AN INTRODUCTION TO INDIAN ART IN VERSE  
By Raj Nandy : Part One

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

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

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

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

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

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

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

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

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

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

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

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

CONCLUDING INTRODUCTION TO INDIAN ART:

Indian Art is like a prism with many dazzling facets,
I have only introduced the subject with its symbolism,
- without covering its complete assets!
After my Part Three on ‘Etruscan and Roman Art’,
Christian and Byzantine Art was to follow;
But following request from my few poet friends I have
postponed it for the morrow!
Traditional Indian Art survives through its sculptures,
architecture, paintings and folk art, ever evolving with
the passing of time and age;
Influenced by Buddhist, Jain, Muslim, Mogul, and many
indigenous art forms, enriching India’s cultural heritage!
While the art of our modern times constitutes a separate
Contemporary phase !
The juxtaposition of certain concepts and forms might
have appeared a bit intriguing,
But the spiritual content and symbolism in art answers
our basic artistic seeking!
The other aspects of Indian Art I plan to cover at a later
date,
Hope you liked my Introduction, being posted after
almost forty days!
ALL COPY RIGHTS ARE WITH RAJ NANDY
E-Mail: rajnandy21@yahoo.
    FEW COMMENTS BY POETS ON 'POETFREAK.COM' :-
I have a vicarious pleasure going through your historical journey of Indian art! Thanks for sharing this here! 2 Mar 2013 by Ramesh T A | Reply
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The prism of Indian Art is indeed has myriads of facets and is an awesome mixture of many influences some of which you list here so clearly - a very understandable presentation of symbolism too - -thank you for your fine effort Raj. 2 Mar 2013 by Fay Slimm | Reply
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Oh what an interesting read with immense information capturing every single detail. You painted this piece of art with utmost care. Truly, it's works Raj…tfs 2 Mar 2013 by John Thomas Tharayil | Reply
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First, I have to say, the part about the lotus symbolism reminds me – My name ‘NILOTPAL’ can be split into ‘NIL’ meaning BLUE and ‘UTPAL’ meaning LOTUS. So my name represents wisdom (although it contradicts ME.. LOL). A lot of things were mentioned in the veda and other ancient Indian texts that were way ahead of the time Like the idea of ‘velocity of light’ got considerable mention in the rig veda-Sahan bhasya, ‘Elliptical order of planets, ‘Black holes’ , although these are the scientific aspects. The emphasis on contradictory elements or even the idea of opposites in Indian art is interesting because India developed the mathematical concept of ‘Zero’ and ‘infinity’. Hard to believe Rajasthan was a fertile place but now it possesses its own beauty. It was great to read about the Natraja, ‘OM’ and the trident(Trishul). Among symbolisms, Lord Ganseha is my favorite because a lot is portrayed in that one image like the MOOSHIK representing

dust cloud heavy
in an apricot sky
cottonwood mucker
under ambrose pale
whippet and shepherd
mill at the earth patch
yellow birch hangs
over red bench park

combine shavings
in crack rust brown
scissors chips fall
at the back stop
whiskey jack looters
sing patented chords
siblings (and 2 wheel enthusiasts!)
give thanks

joyous retrievers
master the criss cross
bare maples stand
at settlers way
barred owl and blue jay
whistle in the fore-wind
ghosts
and goblins
pull on the seeds

wind gusts belt
over the west gulch
a blood rush churns
in the chilling fall morn
hallowed grounds still
at the midday
quiet reflections
of the afghan
and hound

jumpers unite
at the oxbow
route runners bend
(on a sultry foray!)
meadows exposed
in the framework
ball parks empty
with pennants past

barrel dirt favors
the brew house
crimson and copper
find bracken ridge gate
harvest hands savor
the honey and hops
blankets of color
for a winter's hatch

brush fire kept
under steady peruse
bark bites fly
and embers glow
pine cones drop
from the timber tops
3 wick candles
grace the dinner place

shiver and ******
at the piper's call
cob web dew
on the shadowy gates
a chilled mist mellows
the season's return ~
poets and artists
and dreamers awake

I can’t wait to be a hundred;
turning over the thoughts
and plots, of Caledon
floating on Zimmer inserts
and dusted Florsheims
three steps forward
in a dream woven
summer afternoon

Through the barn doors
and bee keeper flats
assimilating voices
from Sachems
and Forbes
and Hope Healers
coming and going
as the countryman
comes and goes

You can feel it
in a place like this
the 3 in the tree memories
of Allis Chalmers
and combine parts
of Sundrim poppers
and shallow carp fields
of patterned lawsons
and fading caulk
(on the ripped and rolled
frontier seats)

it’s a wishing well
for the peddler
and bold hydrangea...
both peeking their way
through the rusted
grinders wheel

Lie within chaos, and create comfort
In visions of endless love.
Riding slowly on the crest of a morning fling, and flutter,
The body stutters
Like a street dancer.
Shine in different directions
And end the yearning
For a love of creativity
By stripping off
And darting
Into a sea of uncertainty,
with a sense of
Unimaginable lust for what keeps you
Ticking like a sturdy clock.
Find the rhymes that combine
With what lies inside the mind,
To stumble upon the future pleasure,
That you unearth with delight,
As you wonder.
Inspiration is born out of desire.
Fuel to fire the birth of creation.
The mind quakes for a taste
Of the cake, that is blessed with greatness.

~
O Painter
with thy own eye
                        would thee
paint me in mine own natural hue
prithee paint me as i am,
imperfections
            and blemishes true

Load thy brush
                      with colors sundry
to maketh yond first pure sweep
across the ****** frieze,
fill'd with pangs of hunger.
paint me as i standeth
                  bethought, in deep

With mine own love and mine own desire,
blurring the edges unclean
with mine own regrets
                  and mine own mental gyre,
in mine own natural age,
               of deep forest green

O Painter
Paint me sinister turquoise,
in lavender and maroon,
combine the amethyst and amber
blend the iceberg
       and the indigo moon.

Paint me as i standeth,
       prithee see with thy eye
a mistress in yond lady plight
Prithee paint me all i am
i cullionly
a mistress in all yond lady might

Paint me in the optimistic
                             silv'r of dawn,
but don’t miss the purple
to shade the bruise
                              of the bygone.
paint me in the sky blue journal

O Painter
Paint me as a unique template
smudge black white and grizzled
merging all the colors of thy palette.
col'r me a rainbow
                            in a rainy drizzle

Paint me tall so yond i standeth
loftier than any mountain
Paint me as a dram bird, delicate
with soft feathers silken

Paint me harmony, as a violin
so yond i can sing thy solitary tune
paint me as thy poetry
         with song and melody
wrapp'd in a cocoon

O Painter
paint me as a dream yond rises
                               in did saturate colors
with a steady upbeat flight awry
tint, a fluttering
             of a quite quaint butterfly

Portray me with endurance
imbue so bold and bright
doth not hesitate
                to depict mine own mind
in profound fuchsia and white.

Useth the colors yond thee would borrow
Thy palette not yet exsufflicate
Paint mine own loss and mine own sorrow
in search of a shade so ******

Adorn mine own heart in glowing garnet
at which hour thee paint mine own love
add a true broken blue shade
of the cloud and the rain above;

Study mine own dry sorrow
                              in mine own soul
useth any shade thee plaited
soften the edges of control
in a tinge of xanthene.

O Painter
Prithee paint me
Mine own passion and mine own spirit
shall has't a crimson r'd hint
mine own remorse and mine own regret
shall reflect an ink stain print

Paint me in mine own eye so true
O Painter
but add a dash of courage too
~

Blue eyes always realize real lies.

Blue eyes only had hatred towards the world, emotionless and stone cold.

But one day, the blue eyes met the green.

For the Green eyes, they had early rainy forest grass with a mixture of the deep color green like the pine within them.

While the Blue eyes had stormy ocean waves and white foam flying in every direction.

The Green eyes saw the world differently, for they saw kindness in the world, happiness, and success.

The two different colored eyes were a no match, for they cannot be together because sadness and happiness were impossible to combine.

But since the Green eyes were an optimist they believed that it is possible to combine two emotions together.

The Blue eyes thought otherwise, as a pessimist they believed that it is impossible.

The Green eyes knew that they can calm down the Blue eyes, for they together finally combine, sadness with happiness, an optimist with a pessimist, hatred with success.

They together made an emerald-turquoise color.

Finally, at last, the ocean blue stormy eyes became calmer and as it became comfortable even more it became a steady ocean with no stormy waves, no black clouds hovering over and no flying foam, for it all disappeared and only that appeared was peace and quiet.

Who would not laugh, if Lawrence, hired to grace
His costly canvas with each flattered face,
Abused his art, till Nature, with a blush,
Saw cits grow Centaurs underneath his brush?
Or, should some limner join, for show or sale,
A Maid of Honour to a Mermaid’s tail?
Or low Dubost—as once the world has seen—
Degrade God’s creatures in his graphic spleen?
Not all that forced politeness, which defends
Fools in their faults, could gag his grinning friends.
Believe me, Moschus, like that picture seems
The book which, sillier than a sick man’s dreams,
Displays a crowd of figures incomplete,
Poetic Nightmares, without head or feet.

  Poets and painters, as all artists know,
May shoot a little with a lengthened bow;
We claim this mutual mercy for our task,
And grant in turn the pardon which we ask;
But make not monsters spring from gentle dams—
Birds breed not vipers, tigers nurse not lambs.

  A laboured, long Exordium, sometimes tends
(Like patriot speeches) but to paltry ends;
And nonsense in a lofty note goes down,
As Pertness passes with a legal gown:
Thus many a Bard describes in pompous strain
The clear brook babbling through the goodly plain:
The groves of Granta, and her Gothic halls,
King’s Coll-Cam’s stream-stained windows, and old walls:
Or, in adventurous numbers, neatly aims
To paint a rainbow, or the river Thames.

  You sketch a tree, and so perhaps may shine—
But daub a shipwreck like an alehouse sign;
You plan a vase—it dwindles to a ***;
Then glide down Grub-street—fasting and forgot:
Laughed into Lethe by some quaint Review,
Whose wit is never troublesome till—true.

In fine, to whatsoever you aspire,
Let it at least be simple and entire.

  The greater portion of the rhyming tribe
(Give ear, my friend, for thou hast been a scribe)
Are led astray by some peculiar lure.
I labour to be brief—become obscure;
One falls while following Elegance too fast;
Another soars, inflated with Bombast;
Too low a third crawls on, afraid to fly,
He spins his subject to Satiety;
Absurdly varying, he at last engraves
Fish in the woods, and boars beneath the waves!

  Unless your care’s exact, your judgment nice,
The flight from Folly leads but into Vice;
None are complete, all wanting in some part,
Like certain tailors, limited in art.
For galligaskins Slowshears is your man
But coats must claim another artisan.
Now this to me, I own, seems much the same
As Vulcan’s feet to bear Apollo’s frame;
Or, with a fair complexion, to expose
Black eyes, black ringlets, but—a bottle nose!

  Dear Authors! suit your topics to your strength,
And ponder well your subject, and its length;
Nor lift your load, before you’re quite aware
What weight your shoulders will, or will not, bear.
But lucid Order, and Wit’s siren voice,
Await the Poet, skilful in his choice;
With native Eloquence he soars along,
Grace in his thoughts, and Music in his song.

  Let Judgment teach him wisely to combine
With future parts the now omitted line:
This shall the Author choose, or that reject,
Precise in style, and cautious to select;
Nor slight applause will candid pens afford
To him who furnishes a wanting word.
Then fear not, if ’tis needful, to produce
Some term unknown, or obsolete in use,
(As Pitt has furnished us a word or two,
Which Lexicographers declined to do;)
So you indeed, with care,—(but be content
To take this license rarely)—may invent.
New words find credit in these latter days,
If neatly grafted on a Gallic phrase;
What Chaucer, Spenser did, we scarce refuse
To Dryden’s or to Pope’s maturer Muse.
If you can add a little, say why not,
As well as William Pitt, and Walter Scott?
Since they, by force of rhyme and force of lungs,
Enriched our Island’s ill-united tongues;
’Tis then—and shall be—lawful to present
Reform in writing, as in Parliament.

  As forests shed their foliage by degrees,
So fade expressions which in season please;
And we and ours, alas! are due to Fate,
And works and words but dwindle to a date.
Though as a Monarch nods, and Commerce calls,
Impetuous rivers stagnate in canals;
Though swamps subdued, and marshes drained, sustain
The heavy ploughshare and the yellow grain,
And rising ports along the busy shore
Protect the vessel from old Ocean’s roar,
All, all, must perish; but, surviving last,
The love of Letters half preserves the past.
True, some decay, yet not a few revive;
Though those shall sink, which now appear to thrive,
As Custom arbitrates, whose shifting sway
Our life and language must alike obey.

  The immortal wars which Gods and Angels wage,
Are they not shown in Milton’s sacred page?
His strain will teach what numbers best belong
To themes celestial told in Epic song.

  The slow, sad stanza will correctly paint
The Lover’s anguish, or the Friend’s complaint.
But which deserves the Laurel—Rhyme or Blank?
Which holds on Helicon the higher rank?
Let squabbling critics by themselves dispute
This point, as puzzling as a Chancery suit.

  Satiric rhyme first sprang from selfish spleen.
You doubt—see Dryden, Pope, St. Patrick’s Dean.
Blank verse is now, with one consent, allied
To Tragedy, and rarely quits her side.
Though mad Almanzor rhymed in Dryden’s days,
No sing-song Hero rants in modern plays;
Whilst modest Comedy her verse foregoes
For jest and ‘pun’ in very middling prose.
Not that our Bens or Beaumonts show the worse,
Or lose one point, because they wrote in verse.
But so Thalia pleases to appear,
Poor ******! ****** some twenty times a year!

Whate’er the scene, let this advice have weight:—
Adapt your language to your Hero’s state.
At times Melpomene forgets to groan,
And brisk Thalia takes a serious tone;
Nor unregarded will the act pass by
Where angry Townly “lifts his voice on high.”
Again, our Shakespeare limits verse to Kings,
When common prose will serve for common things;
And lively Hal resigns heroic ire,—
To “hollaing Hotspur” and his sceptred sire.

  ’Tis not enough, ye Bards, with all your art,
To polish poems; they must touch the heart:
Where’er the scene be laid, whate’er the song,
Still let it bear the hearer’s soul along;
Command your audience or to smile or weep,
Whiche’er may please you—anything but sleep.
The Poet claims our tears; but, by his leave,
Before I shed them, let me see ‘him’ grieve.

  If banished Romeo feigned nor sigh nor tear,
Lulled by his languor, I could sleep or sneer.
Sad words, no doubt, become a serious face,
And men look angry in the proper place.
At double meanings folks seem wondrous sly,
And Sentiment prescribes a pensive eye;
For Nature formed at first the inward man,
And actors copy Nature—when they can.
She bids the beating heart with rapture bound,
Raised to the Stars, or levelled with the ground;
And for Expression’s aid, ’tis said, or sung,
She gave our mind’s interpreter—the tongue,
Who, worn with use, of late would fain dispense
(At least in theatres) with common sense;
O’erwhelm with sound the Boxes, Gallery, Pit,
And raise a laugh with anything—but Wit.

  To skilful writers it will much import,
Whence spring their scenes, from common life or Court;
Whether they seek applause by smile or tear,
To draw a Lying Valet, or a Lear,
A sage, or rakish youngster wild from school,
A wandering Peregrine, or plain John Bull;
All persons please when Nature’s voice prevails,
Scottish or Irish, born in Wilts or Wales.

  Or follow common fame, or forge a plot;
Who cares if mimic heroes lived or not!
One precept serves to regulate the scene:
Make it appear as if it might have been.

  If some Drawcansir you aspire to draw,
Present him raving, and above all law:
If female furies in your scheme are planned,
Macbeth’s fierce dame is ready to your hand;
For tears and treachery, for good and evil,
Constance, King Richard, Hamlet, and the Devil!
But if a new design you dare essay,
And freely wander from the beaten way,
True to your characters, till all be past,
Preserve consistency from first to last.

  Tis hard to venture where our betters fail,
Or lend fresh interest to a twice-told tale;
And yet, perchance,’tis wiser to prefer
A hackneyed plot, than choose a new, and err;
Yet copy not too closely, but record,
More justly, thought for thought than word for word;
Nor trace your Prototype through narrow ways,
But only follow where he merits praise.

  For you, young Bard! whom luckless fate may lead
To tremble on the nod of all who read,
Ere your first score of cantos Time unrolls,
Beware—for God’s sake, don’t begin like Bowles!
“Awake a louder and a loftier strain,”—
And pray, what follows from his boiling brain?—
He sinks to Southey’s level in a trice,
Whose Epic Mountains never fail in mice!
Not so of yore awoke your mighty Sire
The tempered warblings of his master-lyre;
Soft as the gentler breathing of the lute,
“Of Man’s first disobedience and the fruit”
He speaks, but, as his subject swells along,
Earth, Heaven, and Hades echo with the song.”
Still to the “midst of things” he hastens on,
As if we witnessed all already done;
Leaves on his path whatever seems too mean
To raise the subject, or adorn the scene;
Gives, as each page improves upon the sight,
Not smoke from brightness, but from darkness—light;
And truth and fiction with such art compounds,
We know not where to fix their several bounds.

  If you would please the Public, deign to hear
What soothes the many-headed monster’s ear:
If your heart triumph when the hands of all
Applaud in thunder at the curtain’s fall,
Deserve those plaudits—study Nature’s page,
And sketch the striking traits of every age;
While varying Man and varying years unfold
Life’s little tale, so oft, so vainly told;
Observe his simple childhood’s dawning days,
His pranks, his prate, his playmates, and his plays:
Till time at length the mannish tyro weans,
And prurient vice outstrips his tardy teens!

  Behold him Freshman! forced no more to groan
O’er Virgil’s devilish verses and his own;
Prayers are too tedious, Lectures too abstruse,
He flies from Tavell’s frown to “Fordham’s Mews;”
(Unlucky Tavell! doomed to daily cares
By pugilistic pupils, and by bears,)
Fines, Tutors, tasks, Conventions threat in vain,
Before hounds, hunters, and Newmarket Plain.
Rough with his elders, with his equals rash,
Civil to sharpers, prodigal of cash;
Constant to nought—save hazard and a *****,
Yet cursing both—for both have made him sore:
Unread (unless since books beguile disease,
The P——x becomes his passage to Degrees);
Fooled, pillaged, dunned, he wastes his terms away,
And unexpelled, perhaps, retires M.A.;
Master of Arts! as hells and clubs proclaim,
Where scarce a blackleg bears a brighter name!

  Launched into life, extinct his early fire,
He apes the selfish prudence of his Sire;
Marries for money, chooses friends for rank,
Buys land, and shrewdly trusts not to the Bank;
Sits in the Senate; gets a son and heir;
Sends him to Harrow—for himself was there.
Mute, though he votes, unless when called to cheer,
His son’s so sharp—he’ll see the dog a Peer!

  Manhood declines—Age palsies every limb;
He quits the scene—or else the scene quits him;
Scrapes wealth, o’er each departing penny grieves,
And Avarice seizes all Ambition leaves;
Counts cent per cent, and smiles, or vainly frets,
O’er hoards diminished by young Hopeful’s debts;
Weighs well and wisely what to sell or buy,
Complete in all life’s lessons—but to die;
Peevish and spiteful, doting, hard to please,
Commending every time, save times like these;
Crazed, querulous, forsaken, half forgot,
Expires unwept—is buried—Let him rot!

  But from the Drama let me not digress,
Nor spare my precepts, though they please you less.
Though Woman weep, and hardest hearts are stirred,
When what is done is rather seen than heard,
Yet many deeds preserved in History’s page
Are better told than acted on the stage;
The ear sustains what shocks the timid eye,
And Horror thus subsides to Sympathy,
True Briton all beside, I here am French—
Bloodshed ’tis surely better to retrench:
The gladiatorial gore we teach to flow
In tragic scenes disgusts though but in show;
We hate the carnage while we see the trick,
And find small sympathy in being sick.
Not on the stage the regicide Macbeth
Appals an audience with a Monarch’s death;
To gaze when sable Hubert threats to sear
Young Arthur’s eyes, can ours or Nature bear?
A haltered heroine Johnson sought to slay—
We saved Irene, but half ****** the play,
And (Heaven be praised!) our tolerating times
Stint Metamorphoses to Pantomimes;
And Lewis’ self, with all his sprites, would quake
To change Earl Osmond’s ***** to a snake!
Because, in scenes exciting joy or grief,
We loathe the action which exceeds belief:
And yet, God knows! what may not authors do,
Whose Postscripts prate of dyeing “heroines blue”?

  Above all things, Dan Poet, if you can,
Eke out your acts, I pray, with mortal man,
Nor call a ghost, unless some cursed scrape
Must open ten trap-doors for your escape.
Of all the monstrous things I’d fain forbid,
I loathe an Opera worse than Dennis did;
Where good and evil persons, right or wrong,
Rage, love, and aught but moralise—in song.
Hail, last memorial of our foreign friends,
Which Gaul allows, and still Hesperia lends!
Napoleon’s edicts no embargo lay
On ******—spies—singers—wisely shipped away.
Our giant Capital, whose squares are spread
Where rustics earned, and now may beg, their bread,
In all iniquity is grown so nice,
It scorns amusements which are not of price.
Hence the pert shopkeeper, whose throbbing ear
Aches with orchestras which he pays to hear,
Whom shame, not sympathy, forbids to snore,
His anguish doubling by his own “encore;”
Squeezed in “Fop’s Alley,” jostled by the beaux,
Teased with his hat, and trembling for his toes;
Scarce wrestles through the night, nor tastes of ease,
Till the dropped curtain gives a glad release:
Why this, and more, he suffers—can ye guess?—
Because it costs him dear, and makes him dress!

  So prosper eunuchs from Etruscan schools;
Give us but fiddlers, and they’re sure of fools!
Ere scenes were played by many a reverend clerk,
(What harm, if David danced before the ark?)
In Christmas revels, simple country folks
Were pleased with morrice-mumm’ry and coarse jokes.
Improving years, with things no longer known,
Produced blithe Punch and merry Madame Joan,
Who still frisk on with feats so lewdly low,
’Tis strange Benvolio suffers such a show;
Suppressing peer! to whom each vice gives place,
Oaths, boxing, begging—all, save rout and race.

  Farce followed Comedy, and reached her prime,
In ever-laughing Foote’s fantastic time:
Mad wag! who pardoned none, nor spared the best,
And turned some very serious things to jest.
Nor Church nor State escaped his public sneers,
Arms nor the Gown—Priests—Lawyers—Volunteers:
“Alas, poor Yorick!” now for ever mute!
Whoever loves a laugh must sigh for Foote.

  We smile, perforce, when histrionic scenes
Ape the swoln dialogue of Kings and Queens,
When “Crononhotonthologos must die,”
And Arthur struts in mimic majesty.

  Moschus! with whom once more I hope to sit,
And smile at folly, if we can’t at wit;
Yes, Friend! for thee I’ll quit my cynic cell,
And bear Swift’s motto, “Vive la bagatelle!”
Which charmed our days in each ægean clime,
As oft at home, with revelry and rhyme.
Then may Euphrosyne, who sped the past,
Soothe thy Life’s scenes, nor leave thee in the last;
But find in thine—like pagan Plato’s bed,
Some merry Manuscript of Mimes, when dead.

  Now to the Drama let us bend our eyes,
Where fettered by whig Walpole low she lies;
Corruption foiled her, for she feared her glance;
Decorum left her for an Opera dance!
Yet Chesterfield, whose polished pen inveighs
‘Gainst laughter, fought for freedom to our Plays;
Unchecked by Megrims of patrician brains,
And damning Dulness of Lord Chamberlains.
Repeal that act! again let Humour roam
Wild o’er the stage—we’ve time for tears at home;
Let Archer plant the horns on Sullen’s brows,
And Estifania gull her “Copper” spouse;
The moral’s scant—but that may be excused,
Men go not to be lectured, but amused.
He whom our plays dispose to Good or Ill
Must wear a head in want of Willis’ skill;
Aye, but Macheath’s examp

Still must I hear?—shall hoarse FITZGERALD bawl
His creaking couplets in a tavern hall,
And I not sing, lest, haply, Scotch Reviews
Should dub me scribbler, and denounce my Muse?
Prepare for rhyme—I’ll publish, right or wrong:
Fools are my theme, let Satire be my song.

  Oh! Nature’s noblest gift—my grey goose-quill!
Slave of my thoughts, obedient to my will,
Torn from thy parent bird to form a pen,
That mighty instrument of little men!
The pen! foredoomed to aid the mental throes
Of brains that labour, big with Verse or Prose;
Though Nymphs forsake, and Critics may deride,
The Lover’s solace, and the Author’s pride.
What Wits! what Poets dost thou daily raise!
How frequent is thy use, how small thy praise!
Condemned at length to be forgotten quite,
With all the pages which ’twas thine to write.
But thou, at least, mine own especial pen!
Once laid aside, but now assumed again,
Our task complete, like Hamet’s shall be free;
Though spurned by others, yet beloved by me:
Then let us soar to-day; no common theme,
No Eastern vision, no distempered dream
Inspires—our path, though full of thorns, is plain;
Smooth be the verse, and easy be the strain.

  When Vice triumphant holds her sov’reign sway,
Obey’d by all who nought beside obey;
When Folly, frequent harbinger of crime,
Bedecks her cap with bells of every Clime;
When knaves and fools combined o’er all prevail,
And weigh their Justice in a Golden Scale;
E’en then the boldest start from public sneers,
Afraid of Shame, unknown to other fears,
More darkly sin, by Satire kept in awe,
And shrink from Ridicule, though not from Law.

  Such is the force of Wit! I but not belong
To me the arrows of satiric song;
The royal vices of our age demand
A keener weapon, and a mightier hand.
Still there are follies, e’en for me to chase,
And yield at least amusement in the race:
Laugh when I laugh, I seek no other fame,
The cry is up, and scribblers are my game:
Speed, Pegasus!—ye strains of great and small,
Ode! Epic! Elegy!—have at you all!
I, too, can scrawl, and once upon a time
I poured along the town a flood of rhyme,
A schoolboy freak, unworthy praise or blame;
I printed—older children do the same.
’Tis pleasant, sure, to see one’s name in print;
A Book’s a Book, altho’ there’s nothing in’t.
Not that a Title’s sounding charm can save
Or scrawl or scribbler from an equal grave:
This LAMB must own, since his patrician name
Failed to preserve the spurious Farce from shame.
No matter, GEORGE continues still to write,
Tho’ now the name is veiled from public sight.
Moved by the great example, I pursue
The self-same road, but make my own review:
Not seek great JEFFREY’S, yet like him will be
Self-constituted Judge of Poesy.

  A man must serve his time to every trade
Save Censure—Critics all are ready made.
Take hackneyed jokes from MILLER, got by rote,
With just enough of learning to misquote;
A man well skilled to find, or forge a fault;
A turn for punning—call it Attic salt;
To JEFFREY go, be silent and discreet,
His pay is just ten sterling pounds per sheet:
Fear not to lie,’twill seem a sharper hit;
Shrink not from blasphemy, ’twill pass for wit;
Care not for feeling—pass your proper jest,
And stand a Critic, hated yet caress’d.

And shall we own such judgment? no—as soon
Seek roses in December—ice in June;
Hope constancy in wind, or corn in chaff,
Believe a woman or an epitaph,
Or any other thing that’s false, before
You trust in Critics, who themselves are sore;
Or yield one single thought to be misled
By JEFFREY’S heart, or LAMB’S Boeotian head.
To these young tyrants, by themselves misplaced,
Combined usurpers on the Throne of Taste;
To these, when Authors bend in humble awe,
And hail their voice as Truth, their word as Law;
While these are Censors, ’twould be sin to spare;
While such are Critics, why should I forbear?
But yet, so near all modern worthies run,
’Tis doubtful whom to seek, or whom to shun;
Nor know we when to spare, or where to strike,
Our Bards and Censors are so much alike.
Then should you ask me, why I venture o’er
The path which POPE and GIFFORD trod before;
If not yet sickened, you can still proceed;
Go on; my rhyme will tell you as you read.
“But hold!” exclaims a friend,—”here’s some neglect:
This—that—and t’other line seem incorrect.”
What then? the self-same blunder Pope has got,
And careless Dryden—”Aye, but Pye has not:”—
Indeed!—’tis granted, faith!—but what care I?
Better to err with POPE, than shine with PYE.

  Time was, ere yet in these degenerate days
Ignoble themes obtained mistaken praise,
When Sense and Wit with Poesy allied,
No fabled Graces, flourished side by side,
From the same fount their inspiration drew,
And, reared by Taste, bloomed fairer as they grew.
Then, in this happy Isle, a POPE’S pure strain
Sought the rapt soul to charm, nor sought in vain;
A polished nation’s praise aspired to claim,
And raised the people’s, as the poet’s fame.
Like him great DRYDEN poured the tide of song,
In stream less smooth, indeed, yet doubly strong.
Then CONGREVE’S scenes could cheer, or OTWAY’S melt;
For Nature then an English audience felt—
But why these names, or greater still, retrace,
When all to feebler Bards resign their place?
Yet to such times our lingering looks are cast,
When taste and reason with those times are past.
Now look around, and turn each trifling page,
Survey the precious works that please the age;
This truth at least let Satire’s self allow,
No dearth of Bards can be complained of now.
The loaded Press beneath her labour groans,
And Printers’ devils shake their weary bones;
While SOUTHEY’S Epics cram the creaking shelves,
And LITTLE’S Lyrics shine in hot-pressed twelves.
Thus saith the Preacher: “Nought beneath the sun
Is new,” yet still from change to change we run.
What varied wonders tempt us as they pass!
The Cow-pox, Tractors, Galvanism, and Gas,
In turns appear, to make the ****** stare,
Till the swoln bubble bursts—and all is air!
Nor less new schools of Poetry arise,
Where dull pretenders grapple for the prize:
O’er Taste awhile these Pseudo-bards prevail;
Each country Book-club bows the knee to Baal,
And, hurling lawful Genius from the throne,
Erects a shrine and idol of its own;
Some leaden calf—but whom it matters not,
From soaring SOUTHEY, down to groveling STOTT.

  Behold! in various throngs the scribbling crew,
For notice eager, pass in long review:
Each spurs his jaded Pegasus apace,
And Rhyme and Blank maintain an equal race;
Sonnets on sonnets crowd, and ode on ode;
And Tales of Terror jostle on the road;
Immeasurable measures move along;
For simpering Folly loves a varied song,
To strange, mysterious Dulness still the friend,
Admires the strain she cannot comprehend.
Thus Lays of Minstrels—may they be the last!—
On half-strung harps whine mournful to the blast.
While mountain spirits prate to river sprites,
That dames may listen to the sound at nights;
And goblin brats, of Gilpin Horner’s brood
Decoy young Border-nobles through the wood,
And skip at every step, Lord knows how high,
And frighten foolish babes, the Lord knows why;
While high-born ladies in their magic cell,
Forbidding Knights to read who cannot spell,
Despatch a courier to a wizard’s grave,
And fight with honest men to shield a knave.

  Next view in state, proud prancing on his roan,
The golden-crested haughty Marmion,
Now forging scrolls, now foremost in the fight,
Not quite a Felon, yet but half a Knight.
The gibbet or the field prepared to grace;
A mighty mixture of the great and base.
And think’st thou, SCOTT! by vain conceit perchance,
On public taste to foist thy stale romance,
Though MURRAY with his MILLER may combine
To yield thy muse just half-a-crown per line?
No! when the sons of song descend to trade,
Their bays are sear, their former laurels fade,
Let such forego the poet’s sacred name,
Who rack their brains for lucre, not for fame:
Still for stern Mammon may they toil in vain!
And sadly gaze on Gold they cannot gain!
Such be their meed, such still the just reward
Of prostituted Muse and hireling bard!
For this we spurn Apollo’s venal son,
And bid a long “good night to Marmion.”

  These are the themes that claim our plaudits now;
These are the Bards to whom the Muse must bow;
While MILTON, DRYDEN, POPE, alike forgot,
Resign their hallowed Bays to WALTER SCOTT.

  The time has been, when yet the Muse was young,
When HOMER swept the lyre, and MARO sung,
An Epic scarce ten centuries could claim,
While awe-struck nations hailed the magic name:
The work of each immortal Bard appears
The single wonder of a thousand years.
Empires have mouldered from the face of earth,
Tongues have expired with those who gave them birth,
Without the glory such a strain can give,
As even in ruin bids the language live.
Not so with us, though minor Bards, content,
On one great work a life of labour spent:
With eagle pinion soaring to the skies,
Behold the Ballad-monger SOUTHEY rise!
To him let CAMOËNS, MILTON, TASSO yield,
Whose annual strains, like armies, take the field.
First in the ranks see Joan of Arc advance,
The scourge of England and the boast of France!
Though burnt by wicked BEDFORD for a witch,
Behold her statue placed in Glory’s niche;
Her fetters burst, and just released from prison,
A ****** Phoenix from her ashes risen.
Next see tremendous Thalaba come on,
Arabia’s monstrous, wild, and wond’rous son;
Domdaniel’s dread destroyer, who o’erthrew
More mad magicians than the world e’er knew.
Immortal Hero! all thy foes o’ercome,
For ever reign—the rival of Tom Thumb!
Since startled Metre fled before thy face,
Well wert thou doomed the last of all thy race!
Well might triumphant Genii bear thee hence,
Illustrious conqueror of common sense!
Now, last and greatest, Madoc spreads his sails,
Cacique in Mexico, and Prince in Wales;
Tells us strange tales, as other travellers do,
More old than Mandeville’s, and not so true.
Oh, SOUTHEY! SOUTHEY! cease thy varied song!
A bard may chaunt too often and too long:
As thou art strong in verse, in mercy, spare!
A fourth, alas! were more than we could bear.
But if, in spite of all the world can say,
Thou still wilt verseward plod thy weary way;
If still in Berkeley-Ballads most uncivil,
Thou wilt devote old women to the devil,
The babe unborn thy dread intent may rue:
“God help thee,” SOUTHEY, and thy readers too.

  Next comes the dull disciple of thy school,
That mild apostate from poetic rule,
The simple WORDSWORTH, framer of a lay
As soft as evening in his favourite May,
Who warns his friend “to shake off toil and trouble,
And quit his books, for fear of growing double;”
Who, both by precept and example, shows
That prose is verse, and verse is merely prose;
Convincing all, by demonstration plain,
Poetic souls delight in prose insane;
And Christmas stories tortured into rhyme
Contain the essence of the true sublime.
Thus, when he tells the tale of Betty Foy,
The idiot mother of “an idiot Boy;”
A moon-struck, silly lad, who lost his way,
And, like his bard, confounded night with day
So close on each pathetic part he dwells,
And each adventure so sublimely tells,
That all who view the “idiot in his glory”
Conceive the Bard the hero of the story.

  Shall gentle COLERIDGE pass unnoticed here,
To turgid ode and tumid stanza dear?
Though themes of innocence amuse him best,
Yet still Obscurity’s a welcome guest.
If Inspiration should her aid refuse
To him who takes a Pixy for a muse,
Yet none in lofty numbers can surpass
The bard who soars to elegize an ***:
So well the subject suits his noble mind,
He brays, the Laureate of the long-eared kind.

Oh! wonder-working LEWIS! Monk, or Bard,
Who fain would make Parnassus a church-yard!
Lo! wreaths of yew, not laurel, bind thy brow,
Thy Muse a Sprite, Apollo’s sexton thou!
Whether on ancient tombs thou tak’st thy stand,
By gibb’ring spectres hailed, thy kindred band;
Or tracest chaste descriptions on thy page,
To please the females of our modest age;
All hail, M.P.! from whose infernal brain
Thin-sheeted phantoms glide, a grisly train;
At whose command “grim women” throng in crowds,
And kings of fire, of water, and of clouds,
With “small grey men,”—”wild yagers,” and what not,
To crown with honour thee and WALTER SCOTT:
Again, all hail! if tales like thine may please,
St. Luke alone can vanquish the disease:
Even Satan’s self with thee might dread to dwell,
And in thy skull discern a deeper Hell.

Who in soft guise, surrounded by a choir
Of virgins melting, not to Vesta’s fire,
With sparkling eyes, and cheek by passion flushed
Strikes his wild lyre, whilst listening dames are hushed?
’Tis LITTLE! young Catullus of his day,
As sweet, but as immoral, in his Lay!
Grieved to condemn, the Muse must still be just,
Nor spare melodious advocates of lust.
Pure is the flame which o’er her altar burns;
From grosser incense with disgust she turns
Yet kind to youth, this expiation o’er,
She bids thee “mend thy line, and sin no more.”

For thee, translator of the tinsel song,
To whom such glittering ornaments belong,
Hibernian STRANGFORD! with thine eyes of blue,
And boasted locks of red or auburn hue,
Whose plaintive strain each love-sick Miss admires,
And o’er harmonious fustian half expires,
Learn, if thou canst, to yield thine author’s sense,
Nor vend thy sonnets on a false pretence.
Think’st thou to gain thy verse a higher place,
By dressing Camoëns in a suit of lace?
Mend, STRANGFORD! mend thy morals and thy taste;
Be warm, but pure; be amorous, but be chaste:
Cease to deceive; thy pilfered harp restore,
Nor teach the Lusian Bard to copy MOORE.

Behold—Ye Tarts!—one moment spare the text!—
HAYLEY’S last work, and worst—until his next;
Whether he spin poor couplets into plays,
Or **** the dead with purgatorial praise,
His style in youth or age is still the same,
For ever feeble and for ever tame.
Triumphant first see “Temper’s Triumphs” shine!
At least I’m sure they triumphed over mine.
Of “Music’s Triumphs,” all who read may swear
That luckless Music never triumph’d there.

Moravians, rise! bestow some meet reward
On dull devotion—Lo! the Sabbath Bard,
Sepulchral GRAHAME, pours his notes sublime
In mangled prose, nor e’en aspires to rhyme;
Breaks into blank the Gospel of St. Luke,
And boldly pilfers from the Pentateuch;
And, undisturbed by conscientious qualms,
Perverts the Prophets, and purloins the Psalms.

  Hail, Sympathy! thy soft idea brings”
A thousand visions of a thousand things,
And shows, still whimpering thro’ threescore of years,
The maudlin prince of mournful sonneteers.
And art thou not their prince, harmonious Bowles!
Thou first, great oracle of tender souls?
Whether them sing’st with equal ease, and grief,
The fall of empires, or a yellow leaf;
Whether thy muse most lamentably tells
What merry sounds proceed from Oxford bells,
Or, still in bells delighting, finds a friend
In every chime that jingled from Ostend;
Ah! how much juster were thy Muse’s hap,
If to thy bells thou would’st but add a cap!
Delightful BOWLES! still blessing and still blest,
All love thy strain, but children like it best.
’Tis thine, with gentle LITTLE’S moral song,
To soothe the mania of the amorous throng!
With thee our nursery damsels shed their tears,
Ere Miss as yet completes her infant years:
But in her teens thy whining powers are vain;
She quits poor BOWLES for LITTLE’S purer strain.
Now to soft themes thou scornest to confine
The lofty numbers of a harp like thine;
“Awake a louder and a loftier strain,”
Such as none heard before, or will again!
Where all discoveries jumbled from the flood,
Since first the leaky ark reposed in mud,
By more or less, are sung in every book,
From Captain Noah down to Captain Cook.
Nor this alone—but, pausing on the road,
The Bard sighs forth a gentle episode,
And gravely tells—attend, each beauteous Miss!—
When first Madeira trembled to a kiss.
Bowles! in thy memory let this precept dwell,
Stick to thy Sonnets, Man!—at least they sell.
But if some new-born whim, or larger bribe,
Prompt thy crude brain, and claim thee for a scribe:
If ‘chance some bard, though once by dunces feared,
Now, prone in dust, can only be revered;
If Pope, whose fame and genius, from the first,
Have foiled the best of critics, needs the worst,
Do thou essay: each fault, each failing scan;
The first of poets

It's that moment
when the pieces
of the puzzle
all combine.

And you see a
glorious picture
that you doubted
that you'd find.

And then after
when the pieces
are inspected
each with care.

You see purpose
and see meaning
each too valuable
to spare.

We are born free people, yet there are always restrictions.
We choose if we want to break them, whether with facts or through fiction.
Whether on walls using diction,
Or any crawl through confliction.
And no amount of chains and barriers
Will restrain us, no contradiction.
We understand we’re not on ice,
That there’s always going to be friction.
As expressers, fighters, artists, world changers
It comes from an Italian word, meaning scratch.
Look at it again and a whole new world
Has hatched.
The term graffiti, referred to the inscriptions, figure drawings, and such, found on the walls of ancient graves or ruins, as in the Catacombs of Rome or at Pompeii. Use of the word has evolved to include any graphics applied to surfaces in a manner that constitutes vandalism.
75% of people think its vandalism.
Toronto spends one million a year on graffiti removal.
When artists get back in the game, they haven’t given their approval.
Why don’t you use that money to feed the thousands of poor in society?
Instead of worrying about the art that the citizens need to see.

I never got A’s in elementary school art.
Getting marked on art still sounds like you need to be smart.
But graffiti doesn’t have to mean anything,
Not every letter is a symbol.
There are complications too but it can also be simple.
Almost every kind that I saw on the streets
Took a soft place in my heart, eventually turned concrete.
Let me reel back to grade 10 when I actually took art courses
In the media arts classroom I was taught people as my sources
Banksy, JR, Sofles, Katsu, Kidult, Shepard Fairey.
After my first graffiti assignment I understood clearly
What would happen if you brought a spray paint can near me.
The reason for graffiti is a simple one,
Not always about rebelling, or having fun.
Every artist craves to paint in his or her own way.
And all of us have messages that need to be portrayed.
Like, I was here, I’m alive, let me leave my mark.
This city is mine too, and I want to give it my spark
I belong, I have a voice, and I crave to make a change
These walls are too voiceless when it comes to the speaking range
My love for social justice brings in political ties
Through graffiti one can tell what country thrives with lies
It gives any surface a story, makes it come alive.
Change the system if you strive, until justice is revived.
To try to help the oppressed,
The shapes and lines were mine,
But they’re the ones on the line,
And to sit and do nothing would be an even bigger crime.
I even changed my initials to KKB
The B is for Banksy, its everywhere you see me.
My email has a Banksy, my Twitter did too.
Graffiti is my life, though you already knew.
Humanity is lost within the walls that we made
Graffiti brought it back to me,
And like the ocean did I wade.
Inside the political aspect that structures our brains
And the society that gives us money to drain
All the false information and the things we don’t need
Gives me hope to find these messages written on the streets
Sometimes freedom of speech isn’t so free at all.
But if Facebook deletes posts, documentaries have biased calls,
There’s another way of speaking, even if we fall,
I love how it’s not typical; no tag is the same.
Its breathing life on the walls, not stuck in a frame.
It stands out.
Stands outside of a museum where you always have to pay.
To see something that may or may not catch your attention right away.
That makes your head sway,
Give you some kind of reaction, moves you to action.
Not something you have to think hard about,
There’s little analysis needed, a splash merrily seeded.
Its urgent, its in the moment, for realization.
Once the message has been received, it’s an artist’s confirmation.
I integrated graffiti as a part of my every day life, including school
Drew it in math projects, French presentations, writer’s craft essays, it was my arts night welcome sign tool.
I will carry this with me through university
And it’ll take me further in the arts industry.
When you walk by graffiti in the street, do you ever take the time to notice it? Like, really notice it? Do you ever think about the person behind the spray paint can? Writers are not only being underappreciated for their talents, but they’re being harassed, looked down on, all for no reason. Do you know any of their stories? Do you know what thoughts and feelings sprayed out of the can when the paint hit the wall? Do you ever think about the history behind the art? To breakdown the styles of graffiti, here’s a simple introduction. There are tags, the simplest forms of graffiti. A signature. There are stencils. There are stickers, also known as slaps. Wildstyles are also used, and they’re more intricate, more colourful, and harder to read. It’s a particular style of writing developed in New York City. A piece is one that takes time an effort, and requires more than three colours. A blockbuster is used to cover the most space in the least amount of time. And a heaven is a piece that’s put in a hard to reach area, like the tops of tall buildings or on freeway signs. There’s the style bubble, old school, brush, abstract, bombings, whole car, ignorant, landscape, realistic, billboard, cartoon and sharp as well.
A sense of tranquility seeps into my veins every time my marker hits the paper, full of energy, full of hope. Starting graffiti was a way to combine my passion for speaking out against oppression and my love for the arts. Even though my work is not displayed on the streets, it has the same style, and it may not have the same effect but it counts as an escape for me. It doesn’t make me a graffiti artist, and some would even argue that doing canvas work kills the purpose of graffiti but I always want my work to make an impact on people no matter which way I do it. It’s something I love to do, and anyone can take that any way they desire. There are stereotypes that I’ve had to battle, but in the end, I know my true intentions. I don’t need to make a name for myself. I don’t need to create a reputation for myself either. True, this is not real graffiti, but that’s as far as I choose to take my fascination. I do it because of the escape it provides for me, the sense of freedom, and the sense of power in my markers.
These are the little movements of writers, all of us trying to get at revolution. Art is not supposed to be limited in frames. That’s why to me, the streets are some of the biggest forms of freedom – do as much as you like, however you like, all free. The poor and rich all have to see it. No one can avoid the message. It is not only artistic expression; it’s a protest. A scream of anger and emotion aimed towards public spaces. Graffiti artists did not start the war, they just respond to defend our vision of what graffiti and society should be: free. A battle against commercialism and a way of saying ‘no’ to materialism and society’s over consumption.  To the government, you are not the only ones who own these cities. What about the rest of us that do not exist until we leave a mark of our own? This is a game of action and reaction, if you will.
Taking care of our society is our obligation. That means changing anything harmful to us with every mean possible. Graffiti seems to offend a majority of society but if we took the time to appreciate and understand, a lot of good can be done if we turned the negatives into positives. So if we aimed for change and acted on it, especially with art, we’d be much less stressed. More often, we’d just remember, to stay blessed.

In the last months of March 2014,
Soldier Othello the Moroccan moor
Was in Stratford-upon-Avon at the graveside
Of William Shakespeare the English bard,
He was observing the anniversary
Of Shakespeare and his European brother Cervantes,
He had in his pocket another charm and amulet
Given to him by his paternal grandfather,
This time round not a charm for love portion,
But a mystique totem to raise the dead from dusts,
As Othello himself has hitherto over-matured
Above the painful torture of *** with aristocrats,
He has left it for the Jewish aristotrash; Frantz Kafka,
Whose torturous appetite for *** with German women,
Was the sorriest eyesore of his thespic efforts.

Like Jesus at the grave of Lazarus
Othello groaned by shouting; William the son of John!
No response, he shouted again; Shakespeare the bard!
Then the mystique powers of Othello’s amulet
Electrified Shakespeare back to life,
What is your problem you black moor,
The ***** of Morocco, the soldier
Who beguiled Desdemona into betrothal,
Not because of glory of your work,
But due to charms of your love portion
Bequeathed to you by your witch mother,
What brings you to my sepulchre,
For only to perturbed my purgatorial peace,
What brings you!?
Questioned Shakespeare the bard.

Am no longer the moor, blackness is class
But not the race, as race is bankrupt,
I come here to salute you with good news,
That your European brother, Alfred Nobel,
Currently rewards thespic bards like you,
Whether black or white, blue or green,
The ***** bards from the natural forest,
He also rewards, so wake up and pick the prize!
Retorted Othello in virtue of truth,
And also tell me the native bricks
Of your beautiful architecture;
Where and how did you mold thy bricks?
Your brown English bricks that walled your culture;
*****, clown, leapfrog, mercurial, oxymoron,
Falsitafity, Shyllocking, colleaguery and window,
Cauldron, graymalkin, woo, betroth, infatuation and so on.

From underneath his sepulcher Shakespeare broke
A violent gaggle of laughter as if he was ten English skeletons,
You Othello you are still a beautiful moor
Whose foolishness time has not condemned to oblivion,
You are as a fool as I created you ; I will only teach you
One brick, the window , that you go and put on
Your wind disturbed African huts,
Put the wind door on your hut,
And be flexible in your tongue
To give it English elegance
Combine and shorten wind and door
To get your cultural brick of; window !

A catalyst is a chemical that speeds up reactions.
At least that’s what I learned in chemistry class.
Catalysts sometimes are the major factors in a reactions and without them,
The reaction could never happen.
Catalyst can be lab chemicals,
alcohol,
drugs,
coffee even,
or a person.

While lounging around one afternoon you were talking physics
And I turned it on your head and spoke of chemistry,
Knowing full well that I was speaking of our personal chemistries.
You were right, the physics of a relationship gives us the laws,
But CHEMISTRY can predict the outcome.
If you do the math and follow the directions,
you can determine the product without even doing the experiment.

Unless the reaction you are creating has never been attempted before by the scientists preforming the experiment.

They can flip through the books,
Read the essays,
Study the theorems,
Even attempt the calculations,
But if they don’t do the actual experiment,
They will never find their outcome.

Some things need a push,
A catalyst,
For them to form a bond,
React,
And combine into a stable combination.
Hypotheses must be TESTED, ACCEPTED, and RATIFIED
Before becoming a law.

No matter how based in logic your hypothesis might be,
You need the universe and its fundamental laws to back it up.
There are still surprises left in the universe.
Maybe you and I can be one of them.

I thought it right to assess some antidepressants, which philosophers are more inclined to call mood enhancers.
This was during my foray into human enhancement, substances intended to enhance physicality, cognition or mood. Nootropic compounds concern the latter two categories.

The most commonly prescribed mood enhancers are serotonin reuptake inhibitors (SRIs), but it takes over a week for these compounds reach their peak effect.
Thus I approached them with the notion that a limited dosage might point to their character, though  not reveal. These considerations in mind, I set about acquiring a few miscellaneous anti-D's.

Fluoxetine was the first successful selective serotonin re-uptake inhibitor (SSRI), better known by its original brand-name Prozac. Fluoxetine has an acute biological half-life of between 1-3 days. Presence of a trifluoromethyl group on the compound deserves note, I wonder what the presence of electronegative fluorine atoms add to the psychoactive flavor of a compound (subjective effects).
I administered a single dose by mouth, there was some indication of subjective character. Light serotonergic sensations and seemingly benign mood-dampening, there is a ****** towards the positive. Waking headspace relatively uninteresting. Observed hints of oneirogenesis, did not manifest in enough character to be detailed - a sort of vivid, 'pulsive wandering, more pronounced in contrast to its waking character.
Good experiment, interesting results.
Ligand     Ki (nM)   Ki (nM)
Target      Flx            Nflx
SERT        1               19
NET         660           2700
DAT         4180         420
5-HT2A   200           300
5-HT2B    5000         5100
5-HT2C    72.6          91.2
α1             3000         3900
M1            870           1200
M2            2700         4600
M3            1000         760
M4            2900         2600
M5            2700         2200
H1            3250         10000

Sertraline is another popular SSRI, also known by it's original brand-name Zoloft. Sertraline has a variable half-life, on average 26 hours.
It's metabolite, desmethylsertraline, has a half life between 62-104 hours but is a far less potent Serotonin Releasing Agent (SRA).
The presence of two chlorine atoms is interesting. The usual, phenomenal serotonergicity is present and pushing towards the positive.
Some nausea, particularly when hungry (this disappeared after some minestrone soup). Some faintness after physical exertion. This dose did not promote onirogenesis. There was a moment of cognitive distortion when the proportions of a focal object seemed to be growing in-and-out, shifting in size.
Site                 Ki (nM)
SERT              0.15–3.3
NET               420–925
DAT               22–315
5-HT1A       >35,000
5-HT2A          2,207
5-HT2C          2,298
α1A        ­        1900
α1B                 3,500
α1D                 2,500
α2                  477–4,100
D2                  10,700
H1                  24,000
mACh           427–2,100
σ1                   32–57
σ2                   5,297

Escitalopram is an SSRI commonly prescribed for major depression and generalised anxiety. It is the (S)-stereoisomer of citalopram. The biological half-life is of escitalopram is between 27-32 hours.
I administered a dose and thought the phenomenal serotonergicity less apparent than fluoxetine but then gastro-intestinal disturbance was noted, I surmised it has a high affinity for 5-HT2C.
Any oneiric qualities were not readily apparent after a single dose, relatively little visual imagery which is understandable given its lack of affinity for 5-HT2A. I found this to be philosophically interesting. Mood elevation observed in bursts of conversation and as odd sensations, possible mental discomfort.
Ligand,
Recptr     Ki (nM)
SERT       2.5
NET        6,514
5-HT2C   2,531
α1            3,870
M1           1,242
H1           1,973

Venlafaxine is a selective serotonin-norepinephrine reuptake inhibitor (SNRI). Venlafaxine and its metabolites are active for about 11 hours.
Initial subjective effects similar to a very light empathogenic stimulant. Perception of altered attention-span/increased reflexive response; energizing yet paradoxically much yawning.
Ligand,  Vnfx      Dvnfx
Recptr    Ki(nM)  Ki(nM)
SERT  ­    82           40.2
NET       2480        558.4

Tianeptine is a tricyclic antidepressant (TCA) with an unusual mechanism of action. It is an atypical agonist of the μ-opioid receptor and has been described as a (selective) serotonin reuptake enhancer (SRE). It has a short duration as sodium salts [prescribed form] of between 2-4 hours but as sulfate this can be notably extended, some of its metabolites are active for longer than tianeptine itself.
Definitely anxiolytic, quite artificial; possible aphrodisiac. I find its opioid activity dissuading, requires caution.
Site          Ki (nM)
MOR       383–768 (Ki)
                 194 (EC50)
DOR      >10,000 (Ki)
                 37,400 (EC50)
KOR      >10,000 (Ki)
                 100,000 (EC50)
All other transporter/receptor/sub-receptor values are >10,000 (Ki).

Bupropion is a norepinephrine-dopamine reuptake inhibitor (NDRI) with affinity for some nicotinic receptors. Bupropion and its metabolites are active for between 12-36 hours. Interestingly it is a substituted cathinone.
Initial subjective effects similar to a fairly light stimulant. Perception of increased attention-span and improved cognition. It is an onirogen that is neutral in quality, enhancing vivid dreaming (a boon of its nicotinic affinity which is counteracted if the stimulant component impinges on sleep). Completely absent of serotonergicity, curious.
The N-tert-butyl group's effect is most interesting, how it affects metabolism and to what extent ROAs alter pharmacokinetics.
I took 150mg ******, as extended and as instant release (the latter was more pronounced). I thought an altered pharmakinetic profile might result from bypass of hepatic metabolism, so I tried 25mg insufflated and felt as if there was effect that it differed slightly from oral ROAs, but also worried that its metabolic fate is thence unknown (compare to the neurotoxic 3-CMC). What of other bupropiologues,
for example, 3-Methyl-N-tert-butyl-methcathinone? Indeed.
                        Bupropion    R,R-Hydroxybuprpn   Threo-hydrobuprpn
AUC               1                     23.8                                  11.2
Half-life         11 h                 19 h                                 31 h
IC50 (μM)
DAT               0.66                  inactive                          47 (rat)
NET               1.85                   9.9                                  16 (rat)
SERT              inactive          inactive               ­            67 (rat)
α3β4 nic         1.8                   6.5                                   14 (rat)
α4β2 nic         12                     31                                   no data
α1β1γδ nic     7.9                    7.6                                  no data

Moclobemide is a reversible inhibitor of monoamine oxidase A (RIMA), its monoamine oxidase inhibition lasts about 8–10 hours and wears off completely by 24 hours. Inhibiting the decomposition of monoamines (e.g. serotonin, norepinephrine and dopamine) increases their accumulation at an extracellular level. It tends to suppress REM sleep and so it lacks oneirogenic properties.
Feeling of well-being, less constrained by the usual anxieties; openness. Relatively unnoticeable side-effects when diet is carefully managed. Made the mistake of eating a cheese and turkey sandwich (i.e. foodstuff rich in tryptophan/tyramine), indications of serotonergicity later became apparent: feelings of overheating and flushing, slight sweating, racing thoughts and anxious discomfort. A stark reminder of Shulgin's old adage: "there is no casual experiment".
Combination with a select few tryptamines (not 5-MeO-xxT) should be safe, and synergistic (perfect for pharmahuasca); reputed to potentiate GHB. However, generally it is extremely dangerous to combine with serotonergic drugs.

Prolog:
Foreplay opens with an aphrodisiac dubbed the mind
caressing private chambers with passion, over time
words stimulating nerve-endings for the ideal tease
like the skin dripping of honey from the nectar of bees
exploiting the fragrances of scented oils and balms
or maybe vib’ing lyrics inducing a seductive calm
compelling forces bombard the intellectual’s sanity
as the proximity of the blackhole distorts humanity

Love’s Play:
Costars entwine heated bodies for love’s embrace
as moments become endless as vectors of subspace
sporadic movements take the form of blissful spasms
while the players combine to mold a single plasm
ringing chimes fulfill the awareness with sensations
too diverse to classify for logical deliberations
yet finally, the mountaintop of cliffs can be reached
where there is no retreat and no return from its breach

Epilog:
Aftermath closes basking from the physical exertion
as two kindred spirits epitomize timeless insertion
gazing deeply into the abyss of the partner’s soul
only to find comfort and compassion ruling the role
can this be the earthly heaven that one truly beholds
written in the historic words as the heavens foretold
feelings ignite once again burning deeply within
opening yet another intriguing act, one must attend.

Your
Sultry
Eyes speak of
Impulsive thoughts.
Combine together
As one, our lust and love.
I hear my name unspoken
In your warm unwavering gaze.
Pressing kisses taste of surging need;
Awakening wild passion within me.

Two halves make a whole
Two hearts join to become one soul
Two eyes that see one truth
We see different skies but take comfort in the same moon
We promised to never leave the other alone, that the love would not be gone too soon
Rejoicing in the moments from heaven,
Comforting each other when hell breaks loose.
Together through each others mountains and rivers.

Forbidden lust, forbidden love
Two souls that are forced apart
Two that yearn the others heart
Accepting each others flaws
One boy that’s far away from home,
One girl that’s questioning her own

But half a heart is better than none cause it can always be completed by the chosen one, But half a heart is like half a sun
Would it still be as bright as the full one?
Would the love be the same knowing that the other is not as strong
Why must these two hearts fight what’s in their souls
This burning desire
This passion they hold
Why must they put the flame out and become cold
Why waste away the hearts of others when they know the real future is with each other
Why not combine their hearts to become whole, to become one soul.

But having half of anything is like having half of nothing at all
It’s settling for half the love
Yet it could be more
Having half of love must be impossible, must be wrong
-The world is only existent because of wholes
One half cannot love for both
One half cannot fathom growth.
So why not have two halves of a heart
Two broken souls
Let the shattered remains of the other halves be the glue that makes these two people’s love whole
Because why face the world as half a person
When facing it as a whole is already near to the impossible

Two halves of a heart make a whole
Two hearts join to become one soul
But these two halves will never join
These two people will face the world alone- together, but lonely, like two sides of a coin
Not knowing the existence of humanity is dependent on whether they choose to love each other or choose to let it go.
The existence of humanity is dependent on all our lost souls.

Cake, the meat of culinary delights;
Icing, the sauce.

Cake, the main entree, the special of the night;
Icing, the decorative garnish.

Without Cake, Icing has no purpose
A clump, a blob, of meaningless goop.

1 spoonful of Icing alone and you're done.
Spread out amongst the firm surface of Cake though,
Icing becomes much more interesting, and much more fun.

I am the Cake.
You are the Icing.
Without me, the base, the entree, the meat
You, the sauce, the garnish and blob, don't matter

You can be the Icing to your own Cake or to another
But without me, you'll do nothing but rot teeth and smother

So, to enjoy you, Icing, to the absolute fullest
I must, first, combine the ingredients, stir and bake
Because it is vital, if one is to appreciate your sweet taste,
To properly prepare my foundation, the meat, your Cake.

- BPW

Everyone Has a Story… Here’s Five.


Part I: Cousin

I remember
That daze I felt those days
Those days that were fixtures
In my life at the time
But like all good stories
They come to an end
Sometimes abruptly

I was on the island,
At the very top,
Looking down from our mountain,
It was night time,
And the lights shined clearly,
Little holes from the bottom of heaven were penetrating the world,
As they did so I peered on,
Never truly understand what heaven was,
This was my element,
The curiosity which was placed in me,
Since the birth of my being,
Has never been one for being quenched,
Even if my parents tried to beat it out of me,
After a time they kind of hit a fork in the road and decided to go right,
But at the last second I side stepped and ran my behind to the left,
Because the right side isn't always the right way to go,
I felt that their minds died some time ago,
But I was a kid, in the hoods of Puerto Rico,
Only visiting, never witnessing,
The day to day realities,
That came from living so rapidly.

I met my cousin for the second time the days before that night,
He took me under his wing almost immediately and I was happy to follow,
He was a tall man, tattooed from head to toe,
I thought the second I laid eyes on him, that this was my role model
As a lover of Hip-Hop I thought this was how everyone should look,
He would cuss, and spit, and drink, and have several women on deck,
While rolling a couple of joints,
This was the MAN!

However, this view didn't last for very long,
Because on that night,
I witnessed the devil for the first time,
I crawled from beneath my covers,
That my mother had so carefully put into place,
As a safeguard against the realities of the world,
That would come true in my childish fantasies of the boogie man,
The only bad I knew was what was told to me by the news,
People falling left and right cause of wars and other endless fights,
But in my mind they could be brought back to life by the Dragon *****,
Unfortunately Goku wasn't here this night,
I snuck through the house silently,
As the noise would be drowned out by the singing of coquis,
My bare feet hit the humid pavement following the rush down the stairs,
I only wanted to see my view,
The view of heavens holes peering through the vast and dark sky,
It was located at the edge of a cliff that looked over a ravine and then the wilderness,
At the precise moment I stopped to realize my will,
My dream was disrupted by a voice,
Followed by a sound that sliced through my mind and deflated my childish intuition,
A sound that penetrates my adult mind and echoes in the silence to this day,
Muffled screams echoed out after I heard the gunshots ring,
Beneath the sounds of the forests singing,
My heart was pounding slowly,
I was strangely calm rather than panicky and fearful,
Not that I was a brave child, but I remained curious,
Until I saw the blood…
It was then that I saw the dimly lit lamp beneath the moon light,
Resulting in the two bodies casting elongated shadows against the dank Earth,
Followed by a larger body standing over them,
One body was completely still,
While the other one was rocking back and forth,
The terror that took me was shear and raw,
The only other time that I had witnessed such a fear,
Was through the appearance in a pig’s eye,
As my grandfather drove a machete through its heart,
I heard the second shot ring out,
In the same amount of time that it took me to blink,
The other man had been murdered just the same,
And before I knew it the gun was pointed at me,
I stared back and started shaking,
This had to be pure fiction,
But no, this was reality,
I turned to run, but stopped when I realized who it was,
Looking up at me as he exited the thicket and the shadows,
Was my cousin, my role model,
He cocked his head up and looked at me with concern,
But said nothing,
As I ran home breathlessly,
Under the holes into heaven,
That had been put there by bullets,
My childhood was finished…

And I'd never see him again.


Part II: Brother

I remember
That daze I felt those days
Those days that were fixtures
In my life at the time
But like all good stories
They come to an end
Sometimes abruptly

As a child,
I thoroughly enjoyed,
Playing around outside,
I enjoyed getting into play fights,
I loved feeling like I could overwhelm any opponent, but I couldn't.
My brother was way stronger than me,
He had the height advantage,
And best believe he had the weight advantage,
But still, I thought I could manage,
It never really crossed my mind that my brother was a bit off,
To me he was a big kid,
A quiet companion,
My best friend,
My heart.

That was more than enough,
Until one day I went too far,
See my brother had one toy that he loved,
It was string; he'd tear up clothes to make string,
He'd cry up storms at department stores if he didn't get his string,
He'd hit my mother and punch my father if he didn't get string,
I just always thought the exception was me,
I was his play mate, he smiled at me,
Something quite rare for my big brother to do as a result of his condition,
And the medication he was taking,
You see when a child has autism they kind of want to do their own thing,
They want to be on their own,
Enjoying whatever it is they enjoy doing on their time,
But I had a child's mind and a child's ego,
His toys were mine too,
Share with me,
Play with me,
Look at me,
ME, ME, ME!
So he punched me right across the face,
I went flying into a sliding paneled glass door and began crying,
When my mother entered the room,
She asked what was going on and tried to calm me down,
I wouldn't listen so she told me shut up before the neighbors called police,
And we were both taken away,
Being that my mother was a single parent, I believed her,
With that being the case, I closed my eyes and didn't look at my arm,
Nor the blood slowly dripping down it onto my fingertips,
Down to the floor below,
I didn't play much anymore after that,
I was too childish to blame myself,
So the fault was his.

The fault would end up being mine,
As this action being a culmination of things done by my brother,
Led my father and my mother to do what I thought was unthinkable,
They chose to let him go,
Giving him to a group home,
My young mind couldn't even begin to comprehend the pain they felt,
But to me all I could see was two adults giving up on their son,
I saw love and hope dissipate right in front of my eyes,
He was playing with his string in the back seat of the car,
While I sat beside him just watching him,
Saving every movement of his,
And his joy into my memory banks,
To be left to gather dust; because the pain was too much to harness,
But with respect I chose to re-open the chest,
And hold my brother in my arms once again,
Before he was ripped away from me,
And given away to the monstrous people,
That wouldn't let him hug his mother nor me,
I didn't care if this is what was needed to be,
I was losing my brother!
My blood!
My playmate!
My best friend!
My only friend!
My HEART!
It didn't matter that he hit me,
It don't matter if he hit my mother or father,
Because the beating my heart was taking was too much,
For my slim frame and still developing body to handle,
As such my growth was stunted and I gained heart problems,
On top of the asthma,
Autism meant nothing to me,
He was everything!

But it ended with me sleeping alone,
At home he was gone.


Part III: Father

I remember
That daze I felt those days
Those days that were fixtures
In my life at the time
But like all good stories
They come to an end
Sometimes abruptly

I never felt much towards you,
I was taught to love my mother solely,
As she was the one always there to heal my bumps and bruises,
The only memories I have of you from my childhood,
Are of you feeding me God awful food and teaching me to ride a bike,
But I forgot how to ride a bike,
And I could cook what you cooked on my own,
Burnt hotdogs, and pasta, and cereal never really fazed me,
Every other memory is a blur,
Your love was like a line or two painted upon a Mona Lisa of love,
That I had gathered from the various sources of inspiration in my life,
I could always gain appreciation for them,
But not for you.


As I entered my adult years,
You tried to make up for it,
I knew you had pent up guilt inside from not seeing me,
Yet you bought presents and rose up the seeds of another tree,
Seeds that I don't blame,
I only wanted to smell the same flowers that you gave them,
So you were trying to give them to me while I could still smell them,
But that sense was long gone along with my sense of sight,
Literally my vision was fading, but my mind was expanding,
As I was witnessing the world around me quite clearly, and the soul within me,
Just wouldn't release me, from the overwhelming feeling of needing you,
A father figure I could depend on,
A monument for what a man should be, and truly believe in,
As it comes to issues of morality, love, and loyalty,
Up until this point you had only taught me resentment,
Resentment leading to hate,
But I wanted to honor you in place,
So I hide the parts of me that you don't care to see,
I hide my relationships,
I hide my true feelings,
I hide my poetry,
Because if you found those things,
I would no longer be free,
And I refuse to submerge my soul into slavery,
Just for you to feel like you rose up the brightest son,
When truly the darkness is where I was brought up and where I belong,
Moonlight is the only thing I can touch with my pen,
As I compose the paintings residing in my head,
Of wordsmiths and demons battling,
Because words are my angels,
And they have always been there in every instance,
Whenever I've needed a piece of wisdom,
Or a calming presence that would come from the essence,
And recollections of stories of glory,
Stories that helped me forget you,
I love you, and hope our relationship can bloom,
But I no longer wish to speak on you.


Part IV: Mother

I remember
That daze I felt those days
Those days that were fixtures
In my life at the time
But like all good stories
They come to an end
Sometimes abruptly

I was taught to feel love towards you,
And it still remains as strong as ever,
From when I was a child,
Your sacrifice made my life exactly what it is,
Exactly what I needed it to be in order to grow and explore my soul,
To reach for my dreams,
You have always given to me,
Even on your last two cents,
Both would be for me,
You were my mother goose,
Even if I seemed like a young rooster,
Because we were always so different,
You always wanted to mold me into your vision of me,
While you instilled in me many things which cling tightly to me,
You've made someone completely different from what you expected,
I hold different views and truths that are separate from you,
Which is fine, but for a time it would keep me from being who I desired to be,
Because you could never cut the umbilical cord.

In fact, it was wrapped around my neck,
The death of me was coming slowly,
Due to the inhibitions of my creativity,
You loved that I would write, but you hated what I was writing,
Hip-Hop, home to me, was looked at as purgatory,
You couldn't see why I would want to listen to these stories,
Stories of struggling and hustling and juggling jobs, drugs, women, and friendships,
These ships were all sailing gallantly through my mind; the wordplay was so sublime,
And the fact that the words blended with their worlds were so unkind,
Appealed to me, but you were blind,
This changed my perspective,
However what really taught me to be a man,
Was when you began pushing opposing women out of my life,
I would be deep in love, buy-a-ring love,
But one thing would be enough to trigger a string of insults,
And a manikin-like regard for the person of whom I adored,
This was too much for me, you were systematically ending my dreams,
I thank you for your love and for everything that you continue to do for me,
But the cataclysm that was forming in this poets mind,
Was becoming too much to bridge,
If this feeling was to be ongoing,
So as a desperate act of love and care,
I left you behind,
But the love is forever there,
I'm a man because of you,
Your heart will forever reside with me on my journey,
You’ve no need to be frightened,
I’ve got you, I’ve got us,
My senses have been heightened.


Part V: Lover

I remember
That daze I felt those days
Those days that were fixtures
In my life at the time
But like all good stories
They come to an end
Sometimes abruptly

We met after a string of accidents,
Accidents that nearly cost me my life,
These were love losses, blood losses,
Things I’d never thought I could recover from,
The experiences had me going numb,
Until you found me… or did I find you?
It's hard to tell it just seemed like we were two lost souls,
Looking to quell our young hunger for the opposite ***,
Each and every day was spent together,
First on the stoop in front of your sister’s house,
The place where I first kissed your mouth,
Second on the park benches,
This is where hours flourished from minutes,
Third was along the streets of the world,
You were my diamonds and my pearls,
Indestructible and irreplaceable,
Once you met the paper you were there forever,
With that ink blood that flows through your veins,
A fellow poet whose love would stain my mental,
Instrumental in gifting my simple world with a new understanding,
It wasn’t how I imagined, but God laughs at notions of planning,
I finally found out what it meant to be in love,
I never had two people show me what it was,
Honestly the many descriptions of hate,
Is what would be seen at the gate of my consciousness,
As such, I believed this same fate would await me,
It was once the singular feeling with which I could relate,
But the euphoric hands you laid on me,
Made me lose an awake thought process,
As I was in a lake filled with your waters,
That would flow to rivers,
Followed by seas of your loving,
Seas consummating your body,
As I laid on the beach,
Believing it to be a dream.

But it wasn't, and it shouldn’t have ended,
In reality, love has ways of being reprimanded,
I was so lucid, and the picture was candid,
It was the simplest of pleasures that I'd ever been handed,
I learned right away the right things to do,
To flow from my heart and work my way into you,
To take care of my lips,
A rough kiss can't ******,
Nor find proper pleasure,
Along a woman's surface,
You’d allow me to peruse your mind,
Sending shivers up your spine,
As I embarked on my conquest,
Explorations of lustful aspirations,
Symbolizing and synthesizing,
Each and every stroke,
Representing a new letter,
In the alphabet of love,
Allowing our tale to unwind,
To combine the breathlessness of our exploits,
With our hearts desire for choice,
Which declined to lend voice,
To the greater work to be done,
The acquisition of newer positions,
Are symptoms of the journey,
Keep going, never surrender,
Be tender and conquer,
Mental foreplay is stronger,
Than any physical touch.

Love of a poet both bold and stoic,
Is a simplistic view of unfolded vibes and rhythms from the inside,
This could never subside to anything less than genuine spirit of heart and signs,
Among the winds, trees, stars, because you are the art,
You are Moses parting the red sea of my subconscious,
You are the dark sphere which encircles me,
You are the light that penetrates me,
You are harmonic melodies and sweet remedies,
You are rude symmetries and cool symphonies,
You are a lesson learned and an angel untouched,
With exception of me,
Hushed whispers or high pitched screams,
Mean nothing, without the mind following the body to finality,
The fluidity of our ****** motion,
Is a reflection of our mental state,
I seek not to pass through you,
I seek to become one with you.

That's how I feel about poetry,
That's also how I feel about ***,
That's how I feel about you,
You showed me the way,
You are my soul mate,
One with the words I write,
And the memories that I seek the convey,
You are the sun pouring through with the rain,
You are my miracle, one year my junior,
Fifty years older under the skin,
Deep within, your soul, my solar,
Not an eclipse, but a shimmering glow,
Always for my love and never for show.

I fall in love with people's honesty.
Their smile.
Funny jokes.
Tears.
Scars.
Passions.
Eyes.
Dreams.
Their spirit.

Word to Marley Soul.

Five steps in my growth,
Five indispensable cogs of my sou

I woke up to a beautiful summer morning. The sun was shining and the rainclouds were far away. I decided I would spend the day on the beach. I always enjoy visiting the beach as it gives me an opportunity to laugh at people's hideous bodies. But where? And then, suddenly, a wonderful idea came to me: why not go to a nudist beach as they always attract the ugliest people with the worst bodies imaginable. And you get to see their naughty bits too, for added humour.

So I rushed to my computer to check the Internet for possibilities and, to my utter amazement, I discovered there was a naturist beach only fifty miles from my beautiful home. As I read the details of the beach and the directions, I had a sense of déja vu; I realised with a frisson of ****** anticipation that it was the very same beach described by Victor the ****** in his wonderful story "Confessions of a ******" which held pride of place on my toilet reading shelf.

I was at the wheel of my incredibly expensive and luxurious car just as soon as my servants had packed my essential requirements: icebox with chilled vintage champagne, lightweight folding gold-plated sun-lounger, vicuna picnic rug and of course my lunch hamper. My chef had rapidly prepared a delicious impromptu luncheon of smoked salmon, steak tartare and a selection of other goodies. I decided to dispense with the services of my chauffeur in the interests of preserving the confidentiality of my destination.

In less than an hour and a half I was there; and the place was exactly as Victor had described it in his immortal novella: a long stretch of mixed sand and pebbles, backed by dunes planted with wild grass, waving romantically in the sea breeze. Idyllic, and crawling with naked perverts as a bonus. I parked my car and transported my equipment to the dunes. I regretted not having brought one of the servants as the hamper and icebox were quite cumbersome and heavy. I was perspiring gently by the time I had unloaded everything and set it all up to my satisfaction.

I took some care in selecting what I felt was the optimum location as I needed to combine the potentially conflicting benefits of wanting to see as many naked people as possible (hopefully including some *** action) with the need for privacy. After all I am famous. I finally chose a spot where there were several ghastly specimens on view for a few laughs and where I could also see a potentially interesting couple who might be exhibitionistic perverts. The man was about 45, shaven-headed, skinny and prematurely wrinkled all over by the sun (yes, I do mean all over) and he had an interesting tattoo on his back: "I love hot ***** ***", which I saw as promising. The woman was plump with pendulous ******* and very prominent buttocks; additionally - how can I put this delicately? - her **** was totally bereft of hair.

Before settling down to my lunch, I felt a little perambulation would not come amiss. So, as bold as brass, off I went for a little **** stroll through the dunes. I will not describe in full detail the visual horrors I encountered: hirsute old men playing aimlessly with wizened, shrunken todgers the size of a thimble; obese old biddies, their rolls of sun-tanned lard hanging round them like rows of bloated udders on a pregnant sow; tattooed bald queens, muscles bulging under lashings of sun-oil, their pierced genitals glinting wickedly in the sunshine; the list was endless. How could such grotesques revel in revealing their corporeal repulsion to the eager world?

And then I saw him! It had to be him! In a dip in the sand dunes lay a middle-aged, paunchy little man, intently watching a couple of old ******* groping each other incompetently. It could only be Victor the One-Legged ******! After all, just how many unipod Peeping Toms are there?

I strolled over to him, coughing discreetly so as to give him a chance to stop his furtive *******. 'Do excuse me for disturbing you,' I said, 'but are you by any chance Victor the famous ****** whose confession I read only last week?'

'Why yes,' he admitted, 'but how on earth did you recognise me?'

I smiled and pointed to the cast-off artificial leg lying next to his beach towel (which, incidentally, was emblazoned by a giant "V", a bit of an identity hint, I felt). He patted his stump ruefully and laughed uproariously so that his average-sized ***** flapped like a pennant in a Force Eight gale. 'I forgot,' he bellowed deliriously.

'I'm just about to have a spot of lunch,' I said. 'My personal Michelin-starred chef, Jean-Claude Anusse, always over-caters ridiculously as he knows I often pick up people on my excursions, so there'll be more than enough. I'm afraid it's nothing special: some smoked salmon and some assorted cold meats, possibly a spot of pâté de foie gras, if I know Jean-Claude. And, naturally, enough champagne to drown a hippo in. Please do say yes, as I have so many questions to ask you about your hobby.'

'That's very kind of you.' mumbled the astonished Peeping Tom, 'I should be very happy to accept your generous offer. Incidentally, to whom have I the honour of speaking?'

I was, frankly, shocked when I realised Victor had not recognised me, and then I remembered I was naked. That explained it. 'Why, I am none other than Edna Sweetlove, poetess to the stars, creator of the Barry Hodges "Memories" poems and biographer to the intrepid and incredible superhero SNOGGO,' I murmured sotto voce, not wishing to be mobbed for my autograph.

'Edna Sweetlove!' he exclaimed, 'you mean THE Edna Sweetlove?' And so saying he glanced down to my genital zone in order to answer the question which so many of my fans have asked over the years. He grinned as he saw the solution to the great mystery.

Victor quickly strapped on his prosthesis and accompanied me (slightly lopsidedly) to my little luncheon site. He helped me unpack our repast and then made himself as comfortable as a naked one legged ****** could reasonably expect to be without a chair.

I must say Chef and his team had excelled himself in the thirty minutes I had given them: smoked salmon roulades, a magnifique plateau de fruits de mer including a three-pound giant lobster, steak tartare, a whole cold pintarde à l'ail, a few dozen sushi rolls, a monster summer pudding, and naturally a Jeraboam of Krug '92. No wonder the hamper had been so ******* heavy. I could see Victor was impressed as I offered him a chilled flute of the most expensive champagne he had ever tasted. 'Better than the pathetic, poverty-stricken muck you were going to gobble, I expect,' I commented in a friendly way.

'Mmmmmmmmm! Absolutely delicious, Edna. I was certainly not expecting this! exclaimed the grateful freak. But before we start on what looks like a truly exquisite nosh-up, I must give you a word of warning.'

'A word of warning? What about, Victor dear?'

'Well, you see, there's no, um....er,' he blushed charmingly.

'No what, Victor? Don't be embarrassed, sweetie. This is Edna you're talking to. Spit it out, baby.'

'Well, um, there's no ******* on the beach, Edna,' explained Victor uncomfortably. 'So, if you need to pump ship, you have to do it native-style "au naturel" in the dunes over there, which can be a bit messy what with all the filth lying about the place in that area, not to mention the lavvo-voyeurs hanging round. Or else you need to swim out a bit and unload into the sea. Judging by what's on offer at your stylish picnic, we'll both be bursting for a good old **** and crap afterwards.'

I shrieked with laughter and explained there was nothing I liked better than a widdle en plein air or a double act dans l'eau. We then tucked into lunch with a vengeance. It was ******* delicious, even though I say so myself. After about fifteen minutes' happy munching, interspersed with witty small talk, Victor suddenly went rigid. 'Look over there!' he hissed and indicated the middle-aged couple by the windbreak.

I looked and I was surprised. The plump woman with the big *** was on her knees in front of her partner, giving him a vigorous *******, and he was lolling back in ecstasy, a broad smile on his face. He seemed to be looking straight at us, almost visibly willing us to watch. He winked repeatedly in a conspiratorial fashion; maybe he had St Vitus’ Dance. Or even worse, he wanted me to get stuck into the action with them.

'They're regulars here, they normally put on quite a good show,' explained Victor excitedly, his hand reaching down automatically to his rapidly stiffening ****.

'Victor!' I admonished him, 'I would prefer it if you didn't **** yourself off during lunch. How about another oyster, you silly old ****?'

'Sorry, Edna, I forgot,' he replied shamefacedly. 'No more oysters thank you; they only make me more randy than I already am. But I'll have another lobster claw if I may. My compliments to your chef.'

So we sipped our champagne and enjoyed our luncheon as we watched the couple give us their little exhibition. After a few minutes *******, the fat lady turned around and leaned forward on her hands and knees and her gnarled bald hubby ******* her doggy fashion from behind with some gusto; this made her beefy buns bounce about like two ferrets fighting in a sack.

I glanced around us and realised that, totally unbeknown to me, the little spectacle had attracted quite an audience. Nine men, young and old, short and tall, fat and skinny, stood staring transfixed by the petite scène erotique before us, all ******* wildly. 'Oi!' I called out. 'Can't you see we're eating?' I admonished them, but to no ******* avail whatsoever.

Victor was visibly torn between his innate desire to watch the copulators and masturbators and with his understandable wish not to offend his lunch companion by manhandling himself unrestrainedly. But, thank God, his natural good manners prevailed and we continued to converse and enjoy our meal in the midst of this Bacchanalian scene of depravity.

I watched dispassionately as the couple came to what sounded like a very satisfactory mutual ******, accompanied by the observers' seminal tributes to their performance. I naturally had filmed the entire scene secretly on my state-of-the-art mobile.

'If you give me your email address, Victor my love, I'll send you a copy of that little show,' I promised. He nodded in gratitude. 'Victor  the ****** at yahoo dot co dot uk,' he mumbled rapidly, 'no dots, Victorthevoyeur is all one word.'

Once we had polished off lunch, I told Victor I would like to interview him with a view to writing a short story about his life's work. He was touchingly flattered and, with a little judicious prompting and probing, told me his saga, which I recorded on my Edna-phone. I naturally don't want to pre-empt my forthcoming mini-biography of Victor, but suffice it to say that Victor told me how and why he became a ******, he regaled me with some of the staggering things he had seen, he gave me a list of some really ace ******* locations, he shared all his best peeping places with me, he gave me the ultimate lowdown on the world of Britain's most celebrated *** snooper and I was touched by his burning honesty. I felt a tear ***** my eye at this tragic tale.

All too soon it was time for us to part. After thanking me profusely and making me promise I would visit him one day so he could repay my generosity, he re-attached his metal leg and limped away towards his beach towel. I knew he was raring to go as the best of the action normally took place in the early evening.

'Farewell, dearest Victor,' I called out as he tripped clumsily over a fellow pervert who had been eavesdropping near us.

Firm hold of a stressful release
The real ease...
Is music to your heart in skilled keys
Closed noted memories unlock the liberties
that now potentially send me back to infinity
So this delivery came from the enigmatic entity
That never ceased empathy for any arch enemy
And even when the serpent brought the sin into the synergy
Symmetry was just a waste of energy
Only the incompetent compete for skin identity
Stab it with a label, still the same color when you bleed
Blind folded you could truly peep what the spirit speaks
Monologue with nonsense on your conscience and you'll miss the speech

There is beneath us the progenitor and we call it “Mother”. Above us is the progenitor and we call it “Net” for it takes us and tosses us into the known and the unknown.

Our home star is not as bright as yours. We prefer your temperate lands when we visit, where the vegetation is lush and green. Those of us who remain inhabit your deserts and open spaces.

We are your brothers and sisters. Our development has been to grow in awareness and the development of our power. You have the potential to develop as we have, but your instincts are of a social group who need dominant members. You develop your material reality and your physical world. Your anchor is fixed and you grip the familiar and reject the unknown. There is a comfortable point where you feel the fullness, that is the anchor. In order to maintain this as a static point you develop belief systems to support it. This is your weakness, you are innocent children.

We grew and developed along another pathway, our anchor is not  rigid. We use Net for our anchor and so are able to change our perceptual reality. We move in ways that you do not understand and in any direction. We draw the fibers of Net around us and jump and fly. You see us only from your anchor point so that you see us change shape, appear and disappear.

Our voices and languages are barely accessible to you. You hear deep sounds and high pitched chirruping and whistling. Very few among you have remnants of language incorporating any of these. Those remaining are as clicks and whistles. We prefer direct communication.

We are masters of illusion. Our survival has depended on it and it is our instinct.
Our power developed so that when we pull around us the fibers of Net we create a shield and throw an illusion before those who depend on vision. It is one of our protections and also our hunting technique. We are hidden from your material probes and instruments of increased sight in this way.

Although we have been close neighbours for aeons, you have hardly seen us, except for the Few. Your interpretations have created problems for you. Your reliance on the anchor is so great that some among you do go to great lengths to maintain it. There are those among you who will silence the Few rather than lose the fixed anchor.

You are infants only, a seeding coming to fruition, and you play with dangerous toys. Your anchor is geocentric. You are in danger as is any youngster who plays with fire. If we showed you ourselves openly your rulers would not be gentle in their curiosity. We have technology and use material tools but we have had less to restrict us. We held back your development as much as we were able to enable you to develop power of the mind and independent thought.

Your grasp of Net is strong but you are rigid and anchored. You have learned to stand up and hold on. Now is the time to let go and walk, let go and run, let go and fly.

Around what you name “body” and believe to be “All” is more that you do not perceive with your restricted vision sense. You are aware of this. If you will learn acceptance and filter less from your senses, you will find the beauty of the universe of energy around you and available. A small perceptual shift would show you how you appear to those of us outside your narrow sphere.

Your body has filaments, which when translated to sight, appear as small moving threads which shine with rainbows. They move and ripple inside an energy body of light. This is your true body. It has abilities and senses that are dormant as you do not access them. They are accessible but as your anchor renders you blind to this you do not use them without intense effort or instinctively in extremity. The filaments are drawn together and pass through the anchor. Depending upon your ability to select filaments of the Net, your habitual plane and reality is selected and determined.
Those among you with abilities in your energy senses you ostracise and even ******. You succumb to misinformation to treat them as fools or freaks. This may be instinctive but it is a control mechanism to perpetuate the anchor and maintain the hive of your artificial society. So due to this, you have even less sense of true reality as it could be to you, by breeding out and suppressing your gifts. We have attempted to rectify this with limited effect in successive seedings.

You may notice that our words to you have reference to sight. Your terminology is geared to vision. You rely on visual information  so much that you have neglected physical senses of taste and smell, hearing, touch and proximity. Compared with our perceptions you are as blind as a mole is compared to to your visual abilities.

Your construction of reality is so anchored that your dangerous inclination to gather around you artifacts gives to you a sense of permanence. You are anchoring yourselves in time, yet to you it is dead because your senses are dead. There is an opportunity for your predators to use this to enforce your perception of, and control you within, your anchor's limitations. In this way, producing written or pictorial and symbolic records in permanent form is beneficial only so far as understanding continues to exist of the conditions under which these records were left. By changing current understanding and language to suit their purposes, your enforcers are able to manipulate your branch of humanity on a large scale.

You seal yourselves into the rejuvenation plane of the Mother progenitor where you feed and breed. It is so pleasurable to you to stay within this cocoon of reality that you fail to open your cast and therefore fail to fly into the spaces of Net outside where your true inheritance lies. The end result of this is greed and unrest. Your greed is paramount to you as you seek ever more pleasurable gratification. You enslave one another, buy and sell time and forget what you are. You are allowing the destruction of your home world. Without the home world you will have no place of rejuvenation, and worse neither will the myriads of others who share this progenitor.

There is a song from each mother progenitor within Net. It is a combined song and made up of the host progenitor together with silent voices of each and every life form. Together from each home world, the inhabitants send out a pulse. This is not a song from one species of a world but rather it is a song from all species, in fact every particle of every organism that lives.

To our developed senses the song of a world is brighter than the star it orbits. They are filaments of Net. The varied forms of life all send out their unique song. Many of us interact, harmonise, visit, commune and combine. You feel isolation only because you fail to harmonise and join your own song.

In your past and present we have felt the song of your world. Those of us belonging are part of that song. It is the song of being from the many. It does not end at the perimeters which you imagine. You have a problem in that, for the majority, you do not join your voices to the song. Mainly it is in dreaming, in childhood and in old age that we hear you.

We attempted to observe and commune and found many of you receptive to us. We have taught to you methods of development and given you gifts and tools. You have kept and preserved some of this knowledge only for a select few. Fears and distrust among others has caused destruction of a great proportion of the gifts that we have given to you. We found many lines of breeding where potential for development was possible. Your greed and your predator class destroyed many of them due to the competitive desire to have power over others.

In past seedings upon your progenitor and in the oldest times of your present incarnation, we have been known well and respected. Acknowledged for our seniority and loved as cousins. You did call us gods to distinguish our abilities. Then what did you do? Your control mechanisms changed the meanings of your language, whole languages were lost in wars over territory. You developed power structures and religions. Powerful rulers accumulated and isolated your shared knowledge.

You reduced your development by selective education in the Way. Territorial disputes and greed over resources divided you. You ceased to listen to the Mother. Instead of harmonious living which you had managed in agreement with each other already, you were divided by hormonal impulses, insecurity, violence and greed. The natural openness of the female within it's central domain became enclosed, imprisoned and the natural desire of the male to outwardly discover and interact was turned inwards until it became a sedentary desire for dominance within the female domain. You lost the harmonics of the song. Your religions underestimate the power of borrowed tools. Your ruling classes made deals that they didn't understand, with predators they didn't recognise, in order to save themselves.

We stood on ground over ground and were called Immortals. We gave you wisdom and were called Kings. We moved and played among you and were called Jinn. We moved among the small folk and were called Faerie. We appeared in light and were called Angels. We wandered in places where you too did once wander and were called Ghosts and Demons. Those who spoke to us and attempted to impart to your hive our knowledge, you raised as prophets or slandered and ridiculed. You stole their words to make them your own words of power, changing them to your own ends or you murdered the messengers because you feared the changes that increased understanding brings.

You incorporated the experiences of your murdered victims into a celebration of your own power structures, twisted and out of synchronisation with the song. There are some among you who are in communion with the Great Spirit of life. We seek to heal your song, your complete home world song for the benefit of the myriad sentient beings who rejuvenate here, including yourselves. We seek to set you free to wander the threads of Net. It is within your reach but not in the ways that you  are taught.

Your world is about to change and you must change with it as you are a small part of it. Holding the threads into your own anchor point will break them. You have reached inertia, entropy. The movement has to come, it is inevitable. Imagine one of your large machines of cogs and wheels and bars. Your insistence upon a rigid anchor is like a bar within the machine that doesn't move. A point of inertia in a moving system will be removed. This has happened over and over among your kind and our kind in many places and worlds. You do not remember when worlds underwent cataclysm, forgetful of trauma you have followed a similar path.

We travel along pathways of energy, both upon worlds and in the Net. Moving bodies follow these paths. We follow comets and small bodies able to move freely within Net. Net permeates your mother progenitor.

Survivors mapped the movements of Net after the slate was wiped clean and you were reseeded. There is a secret that your rulers are aware of and you are not. The secret is that there are no rulers within Net. You all have the freedom and capability to access true harmony of the song. You allow a faction, to call themselves an elite class. You fear this as a hidden power, a predator. It's aim is to amass Time: a power based on material wealth. They take this power easily as they have taken and twisted truth and history. The gifts are shared among you equally and these few know this. Resources are plentiful and yet you succumb to their restrictions. A predator cannot survive without it's prey. We are not your predators although we move among you. Your predator is within and feeds upon your fear.

You are not in the tribes now, you have no shaman, no guide to take you in and out of the gate and this role cannot be allocated to parasitic Blind Time Hoarders. These whip up your passions and lead you into war and destruction to further their material wealth. It leads you away from the song, as these think to enhance their own survival which it may do but never can as they understand it. They seek to steal your dreams and make them their own, they are helpless without you. They care nothing for the song because they are aware of successive seedings.

Net is a dream reality, changing, immeasurable, boundless, filled with infinite possibilities and you are creators. Blind time hoarders drive you by combining the minds and dreams and belief systems of many to focus onto what they themselves desire, in order to bring it to fruition. They employ dream stealers to prevent your development. They believe that their own song can exist independently and they guide you only to anchor yourselves into your own prison.

All is a dream, all is ephemeral, changing, dynamic. There is no death after death, no damnation on any particular plane. Reality is how you construct your song. Your rulers create inertia for you the many and profit for themselves using you as the tools of your own entrapment. There is no death and no damnation, they are constructs of your reality made by material anchor points and you are controlled by fear of the inevitable. It is a statecraft to use belief systems to control perceptions of reality in order to fix the anchor point to a rigid point of convenience. In this way you are farmed, you are a crop in each seeding. Who seeds you? You seed yourselves. Sentient beings are all naturally regenerated by the mechanisms of Net when conditions exist that are compatible, world after world, in each growth cycle of every celestial body. In the regeneration, holding to your rigid anchor point, you seed into your prison after each cataclysm, each breaking of the inertia.

If you would be open to the mechanisms of the place you inhabit with it's creative forces, it's sentience and it's dynamics you will learn to fly the progenitor Net's pathways and return home for rejuvenation to your progenitor Mother of the tribes.

Her cherry wood hair,
and rosy blossom cheeks,
combine to make a dear so sweet.
Moments with her are cherries of time,
nectarous instances,
an oh so fulfilling fruit.

It started with our late nights and early morning conversations
The random occasions that turned into night caps of psychological ******* is what intrigued me
I only want to know her on a platonic level
I want us to feel something different
Something real
Because truth is when you speak
I get a little weak
The vibrating waves of your voice sends my adrenaline into a rush of multiple frequences
It causes me to have premature ventricular contractions
Meaning you make my heart skip beats
In other words I want us to have soul ***
Our bodies to touch but with clothes on because you haven't been fully naked until you've allowed your fears to be exposed
Understand this isn’t a ****** prose
I want this poem to reroute the superficial ****** game that men played with you
Tonight my only intentions are for us to get high
But not with herbs
I want us to be faded with nouns and verbs that speak life as I ignite this erratic twelve play because the foreplay is just for play
Eargasms that constrict our minds let our spirits bind from the moments when I forgot to pull out by not realizing I was coming on too hard
No need for protection when we experience the cerebral stimulating erections from the raw ******* of sedated discussions
Imagine the eruptions you’ll experience when you vibe off me
Can you feel it yet? No?
Maybe a little deeper is what you need
I need for you to feed me your thought process so I can taste your emotions
If this poem had a body you would be the brain
So let me investigate your introspection by interviewing every inch of you
Reaching the climactic **** of this conversation by deep stroking into your deepest seas so I can see exactly what lies inside a divine mind
You will make the seven wonders wonder where they went wrong
A love we share that's so vividly deep even the four oceans will be jealous of its depth
I want us to be in depth with each other
I want my thoughts to wrestle with your feelings and your questions play hide and go seek with my answers
Suffocate me with your beauty
Ravish me with every word so I feel the sensations from two sapiosexuals making love
I want us to stargaze under Jupiter’s moon as we stare into the solar system trying to combine our souls with God’s system
Let’s touch each star as we track down a meteor shower and shower each other with laughs for hours until you’ve fallen asleep on my chest
And the best part of it all is watching you sleep
Because as you lay here
I have dreams about your dreams
Then realize how jealous I am because your dreams can see parts of you that I’m still dying to meet
So if I am someday privileged to make this come true, you must allow me to fall in love with you

My phone clamped to my ear,
Listening to you think.

We were punning.

(We would combine categories like ‘The Royal Mail’ and ‘Sea Life’,
And come up with things like Octo-post and
Cod-espondence.)

That night it was ‘Crockery’ and ‘Celebrities’.
You thought of Plate Moss
And
Camilla Parker Bowl.

How sweetly shines, through azure skies,
  The lamp of Heaven on Lora’s shore;
Where Alva’s hoary turrets rise,
  And hear the din of arms no more!

But often has yon rolling moon,
  On Alva’s casques of silver play’d;
And view’d, at midnight’s silent noon,
  Her chiefs in gleaming mail array’d:

And, on the crimson’d rocks beneath,
  Which scowl o’er ocean’s sullen flow,
Pale in the scatter’d ranks of death,
  She saw the gasping warrior low;

While many an eye, which ne’er again
  Could mark the rising orb of day,
Turn’d feebly from the gory plain,
  Beheld in death her fading ray.

Once, to those eyes the lamp of Love,
  They blest her dear propitious light;
But, now, she glimmer’d from above,
  A sad, funereal torch of night.

Faded is Alva’s noble race,
  And grey her towers are seen afar;
No more her heroes urge the chase,
  Or roll the crimson tide of war.

But, who was last of Alva’s clan?
  Why grows the moss on Alva’s stone?
Her towers resound no steps of man,
  They echo to the gale alone.

And, when that gale is fierce and high,
  A sound is heard in yonder hall;
It rises hoarsely through the sky,
  And vibrates o’er the mould’ring wall.

Yes, when the eddying tempest sighs,
  It shakes the shield of Oscar brave;
But, there, no more his banners rise,
  No more his plumes of sable wave.

Fair shone the sun on Oscar’s birth,
  When Angus hail’d his eldest born;
The vassals round their chieftain’s hearth
  Crowd to applaud the happy morn.

They feast upon the mountain deer,
  The Pibroch rais’d its piercing note,
To gladden more their Highland cheer,
  The strains in martial numbers float.

And they who heard the war-notes wild,
  Hop’d that, one day, the Pibroch’s strain
Should play before the Hero’s child,
  While he should lead the Tartan train.

Another year is quickly past,
  And Angus hails another son;
His natal day is like the last,
  Nor soon the jocund feast was done.

Taught by their sire to bend the bow,
  On Alva’s dusky hills of wind,
The boys in childhood chas’d the roe,
  And left their hounds in speed behind.

But ere their years of youth are o’er,
  They mingle in the ranks of war;
They lightly wheel the bright claymore,
  And send the whistling arrow far.

Dark was the flow of Oscar’s hair,
  Wildly it stream’d along the gale;
But Allan’s locks were bright and fair,
  And pensive seem’d his cheek, and pale.

But Oscar own’d a hero’s soul,
  His dark eye shone through beams of truth;
Allan had early learn’d controul,
  And smooth his words had been from youth.

Both, both were brave; the Saxon spear
  Was shiver’d oft beneath their steel;
And Oscar’s ***** scorn’d to fear,
  But Oscar’s ***** knew to feel;

While Allan’s soul belied his form,
  Unworthy with such charms to dwell:
Keen as the lightning of the storm,
  On foes his deadly vengeance fell.

From high Southannon’s distant tower
  Arrived a young and noble dame;
With Kenneth’s lands to form her dower,
  Glenalvon’s blue-eyed daughter came;

And Oscar claim’d the beauteous bride,
  And Angus on his Oscar smil’d:
It soothed the father’s feudal pride
  Thus to obtain Glenalvon’s child.

Hark! to the Pibroch’s pleasing note,
  Hark! to the swelling nuptial song,
In joyous strains the voices float,
  And, still, the choral peal prolong.

See how the Heroes’ blood-red plumes
  Assembled wave in Alva’s hall;
Each youth his varied plaid assumes,
  Attending on their chieftain’s call.

It is not war their aid demands,
  The Pibroch plays the song of peace;
To Oscar’s nuptials throng the bands
  Nor yet the sounds of pleasure cease.

But where is Oscar? sure ’tis late:
  Is this a bridegroom’s ardent flame?
While thronging guests and ladies wait,
  Nor Oscar nor his brother came.

At length young Allan join’d the bride;
  “Why comes not Oscar?” Angus said:
“Is he not here?” the Youth replied;
  “With me he rov’d not o’er the glade:

“Perchance, forgetful of the day,
  ’Tis his to chase the bounding roe;
Or Ocean’s waves prolong his stay:
  Yet, Oscar’s bark is seldom slow.”

“Oh, no!” the anguish’d Sire rejoin’d,
  “Nor chase, nor wave, my Boy delay;
Would he to Mora seem unkind?
  Would aught to her impede his way?

“Oh, search, ye Chiefs! oh, search around!
  Allan, with these, through Alva fly;
Till Oscar, till my son is found,
  Haste, haste, nor dare attempt reply.”

All is confusion—through the vale,
  The name of Oscar hoarsely rings,
It rises on the murm’ring gale,
  Till night expands her dusky wings.

It breaks the stillness of the night,
  But echoes through her shades in vain;
It sounds through morning’s misty light,
  But Oscar comes not o’er the plain.

Three days, three sleepless nights, the Chief
  For Oscar search’d each mountain cave;
Then hope is lost; in boundless grief,
  His locks in grey-torn ringlets wave.

“Oscar! my son!—thou God of Heav’n,
  Restore the prop of sinking age!
Or, if that hope no more is given,
  Yield his assassin to my rage.

“Yes, on some desert rocky shore
  My Oscar’s whiten’d bones must lie;
Then grant, thou God! I ask no more,
  With him his frantic Sire may die!

“Yet, he may live,—away, despair!
  Be calm, my soul! he yet may live;
T’ arraign my fate, my voice forbear!
  O God! my impious prayer forgive.

“What, if he live for me no more,
  I sink forgotten in the dust,
The hope of Alva’s age is o’er:
  Alas! can pangs like these be just?”

Thus did the hapless Parent mourn,
  Till Time, who soothes severest woe,
Had bade serenity return,
  And made the tear-drop cease to flow.

For, still, some latent hope surviv’d
  That Oscar might once more appear;
His hope now droop’d and now revived,
  Till Time had told a tedious year.

Days roll’d along, the orb of light
  Again had run his destined race;
No Oscar bless’d his father’s sight,
  And sorrow left a fainter trace.

For youthful Allan still remain’d,
  And, now, his father’s only joy:
And Mora’s heart was quickly gain’d,
  For beauty crown’d the fair-hair’d boy.

She thought that Oscar low was laid,
  And Allan’s face was wondrous fair;
If Oscar liv’d, some other maid
  Had claim’d his faithless *****’s care.

And Angus said, if one year more
  In fruitless hope was pass’d away,
His fondest scruples should be o’er,
  And he would name their nuptial day.

Slow roll’d the moons, but blest at last
  Arriv’d the dearly destin’d morn:
The year of anxious trembling past,
  What smiles the lovers’ cheeks adorn!

Hark to the Pibroch’s pleasing note!
  Hark to the swelling nuptial song!
In joyous strains the voices float,
  And, still, the choral peal prolong.

Again the clan, in festive crowd,
  Throng through the gate of Alva’s hall;
The sounds of mirth re-echo loud,
  And all their former joy recall.

But who is he, whose darken’d brow
  Glooms in the midst of general mirth?
Before his eyes’ far fiercer glow
  The blue flames curdle o’er the hearth.

Dark is the robe which wraps his form,
  And tall his plume of gory red;
His voice is like the rising storm,
  But light and trackless is his tread.

’Tis noon of night, the pledge goes round,
  The bridegroom’s health is deeply quaff’d;
With shouts the vaulted roofs resound,
  And all combine to hail the draught.

Sudden the stranger-chief arose,
  And all the clamorous crowd are hush’d;
And Angus’ cheek with wonder glows,
  And Mora’s tender ***** blush’d.

“Old man!” he cried, “this pledge is done,
  Thou saw’st ’twas truly drunk by me;
It hail’d the nuptials of thy son:
  Now will I claim a pledge from thee.

“While all around is mirth and joy,
  To bless thy Allan’s happy lot,
Say, hadst thou ne’er another boy?
  Say, why should Oscar be forgot?”

“Alas!” the hapless Sire replied,
  The big tear starting as he spoke,
“When Oscar left my hall, or died,
  This aged heart was almost broke.

“Thrice has the earth revolv’d her course
  Since Oscar’s form has bless’d my sight;
And Allan is my last resource,
  Since martial Oscar’s death, or flight.”

“’Tis well,” replied the stranger stern,
  And fiercely flash’d his rolling eye;
“Thy Oscar’s fate, I fain would learn;
  Perhaps the Hero did not die.

“Perchance, if those, whom most he lov’d,
  Would call, thy Oscar might return;
Perchance, the chief has only rov’d;
  For him thy Beltane, yet, may burn.

“Fill high the bowl the table round,
  We will not claim the pledge by stealth;
With wine let every cup be crown’d;
  Pledge me departed Oscar’s health.”

“With all my soul,” old Angus said,
  And fill’d his goblet to the brim:
“Here’s to my boy! alive or dead,
  I ne’er shall find a son like him.”

“Bravely, old man, this health has sped;
  But why does Allan trembling stand?
Come, drink remembrance of the dead,
  And raise thy cup with firmer hand.”

The crimson glow of Allan’s face
  Was turn’d at once to ghastly hue;
The drops of death each other chace,
  Adown in agonizing dew.

Thrice did he raise the goblet high,
  And thrice his lips refused to taste;
For thrice he caught the stranger’s eye
  On his with deadly fury plac’d.

“And is it thus a brother hails
  A brother’s fond remembrance here?
If thus affection’s strength prevails,
  What might we not expect from fear?”

Roused by the sneer, he rais’d the bowl,
  “Would Oscar now could share our mirth!”
Internal fear appall’d his soul;
  He said, and dash’d the cup to earth.

“’Tis he! I hear my murderer’s voice!”
  Loud shrieks a darkly gleaming Form.
“A murderer’s voice!” the roof replies,
  And deeply swells the bursting storm.

The tapers wink, the chieftains shrink,
  The stranger’s gone,—amidst the crew,
A Form was seen, in tartan green,
  And tall the shade terrific grew.

His waist was bound with a broad belt round,
  His plume of sable stream’d on high;
But his breast was bare, with the red wounds there,
  And fix’d was the glare of his glassy eye.

And thrice he smil’d, with his eye so wild
  On Angus bending low the knee;
And thrice he frown’d, on a Chief on the ground,
  Whom shivering crowds with horror see.

The bolts loud roll from pole to pole,
  And thunders through the welkin ring,
And the gleaming form, through the mist of the storm,
  Was borne on high by the whirlwind’s wing.

Cold was the feast, the revel ceas’d.
  Who lies upon the stony floor?
Oblivion press’d old Angus’ breast,
  At length his life-pulse throbs once more.

“Away, away! let the leech essay
  To pour the light on Allan’s eyes:”
His sand is done,—his race is run;
  Oh! never more shall Allan rise!

But Oscar’s breast is cold as clay,
  His locks are lifted by the gale;
And Allan’s barbèd arrow lay
  With him in dark Glentanar’s vale.

And whence the dreadful stranger came,
  Or who, no mortal wight can tell;
But no one doubts the form of flame,
  For Alva’s sons knew Oscar well.

Ambition nerv’d young Allan’s hand,
  Exulting demons wing’d his dart;
While Envy wav’d her burning brand,
  And pour’d her venom round his heart.

Swift is the shaft from Allan’s bow;
  Whose streaming life-blood stains his side?
Dark Oscar’s sable crest is low,
  The dart has drunk his vital tide.

And Mora’s eye could Allan move,
  She bade his wounded pride rebel:
Alas! that eyes, which beam’d with love,
  Should urge the soul to deeds of Hell.

Lo! see’st thou not a lonely tomb,
  Which rises o’er a warrior dead?
It glimmers through the twilight gloom;
  Oh! that is Allan’s nuptial bed.

Far, distant far, the noble grave
  Which held his clan’s great ashes stood;
And o’er his corse no banners wave,
  For they were stain’d with kindred blood.

What minstrel grey, what hoary bard,
  Shall Allan’s deeds on harp-strings raise?
The song is glory’s chief reward,
  But who can strike a murd’rer’s praise?

Unstrung, untouch’d, the harp must stand,
  No minstrel dare the theme awake;
Guilt would benumb his palsied hand,
  His harp in shuddering chords would break.

No lyre of fame, no hallow’d verse,
  Shall sound his glories high in air:
A dying father’s bitter curse,
  A brother’s death-groan echoes there.

If I were a chocolate bar, life with you would be so sweet
Being around you, I feel like quite a treat
Gotta love Hershey's: the kisses and hugs
And on Valentine's Day combine with Doves
Like Reeses or S'mores, we compliment one another
Flowers, wine, and chocolate for a significant other
If I were a chocolate bar, life could be Grand
Although on a hot day, I'd melt a little faster than planned....
As a chocolate bar I'd be broken and shared
Spreading gooey goodness to everyone there
Maybe being a chocolate bar isn't quite for me...
... But it's fun to imagine just how it might be!

Alexander K Opicho
(Eldoret, Kenya;aopicho@yahoo.com)
The Al shabab on 22 day of September 2013   attacked Kenya again. It has attacked and lynched siege on the Nairobi’s biggest mall known as the West Gate. This is one of the severest after other similar attack in 1998.The people who are averagely assumed to be killed are  one hundred.Al shabab is a regional east African arm of Arabo-islamic global terrorist group known as the Algaeda.But something notable about all the terrorist groups in the world, inclusive of Alshabab, is that they all have an Arabic, communist and Islamic bias with overt expression of anti-American movements.
The Lynching of the Mall in Nairobi has affected all the Kenyan communities. Asian and African, Europeans and Americans. However the survivors of the West Gate mall attack has narrated out that the attackers were discriminately asking for ones religion before they shoot. Thus Muslims were not shot but non Muslims were shot and then held hostage. The military sources on the site shared out that the terrorists were foreigners but they perfectly worked through their plan through co-operation of locals and citizens of a victim countries; Kenya and America.
Immediately after this terror attack in Nairobi, a group of social researchers in Kenya carried out an electronic survey on the social media to find out why the Alshabab has easily recruited the followers and why an African youth can easily accept recruitment in to the membership of terror groups like Boko haram, Al shabab, and Al gaeda.The responses gathered from diverse digital socialites  skews into one  modal direction which  shows that America alone with its ostentatious international relations  will not win the war on global terrorism.
The motivation for easy recruitment into membership of the terror groups was established by the social media survey as diverse factors but most august among them are ; extreme conditions of poverty among the youths in contrast to the rich and wealthy elderly echelons of the most African societies. Also, sharp contrast in the economic conditions between America and Africa where American societies wallow in extreme riches whereas the African societies contemporaneously are stark deep in idyllic poverty perpetually wallowing in the mire of need and economic challenges. Some respondents cited the crooked way through which the state of Israel was formed as well as the atrocious nature of American foreign policy towards the Arab world through which there was perpetration of killing of Muamar Al Gadaffi and regular Military bombardment of Arab countries like Syria and Afghanistan.
Also the current American presidency and the preceding one of George Bush provoke distasteful responses on the social media. Especially in relation to the Prison maintained at quatanamo bay which basically was established as a basic torture facility used by the American government to torture terrorist suscepects from North Africa, Arab emirates and Europe. But the prison at Quatanamo bay is composed of a large number of North African as detainees. A respondent on the social media quoted Pravda, the Russian Newspaper in English version which had a revelation about the Quatanamo prison. The Pravda projected number of North Africans in the Quatamo prison to be currently standing at one hundred and thirty seven. The Newsweek also concurs with this position by narrating in its july 2013 edition that, there are very many prisoners of North African descend in quatanamo prison who began a hunger strike sometimes ago but they are forcefully fed through a tube.

The facebooking ,tweetering and charting thematically show one modal position that American discriminatory foreign policy towards Israel and Persia, American extreme capital amid critical world poverty, poverty in Africa especially among the youth, presence of weapons of mass destruction in Israel to which America is oblivious or nonchalant  ,Russian technological casuistry and Chinese economic dominance combine into a blend of extensive anti-American feelings that  make the world youths not reliable when it comes to the moral duty of desisting from joining the terrorist groups. American hard politics and hard diplomacy will make America not to win war on global terrorism.

The flag, a white crescent and single star
on a field of crimson — kırmızı, not just 'red' —
tells of Islam. The men drinking beer and rakı
at pavement tables, even in Ramadan,
and the short-skirted, bare-armed girls,
parading with bare-faced confidence,
tell of other influences;
but at the appointed hour we hear the call to prayer
from the marble minaret, a slim finger
pointing to the sky beside shining domes
reflecting the vault of heaven.
At five a.m. we hear it faintly through hotel double-glazing,
or at sunset, as a peaceful accompaniment to the spectacle,
and we remember where we are.
But especially at the midday hour,
when the voice of the muezzin echoes
over noisy street or market,
and from another minaret and another
the duet becomes a trio, a quartet
of different melodies, out of tune
with each other but never discordant
(in these tones the word has no meaning),
the faithful are reminded, however busy they may be,
that their God requires something of them.
Then, entering the cool calm of the mosque,
entering the quiet forest of pillars,
feeling through the soles of our bare feet
marble polished by the tread
of generations of worshippers,
fine-grained wood,
the rich softness of crimson carpet,
we luxuriate in the textures as they combine
with the formal floral patterns of the tiles,
the ornate calligraphy of the inscriptions,
the rich colours of the glass,
and we realise that the builders of these mosques
knew what they were doing, so many years ago,
how peace can enter the soul
through the senses.

I stagger out of the Paradise Rock Club. 11:04pm.
42 degrees. Short sleeves, no jacket; I give zero *****.
I have experienced something beyond words, but I'll try
In 50 minutes it will be All Hallow's Eve, a Monday
Due and not yet begun I have an essay on James Joyce and
A reckoning on the occult, inner mysteries of the CPU.
Again, I give zero *****
The last hour and a half were the best possible use of my time.

Not 5 miles away, people I sympathize with
are protesting the failure of America,
But tonight I have seen her undeniable beauty:

904, as the fire code rates, packed in to the inch
A choir united, the director:
A man who tonight skipped his Aunt Steph's funeral at her request
To be here

To direct us in each anthem.
In hopeful, truthful noise
Our hoarse and untrained voices combine
And as Mr. Key observes, against all odds, against all reason
Make the most beautiful sound.

                            D.B. Guy
                            Slightly drunk, tears in my eyes
                            On the Green Line
                            11:17pm

“Build me straight, O worthy Master!
Stanch and strong, a goodly vessel,
That shall laugh at all disaster,
And with wave and whirlwind wrestle!”

The merchant’s word
Delighted the Master heard;
For his heart was in his work, and the heart
Giveth grace unto every Art.
A quiet smile played round his lips,
As the eddies and dimples of the tide
Play round the bows of ships,
That steadily at anchor ride.
And with a voice that was full of glee,
He answered, “Erelong we will launch
A vessel as goodly, and strong, and stanch,
As ever weathered a wintry sea!”
And first with nicest skill and art,
Perfect and finished in every part,
A little model the Master wrought,
Which should be to the larger plan
What the child is to the man,
Its counterpart in miniature;
That with a hand more swift and sure
The greater labor might be brought
To answer to his inward thought.
And as he labored, his mind ran o’er
The various ships that were built of yore,
And above them all, and strangest of all
Towered the Great Harry, crank and tall,
Whose picture was hanging on the wall,
With bows and stern raised high in air,
And balconies hanging here and there,
And signal lanterns and flags afloat,
And eight round towers, like those that frown
From some old castle, looking down
Upon the drawbridge and the moat.
And he said with a smile, “Our ship, I wis,
Shall be of another form than this!”
It was of another form, indeed;
Built for freight, and yet for speed,
A beautiful and gallant craft;
Broad in the beam, that the stress of the blast,
Pressing down upon sail and mast,
Might not the sharp bows overwhelm;
Broad in the beam, but sloping aft
With graceful curve and slow degrees,
That she might be docile to the helm,
And that the currents of parted seas,
Closing behind, with mighty force,
Might aid and not impede her course.

In the ship-yard stood the Master,
With the model of the vessel,
That should laugh at all disaster,
And with wave and whirlwind wrestle!
Covering many a rood of ground,
Lay the timber piled around;
Timber of chestnut, and elm, and oak,
And scattered here and there, with these,
The knarred and crooked cedar knees;
Brought from regions far away,
From Pascagoula’s sunny bay,
And the banks of the roaring Roanoke!
Ah! what a wondrous thing it is
To note how many wheels of toil
One thought, one word, can set in motion!
There ’s not a ship that sails the ocean,
But every climate, every soil,
Must bring its tribute, great or small,
And help to build the wooden wall!

The sun was rising o’er the sea,
And long the level shadows lay,
As if they, too, the beams would be
Of some great, airy argosy,
Framed and launched in a single day.
That silent architect, the sun,
Had hewn and laid them every one,
Ere the work of man was yet begun.
Beside the Master, when he spoke,
A youth, against an anchor leaning,
Listened, to catch his slightest meaning.
Only the long waves, as they broke
In ripples on the pebbly beach,
Interrupted the old man’s speech.
Beautiful they were, in sooth,
The old man and the fiery youth!
The old man, in whose busy brain
Many a ship that sailed the main
Was modelled o’er and o’er again;—
The fiery youth, who was to be
The heir of his dexterity,
The heir of his house, and his daughter’s hand,
When he had built and launched from land
What the elder head had planned.

“Thus,” said he, “will we build this ship!
Lay square the blocks upon the slip,
And follow well this plan of mine.
Choose the timbers with greatest care;
Of all that is unsound beware;
For only what is sound and strong
To this vessel shall belong.
Cedar of Maine and Georgia pine
Here together shall combine.
A goodly frame, and a goodly fame,
And the Union be her name!
For the day that gives her to the sea
Shall give my daughter unto thee!”

The Master’s word
Enraptured the young man heard;
And as he turned his face aside,
With a look of joy and a thrill of pride
Standing before
Her father’s door,
He saw the form of his promised bride.
The sun shone on her golden hair,
And her cheek was glowing fresh and fair,
With the breath of morn and the soft sea air.
Like a beauteous barge was she,
Still at rest on the sandy beach,
Just beyond the billow’s reach;
But he
Was the restless, seething, stormy sea!
Ah, how skilful grows the hand
That obeyeth Love’s command!
It is the heart, and not the brain,
That to the highest doth attain,
And he who followeth Love’s behest
Far excelleth all the rest!

Thus with the rising of the sun
Was the noble task begun,
And soon throughout the ship-yard’s bounds
Were heard the intermingled sounds
Of axes and of mallets, plied
With vigorous arms on every side;
Plied so deftly and so well,
That, ere the shadows of evening fell,
The keel of oak for a noble ship,
Scarfed and bolted, straight and strong,
Was lying ready, and stretched along
The blocks, well placed upon the slip.
Happy, thrice happy, every one
Who sees his labor well begun,
And not perplexed and multiplied,
By idly waiting for time and tide!

And when the hot, long day was o’er,
The young man at the Master’s door
Sat with the maiden calm and still,
And within the porch, a little more
Removed beyond the evening chill,
The father sat, and told them tales
Of wrecks in the great September gales,
Of pirates coasting the Spanish Main,
And ships that never came back again,
The chance and change of a sailor’s life,
Want and plenty, rest and strife,
His roving fancy, like the wind,
That nothing can stay and nothing can bind,
And the magic charm of foreign lands,
With shadows of palms, and shining sands,
Where the tumbling surf,
O’er the coral reefs of Madagascar,
Washes the feet of the swarthy Lascar,
As he lies alone and asleep on the turf.
And the trembling maiden held her breath
At the tales of that awful, pitiless sea,
With all its terror and mystery,
The dim, dark sea, so like unto Death,
That divides and yet unites mankind!
And whenever the old man paused, a gleam
From the bowl of his pipe would awhile illume
The silent group in the twilight gloom,
And thoughtful faces, as in a dream;
And for a moment one might mark
What had been hidden by the dark,
That the head of the maiden lay at rest,
Tenderly, on the young man’s breast!

Day by day the vessel grew,
With timbers fashioned strong and true,
Stemson and keelson and sternson-knee,
Till, framed with perfect symmetry,
A skeleton ship rose up to view!
And around the bows and along the side
The heavy hammers and mallets plied,
Till after many a week, at length,
Wonderful for form and strength,
Sublime in its enormous bulk,
Loomed aloft the shadowy hulk!
And around it columns of smoke, upwreathing,
Rose from the boiling, bubbling, seething
Caldron, that glowed,
And overflowed
With the black tar, heated for the sheathing.
And amid the clamors
Of clattering hammers,
He who listened heard now and then
The song of the Master and his men:—

“Build me straight, O worthy Master,
    Staunch and strong, a goodly vessel,
That shall laugh at all disaster,
    And with wave and whirlwind wrestle!”

With oaken brace and copper band,
Lay the rudder on the sand,
That, like a thought, should have control
Over the movement of the whole;
And near it the anchor, whose giant hand
Would reach down and grapple with the land,
And immovable and fast
Hold the great ship against the bellowing blast!
And at the bows an image stood,
By a cunning artist carved in wood,
With robes of white, that far behind
Seemed to be fluttering in the wind.
It was not shaped in a classic mould,
Not like a Nymph or Goddess of old,
Or Naiad rising from the water,
But modelled from the Master’s daughter!
On many a dreary and misty night,
‘T will be seen by the rays of the signal light,
Speeding along through the rain and the dark,
Like a ghost in its snow-white sark,
The pilot of some phantom bark,
Guiding the vessel, in its flight,
By a path none other knows aright!

Behold, at last,
Each tall and tapering mast
Is swung into its place;
Shrouds and stays
Holding it firm and fast!

Long ago,
In the deer-haunted forests of Maine,
When upon mountain and plain
Lay the snow,
They fell,—those lordly pines!
Those grand, majestic pines!
’Mid shouts and cheers
The jaded steers,
Panting beneath the goad,
Dragged down the weary, winding road
Those captive kings so straight and tall,
To be shorn of their streaming hair,
And naked and bare,
To feel the stress and the strain
Of the wind and the reeling main,
Whose roar
Would remind them forevermore
Of their native forests they should not see again.
And everywhere
The slender, graceful spars
Poise aloft in the air,
And at the mast-head,
White, blue, and red,
A flag unrolls the stripes and stars.
Ah! when the wanderer, lonely, friendless,
In foreign harbors shall behold
That flag unrolled,
‘T will be as a friendly hand
Stretched out from his native land,
Filling his heart with memories sweet and endless!

All is finished! and at length
Has come the bridal day
Of beauty and of strength.
To-day the vessel shall be launched!
With fleecy clouds the sky is blanched,
And o’er the bay,
Slowly, in all his splendors dight,
The great sun rises to behold the sight.

The ocean old,
Centuries old,
Strong as youth, and as uncontrolled,
Paces restless to and fro,
Up and down the sands of gold.
His beating heart is not at rest;
And far and wide,
With ceaseless flow,
His beard of snow
Heaves with the heaving of his breast.
He waits impatient for his bride.
There she stands,
With her foot upon the sands,
Decked with flags and streamers gay,
In honor of her marriage day,
Her snow-white signals fluttering, blending,
Round her like a veil descending,
Ready to be
The bride of the gray old sea.

On the deck another bride
Is standing by her lover’s side.
Shadows from the flags and shrouds,
Like the shadows cast by clouds,
Broken by many a sunny fleck,
Fall around them on the deck.

The prayer is said,
The service read,
The joyous bridegroom bows his head;
And in tears the good old Master
Shakes the brown hand of his son,
Kisses his daughter’s glowing cheek
In silence, for he cannot speak,
And ever faster
Down his own the tears begin to run.
The worthy pastor—
The shepherd of that wandering flock,
That has the ocean for its wold,
That has the vessel for its fold,
Leaping ever from rock to rock—
Spake, with accents mild and clear,
Words of warning, words of cheer,
But tedious to the bridegroom’s ear.
He knew the chart
Of the sailor’s heart,
All its pleasures and its griefs,
All its shallows and rocky reefs,
All those secret currents, that flow
With such resistless undertow,
And lift and drift, with terrible force,
The will from its moorings and its course.
Therefore he spake, and thus said he:—

“Like unto ships far off at sea,
Outward or homeward bound, are we.
Before, behind, and all around,
Floats and swings the horizon’s bound,
Seems at its distant rim to rise
And climb the crystal wall of the skies,
And then again to turn and sink,
As if we could slide from its outer brink.
Ah! it is not the sea,
It is not the sea that sinks and shelves,
But ourselves
That rock and rise
With endless and uneasy motion,
Now touching the very skies,
Now sinking into the depths of ocean.
Ah! if our souls but poise and swing
Like the compass in its brazen ring,
Ever level and ever true
To the toil and the task we have to do,
We shall sail securely, and safely reach
The Fortunate Isles, on whose shining beach
The sights we see, and the sounds we hear,
Will be those of joy and not of fear!”

Then the Master,
With a gesture of command,
Waved his hand;
And at the word,
Loud and sudden there was heard,
All around them and below,
The sound of hammers, blow on blow,
Knocking away the shores and spurs.
And see! she stirs!
She starts,—she moves,—she seems to feel
The thrill of life along her keel,
And, spurning with her foot the ground,
With one exulting, joyous bound,
She leaps into the ocean’s arms!

And lo! from the assembled crowd
There rose a shout, prolonged and loud,
That to the ocean seemed to say,
“Take her, O bridegroom, old and gray,
Take her to thy protecting arms,
With all her youth and all her charms!”

How beautiful she is! How fair
She lies within those arms, that press
Her form with many a soft caress
Of tenderness and watchful care!
Sail forth into the sea, O ship!
Through wind and wave, right onward steer!
The moistened eye, the trembling lip,
Are not the signs of doubt or fear.
Sail forth into the sea of life,
O gentle, loving, trusting wife,
And safe from all adversity
Upon the ***** of that sea
Thy comings and thy goings be!
For gentleness and love and trust
Prevail o’er angry wave and gust;
And in the wreck of noble lives
Something immortal still survives!

Thou, too, sail on, O Ship of State!
Sail on, O Union, strong and great!
Humanity with all its fears,
With all the hopes of future years,
Is hanging breathless on thy fate!
We know what Master laid thy keel,
What Workmen wrought thy ribs of steel,
Who made each mast, and sail, and rope,
What anvils rang, what hammers beat,
In what a forge and what a heat
Were shaped the anchors of thy hope!
Fear not each sudden sound and shock,
‘T is of the wave and not the rock;
‘T is but the flapping of the sail,
And not a rent made by the gale!
In spite of rock and tempest’s roar,
In spite of false lights on the shore,
Sail on, nor fear to breast the sea!
Our hearts, our hopes, are all with thee,
Our hearts, our hopes, our prayers, our tears,
Our faith triumphant o’er our fears,
Are all with thee,—are all with thee!

Ya wonda why I'm filled with so much passion and rage/
But that's what happ'n when ya lessen a man to a cage/
I haven't even unleashed the darkness/
Imagine a soul that's cold 'n' heartless/
Crowley is weak compared to the I beast/
Within me, 'n He I now release/
It in I and we have begun to feast/
Spit it out/
Shut ya impudent mouth n listen/
Time ta quit ya ******' insolent dissin'/
Check me out I'm hookless/
Reckless/
You follow the text n I'm bookless/
Check this/
Determination look me in my Eyes/
Ya gunna stay in tha gutta, ***** *****, just to watch me rise/
RA!/
I am incomparable/
Can't match  me, I'm too lyrical/
I am a spastic assassin/
Breath deep/
I am the heir, with anthrax-in/
How I see it, You nuttin' but fails/
You in a row boat *****, n my ***** got sails/
Ya call me crazy/
Ya vision is hazy/
And ya thinkin is lazy/
What I know would make ya a sage see/
I'm filled with these higher optics/
Shouldn't need a telescope ta spot this/
But you do/
What, Hoss is up, Livin life in love/
'N neva givin' a ****/
Crowned/
I Come here to shut ya ta hell down/
------------Chorus-----------
Duranged/
It's Dark n Strange/
Quit ya askin', 'What am I?'/
Darkness Fire burnin' opaque, I neva Die/
Strange Set by Ra, Look to tha Sky/
Nothin' weirder than I/
So Dark N Strange/
I Am, Cryptic Poetic Hark outta Range/
Who is, Dark n Strange/
Ya frightened of tha Wakin' Age/
Ya tormented by hæmaluna change/
IT'S NOW/
Needa label me "I Am" - The Omnipotent is Dark n Strange!/

------------------Verse 2--------------------------------
I'm spittin' real ****, so consider me exlax/
Banishing the lies, I'm leavin'em just facts/
True talk is how this ****'s gunna torment Ya/
Break ya Soul if ya fearin' It, I'm thinkin' torture/
Wake Up/
No fire to go with  your sulfur/
Poor tormented Souls end of time to torch ya/
Flowin' hot speakin' blazen fluid/
Become a fire frequency king druid/
Remain in vain and **** it, You'll die morbid/
In days last You'll be over timid/
Skinnin' weak people like piglets/
Label me 'Naught' I've no limits/
I'm life Livin'  in center aligned/
Tippin' scales them ******' swine/
Ascend win twin minds combine/
Balancing act Life's **** or 'dalini/
Rise Up/
I'm beastin' the intensity/
I climb ladders frequently/
******' sick of livin' hell I harmonize Energy/
Mind insane I'm bringin' ******* madness/
Lost senses found you still sittin' sadness/
Be More/
I'm mastering levels with the Dodecahedron/
Ya livin' lame that's ya lazy ******' conundrum/
I get pure data that's distilled in a cauldron/
Most minds are piles of **** like postmortem/
Abominations bossin' somniliquists with abhorrence/
Only condemnation for such ******' malevolence/
Opened eyes providing ya with luminescence/
End for all contempt contrite by due reverence/

-------Chorus-----------
Duranged/
It's Dark n Strange/
Quit ya askin', 'What am I?'/
Darkness Fire burnin' opaque, I neva Die/
Strange Set by Ra, Look to tha Sky/
Nothin' weirder than I/
So Dark N Strange/
I Am, Cryptic Poetic Hark outta Range/
Who is, Dark n Strange/
Ya frightened of tha Wakin' Age/
Ya tormented by hæmaluna change/
IT'S NOW/
Needa label me "I Am" - The Omnipotent is Dark n Strange/

---------Verse 3----------------------------
I'm Clinically Fearless... Absolutely scared of none/
You're afraid of my haunted paradox... Defined me Fearsome/
I'm sick of this ****** lost society/
Living a worthless illusion no reality/
What is it/
Mass Individuals stuck in egotistical vanities?/
I am goin' crazy contemplatin' such insanity!/
Can't you see/
This is the path of demise for humanity/
You need a hand, so sad/
Refused for me to help you, your bad/
To hear this/
You need to wear a mental harness/
This is the seed of my soul's darkness/
Everybody does share none and lives careless!/
The fruit is hard truth, Ya life is hopeless!/
There's tha gun, here's tha trigger- PULL THIS!/
Should have been Tempus Fugit as We Carpe Diem/
Too late tempers temp-is ****-it Masses parley Global Requiem/
Yeah I know my process is dark & strange/
My mind is warped definitely it is deranged/
After all I Sow & Reap for simple change/
Here is wisdom, which is validated by three/
Blow your ears & gouge your eyes, than you will see/
Divide by none return to your commUnity/
The end of my advice, now reach for DivUnity!

-------Chorus-----------
Duranged/
It's Dark n Strange/
Quit ya askin', 'What am I?'/
Darkness Fire burnin' opaque, I neva Die/
Strange Set by Ra, Look to tha Sky/
Nothin' weirder than I/
So Dark N Strange/
I Am, Cryptic Poetic Hark outta Range/
Who is, Dark n Strange/
Ya frightened of tha wakin' age/
Ya tormented by hæmaluna change/
IT'S NOW/
Needa label me "I Am" - **The Omnipotent is Dark n Strange!

The hanky he was sobbing into was crusty,
*****, unwashed, unclean; yet strangely comforting to a little boy,
as he cried he made his way to a culvert behind the school,
some place the other kids couldn’t see him crying,
it was more comfortable being near rocks
-next to that watershed for some reason?

He looked down at his antagonist,
the scaly-green feet,
they made him cry harder,
he lamented…

“Why have I been tormented so?”

“Who gave me these feet? Who made me this way, lizardly, scaly, an animal no?”

“What class am I, what species? Are those toenails, claws or a disease?”

“The way I’m treated makes me sad. Where is my mommy, where is my dad?

“Did I come from an egg? Didn’t we all? Why do they pick on me, make me feel so small?”

“My feet are reptilian even I can see that!”

“Am I part lizard? Are there horns on my back?”

“I can’t hide in sneakers ‘cause the claws tear them apart.”

“Not great at math, language or art.”

“They always pickin’ on me, today it’s in the schoolyard.”

“That is why I sit here on the rocks crying with my ugly feet and sullen heart,”

“Cannot run fast so no baseball, basketball or soccer…”

“The other kids tried to stuff me in my own locker…”

“One mean little girl even threw a dead mouse at me!”

“But I’m only part lizard as far as I can see?”

“My English teacher says that my words are like a bird song”

“If I talk like a birdie along with monster’s feet, no wonder I don’t belong!”

“Even still, to be so mean to me, I know that it is wrong…”

“ONE DAY I WILL SHOW THEM ALL, THESE FEET THEY HAVE A PURPOSE!”

“MY WORDS OF SONG AND FEET OF MAGIC COMBINE A COSMIC CIRCUS!”

“I am no freak of nature, no forest Pan or Satyr…”

“It is not the way I look, my clothes or feet that matter…”

“It is what is in my heart and mind, the things I do that truly count…”

“For those things that make us different, for they are tantamount…”

“Seven heads, seven stages, seven fables, seven sages”

“Seven stars and seven wonders and seven heavens that we’re under…”

“And all those things they say are great and marvelous about us…”

“Will one day be written in the book by Great Old Uncle Taautus!”

Fireworks!!

I watch the fireworks
Dancing away in the sky
Pinks blues greens reds
Fireworks dancing with the music
They sing "watch me, watch me"
And i do, i am mesmerised
What sweet syncronising
I catch myself dancing
With the fireworks
I am on cloud 9
They're still going
So much energy
So much passion
Twirling twirling
Shooting up high
They light the sky
Just like the stars
Blue purple yellow orange
Sweet sweet harmony
They are alive
The sky is alive
I am alive
I am dancing away
To the beat of the fireworks
They have the sky on fire
The suns turned off its light
And i am mesmerised with
The fireworks that have lit up
The dark with their own lights
Dancing away in their own world
Wow! The patterns!
The colours combine
Into one huge explosion
Beauty at its peak
Its brought the world together
They are one like the fireworks
Dancing hand in hand
Laughing singing dancing away
They are one