Braveheart, you are my Braveheart
Take me in your arms
You are my Braveheart

Fighting so we can be free
Fighting for our dignity
Fighting for the truth and then
We can go and live again

Fighting for the way that's right
Fighting for our truth at night
Fighting up until the dawn
He won't stop until he's won

This is where he's going to start
This is my one true Braveheart

Braveheart, you are my Braveheart
Hold me in your arms
You are my Braveheart
Braveheart, you are my Braveheart
Hold me in your arms
You are my Braveheart

before i pull this one out of my *** (again - listen, these words are not coming from either head or heart, it's best to pull them from the bowels, a gut-wrenching-feeling is more potent than that "something" that "something" delusional pulled from a clenched heart... as far as i know, the brain is incapable of emotions, it doesn't understand them, and since it doesn't understand them: it ridicules them)... which brings me to point:

(a) perhaps the idea of a soul is out-dated... why wouldn't it be, 21g worth of breath does not equal a soul... hence the autopsy of man, each detail studied seperately, the cardiologist knows the heart, the neurologist the brain etc., but some items work in a solipsistic mode... the heart is robotic, automaton pump queen (and not the kind of pump you'd get from Shveeden) - thump thump thump! come to think of it, most of our bodies are robotic, automated... lucky for me: i don't have to think about the heart doing what it does, it just per se does it... i'm not even sure i'm gifted with the a.i. brain functions... but there's an underlying principle that governs all of these items... some call it the self... i prefer: the Σ ultimatum... some would call it soul... but there has to be something akin to the Σ ultimatum that allows me to become detached from this body, while at the same time be bound to it: high blood pressure, heart attack on the horizon... take the high blood pressure pills... ****... what was (b)? oh... yes...

(b) i'm sorry, virginity doesn't cut it for me, lucky me that it was isabella of grenoble that allowed me to move aside from: god, prior to losing my virginity.... roxette: do you feel excited, you're still the one (shanaia twain), fade to black - metallica... i was such a romantic before i lost this dreaded curse... i was a romantic... 19th century style romanticism... but you really can see past this sort of romanticism unless you haven't ******... these days the right complains about cultural marxism: plenty of things to complain about... it makes as much sense as a pickle in a dollop of custard... or cooking with pale indian ale to make a stew: bad idea... wine, brandy, cider? fine... beer? terrible idea to cook with... but unless you haven't lost your virginity, you can't see what cultural marxism chose as its opponent: cultural darwinism... you know how little you hear about darwinism outside of the english speaking world? zero to none, yes, it's an accepted fact, but this fact does not permeate outside of the fact per se, the fact contains itself and the whole subsequent narrative because subconsciously stored... no other people than the people who found it ensure there are subplot proof statements of a reconfirmation of the validity... the whole social science bogus trap of rating people on looks... contradicting the meritocracy of that old Socratic saying: let me be as beautiful on the inside as on the outside... if you haven't ******: you're still the same old romantic i was at puberty... once you ****... well... cultural marxism dwarfs... yes yes it's there... so? but at the same time you can at least appreciate seeing the antithesis: cultural darwinism... the romantic needs to die the most carnal death via experience... all my ideals were shattered, this perfection of woman... i very much liked the idea / not even the ideal of a woman... but when the idea fizzled out and there was no ideal to begin with... i saw cultural darwinism for the very first time and... it was as ugly as cultural marxism so heavily criticized by the conservative right of the west... so... i decided to walk the middle ground, ignoring both sides (of the argument).

(c) i wouldn't have come up with a point see, unless my favorite square schematic didn't pop into my mind, Kantian, as ever: the best philosophy is the antithesis of English pragmatism and overt-politicisation, so it has to be German, ergo? i will not explain these terms, i figured: if i nail a decent example to fit each category, that's enough: since you can then visualize the concept via the example:

analytical a priori                           synthetic a priori
there's a need to throw                   learning
a ball at                                                to throw a ball
a target                                                 at a target once
                                                            ­  the need has been
                                                            ­  established...



synthetic a posteriori                    analytical a posteriori
there's a  need to                           perfecting to throw
      throw a ball at                               a ball at a target
a target, in order
to perfect this need...

                                            baseball..­. cricket...
at least: that's how i define knowledge of something
simple without having to use mathematics
that Kant used to explain... 2 + 2 = 4...
mathematics isn't exactly a man's best friend
at explaining philosophy...
you write philosophy that alligns itself
to mathematics... no wonder: moths in books...
yawns, unfinished works...
i found that sports work just as well
as mathematics... and you have the already
primitive objects to work with...
rather than pseudo-objects: i.e. numbers...
the abstracts of perception: i'm actually 6ft2...
not 6ft1... karolína plíšková is 6ft1...
       as noted when watching her today...

  i'll admit, i'm always a bit shaky when it comes
to this sqaure, whether it's over-simplified,
notably the top left corner: analytical a priori,
i'm always of a mindset that wants to associated
this definition with: analytical a- priori...
  i.e. borrowing from atheism:
    to analyse something without there
being a prior to example...
               analysis without a prior example...
i guess that's the mojo of science... the driving force...
back to sports... bow and arrow...
   tools: target...
       whether a bow and arrow and a deer
to begin with...
or a hand and ball and a wicket to end with...

there's a need to throw                  
a ball at a target...

            and cricket was the precursor of
baseball, but prior to cricket?
   there was archery...
              and prior to archery...
   there was forever a fundamental need,
e.g. to go from point X to point Z...
   see... as much as Kant wanted...
   numbers don't really solve the "problem"
of explaining something: algebra would be
better suited... x + y = z...
                    with numbers either hovering
above, or below (in the instance of chemistry's
subscript)...

talking of squares... sūdoku...
well, if at any time the french were to receive a hard-on
in terms of inventing something,
the english: rugby, cricket, football, tennis...
the french really did read some of the hebrew
qabbalah literature, as i am doing...
magic squares...
       the secular version of this puzzle
first appeared on july 6, 1895 (the modern version)...

it came to us from India and China...
again... why do western cultural darwinists
always tell our genesis from
the perspective of: "out of Africa"?
aren't there elephants in India?
            i will not believe i originated in Africa,
i'm not an "out of Africa" sorry state of
incompetence... i place my origins in
the sub-continent... at least that's where my
current language originates from...
the great migration across the Siberian tundra,
rather than some African savannah...
after all the Bangladeshi and the Sri Lankans
(the tear of India) resemble burnt cinnamon
in tone, some even as dark skinned as
east africans...
   if the germanic people want to stick to
the "out of Africa" narrative (notably the English):
let them have it... i place my origins in
India...

   never mind, now i'll write a name's dropping
history of how july 6th, 1895 happened...
the "magic" squares...

    from either India or China (chess from India)...
moschopulus of contantinople
  introduced them (the "magic" squares)
in the early 1400s... apparently ancient qabbalists
had knowledge of them
  (so... a trip well spent)...
                             rabbi joseph tzayah (1505 - 1573)
magnum opus: responsa...
             rabbi joseph castro: avkat rokhel...
tzayah in jerusalem wrote his major work
Evven HaShoham (the onyx stone) - 1538 -
   a year later the book: tzeror ha-chaim discussing
the Talmud: he never really bothered about
the Zohar...
               the hebrai word for "letters": otiot...
divided into two:
                         tav aleph (a line of aleph)
and tav yod (a line of yod)...
                   one is to never concentrate
upon the keter within the realm of the sefirot...
hence the matisyahu expression:
   king without a crown...
                         one example of a "magic" square
later dictated into a 9 x 9 newspaper puzzle?
      2     9     4
      7     5     3
      6     1     8     (up down across = 15...
my date of birth? 15th may 1986,
no coincidence, just stating an oblivion's
worth of a "point)... 15 x 3 = 45...
   and that's about as significant as any
                               insignificance can be...

album of choice?
    old horn tooth - from the ghost grey depths...

and without even associating the arabs
to the hebrai practice of gamatria,
i once inquired an old pakistani (who tried to convert me)
what: Alif, Lam, Meem
implied in the opening of the al-baqarah sutra
implied?
   he replied: god knew...
        so i thought, you don't know what
alif (letter) what lam (letter) and meem (also a letter)
means? you have to search for god
for the answers? good look making me into
a proselyte... mind you:
if the jews abhor proselytes,
while the muslims are so so oh so *******
welcoming... isn't that a tad bit suspicious?
how can a muslim convert me
when he can't explain to me what
alif lam and meem implies at the opening
of al-baqarah?!
            let's play some hijāʾī order game...
and the three letters...
       28 letters in total...
alif (28), lam (6), meem (5)...
    i'm not even going to go into the gamatria
mental gymnsastics related to any
"significance"...
   point was made upon the question being
asked... if a muslim tries to covert you...
and he can't explain to you
the significance of alif lam meem at the beginning
of al-baqarah... they're letters...
well... how is he going to explain to you
what's bothersome about those letters
to begin with? ALM... does that imply: zakat?!
to give alms? zakat being one of the pillars
of islam?
  **** me... i haven't even converted
and it would appear: i know more than the person
who tried to convert me!

.i. Yuri Gagarin and the yo-yo

if ever the potency of a "keyboard crusader"
existed, it's now -
   i can dangle a mouse above a bear-trap
and tell an elephant of a phobia concerning
mice any day of the week,
          when in fact i'm talking about
a mousetrap: nothing more.
     hence the exaggeration in the imagery
comparison:
        or it begins with a story told in the 20th
century:
             when women put down their mascara
brushes, men put down their swords:
never mind the voice in the wilderness:
       mind the voice in the crowd -
there's absolutely no reason to speculate
urbanity and tribal environments without
addressing, or regressing the crowd,
or as i like to call it: what Nietzsche said,
minus the Wake... but now inclusive of the wake
and the Bacchus cult of fun fun fun.
            the Wake in condor terms?
we congregate praying for something to die...
      i don't pretend to be whatever
that sachet of concrete-Cartesian labels entitles me
too:        for the most part
        people say 'i am' without a thought to
govern the rain shaman telling you what thought
is required to 'be', oh, a very old ontological
stipend: you need people to experience a collectivisation,
a herding, a "bound together" sort of mentality
before the critic arrives and says: well, that's not
what i'm really about.
                    a bit like the **** firs, mouth second
debacle...
                but what heart they had, our predecessors!
what heart!
             they'd wage war over a woman,
a Helen,
                  would you wage a war against
the feminist version of Helen these days?
would you pluck a Scottish thistle over an English rose?
      true: you might be a bishop
and of lesser rank... but would you wage a war
over the women of these days?
my **** is in a pickle jar anyway! we have become
a *** of a species unburdened by an obligation...
             finally! we can become eternal bachelors
sort of ******* that we're here, and hear less and less
of sayings about the "things that matter".
            you know what vile? really really vile?
oh i know my contemporaries when i bother to
hear them talk, oddly enough never bother when they
think, i'm quiet content with a Godot stage of
a park bench and an old man as my company,
      i know Douglas Murray,
               i know the wild-eyed Icke,
but a thing that concerns me is why: the safety room
parallel to the leftist thesis of offensive speech
was put in play when a discussion took off
concerning feminism, between milo yiannopoulus
and julie bindel - that's like saying:
ask a pederast to talk for a heterosexual man
with a woman safe-space...
                                no one wants to hear
the heterosexual side of the argument....
  you'll sooner see heterosexual intellects have their
marriages come undone then get paired with either
side of the argument...
     little richard is in the pickle jar anyway,
and he's not coming out...
                it's a bit like ****** for dummies....
       hence i have to succumb to violence without
the glory, tongue waggling blah blah
when i'd gladly take a weapon and shove it into
a shattered cranium bone: had i the ****** chance to
do so!
           no heterosexual is taken seriously:
and won't be:
    of a woman to be like a rosy cushion on which
i can lay my head after the darkly toils of
    roofing, or laying bricks, or excavating the sewers...
no! let the Chinese do that:
the basic argument of slavery, although imported
therefore ****** ******* fine.
                         cryogenic fathers,
      pickled *****:      where's the middle in all of this?
     a coconut just fell from the Boddhi tree:
money!           and those that defend it,
don't know squat about the tribalism of squatters!
but hey! they have the ****** stage!
         i have a bench when someone approaches me
and talk, doing the best thing possible:
               knitting opinions -
i don't want the truth of opinions: i want a sweater,
or a pair of socks! that's metaphor for something
different altogether.
  keyboard crusader? really? can i ask you for
directions to the high street, in every single town
across the country? i can't find one!
         no one hears a heterosexual argument
on the various topics: because there isn't one -
                     as of the end of the 20th century,
working classes in the west striving to ensure
there is something mundane to do during the day
and kick back with the family in the evening
are the "inferior" neanderthals: who
haven't jacked into discovering a 3D reality
of what's otherwise a 2D computer screen and
aren't hooked on #crack;
honestly, so much debating ought to be opera,
and so much opera ought to be debating -
    ah: that famous tingle of utopian paradoxes
never in duality, but always in dichotomy.
   keyboard crusader?
really? i thought people were always moaning
about how many emails they receive:
   and never a single postcard from, say,
someplace like Venice?
           it's still early days,
                   and already we're brewing enough
cliches to replace all known nouns in
    the surrogate mother that's the dictionary
of our completed version of a soul -
if ever to be experienced upon meeting the omni-vocabulary;
jigsaws, i know my idiosyncratic version
of events, he says photosynthesis within parameters
                            of photon deconstruction of hydrogen;
'cos' it's sub; d'uh! i say god i say this perfected
version of nearing telepathy - you say god i hope you
don't mean satan's clause - great anagram to frighten
children with: the Babushka surprise of a Pumpkin head
laughing it's way toward: how easy life would be
if we had all that time to think it through as being hard,
rather than that mortal fleetingness in both thought
and body.

ii. Macbeth

it really dawned on me, when i was watching the film
Macbeth (2015) -
            there was an eeriness to it, a near perfection
of Shakespeare on screen...
           honestly? i'd rather read Kant early on in life
while i have the vigour, and leave old age to Shakespeare...
but it truly was eerie all over the place.
      i do recall seeing Romeo + Juliet
          and reading the script, and imagining the fallacy
of word for word translation from theatre to cinema
of the script: the narrator a news channel anchor,
and everything said, word, for, word.
that film with DiCaprio as Romeo and Claire Danes
as Juliet - it just felt itchy, uncomfortable -
                            Shakespeare, word for word, on screen?!
     (surprise, then astonishment, not !? or astonishment,
   then the surprise, because: it didn't really work);
and it didn't! you can't adapt Shakespeare to the screen
and put everything in! i noticed it at that ******
generous scene in Macbeth concerning the battle
of Ellon... so i was like like... this isn't typescript...
(and thank **** it isn't) -
you can't depict Shakespeare word for word,
to be honest, Macbeth (2015) is the only worthy
translation of Macbeth (the text) into Macbeth (the movie);
all this scientific exactness in previous examples
like Romeo + Juliet, the Merchant of Venice
and a Midsummer's Night Dream don't work,
it's their precision making,
     a theatre cast can take it, but a cinema going crowd,
with all these cutting and copying and repasting
    succinct moments? it doesn't work!
maybe because there's no actual narrator in the staged
examples? narrator as a necessary character understudy:
surely Puck and the news anchor are there:
don't know about the Shylock scenario...
           but these screen adaptations didn't work for me,
too rigid, too formal... in the case of Macbeth?
finally! the long awaited piquant version of Shakespeare:
all that matters, and the rest is thrown into
poetic technique: imagery, metaphor,
                everything that's necessary can be given grammar
as image and not word!
       want an example? from the text...
the Royal Shakespeare
  from the text of Professor Delius
  and introduction by f. j. Furnivall, ll.d.
         vol. v (special edition)
Cassell & Company, Ltd.
        sure, it feels like a Roman Polanski moment
akin to the 9th Gate scenic affair of a bibliophile
fetishist, and it is:

     ... (the only enemy of enso poetry
is the bladder) ...

well the screen play first:

banquo: what are these?
macbeth: live you? or are you aught
                          that man may question?
       speak if you can - what are you?
1st witch: macbeth! hail to thee
                    thane of Glamis!
2nd witch: macbeth... hail to thee,
       thane of Cawdor!
3rd witch: all hail Macbeth! that shalt be king in-after.

but such disparity, such **** as if once
of Lucretia, then of the authority,
for i have before me the original composition:
which is not worth cinema -
nonetheless, a **** takes place:
an assortment for the abdication of a king:
or as ever suggested: the wrong footed path:
never was tossing a coin in a gamble
that of tossing a crown into the air
for a court jester to appear less amusing
and more scolding.

act i, scene iii: post the battle of ellon...
  if ever the refusal to give up Greek myth,
then Macbeth's witches
      and Perseus' Graeae -
                            or naturalise a myth:
like you might not naturalise a strengthened
economy.... canonise the nation
with Elgin Marbles - Elgin: less than
what's said to be the exfoliation of the Aegean -
a municipality somewhere in Scotland:
west of Aberdeen, on the Northern Sea's
battering of the coast...
but word for word? or how to write Shakespeare
into cinema?
                 herr zensor must come into play -
you have to bypass imagery in poetic tongue
and relay it with actual images, a direly needed
necessity:

just after the three witches arrive,
enter Macbeth and Bonquo...

   Macb. so foul and fair a day i have not seen.
Ban. how far is't call'd to Fores? - what are these,
     so wither'd and so wild in their attire,
that look not like th' inhabitants o' the earth,
   and yet are on 't?
             live you? or are you aught that man may
question?
                  (how word for word, but the words
waggle from a different tongue, namely that of
Macbeth, and not that of Banquo, hence
italicised).
                   continuing:
       you seem to understand me,
by each at once her choppy finger laying upon her
skinny lips: - you should be women, and yet your
beards forbid me to interpret that you are so.
Macb. speak, if you can - what are you?
         the witches. all hail, Macbeth!
     hail to thee, thane of Glamis!
         all hail, Macbeth! hail to thee, thane
of Cawdor!
         all hail, Macbeth! that shalt be king hereafter.
            
so does he really belong on the psychoanalytic
couch? is he really that necessarily wonton of talk?
  Cawdor v. Gondor - it's an ongoing narrative.
but is he in need of a couch?
                 what sort of talk is talk when
in fact the only talk that's need to be said is the talk
of man's sexualised naturalisation for strife,
and here: as if knocking on a door:
you want to simply hear the onomatopoeia of
the Kabbalah in a woman gasping for breath
while puny Jewish boys under strict rabbinical
studies study?

                mama, take this badge from  me,
i can't use it, anymore,
            it's getting dark, too dark to see,
feels like i'm knockin' on heaven's door -
      my big mouth and man as a piston
                                               Ferrari acrobat

(even the soundtrack is a shrill, a strangulation
variant of higher pitch of the bagpipes -
not that braveheart ****** of whisking out
a song like for the love of a princess addition to:
  and can i have a madonna to boot too?
it's piercing, a whale sonar above refrigerator
white noise hum for the new age Buddha -
and that's because all the poetry has been excavated
  to suit cinema: not theatre).

and this is the first adaptation of Shakespeare i actually
could stomach...
     the genius was in how Macbeth spoke the lines
of Bonqua - so the character didn't start smacking
the narrative ****** in terms of solipsism:
even Shakespeare can be attacked on this front...
        if in the movie Banqua said all that was in
the typescript: the film wouldn't have worked...
i don't know what the big deal is with Lady Macbeth:
i thought that in the olden days
Macbeth suggested to King Duncan that:
can i leave the warring if you **** my wife?
i can go on the contract that you **** my wife
and i stop serving you?
      first impressions: strange English.
well, i'm sure she's important as it might be said:
within the programme of Orthodoxy,
            but never catholic (metadoxy) tradition of
saying: way hey! ensnare the mare in a funfair!
       and play the game: pin the tale on the donkey!
heads or tails?      it looks pretty damnable
     in the first place: as all honesty hogs to pout and
***** a hoggish sneeze out of the story.

iii. shaken, not stirred

and indeed, how many a times
did not a neon blossom sprout,
thinking it might rattle an oratory
with an oak in autumn, and behold
a swarm of leaves descend -
not out of passing ease,
but out of wishful thinking
that some indentation might be made:
with whom the hands of will reside,
and yet: to no gratifying effect,
to whatever atomic-centralisation
dream, be that ego or be it hydrogen
(lending hands: so too
electric or thus negative, neutral and
thus proto) - shake foundation
and give a revising repertoire of
              the covering dust humanity
that once made famous: never
again to learn the humility of the start;
        to whatever centric dream that
does not waver in demands of orientation,
be it father (sun), son (shadow)
  or the holy spirit (night) -
  make them earn! be obscure!
            or simply say: in the community
of the stated congregation:
  i find all to be as night,
   and safer that plague the father:
  i am not akin to the shadow:
                   but the shadow in mirror.
so, a centric dream that does not
waver in demands for orientation,
has ever or will be enthroned in man's
heart as the stability of Sabbath's demands
       for less, oh so much less to agitate with!
as too, when the ancient appliances
were adorned by countless demands of
mimic, so too our modern
fibbles are to stage a usurping of
such things demanded and their mimic;
for with such disclosure does all fate
of anewed become burdened in what
history could be: shaken,
rather than simply a stirring of the void,
nothing more than the unburdening
of sweetening a cup of coffee, of that and
the layers: or bitter at the top, drank
through toward the sedimented sweetness -
and all that: hoping i could have retained
that silver spoon lodged in my ***
          when i first met her and thought about
consolidating marriage: so fresh, eager prune
of the flesh embodiment as first
    watered ash, then entombed in marble
and the eternal... ah
               but it was all just the faintest of dreams;
so lumberjack sleep ensued,
                      as did a kindred worth ethic:
we are a long way from Eden...
      there is but the idyll of the absurd fruition of
albreit macht frei... or a redefinement of
such stakes as: what occupies our days?
                    if not war, if not disease,
if not the Chinese... what does, occupy our days?

The riveting heart feels
the weight of trouble
The rebel is like a watchdog
sentinel
Whats in our Bible?
Things change to make the
difference

"Like a new invention but there is interference"

The Castle you hear
a rattle wasn't a baby rattle
Minds settling or quietly dazing
No defeating over the rainbow
It's like running then you stop
You look at his watered fingers
Of the great lakes, he's admiring
your lady's fingers

Lips divine as one like us
The gold rush collection
Just a secret hush affection
A treaty concession
Picking out the candy
          Skittle
The pivoting flying shy like a sky
riddle
Him or Her piloting its time
Two sets of eyes world of exploring
Not to keen
on exploiting

Her dress movie flowing prayers to
be answered so vain
Heads Spin city flaunting
Defeats us haunting
Who loves us
Who will help us
       SOS
Like a delicacy one of a kind
She's the rebel let her guess
Such a rarity smile with
dignity dressed up doll
she is dainty
To many disguises to face the
mirror of vanity
Rebel Rebel David Bowie
He is a genius of music
Shines a world gigantic

Rebel world of cults and sanity
What was heavily Tis
To be blessed
Rebels of hearts of Madonna
Greyhound bus

Our scorched finger heats
Riding the *Porshe Red firehouse
A beat something rare but overly sweet
Robin risque I  need more clues
Braveheart Riding hood in the woods
to be saved in her rebel shoe's

Queen heads up with the Dean
 Her embossed gold letters
Of a spell, forever mean
The heats on rebels defeat over
Modern time the "Dell"

Rebel wish from a deserving well

Computer and devil decipher
Compelled to love her
The Dark Shadows mansion
Angelique scarlet fever
Dark inside her label dress
What did he deliver?
"'Who lives by the standard rule messy is ****"
Rebel rebel look at your bloodshot pupils
taking things for granted

Freakish odd things posted
Are bizarre even her brassiere
Mean as a *Manchette
We are not as one
normal read the Gazette
More rivals and feather
pen of forgery
What a hard act to follow like surgery
Every molecule being
dissected to poke
A love primal no
common ground
This isn't a joke

Everyone tantalizing tribal
Creatures not in direct sunlight
Defeats us like rebels at night
Being inconsistent rebels
lead the way but far away
distant

We are not realizing what defeats us
Endorphin releasing our energy
Lifting our orphan spirits
Moon worshipper climbers
We are the simple people
Nothing too explicit
Or razor sharp to cut us

The Messiah
Solomon Torah of Isreal
Old Testament Jerusalem
Everything is way too ****** red
Like Salem
What defeats us
Voodoo or Christmas Hoo Hoo

Santas gift got stolen and snatched
Having a fight with a door latch
Magic somehow not in our favor to match
Tragic music rock or swing jazz of a glitch
But everything defeats us
Psychic third eye
She is so tragically hurt
So Manic not the
brave rebel flirt

Like the limited edition
So many of us are uninvited
Not the VIP pass
Ressurection new rebel convention
Unique kind of communication

The last time I saw you on vacation
Relic hunters the lightning
Hells Angel rider conjuring
What mouths to feed of thunder
Nazis all  our undivided
attention pictures
They snap having a field day
of paparazzi
Priestesses devil wears the
Prada dresses were out
of designers
I wonder why to travel heretics
Such treachery and butchery
Being grilled like steaks but
not a Dynasty
Too graffitied feeling fried
How loves are taken like the fools

The business arrangements
Foreign exchange groups
Rebelling their way
through college
Time is the essence of
being mutual
beneficial much
higher potential
More spiritual rituals
We need more Gods of top
rank **Generals
General Mills cereal at least
not the serial killer

To hate is to feel strong
but to be weak

to love is to be strong
but to feel weak

I looked in the mirror
afraid to sneak a peek

expected a coward
but behold there stood a lion!

There he is.
Lying on the ground.
Alone in the cold, waiting to be found.
He's oblivious to the cries, the terror, the hate,
oblivious to his slowing heart rate.
The hard earth beneath is slipping away.
Death is doing its all to make him pay.
For how dare he not cry out in fear?
How dare he smile when death is near?
Yet his resolve is solid, intact and pure.
His sacrifice is his pride, his nectar, his cure.
The bullets that tore his body apart,
left untouched his mind, his heart.
Flooded with tales of his homeland's wins,
He's overcome with emotion as he thinks of long gone sins.
His lips curl into a contended smile,
his thoughts are away by many a mile.
In the jaws of death, his mind on his nation,
His soul is adrift in obvious celebration.
For what way to die is better than this?
Giving life for your country is such a bliss.

I love petrichor ;
The way that seconds after the first few
drops start falling ;
The scent of Ozone fills the air .

I love the smell of fall,
The beauty of trees showing us that you can still shed bits of you that have died... Yet still be beautiful.

I love the sound of my nieces laugh;
The way it steadily always brings me back
to earth durning chaos ,
Reminding me to be joyful.

I love the ocean.
How beautiful is it from the surface ;
Knowing no one will ever see all the beauty
That lurks beneath the depths.

I love seeing peoples faces describing
The person they love.
Their features change , they
Become alive .

I love coffee, and my dog, and my tiny feet, and whiskey, and sportscenter, and lime popsicles. I love sleeping in ,and watching Braveheart .  I love love, and i love living .

What do you love.

Wee Angus McSporran, the world's most accurate marksman, is deployed  to Afghanistan and Iraq as a ****** in the Royal Scots Guards. In spite of his diminutive stature (4ft 8in), we see him skilfully shooting men, women and children by the score, convinced they are terrorists and a threat to our freedoms in the West. He becomes emotionally involved with the gigantic ginger-haired Pipe Sergeant-Major **** McKnob, the loudest piper in the British Army and a famous poofter. We see Angus and **** in some of the most explicit ******* love scenes ever shown in a mainstream movie (tastefully filmed in soft focus and sponsored by KY-Jelly).

When **** is blown to smithereens by a roadside bomb planted by American freelancers in order to implicate the Taliban, Wee Angus goes into deep depression and becomes obsessed with his skill as a ******, often shooting "allied" soldiers in so-called "blue on blue" friendly fire. After each shooting we see the image of the ghostly dead Sergeant-Major appear as in a dream, his kilt a-swirl and his pipes wailing a tragic dirge in scenes reminiscent of Braveheart.

When Wee Angus triumphantly notches up his 500th **** (including over 75 US military personnel and several important Afghan politicians), the British government decide it is time to withdraw him from active service. In order to gain patriotic press coverage in the run-up to a General Election in Britain, it is agreed that Wee Angus shall be awarded the Victoria Cross by HM the Queen.

We see Wee Angus, in full regimental uniform, marching up the Mall to Buckingham Palace to receive his medal, his telescopic-sighted ******'s rifle looming heavily on his childlike shoulder, being cheered on by crowds of thousands of wellwishers. Tragically, when he is crossing the road in front of the Palace, he does not hear a new environmentally friendly eco-diesel double-decker London Transport bus approaching (his hearing has been seriously impaired by the noise of battle) and he is mown down, his scream being amplified to eardrum-splitting levels of horror. The camera lingers lovingly on his crushed body and we see scenes of unimaginable grief in the crowds who have taken Wee Angus to their hearts. His lover, the strapping Pipe Sergeant-Major **** McKnob, appears as an angel and weeps by Wee Angus's squashed corpse.

In the final scene, reminiscent of the closing minutes of Slumdog Millionaire, the massed marching pipe bands of the Assembled Scots, Irish and Welsh Guards appear as if by magic and the entire crowd cast all inhibitions to the wind and indulge in a life-enhancing Highland Dance and Ceili around the Victoria Memorial facing Buckingham Palace. The film ends with a heart-breaking shot of the Queen coming out on the balcony in front of the Palace and having a fatal heart attack with the shock of what she sees before her. Prince Charles is seen gleefully rubbing his hands together in the background: at long last, he is King! *(end titles shown over a shot of him groping Camilla's naked sagging ****)

‘Apocalypto’ is a film set in a Maya civilisation and consists of a story that takes place in one tribe and how a passing tribe affects them to a degree of destruction. The story unfolds in a linear way of storytelling which is basic but still effective. From director Mel Gibson, the director of ‘Braveheart’ and ‘Passion of the Christ’. An underrated director of sorts but a great one nonetheless. Overlooked due to his acting career, he has been holding back on us as a director.

The characters are set to be living a Mayan life and go about their days behaving as such but are rather generous and civilized for such an old race of people. They live peacefully and secluded until they interact with another tribe which brings about their downfall. And the way in which a Mayan civilization might go about solving problem as common as a natural disaster. Through sacrifices to the God's as a way to solve problems and mass results. Very accurate to the Mayan culture as well as the entire movie taking place without one word of English, all dialogue being said in the Mayan language. Another credit to the film.

The directing style for this film is beautiful and flawless to say the least. No shaky cam used or hand held cam either. All fluent movement of the camera to create a great story, one that flows naturally. The use of camera angles is creative and different, using tilted angles to convey a certain mood and straight framed shots to convey another mood.

The performances stand out as a huge positive, the actors who I have honestly never heard of give Oscar worthy performances. Mel Gibson uses unknown actors as not to compromise the film by the status of the actors. These actors and actresses give a hard performance based on body language and quiet moments, the enduring task of learning to be emotional through a foreign language. Which is why I would guess Mel Gibson used local actors who are more aware of the Mayan language than American actors.

The set design is truly Oscar worthy in this film. The Mayan temples and tribe lands are captured perfectly in the sets for this film. Well build and suited towards the amazon environment. As well as good filming locations, using the wonders of the amazon rainforest as an advantage.

In final thoughts, I believe that Mel Gibson is a stunning director with an eye for detail and a beautiful visual director. A director that can produce great work. ‘Apocalypto’ to me in the near future will become a period piece masterpiece. A tale of survival and dedication that will live on through the ages.

Rating: Film - 8.4
Personal - 8.9

The Queen of Winter looked about,
tinged with sorrow, touched by doubt.
The time of change was in the air,
a keen smell dancing through her hair.
Springtimes breath should fill her dreams,
casting spells of summers peace,
as with her court she, serene sleeps,
awaiting on autumns counsel fair.

But troubled now, her gaze is sharp,
what things are come forth from the dark.
Drawn uncalled by winters cold,
things unholy, things too old.
Prowling in the biting frost,
preying on unwary lost.

"there is a way," she says to all,
"to reawaken springs fair call.
I need a braveheart, strong and true,
to carry springtimes promise through!"
None spoke, none moved, all-fearing stood,
then from beneath Her throne of wood,
"I'll go."

And there was an unlooked for guest,
a small young Hare to take the quest,
And she remembered then his face,
beneath last years fall of  leaves.
A little leverett, bereft, born too late,
so sadly left, but seen by chance.
Compassion in the great ones glance.

Set free to tumble in the spring,
to run and dance, and dream and sing.
But wise to evils coming threat,
returned to pay his debt.

"I'll carry springtimes welcome song,
my eyes are bright, my legs are strong,
and though I know you dread I'll fail,
a faithful heart can but prevail!"

A speech of such unwitting grace,
that tears did stain the lady's face.

"So little one, you made a choice,
how gentle is your sweet young voice,
and I instill my strength and love,
to bear your burden far.
And if you fall, the world will know,
my tears of ice will stain the snow."

A little bag of felt was made,
new boots of doeskin,
laced and tied,
a cap to cover well his head,
and then the time,
to face the dread.

"Into this bag I place the spring,
no feather weight, no little thing,
though sadness wishes you could tarry,
this burden forth we ask you carry."
And so with spells of love and care,
out into winter sped our hare.

Through the secret postern gate,
into unremitting hate,
dreading not the rising fear,
but only that the spring was late.

Trotting lightly over snow,
the little lad did boldly go,
leaving lightest prints  behind,
nothing for the Beasts to find.
But, stirring in the darker woods,
creatures of despair still stood.

Crawling, stooping, no poise or grace,
evil made a start to chase,
our little hare, who, so well aware,
kept a steady pace.

Beasts of the pit, deep in the earth,
smother life with their dark curse,
drawn to light to look askance,
hating their own long lost chance.

Breaking through and into sight,
using all the darkest might,
straining fibre, blood and bone
to **** our little hare.

Dancing, swerving, to and fro,
Is he caught? Ah through, now go!
How can one so slim and small,
battle evil spirits tall?
But, from towers far above,
flows an ancient, caring love.

Sending creatures of the woods,
fight the evil with their good,
crows and eagles, claws and beaks,
wolves and foxes, strength and teeth.
Fighting now for what they chased,
and grateful for his speed unceased.

" Pass beyond us, little hare,
and we will turn and, face the stare!
Whatever evil comes to pass,
we dream of springtimes fragrant grass"

So captains of the wood as one,
stand together as they come,
though many fall not to arise,
they battled evils changing guise.
None pass unmissed, she sees them fall,
The Ice Queen marks their everyfall.

The breathless runner toils anew,
oh can he take this burden through?
the night is falling dark and fast,
and still dark forces  are amassed.

New foes astir, claw at his feet,
sharp teeth snap, and call deceit,
arms of knotted sinew strain,
to clutch, to grasp, but still in vain!
Our little hero runs so swift,
at each new threat his own pace lifts.


Cut and wounded by the beasts,
ragged ears, and bleeding feet,
nothing slows the running hare,
"come, you catch me if you dare!"
he gasps beneath a fell  beasts stare...


Then, coming slowly into view,
a wondrous sight, and hope anew,
a woodland tinged with shades of green,
could this be spring, will he get through?

And now the Green Man of the spring,
sees the chase and starts to sing,
"Come all my peoples of warm earth,
we'll war these beasts of death and dearth!"
Flashing eyes, and racing foes,
to battle now for good they  go.

Now at the Green Mans feet hare lies,
the light now fading from his eyes,
his burden passed to hands of care,
all gaze with wonder, little hare!
His duty done, his race is run,
it's now his time to die.

But from afar, a Snow Maids call,
"this once, Man listen to my call,
I'll ask of you no other thing,
than heal this creature, let us sing!"

Together, distant words that heal,
renew the turning of lifes wheel,
The young hare races, where he will,
Watch, and you'll see him, running still.

[Fanfare, obviously]

This poem should begin with the call of a bugle,
as is fitting for an ode of Braveheart Macdougal.
Children of Parklands, take heed and be wary,
as I relate now, in verse, a tale cautionary.

Benigna Murdie was a most virtuous lass,
blesséd with promise and a penchant for sass.
To peer pressure she was admirably immune,
and ne'er did she bow to the temptation of goon.

Nary a drop of ***** has e'er passed her lips,
save for politeness and church-mandated sips.
Yet even the mightiest fall-- what a pity!
(harder than I did that night in the city).

So I hope you all glean a moral from this,
and your interpretation does not go too amiss.
But all is self-evident, to quote Descartes,
so allow me to recount this tale from the start.

She hails from a country renown for their piety,
for their pacifist ways and universal sobriety.
The Scottish are known throughout the land
for their temperance of character and lightness of hand.

And our poor Bennigles was no rule-exception,
she subscribed quite wholly to this perception.
A more reserved and reclusive girl you've not seen,
virtually a saint at only nineteen.

Passed out on the couch, liquor was never the root,
only strain from the studying and academic pursuit.
A paradigm of virtue, a pillar of purity,
no “that's-what-she-said's” to compromise maturity.

But that all changed one day touched by fate,
when Rachel realized that hedonism's great.
She took to the streets to revel in her glee,
and legit nothing bad happened cause this isn't tv.

Alas, now I'm drunk and the screen is a-shaking,
perhaps of wine I should halt my partaking.
I cannot continue with this facetious ode,
as we all well know that this is a total load.

But I'll miss you, my Brit, and our shitshow nights,
our Australian exploits and your culinary delights.
Sorry I couldn't finish to detail your demise,
but perhaps I'll conclude after an Australia-reprise.

.i can think of one cool job... a nighttime DJ on a radio station... anything more cool than being a DJ between the hours 12am through to 5am? honestly... can't think of a cooler job... all the song requests are gone from the classical.fm show between 3pm and 5pm... now one is telling you what to do... **** me... as a kid... either a veterinarian, or an owner of a music shop... now? an insomniac DJ... they would never play Christopher Young's Something to Think About in the afternoon... sorry... i'm a Hellraiser cult-follower of the first two movies... and that song? why? i just can't be bothered with listening to that Braveheart over-scratched Song of / for a Princess... it's good... once in a while... but, come, on!

just one of those nights...
having listened to the scoops
from the alternative...
worried your to hell
about not having *******
enough concerning
the previous day's load
which would make the pleasures
of **** *** look tame...
perched on a windowsill -
solving a sudoku -
   and listening to
Frank Zappa's occam's razor...
and wishing:
  making sure it was never
hot in the city
by Billy Idol,
or Kiss' crazy nights
to usher in the night,
          and the watchman...
why?
   it's not your standard
guitar solo...
it's a medley...
    big difference...
guitar solos are bound to
a strict return to the rhythm
section...
   they are caged beasts...
composed of a restricted
time constrain in a song...
but a guitar medley?
**** me...
     it's what obliterates
a need for vocals...
   the guitar medley is
the vocals substitute...
             and that aspect of music?
mm... gummy bears...
jelly in the knees...
           which is why i like
the fact that jazz is the antithesis
of classical music symphony...
sure... i get the Schubert / Schumann
piano duets...
   nice...
         but jazz?
the breakdown of the quintet?
****... let me count...
piano, drums...
        bass... horn... sax...
yep, a quintet...
          that moment in a jazz
song? where each instrument
player gets his solo?
genius!
            the same with a guitar medley...
neither solo,
  nor the rhythm section...
what a beautiful opening
to what i expect to be,
a beautiful night:
   as the watchman once said.

Jeweled.. map... talk
Wipe her... teardrops...
He summoned her
      Braveheart
"The Hipster" starry eye
Commando Chief
Trampled the hot item
       help!!
*     *     *    
 Rubies in the Paradox
Pep-talk thief Fox
     *     *     *    
Red Rhapsody
Hey, Buster, on the
Tip of the "Ice Queen"
"King Speech"
Her lips
Practice what your eyes
Preach whats inside his lips

Lip marooned force
Afterfight doomed

      "Divorce"

He tapped took a bite
  So vamp lit her lip
Apple stumbles
Mr. Cobbler
Lips got caught to be
crumbled

Clicks movie flicks
     *     *    
Physiological College of chicks

On her Demon laptop lovesick
Sisters of the Sentinel
Fingers clicking like quicksand
  Ancient lips  touch the shadow
Of his smile
Does anyone have a
soft spot for *Angels

The psychotic broken wing on the verge

The lip pledge Demon
Give him a shot lip
bullet glass
"Red Electricity" he smiled
Certain lip she deserved
The floppy disk
Sweet breath
His baking whisker's

Those baby boomers
Top of the lip rumors
the right kiss
"Emmy" Jet set trips
Their chattering lips
Niagara falls duty calls
"Lip Shoutbox"

Her lips touched on
A nerve
schemingly

He blew up like the
Cherry bomb we will
succumb dreamily
Could blow his
lips down
How she wore the
red velvet bustier
A+ lip magnet

He's the connoisseur

La Luna melancholy
"The World Is Dying"
No apology

The symphony in line
With the lip up
His chin down is lying
But when your smiling
A poem knows what your
lips are saying  
Are you in way too deep

Lips like cold cuts the
paparazzi mob sheep
The movie cut Deli line
Race her the Italian
Mazzaratti be mine
Demon jungle no plain
Jane's lips
Hurry up your highness

lost his taste for goodness
Do angels die her lips went_?
Angel confession another
revelation
One lie please "I am the Angel"
we never live to die

the silence never bothered me before-
quiet between two so intertwined
is not uncomfortable like the silence
it is merely absence of sound
-but it bothers me now
all but consuming my mind

and i say nothing
and you say nothing
and everywhere there is nothing

i pray for the radio to work its charm
with those magic changes
give me a song to sing
give me anything
that would be better than this
small talk between two so intertwined

"you're awfully quiet," you say
and i say nothing
because my right brain has a lot to say
but my left brain knows not to say it

i want to say, "i know that you don't want me here"
the thought, clear like perfectly formed ice,
echoes through my mind:
(i know that you don't want me here,
i know that you don't want me here...)
somehow that is the one thing worse than
the deafening silence
because it's the truth
and we both know it

i want to scream, "can't you see i'm hurting?"
it's written all over my face
in smiles that don't reach my eyes
in lips joined in vowed silence

"i miss you," you say
and i say nothing
but i want to be the braveheart
and cry something bold, like
"if that is so then
how come when i'm here
your face is illuminated
by a phosphorescent glow?"
but i hold my tongue
i know my thoughts are wicked
yet they are my thoughts

and i say nothing
and you say nothing
and the silence says everything

Now,
We are mellow.
Having spent the evening exploring the threads of friendship.
That had come adrift of warp, weft and weave.
Time and distance had
silks, snag-tagged-torn,
on the bustling-busy,
hectic-hustling of work
and family.

Teasing-taunt,
needle-gnawing,
small, gap-rip-rents
in the snug comforter
that is... the wonder of us.

Us, so many secrets woven. So many, nights of tissues and sobbing tears.
Darning in daring exploits. Cutting away knotted,
fear-angry-scream-fighting feuds.

Cutting work, for days of delight and nights of desperate yearning.

We used anything at hand, rough wools, pieces of string and twines.
To weave a blanket,
to hide us from life's storms.

We were,
so young, so strong, recklessly-brash,
stupidly-joyous
and braveheart-fools.

And now, time and age,
has softened our work. Felted and fuse-melded,
the fibres into a beautiful entity.

That we store-save in the heart's cupboard,
of special and precious  things.
It is an heirloom of sorts.
We bring it out,with occasional, humble-grace,
to be dandled and stroked with reverence.

Caressed and cossetted are our memories held within the abstract weave.

We are the dwindling
of a youthful exuberance
flung-thrown-heaved
to the wild winds.

So now, we are grateful to be curator-custodians of the retrospective nature
as we augment-append
and reiterate-repair.

A new thread here,
now,
embellish-embroider,embed
and tatt-stitch.
My son and your twin girls, squeezed, splashing
into your tiny bathtub
big-grin-giggling in the gurgling water.

Our future, here and now,
is the brightest of silks,

Our past, mellow and yielding in,
the luminent opulence,
angelically-asleep in,
the other room.

She
so- she
And He_ so
Never ending
She Comma
Do-So
Shop to Soho

Electronics
Like a Saint
Satanic's
His or hers
Nic's and Pix

Never the end
If so_
Yes Sir
The math flame
Password
To end the
dating game
Hot green
tip
pistachios
Like the long sentence,
Your
Nephews

He was
Huh? ,
So compelled
to be sentenced
The time
treacherous
Was so long
At that end is
where
you
belong
Column
his
comma
She comma

Prima Donna
Oh! Donna
A love
should
be in
the
moment
Too
many

Dots?plots/whatnots

You forgot
semicolumn
The head page
Semi-sweet
column
End chair
Kingdom
Knock on wood
Getting
splinters
He used
Plastic
condoms

Braveheart Lion
Twisted sisters
I was
at the
very end
Wella
She -Comma
The money
Higher up
Society Brianna
Barcelona Cafes
Giraffe ladies
boisterous
drama

Begin now
The beginning
Never met her
  middle-section
Which breed?
She-comma
She could
make
Anyone's
bad heart
Drug fix well
The good
heart
Should be ended
Dead end&
the
morgue

Her long tongue
All She_ Rouge
The question mark
All parts dots here and?
What is
next!!!
You hear
the ring you jump
Off the cliff
the text
Meet me
greet him
Chances
are
never
The front
It was
a front
Fine print
you
could
see

Smitten
written deed
And
left her
money

Heavenly
bliss
This
paper
kiss
Did you
miss
Her
signature,

Never a
good gesture
She-devil
Comma,

Never good
ending
movie
Feature

Never ending
Please visit
and come back
Do I need your opinion?
.,,  ...   ??

The night is a deep well:
stalks fall and echoes resound
as if out of an abyss.

Flash a lamp in, lose the light.

Braveheart awake in the late hour,
is there a solution to anything?

Events unfold; Always unplanned.
Reason an afterthought.

Still we dream. Dreams dreamed
all night, for a newer dawn.

To achieve something, something
that can make me more than you.

Are you cut out for that yarn yard?
Who decides when

a weakling mortal
breaks out of fatal space?

Flash a lamp in, lose the light!

Stalks fall and echoes resound
as if out of an abyss.
The night is a deep well.

My Time has not yet arrived,
So I'm staying a bit Longer.
My Health has not yet cracked,
perhaps I'm a little bit Stronger.
My Mind still keeps on ticking
and it's sharp....as it can Be.
I've so many things, yet to Do.
For now, I'm a Sailor out at Sea.
My Life keeps on turning,
like the Pages of a Book.
But the Time has not yet come.
For Life to hang Me on a Hook.
I'm wary of the Silent Storm.
That may hit Me during the Night.
I'll fight it like a Braveheart.
Until the Dying Light.

To lands unimagined we must make our course,
For a tale beyond compare awaits thee there,
Of a hero this world has long forgotten.
Petrarchus was his name, warrior of renown,
Son of the king, and heir to the crown,
A warrior hailed by all the grateful land,
For great was his skill, and powerful his hand.
A legend there was in the empire of old,
Of a realm far beyond the sands of Morthros,
The Land of Paradise, full of palaces and gardens
Beyond imagination of mortal man.
The Gods of heaven in that land resided,
And wide and lofty were it's spires and towers;
That sacred home to the immortal powers
Lay across the yawning Chasm of Death.
To reach this land was Petrarchus' desire,
And fierce was his will, unquenchable his fire;
And it passed that unaided by kinsman or friend,
He travell'd forth to attain his journey's end.
A ship he made of timber strong,
And all it's cords and sails he tied;
Out into the Seas of Gloom he sail'd,
Dauntless into the jaws of the unknown.
But fate! merciless judge, had destin'd him sorrow,
And threw great hurdles along his darksome way;
Through storm and calm he sail'd into the morrow,
Meeting each trial with intrepid face.
Then before the vessel  vile Luxuria rose,
The oldest Titan, in form a Gorgon,
That mock'd at the hero and his worthless errand.
Undeterr'd, to Luxuria Petrarchus cried;
"Why com'st thou here, O fiend of the sea?
Forsake not thy lair to thus hinder me;
Learn, foul monster, my blade to fear,
For this mortal steel may end thy life so dear."
At this the Titan laugh'd, and changed her shape
Into the form of a voluptuous dame.
To the hero she spread her welcoming arms,
And he falter'd against her alluring charms.
There on the seas his mighty mind was sway'd,
And by tide of Desire a man was unmade.
O, most inglorious sight! The master turn'd to slave,
On the edge of the vessel, his hand outstretch'd,
All hold of reason relinquish'd like shackles.
That day had disslov'd Petrarchus' name
Among the thousands that fell to Lust's great spell,
And a hero's glory reduced to poor shame,
No deeds then done that this tale should tell.
But heaven beheld, and a peal of lightning
Shot forth like an unearthly ray o'er the foam,
The seething waves turn'd pallid white
In dread of the wrath of Heaven's sire.
And by the booming sound that echoed in the skies,
Petrarchus awaken'd, and casting off his spell,
He drew his blade, and Luxuria fell.
Alas! that the pestilence of her wickedness
Had ended there in that fateful hour!
But  her body's blood, as black as night,
Issuing from the **** of her bleeding neck,
Swept forth like an all-consuming cloud,
Enveloping the seas in a shadowed shroud.
'Twas the very essence of Sin, that worked in the blood,
The defilement that envenom'd the warrior's heart,
As he drew in the blackness with his heaving breath.
As the spider's venom with cunning doth pierce,
So she made frail who had been so fierce.
Like a phantom in a dream he sail'd now ahead,
Barely alive, and more than half dead,
Across the arid isles of nighted Invidius;
And came at last, a batter'd man
To the endless waste of horrid Morthros;
The first of mortal line those seas to cross,
The Chasm of Death to obtain.
And sudden in the grime a Chalice appeared,
The Goblet of Gula, whose heady draught
Makes thirst so great that pain seems naught.
Like lowly beast the warrior had become,
And casting off his sword and shining shield,
The mail that was a burden on his sweating breast,
Naked and horrible, he clawed to the Cup
And raised his thirsty lips to drink of the draught.
And suddenly a terrible tremor moved the earth,
And lo! 'twas earth no more, but abyss profound,
Black and gaping, the Chasm of Death.
For eternity of time he fell through the blackness,
Crying in craven fear, lost in nameless dread,
And came at last to the Bottom, hard and lifeless.
Ah most terrible fate, to have one's tomb
In the lightless reaches of the mouth of the earth.
And had Petrarchus ended? Had the terrible fall
Through leagues of despair destroyed him?
Nay, for this was the greatest atonement,
To be alive without purpose, to decay in darkness,
To live alone, far from life and love;
Eternally scalded by the unending coldness,
Cowering 'neath the mocking leer of Fate.
Then came a greater, more terrible awakening,
For 'twas now he saw the Legion of Undead
Glowering in the filth, a horde of blood-red eyes,
Unblinking, that knew only to fear and despise.
In that Inferno of eyes ever staring in the gloam,
The hero languish'd for what seem'd an age.
But then, heaven! thy aid was sent,
And by divine power the blackness was rent
By light, and the voice of Providence spake:
"Be bold, brave knight, for thy own sake,
Heaven did not decree the path that thou hast chosen;
Thou shalt rise where none before have risen;
Re-arm thy heart, stand up on thy feet,
Cowards are they that submit to defeat.
Turn thy eyes above! Dost thou not see?
The void thou hast created had never been!
The Chasm is only for the weak of heart,
A prison of minds that by minds was made.
Wake up thy blood, braveheart! Thou art not lost,
The prize shall be thine, though great the cost.
Pierce with sword of will the veil of night,
And behold! The world is blinded with light!"
Thus spake the Voice, and the world was restor'd,
The sands of Morthros as barren as before.
But where he had seen darkness, the hero now saw hope,
For the flame of the Gods was raging in his heart,
Relentless he walk'd through the swathe of gloom,
Petrarchus who was saved from eternal doom.
The mortal came at last to Paradise sublime,
Abode of grandeur and all things divine!
As a man whelm'd by wonder he trod
Through it's rich marble halls and ethereal gardens,
Drinking in the balmy scent of blooms
Not found in any land but where the immortals reside.
And then the mighty hall of Helios was there!
Firm as a mountain, and alight with wondrous flare!
High on the throne, above all the stately gods,
Repos'd Helios, monarch of immortals.
Emitting rays and beams of blinding power,
The refulgent king rose from his sacred seat,
And rais'd his golden sceptre, in cordial greeting
To the first wayfarer from the mortal world.
"Noble Petrarchus," said he, "across the Seas of Gloom
and the Chasm of Death thou hast made thy way
To this Hesperius, Garden of Gods.
To thee this honour eternal was given,
Thou alone by Destiny's call wert driven,
For man like to thee on this globe there is none,
Nor worthier soul to brave what thou hast done.
To wander in our blessed halls and glory at our pride,
Shall be thy just reward, if thou shalt decide.
What say'st thou, O matchless of mortals?"
But the man to whom he spoke was not the hero of old,
For He had been destroyed in the Chasm of Death;
Unfetter'd by desire, like a God in form he stood,
With wisdom beyond measure of living mortal man.
And there in the halls of Hesperius was born
Petrarchus the Prophet, Star of the Pole.
With humble grace the sage then spoke,
"Gracious is thy will, O eternal king,
Whose praises no song of man can sing;
But if thou shalt grant, benevolent sire,
One, and one only, is my chief desire.
To be given endless life, and freedom to walk
The pleasant arbours and vales of Earth,
And preach to all men the greatness of the Gods;
This indeed I deem a task of worth.
If such be thy will, the very Seas of Gloom
Shall be new-forg'd into the Seas of Glory,
And the rays of Helios shall shine out afar,
Awaking a new morn and age of Reason.
But mine is the suit; 'tis thine to fulfil."
At this the God of Day let out a booming laugh,
The first heavenly display of Mirth ever seen;
The skies were new-brighten'd by a light of joy.
"So shall it be," to the Prophet said he,
and bade him wander whither he would,
Immortal emissary, scion of righteousness,
Harbinger of the dawn and new age of Man.
His task is done. And now he reposes, ever serene,
In the heart of Night's silken shades, a luminous star
Bright and wondrous above the Pole.

Burn bright Braveheart
my spirit guides you.
Whispers
They warrant warning Signs
And guide my wayward path.
Tracking to find me
my Demons Die.
Rebirth rides strong in the wind beside me.

Wake up from the slumber
Let yourself free
The imaginations run free
As they take you to places
You always wanted to visit
The land of happiness and freedom
Where you roam around
Feeling light and carefree
No anchors and chains
To hold you down
Wings of dreams help you fly
Over the mountains, valleys and oceans
And breathe the fresh air
Not the claustrophobic smoke
Which chokes you
Let this be a mantra, “I am free”
No one whatsoever
Can tie us down
Or cage our dreams and feelings
Be a braveheart
Hold hands of those who are confined
To take them with you
Let them smell the free air
And see the free world
Dream with eyes open
Bewildered by the beauty around
Let’s take a pledge
To be free
Once more, the mantra, ‘I am free’

she is a child on the streets in the light of day.
dancing.
she has made a world of her own, here,
in tattered clothes and still-bright eyes.
she,
who lives in fear and smiles still—
braveheart.

this is the life she lives:
a fight for freedom even now,
a thirst for better days,
a kindness that remains.

this girl—she is a child.
and she is fury.
(beneath the worn-out dress there is a knife.
this child—she has been a fighter in so many lives.)

this lady—she reclaims her royal right.
for far too long she has been dealt too much dirt;
my child. she hurts.

generous child; sometimes I think she has been far too kind.
she has been cheated too many times.
good lady, take back all that they have taken.
I want it back; I want it back. we will take it back.

(this is a shout, a hope, a full demand.)

good lady, you deserve far more than what you have been given.
my lady, dear child,
still you smile.
my goddess,
stay bright.
unsheathe your knife;
raise your voice, speak honest words—
let battle cries be battle cries.

old heart of mine,
old heart of this land I love:
stay bright, stay bright.
we will take it back and more.

I hope I am grace to you
I hope I am the most powerful inspiration for good from a woman ever given to you
I hope I am a stonewall to you
A picture of the surest **** that ever kept Holland dry to you
I hope I am a warcry to you, what caused Braveheart to go and fight to you
I hope I am rest to you
I hope I am joy to you
I hope that I am hope to you
And I hope I am these things forever to you

So many things that are scary,
I don't think I have the courage.
The world frightens me,
and the people in it irritate me.
So much anger aimed everywhere,
it seems like no one is living in peace.
it seems like no one has a care,
just living life so selfishly.
Oh, how I want change,
but it only happens in fairy-tales.
I see the flaw in my makeup,
just a rotten human being who-
can't have his own way.
I have searched everywhere for-
happiness, only to come up empty-
handed, not realizing until years-
down the road that happiness is a-
by-product of right living. Oh, how-
I have failed numerous of times but-
I keep picking myself up and trying-
again and again. I have to realize that-
I have no control of others, they're going-
to say and do things that I don't like-
likewise,
I'm going to say and do things that they-
don't like.  
But we need more peace than-
what we are giving out, so much mindless-
acts of cruelty that keep us in fear, locked-
up in cages in our own homes. Well, I want-
to break free and shout it out, just like in-
the movie Braveheart, "FREEDOM!" that's-
what it's about. Not our petty differences,
it means more than that. Let us take a stand-
for our nation and wear freedom on our sleeve.