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ART IS POETRY    ART IS POETRY*
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    ART IS POETRY
POETRY IS ART    *ART IS POETRY
RAJ NANDY Feb 2015
AN INTRODUCTION TO INDIAN ART IN VERSE  
By Raj Nandy : Part One

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

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

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

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

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

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

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

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

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

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

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

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

CONCLUDING INTRODUCTION TO INDIAN ART:

Indian Art is like a prism with many dazzling facets,
I have only introduced the subject with its symbolism,
- without covering its complete assets!
After my Part Three on ‘Etruscan and Roman Art’,
Christian and Byzantine Art was to follow;
But following request from my few poet friends I have
postponed it for the morrow!
Traditional Indian Art survives through its sculptures,
architecture, paintings and folk art, ever evolving with
the passing of time and age;
Influenced by Buddhist, Jain, Muslim, Mogul, and many
indigenous art forms, enriching India’s cultural heritage!
While the art of our modern times constitutes a separate
Contemporary phase !
The juxtaposition of certain concepts and forms might
have appeared a bit intriguing,
But the spiritual content and symbolism in art answers
our basic artistic seeking!
The other aspects of Indian Art I plan to cover at a later
date,
Hope you liked my Introduction, being posted after
almost forty days!
ALL COPY RIGHTS ARE WITH RAJ NANDY
E-Mail: rajnandy21@yahoo.
    FEW COMMENTS BY POETS ON 'POETFREAK.COM' :-
I have a vicarious pleasure going through your historical journey of Indian art! Thanks for sharing this here! 2 Mar 2013 by Ramesh T A | Reply

The prism of Indian Art is indeed has myriads of facets and is an awesome mixture of many influences some of which you list here so clearly - a very understandable presentation of symbolism too - -thank you for your fine effort Raj. 2 Mar 2013 by Fay Slimm | Reply

Oh what an interesting read with immense information capturing every single detail. You painted this piece of art with utmost care. Truly, it's works Raj…tfs 2 Mar 2013 by John Thomas Tharayil | Reply

First, I have to say, the part about the lotus symbolism reminds me – My name ‘NILOTPAL’ can be split into ‘NIL’ meaning BLUE and ‘UTPAL’ meaning LOTUS. So my name represents wisdom (although it contradicts ME.. LOL). A lot of things were mentioned in the veda and other ancient Indian texts that were way ahead of the time Like the idea of ‘velocity of light’ got considerable mention in the rig veda-Sahan bhasya, ‘Elliptical order of planets, ‘Black holes’ , although these are the scientific aspects. The emphasis on contradictory elements or even the idea of opposites in Indian art is interesting because India developed the mathematical concept of ‘Zero’ and ‘infinity’. Hard to believe Rajasthan was a fertile place but now it possesses its own beauty. It was great to read about the Natraja, ‘OM’ and the trident(Trishul). Among symbolisms, Lord Ganseha is my favorite because a lot is portrayed in that one image like the MOOSHIK representing
When I composed the History of Western Art in Verse & posted the series on 'Poetfreak.com', few Indian poet friends requested me to compose on Indian Art separately. I am posting part one of my composition here for those who may like to know about Indian Art. Thanks & best wishes, -Raj
RAJ NANDY Apr 2015
Dear Poet Friends, being fond of Art, I wanted to compose on
this topic for a long time in a simplified form! Egyptian Art and
Architecture influenced the Early Greeks, who in turn influenced the Romans and other civilizations! Initially Art and architecture, religion and culture, were all closely inter-related! Real distinction emerged with the Italian Renaissance. Here I have used only a portion of my personal notes. Hope you find this interesting to read! Sorry for the length! Kindly give Comments after you have managed to read the entire portion in your spare time. Thanks, -Raj

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

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

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

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

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

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

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

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

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

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

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


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

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

Luxor Temple built by Amenhotep-III, was dedicated to God
Amun, his wife Mut and son Khonsu, - the Theban Triad;
Tutankhamen and Ramses-II expanding the temple during the
New Kingdom Period!
Creator God Amun became assimilated with the Sun God Re;
Was worshipped in Thebes, and in the cult centers of Luxor and
Karnak, - as Amun-Re!
The walls and columns of these cult temples were decorated
with carved and painted relief,
Depicting the interaction with Gods, and military exploits of
Egyptian Pharaohs and Kings!
The sun temple of Amenhotep-III at Luxor has many columns
resembling papyrus bundles,
Symbolic of the primeval marsh from where Creation was
believed to have unfolded !
A Sphinx Alley excavated between Luxor an
Tshepo mashiane Nov 2019
Understanding art takes more than just knowing different styles of art. To know and understand art you have to unlearn everything you know about art because what you know as "art" is through someone's eyes (the artist). To unlearn art is to see art through your own eyes. Most of us know how to learn but it's only a few that know how to unlearn. Art represents freedom but it's impossible to understand this if you cannot unlearn everything that you consider to be art.
NB: Different types of species cannot view the world in the same way but they see the same thing.
Similar to seeing beauty, when you learn art you will know where it is...unlearn art and you will see it everywhere.

             why should you unlearn?

Everyone has idols and that's beneficial when it comes to inspiration and motivation. Don't you ever wonder why those idols dropped their then idols after they found their own style? The importance of knowing what art is will make the all the difference in the success of your end product.
The best way to explain this is to view art at as you would view water.
Let's state a few things that water can achieve.

• water can turn to ice
• water can be a gas
• water can run turbines
• water can be a coolant
• water can be a catalyst
• water can purify
• water can clean
• water can bread sports
• water can be a silent
• water can be loud
• water can be strong
• water can be weak
• water can give life
• water can ****


Let's be honest that's just learning the capabilities of water but if we had to know what it truly is then we have to consider it's basic and natural form...the liquid phase. In a nutshell it's just water. LIKE WATER, ART IS THE POSSIBILITY OF ANYTHING IN EVERYTHING.
        
          Art can be:

• angry
• happy
• sad
• argumentative
• accurate
• inaccurate
• abstract
• confusing
• personal
• futuristic
• simple
• complex
• subjective
• life saving
• mystical
• obvious
• technical
• obnoxious
• judgmental
• destructive
• depressive
• persuasive
• violent
• seductive
• EVIL
• cold
• warm
• rebellious
• brave
• an obsession
• a delusion
• cunning
• nostalgia
• deceptive

Hence why ART IS THE POSSIBILITY OF ANYTHING IN EVERYTHING.

        Attainable art

Art that is easily relatable to is attainable art, this is the type of art that focuses on what art can be.
The feel and texture of this art is very personal, so this art is solely based on what you as an artist think of art.
This type of art has limits.

        
       un-attainable art

Art with no boundaries, no fear and no doubt. It's not personal it's just the sheer appreciation of art. this type of art is created by those artist that think with their hearts.
This art is unattainable, it can't be possessed despite the concepts its been laid on, it's the highest form of art.
Unattainable art teaches us that the best craftsmen and artists have appreciated not just their own craft but art as a whole.
We appreciate art, art appreciates creativity, creativity appreciates detail, detail appreciates patience, patience invites serenity.
This Art serves as a uniform tool for realization, " I never thought this object or place could be seen in such a great way".
This art is what we call a masterpiece. Appreciation of art is serenity seen through many forms, but what is appreciation without any element of joy?. You can only have joy when you appreciate life.
Anyone can ****** happiness from another but joy can't be taken because if you appreciate life, you have the best gift in the world...TRUE HOPE.
when water is at serenity you can feel it breathing in the midst of silence.
To appreciate life without being alive is stupidity!
RAJ NANDY Nov 2015
GREAT ARTISTS & THEIR IMMORTAL WORKS :
CONCLUDING ITALIAN RENAISSANCE IN
VERSE.  -  By Raj Nandy, New Delhi.

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

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

EARLY RENAISSANCE ARTISTS & THEIR ART

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

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

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

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

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

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

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

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

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

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

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

ART OF HIGH RENAISSANCE ERA - THE
GOLDEN AGE.

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

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

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

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

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

RAFFAELLO SANZIO (1483-1520):
This last of the famous High Renaissance trio was
born in 1483 in Urbino,
Some eight years after Michel Angelo.
His Madonna series and decorative frescos
glorified the Library of Pope Julius the Second;
Who was impressed by his fresco ‘The School
of Athens’;
And commissioned Raphael to decorate his
Study in the Vatican.
Raphael painted this large fresco between 1510
and 1511, initially named as the ‘Knowledge of
Causes’,
But the 17th century guide books referred to it
as ‘The School of Athens’.
Here Plato and Aristotle are the central figures
surrounded by a host of ancient Greek scholars
and philosophers.
The bare footed Plato is seen pointing skywards,
In his left hand holds his book ‘Timaeus’;
His upward hand gesture indicating his ‘World
of Forms’ and transcendental ideas!
Aristotle is seen pointing downwards, his left
hand holds his famous book the ‘Ethics’;
His blue dress symbolizes water and earth
with an earthly fix.
The painting illustrates the historic continuance
of Platonic thoughts,
In keeping with the spirit of the Renaissance!
Raphael’s last masterpiece ‘Transfiguration’
depicts the resurrected Christ,
Flanked by prophets
This remembrance somehow still makest me guilty;
in every minute of it I feelest tangled, I feelest unfree.
I loathest this less genial side of captivity,
but still, 'tis ironically within my heart, and my torpid soul;
ah, I am afraid that it shall somehow becomest foul,
and I wantest very much, to endear my soul to liberty,
but so long as I hath consciously loved thee,
My confidence remaineth always too bold-
But I promisest that this shall becomest my last sonata,
Should thou ever findest, that thou desirest it to be;
whilst my incomplete song shall be our last cantata.
Ah, this series shall but never end,
Should I approachest and befriendest it,
but to confess, more I thinkest of it, the more my heart is pained;
No coldness shall it feelest, nor any beat of which, shall remaineth.

To thee whom I once loved, and now still do,
To thee whom my soul once gratefully honoured,
To thee whom I then endorsed, and magnified,
My heart, ah-my poor heart, is still restricted, and left within thee,
And amongst this dear spring's shuffling leaves, still blooms,
And shall bloomest forever with benevolence,
and even greater benevolence, as spring fliest and leavest
Just like thy sweet temper, and ever ostentatious laughter,
Thy voice and words, that are no longer here for me,
But still as clear, and authentic like a piece of gospel music, to me.

To thee whom I once loved, and now still do,
To thee whom my soul once gratefully honoured,
To thee whom I then endorsed, and magnified,
My pleasurable toils, and consummation still liest in thee-
as forever seemest that I shall trust thee, and thee only,
For the brief moment we had was but grand-and pleasant,
All the way more enigmatic, though frail, and exuberant
than I couldst perhaps rememberest,
But as I rememberest them, I shall also rememberest thee,
For those short nights are always fond and stellar to my memory,
As thou pronounced me lovely-and called myself thy lady,
As thou lingered about and placed thy sheepish fingers on my knee.
Ah, thee, whose heart is so kind and ever gently considerate,
From the moment thou stared at me I knew thou wert my unbinding fate.
And thy scent-o, thy manly scent, too calming but at times, poisonous;
Was more than any treasures I'd once withheld in my hand.

To thee whom I once loved, and now still do,
To thee whom my soul once gratefully honoured,
To thee whom I then endorsed, and magnified,
My enormity liest in thee, and so doth every pore
of my irrevocable, consolable sense;
Thou awakened my pride, thou livened up my tense,
Thou disturbed my mind, thou stole my conscience.
And with thy touch I was burning with bashfulness,
meanwhile my mind couldst stop not
ringing within me, unspeakable thoughts.
Ah, thee, thou made me shriek, thou slapped me awake;
And thou steered me away from any cruel dreams, and lies
these variegated worlds ought to make.
But still I hatest myself now, for leaving all of which unspoken,
Though plenty of time I had, whilst walking with thee, by the red ferns;
And every now and then, their branches ******* terrific sounds-
But not loud; benign and soft as heartfelt murmurs in our hearts.
And those dead leaves were just dead,
Over and under the gusty tears they had shed,
And their surfaces had been closed,
But as we stormed busily with laughter, along their dead roots,
All came back to life, and polished liveliness, and guiltless temperance.
Ah, thy image is still in my mind-for it is my ill mind's antidote,
With all the haste and loveliness and ardour as thou but ever hath,
Thou art loved, by me and my soul, more than I love myself and the earth,
Thou art more handsome even, than the juicy unearthed hearth yonder.
Ah thee, my very own lover and drowsy merriment at times,
Thou who keepest fading and growing-
and fading and growing over my head,
Thy image hauntest my sleep and drivest all of me crazy,
For justice is not justice, and death is not
death, as long as I am not with thee,
And I shall accept not-death as it is,
for I shall die never without thee,
For I am in thy love, as thine in mine,
And dreams shall no longer matterest,
when thy joys are mine-and fiercely mine,
I am blinded by urgent insecurity,
That occurest and tauntest and shadowest me
like a panoramic little ghost,
Massively shall it address me,
Painstakingly and, in the name of justice, ingloriously,
And shall them address my past and destroy me,
For I hath carelessly let thee fade from my life,
And enslavest and burdenest my very own history,
For in which now there is no longer thy name,
ike how mine not in thine.

To thee whom I once loved, and now still do,
To thee whom my soul once gratefully honoured,
To thee whom I then endorsed, and magnified,
Still thou art gentle as summer daffodils,
Thy image slanderest me, and its fangs couldst ****.
Thou owneth that sharpness that threatens me,
Corruptest and stiflest me, without any single stress,
And charming but evil like thy thirsty flesh.
Ah, still, I wishest to be good, and be not a temptress,
though all my love stories be bad, and
endest me and shuttest up in a dire mess.
I feelest empty, and for evermore t'is emptiness
shall proudly tormentest and torturest me,
Stenching me out like I am a little devil,
Who knowest but nothing of love nor goodwill,
I needst thee to make everything better, and shinier,
In my future life, as later-in my advanced years,
As death is getting near, for more and greater
shall my soul hath accordingly stayed here.

To thee whom I once loved, and now still do,
To thee whom my soul once gratefully honoured,
To thee whom I then endorsed, and magnified,
Thou art my summer butterfly and beetle,
I shall cloakest thee with sweet honey and sun,
And engulfest thee safely and warmly
under the angry sickly moon.
I am thankful for thee still, for thou hath changed me,
For thou made me see, and opened my flawed eyes
Thou enabled me to witness the real world;
But everything is still, at times, beyond my fancy,
For they keepest moving and stayest never still,
Sometimes I am, like I used to be, astonished
at the gust of things, and the way they grossly turned
Their malice made my heart wrenched, and my stomach churned
What I seest oftentimes weariest my *****, and disruptest my glee
And still I shall convincest myself, that I but needst thee with me,
Thee to for evermore be my all-day guide and candlelight,
Thee who art so understanding, and everything lovable, to my sight.

To thee whom I once loved, and now still do,
To thee whom my soul once gratefully honoured,
To thee whom I then endorsed, and magnified,
If thou wert a needle then I'd be thy thread,
If thy rain wert dry then I'd makest it wet.
But needst not thou worry about my rain;
For 'tis all enduring and canst bear
even the greatest, most cynical pain.
Ah, and thus I'd be thy umbrella,
Thou, whose abode in my heart
is more superfluous, and graceful-
than my random, fictitious nirvana;
Oh, thee, thou art my lost grace,
And everyone who is not thee-
I keepest calling them by thy name,
How crazy-ah, I am, just like now I am, about thee!
Ah, thou art my air, my sigh, and my comfortable relief,
And in my poetry thou art worth all my sonnets, my charm,
and forever inadequate, affection!
And only in thy eyes I find my dear, effectual temptations,
As under the hungered moonlight by the infuriated sea,
Who standeth strenuously by the peering strand of couples,
Thou evokest within me dangerous eves, and morns of madness,
Thou makest me find my irked melody, and vexed sonnet,
Thou made, even briefly-my latent days gracious,
Thou made me feelest glad and undistant and precious.
Thou art a saint, thou art a saint, though thy being a human
intervenest thee and prohibitest thee from being so;
ah, and whoever thinkest so is worthy of my regrets,
and the worst tactfulness of my weary wrath;
For thou art far precious, more than any trace
of silverness, or even true goldness,
Thou art my holiest source of joy,
and most healing pond of tears;
Thou art my wealth, ****** trust,
and my only sober redemption;
thou art my conscience, pride, and lost self;
Thou art indeed, my eternally irredeemable satisfaction.

To thee whom I once loved, and now still do,
To thee whom my soul once gratefully honoured,
To thee whom I then endorsed, and magnified,
I adorest thee only-my prince, my hero, my pristine knight;
Ah, thee, thou art perfect to my belief and my sight,
Thou who art deserving of all my breath and my poetry;
Thou who understandest what kindness is, and desires are,
Thou who made me seest farther but not too far.
Thou who art an angel to me-a fair, fair angel,
Thou who art beguiling as tasteful tides
among the sea-my courteous summer sea,
Thou who art even more human than
our fellow living souls themselves;
Sometimes I think thou art courage itself-
as thou art even braver than it, the latter, is!
Thou art the sole ripe fruit of my soul,
And my poetic imagination, and due thought;
Thou art the naked notes of my sonata,
And the naughty lyrics of my sonnet,
Thou art everything to nothingness,
As how nothingness deemest thee everything;
Thou makest them shy, and dutifully-
and outstandingly, changest their minds;
Thou art a handsome one to everything,
Just as how everything respectest, and adore thee.

To thee whom I once loved, and now still do,
To thee whom my soul once gratefully honoured,
To thee whom I then endorsed, and magnified,
By whose presence I was delighted, as well my breath-dignified,
Ah, my love, now helpest me define what love itself is;
For I assumest it is more than fits of hysteria, and sweet kisses
Look, now, and dream that if death is not really death
Than what is it aside from unseen rays of breath?
For love is, I thinkest, more handsome than it doth lookest,
For in love flowest blood, and sacrifice, and fate that hearts adorest
But desiccated and mocked as it is, by its very own lovers
That its sweetness hath now turned dark, and far bitter;
Full of hesitations engulfed in the best ways they could muster;
O, my love, like the round-leafed dandellions outside,
I shall glancest and swimest and delvest into thy soul;
I shall bearest and detainest and imprisonest thee in my mind,
But verily shall I care for thee,
ah, and thus I shall become thy everything!
Let me, once more, become obstinate-but delirious in thy arms;
let me my very prince-oh, my very, very own prince!
Doth thou knowest not that I am misguided,
and awfully derogated, without thee!
Ah, thee! My very, very own thee!
Comest back to me, o my sweet,
And let me be painted in thy charms,
o thee, whom I hath so tearfully,
and blushingly missed, ever since!

To thee whom I once loved, and now still do,
To thee whom my soul once gratefully honoured,
To thee whom I then endorsed, and magnified,
I loveth thee adorably, and am fond of thee admirably,
so frequent not outside when all is dark and yon sky is red,
For I hatest justification, and its possibly hidden wrath;
I hatest judging what is to happen when our hearts hath met,
but how canst I ever knowest-when thou choosest to remaineth mute?
Then tearest my heart, and keepest my mouth shut
O thee, should this discomfort ever happenest again;
Please instead slayest me, slaughterest me, and consumest me-
And lastly let me wander around the earth as a ghost.
Let me be all ghastly, deadly, and but penniless;
Let me be breathless, poor, imbecile, and lost-
For in utter death there is only poverty,
And poverty ever after-as no delicacy nor taste,
But I shall still dreamest as though my deadness is not death,
for I am alone; for I am all cursed, without thee.

To thee whom I once loved, and now still do,
To thee whom my soul once gratefully cherished,
To thee whom I endorsed, and magnified,
My heart, ah-my poor heart, is still left within thee,
Just how weepest shall the leafless autumn tree,
Waiting for its lost offspring to return,
and be liberated from its pious mourns;
And as I hearest their shaky, infantile chorus,
I shall but picturest thee again, thus;
Thy cordial left palm entwined in my hand,
Strolling with me about the leafy garden.
A joyed maiden having found her dream man,
a loving man swamped deeply with his love, for his loyal maiden.
Mateuš Conrad Dec 2016
by simply watching 'don't call me crazy'
with regards to mental health... a bbc3 documentary.

i find a few pointers, apart from the fact that i've learned
English to a standard that i could
be misjudged as a native, what with african psychiatrists
   and the history of England as  a postcolonial nation...
     the problems of premature depression
and other divergences from the "norm"
  (or is that a tu-dum tss... "the norm"?
i never know how to tell the joke a proper
way, so many jokes are mothered
by punctuation, i don't know
how many there are that aren't) -
so aside from that... the fact that i'm
faking being British... if you have any grievances
against me: you'd better me Ukranian
or Lithuanian... otherwise? *******.
yes, i know the Poles did terrible things,
Vlad wasn't the only person ready to
do sadistic **** on people by impaling them
on sharpened-wooden poles...
   and you thought the crucifix was bad...
but oh look... the artists inserted a peddle-stool
so he could stand while on the cross...
rather than actually: hang from it.
talk about a woman faking an ******.
then again: he was all kissy-kissy with
a centurion having cured the ravaging libido
of his "demon possessed" daughter who
had a hot bagel flirt under her skirt for him...
or as i say: **** a prostitutes
           **** for an extra ten quid: the sigma
of how many ***** that thing has seen
turns your tongue into a dagger...
that's where i have seen my salvation:
   not in the eucharist or degrading symbols
of a godly stature.
       no, the point is:
this misapprehension of where the origin of
thinking resides...
  the true materialists posit the origin of thought
in the brain... but, honey-bee, the brain
is preoccupied with its materialistic responsibilities...
to shoot adrenaline when bungee jumping...
why think it isn't already preoccupied with anything
but thought? the brain doesn't think
no more than the heart might... or your *******
wetted or your phallus becoming *****...
there's no point in ascribing thought to the brain,
even if you abstract the source of thinking
toward the brain as a *mind
,
     the suggestion parallels what the brain does,
and what the brain isn't...
   as with the notion of god...
          ridiculous for most people:
or also ridiculous when man is taught to stress
his "individuality"...
                               both seem on equal footing
to be considered phantoms, but the individual is
more of a phantom than god...
                             and as Diogenes of Sinope found out:
you'll find god and the Archimedean eureka
quicker than finding an honest man -
who takes a candle at noon into a market square?
     ah: that famous lunacy...
but in the beginning the word was with god,
       yes, because when we started we only said ooh ooh!
and made those frightening monkey faces to
war off evil spirits and the Arabic third eye, evil.
   Darwinism created historical fiction...
           a bit like science fiction, but instead of looking
forward, historical fiction is looking back,
toward a time when people struggled against
the elements, and had no sense of having to think
given their actual pentagram equilibrium was tuned
into what was around them...
                   the senses could never deviate from
the world of shouting down a cave and hearing echo,
it's only when thought emerged and conceived words
   that the dubiousness of simple musing:
chicken or egg first? created auxiliary sense perceptions...
   we have left the sensual world...
           for we have "enriched" our lives with
thinking, the byproduct of which is what scared me
about this bbc3 documentary... that all mental
illness stems from allow thought to automate itself...
      in other words having no moral compass...
in other words: not having read a single book
   and learned a process of equating thinking with
narrating... as a sensible option to what others tend
to do (the innovators), and allow narration to be a void...
into which they pour all their thinking to
fill that void... with, say, Thomas Edison and the lightbulb...
Isaac Newton and gravity...
it's just scary that people can allow automated thinking,
     made even more evident that counters
the punitive transgender pronoun scenario
   that only focuses on the pronouns: he, it, she.
these youngsters in the documentary are dealing with
submitting to a pronoun focus of: i, it, you.
                      in some vague sense of a religiosity,
that they cannot allow cogito ergo sum into their minds,
a possessiveness of body, that later translates
into an identification with the mind: which is -
well, if you're going to posit the origin of thinking
in your brain, which isn't even there - you mind
as well posit the mind, seeing how the soul
is argued against primarily through our mortal condition.
   is the eye the window to the soul?
  and the brain merely a paraphrasing of that statement?
perhaps...
              but i wouldn't be too worried
             as Walter Benjamin was about art in the age
of mechanical reproduction... i'd be worried
that art is bound to the morgue of psychiatric institutions...
that art is not a term that suggest the origins of
   such ailments:
due the original lack of it in such places:
  but that that it was never there... and that finding
art can be therapeutic is why art can be scolded
               and establishment art is nothing more
than the pinnacle of us, having abused words,
waging fewer and fewer words, can't produce
    a work of beauty... merely a work that occupies
a space.
                art = space...
          that's the statement these days...
being oversaturated with scientific assurances has created
this insurgence of over-competence or making
art not art in a sense timelessness, as in Dante's
comedy isn't equal to space,
            but that it's equal to timelessness...
    or a statue by Donatello...
                          these days art = space...
because it's not going to be timeless... it was once
the iconoclasm in metaphor of: the lion of Judea...
          Lucifer as the morning star...
                         it will not be timeless because it
has been reduced to the establishment's aesthetic
of tracey emins' unmade bed... or
       damien hirst's the physical impossibility
of death in the mind of someone living -
i never said these things aren't art... some people
said cubism would never be art compared to
surrealism... but shove a triangle into Pythagoras'
head and you get some sort of mathematics...
              it's based on that principle...
what wouldn't work in the case of hirst would be
to put a cancerous tumour into a plastic cage...
people would associate it as some sort of atomist
representation of a nanometre worth's of some
larger thing... i do appreciate the fact that big
art works... it needs so much face to embody
the fact that you are to think about it...
                         and not to have a **** over it:
it's art that's anti-arousal and more and more
and more about how to juxtapose it in your mind,
always to abstract the brain as the mind
   and to never appreciate the idea of having
to source thinking as solely endemic to the brain...
the brain is busy, the heart is busy...
            we have perpetuated an outer-body
experience throughout our time since the time when
we first acquired the phonos of thought...
                 and it is a peculiar "sound", thought...
a dance memorable to actually having a hope in
possessing a soul... even after all sturdy things
shrink into the obsolete, and even vegetable.
but the piece i'm referring to?
     kinda paradoxical... given that a shark would
probably eat you... but then again counter-paradoxical
given the fact that most shark-attacks
     make the shark refrain from eating you,
but merely nibbling on you and leaving you alive
albeit nibbled on... maned... with scars...
so i get the part where the shark is in fact:
an impossible death to conceive... only for the lucky few.
  apart from the fact that the shark is caged
like a prehistoric mosquito lodged in amber...
              woodland gold, amber...
  that's the literal interpretation...
                                 but it's still a moving piece,
modern art isn't crap at all... it's just something you
don't get an ******* over...
            take any still life and apply a cognitively
based chemical reaction: stimulate a narrative...
in that famous phrasing, connect the: dot dot dot(s).
    become, in that almost ridiculous sense:
     a Sherlock Holmes... but all that died was about
a minute's worth of your attention...
this is what's fuelling revising a need for television,
big static things... my personal favourite?
that Tate Modern installation by richard holt -
hand on heart: about 3 times...
              i felt like a mosquito drawn into that:
ah the bright shiny light... 180º and a glass ceiling...
that's all it was...
                   art in the age of mechanical reproduction
has to almost ridicule man, or at least ridicule
the idea that he can become an individual,
    as was the ridicule of man that he could become
a god...
               sooner or later any attempt at individualism
becomes trendy, vogue, and magnetises and
monetises a need to mimic, replicate... one punk today:
20,000 punks tomorrow...
       /
           but that sort of mincing is mostly associated
by the bewilderment of our own success...
                           it's almost like a we're engaging with
a sabotage process: deliberately trying to undermine
ourselves by staging a variety of "anti-social" endeavours
we promised ourselves upon a belief in the "individual"...
      modern pieces of art debunk that myth,
it's that modern art pieces require so much space that
gave them the most adaptation prowess over, say,
a puritan's concept of art, as in a Turner painting...
           classical art can be put into a Florentine market
square and be passed by quiet casually,
because it provides an assurance - it forbids engaging
in an iconoclastic vigil, it's an assurance of the past
and how golden it was... but a modern sculpture
in a busy place where many people congregate
without first allowing it the asylum of an art gallery
and people will treat it as a chance to hone on it,
vandalise it, or steal it and sell it from scrap metal...
       modern art requires an asylum to be accepted,
an art gallery is an asylum where people with
good intentions enter and leave appreciating something
that, to the pleb, would get a rotten egg thrown at it.
    and as with regards to how i phrased something
earlier? how philosophy talks of the logos
     that doesn't see the phonos: or the dichotomy
between actual sound, and sound ascribed a
optically-phonetic disparity encryption:
deepened by a self-styled aesthetic of the "ruling elites"...
          and in the beginning the word was with god...
we're merely licking the toes of such a possibility...
         and just you try to bypass the orthodoxy of
encoding sounds with queer spelling...
                     you, in a sense, learn two-languages
with every single one you learn...
   how to say it and how to write it...
                              and then there the how you hear it
and how sometimes you hear different lyrics to
the ones sang...
                         a bit like the Chinese,
who, upon reading the English translation were
bothersome to get rich quickly after seeing
too many matchsticks in ideogram translated as merely
Li Po; i'd too go bananas and become frustrated
and retaliated by getting to Einsteinian grips with
the mathematical alphabet that bore Li Po... i.e. 1, 0
through to 9.
      ah yes... philosophy that doesn't appreciate
grammatical words, or in that sense credible for a biologist
not necessitating a genus to ease any argument,
to actually further it... or to play ping-pong...
   grammatical words are equivalent to the subconscious
given we tend to write some a sense of fluidity...
the unconscious? schematics akin to triangles...
  "images" or rather shapes...
                             beginning with Δ: isosceles...
later varied to the Γ triangle of Pythagoras...
          and as far as we got, a respectability to
not conjure up a square as worthy of encoding a sound...
nearest being the H... and that turned out to
be much ha ha ha.
                   still... i can't come to grips with these teenagers
in the bbc3 documentary talking about
automated thinking! i'm not denying it, i'm not
doubting it... it's just a question:
          how could such a pronoun muddle come about
that you discourage ownership of all your mental
activity? and instead leave a rampant kindred of an
abandoned snail's shell body to wreck havoc?
   it's almost like a a want to refuse to use words...
or encode words... rarely are people told
that the eyes are used as encoding organs...
                   but that the tongue knows no filters...
what the eye ingests... the tongue sometimes can't
digest... and vice-versus... that what the eyes digest
the tongue can't ingest: hence the rebellion
against contrary political ambitions -
   the ears? well: the ears are allocated the heart as
a partner... the tongue and eyes are entwined...
but the ears are allocated the heart...
                     you tend to feel words more than
hear them... because by the time the tongue
represses combining itself with the eyes to
that elevation of thought... your body becomes
autocratically synchronised to a sort of music
of heightened of unanimous response...
             well, it's not exactly a fetish watching such
documentaries.. iconoclasm in metaphor...
  i swear i wrote this before... how philosophy avoids
grammatical genuses... and how all too
ambivalent poetically equivalent nouns and verbs
are to hide our imperfections that precipitate from
art... iconoclasm / anamorphosis in metaphors...
                         camaïeu in allegory...
                   divisionism in pun...
                                       chiaroscuro in imagery...
gestural abstraction in onomatopoeia...
                     just some examples, and none necessarily
     convincing - as ever... this is my excuse
for i am always bound to say language is Alcatraz
   and my escape from Alcatraz is bound to metaphors,
fo
I hateth th' song of th' grass outside;
and t'eir blades t'at swing about my feet
like fire. How unfeeling all of which are-
did t'ey really think I wouldst ever be tantalised
by t'eir sickly magic? Such a gross one-
demanding, rapacious, parasitic!
Even I am fed up with t'eir proposals,
and ideas t'at t'ey fervently throw
in th' hope t'at t'ey canst corrupt my dreams,
my feelings-ah, yes, my sincere feelings,
and secure, t'ough imaginary, dreams.
Oh, and my comfortable desire as well!
My rosy desire-which at times canst tiringly
petrify me-ah, unbelievable, is it not? Th' fact
t'at I am so satiatingly, and daringly, petrified
by my own desire-and reproved by th' one
whom I am astonished at, praise, and admire;
How pitiful I am! How horrific and tragic!
I hath knitted my sorry without caution,
I was too immersed in vivid glances
and disguises and mock admiration.
Perhaps it hath been my mistake!
Eyes t'at blindly saw,
ears t'at wrongly judged!
Lies t'at I forsook,
tensions t'at I undertook!
Oh, how credulous I am-to vice!
Mock me, detest me, strangle me!
Stop my sullen heart from breathing-
as I hath, I hath spurned my darling-
oh, I hath lost my love!
How sorrowful, tearful-and painful!
And how I hath lost my breath; for cannot I stop
my feet from swimming and tapping
in t'is fraudulent air, gothic and transient
With poems t'at no matter how mad,
but nearly as thoughtful and eloquent,
I shalt still remain doleful and sad,
for my love for him is indeedst thorough-
and imminent; No matter how absurd he fancies
I am, and how he looketh at me oftentimes
with twigs of governing dexterity;
but most of all, shame.
I hath no shape now.
I hath lost, and raked away,
my elaborate conscience;
I hath corrupted my conciseness,
I hath wounded my sanguinity,
originality, and thoughts even, of my poetic
soul-of my poetic bluntness and sometimes
rigid, creativity.
I am an utter failure.
I am a mad creature; I am maddened by love,
I am frightened by virtue, I despise and reject
truth. I hath no sibling in t'is world of humanity,
ah-yes, no more sibling, indeedst,
neither any more puzzles of fate
t'at I ought to host, and solve;
I deserve nothing but fading and fading away
and give up my soul, my human soul-
to being a slave to disgrace
and cordial nothingness.
I belongst not, to t'is whole human world;
T'is is not my region, for I canst, here-
smell everything sacrificed for one another
and rings of delightful and blessed laughter
which I loathe, with all th' sonnets and auguries
of my laconic heart. Oh, I am misery!
I am evil, evil misery!
I, myself, equal tragedy; I am a devil,
a feminine and laurel-like devil-
just like how I look,
but tormented I am inside,
as a cursed being by nature and God Almighty
for never I shalt be bound to any love;
and engaged to any hands
in my left years and in th' afterlife outright.
I shalt have never any marriage within me,
any marriage worthy of talks, parties,
neither anything my wan heart desires;
like sweets with no sweetness,
or dances with no music.
No human love should ever
be properly conducted by me,
I am incapable of embodying
a unity, I am destined to be with me.
To be with me only-ah, as sad as it is,
as vague as how it sounds, or it might be.
O, and how I should love, emptiness!
Any loss should thus be romantic to me:
Just how death already is;
my husband is death,
and my chamber is his grave.
I shalt, night and day, sing to th' leaves
on his tomb,
ah-as t'ey are alive to me!
Yes, my darling reader! To me, t'ey are living souls,
t'ey open t'eir mouths and sing to me
Whenever I approach 'em with my red
bucket of flowers; lilies t'ey eat, ah-
how romantic t'ey look, with tongues
slithering joyfully over th' baked loaves I proffer!
T'eir smell of rotting flesh my hug,
meanwhile t'eir deadness my kisses!
T'eir greyness, and paleness-my cherry,
and t'eir red-blood heath my berry!
So glad shalt I becometh, and shimmer shalt my hair-
and be quenched my buoyant hunger-
beneath th' sun, with my hands, t'at hath
been aborted for long, robbed of whose divine functions
Laid in such epic, and abundant rejections
Brought into life again, and its surreal breath
But t'is time realistic, t'ough which happiness
shalt be mortal, as I perfectly, and tidily knoweth
and as I flippeth my head around
And duly openeth my eyes, I shalt again
be sitting in th' same impeccable nowhereness,
nowhere about th' dead lake, with its white-furred
swans, ghost-like at t'is hour of night-
Wherein for th' rest of my years should I dwell,
with no ability and desired tranquility
t'at canst once more guarantee
my security to escape.
T'ere's no door-yes, no door, indeedst,
to flee from th' gruesome trees,
t'eir putrid breath solitary and reeks of tears,
whilst t'eir tangled leaves smell strongly
of vulgarity and hate.
I hate as well-th' foliage amongst 'em,
grotesque and fiendish art whose dreamy visages,
with sticking tails wiping and squeaking
about my eyes, t'ough as I glance through
thy heavens, Lord, gleam like watery roses
before t'eir petals swell, fall, and die.
Oh-so creepy and melancholy t'ese feelings are,
but granted to me I knoweth not how,
as to why allowed not I am,
to becomest a more agreeable mistress
to a human-a human t'at even in solitude
breathes th' same air, and feels all th' same
indolent as me, by th' tedious,
ye' cathartic, morn.
Ah, and shalt I miss my lover once more
And t'is time even more persistently t'an before,
For every single of his breath is my sonnet,
and every word he utters my play.
He is th' salvation, and mere justification
I should not for ever forget,
just like how I should cherish
every sound second; every brand-new day.
My heart is deeply rooted in him;
no matter how defunct-
and defected it may seem,
as well as how futile, as t'is selfish world
hath-with anger and jealousy, deemed.
How I feel envy towards t'ose lucky ones,
with lovers and ringlets about t'eir palms,
so jealous t'at I cringe towards my own fate,
and my inability to escape which.
How unfair t'is world is sometimes-to me!
Ah, but I shalt argue further not;
I shalt make t'is exhaustive story short-
I am like a nasty kid trapped in th' dark,
without knowing in which way I should linger,
'fore making my way out and surpass her.
She is a curse-indeedst, a curse to me,
t'ough at th' moment she is a cure-but to him,
but she is all to forever remain a bad dream,
which he should but better quit,
she shalt subdue my light,
and so cheat him out of his wit.
She is an angel to him at night,
but at noon he sees her not,
she is an elegant, but mischievous auroch
with ineffectual, ye' doll-like and plastic auras
She is deceit, she is litter, she is mockery;
She hath all but an indignant, ****** beauty
She does not even hath a life, nor
a journey of destiny
She hath not any trace of warmth, or grace,
and most of th' time, at night
It is her agelessness t'at plays,
she ages but she falsely tricks him-my love,
into her lusted, exasperating eagerness;
t'ough colourless is her soul, now,
from committing too much of yon sin
She still knoweth not of her unkindness,
and thinks t'at everything canst be bought
by beauty, and t'at neither love nor passion
canst afford her any real happiness.

Ah, my love, I am hung about
by t'is prolific suspense;
My heart feels repugnant in its wait;
uncertain about everything thou hath said
As thou wert gentle but mean to me;
despite my kindness, ye' mistaken shortcomings
as I stood by th' railings th' other day, next to thee.
Ah, thee, please hear my apologies!
Oh, thee, my life and my midday sun,
a song t'at I sing-in my bed and on my pillow,
last week, yesterday, today, and tomorrow.
I am, however, to him forever a childlike prodigy-
shalt never he believeth in my tales,
ah, his faith is not in me,
but I in him.
How despicable!
But foolishly I still love him,
even over t'is overly weighing injustice
on my heart-
ah, still I love him, I love him!
I love him too badly and madly,
I love him too keenly, but wholly passionately.
I love him with all my heart and body!
Oh, Kozarev, I love thee!
I love thee only!
For love hath no more weight, neither justice
within it, if it is given not by thee;
I was born and raised to be thine,
as how thou wert created
and painted and crafted-by God Almighty,
to be mine. As I sit here I canst savagely feel, oh,
how painfully I feel-yon emptiness,
t'is insoluble, inseparable solitude
filled not with thy air, glancing at
th' deafening thunder, rusty rainbows
With thee not by my side.
I fallest asleep, as dusk preaches
and announces its arrival,
But asleep into a burdened nightmare,
too many fears and screams heightened in it,
ah, I am about to fallest from smart rocks
into th' boiling tides of fire beneath my feet.
I wake into th' imprudent smile of th' moon,
and her coquettish hands and feet
t'at conquer th' night so cold.
She is about to scold me away again,
'fore I slap her cheeks and send her back
to sleep, weeping.
I return to my wooden bench, and weep
all over again, as without thee still I am,
barefooted and thinly clothed amongst
th' dull stars at a killing cold night.
Th' rainbow is still th' rainbow,
but it is now filled with horror,
for I am not with thee, Kozarev!
Oh, Kozarev, th' darling of my heart,
th' mere, mere darling of my silent heart,
even th' heavens art still less handsome
t'an thy images-growing and fading
and growing and fading about me
Like a defiant chain, thou art my naughty prince,
but th' most decorous one, indeed;
thou art th' gift t'at I'th so heartily prayed for
and supplicated for-over what I should regard
as th' longest months of my life.
O, Kozarev, thou art my boy,
and which boy in th' world
who does not want to
play hide-and-seek in th' garden-
like we didst, last Monday?
Thou art my poem,
and thus worth all th' stories
within which. Thou art genial,
cautious, and beneficent. Thou art
vital-o, vital to me, my love!
I still blush with madness at th' remembrance
of thy voice, and giggle with joy and tears
over yon picture of thee; I canst ever forget thee
not, and sure as I am, t'at never in my life
I shalt be able to love, nor care for another;
thou art mine, Kozarev, thou art mine!
Thou art mine only, my sweet!
And ah, Kozarev, thou knoweth, my darling,
t'at the rainbow is longer beautiful
tonight; and as haughtiness surfaces again
from th' cynical undergrowth beneath,
I am afraid t'at t'eir fairness and brightness
shalt fade-just like thy love, which was back then
so glad and tender, but gets warmer not;
as we greet every inevitable day
and tend to t'eir needs,
like those obedient clouds
to th' appalling rain, in th' sky.

Ah, but nowest look-look at thee! Thy innocence,
t'at was but so delicate and sweet-
like t'ose bare, ye' green-clustered bushes yonder,
is now in exile, yes, deep exile, my love!
I congratulate thee on which, yes, I do!
I honestly do! For thy joy and gladness
doth mean everything to me,
'ven t'ough it means th' rudest,
th' eeriest of life; t'at I shalt'th ever seen!
But should I do so? T'at is a question
I canst stop questioning myself not.
Should I? Should I let thee go
and t'us myself suffer here
from th' absence
of my own true love-
and any ot'er future miracles
in my life?
I think not!
Ah, and not t'at there'd be
any ot'er mirages in my love,
for all hath been, and shalt always be-
united in thee! O, in thee, only, Kozarev!
For I am certain I love thee,
and so hysterically love thee only,
even amongst th' floods-ah, yes,
t'ese ambiguous piles of flooding pains,
disgusting as blood, but demure,
and clear as my own heartbeat;
I love and want thee only,
as how I dreameth of,
and careth for thee every night,
t'ough just in my dream,
and in life yet not!
Ah, Kozarev, I am thy star,
just like thou art mine-already,
I am fated and bound to thee,
and thou to me.
Thou art not an illusion,
neither a picture of my imagination.
Thou art real, Kozarev,
thou art real-and forever
shalt be real to me;
thou art th' blood,
t'at floweth through my veins,
thou art th' man,
t'at conquereth my heart-and hands,
thou art everything,
thou art more t'an my poem
and my delicate sonnet,
thou art more t'an my life
or my ever dearest friend.

Probably 'tis all neither a poem,
nor a matter of daydreams;
perhaps still I needst to find him,
t'ough it may bringst me anot'er curse,
and throwest me away
and into anot'er gloom.
Ah, Kozarev, thou-who shalt never
be reading t'is poem, much less write one
Unlike thou wert to me back t'en;
Thou art still as comely as th' sun;
Thou art still th' man t'at I want.
Even whenst all my age is done;
and my future days shalt be gone.
Art you made
Art you shall become
.
That's the lesson I've learnt.
.
We're not made of stardust
Or particles
Or a billion atoms running
Up and down our system
.
No
.
Art is what we're made of.
.
Art is what we aspire to do.
.
Art is what we inhale
and exhale.
.
Art is everywhere.
.
Art you made
Art you shall become
.
Art is what you
Dedicate your existence to
What you are devouted to
What your life resumes in
.
Art
.
Art is what you made
Art you shall become
.
Art
.
Artist don't burn
They don't turn into ashes
They don't return to the earth
.
Artists return to what
They're made of
.
They turn into their own
Version of stardust
.
Art
.
From art you were made
And art you shall become
.
Art you made
.
Art
You
Shall
Become
.
In Memoriam
To me eternity lies in thy eyes,
and thy rejection my demise.
If so but accept and heal me likewise;
whilst shun and stab my sore heart, otherwise.
Thou hath always been to me a surprise;
Though a doubtful, but sparkling surprise,
So any dejection of thine shall be odd,
And a thousand times bitterer than a cold rapid retort;
For thou art pure; and sometimes too pure and fine
As how thy immortal soul stayest still, and growest not old
And in toughness and roughness is to remain,
So long as thy dried flesh shall age, and afford;
And with such songs so prolific as prayers
By friendly laudations like bewitching storms
Thou shall forever stay, and newer grow fader
And in such coldness thou shall offer me warmth;
Beside yon raging fire, and about thy manly arms,
Thou shalt but lull and cradle me like a baby-
until sleep comes and whispers dreams onto me,
Thou shalt be far more tender and smart-
Unlike that ungrateful preceding heart,
Which claimed to be civil, but uncivil,
United but then left my unsuspecting heart apart;
So unlike thee, who is but a smart little devil
Thou who earnestly tempted my soul, and lured my blood
Thou returned my blushes, and caught away my heart
Ah, and now-whenever I thinkest of thee,
All pain and gloom shall revert to oneness,
But how still I know not, as whose days remain but a mystery
For everything in which is at times barren and colourless;
But when alive, they are just as simple
as those brief dreams of thine and mine,
With a love but too sufficient, majestic and ample
Delicately shall they turn troubled and unseen,
But caring and healing and blinding and shaking,
taking turns like oceanic birds which go about
swimming and singing and strumming and swinging,
like a painting of prettily sure clarity-but unseen,
or perhaps a pair of loving, yet unforgettable winds.

To thee whom I once loved, and now still do,
To thee towards whom my hardened heart-again, turns soft,
To thee whom my delirium is all kept safe and true,
To thee for whom I canst feel never reproach-and only love,
And to thee-ah, to thee, thee only-by whom
the grandeur of the blue sky shalt melt;
Ah, thee! And betwixt thy gaze,
All fictitious sunsets shalt perhaps become wet-
Just like those azure spirits in thy fair eyes,
Sometimes too indignant but unquestioning,
and too pure-as to whom even the Devil hath no lies;
To thee only, to whom this enduring love is ever assigned,
And forever, even its temptation be mine, and only mine,
Like unforgivable sins, which are sadly left unatoned
In its eternity standing still like a statue;
beside its wrathed, and bloodied howling stone
And to thee merely, to whom this impaired heart shall ever return,
As it now does, with cries and blows that makest my heart churn
And canst wait not 'till the morn, for on morns only,
thou shalt creepest down the stairs, and stareth onto me,
Often with eyes full of questions;
Questions that thou art too bashful to reflect,
So that turn themselves later on, into emotions,
Which withereth and dieth days after, of doom and neglect.
Ah, but still I loveth thee!
For this regret makest me but loveth thee more and more,
and urge my soul greater, to loveth thee better-than ever before.
For 'tis thee who yet stills my cry, and silences my wrath;
The one who kills my death, and reawakens my breath.
Thou on whom my love shall be delightfully poured,
A love as amiable as the one I hold for dearest Lord,
A love for thee, for only thee in whom I'th found comfort,
A comfort that is holier than any heaven, or even His very own divine abode;
Thou art holier than the untouched swaying grass outside,
Which is green, with greenness so handy and indulgent to every sight,
Thou who art madder than madness itself,
But upon Friday eves, makest my joy even merrier,
And far livelier-than any flailing droplet of rain
Showering this earth's clustered soil out there,
Which does neither soften nor flit away my pain
But makest it even worse, as if God Himself shan't solicit, nor care
Like any other hostile love, which thou might kindly find, every where.

To thee whom I once loved, and now still do,
To thee towards whom my hardened heart-again, turns soft,
To thee whom my delirium is all kept safe and true,
To thee for whom I canst feel never reproach-and only love,
And to thee-ah, to thee, thee only-by whom
the grandeur of the blue sky shalt melt;
In my mind thou art the lost eternity itself,
And by its proud self, thou art still even grander,
For thou makest silence not any more silence,
but joy, in return, even a greater joy.
Ah, thee, thou who the painter of my day,
and the writer of my blooming night.
Thou who art the poet of my past,
and the words of my courteous present.
Thou shall ******* flirty orange blossoms,
And cherish its virtue, which strives and lives
As a most sumptuous, and palpable gift-
Until the knocking of this year's gentle autumn.
Ah! Virtue, virtue, o virtue-whose soul always be
a charm, and indeed a very generous charm-
to my harmonious, though melancholy, *****.
Ah, thee; o lost darling-my lost darling of all awesome day and night,
My lost darling before starlight, and upon the pallid moonlight,
My lost darling above the reach of my sight, and height;
Thou art still a song-to my now tuneless leaves,
and a melody to their bottomless graves,
Thou shalt be a cure to their ill harmony;
Thou art their long-betrayed melody.
And even, thou art the spring
my dying flowers needst to taste,
fpr being with thee produces no haste;
and or whom nothing is neither early, nor late;
And whenst there be no fate, thou shalt be
yon ever consuming fate itself-
And by our inane eyes, thou shalt makest it
but adorable and all the way strong,
For thou, as thou now do, nurture it better
than all the other graciousness among;
Thou art the promise it hath hitherto liked; but just
shyly-and justly refuted, for the bareness of pride,
and often inglorious resistance-all along.

To thee whom I once loved, and now still do,
To thee towards whom my hardened heart-again, turns soft,
To thee whom my delirium is all kept safe and true,
To thee for whom I canst feel never reproach-and only love,
And to thee-ah, to thee, thee only-by whom
the grandeur of the blue sky shalt melt;
Ah, thee! Even in undurable haste, thou art still like a butterfly,
fast and rapid flowing about the earth and into the sky;
Thou who art grateful not for this earth's soil;
Thou who saith 'tis only the sky that canst make thou feel.
Thou who cannot sit, thou cannot lay,
but on whose lanes thou always art secure,
as though from now thou shalt live too long
And belong to this rigorous earth
to whom our mortal souls do not belong.
And as to its vigour, death cannot be delayed,
and words of deadness shalt fast always, be said.
Ah, yet but again, I cannot simply be wrong;
for thou art immortal, immortal, and immortal;
To death thou art but too insipid and loyal;
that willing it not be, to take thy soul into its mourning,
and awkward prayers so scornful and worrying.
Thou who needst not be afraid of death;
for breath shalt never leave thee, and thou shan't breath.
Unsaid poems of thine are thus never to remaineth unspoken,
and far more and more thoughts shalt be perfectly carved, and uttered;
Unlike mine; whose several mortal thoughts shalt be silenced, and unknown
And after years passed my name shalt be forgotten, and my poems altered.
But thou! By any earth, and any of its due shape-thou shalt never be defaced,
and whose thoughts shalt never, even only once-be rephrased,
for thou art immortal, and for decades undying shalt be so;
And to life thou remaineth shalt remain chaste, and undetached;
as the divine wholeness whenst 'tis all slumped and wretched,
and white in unsoiled finery, whenst all goes to dirt and waste;
For grossness shalt escape thee, and stains couldst still, not thee fetch.
To every purity thou shalt thus be the best young match;
Ah, just like my mind shalt ever want thee to be;
but thou art missing from my sight-ah, as thou art not here!
Our paths are far whenst they are but near,
and which fact fillest me still, with dawning dread and fear
Unfortunately, as in this poem, my words not every heart shalt hear;
And to my writings doth I ever patiently retreat, the one,
and one only; whom to my conscience so dear.

To thee whom I once loved, and now still do,
To thee towards whom my hardened heart-again, turns soft,
To thee whom my delirium is all kept safe and true,
To thee for whom I canst feel never reproach-and only love,
And just to thee-ah, to thee, thee only-by whom
the grandeur of the blue sky shalt melt;
How fate but still made us here and meet,
That clue shall never makest me blind, and forget!
Now blighted I am, by dire ungladness and regret,
for having abhorred, and slighting thee too much!
For should I still cherish thee before my mortal death,
and be bitter and testy not; much less grim or harsh.
For fate is what fate is, as how love is just it looks;
and God's doings cannot be wrong; and true and faithful
as words I found crafted, and deciphered in old books.
Ah, and God's blessings are to arriveth in time,
and to taste whose due I indeed needst to be patient.
Be patient t'wards the love on which I climb,
ah, as for me-and whenst the right time cometh-
thou shalt be my sole wealth; so dear and sufficient!
And so for thee, no matter how thou hath my heart now torn,
Still I canst, and shalt reward thee not-with scorn;
for thou art my fate, my path, and my salved destiny;
For of which I am assured, definite, and convinced-
with all my degrees of humble pride, and vivid certainty-
Ah, darling, and thou art my humbleness, but also too many a time-my vanity;
For whom I shan't go and venture but anywhere-
As long as thou stayest and last-verily and for yon whole eternity, by me.
Scarlett Bloom Feb 2011
Art is a refuge
Art is a prayer
Art is a melody
Art is despair
Art is my passion
Art is my dance
Art is my view
Art is my chance
Art is frustration
Art is a skill
Art is pure beauty
Art is a dream
Art is my view
Art is my pain
All in perspective
Art is a game.

Art is my air
Art is my heart
Art brings us together
And tears us apart,
Art is all I know
It’s all I forgot
It’s all I could want
And all that I got
It’s all that I feel
And more than everything else
It’s love and it’s passion,
Freedom and strength.
brandon nagley Aug 2015
(Niamh Price), this is thy own dedication, thy shortened sentences art lovely, they showeth me mine homeland of Ireland, wherein the druids didst roam, wherein tales went back far and old, as niamh thy soul I feeleth its pain, yet soo amazing thou art friend.

(Gary L), this one is thine own writing, sir, thy friendship is inviting, thy lyrical sense is enticing, as thou doth speak truth when thou seeith it, never quit! On thy works and on thineself, thou art who thou art, a beautiful man, with timeless knowledge.

(SPT), this poem is for thou as a treat, I feeleth thine anguish mix in with thy compassion, thou art a hopeful mansion, filled with words of someone who hath lived age's, thy pages art touching, and I thank thee for thy support and guiding me through h.p.

(Ignatius Hosiana), brother thou art a hopeless romantic like me, hoping for his queen, seeing her only in thine dream's, yet as we scream, as brother's we doth unite! In color of skin's, black and white we overcometh the ideology of hatred, loving the hater.

(Dedpoet), mine Mexican friend, how canst I not loveth thee, thy word's dark, ghetto, and deep, as I've been around hood part's to knoweth enough, the most beauty LIES awake in the hood, the places the rich men overlook, is wherein the eyes of God art .

(Wonderman poetry), brother thy words of Christ uplift me, not a perfect being mineself, thyself showeth me the light in the darkness and thus when I'm down, thine godly loving giveth me help, as thou knoweth brother, love and forgives as Christ taught!

(poetessa diabolica), word's that thou uses art so complex, for thee so I respect, for all thy love thou hath given me, the hope that thou planted me, to showeth me, God still lingers in man's soul's, despite the devil trying to rear around, I thankest thou poetess...

(Donna,) thine little haiku's art a piece of the celestial, thy pieces extraterrestrial, and high up the Angels weep to thy words. Like cures and herbs they giveth me a better day to look to, as like glass, beautiful the words thou uses floweth to heavens moon!

(Rosalind Heather Alexander), speechless I am to thy grace, a Scottish lass as me part Scottish blob and mass, lol, just saying , two bloods of the same kind, now thou art writing thy soul out, keepeth it divine, thy soul canst not go rewind, so love on ahead.

(Soul-survivor), old friend, as we both preach the same predictions shalt we worry of ourn end? No, we shalt continue to showeth love, and giveth others hope, than when we die the Graves not it, but that God's love over-rose, so shalt we, auntie as I calleth thee.

(Icysky), young one please do not cry, the boy's canst seeith the fine stitching God made thee as, thou hath a vessel of rubies, and thou art like a wonderful movie, fast tracked to the best part, icy, let noone breaketh thine heart, and let thy lord guideth thee .

(Joe Malgeri), a freak hippy like me, playing music to the sun, giving lectures highly and fun, thou wilt find a queen like me one day, continue to haveth class, play tunes by night, showeth thy genuine ways. As thou doth, wonderful supporter, HP gypsie!!!

(Anthony Mooney,) an Irish hopeless romantic like me, thy soul hath beauty friend, let not hate overtake, bypass the anger and the heartbreak. Let thy pen jot down thy beauty, making the earth quake, unlike others dear mate, thou hath high class.

(Wolf spirit) ( aka quin,)though we don't talk, I loveth thee mine friend, though even thou doth not like me, thou art one of mine biggest inspiration's, thou art a true passionate, amongst the tribal nations, as I am Cherokee part mineself, thou inspireth me.

(Chris green, )affectionate of the the earth, thy woman Is lucky to haveth a poet by birth, for thy words drip like honey on a summer night, Chris friend, wonderful delight, I thank thee for kindness, for thy hope in refinement, and thou art a king of love.

(Pradip Chattopadhyay,) a man who canst writeth in all perspective, thy profile picture maketh me giggle everytime I seeith it, ( in a good way friend) I loveth thy style, and sense of humor, how thou writeth, and doesn't listen to rumors, a poet!!!

(Dark icE,) I just met thee, but thy sensuality is so delighting and like a dream, thy words sucketh me in as I canst ever get out, thy amour in poem's is a cloud, on which I linger for more of its nectar wet taste, immense in this place, unlike the human race.

(Beth StClair), mine best friend if back in the sixties, we wouldst hath layed flower's around ourn necks and head's, we wouldst hath sang the tunes of the Beatles and the dead, as I wouldst hath sung with Lennon, and zeppelin and thou wouldst hath watched.

(Vicki,) I've already wrote for thou and beth, but thou two art the best, Vicki in the crumby state of Ohio like me(lol) though me and thou aren't from here (were Angels of earth's dream's) thou art a poetic of kings and queens, thou art kind, sweet, and a a peace.

(Impeccable Space Poetess,) thy writing is like thunder. Maketh me laugh cry and rolleth over, I read again, like a books beautiful cover, thou art a friend, a poetry lover. Thou hath intelligence of God and heaven, never let man break thee or hurt thee.poetic!!!

(POETIC T,) a spirit light as a feather, free not a slave, not of this world, a man not a boy, thou hath been through strife and abuse, thy hands art not bound, thou hath cut the noose, please don't leaveth us, we all careth for thee. Friend of mine. And HP.
This is for some poets for now. Gonna make another one in little bit for more lol... Took forever for this!!!!!! Part two coming lol.. And BTW for others I love on here don't get upset *** u aren't in poem yet this is part one... More people to come lol and for u who who see I even use people I love in here who don't like me at all but fact is I love them I don't need noones approval can just show love (:::
Jester Feb 2018
Ugly is beautiful, ugly is under the pretty skin and colors we wear.

When one thinks of art and the beauty of words it must always sound nice, it must follow and follow traditional laws of language;
**** that.

Art is an expression of self and soul is it not?
Humans don’t all have beauty in them, humans don’t always have some wonderful soul or righteous heart, so why should all art show the beauty of life?

Why not mock the beauty? Why not admit that sometimes we’re ugly, sometimes we’re crass, cold and vile?
Are we not all we are? Do our life experiences not shape and make us?

Life is not perfect and we all have pitfalls, everyone is flawed yet when it comes to art we deny the fact and mask it by saying “art reflects the tragedy” or “I use art to express my pain” and in that way, we make it romantic, but what if, we just showed it as it is.
What if we just said exactly what we’re feeling, what we’re thinking, what we want?

Must we use the beauty of words and paint and rock to hide our shame, or fear, to mask our greed and lust?
Sometimes people aren’t pretty, sometimes they have no soul, so what if some art was ugly?

What if I didn’t use proper words or language
Or started to; break up words by what-ever means I saw fit for the piece?

It would confuse, it would anger, it would look bad.
But that would be closer to human than always trying to turn some act of woe into some poetic moment.
For a moment reject the beauty, reject the urge to be clever or pristine, smear some mud across the page, ugly can be beautiful in itself because ugly is just that.

You are not the best, you are not the best looking, the fastest, the strongest, smartest, you do not know everything- so it would make sense that art at times should be flawed, that art should be ugly and broken, that art should offend you at times.
There is a humbleness to be found in ugly art, in art that is raw and exposed.
Once you take away the fluff that people are attracted to, once you strip her down and expose what she is, you may find that while some art is a flawless figure in her **** skin- other art may be torn, ripped and festering with disease but she’s not hiding anything in that moment- and on top of that. She doesn’t care.
Why should every poem sound nice?
Why should art have rules and laws?

Of course, we must have laws and standards, of course we must have laws and rules HOWEVER in times and for somethings- breaking that mold, stepping outside of the box, that is needed.
I say ugly art hides nothing and shows everything, pure surface value with no hidden meaning or deeper philosophy, which won’t do for some people.

Some people will rip art apart to understand its meaning refusing to believe in face value because they can’t understand the face value of ugly, they have to have something pretty, they have to have something clever or witty or something they can cling to as being elite as if that somehow places them above the social stature at which they reside.

Trust in ugly art, trust in unpoetic words, trust in blemished statues, trust in unpolished raw music, trust in ugly from time to time.
From the upcoming book IV
From the kingdom of death thou wildly run,
as though to die not; as though all shall be fun.
Even though thou might not be as fine as mine,
And hesitate once not, like many other minds.
Under the staggering sun thou art the sun itself;
Unlike the universe any mortal shall never have.
To thee but heaven shall never be adequate,
To thee whom fate shall not mind; but dare not ever bend.
Thou, who deemeth everything is futile and late;
Thou, who hath neither words nor poetry in thy hand.
Thou art at times like a piece of youthful innocent art,
Which amorous feeble hands long to tear apart.
Like a flower t'at grows on the window behind the curtain,
Thou shall return to youth, and be younger-every now and then;
For with thy playfulness thou shall bitterly mock Determination;
Whilst thy childishness shall help thee dream of, and silently miss Salvation.

And whenst all t'is business is to say goodbye;
Thou shall still stay, forever and never die.
For thou art undead, and forever and ever immortal,
No stab canst wound thee, as no torpid wound of thine fatal.
Thou art a fatal prince-yes, a wicked, wicked heir;
Heir of cheerfulness-of a soul so full of spirits yet fairness.
Ah! And so thus thou shall leave behind not t'is worldly affair,
Thou shall be eternally bent upon it, and makest of it, thy happiness.
And when at the very end, all dead souls should awaken and retaliate,
Thou shall stay calmly and twitch not by heaven's wooden gate.
Thy agelessness is a mirage no blunt living soul can afford;
Thou art infallible, unlike the decrees of our dear Lord,
For thou shall never dwell among a thousand earths
And be lain among lilies and roses yonder, of irrevocable green hearth.
Thou art, in any midst of grievousness, cold with mirth;
When there is no more born thou art blessed with anew, birth.

Thus thou art forever unsinned, and shall be so gullible;
Thou art an adult inside; 'spite appearing so weak and feeble.
People canst, by thy comely appearance, fall deaf and misunderstand,
Thinking thee a ruddy friend; a robust and sincere fellow.
But thou art indeed, and in truth-a witty and good-hearted man,
As bold and ever unhesitant, but caring and good-willed, as tomorrow.
Thy naivety thus fights against, and befalls any mercilessness,
Thy delight is but our timid society's frank joyfulness.
And every song is benignly rooted in the delicacy of thy tongue,
To whom thy streams of love, as well as hate, shall belong.
But again, more and more loving hearts shall complain-
For when they fade and ought to disappear; thou shall firmly remain.
And duly thou defeat for evermore any tainted miserable heart,
Especially hearts that hath no beat when they supposedly beat, and are alive.
For thy heart is as fresh, and inevitable-like a solitary work of art,
But innocent and intelligent-like a young sword; or the neat blade, of a cold knife.

So whatever love claims to be love-which is too proud, though clear and sanguine;
Is not at all, or by any chance-pure, tolerable, nor delightfully keen;
For love is not the same as pleasure-as pleasure is not love,
Love is the one no senses canst touch-nor for pride move.
Ah, thee, we canst but teach thee more lessons of love itself;
For there are more than our anxious souls canst tell;
Love is not something t'at canst one satisfy, nor is for one to drink;
For any to satisfy or drink is yon that makes oneself sink.
I figurest above are imminent to thy knowing;
For thou shall still mature more; and be independent in thy living.
For family is still more essential than any money or gold;
To which we humans oftentimes too sternly hold.
Ah, but thy journey is still upwards and steep as a hill;
An endlessness our mortality is but too scared to feel.
So be wise and fill thyself with rich wisdom likewise;
And as thy findeth bitterness on due roads-turn to poetry, and seek its advice.

And so to thee hath a world of supremacy be assigned,
So thus I entreat-t'at be with thee all the reciprocal goodness-and dexterity!
Ah, and by thy cleverness shall all be mutually aligned,
For naive thou art still, about the very course of extremity!
But severity shall not burden thee, as to thy endurance and good will,
Thy willingness to share, and rely and lean on how such fellows feel.
Thou refilleth 'em always, with endless and plentiful splendours,
Thou cheereth 'eir minutes, and stay comely at all 'eir breathing hours.
As every single day's dates themselves, thou art undeniable;
Thou art real in thy eternity, though sometimes unbelievable;
Thou art worth all the bogs who are so merrily singing-
Thou art so graceful, thou art everything!
As in both reality and dreams thou art present,
Thou who art obscure; but coincidentally, sharp and inherent!
Ah, thee, thus I hope t'at every poem-such as t'is, shall make thee even more truthful;
For poetry itself is relief; and our most reliable urge to be brave, and thoughtful.
You are somewhere but you're hidden there;
You are with me in my every step.
I cannot see you yet I feel;
I cannot sense you yet I hear.

You are the shade no-one can catch;
You are the force they cannot make.
You are behind their pale shadows;
The one they're too tired to know.

You are in every flavour t'at I taste;
You live in every drop t'at I drink.
You breathe in every move I make;
You stay with me and ne'er fall apart.

You are the leaf of my autumn shade;
The emeralds of my summer gem.
The orchids of my cold jade stones;
The tulips of my skin and bones.

You are for whom I feel feeble;
You are for whom I have felt hurt.
You are for whom I endure pains;
You are for whom I hate.

But in your presence t'ere's no hate;
For with you there, then love is just love;
Love and hate are like dust and water;
They are separate, and not to be together;

And in your presence t'ere's no fear;
For tears turn into sweet poems t'at I hear;
And t'ose bleak midnight dreams shalt end;
Whenst in your arms, my very best friend.

And you are told once more and again;
By my untouched love and laughters;
From my untold hands and right words;
From the eyes of insane poetry.

And you are there, all over again;
You make things right whenst they do not;
You are in the cold tales I make;
You saw my first love bloom and grow.

You are in my words and prayers;
In the dreams t'at live forever.
You are the strength t'at makes me write;
You are in me all through the day and night.

You are my blood and my sacrifice;
You are my truth, honesty, and lies;
You are my moon, stars, and my hectic skies;
Your soul is mine and shalt ne'er die.

You are the hate and filth t'at I say;
The happiness t'at comes in my way;
You are on my mind night and day;
You are my poem in April and May.

You are my eggplant and cherry tree;
My green lime and sweet strawberry.
My purple lavender and rose;
My morning dew and midnight gloss.

You are the green moors I walk on;
The curved path I always stride on.
That my heart beats when I am beside you;
With a love genuine and passion so true.

You are the sun by my clouded grass;
The light t'at soften hearts' anger;
The love behind one's gritted teeth;
The truth behind deformed false mirth.

You are my ginkgo tree and peach;
The shine among the filth and foul.
My savour sea and fragrant beach;
Cure for the darkness of my soul.

You are my summer and fall tales;
My exact said and written words.
The blood and flesh of my red cells;
The light and promise of my worlds.

You are in my skin and my mind;
You need just love to make me blind.
You are in my ears and my hair;
I feel your presence everywhere.

You are the miracles that I see;
The poetry God carries with me.
The dramas I sing of and write;
The true love that makes things sound right.

You are the one lie that sounds true;
The ******* ****** heart desires.
The essence of my breath and *******;
The frank lust of mine in the West.

You are the thirst my heart falls for;
You are the rain that soaks it wet.
You are the fertile grass it grows;
The autumnal tears that it sheds.

You are the kite that soars up high;
And I shalt be your protective shield.
And whenst you fall with your knee wounded,
My poem's the very drop that makes it heal.

And it speaks of you with sanity;
And misses you with high verity.
And with such warmth t'at is still mine;
It longs to keep you in the heart and mind.

It's thus the immortal in you;
T'at makes it sees with clarity.
T'at it loves you eternally;
T'at it seeks you again and again.

T'at it wants you all over again;
T'at it wants you for no clean reason.
T'at it wants you now and once more;
T'at it wants you like never before.

T'at it loves you like it loves itself;
T'at it loves you with no falsehood.
T'at it loves you like it loves life;
T'at it loves you and shall die for you.

Ah, Immortal, whatfore art thou doing t'is dark afternoon?
My heart is alone in abrupt silence;
And it wants to disturb thee again;
It wants to run after and play with you.

Ah, Immortal, but doth thou tread some-times, on our fav'rite green path?
The one smelling like musk and red berries;
The one thou took to the most;
On which thou called me whenst thou got lost.

Ah, Immortal, and I ran fast like a blind nymphet;
For I was afraid of finding thee not;
Ah, I was in a ruffle skirt and with my poetry book;
Thou said I's pretty after one brief look.

Ah, Immortal, and we crafted one dusk ode together;
And t'at dusk grew more beautiful altogether;
With a soul as handsome as thine by my side;
Brightened by the streets' thrilling fluorescent light.

Ah, Immortal, and so I've written another ode today;
T'at maketh me remember everything without delay;
All joy t'at we had t'at night, on t'at lil' path;
A portrait of once live, but now vanished worlds.

Ah, Immortal, and such an ode maketh me smile again;
It feels like thou art here, my lover and best friend;
And the only lover I shalt ever run for;
The only man for whom my heart beats fast.

Ah, Immortal, and nothing is sweeter t'an t'is green ode;
A piece of innocent poem t'at thou shalt like;
Just like the ones thou always read;
By my side, with thy head laid by my orange lap.

Ah, Immortal, and nothing is more honest than my own poems;
For it thinks absurd not, of what is absurd;
Like t'is immortal passion it feels for thee;
Ah, for thy soul t'at too is immortal.

Ah, Immortal, but now that I've written this poem;
I shalt retreat to a peaceful rest;
I've laid about what's within my chest;
I'm ready for a sleep's endless virtual doom.

Ah, Immortal, and you wilt say in my oblivion;
T'at I have reached my destination;
The very place where there's no thee;
The desolate ice with thee gone.

Ah, Immortal, and you wilt sit in my unconscience;
Keep me asleep in my confusion;
T'at I escape, and escape not from my guilt;
T'is endless guilt of loving thee.

Ah, Immortal, to whom I still love, and love again;
Whom t'is very heart still adores;
For whom my prayers still breathe;
And for whom my tears still flow.

Ah, Immortal, and you wilt dream in my limbo;
Of a dream t'at leaves me conscious;
T'at there's no more love between I and thou;
A love t'at once made our hearts luminous.

Ah, Immortal, and you wilt rock me back and forth;
'Till I but wake again to this world;
And the horrid sands of Yorkshire;
Where I smellest none but dire loneliness.

Ah, Immortal, but dream of me—make me unaware;
And let t'is love for thee step forward;
Sending me back my triumph;
Shoving me up with virility.

Ah, Immortal, let such a bashful moon distract me;
But turn me not about my long sleep;
And with its horns slaughter my love;
That I shalt wake up loved and unloved.

Ah, Immortal, let the grim grimace slander me;
Let t'is love for thee hinder me;
But ****** not my love for thee;
And the longing for thee to be by my side.

Ah, Immortal, and stay with me but in my words;
T'at I am able to tackle the worlds;
To **** its failed virtues and vice;
Its cruel pride and fatal conventions;

Ah, Immortal, thou canst feed me through my bare poems;
And attend more of my illusions;
Take to my imaginations;
Breathe through the words and circles I draw.

Ah, Immortal, thou canst witness my weird footsteps;
Sleep on my imaginary lap,
And leave thy heart to me by one side,
T'at I canst but rub and play with it again.

Ah, Immortal, and thou canst leave to me your heartbeat;
And I wilt adorn it with warm heat;
That like you are, it shalt stay immortal;
Like a love poem I'll craft in fall.

Ah, Immortal, and thou canst leave me thy love to me;
T'at I shalt kiss and cheer it every day;
For it has more than what I have to say;
For it speaks to me with proud sanctity.

Ah, Immortal, and thou canst leave thy hours to me;
T'at I canst write you a good poem;
A poem t'at breathes through thy chest and hands;
T'at thou canst feel my presence again.

Ah, Immortal, and thou outta' leave thy blood to me;
T'at I canst shield, I canst protect it;
T'at I shalt act like its owner,
With a thousand smiles and promises.

Ah, Immortal, and thou canst leave thy flesh to me;
T'at I canst heal and empower it;
T'at I canst cast spells on its wounds;
T'at it shan't dwell rott'n forever.

Ah, Immortal, and thou canst leave thy doom to me;
T'at I can retrieve your old laugh;
Although I'm young and I am not her;
I'll love you again and again, more than ever.

Ah, Immortal, and thou canst be mortal to me;
But I shalt still call you my immortal;
Like I once did when we were young;
With the blossoms of love in our hearts.

Ah, Immortal, and thou wilt see my promise is true;
I'll shed my blood and flesh for you;
From such shalt flow fresh spring water;
T'at shalt heal thy cracked wounds and lungs.

Ah, Immortal, and thou wilt see my love's not a lie;
For if thou rot, then I too shalt die;
For my gripped breath too shalt be broken;
For my vain heart too shalt die hurt.

Ah, Immortal, and thou wilt see thou art my heartbeat;
Thou art part of me and my wit;
For t'ere's no poem but one about you;
For t'ere's no dream but of our first love.

Ah, Immortal, and thou wilt see thou art my thousand skies;
For t'ere's no love but by your side;
And no words written but for thee;
Thou art the voice of my clarity.

Ah, Immortal, and thou wilt see thou art my life;
Thou art inside me as thou wished;
Thou art a breath t'at withers not;
Thou art a thought t'at leaves me not.

Ah, Immortal, and thou wilt see I shalt not wander;
My love for thee is clear and again;
And one intact, and whole, and untorn;
And one civil, and pure, and unburnt;
Thou art my light, my cold fire and warm ice.

Ah, Immortal, and thou wilt see t'at my love is chaste;
For whenst betrayed, it betrays not;
For it cuts not our story short;
For it stays with thee still, in blood and flesh;
For it thinks of you yet, in its wake and rest.

Ah, Immortal, and thou wilt see my love is genuine;
For it shoulders guilt on its own;
A guilt t'at comes from loving thee;
For loving you is what makes it live.

Ah, Immortal, and thou wilt see my love lives forever;
For thy remembrance gives it breath;
And thy memory frays its hate;
You are the love t'at's ne'er too late.

Ah, Immortal, and thou wilt see thou'rt my perfection;
Thou attend my poetic arts and visions;
Thou art the precision it makes;
The decision it firms hard life on.

Ah, Immortal, and it screams for you by its walls;
And calls your name again and again;
T'at it keeps you in a heartbeat;
T'at it shalt seek you in its every sense.

Ah, Immortal, and thou wilt see my love is not hate;
For it knows not what hate is itself;
Like it knows not hatred on its own;
For it knows only bland virtues.

Ah, Immortal, so thou wilt see my passion is true;
T'at this etched love is not a disease;
T'at my love shalt hatch again and again;
Give birth to frank newborn poems and thoughts.

Ah, Immortal, and so being alone tortures me;
It renders me dead and my sanity;
Like an empty chair in its solitude;
I sing to myself, and no Eolian lute;

Ah, Immortal, and thou wilt see by my virile sense;
T'at I longeth for thee again and again;
T'at thou'rt the thought I verily ponder;
T'at thou'rt the only love I embrace.

Ah, Immortal, and I'll embrace thee again and again;
No matter how long, nor how many times;
My insane guilt is in loving thee not;
And knowing not how to tell of thy love.

Ah, Immortal, so I shalt proceed but to love thee;
And keep thee alive in my heart and mind;
And keep thee breathing in my story;
A story t'at, I hope, comes back alive one day.

Ah, Immortal, and thou see my nonsense is true;
Though full of holes and discolours;
Telling words is to me obligatory;
For it keeps my love in order.

Ah, Immortal, and t'ese diffused hues are but thine;
Just like my whole journal of tales;
T'at I shalt recall with virtues;
Because 'tis t'ere—t'at promise of mine.

Ah, Immortal, so thou'rt my artistic vision;
My endemic paints and phrases;
My arts' reposes and relapses;
My chanted spells all over the place.

Ah, Immortal, I craft thy poems with precision;
T'at all is unique in their nature and order;
T'at it preserves love and enigmas;
And so it preserves for you, just what you love.

Ah, Immortal, and I tell my tales with perfection;
T'at thou become my whole saturations;
Thou owneth the major gold'n utopias;
And preserve still, t'ese hovering dystopias!

Ah, Immortal, and I've seen in thee such myopic senses,
T'at what is iconic seems atomic,
T'at what is static seems dynamic,
Ah, but all seem such—in thee!

Ah, Immortal, I've too seen in thee such pictures;
Pictorial and ethereal in such a sense;
But malevolently, and fervently true;
Ah, Immortal, thou art my powerful hero!

Ah, Immortal, thou art the magic of my art;
The very clay of earth I step on;
The very suit of life I wear on;
The immortal mind among those mortal!

Ah, Immortal, thou art the soil of my being;
The very breath that I leave awake;
The primary cause I think of;
My multitude of secret reasons!

Ah, Immortal, and I want but' make thee—make thee mine;
We canst drink together and feast;
On t'is love and artistic gleams;
Of  joyed literary and poetic pleasures!

Ah, Immortal, and our young souls shall ne'er decay;
We hath more than t'is world shall say;
We own even more in our poetry;
We own every part of immortality!

Aye, Immortal, and thou wilt see my virtues are true;
I lied not to thee and about our love;
For our love is what art canst portray;
Whilst art itself is my pal and friend!

Aye, Immortal, and thou wilt witness my plain truth;
For t'ere's no mirrored truth than thine;
And even the truth of wan reality;
The reality of joy, tears, and gloom.

Aye, Immortal, and thus thou wilt admit 'tis mine;
Thy very heart and eternal conscience;
Thy cordial mind and vast concerns;
Aye, such are all—all mine, my darling dear!

Aye, Immortal, and thus thou wilt confess such's mine;
Thy very mind and ordinary senses;
And too thy literary and recreational thoughts;
Ah, and thy visions too are mine, my gorgeous dear!

Aye, Immortal, so such is a tale of my love;
T'at brews and boils just because of thee;
T'at loves and hates within thy spheres;
T'at cries and mourns whenst thou art gone!

Aye, Immortal, and thou hath seen what true love's like;
Just like the one I hath for thee;
And I want thee more like I want autumn;
I adore thee more like I do winter!

Aye, Immortal, how canst I find true love then;
Whenst all is blurry and clear not;
With thee gone and my poetry cut short;
I shalt but dream not of marriage!

Aye, Immortal, for such wedded bliss is with thine;
The king of my heart, *******, and mind;
The fairytale I read again and again;
The one old song I keep'n singing thru!

Aye, Immortal, and I longeth for thee just like t'at;
My love hides behind every labyrinth;
Where'n t'ere are green and red and gray clouds;
Where'n poetry is recited out loud!

Ah, Immortal, and thou'th seen t'ere's no-one but thou;
Thou'rt the simplistic art I seek;
The one I'm with whenst strong and weak;
The dream I hath, every day of the week!

Ah, Immortal, and so t'is naughty ode is genuine;
For 'tis mere' thy heart it longeth to win;
T'at it ever boasts proudly of;
T'at it ever wants to get, and again!

Ah, Immortal, and so t'ere's no heart but t'at' thine;
To be entwined with t'at of mine;
To be accounted down the line;
The one I speak of, and I hide behind!

Ah, Immortal, and thus t'ese phrases are but true;
For t'ere's no hero nor villain like you;
Who knows much 'bout truth and untruth;
Who sang perfectly 'bout our own youth.

Ah, Immortal, and thus t'is pleasure is all thine;
Physical and mental and of all designs;
For thou owneth my whole love labyrinth;
And all the tasty scents in its maze.

Ah, Immortal, and thus all t'is poetry is thine;
Just like my severed soul and breath;
For without thee, all t'ese dreams are but of death;
A dream of grief, t'at I shan't find rest;

And Immortal, thus t'is longing is thine;
For thou only canst amend such dreams;
And brings to it candlelight rainbows;
Just like the promise of my true love.

Ah, Immortal, and thou shalt see my plain love is true;
For it fails just anyone but you;
And thus I want thee here with me;
I want thee still, like ever before.
Mr Uncanny Oct 2018
Art derives in an array of forms
Mother’s art is in dancing
Father’s art is in drawing
Sister’s art is in drawing
Niece’s art is in drawing

But where is my art?
Do I lack skill?
I cannot draw
I cannot dance
Am I just genetically flawed to not be artistic?

NO

My art is in my writing
My art is in the ability to take apart a computer and rebuild it
My art is in education
My art is MY ART

Art is the freedom to express oneself
Art is being able to put emotions to what you are doing
My art just isn't at the same level as others
My art is MY ART

The passion
The flow
The elegance of writing
Is MY ART

So if you ever cast doubt on yourself
If you ever wonder what you have to offer
Just remember
YOUR ART is what you love to do
You are an artist in your own way
I used to compare myself to my family. I used to think I had no artist skill, but I really sat down and learned my art is in my writing
leinstinct Nov 2016
Art is not an element
Art is not an object
Art is soul and heart depicted
Art is the subjectivity of the objective
Art is love and all the beauty
Art transends reason and logic
Art is pure abstractal medicine
Art is expression and entertainment
Art is life and death conjucture
Art is an everlasting ******
Art is to our souls as what oxygen is to our lungs
Art is pleasure and pain conjucture
Art is an everlasting ******
Art is life beauty and escence
Art is perception attitude and perspective
Art is life
Art is love
brandon nagley Aug 2015
(Deborah) an old style poetic as me, thy words about empresses, kings and queens, is mine sort of style, thy writing is beautiful untamed and shalt never die in any mile. Thy writing like heaven passed down from Shakesperian words himself, true poetic!!!

( Aarvie) thou art a true of truest romantic's, as I seeith in thine pieces of heaven, its good to see other hopeless romantic's as me, I prayeth the best for thee and thy life, continue to loveth in both of thine dreams and reality, and be the king as thou art mate.

( Elsa angelica) angel to all of us, though we've not spoken in day's, just wanted to tell thee, for thee nightly I prayeth, as thou feeleth so alone, God awaits thee, for heaven's thine home, as I've said I've known thee long ago, continue to shine on, dear Angel.

( Earl Jane) dear oriental friend of mine, thy love and heart shineth above the hellish earth, thou was sent to love and forgive, and overcometh the judgement of the one's who art hurt, showeth them amour', smile and uplift as thou doth me friend.

( KetomaRose) miss, thy words lonely like me, I prayeth one day that thou findeth a king, because there's a difference between men and kings, men calleth a woman "woman", kings calleth one queen, continue to be who thou art, and one day. Get that ring!!

( Musfiq us shaleheen) dearest writing champion, thy words like butter giveth flavor to mine tongue, thy artwork's art as gods finger's stroking the sun, class thou hath, and a loving àura I canst seeith shine, like wine to mine doorstep of poetry mate.

( Anto MacRuairidh) haven't known thee to long dearest poetic, but thy word's of love rub me in a friendly alphabetic way. Continue to jot love now, tommorrow,  today, in every way continue to be the genius thou art, and remember, love is real!!!

( Katie) new to h.p, welcome mine friend, thank thee for supporting me, thy words ring across England, it rings the bell of the USA, Ireland, and the united kingdom, thou art kind, sweet, a good soul anyone wouldst want to meet. Continue thy blossoming

( Steven Langhorst) friend, always writing of thy good times and bad, the times that meant all to thee, and times thou hath hadst. Thou art a truest poetic honesty! A man of devout poetry belief, continue to love thy family, and showeth amour to all as thou art

( Victoria) another lass with class, a lady whos great, no questions to ask, thy old soul is fastened on with a pen and Papyrus to scribe thine beauties, thy artwork like movies, dancing the HP scenes, putting realness in dreams, decor thou writeth.

( Toreinss Pinwinkel III) hey good man, don't knoweth thee much, but thou art a comic, a friend of men, an honest lad, like an ex hippy gypsie, or a wonderful lad, thy words art heart forming, thy words mold into treasures that speaketh to me.

( neex) thy amare speaketh to mine soul, as everyone loveth thee, thy lingo like gold, thou showeth bright in this place of h.p . continue to loveth, forget the hatred and doeth as thou doth please, just don't forget like the rest, continue in thy love friend!

( cat Fiske) thou hath known me since the beginning friend, thou hath even made a room called" the poems Brandon writeth for us" meaning for all the girls who like mine work' lol, thank thee dear friend, keepeth thy head up, knoweth God is with thee now.

( Mina) Iranian charmstress, a best friend to me, and a world of loving ways thou art, as thou wilt meet thy king, just remember, when ourn countries and government's acteth as hating brutes, remember God is watching, and he's been there protecting to.

( Matt) this ones for thee prophetic as me, speaking of the economy's ending, friend continue just to trusteth thy God, and in love showeth Christ's love is affectionate, not deadly! Be ready for his coming dearest good friend, thou wilt find thy queen to.

( Jimmy yetts) this one for thee brother, thy word's art comical and at the same time so much truth, thou art a poet free. Not a slave, not In some noose, thine hand writeth what others need to heareth, that's a a prophetic to me, continue on friend of h.p.

( ridicule) I knoweth that's not thy real picture, yet I knoweth thou aren't fake, continue even if in secrecy to showeth thy words of beauty, and showeth thy heartbreak, as thou wilt find thy good king to, continue in love as the rest, ad thou art blessed!

(SweetPea) poetic so saccharine, I promise thee one day thy pains shalt cease, as this life hath pains and dreams, but reality for thee wilt be awoken, God wilt flyeth thee to places unspoken, aloft the clouds wherein thou shalt write. Thou art a dearest of good invite

( its gonna make sense) this ones for thee mine dearest little line writer, thy tiny confection treats art sweet to mine tongue, like pastrys filled with such goodness. Continue to search on for thy king, though only taketh him if he hath armour, a shining knight


( Frank Ruland) madman of writing, as thy jargon is enticing and I always want to take a peep, though dont knoweth thee well either, thy words like Clover's. Hard to find other words. Continue to loveth for thine queen, let words floweth like herbs.

( Nicole) a gentle soul, like a stream that surrounds the lonely banks, let thy words sink into the heart of the lonesome. Continue to shock in awe and inspiration, when thou art down cometh here to gain above. For God watches his children as many doves.

( Helena) the thief of wonder of words, don't worry thy words art heard, as I listen loud and clear. I freely feeleth thy tears cometh out in thy personal moments, like butterfly's thine writings flyeth on to the moon and back, as thou I hath as mine good friend...
This is part two of dedication series lots of people here.... More to come lolll one last one after this ugh took forever lol enjoy
What is love, and what is love not?
That my heart I hath left not;
In anguish, still doth I think of thee,
To hold thee still like I didst once.

What is pain, and what is pain not?
That love is but keen to tell me not;
To consume a raging fire, with a chilly kiss,
To redeem such sunny sins in a loving bliss.

What is blue, and what is blue not?
That I writ not about blue this morning;
The flattered sun hath turned me ill,
I know not how to chill, nor feel.

What is hate, and what is hate not?
To what I see, and what I see not
All must hath been a writhing story
In the genial lies of hungry beauty.

What is a poet, and what is she not?
To what the worlds touch, nor touch not;
All is tales in her lavish charity,
One that most hearts shan't tell.

What is hatred, and what is its enemy?
To what I hear, and what I hear not;
Thou, my love, I saw thee in the forsaken winds
Too full and ecstatic in the realm of meanness.

I'd dream again of the young teal stars
With good and evil in their innocent hearts;
But who else present is to read my tale,
I hath far more words to writ and tell.

I'd think again of the corrupted moon
Roam around the seal of its disrupted circle
I'd catch the culprit behind our pale love
Restore the unmerited view, until all dies.

I hath a longing for a turquoise season
Whose rains hath been but dark and blue
There is no word for t'is reason
Why I loathe 'em all and miss you.

What are tears and what are tears not;
Those that are false and false not,
Those with ugly chords within their hearts
Those with imbecile likes and lively truth.

What are tears and what are tears not;
Tears that stay and stay not,
Tears that can see, but never make haste
Tears that live on and stay chaste.

What are scars and what are scars not;
They who bear contempt to heal,
They who judge, and listen not to us
They who neither leave nor say goodbye.

What are bruises and what are bruises not;
That we are all known for our wounds
Not for our dreams nor real misery
That injuries oft' linger in the bleeding hearts.

I'd dream again of molested shadows;
Those who know hell but not heaven,
Those who hath been heirs of tomorrow
Those who are not told nor seen.

I'd come again in the long run;
In a spectre low, childish and brown,
I hath lent my words and sick arrows to the night
That thou shalt not see me by my dripping light.

I'd have the skies distort my melodies;
With such disgrace they hath buried in me
That my youth shall become sallow and pass away
That it hath been here never, nor today.

I'd have the joys too hard to bequeath;
That they shalt die by the roses' prickly thorns,
I would miss you by the moon and again
I hath failed to love, to make love right for me.

I'd have the delight too riveting for us;
That of the night it hath but no art to absorb,
That no joy shalt be perfect to last,
That all that is mortal shalt have no hope.

I'd have my desires killed, and made to die;
That I could soon begin quivering again,
When time grew wild, I'd give up and lie
I'd perch on white dew and await death's rain.

I'd have my hunger halted, and await to fast;
For winter is not until the pouring rain
And part of my flesh hath the sun passed
A pleasing eerieness to all, and common man.

And in such haste no-one shalt but halt me;
Nor take my good that I ought to do,
I'd sink into my art and feel at peace,
I'd shrink into glass, I'd shrink in thee.

And in such a mess no-one shalt but settle me;
Nor take my bearings that I ought to mend,
For all is drawings, paints that are mortal
Paints that could die, nor see their blackened tomorrow.

All hath splintered and gone to waste;
But I shalt be awake and ripped chaste,
I shalt have the remnants of my chastity in me,
They shalt tower over me, but I cannot see.

All hath turned giddy, but they love not;
That such precious wails hath waned in time,
That another note hath failed to rhyme,
That our roles shalt ne'er be the same.

All hath smiled wide, but they see not;
For all hath lied with cheeks too random
That eyes cannot see and pick with wisdom,
The handsome prince hath sinned and shriveled away.

All hath been strong, but they ***** in dark;
For they are not to read, nor feel the light,
For art hath blinded who are not right,
For art is for those who forgive.

All hath been charmed, but yet they forget;
For art is for those who bear knowledge,
For art is for those who hath their hearts pledged,
For art is for those who are tame.

All hath been brave, but they care not;
None is too tough to embrace the fail,
None is grace nor hope in their tales,
None is too see an artist's amber kiss.

All hath been white, but still they blind;
For their contours are made of heat,
And rust that hath not been forgiven,
All that are empty, and void of wintry wit.

All is a shade, and thou sought me not;
Thou art the sun so that thou seest not,
Nor the flustered ice that lifts my eyes,
Thou hath burnt me, faltered me in lies.

All is a shadow, and thou a nightmare;
All is too bleak that it seems absurd.
Thou hath turned anew from fair,
Thou hath unleashed the darkest fate.

All is widowed, but thou love me not;
Thou hath loved me not to thy avail,
I hath been left about, and wailed,
Thou left yesterday, but now I cry not.

All is sunrays, and I cannot touch;
For all hath gone to the leveled past,
Thou hesitated in a say that lasts,
I want thou not to haunt me.

All is a promise, and a promise falters;
Thou were brief, but could stay longer,
I saw hindrance in thy cheeks and voice
That art came not onto our stories.

All is a blur, and I shan't see you;
For art is for those who are true,
For those whose souls shan't bear prejudice,
For those who delight in a fair bliss.

All is mortal, and thou art not art;
Thou art not the art I believe,
Nor the poetry I breathe to live,
Nor the love I keep in my heart.

All is lethal, and thou art not my tale;
Thou art not the words I write,
Nor the sandalwood candlelight,
Nor the tales I hath to tell.

All is faithless, and art is enough;
Thou art not the faith I hold on to,
Nor hath thy broken love been true,
Nor the one my art wants to love.
i don't think i would be alive right now if it wasn't for art. art has kept me sane as not just a thing we create, but as a person. because in reality, art is a person, right? i mean, its you and me and the things we like and dislike. the art of poetry and words. the art of painting, drawing. the art of moving on; of falling in love. the art of a chord on a piano and the found of an f sharp on the violin. the art of patience, dignity. sadness, love, hike, realism- its all art. the world in my eyes is a canvas slowly being made into a new form of art.
today, i was in downtown toronto on a school trip with a couple of friends. we were surrounded by vast and tall, tall buildings, and it made me wonder that anything and everything is art. a hand to hold at 4pm. the way skin glides and rubs against skin is deep and intimate art. ugliness is art, for ugly souls have one hell of a harsh character. the rain is art, and so are the tress and churches and its values, our bodies and souls, a piano and sakura trees and essentially all their is - art.
beauty, hope, sadness, love - in the best and worst of people. how extraordinary.

-art.

conceptcollection
I wrote this on April 9th, 2014 as a more of a journal entry than a poem in my book. It is basically what I think about "art", and what the true meaning is. Please comment/favourite if you enjoy it. Thank you.
Tasa Jalbert Oct 2014
The earth with out art is just eh,
and the words I am spewing is music to the ears of all who hear,
poetry is my art,
and it is the art of the broken,
the art of the hurt,
the art of all of us who need to be heard.
Art is the building block of everything in existence,
there is art in the wind and in the clouds,
there is art in your hair and your clothes,
there is art everywhere.
When you can no longer hear the poetry of the world,
and see the art in the earth,
it is then when you lose hope,
you don't see the leaves cascading down in the fall like rain in the spring and snow in winter,
and you don't hear the symphonies of the cars passing by,
and the whistling of the wind whispering to you,
telling you about the beauty the world has to offer.
You see nothing,
and all you hear is silence,
because someone killed your art,
they murdered your poetry in cold blood,
and in the process made you draw blood,
they broke you down with every painful word,
and they chipped away with razor blades,
they tried to make your art disappear,
they tried to cut your poetry out,
but they just just cut you up.
When they tell you your poetry is nothing special,
and your art is just eh,
they are slowly attacking it, attacking you,
your music and art and poetry is you,
when they **** it,
they are killing little pieces of you.
But it is your art,
it is extraordinary,
and your poetry has little pieces of you in it,
so it must be special,
if you let those parts be killed there is just less of you to love,
because someone will think your art is amazing,
and your poetry is genius,
and if you let those pieces be killed and you be scarred,
there will be a little bit less of you for them to love.
Original work by Tasa Jalbert
Craig Reynolds Jul 2010
you do not know art, like i know Art.
though you paraded your passings in public
it was i who, Art, trusted with his secrets
it was my window, that Art, tapped when the arguing began
yes, you may have enjoyed a dinner or engaged in conversation with him
but he never trusted you with paintings of the english language
or pictures worth a thousand songs
you didnt get 6 stitches, with Art, when you tried to climb the tallest tree
to reach out and touch heaven but still fear the fall
you didnt find Art trembling in a bathroom from what he saw
that day. You didnt find Art in broad daylight dancing
to some invisible meter, some transparent beat
you didnt see the patterns left in the steps of his feet
and while you may have gone to the cinema with Art
it was i he forwarded the scripts
to reenact a lifetime of moments
because we, Art and i, wanted a silver lining
something vague, something inspiring
to keep this momentum going
and while you claim to know this being, Art
you have not participated in a drunken brawl
with Art, involving a few rotten Connecticut men
and things not in our control
you haven't discussed eternity and death
with Art, or any of his close friends
and though, i'm sure you may have wish you did
you do not know art, like i do.
Copyright 2009
Leah Apr 2016
My art teacher used to say.
“Don’t add the black paint until you’re ready for a finished product”
and I never listened.
So I painted with my black paint
a little too soon,
a little too much,
a little too dark,
a little too passionate,
a little too addicted,
to the night,
I always enjoyed the starry sky.
My art teacher used to say
“Keit, I know that you love her, I see it, you two are my favorite couple”
and I never listened.
So I broke her heart at night
as she gripped her chest
while I did,
as she hid her heart
while I bit,
as she held her tongue
while I kissed,
as she ran from me,
while I chased.
I always enjoyed the lustful parts,
but I miss the gentle parts more.
My art teacher used to say.
“black is dominance,
black is overwhelming,
and black is torture,
but black must be controlled”
but I never listened.
Because it never made much sense, I didn’t make much sense of anything except for her. I tried to make sense out of a human being, my human being. A lover, my lover, and you know what the trust it all about?
People don’t make sense.
Love has no sense of direction.
People are chaotic.
Love is chaos.
People are nature’s kiss,
Love, the lips.
People are timeless.
Love is timed.
She was natural.
I was the ******* disaster.
There is a quote out there that goes,
and you’ll know why people are named after storms, why hurricanes are named after girls and you know what?
She wasn’t any of those things,
I was.
I was the earthquake that
shook her buildings down
and they crashed into her heart;
that explains the cracks.
I was the wildfire that
burnt through her magical forest
and the rabbit lost more time;
that explains Alice in wonderland.
I was the calm eye of the storm that
had one sweet angle and 20 more reasons to **** her over;
my insides said I love you,
but my outsides and I hate you
that explains the obsession,
this hopeless romantic poetry *******.
I was a flood,
and her eyes the land,
her eyes the gates,
her eyes the drowned city.
I was the big bang,
and her soul the many universes
within universes, the many stars
followed by comet showers,
the wishing stars that never came true,
the first time the moon met the sun,
love at first sight, forever separated,
the moon crashing into the sun,
night and dat never being one
until dawn came and twilight clouds
rained her name and my name
was shot across the enos of lightyears
and no one hears my scream in space
except for her an she does care,
but these type of blackholes
**** up everything!
They destroy everything,
a still painting dripping with black paint and I wanted to lover her
and all of this time I thought
that she was the black paint,
but it was me, who was the paint.
And I took all of her light,
a black hope in space
kissing the suns of my theory
one last time,
into the darkness they went
and back to the darkness
that they came from.
And my art teacher used to say
“Don’t add the black paint until you’re ready for the finished product.”
I finally listened.
So I let go of her a few days ago.
I told myself that I needed to stop.
Stop talking to her like she was
the sunset we all adored
and how her eyes meant the world,
and it it meant that she’d wink
butterflies into the pit of my stomach,
I’d die as a self-imploding star.
So I stopped myself from being
more black paint, I crossed out
her face with my own fingers
and kissed her one last time.
My art teacher used to say
“because this black is undoing, you cannot paint over it with white the black is so dense, it’s raw, it’s real it stops all hints of color under it over and over it. Because this is art and art is life, art is poetry and art is love, because art it everything and anything”
So I became the nights she had to sleep alone, so I became the nights I cried to sleep, so I became free from her love and I finally understood my art teacher, I finally understood my ex.
“Black paint is the purest color and lightest of color if used correctly with the right amount of care and tender”
Add a little black with white
and you’ll have grey.
Add a little black with red
and you you’ll have my bleeding heart.
and a little black and blue
and you’ll have her bruised lips.
And a little black with yellow
and you’ll have her eye color.
add a little black to my soul,
and you’ll have lust.
Add a little black to my heart,
and you’ll have her.
And I could swear I head my art teacher say.
“You’ll let go of her one day when you’re ready, you’ll add red aver all of your paintings because they’ll remind you of her lips, it’ll be you favorite color, you’ll ad blue over your roses because red has too much passion, it’s on fire and sometimes we have to appreciate the beauty of weirdness, poetry and art is weird, the best kind, you’ll add pale yellow for her skin tome and you’ll add dark, dark brown near lonely tree trunks because it’ll remind you of her eyes that cried every night because you didn’t know how to love, young kids finding slipped pants unhooked bras more satisfying than adding black paint to solidify a relationship that could’ve been, and you’ll add your last drop, the finishing touch, you’ll be the black paint, and she’ll be the finished product.”
And I finally listened.
I finally listened to art teacher.
So I let you of, baby.
The world is your canvas
and I was the black paint.
His lips your new black paint,
and you, his unfinished product.
'Tis about time I said goodbye;
to thyself-t'at is but full of deceit, and lies.
Ah, just yesterday, rainbows wert snared by thy eyes;
but soon t'eir soul flickered like a flame, and died.

Ah, thee, th' son of night, and th' beauty of day;
My love for thee was, indeed, more t'an what poems canst say.
Oh, but why didst thou, with a smile so sweet,
flirt with me, as last Monday we w'rt fated t' meet?
My love, thou should'a stayed behind;
if thou wanted me not; with all t'ose secrets
thy so dearly kept and cherished, in thy mind.
I am now th' one to blame;
I am like one infinite morning, whose innocence
led me to believe in th' foreign falsehood of fame.
Ah, as how my heart jumped about like a selfish swan
Whenst thy lips silenced mine; oh, all wert just a good sign!
But how couldst thou stomp away and leave me alone?
Thou bask now, in my seedless cries, raw tears, and scorn;
Thou art cruel, cruel, cruel! Oh-thou filled me with disgust!
Thou art like disdain, and its mean garden;
Yes, thou art a semblance of whose ungratefulness!
Ungrateful and smeared with greedy terror;
Sending sane souls and spines about running with tremor;
And in which t'ere are neither flowers, nor hills, nor mountains
Everything is glaring; everything is burnt-
and under a nightless sky, a pitiful; yet irregular sky,
With rage thou shalt destruct my lavender;
thou art now an enemy, but yesterday a fake lover!
Ah, canst I believe it not-how I first came to love thee,
whenst thou wert just but a soulless entity!
Oh, how stupid I was-yes, too credulous and insipid;
for falling for a mask so infamous, and putrid.
I am now turning away-hopefully I am still late not,
and towards a better lover my whole conscience canst afford.

Ah, thee, but at today's moonless dawn
I sprang from sleep whenst I rigidly dreamed of thee;
I had hoped t'at thy shadow would never show
But kept it venturing to stay t'ere and haunt me.
How I would mock things t'at are stubborn;
t'ese hath I vowed, so deeply and heartily-
ever since I first was born.
Thou art a wicked, wicked witch;
thou treated me like litter;
like I was but a gouty piece of filth.
Thou art bright not, like th' river,
but th' sinned soil and clawed greenness under;
thou art not th' glow thou used to be,
ah, neither art thou th' angel t'at spoke and joked with me.
Thou art mean, mean, mean;
thou art a mean man and creature altogether;
Thou wert once part of my breath;
but now even thinking of thee
shalt goodly fill me with dread, and images
of erotically defeated triumph;
and flavourless, ye' anonymous, death.
But even if thou wert to die, I would grieve not;
for thou art not worthy of any more of my tears;
instead I would raise my hands and sweetly thank our dear Lord;
for returning my pride; and destroying my wounded fears.

Thou shalt from now on-liveth in my mind not,
and in which, in t'is most dignified, though absurd, conscience-
I sweareth t'at thee canst no more rejoice;
for I prefer stopping our unfinished story short;
and I detest now, every bit of thy flesh,
much less th' delusive meanness of thy voice.
Thou art to me but a bad dream,
and thy presence is even less meaningless
t'an a lad's pleading ghost;
Thou art trapped in stillness, as thou may seem,
ah, and may thy sins lead thee only, in th' years
to come, to thy worst.
Thou art worthy not of t'is grand earth!
In a marred graveyard should thy now dwellest,
'fore ruining thyself more, and makest all thy sins 'ven worse.
Ah, thou who art not a being of neither th' West nor East;
as even in God's mind, thou should be th' least,
I dread thee as how His Majesty spurns a fiend;
thou art neither my lover, nor playmate, nor any friend.

I hope by t'is poem th' world shalt see;
how notorious and vicious thou hath been
to one sinless me.
I am just a writer, with t'is poem in my hand-
but despite-I am just a woman, a fragile, and sometimes
infantile; lover and friend.
A lover, to a man worthy of my love;
a loyal friend, to all fellows-thoughtful and honest;
With whom my poetic soul shalt live;
and with whose courage,
t'is loving breath shalt ever thrive, in my left years-
and ever continue to joke, gather, and laugh.
brandon nagley May 2015
Happy art thou who tradeth machinery for flesh lovers,
Happy art thou who push out technology for thine sisters and brothers!!!

Happy art thou who turn in gun's for roses,
Happy art thou who follow thy prophets, Abraham,Issac, Jacob,
Moses!!

Happy art thou who exchange war for true peace,
From west unto east shall thy binding's be treat's!!!

Happy art thou who give hugs and unforgiving kisses,
Happy art thou who miss someone, for I seek mine own Mrs!!

Happy art thou who travel carriageway,train,car, or van,
Happy art thou bikers who as free spirits ride the sands!!!

Happy art thou mother's who bear sacred children,
Happy art thou father's who giveth thy son's new buildings!!

Happy art thou man and wife to giveth thy other half thy self,
Happy art thou lovers,seekers,romantics ,went through heaven and hell!!!

Happy art thou lonlie's as' me
Us lonlies fly in the breeze,
Yet we are the ones at the top of the world's hill watching,
Watching,
Watching,

Afar off in the distance,

Waiting for god to take us home where we belong!!
uncanny xmen said it right when he said he doesn’t want to work

because a lot of the bosses are big fat rich ******

they don’t care what the needs are nor do they care for they want to do

you everyone wants to work, i will do my art

everyone wants to work, i will do my art

art can be a job, oh yes it can

you see you can meet real famous people, if you concentrate on art

you see only rich ****** do what your bosses do

especially when your work isn’t up to scratch

everyone wants to work, i will do my art

you see everyone wants to work, i will do my art

i help the poor because the rich don’t give a ****

i want to give conserves one almighty hit

you see brian man nix said it right, when he said life is too good to work

doing art is much more fun, and if you do it right, it can save the future too

everyone wants to work, i will do my art

vic buckley, is a real australian big fat rich *****

everyone wants to work i will do my art

CAUSE ART IS MY JOB, GOTTA PROBLEM WITH THAT

check my art on art colony under brian allan yeah

you see doing unnecessary jobs is not brian allan’s stuff

i want to help the homeless every chance i get

even if i have to stop and say

everyone wants to work, i will do my art

and that makes me happy, i am an artist

a friend to the homeless a friend to the poor a friend to the young

in a way that suits me

everyone wants to work, i will do my art
Even if I loved thee a thousand times, still thou'd never be real.
But still, in t'ese dark miseries and dreams of th' night-
ah, just like t'is silent night of ours
And t'ose fierce fairy tales of young hours
Thou'd still be shaken off my realms
As soon as morn comes-and unveils anew, my charms.
O, death, how lush and inviting thou art,
even though at t'is early age thou might
still be asleep and thus soundeth really far.
Thou art but as naughty as t'ose abundant peeping stars,
brimming with locks of divine warmth and wealth
T'ey shalt again, tease up my mind
Whilst capture my rude, hating heart;
and once more shall t'is gruesome life turn into a solitude
Beside promises t'at canst harm souls' benign attitude.
But as soon as thou art gone; thou might just be no longer safe
And to my conscience thy threat is no more than a slave
Thy delicacy is but servile and uninviting
In t'ose choruses of blood and suffering
For which our senses should nay be proud;
but only of our genuine voices and gravity
T'at though sometimes seem virtual,
but still, are crafted within reality.

And yes, my painting, behind thy soul was ever born thy art,
Locked safely within thy summer foliage and forests
But shall I, for your goodwill ever be sketched?
Ah, one swiftly done, and miraculously correct-
yes, one only, my love, for th' very sake of single jests!
For in thy eyes hovers my triumph,
and in t'ose bogs beneath-
yes, th' ones idling about thy feet,
are cuddled-just here like my little heart, my love.
A sacred love t'at is thrown about
But to which my thirst canst never shout.
Ah, as if my voice is hoarse, and not loud-
and soon I step into whose soils, shall be sanely caught.
Caught and swung around thy idyll-though against my will;
amongst heaven's sandy shoals, and t'eir creepy windowsill.
Oh, and be defected with t'ose blades of thy swords, how evil!
Bereft of my sanity, prudence and sometimes too-bitter delicacy
As I dance around to those lands of hurtful mockery.
Be my soul's delighted worry, and mouth-oh, but mouth of blasphemy!
Ah, how of which I'm now devilishly tired!
Though you might be my eternal sire,
and beside whom my virginal soul shall forever feel so sure
As if my pride shall never ever retire,
everything shall altogether be wounded and obscure
But comely and true, just like t'at shimmering white-lipped dew
With breaths so smooth, like one from my feelings for you.

Ah, my prince! T'is craze for thee is an arrogant little devil;
and its longing for thee which gradually eats away my soul
and at times ****** and tells me harshly what to feel.
Just like t'ose ill-hearted fruits of people's minds
For which t'eir villains wouldst even in death bleakly whine
I am but forever bound to thee;
just like thou art already inside of me;
For in majestic times of our days
Thou shall hungrily partake
my fruity; but eager soul, soul away
and marvel about th' visages of my purity
I shall always but love thee once more;
no matter how boastful thou art,
and detestable virginal pain might be!
For thou art always to me as pure,
though unconvincingly art forever in vain-
For t'ose loveless satisfactions thou hath procured-
and premature pain thou hath delightfully endured.
But healthily t'ese senses shall always love thee
And with such tragedies and tears
canst t'ey but forgive thee only
Because, regardless of how untrue thou art;
You lifted my soul when I was down
And cheered me up 'twixt yon last wound
Dark was th' night t'at day, ye' tender was the moon
As both would pass and dusk would fade away soon
And into my blood thou injected th' real meaning of virtue
Whenst I was all wasted and coldly blue
Whilst my thoughts had not even a clue.

Ah, painting, but still, our love is incorrect as a tragedy-
for t'is world is too exhaustive and greedy
And at times elusive whenst but not necessary-
to grant our love th' chance we needst best!
Oh, but hark; hark once more, my love!
Over t'ere are bursts and chants of a heartbroken violin,
Though spurned by heretic hanging clouds,
slandered by boastful chirping winds.
But, no matter; no matter how hard it might seem
Thou art still to me an indescribable story;
and in thy red cheeks lies my stranded vitality
Signs of virtuous tenderness and curtained loyalty
As though thou art but still with no sin;
No sin; and ah! No stain, no stain at all-of
neither viable crossness nor madness
Though thy cleverness is at times no more to be seen
As once thou said, t'at for thee t'ere might just be
no any further happiness.

Ah! And trapped shall I be, within poisonous vileness
Should I not be granted thee
For thou art th' only soul I love, and idolise
Through whom my life was once formed, and characterised.
For love, to me is like a whole pattern;
and thus needst to be complete;
Thereby in t'is sense-loving him is but like denying
my own merit-merit t'at I am part of, and sure of-
for it is not love, though he might; as fate might say;
just as reliable and handsome and sweet.
But still, he is not thee!
And by no chance, is being not thee is but the same,
as being thee!
How fraudulent, and gross-t'is comparison all be!
Ah! And so thou knoweth, t'at he is, too me-
more even not than a stunning evening doll
Like those ones I hath seen so often
strutting about posh malls
Whilst with heartlessness welcoming
and sneering at innocent cold falls
With faces too stern, yellow, and sometimes bold;
Too bold to be true, much less sincere
And wholly unlike thine-amongst those sins;
t'at for thou honestly admit; look still sparkling and keen;
thus so astoundingly charming my veins and curdling my blood
Until thy unread shadows but reach my heart;
With such braveness and th' frankness of a gentleman
Like at that moment-whenst we told each other's life stories, back then.

Ah, and lure, lure my heart, my love!
And play with it soon as we sit 'mongst th' groves;
I would like to lay again about thy breast,
as I whisper once more to thy chest;
t'at it is truly thee that my soul loves;
and invites to love from t'is moment to end.
Ah, but t'is love started I knew not when,
though never have I thought thou art just my friend.
And lie, just lie to me no more,
t'at thou, just like me-but needst me to thy very core,
with a love t'at seems impatient,
but is born still, from pure virtue and resilience.
Oh! How valuable thou art to me, darling!
Thou who art to me such a mindful; soulful treasure,
and betwixt thy impurity thou remaineth but pure;
Thou are a smiling cloud to my blinding sun;
but sunlight to my rain as soon as it is done.

And thick and tough just as yon bough may seem,
thou shall forever be to me more t'an him!
I shall do and always want thee,
it is thy picture t'at I keepest within and about me.
Ah! And to t'is world, I promise, I shall not bluntly surrender
as how my wailing heart it shall never disrupt!
For thee I shall swear with a thousand loves greater,
t'at from actualising thee, I shall never be stopped!

Then please, please me, o my love-once more,
and talk to me and look at me sweetly as just never before.
For I love thee brightly and gently, as how air loves breath;
and so shall I love thee purely and greatly, as how life loves death.
Mateuš Conrad Aug 2016
the Islam of Malcolm X isn't the Islam of today... it isn't really the prescription of Nietzsche had before the Heraclitus flux took sway and said: waterfall or lottery... it really, really, really doesn't matter. the Islam of the 1960s isn't the Islam of today... too tinged with Sieg Heil... although less the Ave Caesar salute and more akin to: who's up for ****, *******? the Islam has changed... if i was wise enough i'd have converted, to mind you... but i thought: putting my faith by only having a library of only one book... i thought... n'ah... that's a bit extreme, can i at least have a comic book strip to add to that massive library? no? oh well, no, sorry, at least one book mentions several authors who tried to imitate but failed on the last hurdle, at least i can revise that, and completely erase the two extensions that borrowed from Hinduism; 'cos' like it ******* mattered.. don't test me, i'm anticipating death like  suicide-vest child... come on! let's start the Slavic crusade!

perhaps it's not about not thinking certain thoughts,
or feeling certain emotions...
but perhaps it just is...
i say, we need the Sophists these days to
apply the fishing-net tactic to deciphering or
simply selectively reflecting our vocabularies...
strait-jacket vocabularies are there in plain sight...
i mean... wait a minute...
i jumped from jazz into pop music on the headphones,
from Miles Davis' *kind of blue
defining
moment of the flamenco sketches right into the bog
of one direction - so i guess this is where
the antidote for art being too subjective comes in...
well, they sorted that problem already...
objectivity in art is around us as we speak,
it means "artists" that are manufactured,
art in the age of mechanical reproduction
(Walter Benjamin), it means more props than artists,
the problem got solved, it means reaching an
autocratic plateau of plugging in and sharing
a non-individualistic stream of emotion,
the opposite of democracy is autocracy, it isn't
despotism... i don't know why democracy doesn't
understand that it's ugly sister (autocracy)
is the enemy and not a Genghis Khan style of government...
democracy in the form of autocracy is a failed
attempt at Utopia... it suggests the system is perfect...
it means the institutions go about their daily business
like children in the playground who ******* and wet
themselves (the bankers), and still not one does anything
about it... what was once a demo tape of a indie band
becomes an automatic big seller big grosser E.P.,
just because the tragedy came, and they drove the touring
bus off a bridge in Sveeden... *******...
you ain't fighting dictators, you're fighting your change
from democracy into autocracy... where things
seem so perfect they can hardly ever change,
they're automated, they're not demographically sound...
sure, i'm the clown, i'll juggle a few big words around...
but in term of art? well, pop music has reached
the limit of what "philosophers" argued against...
to be frank... jealousy got to them that argued
for counter-productive constraints...
now they rebel against this objective construct of
artists in the shadows, writing text and tune and needing
some amateur to perform... and where do you
seek their rebellion? in the subjectivity they once
argued against: that famous Rage Against the Machine
protest against the X-factor...
so wait, first you argue against the subjectivity
of the artistic expression, then you postulate the non-existence
of the self: countered as the dasein for all subjectivity,
then you miss artistic objectivity with the karaoke
and what comes as the **** utopia with French
euthanasia tourists in Switzerland and Belgium...
you missed the argument you favoured, i.e.
artistic objectivity, i.e. performers, not people who write
the hit singles, Hiroshima Karaoke,
well, aren't we all objective now, that we have to source
our feelings in the expressions we once made angst against?
odd, isn't it? you never knew how well established
the counter argument became...
it's pop culture, it's evidently going to become viral...
but you see the power of subjective art...
it spreads like an infection, no point arguing against it...
objectivity in art is already a well established
virus, it doesn't really bite into your soul,
it bites, but you just get the odd body chicken ****...
that's what i mean about how a self-assured-without-a-self
democracy morphs into autocracy...
the fake Utopia of the well-established social
institutions actually being bankrupt, starting
with the post-colonial charity companies,
lying sharks and interest rates at 2000% per annum
i'm starting to think of Islam... leeches and hypocrites...
so your pointless critique of the subjectivity of the arts
became your most sling-shot friction strained weapon
to aim at the industry of art objectified,
in the age of mechanical reproduction true art = dodo...
it's on its way out... i hardly think that
50 years from now you'll find someone as idiotic
as me writing poetry for the love of the **** thing...
you'll get Utopian plateaus, anaesthetic democracy in
the realm of humanism, and hanging over you
autocracy... immovable foundations, cos' everything's
just perfect, time to invade another Libya where
some genius ensured the people knew their place
and who kept order on the pretence of
keeping weapons of mass destruction and
dog leashes... but there you will be ****-strapped going
huh? i thought subjectivity in art was bad?
n'ah mate, that's the only thing that made art good...
you got your ******* Karaoke, live with it!
the English Renaissance of the 1960s ain't coming back,
even if you gave Belfast back to the Dublin crew...
i say we need another Protagoras to get
the vocabulary inflation up to speed...
i say devalue the words self, ego... and make the
psychologists bums..
i say devalue the words nation, british and hamburger
to make the anglophile influence on Europe
a bit like sniffing a mortar of ******* off a penny...
i say reestablish the virtues of Japanese feudalism,
scare depressed teenagers with the words:
your only way out is by Hara Kiri.
something must come from a poem like this...
i have rage... you reason with it...
i'm not going to reason a calm into my heart with the words
i just wrote... n'ah... n'ah n'ah... that ain't happening...
it only took one needle in a haystack to give me prompt...
the ailments of subjectivity in art...
that got me, bull's eye reddened mad...
you ain't turning me into Darwinian grey matter!
this is democracy at its most despotic...
let me try democracy first, before i join the legion of dentists
with happy middle-class lives in autocracy...
can't blame ****** in this guise of organising people,
'cos' there just ain't no ******...
that got me hot wired and hired to argue...
first they say: art deserves no subjectivity...
fair enough: 1 man draws a rhombus a 1000 men draw a square...
but now that we can finally see objectivity being applied
to art, we only get pop: **** jazz, classical, rock and speedy-indie...
we get manufacture... as you once hated those with
personal intention to add to the democratic demographic,
now you turn against them for disturbing the status quo...
well, happy are those that come to the sun's repeat jargon
and happily doubt the roundabout...
because criticising art as subjectively orientated
really spared you art having ascribed objectivity to its cause
of attaining mechanical reproduction,
and the subjective placebo... neither thinking nor feeling
anything deeper than nervous yoga twitching dances...
spare me the ******* details if you come up with
a more accurate historical pinpoint.
I promise this shall be the last poem of thee I've written of thee. And thus I have dedicated all the love I have for thee into this; in the hope that my heart has none of it left after writing the poem.

I hate the dreadful hollow behind the little wood;
Its taint of darkness dripping down like blood-red hearth.
A breeze of morning moves, that we love, has gone;
For a musk of the skies at dusk must have come down.

Come into the garden, my love, and play around with me;
For a bed of love daffodils is on high;
For a set of faint lights is now there to catch;
One breed of lights that we used to play with.
Bring my that green glass of paint, and draw by me,
While I rub thy dark hair on my lap, with my bronze fingertips.

Run around here, Immortal, and give me thy handsome hand;
Thou art the speed and pace I need here to stay;
Ah, I am not detached from t'is world, so long as I have you;
I am charmed, even in the darkest abyss of yon superficiality.
Thou art the fragrance of happiness found in decay;
Strength in the most diminished, and yet distinguished ecstasy;
A fable t'at becometh real in a flight of seconds;
A temptation no maiden heart canst afford to dismiss.
And look at me, now and then and all over again,
I wanteth to look pretty in my ruffle brown skirt,
Just like in my midnight gown on a flowery wedding night,
One t'at we shalt have above the sun, out of everyone else's jealous sight.

Let's dream t'at this delight shall ne'er wear out, and leave to us t'is nuptial potion;
I hath ideas for us and the most sensible of worldly notions;
Naughty as water ripples and the broadening green plantations;
I knoweth now where we canst go and hide our insightful destinations.
Thou wert always running in thy magical shoes,
And t'eir worlds of visions and phantom-like phantasies,
Like woeful but wise extraterritorial dimensions,
A forest of spells and love curses we never knoweth.
But worry not, my dear, for I shall hold thee in both portals,
I'll keep thee safe by my side, I'll keep thee immortal,
So that we are ne'er to be apart, in such a bright love like pearls,
And the petals of roses t'at ne'er swerve again from our fingertips.
We were always inhabited by our little jokes, and moved by an unseen hand at game,
T'at everything was too tranquil even for being a game as itself its nature,
And the whole little wood we were perched on was one world
Of fun shivers, wonders, and plunder and prey,
Oft' at midnight hours we looked at each other so kindly and peacefully,
With eyes mastered by love and tough loveliness,
Thou looked but wholesomely splendid in thy own questioning minds,
And thy brown hair t'at was turned about by solitary winds.
Ah, Immortal! Immortal, Immortal, my visionary love, my darling bird.
And yet, the night knew then, of our tricks and who we were, funny little liars—
Little liars t'at had but a tender love outta' time and space,
And such a gleaming love for one another,
We whispered, and hinted, and chuckled, with an aroma of love about us,
However we'd braved it out, we felt about it glad and not sorry;
We humans of a naughty, devilish, notorious, but sophisticated breed!

Come into the garden, Immortal, for the night bat now hath flown;
The one thou fear, my love, hath left us alone.
And forgive me for my rigid clauses to them;
For I want only to writ' of thee, my darling bud.
The planet of love seem't be on high,
Beginning to pick away its fruitful colours,
And make itself look petrified and stultified,
Like one from abroad, flown in as foreign woodbine spices.
Ah, as though t'is temporal world is not murky enough for us both,
That our translucent breaths are those who survive;
Who remain rustic in this unmerited ordinary world.

Come again, my love, my impeccable darling,
Let's witness what the sonnet's yet to sing;
All we need t' do is pick up a lil' wooden chair;
And breathe the swampy midnight air before we sit.
Here is my poetry, and I'th written it for thee,
Long like the satin seas, and red ribbons made of clouds,
I needst not say it but thou read still, my heart out loud.
Ah, Immortal, the golden gift thrown at one clean snowy night!
And t'ese hidden memories now shine out back again,
For the drifts of the earth we ne'er knoweth, indeed,
And thus who knoweth the ways of the world,
And the surreptitious moves its soil's done,
From morning to night, from one day to another?
Ah, who knoweth 'em all but the Almighty?
Our Almighty, our very Almighty;
t'at breathed into our souls such loving love,
And made for us t'is decent planet, many suns, and one fair earth.
Ah, Immortal, and thou art the son of literature He had to me,
A joy t'at my hands, as He told, outta rejoice,
A glory t'at my faith should find.
Ah, Immortal, thou art sweet, sweet, and too sweet!
Thy sweetness is but an avarice, one bold austerity to me;
Scenic in its grace—a graceful grace t'at is far too restless and undying!
Undying, unweakening, but strengthening, t'at it'll ne'er die!
Ah, for thy sweetness, Immortal, hardly leaveth me a choice;
But to move and fall softly again and again for thee like before,
And thy honey-coloured skin and charms t'at I adore,
Not his, who knows or feels any of me not;
Not him, who is neither courtly not kind;
Not there, who understands not how to write,
to read, nor even to sing.

All night hath the roses heard songs from thy Eolian lute;
And my unveiled violin, piano, and bassoon;
All shrieking and collating in one strange space.
But hear thou, my love, of my shrilling little voice?
An unheard, abashed voice that keeps calling your name;
Your coloured name, that smells like trust
In its euphoric aura and ecstatic plays.
Where art but thou, my Immortal;
That was so close and definitive to my heart.
Where art but our strings, and guitar cords;
That used to rock up our beneficent loveliness?
That kept our hearts in tune, when desperately falling in love,
Ah, I do not want to leave thee still in thy weird dance,
I want to keep thy heart beating with mine and stay in tune;
I want to run with thee into a hush with the setting moon.
I said to the playful lily, 'There is none but one
With whom my curious heart is to be gay.
When will he be free to catch up with me?
I see him day and night and in dreams of my poetry.'
And half to the rising day, low on the sand
And loud on the stone our passion too shall rise;
Keep us cheerful and our heartbeats warm.
O young lord-lover, what sighs are those
For one that shall ne'er be thine?
'But mine, but mine,' I swore gaily to the rose,
'For ever and ever, mine. Just mine.'

And the soul of our fragrant rose sings into my blood,
That Immortal and his lover shall ne'er be apart.
He'll wait for her at night, in one bloodless Sofia;
She'll wait for him 'till such stars fall asleep.
He makes her blessed even in her dreams,
That all the red roses and lilies stay awake to watch their joy.

Immortal and Estefannia, the happiest ones along those summer days;
Are a threat to those soul frayed and vitriolic;
Too stellar to them romantic and idyllic;
Proud and sturdy in their ascetic life.
The best of love of the world's missing beat;
Daintier than any of this summer's bitter heat.
How fate tests their love we shall ne'er know,
but their love stretches as distantly as it can.

Ah, Immortal, tells Estefannia I shall make thee flattered
In sleep, in peace, in conscience, and in hate;
I shall make for us joy though our stories may be late.
Thy eyes are brown, my love, one shade the world's never owned
And thus thy love is valid and new in itself, ne'er worn.

And I shall hear when thy lips wan with despair, I'll be there;
I'll stand there with my basket, a gift from one faraway;
But with a love neither placid nor drained;
Villainous as t'is world is, what a broken wordling;
Like a wailing starling, torn in its calls and frothy desires.
T'ere is no more signal for us towards t'is despaired world;
I shall take thee yet, through the curtains of such speculations;
For 'tis only thy pride t'at lives, and not one soul of thine lies;
And should thou remain alive, my love shall ne'er hibernate,
But sit and trust firmly in its wakeful sleep, grasping thee,
Grasping thee, my love, 'till exhaust allows me no more words,
'Till my own poetry disobeys me like a cloud of putrefied shadows,
Ah, but still, remaining a gross soulless apparition I may be,
With no apparatus trembling 'round beside me,
Wouldst I still saunter myself forwards,
And greet thee in t'at peaceful vineyard;
Play to thee a lullaby and witness thy dreams,
Rocking thee softly against thy own stardoms,
'Till rivers are awake again and alert t'eir inane streams.
O Immortal, it is for better and fairness t'at I love thee,
Ah, but which love is sweeter than mine, or stronger than ours?

For I trust t'at my love is hungrier t'an that of her yonder,
Ah, and t'an t'at loyalty and patriarchy of our sullen armies,
More striking than a ****** dame's pictorial tyrannies,
One too sweet-scented for a hidden mercenary,
I have heard, I know not whence, t'at it but happened to thee;
Thou wert away, thou wert not under my umbrella, beneath me!
Where is Immortal now, for I need to save him again;
My husband in nature, my lover and immortal darling and best friend!

For t'is world is but a holocaust for the believing;
T'ere is, within which, not one pyramid of truth,
For 'tis a place of happy misery, and too miserable happiness.
T'ere is no place like our little Sofia, t'at once we dreamed of;
Filled with rainwater by its armed forces of Bul-ga-ri-ya;
I shall wait for thee there, by the triple roundabouts,
I shall wait for thee before I pray, and seek help from Our Lord;
I hath written for Him warm praises and delicate triplets of words.
Immortal the delight of my life, the dignity of my love;
Immortal the ringing joy of my ears, the gallant sight of my eyes;
Immortal my darling, of whom I write and for whom I sing.
Immortal like the leaves of the suburbs, t'at turn red and shyly bloom,
One that smells like mangoes and two pieces of orange blossoms.
Ah, Immortal, with his sweet red-mouth when eating dangled grapes,
Immortal the beloved of my father, the moon-faced, merriest son of all!

Where is he now? My dreams are bad. He may bring me a curse.
No, there is a fatter game on the moors, perhaps I ought to look for 'im t'ere.
The devil, I am afraid, hath stolen him again away,
I hath seen him not for a time as long as this day's.
Immortal, I want thy bountiful smile, and see thee not ill;
Immortal, tell me t'at thou long for and love me still.

Ah, along those happy days, and fabulous morning thrills,
My heart leapt whenever it caught thy voice,
And thy sanguine embrace when such came near;
Days were but too advanced, I know, and men were tied to t'eir own minds;
But thou kept me calm, with such majestic love and lil' poems in thy hands,
For t'is world is yet too adamant in t'eir pursuit,
Yet I needed thee, and thou came along.
Long had I sighed for a calm: God may grant it to me at last!
Ah, Immortal, a naughty lil' breach of t'is world, and its affairs;
A lil' cuddle t'at laughed and darted merrily all through the night.
Would t'ere be sorrow for me, for what I was feeling?
I thought I sensed only love and none like hate,
For it all tasted sweet and fierce like neverending fate,
A fate t'at we both accepted in one force,
A fate too astounding from our courageous Lord.
I thought thou wert mine, and thou shalt always be mine!
And t'is swirling sensation, when I looked at thee,
Full of teary happiness and chaotic delights,
I did want not t' think of its possible ends,
Ah, violent as Shakespeare might've assumed,
But I wanted to relish and bury myself in it
For such memories of thou had desired.
Immortal, Immortal, and now thou art gone;
But when all t'is world does is to go flexibly round,
Where'th thou think our missing beats can be found?

Warm and clear-cut face, why thou came so cruelly meek;
A cute lil' wonder to my sight—and for my lungs
To breathe stupidly for now and again.
Thou, handsome lad, hath broken all slumbers
In which all is but vague and foul and folly,
Pale with the golden beam with one dead eyelash
Knifed by the contours on one's cheeks.
And t'ere is also, about, the remnants of one's blood,
Dried and unmoving in t'eir death, but too lifelike at the same time,
Smelling ***** like the air rifles t'at just brought 'em all to death.
Death, ah, living t'is life without thee is like death;
All is clueless, breathless and sightless,
All is burning me strangely and from within,
Luminous, gemlike, dreamlike, deathlike, half the night long,
Growing and fading and growing and fading like an edgeless song,
But all too disobeys me, and disappears again as morning arrives,
Mocking me again while showing off its cloud wives.
I am trapped again now, in t'is wonderless dream of thee;
Which is more buoyant and febrile, unfortunately, than death itself,
One darker than even a tragic tear of one thousand years;
Like a heartbreaking scream or shipwrecking roar,
I am walking in a wintry stream all by myself,
And where is my Immortal—for he is not by my side,
He doth not witness the emerging of such sunshine—ah! It is t'ere today, quite early,
One t'at sets t'is darkening gloom all away, and thus we are all born free,
Free, virtually, both our hands and slithering eyes,
But still thou art not 'ere with me to witness t'is joy,
Thou who hath gone and withered like a pale blow of smoke.
Ah, Immortal, but may I hold t'ese rainy memories of thee still;
For t'ey all scorn and spurn as though I am ill;
I who loveth thee sincerely 'till the very end of time,
I who loveth thee with all the clear and vague powers
with which my very soul hath been endowed,
I who loveth thee like mad, I who loveth thee purely without hate;
I who virginly loveth thee like I doth my own fascinated fate.

Lay again, my love, on my longing lap,
I'll sing to thee one favourite lullaby,
And a basket of cherries t'at we picked nearby,
We shall enjoy t'is merriment before I let you sleep.
I shall let you sleep on my lap—a pair of skins t'at love you,
Love you as much as my other skin doth,
A heartbeat and pulse t'at breathe together
And want thee t'at madly, now and forever.

I found thee perfectly beautiful, my Immortal;
Sometimes thy eyes were downcast,
Spiritual in some ways,
And 'twas like thou wert thinking, my love;
Thinking of the upsurging stars above—and t'eir ******* secrets, beneath.
Ah, Immortal, even the vilest idleness cannot be against my love for thee;
My sparkling stars, and the affirmation traced along my heart is about thee;
All about thee, until t'ere is but none left of me,
Thou art the juice of my soul—far too ripe for someone else's heart!
And one, thou art more delicate than the crescent moon we hath tonight;
More shimmery than its ***** and rays of twilight,
Ah, Immortal, how the heavens hath descended thee onto me;
Thou, my love, art the last life and love of my thorough entity.

And t'is poetry shall be thy last enchanting lullaby,
I hope thou'lt sing it when midnight's swollen and sore,
Hurting thee to the pipes of thy very core,
But let's forget not t'at we once knitted awesome stories,
A chain of moments t'at lasts forever, ever, and ever again.
Ah, Immortal, we are back in the afternoon now,
We must though 'tis bluntly hard to say goodbye,
Of which hearts are unsure, but yet must lie,
I shall cry out my last beating love for thee,
But thou dwelleth in what I see, and thus ne'er leave me,
Like a fallen star t'at wants to rise but ne'er doth,
Thou art still the leaf my autumn tree hath sought;
And thou art the shine to my balmy rootless night;
Thou art the apparition t'at appeareth and teasest me after nightfall.

I'll wait for thee again in slippery Sofia,
And my love shall re-unite again with its winds;
Its walls, its havens, its barns like a spellbound purgatory;
For if I am bound to thee, in love and hate and rage and agony;
I'll write thee poems 'till even the universe is asleep.
I'll be cold like thy saluted Bul-ga-ri-ya;
I'll hold thee with 'till the last drops of my sanity;
Ah, Immortal, and in yon high-walled garden I still watch thee
pass like an authorial star;
Thou art as graceful as my own kind-hearted light;
For sorrow cannot even seize thee, my leading star!

Say love not when I meet thee again one day;
For t'ere is no more a desire to learn or admire,
I shall carry my knigh
Matilda.
The light of my life.
The poem of my tongue.
The fire of my chest.
The wind of my *****.
The hate I loathe.
The beauty I view.
My lady.
My dream.
My hesitant rainbow.
My fearless tears.
My coverlet and starlet;
my blanket and dainty amulet.
My distant promise and cautiousness;
but in all my darling; looking ever so stately-
yet not like yon faraway, morning dew.

Matilda.
The hands I adore;
the fingers I want to kiss.
The solitude I live in;
the fate I was born in.
A pair of eyes ever to me too divine,
A charm that loyally strikes, and glows and shines.
A lock of hair that petulantly sways and sweats.
A midday tale of love; as how it is mine,
a beauty that this world ensures,
but cannot adore.

Matilda.
Even the brisk turquoise sea
is ever less glossy than thy eyes,
for their calmness is still less harmful,
unlike unbending, thus insolent tides, at noon.
Ah, Matilda, thou art yet too graceful,
but tricky and indolent, as the puzzling moon!
Thy purity is like unseen smoke,
tearing the skies' linings like a fast rocket,
making me ever thirsty, turning my heart wet,
but still this attentive heart thou canst not provoke;
thou art a region too far from mine;
but still luck is in heart whose fate's in thine.
And as thou singeth a tone I liketh to sing
I cannot help but more admiring thee;
And as thou singeth it genuinely more,
thou capture all my breath and give it all a thrill;
for I realise then, that thou canst be stiff, as sandless shores;
but thy beauty canst so finely startle,
and whose startledness
canst ****.

Matilda.
But deadness, and ever desolation
are vividly clamouring in thy eyes;
Thou art but distinct, distinct indeed-from serenity;
for thou warble thyself, but gladly-away, from thy sullen reality.
Ah, Matilda, how canst a soul so comely
be hateful to fame, and dishonest just from its frame?
Matilda, to those merciless hearts indeed thou beareth no name;
Thou art a shame to their pride, and a stain to their bitterly fevered, sanity.
Yet still, thou art to innocent to understand which,
and in love naively, as thou just art, now-
with that feeble shadow of a pampered young fellow,
Whose stories are also mine,
for his father's money is donned,
and coined every day-by my servant's frail hands;
The sweat of my palms obey me in doing so-
I am my master's son's poor sailor,
and he his sole heir-and soon is to inherit
an indecent boat; full of roaming paths, doors, and locks
And at nights, costly drapery and jewels shall be planted in their hair-
yes, those beastly riches' necks, and skin fair,
And thou be their eternal seamstress,
weaving all those bare threads with thy hands-
ah, thy robust ****** hands,
whilst thy heart so dutifully levitating
about his false painting, and bent even more heartily, onto him.
Ah, 'tis indeed unfair, unfair, unfair-and so unfair!
For such a liar he was, and still is-
Once he was betrothed to a bitter, and uncivil Magdalene;
Uncivil so is she, prattling and bickering and prattling and bickering-
To our low-creature ears, as she once remarked,
She who basked in her own vague hilarity, and sedate glory
And so went on harshly unmolested by her vanity, and fallibility;
But sadly indeed, occupied with a great-not intellect,
As not sensible a person as she was;
At least until the winds knocked her haughty voices out-
and so then hovering stormy gales beneath,
took her out and gaily flung her deep into the raging sea.

Still he wiggled not, and seems still-in a seance every night,
whenst he but cries childishly and calls out to her name in fright.
Her but all dead, dead name;
'Till his father tears him swiftly out of his solitude
And with altogether the same worried face
but drags his disconcerted son back into his flamboyant chamber.
Ah, and I caught thee again, Matilda,
Bowed over the picture of yon young sailor;
'Twixt those sweet-patterned handkerchiefs
On thy lil' wooden table, yesterday
And curved over yon picture, I was certain;
I caught some fatigued tears in thy eyes-
for from thy love thou wert desperate,
but still unsure even, of the frayed tyings of cruel fate.
Ah, Matilda, your hair is still as black as the night
The guilty night, though nothing it may knoweth, of thy love,
and perhaps just as unknowing it seemingly is;
as th' tangled moon, and its dubious arrows
of unseen lilies, above
Shall singeth in uncertainty; and cordless dignity
And which song shall forever be left unreasoned
Until the end of our days arrive, and bereft us all
of this charismatic world-and all its dearest surge of false,
and oftentimes unholy, fakeness.
Oh Matilda, but such truest clarity was in thy eyes,
And frightened was I-upon seeing t'is;
As though never shrouded in barren lies
Like a love that this heart defines;
but never clear, as never is to be gained.
Ah, Matilda, and such frank clarity dismays me;
It threatens and stiffens and chortles me,
for I am certain I shan't be with thee-
and shall ever be without thee,
for thou detest and loathe me,
and be of no willingness at all-
to befriend, to hold, or to hear-
much less reward me with thy love,
as how I shall reward thee with mine.

Matilda, this love is too strong-but so is, too poor
And neither is my heart plainly bruised;
For it is untouched still, but feeling like it has been flawed
Ah, why does this love have to be raw-and far indeed, too raw!
I, who is thy resilient friend, and fellow-sadly never am in thy flavour;
for in his soul only-thy love is rooted;
And this love is forever never winning-and it is sour,
Like a torn, mute flower; or like a better not, laughter.
And my heart is once more filled with dead leaves-
Ah, dead, dead leaves of undelight, and unjoy;
Whose cries kick and bend and strangle themselves-
all to no avail, and cause only all its devouring to fail,
For his doorless claws are to strong,
Stealing thy eyes from me for all day,
and duly all night long.
How discourteous! Virtual, but too far, still-
corrupting me; ah, unjust, unjust, and discourteous!
Tormentingly-ah, but tormentingly, torturously, insincere!
Ah, Matilda! But soon as thou prayeth,
every single grace and loveliness thou shall delicately saith;
Thy voice is as delightful as nailed, or perhaps, cunningly deluded vice-
Which I hath always feigned to be refuting tomorrow,
but is only to bring me cleverer and cleverer sorrow
'Till hath I no power to defy its testy soul,
that for no reason is too shiny and bold,
but so dull, and bland as a hard-hearted summer glacier,
and too unyielding as hurtful, talloned wines.
Oh, but no appetite I hath, for any war
against him-for he is fair, and I am not,
He is worthier of thee, than my every word;
He who to thee is like a graceful poem,
he who is the only one to smirk at
and hush away thy daylight doom.
Matilda! For evermore thy heart is mine;
and mine only-though I canst love thee
only secretly, and admire thee from afar,
Still cannot I stand bashful, and motionless-too far,
For I wish to hath been born, for thy every sake
Though it shall put my sinless tongue at stake
And even my love is even gentler then blue snowflakes;
and more cordial than yon rapturous green lake.
Ah! Look! Upon the moors the grass is swirling,
so please go back now; and be greedy in thy running.
Still when no music is playing,
all is but too painful for thee,
which I liketh to neither witness, nor see,
for upon thee the moon of love might not be singing,
as it is upon all others a song,
But somehow to nature it not be wrong,
for he cannot still be thy charm, nor darling.
O-but I hate thinking of which affectionately,
when thou crieth and which sight, to my heart, is paining.
Ah, Matilda! For even to God thy love is but too pure;
for it is faultless as morns, and poisonless-
like those ever unborn thorns;
Of yon belated autumn melody,
But is, somehow, fraught and dejected
With sorrow, for it is him, that yesterday and now
Thou loveth softly and securely,
Two hours later and perhaps, in every minute of tomorrow.

Matilda! But still tell me, how can thou securely love a danger?
For I am sure he is but a danger to thee, indeed;
Once I witnessed how his face
grotesquely thrusted into furtive anger
As he burst into a dearth of strong holds,
of his burning temper-under the blooming red birch tree;
And as every eye canst see,
He is only soft, and perhaps meek-as a butterfly,
Whenever the world he eats and sleeps and feeds on in-
Tellest him not the least bit of a lie;
Ah, Matilda, canst I imagine thee being his not,
ah, for I shall be drowned in deflating worry, indeed-I shall be, I shall be!
I dread saying t'is to thee-but he, the heir of a ruthless kingdom,
and kingdom of our God not-within their lands and reigns of scrutiny,
His words are but a tragedy, and a pain thou ought not to bear;
O, Matilda, thou art but too holy and far too fair!
Thy soul is, so that thou knoweth, my very own violin-
To which I am keenly addicted;
I am besotted with thy red cheeks-;
As whose tunes-my violin's, are thy notes
as haunting and sunnily beautiful,
And cloudless like thy naivety,
Which stuns my whole nature,
and even the one of our very own Lord Almighty.
Ah, Matilda, even the heavens might just turn out
far too menial for thee;
and their decorum and sweet tantrums idle and unworthy;
Thou art far, far above those ladies in dense gowns,
With such terseness they shall storm away and leave him down.
But why-why still, he refuses to look at thee!
Ah, unthinking and unfeeling,
foolish and coquettish,
unwitted and full of deceit-is himself,
for loving should I be-if thy smile were what I wished,
and thy blisses and kisses were what I dreamed;
I wouldst be but warmer than him,
I wouldst be but indeed so sweet,
I wouldst be loftier than he may seem;
and but madden thee every sole day, with my gracious-
though sometimes ferocious-ah, by thy love, ever tender wit.

I hath so long crept on a broken wing,
And thro' endless cells of madness, haunts, and fear,
Just like thou hath-and as relentlessly, and lyrically, as we both hath.
But not until the shining daffodils die, and the silvery
rivers turn into gold-shall I twist my love,
and mold it into roughness-
undying, but enslaved roughness;
that thou dread, and neither I adore;
For for thee I shall remain,
and again and again stay to find
what meaningful love is-
Whilst I fight against the tremor
and menace this living love canst bring about-
To threaten my mask, and crush my deep ardor.
Ah, my mask that hath loved thee too long,
With a love so weak but at times so strong;
and witnessed thee I hath, hurt and pained
and faded and thawed by his nobility
But one of worldliness; and not godliness
For heavens yonder shall be ours, and forever
Shall bestow us our triumphs, though only far-in the hereafter;
Still I honour thee, for holding on with sincerity-
and loyalty, to such contempt too strong
For thou art as starry as forgiveness itself,
and thus is far from yon contempt-and its overbearing soul;
And perhaps friendly, too unkind not-
like its trepid blare of constant rejection, and mockery
And as I do, shall I always want thee to be with me;
For thou art the mere residue, and cordial waning age of the life that I hath left;
For thou art the only light I hath, and the innate mercy I shall ever desire to seek;
and perhaps have sought shall, within the blessed soul of my 'ture wife.
Oh, Matilda, thou art the dream t'at I, still, ought not to dream,
thou art the sweetness I ought' only charm, and keep;
As thou art the song, that I may not be right'd to sing;
but the lullaby; which in whose absence, I canst shall never sleep.

— The End —