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

I leaned on the rail, stared through
my mental zoom and wondered.
Were ther footprints in the sand
of that island to the windward?

No sign of man. Startled cliff caves
gaped at us, seagulls dived at us,
while whales schooled us and led us away.
We passed by and the North Channel sighed.

Now it's just a floater in my eye,
a landscape's distant daub of grey-green,
a mystery mote that still returns,
but I pass by praising Gaia.

late last night i walked alone along the desolate shore
of Monet’s pond at Giverny the pale moon
sometimes obscured by impasto clouds
the waterlilies those treacherous waterlilies
screaming in agony
Saskia, Rembrandt’s wife, was there
naked and weeping, her hair and body
wet and slimy draped in orange pond algae
Cezanne crouched nearby cursing and slashing canvases
with a butcher’s knife before tossing them into a fire
when he finished he made fierce love to Saskia
who sang an old Dutch love song as he did
Rembrandt was in deep conversation with Monet
in a puddle of passing moonlight
and didn’t seemed to mind, anything
to stop her endless wailing I heard him say
Monet says Titian’s mistress is now a mermaid
who lives beneath my betraying waterlilies which is why they cry
and why I keep painting them no one makes love like her
just look at Titian’s Madonnas
Van Gogh stumbles in from a dung-filled alley, bleeding badly
from the bullet wound in his abdomen,
where the rich kids from Auvers tormented and shot him
just for the fun of it, Vermeer bankrupt and gaunt
steps from behind a tree and asks if it’s suicide or the new art
Vincent says let the people believe that tragic ending
it’s a dramatic final brushstroke to my life even if untrue
but I love the blackbirds and my wheat fields and blue irises
way too much to spill my guts on them cadmium red maybe
my left ear lobe maybe but never my guts
where’s de Kooning anyhow he yells the *******
borrowed my paintbrush and never returned it
now I’ll have to paint with the tongue of Gauguin’s old shoe
Caravaggio floats by face up caressed by the wet palms of the weeping lilies
he’s burning up with fever delirious screaming
where’s my ship where’s my ship
they’re all on the ship my paintings
my paintings will redeem me the Pope knows
I only killed one man
Monet strokes his beard like Moses Rembrandt
says it happens to all of us even our wives and
mistresses perhaps it’s the lead in our *****
it’s not suicide it’s not homicide it’s the madness of living too much
Rothko appears, a translucent ghost inside a mist salving his slashed wrist
with Monet’s pond water Mark washing washing
the healing water the Giverny water dancing with pran the giver of life
that’s what Monet was painting at the end
using the palette from the other side
pran transmitted through the wailing
of the waterlilies the siren’s song
that lures artists to their death
and then washes them clean for the next go
to pick up where they left off, alone
with his whiskey bottle Jackson ******* hurls paint clots
at Rembrandt’s Still Life with Peacocks
those two dead peacocks they’re all dead peacocks
floating belly up under Monet’s footbridge
all the color gone from their plumage
drink the water Jackson or better yet
let Cezanne rip out your diseased liver
and wrap it carefully in a weeping waterlily
and float it out into the middle of the pond
where the forgiving moonlight and the mermaids
and Monet’s eyes now dim with cataracts
can help it filter out the poison of living
too much and then you too Jackson
will make painterly love to Saskia and she will
daub your diseased body in Titian’s blue
and her husband’s gold and Vincent’s sunflower yellows
and send you back into the world
where you will continue to splash us all  
as we lie flat on the ground hands and legs intertwined
our faces and bodies your canvas more willing than ever
Jackson, you’ll turn us into a unified field of smashed hues not just from here but from where you stand one foot on the other side
get us all raging drunk Jackson in that myth you longed for
splatter us in the tinted mess of the mystery you raged at
and had to settle for drunken oblivion instead
drink deeply the mystic-hued water of Giverny
Vincent and Paul and Mark and Jackson
and when you come back
spit it out on our parched souls

Gorse burnt
bird skeleton
laying beneath
stark, white, crumbly
just calcium
a proto-fossil
that lacks the hardness
derived from
aeons encased
in mud
becoming stone
but this one
will never be
its future is dust
mingled with sand

Close by lies
a golf ball
a wayward one
that strayed
from links
to dune
to deform
in the blaze
become blackend
and split
the skin peeled back
opened to reveal
the tight-wound
elastic strands
fused together
yet penetrable
with persistent
small fingers
and unravelled
in exploration
to be left
in an untidy
forgotten pile
once the sac
at the core
is retrieved
within which
thick white paint
to sqeeze forth
and daub
on wall or fence
or kerbstone

This was the day after
fire had torn
through a thicket of gorse
that I and one or two
others had found ablaze
burning red and yellow and orange
hissing and spitting in protest
radiating heat in aromatic miasma
impressing all senses together
and knowing our civic duty
had run breathless
two streets inland
to fire red telephone box
to dial three nines
and deliver the news and wait
for fire red fire engine
to thunder by with shrilling bell
then to follow on, running back
to observe and to claim
with pride our part
in the resolution of danger
only to face accusation
that we must be responsible
for starting the conflagration
our shock and earnest denials
not entirely convincing
even when we protested that
had we been the culprits
then reporting the matter
would be the last consideration
instead, we were told
we'd clearly done the deed
so we could call out the brigade
and though nothing in the end
came of it, I was left convinced
that adult thought patterns
left much to be desired
and were far too convoluted
too suspicious, too impenetrable
to be ever worth adopting

That episode taught me
the magnificence of gorse ablaze
that discoveries were to be
made in the aftermath
that doing the right thing
wasn't always to be advised
that overly suspicious
too officious firemen
were fishing for payback
that if I were to be judged
guilty of the offence
when I was innocent of it
then I had a credit awaiting
in the bank of misdemeanor
so in due course
I made my withdrawal
and lit the gorse
in assembly at school
we were told we should
not hide our light
under a bushel
but I, not knowing
what a bushel was
lit mine under a bush
I did it only once
and though I had a brief
flirtation with Fraid
Her power scared me too much
no great damage was done
no human life lost
or placed in danger
save possibly mine

Cynthia Pauline Jones, 19/10/13

Therein lies the fur, filled with running wind,
Milkweed in the scruff, the scent of wild-wood,
Some mystery-hearted forest where pulse begins.
Therein lies the Centaur, satyr, and god-disguised swan,
Ageless wonders prowled upon by an age-old Parthenon.
You broke your wolf’s tooth through those haunches of lore.

Therein lies the fur, filled with barking dust and dandelion war,
With a spine that stretched back to the she-wolf and city-birth,
The peeled nerve of a howl once tremored your Aurelian lips.
Therein lies the serf, hunter, fairer hand, and lord,
From wattles and daub, the wandering-sands of Saracen, or Crusader’s moor.
You kept the path beside to remind that instinct shines as the holiest earth.

Therein lies the fur, the warm, ungovernable peasant of sleep,
Ever prophetic in your skies by eyeshut-trace of the hunting moon,
Twitching at the day’s thousand faces, all asleep in themselves.
Therein lies the soldier, nurse, chaplain, and fell-prayer,
Mange-like war is the whimpering season with its flea-bitten welts of stars.
You struck blind but true at the throat of gas-hissing war.

Therein lies the fur, outracing the rain and the spout,
Nested with more birds and Autumn song than rain,
Your sleeping ear pooled like cool eaves of the barn.

I sing once more like a boy into your unfolded ear.
Listen always for my ancient, choral voice and your chores of play,
And race earback to the sun in the belly-grass of your free-eyed fields.
Leave your last paw mark, torn on the red clay of my hand.
You are forever wrapped in human touch, ageless and aged,
And if ever the dark in madder darkness encroaches,
Leave black eternity to my faithful eyes.

I have no purpose any more.
I’m a painter who’s gone blind
And a singer who’s gone deaf.
There is no call for what I sell.

I still daub colors on a board
To smell the Linseed Oil again
I hear the music in my head
And mouth the words in silence.

There is no surgery or cure,
What’s gone is lost forever.
And I must find a way to live
In silent darkness, if I can.
              ljm

Pantry shelves hold jars of jam
sweet spreads of life made from fruits and berries
so succulent drops of saliva
rain on each touch of tongues

Cautious people stack rows
of carefully canned fruit
preserved with small portions of honey,
sugar cane or molasses.

Tin lids eventually “pop”
leaving elastic bitters
for knives to daub and rub
against stale breads.

Must life endure until  
only vinegary fills remain
and I am left to consume  
sour roughage to sustain me?

When perdition creeps
across the sands to envelop me
what will become
of unopened jars?

See the golden orb,
Sunrise/sunset, it daubs,
The Earth goes round and round,
Sunlight does abound,
Our source of life is found,
Behold the golden orb,
Sunrise/sunset it does daub...

It is ok to be
not
what you are
still
becoming. She said
"you're not special." Grinding teeth and sodden rails. My car is exhausted--
downwind, held in the air like branches of birches and pines
humming with each blatant engine-stroke
which fall onto that bleakening
icedock and curl-- culled passengers tossed to sea;
unavoidably
sharp veer left, beyond surreptitious and frantic spectators
and through a once-pearl snowdrift straying into my mind.
M
C
M
L
V
Turtlenecks can't keep us warm and soup can't clear my throat.
I choke on
sliced rubber, seatbelts cut halfway-- from
Spring. pluck us like cattails
amongst my marshy solubles.
Exposes my larynx she-- ubiquitous sonnet spews forth.
What contrite aberration, wears Kalapodi temple dress
made of rose petals blown in beneath love's column
and presses with her thighs my vision?
There is nothing more to say-- meals served
raw on Winter holidays. Steaming
spoonfuls dried up on her palate--
Special in the way I left you there.
Special in being the same as I should have been.
And I, no-- I!
I can not talk any longer! The clouds I thought to taste
won't allow me to
rain
be-- once dangling from the ceiling, my dripping prevented
with a pale, cotton daub.
You see
the paramedics
even as they sheath my torso
and hold your head with thorped sieves:
The driver steered his vessel wrong
an action which robbed his passenger's breath.

Sometimes I feel like a walking calamity.

sort of unfinished-
like a painting missing just that last daub.
Like a sketch instead of a snapshot.

I'm clothes that don't totally fit.

I feel ungrateful- often.
Smarmy and altruistic.
A vain liar.

the princess ideal is not for me
nor is the martyr

but lately I feel I wear both the dress, the cross and the crown.

Invisible stigmatas staining my palms.

Bearing everyone's burdens but my own.
When did I decide that was my job?

Who chose to put me in this role?

If I am in charge of my own destiny, why did I choose such a lousy one?


in the final fight,
I won't walk to the light. I'll brandish my umbrella for the storm cloud.

I've painted on the silver lining for others. They've eaten my words.
But this is something I cannot swallow.

Oh life- you bitter pill.

Take this seeing with thee--
paw it over...the beau-tifying Void.
Capable magick--drop...
of daub-n-be...beau-tifyingly so.
Note to All: what's outlasting
coasts... to still the aesthetical shock
o' yore.
Biding a time driven out of itself...
for the valiance of life-swap...so
pronounced with open arms...
Oneness, and all that jazz.
Bid you as I do...form's due...adieu...
beau-tifying The Void.


Konstantinos Mark

I’ve got five minutes
Then I must leave my verdant patch
On the skirt of a wind-rustled lake
hidden behind Logan's Roadhouse

Five minutes
to mentally finger with the fetal position
In which I awoke this morning,
there as the sun drew long shadows,

I, a diminutive daub of nautilus,
On a California King,
rippled plane of sand,
Sporadic shivers, beneath a chenille blanket

I, the town crier of dawn as
My own dreams ran screaming through the silence
Pointing a finger at
my sanctuary… “Here is your pearl thief!”

Men in hats, briefcases, heel-toe black clicky and shiny shoes
on leashes lugged,
Yanked by noisy hounds passing by
stop, sniff, snarl-toothed *******…

then one caught my scent,
“Five minutes more sleep,” I implored
"Find another dreaming fleshy mess of bones!"
And leave me to my pearl.

But it’s a universe that simply will not wait
And suffer fools for sleepers,
not a moment more
Yet for my many sleepless minutes after,

Dusk till dawn, and still beyond,
it’s always,
                  five
         minutes
more

Imagine an empty tower block,
High on hill, taking stock.
Watching us meandering by
Through each and every uncaring glass eye.
It knows that its usefulness has past
And a higher tower will be cast.
All that's left is fate worse than death
But wait, could this be new living breath ?
No, just a stay of execution
That alone is no solution.
After this and every fight
They daub their messages clear and bright.
When the demolition proper does begin
There is one hope to which we cling,
When we have reached our three score years and ten
There’ll be no one to degrade us then !

You cast your name over
like silted reeds in the river,
on land
a thick covering of daub and wattle
sought your intention;
the wish to encase others in your space.
Such foolhardy fascination bears a cost,
like ubiquitous cochineal dye pools
Your dreams harbour barriers
as wide as your course strides permit,
the wilderness of banishment beckons
for as long as your  fortitude remains

1.
"Oh Mighty Mighty!--you
sure look / Good tonight..."

When James Brown Yelps
HEY!
And sometimes you got to
when you feel it
getting down
that funky-fresh-flow groovy
groove is in the heart
of hearts of mother
(of fathers - who also know - love)
We band
together under
                           One Sky-father-mother-Earth
Word?
For the birds... "So get on up!"
Be---a living machine
with dreams of all things
yet imagined / to be --scene, yet not seen...

You are home to me.

2.
Take a look-see
In and through your own telescope
the magic of galaxies
far away dreams
                 The rings of Saturn
cosmic stuff made of stars
beyond this drab daub of a pebble

Supernovae

That's what we become
un-imaginable - Wonders - Awe
by the Light / blinded / in the dark is
a mind with no heart.

So preacher what you know?
Take me to mass/service
             (***** Bible needle words
                sticks out tongue
                because the money pays the bills)
And still,
Out there is Scary-big
Space-Time
The Infinite
Its cold vast Silence / Say nothing / shhh...
you've gone (lost) to **** yourself
Still the Masterpiece shines your light
Within Without (breaking nails)

Without sight we are merely
the Walking Dead gawking
attracted to Loud
                     explosion - sounds - brain - flesh
So desperate to reach it
so reach out...
At the light so bright / truth is:

3.
If you've got no Bic
any tiny flick
flash of candle-wick
Have no Halogen no halo glow
you're blind in the dark
absolutely
                quality is unbecoming
when none of them have the truth / is
bright is light...

Who what when how
or where - are you now?
Still only a mold of clay, waiting
for your hands

Not yet even
a meteor floats amok
Nor yet from a dwarf --to a star...
oh lil Celebrity fire!

4.
The glow I see
Within you (beyond burning)
tho' outside of you unbecoming
your Heart of Gold
is still worthy of so
much
more than something
(going blind)

Oh Mighty Mighty!
I dance the body
Electric-you
Always still All my Love
is you
and someone else may
            Hey-yelp!
            "Just you was doing you!"
For you...

Rather I will paint the galaxies

Lovely
             Art
The Quintessence
  
Above.
           All.
                 You.

You're intense as Einstein
as you brush that brush to
make some fanciful line
You're one of my ancestors
and I am proud of your kind
The designs you find
come directly from your mind
Designs garishly entwined
Shapes pleasingly sublime
You daub and lob
-a ******* intact-
While we observe with awe
your very talented knack

Earthier tones daub him/her...stuck upon their backs, arms overhanging a plinth.
On opposing ends, as the gnarled nubs of a broken olive branch--
forsworn to polarity, they extend a foot upon each other's fig leaf.
Mid the dead of adroit forestry, the more they think into silence a meandering blood reads them.
Naked not because they've forgotten clothes to two as one...just laying there to recall something--the bed's become a plinth, art implores make of, break of.
They just lay there, as if violently spit from the egg-shell
white of dashed ******, blank love letter.
Cigarettes rise...freeze for a bit, then rest at their sides--smoke cut up with endemic tension.
They could say something to get out of this...but they don't.

I
Vast hollow scraped
from land by the
slow cadence of some
retreating glacier.

Melt from high flows
larvic to fill the void.

Quiet invasion of
waters forming
stone quarrying
rivers until,
overfilled the
crystal clears

Overspills and
streams to ocean
lapping at milk-
white cliffs,
hungry as cats.

II
Quiet invasion
walking on
continental drift

Wattle and daub
blue-dyed men
lakeside.

III
Hush now the
quiet priest
hands out leaf
to cover the fig
fruit of fecundity

IV
Without sound
quiet bands move
always move and
increase until

Around the fire in
moonlit waters shown
the tom toms open
relentless beat

V
Too late
too late the quiet
invaders imitate
and mock

Then ****-

Nations at war
within

resplendent the dawn
painted by a sunlit daub
a picture so grand

resplendent the dawn
painted by a sunlit daub
a picture so grand

toppling the gait
  of trees in the bluster.

we do not like it when it rains.

under the melee, kamagong lay
idly with the gravity of fruit ripened.
  at long last, touching ground.

in this knell

i regard you as plaything
take drippy measures and harness
  cues for thrusts.

the span of the shadow plastered
to the wall means   the silence is as deep
   as the rain outside,

all up from the unfurling corner
  of walled up tango-stride, ripping apart
the    linoleum with   dance.

  i may become a daub of perfume

   and you, maybe a smile on my face
   passing as it rained.

i wander along the walkways
where the tame animals are fenced
and where the loyal crowd climb
up to the big top
i'm paid a pittance
to put on a little show
before the big one starts
i never tire of
petting the elephants,
the tigers, even the
tiny black spiders
that crawl along
the picket fences
my hat is a paper mache affair
that keeps coming loose
till it looks like part of my hair
i have shoes too big for my feet
and most days my smile
is only half complete
people see me
think i'm a good **** for their jokes
let's taunt this
doddering, nerdy bloke
nobody laughs at me except
when i cry
it's like i'm back in school
the poor picked on guy
i'm silent like Keaton
quiet no riot
though sometimes i fear
a bully might sneak up
and give me a beatin'
but bravely i forge on
happy when i hear
the roustabouts warbling a song
or an elephant yawning in
the early dawn
i don't complain much
though i hunger occasionally
for a tender touch
i think of my lost loves
but that just makes me cry
i pull out my hanky
and daub while
the people get
a good laugh passing by
my life is here
but one day will go
and people will then say,
"you don't mean THAT poor Joe?"
and maybe the band
will strike up a tune
and maybe not
fame i have never sought
luck or no luck
life's just the way
the cookie crumbles
so let the acrobats tumble
the trapeze artists take
their flips and the
lions roar at every crack of the whip
i remain a clown
of no renown
who rarely hears the clapping sound

da Vinci convinced me that art was the key and imagery in its many disguises could unlock many a door,
after all,
what would this life be without the mesmerism of artistry,
I for one want some more.

Paint me vermillion, mineral rich, daub me a sea from deep blue, put me in a picture to hang on the wall,
immortality,
after all, that is all that I need.

And what of Academia, blood racing bulimia, burning the late evening oil?
Exactly
what of it.

I'll stick with da Vinci,
because in the Codex
I  see much
more than
a cartoon of me.

1
After Adam died Eve
designed a house of wooden ribs.
2
She created it to never burn down.
3
It was full of happy walls and
bright colors that never faded.
(The next owner painted them gray.)
4
The rainbow colors would daub off
on every guest’s fingerprint,
an intended souvenir.
5
Nautilus shells placed near all windows
breathed the gentlest light everywhere
6
A stone pyramid staircase
snaked up to the second floor.
7
Doves could be heard cooing
peacefully from above.
8
There was a room with a writing desk that
everyone thought was a guest bedroom
but was really her office.
9
Abel’s name was carved
into all the door mantles.
10
On Sundays, after church, she invited
the children to slide through all the
crannies they could find
11
Outside, oaks and weeping willows
formed the boundary line.
12
When she died
they grew closer
to the house,
their limbs outstretched
as if in mourning.
13
When the government cataloged the house,
forgetting that she was a businesswoman,
they noted it officially as Adam’s property.
14
The next homeowner remodeled it poorly and
it burned down two days after they moved in.

If “content” is the narrative,
Wee daubed lines on a page —
A book without superlative
Would fill the content gauge

And if “content” is bits and bobs
Left in your grandpa’s trunk —
A pair of broken door knobs
Would serve as content junk

But if “content” is happiness,
The peace of being whole —
One errant daub, or bob the less
Denies a content soul.

Children are most precious seedlings that will flourish by addressing their most basic , primary nourishing needs ...
Copious amounts of red and black dirt , no part left untouched , a daub of soil from head to toe ...
Summertime showers to feed and cleanse their young minds and bodies ,
to run and play in wet fields of hay , to gallop in the rain after hot and dry days ...
Brilliant waves of sunshine to help them grow , the light of creation pulling them to the blue sky above !!

resplendent the dawn
painted by a sunlit daub
a picture so grand

She speaks to me when I cut my skin

She speaks to me from far within


Before the blade slits my wrists,

she  reminds me what if .

What if one day..........

one day you could be the light

of others life
but more importantly your own.

What if one day you wanted not to take your own life
but ro five to others .

What if one day you could see soul d connecint before you
rather than the heatless saved you have before.

What if one day you found beauty
not from the blood running from your leg
but from the jalediscpe of humanity itself

What if one daub I was you
and she was her
and

y



o






u




we

    re


               free,,,,,,,,,,

Vernarth's term overage was not exhaustive, as Vernarth would return to Alikantus after his journey to Kanthillana for the Winter Solstice and Patmos in spring. He was collecting each time in the decantation of each corollary of texts, images, narrations, and epigraphs that were being deliberately written on the flames of the Apokálypsis. All the experiences of the tragic characters in Vernarth were embedded in the papyrological Datum once it was detached from the Dragon's snout. This result and action verse became the reconstruction of the cessation of a physical body, whose final living objective was to legitimize everything in which it was uniting in the nomenclature of written prosopography, advanced in all the roles of the ruler of their own history. parapsychological incorporated in its own self-analysis until reaching Everism that reconciles its mythology as something secondary to the Tragedy for all societies that evolve in a focused technocratic aspect and the rhetorical unsaying of attacking the world that was destroyed under a redoubled dose of anesthesia of the disgruntled ideological of being judged by the entire world as a being spawned in the papyrology of Pergamon in ruins. The visibility of him as an actor drags her with the vision of him asleep under hypnosis that allows him to combine the periods of antiquity more than six thousand years ago. C. allowing him to build a person from low to high visibility in a consequence where totalitarianism was exclusive to a millenary East, in pursuit of a nascent South America suffering from the birth of itself from the geological split 120 or 150 million years ago that did not they would be enough to bring about the consequences of Spílaiaus when he allows, hears and tells me to give him the world that only he had been chosen to live in.

Vernarth welcomes and obeys his command to divide N times as a normal body could run and fall into this current maelstrom that would take him throughout Greece, Judea, Central, and Eastern Europe, from a place of origin called Kanthillana which resists the intermodal phenomenon of quantum that would overwhelm him to the point where his entire genealogy would follow him wherever he went if need be. All this was mending and composing itself in those alternating impurities of some paradigm, reinstating the constitution of the random present of Greek mythology already alive in the blood that unites the same rivers that are born of a narrator, always disposed of in the eminence of inspiration either in Olympos, Profitis, Ophel, Kantillana or any tomb that constitutes the format of electric actual mobility where it distills rapidly at the speed of emotions that will always be directed by gods who feel it before they are received by a distant reader. The elaboration design of the works is spaced from the hand of the argument that sometimes tries to hold on to the runaway reins since they are commanded by real emotions provided by unknown forces, generating a great collision and incomprehensible data header for an eye or ear human that needs the neat pause to attend to the discretions that are intertwined and accelerate with solidified sources of extemporaneous mythology diverging from prosopography components of Literature Heritages Sites.

The chattering of the monuments will be of great superiority as an addition to the compiled history never told or narrated where it intertwines with two dissimilar, dissonant geographical zones, distant in such a way that they themselves react to a thunder of life, which makes up those zones that are individualized and inanimate as sources of multidimensional fervor, causing high-sounding narrative imbalances that at times were made as a great source of the power of what makes sense or what could mean at times that could continue progressing in the potential wealth of beings that were never geographically rooted in a system of use or group accent that could be immersed in the biography of that which has never been told, since there is no record. The information that is unknown could not be collected as well as a concept that survives the networks of a shipwreck of the passing of the centuries that run between even and odd centuries of today in the antiquity of the Middle Ages, however, all this traceability leaves us in micro spaces that are not perceptible, nor in the incorporation of chronicles that can be driven by the linear ordering method. Vernarth is in itself a precipitous advance, a quantum of dissimilar interests of civilizations that survive and will survive from where they were forged, perhaps integrating the second face of a life that manages to detach itself from the vital circle, to experiment with its canceled free will and redirect its life. revived canons of a new nuance that concelebrates within the face of an unknown character of prosopography; to the same one who imposes the laws of everything he should for each own individual having the opportune world of him that receives him lavishly.

After the seventh century, the phenomena of the Mediterranean between what simply promotes a turn of the page leaves the hemisphere of each empire more distant from the social phenomena that distinguish us once the stumble of generations cannot count what is not could mend in the subsequent generation. This is why Vernarth's hybrid containing allows you to travel between immemorial times, allowing you to store them and tolerate periods that do not fit the scale of all their wills deployed towards an administration that manages to revitalize their monuments and ally them with other geographical areas that could not strictly speak of the same contemporary, having taken more advantage of them. Such efforts would make a great providence and closeness of all the garments that represented suitable characters who are still looking in their wasteland for the true chronological process that should fit their conditions. Vernarth is a great enlargement of prosopography that he has or ambitions excessively, and that may heavenly tempt him to build vaults that can fit the figure of himself equivalent, of the libertine whims that could stipulate the crosses of the early and late periods, eager and differentiated for everything that could fit in a bunch of flowers like a bunch of verses that would be destined for the available that waits to be presented from the incorrupt mound of Olympus with the chain of being repeatedly presented in the Kanthillana before the god Spilaiaus.

The tool will allow the reconstruction of each elapsed period of time, which is exactly what the submithology intends, to return to live with the villagers who tend to trace their lines of traditions, customs, and much-needed etymology to revive the peripheral description where some manage to to be protagonists, leaving aside those who should be participants in silent actors that intends to expand the euphemism that is only revived in the courts of the emperor that is not even established in an ironclad draconian family monograph, as could be seen with the vast majority of the descendants of the Merovingians. The portrait tends to allocate budgets from the treasury of who should be the budget of the vast majority of true Labrador Hoplites as true ascendants of the great hidden treasure that will provide the eloquent looks of Medousa. This is how much of the vindication of cinnabar must have been established as a burial of many individuals from the Middle Ages in the vast majority of Europe to daub the bodies in sulfur or Cinnabar to try to keep them in the underworld with their entire body in linen shrouds or substitutes, and how to preserve or how to return to an organic chemical environment from which was the union of two beings when they engendered a being by the chemical explosion of a body in the autonomous cycle of procreation. Linguistic guidelines will undoubtedly make the entire Middle Ages the creation of a symbol of faith entrenched in unionized social spheres, made up of guilds of families that were never registered in a regime or corporation to supplement the lack of the Datum that in this work is It aims to decorate, uniting all classes, latitudes, and sectors that could well deserve complete the spaces that should have been executed by intercontinental clans, offering them a history that is part of their emblematic ancestor.

I would dare to name the Hoplithography, as the archaeological social fabric forging the question that establishes the Hoplites as sowing cultures of the significance of their prosopon of military body, contemplating further than all the nations of a way of life that probably would have been perhaps univocal to a pious being of the science that surrounds him, with the loneliness of a being that does not admit that he is overcome by science that submits to autonomous man such as Diogenes of Sinope or Archimedes who join an axial connection in the evidence of the senses, but in the Solstice of Sinope 412 a. C. specifically in the efforts of Vernarth to make them participate that the free man belonged to a Don who was more removed from his gaps of mistakes or successes since the free man was going to be imprisoned in the urn that joins him to his body and not to the illusion of your senses. The gates of truth or otherwise are just a few steps away from this Vernarth Tragedy that asks for a little hint of space-time movement. All the paradoxes that linear time will persevere in great calculation errors that could be an Aporia as speculative logic, followed by the fiction that exceeds reality where the paradoxes will be unresolved inconsistencies, essentially with what untimely arises from an indication of life in a common being that is related to quantum mutes as exhibited by the explosive Parapsychology or "Paraps" that are subdivided from the different scenarios of Aporías or enclaves of logic that are conjugated with the non-existent reality, given to the mechanics of Submythology of heroes, gods, and others coming back to life in a passage of time that is not explained in some expired history book that had more to tell than what its own ruins hid from the truth that could be told. This is a wealth of objectives that this Thesis proposes, to discover in the immensity of the unknown what was and could never be told, and that the past genetically survives in varieties of classes of organic species that continue to be assembled by worlds that tend to clear and rethink what any storyteller, philosopher, historian or archaeologist can interpret.

Physics is made of a servile space or instrument of the paradox, in such a way that the events point to reopen doors that are of the unknown History that could be part of a god that did not exist until the shelves documented him as part of a living culture associating it with its patterns of daily life, politics and the chores of common human life. It would be like the Arrow of Flight with Achilles, perhaps leaving a great inheritance to Alexander the Great in the dichotomy of how it would be Zefian by instituting the balance of the world with the geodesy of the world of Vernarth, not alluding in between the time that dictates it for its governance, but rather the cosmic heart that allows guessing where the thoughts will be directed more than the elliptical of ascent, and descent how far the arrow will arrive because even so whoever finds it will be of the mental times that elapse in different fractions as it is Parapsychology not moving, but more than the time that only moves where it is not or rests to give primary indications of intelligence in which thought must establish the concrete fact that everything takes place in its elliptical, but not in dissociated thought. Perhaps the singularity of this polished rule could show that this Paradox of Zeno that everything that exists could outline that the line that divides Achilles from Alexander the Great is the elliptical of thought because in the rhetoric of parapsychology there are no contradictions if it is that in the Dimension of Hellenic History find in it a distant today that communicates with this faction of the dimensional medium. The infinitesimal calculations of the Duoverse aim to link or reconcile what is being advanced in parallel in the mechanics of neuroscience, without the need to have practical scientific vestiges to determine what inhabits the intersection of a circle of quantum with respect to another that it occupies, a classic example of Vernarth when carrying out the flashing Kenósis of his Kli or Vessel that reunites his independent non-parallel lifelines, but that of belonging to a Hellenic trunk with the mathematics that exceeds infinitesimal numbers moving all the lamps of the Universe when both demi-gods walked through the relevant infinity.

Vernarth is a paradox that begins with the analysis of his initial "V" of Lacedaemon with the intention of traveling in supposed time, more remotely than a word can be subordinated to what could reconstruct an infinite regress, which is what will happen with the Apokálypsis in question where he is the threshold section of analysis of the genesis of this work in the Kanthillana, then with the reissue of the Medico in Piacenza by recognizing the constitution of the area that is more than what any specialist can understand; that is, much further from any speculative stealth before Vernarth or after that other prototypes could arise that are indirectly related to the concretion or invisibility of Non-Visible characters, but with the arrival of the submithology genre, its structure will generate conciliatory physical fields of what that he could never refer to or know if a beginning began when the end of the prototype of an invisible being was just being gestated. Perhaps the genesis of the world is a great paradox that was looking for the beginning of the end that manages to meet with a definitive beginning allied to that of an indivisible that indefinitely and infinitely creates micro spaces where time has no place, only physics links that overlap quantumly and represent the truth of purpose.
The argument goes beyond the linear narration that tends to describe who was or was, supplanting it in that of who will be and will be whenever the bonds of a timeless continuous reality remain in all assumptions. Here it is clear the axiom of the infinity of divisibility that is predisposed by an objective to achieve an unforeseen event that is forceful as much as it is likely to plan, from the Duoverse and its composition of everything including all the magnitudes and tendencies to his feet what will add up and will be charged with what has not been built or discovered making this hypothesis of the conceptual that displaces the historical because the conceptual occurred and occurred in outdated times not altering its objective since parapsychology in its infinity of regression will annex him in every Greek, Hebrew and Western dimension and latitude in an ancient world that will always be composed of addends that incorporate it into the Vernarthian World that in turn dares to challenge that the importance of the world of emotions are not part of the study of this Thesis of Literary Heritages Sites, as an infinite potential to achieve when the Apokalypsis is definitely triggered, prior to the ascension of the Vernarth when it leaves the Megaron and its living vibrating magnetic body. The regimes are not egalitarian with the fall of the determined slave democracy of 404 a. C. It could perfectly have been ruled, making the political destinies of an entire nation that is subjugated to attract and implement political and economic experience unclear, that those who would never be sustained by a regime determined by the inclusion of quantum paradoxes would be migrated more than any political-administrative order, which never led to the development of a new dawn of science of the infinite regressions of Parapsychology that unites everything multidimensionally.

The best choice is the equivalent of Prosopography, which results from an anomaly to the rule where Vernarth's Mythology regulates the organization of prosopography, claiming to demonstrate that there are gods who intercommunicate like Spilaiaus with Zeus, claiming to establish that what is going to happen is what that he wanted for his regency the prolongation of one mythology towards another, but without it being written but "Live" this is a postulate that Submythology proposes, substituting all the method rather experimenting for the superimposition of everything to the lesson of everything that is interconnected, although maintaining the univocal root that represents all the structural, cultural, historical and sociological components that intervene at times as an entity belonging to a reality of legends that border on the reality that must be preserved vividly. The compilation lists of Greek mythology is the product of enormous processes of years that have been developed in their territorial regions, a cultural union since Christianity displaced paganism from the year 391 AD. C. tormenting virgins and nascent creeds from a multi-paganism step that was based on the diversity of their daily lives to a universal expression that surpassed all excessive freedom or nullified free will that contended with the delicate slave democracy or dissuasive militarism based on the Oracles, who never had a real interpretation of what originated from a real god or nature that governed itself, rather than a god that questioned others that only individualized their own dramas to represent them to a god that pro-tradition that he freed them or condemned them to live at the expense of a Dramatis Personae. Here is the prosopography that with the well-formulated passage and sense of defining that the Ardors of the Drama make sense of being systematized from the gods of Olympus, but also in social stratifications in part to the worldview of their own ancestors to be the most faithful interpretive of the wealth that makes up the source that structures those of us who are not destined to be deities, but if we could exist before them with a recognized pattern in average reports that could be placed when Vernarth leaves the confused division of a body that will remain in the Iridescent Hydor of the Mashiaj or when the prophetic appearance of his Mother Luccica is sustained by such a portion of a physical world, rather totally petrified before the hecatomb or end of the world, generating in her a stony and inanimate being, but if sufficiently existing to define her new role in the universe "Ab Initio" of a general objective of uniting eternity of the competo of existing of unifying the geomorphological latitudes of mythological existence with other unknown vertical cultures (Submitology) and hypothetically pool the experience of the elements of the universe as a whole to empower roles among themselves. Then unify everything that can be narrated as an imminent truth to lavish it on those who could not exist at the same time, but rather describe it with the quantum channel, as it is here that Vernarth remains conjugated to his literature, history, theory, and quality of his speech. focused on a fully portrayed and defined system of Patio V of Hellenika as the Fifth Dimension as comparisons that are rationalized with space-time, geographic-chronology submerged in a theme of Political History as the axis of states that exert social change for numerous characters who recently there they come to life, as is the case of the new stage of Zacchaeus and the Sycomoro or Saint John the Evangelist in the Hegira to Judah provided by Vernarth to rediscover its roots, and reduce what could have been but the journey of Judah if there had not been ended in a conclusive in Jaffa where the metaphor that returned to Limassol would exceed the metaphor of Rhodes as an intermediate point that perhaps nu It could never have ended.
The interrelation of conceptions is due to a Primogen of the sixth dimension that was established as it was in Izzana with the Unicorns or Uilef that carried them to Genoa, or of the Giant Camels that were transfigured in Jaffa when the Ghosts of Shiraz had an impartial interference in the successful sea off the eastern sea. The relationships of the primogeniture allow a timeless mobilization led by Eurydice as a living figurehead that structures her Orphic proselytism, further than a conventual desire to compensate for all the unfocused in the elite and the outcome in the Profitis Ilias as the maximum height of reception. Trinitarian back with the ecstasy of Saint John the Apostle as the mobile center of the Hexagonal Primogeniture, the similar inspiration of living images of Ein Karem and its shepherds.

The Birthright is a family that composes them in their faith that guides them by themselves, whose goals are primarily directed by their sacramentals from the first to the seventh Giga Camel. In the imaginary and cultural reference that is delimited by its monotheistic ideology, acquired from a Hebraic-Hellenic scientific connection, whose postulates will survive the unusual phenomenon from generation to generation, but rather infinite inter regressions that could sometimes revolutionize the entire creation from scratch interpolated by an alpha, being the same for its intended end. Behold, the crossover element of this theme alludes to objects, events, or phenomena such as the reopening of the Kassotides as a central element from which the hypothetical support of all faith could be shipwrecked, if it is put at risk of re-raising culture to save the fate of the world at risk from climate change. If two sages met in limits without knowing Schopenhauer or Nietzsche with the relevance of ideologies that would offer more factors, expanding both systems or theories as alternative areas to think free from humanism or intellectualism that somehow reveals itself at the end of the times reconciling all time of action subsequent to his potential periods, more than his written legacies because his potential lies in his social prototype more than his work, given that his virtuosity is deeply rooted as an atheist believer, more separated from any intellectual root of wisdom What if it denotes the non-existence of a Pagan or Divine Enlightened God, what would provoke the indirect means that persists of calling a society whether or not it was a believer? In the specific case of Vernarth, his entire biography revolves around a Supreme Being who appears before him as a god of mythology, and who then takes him to the portal of Saint John the Evangelist as a being of compassion who alternates with him to embrace him and your arms. Everything there is that allows to treasure, store, or interrelate in different social strata uses the divine work that a character that sheds light that can even give more brightness than any star that can be demonstrated in a written work as an essential starting base reliability of an author who is inspired, and is not inspired.

Submithology also replaces prosopography, to say the least, that unites in general circles that cease to be physical until the ethereal limen that converts them into micro translation spaces such as quantum, in the same reciprocity of a point A-B and B-A and vice versa as it stipulates the connectivity of what exalts thought, and its inheritance when rising to the point that would be the “Intellectual Heaven”. Vernarth in the present time of any researcher could attribute that it will depart from the Iridescent Hydor photo-duct by seven channelings of the spectrum of the refracting luminaire but of the concomitance of the observable Vernarth, or rather of what little remains to be able to observe of man after leaving It is sighted by the masks that caustically protect or envelop it as a waste of what is not attributable to a Politai, having conditions of dense interests of a destiny that will never be recognized or belong to it. It is because of this reluctance that the proposal of free will offers greater perspectives in a series of misunderstandings such as Empowering two famous atheists like Nietzsche or Schopenhauer at the service of believers who would never object to the full range of possibilities that they could implement from scratch, to convert a Christian who is like himself to a convert who will purge and reverse all his permissible externally in the farthest destinies that allow him to ascend in freedom of annulled will, not only on the earth with one more differentiated, but as a tender being who saves the world so that the world does not forget him. This thesis offers the man who has been bastardized or discriminated from a social marginal depriving him of alternating with nobles or well-to-do who circulate under the same roof of half humanity that allows the common man to dispense with all humanist beliefs, opposition, syncretic, etc. .) To detach from all vanity that is limited in the abandonment of any of it progressing with all creation that if it is when every living organism ceases to be on Patmos.

The Patmos reef may contain inventories, archives, demographic indexes, religious spheres, congregations as repertoires of those that will form when an external being arrives to build a society that imposes its character of contribution to society, and tends to adapt to particular aspects that the that they will be until today on the island itself, in itself demanding the leadership of an elite of the Passional of Iahvé through Saint John the Apostle in conception of qualifying him with the great stratified of the species that compromises in the optics of converting his followers, as an essay of an illusion made real ad honorum of a residual fragmentary that does little to unify the eras in which the rich and poor will be relatives not because of their genealogy, but because what the poor lead of the other to save him from an end that has another handle of his heraldry and portraits of his game that is deactivated in the collective imagination of all his progeny highlighted as a representative of mutations of numer dark ales, where nothing will be recorded only in this untrammeled probability of granting a life that resides in everything that cannot be seen or named, that transgresses all sources of prosopography as something deductive in this case Deus Ex Machina; as will be embodied in the final tableau of Vernarth's Trilogy III "Like the god who will descend from the machine or in this case from Hydor to Vernarth to take him to Alikantus with his mended golden hooves"
To conclude where it remains to argue that it can attract us from the Intuition of being more than a human who can actually live more than what can be budgeted, without prejudice to common sense that is quiet and distant from the epilogue of this work when whoever looks at it and hold on to a legacy of Heritage Site Literature, and manage to embrace it so that its pulse can be felt in each character it is in, and in each episode of a post-classical story. The derivations of a critical analysis of psychological Vernarth is greatly affected by an independent reaction of a real regime to which his fellow Hoplite Soldier leads him to the event of Arbela in the great battle of Gaugamela, integrating himself into the analysis of a reality that did not belong to him due to because he came from another remote erudition, and was only recognized for defending common acts that reflect the awakening of a new seed of value and temperament of a whole baggage of anthroponymy that could fit in all the spontaneous civilizations that manage to transgress the barriers of time and normal space, here is Vernarth who manages to fit in the names that substantiate in others that revalues them, and could appear as a perfect leadership name to access a Helot, Hoplite or Politai housing space in the same way as It could be transmitted from a leader who, together with Wonthelimar, was able to cross the Pyrenees or the heights of Ida or Kanthillana. as a high descendant of the Arakynthos Mountains of Messolonghi destined for the Koumeterium of the same name where the genealogical table of Vernarth is carved together with his brother Etrestles, under the invisible courtesies of a man when he is condemned being born from here from the numb invincible spirit of the Heroes of the Independence of Greece 1830. Finally, in this penultimate episode that Vernarth qualifies the sense of not being affected by an oppressive cause as being influenced by supremacies of ideas, creeds, philosophies, or governmental order, rather by a divine general scientific exordium that is from where he manages to interpret when the Mashiach or Messiah, will take his hands to carry him to meet the Hydor and dwell in that place with Him. The archivist will have the possibility to investigate and study in situ the paranormal events referred to as mega parapsychology, This way he will allow his vast merciful heart to be a strategist to carry in his inventory everything s the petitions of the living who remain in the land of Greece to take them to those who remain in the land via Patmos. Vernarth from the 6th century AD. in search of his genealogy he can create a meritorious dignity of giving funeral rites to his ancestors, the long-standing family coat of arms became returnable to the Reign of Horcondising: Spílaiaus and Aiónius with the major gods who waited for him to reside in the entire fringe of the invisible beings that in eternity will take chronological charge of a revolving time that will recirculate from all that is not dimensioned like a spiral dragging all the empires that request the renovation of their ruins, and of their beings that cry out for the misuse of this world and new coverage of a new world of replacement; as Vernarth's Strategoi legacy through all the reigns between Justin I and Justinian I of the sixth century, since previously a large part of Vernarth's family was exiled to the South of Spain by the then Roman Empire from the north of Venice to the Mediterranean, from here he transfers all the families of his lineage with his Coat of Arms of Lacedaemon to protect them over the course of more than 700 years. In this way, a large part of those who had to protect the family raft that was protected by Vernarth in the revolt of Constantinople after signing peace with Persia. The Apoinandros preserved all his lineage along the paths of an enthronement ritual that protected the distinctions but also the families of the world in the Mediterranean regions, curiously where a large part of this Trilogy navigates the Triacontero Eurídice together with Vernarth as Strategoi of expeditionary forces in glorious parapsychologies of the Middle Ages moving periodically from south to north of all of Hispania, even alternating with Nordic and German elites, such as Greek-Hebrew nominating Vernarth as a dignitary that will be preserved in the coat of arms Strategikon that managed to be collaborated with the Emperors the century VI, attributing that some of the most robust could be part of the elites of the Roman legions as exclusive Praetorians. In this way, all the family trunk and his insignia were migrated from the north of Venice, then to Lombardy to be redirected to Spain later in the coming centuries to South America. The Strategikon has presented as relevant to the present elaboration thanks to its representativeness regarding the egregious existence, compilation, and hoarding of relevant technical information for the performance of the distinguished tasks of ex-military, being able to be verified with absolute certainty within its family traits with its existence, and continued use as a source of the great Taktika of Alexander the Great and Saint John the Apostle as Magister Militum.