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“Build me straight, O worthy Master!
Stanch and strong, a goodly vessel,
That shall laugh at all disaster,
And with wave and whirlwind wrestle!”

The merchant’s word
Delighted the Master heard;
For his heart was in his work, and the heart
Giveth grace unto every Art.
A quiet smile played round his lips,
As the eddies and dimples of the tide
Play round the bows of ships,
That steadily at anchor ride.
And with a voice that was full of glee,
He answered, “Erelong we will launch
A vessel as goodly, and strong, and stanch,
As ever weathered a wintry sea!”
And first with nicest skill and art,
Perfect and finished in every part,
A little model the Master wrought,
Which should be to the larger plan
What the child is to the man,
Its counterpart in miniature;
That with a hand more swift and sure
The greater labor might be brought
To answer to his inward thought.
And as he labored, his mind ran o’er
The various ships that were built of yore,
And above them all, and strangest of all
Towered the Great Harry, crank and tall,
Whose picture was hanging on the wall,
With bows and stern raised high in air,
And balconies hanging here and there,
And signal lanterns and flags afloat,
And eight round towers, like those that frown
From some old castle, looking down
Upon the drawbridge and the moat.
And he said with a smile, “Our ship, I wis,
Shall be of another form than this!”
It was of another form, indeed;
Built for freight, and yet for speed,
A beautiful and gallant craft;
Broad in the beam, that the stress of the blast,
Pressing down upon sail and mast,
Might not the sharp bows overwhelm;
Broad in the beam, but sloping aft
With graceful curve and slow degrees,
That she might be docile to the helm,
And that the currents of parted seas,
Closing behind, with mighty force,
Might aid and not impede her course.

In the ship-yard stood the Master,
With the model of the vessel,
That should laugh at all disaster,
And with wave and whirlwind wrestle!
Covering many a rood of ground,
Lay the timber piled around;
Timber of chestnut, and elm, and oak,
And scattered here and there, with these,
The knarred and crooked cedar knees;
Brought from regions far away,
From Pascagoula’s sunny bay,
And the banks of the roaring Roanoke!
Ah! what a wondrous thing it is
To note how many wheels of toil
One thought, one word, can set in motion!
There ’s not a ship that sails the ocean,
But every climate, every soil,
Must bring its tribute, great or small,
And help to build the wooden wall!

The sun was rising o’er the sea,
And long the level shadows lay,
As if they, too, the beams would be
Of some great, airy argosy,
Framed and launched in a single day.
That silent architect, the sun,
Had hewn and laid them every one,
Ere the work of man was yet begun.
Beside the Master, when he spoke,
A youth, against an anchor leaning,
Listened, to catch his slightest meaning.
Only the long waves, as they broke
In ripples on the pebbly beach,
Interrupted the old man’s speech.
Beautiful they were, in sooth,
The old man and the fiery youth!
The old man, in whose busy brain
Many a ship that sailed the main
Was modelled o’er and o’er again;—
The fiery youth, who was to be
The heir of his dexterity,
The heir of his house, and his daughter’s hand,
When he had built and launched from land
What the elder head had planned.

“Thus,” said he, “will we build this ship!
Lay square the blocks upon the slip,
And follow well this plan of mine.
Choose the timbers with greatest care;
Of all that is unsound beware;
For only what is sound and strong
To this vessel shall belong.
Cedar of Maine and Georgia pine
Here together shall combine.
A goodly frame, and a goodly fame,
And the Union be her name!
For the day that gives her to the sea
Shall give my daughter unto thee!”

The Master’s word
Enraptured the young man heard;
And as he turned his face aside,
With a look of joy and a thrill of pride
Standing before
Her father’s door,
He saw the form of his promised bride.
The sun shone on her golden hair,
And her cheek was glowing fresh and fair,
With the breath of morn and the soft sea air.
Like a beauteous barge was she,
Still at rest on the sandy beach,
Just beyond the billow’s reach;
But he
Was the restless, seething, stormy sea!
Ah, how skilful grows the hand
That obeyeth Love’s command!
It is the heart, and not the brain,
That to the highest doth attain,
And he who followeth Love’s behest
Far excelleth all the rest!

Thus with the rising of the sun
Was the noble task begun,
And soon throughout the ship-yard’s bounds
Were heard the intermingled sounds
Of axes and of mallets, plied
With vigorous arms on every side;
Plied so deftly and so well,
That, ere the shadows of evening fell,
The keel of oak for a noble ship,
Scarfed and bolted, straight and strong,
Was lying ready, and stretched along
The blocks, well placed upon the slip.
Happy, thrice happy, every one
Who sees his labor well begun,
And not perplexed and multiplied,
By idly waiting for time and tide!

And when the hot, long day was o’er,
The young man at the Master’s door
Sat with the maiden calm and still,
And within the porch, a little more
Removed beyond the evening chill,
The father sat, and told them tales
Of wrecks in the great September gales,
Of pirates coasting the Spanish Main,
And ships that never came back again,
The chance and change of a sailor’s life,
Want and plenty, rest and strife,
His roving fancy, like the wind,
That nothing can stay and nothing can bind,
And the magic charm of foreign lands,
With shadows of palms, and shining sands,
Where the tumbling surf,
O’er the coral reefs of Madagascar,
Washes the feet of the swarthy Lascar,
As he lies alone and asleep on the turf.
And the trembling maiden held her breath
At the tales of that awful, pitiless sea,
With all its terror and mystery,
The dim, dark sea, so like unto Death,
That divides and yet unites mankind!
And whenever the old man paused, a gleam
From the bowl of his pipe would awhile illume
The silent group in the twilight gloom,
And thoughtful faces, as in a dream;
And for a moment one might mark
What had been hidden by the dark,
That the head of the maiden lay at rest,
Tenderly, on the young man’s breast!

Day by day the vessel grew,
With timbers fashioned strong and true,
Stemson and keelson and sternson-knee,
Till, framed with perfect symmetry,
A skeleton ship rose up to view!
And around the bows and along the side
The heavy hammers and mallets plied,
Till after many a week, at length,
Wonderful for form and strength,
Sublime in its enormous bulk,
Loomed aloft the shadowy hulk!
And around it columns of smoke, upwreathing,
Rose from the boiling, bubbling, seething
Caldron, that glowed,
And overflowed
With the black tar, heated for the sheathing.
And amid the clamors
Of clattering hammers,
He who listened heard now and then
The song of the Master and his men:—

“Build me straight, O worthy Master,
    Staunch and strong, a goodly vessel,
That shall laugh at all disaster,
    And with wave and whirlwind wrestle!”

With oaken brace and copper band,
Lay the rudder on the sand,
That, like a thought, should have control
Over the movement of the whole;
And near it the anchor, whose giant hand
Would reach down and grapple with the land,
And immovable and fast
Hold the great ship against the bellowing blast!
And at the bows an image stood,
By a cunning artist carved in wood,
With robes of white, that far behind
Seemed to be fluttering in the wind.
It was not shaped in a classic mould,
Not like a Nymph or Goddess of old,
Or Naiad rising from the water,
But modelled from the Master’s daughter!
On many a dreary and misty night,
‘T will be seen by the rays of the signal light,
Speeding along through the rain and the dark,
Like a ghost in its snow-white sark,
The pilot of some phantom bark,
Guiding the vessel, in its flight,
By a path none other knows aright!

Behold, at last,
Each tall and tapering mast
Is swung into its place;
Shrouds and stays
Holding it firm and fast!

Long ago,
In the deer-haunted forests of Maine,
When upon mountain and plain
Lay the snow,
They fell,—those lordly pines!
Those grand, majestic pines!
’Mid shouts and cheers
The jaded steers,
Panting beneath the goad,
Dragged down the weary, winding road
Those captive kings so straight and tall,
To be shorn of their streaming hair,
And naked and bare,
To feel the stress and the strain
Of the wind and the reeling main,
Whose roar
Would remind them forevermore
Of their native forests they should not see again.
And everywhere
The slender, graceful spars
Poise aloft in the air,
And at the mast-head,
White, blue, and red,
A flag unrolls the stripes and stars.
Ah! when the wanderer, lonely, friendless,
In foreign harbors shall behold
That flag unrolled,
‘T will be as a friendly hand
Stretched out from his native land,
Filling his heart with memories sweet and endless!

All is finished! and at length
Has come the bridal day
Of beauty and of strength.
To-day the vessel shall be launched!
With fleecy clouds the sky is blanched,
And o’er the bay,
Slowly, in all his splendors dight,
The great sun rises to behold the sight.

The ocean old,
Centuries old,
Strong as youth, and as uncontrolled,
Paces restless to and fro,
Up and down the sands of gold.
His beating heart is not at rest;
And far and wide,
With ceaseless flow,
His beard of snow
Heaves with the heaving of his breast.
He waits impatient for his bride.
There she stands,
With her foot upon the sands,
Decked with flags and streamers gay,
In honor of her marriage day,
Her snow-white signals fluttering, blending,
Round her like a veil descending,
Ready to be
The bride of the gray old sea.

On the deck another bride
Is standing by her lover’s side.
Shadows from the flags and shrouds,
Like the shadows cast by clouds,
Broken by many a sunny fleck,
Fall around them on the deck.

The prayer is said,
The service read,
The joyous bridegroom bows his head;
And in tears the good old Master
Shakes the brown hand of his son,
Kisses his daughter’s glowing cheek
In silence, for he cannot speak,
And ever faster
Down his own the tears begin to run.
The worthy pastor—
The shepherd of that wandering flock,
That has the ocean for its wold,
That has the vessel for its fold,
Leaping ever from rock to rock—
Spake, with accents mild and clear,
Words of warning, words of cheer,
But tedious to the bridegroom’s ear.
He knew the chart
Of the sailor’s heart,
All its pleasures and its griefs,
All its shallows and rocky reefs,
All those secret currents, that flow
With such resistless undertow,
And lift and drift, with terrible force,
The will from its moorings and its course.
Therefore he spake, and thus said he:—

“Like unto ships far off at sea,
Outward or homeward bound, are we.
Before, behind, and all around,
Floats and swings the horizon’s bound,
Seems at its distant rim to rise
And climb the crystal wall of the skies,
And then again to turn and sink,
As if we could slide from its outer brink.
Ah! it is not the sea,
It is not the sea that sinks and shelves,
But ourselves
That rock and rise
With endless and uneasy motion,
Now touching the very skies,
Now sinking into the depths of ocean.
Ah! if our souls but poise and swing
Like the compass in its brazen ring,
Ever level and ever true
To the toil and the task we have to do,
We shall sail securely, and safely reach
The Fortunate Isles, on whose shining beach
The sights we see, and the sounds we hear,
Will be those of joy and not of fear!”

Then the Master,
With a gesture of command,
Waved his hand;
And at the word,
Loud and sudden there was heard,
All around them and below,
The sound of hammers, blow on blow,
Knocking away the shores and spurs.
And see! she stirs!
She starts,—she moves,—she seems to feel
The thrill of life along her keel,
And, spurning with her foot the ground,
With one exulting, joyous bound,
She leaps into the ocean’s arms!

And lo! from the assembled crowd
There rose a shout, prolonged and loud,
That to the ocean seemed to say,
“Take her, O bridegroom, old and gray,
Take her to thy protecting arms,
With all her youth and all her charms!”

How beautiful she is! How fair
She lies within those arms, that press
Her form with many a soft caress
Of tenderness and watchful care!
Sail forth into the sea, O ship!
Through wind and wave, right onward steer!
The moistened eye, the trembling lip,
Are not the signs of doubt or fear.
Sail forth into the sea of life,
O gentle, loving, trusting wife,
And safe from all adversity
Upon the ***** of that sea
Thy comings and thy goings be!
For gentleness and love and trust
Prevail o’er angry wave and gust;
And in the wreck of noble lives
Something immortal still survives!

Thou, too, sail on, O Ship of State!
Sail on, O Union, strong and great!
Humanity with all its fears,
With all the hopes of future years,
Is hanging breathless on thy fate!
We know what Master laid thy keel,
What Workmen wrought thy ribs of steel,
Who made each mast, and sail, and rope,
What anvils rang, what hammers beat,
In what a forge and what a heat
Were shaped the anchors of thy hope!
Fear not each sudden sound and shock,
‘T is of the wave and not the rock;
‘T is but the flapping of the sail,
And not a rent made by the gale!
In spite of rock and tempest’s roar,
In spite of false lights on the shore,
Sail on, nor fear to breast the sea!
Our hearts, our hopes, are all with thee,
Our hearts, our hopes, our prayers, our tears,
Our faith triumphant o’er our fears,
Are all with thee,—are all with thee!
Mateuš Conrad Apr 2017
.how does philosophy and psychology differ? well. psychology was spawned from having to focus on the "need" of a "learning" for writing: speak comes easy, writing, not so much. psychology is so easily spoken, philosophy isn't, philosophy is like a child talking to an adult when psychology / sophistry comes into play /
    refrain... how do i rephrase this statement?
      ah! philosophy is like a child talking to a child...
psychology is like an adult talking to a child...
psychology is a supertition of knowledge...
philosophy? a fear of knowledge.
  knowledge does not make happy people,
or gullible talkative types, either.

... the birth of psychology contra philosophy... the when sophia over-powered the philosophers with too many observation cues... maxims and aphorisms... la rochefoucauld & nietzsche... it began with a dialogue, it maintained itself in a solipsistic monologue... it ended up as advertisement slogans: maxims and aphorisms.... cute observations: seen, "seen" but never tested... i've seen the ugly side of psychology... it's psychiatry... the big pharma carousel and slurred sedative spreschen... try getting a slurred sedative spreschen out of me... i'll sock you... i'm this: )( close to the itch of throwing a punch, i almost forgot what implies: peace... me dancing on old college's (edinburgh) roof while listening to: the shins, new slang... that was peace...
  that was me: rooftop, night, moon,
and the lingo of limbs floating freely off my torso
and at the same attached to it...

       i once cared about a "double" chin...
i grew a beard,
stopped worrying about: when will i learn
the violin... fiddled with my beard
for a while and figured: not now,
not ever...
                much much more gracious
than fiddling with ***** hair...
after all: a beard is very much akin
to ***** hair...

          jordan peterson and the old testament...
right...
       if ever a cain...
  siberia looks like the ideal prison...
after all god said, or "said": let him walk off his sins...
hard to walk off your sins when caged...
siberia? perfect training ground...
all that ******* being sold, cain? a vegetarian...
abel? sacrificed animal flesh...
paradox... so... god... expected us...
to remain hunter gatherers?!
  cain was thinking ahead!
he sacrificed fruits and veg. and...
cain was like: we better start thinking about
morphing into an agricultural society!
god praised abel, the neanderthal hunter gatherer...
cain was like: but look! look! wheat! bread!
we can feed more people!
god said: hunter gatherer! abel! win win!
cain paid homage to god
via fruit & veg...
abel... via kosher blood sacrifices...
now... either i'm just plain stupid...
or god is a really bad fiction....
written up by circumcised men
who never learned to *******:
since: the obvious impediment restriction...

cain was a veggie... abel sacrificed animals...
mea culpa somnum... send this whole
died on the cross
          ergo saved ergo ergo
my fault ******* to sleep... i'm tired of this mantra
like an eskimo is bored of ice...
i'm bored of listening to semitic proverbs...
   i'm bored of their rubrics...
their: "fate-warnings",
their superstitions... a semite will forever remain
a semite for me: kippah-***-tonsure...
or a camel-jockey brigade... lucky them they settled
on a once grand mountain range
of Sahara that was the bed for oil...

oh look! wow! i can think for myself!
wonderful...
               which is what i always thought
would become reality...
i'd watch a video...
not comment,
                 and write a rebuttal...
                  which would fall on deaf ears...
or that sacred minority report...
i'll face it if you face it:
the monotheistic god of the semites...
is as ridiculous
as the poloytheism of the pagans...
      the monotheistic god of the semites
is just too... pristine...
     give too many omni- prefixes
to a being and he becomes, boring...
like superman...
                  and to still preserve intellectual
integrity within the ontological omni-
zoo?
                              hey! feel free!
       i much prefer to believe in a "god"
of a limited circumstance...
                  as the will of creation? sure: omni- etc.,
but as a spectator in the back of the minds
of the "created"? cameo presence...
hence not omni- etc.,
                  after all: free will is free will...
and it requires no divine intervention
in order for it to be proved...
  however bad it happens to be upon
embodiment...
    god was never a source of intervention...
the jews begged prayed lampooned for
that sort of god...
did it fare them well? i don't think so...
god was always a cameo for me...
   something i could rely on...
in terms of finding my grand jurisprudence
libra... when the human sense of justice
would disintegrate...
and i'd be met with the west saxon mantra
of: innocent until proven guilty...
or a jimmy saville...
  i was wronged,
no one will believe me,
fair enough...
                     at least i've found some source
of compensation,
for the time being,
before i believe: not to be reunited
with the dead loved ones...
but before i believe to stand
in the grand court of judgement...
with king Solomon as the prosecutor
.


do what the english language does, it uses
hyphens to create compounds...  just do this:
            object-object...
   would i **** it?                depends on the follow-ups
that constrict the two-way "system"
of re-appropriation
            with the german language...
it really is the new: north south east west
"copernican" discussion...
    the **** am i supposed to do
(as a male) with an object
     that's not object=object... because it isn't...
      or object≠object: well? because it
clearly isn't...
                      ****, bro?
                       can i get a hotdog instead?
yeah yeah, extra onions on top...
                            but write it out in
that natural **** schizoi fashion
    as post-german compounds... hyphenated,
but instead include the following variations...
      and put them up for a narcissus inspection
and ask: are they chiral?
               stress-free is a compound word...
           but it's easier with an object-object
compound... 'cos' then you can **** around with
object-object... object=object...
             object≠object...
                                object~object...­
                       object≈object...
                           and   object≡object...
it's close proximity, i gather, so it's hard to
orientate yourself as you might with 1 + 1 = 2...
                      but it's in english, and english is
prone to try and forget the norman conquest
and rekindle itself as: with a germanic origin,
and all that custard that modern german
looks like: i'd be sooner wearing sun-glasses than
actual optic magnifiers if i was found
reading german krupahunddoughchew...
                               or the likes of this fake example.
true transgender? it happens in the ≡ category...
the binary...
       it means: even though you're male
   and can't fulfil the female role of a reproductive
****** capacity... i'd still *******...
    joke's on me...
                 but otherwise? apart from the starting point
in the english language...
      the hyphen and compounding words
as is the "vogue" standard...
               so working from object-object...
and then including the stated variations
                       of a dualistic **** by dichotomy...
         ah man... i'm just talking about
how english is trying to resurrect its saxon
ancestors... what with creating these hyphenated
words... you're going to shove some
      other mathematical symbol in between
the two stated words and think of
                                  some grander schematics...
the death of the university coincided with
the death of the asylum...
                               evidently 2 + 2 does equal 4...
         but it's still a case of working
from object-object...
                            object/subject-subject/object?
north, east, west, south...
                      what the ****?!
                        we have modern neanderthals
roaming this place, and they're faking
  the status **** sapiens... that the hell can
evolve from that?
                    clear and bite-sized truth acknowledgement:
we're **** schizoi... split brained...
                     we've reached a stage where
we're not modelled by a multiplication impetus,
but an obelus impetus (÷)...
                       western society figured...
as **** similis: we have a billion chinese and
a billion blue indians of the raj...
                                why should we be bothered?
                isn't that the case of what's happening?
unearthing the nag hammadi library
                               and the whole transgender movement?
oi! where's the vatican! get those cardinals off their *****!
                                 white, red, purple, black.
pope, cardinal, bishop... priest...
           sure sure... brown....                          monks.
but we're losing a fight against neanderthal islam...
                   come your hungry, your oppressed...
your first cousin ******* retards.
                                         i know i'm taunting,
i'm taunting with a reason: neanderthal islam....
                 so much for history and gloating about it
citing the ottomans; thing is... i have lost the ability
to fear death... i'm actually teasing it, more and more,
day after day, after yet another day...
                          it's a bit like the reverse process of
castration... i'm feeling up pigs' genitals, saying:
      oh look! this porky can sign in #A!
                               quick! to the castrato oink corp!
yep... etymology... the alternative to reading
history.
Muse the Bobbie, Learned and Scrolling Mentor
For screening this Curtain to show our Task
Basic Words you exhume; Trust, a favour
Later allow us with some Sticks to bask
It takes much swallow to go back to School
And strip us bare with Her Majesty's Words
This how you Speak - With a Rod and a Fool
But then, who cares? Forgans are for the Birds
Now all it takes to supple your behalf
Modelled by the Mad Agent done and pleased
We empty our Fillers; and bid Avast!
Upon Graduation your Skills we take heed.
Thank you so much again, Mentor availed
Success is Reward; Laziness is Failed.
Bequeath this Honour from the Eighties' Tribe
To he who Modelled their Choice of Youth then
Synchronise! The Word our Age imbibe
Of Cool Moves, Puppies and Groovy-Pop Scent
This Innocence, Sir, which you Emulate
Through Mischief that Last Good Deed you remind
How we, though Clowned, this Party appreciate
Left printed for Cats to oogle behind
Then that Watch you wore alarmed you to Grow
And signalled your Hour to stand and be brave
Hail, Parker Soldier! Valiant Flag bestow,
Took arms with Locals and fought for our Stay.
And when you Return, those Preppie-Girls cheer
The Nerd and the Suave, Cross-Wrists with you here.
#iamcorinnemec
I
Opusculum paedagogum.
The pears are not viols,
Nudes or bottles.
They resemble nothing else.

            II
They are yellow forms
Composed of curves
Bulging toward the base.
They are touched red.

            III
Having curved outlines.
They are round
Tapering toward the top.

            IV
In the way they are modelled
There are bits of blue.
A hard dry leaf hangs
From the stem.

            V
The yellow glistens.
It glistens with various yellows,
Citrons, oranges and greens
Flowering over the skin.

The shadows of the pears
Are blobs on the green cloth.
The pears are not seen
As the observer wills.
DJ Thomas Apr 2010
The play is written to be staged in a pub or a large cave like yurt in Cardiff.  Its action and dialogue provides characterisation, with sound and lighting being used to establish context.  The setting a darkened pub corner that is  modelled on The Bunch of Grapes in Pontypridd.   There are only 6 characters, five speak in haiku-ed verse with the exception of the Drunk who acts as my 'Greek Chorus'.

- Hand-in-hand she enters to **** her thumb in a corner

- Chocolate ice cream soda demanded from Daddy

- Joking banter ceased slowly as the regulars all begin to quaff their brown pints

“Balll uut eass swept -
Chimrrrrr, Chiirriica,
war is never won”

- Church quiet, the village pub listened lips clamped tears swelling

“ ***** cut swapped with eyes -
Chimerica, Chimerica,
war is never won”

- The cornered hero of two Afghanistan tours is seen regressing into childhood*

The set darkens slowly then after 30 seconds a spotlit conversation in lines and stanzas begins.

Haiku and tanka that inspired the coming play include:

******* -
thoughts sought, taught and wrought,
testosterones
Fighting aggressive games,
Afghanistan camouflage


Globalism and War -
cloned greedy conspiracy,
that third tower
Titled selfish-self-grandiose,
deliver warring terror


Springs cut Irises -
dripping vital red not purple,
far from my window*

.
copyright©DJThomas@inbox.com 2010
SassyJ Apr 2016
The rattle is shaken and life becomes unfixed
Torrential rains cascades downwards on ancient bricks
These stunning moments have been rediscovered
In wonder all is flustered in awe as the state of silence honks
Love creeps out of tune in time, the unsureness of cold feet
The voice fades, the toned whispers continually erased
Stormed and soaked, stilled and stalked by a heart that stole my dream
Drenched in uncertainty, non-favouring multitudes won't let me be
These flutters flattens and deflated, I stroll and I will not run
The floating fun fares vanishes, the morning bird furnishes
The time capsule evaporated, unstripped and frozen

Ohh, how I wished to plant and harvest inspiration
Wake up with a renewed breath of air, the flowing river
Of the days when the gloom masked, I hated what life had become
How could humanity be so self centred and selfish?
I looked for silence and the banging never ceased
The masses rushed, never to let me be, they snatched my freedom
I inhaled the hope of the freeness and longed for the racing momentums

How so?
That over time the weather collapsed to coldness, the darkness marbled
A nag of the songbirds, as I escaped in the ****** ozone layer
A disconnect of the mind, body and soul; when I saw my spirit sail
A snail sailing on its own course and journey slowly but steady
Reflections and visions of the timeline of growth and fertility
A heart of one, the soul of all, the mind of many, a tongue in sums
The chandelier hanged on a ceiling, high, holding the flickering bulbs
A condense of energy, the modelled nature of a prognostic intervention
A laughter and synergy rests in the symphony of the unsung melodies
Within a thick and spreading hawthorn bush
That overhung a molehill large and round,
I heard from morn to morn a merry thrush
Sing hymns to sunrise, and I drank the sound
With joy; and often, an intruding guest,
I watched her secret toil from day to day—
How true she warped the moss to form a nest,
And modelled it within with wood and clay;
And by and by, like heath-bells gilt with dew,
There lay her shining eggs, as bright as flowers,
Ink-spotted over shells of greeny blue;
And there I witnessed, in the sunny hours,
A brood of nature’s minstrels chirp and fly,
Glad as the sunshine and the laughing sky.
PYTHAGORAS planned it.  Why did the people stare?
His numbers, though they moved or seemed to move
In marble or in bronze, lacked character.
But boys and girls, pale from the imagined love
Of solitary beds, knew what they were,
That passion could bring character enough,
And pressed at midnight in some public place
Live lips upon a plummet-measured face.
No! Greater than Pythagoras, for the men
That with a mallet or a chisel" modelled these
Calculations that look but casual flesh, put down
All Asiatic vague immensities,
And not the banks of oars that swam upon
The many-headed foam at Salamis.
Europe put off that foam when Phidias
Gave women dreams and dreams their looking-glass.
One image crossed the many-headed, sat
Under the tropic shade, grew round and slow,
No Hamlet thin from eating flies, a fat
Dreamer of the Middle Ages.  Empty eyeballs knew
That knowledge increases unreality, that
Mirror on mirror mirrored is all the show.
When gong and conch declare the hour to bless
Grimalkin crawls to Buddha's emptiness.
When Pearse summoned Cuchulain to his side.
What stalked through the post Office? What intellect,
What calculation, number, measurement, replied?
We Irish, born into that ancient sect
But thrown upon this filthy modern tide
And by its formless spawning fury wrecked,
Climb to our proper dark, that we may trace
The lineaments of a plummet-measured face.
April 9,
Down on the South side a
tube ride away,
out in the Borough
where some people stay and
some people say,
it's a nice place, a
well-lit place, a somewhere
to sit and deep think place.

but

there's another side, a ride back in time
when the streets were caked in
horse **** and grime and the urchins
searching for somewhere to stay,
some nicer place
on a much nicer day.

And the Stew houses
but no stew inside,
known to children and
no place to hide,
Goose, oh goose
let my children go loose,
cries far away from
the Borough today.
js

The following text is taken from 'Goodreads' reviews of John Constable's 'The Southwark Mysteries'.


'For tonight in Hell, they are tolling the bell
For the ***** that lay at The Tabard
And well we know how the carrion crow
Doth feast in our Cross Bones Graveyard.'


In 1107, the Bishop of Winchester was granted a stretch of land on Southwark Bankside, which lay outside the law of the City of London. The Bishop controlled the numerous brothels, or 'stews'in the area, but the prostitutes, known as 'Winchester Geese', who paid the Bishop licence fees, were nevertheless condemned to be buried in unhallowed ground. For some 500 years, the Bishop of Winchester exercised sole authority within Bankside's 'Liberty of The Clink', including the right to licence prostitutes under a Royal Ordinance until Cromwell and the Puritans shut down the bear-pits, theatres and stews of Bankside's pleasure quarter.

In 1996, those working on an extension to the Jubilee line of London's underground, unwittingly began to dig up the bones of the outcast dead of Southwark, extimated to number 15,000, and John Constable began writing the Southwark Mysteries and later became part of a campaign to preserve part of the cemetery as a memorial garden.

I can't resist pasting in an article from the Daily Telegraph that appeared after the performance of the Southwark Mysteries at Shakespeare's Globe and Southwark Cathedral on Easter Sunday and Shakespeare's birthday, 23rd April 2000:

The Sunday Telegraph, May 14th 2000

"DEAN REJECTS CRITICS OF 'SWEARING JESUS' MYSTERY PLAY

A religious play staged in an Anglican cathedral has provoked fury after it featured a swearing Jesus and Satan wearing a phallus.

The Southwark Mysteries was produced by Southwark Cathedral and Shakespeare’s Globe in south London as part of the capital’s 'String of Pearls' Millennium celebrations. It mixed ***** medieval scenes with modern imagery and referred to bishops engaging in homosexual *** with altar boys and priests visiting prostitutes. The character of Jesus, who rode onto stage on a bicycle, was shown apparently condoning a range of ****** activities, while Satan told scatological jokes and ordered Jesus to 'kiss my a*'. At one point Jesus was admonished by St Peter for his swearing and responded: 'In the house of the harlot, man must master the language.' At another, Satan, played by a female actor, strapped on 'a huge red phallus' before using it to beat his sidekick, Beelzebub.

The play was written by John Constable, who said that he had deliberately wanted to challenge Christians. 'Profanity is a theme of the play', he said. 'The point of it was to explore the sacred through the profane. ' Mr Constable said he had worked closely with Mark Rylance, the Globe’s artistic director, and the Dean of Southwark, the Very Rev Colin Slee, who conceived the idea of a joint production to mark William Shakespeare’s birthday falling on Easter Day. He said the clergy had made a number of suggestions about the content, but he had not acted on all of them. 'They did ask me to make sure that Satan did not wear the phallus in the presence of Jesus, which I did', he said.

The first section of the play, which contained much of the ***** material, was staged at the Globe, and the final part, 'The Harrowing of Hell' in the cathedral. 'Colin Slee was very robust in keeping me on the straight and narrow', Constable said. 'The play is a new version of the traditional medieval Mystery plays, which were religious in nature but accepted human imperfections and took place in a carnival atmosphere. It seemed to be well received by most people who saw it.'

But one member of the audience, Simon Fairnington, has condemned the play as 'disgustingly offensive', saying that it 'revelled in the glorification of vice'. In a letter to the Dean he complained: 'Had the play been a purely secular production, one might not have been surprised at its treatment of Christian belief. What was dismaying was that it was sponsored and performed in part within a Christian cathedral. The cynical part of me wonders whether this is simply a sign of the times, and the way the Church of England cares about its Gospel and its God.' Anthony Kilmister, chairman of the Prayer Book Society, said: 'This is not the sort of play that should be performed in God’s house. It is quite disgraceful.'

But the Dean, who was the centre of controversy a few years ago when he allowed the cathedral to be used for a Lesbian and Gay Christian Movement celebration, defended the play. The performance was in keeping with traditional Mystery plays and 'portrayed graphically the life and history of the area' which was 'where the seamier side of life was to be found', he said. 'The message was that even the worst sins are not beyond redemption', he added.

Most of the audience responded positively to the underlying message of mutual forgiveness. Like the Dean, many accepted Satan’s *****, blasphemous words and deeds as part of the Mystery Tradition. The theologian Jeffrey John was of the opinion that, despite some obvious heretical tendencies, Constable was presenting 'remarkably orthodox Christian teachings going back to the first century AD'. Constable’s Harrowing of Hell is closely modelled on a play from the medieval York Cycle. His version shows Jesus’ spirit of forgiveness triumphing over the letter of The Law. Jesus’ ultimate 'Judgement' is a verse paraphrase of Matthew 26: 35-45.

  JESUS
  My blessed children, I shall say
When your good deed was to me done.
When man or woman, night or day,
Asked for your help, your heart not stone,
Did not pass by or turn away,
You saw that, in me, they too are One.
But you that cursed them, said them nay,
Your curse did cut me to the bone.

When I had need of meat and drink,
You offered me an empty plate.
When I was clasped and chained in Clink,
You frowned, and left me to my fate.
Where I was teetering on the brink,
Did bolt and bar your iron gate.
When I was drowning, you let me sink.
When I cried for help, you came too late.

  RESPONSE
  When had you, Lord, who all things has
Hunger or thirst, or helplessness?
Had we but known God a prisoner was
We would surely have sought to ease His distress.
How could God be sick or dying? Alas!
When was He hungry, thirsty, or homeless?
How could such things come to pass?
When did we to thee such wickedness?

  JESUS
  Dead souls! When any bid
You pity them, you did but blame.
You heard them not, your heart you hid.
Your guilt told you they should be shamed.
Your thought was but the earth to rid
Of them I am now come to claim.
To the poorest wretch, whate’er you did,
To me you did the self and same.
Terry Collett Sep 2012
Those are Bullfinch’s eggs
Jane said
pointing at
the 5 eggs

in a nest
hidden in a hedge  
and as she pointed
you imagined

that some god
modelled all female fingers
on that before you
how the nail was set

so perfectly
on the finger’s tip
the colour pinkish white
the skin almost blending in

we mustn’t disturb
she added
or the mother bird
will fly away

and not return
oh right
you said
gazing at the eggs

once her finger
had been removed
from the hedge
you studied

the pale blue eggs
speckled there
and sensed her presence
near your cheek

the lavender
that she wore
the way her hair dark
coming to her shoulders

was tied back
from her face
some collect them
Jane said

and pierce the top
and bottom
and blow through the contents
and have them on display

do they?
you said
seeing the sad expression
she wore

why is that?
you asked
she stood back
from the hedgerow

and looking at you
with her dark eyes
said
because they must have

they have to collect
what is there
for all to see
they must just have

for themselves alone
the May sun
was shining warm
and she took your hand

in hers and walked
you on along the lane
the small stream running
by the lane’s edge

her grey skirt
and white blouse
and white socks
giving her a plain look

but her eyes lit up
and she smiled again
and you wanted
at that moment

as she held your hand
for that hour
to be there forever
not to be lost

thinking you knew then
the depth of love
and not its loss
of that

and feeling sense
and not the cost.
BOY AND GIRL AND BULLFINCH EGGS IN 1961.
Salmabanu Hatim Nov 2018
God fashioned us with love and care,
HIS masterpiece.
HE chose a  special bone that protects man's life,
The ribcage that protects the heart and lungs,
Man's heart, the centre of His being,
Man's lungs that hold the breadth of his life.
From the rib, HE lovingly and patiently shaped and modelled us.
Created us perfectly and beautifully,
Gave us the characteristics of the rib,
Strong, yet delicate and fragile.
HE chose well,
Not the bone from man's feet,
To be under him
Not the bone from the head,
To be above him,
But, from the bone beside him,
To be held close by his side,
And like the ribcage to protect and support him.
You are HIS perfect form,
HIS beloved Angel.
You are what Adam and man experience of HIM,
HIS holiness, strength,purity and love.
Man is HIS image,
You are HIS emotions,
Together man and woman are totality of HIM.
ioan pearce Feb 2010
eighteen fifty industry,
men, women, children scarred,
ovens spewing sparks of death,
soulful welshmen charred.

greed of evolution,
marches on and treads,
upon the hungry townfolk,
that seldom see their beds.

ironmasters morals,
swilling in the smoke,
furnace fire bellows,
valley people choke.

ancestors bore hardship,
in days of horse and cart,
and modelled us to what we are....
welsh, proud, with homely hearts.
Mateuš Conrad Sep 2017
if by revision, there be a cartesian "archetype"
we'll require a blank slate, a canvas,
res cogitans isn't exactly a blank slate,
a canvas -
     then again it can be -
   but at the same time this thinking thing
primer is already brimming full with
an ingredient -
         namely? thinking.
                    so how can it be a starting point,
a blank slate, a canvas?
       for some reason i can't imagine thinking
at being directly correlated in translation
into being (esse) - it's more easier
imagining gods, than this sort of translation:
i.e. - how many mindless tasks have we
performed, how many accidents &
subsequently how many automations?
my guess is? too many, or enough to conjure
up the notion of common sense:
that communistic attention seeking ideal
of darwinism: yes, selfish as we are:
the cosmos is a claustrophobic space,
if being a poet, you stand next to a plumber
and how we're in all of this together;
i hardly think you can argue with that
sort of perspectivism.
           that's why i invoked an "antidote"
to the already apparent jackson *******
of res cogitans -
       it's so randomised - so already fresh,
in your fresh, already a cursor's sight away
the next pawn move on the chessboard
of life...
              res cogitans in classical terms
was already a presupposition conundrum -
it wasn't a case of supposing we thought,
or think,
     and by that statement the conundrum
is all the more apparent: we don't...
morality is a construct of acting upon
a thought that really doesn't need translating
into an act, rather: a possibility;
nonetheless it's translated, and thinking
disappears into a sane facade surrounded
by institutional mechanisations
that coordinate it into a: cradle unto the grave
scenario of the abled person:
strapped into a wheelchair of ambitions
primarily the one to: be able to walk again;
which is the don quixote aspect of the "quest".
there is no sense in working from
a cartesian standpoint -
   the res cogitans model was so outdated
that it was almost invisible,
   it was easier to see a beginning -
a god, a "bang", a monkey,
than it was to see a thinking thing...
     a thinking thing translates, precipitating
into a being - with that being said:
what is not objectionable about thought's
loss of an ought to still continue in making
being?
        never mind the crucifixion as a "sacrifice",
the fact that man question himself and
never manages an adequate plateau answer
is already a sacrifice worth enough
of other "worthy" sacrifices:
           and so too, as the universe "exploded"
so too man imploded;
the universe modelled upon an "explosion"
toward the infinite, is also a universe
modelled upon an implosion of man
toward the eternal...
         man has no archetypal cartesian
"currency", there is no cartesian wager -
hence the starting point of thinking is lost
to the sisyphus tract of ego-tripping, "winning",
and all other minor debasements -
    intrigue by insult -
               man was not born to think -
he remained in his unconscious developmental
state for much much later than expected...
i might as well say: i considered myself blind
until i first engaged in memory lego...
     i can't expect to have seen much else
other than the recount of my first
stage of internalised sight - i.e. memory.
again, i cannot consider res cogitans of
classical cartesianism as directly responsible for
esse -
i right thought to be an erasing project,
memory we can escape,
by forgetting, thinking and the imagining of
far better: that's harder to escape from,
memory was never a form of escapism
unlike imagining and thinking have been...
    which is why i asked to begin
with res vanus: for the mind of man
to become a womb, with the ego a foetus -
because it's hard to begin with
a jackson ******* of a res cogitans to
prescribe or even ascribe a "sort" of being...
            what needs to become is what already
is: a blank slate, a canvas,
           imaginative being in the form of punk -
or the thinking being in the form of einstein -
   but both begin with res vanus
rather than res cogitans -
       thinking has its own chronology and
narrative - like any claim to a hierarchy -
    but it cannot begin by stating that
thought was and is the first fact...
    cogitans non est facto primo -
   thinking is not the prime fact -
            it's like a numbers game -
there are the prime numbers, and there are
the composites -
     thinking is composed of imagination,
memory, ethics etc. -
        yet, as is all the more apparent -
    we all sometimes do stupid things sometimes...
and we do them: because we're not thinking;
which means that the prime fact that
we're thinkings things,
                                 is false,
we have to vacate ourselves for a thought
to enter our domain of emptiness -
               ***** the thought, ego the *****;
**** me, i always end up writing the most
bogus crap, after listening to a psychologist,
who has had the advantage of having raised
children, and become less severe a guardian
with some grandchildren, for it's a common fact
that grandparents make better parents
to their offsprings' children
    than a direct relation of mother to child...
even if they were alcoholic communists
            who still managed to buy you a collection
of philosophy books.
I
Her Courtesy

WITH the old kindness, the old distinguished grace,
She lies, her lovely piteous head amid dull red hair
propped upon pillows, rouge on the pallor of her face.
She would not have us sad because she is lying there,
And when she meets our gaze her eyes are laughter-lit,
Her speech a wicked tale that we may vie with her,
Matching our broken-hearted wit against her wit,
Thinking of saints and of petronius Arbiter.

II
Curtain Artist bring her Dolls and Drawings
Bring where our Beauty lies
A new modelled doll, or drawing,
With a friend's or an enemy's
Features, or maybe showing
Her features when a tress
Of dull red hair was flowing
Over some silken dress
Cut in the Turkish fashion,
Or, it may be, like a boy's.
We have given the world our passion,
We have naught for death but toys.

III
She turns the Dolls' Faces to the Wall
Because to-day is some religious festival
They had a priest say Mass, and even the Japanese,
Heel up and weight on toe, must face the wall
-- Pedant in passion, learned in old courtesies,
Vehement and witty she had seemed -- ; the Venetian lady
Who had seemed to glide to some intrigue in her red shoes,
Her domino, her panniered skirt copied from Longhi;
The meditative critic; all are on their toes,
Even our Beauty with her Turkish trousers on.
Because the priest must have like every dog his day
Or keep us all awake with baying at the moon,
We and our dolls being but the world were best away.

IV
The End of Day
She is playing like a child
And penance is the play,
Fantastical and wild
Because the end of day
Shows her that some one soon
Will come from the house, and say --
Though play is but half done --
"Come in and leave the play.'

V
Her Race
She has not grown uncivil
As narrow natures would
And called the pleasures evil
Happier days thought good;
She knows herself a woman,
No red and white of a face,
Or rank, raised from a common
Vnreckonable race;
And how should her heart fail her
Or sickness break her will
With her dead brother's valour
For an example still?

VI
Her Courage
When her soul flies to the predestined dancing-place
(I have no speech but symbol, the pagan speech I made
Amid the dreams of youth) let her come face to face,
Amid that first astonishment, with Grania's shade,
All but the terrors of the woodland flight forgot
That made her Diatmuid dear, and some old cardinal
Pacing with half-closed eyelids in a sunny spot
Who had murmured of Giorgione at his latest breath --
Aye, and Achilles, Timor, Babar, Barhaim, all
Who have lived in joy and laughed into the face of Death.

VII
Her Friends bring her a Christmas Tree
pardon, great enemy,
Without an angry thought
We've carried in our tree,
And here and there have bought
Till all the boughs are gay,
And she may look from the bed
On pretty things that may
please a fantastic head.
Give her a little grace,
What if a laughing eye
Have looked into your face?
It is about to die.
Mateuš Conrad Jan 2016
on the tier of £110 an hour with a fence
of £10 fee of entry for the brothel,
at £110 an hour you don't get *******
actresses; you get reality / basics,
one ******, ONE, with a bulgarian *****
after she echoed ow for millennia,
after the chubby puerto rican one
took to being aloud with ******* screams
with the window open
in amsterdam looking at the wind
gazelle like for a face of a lover remoulded,
asking her small afro pageboy to get more beer for me
and ******* into a tarnished bowl -
no ***** actresses on the £110 tier of enslaved bodies
like catacombs of ancient egyptian everyday
i wish to absolve history of study;
i learned the etymology of the ethnic categorisation
word of SLAV my own way, and i wish it upon
no other creature.*

supermarket oddity,
here goes,
an audacious thief returns to the same
place twice, but the villagers mind
the second time - the first time a rural
populace becomes an urbanity
that borderlines a natural circumstance of
anonymity;
i went in,
on the menu five bavaria beers
and a 70cl of whiskey,
i usually keep the receipt in my wallet
or in my pocket,
i went in, german army shirt and hood,
black trousers
and green matching shoes,
to the self check out automaton of
pre-recorded voices
i almost felt i was on the serpent
that said 'mind the gap' between the echoing
twirls of iron between liverpool st. and bank
on the central line;
i gave the a.s.b.o.s. tagged bottle of whiskey
for the person minding self-service,
took the crossword basket back to the stack,
came back;
i remember the 5 pence charge on utilising
elongated plastic bags...
hence my backpack...
but the receipt i also remember dating of late
the 12th of january last...
i don't remember buying the five beers i
drank while walking in the wind chill of minus
five degrees, or the whiskey...
i'm just bewildered in a cartesian sense of
that sense of coupling thought with doubt
rather than denial,
but the odd thing is that i felt like i felt stealing
queens of the stone age album from w. h. smith
and then returning it...
but the odd thing is, is that that i stole it in full
view, the sigma fifteen pounds and thirty pence
under supervised eye, paranoiac in me created
a rebellious worker for a corporation,
a real tight blue collar worker, and honest,
above all honest; but the reply to my goodnight
sounded odd; and that's hardly an artist's fascination
with the orbit of mars: it just takes a supermarket;
i glorify such days, where no philosophy is invested in,
but simply an ingenious act of theft -
where the thief is doubtful of the theft, rather
than idiotically denying it.

p.s. you heard of natural selection, beauty in the eye
of the beholder, cloning true on paper with identical
genes, but untrue in fact because of historical events
that would never provide a clone's re logic of the disparity
of events sculpting a different identical you,
so too with this weird, this weird emergence of
natural memorisation, fed schooled memorisation
of pythagoras, typhus and python,
but memory comes back, modelled upon the
unconscious / automation, it's its own self,
selective memorisation, where the child despised once
more speaks, and even though conscious of thought,
certain memories come back, to orientate thought
of one's self in a different darkening: or should
there be one akin to narcissus, as he who fell in love
with his shadow, and instead of a metamorphosis
into spring's fluctuating bloom, instead into abstract
of geometry?
IDS Dec 2016
Her
Sewn-up into not caring
Modelled dispassionate
Roused into fantasy;
This one time would be
different
Oh naive optimism

His sight grows absent from reality when
he sees her
Leaving me unconsidered
he trades grins with her
With no forewarning
he trails off to her
Consinging to oblivon my presence when
he's with her
Nothing assuredly matters when
he's conversing with her

I'll bid farewell
to those so called feelings
Friends can fracture your
Sole heart
If you keep confiding
You will bruise nonstop
So let me advice you this one time
Become cold as ice
judy smith May 2015
There was none of your itsy-bitsy, teenie-****** bikinis at a fashion show of vintage swimwear in aid of the Cleveland Pools.

The costumes on show on the catwalk at Green Park Station were a much more modest affair, with a lot less flesh on view, and with some very interesting costumes which seemed to amuse the younger audience.

The Vintage Swimwear fashion show celebrated the last 200 years of bathing suits – the pools celebrate their 200th birthday next year.

Costumes from the last two centuries were modelled down the catwalk, with some interesting reactions from the audience, many of them design or fashion students from Bath Spa University.

It was a great turnout according to Sally Helvey from the Cleveland Pools Trust.

"We had a great night, and it really was great fun," she said.

There was a bar and barbecue hosted by Green Park Brasserie, and ice cream from a vintage Humphry van.

The audience also enjoyed a photography booth, and picture and video slideshows.

The Cleveland Pools is the only surviving Georgian Lido in the country, with a beautiful outdoor pool nestling in the back woods by the River Avon near the Bathwick estate.

But it is very derelict and will need millions spent on it before it can be re-opened again to the public. Last summer the trust received the welcome news the amenity is to be granted more than £4 million from the Heritage Lottery Fund, so plans are in place to have the pools restored and open for use again possibly as early as 2017.

A lot more funding needs to be raised to try and match the funds given by the HLF, and the fashion show, organised by Bath Spa student Jenny Brown, was just one of many events being organised over the summer.Read more here:www.marieaustralia.com/formal-dresses | www.marieaustralia.com/bridesmaid-dresses
Bernardo Soares Aug 2013
Thumbing the pulse of the overkill

The backbeat to our times

Stunning the false with freewill

On the backseat of a lie

Standing alone with patience

Trying not to die

Modelled by the gracious

Overwhelmed and shy

Leased out to the highest bidder for stories based on truth, told by the newest stranger from the loneliest book, eased myself close to get a better view inside a room with no door or no windows too.
judy smith Oct 2016
The glitz and glamour of the fashion world descended on the city once again as Oxford Fashion week returned for its 10th season.

Models strutted their stuff on the catwalk at the Town Hall on Friday evening as the crowd saw shows from 12 designers.

Champagne flowed at the after party, where a raffle and silent auction were held in support of Oxfordshire Youth – the county's charity for young people.

The show was intimate, with just three rows of seating surrounding the catwalk.

Carl Anglim, the director of Oxford Fashion Studio, said: "Oxford has its own character and charm and we try to bring that to every show we do."

Anya Conlon, the face of this year's fashion week, modelled a dress at the after party which was donated by famous designer Omar Mansoor.

Many of the models attending the party wore their looks from the runway for guests to more closely see the intricate designs.

The 6pm show featured independent collections and ready to wear designs from high street boutiques and retailers.

Highlights included shows from two masters graduates sponsored by Jericho fashion shop Olivia May – Constance Blackaller and Katie McGuigan.

The 8pm show was titled Concept + Couture and displayed eccentric collections from prominent local designers.

Dumpster Design created a dress made entirely of discarded materials from Oxfordshire Youth while Caterina *******debuted her colourful Homage to Camouflage collection for her Kraken Counter Couture studio.

Ms *******incorporated her 'K sizing system' in to her designs, which is uniquely tailored to transgender individuals.

She said: "To me it didn't seem new. I felt like somebody should be doing it.

"Its something that I'm very proud to do – I have many friends and family in the LGBT community."

Gender fluidity was a theme throughout the night as the Crease show sent several male models down the runway in women's coats and dresses.

Model Luka Nikolic said: "I think 2016 is the year for gender fluidity.

"If you're a man wearing women's clothing or a woman wearing men's clothing you can't say that's wrong."

A surprise attendance was made by designers Dylan & Izzy, who are featured on the BBC show All Over the Workplace.

The show, hosted by Alex Riley, shows children the inner workings of different workplaces and this week the children tried their hand at fashion design.

The Town Hall extravaganza marked the end of fashion season, with fashion weeks in New York, London and Milan starting again in early 2017.

Mr Anglim said: "Many of our designers will go to London, New York and Paris, but our favourite thing to do is come home to Oxford."Read more at:http://www.marieaustralia.com/bridesmaid-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses
Tony Luxton Jun 2016
Knees aching climbing the hill,
gras patches, soft landings
among sandstone islands,
dreaming cold clime exploring.

Shoe gripping rocks
of concreted fossils,
weighing on times remains
- triassic scales.

My multiplexed cells,
morphed versions of those
modelled in the strata.

Not master of all I see.
Not master of me.
judy smith Mar 2017
The streets of Paris were clogged by rallies and demonstrations on the Sunday of fashion week. At the Trocadero, a pro-rally for embattled French conservative presidential candidate Francois Fillon, blocking the route between the Valentino and Akris shows; at Bastille, an anti-Fillon demonstration.

The French elections — and ever-increasing security — were providing a tense backdrop to the autumn-winter collections, much like Donald Trump, Brexit and Matteo Renzi did on the fashion circuit of New York, London and Milan this season. Politics and the changing of the guard, women’s rights and diversity may make fashion seem irrelevant until you add up the value of the industry to the world economy. In Britain it is £28 billion ($45bn) — and that is small fry next to France and Italy.

Perhaps politics and social change have influenced the French designers for there was much less street style this season and a lot more tailored, working clothes on the catwalk. They used mostly masculine fabrics but worked in such a graceful way. You need only look at Haider ­Ackermann, Chanel, Alexander McQueen, Christian Dior, Lanvin, Akris and Ellery to see this — lots of great wearable clothes.

Karl Lagerfeld wanted to fly us to other worlds (to abandon the mess here perhaps) in his Chanel space rocket. There were checks, cream, silvery white and grey tweeds, for suits and shorts and dark side of the moon print dresses that cleverly avoided the 60s’ ­futuristic cliches. Silver moon boots, space blanket stoles and rocket-shaped handbags were as space-age-y as it got. There was quiet, seductive tailoring at Haider Ackermann — tapered silhouettes in black wool and leather softened with a knit or the fluff of Mongolian lamb for a blouson or skirt. At McQueen the asymmetric lines of a black coat or pantsuit were ­inspired by the fluid lines of ­Barbara Hepworth’s sculptures, whereas David Koma reclaimed the soaring shoulderline of Mugler’s 80s silhouette for pantsuits and mini-dresses for the brand.

Christian Dior’s uniform-inspired daywear was produced in tones of navy blue with 50s-style navy belted skirts suits, long pleated skirts and some denim workwear. “I wanted my collection to express a woman’s personality, but with all the protection of a ­uniform,” explained Maria Grazia Chiuri before the show.

There was more suiting at ­Martin Grant with voluminous trousers, cummerbunds and men’s shirting. The cut was more mannish at Ellery and Celine with ­Ellery balancing her masculine oversized jacket looks with feminine bustier tops with giant puff sleeves. The mannish look at ­Celine was styled with sharp ­lapels, slim-cut trousers under crushed textured raincoats, whereas ­double-breasted jackets (a trend) and peacoats over loose-cut trousers appeared at John Galliano.

Checks jazzed up the tailoring at Akris where there were more sophisticated double-breasted jackets and swing coats, and at ­Giambattista Valli from among the flirty embroidered dresses a dogtooth coat emerged with a waspie belt and a suit with a peplum skirt.

Stella McCartney displayed her Savile Row skills in heritage checks for her equestrian-themed show. Of course, she is crazy about riding and her prints featured a famous painting by George Stubbs, Horse Frightened by a Lion. It turns out Stubbs was another Liverpudlian, like her dad Sir Paul.

Of course Hermes’s vocabulary started with the horse and there were leather-trimmed capes and coats that fitted an equestrian, or at least country theme worn with woollen beanies and big sweaters, offering a different way of tailoring, in an easier silhouette with a soft colour palette.

The highlight of the week for Natalie Kingham, buying director at MatchesFashion.com was ­Balenciaga. “Great accessories, great coats and great execution of ideas,” she says of Demna Gvasalia’s off-kilter buttoned coats, stocking boot and finale of nine spectacular Balenciaga couture gowns reinterpreted in a contemporary way. “It was wearable, modern and the must-see show of the week.” It was also, she pointed out “the must-have label off the runway with every other person on the front row decked out in the spring collection”.

Although tailoring worked its subtle charms on the catwalk, there were flashes of brightness, graceful beauty and singularity. Particularly bright were Miu Miu’s psychedelic prints, feathered and jewelled lingerie dresses and colourful fun fur coats with furry baker boy hats. Then there was the singular look evoked by Austrian-born Andreas Kronthaler in his homage to his roots, with alpine flowers, Klimt-style artist smocks and bourgeois chintz florals worked in asymmetric and padded silhouettes for Vivienne Westwood — some of it modelled by the Dame herself.

Pagan beauty, the wilds of Cornwall, ancient traditions such as the mystical “Cloutie” wishing tree led to Sarah Burton’s enchanting Alexander McQueen show, which was another of Kingham’s favourites with its unfinished embroideries inspired by old church kneelers and spiritual motifs. “I loved the artisanal threadwork and the spiritual message that was woven throughout,” she says. The artisanal and spiritual she considers an emerging trend around the shows. “It had a slight winter boho vibe but much more elevated.”

Chitose Abe shared that mood for undone beauty with her Sacai collection of hybrid combinations of tweed and nylon for an anorak, and deconstructed lace for a parka, and puffers with denim re-worked with floral lace for evening.

There was more seductiveness at Valentino and Issey Miyake. The latter’s collection shown in the magnificent interiors of Paris’s Hotel de Ville, shimmered with the colours of the aurora borealis and used extraordinary fabric technology to create rippling movement as the models walked.

Valentino was a high point. On a rainswept Sunday Pierpaolo Piccioli cheered us with high-neck Victoriana silhouettes and long swingy dresses in potentially (but not actually) clashing combinations of pink and red in jazzy patterns of mystical motifs and numerology inspired by the Memphis Group of Pop Art. The sheer loveliness of the collection was enough to drown out the world of politics only a few blocks away.Read more at:http://www.marieaustralia.com/short-formal-dresses | www.marieaustralia.com/blue-formal-dresses
Mateuš Conrad May 2016
don't do it, it's modelled like speed-dating, i've been to one of those horrid Loserville events and it wasn't pretty - please don't get ****** into this vortex where you reveal everything about yourself, what music you like, what films... you're just showing me everything i'm not supposed to know before i even meet you, it creates a complete and utter lack of conversation... all the fun stuff to talk about comes flying out of the window... all the good stuff, all the DVDs and CDs and books in a suitcase... and all that's left in the house is your ***** laundry... and on dates all you end up talking about (crucially) are your ****** problems!*

it just got me thinking about prostate cancer
and how they shove a thumb up your ***
to see if your prostate glad still has a hard-on;

the western illusion of "not enough time",
not enough time to speak about music, films and books?
i guess the new thing is psychology and how
many diagnoses you can think of,
a symptom of a: not taking interest in philosophy beyond
quotations, maxim, toothpicks instead of pine trees.
Dan Gilbert Jul 2016
I do not want an old man God sat in a throne,
Judging from afar with sceptre and gold
riding on a cloud, sombre and haloed,
stern faced, woolly warm beard stroking,
Michelangelo-esque nighty clad, run of the mill deity.

I do not want a Sunday morning liturgy reference God,
inhabiting musty buildings, documented within dusty books, out dated, out rated, out of duty once a week
(twice if you include the mid-week bible study),
appeasing a sick relative, reluctant, habit God.

I do not want a jolly nodding head back shelf of the car job, kitsch icon, only when it suits me, pocket amenity,
fashion accessory, hobby gimmick God; a God modelled
from routine and agenda and TV evangelism, a convenience style digestible man made allusion.

I don’t want a controlling egomaniac parent God, bent on
setting us unattainable goals and tasks then throwing
a tantrum when the model train set breaks; or a God
who is distant, self-righteous, passive and out of touch,
an elusive, reclusive, exclusive God,

I want an ‘I Am who I Am’ God, whose boundaries are so
immense that to trace them would destroy you. A God
who is completely indefinable, that every brushstroke
put to canvas, every conceivable melody whistled, that
every imaginable word uttered, would barely compare.

I want a God who to stand before would burn my eyes out, make my heart explode; that I would be totally devastated. Yet, a God who is approachable and approaches, a God who is in the here and now, surrounding, dumbfounding, astounding, a God with promise and hope you can taste.

A God who breaks all the boundaries and exceeds every
human expectation and limitation, a God who hears and feels every longing, every desire and creates opportunity,
empowering the heart that cries out, stilling the soul when it aches, a God of promise and hope and deliverance.

I want a God unlike any parent, friend, lover, sovereign, reckless in compassion and filthy with goodness, available and ever there. So dangerously loving, so excessively wise and firm, yet tender, knowing, emotive, compassionate, A God who takes my grief. A God asking to be found and worth being sought.
Olivia Kent Feb 2014
Paper friend.
You flew away on the breeze.
Once that scribe, wrote loving words.
Deep into flaking bark.
Bark stripped off in preparation.
For serious pulping.

For silent he became.
Once was awesome.
When on the grass, we laid and held.
Where, so tenderly curled in luxury.
Needing nothing, no other than the other one.
Beneath primeval oak.
As a pair of skylarks, we played in the park.
Spirits of trees, dissected and pulped.
Re-modelled, created as love letters.
Perhaps, maybe a book.
Or maybe made a plane of paper, just so you could fly away.

By ladylivvi1
© 2014 ladylivvi1 (All rights reserved)
Ottar Mar 2015
relationship
precious, trust
intimate, daily, modelled
Mother and Daughter, first to sacrifice
life, flesh, protects
eternal, hope
love
oversimplified I know
Edward Coles Feb 2014
They're counting scarecrows in moonlight
across the arid fields.
Men smoke cigarettes found in jackets
they've not worn in twenty-two years.

They're talking about Old Wisdom Street
and of getting into clubs.
Women are researching old lovers
they've not spoken to in years.

They're praying for the friends now gone
across time's limited field.
Children dress up as the Israelites
they've modelled in early years.

They're raising glasses to toast the present
and the fable of the past.
I have begun to listen to the lessons
they've not taught me for several years.
c
Nhlekeleza Nov 2017
Some are there for the party, some are there for the part
In rumination a constant reverberating conscious dissertation
Without hesitation I have said that I love you off by heart but your ears are blind if your heart sees them not those darts

In retrospect I would inspect as I detect this heart's reflect
That you were nurtured some  kind of way, into a nature of some jaded doctrine
Taught to be an object and now a suspect of being a love ******
Many a things do they do the beautiful stones, treasures and shells
But it's all for nothing if the love language stays empty

A void to be never filled as wills are ill
Intentions are impure and stenched with all and every filth
I see the waves as the way you think of intimacy but lose the sight of what you feel within
Who you are to you and what you are to you
It goes back to how much emotion means and the steal of it, how it leaves you, the memory that becomes past
The moment that has passed
A flag of a could have and should have ship
Another X that will have them hex and you're on The Bewitched list again  except there won't be a show about you

The love pulse seems to be gone and silent, because when it comes and hits you; it's riveting, it's agony
Much like drowning or free falling on a very rocky surface without a parachute
It gives you a sense of urgency
It gives you a sense of urgency
It is not tomorrow, not yesterday, not then or when but now, always insistent at this very instant

The grooming then; what were the first words she told by grandmother, mother, sister or aunt - about men
The first words that modelled her becoming
The pictures that fragmented her imagination of personhood
The mantras that have built up as a Zeitgeist driving her gears of paradigms
The very itch in her egoic mind that longs for material satiation except it's never enough

Some are there for the party, some are there for the part
Some live and die for for the velocity of the transcendence of divinity
Some just keep up face
Keeping up face because the paste might replace a gaze of self-hate and inadequacy
You'll know where they stand and what they stand for by how they'll respond, what they'll say or won't say
To know what the love language is is to know what it's not
And our treasures who long to be crowned have been inculcated to calculate the degrees of lust and temporary gain, so nothing good lasts
And golden opportunities seem to just pass because nobody takes a glance at the true Romance Lingui Francua glass

They run for the telly and how flat the belly will look
But slow to write a message saying she's yearning and hungry for your love
So the love star starves and the children of tomorrow call this a fable
But see it's just jaded grooming
No impulse to give of oneself for a just cause, so how will they love wholeheartedly and the love dance rhythm adore?
Just another idyll for the abandoned book store that nobody takes a tour in anymore.
mzumentum/song/love-grooming
She looked on with sorrow
With her deep brown eyes
Appearing so emotional
While acting contented
Her face showed imperious expressions
But she controlled her movements
As she modelled past me.
My scent had poisoned many souls
She contained it hurtfully
I stabbed her thoughts daily
As she frooze my eyes
Mateuš Conrad Nov 2015
a man  of my esteem can digest direct violence than witty violence  known as  ridicule / the sorrow grows bigger when the sorrow’s denied  (pearl  jam).

so be it... unless i be irish and my use of english be celtic,
then i trully am raw potato with raw cabbage
with lettuce and raw tomato speaking through my ****...
so be it... i’ll concentrate all the world’s republicanism
on the democracy of england and see england and those it
deems kin to export democracy elsewhere -
reduce old age to dementia rather than wisdom - to be forfeit;
what can i learn from you old man?
fucky fucky sucky sucky retirement is grand?
it took an old man to define the failures of democracy...
it will take a youth to define the failures of republicanism...
one by one... that thing on the cross digesting its kidneys
is in no way the in-between.

each abhores his father, but each returns to his father
for guidance akin to a compass in defining the definition
of what's north from sun, and east from the moon,
so if friendships only provide conversation
as means of exchange, a fox provides more to man
than man unto man...
because it provides the sort of conversation
that prompts thought...
and man without woman converses with thought
rather than the obedience for a continuum
that woman is modelled on...
man's guardian, man's womb without woman
that is thought is what abides to philosophise...
but philosophy is a bad joke in england these days...
hence the convenient safeguard of darwinism
and american politics to simply provide the nodding
for the first oscar of mexican wave build-up of un-originality:
easily philosophise only reading psychiatric
books or logistics of a missing soul with an engaged
logic of 2 + 2, as the english intelligentsia is prone to excuse
when it uses it... why practice psychiatry when
you have not read a single book of philosophy, why, english psychiatry?
How Serious should be for this Wonder at
That very same Point locked kisses to the Wall
Whilst these Incarnations modelled Months that
Must never Surprise your Mum's Eye to befall
Why bother? If with Pheromones invite
White Hags and Chicken-Hawks apart from Dames
Should you most Expect to be Drawn in-spite
Your Needed Economy must Split these Pains
Fair you'll accept then our own Business be
Then Hammer these Virtues misinterpret
To ******* bleed as Dodgy Stones flee
Even by Distance un-mind to beget.
Just my Point. To which all such Points deranged
Your Judgment approved; And Verdicts arraigned.
#tomdaleytv #tomdaley1994
Mzuli Mar 2013
I'm taking in the world bit by bit:
The smell of grass after a shower,
The clouds in the sky floating away with my thoughts, my hopes, my fears
The sound of laughter pouring into my ears as I feel Nature's light on me
I'm taking in the world bit by bit:
The trees I want to climb
And the hills I want to roll down
The crickets in the night giving me a background music I want to dance to
I piece my world together bit by bit
With the Sounds of Nature
And the Lyrical Lines of Myles
And I see you:
An amalgam of the things I know
A symphony modelled after my own tiny orchestra
A ***-pourri of the scents I keep hidden away
I invent this world you've given me the keys to:
The smell of your skin after a shower
The clouds in your eyes as you speak about your ‘tough childhood’
The sound of your laughter pouring into my ears
And tickling the fabric of my soul
I invent this world where we exist
This world where we are infinite
This world where there are no eyes on the walls
And no ears on the doors
No dismembered limbs
Pointing
And no disenchanted mouths
Judging
I invent this time-less space
This boundless place
We can watch the sun rise
And write a rule book
We can talk for hours, days, or maybe minutes –
We’ll never run out of
Words or time
We can walk,
Endlessly explore
The abysses of our world
Terry Collett May 2012
Lena sits and waits. The artist has
Wandered off, gone to the john or
To a bar or to have a quickie with
The local ****, she doesn’t know.

She’s been here before, the same
Being left behind, the silent studio
Situation, smell of paint, oils and
Other artist’s tools and useful stuff.

She has modelled for others and
They’ve always been the same, being
Lost in another world, stinking of
Turpentine, paint, ***, and all the rest.
She crosses her legs. Sniffs the air.

Wearing the green dress he wanted
Her to wear, her well brushed hair.

She recalls the artist’s antics the night
Before, the want of ***, the fumbling
In the dark, the creaky bed, the banging
Away, all those images left in her head.

She uncrosses her legs. Other paintings
Lay around, some leaning against walls,
Some framed, some not, some sold,
Some recent, all modern, some old.

She wonders if she will be like these,
Left aside, used, done with, her oils dried,
Sitting waiting, her youth has died,
And she waits with the ticking of the
Clock, the moving hand, the hour glass
And the slow running out of life and sand.
nivek Jul 2015
A I is modelled on you
but it will never have your skin
mb Feb 2016
Hot Durban nights.
Naked in the pool.
The Blue Waters.
Ebbing.

Next door, my grandfather tried to hold on to. His wife. Thirsty for oxygen. As I slide off the tilting roof, holding its water as it cast me off.
Into the nearby sea.
You muffled my coughs. The taste of Vicks still won't leave my mouth. But it's one of my fondest memories.

(By the bar where the Rwandan directors smoked dope.
Late night discussions the foolish call art.)

You, me and &*^%.
Your tattoos and little *******.
I thought were perfect.
Modelled after martinis we'd never drink.

(My broken phone kept calling Kote.
Kote panicked with this unknown.
Suspicious of coups.)

The hand cloth towel slipped off your body.
The pool water dripping onto the sheets.

(Our saviour in the township on that night we tempted fate, re-enacting rapes, the terrifying 12 left us, and her girlfriend tried to kiss me, alone in the car)

You walked into my hotel room.
Fourth floor.
You took the bible from the draw.
Fourth floor.
You threw it with a flick.
Fourth floor.
Then you ****** my
Fourth floor
And I fell
Fourth floor




asleep.

— The End —