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RAJ NANDY Apr 2015
Dear Poet Friends, being fond of Art, I wanted to compose on
this topic for a long time in a simplified form! Egyptian Art and
Architecture influenced the Early Greeks, who in turn influenced the Romans and other civilizations! Initially Art and architecture, religion and culture, were all closely inter-related! Real distinction emerged with the Italian Renaissance. Here I have used only a portion of my personal notes. Hope you find this interesting to read! Sorry for the length! Kindly give Comments after you have managed to read the entire portion in your spare time. Thanks, -Raj

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

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

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

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

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

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

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

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

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

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

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


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

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

Luxor Temple built by Amenhotep-III, was dedicated to God
Amun, his wife Mut and son Khonsu, - the Theban Triad;
Tutankhamen and Ramses-II expanding the temple during the
New Kingdom Period!
Creator God Amun became assimilated with the Sun God Re;
Was worshipped in Thebes, and in the cult centers of Luxor and
Karnak, - as Amun-Re!
The walls and columns of these cult temples were decorated
with carved and painted relief,
Depicting the interaction with Gods, and military exploits of
Egyptian Pharaohs and Kings!
The sun temple of Amenhotep-III at Luxor has many columns
resembling papyrus bundles,
Symbolic of the primeval marsh from where Creation was
believed to have unfolded !
A Sphinx Alley excavated between Luxor an
It is full winter now:  the trees are bare,
Save where the cattle huddle from the cold
Beneath the pine, for it doth never wear
The autumn’s gaudy livery whose gold
Her jealous brother pilfers, but is true
To the green doublet; bitter is the wind, as though it blew

From Saturn’s cave; a few thin wisps of hay
Lie on the sharp black hedges, where the wain
Dragged the sweet pillage of a summer’s day
From the low meadows up the narrow lane;
Upon the half-thawed snow the bleating sheep
Press close against the hurdles, and the shivering house-dogs creep

From the shut stable to the frozen stream
And back again disconsolate, and miss
The bawling shepherds and the noisy team;
And overhead in circling listlessness
The cawing rooks whirl round the frosted stack,
Or crowd the dripping boughs; and in the fen the ice-pools crack

Where the gaunt bittern stalks among the reeds
And ***** his wings, and stretches back his neck,
And hoots to see the moon; across the meads
Limps the poor frightened hare, a little speck;
And a stray seamew with its fretful cry
Flits like a sudden drift of snow against the dull grey sky.

Full winter:  and the ***** goodman brings
His load of ******* from the chilly byre,
And stamps his feet upon the hearth, and flings
The sappy billets on the waning fire,
And laughs to see the sudden lightening scare
His children at their play, and yet,—the spring is in the air;

Already the slim crocus stirs the snow,
And soon yon blanched fields will bloom again
With nodding cowslips for some lad to mow,
For with the first warm kisses of the rain
The winter’s icy sorrow breaks to tears,
And the brown thrushes mate, and with bright eyes the rabbit peers

From the dark warren where the fir-cones lie,
And treads one snowdrop under foot, and runs
Over the mossy knoll, and blackbirds fly
Across our path at evening, and the suns
Stay longer with us; ah! how good to see
Grass-girdled spring in all her joy of laughing greenery

Dance through the hedges till the early rose,
(That sweet repentance of the thorny briar!)
Burst from its sheathed emerald and disclose
The little quivering disk of golden fire
Which the bees know so well, for with it come
Pale boy’s-love, sops-in-wine, and daffadillies all in bloom.

Then up and down the field the sower goes,
While close behind the laughing younker scares
With shrilly whoop the black and thievish crows,
And then the chestnut-tree its glory wears,
And on the grass the creamy blossom falls
In odorous excess, and faint half-whispered madrigals

Steal from the bluebells’ nodding carillons
Each breezy morn, and then white jessamine,
That star of its own heaven, snap-dragons
With lolling crimson tongues, and eglantine
In dusty velvets clad usurp the bed
And woodland empery, and when the lingering rose hath shed

Red leaf by leaf its folded panoply,
And pansies closed their purple-lidded eyes,
Chrysanthemums from gilded argosy
Unload their gaudy scentless merchandise,
And violets getting overbold withdraw
From their shy nooks, and scarlet berries dot the leafless haw.

O happy field! and O thrice happy tree!
Soon will your queen in daisy-flowered smock
And crown of flower-de-luce trip down the lea,
Soon will the lazy shepherds drive their flock
Back to the pasture by the pool, and soon
Through the green leaves will float the hum of murmuring bees at noon.

Soon will the glade be bright with bellamour,
The flower which wantons love, and those sweet nuns
Vale-lilies in their snowy vestiture
Will tell their beaded pearls, and carnations
With mitred dusky leaves will scent the wind,
And straggling traveller’s-joy each hedge with yellow stars will bind.

Dear bride of Nature and most bounteous spring,
That canst give increase to the sweet-breath’d kine,
And to the kid its little horns, and bring
The soft and silky blossoms to the vine,
Where is that old nepenthe which of yore
Man got from poppy root and glossy-berried mandragore!

There was a time when any common bird
Could make me sing in unison, a time
When all the strings of boyish life were stirred
To quick response or more melodious rhyme
By every forest idyll;—do I change?
Or rather doth some evil thing through thy fair pleasaunce range?

Nay, nay, thou art the same:  ’tis I who seek
To vex with sighs thy simple solitude,
And because fruitless tears bedew my cheek
Would have thee weep with me in brotherhood;
Fool! shall each wronged and restless spirit dare
To taint such wine with the salt poison of own despair!

Thou art the same:  ’tis I whose wretched soul
Takes discontent to be its paramour,
And gives its kingdom to the rude control
Of what should be its servitor,—for sure
Wisdom is somewhere, though the stormy sea
Contain it not, and the huge deep answer ‘’Tis not in me.’

To burn with one clear flame, to stand *****
In natural honour, not to bend the knee
In profitless prostrations whose effect
Is by itself condemned, what alchemy
Can teach me this? what herb Medea brewed
Will bring the unexultant peace of essence not subdued?

The minor chord which ends the harmony,
And for its answering brother waits in vain
Sobbing for incompleted melody,
Dies a swan’s death; but I the heir of pain,
A silent Memnon with blank lidless eyes,
Wait for the light and music of those suns which never rise.

The quenched-out torch, the lonely cypress-gloom,
The little dust stored in the narrow urn,
The gentle XAIPE of the Attic tomb,—
Were not these better far than to return
To my old fitful restless malady,
Or spend my days within the voiceless cave of misery?

Nay! for perchance that poppy-crowned god
Is like the watcher by a sick man’s bed
Who talks of sleep but gives it not; his rod
Hath lost its virtue, and, when all is said,
Death is too rude, too obvious a key
To solve one single secret in a life’s philosophy.

And Love! that noble madness, whose august
And inextinguishable might can slay
The soul with honeyed drugs,—alas! I must
From such sweet ruin play the runaway,
Although too constant memory never can
Forget the arched splendour of those brows Olympian

Which for a little season made my youth
So soft a swoon of exquisite indolence
That all the chiding of more prudent Truth
Seemed the thin voice of jealousy,—O hence
Thou huntress deadlier than Artemis!
Go seek some other quarry! for of thy too perilous bliss.

My lips have drunk enough,—no more, no more,—
Though Love himself should turn his gilded prow
Back to the troubled waters of this shore
Where I am wrecked and stranded, even now
The chariot wheels of passion sweep too near,
Hence!  Hence!  I pass unto a life more barren, more austere.

More barren—ay, those arms will never lean
Down through the trellised vines and draw my soul
In sweet reluctance through the tangled green;
Some other head must wear that aureole,
For I am hers who loves not any man
Whose white and stainless ***** bears the sign Gorgonian.

Let Venus go and chuck her dainty page,
And kiss his mouth, and toss his curly hair,
With net and spear and hunting equipage
Let young Adonis to his tryst repair,
But me her fond and subtle-fashioned spell
Delights no more, though I could win her dearest citadel.

Ay, though I were that laughing shepherd boy
Who from Mount Ida saw the little cloud
Pass over Tenedos and lofty Troy
And knew the coming of the Queen, and bowed
In wonder at her feet, not for the sake
Of a new Helen would I bid her hand the apple take.

Then rise supreme Athena argent-limbed!
And, if my lips be musicless, inspire
At least my life:  was not thy glory hymned
By One who gave to thee his sword and lyre
Like AEschylos at well-fought Marathon,
And died to show that Milton’s England still could bear a son!

And yet I cannot tread the Portico
And live without desire, fear and pain,
Or nurture that wise calm which long ago
The grave Athenian master taught to men,
Self-poised, self-centred, and self-comforted,
To watch the world’s vain phantasies go by with unbowed head.

Alas! that serene brow, those eloquent lips,
Those eyes that mirrored all eternity,
Rest in their own Colonos, an eclipse
Hath come on Wisdom, and Mnemosyne
Is childless; in the night which she had made
For lofty secure flight Athena’s owl itself hath strayed.

Nor much with Science do I care to climb,
Although by strange and subtle witchery
She drew the moon from heaven:  the Muse Time
Unrolls her gorgeous-coloured tapestry
To no less eager eyes; often indeed
In the great epic of Polymnia’s scroll I love to read

How Asia sent her myriad hosts to war
Against a little town, and panoplied
In gilded mail with jewelled scimitar,
White-shielded, purple-crested, rode the Mede
Between the waving poplars and the sea
Which men call Artemisium, till he saw Thermopylae

Its steep ravine spanned by a narrow wall,
And on the nearer side a little brood
Of careless lions holding festival!
And stood amazed at such hardihood,
And pitched his tent upon the reedy shore,
And stayed two days to wonder, and then crept at midnight o’er

Some unfrequented height, and coming down
The autumn forests treacherously slew
What Sparta held most dear and was the crown
Of far Eurotas, and passed on, nor knew
How God had staked an evil net for him
In the small bay at Salamis,—and yet, the page grows dim,

Its cadenced Greek delights me not, I feel
With such a goodly time too out of tune
To love it much:  for like the Dial’s wheel
That from its blinded darkness strikes the noon
Yet never sees the sun, so do my eyes
Restlessly follow that which from my cheated vision flies.

O for one grand unselfish simple life
To teach us what is Wisdom! speak ye hills
Of lone Helvellyn, for this note of strife
Shunned your untroubled crags and crystal rills,
Where is that Spirit which living blamelessly
Yet dared to kiss the smitten mouth of his own century!

Speak ye Rydalian laurels! where is he
Whose gentle head ye sheltered, that pure soul
Whose gracious days of uncrowned majesty
Through lowliest conduct touched the lofty goal
Where love and duty mingle!  Him at least
The most high Laws were glad of, he had sat at Wisdom’s feast;

But we are Learning’s changelings, know by rote
The clarion watchword of each Grecian school
And follow none, the flawless sword which smote
The pagan Hydra is an effete tool
Which we ourselves have blunted, what man now
Shall scale the august ancient heights and to old Reverence bow?

One such indeed I saw, but, Ichabod!
Gone is that last dear son of Italy,
Who being man died for the sake of God,
And whose unrisen bones sleep peacefully,
O guard him, guard him well, my Giotto’s tower,
Thou marble lily of the lily town! let not the lour

Of the rude tempest vex his slumber, or
The Arno with its tawny troubled gold
O’er-leap its marge, no mightier conqueror
Clomb the high Capitol in the days of old
When Rome was indeed Rome, for Liberty
Walked like a bride beside him, at which sight pale Mystery

Fled shrieking to her farthest sombrest cell
With an old man who grabbled rusty keys,
Fled shuddering, for that immemorial knell
With which oblivion buries dynasties
Swept like a wounded eagle on the blast,
As to the holy heart of Rome the great triumvir passed.

He knew the holiest heart and heights of Rome,
He drave the base wolf from the lion’s lair,
And now lies dead by that empyreal dome
Which overtops Valdarno hung in air
By Brunelleschi—O Melpomene
Breathe through thy melancholy pipe thy sweetest threnody!

Breathe through the tragic stops such melodies
That Joy’s self may grow jealous, and the Nine
Forget awhile their discreet emperies,
Mourning for him who on Rome’s lordliest shrine
Lit for men’s lives the light of Marathon,
And bare to sun-forgotten fields the fire of the sun!

O guard him, guard him well, my Giotto’s tower!
Let some young Florentine each eventide
Bring coronals of that enchanted flower
Which the dim woods of Vallombrosa hide,
And deck the marble tomb wherein he lies
Whose soul is as some mighty orb unseen of mortal eyes;

Some mighty orb whose cycled wanderings,
Being tempest-driven to the farthest rim
Where Chaos meets Creation and the wings
Of the eternal chanting Cherubim
Are pavilioned on Nothing, passed away
Into a moonless void,—and yet, though he is dust and clay,

He is not dead, the immemorial Fates
Forbid it, and the closing shears refrain.
Lift up your heads ye everlasting gates!
Ye argent clarions, sound a loftier strain
For the vile thing he hated lurks within
Its sombre house, alone with God and memories of sin.

Still what avails it that she sought her cave
That murderous mother of red harlotries?
At Munich on the marble architrave
The Grecian boys die smiling, but the seas
Which wash AEgina fret in loneliness
Not mirroring their beauty; so our lives grow colourless

For lack of our ideals, if one star
Flame torch-like in the heavens the unjust
Swift daylight kills it, and no trump of war
Can wake to passionate voice the silent dust
Which was Mazzini once! rich Niobe
For all her stony sorrows hath her sons; but Italy,

What Easter Day shall make her children rise,
Who were not Gods yet suffered? what sure feet
Shall find their grave-clothes folded? what clear eyes
Shall see them ******?  O it were meet
To roll the stone from off the sepulchre
And kiss the bleeding roses of their wounds, in love of her,

Our Italy! our mother visible!
Most blessed among nations and most sad,
For whose dear sake the young Calabrian fell
That day at Aspromonte and was glad
That in an age when God was bought and sold
One man could die for Liberty! but we, burnt out and cold,

See Honour smitten on the cheek and gyves
Bind the sweet feet of Mercy:  Poverty
Creeps through our sunless lanes and with sharp knives
Cuts the warm throats of children stealthily,
And no word said:- O we are wretched men
Unworthy of our great inheritance! where is the pen

Of austere Milton? where the mighty sword
Which slew its master righteously? the years
Have lost their ancient leader, and no word
Breaks from the voiceless tripod on our ears:
While as a ruined mother in some spasm
Bears a base child and loathes it, so our best enthusiasm

Genders unlawful children, Anarchy
Freedom’s own Judas, the vile prodigal
Licence who steals the gold of Liberty
And yet has nothing, Ignorance the real
One Fraticide since Cain, Envy the asp
That stings itself to anguish, Avarice whose palsied grasp

Is in its extent stiffened, moneyed Greed
For whose dull appetite men waste away
Amid the whirr of wheels and are the seed
Of things which slay their sower, these each day
Sees rife in England, and the gentle feet
Of Beauty tread no more the stones of each unlovely street.

What even Cromwell spared is desecrated
By **** and worm, left to the stormy play
Of wind and beating snow, or renovated
By more destructful hands:  Time’s worst decay
Will wreathe its ruins with some loveliness,
But these new Vandals can but make a rain-proof barrenness.

Where is that Art which bade the Angels sing
Through Lincoln’s lofty choir, till the air
Seems from such marble harmonies to ring
With sweeter song than common lips can dare
To draw from actual reed? ah! where is now
The cunning hand which made the flowering hawthorn branches bow

For Southwell’s arch, and carved the House of One
Who loved the lilies of the field with all
Our dearest English flowers? the same sun
Rises for us:  the seasons natural
Weave the same tapestry of green and grey:
The unchanged hills are with us:  but that Spirit hath passed away.

And yet perchance it may be better so,
For Tyranny is an incestuous Queen,
****** her brother is her bedfellow,
And the Plague chambers with her:  in obscene
And ****** paths her treacherous feet are set;
Better the empty desert and a soul inviolate!

For gentle brotherhood, the harmony
Of living in the healthful air, the swift
Clean beauty of strong limbs when men are free
And women chaste, these are the things which lift
Our souls up more than even Agnolo’s
Gaunt blinded Sibyl poring o’er the scroll of human woes,

Or Titian’s little maiden on the stair
White as her own sweet lily and as tall,
Or Mona Lisa smiling through her hair,—
Ah! somehow life is bigger after all
Than any painted angel, could we see
The God that is within us!  The old Greek serenity

Which curbs the passion of that
Magick 13

My rhymes periglacial slash through foes ****** leavin' corrupted maxillofacial stay laced with the coco
Til my nose blow out nothing but deadly keys makin' monopolies at ease see my desert ease
Could make the devil freeze with the beautiful ephipanies laid though my flow cinematography ain't no fictions here G
My pedigrees been deadly since the age of three
First sips of Hennessy pictured a glare of my enemies stories of me biblically
Born a David killin' Goliath's society defiant
Knock down the orders in the cornered borders
Of the Jesuit I'm the black Pope
Elope to the celestials gods that rope
My mind hanging on to the highs of the ****
Better yet the marijuana sneaky as an anaconda
Once I tighten cells begin biting
Fighting tryna stay alive like Bee Gees
Fiendin' for my lost dynasties kin to Nefertiti since I ****** on *******
As a baby I got a taste of the universe thoughts deeper than a hearse words hurts exciting flirts beating all perks through my vengeful works
My alias an archangel leave the game triangled Titan mentality dribble like Cousy so you might loose me?
Sick with the tracks axe minds like Moses to the red sea  knockin' down Rome legacy
Back on top like the greatest plot dimensions traveler like Bishop
Capitalizin' land plots I be the Black Wieshaupt
749

All but Death, can be Adjusted—
Dynasties repaired—
Systems—settled in their Sockets—
Citadels—dissolved—

Wastes of Lives—resown with Colors
By Succeeding Springs—
Death—unto itself—Exception—
Is exempt from Change—
Vidur Khanna May 2016
Witness the unknown
Reach the unforeseen
Travel,to live
Penniless and Excited.

Burn the midnight oil
Drifting through subconscious visions
Toil, for such majestic realms
Penniless and Excited.

When hunger strikes
Kingdoms, rather Dynasties, fall
For the ever growing appetite
A man hunts
Penniless and Excited.

That sweet spot, a special place
Where love is felt
To live, love
Penniless and Excited.

Travel.
Dream.
Hunt.
Love.
Penniless and Excited!
Julian Aug 2015
The haystack is the needle and the iceberg is compact
Scions of attrition tremble before the contract
Jaundiced world-weary tears lament the frailty of days and the evanescence of years
Senescence a cruel destruction, distracting garish comfort escorting the fears
Displaced and forlorn love beckons a second chance
Itinerant hopes know no commitment to simple embezzled parlance
Of dice and kin, nepotism’s high-roller antics are the linchpin
Frittered patience staking its bets on internecine dynamics of skin
Affirmative traction of disenfranchised hopes rests on fallow seasons
Traduced mirage tantalizes until the activation of regaled treasons
Shock wed with dismay appoints the tutelage of prestidigitation
Juggled triage aborts an unborn reason and anoints intimidation
Aliens flummox the borders to enlist a new world disorder
Trailblazers succumb to lawlessness and for every dollar gained we lose a quarter
Chaos checkmates as power rests from decrepit hands foisting the meretricious brand
Cattle scorched and sheep scattered as the broken hourglass can no longer count sand
Time toppled serenaded by applause canned
Toppled pyramids blind the eye of providence in the hour of unheralded prominence
The terror of history unfurls the efflorescence of piracy as ghosts work to subvert the invisible hand
Next dictums emerge that say supply on command, and entropy desecrates the land
Phone home to arm the putsch, clone home for aliens we push
Revisionism subverts the instruction of years and empowers the apotheosis of fear and the fourth ***** of George W. Bush
Dynasties envy the anonymity of a bald-eagle cabal of skinhead guffaw
Irascible genocide cavorts under the premise of shock and awe
The lullaby of morons is flinching assent to the supremacy of the unelected and unassailable tyrants
Discarding covenants on the principle of principality and counting on every knight to become errant
Pyrrhic victory of the perverted cross corrals the flock
Openly announced secrets enable the aliens to dock
At the port they are greeted as the victors and granted not only amnesty but indemnity
They brandish the unprecedented concept of an enumerated infinity
To amuse the zero-sum victory they author a new history of utilitarianism dethroning deontology
To the future readers they make contrite apologies
But when the races of men are annihilated by the evil Zen boasting of its utilitarian ken
The rubble of time cannot ascertain exactly how or when
But on the dreaded hour the virus will conspire to elect the most reproachable power
When panic reaches crescendo all the sugar in the world cannot but help to taste anything but sour
Abort the tyrannical machine no matter how convincingly it preens
No matter how much bunkum elevates the enchanting prevarication while concealing the affairs behind the scenes
Voting for balkanized splinters designed to weather the winter sustains the monopoly of sophistry
Ballyhoo saturates the airwaves and suddenly catcalling becomes gallantry
Tune out the pulpit, divest the culprit and impugn systemic venality
Dismantle the verisimilitude of shadows and hoist a giant mirror to reflect stark realities
Cue the curtains fall, the specters grow tall, and the clout is daunted by establishment doubt
The skeletonized truth severs the root but the behemoth armed to the teeth wages a bout
Cartels conspire with arms and fire and resurrect stodgy tenets to prowl like an army of vampires
To feed a fatuous superstition and to empower a censorship of convenience to enthrone a dark empire
Cunning preponderance enlists divisive shills to let the ghastly thriller exact its thrills
Occult obscurantism funds the vulnerable and tramples over the outspoken to actuate its will
Hopes dashed, stocks crashed and strife abundant
Generational dissonance revokes the incumbents
Chapter one of this unsung war come and gone
Stay tuned for the next addendum to see what is lost and who has won.
RAJ NANDY Nov 2014
AN INTRODUCTION TO THE STUDY
OF HISTORY IN VERSE : PART ONE
              BY RAJ NANDY
              INTRODUCTION
The very mention of History brings to mind
many civilizations, its wars, with endless
succession of ruling dynasties and kings;
Its many dates and events, which appear to be
rather dull and boring!
“If history were taught in the form of stories, it
would never be forgotten”, said Rudyard Kipling!
So if a good teacher of History narrates those
events like a story within a broad chronological
frame work,
While skillfully linking the present in light of the
past;
Mentioning both important and lesser known
interesting facts to arouse the interest of his
class; -
History would be better appreciated by us!
Perhaps in its narrowest sense, History may be
viewed only as a chronological succession of
dates and past events!
But let me assure you that History is a dynamic
linear progression, adapting and evolving with
changing times,
As present recedes into the past all the while!
These changes could be environmental, socio-
economic, or political changes faced by mankind.
But we remain as a living part of History all the
while!
Yet while we live through History, we fail to realize
the impact we make upon history and time;
And this is perhaps the very magic and enigma of
History,
Which occasionally lends it a touch of mystery!
Our family album is a record of our history we
create and leave behind at the micro level;
Just as past civilizations have left behind their imprints
in their architecture, statues, literature, and works
of art at the macro level !
History breathes and speaks to us from the distant
past,
If only we could pause to hear its unspoken words,
As the Romantic poet John Keats had once heard!
Keats’  “Ode on a Grecian Urn” composed during
early 19th century, -
Harks back to the Classical Age of Greek History!
Keats waxes eloquent in his description of pastoral
scenes painted on the urn which lies frozen in time;
While Keats leaves behind his exalted and eternal
aesthetic message - ‘Beauty is Truth and Truth
Beauty’, - which shall outlive our mortal time!
So it is with History, like the Grecian urn the past  
remains eternalized in time with its lessons and
stories;
While it beckons us to unravel her mysteries!
For the historian, the architect, the geologist,
the anthropologist, scholars and the artist,
‘’History is a continuous dialogue between
the present and the past’’;
As observed by the English historian and
diplomat EW Carr.
Even though we cannot change the past, we can
surely absorb the lessons it has left behind for us!
The Spanish born American philosopher George
Santayana had said; -
“Those who cannot remember the past are
condemned to repeat it!”
The Dutch philosopher Soren Kierkegaard had
once remarked; -
“Life must be lived forward, but it can only be
understood backward.”
So let us learn from past History to create a
better future for humanity.
For the past gives us a sense of belonging
and an identity;
Since our very roots lie enshrined in History!
By the time you complete reading my entire
composition,
I hope to convert you into a Lover of History
by broadening your perception!

HISTORICAL BACKGROUND OF HISTORY!
Ancient Greece, the cradle of Western Civilization
during the 6th century BC, -
Saw the birth of Philosophy!
Thales of Miletus, Anaximenes, and Anaximander,
from the Greek colony of Ionia on the west coast
of Asia Minor,  (now Turkey)
Broke the previous shackles of all mythical and
superstitious explanations.
With their questioning mind and rational thinking
they sought,  -
To seek the real behind the apparent, and substance
behind the shadow;
By seeking natural and logical reasons for explaining
natural phenomena, -
Free from all previous religious and mythical
interpretations!
Thus, these Milesian School of thinkers in their quest
for truth with their intellectual lust, -
Gave rise to ‘philosophia’, Greek word for ‘love
of truth’, an early birth!
Subsequently, this newly born Greek Philosophy with
its progressive thoughts inspired scientific methods
of inquiry;
Along with Logic, trial by Jury, and the very concept
of Democracy!
The Greeks also inspired Literature, History, Tragedy,
Comedy, the Olympic Games, Astronomy, and Geometry!
Around 500 BC the Greek written script had stabilized,
going from left to right;
And the first addition of vowel letters by the Greeks
to the adopted Phoenician consonants, can never
be denied!
The first two Greek letters ‘alpha’ and ‘beta’ which
gave the name to our Alphabets forms a part of
early History.
Now Herodotus, during the 5th century BC, had
inherited this intellectual Greek Legacy!

HERODOTUS – ‘THE FATHER OF HISTORY’
Herodotus is said to have been born in the ancient
Dorian Greek city of Halicarnassus in south-west
Asia Minor, which is now Turkey;
During the latter half of 5th century BC!
During his days, the city was under the rule of Persia;
Since the Persians had captured the Greek colonies
in Asia Minor!
Frequent revolts by these colonies against the
Persians with help from Athens,
Made the Persian King Darius, and later his son
Xerxes, - decide to invade Athens!
The Persians also wanted to extend their Empire
into Europe across the Bosporus Strait, -
Which divided Asia from Europe in those days!

In 490 BC, when the massive Persian army of King
Darius landed at Marathon as assured victors;
The Athenian running courier Pheidippides ran
150 miles in two days, to seek help from Sparta!
Again later, he ran 25 miles from the battlefield
near Marathon to Athens, to announce that the
Greeks became the final victors!
This historic run by Pheidippides gave rise to the
discipline of Marathon, in our Olympic Games
later on!
Such Marathon runs are now held in many cities
of the world annually,
Thus we remain connected with our past as you
can clearly see!
Years later in 425 BC, Herodotus narrated these
invasions in his famous narrative ‘Histories’.
Cicero the Roman scholar, philosopher and orator,
Had called Herodotus the ‘Father of History’ many
centuries later!
Very little is known about Herodotus’ early life,
But from historical evidence which survive,
We learn about his stay in Athens, and his many
wanderings;
Visiting Egypt, Libya, Syria, Babylon, Susa in Elam,
Lydia, and Phrygia;
Collecting information which he called ‘autopsies’
or ‘personal inquiries’, and hearing many stories;
Prior to composing his famous ‘Histories’!

“THE HISTORIES”: HERODOTUS (430-425BC)
This was written in prose in the Iconic dialect of
Classical Greek,
Covers the background, causes, and events of the
Greco-Persian Wars between 490 and 479 BC.  
Scholars divided the entire work into 9 Books, with
each dedicated to a Greek Muse, - those goddesses
of art and knowledge,
Thereby the Homeric tradition they did acknowledge!
For example, Book-I was dedicated to Calliope, the
Muse of Epic Poetry, and Book-II to Clio, the Muse
of History.
Herodotus begins his narration with these following
words;-
“Here is the account of the inquiry of Herodotus of
Halicarnassus in order that the deeds of men not be
erased by time, and that the great and miraculous
works – both of the Greeks and the barbarians not
go unrecorded.”
Now Herodotus with his lucid narrative style, had
pioneered the writing of History with a specific
framework of space and time!
His style got emulated by later writers of History,
Who improved their narration with better authentic
source and methodology;
Thereby giving birth to the subject of ‘Historiography’.
(Historiography = critical examination of source & selection
of authentic material, synthesis of particulars into a narrative
whole, which shall stand the test of critical methods.)

HERODOTUS’ ‘INQUIRY’ GAVE BIRTH TO ‘HISTORY’!
The ancient Greek word “historia” meant ‘knowledge
acquired by investigation or inquiry’’, and the Greek
‘histore’ meant ‘inquiry’.  
It was in this sense Aristotle later used it in his ‘’Inquires
on Animals’’- during the 4th Century BC;
And this mode of ‘inquiry’ later became ‘History’!
The term ‘History’ entered English language in 1390
as a “record of past incidents and story”.
However, the restriction to the meaning “record of
past events” only, came during the 15th century.
But the German word ‘Geschichte’ even to this day,
Means both history and story, without making
distinction in any way!
Since the story element remains inbuilt in all historical
narrations,
And also remains as a tribute to its author’s creation!
CONCLUDING PORTION WILL BE POSTED LATER AS
PART-TWO. Thanks, - RAJ NANDY.
**ALL COPY RIGHTS WITH THE AUTHOR RAJ NANDY,
OF NEW DELHI
Friends, this is a short intro. to the subject of History in Verse, composed in a simplified form. The concluding portion will be posted later as Part Two. Hope you like the same! In case you like it, do recommend to your other friend! Thanks, -Raj
Steven Fortune Apr 2014
(Inspired by article below)

I.

Continuity
your filibuster egg of sand
dazzled curiosity
with creaky shell of hints
heaped upon the tedium
of knowledge's unfurl undeterred
by encyclopedic impatience

Assurances of rip(Van Winkl)ed
economics shooed paper strings of
revelation like anarchy-powered
taxes summoning a foreword
to anachronistic campaigns
of environmental friendliness

II.

Meanwhile years
have been filed down to flashes of
chronology for continuity's organic rebus

However long it took
the economic karma to fall into the
abodes of hedonistic pharaohs
it was instant

Skin that ruled behind the constitution
of allergic breath
bailed on the bones against their most
sublime intentions

Limbo-treading landlords
huddled in their mummified freeze
after breadline bashers scolded them
with the spoils of a new brand
of pyramid scheming

Robbers of the coffin palaces
stole the intimations of identity
theft from today

Immortality and freedom
were compelled to share a meaning
like estranged siblings
or bound dynasties

I(a).

Abydos
how you coyly toyed with us
with a diversion bordering on monolithic

04 23 14
http://www.independent.co.uk/news/science/archaeology/news/valley-of-the-other-kings-lost-dynasty-found-in-egypt-9065551.html
Liam C Calhoun Aug 2015
She paves the path
Of dynasties carved
With buckets of sludge upon back;
Bent, not unlike her mother’s limb,
But under shinier red flags,
Cloth coated, with lesser blood.

She’d had a hint of gray
She’d not had last time,
She had a newer limp
She’d not had last time,
Her ***** furthered from firm,
Reaching for the ground, a promise,
In years to be wed with,
And yet the underneath
Of it all remained as radiant
As any sun’d ever been;

And come the cloudy day she leaves,
Even mine own eye
Will remain far from dry
As I’d remember freshly cured bacon,
And her tender chopsticks offering life;
She’d saved me once, she’d save me again.
A friend of mine once said, "you can choose your friends, but you can't chose your family." I call ******* on that one. Zhang Jin Mei is my another-other-mother, and I'll never forget her.
From Brooklyn, over the Brooklyn Bridge, on this fine morning,
     please come flying.
In a cloud of fiery pale chemicals,
     please come flying,
to the rapid rolling of thousands of small blue drums
descending out of the mackerel sky
over the glittering grandstand of harbor-water,
     please come flying.

Whistles, pennants and smoke are blowing.  The ships
are signaling cordially with multitudes of flags
rising and falling like birds all over the harbor.
Enter: two rivers, gracefully bearing
countless little pellucid jellies
in cut-glass epergnes dragging with silver chains.
The flight is safe; the weather is all arranged.
The waves are running in verses this fine morning.
     Please come flying.

Come with the pointed toe of each black shoe
trailing a sapphire highlight,
with a black capeful of butterfly wings and bon-mots,
with heaven knows how many angels all riding
on the broad black brim of your hat,
     please come flying.

Bearing a musical inaudible abacus,
a slight censorious frown, and blue ribbons,
     please come flying.
Facts and skyscrapers glint in the tide; Manhattan
is all awash with morals this fine morning,
     so please come flying.

Mounting the sky with natural heroism,
above the accidents, above the malignant movies,
the taxicabs and injustices at large,
while horns are resounding in your beautiful ears
that simultaneously listen to
a soft uninvented music, fit for the musk deer,
     please come flying.

For whom the grim museums will behave
like courteous male bower-birds,
for whom the agreeable lions lie in wait
on the steps of the Public Library,
eager to rise and follow through the doors
up into the reading rooms,
     please come flying.
We can sit down and weep; we can go shopping,
or play at a game of constantly being wrong
with a priceless set of vocabularies,
or we can bravely deplore, but please
     please come flying.

With dynasties of negative constructions
darkening and dying around you,
with grammar that suddenly turns and shines
like flocks of sandpipers flying,
     please come flying.

Come like a light in the white mackerel sky,
come like a daytime comet
with a long unnebulous train of words,
from Brooklyn, over the Brooklyn Bridge, on this fine morning,
     please come flying.
Connor Apr 2015
Triumphantly raised colorful flagpole insignia dynasties
of this country and that country and other country
destroying each other territorial
like rabid animals and house pets.  
Atomic bomb cat food will feed us full
in fallout by the end!
Meeeee-oww!
Mermaid Jun 2013
You are there in the centuries,
standing on the hottest sands

face of illusion, higher civilizations
everyone tried to understand,

For you they wrote so many poems,
books and pages, history archives

the unbearable block stone can't hide
what you have inside your cold womb.

Pharaohs, kings and dynasties are
there to come and go as shadows,

Embraced by you their faces remain
deep in underground finding the truth,

but you still live proudly with the time,
until existence of the earth and sun
return you to the ashes of greatest love song.


-nour-
June-013
Gods1son Feb 2019
My black is beautiful
And there is nothing in me that is evil
My black is not synonymous to darkness
Look into my blackness and behold brightness

I have an unwavering consciousness of who I am
Self-aware of my innate abilities
I belong in a line of dynasties
Regardless of my height, I stand tall

No matter what they see through their lenses
I am a description of what excellence is
I don't crack
I lead the way, I create the tracks

I'm not from a dark world
I'm illumination in this shady world
Solution I am, dissolving any problem
I'm unstoppable... Greatness is my emblem

Opinions don't move me
I cruise my own boat
I love good clothings but
Melanin is my favorite coat

I'm a seed of greatness
And that's what I'm going to sow
My heart is clean and pure like the snow
Yes I'm black, if I come to this life again, it shall be so
I
Only a man harrowing clods
In a slow silent walk
With an old horse that stumbles and nods
Half asleep as they stalk.

       II
Only thin smoke without flame
From the heaps of couch-grass;
Yet this will go onwards the same
Though Dynasties pass.

       III
Yonder a maid and her wight
Go whispering by:
War’s annals will cloud into night
Ere their story die.
Vivian Jan 2015
liquid crystal display
glimmering salacious self-imagery at you,
your lips parted and breath
staccatoing along, flitting just
behind the beat, like your aunt's
first dance at the wedding reception (before
she's had enough to drink) or
her last (when she's had
too much)
she was in the passenger seat
on our drive homeward, leaning in
to the driver's seat conspiratorially,
oblivious to your beauty splayed out
exhausted in the backseat.
"she's my
baby niece, and you better not
**** with her
heart, you hear me missy?"
and I assured her I wouldn't as you
laughed and laughed, bell peals
in the backseat and church bells
echoing in my ear, past and possible
future, sodium vapor lights
slipping away along the highway as
your aunt slid back into the passenger seat.
"so"
"so"
"she's quite a
character," I say, bemused, and your
eyes crinkled at the corners like
newspaper redesigned during crumpling as
kindling for the fire, blue and blue and blue
in the backseat.
"that's true"
"just like you"
"just like me" you agree,
crossing your legs, legs that go on
for dynasties in thigh highs and
your dress riding up too high for my eyes
to focus on the taillights ahead of us when
paradise is in the rearview:
love is
cold lobster bisque
in a big bowl in bed in the morning,
two spoons and a carton of orange juice
arrayed on the covers atop our
entangled legs.
Scientists researching nature and man,
sing, Muse Kalliope, about arcane progress
of inventive magicians, wizards, druids,
philosophers, alchemists, and physicists,
bright curious people who study our world
and organize knowledge in holy books
to record wisdom gleaned by supple minds
as they experiment on sacred quest
to discover truth and invent better ways
we perform tasks to rule civilization
that programs actions of each crafting hand.
While Homeros once sang of manic rage
and versatile wiles, Hesiodos of gods,
Valmiki of loyal love, Vyasa of conflict,
Lucretius of atoms, Vergilius of arms,
Ovidius of bodies transforming shapes,
Ferdowsi of wisdom and civilization,
Dante of punishment and search for faith,
Chaucer of lust and fierce desire to live,
Ariosto of chaos, Tasso of order,
Camoens of discovery, Spenser of virtues,
Shakespeare of outrage at horror of death,
and Milton of paradise lost and found,
I, Surazeus, inspired by Muses sing
of philosophy, science, and inventions
when curious men and women observe nature
and seek to comprehend physical laws
that govern vital scheme of evolution
transforming matter of swirling universe
in galaxies, stars, planets, and conscious life.
Why are heroes in ancient tales poets sing
warriors who fight and **** in brutal wars,
biggest, strongest, meanest, and wiliest men
who wield weapons of death, and crown themselves
god-kings, then claim divine right to rule lands?
Ten thousand years men argued and fought wars,
joining groups lead by men who organize
gangs to battle for control over land,
following men with loyal obedience
who comprehend best how rich nature works,
and perceive future possible events
when they analyze situations well
and build strong forts for well-trained warriors
to occupy strategic points on hills
that guard close fresh-water rivers and lakes.
Warriors who founded dynasties of kings
play grand roles of power on martial stage
of history, killing tyrants and thieves,
and decree rules that foster common good
to stabilize smooth social interactions
between groups, manage prosperous production
of commercial enterprise on lush farms,
and support design of religious art
in songs and plays that relate noble deeds
of great hero who founded nation state.
Yet every great hero king, mortal man
who inhabits body of flesh and blood
like us, grows old, dies, and crumbles to dust,
and power of his personal authority
dissolves in wind that howls in empty halls,
and all his grand Ozymandian boasts
echo dumb over waste land of his works.
New generations rise who fight again,
arrayed and lead by power-hungry kings
to impose their world view on other groups,
and millions die in brutal fights for power
in endless cycles of destructive wars,
so fighters fail to provide secure way
that constructs stable secure social state
where all individuals prosper and thrive
pursuing personal dreams for happiness.
While warriors fought each other for power
and fame, to play gods on stage of history,
humble men and women, seeking solutions
to solve problems, discovered sacred laws
of nature, and expressed visions of life
to state concepts that explain how things work.
While mad warriors destroy to gain control,
wise philosophers and genius scientists
ask questions, conduct research, observe nature,
state hypotheses, conduct experiments,
analyze data, and develop theories
to describe how our universe operates,
created in process of cause and effect.
While warriors destroy, scientists create
better ways to comprehend and describe
complex universe that nourishes our souls,
so clever thinkers and builders through time,
who search for truth beyond outdated modes
of linguistic models, and build world views
that assist people struggling to survive
by providing accurate facts about life,
are true heroes who build civilization.
Nations base myths of their right to exist
on founding fathers, empires on bold kings
who ****, and religions on peaceful prophets
who teach social rules of moral behavior,
while science builds theories of observed facts
on exact research of philosophers
and scientists into true nature of things.
I sing of scientists, who observe nature
and develop clear theories to describe
how our universe works, rather than warriors
who fight and ****, because their honest work
constructs Temple of Truth secure on facts
which shelters us from storm of social chaos,
preserving peace inside strong garden walls.
I am writing an epic poem about the lives of philosophers and scientists I call Hermead.

This section is the opening lines of the Invocation in the first book called Wisdom of Athena.

Book Page: http://facebook.com/Hermead
Buy Volumes: http://tinyurl.com/Hermead

The following is a list of philosophers whose lives are narrated in the Hermead.

Wisdom Of Athena
Lyre Of Hermes
Fire of Prometheus
Alphabet Of Kadmos
Healing Of Asklepios
Chaos Of Zethos Hesiodos
Water Of Thales
Map Of Anaximandros
Measurement Of Pythagoras
Change Of Herakleitos
Forms Of Parmenides
Mind Of Anaxagoras
Roots Of Empedokles
Atoms Of Leukippos
Void Of Demokritos
Ideas Of Aristokles Platon
Causes Of Aristoteles
Garden Of Epikouros
Library Of Demetrios Phalereus
Spheres Of Arkhimedes
***** Of Ktesibios
Parallels Of Eratosthenes
Globe Of Krates
Astrolabe Of Hipparkhos
Hedonism Of Philodemos
Swerve of Lucretius
one of the Orient’s oldest
and most beautiful important cities
inhabited for thousands of years
by generations after generations
of craftsmen, merchants, artists, dynasties,
famous architects of all styles and religions,
the western end of the old silk road
home to over 2 million citizens
until not long ago

a few weeks of modern warfare
were enough to destroy
what hundreds of generations had built
for their living as well as their sense of beauty

     rockets exploded churches, temples, and mosques
     artillery pulverized ancient palaces and new houses

     barrel bombs and poison gas
     killed the people

on tv we now see acres of urban wasteland
miles of rubble with no life
except for occasional tanks and soldiers
proclaiming victory over these ruins
in the name of a dictator whose regime
has become a puppet in global power games
no matter what the cost in lives or things

     to destroy is easy
     building things up is hard work

     with friends like these
     who needs enemies
For this ancient city as it used to be, see: https://en.wikipedia.org/wiki/Aleppo
Jenn Gardner Sep 2011
as you trod upon your floral dream-world
pierots on pillows gaze.
watching you with
intent.

peonies are being pulled back beneath,
the false divider, between
earth and fire.

barriers.

are simply states of your soul stuck watching,
divine totems decapitate themselves
instead of succumbing to
slumber.

the blades on which you rest end abruptly.
leaving only an ancient path within.
lost somewhere between dying
dynasties.

there is a hole in the dirt where gravity sings,
to cobblestone satellites scanning
the skies.

for more than a sign that knowledge need not be,
a colossal misconception...
transcending

even the most distant star cluster.
substitute your mind for the divine presence
open you eyes and gaze upon the unknown
I speak for a plethora of overgrown gardens
are we cartons of cigarettes or bundles of sweetgrass
answers like these are never necessary
yet we borrow everything from life's apothecary
i am among the tired lions
who offer their music to your dynasties
its a weekend campaign finance escapade
to bring farms to your table and then go back to the basics
i wish you could see the benefits
that only exist beyond these earthly dimensions
for limits expand whenever we question them

I give thanks for the earth
i give thanks for the trees
i give thanks for the mother
i give thanks for the bees
i give thanks for the soil
i give thanks for the work
i give thanks for the passion
i give thanks for the hurt
i give thanks for the smiles
i give thanks for the children
i give thanks for the flowers
i give thanks for the silence
i give thanks for the power
i give thanks for the rain
i give thanks for the sunshine
i give thanks for the pain
i give thanks for the anger
i give thanks for the rage
i give thanks for the strength
to never separate myself from you
Nikkita Jan 2020
I.
In the land far away,
where the feared knight
still roams night and day,
forgetful of his steed and might,
I lay in forgotten stones.
In this ancient coffin, my abode,
I listen to whispered tones,
from ages and times, about
to lose their pale.
The scratched tapestries unveil.

II.
When this tragedy is tangled no more,
I will sleep my rest,
closed eyes with sore,
and a hounding pest
at my feet that plucks me apart.
If without a scream I shall lose,
my sense of being, my heart ****
with the anguish of my dearest Muse.
The chivalrous soul of mine,
would disappear in time.

III.
A fatal blow would prove to be,
the sorrows of my people, my love,
for they hold out candles out for me
when sways in wind a pale dove.
Without this lighthouse,
just like a corsair without his men,
- my fires ***** and douse
quick as they darken -
Foreigner of the people that once were.
Stranger of his neighbors, fellow pair.

IV.
All this I uncover in our misty
and dying chronicles,
that seep from the attic, a dusty
worm-filled hole with obstacles
thrown all around.
Somehow, the sulfuric hand
guided and bound
me to this newfound land.
Now, I leave my diary to rot
with the rest of this abysmal lot

V.
and see for my self I will,
through the eyes
of great delight, that still
thank the Lord for the rise
of my homeland, my dear Spain.
So speak to me, not through whispers,
but thunderous march. In vain,
I've called out to you, disperse
my puny efforts and become real
or my crust, my shell you'll peel.

VI.
Forever, for forever engravings
shall burn with lushness,
the tint and stings
on my canvas. Redness
eaten away by heroic equals.
Forever, for forever I wear
this cloak unwrapped. Rumples
or smiles come up. I spare
them of their rugged hatred.
Here I come, my love, forever sacred.

VII.
While birds have sung
their heart's quaver,
from threads, I hung
not to waver.
The one leading, guiding,
and scheming my escape,
the one who brought me to the brink
of death, as Zeus tried to ****
Europa so did Mother Nature.
Her vivid corpse cold as a glacier

VIII.
I've kissed countless times.
She brought the beast back to life,
like a beggar awarded with dimes.
Now I've caught up to the strife,
the woe that plagues me I've seduced
with frisky moments, and pedant
efforts to capture the spruced
scene that grows around. Hesitant,
my chimera has become.
I await the return of the lost one.

IX.
En Plein air, that's how they call
my unhinged creations,
when behind the marble wall
a mess of colors invokes sensation.
While my dreams still lure
me to believe far voices,
some have caught here for sure
and my attention poses
openly to these claims.
So I have taken a few new names.

X.
Heat shines
among the littered bricks,
that shape these cheerful chimes
and clouds puff and huff. Cheeks
of young and fertile women
reflect the solar flare
that forecasts a prosperous omen
about to arrive and meet my stare.
Beautiful, sweet, and sunny. See
them exit my breast free.

XI.
Smite me almost did Saint Peter
when into his otherworldly
palace naive and eager
I walked boldly
on thin ice for a silhouette,
****** Mary, I thought at first
I saw. Godly choral, a duet,
with a phantom throat, full of thirst,
I couldn't quench
and closed shut, the hinge

XII.
wouldn't move.
Truth be told, I was in heaven.
Bliss and sooth
fell on my shoulders. Raven
of doubt, nowhere near.
This is it, come here, my angel.
A single tear
drowned in a bust stable
with years. But the second
briskly happened.

XIII.
No more could I look at her
with these sinful hopes.
Bind her figure and tear
that coal habit. Robes
of pure essence
defend from ***** folk.
They shine of transcendence
that God willed to stalk
their highness.
Look could I look no more, no less.

XIV.
Steps turned to miles
from wings, I stole.
Once church's tiles
now are a single pole.
Like a chess piece
without the restrains
of playful dynasties.
Still, it pains
me when I escaped
and the way I paved.

XV.
Here I notice
your toppled towers.
Giants left this
as a reminder. Showers
of needles deep in your skin
I enter and cry.
Where did it begin?
I ask while I sigh.
My lips against yours
where attack did sores.

XVI.
Final light
shines through your veins
as I uncover what's right
while stains
of buckets of blood
collide with my
own sacrifice. Flood
hardens my tie
to you, dear Barcelona.
I become one with your persona.
Lewis Bosworth Mar 2017
Cain slew Abel –
Thus began the parade of
Characters whose dynasties
We remember, who decorate
Our memories.

Abraham –
He gave us all the stars
In the sky, a greater lineage
Than the grains of sand
Slapped by seas.

Moses –
The babe in the bulrushes,
The prince turned traitor
Whose whiplashed back
Parted the Red Sea.

Tempus fugit –

Geo Washington, Thos
Jefferson, Alex Hamilton –
Madison, Adams, Franklin –
Minds who created, who
Dreamed, who begat.

How many names we find
In those first tumultuous
Years – warfare and love,
Duels and decadence,
Politics and party.

Scant years later, across
The pond – revolution is
Catching on – les français
Waged a ****** scene,
Ousting the régime.

What would become a
Baby democracy – birthed
More than one new flag
And song – yet lived to
Fight again and bleed.

History is ours to hear –
We respect the honorable,
Honor the drama, revere
The prudent and refight
The battles.

The District of Columbia
Paints a new canvas – she
Sings off key, her promises
Begging for whitewash, her
Patrons vice and folly.

What offspring will such as
These sire?  Are they fathers
To found a new nation – to
Garner worldwide pride, or
To slay the abled?

Let the wings of victory
Carry us back to the days
Of greatness – let us exceed
In probity and virtue – let
Freedom succeed again.


*©  Lewis Bosworth, 3-2017
Chris D Aechtner Nov 2021
Sun Tzu realized that razing an enemy to the ground can lead to long-term negative results for Empire, especially depending on that which fills the vacuum left behind. That can be observed in contemporary times with ISIS having filled the vacuum left behind in Iraq and Syria.

When showing too much presence in outlying territory that had been left alone as a neutral buffer between two opposing Dynasties, that can prompt the other to become nervous enough to attempt to mitigate an issue that it regards as a possible growing threat.

Also, regardless of location, imposing too much open hostility upon an enemy can eventually lead to the enemy becoming emboldened enough to rebel against the openly oppressive Empire. When imposing overt tyranny upon an outlying territory in what might appear as an immediately successful operation, that can lead to using too many resources to maintain that position in that way. The potential of troops can be lost when stationed as a permanent standing army in an area located far away from applicable future need; that holds true regardless of available technological advancements in transportation—from defended shipping canals and heavy calvary, to cargo planes and aircraft carriers.

Those are a few examples of possible problematic logistics when attempting to assimilate an enemy.

Within his diabolical brilliance, Sun Tzu expanded one of the main prongs in the “Three Pronged Approach”, injected the heavy metals of dark arts psychology into something that already had a foundation of psychology: Enforce will upon the enemy without the enemy realizing it, to the point that the enemy will help you to accomplish goals against itself, relishing in the effort with a sense of duty.  Subsequent experimentation led to permanently changing the face of warfare overall. Ever since, successful (subjective, depends on perspective) Empire, empires, nations, governments, and corporations use the tactic.

The Trident-Tongue of Perpetual Psychological Cultural Warfare:

The Target: Village surrounded with forest: society: a clearing in the woods:

Infiltrate the village as a messenger who bears warning of a powerful, dangerous enemy making its way towards the outlying territory where the target village is located. Sow fear. When enough villagers are afraid, offer protection against the “common enemy”. That protection is 1/10 of the resources necessary for an open, direct enforcement of will. Explain that the cure, the guardians, require lodging, food, and other basic needs as small payment for services rendered. Use mindgames on reluctant villagers.

When the village agrees, and your presence becomes common place—"normalized”—begin to plant ideas in the villagers, and that includes sowing doubt on your presence. The villagers begin to divide themselves into opposing groups against each other. One group believes that there isn't an approaching enemy, another group calls that group selfish, as going against the betterment of the whole. Another group suddenly believes that it isn't good to eat something that their ancestors had eaten for centuries. In the ensuing chaos, poison some of the village children. There are many fairy tales that include broken families, lost children, and attempts made to poison and eat children. Poisoning/destroying eggs in nests is a way to cull goose populations.

Once the enemy villagers are too broken to properly run the village, announce that the invading force has been spotted in a nearby valley, and that the villagers need to hide in the forest surrounding the village. There are bamboo enclosures waiting in the forest. Explain that the enclosures will offer defense to the villagers. After the villagers enter the enclosures, lock the villagers in the enclosures, and begin to ridicule the villagers for having fallen for the trap. Mock the villagers, spit on the villagers, laugh at the villagers. Remove pre-selected villagers from the bamboo enclosures, **** and ****** the targets in front of their caged families and friends. Have another group that consists of individuals sporting insignia, weapons, and armour that differ from the first group, pretend to scare off the first group. Release the villagers from their enclosures. Explain to the villagers that their former captors lied over there being an encroaching invading force in order to trick the villagers into the enclosures, and that you are willing to protect them against their former captors. Overjoyed, without being prompted to do so, the villagers offer much more payment than before for services rendered, so much so, that you 'sell' their own products back to them.

The villagers believe that their gods sent Sun Tzu's death knights in shining armour to them in an act of divine deliverance.
The villagers mindlessly follow and parrot every command and slogan issued forth from their supposed protectors.
The villagers don't remember village life prior to having been enslaved by their divine shepherds. The stages of demoralization, dehumanization, destabilization, crisis, crisis mitigation, and normalization have been completed. The villagers have burned the bowls in their skulls, are empty jugheads to fill with idea-petals of poverty, subservience, sickness, and death.

1/10 the amount of usual resources were used to secure the area in a sustainable manner. There weren't valuable troops lost in battle. Weapons and armour didn't need to be mended and retooled. Empire doesn't need to worry over revolt from the villagers, and the village works for Empire. When there is need to retool or replace weapons and armour, the village blacksmith does so in the belief that he is helping to protect the village against a common enemy.

The enemy villagers are injected with a new passion for a while, but break again under the strain of hyper-conflict that perpetual psychological cultural warfare causes in an infected individual. Use the good cop/bad cop psychology (the template and blueprint for contemporary politics and political systems) in various ways until Empire inevitably begins to devour itself. When Empire devours itself, the outlying provinces are the first to go as Empire implodes to protect its core. At that point, Big Brother had been selling the village's goods to caravans to spread the goods throughout neighbouring provinces. The wealthier that Empire becomes, the more that the consistently poorer target villagers offer to Empire: A tell-tale sign of an incoming Great Reset uncoiling from off the horizon, slithering down into valley basins filled with current moments.

Gaslight the villagers, blame and shame them for everything, squeeze them to their last guilt-drop before setting the villagers ablaze.


One of the Great Deceptions within the Grand Illusion is the delusion that there is constant need of the worker. A worker is useful in various ways in different seasons of bloom and wither. Within universal change, there are constants: The peasant doesn't bow to the King without bowing to the Queen before being ground into grain for winter stores, just as the worker honeybee drones are cast from the hive during winter—relish their death with a sense of duty fulfilled on the frost as snowflakes kiss their wings.

The broken villagers are useless to Empire, husks of their former selves. In the scenario of a neighbouring Dynasty approaching to feed in death knell, lock the villagers in their homes, and set them ablaze as decoy-beacons in the valley for the encroaching Dynasty.

The burning village is located in a bowl of ash surrounded in a steep, jagged-toothed mountain range. As the enemy Dynasty descends into the valley, you head westerly towards the third largest bastion in Empire's outer rings of defense.


Sun Tzu didn't come up with the concept on his own:

He retooled a trident that he found leaning against a scorched bamboo enclosure located in a long-forgotten forest.

                                                        ­     11 12 2021
I understand that it isn't a poem.
Wonthelimar, in the last transmigration that he planned from Nyons in the cavern on the eastern side of the Rhone, surrounded himself with mountains that dwarfed them with promiscuous caves of the Eygues. From these buckets as a margin of power and go referring to the nocturnal wind of the Pontias; created his fundamental tool of attraction of the Mementos de Cartography of the Seleucids, decomplexing the logistical notions of the Diadocos after having resuscitated and liberating Alexander the Great from a Cartesian Underworld in the manner of apocryphal late Aristotelianism, mechanizing existential dualisms of Hades with formulas and psychotropic and geometric tricks, licensing them theologies of habeas corpus, coexisting in the first instance with Etréstles de Kalavrita who would establish the term of definitive transmigration of Alexander the Great, so that between the Diadocos and Wonthelimar they would contend the final and disciplinary action to revoke the high arrest, transhuming the sovereign as Macedonian next to the Hexagonal Birthright finally very close to Saint John the Apostle and Vernarth in the vicinity of the Megaron Spilaion Apokalypseos.

The generals of Alexander the Great shared his legitimate Ark without royal titles, they were Perdiccas, Antipater, Craterus, Eumenes de Cardia, and others like the satraps who came to be proclaimed as kings; Antigonus, Ptolemy, and Seleucus. Residing the most substantial in this parapsychological saga in Vernarth; his brother Etrestles de Kalavrita who seconded and predestined his monolithic and constituent sovereignty of Polis, for the purpose of ruling and raising his Kopis and Xifos in the independence of aldehyde and alcoholic carbonyl residues emanated from the ferment of the Backhoi and Nepente, depositing LSD in substantial amounts. to align himself with Seleucus, and materially present himself in the sphere of Patmos as two representatives of both empires, one ancient Christian and the other Panhellenic, placing himself in that totalitarianism of Seleucus over that of Alexander the Great who was splendid in the cosmogony of a king similar to David of Judea, solvent and illustrious in the conception of Apological dynasty and identity, of Zeusian roots and of eternal numeral politics. In the quantitative of the champion of Alexander the Great revived on Patmos, the Mashiach of Gethsemane will continue to be deified with such a signature of both in ****** skies in two absolutist emperors and of dogmatic differential Pythagorean, propagandizing both dynasties with domains in regencies and different latitudes of the conceptual decision. Base, to refute proposals to follow them in part of anti-Alexandrian perplexities or opposed to marginalizing himself from following them after they abandoned him in Babylon. This was sensed in the confrontation between both forces of univocal polarization, for the good of one and the bad of the other of having to distract them from the proposal to enlist and harass dethroned kings on purpose from their deaths and revive them in others than in their own court of observers and bosses, they will only exist in the empty temples and idols without dates to know to avoid and in prevailing dates that will not happen.

Seleucus says: “Khaire my Commander…, unite the divine sanctuaries of Apollo, and take up the harangue of Tel Gomel with us disunited and lost by you. This dating will remain in the offices of reforming Macedonian armies and we will both command our generals in the Panhellenic dynasty, overall the heavenly armies that you will ever have here with fragile oracles confusing your divine blood! "

Wonthelimar, already manifesting from Nyons, lightened his Bucephalus bases, having a great somatic affinity with the bridles of Alexander the Great's steed, unraveling here a great mystery in his parapsychological regression directed from the cavern of Chauvet.

Wonthelimar says: “I have been confined with early Neolithic alloys, here I have dwelt livid among all your intrepid adventures channeling the axons and sketches of manifestations of superior cause and effect of correspondence of the ages and their Aeon and paleo-uncrossing precessions of you and your new death, from the Ardeche river together with Medea and Hypnos, among all of them being aerial, visionaries and northern lights who traveled to my redoubt to spray them in river waters, on the night of Agios San Ioannis. The gorges that swallow the seal of the Pontias, make rivers form with their name since the bulk of their waves of gusts are grandiloquent and robust like a gaseous river that becomes hydrological in larynxes where the wind is astonished when entering the concavity that it is wasted in its nature of time and qualitative content. Unusually I have been the progeny of organisms of rapture and cytological drama, in each one that is represented in these walls in which they are trapped next to me as tricks, and radiocarbon tricks by these vicissitudes, and of their actions that have dated my radiation of radioactive carbon in these caverns and so-called fourteen carbon spaces, for more than fifty million radiometric years. I lived here with my parents until as a child I stayed with my godmother, but one day my father did not return. From that moment on I became after the anticipated axial carbon, to keep myself as a torch in the caverns to see where no one was light but me, only of someone who was more than a dawn to illuminate what they wanted to know in my organic depressions, my trident of dating and carbon, by my parents and I in incisive philanthropy staining all the walls detesting the otherness that made me move towards a Wonthelimar; with dated apparitions and curtains that behind them always like gargoyles appeared before Hypnos, and then Medea, taking me as a child with her hands. When they left, I was left alone and patiently waited for them, when they did not return in the harsh winters they would send me Gerakis Falcons, to deal with your pain my lord Vernarth. In this field, I live, but now I am on my way to grasp the horns of the ibex, which took me to their lair with their goat colonies to give me milk and ursid ***** herbs that shielded me from a lethal genre, although not every day. Remain so. The lord that you will be now is the reflection of the bodyguard along with his ibex that will cordon off your rebirth after leaving the traces and rods of your bone marrow, spleen, and glandular that now belongs to me, to take you to the coldest waters that run inside me since the last ice age. The interference of the Diádocos tried to convince Alexander the Great, this is already a new rock piece to represent him in numismatics, walls, and ceramics in a predominant and complacent way of historical, shamanic record and of astonishing parapsychological fold that I have projected on the walls of Chauvet without your consent "

The new turn from Nyons to Patmos was one of the seizures and ecstatic agonies, for a former little prodigy boy and son of an Íbez and a Bucephalus named Wonthelmar, who comes to rescue the entelechies of someone who was an ignorant man who carried in his arms his divine death, without knowing that before she was eternal life waiting for her in the Katapausis, after building the Megaron and negotiating with Seleucus the evolutionary stylistics of the resurrected Alexander the Great in the flames of the candle enlisted in the night lanterns and united with Saint John the Theologian. Seleucus' talks will be one of the stubborn and ****** visits to persuade and catechize his major general, in periods that do not elapse in real-time, and that will be the fatal fate of his obstinacies because Vernarth was already a prodigal son of the Duoverso-Universe., whose basal was unparalleled in attacking their ideals and hegemonic settlements of the material of minimal cause and effect, a wonder of worthy to lean on invisible gods who at a great speed never seen before..., trafficked in front of every gap or shoulder of their destiny, wandering under a pendulum of a sword and under the support of the farmer, who held prey and meat between a lightning bolt and an elder that supports him, cushioning all earthly sufferings, even more coming out from the silence and the most hidden isolation of those who dare to release from the vaporous darkness of Chauvet, Wonthelimar, already forging paths and ups and downs from where no one comes or goes.
Metaphysic • Quamtum • Parapsychology • Regression
Brent Kincaid Dec 2015
It was a scam, a sham
The flimmiest of flams
There was more pork there
Than a Christmas ham.
It’s nothing but a racket
Stuff it all into a big packet
And put into a time capture
Leave it until the rapture
Where it can’t hurt anybody
Then, fix yourself a hot toddy
And laugh about how shoddy
Future folks will think we are.

They won’t be wrong by far.
They’ll marvel at how many
Candidates worth a penny,
Or less, showed up to run
Like the whole thing was fun
And better than a TV show.
How could they tumble for
Not that good of a governor
Didn’t know what lips are for
Or what to say on the floor
Yet some wanted her to run?

What fun the press had with
Filling up the internet bandwidth
With screeching permutations
Of tired old KKK reiterations
Of the wonderful Aryan nation
The South advocated before
We had us a big-*** ugly war.
It’s like they didn’t know they lost
And were prepared to pay the cost
To do it all over again, not just men
But women too, who shouldn’t do
Because they were not part of
The government to be started up.

It was rather Alice In Wonderland,
The fuzzy details of their whole plan.
Certain things were carved in stone.
Some should go back to an age of stone
And forever leave the real people alone.
Because they’d shout out now and then
That this world was meant for white men
To run and control and own. Nothing tribal.
They said it was written in their Bible
Which was obvious they never really read
Or they would know what it really said
About helping the poor, the halt and lame.

They went on doing harm in the name
Of the King of Passion and Rescue
Saying that was the wrong thing to do.
They insisted they could do what pleases
And it should have nothing to do with Jesus.
It’s all about who is rich and who is not
And who doesn’t need what they have got:
All the good land and the mineral rights.
The rest can just stay up nights working
Two jobs, maybe three, they didn’t care.
Those pundits had to start somewhere.
Let those dishwashers and caddies
Go get their own filthy rich daddies
To leave them accounts full of millions
So they could hire undocumented millions
To build their dynasties of marble and gold.
Really, folks. This story never gets old.
Travis Green Dec 2018
The smoothness of your brown skin
captivates my soul, hazel eyes so bold
and beautiful, a palace of romance and
sensual dreams, shimmering beams and
nightlife gleams.  

His sweet lips touch my skin so
peacefully, melodic vowels and
fascinating sounds, deep channeling
languages of sheer temptations,
harmonic creations.

I can feel the music inside his chests,
the dynamic beats drumming endlessly
around Neptune and Jupiter, explosive
Mars, spinning dynasties over magical
majesties.

To run my fingers through his dashing
dreads, wavy locks upon my heart,
an aura of celestial instruments
intensifying my flow.

To inhale the lucid lyrics all over
his body, taking in his world of
magnificent nations – the upbeat
rhythms traveling through the
cityscape, the flashing light
posts standing in glorious delight,
the midnight skies of love over
divine cuddling.

The phenomenal poetry gliding
on top of the balcony.  The
shimmering syllables sparkling
in the air.  The brilliant metaphors
bursting in celebration.  The
vibrating alliteration pounding the
pavement.  The swagging similes
dancing in the night.
asf Apr 2015
after the body has decomposed and decayed and is done being with being a body, the insects feast on the flesh, desperate for nourishment.

           1.  after: the close of
               decompose: to separate into parts
                decay: to decompose; to separate into parts; to rot
                 done: to be finished
                 feast: any abundant meal
                  flesh: the sweet, outer coating of a body
                   desperate: having an urgent need for nourishment: something that is necessary for life

First came the blowflies, then the maggots. They attacked you while you were breathing. They thought you were done: to be finished. They crawled in and out of your nostrils, through your gaping mouth, down your throat. Your body took the phrase "being eaten alive" too far.
          
             2. maggots: legless larvae of flies
                     attack: to set upon in a hostile or violent way
                        nostrils: holes in a face that helps a body: the physical structure of a material substance breathe
                        down: on or to the ground
                          throat: the part where insects run through and burrow and live in the not living

You're imprinted into the ground now, your ribs a perch for vultures to peck upon your carcass. Your skull is laced with sand and other sedimentary rock as a nice garnish. Bodies are strewn here, peppered with dynasties of dust, ancestry of asphalt.

           3. ribs: curved bones shaped like armor to protect the heart and other vital organs
                carcass: a human devoid of being
                   skull: the bony framework of a head
                      laced: the lightly draping of a thing
                       garnish: the supply with; to decorate; to lace: lightly drape a thing
                            ancestry: generations and generations of sediment forming into people forming into lives forming into experience forming into decay: to separate into parts


**~~a.s.f.
LycanTheThrope Sep 2015
“On the edge again.”

Why would you hurt something so grand?
RipRip
Dynasties were never meant to last
“How did you love her?”
How do I love him?
“No, her.”
The sky is her hands
"Why?"

Scrreeechh
Halted down to taste
“Taste what?”
A bit of my soul
...
Savor the colour
"It has colour?"
Mine does.
"How?"
With time.
"Time?"
Silver ebbing off the corner
“Souls have corners?”
Well they’re not ‘round

I didn’t plan to stay
Electric

Happy happy happy
“What do you see?”
Glass.
“Glass?”
No, water.
Shining to the sun
It’s a bit
  *shiver.

“How?”
Because he said so.
Chilly

“What do you feel?”
How did I fall?
“No, what do you feel?”
With the stars.
“Hm?”
I feel with the stars
“What?”
Past the burning lake
And into lust.

“Lust?”
No,
Reckless


“What do you hear?”
No
“How-”
Dull
“What?”
Numb.
All I hear is empty.
“Why’s that?”
Don’t you hear your heart echo too?

*“End of session”
psy·che
ˈsīkē/
noun
noun: psyche; plural noun: psyches
the human soul, mind, or spirit.
zebra Aug 2019
i'm unwinding my head
on
honey moon belly
******* carnivorous lozenges
falling in love with glazed
eye ball devils
hypnotic stare

destination
a tunnel of fiendish odysseys

blood drooling eel
vomits gush white
daddy long leg threads
in honeys wet cage
to wither
writhing spit hot
in fat muscle and bone
headless
head first
like a mindless falcon
after scattered mice

i feel her teeth tearing
syringes of ecstasy
ransacking swollen motion spirals
and ***** like bronz buckaroos
at a fancy pool party
crimson *** macabre
****** roast bon bon fire

licking her lump of desire
a rousing boogyman sermon
speaks in incinerating tongues
swallowing a hideous parfait

**** growl
girl squat
**** ****
mint julip throat
choke symphony
abducting lascivious pollinated gulps

take me in like reckless bull sap
through your red
dada warp land
pit of the brain
undulant flesh landscape
of shapeless ovule spume
mouthing night blows

Incised flagellation's
devour buffet spread maiden derelict
arched and trembling
drunk and drugged
like a buttermilk sky
groaning hysterical
in feral muck stained beds 
of puce and slime ochre pigments 

stunned umbra
a famished
deep veined jutting peninsula
longing for princess ***** dynasties
with vast thighs radiating inferno hearths
and rolling hill **** hieroglyphics
decipher rug pugilist lap songs

my goddess i long for your
bruised fruit
crawling like the dead of night
on pitch vanta shadows
where love becomes a savage
**** manga anime
Having arrived at Patmos, on the southeastern ***** of Skalá, Wonthelimar observed that the Seleucid ships were there. Already knowing of the myth of Seleucus and of his Divinity, since her mother Laodice, according to Vernarth's parapsychology parallel account, and aligned with Wonthelimar, that she had presumed that her son Seleucus had been conceived by carnal union with Apollo. These oracular dreams separated them from Vernarth, for a certain Antigone of the imperial Seleucid with the anchor of the ring that Apollo had captivated from the gematological extract, now wading in the quantum of Chauvet, which had been identified from Gaul.

Wonthelimar says: “from such a thigh such as a Vas Auric you will be anchored at your anchor, in a proud fallacy if you have been engendered by Apollo if it is that your mother temporizes in a hallway idyll or Antigone, and not of someone wearing a ring that smells like broken neo-Hellenic dreams in one that anyone believed, born of one being or another like me from a mythological Iberian, but being carried from a very young age on the haunches of a Bucephalus. Here I believe where Laodice would be or would be caught by knowing that creatures like me, spawned in the darkness of a cave, should wear that ring, but in the seventh ring of the horns of my paternal Ibez with its antlers constantly growing, and in my forehead having one of them in the antlers of the female that fed me in the reign of darkness and in the heights of the mountains. Upon leaving Chauvet I embraced her suspended antlers, and when I separated from the sixth ring, my female nurse with her pale neck offered me the seventh so that I would do it with brown illusions to be like her in the maternal ***** of the Rhone that in altitudes Thousands leveled out over seven hundred meters, with each ring being the power of a reign of darkness filled with light and undeserved talent. In the autumn, my female mother would get involved when I timidly approached from my cavern full of aldehyde, eliminating it through my mouth and eyes, creating from them the brave fear of misunderstood symbols..., if you saw it, your Seleucus...? You would abandon your divinity with a single breeze of the elements when you would recover your anchor rings on the roads. On the other hand, I wake up in his ring because of the meager light that intimidates the converted mountain beings, who interpose me in their combats, if an antler was or is torn from one of my attempts of frustration, after not seeing what it is not noticed even in thousands of distant blushes, and not even in the emission of the eyes of a hypothetical Apollo "

Behind the philastic zoomorphic of the exalting from Seleuco's mouth, the bilocated Epidaurus on Patmos was lowered by the steps of an amphitheater, bossed around in the conclusive closing of his story behind bars or horns that splintered his revoked mention of aspiring to a ring, which is not and will be nothing more than a synonym of despair, more than an immortal that is now abbreviated from the stigma of co-founding itself in meaning as a temporary truth of Hellenism, deducing to qualify its origin as a plus part and ascendant servant, but not descendant in shirts that have to transvestite him on the Epidaurus proscenium. Seleucus began to doubt his converted eagerness to lash out the mythological divine lineage for a sanction, in which the lightning bolts of the stunning sky themselves demystified their annoying gales of submission, by dynasties of the proverbial Kleos for the purposes of fame, and politics that open the loaded winds with cots of gold to marry with diligent nebulosity in transliterated and linked tripods in cumulus universes, where the first two abuse the fulcrum of the obverse that falls by gravity on no man's land..., here is the myth of anchoring and not of to aspire to a ring or earring that will drag us to heights where the icy cold wind crowns you on legs of bronze and not of gold "

These coins were carefully observed by those who observed them from a gorge, capturing the humility and infallibility of a being that came from the entrails of Chauvet, interpreting courses that awaited Seleucus. The appendages were detached from the koilones and tiers that jumped over it, to press and narrow the diazomas or corridors that were already deployed like a laser in the cubations of the consciousness of Megarón and the Vas Auric of the Hexagonal Primogeniture, which already was made ubiquitous. It was released from an Alexandrian Greek fire on the jaws of the hecatomb of the ex-generals of Alexander the Great. Here in funeral periphrasis, few prostitutes rusted behind his inheritance, each with their bronze panoplies and banners in favor of Leonatus in the hands of the Satrap Antigonus, Ptolemy, and the most outstanding applicant of his divine inheritance, Seleucus. They all meet outside the Eurydice ship in Skalá to settle decisions and franchises of ancestry, for the purpose of divinizing the destinies of their tasks and interests, to sink them into the first stone under a base of faith, and of those who will come from the return of the Anastásis like Greek resurrection of bread and wine, Psomí kai krasí…; "The Mashiach for being of whoever and whatever"

Seleuco says: "Psomí kai krasí, Bread and Wine for all." We have revived our leader, who in good time should resurrect us all for his mentions of the new future of fallen leaders and heroes. We are not oblivious to your expiration and perhaps your negligence in Babylon, but the steps of a king require other Seleucid measures and their oriental legitimating, being oligarchies that should morally do what is known. Antigonus, Ptolemy, and I appear here with me, preserving periods that leave us of mediumistic notions of the grim, who does not allow us to close our eyes. We confer the denounced ambiguity of previous riches that do not fit in any silo that can contain it, nor what happens to the secondary after diving early in the morning mounted on your Bucephalus, full of its manes swollen with the posterity of a Roman emperor besieging it, without advancing by requirements or where he rides now in steel wastelands, and not through upholstered steppes of the cautious ensign on your guard and in the solemn light of life that the **** leaves behind in your symbolic sarcophagus! We want you to join us, and to be able to banish our distinctions from where Apollo has given his eternal sleeper in the sense of an ephemeral truth, which makes light of flesh colors in the fiery figure of your coat of arms.
We have stolen the traced areas of Judea and from there Maccabees have donated us inscriptions back to my threat to you and Antigonus,... to my enemy debtor, but even so, I come to repair unevenness and want to repair idylls more remote from the Euphrates to settle in the ranks of Ptolemy. We have all sinned to look for you in our slogans, gaining fleeting territory, but we have lost your lux, already well said in my sanctuary in Didyma, but in seconds that continue from the first, already raising flags and heralds that increase your vox, more than a David that defeats a colossus; that from his own death resurrects...! "

All perceptibly dismayed looked at Alexander the Great who was behind a canopy listening to everything with his ear attached to the canvas that separates him from a presumed truth. He draws the curtain and pounces before everyone with stealth and courtesy, incontinenti he speaks to them after inhuman efforts to move away from the stagnant sub-understanding of his former commander.

Alexander the Great says: “The aureoles of sanctity have dislocated my Beelzebub, and the brambles brush against the Scabious flowers like widows that sing in the cenotic lines of my hands from a purgative cathartic in its graceful subfamily that makes my eyes heterochromatic de facto, between the thistles that are spiced between the aromatherapy of the Scabiosa cretica. In their oblong shape with pincushion flowers, they make the basting their nailed pins waiting to be used so that my desolations are not lost even after being just reborn. After the annual Attic calendar in Elaphebolion where they walked on me to resist the deer of Artemis, in attempts to get up and ***** me in the sessile voices of Scabiosa dispelled by Vernarth that have raised me in the involved species, like a chalice of unstitched shreds in seven holes, leaning back to the Aquenio in his fruit tree that is stained with lavender-blue, and the Lepidoptera bringing Vernarth from Gethsemane and the anti-Sarnic clothing that makes him exalted. Now from here, I harangue you, like immaterial troops that do not move their courage, with enemies that are left open to the fear of my walk on them, on rams of the imminent danger of warbling victory with steely Falangists. What a nationalist Faskéloma attribute as obscene fuss and Pashkien that reorders the armies that invade its headless stadiums, in raised nightingales that chirped the sadness of seeing myself fallen on the nose of the common soldiers and full of scabies in Arbela. I have to fly with you my lost flocks ready of Apollo surrendering twilight fire, and of moon-sun between the legs of a colossus forged by greater fires, speaking to me of Macedonian triumph, under the yoke of the crackle of a people that lies taciturn with the satraps in Hercules's cunning conquering in the cheers only after three laps they made debits from my left, while I saw the light of Uriel coming towards me in the Lepidoptera with his sheathing, and entirely of a horse placed Beelzebub, to transmigrate him with me from Cinnabar chains and honor what serves the world also that dies with me in Thrace or Alexandria Bucephalus, after the south of Corinth, regardless of me, who already sensed that he was anti-diadoco..., being at that time a leader of the Sacred League of Delphic Amphibian, after feeling so much pain immediately from dying..., I still had life left in the Scabiosa flask and in bronze vessels that I removed from the swirling wind of the s Thermopylae, leaving me stranded with nothing but chimeras of winning the world, but losing a Life that had just begun "

Meanwhile, at the dawn of Vas Auric was projected at relative height, Syrmus's light and resounding fall were shown when he attacked the back of Macedonia -... here Alexander makes a gesture of modest resilient power... -, after he glimpsed to Saint John the Apostle how he moved with his staff the tricolor clouds transmitted by the troops of the Tribalios and that was crushed by the carnal battery of Macedonian cavalry that immolated them before their knowledge, and then after their three thousand victims..., which according to some outstanding Hypaspists also rushed them far beyond the Danube where they were engulfed in the confinement of the Getas in thousands, and in greater proportion but with leather rafts, the Hellenic troops crossed this same river and with a few thousand they conquered them filling their saddlebags..., not gold... !, but brandy that burned all the pastures where no Bucephalus crossed by fire.
Wonthelimar Dismissed Diadocos
Michael R Burch Apr 2020
Musings at Giza
by Michael R. Burch

In deepening pools of shadows lies
the Sphinx, and men still fear his eyes.
Though centuries have passed, he waits.
Egyptians gather at the gates.

Great pyramids, the looted tombs
—how still and desolate their wombs!—
await sarcophagi of kings.
From eons past, a hammer rings.

Was Cleopatra's litter borne
along these streets now bleak, forlorn?
Did Pharaohs clad in purple ride
fierce stallions through a human tide?

Did Bocchoris here mete his law
from distant Kush to Saqqarah?
or Tutankhamen here once smile
upon the children of the Nile?

or Nefertiti ever rise
with wild abandon in her eyes
to gaze across this arid plain
and cry, “Great Isis, live again!”

Published by Golden Isis and The Eclectic Muse

Keywords/Tags: Ancient, Egypt, Giza, Sphinx, pyramids, tombs, sarcophagi, Cleopatra, pharaohs, Bocchoris, Kush, Saqqarah, Tutankhamen, Nile, Nefertiti, Isis



ANCIENT EGYPTIAN POETRY TRANSLATIONS

These are my modern English translations of ancient Egyptian poems, love lyrics and Harper's songs.

An Ancient Egyptian Love Lyric (circa 1085-570 BC)
loose translation/interpretation by Michael R. Burch

Is there anything sweeter than these hours of love,
when we're together, and my heart races?
For what is better than embracing and fondling
when you visit me and we surrender to delights?

If you reach to caress my thigh,
I will offer you my breast also —
it's soft; it won't jab you or ****** you away!

Will you leave me because you're hungry?
Are you ruled by your belly?
Will you leave me because you need something to wear?
I have chests full of fine linen!
Will you leave me because you're thirsty?
Here, **** my *******! They're full to overflowing, and all for you!

I glory in the hours of our embracings;
my joy is incalculable!

The thrill of your love spreads through my body
like honey in water,
like a drug mixed with spices,
like wine mingled with water.

Oh, that you would speed to see your sister
like a stallion in heat, like a bull to his heifer!
For the heavens have granted us love like flames igniting straw,
desire like the falcon's free-falling frenzy!



Egyptian Love Song
(circa the 13th or 14th century BC)
loose translation/interpretation by Michael R. Burch

Lover, let’s slip down to the pond;
I’ll bathe while you watch me from the nearest bank.
I’ll wear my sexiest swimsuit, just for you,
made of sheer linen, fit for a princess!
Come, see how it looks when it’s wet!
Can I coax you to wade in with me?
To let the cool water surround us?
Then I’ll dive way down deep, just for you,
and come up dripping,
letting you feast your eyes
on the little pink fish I’ve found.
Then I’ll say, standing there in the shallows:
"Look at my little pink fish, love,
as I hold it in my hand.
See how my fingers caress it,
slipping down its sides, then inside!
See how it wiggles?"
But then I’ll giggle softly and sigh,
my eyes bright with your seeing:
It’s a gift, my love, no more words!
Come closer and see ...
it’s all me!



Ancient Egyptian Harper’s Songs

The first carpe diem or "seize the day" poems may be the various versions of the ancient Egyptian "Harper's Song" (or "Song of the Harper"). These may also be the oldest "ubi sunt" or "where are they now" poems. Such poems were inscribed in Egyptian tombs along with the image of a blind man playing a harp. Thus it is believed these were songs performed during funeral services for the deceased. Versions of the "Harper's Song" found in tombs of the Old Kingdom (c. 2686-2181 BC) tend to be short and traditional in regard to the afterlife (i.e., affirmative). Middle Kingdom (c. 2055-1786 BC) and New Kingdom (1539-1075 BC) versions tend to be longer and sometimes encourage listeners to "seize the day" while rejecting the more traditional Egyptian view of eternity (for instance, satirizing large funerary monuments and saying possessions cannot be taken into the afterlife). Such updated versions of the "Harper's Song" include "Harper's Song: Tomb of Neferhotep" and " Harper's Song: Tomb of Inherkhawy." These are my personal favorites of both genres ...

This song comes from a tomb which contains an image of Djehutiemheb and Hedjmetmut seated at an offering table while their son, dressed as a priest, pours libations and burning incense before them. It seems the song may be a blessing being voiced by the son, as the text appears before his representation.

Harper's Song: Tomb of Djehutiemheb
loose translation/interpretation by Michael R. Burch

... The sky is opened for you,
the earth opened for you,
for you the good path leads into the Necropolis.
You enter and exit like Re.
You stride unhindered like the Lords of Eternity ...



This song from the funerary stela of Iki depicts the deceased sitting at an offering table with his wife, with the rotund harpist Neferhotep sitting on the other side of the table. Neferhotep was one of the earliest known Egyptian singer/harpists. His portrait and his song were included on the stela of a man named Iki.

Harper's Song: Tomb of Iki
loose translation/interpretation by Michael R. Burch

O tomb, you were prepared for a festival,
your foundations anchored in happiness!
The harpist Neferhotep, son of Henu.

*

The stela of Nebankh from Abydos contains a Harper's Song with the deceased depicted sitting at an offering table with the harpist squatting before him:

Harper's Song: Tomb of Nebankh
loose translation/interpretation by Michael R. Burch

Tjeniaa the singer says:
Now you are seated securely in eternity,
in your eternal monument!
Your tomb is filled with food-offerings
and complete with every fitting thing.
Your soul is with you
and will never desert you,
Royal Treasurer and Seal-Bearer, Nebankh!
The sweet north wind is now your breath!
So says the honorable singer Tjeniaa,
whom he loved and who keeps his name alive
by singing to his soul every day.



Interestingly, the three Harper's songs found in the tomb of the priest Neferhotep seem to display very different viewpoints about the afterlife, if we can take the first two to be saying that death is peaceful because no one is doing anything ...

Harper's Song: Tomb of Neferhotep
loose translation/interpretation by Michael R. Burch

I.
I have heard songs inscribed in ancient tombs,
extolling earth-life while belittling the Beyond ...
but why condemn the kingdom of Eternity,
the just and the fair,
which holds no terrors?

II.
Death abhors violence: no man there arms himself against his brother.
No one rebels in that peaceful kingdom.
All our ancestors rest there, since man’s earliest days;
the multitudes assemble there, every one,
for none may tarry overlong in the land of Egypt.
There is no one who will not cross over.

III.
Earth-life is no more than the span of a dream,
but fair welcomes are given when one reaches the West.



Harper's Song: Tomb of Intef
loose translation/interpretation by Michael R. Burch

(from the tomb of the Pharaoh Intef)

Here lies a happy prince
because death is the kindest fate.

One generation passes, another remains:
so it has been since our eldest ancestors.

Now those who were once "gods" rest in their sepulchers
along with other nobles
and those who built their tombs.

Their palaces are gone,
and what has become of them?

What of the words of Imhotep and Hardedef,
whose sayings are still recited entire?

What of their palaces?
Their walls have collapsed into ruins,
their halls have vanished
as if they never existed!

And no one returns from that realm
to inform us of their state
or to calm our fears.
We remain in the dark until we join them ...

Hence, rejoice with happy hearts!
It is best to forget: heedlessness is happiness!
Humor your hearts as long as you live!

Perfume your hair with myrrh,
adorn yourself in your finest linens,
anoint yourself with the costliest oils, fit for a god,
heap up your treasures here on earth!

Let your heart remain buoyant! Don't let it sink!
Humor your heart and find happiness!
Here on earth, do as your heart demands!

What use is mourning,
when weary-hearted Osiris pays tears no heed?

Weeping and wailing spares no man from the grave,
so make every day your holiday. Never tire of joy's pursuits!
Because no one is allowed to take his possessions with him
and none who departs ever returns!

This song, also known as “The Lay of the Harper,” appears in the tomb of Paatenemheb, where the introductory line says it was copied from the tomb of a King Intef (a name used by several kings from 11th and 17th dynasties). The poem is also preserved in the Ramesside New Kingdom Harris 500 papyrus. These works are accepted by scholars as being a copy of a genuine Middle Kingdom text.

Keywords/Tags: Egypt, Egyptian, poem, poems, poetry, translation, translations, English, harper, harpers songs, love poems, love songs, love lyrics
Matty D May 2013
Those majestic immovable mountains
As mesmerizing as the prettiest fountains.
No. More so, I know so
Standing here on the highest plateau.
The sky depicts a deep dark hue of blue,
A hue that can make all stress subdue’d.
The air somehow heavier, harder to breathe,
As if God Himself forced my lungs to seethe.
The higher I climbed, the more it burned,
Til the top I reached, and rested, well-earned.
How blue the sky is! I would say,
No wonder they come here to sit and pray.
So close to Heaven, I wonder in awe
If They can see my each and every flaw.
Like a speck on a microscope slide,
I felt Eyes moving with my every stride.
I laughed; what else could I do?
Facing those mountains, refusing to move,
Making their stand, their point to prove.
Stretching far beyond my scope of sight,
These fearless peaks displayed their might.
It was me versus God, no one else there.
I was all alone in the cold thin air.
Now is the time to ask, I thought,
Of all the questions and answers I sought.
I glared at the heavens and began to vent
On why things happened, and what they meant.
And on the mysteries of life, time, and space
Why some people are good, while others disgrace.
Can there be no right in a wrong-filled world,
Where hope is dying, withered, and curled?

O why must Your will be done?
When I have fallen,
  Is that when You’ve won?
Why do You listen, and help me not?
Do You watch me in silence,
  Or have You just forgot?

Nothing.

I waited for something, an answer, a sign,
Something amazing, something divine.
My yells were turned into echoing spears
Of anger, frustration, and fading tears.
So this is my answer, I mused, understanding.
My life unto you I will be handing.
For I am to walk this earth alone
Soul ever pining for one like my own.
My greatest desire caught in the wind
Carrying my hopes, now chagrined.
But here the mountains will not tire,
They will forever rise higher and higher.
Making their point, remaining unshaken
Here their honor will not be taken.
At last, I shuffled down the gentle *****
Clinging to one last, final, hope.

A gentle breeze brushed against my cheek,
Could something this subtle be what I seek?
I thought of my family and friends who care,
The ones who have stories and memories to share:
Speeding on the highway with the windows down
Yelling with the radio from town to town.
Dancing ‘round cones on a dark-lit stage,
And making money at minimum wage.
Of awkward hawks and dynasties,
And engines failing overseas.
Discussing life, women, and the mind,
And how one so insightful can be so blind.

An epiphany occurred right then and there,
That I wasn’t alone; I shouldn’t despair.
And that ever-gentle breeze picked up once again
Aiding my trek down the gentle terrain.
The mountains continue their looming presence
But for now they don’t seem as intense.
As I set foot onto solid, flat ground
I realized I was lost, and now I’ve been found.
3/12/2009
(c) MDC

— The End —