GREAT ARTISTS & THEIR IMMORTAL WORKS :
CONCLUDING ITALIAN RENAISSANCE IN
VERSE.  -  By Raj Nandy, New Delhi.

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

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

EARLY RENAISSANCE ARTISTS & THEIR ART

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

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

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

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

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

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

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

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

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

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

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

ART OF HIGH RENAISSANCE ERA - THE
GOLDEN AGE.

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

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

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

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

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

RAFFAELLO SANZIO (1483-1520):
This last of the famous High Renaissance trio was
born in 1483 in Urbino,
Some eight years after Michel Angelo.
His Madonna series and decorative frescos
glorified the Library of Pope Julius the Second;
Who was impressed by his fresco ‘The School
of Athens’;
And commissioned Raphael to decorate his
Study in the Vatican.
Raphael painted this large fresco between 1510
and 1511, initially named as the ‘Knowledge of
Causes’,
But the 17th century guide books referred to it
as ‘The School of Athens’.
Here Plato and Aristotle are the central figures
surrounded by a host of ancient Greek scholars
and philosophers.
The bare footed Plato is seen pointing skywards,
In his left hand holds his book ‘Timaeus’;
His upward hand gesture indicating his ‘World
of Forms’ and transcendental ideas!
Aristotle is seen pointing downwards, his left
hand holds his famous book the ‘Ethics’;
His blue dress symbolizes water and earth
with an earthly fix.
The painting illustrates the historic continuance
of Platonic thoughts,
In keeping with the spirit of the Renaissance!
Raphael’s last masterpiece ‘Transfiguration’
depicts the resurrected Christ,
Flanked by prophets

In all my paralyzing confusion, only one thing is needed; in all my anxiety over my much less than ideal circumstances, only one thing is needed; in all my this-is-so-unfair discouragement, only one thing is needed; in my pressing-down-like-a-boulder-on-my-chest grief, only one thing is needed; in my feels-like-my-insides-are-being-scraped-out sorrow, only one thing is needed; in my falling-apart-at-every-seam life, only one thing is needed; in my can’t-seem-to-muster-the-will-to-get-out-of-bed depression, only one thing is needed; in my sure-I’m-finally-going-crazy state of mind, only one thing is needed; in my so-mad-I’ve-got-to-throw-and-break-something anger, only one thing is needed. In the scorning and tormenting face of rejection or betrayal or failure or devastating news or disfiguring disease or the worst fears of my heart coming to pass, only one thing is needed—to come and sit at Jesus’ feet and listen to what He is saying.

To entrust myself to Him, to acknowledge His presence with me, to submit myself to His perfect authority over me, to just look at Him and recognize His all-surpassing worth, to feast on Him, to wait for Him to speak and know that He longs to do so more than I long to hear it, to meditate on His Word and speak it back to Him both in praise and request and to ask Him exactly what it means for me right now, to be ready to respond to Him in obedience and follow him wherever or however He leads, to be willing to tune out every competing voice no matter how well-intentioned and to say “No!” to whatever He has not called me to, to believe that He cares deeply and passionately for me both in His emotion toward me and in His personal tending of me, to see that the details of my life matter even more to Him than they do to me and that He holds every one of them in His hands and is perfectly directing them for intimacy and glory, to refuse to be drawn away or worried or upset by the many preparations and distractions all around me by casting every burden down before Him and taking up His all-sufficient grace for every need, and above all to want Him more than anything and to let everything else fit into that all-pervasive desire—this is the ONE THING that is needed both now and throughout every season of my life, and if I will choose it, it will not be taken from me. It is the one thing worth fighting to the death for and will, no doubt, require just such a dying again and again and again...

II. TO DEMETER (495 lines)

(ll. 1-3) I begin to sing of rich-haired Demeter, awful goddess
-- of her and her trim-ankled daughter whom Aidoneus rapt away,
given to him by all-seeing Zeus the loud-thunderer.

(ll. 4-18) Apart from Demeter, lady of the golden sword and
glorious fruits, she was playing with the deep-bosomed daughters
of Oceanus and gathering flowers over a soft meadow, roses and
crocuses and beautiful violets, irises also and hyacinths and the
narcissus, which Earth made to grow at the will of Zeus and to
please the Host of Many, to be a snare for the bloom-like girl --
a marvellous, radiant flower.  It was a thing of awe whether for
deathless gods or mortal men to see: from its root grew a hundred
blooms and is smelled most sweetly, so that all wide heaven above
and the whole earth and the sea's salt swell laughed for joy.
And the girl was amazed and reached out with both hands to take
the lovely toy; but the wide-pathed earth yawned there in the
plain of Nysa, and the lord, Host of Many, with his immortal
horses sprang out upon her -- the Son of Cronos, He who has many
names (5).

(ll. 19-32) He caught her up reluctant on his golden car and bare
her away lamenting.  Then she cried out shrilly with her voice,
calling upon her father, the Son of Cronos, who is most high and
excellent.  But no one, either of the deathless gods or of mortal
men, heard her voice, nor yet the olive-trees bearing rich fruit:
only tender-hearted Hecate, bright-coiffed, the daughter of
Persaeus, heard the girl from her cave, and the lord Helios,
Hyperion's bright son, as she cried to her father, the Son of
Cronos.  But he was sitting aloof, apart from the gods, in his
temple where many pray, and receiving sweet offerings from mortal
men.  So he, that Son of Cronos, of many names, who is Ruler of
Many and Host of Many, was bearing her away by leave of Zeus on
his immortal chariot -- his own brother's child and all
unwilling.

(ll. 33-39) And so long as she, the goddess, yet beheld earth and
starry heaven and the strong-flowing sea where fishes shoal, and
the rays of the sun, and still hoped to see her dear mother and
the tribes of the eternal gods, so long hope calmed her great
heart for all her trouble....
((LACUNA))
....and the heights of the mountains and the depths of the sea
rang with her immortal voice: and her queenly mother heard her.

(ll. 40-53) Bitter pain seized her heart, and she rent the
covering upon her divine hair with her dear hands: her dark cloak
she cast down from both her shoulders and sped, like a wild-bird,
over the firm land and yielding sea, seeking her child.  But no
one would tell her the truth, neither god nor mortal men; and of
the birds of omen none came with true news for her.  Then for
nine days queenly Deo wandered over the earth with flaming
torches in her hands, so grieved that she never tasted ambrosia
and the sweet draught of nectar, nor sprinkled her body with
water.  But when the tenth enlightening dawn had come, Hecate,
with a torch in her hands, met her, and spoke to her and told her
news:

(ll. 54-58) 'Queenly Demeter, bringer of seasons and giver of
good gifts, what god of heaven or what mortal man has rapt away
Persephone and pierced with sorrow your dear heart?  For I heard
her voice, yet saw not with my eyes who it was.  But I tell you
truly and shortly all I know.'

(ll. 59-73) So, then, said Hecate.  And the daughter of rich-
haired Rhea answered her not, but sped swiftly with her, holding
flaming torches in her hands.  So they came to Helios, who is
watchman of both gods and men, and stood in front of his horses:
and the bright goddess enquired of him: 'Helios, do you at least
regard me, goddess as I am, if ever by word or deed of mine I
have cheered your heart and spirit.  Through the fruitless air I
heard the thrilling cry of my daughter whom I bare, sweet scion
of my body and lovely in form, as of one seized violently; though
with my eyes I saw nothing.  But you -- for with your beams you
look down from the bright upper air Over all the earth and sea --
tell me truly of my dear child, if you have seen her anywhere,
what god or mortal man has violently seized her against her will
and mine, and so made off.'

(ll. 74-87) So said she.  And the Son of Hyperion answered her:
'Queen Demeter, daughter of rich-haired Rhea, I will tell you the
truth; for I greatly reverence and pity you in your grief for
your trim-ankled daughter.  None other of the deathless gods is
to blame, but only cloud-gathering Zeus who gave her to Hades,
her father's brother, to be called his buxom wife.  And Hades
seized her and took her loudly crying in his chariot down to his
realm of mist and gloom.  Yet, goddess, cease your loud lament
and keep not vain anger unrelentingly: Aidoneus, the Ruler of
Many, is no unfitting husband among the deathless gods for your
child, being your own brother and born of the same stock: also,
for honour, he has that third share which he received when
division was made at the first, and is appointed lord of those
among whom he dwells.'

(ll. 88-89) So he spake, and called to his horses: and at his
chiding they quickly whirled the swift chariot along, like long-
winged birds.

(ll. 90-112) But grief yet more terrible and savage came into the
heart of Demeter, and thereafter she was so angered with the
dark-clouded Son of Cronos that she avoided the gathering of the
gods and high Olympus, and went to the towns and rich fields of
men, disfiguring her form a long while.  And no one of men or
deep-bosomed women knew her when they saw her, until she came to
the house of wise Celeus who then was lord of fragrant Eleusis.
Vexed in her dear heart, she sat near the wayside by the Maiden
Well, from which the women of the place were used to draw water,
in a shady place over which grew an olive shrub.  And she was
like an ancient woman who is cut off from childbearing and the
gifts of garland-loving Aphrodite, like the nurses of king's
children who deal justice, or like the house-keepers in their
echoing halls.  There the daughters of Celeus, son of Eleusis,
saw her, as they were coming for easy-drawn water, to carry it in
pitchers of bronze to their dear father's house: four were they
and like goddesses in the flower of their girlhood, Callidice and
Cleisidice and lovely Demo and Callithoe who was the eldest of
them all.  They knew her not, -- for the gods are not easily
discerned by mortals -- but standing near by her spoke winged
words:

(ll. 113-117) 'Old mother, whence and who are you of folk born
long ago?  Why are you gone away from the city and do not draw
near the houses?  For there in the shady halls are women of just
such age as you, and others younger; and they would welcome you
both by word and by deed.'

(ll. 118-144) Thus they said.  And she, that queen among
goddesses answered them saying: 'Hail, dear children, whosoever
you are of woman-kind.  I will tell you my story; for it is not
unseemly that I should tell you truly what you ask.  Doso is my
name, for my stately mother gave it me.  And now I am come from
Crete over the sea's wide back, -- not willingly; but pirates
brought be thence by force of strength against my liking.
Afterwards they put in with their swift craft to Thoricus, and
there the women landed on the shore in full throng and the men
likewise, and they began to make ready a meal by the stern-cables
of the ship.  But my heart craved not pleasant food, and I fled
secretly across the dark country and escaped by masters, that
they should not take me unpurchased across the sea, there to win
a price for me.  And so I wandered and am come here: and I know
not at all what land this is or what people are in it.  But may
all those who dwell on Olympus give you husbands and birth of
children as parents desire, so you take pity on me, maidens, and
show me this clearly that I may learn, dear children, to the
house of what man and woman I may go, to work for them cheerfully
at such tasks as belong to a woman of my age.  Well could I nurse
a new born child, holding him in my arms, or keep house, or
spread my masters' bed in a recess of the well-built chamber, or
teach the women their work.'

(ll. 145-146) So said the goddess.  And straightway the *****
maiden Callidice, goodliest in form of the daughters of Celeus,
answered her and said:

(ll. 147-168) 'Mother, what the gods send us, we mortals bear
perforce, although we suffer; for they are much stronger than we.

But now I will teach you clearly, telling you the names of men
who have great power and honour here and are chief among the
people, guarding our city's coif of towers by their wisdom and
true judgements: there is wise Triptolemus and Dioclus and
Polyxeinus and blameless Eumolpus and Dolichus and our own brave
father.  All these have wives who manage in the house, and no one
of them, so soon as she has seen you, would dishonour you and
turn you from the house, but they will welcome you; for indeed
you are godlike.  But if you will, stay here; and we will go to
our father's house and tell Metaneira, our deep-bosomed mother,
all this matter fully, that she may bid you rather come to our
home than search after the houses of others.  She has an only
son, late-born, who is being nursed in our well-built house, a
child of many prayers and welcome: if you could bring him up
until he reached the full measure of youth, any one of womankind
who should see you would straightway envy you, such gifts would
our mother give for his upbringing.'

(ll. 169-183) So she spake: and the goddess bowed her head in
assent.  And they filled their shining vessels with water and
carried them off rejoicing.  Quickly they came to their father's
great house and straightway told their mother according as they
had heard and seen.  Then she bade them go with all speed and
invite the stranger to come for a measureless hire.  As hinds or
heifers in spring time, when sated with pasture, bound about a
meadow, so they, holding up the folds of their lovely garments,
darted down the hollow path, and their hair like a crocus flower
streamed about their shoulders.  And they found the good goddess
near the wayside where they had left her before, and led her to
the house of their dear father.  And she walked behind,
distressed in her dear heart, with her head veiled and wearing a
dark cloak which waved about the slender feet of the goddess.

(ll. 184-211) Soon they came to the house of heaven-nurtured
Celeus and went through the portico to where their queenly mother
sat by a pillar of the close-fitted roof, holding her son, a
tender scion, in her *****.  And the girls ran to her.  But the
goddess walked to the threshold: and her head reached the roof
and she filled the doorway with a heavenly radiance.  Then awe
and reverence and pale fear took hold of Metaneira, and she rose
up from her couch before Demeter, and bade her be seated.  But
Demeter, bringer of seasons and giver of perfect gifts, would not
sit upon the bright couch, but stayed silent with lovely eyes
cast down until careful Iambe placed a jointed seat for her and
threw over it a silvery fleece.  Then she sat down and held her
veil in her hands before her face.  A long time she sat upon the
stool (6) without speaking because of her sorrow, and greeted no
one by word or by sign, but rested, never smiling, and tasting
neither food nor drink, because she pined with longing for her
deep-bosomed daughter, until careful Iambe -- who pleased her
moods in aftertime also -- moved the holy lady with many a quip
and jest to smile and laugh and cheer her heart.  Then Metaneira
filled a cup with sweet wine and offered it to her; but she
refused it, for she said it was not lawful for her to drink red
wine, but bade them mix meal and water with soft mint and give
her to drink.  And Metaneira mixed the draught and gave it to the
goddess as she bade.  So the great queen Deo received it to
observe the sacrament.... (7)

((LACUNA))

(ll. 212-223) And of them all, well-girded Metaneira first began
to speak: 'Hail, lady!  For I think you are not meanly but nobly
born; truly dignity and grace are conspicuous upon your eyes as
in the eyes of kings that deal justice.  Yet we mortals bear
perforce what the gods send us, though we be grieved; for a yoke
is set upon our necks.  But now, since you are come here, you
shall have what I can bestow: and nurse me this child whom the
gods gave me in my old age and beyond my hope, a son much prayed
for.  If you should bring him up until he reach the full measure
of youth, any one of womankind that sees you will straightway
envy you, so great reward would I give for his upbringing.'

(ll. 224-230) Then rich-haired Demeter answered her: 'And to you,
also, lady, all hail, and may the gods give you good!  Gladly
will I take the boy to my breast, as you bid me, and will nurse
him.  Never, I ween, through any heedlessness of his nurse shall
witchcraft hurt him nor yet the Undercutter (8): for I know a
charm far stronger than the Woodcutter, and I know an excellent
safeguard against woeful witchcraft.'

(ll. 231-247) When she had so spoken, she took the child in her
fragrant ***** with her divine hands: and his mother was glad in
her heart.  So the goddess nursed in the palace Demophoon, wise
Celeus' goodly son whom well-girded Metaneira bare.  And the
child grew like some immortal being, not fed with food nor
nourished at the breast: for by day rich-crowned Demeter would
anoint him with ambrosia as if he were the offspring of a god and
breathe sweetly upon him as she held him in her *****.  But at
night she would hide him like a brand in the heard of the fire,
unknown to his dear parents.  And it wrought great wonder in
these that he grew beyond his age; for he was like the gods face
to face.  And she would have made him deathless and unageing, had
not well-girded Metaneira in her heedlessness kept watch by night
from her sweet-smelling chamber and spied.  But she wailed and
smote her two hips, because she feared for her son and was
greatly distraught in her heart; so she lamented and uttered
winged words:

(ll. 248-249) 'Demophoon, my son, the strange woman buries you
deep in fire and works grief and bitter sorrow for me.'

(ll. 250-255) Thus she spoke, mourning.  And the bright goddess,
lovely-crowned Demeter, heard her, and was wroth with her.  So
with her divine hands she snatched from the fire the dear son
whom Metaneira had born unhoped-for in the palace, and cast him
from her to the ground; for she was terribly angry in her heart.
Forthwith she said to well-girded Metaneira:

(ll. 256-274) 'Witless are you mortals and dull to foresee your
lot, whether of good or evil, that comes upon you.  For now in
your heedlessness you have wrought folly past healing; for -- be
witness the oath of the gods, the relentless water of Styx -- I
would have made your dear son deathless and unaging all his days
and would have bestowed on him everlasting honour, but now he can
in no way escape death and the fates.  Yet shall unfailing honour
always rest upon him, because he lay upon my knees and slept in
my arms.  But, as the years move round and when he is in his
prime, the sons of the Eleusinians shall ever wage war and dread
strife with one another continually.  Lo!  I am that Demeter who
has share of honour and is the greatest help and cause of joy to
the undying gods and mortal men.  But now, let all the people
build be a great temple and an altar below it and beneath the
city and its sheer wall upon a rising hillock above Callichorus.
And I myself will teach my rites, that hereafter you may
reverently perform them and so win the favour of my

we take the justice we can get

every one is expendable i’m opening a new chic bistro prior guests will be listed on the menu we slice dice prepare any way you like sushi deep fried mesquite oven grilled baked accessories make the dish ginger pickles lime asparagus mustard and a drizzle of wine deer ***** cider mole sauces i haven’t decided yet on restaurant décor possibly post-modern austere but please write in suggestions everything must be totally freshly tossed killed tableside i want the kitchen immaculate industrial sized everything yet we roast minuscule tidbits frivolous details infused with essences reduction bio-molecular cuisine an entire 20 course meal in a tear drop obviously presentation is everything Channel Comme des Garcons Lamborghini will design plate arrangement after you’ve enjoyed a lavish sumptuous meal you become edible i mean eligible to provide for more recent patrons please hold still while the knife carves and oh how about those miners in Chile real theater i just read NASA’s Kepler satellite is selecting candidates for earth’s substitute the article repeatedly used the word candidates let’s just totally waste this place the faster we trash the world the sooner we get a new planet best weekly performance British Petroleum gulf oil debacle second best Hillandale Farms incredible salmonella egg



comedy tragedy dialogue

COMEDY come sit closer let’s share a laugh want to hear a joke

TRAGEDY i hate jokes

COMEDY you’re funny

TRAGEDY shut up you freaking clown

COMEDY there’s more to me than clowning

TRAGEDY oh yeah (pause) what? you pandering fool (pause) in my eyes every winking snicker is compromise collusion there’s nothing about you i like

COMEDY hater (pause) man you’re mean

TRAGEDY mean and unreasonable

COMEDY scary mean unreasonable (pause) yet funny

TRAGEDY ***** you (pause) mortality is tragic the world is wicked what’s funny about stoning people to death or ****** disfiguring women children or cheating enslaving the poor underprivileged this earth is a horrible place what the hell is so funny

COMEDY you you’re a joke a sad dismal joke the good news is i interpret humor in everything life is funny

TRAGEDY you’re a pitiful simpleton who perceives all existence from one lame brain viewpoint you can’t distinguish happy from sad good from evil you’re a mindless empty screen of canned laughter maybe some things aren’t meant to be laughed at or humor drawn from maybe you’re a rude mocking idiot what is so ******* funny

COMEDY what is so ******* funny (pause) i’m not laughing (pause) try stepping back getting a different perspective change your psychology consider the futility of existence fate of humankind

TRAGEDY we all do what we have to (pause) mind if i smoke (lights a cigarette)

COMEDY that’ll **** you (smirks laughter)

TRAGEDY we’re all fated to die

COMEDY you really need to see the absurdity in your gloom

TRAGEDY please go

COMEDY why do you have to be such a hard-*** why can’t we just get along we could create some wonderful art i really think we’d be good together

TRAGEDY i warning you

COMEDY i get the feeling we’re not going to be friends

TRAGEDY fast thinking (pause) go play with your happy snickering friends and leave me alone

COMEDY must we be enemies

TRAGEDY deal with it

COMEDY you’re going to miss me

TRAGEDY maybe maybe not (pause) these are dark troubled times

COMEDY why must everything be so serious with you

TRAGEDY if you persist i will be forced to turn this banter into regrettable disaster

COMEDY funny how things don’t work out

TRAGEDY yeah funny (pause) i guess the joke is on me



fate free will dialogue

FATE we each journey a path

FREE WILL i choose my own trail imaging myself triumphant inventing as i go

FATE what if you discovered your choices were influenced by forces outside you

FREE WILL i alone am responsible for my choices

FATE i’m not speaking about responsibilities

FREE WILL what are you speaking of

FATE there are aspects you may not realize

FREE WILL that’s ******* a person creates his or her own destiny

FATE do you believe Jesus Christ created his own destiny or John F. Kennedy Martin Luther King John Lennon

FREE WILL what are you saying

FATE there were circumstances cycles aspects forces possibly predetermined powers events ghosts

FREE WILL horseshit we are presented with existential choices our actions determine our destiny

FATE our actions determine our destiny huh what influences determine our actions

FREE WILL a person’s character courage discipline strength

FATE what forms a person’s character

FREE WILL parents circumstances cycles aspects forces the era

FATE hmmm near to what i was suggesting yet who can know why or how a few chosen make it while many others go bust or when where lightning strikes

FREE WILL so what do you believe? (pause) i’m speculating most people obey conform deaf to their own calling falling short of their dreams enduring lives of hushed disquiet

FATE hmmm we each journey a path

FREE WILL i choose my own trail inventing as i go alert to my calling

FATE uhhh i’m not as certain as you i admire your confidence conviction independence

FREE WILL hey i’m straight

FATE whatever

KUSTA BEN LUKA is my name, I write
To Abd Al-Rabban; fellow-roysterer once,
Now the good Caliph's learned Treasurer,
And for no ear but his.
Carry this letter
Through the great gallery of the Treasure House
Where banners of the Caliphs hang, night-coloured
But brilliant as the night's embroidery,
And wait war's music; pass the little gallery;
Pass books of learning from Byzantium
Written in gold upon a purple stain,
And pause at last, I was about to say,
At the great book of Sappho's song; but no,
For should you leave my letter there, a boy's
Love-lorn, indifferent hands might come upon it
And let it fall unnoticed to the floor.
pause at the Treatise of parmenides
And hide it there, for Caiphs to world's end
Must keep that perfect, as they keep her song,
So great its fame.
When fitting time has passed
The parchment will disclose to some learned man
A mystery that else had found no chronicler
But the wild Bedouin.  Though I approve
Those wanderers that welcomed in their tents
What great Harun Al-Rashid, occupied
With Persian embassy or Grecian war,
Must needs neglect, I cannot hide the truth
That wandering in a desert, featureless
As air under a wing, can give birds' wit.
In after time they will speak much of me
And speak but fantasy.  Recall the year
When our beloved Caliph put to death
His Vizir Jaffer for an unknown reason:
"If but the shirt upon my body knew it
I'd tear it off and throw it in the fire.'
That speech was all that the town knew, but he
Seemed for a while to have grown young again;
Seemed so on purpose, muttered Jaffer's friends,
That none might know that he was conscience-struck --
But that s a traitor's thought.  Enough for me
That in the early summer of the year
The mightiest of the princes of the world
Came to the least considered of his courtiers;
Sat down upon the fountain's marble edge,
One hand amid the goldfish in the pool;
And thereupon a colloquy took place
That I commend to all the chroniclers
To show how violent great hearts can lose
Their bitterness and find the honeycomb.
"I have brought a slender bride into the house;
You know the saying, ""Change the bride with spring.''
And she and I, being sunk in happiness,
Cannot endure to think you tread these paths,
When evening stirs the jasmine bough, and yet
Are brideless.'
"I am falling into years.'
"But such as you and I do not seem old
Like men who live by habit.  Every day
I ride with falcon to the river's edge
Or carry the ringed mail upon my back,
Or court a woman; neither enemy,
Game-bird, nor woman does the same thing twice;
And so a hunter carries in the eye
A mimic of youth.  Can poet's thought
That springs from body and in body falls
Like this pure jet, now lost amid blue sky,
Now bathing lily leaf and fish's scale,
Be mimicry?'
"What matter if our souls
Are nearer to the surface of the body
Than souls that start no game and turn no rhyme!
The soul's own youth and not the body's youth
Shows through our lineaments.  My candle's bright,
My lantern is too loyal not to show
That it was made in your great father's reign,
And yet the jasmine season warms our blood.'
"Great prince, forgive the freedom of my speech:
You think that love has seasons, and you think
That if the spring bear off what the spring gave
The heart need suffer no defeat; but I
Who have accepted the Byzantine faith,
That seems unnatural to Arabian minds,
Think when I choose a bride I choose for ever;
And if her eye should not grow bright for mine
Or brighten only for some younger eye,
My heart could never turn from daily ruin,
Nor find a remedy.'
"But what if I
Have lit upon a woman who so shares
Your thirst for those old crabbed mysteries,
So strains to look beyond Our life, an eye
That never knew that strain would scarce seem bright,
And yet herself can seem youth's very fountain,
Being all brimmed with life?'
"Were it but true
I would have found the best that life can give,
Companionship in those mysterious things
That make a man's soul or a woman's soul
Itself and not some other soul.'
"That love
Must needs be in this life and in what follows
Unchanging and at peace, and it is right
Every philosopher should praise that love.
But I being none can praise its opposite.
It makes my passion stronger but to think
Like passion stirs the peacock and his mate,
The wild stag and the doe; that mouth to mouth
Is a man's mockery of the changeless soul.'
And thereupon his bounty gave what now
Can shake more blossom from autumnal chill
Than all my bursting springtime knew.  A girl
Perched in some window of her mother's housc
Had watched my daily passage to and fro;
Had heard impossible history of my past;
Imagined some impossible history
Lived at my side; thought time's disfiguring touch
Gave but more reason for a woman's care.
Yet was it love of me, or was it love
Of the stark mystery that has dazed my sight,
perplexed her fantasy and planned her care?
Or did the torchlight of that mystery
Pick out my features in such light and shade
Two contemplating passions chose one theme
Through sheer bewilderment? She had not paced
The garden paths, nor counted up the rooms,
Before she had spread a book upon her knees
And asked about the pictures or the text;
And often those first days I saw her stare
On old dry writing in a learned tongue,
On old dry ******* that could never please
The extravagance of spring; or move a hand
As if that writing or the figured page
Were some dear cheek.
Upon a moonless night
I sat where I could watch her sleeping form,
And wrote by candle-light; but her form moved.
And fearing that my light disturbed her sleep
I rose that I might screen it with a cloth.
I heard her voice, "Turn that I may expound
What's bowed your shoulder and made pale your cheek
And saw her sitting upright on the bed;
Or was it she that spoke or some great Djinn?
I say that a Djinn spoke.  A livelong hour
She seemed the learned man and I the child;
Truths without father came, truths that no book
Of all the uncounted books that I have read,
Nor thought out of her mind or mine begot,
Self-born, high-born, and solitary truths,
Those terrible implacable straight lines
Drawn through the wandering vegetative dream,
Even those truths that when my bones are dust
Must drive the Arabian host.
The voice grew still,
And she lay down upon her bed and slept,
But woke at the first gleam of day, rose up
And swept the house and sang about her work
In childish ignorance of all that passed.
A dozen nights of natural sleep, and then
When the full moon swam to its greatest height
She rose, and with her eyes shut fast in sleep
Walked through the house.  Unnoticed and unfelt
I wrapped her in a hooded cloak, and she,
Half running, dropped at the first ridge of the desert
And there marked out those emblems on the sand
That day by day I study and marvel at,
With her white finger.  I led her home asleep
And once again she rose and swept the house
In childish ignorance of all that passed.
Even to-day, after some seven years
When maybe thrice in every moon her mouth
Murmured the wisdom of the desert Djinns,
She keeps that ignorance, nor has she now
That first unnatural interest in my books.
It seems enough that I am there; and yet,
Old fellow-student, whose most patient ear
Heard all the anxiety of my passionate youth,
It seems I must buy knowledge with my peace.
What if she lose her ignorance and so
Dream that I love her only for the voice,
That every gift and every word of praise
Is but a payment for that midnight voice
That is to age what milk is to a child?
Were she to lose her love, because she had lost
Her confidence in mine, or even lose
Its first simplicity, love, voice and all,
All my fine feathers would be plucked away
And I left shivering.  The voice has drawn
A quality of wisdom from her love's
Particular quality.  The signs and shapes;
All those abstractions that you fancied were
From the great Treatise of parmenides;
All, all those gyres and cubes and midnight things
Are but a new expression of her body
Drunk with the bitter sweetness of her youth.
And now my utmost mystery is out.
A woman's beauty is a storm-tossed banner;
Under it wisdom stands, and I alone --
Of all Arabia's lovers I alone --
Nor dazzled by the embroidery, nor lost
In the confusion of its night-dark folds,
Can hear the armed man speak.

Thus then did they fight as it were a flaming fire. Meanwhile the
fleet runner Antilochus, who had been sent as messenger, reached
Achilles, and found him sitting by his tall ships and boding that
which was indeed too surely true. “Alas,” said he to himself in the
heaviness of his heart, “why are the Achaeans again scouring the plain
and flocking towards the ships? Heaven grant the gods be not now
bringing that sorrow upon me of which my mother Thetis spoke, saying
that while I was yet alive the bravest of the Myrmidons should fall
before the Trojans, and see the light of the sun no longer. I fear the
brave son of Menoetius has fallen through his own daring and yet I
bade him return to the ships as soon as he had driven back those
that were bringing fire against them, and not join battle with
Hector.”
  As he was thus pondering, the son of Nestor came up to him and
told his sad tale, weeping bitterly the while. “Alas,” he cried,
“son of noble Peleus, I bring you bad tidings, would indeed that
they were untrue. Patroclus has fallen, and a fight is raging about
his naked body—for Hector holds his armour.”
  A dark cloud of grief fell upon Achilles as he listened. He filled
both hands with dust from off the ground, and poured it over his head,
disfiguring his comely face, and letting the refuse settle over his
shirt so fair and new. He flung himself down all huge and hugely at
full length, and tore his hair with his hands. The bondswomen whom
Achilles and Patroclus had taken captive screamed aloud for grief,
beating their *******, and with their limbs failing them for sorrow.
Antilochus bent over him the while, weeping and holding both his hands
as he lay groaning for he feared that he might plunge a knife into his
own throat. Then Achilles gave a loud cry and his mother heard him
as she was sitting in the depths of the sea by the old man her father,
whereon she screamed, and all the goddesses daughters of Nereus that
dwelt at the bottom of the sea, came gathering round her. There were
Glauce, Thalia and Cymodoce, Nesaia, Speo, thoe and dark-eyed Halie,
Cymothoe, Actaea and Limnorea, Melite, Iaera, Amphithoe and Agave,
Doto and Proto, Pherusa and Dynamene, Dexamene, Amphinome and
Callianeira, Doris, Panope, and the famous sea-nymph Galatea,
Nemertes, Apseudes and Callianassa. There were also Clymene, Ianeira
and Ianassa, Maera, Oreithuia and Amatheia of the lovely locks, with
other Nereids who dwell in the depths of the sea. The crystal cave was
filled with their multitude and they all beat their ******* while
Thetis led them in their lament.
  “Listen,” she cried, “sisters, daughters of Nereus, that you may
hear the burden of my sorrows. Alas, woe is me, woe in that I have
borne the most glorious of offspring. I bore him fair and strong, hero
among heroes, and he shot up as a sapling; I tended him as a plant
in a goodly garden, and sent him with his ships to Ilius to fight
the Trojans, but never shall I welcome him back to the house of
Peleus. So long as he lives to look upon the light of the sun he is in
heaviness, and though I go to him I cannot help him. Nevertheless I
will go, that I may see my dear son and learn what sorrow has befallen
him though he is still holding aloof from battle.”
  She left the cave as she spoke, while the others followed weeping
after, and the waves opened a path before them. When they reached
the rich plain of Troy, they came up out of the sea in a long line
on to the sands, at the place where the ships of the Myrmidons were
drawn up in close order round the tents of Achilles. His mother went
up to him as he lay groaning; she laid her hand upon his head and
spoke piteously, saying, “My son, why are you thus weeping? What
sorrow has now befallen you? Tell me; hide it not from me. Surely Jove
has granted you the prayer you made him, when you lifted up your hands
and besought him that the Achaeans might all of them be pent up at
their ships, and rue it bitterly in that you were no longer with
them.”
  Achilles groaned and answered, “Mother, Olympian Jove has indeed
vouchsafed me the fulfilment of my prayer, but what boots it to me,
seeing that my dear comrade Patroclus has fallen—he whom I valued
more than all others, and loved as dearly as my own life? I have
lost him; aye, and Hector when he had killed him stripped the wondrous
armour, so glorious to behold, which the gods gave to Peleus when they
laid you in the couch of a mortal man. Would that you were still
dwelling among the immortal sea-nymphs, and that Peleus had taken to
himself some mortal bride. For now you shall have grief infinite by
reason of the death of that son whom you can never welcome home-
nay, I will not live nor go about among mankind unless Hector fall
by my spear, and thus pay me for having slain Patroclus son of
Menoetius.”
  Thetis wept and answered, “Then, my son, is your end near at hand-
for your own death awaits you full soon after that of Hector.”
  Then said Achilles in his great grief, “I would die here and now, in
that I could not save my comrade. He has fallen far from home, and
in his hour of need my hand was not there to help him. What is there
for me? Return to my own land I shall not, and I have brought no
saving neither to Patroclus nor to my other comrades of whom so many
have been slain by mighty Hector; I stay here by my ships a bootless
burden upon the earth, I, who in fight have no peer among the
Achaeans, though in council there are better than I. Therefore, perish
strife both from among gods and men, and anger, wherein even a
righteous man will harden his heart—which rises up in the soul of a
man like smoke, and the taste thereof is sweeter than drops of
honey. Even so has Agamemnon angered me. And yet—so be it, for it
is over; I will force my soul into subjection as I needs must; I
will go; I will pursue Hector who has slain him whom I loved so
dearly, and will then abide my doom when it may please Jove and the
other gods to send it. Even Hercules, the best beloved of Jove—even
he could not escape the hand of death, but fate and Juno’s fierce
anger laid him low, as I too shall lie when I am dead if a like doom
awaits me. Till then I will win fame, and will bid Trojan and
Dardanian women wring tears from their tender cheeks with both their
hands in the grievousness of their great sorrow; thus shall they
know that he who has held aloof so long will hold aloof no longer.
Hold me not back, therefore, in the love you bear me, for you shall
not move me.”
  Then silver-footed Thetis answered, “My son, what you have said is
true. It is well to save your comrades from destruction, but your
armour is in the hands of the Trojans; Hector bears it in triumph upon
his own shoulders. Full well I know that his vaunt shall not be
lasting, for his end is close at hand; go not, however, into the press
of battle till you see me return hither; to-morrow at break of day I
shall be here, and will bring you goodly armour from King Vulcan.”
  On this she left her brave son, and as she turned away she said to
the sea-nymphs her sisters, “Dive into the ***** of the sea and go
to the house of the old sea-god my father. Tell him everything; as for
me, I will go to the cunning workman Vulcan on high Olympus, and ask
him to provide my son with a suit of splendid armour.”
  When she had so said, they dived forthwith beneath the waves,
while silver-footed Thetis went her way that she might bring the
armour for her son.
  Thus, then, did her feet bear the goddess to Olympus, and
meanwhile the Achaeans were flying with loud cries before murderous
Hector till they reached the ships and the Hellespont, and they
could not draw the body of Mars’s servant Patroclus out of reach of
the weapons that were showered upon him, for Hector son of Priam
with his host and horsemen had again caught up to him like the flame
of a fiery furnace; thrice did brave Hector seize him by the feet,
striving with might and main to draw him away and calling loudly on
the Trojans, and thrice did the two Ajaxes, clothed in valour as
with a garment, beat him from off the body; but all undaunted he would
now charge into the thick of the fight, and now again he would stand
still and cry aloud, but he would give no ground. As upland
shepherds that cannot chase some famished lion from a carcase, even so
could not the two Ajaxes scare Hector son of Priam from the body of
Patroclus.
  And now he would even have dragged it off and have won
imperishable glory, had not Iris fleet as the wind, winged her way
as messenger from Olympus to the son of Peleus and bidden him arm. She
came secretly without the knowledge of Jove and of the other gods, for
Juno sent her, and when she had got close to him she said, “Up, son of
Peleus, mightiest of all mankind; rescue Patroclus about whom this
fearful fight is now raging by the ships. Men are killing one another,
the Danaans in defence of the dead body, while the Trojans are
trying to hale it away, and take it to wind Ilius: Hector is the
most furious of them all; he is for cutting the head from the body and
fixing it on the stakes of the wall. Up, then, and bide here no
longer; shrink from the thought that Patroclus may become meat for the
dogs of Troy. Shame on you, should his body suffer any kind of
outrage.”
  And Achilles said, “Iris, which of the gods was it that sent you
to me?”
  Iris answered, “It was Juno the royal spouse of Jove, but the son of
Saturn does not know of my coming, nor yet does any other of the
immortals who dwell on the snowy summits of Olympus.”
  Then fleet Achilles answered her saying, “How can I go up into the
battle? They have my armour. My mother forbade me to arm till I should
see her come, for she promised to bring me goodly armour from
Vulcan; I know no man whose arms I can put on, save only the shield of
Ajax son of Telamon, and he surely must be fighting in the front
rank and wielding his spear about the body of dead Patroclus.”
  Iris said, ‘We know that your armour has been taken, but go as you
are; go to the deep trench and show yourelf before the Trojans, that
they may fear you and cease fighting. Thus will the fainting sons of
the Achaeans gain some brief breathing-time, which in battle may
hardly be.”
  Iris left him when she had so spoken. But Achilles dear to Jove
arose, and Minerva flung her tasselled aegis round his strong
shoulders; she crowned his head with a halo of golden cloud from which
she kindled a glow of gleaming fire. As the smoke that goes up into
heaven from some city that is being beleaguered on an island far out
at sea—all day long do men sally from the city and fight their
hardest, and at the going down of the sun the line of beacon-fires
blazes forth, flaring high for those that dwell near them to behold,
if so be that they may come with their ships and succour them—even so
did the light flare from the head of Achilles, as he stood by the
trench, going beyond the wall—but he aid not join the Achaeans for he
heeded the charge which his mother laid upon him.
  There did he stand and shout aloud. Minerva also raised her voice
from afar, and spread terror unspeakable among the Trojans. Ringing as
the note of a trumpet that sounds alarm then the foe is at the gates
of a city, even so brazen was the voice of the son of Aeacus, and when
the Trojans heard its clarion tones they were dismayed; the horses
turned back with their chariots for they boded mischief, and their
drivers were awe-struck by the steady flame which the grey-eyed
goddess had kindled above the head of the great son of Peleus.
  Thrice did Achilles raise his loud cry as he stood by the trench,
and thrice were the Trojans and their brave allies thrown into
confusion; whereon twelve of their noblest champions fell beneath
the wheels of their chariots and perished by their own spears. The
Achaeans to their great joy then drew Patroclus out of reach of the
weapons, and laid him on a litter: his comrades stood mourning round
him, and among them fleet Achilles who wept bitterly as he saw his
true comrade lying dead upon his bier. He had sent him out with horses
and chariots into battle, but his return he was not to welcome.
  Then Juno sent the busy sun, loth though he was, into the waters
of Oceanus; so he set, and the Achaeans had rest from the tug and
turmoil of war.
  Now the Trojans when they had come out of the fight, unyoked their
horses and gathered in assembly before preparing their supper. They
kept their feet, nor would any dare to sit down, for fear had fallen
upon them all because Achilles had shown himself after having held
aloof so long from battle. Polydamas son of Panthous was first to
speak, a man of judgement, who alone among them could look both before
and after. He was comrade to Hector, and they had been born upon the
same night; with all sincerity and goodwill, therefore, he addressed
them thus:-
  “Look to it well, my friends; I would urge you to go back now to
your city and not wait here by the ships till morning, for we are
far from our walls. So long as this man was at enmity with Agamemnon
the Achaeans were easier to deal with, and I would have gladly
camped by the ships in the hope of taking them; but now I go in
great fear of the fleet son of Peleus; he is so daring that he will
never bide here on the plain whereon the Trojans and Achaeans fight
with equal valour, but he will try to storm our city and carry off our
women. Do then as I say, and let us retreat. For this is what will
happen. The darkness of night will for a time stay the son of
Peleus, but if he find us here in the morning when he sallies forth in
full armour, we shall have knowledge of him in good earnest. Glad
indeed will he be who can escape and get back to Ilius, and many a
Trojan will become meat for dogs and vultures may I never live to hear
it. If we do as I say, little though we may like it, we shall have
strength in counsel during the night, and the great gates with the
doors that close them will protect the city. At dawn we can arm and
take our stand on the walls; he will then rue it if he sallies from
the ships to fight us. He will go back when he has given his horses
their fill of being driven all whithers under our walls, and will be
in no mind to try and force his way into the city. Neither will he
ever sack it, dogs shall devour him ere he do so.”
  Hector looked fiercely at him and answered, “Polydamas, your words
are not to my liking in that you bid us go back and be pent within the
city. Have you not had enough of being cooped up behind walls? In
the old-days the city of Priam was famous the whole world over for its
wealth of gold and bronze, but our treasures are wasted out of our
houses, and much goods have been sold away to Phrygia and fair Meonia,
for the hand of Jove has been laid heavily upon us. Now, therefore,
that the son of scheming Saturn has vouchsafed me to win glory here
and to hem the Achaeans in at their ships, prate no more in this
fool’s wise among the people. You will have no man with you; it
shall not be; do all of you as I now say;—take your suppers in your
companies throughout the host, and keep your watches and be wakeful
every man of you. If any Trojan is uneasy about his possessions, let
him gather them and give them out among the people. Better let
these, rather than the Achaeans, have them. At daybreak we will arm
and fight about the ships; granted that Achilles has again come
forward to defend them, let it be as he will, but it shall go hard
with him. I shall not shun him, but will fight him, to fall or
conquer. The god of war deals out like measure to all, and the
slayer may yet be slain.”
  Thus spoke Hector; and the Trojans, fools that they were, shouted in
applause, for Pallas Minerva had robbed them of their understanding.
They gave ear to Hector with his evil counsel, but the wise words of
Polydamas no man would heed. They took their supper throughout the
host, and meanwhile through the whole night the Achaeans mourned
Patroclus, and the son of Peleus led them in their lament. He laid his
murderous hands upon the breast of his comrade, groaning again and
again as a bearded lion when

the elephant is lovely  endangered now is he
he cant roam around now no longer is he free
they are under threat from the poaching war
gone now has there freedom that they had before
all they know is danger there lives  now in distress
getting killed for nothing leaving just a mess
cutting of there tusks  disfiguring there face
leaving them to suffer is nothing but disgrace
such a lovely creature it is such a shame
all the poachers see is money for there game

With a single
glance
you make me sweat--
your sticky breath
dances
melodically with every swagger
of your step.

You chronically
dehydrate  
my thoughts--
ironically inspiring me
to bathe in refreshing
conscience streams
that are not mine.

I want to taste
the salty Sahara sands
between your toes
to feel what it's like this close
to the sun--
concealed by the  burning
Shisha smoke you breathe
with such control into your soul.

For one steamy night
I want to be the wind
igniting--brightening--heightening
those burning embers in your eyes
watching you slither,
as if an ice cube touched your spine.

I want white light smiles
to scar our faces
the next morning,
disfiguring our charred
hearts--
our ashes scattered
by the wind from the burning
building we've collapsed.

Detective stories have been making a splash on European screens for the past decade. Some attract top-notch directors, actors and script writers. They are far superior to anything that appears over here -- whether on TV or from Hollywood. Part of the impetus has come from the remarkable Italian series Montelbano, the name of a Sicilian commissario in Ragusa (Vigata)who was first featured in the skillfully crafted novellas of Andrea Camilleri.

Italians remain in the forefront of the genre as Montelbano was followed by similar high class productions set in Bologna, Ferrara, Turino, Milano, Palermo and Roma. A few are placed in evocative historical context. The French follow close behind with a rich variety of series ranging from a revived Maigret circa 2004(Bruno Cremer) and Frank Riva (Alain Delon) to the gritty Blood On The Docks (Le Havre) and the refined dramatizations of other Simenon tales. Others have jumped in: Austria, Germany (several) and all the Scandinavians. The former, Anatomy of Evil, offers us a dark yet riveting set of mysteries featuring a taciturn middle-aged police psychiatrist. Germany'sgem, Homicide Unit -- Istanbul, has a cast of talented Turkish Germans who speak German in a vividly portrayed contemporary Istanbul. Shows from the last mentioned region tend to be dreary and the characters uni-dimensional, so will receive short shrift in these comments.

Most striking to an American viewer are the strange mores and customs of the local protagonists compared to their counterparts over here. So are the physical traits as well as the social contexts. Here are a few immediately noteworthy examples. Tattoos and ****** hardware are strangely absent -- even among the bad guys. Green or orange hair is equally out of sight. The former, I guess, are disfiguring. The latter types are too crude for the sophisticated plots. European salons also seem unable to produce that commonplace style of artificial blond hair parted by a conspicuous streak of dark brown roots so favored by news anchors, talk show howlers and other female luminaries. Jeans, of course, are universal -- and usually filled in comely fashion. It's what people do in them (or out of them) that stands out.

First, almost no workout routines -- or animated talk about them. Nautilus? Nordic Track? Yoga pants? From roughly 50 programs, I can recall only one, in fact -- a rather humorous scene in an Istanbul health club that doubles as a drug depot. There is a bit of jogging, just a bit -- none in Italy. The Italians do do some swimming (Montalbano) and are pictured hauling cases of wine up steep cellar stairs with uncanny frequency. Kale appears nowhere on the menu; and vegan or gluten are words unspoken. Speaking of food, almost all of these characters actually sit down to eat lunch, albeit the main protagonist tends to lose an appetite when on the heels of a particularly elusive villain. Oblique references to cholesterol levels occur on but two occasions. Those omnipresent little containers of yoghurt are considered unworthy of camera time.

A few other features of contemporary American life are missing from the dialogue. I cannot recall the word "consultant' being uttered once. In the face of this amazing reality, one can only wonder how ****-kid 21 year old graduates from elite European universities manage to get that first critical foothold on the ladder of financial excess. Something else is lacking in the organizational culture of police departments, high-powered real estate operations, environmental NGOs or law firms: formal evaluations. In those retro environments, it all turns on long-standing personal ties, budgetary appropriations and actual accomplishment -- not graded memo writing skills. Moreover, the abrupt firing of professionals is a surprising rarity. No wonder Europe is lagging so far behind in the league table of billionaires produced annually and on-the-job suicides

Then, there is that staple of all American conversation -- real estate prices. They crop up very rarely -- and then only when retirement is the subject. Admittedly, that is a pretty boring subject for a tense crime drama -- however compelling it is for academics, investors, lawyers and doctors over here. Still, it fits a pattern.

None of the main characters devotes time to soliciting offers from other institutions -- be they universities, elite police units in a different city, insurance companies, banks, or architectural firms. They are peculiarly rooted where they are. In the U.S., professionals are constantly on the look-out for some prospective employer who will make them an attractive offer. That offer is then taken to their current institution along with the demand that it be matched or they'll be packing their bags. Most of the time, it makes little difference if that "offer" is from College Station, Texas or La Jolla, California. That doesn't occur in the programs that I've viewed. No one is driven to abandon colleagues, friends, a comfortable home and favorite restaurants for the hope of upward mobility. What a touching, if archaic way of viewing life.

The pedigree of actors help make all this credible. For example, the classiest female leads are a "Turk" (Idil Uner) who in real life studied voice in Berlin for 17 years and a transplanted Russo-Italian (Natasha Stephanenko) whose father was a nuclear physicist at a secret facility in the Urals. Each has a parallel non-acting career in the arts. It shows.

After viewing the first dozen or so mysteries of diverse nationality, an American viewer begins to feel an unease creeping up on him. Something is amiss; something awry; something missing. Where are those little bottles of natural water that are ubiquitous in the U.S? The ones with the ****** tip. Meetings of all sorts are held without their comforting presence. Receptionists -- glamorous or unglamorous alike -- make do without them. Heat tormented Sicilians seem immune to the temptation. Cyclists don't stick them in handlebar holders. Even stray teenagers and university students are lacking their company. Uneasiness gives way to a sensation of dread. For European civilization looks to be on the brink of extinction due to mass dehydration.

That's a pity. Any society where cityscapes are not cluttered with SUVs deserves to survive as a reserve of sanity on that score at least. It also allows for car chases through the crooked, cobbled streets of old towns unobstructed by herds of Yukons and Outbacks on the prowl for a double parking space. Bonus: Montelbano's unwashed Fiat has been missing a right front hubcap for 4 years (just like my car). To meet Hollywood standards for car chases he'd have to borrow Ingrid's red Maserati.

Social ******* reveals a number of even more bizarre phenomena. In conversation, above all. Volume is several decibels below what it is on American TV shows and in our society. It is not necessary to grab the remote to drop sound levels down into the 20s in order to avoid irreparable hearing damage. Nor is one afflicted by those piercing, high-pitched voices that can cut through 3 inches of solid steel. All manner of intelligible conversations are held in restaurants, cafes and other public places. Most incomprehensible are the moments of silence. Some last for up to a minute while the mind contemplates an intellectual puzzle or complex emotions. Such extreme behavior does crop up occasionally in shows or films over here -- but invariably followed by a diagnosis of concealed autism which provides the dramatic theme for the rest of the episode.

Tragedy is more common, and takes more subtle forms in these European dramatizations. Certainly, America has long since departed from the standard formula of happy endings. Over there, tragic endings are not only varied -- they include forms of tragedy that do not end in death or violence. The Sicilian series stands out in this respect.

As to violence, there is a fair amount as only could be expected in detective series. Not everyone can be killed decorously by slow arsenic poisoning. So there is some blood and gore. But there is no visual lingering on either the acts themselves or their grisly aftermaths. People bleed -- but without geysers of blood or minutes fixed on its portentous dripping. Violence is part of life -- not to be denied, not to be magnified as an object of occult fascination. The same with ****** abuse and *******.

Finally, it surprises an American to see how little the Europeans portrayed in these stories care about us. We tend to assume that the entire world is obsessed by the United States. True, our pop culture is everywhere. Relatives from 'over there' do make an occasional appearance -- especially in Italian shows. However, unlike their leaders who give the impression that they can't take an unscheduled leak without first checking with the White House or National Security Council in Washington, these characters manage quite nicely to handle their lives in their own way on their own terms.

Anyone who lives on the Continent or spends a lot of time there off the tourist circuit knows all this. The image presented by TV dramas may have the effect of exaggerating the differences with the U.S. That is not their intention, though. Moreover, isn't the purpose of art to force us to see things that otherwise may not be obvious?Read more at:http://www.marieaustralia.com | www.marieaustralia.com/short-formal-dresses

Some things are sadly poetic
Like the cougar whose boyfriend
Won’t come back outside and she’s alone
At the only table in the cold
smoking a pall mall,
Having a beer.

Some things are refreshingly poetic
like leaving the office for a bit with the boss
and going somewhere
where there are domes made of pure gold
and priests who pour milk on them from
helicopters.

Some things are interestingly poetic;
like the poet, turned novelist, turned artist,
who does landscaping to cover the spread.

Some things are courageously and nostalgically
And hurtfully poetic,
Like not seeing your family for nine years
Because the money’s good where you're at,
And plane tickets and passports are outrageous.

Some things should not be
poetic, but they are, because they are truthful
And that is verse;
like the waitress who was *****
when she cashed her check at a grocery store
after the night shift
and she wasn’t the only one in her car
when she got back.

Some things are poetry because they come
Into this world quietly
And bleeding internally,
and yet they survive
Even though their lungs are full of fluid,
And they can barely breathe.

Some things are poetry because they happened
And nothing can change that.

And because
Poetry is
unchangeable, immovable, and
grotesque, beautiful, uncomfortable, calming,
disfiguring, life-giving, ****** up,
Possibly ******, possibly a nectar
That God
or whoever the ****
allowed to be put on paper,
Possibly a way to talk about pain,
Possibly roided up with someone else’s words,
Possibly a way to talk about
the pure dream of a girl’s body
Without being  a ***** *****.

Poetry is love in the worst
and most unimaginable ways.

Lets Converse

You thrive on the light because
You know that you make the skies darker
You impale the world with your touch
Disfiguring a man with the slightest glance
I challenge your heart to discourage me because
I recognize your brilliance
I can see you can trample egos
By now you should know my persistence
You tell me who you are
This is more than the genders desire
I am buffoon by my own urges
But I must let you know what I see
I see you eyes as they stand out of a silhouette of passion,
A very piercing stare
Your footprints compare to that of your lips,
Much like the petals of a rose you might kiss
I watch you; to a man you might cause the world to spin
But I stand tall in the crowd with my arms raised,” you win”
Because you bring the quenching that would smother the sun,
You’re something of an obscured revelation.

-Alexis J Meighan-

On the fringes in space
lurk the watchers,
with a darkness like leprosy,
disfiguring in their wake.

Once exposed
to the evil
in their hearts,
there is no cure,
but abstinence.

And that kills the poet.
And when the poet dies,
the world loses  
one more piece
of its soul.

The whole thought of it makes me think,
That I’m falling down something.
Something worse than my leg aches.
Or the headaches I get from the aspirin I take.
A kind of sickness of the spirit,
A crack or the mind,
Or a disfiguring leprosy of the soul.
You tell me I should think and remember back.
But that is because you can't imagine.
The perfect agony of being seven.
The horrible complexity introduced by eight .
But I can sit here and remember every painful digit.
At nine I was the unwanted orphan,
I wished I could turn invisible.
When my head was dunked in a certain way.
At ten a prisoner, at eleven a wretch.
But now I am mostly at my cars window .
Watching the early mourning light.
Back then it never rose so beautifully.
Against the side of my car door.
back then it never seemed to illuminate the world so gloriously.
And my for head never leaned against the window.
As it does now.

As I play my harmonica all the dark blue sadness draining out through it.
The melodies giving me peace in a conflicted mind
The notes freeing me from the bonds of oppression that weighed me down.
This is the beginning of freedom I say to my self.
As I walk through the world in my small boots.
I try to be the man I was destined to be.
The man who I should be.
It seems only a short while ago I used to believe.

There was nothing worth while under my skin,
If you cut me no one would care as I would bleed
But now my worth is not determined by others but by me.

No matter how much you deny,
A lot of people don't know,
What really does go,
On in your mysterious mind;

They say you're ordinary,
Sweet, simple and soft;
But I know you better,
You're enigmatic and a hopeless fool;

I see right through you,
I see right past your innocent smile,
I see right past your sweet voice,
I see that you're a lonesome being with no choice;

To you, trust is a treasure,
Which has no measure;
To you, trust is a luxury,
That you cannot afford to lose;

You have a biased view,
About this world;
You think everyone is waiting,
To hurt you real bad;

You think the world wants,
You to fall deep into a bottomless pit,
You think they'd love to see,
The light in your eyes unlit;

According to you,
Sharing your secret,
Is like giving away,
Your credit card;

You may be a strong person,
But right now,
You're cautious, fearful and downright scared,
You're scratched, bruised and disfiguring-ly scarred;  

You'd rather ****** your own family,
Than share your deepest thoughts,
You'd rather become a detached, holy saint,
Than give anybody the access to your heart;

To you, trust is a treasure,
Which has no measure;
To you, trust is a luxury,
That you cannot afford to lose;

But my dear, don't you see,
That you're a trapped bird,
Locked in a golden cage
Totally not free;

But my dear, don't you know,
That we, your people, aren't your real foes;
Your real nemesis, my dear,
Is you;

At first, your thoughts may seem mild,
But after a while,
They'll start running wild,
Staining, tainting and darkening your pure, pure soul;

Your poisonous thoughts will,
Take away the goodness of your heart,
Take away the humanity within you,
And carefully replace it with -

Fiery, scalding, burning anger,
Cold, grudging bitterness,
And a deep, carnivorous hunger,
To annihilate the ones who love you;

So, stop being so mistrustful,
Open out your heart
Slowly at first,
Then all at once;

Do not fear being backstabbed,
Because no matter what,
There shall always be people,
Who will be there for you;

Do not fear getting heartbroken,
Because, my friend, you're so strong,
And there are thousands of others,
Who'd help you mend your heart;

Do not fear everybody,
There might be ten people,
Who might hurt you,
But a thousand more who love you;

Contrary to what you think,
Pushing away the world,
Will make you sadder,
Not safer;

Catherine's Tango
Quiet moonless night lit only by the libido of a white cigarette
Do not
Do not be a poet
propose to a woman
and die with children on your
Denim Soul'd Lap
I am giving up
I am
disfiguring my Rifle
I am
unwashed clothes
tucked into the corner of the bed
where You and She and He and You
sleep
make love
speech
listen to the radio
when it
gives premarital birth
to Jazz C-section
when the radio
sticks its finger down its
electrical throat
attached to the wall
and
Digests Classical Master Pieces of Symphonies

I am 1:42am
an orange pill
2 pennies
3 quarters
a dime
a nickel
molding yogurt
a face sprouting weeds
a body
blooming old age

Tip Toe
unlock my
golden halted door to a chamber of
Lamps that bend and sigh
only to leave you
quite sad
quite misplaced in the sand
asking for water
but all we have
is cold coffee
it has been sitting out for
2 waltz
all of the ceiling's light bulbs
are awake
chattering quietly
like 5am suburbia birds
Pigeons
Crows
The one eyed red robin coasting south for a warm nest
watch out
Lovers are here to stay
they carry
knives and ****** bouquets

We have never really talked,
But I think I can,
Knowing I am the son of the same soil that anointed you,
And I come from the same city you started it all,
Before I say something I would like to touch your feet,
Pay my respects
I don't know where to start from,
Probably, in school they taught your lessons,
I didn't know back then it was a blessing,
Instead I made fun of you,
disfiguring your picture in the textbook,
Now I think, How could I?
I hope you can forgive me
And you said "hate the sin, not the sinner",
But it was 2nd October and didn't miss your movie,
It feels so nostalgic to me,

My grandfather once saw you,
He used to tell me stories about you,
How a nation was saved,
And the struggles you braved,
They say your thoughts are obsolete,
But not for me,
What you have instilled in me is priceless,
Beyond caste, color and race,
I wish I could tell you face to face,
From shaking the empire to your fasting,
Time in prison to the Salt March,
I wish I could take a part,
Shaking the foundations,
To making us a proud nation,
Bringing to us that moment of Salvation,
From Indigo to salt to cotton,
You fought them,
To millions under starvation,
Making us think from a common man's point of view,
It was you,
From self reliance,
To defiance,
You did it,
And all that without use of force,
I wished you could have stayed longer,
Bless some of the lost souls,
Left some of us on crossroads,

And they say Jesus told us what to do,
You taught us how to do it,
Forgive me, younger me was stupid,
You paved the way for King Jr. and Mandela to aspire,
And many others feel inspired,
But the sad part is that,
Against you they still conspire.
Living free,
Not knowing you did it for us,
How a thin barely clothed man could do wonders,
You taught us to stand for injustice,
You don't need a Nobel Prize, the only true ambassador of peace,

And the loyalists still follow,
Your word is never leaving,
Words are not enough,
But I feel your sorrow,
You made me believe,
Anything is possible
If you stay focused and work for it,
There's so much more to learn,
Nothing but gain knowledge,
And I try to pay homage,
Statues around the world,
Left us true word
The legacy lives on,
No matter how much I say
It will not be enough
Nobody can fill your shoes
Even if they try to,
The world calls you Mahatma, I call you Bapu

must recognize our Form
in the mirror,
see our Face, and make our reflection
as we kiss it, though it regularly sickens
Us.

I

We are still Us, though
that probably means little if it ever did;

We have been amended beyond recognition
from centuries of lobbing
off limbs, appendages, stitching clauses
like bandages then forgetting about them
if we ever shower,
disfiguring the pale torso of our Body
politic, naked and middling before posterity
grotesque genitalia dangling
hopelessly, and useless
between marble columns
unable to unite in congress assembled
erasing pluribus unum;

We're our Legs, buckling under obscene weight
now cloture’s invoked, the question ordered
on history with yays and nays,
discourse long reduced to the nuances
of blusterfuck;

We're our Buttocks, passing gas
bills, denying a snowball’s chance of
melting in frozen hell or on house floor,
and our Brain, lobotomized
better half yearning “Yes, we Can…
…ada” beckoning the coasts, blue dots
on blue dot ever browning;

We're our Fists, clenching gavels
while advising Mother Earth to **** up
because even without her consent,
reality’s adjourned;

II

We're our Skin—yes, our Skin—, thin-
ly veiling contempt insufficiently concealed
by layers of spray tan and unmarred
by blood sweat tears of our foremothers
and our Brow, not sweating more perfect
when it's so easy to turn and follow storybook greatness,
when our Fingers, callused from tweeting
Little Bits of *****,
which though once again retitled
and re-released, remains a classic,
completely unrevised;

We're our Ears, nostalgic for the crack of doom
and we're our Tiny Hands, unable to help themselves
from popping a Tic-Tac and grabbing
onto those titillating, dusty buttons
on the hydrogen jukebox;

We're our Eyes, heavy
as a defeated queen
with makeup running, blessing us
all for this operant foray into madness,
ever observing how our Arms, which
(torches now extinguished)
flail in confusion amid incalculable darkness
still hoist our pitchforks low and
our Tongue still grievously petitions
for more deplorable words amid
hallucinations of victimhood;

We're our *****, *******
on progress, except
which—failing to rise to the occasion—
nonetheless manages
to flop over and strike once more: a dis-
chord in common defense of
fragile white male privilege
always showing, never growing,
general welfare and tranquility flushed down
the toiletbowl of history
hoping those old turds never
resurface, still ignoring the stench of injustice
and the chipping of gilded porcelain;

We’re our Lips–which neither Broadway hits nor
newspaper clips nor high minded pleas alarmed,
and with Dr. Franklin’s warning notwithstanding–
We are our Lips on treacherous steps which will be
all executive power herein vesting;

III

We're our Palms, grasping rope amid air
saturated in deathly vespers, which tugs
down-up toward unearned heavens;

We’re our *****, pretending to be
our Mouths which chide & otherize, while
our Shins expose their cuts to ****,
bullet-holes welcoming the swift infections
in what dank sewage now pours from open
Overton windows, broken along with
any pretense of civility; ultimately,
the only thing we could shatter;

We’re our Holes, shamefully enjoying
the prodding and poking caresses
of anarchy, be-
moaning un-
Equal Protection law & order bestows,
depriving life, liberty, property
when our Hearts, weary of
the long hard due process, supremely
malign centuries’ holdings;

We’re our Immunity, sovereign it be
fighting all insults foreign and domestic
and our Voices rising in lamentation
for what we’ve lost and what we’ve barely kept;

We’re even our Hair, unkempt, distracting us
from enduring corruption of our Blood;

We’re our *****, too. No, never mind.
We never had any. But She did,
and class despite the strength
of glass;

IV

We’re all that still, and our Souls'
politic too, fractured much asking
what Un-
ited States we’re in;

I imagine my tiny body floating on the sea of bedding.
Your six foot plus frame looming over me.
The light from the bathroom casting you all in shadow, disfiguring your face.

I don’t remember a smell of alcohol or the scratching of an unshaven chin on my flesh.
I don’t remember words that were spoken or what I was wearing.
I don’t remember the length of your fingers or how cold they must have been.

I remember your hand tapping the couch and the moans coming from the TV.
I remember the window next to my mother’s bed and the shadows that didn’t see me.
I remember the shadows that never saw me.

I woke this afternoon
with still a
cinereous sheet over me but
how strange
it was the light and
my head bobbing as in
water of timeless air and
my skin skimming

off touches of memory
inhaled with tingling
apprehension and scents
capable of warping and
disfiguring me to

mereness

There is but one inside each of us,
The magnificent irony that is you,
The gift of emotion and darkness,
Light and the solemn silence.

In each there is a word never spoken,
The lord of his or her pen stroke,
Like a library of dreams
Disclosed to the insensible mind.

In vain with each passing day
The infinite ache of the lifespan
Becomes an accessible garden
And fountains of immersive memory.

And to die is but to awaken,
We toil in the philosophy of words,
Without strength or direction
Writing sorrowful verse.

Haiku, sonnet, free verse,
Stars, skies, oceans, meadows,
All are symbolic to the perceptions
In the void of the eye's twilight views.

Painfully we probe the depth
And fathom the darkness,
Heaven becomes a metaphor,
Hell seems too real, the Power....

Long before me or you,
The dead poets took the dark
And shown them in the light
In his or her fading dusk.

The gallery of poems,
Impalpably dreaded like life,
And we are the dead whom write
Of life in the setting sun.

Power, which had written this poem,
Disfiguring the poet, perpetually dark,
The word speaks through us,
The curse is to observe as it all passes away.

Spiked to pair of wooden, interlocking beams,
He hung bleeding, after being severely whipped.
There Christ experienced for the first time,
what it really meant to be like us -
bruised, ***** and covered by a legacy of sin
that clamors for our eventual death.
On that fateful day of His crucifixion,
our Lord felt the agony of separation,
as Jehovah turned His back towards earth,
being unable to gaze lovingly at The Son.
In Christ’s final hours of suffering,
God’s presence had departed from Him;
He was subjected to physical pain,
the shame from emotional wounds of rejection,
the ridicule concerning His destiny
and divine, heavenly authority.
Today He wears the disfiguring reminders,
permanently in His holy and glorified body,
while His eyes drip with tears of forgiveness;
it’s an unending testament of His Love for us,
having been… forever scarred.



Author Notes:

Loosely based on:
Rom 6:23; Isa 53:5; Matt 27:27-56; Mark 15:21-38;
Luke 23:26-49; John 19:16-37

Learn more about me and my poetry at:
http://www.squidoo.com/book-isbn-1419650513/

By Joseph J. Breunig 3rd, © 2012, All rights reserved.

Screams piercing through the dead of night,
Obsessed and enjoying the sounds of death and fright.
Moonlight glimmering off of the surgical steel,
The pain and terror inflicted is real.
No awakening from this horrid dreamland,
It's real,
You're bleeding.
Destined to die by my hand.
The hurt you gave me is now yours to receive,
Disfiguring you so badly that no one could grieve.
Carving off the skin that shields your patheticness,
Splitting open your belly,
Confirming you really are gutless.
I toss the knife aside,
Toying with your mind.
Seeing your relief,
Are you thinking I'll be kind?
Reconsider your thought,
Say farewell to the source of all of your lies.
Selecting a new instrument for me to toy,
Cutting out your tongue will bring me such joy!
Lying is impossible without a tongue to speak..
Look at you!
Are you crying?
You are so ******* weak!
Choking on your own blood,
Soon you'll be dieing.
Do you regret you were the reason for all of my crying?
Dieing is your wish,
Your eyes are begging for it now...
The pleasure is all mine,
But with what and how?

If I stop eating
will by body grow thin enough
that I could unravel?
That I could pick
at all these snagged imperfections
puckering my skin
until one comes loose
and I can pull it until I am entirely undone?
Until I tumble to the ground and blow away?

If i stop eating
will this rumbling
fill up my whole body?
Will this hunger,
that gnaws at my stomach,
grow larger than I have ever been?
Grow large enough to swallow me up?
To eat me whole
and dissolve me into nothing?

And then wander on....
a howling desolation
where a human used to be
that grows more grotesque
each moment.
Who's appetite grows continually
more appalling,
until it has consumed everything that surrounds it,
until it stands alone in a wasteland howling,
screeching,
disfiguring itself
until it dies from starvation, or auto-cannabalism
or until it is put down
like a rabid animal.

Tonight, I felt like
peeling my skin
from the top of my head.
take it really slow
making sure it's
all forming a ******
mess
within my tight
grip.

Tonight, I feel like
hindering my conscience
going out senseless -
driving this tractor
down & further
  down on my knees - picking
  these scabs. disfiguring
  all of your perfect portraits.

If my soul
is unharmed
untold
unfelt
unbent
unchaste
and unruly
surely, a bunch of flesh
and fine lines
beneath my sunken eyes
won't define the edges
of why what how and where
i begin and cease
to exist.

Don't you think
when you are in a corner
fending for the life of your
stale & weary reflection.
Crying out for help
perhaps, a dash of perception?
Didn't you think that
I would smell it on you?
Your fear is fantastic -
but then - you have always been
so full of it.

At night I see you in my dreams sometimes,
Alive again like when I last saw you,
Your body wrapped in celestial rhymes,
More ethereal than when I knew

You. Despite the beauty you betray,
You're just not real to me anymore,
Like a memory you're slipping away,
I can't see your face anymore. I pour

My heart out on a page trying to scrape
Away the quiet emptiness, the lonely
Despairing tears disfiguring the shape
Of what my eyes can see, but it only

gets worse. At this point I'll have to make do,
I'm still drowning in the memory of you.

I scratch at my rib cage
Nails clawing at my skin
As if I could scrape away
The extra weight I feel I've gained

It's like the devil's inside of me
He's disfiguring my bones
I fall to my aching knees
God make him leave me alone

Trapped inside my eyes I'm  screaming
The numbers on my scale are screeching
Their maniacal laughter devours my dreams
Someone save me I'm afraid to sleep


-ARI

The vague shadow of an ancient oak pulsing
Like an image through static
Through drifting fog
So thick that only the wind
Can lift it and let slip
The outlines of
Where I began.

My ancestry is incompletely buried.
The sharp rocks of drunken nights
Slice upon the roots
Disfiguring, pummeling, smashing,
Rendering mute the stories their craggy hollows could tell
Dissolving in that same fear
My grandmother must have known so well.

I don’t know how to find her,
To reconstruct a broken form
From all of these pieces,
These fallen leaves that
Drift like secrets,
Like the ones my mother
Whispered to me in the dark
When I was nine and old enough
To hold them, to hold her,
When she fell apart.

Because they took them, you know.
My mother, her sisters, her brothers,
The county clipping the roots like
Plucking flowers,
Like it was nothing at all to scatter
Children in the wind,
Like fallen leaves upon the shallows
Of some lonely pond,
Like broken branches
Overpowered by a system that
Only wanted them
Gone.

So, you see,
It wasn't just the wind that ***** the tree,
But a system that decided
Whose voice to wipe away and
What to keep.

My ancestry is incompletely buried.
Sometimes, I'm sure I can hear her sobbing,
A broken, fragile song, emerging from the earth
Just where the roots, interlocking, stop
the dirt from completely blocking
The story of a battered woman
Buried for too long.

The vague shadow of an ancient oak pulsing
Like an image through static
Through drifting fog
So thick that only the wind
Can lift it and let slip
The outlines of
Where I began.

What if I run my hands along the bark,
The broken pieces, the empty spaces,
Where her voice might be?

Grandma, speak to me.

Among these godly spires:

streets that harvest
tourists from afar
pockets romancing
neon ***** and slots

our tables laid out to serve them
sliding doors and rollercoasters
they are mine

i dwell in the butterfly wings

with none other who can stand
the fat rain and desert hail
in spring
skeletal skeins
of lightning
life, i am on-watcher...
blind from the sights,

sleep stealing summers
heat so disfiguring,
no longer listening
to cassettes in the car
melted like Dali art

the sun is a horrible comedian...
our winters are kite killing
my nose feels as if locked
by samsonite

and the wind wails colder jokes...

Among these lit boxes
copy cats and volcanic hopes Mirage
through trials and tides
of creative construction of yore
most still stand *****

gambling on dreams
on days unkind, here i am
a unicorn

losing / winded / coming out un-even
alive tho trying
to enjoy / her
admirable rivers of new
peoples and foods
fire-breathing signs
she has many stories up
beneath
her evening skin
and silver teeth

while i am young
she flashes me
underground
and
glowing candies...

las vegas

is my grease
lightning
and seductive Sandy...