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Anyelo Montero Jun 2014
I like to see your eyes closed and imagine that they are open, because your beautiful eyes are as enigmatic as the universe itself.
Cunning Linguist Nov 2013
Hella business
Got hella *******
Poppin double bottles
With a couple of mistresses
Stellar mistreatment
Here's the key
Lock em in the cellar
Forever their memory lies
But a troubling mystery

Hysteria erupting
Like waves gushing
From the tip of my *****
My genius is better
I'm the King here's my scepter
Now watch the teeth
You worthless Queen
Or I'll stifle them screams

I **** ******* on trampolines
Motion sickness?
Overdose on Dramamine

Slave to the magnitude
Of my impressive **** munching
Exploring deplorable nether-regions galore;
Can't touch me you got nothing
Broke *******
Grind your brain like morning coffee beans

Shame is a word just outside the boundaries
of my fabulous vocabulary

Oh, am I contrite?
How trifling
Check my charm I'm enlightening
Enigmatic and igniting sporadically like lightning
Magically radical voyaging down
                                                           down
                                                  down the rabbit's hole
Inciting excited riots to light fires spark fuses and chew on live wires
You do not frighten me.
Delivering excruciating asphyxiation to every pwn'd n00b
Is my modus operandi
And this is my magnum opus

I have Tourette's

Conceive these merriments of abhorrent mental abortions
Precisely concise and incisive concocting incoherent comatose monstrosities to flatten your lifelines
Conduct these ensembles of debauchery and narcotics -
I'm fascinating;
Crippling your mind like a lobotomy and tripping the light fantastic through bombarding planes of consciousness
I'm on acid thraxXx'd the **** OUT and faded
Levitating fading and oscillating in time while inflating my ego

But lets be realistic
the caliber of my linguistics is intrinsically aesthetic
but none too altruistic
Untrue!
Be reasonable lest I demand be-headings on grounds of treason
Its not hard for me -
It's profound, the sound of suffering;
I'll swallow your soul
'Tis the season!

Inference for instance -
****-hand upturned to oceans of incessant peasants
Pestering to ****** and fluster your festering ****-hole
Exact my revenge; begin phase mayhem
initiating total brain annihilation
interring bodies posthaste with skilled persistence
And sporting in poor taste
RESISTANCE IS FUTILE

You who peers through eye of the pyramid-
Would you be so kind as to interpret my footprint at face-value?
Do you take me for a fool yet seek prophets reaping profits?
Listen to them sleep, baaah-ing away like flocks of little sheep
My hearts not on my sleeve but I have a trick or two up there;

Now bow before my marvelous flow
As I behold my throne whilst throwing bows and exposing hoes.
Marshal Gebbie Mar 2014
Enigmatic wanderings
Amid a field of plenty
Just can't explain the voiding
In the middle of the crowd.
Vaccuous emmissions
from a phrase of promiscuity
defy a wealth of knowledge,
harboured inwardly, out loud.

Enigmatic wanderings
Amid this field of plenty
Expressing dissillusionment
In uttterance unsaid,
Profoundly disconcerting
With banality's omission
In the way it lets suspension hang,
Precariously, till dead.

Marshalg
22 March 2014
how she has woven me
far beyond rainbows hues
centering my center
stage attraction


was seen her spinning
dancing
on
enigmatic glass
making blue


thoughts
of
you
enigmatic
spinning blue


my magic carpet ride
enigmatic
spinning
blue
am
i


but an memory painted blue
you catch me in your thoughts spinning
my
sweet
enigmatic

i
love
yous
?






















­...
..
.
title words furnished by chance
or did we take on an form
of
wordstalker
hush me
...
Nigel Morgan Nov 2012
She said, ‘You are funny, the way you set yourself up the moment we arrive. You look into every room to see if it’s suitable as a place to work. Is there a table? Where are the plugs? Is there a good chair at the right height? If there isn’t, are there cushions to make it so? You are funny.’
 
He countered this, but his excuse didn’t sound very convincing. He knew exactly what she meant, but it hurt him a little that she should think it ‘funny’. There’s nothing funny about trying to compose music, he thought. It’s not ‘radio in the head’ you know – this was a favourite expression he’d once heard an American composer use. You don’t just turn a switch and the music’s playing, waiting for you to write it down. You have to find it – though he believed it was usually there, somewhere, waiting to be found. But it’s elusive. You have to work hard to detect what might be there, there in the silence of your imagination.
 
Later over their first meal in this large cottage she said, ‘How do you stop hearing all those settings of the Mass that you must have heard or sung since childhood?’ She’d been rehearsing Verdi’s Requiem recently and was full of snippets of this stirring piece. He was a) writing a Mass to celebrate a cathedral’s reordering after a year as a building site, and b) he’d been a boy chorister and the form and order of the Mass was deeply engrained in his aural memory. He only had to hear the plainsong introduction Gloria in Excelsis Deo to be back in the Queen’s chapel singing Palestrina, or Byrd or Poulenc.
 
His ‘found’ corner was in the living room. The table wasn’t a table but a long cabinet she’d kindly covered with a tablecloth. You couldn’t get your feet under the thing, but with his little portable drawing board there was space to sit properly because the board jutted out beyond the cabinet’s top. It was the right length and its depth was OK, enough space for the board and, next to it, his laptop computer. On the floor beside his chair he placed a few of his reference scores and a box of necessary ‘bits’.
 
The room had two large sofas, an equally large television, some unexplainable and instantly dismissible items of decoration, a standard lamp, and a wood burning stove. The stove was wonderful, and on their second evening in the cottage, when clear skies and a stiff breeze promised a cold night, she’d lit it and, as the evening progressed, they basked in its warmth, she filling envelopes with her cards, he struggling with sleep over a book.
 
Despite and because this was a new, though temporary, location he had got up at 5.0am. This is a usual time for composers who need their daily fix of absolute quiet. And here, in this cottage set amidst autumn fields, within sight of a river estuary, under vast, panoramic uninterrupted skies, there was the distinct possibility of silence – all day. The double-glazing made doubly sure of that.
 
He had sat with a mug of tea at 5.10 and contemplated the silence, or rather what infiltrated the stillness of the cottage as sound. In the kitchen the clock ticked, the refrigerator seemed to need a period of machine noise once its door had been opened. At 6.0am the central heating fired up for a while. Outside, the small fruit trees in the garden moved vigorously in the wind, but he couldn’t hear either the wind or a rustle of leaves.  A car droned past on the nearby road. The clear sky began to lighten promising a fine day. This would certainly do for silence.
 
His thoughts returned to her question of the previous evening, and his answer. He was about to face up to his explanation. ‘I empty myself of all musical sound’, he’d said, ‘I imagine an empty space into which I might bring a single note, a long held drone of a note, a ‘d’ above middle ‘c’ on a chamber ***** (seeing it’s a Mass I’m writing).  Harrison Birtwistle always starts on an ‘e’. A ‘d’ to me seems older and kinder. An ‘e’ is too modern and progressive, slightly brash and noisy.’
 
He can see she is quizzical with this anecdotal stuff. Is he having me on? But no, he is not having her on. Such choices are important. Without them progress would be difficult when the thinking and planning has to stop and the composing has to begin. His notebook, sitting on his drawing board with some first sketches, plays testament to that. In this book glimpses of music appear in rhythmic abstracts, though rarely any pitches, and there are pages of written description. He likes to imagine what a new work is, and what it is not. This he writes down. Composer Paul Hindemith reckoned you had first to address the ‘conditions of performance’. That meant thinking about the performers, the location, above all the context. A Mass can be, for a composer, so many things. There were certainly requirements and constraints. The commission had to fulfil a number of criteria, some imposed by circumstance, some self-imposed by desire. All this goes into the melting ***, or rather the notebook. And after the notebook, he takes a large piece of A3 paper and clarifies this thinking and planning onto (if possible) a single sheet.
 
And so, to the task in hand. His objective, he had decided, is to focus on the whole rather than the particular. Don’t think about the Kyrie on its own, but consider how it lies with the Gloria. And so with the Sanctus & Benedictus. How do they connect to the Agnus Dei. He begins on the A3 sheet of plain paper ‘making a map of connections’. Kyrie to Gloria, Gloria to Credo and so on. Then what about Agnus Dei and the Gloria? Is there going to be any commonality – in rhythm, pace and tempo (we’ll leave melody and harmony for now)? Steady, he finds himself saying, aren’t we going back over old ground? His notebook has pages of attempts at rhythmizing the text. There are just so many ways to do this. Each rhythmic solution begets a different slant of meaning.
 
This is to be a congregational Mass, but one that has a role for a 4-part choir and ***** and a ‘jazz instrument’. Impatient to see notes on paper, he composes a new introduction to a Kyrie as a rhythmic sketch, then, experimentally, adds pitches. He scores it fully, just 10 bars or so, but it is barely finished before his critical inner voice says, ‘What’s this for? Do you all need this? This is showing off.’ So the filled-out sketch drops to the floor and he examines this element of ‘beginning’ the incipit.
 
He remembers how a meditation on that word inhabits the opening chapter of George Steiner’s great book Grammars of Creation. He sees in his mind’s eye the complex, colourful and ornate letter that begins the Lindesfarne Gospels. His beginnings for each movement, he decides, might be two chords, one overlaying the other: two ‘simple’ diatonic chords when sounded separately, but complex and with a measure of mystery when played together. The Mass is often described as a mystery. It is that ritual of a meal undertaken by a community of people who in the breaking of bread and wine wish to bring God’s presence amongst them. So it is a mystery. And so, he tells himself, his music will aim to hold something of mystery. It should not be a comment on that mystery, but be a mystery itself. It should not be homely and comfortable; it should be as minimal and sparing of musical commentary as possible.
 
When, as a teenager, he first began to set words to music he quickly experienced the need (it seemed) to fashion accompaniments that were commentaries on the text the voice was singing. These accompaniments did not underpin the words so much as add a commentary upon them. What lay beneath the words was his reaction, indeed imaginative extension of the words. He eschewed then both melisma and repetition. He sought an extreme independence between word and music, even though the word became the scenario of the music. Any musical setting was derived from the composition of the vocal line.  It was all about finding the ‘key’ to a song, what unlocked the door to the room of life it occupied. The music was the room where the poem’s utterance lived.
 
With a Mass you were in trouble for the outset. There was a poetry of sorts, but poetry that, in the countless versions of the vernacular, had lost (perhaps had never had) the resonance of the Latin. He thought suddenly of the supposed words of William Byrd, ‘He who sings prays twice’. Yes, such commonplace words are intercessional, but when sung become more than they are. But he knew he had to be careful here.
 
Why do we sing the words of the Mass he asks himself? Do we need to sing these words of the Mass? Are they the words that Christ spoke as he broke bread and poured wine to his friends and disciples at his last supper? The answer is no. Certainly these words of the Mass we usually sing surround the most intimate words of that final meal, words only the priest in Christ’s name may articulate.
 
Write out the words of the Mass that represent its collective worship and what do you have? Rather non-descript poetry? A kind of formula for collective incantation during worship? Can we read these words and not hear a surrounding music? He thinks for a moment of being asked to put new music to words of The Beatles. All you need is love. Yesterday all my troubles seemed so far away. Oh bla dee oh bla da life goes on. Now, now this is silliness, his Critical Voice complains. And yet it’s not. When you compose a popular song the gap between some words scribbled on the back of an envelope and the hook of chords and melody developed in an accidental moment (that becomes a way of clothing such words) is often minimal. Apart, words and music seem like orphans in a storm. Together they are home and dry.
 
He realises, and not for the first time, that he is seeking a total musical solution to the whole of the setting of those words collectively given voice to by those participating in the Mass.
 
And so: to the task in hand. His objective: to focus on the whole rather than the particular.  Where had he heard that thought before? - when he had sat down at his drawing board an hour and half previously. He’d gone in a circle of thought, and with his sketch on the floor at his feet, nothing to show for all that effort.
 
Meanwhile the sun had risen. He could hear her moving about in the bathroom. He went to the kitchen and laid out what they would need to breakfast together. As he poured milk into a jug, primed the toaster, filled the kettle, the business of what might constitute a whole solution to this setting of the Mass followed him around the kitchen and breakfast room like a demanding child. He knew all about demanding children. How often had he come home from his studio to prepare breakfast and see small people to school? - more often than he cared to remember. And when he remembered he became sad that it was no more.  His children had so often provided a welcome buffer from sessions of intense thought and activity. He loved the walk to school, the first quarter of a mile through the park, a long avenue of chestnut trees. It was always the end of April and pink and white blossoms were appearing, or it was September and there were conkers everywhere. It was under these trees his daughter would skip and even his sons would hold hands with him; he would feel their warmth, their livingness.
 
But now, preparing breakfast, his Critical Voice was that demanding child and he realised when she appeared in the kitchen he spoke to her with a voice of an artist in conversation with his critics, not the voice of the man who had the previous night lost himself to joy in her dear embrace. And he was ashamed it was so.
 
How he loved her gentle manner as she negotiated his ‘coming too’ after those two hours of concentration and inner dialogue. Gradually, by the second cup of coffee he felt a right person, and the hours ahead did not seem too impossible.
 
When she’d gone off to her work, silence reasserted itself. He played his viola for half an hour, just scales and exercises and a few folk songs he was learning by heart. This gathering habit was, he would say if asked, to reassert his musicianship, the link between his body and making sound musically. That the viola seemed to resonate throughout his whole body gave him pleasure. He liked the ****** movement required to produce a flowing sequence of bow strokes. The trick at the end of this daily practice was to put the instrument in its case and move immediately to his desk. No pause to check email – that blight on a morning’s work. No pause to look at today’s list. Back to the work in hand: the Mass.
 
But instead his mind and intention seemed to slip sideways and almost unconsciously he found himself sketching (on the few remaining staves of a vocal experiment) what appeared to be a piano piece. The rhythmic flow of it seemed to dance across the page to be halted only when the few empty staves were filled. He knew this was one of those pieces that addressed the pianist, not the listener. He sat back in his chair and imagined a scenario of a pianist opening this music and after a few minutes’ reflection and reading through allowing her hands to move very slowly and silently a few millimetres over the keys.  Such imagining led him to hear possible harmonic simultaneities, dynamics and articulations, though he knew such things would probably be lost or reinvented on a second imagined ‘performance’. No matter. Now his make-believe pianist sounded the first bar out. It had a depth and a richness that surprised him – it was a fine piano. He was touched by its affect. He felt the possibilities of extending what he’d written. So he did. And for the next half an hour lived in the pastures of good continuation, those rich luxuriant meadows reached by a rickerty rackerty bridge and guarded by a troll who today was nowhere to be seen.
 
It was a curious piece. It came to a halt on an enigmatic, go-nowhere / go-anywhere chord after what seemed a short declamatory coda (he later added the marking deliberamente). Then, after a few minutes reflection he wrote a rising arpeggio, a broken chord in which the consonant elements gradually acquired a rising sequence of dissonance pitches until halted by a repetition. As he wrote this ending he realised that the repeated note, an ‘a’ flat, was a kind of fulcrum around which the whole of the music moved. It held an enigmatic presence in the harmony, being sometimes a g# sometimes an ‘a’ flat, and its function often different. It made the music take on a wistful quality.
 
At that point he thought of her little artists’ book series she had titled Tide Marks. Many of these were made of a concertina of folded pages revealing - as your eyes moved through its pages - something akin to the tide’s longitudinal mark. This centred on the page and spread away both upwards and downwards, just like those mirror images of coloured glass seen in a child’s kaleidoscope. No moment of view was ever quite the same, but there were commonalities born of the conditions of a certain day and time.  His ‘Tide Mark’ was just like that. He’d followed a mark made in his imagination from one point to another point a little distant. The musical working out also had a reflection mechanism: what started in one hand became mirrored in the other. He had unexpectedly supplied an ending, this arpegiated gesture of finality that wasn’t properly final but faded away. When he thought further about the role of the ending, he added a few more notes to the arpeggio, but notes that were not be sounded but ghosted, the player miming a press of the keys.
 
He looked at the clock. Nearly five o’clock. The afternoon had all but disappeared. Time had retreated into glorious silence . There had been three whole hours of it. How wonderful that was after months of battling with the incessant and draining turbulence of sound that was ever present in his city life. To be here in this quiet cottage he could now get thoroughly lost – in silence. Even when she was here he could be a few rooms apart, and find silence.
 
A week more of this, a fortnight even . . . but he knew he might only manage a few days before visitors arrived and his long day would be squeezed into the early morning hours and occasional uncertain periods when people were out and about.
 
When she returned, very soon now, she would make tea and cut cake, and they’d sit (like old people they wer
Poppy Dec 2014
Remember our father
beaming as he rode his tattered bicycle home
Remember our neighbors
gawking at the sunset nestled in his arm
Remember our drool
dripping unnoticeably as he sliced open the alien fruit
Remember our core
planted after we gnawed off every juicy chunk
Remember our joy
blossoming bigger. stronger. with us
Remember the enigmatic men
shoved our father off his bike
Remember the guns.
Fired at our neighbors. Forced to flee at dusk.
Remember the run.
Guzzling our drool to satisfy the burning thirst
Remember the wandering
Starvation gnawing at our minds
Yet remember our hope
Preserving the memories of before and pushing us
to an after
I've received an overwhelming, incomprehensible amount of response to this piece, so I would like to say a big THANK YOU to everybody. XOXOXOXOXOXO
Before there was anything that mattered everything that would ever be existed , it was the essence of totality , it was without dimensional constriction or necessitated form .  Optimistically speaking time had no relative realism to it’s progression because realistically nothing had happened yet .  As it continued it became according to it’s innate inflections as a functionally integrable form .  The questionably understandable nature of it’s conjunction was an omnipotent directive beyond necessitated action or morphological construction .  The enigmatic consciousness of it’s relatively interrelated conception was spontaneous and yet it continued without elemental omniscience.  

As the relative complexity of it’s interrelations evolved dimensional consistence was born.  Humanly understandable laws of physical integration governed many facets of it’s conjunction yet the totality of it’s ramification was beyond humanly realistic conjecture .  

The organic morphology of biological ontogeny was a conceptually reflective derivative of functional physical mechanics yet it’s diversity exceeded it’s physical complexity , understanding evolved .  Relatively extraneous interpolations of adhesively practical extremity succeeded in a hierarchy of functionally integrable forms .

Retrospectively speaking pragmatic practicality is a humanly rational possibility .  Rational logic can conceive of individually totalitarian structural forms , yet the implosive nature of their rational cohesiveness becomes a practical partiality due to the diversity of their definitive impetus .

Perhaps the essence of our being is the logical counterpart for the matrix of our subjectively conclusive social fragmentation , or perhaps we are evolutionally incapable of cumulatively rational correlation.  Problematic diversity could be perfectible on an individually infinite level or contrarily perhaps ubiquitous causality is the ultimate survivor.  

In any case it is beyond our subjugatively rational cohesive coercion to intercede en masse on our own behalf as an integrated unit. Our conceptual abilities have been thwarted by the unmitigatably individual nature of our extraneous conclusiveness .
Re-post
Skypath Sep 2014
It's elementary, my dear
This bittersweet affection that I feel
From one boy to the next I grew
Ladder rungs of broken hearts

First grade
Blonde hair and disarming smile
Recess games and hallway passes
A note in a diary and minutes spent giggling
Never talking, always watching

Fourth grade
Glasses frame of brown hair and thin shoulders
Curious enigma to come and go
A bit more literate diary entrees
One year of crossed legs and shy smiles

Fifth grade
A growing tree of lean muscle and blue eyes
Short brown hair and a charming grin
Side by side on a rubber track
Gray skies and sweet goodbyes
A bright dance floor and a shattered heart
Miserable nights and heartbreak songs

Seventh grade
Long dark hair and chocolate eyes
This spring has brought a strange surprise
Wiry muscle and soft cheeks
Once admired, then adored
An ongoing thrum of sweet affection
Sidelong glances and gym class stares
New discoveries and quiet realization
Girl can love girl

Tenth grade
A firecracker packed with mysterious boys
And an enigmatic girl
A bomb in the summer sky
Spelling new names, new faces, new hearts
A whisper of 'I love you' at long last returned
Names carved on my ribs and pulling my lips
A tightened chest never felt so good
Kiamm May 2014
The coefficient of my sadness
Is greater than the square root of my madness.
My thoughts are quadratic,
My actions are enigmatic;
My aim is to perplex,
Now all I have to do is solve for x.
Meagan Moore Jan 2014
Catatonic fusion with bathroom tile
vapor patina about my lattice
neophyte - les enfants - lain there
my fingers dipped beneath ribs
diaphragm compressed - ***** tatting saliva
I firmly grasp the seam-ripper and unspool
aortic tissue
extracting one thread at a time
tying the fist in a knot
releasing kinetic ****** each time
I attempt
enigmatic repair
Shreya Inks Feb 2015
They mould me into a human of clay;
under the layers of dust I lie,
and I envy the Almighty;
to Hell or to Heaven I signify?

Referring to eternity;
am I crafted to praise?
all the wonders I come across;
or to curse missed yesterdays.

Time spent goes to oblivion;
brings me enigmatic sorrow,
do they favor me;
gifting me another tomorrow.

No count of how much I owe;
how much do they bless me,
moulding me into a mortal being;
of unknown eternity.

Do I really belong;
to the universe of dust,
to live once they say;
I should die first.

So how many times I have to die;
and go through such enigmatic sorrow,
to feel immense pleasure;
and owe no eternal woe.

~Shreya
P.S. My creation, please do not copy | © Protected | Image: Google
P.P.S. Work Of Oblivion
“Ever wondered, when everything is perfect like you couldn’t ask for anything else but you’re still lost like longing for something you’re yet to name, yet to explore –that time is now. You’re wrapped with infinite despair, heart wrenching pain that’s devouring you inch by inch. The grand ennui leads you to oblivion; light is absorbed into that oblivion where all your fears reside. Your fears fly back to you on the wings of wind. Darkness, confirms that there was light –once, and you long even more. Reality stabs you even harder and deeper, your spine sends shiver –you’re cold, lost in an empty hallway. Echoes of silence scare you and you want to hide behind the curtains. Sometimes, such enigmatic sorrow is like a nightmare or your last dare to fight back. Your innocence is lost, you are big and all you want is to go back being a kid again.”
Awake I lie at foot of hedge
In sleep I stake my claim
These enigmatic poses read
Delve crossroads good and vain
Determined not by what was said
befuddled state remained

And though the sun shone forth so clear
a fog floats present fear to veer
this course I would retain

So still to seek
a path I must
through this leaf lined elusive muck
Some things are lost
Long left for dust
with time to heal pain (and trust)

But should a solemn path hold true
and light my weary way
a price, a goal, a trove en full
mean nothing
lest it's you

-2006
sophia Jun 2017
it wasn’t chaotic.
it was calm and serene,
like the ocean.
the soft pitter patter
of the rain on the roof,
and the cool air it brought.
it was a sip
of freshly brewed coffee,
natural with no additives,
whatsoever.
the gut feeling
of knowing where home was.
and that is how
you came into my life.


the star that shines the brightest
amongst the pitch black sky.
it’s the white cloud that outshines
all the gray and gloomy ones.
the perfect fit of the last piece
to the unfinished puzzle.
it's the warm, fuzzy feeling
of getting into bed
early on a Friday night.
and that is how it was
when I started loving you.


it’s like a deeply cut wound,
one that’s inundating
with crimson colored blood,
having a tinge of maroon.
it induces pain
with every inbreathe
and exhalation.
it manages to have
the appearance of a scar,
yet it still feels so fresh
like a bruise.
and that is how it felt
when you left.


it was filled with haze
and suffocation.
the uncontrollable fast paced beat
of your heart.
Mona Lisa's enigmatic smile,
one that is hardly understood
by majority of the world.
a bite of dark chocolate,
bitter and sweet.
and this is my survival.
stuck in the third season,
but i'll make it to the fourth
ryn Mar 2015
Blue is the boulder overlooking the bay
Loosely pocked by weather-worn stains
Unwavering guardian of all that lay
Enigmatic yet silently screaming its pains

Blue is the reflection dancing playfully
Laid generously by the twilight moon
Upon the vast canvas of the darkened sea
Elated ripples readily accepting such a boon

Blue is the halo encircling the moon
Lavish circlet gifted by the sun
Unnoticed by eyes that slumbered too soon
Evading the sands of time that run

Blue is the silhouette of a lone sailboat
Lurching and bobbing by will of the waves
Unknowingly catching the zephyrs that float
Eluding the fingers from watery graves

Blue is the man; perched upon the boulder
Lapping up the stars mirrored upon the sea
Usurped heart of his had never sung drearier
Ensnared by woeful wonderment...
                                           *
*that man is me...
norris rolle Apr 2011
.
Mystery woman, without a face.
hard to find. without a trace.
Romantic magic - pure illusion.
Finding her will cure confusion.
Enigmatic. Hidden treasure,
Somewhere out there in the world
Her worth and value can't be measured
Better than diamonds and pearls.
Mystery woman gat me wonderin'
If she really does exist.
So many moons i have been ponderin'
Did i somehow hit and miss.
Did i find her and mistreat her?
Did she have some sort of mask?
Did my attitude defeat her?
Was i just too much a task?
Mystery woman show me plainly
Who you are and where you be,
Cause i am runnin' round insanely
To unveil this mystery.
Enigma Dec 2014
Who is she? I do not know.
Inhuman. She tangles my mind like no other.
One look, she glances over your soul  
With her pale hues and feline eyes,
I  have been baffled with her tight grasp.

Celestial. Confusing. Crafty. Cold.
That she is,
She has casted a spell on me,
That can only be broken by her.
Who is she?

Puzzled. I have been,
A witch? Could it be?
Her voice is melodiously venomous,
I have been mesmerized,
She has clung to my soul.

A distinguished walk,
The childlike enthusiasm,
An enigmatic character,
Her signals are vague,
She is full of anonymity.

Marked with beauty, a mask hides her personality
The possessor of the key to my heart,
She is a mystery.
RAJ NANDY Nov 2015
GREAT ARTISTS & THEIR IMMORTAL WORKS :
CONCLUDING ITALIAN RENAISSANCE IN
VERSE.  -  By Raj Nandy, New Delhi.

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

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

EARLY RENAISSANCE ARTISTS & THEIR ART

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

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

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

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

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

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

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

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

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

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

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

ART OF HIGH RENAISSANCE ERA - THE
GOLDEN AGE.

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

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

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

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

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

RAFFAELLO SANZIO (1483-1520):
This last of the famous High Renaissance trio was
born in 1483 in Urbino,
Some eight years after Michel Angelo.
His Madonna series and decorative frescos
glorified the Library of Pope Julius the Second;
Who was impressed by his fresco ‘The School
of Athens’;
And commissioned Raphael to decorate his
Study in the Vatican.
Raphael painted this large fresco between 1510
and 1511, initially named as the ‘Knowledge of
Causes’,
But the 17th century guide books referred to it
as ‘The School of Athens’.
Here Plato and Aristotle are the central figures
surrounded by a host of ancient Greek scholars
and philosophers.
The bare footed Plato is seen pointing skywards,
In his left hand holds his book ‘Timaeus’;
His upward hand gesture indicating his ‘World
of Forms’ and transcendental ideas!
Aristotle is seen pointing downwards, his left
hand holds his famous book the ‘Ethics’;
His blue dress symbolizes water and earth
with an earthly fix.
The painting illustrates the historic continuance
of Platonic thoughts,
In keeping with the spirit of the Renaissance!
Raphael’s last masterpiece ‘Transfiguration’
depicts the resurrected Christ,
Flanked by prophets
MBJ Pancras Sep 2015
An enigmatic smile she’s dressed with to chant mystery,
Poets and bards with their magical poesy tried the mystery,
Philosophers and thinkers broke their minds to unravel the secrecy,
Scientists and law makers built hypotheses and verdicts to read hers,
Painters and sculptors fatigued with their colours and clay,
Actors and directors enacted to unknot the thread of obscurity.
Odes and epics, long-written, attempted to sing Lisa’s Smile;
But reflections of their beloveds’ smile read in their verses,
Philosophies and thoughts expressed in huge volumes;
But less understood even the painter’s invention,
Theories and laws built around Science and Law;
But little is the outcome of their propositions sans the mystery,
Colours and clay played on mighty imaginative realms;
But Mona Lisa ne’er spoke of her mystery Smile.
Enactments on massive stages thrilled the collective audiences;
But Mona Lisa hid the mystery of her Smile.

I walked around the garden of poetry with fragrance of mystery,
I saw a poem in her distinctive beauty ruling my mind’s eye.
She smiled at my heart and in turn my heart smiled at her,
Her smile taught me a mystery and it took time to read it;
Yet there was a veil betwixt us, and I took my plume to write.
She took my heart unto her, and I romped in joy.
She’s been decked with melody and rhymes,
And the string of verses stretched beyond the horizon,
Where the mystery of Lisa’s Smile be found.
She took me with her beyond the horizon,
And I followed her with no utterance till our destination.
She laughed at me for my silence;
Yet she smiled unto me; but her smile looked unfathomable.

She smiled and smiled at me; yet she had no utterance for me;
She looked a little bit puzzling unto me, and I had no answer;
Yet her smile dwelled in me, and I invoked the Muse of Poetry.
“Thou art to be a silent lover, and her smile is the answer unto thee,
She’s the Mona Lisa; she can’t speak, but smile and smile.”
I lay on the soil of the kingdom of poetry, imbibing Lisa’s Smile,
I adorn her smile; I worship her smile; I revere her smile,
Let me not move away from the garden of poetry
Till Lisa’s Smile is translated unto me.

I waited and waited and I found the answer:
Lisa smiles and her smile is the love of silence.
My heart rests in silence that her love is felt within.
She uttered into me:”Speak not, but love with smile,
And that the mystery of my Smile and my Smile lasts.”

I know why Mona Lisa smiles.
She loves me with her silent Smile.
About Mona Lisa
Paul Verkouteren Feb 2013
Memories drifting along in the harshness of winter but also come back at the dawn of spring
The journey to a concrete existence is one a being cannot finish
These thoughts run through my mind in a effort to convince myself that somehow my life will end up having a purpose or an explanation
Explanations full of doubt and obscurity these thoughts and memories which make my question my creator my self worth my fundamental personal traits that i have created for myself
In life there are journeys that are never concrete the answers to the question are never clear as the summer rain
These journeys, memories and thoughts are what makes enigmatic living a work of obnubilate art
Candy Noire Aug 2014
I find serenity in storms
The slams of doors make my heart race
And if you trace your finger's down my spine
I'll give you an earful
Of distasteful pleasure
I'll juxtapose any situation
For the most fun I can find
Oh I love being hard to read darling
I want you to open my closed eyes
And if you read me like a story
I will lie dear oh I'll lie
And cover up my deepest fears
And conceal everything I despise
I love to hate and hate to love
Those I regret most I crave
So lay me on the darkest train tracks
And pray that I will be safe.
MBJ Pancras Sep 2015
An enigmatic smile she’s dressed with to chant mystery,
Poets and bards with their magical poesy tried the mystery,
Philosophers and thinkers broke their minds to unravel the secrecy,
Scientists and law makers built hypotheses and verdicts to read hers,
Painters and sculptors fatigued with their colours and clay,
Actors and directors enacted to unknot the thread of obscurity.
Odes and epics, long-written, attempted to sing Lisa’s Smile;
But reflections of their beloveds’ smile read in their verses,
Philosophies and thoughts expressed in huge volumes;
But less understood even the painter’s invention,
Theories and laws built around Science and Law;
But little is the outcome of their propositions sans the mystery,
Colours and clay played on mighty imaginative realms;
But Mona Lisa ne’er spoke of her mystery Smile.
Enactments on massive stages thrilled the collective audiences;
But Mona Lisa hid the mystery of her Smile.

I walked around the garden of poetry with fragrance of mystery,
I saw a poem in her distinctive beauty ruling my mind’s eye.
She smiled at my heart and in turn my heart smiled at her,
Her smile taught me a mystery and it took time to read it;
Yet there was a veil betwixt us, and I took my plume to write.
She took my heart unto her, and I romped in joy.
She’s been decked with melody and rhymes,
And the string of verses stretched beyond the horizon,
Where the mystery of Lisa’s Smile be found.
She took me with her beyond the horizon,
And I followed her with no utterance till our destination.
She laughed at me for my silence;
Yet she smiled unto me; but her smile looked unfathomable.

She smiled and smiled at me; yet she had no utterance for me;
She looked a little bit puzzling unto me, and I had no answer;
Yet her smile dwelled in me, and I invoked the Muse of Poetry.
“Thou art to be a silent lover, and her smile is the answer unto thee,
She’s the Mona Lisa; she can’t speak, but smile and smile.”
I lay on the soil of the kingdom of poetry, imbibing Lisa’s Smile,
I adorn her smile; I worship her smile; I revere her smile,
Let me not move away from the garden of poetry
Till Lisa’s Smile is translated unto me.

I waited and waited and I found the answer:
Lisa smiles and her smile is the love of silence.
My heart rests in silence that her love is felt within.
She uttered into me:”Speak not, but love with smile,
And that the mystery of my Smile and my Smile lasts.”

I know why Mona Lisa smiles.
She loves me with her silent Smile.
Mona Lisa's Smile
sneha mundari Dec 2012
I am swimming in the infinite darkness in search of an experience,
I don't even want to control my breath to give myself a chance to my physical existence,
Satisfying my thirst with the venture of exploring the depth of those mesmerising enigmatic eyes of yours.
saoirse Sep 2012
Red eyes,
set so wide.
Perplexed eyes,
that can hide.
Closed eyes
and a broken smile.

Hollow laughter,
an empty voice.
Quiet speak,
a careless speech.
False assurances
with little joy.
A beating heart
and a broken smile.

*No need to be ravelled up so tight,
just let loose and undo the fright
First time sticking to a form, not sure if I like it. Dampens the natural flow, almost rendering the writing process mathematical.
Fianna Beth Mar 2015
what i cant understand
is how people can write poetry about the flowers
or the sunshine
it just seems so irrelevant
when there are so many more beautiful things to write about
like your dainty, thin, long fingers
and the way your lips emit a tiny bit of air when you pronounce ‘th’ words
your towering, awkward, bony body
loosely, limply entwined in mine
that make up your gentle, comforting hugs
how melodic your voice is, almost lulling me to sleep
your contagious, animated smile

how you write as if embroidering the pages
gracefully, an art
and the words float mid-lines
reflecting how your thoughts float among the clouds
doolally detonations of enigmatic pure excitement  
over the most extraneous of matters
your eyes, the captivating bluish-steel of a mid-winter night sky
their flare, and the way they light up when you maunder lovingly of such passions

alas perhaps, poetry about plants or the weather are just as beautiful
but i
would not know
for even the planet, and nature
and sheer beauty of life
seems pale
in prejudiced comparison to your radiance
and how bright you make
my insides feel
Written last summer about my best friend.

I titled it 'bias among the tulips' because I wrote it after going on a walking tour in Amsterdam, on holidays. I learned about 'tulipomania' during the Dutch Golden Age, and how they were the most valuable things available, even worth more than land at the peak of the market in their time. They were treasures. Tulips were everywhere all over Amsterdam. In fact, the whole place was covered in flowers, really. It was beautiful. Alas, my best friend was still much more beautiful as a human being. He was worth more to me than any tulip could have been worth. Between them, the decision was obvious, hence, to me, I'd always have a bias view even amongst the captivating, rich tulips of The Netherlands.
K Balachandran Jul 2014
There is a forbidden pleasure in the poet's art
it's like having an illicit ****** liaison, is it not?
now it can be told, that's the way one felt
enticing while evasive, was her two way dance.

In the secret society meeting last full moon night
for the first time I came face to face
with the enigmatic girl, rumored to be  the mistress
of the poet I admire, for his skills of allusion and  veiled speech
she was so young and somnambulistic in appearance
her lips were so thin, the only remarkable thing
still in memory those pale lips remain,
how helpless we are in a world, curtained off
to keep our secrets in rooms of green darkness!

The poet was absent, but he was very much present by that,
as her shame intrudes when she starts conversations.I found him there.
The words whispered from her lips were not heard, however one tried
none listened to it, I bet, a poet's mistress is as curious
as an  object of art, stolen from its rightful place, I suppose

When the boat returned to the island to take us back
we were the only passengers left, at last, how strange!
In turgid waters a fallen full  moon like a snake swam
I was looking at its wriggle, creating a tragic geometry
that reminded me her thin lips, she sat next to me, motionless
her soft breathing, was rhythmic poetry I kept imagining,
till we parted exchanging a faint smile. her's was florescent.
So much is hidden about the art of creativity and from where it springs
This remembrance somehow still makest me guilty;
in every minute of it I feelest tangled, I feelest unfree.
I loathest this less genial side of captivity,
but still, 'tis ironically within my heart, and my torpid soul;
ah, I am afraid that it shall somehow becomest foul,
and I wantest very much, to endear my soul to liberty,
but so long as I hath consciously loved thee,
My confidence remaineth always too bold-
But I promisest that this shall becomest my last sonata,
Should thou ever findest, that thou desirest it to be;
whilst my incomplete song shall be our last cantata.
Ah, this series shall but never end,
Should I approachest and befriendest it,
but to confess, more I thinkest of it, the more my heart is pained;
No coldness shall it feelest, nor any beat of which, shall remaineth.

To thee whom I once loved, and now still do,
To thee whom my soul once gratefully honoured,
To thee whom I then endorsed, and magnified,
My heart, ah-my poor heart, is still restricted, and left within thee,
And amongst this dear spring's shuffling leaves, still blooms,
And shall bloomest forever with benevolence,
and even greater benevolence, as spring fliest and leavest
Just like thy sweet temper, and ever ostentatious laughter,
Thy voice and words, that are no longer here for me,
But still as clear, and authentic like a piece of gospel music, to me.

To thee whom I once loved, and now still do,
To thee whom my soul once gratefully honoured,
To thee whom I then endorsed, and magnified,
My pleasurable toils, and consummation still liest in thee-
as forever seemest that I shall trust thee, and thee only,
For the brief moment we had was but grand-and pleasant,
All the way more enigmatic, though frail, and exuberant
than I couldst perhaps rememberest,
But as I rememberest them, I shall also rememberest thee,
For those short nights are always fond and stellar to my memory,
As thou pronounced me lovely-and called myself thy lady,
As thou lingered about and placed thy sheepish fingers on my knee.
Ah, thee, whose heart is so kind and ever gently considerate,
From the moment thou stared at me I knew thou wert my unbinding fate.
And thy scent-o, thy manly scent, too calming but at times, poisonous;
Was more than any treasures I'd once withheld in my hand.

To thee whom I once loved, and now still do,
To thee whom my soul once gratefully honoured,
To thee whom I then endorsed, and magnified,
My enormity liest in thee, and so doth every pore
of my irrevocable, consolable sense;
Thou awakened my pride, thou livened up my tense,
Thou disturbed my mind, thou stole my conscience.
And with thy touch I was burning with bashfulness,
meanwhile my mind couldst stop not
ringing within me, unspeakable thoughts.
Ah, thee, thou made me shriek, thou slapped me awake;
And thou steered me away from any cruel dreams, and lies
these variegated worlds ought to make.
But still I hatest myself now, for leaving all of which unspoken,
Though plenty of time I had, whilst walking with thee, by the red ferns;
And every now and then, their branches ******* terrific sounds-
But not loud; benign and soft as heartfelt murmurs in our hearts.
And those dead leaves were just dead,
Over and under the gusty tears they had shed,
And their surfaces had been closed,
But as we stormed busily with laughter, along their dead roots,
All came back to life, and polished liveliness, and guiltless temperance.
Ah, thy image is still in my mind-for it is my ill mind's antidote,
With all the haste and loveliness and ardour as thou but ever hath,
Thou art loved, by me and my soul, more than I love myself and the earth,
Thou art more handsome even, than the juicy unearthed hearth yonder.
Ah thee, my very own lover and drowsy merriment at times,
Thou who keepest fading and growing-
and fading and growing over my head,
Thy image hauntest my sleep and drivest all of me crazy,
For justice is not justice, and death is not
death, as long as I am not with thee,
And I shall accept not-death as it is,
for I shall die never without thee,
For I am in thy love, as thine in mine,
And dreams shall no longer matterest,
when thy joys are mine-and fiercely mine,
I am blinded by urgent insecurity,
That occurest and tauntest and shadowest me
like a panoramic little ghost,
Massively shall it address me,
Painstakingly and, in the name of justice, ingloriously,
And shall them address my past and destroy me,
For I hath carelessly let thee fade from my life,
And enslavest and burdenest my very own history,
For in which now there is no longer thy name,
ike how mine not in thine.

To thee whom I once loved, and now still do,
To thee whom my soul once gratefully honoured,
To thee whom I then endorsed, and magnified,
Still thou art gentle as summer daffodils,
Thy image slanderest me, and its fangs couldst ****.
Thou owneth that sharpness that threatens me,
Corruptest and stiflest me, without any single stress,
And charming but evil like thy thirsty flesh.
Ah, still, I wishest to be good, and be not a temptress,
though all my love stories be bad, and
endest me and shuttest up in a dire mess.
I feelest empty, and for evermore t'is emptiness
shall proudly tormentest and torturest me,
Stenching me out like I am a little devil,
Who knowest but nothing of love nor goodwill,
I needst thee to make everything better, and shinier,
In my future life, as later-in my advanced years,
As death is getting near, for more and greater
shall my soul hath accordingly stayed here.

To thee whom I once loved, and now still do,
To thee whom my soul once gratefully honoured,
To thee whom I then endorsed, and magnified,
Thou art my summer butterfly and beetle,
I shall cloakest thee with sweet honey and sun,
And engulfest thee safely and warmly
under the angry sickly moon.
I am thankful for thee still, for thou hath changed me,
For thou made me see, and opened my flawed eyes
Thou enabled me to witness the real world;
But everything is still, at times, beyond my fancy,
For they keepest moving and stayest never still,
Sometimes I am, like I used to be, astonished
at the gust of things, and the way they grossly turned
Their malice made my heart wrenched, and my stomach churned
What I seest oftentimes weariest my *****, and disruptest my glee
And still I shall convincest myself, that I but needst thee with me,
Thee to for evermore be my all-day guide and candlelight,
Thee who art so understanding, and everything lovable, to my sight.

To thee whom I once loved, and now still do,
To thee whom my soul once gratefully honoured,
To thee whom I then endorsed, and magnified,
If thou wert a needle then I'd be thy thread,
If thy rain wert dry then I'd makest it wet.
But needst not thou worry about my rain;
For 'tis all enduring and canst bear
even the greatest, most cynical pain.
Ah, and thus I'd be thy umbrella,
Thou, whose abode in my heart
is more superfluous, and graceful-
than my random, fictitious nirvana;
Oh, thee, thou art my lost grace,
And everyone who is not thee-
I keepest calling them by thy name,
How crazy-ah, I am, just like now I am, about thee!
Ah, thou art my air, my sigh, and my comfortable relief,
And in my poetry thou art worth all my sonnets, my charm,
and forever inadequate, affection!
And only in thy eyes I find my dear, effectual temptations,
As under the hungered moonlight by the infuriated sea,
Who standeth strenuously by the peering strand of couples,
Thou evokest within me dangerous eves, and morns of madness,
Thou makest me find my irked melody, and vexed sonnet,
Thou made, even briefly-my latent days gracious,
Thou made me feelest glad and undistant and precious.
Thou art a saint, thou art a saint, though thy being a human
intervenest thee and prohibitest thee from being so;
ah, and whoever thinkest so is worthy of my regrets,
and the worst tactfulness of my weary wrath;
For thou art far precious, more than any trace
of silverness, or even true goldness,
Thou art my holiest source of joy,
and most healing pond of tears;
Thou art my wealth, ****** trust,
and my only sober redemption;
thou art my conscience, pride, and lost self;
Thou art indeed, my eternally irredeemable satisfaction.

To thee whom I once loved, and now still do,
To thee whom my soul once gratefully honoured,
To thee whom I then endorsed, and magnified,
I adorest thee only-my prince, my hero, my pristine knight;
Ah, thee, thou art perfect to my belief and my sight,
Thou who art deserving of all my breath and my poetry;
Thou who understandest what kindness is, and desires are,
Thou who made me seest farther but not too far.
Thou who art an angel to me-a fair, fair angel,
Thou who art beguiling as tasteful tides
among the sea-my courteous summer sea,
Thou who art even more human than
our fellow living souls themselves;
Sometimes I think thou art courage itself-
as thou art even braver than it, the latter, is!
Thou art the sole ripe fruit of my soul,
And my poetic imagination, and due thought;
Thou art the naked notes of my sonata,
And the naughty lyrics of my sonnet,
Thou art everything to nothingness,
As how nothingness deemest thee everything;
Thou makest them shy, and dutifully-
and outstandingly, changest their minds;
Thou art a handsome one to everything,
Just as how everything respectest, and adore thee.

To thee whom I once loved, and now still do,
To thee whom my soul once gratefully honoured,
To thee whom I then endorsed, and magnified,
By whose presence I was delighted, as well my breath-dignified,
Ah, my love, now helpest me define what love itself is;
For I assumest it is more than fits of hysteria, and sweet kisses
Look, now, and dream that if death is not really death
Than what is it aside from unseen rays of breath?
For love is, I thinkest, more handsome than it doth lookest,
For in love flowest blood, and sacrifice, and fate that hearts adorest
But desiccated and mocked as it is, by its very own lovers
That its sweetness hath now turned dark, and far bitter;
Full of hesitations engulfed in the best ways they could muster;
O, my love, like the round-leafed dandellions outside,
I shall glancest and swimest and delvest into thy soul;
I shall bearest and detainest and imprisonest thee in my mind,
But verily shall I care for thee,
ah, and thus I shall become thy everything!
Let me, once more, become obstinate-but delirious in thy arms;
let me my very prince-oh, my very, very own prince!
Doth thou knowest not that I am misguided,
and awfully derogated, without thee!
Ah, thee! My very, very own thee!
Comest back to me, o my sweet,
And let me be painted in thy charms,
o thee, whom I hath so tearfully,
and blushingly missed, ever since!

To thee whom I once loved, and now still do,
To thee whom my soul once gratefully honoured,
To thee whom I then endorsed, and magnified,
I loveth thee adorably, and am fond of thee admirably,
so frequent not outside when all is dark and yon sky is red,
For I hatest justification, and its possibly hidden wrath;
I hatest judging what is to happen when our hearts hath met,
but how canst I ever knowest-when thou choosest to remaineth mute?
Then tearest my heart, and keepest my mouth shut
O thee, should this discomfort ever happenest again;
Please instead slayest me, slaughterest me, and consumest me-
And lastly let me wander around the earth as a ghost.
Let me be all ghastly, deadly, and but penniless;
Let me be breathless, poor, imbecile, and lost-
For in utter death there is only poverty,
And poverty ever after-as no delicacy nor taste,
But I shall still dreamest as though my deadness is not death,
for I am alone; for I am all cursed, without thee.

To thee whom I once loved, and now still do,
To thee whom my soul once gratefully cherished,
To thee whom I endorsed, and magnified,
My heart, ah-my poor heart, is still left within thee,
Just how weepest shall the leafless autumn tree,
Waiting for its lost offspring to return,
and be liberated from its pious mourns;
And as I hearest their shaky, infantile chorus,
I shall but picturest thee again, thus;
Thy cordial left palm entwined in my hand,
Strolling with me about the leafy garden.
A joyed maiden having found her dream man,
a loving man swamped deeply with his love, for his loyal maiden.
Julian Mar 2019
Tantalized by the fractious limerence of a vestigial habiliment of the old order, we conclude that hypertrophy leads to a limbo where random permutations alloyed by the rickety limits of concatenation subsume concepts that are equivocal but populate the imaginations of newfangled art forms that jostle the midwives of rumination to lead to unique pastures that are intuitively calibrated to correspond to definitive unitary events in conceptual space that sprawl unexpectedly towards the desultory but determinative conclusion of a meandering ludic sphere of rambunctious sentiments cobbled together to either rivet the captive audience or annoy the peevish criticaster when they dare to inseminate the canvassed and corrugated tract of intellectual territory created ad hoc to swelter the imagination with audacious ingenuity that is an inevitable byproduct of lexical hypertrophy. In this séance with the immaterial realm of concept rather than the predictable clockwork reductivism of a perceptual welter that is limited by the concretism circumscribed by spatiotemporal stricture we find that an extravagant twinge of even the smallest tocsin in the interstitial carousel of conscientious subroutines compounding recursively to pinprick the cossetted smolder of potentiality rather than extravagate into the vacancy of untenanted nullibiety can spawn a progeny of utilities and vehicles for dexterous abstraction that poach the exotic concepts we fathom by degrees of sapience malingering in lifeless bricolages of erratic abstraction in manners useful to transcend the repose of abeyance and heave awakening into the slumberous caverns of still-life to make them dynamically animated to capture ephemeral events that defy the demarcations of wistful indelicacy of the encumbered bulk of insufficient precision.

Today we embark on a quest to defile the anoegenetic recapitulation of canon that litters the dilapidated avenues of miserly contemplation that has a histeriological certainty and feeds the engines that enable novelty but ultimately remain rancid with the stench of the idiosyncratic shibboleths of synoptic alloyed impoverishment that leads to the vast wasteland of cremated entropy that is a stained foible of misappropriated context interpolated usefully as botched triage for daunting problems that require a nimble legerdemain of facile versatility that we easily adduce to conquer the present with the botched memorial of a defunct salience. Despite the travail of scholars to retreat from the frontier into the hypostatized hegemony of recycled credentialed information, we often are ensnared by the solemn attrition of decay as we traverse the conceptual underpinnings of all bedrock thought only to dangle precariously near the void of lapsed sentience because of transitory incontinence that is contiguous to the doldrums of crudity but nevertheless with mustered mettle we purport that the very self-serious awakening to our hobbling limitations is akin to a prosthetic enhancement of ratiocination capable of feats that stagger beneath the lowest level of subtext to elevate the highest superordinate categorization into heightened scrutiny that burgeons metacognitive limber. Marooned in the equipoise of specifiable enlightenment countermanded by the strictures of working memory we can orchestrate transverse pathways between the elemental quiddity of impetuous meaning and the dignified tropes of transitivity that bequeaths entire universes with feral progeny that modulate their ecosystems with both a taste of approximated symmetry and a cohesive enterprise for productivity that rests on the granular concordance of the highest plane to the indivisible parcels of atomic meaning that solder together to exist as intelligible if strained by the primordial frictions guaranteed by the brunt of motion incipient because of the metaphorical inertia created within insular universes to inform sprawling conurbations of mobilized thoughts designed to reckon with the breakneck pace of the corresponding reality to which they explicitly and precisely refer to.

We must singe surgically the filigrees that amount to the perceptible realities that transmute temperaments into the liturgy of routine conflated with the rigmarole of neural dragnets of reiterative quips in an elegant game of raillery with our supernal contumacy against the rigid authority of aleatory vagaries mandated by a dually arbitrary universe in a probabilistic terpsichorean dance with the depth of our dredge for subliminal acuity or the shallow bellicosity of common modes of glib contemplation characteristic of the basic nobility of improvisation. This basic interface with the world can either be mercurial or tranquil based on the interactionism of the enfeebled trudge of surface senses or blunt intuitions and the smoldering impact of the vestigial cloaks that deal gingerly with the poignant subtext evoked in the cauldron of immediacy rather than pondered with the portentous weight of imperative singularities of uniqueness derived from the plunge into the arcane citadel of microscopic introspection so refined that the ineffable drives we seek to fathom become amenable to the traipse of transcendental time that rarefies itself by defying the brunt of compartmentalized bureaucracies administered by the fulcrum of stereotypical notions of acquired gravitas imputed to mundane pedestrian quidnunc concerns that defile humanity rather than embolden the subaudition of gritty punctilios that show the supernal powers of the axiomatic divinity of sharpened sentience to reign with supremacy over the baser ignoble components of bletcherous nescience that leads to knee-**** platitudes that provoke folksy peevish divisions. We should rather orchestrate our activity by heeding the admonishment about the primogeniture of poignant sabotage buffered by the remonstration of innate tranquility and finding a whipsawed compromise of rationalization with true visceral encounters with the fulgurant quips of brisk emotions that grind industriously into amorphous retinues of the trenchant human imagination to either equip or hobble the leapfrogged interrogation of veracity and more consequently our notions of truth and fact.

When we see the hackneyed results of default ecological dynamics, we find ourselves aloof from purported transcendence because the whimpered bleats and cavils of the importunate masses result in a deafening din of cacophony because we strive throbbing with sprightliness towards the galloped chase of tantalization without the luxury of a terminus for satiation. Obviously a growth mindset is the galvanic ****** that spawns the imaginative swank of the pliable modulations of our perceived reality that, when protean, showcase the limitless verve of our primordial cacoethes for epigenetic evolution rather than the stolid and staid foreclosure of impervious sloth that memorializes the gluttony of speculation about fixed entities rather than imperative jostling urbanity that dignifies the brackish dance with dearth and the exuberant savory taste of momentary excess because it engages the animated pursuit of limerence rather than the exhumed corpse of wistful regret. Nature is a cyclical clockwork system of predatory instinct met with the clemency of the prosperous providence enacted by the travailing ingenuity of successive cumulative generativities that compounded unevenly and unpredictably to predicate a fundamental zeitgeist calculated to engorge the fattened resources of the resourceful and temper the etiolated dreams of the fringed acquiescence of a hulking prejudiced population of dutiful servants that balk at the diminutive prospects of a lopsided distribution of talent and means but slumber in irenic resolve created by the merciful hands of defensive designs that configure consciousness to relish comparative touchstones rather than absolute outcomes that straggle beyond a point of enviable reference to shield the world of the barbarism of botched laments clamoring for an uncertain grave from the gravity of the orbiting satellites of apportioned wealth both sunblind and boorish but simultaneously inextricable from the acclimated fortune of heaped nepotism and herculean opportunism. The intransigence of the weighted destiny of inequity is a squalid enterprise of primeval abrasive and combative tendencies within the bailiwick of the indignant compass inherent to the system that fathoms its deficiencies with crabwise and gingerly pause but airs a sheepish grievance like a bleat of self-exculpation but simultaneously an arraignment of fundamental attribution erroneously indicted without the selfsame reflexiveness characteristic of a transcendent being with other recourses to clamber an avenue to Broadway without malingering in the slums of opprobrious ineffectual remonstration against the arrangement of a blinkered metropolis of uneven gentrification.

We flicker sometimes between the strategic drivel of appeasement and the candor of audacious imprecation of the culprits of indignity or considerate nutritive encomium of the beacons of ameliorated enlightenment because we often masquerade a half-witted glib consciousness lazily sketched by the welters of verve alloyed with the rancid distaste of squalor and slumber on the faculty of conscientious swivels of prudential expeditions with an avarice for bountiful considered thought and wily contortions of demeanor that issue the affirmative traction of adaptive endeavor to cheat a warped system for a reconciled peace and a refined self-mastery. We need to traduce the urchins that sting the system with pangs of opprobrious ballyhoo and the effluvia of foofaraw that contaminate with pettifoggery and small-minded blather the arenas better suited for the gladiatorial combat of cockalorums tinged with a dose of intellectual effrontery beyond the span of dogmatism rather than the hackneyed platitudes that infest the news cycle with folksy backwardation catered to the fascism of a checkered established press that urges insurrection while tranquilizing dissent against the furtive actions of consequence hidden behind the draped verdure of pretense whose byproduct is only a self-referential sophistry that swarms like an intractable itch to devolve the spectator into a pasquinaded spectacle of profound human obtuseness that pervades malignantly the system of debate until the reductionists outwit themselves with the empty prevarication of circular logic that deliberately misfires to miss the target of true importance because of the pandered black hole easily evaded by creatures of high sentience but inevitably ensnaring the special kind of dupe into a cycle of bellicose ferocity of internecine balkanization. The vainglory of the omphalos of entertainment is also another reckoning because it festers a cultural mythos of glorified crapulence parading a philandered promiscuity with half-baked antics that gravitate attention and the lecheries of gaudy tenses of recycled tinsel alloyed by debased aberrations of seedy grapholagnia that magnetize as they percolate because of the insidious catchphrases embedded in pedestrian syncopation that ignite retention and acclimate to mediocrity the sounds of generations discolored by faint pasty rainbows rather than ennobled by majestic landscapes of ignipotent mellifluous sound that stands a supernal amusement still for the resourceful trainspotter.

Despite the contumely aimed in the direction of contrarians for deviating from the lockstep clockwork hustle of stooped pandered manipulation that peddles the wares of an entirely counterfeit reality, I stand obstinately against the melliferous stupefaction of entire genres of myth and subcultures huddled around the sentimental tug of factitious sophistries regaled by thick amorphous apostates that cherish the vacuous sidetracked spotlight with fervor rather than pausing on the enigmatic querulous inquisition about the penumbras that lurk with strained effort beneath or above the categorical nescience of the shadowy unknown that often coruscates with elegance even in obscurity. I fight with labored words to spawn a psychological discipline that invokes the incisive subaudition of the pluckily pricked exorcism of true insight from the husk of buzzwords that constellate auxiliary tangential distractions from the art form of psychological discernment that predicates itself on the concept that the rarefaction of rumination by degrees of microscopic precision enables the introspective hindsight of conscious events that can be parsed without the acrimony of cluttered conflations of the granular prowess of triumphant ratiocination that earns a panoramic perch with the added luxury of perspicacious insight into the atomic structure of the rudiments of our phenomenological field and the abstractions that linger beyond perceptual categorization. When we analyze the gradients of anger, for example, we can either be ****** into a brooded twinge of wistful resentment or we can decipher that through heuristics designed to cloister the provenance of subconscious repose with ignorance there exists a regimented array of tangential accessories embedded deep within the cavernous repository of memory that designates a cumulative trace of compounded symmetries of concordant experience immediately perceptible because of the tangible provocateur of our gripes and the largely subliminal tusk that protrudes because of primal instinct that squirms with peevishness because of the momentary context preceded by the desultory churn of smoldering associations swimming with either complete intangible sputtered mobility through the tract of subconscious hyperspace or rigidly fixated by an arraignment of circumstances with propinquity to the deep unfathomed flicker of bygones receding or protruding because of the warped and largely unpredictable rigmarole of constellated spreading activation.  
When we examine the largesse of the swift recourse of convenience we forget by degrees the travail that once bridged the span of experience from patient abeyance in provident pursuit to now the importunate glare of inflated expectations for immediacy that stings the whole enterprise of societal dynamics because it vitiates us with a complacency for the filigrees of momentary tinsel of a virtualized reality divorced from the concretism that used to undergird interaction and now stands outmoded as a wisp beyond outstretched hands straggling beyond the black mirror of a newfangled narcissistic clannishness that shepherds the ostentation of conceit to a predominant position that swaddles us with fretful diversion that operates on a warped logic of lurid squalor and pasty trends becoming the mainstays of a hypercritical linguistic system of entrapment based on the apostasy of candor for the propitiation of fringed aberration because of the majoritarian uproar about touchy butthurt pedantic criticasters with a penchant for persnickety structuralism. With the infestation of entertainment with the ubiquitous political cavils engineered by the ruling class to have a common arena of waggish irreverence we forget that sometimes the impetuous ****** of propaganda is cloaked by the fashionable implements of a rootless time writhing in a purported identity crisis only to gawk at the ungainly reflection of modernity in the mirror and remain blissfully unaware about the transmogrified cultural psyche that feeds the lunacy of endless spectacle based on the premise that one singular whipping post can unite an entire generation of miscegenated misfits looking for commonality to team up against the aging generations that cling to the sanctity of cherished jingoism against the intentionality of a revamped system that malingers with empty promises using exigency and legerdemain to obscure the mooncalves among their ranks that march on with quixotic dreams that tolerate only the idea of absolute tolerance and moderate only when feasibly permitted by the anchored negotiation of the fulcrum of totemic governmental responsibility between factions that wage volleys of invective at each other to promote a binary choice of vitiated compromises of mendaciloquence that ultimately endanger the republic with either the perils of hidebound conventionalism and nativist fervor or the boondoggles of fiscally irresponsible insanity cloaked with rainbows and participation trophies. Reproach can be distributed to both sides of the aisle because ironically in a world where gender is non-binary the most important reproductive ***** in the free world is a binary-by-default despotism that polarizes extremely ludic fantasies on the left met with the acrimony of the traditionalisms on the right that staunchly resist the fatuous confusions of delegated order only to the sharp rebuke of the revamped political vogue that owes its sustenance to a manufactured diplomacy of saccharine lies and ubiquitous lampoons that are lopsided in the direction of a globalist neoliberal bricolage of moderately popular buzzwords and the trojan horse of insubordinate flippant feminism that seeks to subvert through backhanded manipulation the patriarchy so many resent using lowbrow tactics and poignant case studies rather than legislating the egalitarian system into law using the proper channels. I myself am a political independent who sides with fiscal conservatism but libertarianism in most other affairs because the pettifoggery of law-and-order politics is a diatribe overused by sheltered suburbanites and red meat is often just as fatuous as blue tinsel and sadly in a majoritarian society the ushers of conformity demand corporate divestiture in favor of an ecological system of predictability rather than an opinionated welter of legitimate challenges to a broken system of backwards partisanship and wangled consent. Ultimately, I remain mostly apolitical, but I am a fervent champion of the mobilization of education to a statelier standard that demands rigor and responsibility rather than the chafe of rigmarole that understates the common objectives of humanity and rewards conventional thinking and nominal participation to earn credentialed pedigree when the bulk of talent resides elsewhere.
The night is young when I first saw him.
The roaring wind blinded my sight yet I could still picture his shadow.
What can I do to avoid this feeling?
What can I do to hide my emotions?
This is wrong yet I can not heed to what is right.
His love stalks my heart like it has none of its own.
His breath so cold I could feel it down my spine.
His lips red as apple is too hard to resist.
His sparkling blue eyes hypnotize my soul. T
he warmth of his body devours my whole being.
What can I do to take away this passion?
What can I do to not love him even when each breath of his is my life?
I cannot pull myself away from him.
What is this love that I’ve never felt before?
Who is he to make me want him badly?
I am losing my sanity each time I feel his touch though I feel complete happiness.
He has become my obsession, one that I cannot live without.
This forbidden love is killing me slowly.
Could a woman want a man so much in her life?
Is she willing to give up everything for a him?
Am I willing to lose it all for a love I am not sure of the worth?
How can this love be such enigmatic?
Why do I feel this blissful pain?
The night is young when I saw him.
The roaring wind blinded my sight yet my heart knew where to find him.
A love so wrong…
This love full of pain…
Where can it lead?
When my heart shatters… will he be there to save it?
ANANDO SEN Dec 2009
Thirty feet tall Madonna, is one of the things-

My ultra-stylish city that grew up,

Rave, raunchy catwalks beneath those chandeliers-

The Toyota drives by the Manhattan Beach, amidst bikini wardrobe.

When I read those Taxi-dance barbettes-

I wish I could lost in their growling gowns,

All my wishes fulfilled one day and flew me down there-

My boasting finance job and some pals were African browns!

It was that ultimate visa down the Fashion Avenue-

Most of their lipstick glosses were supported by Chelsea revenue.

I could not breathe the invisible virus against my immunity,

The enigmatic pleasures that lived inside the skyscraper community-

I had no qualms while cherishing the barbeque restaurants poisoning,

My fascinations without imaginations had no logical reasoning-

Many of us at Saint Clair’s ward#3, NYC, were at once there fugitive-

Now moaning like chickens to be butchered, we are all *** positive!


Did you know that…

Pop diva Madonna is a gay icon and the gay community has embraced her as a pop culture icon. She was introduced to the gay community while still a teenager. It was her ballet teacher, Christopher Flynn, a gay man, who first told Madonna that she was beautiful. He introduced her to the local gay community of Detroit, Michigan, often taking her to the local gay bars. Flynn encouraged Madonna to walk away from her full scholarship to the University of Michigan and to move to Manhattan.



The disease of AIDS…
Was first uncovered in homosexual men
From Manhattan


Synopsis

What happens when your dreams turn into reality? It’s a paradigm that you celebrate, live life to the fullest. There is however, life that exists beyond this celebration, sometimes good and sometimes not so good like you expected. And when it becomes not so good like you expected, you spat with bitterness and associate the term bad. Anything against your wish and will is then bad and one day you might fall into live with this bad. All I can say is that they are individual retrospection.

This is what Manhattan Dreams exactly captures. The first half can successfully open the door of fascinations that a college teenager in search of a lucrative career and living might jump into- “Style, fashion, exuberance, beaches, skyscrapers, stardom and what not!” Everything is colorful about Manhattan, even the way it is spelt and pronounced. A financial job inside a long cherished skyscraper, international friends, restaurants, pubs, smoking, the kind of gay evenings are not only meant for Hollywood films but can happen to someone like you. And then one day, the world economy complains your presence there as a fugitive, you are fired from your job and your world crashes to a clinic or a hospital confirming you *** positive. What will you do then?

That is what you are getting from the second half of the poem. As if the drama has reached a ****** like after the interval in a film. There seems a sudden pause in life from where there leads the road to uncertainty, disappointment and delusion. This is where the poem ends, because this is where the human mind stops thinking often. A never before kind of bitterness cataracts the dreamy visions and the object of your dream becomes an excuse of your current defeat.

Manhattan Dreams is not a criticism of the gay culture. Neither it attempts to de-criminalize the society nor does it pollute the appeal of Manhattan at all. It is the victim’s individual retrospection in the other side of his celebrated life which is no more a celebration now. The stylish Manhattan is both a dream and a reality. It has nothing to do with your personal glory or agony. Depending upon the situation in your life it might serve as your forefront or background.
Liliana Jaworska Oct 2018
I picked up flowers in my garden before first days of autumn, dried to save them from black magic of winter and cold breaths of sky. I put them between warm rays on my windowsills in arms of cozy home to bring spirit of life forever in their bones. I saved compositions of their scent on my lips, so you will feel endless, enigmatic, healing symphony in my kiss. I will leave sweet taste in your mouth little by little until dark mirror of your thoughts and wounds break into innocent fields of flowers full of butterflies and indispensable, clear-eyed raconteur of happiness speaking in every fragile petal silences your fleeting and long-lasting demons endowing your shadow with seductive light, tiredness with aliveness of grass, broken dreams with ubiquity of creation, fears with ineffable tranquility. This is how I love you. I will save you from the worst. I will never let you die inside no matter how cold are your days. I will fill your soul with air of metaphysical love of past eras and magic of innumerable, free-flowing joys not based on any circumstances. I will fill your thoughts with romantic myths and insatiable fantasies and old-fashioned poems. I will cover you to sleep with my dragonfly soul no matter how cold life could be.
K Balachandran Sep 2016
On an opulent curved dome
Of a proud white mushroom
An enigmatic, clear, single drop
Well formed, eager, quietly sit.

Wonder what and what it is up to now-
A tear drop shed in pain by a lonely fairy,
Or a stray drop of untimely rain, futile,
A memory lapse,a cloud somehow had?

What if it's a disillusioned universe,
Willfully collapsed,due to it's own weight,
Reduced to a miniature and still in flux,
Wanting to see a new dream altogether!

Sitting like a king on his throne, it reflects,
The limitless sky on it's upturned single  eye!

Waiting perhaps for the rising purple morning sun
to give an offer, to evaporate and be back in the cycle.
Andrew Rueter Sep 2017
I was a flailing phoenix
Trapped underneath a waterfall
Unable to rise from the ashes
While being continuously extinguished
Until you constructed a dam
With the flotsam from my heart
I opened my wings and emitted light
Fearing waterfalls I took my fire flight
I was elated to have migrated
Where the weather was tropical
And the conditions seemed optimal
But your aggravating absence
Endeared an enigmatic essence
A vengeful apparition
That conjured rain
I desperately craved your protection from the elements
Until I noticed the precipitation was my infatuation
For you and the things you do
The things you build
Make rivers stay still
And the things you say
Make me regret being gay
Because you're a ******
You live in your exclusive dam
Your teeth are like cleavers
Gnawing on sacrificial lamb
ghost queen Oct 2018
enigmatic, exotic
alone, deep in the jungle
fierce, afraid
passion, love in her eyes

to hold her, is to lose her
to have her, is to **** her
ephemeral, a ghost
a dream, a fantasy
never to be had
Written to accompany photos of a flower https://flic.kr/s/aHsmiTGp93
K Balachandran Jul 2013
This woman I fell in love with
is an enigma, none like her,
I admire her, this quite night.
Flames of desire lick me
when I even think of
her voluptuous softness
wearing shimmering black.

She prides in what she is,
doesn't pretend
as someone else.
Darkness is her
without any apology
though she owns a brilliant
cosmic jewelry shop;
only she can display diamonds
looking different in every minute,
each more dazzling than the other.

Without any arrogance or
posturing that suggests invincibility,
she surrenders all she has,
when sun demands it,
with the confidence that
when she'd  come back
after a hiatus, she will be no less.
Madison Aug 2018
I'm going to go ahead and get this out of the way.

I'm telling you now

A warning, before you drive over the tracks

Into racing-pulse-risktaking land

That you will never be the heart

Thud-thud-thudding in my chest

Pumping my blood and keeping me chugging along

That vessel of a cliche.

I'm not so easy

Predictable

Malleable

Boring

Dumb

Naive

To entrust you with keeping it going

Leaving something so vital

In hands that could stop tick-tick-ticking

At any moment

Like a dead clock.

I'm sorry, my dear

But that particular piece of tissue

Is one that is mine and only mine

Never to be cradled by another.

But before you turn away from the crossing

I'd like to offer another disclaimer.

There are other parts of me

That can be shared

Budding blooms growing every-which-way

Perhaps requiring two sets of hands

In order to be adequately nurtured.

If you truly find it crucial

You might push your way into my being

Become a mark branded onto my existence

Fading at a snail's pace

If I'm ever so lucky

To have it fade at all.

If you wish to cross these tracks without looking both ways

You could find yourself

Close to my heart, if not within it

Swimming in my lonely blue veins

A constant reminder that we're both here

Warm

Safe

Guarded.

You could be my sweet tooth

That impassioned affinity for something that may or may not be around

At any given time.

You could be a fold of my painfully enigmatic brain

Find yourself at home amongst all the love and anger and secrets

Push past the useless facts and fly-away ideas

Hold me tight 'til you squeeze me into a headache.

You could even be part of my oh-so-problematic blood

Nourish me

To love and to cherish

In motion and in rest

Know for sure that

Should one of us rip off the dreaded universal Band-Aid

And bid the other adieu

You'll be sure to leave a dark anemic bruise

A reminder for who-knows-how-many days to come

Of who you are

And what we were.

All precautions aside

I'll let you go on your way

With this one condensed admonition:

You, and every other person to whom I'll ever send a silvery come-hither glance

Will never stake claim

On my heart

Filling and releasing

Constantly reminding me of an identity all my own

Never shaped like a Valentine.

It doesn't mean that you aren't important

When you can, in fact

Find your own empty space in anything else

But remember:

At the end of the day

Blue veins go pale

Bruises fade

And I'm in charge of what's in my own lifeblood.

Even the most grueling marks on my skin and soul

Made by malevolence and cruel intent

Will surely heal

With the help of sweet time

And this trusty heart of mine.

If you're fine with this

By all means

Cross these rickety rails.

I'll see what I can do.
JayceeJellies Oct 2015
Why do I fall out of love
after I've fallen in-
only to be heart broken
over and over again..?
Is this the end
because I don't want it to be
please tell me that I'm dreaming
..this is all just a  blurry  mess
and I won't be left behind again
if I'm left once more to wallow
I'm not sure if I'll be able to handle it.
Xan Abyss Oct 2014
Tonight I will fall down upon my knees
To pray before the goddess of enchanted ebony
Her divine rays of dark beauty I embrace
Bathing blissfully in her enigmatic grace

I enter the sanctum
Her sacred place of healing
Ecstasy consumes me
Enraptured by the feeling

When the Moon of the Black Goddess
Shines Her light upon me
Then the Love of the Black Goddess
Drowns the world around me

Tonight I worship at the Temple of Her Light
I sacrifice my flesh to the goddess shining bright
The fire in my soul erupts and sets aflame my mind
On holy nights like these when the cosmos re-aligns

I enter the sanctum
Her sacred place of healing
Ecstasy consumes me
Enraptured by the feeling

When the Moon of the Black Goddess
Shines Her light upon me
Then the Lust of the Black Goddess
Burns the world around me

I submit myself to Her, naked and unguarded
Prepared to be consumed and then possibly discarded
For in her presence, all the evil in our pale existence
Vanishes from memory in a single instant

I enter the sanctum
Her sacred place of healing
Ecstasy consumes me
Enraptured by the feeling

When the Moon of the Black Goddess
Shines Her light upon me
Then the Mists of the Black Goddess
Shroud the world around me

The Moon of the Black Goddess
Cast thy spell upon me
The Moon of the Black Goddess
Looming right above me
The Moon of the Black Goddess
I give my flesh to worship thee!
For the Moon of the Black Goddess
Is the only place
I can find peace!

When the Moon of the Black Goddess
Shines Her light into me
Then the Tune of the Black Goddess
Becomes the song to set me free!
Wrote this for a lover.
Ishana Singh Jan 2015
You, with your supple and brown leather
I, with my gaze fixed on my father’s pocket
You, peeking out from its corner like a
Child playing hide and seek in a desolate ally
I, like the kidnapper, keeping an eye on your
Fragile movements, waiting for you to stumble
Into a dark corner and into my sinister embrace
So that I could get my ransom inside you, the
Little green strips of paper you contained
Toys, chocolates and kites my father wouldn’t get me.
You, with your expensive sheen, attracting me
To yourself like a gold ring attracting an eagle
Only to disappear as soon as my father left
For work and you, containing an enigmatic exchange
For little candies the definition of bliss to six year old me.
I, with my naïve mind thinking why I would get less
Candies and goodies when you would be frail
And devoid of those thin green leaves.
You, in the possession of my elder brother now
I, eight year old me, wondering if your gauntness
Made my father a dear departed.
You, I didn’t unravel the enigma of your long
Green leaves until I was thirteen and you
Resided in the back pocket of the Khaki trousers
My brother used to wear,
Now Tattered just like your old unkempt skin.
Dear Old Wallet, my dead father’s wallet
I liked you better when you were fat and fit,
Supple and shiny, brimming with coins and green leaves.
And when I  was unaware, little and innocent thinking
You were a miracle for I only wanted toys back then
only to realize I need a lot more
For I am now cold,  fatherless and bankrupt
But you are empty and thin, just like my
Dying mother.
Definitely not my style, but it doesn't hurt to try something new.
Katelyn Arnold Dec 2013
"silence is worse; all truths that are kept silent become poisonous.”* ― friedrich nietzsche

like poking the hornet's nest with a stick, you are a rose with stems and thorns so thick,
your skin is protection from oppression, keeping the world out of your private channels
like i'm AM and you're FM all of which are static with distorted voices only science can pry through your enigmatic cacophony on a molecular level, and any evidence of who you are, i couldn't find with years of knowledge, a indestructible ship could speak more evidence about
why it was annihilated, obliterated, disintegrated under the ocean for months at a time without
any current survivors, and the last person i could be described as would be Sherlock Holmes
every detail washes over my head like a flood of details that can't enter because a force field
surround my head like it's a crown being so clueless, but it feels like i'm wearing a dunce hat
and maybe i do realize that there will be a position where you will be put out into light
there is no way out of your mind, like a schizophrenic, if kryptonite killed superman,
can it **** the infectious virus spreading like wildfire through these veins, can you stop
worrying about when you will finally break down and open up to someone?
****

- kra
this constant
invitation
into stark mystery

is a story
i flounder
to find words for.

~

a glance,
more
than eyes looking.

beholden
entrancement,
upon feedback's
looping.

~

i am a crippled logician,
wrought with wonder

in the thrashing
static jungle,
of no conclusion.

~

this is a flash
this here, the flesh

a blinding
binding light,

obliterating,
without solution,

a living,
i tremble in.

~

i am stumped
i am little
so small

hung
here
in the

sky.

~

a suspended channel
of ideation,
filling, with
empty utterance.

~

i am confounded
i am large
too grand

to
get
ahold

of.

~

breathing
multitudinous,
full, with
contradiction.

~

a grandiose
enigmatic flux,
miniscule
and massive.

— The End —