included believed to date from around 1200 BC to 600 BC. According to tradition the poems were selected and edited by Confucius himself. Since most ancient poetry did not rhyme, these may be the world’s oldest extant rhyming poems.

Shijing Ode #4: “JIU MU”
ancient Chinese rhyming poem circa (1200 BC - 600 BC)
loose translation/interpretation by Michael R. Burch

In the South, beneath trees with drooping branches
thick with vines that make them shady,
we find our lovely princely lady:
May she repose in happiness!

In the South, beneath trees with drooping branches
whose clinging vines make hot days shady,
we wish love’s embrace for our lovely lady:
May she repose in happiness!

In the South, beneath trees with drooping branches
whose vines, entwining, make them shady,
we wish true love for our lovely lady:
May she repose in happiness!

Shijing Ode #6: “TAO YAO”
ancient Chinese rhyming poem circa (1200 BC - 600 BC)
loose translation/interpretation by Michael R. Burch

The peach tree is elegant and tender;
its flowers are fragrant, and bright.
A young lady now enters her future home
and will manage it well, day and night.

The peach tree is elegant and tender;
its fruits are abundant, and sweet.
A young lady now enters her future home
and will make it welcome to everyone she greets.

The peach tree is elegant and tender;
it shelters with bough, leaf and flower.
A young lady now enters her future home
and will make it her family’s bower.

Shijing Ode #9: “HAN GUANG”
ancient Chinese rhyming poem circa (1200 BC - 600 BC)
loose translation/interpretation by Michael R. Burch

In the South tall trees without branches
offer men no shelter.
By the Han the girls loiter,
but it’s vain to entice them.
For the breadth of the Han
cannot be swum
and the length of the Jiang
requires more than a raft.

When cords of firewood are needed,
I would cut down tall thorns to bring them more.
Those girls on their way to their future homes?
I would feed their horses.
But the breadth of the Han
cannot be swum
and the length of the Jiang
requires more than a raft.

When cords of firewood are needed,
I would cut down tall trees to bring them more.
Those girls on their way to their future homes?
I would feed their colts.
But the breadth of the Han
cannot be swum
and the length of the Jiang
requires more than a raft.

Shijing Ode #10: “RU FEN”
ancient Chinese rhyming poem circa (1200 BC - 600 BC)
loose translation/interpretation by Michael R. Burch

By raised banks of the Ru,
I cut down branches in the brake.
Not seeing my lord
caused me heartache.

By raised banks of the Ru,
I cut down branches by the tide.
When I saw my lord at last,
he did not cast me aside.

The bream flashes its red tail;
the royal court’s a blazing fire.
Though it blazes afar,
still his loved ones are near ...

It was apparently believed that the bream’s tail turned red when it was in danger. Here the term “lord” does not necessarily mean the man in question was a royal himself. Chinese women of that era often called their husbands “lord.” Take, for instance, Ezra Pound’s famous loose translation “The River Merchant’s Wife.” Speaking of Pound, I borrowed the word “brake” from his translation of this poem, although I worked primarily from more accurate translations. In the final line, it may be that the wife or lover is suggesting that no matter what happens, the man in question will have a place to go, or perhaps she is urging him to return regardless. The original poem had “mother and father” rather than “family” or “loved ones,” but in those days young married couples often lived with the husband’s parents. So a suggestion to return to his parents could be a suggestion to return to his wife as well.

Shijing Ode #12: “QUE CHAO”
ancient Chinese rhyming poem circa (1200 BC - 600 BC)
loose translation/interpretation by Michael R. Burch

The nest is the magpie's
but the dove occupies it.
A young lady’s soon heading to her future home;
a hundred carriages will attend her.

The nest is the magpie's
but the dove takes it over.
A young lady’s soon heading to her future home;
a hundred carriages will escort her.

The nest is the magpie's
but the dove possesses it.
A young lady’s soon heading to her future home;
a hundred carriages complete her procession.

Shijing Ode #26: “BO ZHOU” from “The Odes of Bei”
ancient Chinese rhyming poem circa (1200 BC - 600 BC)
loose translation/interpretation by Michael R. Burch

This cypress-wood boat floats about,
meandering with the current.
Meanwhile, I am distraught and sleepless,
as if inflicted with a painful wound.
Not because I have no wine,
and can’t wander aimlessly about!

But my mind is not a mirror
able to echo all impressions.
Yes, I have brothers,
but they are undependable.
I meet their anger with silence.

My mind is not a stone
to be easily cast aside.
My mind is not a mat
to be conveniently rolled up.
My conduct so far has been exemplary,
with nothing to criticize.

Yet my anxious heart hesitates
because I’m hated by the herd,
inflicted with many distresses,
heaped with insults, not a few.
Silently I consider my case,
until, startled, as if from sleep, I clutch my breast.

Consider the sun and the moon:
how did the latter exceed the former?
Now sorrow clings to my heart
like an unwashed dress.
Silently I consider my options,
but lack the wings to fly away.



The Drawer of Mermaids
by Michael R. Burch

This poem is dedicated to Alina Karimova, who was born with severely deformed legs and five fingers missing. Alina loves to draw mermaids and believes her fingers will eventually grow out.

Although I am only four years old,
they say that I have an old soul.
I must have been born long, long ago,
here, where the eerie mountains glow
at night, in the Urals.

A madman named Geiger has cursed these slopes;
now, shut in at night, the emphatic ticking
fills us with dread.
(Still, my momma hopes
that I will soon walk with my new legs.)

It’s not so much legs as the fingers I miss,
drawing the mermaids under the ledges.
(Observing, Papa will kiss me
in all his distracted joy;
but why does he cry?)

And there is a boy
who whispers my name.
Then I am not lame;
for I leap, and I follow.
(G’amma brings a wiseman who says

our infirmities are ours, not God’s,
that someday a beautiful Child
will return from the stars,
and then my new fingers will grow
if only I trust Him; and so

I am preparing to meet Him, to go,
should He care to receive me.)

Keywords/Tags: mermaid, mermaids, child, children, childhood, Urals, Ural Mountains, soul, soulmate, radiation



On the Horns of a Dilemma (I)
by Michael R. Burch

Love has become preposterous
for the over-endowed rhinoceros:
when he meets the right miss
how the hell can he kiss
when his horn is so ***** it lofts her thus?

I need an artist or cartoonist to create an image of a male rhino lifting his prospective mate into the air during an abortive kiss. Any takers?



On the Horns of a Dilemma (II)
by Michael R. Burch

Love has become preposterous
for the over-endowed rhinoceros:
when he meets the right miss
how the hell can he kiss
when his horn deforms her esophagus?



On the Horns of a Dilemma (III)
by Michael R. Burch

A wino rhino said, “I know!
I have a horn I cannot blow!
And so,
ergo,
I’ll watch the lovely spigot flow!



The Horns of a Dilemma Solved, if not Solvent
by Michael R. Burch

A wine-addled rhino debated
the prospect of living unmated
due to the scorn
gals showed for his horn,
then lost it to poachers, sedated.



The Arrival of the Sea Lions
by Michael R. Burch

The sound
of hounds
resounds in the sound.



Hounds Impounded
by Michael R. Burch

The sound
of hounds
resounds
in the pound.



Prince Kiwi the Great
by Michael R. Burch

Kiwi’s
a ***-wee
but incredibly bright:
he sleeps half the day,
pretending it’s night!

Prince Kiwi
commands us
with his regal air:
“Come, humans, and serve me,
or I’ll yank your hair!”

Kiwi
cries “Kree! Kree!”
when he wants to be fed ...
suns, preens, flutters, showers,
then it’s off to bed.

Kiwi’s
a ***-wee
but incredibly bright:
he sleeps half the day,
pretending it’s night!

Kiwi is our family’s green-cheeked parakeet. Parakeets need to sleep around 12 hours per day, hence the pun on “bright” and “half the day.”



Ah! Sunflower
by Michael R. Burch

after William Blake

O little yellow flower
like a star ...
how beautiful,
how wonderful
we are!

Published as the collection "When Pigs Fly"
Hear me, Lord of the Stars!
For thee I have worshipped ever
With stains and sorrows and scars,
With joyful, joyful endeavour.
Hear me, O lily-white goat!
O crisp as a thicket of thorns,
With a collar of gold for Thy throat,
A scarlet bow for Thy horns!

Here, in the dusty air,
I build Thee a shrine of yew.
All green is the garland I wear,
But I feed it with blood for dew!
After the orange bars
That ribbed the green west dying
Are dead, O Lord of the Stars,
I come to Thee, come to Thee crying.

The ambrosial moon that arose
With ******* slow heaving in splendour
Drops wine from her infinite snows.
Ineffably, utterly, tender.
O moon! ambrosial moon!
Arise on my desert of sorrow
That the Magical eyes of me swoon
With lust of rain to-morrow!

Ages and ages ago
I stood on the bank of a river
Holy and Holy and holy, I know,
For ever and ever and ever!
A priest in the mystical shrine
I muttered a redeless rune,
Till the waters were redder than wine
In the blush of the harlot moon.

I and my brother priests
Worshipped a wonderful woman
With a body lithe as a beast's
Subtly, horribly human.
Deep in the pit of her eyes
I saw the image of death,
And I drew the water of sighs
From the well of her lullaby breath.

She sitteth veiled for ever
Brooding over the waste.
She hath stirred or spoken never.
She is fiercely, manly chaste!
What madness made me awake
From the silence of utmost eld
The grey cold slime of the snake
That her poisonous body held?

By night I ravished a maid
From her father's camp to the cave.
I bared the beautiful blade;
I dipped her thrice i' the wave;
I slit her throat as a lamb's,
That the fount of blood leapt high
With my clamorous dithyrambs
Like a stain on the shield of the sky.

With blood and censer and song
I rent the mysterious veil:
My eyes gaze long and long
On the deep of that blissful bale.
My cold grey kisses awake
From the silence of utmost eld
The grey cold slime of the snake
That her beautiful body held.

But --- God! I was not content
With the blasphemous secret of years;
The veil is hardly rent
While the eyes rain stones for tears.
So I clung to the lips and laughed
As the storms of death abated,
The storms of the grevious graft
By the swing of her soul unsated.

Wherefore reborn as I am
By a stream profane and foul
In the reign of a Tortured Lamb,
In the realm of a sexless Owl,
I am set apart from the rest
By meed of the mystic rune
That reads in peril and pest
The ambrosial moon --- the moon!

For under the tawny star
That shines in the Bull above
I can rein the riotous car
Of galloping, galloping Love;
And straight to the steady ray
Of the Lion-heart Lord I career,
Pointing my flaming way
With the spasm of night for a spear!

O moon! O secret sweet!
Chalcedony clouds of caresses
About the flame of our feet,
The night of our terrible tresses!
Is it a wonder, then,
If the people are mad with blindness,
And nothing is stranger to men
Than silence, and wisdom, and kindness?

Nay! let him fashion an arrow
Whose heart is sober and stout!
Let him pierce his God to the marrow!
Let the soul of his God flow out!
Whether a snake or a sun
In his horoscope Heaven hath cast,
It is nothing; every one
Shall win to the moon at last.

The mage hath wrought by his art
A billion shapes in the sun.
Look through to the heart of his heart,
And the many are shapes of one!
An end to the art of the mage,
And the cold grey blank of the prison!
An end to the adamant age!
The ambrosial moon is arisen.

I have bought a lily-white goat
For the price of a crown of thorns,
A collar of gold for its throat,
A scarlet bow for its horns.
I have bought a lark in the lift
For the price of a **** of sherry:
With these, and God for a gift,
It needs no wine to be merry!

I have bought for a wafer of bread
A garden of poppies and clover;
For a water bitter and dead
A foam of fire flowing over.
From the Lamb and his prison fare
And the owl's blind stupor, arise
Be ye wise, and strong, and fair,
And the nectar afloat in your eyes!

Arise, O ambrosial moon
By the strong immemorial spell,
By the subtle veridical rune
That is mighty in heaven and hell!
Drip thy mystical dews
On the tongues of the tender fauns
In the shade of initiate yews
Remote from the desert dawns!

Satyrs and Fauns, I call.
Bring your beauty to man!
I am the mate for ye all'
I am the passionate Pan.
Come, O come to the dance
Leaping with wonderful whips,
Life on the stroke of a glance,
Death in the stroke of the lips!

I am hidden beyond,
Shed in a secret sinew
Smitten through by the fond
Folly of wisdom in you!
Come, while the moon (the moon!)
Sheds her ambrosial splendour,
Reels in the redeless rune
Ineffably, utterly, tender!
Hark! the appealing cry
Of deadly hurt in the hollow: ---
Hyacinth! Hyacinth! Ay!
Smitten to death by Apollo.
Swift, O maiden moon,
Send thy ray-dews after;
Turn the dolorous tune
To soft ambiguous laughter!

Mourn, O Maenads, mourn!
Surely your comfort is over:
All we laugh at you lorn.
Ours are the poppies and clover!
O that mouth and eyes,
Mischevious, male, alluring!
O that twitch of the thighs
Dorian past enduring!

Where is wisdom now?
Where the sage and his doubt?
Surely the sweat of the brow
Hath driven the demon out.
Surely the scented sleep
That crowns the equal war
Is wiser than only to weep ---
To weep for evermore!

Now, at the crown of the year,
The decadent days of October,
I come to thee, God, without fear;
Pious, chaste, and sober.
I solemnly sacrifice
This first-fruit flower of wine
For a vehicle of thy vice
As I am Thine to be mine.

For five in the year gone by
I pray Thee give to me one;
A love stronger than I,
A moon to swallow the sun!
May he be like a lily-white goat
Crisp as a thicket of thorns,
With a collar of gold for his throat,
A scarlet bow for his horns!
A little Indian temple in the Golden Age. Around it a garden;
around that the forest.  Anashuya, the young priestess, kneelinq
within the temple.
Anashuya. Send peace on all the lands and flickering
corn.  --
O, may tranquillity walk by his elbow
When wandering in the forest, if he love
No other.  -- Hear, and may the indolent flocks
Be plentiful.  -- And if he love another,
May panthers end him.  -- Hear, and load our king
With wisdom hour by hour.  -- May we two stand,
When we are dead, beyond the setting suns,
A little from the other shades apart,
With mingling hair, and play upon one lute.
Vijaya [entering and throwing a lily at her]. Hail! hail, my
Anashuya.
Anashuya. No:  be still.
I, priestess of this temple, offer up
prayers for the land.
Vijaya.  I will wait here, Amrita.
Anashuya. By mighty Brahma's ever-rustling robe,
Who is Amrita? Sorrow of all sorrows!
Another fills your mind.
Vijaya. My mother's name.
Anashuya [sings, coming out of the temple].
A sad, sad thought went by me slowly:
Sigh, O you little stars.! O sigh and shake your blue
apparel.!
The sad, sad thought has gone from me now wholly:
Sing, O you little stars.! O sing and raise your rapturous
carol
To mighty Brahma, be who made you many as the sands,
And laid you on the gates of evening with his quiet hands.
(Sits down on the steps of the temple.)
Vijaya, I have brought my evening rice;
The sun has laid his chin on the grey wood,
Weary, with all his poppies gathered round him.
Vijaya. The hour when Kama, full of sleepy laughter,
Rises, and showers abroad his fragrant arrows,
Piercing the twilight with their murmuring barbs.
Anashuya. See-how the sacred old flamingoes come.
Painting with shadow all the marble steps:
Aged and wise, they seek their wonted perches
Within the temple, devious walking, made
To wander by their melancholy minds.
Yon tall one eyes my supper; chase him away,
Far, far away.  I named him after you.
He is a famous fisher; hour by hour
He ruffles with his bill the minnowed streams.
Ah! there he snaps my rice.  I told you so.
Now cuff him off.  He's off! A kiss for you,
Because you saved my rice.  Have you no thanks?
Vijaya [sings].  Sing you of her, O first few stars,
Whom Brahma, touching with his finger, praises, for you
hold
The van of wandering quiet; ere you be too calm and old,
Sing, turning in your cars,
Sing, till you raise your hands and sigh, and from your car-
heads peer,
With all your whirling hair, and drop many an azure tear.
Anashuya. What know the pilots of the stars of tears?
Vijaya. Their faces are all worn, and in their eyes
Flashes the fire of sadness, for they see
The icicles that famish all the North,
Where men lie frozen in the glimmering snow;
And in the flaming forests cower the lion
And lioness, with all their whimpering cubs;
And, ever pacing on the verge of things,
The phantom, Beauty, in a mist of tears;
While we alone have round us woven woods,
And feel the softness of each other's hand,
Amrita, while -- -
Anashuya [going away from him].
Ah me! you love another,
[Bursting into tears.]
And may some sudden dreadful ill befall her!
Vijaya.  I loved another; now I love no other.
Among the mouldering of ancient woods
You live, and on the village border she,
With her old father the blind wood-cutter;
I saw her standing in her door but now.
Anashuya. Vijaya, swear to love her never more.
Vijaya. Ay, ay.
Anashuya. Swear by the parents of the gods,
Dread oath, who dwell on sacred Himalay,
On the far Golden peak; enormous shapes,
Who still were old when the great sea was young;
On their vast faces mystery and dreams;
Their hair along the mountains rolled and filled
From year to year by the unnumbered nests
Of aweless birds, and round their stirless feet
The joyous flocks of deer and antelope,
Who never hear the unforgiving hound.
Swear!
Vijaya. By the parents of the gods, I swear.
Anashuya [sings]. I have forgiven, O new star!
Maybe you have not heard of us, you have come forth so
newly,
You hunter of the fields afar!
Ah, you will know my loved one by his hunter's arrows
truly,
Shoot on him shafts of quietness, that he may ever keep
A lonely laughter, and may kiss his hands to me in sleep.
Farewell, Vijaya.  Nay, no word, no word;
I, priestess of this temple, offer up
Prayers for the land.
[Vijaya goes.]
O Brahma, guard in sleep
The merry lambs and the complacent kine,
The flies below the leaves, and the young mice
In the tree roots, and all the sacred flocks
Of red flamingoes; and my love, Vijaya;
And may no restless fay with fidget finger
Trouble his sleeping:  give him dreams of me.

— The End —