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I’m indebted to the Oxford Dictionary of Quotations, 4th Edition 1996

Ab Imo Pectore

A
b imo pectore,
Blandae mendacia linguae,
Cadit quaestio,
Desunt cetera.
Est modus in rebus.
Faber est quisque fortunae suae,
Gigni de nihilo nihilum, in nihilum nil posse reverti.
Hic finis fandi,
Interdum stultus bene loquitur?
Jacta interdum est alea,
Labuntur et imputantur.
Magni nominis umbra,
Nec scire fas est omnia,
Omne crede diem tibi diluxisse supremun,
Pallida mors aequo pulsat pauperum tabernas regumque turres;
Quid rides, mutato nominee de te fibula narrator,
Res ipsa loquitur.
Solvitur ambulando…
Tempora mutantur, nos et matamur in illis.
Urbi et orbi,
Vestigia nulla retrorsum.



From The Bottom Of The Heart

From the bottom of the heart,  the falsehoods of a smooth tongue,
The question drops, the rest is wanting.
There is a balance in all things, every man is the creator of his own fate.
From nothing, nothing can come, into nothing, nothing can return.
Let there be an end to talking, for who can tell when a fool speaks the truth?
The die is sometimes already cast,
A moment comes and goes, and is laid to our account.
From the smallest shadow to the mightiest name,
No one can claim to know all things,
I believe that every day that dawns may be my last,
Pale death knocks impartially at both poor and rich men’s houses;
Don’t laugh, change the name and the story is yours,
It’s so obvious, it speaks for itself.
As the concept of motion is proven by walking…
So in time all things change, as we must, in time, all change.
And to all the world,
There’s no turning back.

Ab Imo Pectore / From The Bottom Of The Heart

Ab imo pectore,
From the bottom of the heart,
Blandae mendacia linguae,  
The falsehoods of a smooth tongue,
Cadit quaestio,
The question drops,
Desunt cetera.
The rest is found wanting.
Est modus in rebus,
There is a balance in all things,
Faber est quisque fortunae suae.
Every man is the creator of his own fate.
Gigni de nihilo nihilum, in nihilum nil posse reverti.
From nothing, nothing can come, into nothing, nothing can return.  
Hic finis fandi,
Let there be an end to talking,
Interdum stultus bene loquitur?
For who can tell when a fool speaks the truth?
Jacta interdum est alea.
The die is sometimes already cast,
Labuntur et imputantur.
A moment comes and goes, and is laid to our account.
Magni nominis umbra,
From the smallest shadow to the mightiest name,
Nec scire fas est omnia,
No one can claim to know all things,
Omne crede diem tibi diluxisse supremun,
I believe that every day that dawns may be my last,
Pallida  mors aequo pulsat pauperum tabernas regumque turres;
Pale death knocks impartially at both poor man and rich men’s houses;
Quid rides, mutato nominee de te fibula narrator,
Don’t laugh, change the name and the story is yours,
Res ipsa loquitur.
It’s so obvious, that it speaks for itself.
Solvitur ambulando…
As the concept of motion is proven by walking…
Tempora mutantur, nos et matamur in illis.
So in time all things change, as we must, in time, all change.
Urbi et orbi,
And to all the world,
Vestigia nulla retrorsum.
There’s no turning back.


r10.1
I didn’t write a ******* line of this, it’s all cribbed from a dictionary. But I’ll take the credit for its conception and, as good Systems Poetry should do, meaning and beauty appears spontaneously from the random juxtaposition of disparate lines of prose; like frogs from rotting wood…
Mateuš Conrad Nov 2018
i really don't know how this is a connected,
but somehow it is,
you drink a few ms. ambers and
your mind just turns into an armchair,
you can unwind,
send the serpent of a tongue
into the garden and watch the show...

the original thought begins with an old
pet peeve...
   the argument...
   what was it?
  ah!
          why so much evil in the world,
and so little if any divine intervention...
can you imagine the sort of
hellish world that would be,
this, zoo?
                     why i believe in free will?
well... i don't believe in
divine intervention...
   however horrid, divine intervention
is "missing", i guess,
simply because we're supposed to
live out all our potential...
however that might be...
             the heavenly has to dance
with the macabre,
   the man with the woman,
      
an atypical argument by the sophists...
why doesn't god intervene
when bad things happen to good people?
do you want to look at
the zenith of being given freedom
to do either evil, or good...
and not be judged in the act of doing
so? you don't want this freedom,
because some magical entity doesn't
intervene?
   then you'd have a case for the non-existence
of free will...

****... did i really elevate myself
to such theological claims? guess so...
catholic education,
   i wasn't going to completely free from
the religious debate...
but that's beside the point...

the first Bukowski book i read,
i bought in Glasgow on one my psychotic
outings...
what matters most is how well
you walk through the fire
...
i bought it because of but one poem...
it begins
   sometimes there's a crazy one in the street.
he lifts his feet carefully as he walks.
he ponder the mystery
of his own ****.

- and ends with
when you see a crazy one walking
in the street
honor him but
leave him alone.
    there's no luck like that luck
nothing so perfect in the world
let him walk untouched
remember that Christ was also insane
..
while in between?
the line...
  the sane are too numerous...

but this ties in to another poem
(that one was called insanity)...
i sometimes think:
and my, my my,
what a fine way to exfoliate
the emphasis of punctuation,
but breaking lines so much...
point being, there's an upper tier
of punctuation,
primarily associated with the philosophy
genre...
and no... don't even try to read
philosophy book like you might
read a piece of journalism
from a newspaper...
  3 years to complete Kant's
critique of pure reason...
believe me, you can have your fictive
novel breezing through moment
when Kant writes out
  a schematic for transcendental
methodology
... that bit is easy...
but you can't exactly read Kant
in 3 weeks, and subsequently spew
the content, or rather, plagiarize
it, hiding behind schematics,
and the obvious a priori / a posteriori
categorizations...
well... unless you're a college
philosophy professor,
and much akin to a news anchor ditto-head...
then yeah... plagiarism is the way
to go...

you know what elevated punctuation
looks like?
   you read a snippet of a philosophy
book, you'd be lucky to read a chapter
in a day...
   thinking... thinking is the over-arching
punctuation from your casual punctuation
already imbedded in the script...
thinking does the punctuation
when reading this genre of books...

but it dawned on me...
aphorism XXXII, pondering(s) VIII...
just one sentence...
  (i favor Heidegger?
because he favored poets)...
             poetißing and thinking enter
into an essentially transformed,
incalculable relation.
     when & how both become manifest
as da-sein with self-altering beings,
without publicly existing and "operating"
.

this immediately brought be back
to a Bukowski poem,
    the last poetry reading...
****... that's not it...
it's not even captain goodwine...
whatever the poem is...
it reads something akin to:

   you're an entertainer now...

that's what i steer away from,
  indicating that these words require
a stage presence,
an oratory valor...
   a performance,
     no public performance,
no freedom of speech *******...
    no speaker's corner manifesto...

            i already signed up to the ontological
motto of...
   cogitans qua esse per se...
thinking as being, being in itself...
the fact that i might leave my mind
and instead morph it into a waggling
tongue on a stage...
the fact that these words could
make public office,
and even be deemed as, "operational"...
not so much petrifies me...
but...
               disgruntles me...
   disincentivizes me...

  after all... i've noticed this...
once you start performing?
your repertoire suffers...
                   like all artists...
the moment you become confident with
your poetry via its public
reception,
   your creativity, your virility,
your fertility succumbing to new ideas,
drastically diminishes,
i've watch countless poetry
performers...
"poets"...
     with a repertoire of... 10 poems?
maybe even less...
   they start performing,
they stop exploring...
   when poetry is bound to the high
court of silence,
yet becomes visible phonetic encoding,
like... like I.T.,
signs, symbols emerge,
but there is no sound to be heard...
when no one is being entertained,
it expands...
        come to think of it...
Heidegger is quiet right...
     poetry has more to do with
philosophy than it has to do with
rhetoric, oration, sophistry,
   or Sophocles... to specify...
            poetry is about "speaking"
the truth...
   but who the hell, in public...
will speak themselves,
  speak the truth?
              let us leave that to the actors...
who... imagine themselves speaking
a truth, but certainly, not their truth,
the truth...

i want to be as close
to cogitans qua, esse as much as possible:
or rather...
cogitans qua loquitur,
   ergo loquitur qua cogitans,
qua, esse, qua est omni illud
;
   (thinking as being talking,
therefore talking as being thinking,
as being, being, as being all that is).

p.s. well, yeah,
poet-thinker or poet-entertainer...
i don't need a freedom
to speak, i need a free to think,
and when i equate
thinking as speaking,
but i write,
rather than speak...
      see the comments sections
for more details...
if you "think" that this is
"talking".
Simon Monahan Feb 2018
Sister, I tremble in the shade
Of your impending absence feared
Its shadow looming ominous
Sister, does anything ever die?

Brother, this place that we have made
Our garden mutually beloved
And all things must pass to dust
Brother, is permanence a lie?

Sister, if the leaves are golden now
We may be sure they’re soon to fall
We are not immortal evergreen
Sister, you won’t forget to pray?

Brother, though I know not how
I’m sure souls needn’t finally part
But did the poet weigh his words
Brother, can nothing gold e’er stay?

Sister, gold is too precious for rust
But listen to the call, ahead
We cannot neglect our course
Sister, are you glad you came?

Brother, although part we must
And suffer heart-strings joined to cut
Love, still whole, knows no regret
Brother, you won’t forget my name?

Sister, though the country’s breadth
Brings doleful separation on
Love’s memory scorns the divide
Sister, is it not true?

Brother, O, it feels like death
When love bridges the awful gap
It splinters, weeping, grieves the loss
Brother, what can I do?

Sister, dear, look to the Bread
The cup divine, I am outpoured
Souls mingle in the Victim’s blood
Sister, shan’t we run this race?

Brother, I see now in the Head
His every member blessed and joined,
And so unbound by space or time
Brother, there we shall embrace.
Written in concert with a dear friend
LOQUITUR: En Bertans de Born.
Dante Alighieri put this man in hell for that he was a stirrer up of strife.
Eccovi!
Judge ye!
Have I dug him up again?
The scene is at his castle, Altaforte. “Papiols” is his jongleur.
“The Leopard,” the device of Richard Coeur de Lion.

I

**** it all! all this our South stinks peace.
You whoreson dog, Papiols, come!  Let’s to music!
I have no life save when the swords clash.
But ah! when I see the standards gold, vair, purple, opposing
And the broad fields beneath them turn crimson,
Then howl I my heart nigh mad with rejoicing.

II

In hot summer I have great rejoicing
When the tempests **** the earth’s foul peace,
And the lightning from black heav’n flash crimson,
And the fierce thunders roar me their music
And the winds shriek through the clouds mad, opposing,
And through all the riven skies God’s swords clash.

III

Hell grant soon we hear again the swords clash!
And the shrill neighs of destriers in battle rejoicing,
Spiked breast to spiked breat opposing!
Better one hour’s stour than a year’s peace
With fat boards, bawds, wine and frail music!
Bah! there’s no wine like the blood’s crimson!

IV

And I love to see the sun rise blood-crimson.
And I watch his spears through the dark clash
And it fills all my heart with rejoicing
And pries wide my mouth with fast music
When I see him so scorn and defy peace,
His long might ‘gainst all darkness opposing.

V

The man who fears war and squats opposing
My words for stour, hath no blood of crimson
But is fit only to rot in womanish peace
Far from where worth’s won and the swords clash
For the death of such ***** I go rejoicing;
Yea, I fill all the air with my music.

VI

Papiols, Papiols, to the music!
There’s no sound like to swords swords opposing,
No cry like the battle’s rejoicing
When our elbows and swords drip the crimson
And our charges ‘gainst “The Leopard’s” rush clash.
May ******* for ever all who cry “Peace!”

VII

And let the music of the swords make them crimson!
Hell grant soon we hear again the swords clash!
Hell blot black for always the thought “Peace!”
Larry Potter May 2013
Why do I find myself so
Weak in your arms?
Why do I fall my knees
To the pit of your charms?
Why do I betray my thoughts
For your wicked lies?
Why do I lend my ears
To your mournful cries?
Why do I lean my
Shoulders when you weep?
Why do I stay awake
Just to watch you sleep?
Why do I feel alone
If you're not around?
Why do my feet dance
When you make a sound?
Why do I catch my breathe
While you walk my way?
Why do I see heavens
When I watch you pray?
Why do I hate myself hating love?
When you're a transcedent from up above?
Mateuš Conrad Apr 2020
i could almost wish nothing of understanding
the noun: collateral...

         i will not bother with the definition,
although:
  something pledged as security for repayment
of a loan, to be forfeited in the event of a default...

why bother with the definition...
when you can simply skip the definition and
embroil / invest yourself
with the alt. to a definition...

     a synonym usually helps...
collateral the alt. of:
                   security, guarantee,
  pledge... bond... now that is much simpler...
isn't it?

but then coming across collateral
as... an adjective:
   hell... the grammatical terms...
i hope to simplify them...

noun: name... what something is called:
or put to inquiry / question:
the end of a curiosity...
        adjective: accessory... well...
   let's be flamboyant... once upon a time:
the brothers grimm tall tale of the adnoun...
in addition to:
     a dog... there would be something
beside the tail... hangs... leash...
                the barking and the growling...
in addition: to be attributed to it...
   a higher quality...
                              a woman's attire...
her dress... yes... her shoes... yes...
but a purse? is that... an adnoun of...
a woman's attire? lipstick...
     stockings...
                  we'd need the fundamentally
basic rubric of what constitutes
a woman's attire...
         back to the dog: a mad dog...
frothing at the snout...
                   a picture enchancer: detail = adjective
to tier: the coarse earth...
the tenderness of sky...
                
verb: a bit of a pickle...
   the synonyms are...
             deponent (and a rich history at that...
i always seem to concern myself with
history per se: etymology...
                                and whatever the world
owes someone like genghis khan...
is beside the matter, nor the ticking clock
and the glowing yawn of the universe...
            loquitur: he or she speaks...
                            not exatly loquor)...
           gerund (when a verb can act as a noun...
beside calling the tongue an oyster...
and limiting its capacity to waggle and utter
a speech... talking: but in sign language)...                
   (the) infinitive ( more or less a ditto of gerund)...
             participle....
   now we have something interesting...

an adjective and a noun... is a bit like...
a participle and a verb...
                    a mad dog... that sat all day and
all night... but mostly the nights...
and guarded the burning scribbling
                                   (b-oing-oing)...
              this is most certainly wrong...
                      the burning scribbles of... an ailing
mind that sat and contemplated a candle
come noon...

                        grammar... if it was only so much...
how grammar never enters
into philosophy books...
                       guarded the burning scribbling...
the burning scribble... the yearning scribble of
a burning candle...
i guess a noun can be a name...
but... you try to simplify a verb...
                          apart from the obvious examples:
eating... scheming, breathing... or out and
about in order to merely: walk...
               with that "said":
a noun is a name for - more or less fixed things
in our heads... a crow doesn't, necessarily,
have to croak... or fly... perch on a tree...
         a crow among... fixed things...
             inanimate objects... a candle a chair a bed...
that the chair cannot croak a crow's croak...
is beside the point: a wooden chair can creak!
which is just as well as a croak...
          
         a verb is therefore almost like a noun...
which it is... but it's a name / noun for "concerns"
of an animate dimension...
            a name given to transition periods of...
a beginning and end: and most likely a...
period return and... replica... again, again and again...
perpetuation...
a verb is motion... a noun is stasis...
all in all: it's still a name of a name: for a name...
that something requires naming...

an adverb through: unlike an adnoun (adjective)...
well: a mad dog looks very colourful indeed...
all adnouns are... compared to adverbs...
the accident implied: accidently these words...
          not because i planned to write them...
of that: i am very, sure....
                        the quali-fir...
                                        much ado about... nothing...
          is there a need for a cf. with a quanti-fire?
     there's the accidently:
in the "middle": "somewhere"...
               between... all          and some...
                         none...                                   nein...
- for if i were an english grammar parrot...
   if i learned english via the atypical inorganic route...
from a teacher... with grammar being
an inorganic fossil barge...
                a heap of bones and mountains' groans...
then i could fence with a philologist...
      - but since i, have learned grammar:
thrown into the deep-end... and since i came out
from the english pedagogy system without:
having learned a... centimetre of the worth of dirt
behind my fingernails after an afternoon spent
digging earth in the garden...
                                                of grammar...
it is less a topic of serious inquiry: more...
a triffle... a... curiosity: at best - at best it's a curiosity...
because i will not: parrot grammatical iron maidens
and watch these sentences be:
sentenced to a gramma-tical-zoo!

back to a previous "concern"...
collateral... notably outside of pledge, security etc.
when used...
  in that war-lingo of...
                   'collateral damage'...
     something... inevitable or... something more or less:
necessary?
    a "happenstance": a gamble?
  an oops of how champagne or lysergic acid
were discovered?!
          collateral damage: as a pledge
or as... additional / secondary: not wanted?
leftovers, yes?

       by collateral damage do the canibus bellum:
the dogs of war... say...
which version of collateral?
   and when was the last time two armies
honestly met: in a field...
akin to a chessboard... when was the last time
two armies honestly met:
faced each other:
             and by pawn i am right in supposing:
the infantry rather than: civilian...
unless of course... a pawn in chess is either
a civilian or... the infantry...
            when was the last time...
two armies - honestly met -
     and battled and sowed and reaped -
two crowns: without... collateral?
                 again: is it a guarantee in a "good" /
it's unavoidable... or in a "bad" / it's necessary...
way...

              whaterver this was:
let it just remain as that... an exercise in writing /
chicken scratching.

— The End —