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Spring winds that blow
As over leagues of myrtle-blooms and may;
Bevies of spring clouds trooping slow,
Like matrons heavy bosomed and aglow
With the mild and placid pride of increase!  Nay,
What makes this insolent and comely stream
Of appetence, this freshet of desire
(Milk from the wild ******* of the wilful Day!),
Down Piccadilly dance and murmur and gleam
In genial wave on wave and gyre on gyre?
Why does that nymph unparalleled splash and churn
The wealth of her enchanted urn
Till, over-billowing all between
Her cheerful margents, grey and living green,
It floats and wanders, glittering and fleeing,
An estuary of the joy of being?
Why should the lovely leafage of the Park
Touch to an ecstasy the act of seeing?
- Sure, sure my paramour, my Bride of Brides,
Lingering and flushed, mysteriously abides
In some dim, eye-proof angle of odorous dark,
Some smiling nook of green-and-golden shade,
In the divine conviction robed and crowned
The globe fulfils his immemorial round
But as the marrying-place of all things made!

There is no man, this deifying day,
But feels the primal blessing in his blood.
There is no woman but disdains--
The sacred impulse of the May
Brightening like *** made sunshine through her veins--
To vail the ensigns of her womanhood.
None but, rejoicing, flaunts them as she goes,
Bounteous in looks of her delicious best,
On her inviolable quest:
These with their hopes, with their sweet secrets those,
But all desirable and frankly fair,
As each were keeping some most prosperous tryst,
And in the knowledge went imparadised!
For look! a magical influence everywhere,
Look how the liberal and transfiguring air
Washes this inn of memorable meetings,
This centre of ravishments and gracious greetings,
Till, through its jocund loveliness of length
A tidal-race of lust from shore to shore,
A brimming reach of beauty met with strength,
It shines and sounds like some miraculous dream,
Some vision multitudinous and agleam,
Of happiness as it shall be evermore!

Praise God for giving
Through this His messenger among the days
His word the life He gave is thrice-worth living!
For Pan, the bountiful, imperious Pan--
Not dead, not dead, as impotent dreamers feigned,
But the gay genius of a million Mays
Renewing his beneficent endeavour!--
Still reigns and triumphs, as he hath triumphed and reigned
Since in the dim blue dawn of time
The universal ebb-and-flow began,
To sound his ancient music, and prevails,
By the persuasion of his mighty rhyme,
Here in this radiant and immortal street
Lavishly and omnipotently as ever
In the open hills, the undissembling dales,
The laughing-places of the juvenile earth.
For lo! the wills of man and woman meet,
Meet and are moved, each unto each endeared,
As once in Eden's prodigal bowers befell,
To share his shameless, elemental mirth
In one great act of faith:  while deep and strong,
Incomparably nerved and cheered,
The enormous heart of London joys to beat
To the measures of his rough, majestic song;
The lewd, perennial, overmastering spell
That keeps the rolling universe ensphered,
And life, and all for which life lives to long,
Wanton and wondrous and for ever well.
calion Mar 2014
he creates music
in the way he plays
and the way his body awkwardly jerks away at contact.
the small frame moves away as if it is to be played marcato
and the piece (his body, that is) returns to maestoso
and she creates lyrics
in her notebook
and in her life.
everything has anaphora.
she writes lyrics that always begin him.
(everything in her life begins with him, she'd like to think.)
and everything is an example of apostrophe.
everything she does is directed at someone who won't care about her.
and when these two meet up,
when their bodies collide,
the most beautiful composition is created.
his moves alter between marcato (louder, forceful)
and maestoso (majestic, smooth)
and her lyrics are very anaphoric (oh, ****)
and everything is all for him.
Brae Jan 2021
Bell-hollow throat of
pomegranate aril sweetness. Toothsome
syrupy streaks ribboning down
pharynx and larynx, red-
burnished trachea and battered
lungs. Jugular pulse-point
metronome, Mendelssohn on windpipe
*****: andante maestoso moans
burbling 4/4 pharyngeal trills.
Writhing duet on the marital
dissection table. Composition on
the anatomy of love.
The man who sits at the edge
of the water
shares the bread
(for you and to the birds).
Familiar with the dream far ago.
He can count when
the lime blossoms crumble
(someone passes to some place
and love is the longest point).
Entire.

Then (i look) it is
maestoso.
Mateuš Conrad Jan 2019
. all you need to read is... wir kinder vom bahnhof ZOO, about the ***** epidemic in western Berlin, and then read this... just the cherry, the spice on top... 2 years in Auschwitz translates as around 50 years in either... relativism... my hands are in the air and with an imitation of a chicken of a chicken imitating a crow, asking... why would it be convenient to ask a question at this point, and inconvenient to ask a question after?

and how much of andante maestoso -
from Beethoven's IX:
in terms of the choir's allure
reaches up to Orff:
   and some vague allure of
                the romancing Teuton?
too much...
   while Strauss died:
unsatisfied in being boxed into
waltzes...
      never writing a serious symphony,
never mind an opera...
every January 2nd (or is it the 1st)?
the people clap, and Vienna
gives a concert celebrating Strauss...
mind you...
  what else is miserable about...
the holocaust?
  the German died...
Beethoven and the whole lot of them
burned into a thinning air
of a past...
but no one bemoans the death
of the deutscheseele...
the pompous airs of a well tailored
SS officer in the Inglorious
*******...
                       every agrees:
for all the horrors they perpetrated,
they were, the best dressed
army...
  Goebbel's
     makellos grau
          und schwarz kluft
...
i know of people who will
still sport (by god, jeans):
but! but... a prominent element
encompassing either grey...
or black...
even if i could, which i can't,
even if i would conflate:
which i also can't...
  the holocaust...
   i can't, i can't because:
   something German died in
the process...
   as the saying goes:
what kills the body, doesn't
**** the soul...
well...
      evidently
the Germans experienced
the opposite:
            their soul was slaughtered,
their bodies left intact:
just a case of numbers:
whereby more empty vessels
with a de-will...
   compared with
a concentration of Jews
             with wills like *****...
since even now:
   the holocaust this!
    the holocaust that!
that's one way of looking
at it...
   but also the tragedy of
                        what a German
once was...
    a portion of the Jewish
died...
   but also the collective
German spirit...
  die kollektivgeist:
which allows for
        a geschätzt-mensch.

— The End —