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Of that sort of Dramatic Poem which is call’d Tragedy.

Tragedy, as it was antiently compos’d, hath been ever held the
gravest, moralest, and most profitable of all other Poems:
therefore said by Aristotle to be of power by raising pity and fear,
or terror, to purge the mind of those and such like passions, that is
to temper and reduce them to just measure with a kind of delight,
stirr’d up by reading or seeing those passions well imitated. Nor is
Nature wanting in her own effects to make good his assertion: for
so in Physic things of melancholic hue and quality are us’d against
melancholy, sowr against sowr, salt to remove salt humours.
Hence Philosophers and other gravest Writers, as Cicero, Plutarch
and others, frequently cite out of Tragic Poets, both to adorn and
illustrate thir discourse.  The Apostle Paul himself thought it not
unworthy to insert a verse of Euripides into the Text of Holy
Scripture, I Cor. 15. 33. and Paraeus commenting on the
Revelation, divides the whole Book as a Tragedy, into Acts
distinguisht each by a Chorus of Heavenly Harpings and Song
between.  Heretofore Men in highest dignity have labour’d not a
little to be thought able to compose a Tragedy.  Of that honour
Dionysius the elder was no less ambitious, then before of his
attaining to the Tyranny. Augustus Caesar also had begun his
Ajax, but unable to please his own judgment with what he had
begun. left it unfinisht.  Seneca the Philosopher is by some thought
the Author of those Tragedies (at lest the best of them) that go
under that name.  Gregory Nazianzen a Father of the Church,
thought it not unbeseeming the sanctity of his person to write a
Tragedy which he entitl’d, Christ suffering. This is mention’d to
vindicate Tragedy from the small esteem, or rather infamy, which
in the account of many it undergoes at this day with other common
Interludes; hap’ning through the Poets error of intermixing Comic
stuff with Tragic sadness and gravity; or introducing trivial and
****** persons, which by all judicious hath bin counted absurd; and
brought in without discretion, corruptly to gratifie the people. And
though antient Tragedy use no Prologue, yet using sometimes, in
case of self defence, or explanation, that which Martial calls an
Epistle; in behalf of this Tragedy coming forth after the antient
manner, much different from what among us passes for best, thus
much before-hand may be Epistl’d; that Chorus is here introduc’d
after the Greek manner, not antient only but modern, and still in
use among the Italians. In the modelling therefore of this Poem
with good reason, the Antients and Italians are rather follow’d, as
of much more authority and fame. The measure of Verse us’d in
the Chorus is of all sorts, call’d by the Greeks Monostrophic, or
rather Apolelymenon, without regard had to Strophe, Antistrophe
or Epod, which were a kind of Stanza’s fram’d only for the Music,
then us’d with the Chorus that sung; not essential to the Poem, and
therefore not material; or being divided into Stanza’s or Pauses
they may be call’d Allaeostropha.  Division into Act and Scene
referring chiefly to the Stage (to which this work never was
intended) is here omitted.

It suffices if the whole Drama be found not produc’t beyond the
fift Act, of the style and uniformitie, and that commonly call’d the
Plot, whether intricate or explicit, which is nothing indeed but such
oeconomy, or disposition of the fable as may stand best with
verisimilitude and decorum; they only will best judge who are not
unacquainted with Aeschulus, Sophocles, and Euripides, the three
Tragic Poets unequall’d yet by any, and the best rule to all who
endeavour to write Tragedy. The circumscription of time wherein
the whole Drama begins and ends, is according to antient rule, and
best example, within the space of 24 hours.


Samson made Captive, Blind, and now in the Prison at Gaza, there
to labour as in a common work-house, on a Festival day, in the
general cessation from labour, comes forth into the open Air, to a
place nigh, somewhat retir’d there to sit a while and bemoan his
condition. Where he happens at length to be visited by certain
friends and equals of his tribe, which make the Chorus, who seek
to comfort him what they can ; then by his old Father Manoa, who
endeavours the like, and withal tells him his purpose to procure his
liberty by ransom; lastly, that this Feast was proclaim’d by the
Philistins as a day of Thanksgiving for thir deliverance from the
hands of Samson, which yet more troubles him.  Manoa then
departs to prosecute his endeavour with the Philistian Lords for
Samson’s redemption; who in the mean while is visited by other
persons; and lastly by a publick Officer to require coming to the
Feast before the Lords and People, to play or shew his strength in
thir presence; he at first refuses, dismissing the publick officer with
absolute denyal to come; at length perswaded inwardly that this
was from God, he yields to go along with him, who came now the
second time with great threatnings to fetch him; the Chorus yet
remaining on the place, Manoa returns full of joyful hope, to
procure e’re long his Sons deliverance: in the midst of which
discourse an Ebrew comes in haste confusedly at first; and
afterward more distinctly relating the Catastrophe, what Samson
had done to the Philistins, and by accident to himself; wherewith
the Tragedy ends.

The Persons

Manoa the father of Samson.
Dalila his wife.
Harapha of Gath.
Publick Officer.
Chorus of Danites

The Scene before the Prison in Gaza.

Sam:  A little onward lend thy guiding hand
To these dark steps, a little further on;
For yonder bank hath choice of Sun or shade,
There I am wont to sit, when any chance
Relieves me from my task of servile toyl,
Daily in the common Prison else enjoyn’d me,
Where I a Prisoner chain’d, scarce freely draw
The air imprison’d also, close and damp,
Unwholsom draught: but here I feel amends,
The breath of Heav’n fresh-blowing, pure and sweet,
With day-spring born; here leave me to respire.
This day a solemn Feast the people hold
To Dagon thir Sea-Idol, and forbid
Laborious works, unwillingly this rest
Thir Superstition yields me; hence with leave
Retiring from the popular noise, I seek
This unfrequented place to find some ease,
Ease to the body some, none to the mind
From restless thoughts, that like a deadly swarm
Of Hornets arm’d, no sooner found alone,
But rush upon me thronging, and present
Times past, what once I was, and what am now.
O wherefore was my birth from Heaven foretold
Twice by an Angel, who at last in sight
Of both my Parents all in flames ascended
From off the Altar, where an Off’ring burn’d,
As in a fiery column charioting
His Godlike presence, and from some great act
Or benefit reveal’d to Abraham’s race?
Why was my breeding order’d and prescrib’d
As of a person separate to God,
Design’d for great exploits; if I must dye
Betray’d, Captiv’d, and both my Eyes put out,
Made of my Enemies the scorn and gaze;
To grind in Brazen Fetters under task
With this Heav’n-gifted strength? O glorious strength
Put to the labour of a Beast, debas’t
Lower then bondslave! Promise was that I
Should Israel from Philistian yoke deliver;
Ask for this great Deliverer now, and find him
Eyeless in Gaza at the Mill with slaves,
Himself in bonds under Philistian yoke;
Yet stay, let me not rashly call in doubt
Divine Prediction; what if all foretold
Had been fulfilld but through mine own default,
Whom have I to complain of but my self?
Who this high gift of strength committed to me,
In what part lodg’d, how easily bereft me,
Under the Seal of silence could not keep,
But weakly to a woman must reveal it
O’recome with importunity and tears.
O impotence of mind, in body strong!
But what is strength without a double share
Of wisdom, vast, unwieldy, burdensom,
Proudly secure, yet liable to fall
By weakest suttleties, not made to rule,
But to subserve where wisdom bears command.
God, when he gave me strength, to shew withal
How slight the gift was, hung it in my Hair.
But peace, I must not quarrel with the will
Of highest dispensation, which herein
Happ’ly had ends above my reach to know:
Suffices that to me strength is my bane,
And proves the sourse of all my miseries;
So many, and so huge, that each apart
Would ask a life to wail, but chief of all,
O loss of sight, of thee I most complain!
Blind among enemies, O worse then chains,
Dungeon, or beggery, or decrepit age!
Light the prime work of God to me is extinct,
And all her various objects of delight
Annull’d, which might in part my grief have eas’d,
Inferiour to the vilest now become
Of man or worm; the vilest here excel me,
They creep, yet see, I dark in light expos’d
To daily fraud, contempt, abuse and wrong,
Within doors, or without, still as a fool,
In power of others, never in my own;
Scarce half I seem to live, dead more then half.
O dark, dark, dark, amid the blaze of noon,
Irrecoverably dark, total Eclipse
Without all hope of day!
O first created Beam, and thou great Word,
Let there be light, and light was over all;
Why am I thus bereav’d thy prime decree?
The Sun to me is dark
And silent as the Moon,
When she deserts the night
Hid in her vacant interlunar cave.
Since light so necessary is to life,
And almost life itself, if it be true
That light is in the Soul,
She all in every part; why was the sight
To such a tender ball as th’ eye confin’d?
So obvious and so easie to be quench’t,
And not as feeling through all parts diffus’d,
That she might look at will through every pore?
Then had I not been thus exil’d from light;
As in the land of darkness yet in light,
To live a life half dead, a living death,
And buried; but O yet more miserable!
My self, my Sepulcher, a moving Grave,
Buried, yet not exempt
By priviledge of death and burial
From worst of other evils, pains and wrongs,
But made hereby obnoxious more
To all the miseries of life,
Life in captivity
Among inhuman foes.
But who are these? for with joint pace I hear
The tread of many feet stearing this way;
Perhaps my enemies who come to stare
At my affliction, and perhaps to insult,
Thir daily practice to afflict me more.

Chor:  This, this is he; softly a while,
Let us not break in upon him;
O change beyond report, thought, or belief!
See how he lies at random, carelessly diffus’d,
With languish’t head unpropt,
As one past hope, abandon’d
And by himself given over;
In slavish habit, ill-fitted weeds
O’re worn and soild;
Or do my eyes misrepresent?  Can this be hee,
That Heroic, that Renown’d,
Irresistible Samson? whom unarm’d
No strength of man, or fiercest wild beast could withstand;
Who tore the Lion, as the Lion tears the Kid,
Ran on embattelld Armies clad in Iron,
And weaponless himself,
Made Arms ridiculous, useless the forgery
Of brazen shield and spear, the hammer’d Cuirass,
Chalybean temper’d steel, and frock of mail
Adamantean Proof;
But safest he who stood aloof,
When insupportably his foot advanc’t,
In scorn of thir proud arms and warlike tools,
Spurn’d them to death by Troops.  The bold Ascalonite
Fled from his Lion ramp, old Warriors turn’d
Thir plated backs under his heel;
Or grovling soild thir crested helmets in the dust.
Then with what trivial weapon came to Hand,
The Jaw of a dead ***, his sword of bone,
A thousand fore-skins fell, the flower of Palestin
In Ramath-lechi famous to this day:
Then by main force pull’d up, and on his shoulders bore
The Gates of Azza, Post, and massie Bar
Up to the Hill by Hebron, seat of Giants old,
No journey of a Sabbath day, and loaded so;
Like whom the Gentiles feign to bear up Heav’n.
Which shall I first bewail,
Thy ******* or lost Sight,
Prison within Prison
Inseparably dark?
Thou art become (O worst imprisonment!)
The Dungeon of thy self; thy Soul
(Which Men enjoying sight oft without cause complain)
Imprison’d now indeed,
In real darkness of the body dwells,
Shut up from outward light
To incorporate with gloomy night;
For inward light alas
Puts forth no visual beam.
O mirror of our fickle state,
Since man on earth unparallel’d!
The rarer thy example stands,
By how much from the top of wondrous glory,
Strongest of mortal men,
To lowest pitch of abject fortune thou art fall’n.
For him I reckon not in high estate
Whom long descent of birth
Or the sphear of fortune raises;
But thee whose strength, while vertue was her mate
Might have subdu’d the Earth,
Universally crown’d with highest praises.

Sam:  I hear the sound of words, thir sense the air
Dissolves unjointed e’re it reach my ear.

Chor:  Hee speaks, let us draw nigh.  Matchless in might,
The glory late of Israel, now the grief;
We come thy friends and neighbours not unknown
From Eshtaol and Zora’s fruitful Vale
To visit or bewail thee, or if better,
Counsel or Consolation we may bring,
Salve to thy Sores, apt words have power to swage
The tumors of a troubl’d mind,
And are as Balm to fester’d wounds.

Sam:  Your coming, Friends, revives me, for I learn
Now of my own experience, not by talk,
How counterfeit a coin they are who friends
Bear in their Superscription (of the most
I would be understood) in prosperous days
They swarm, but in adverse withdraw their head
Not to be found, though sought.  Wee see, O friends.
How many evils have enclos’d me round;
Yet that which was the worst now least afflicts me,
Blindness, for had I sight, confus’d with shame,
How could I once look up, or heave the head,
Who like a foolish Pilot have shipwrack’t,
My Vessel trusted to me from above,
Gloriously rigg’d; and for a word, a tear,
Fool, have divulg’d the secret gift of God
To a deceitful Woman : tell me Friends,
Am I not sung and proverbd for a Fool
In every street, do they not say, how well
Are come upon him his deserts? yet why?
Immeasurable strength they might behold
In me, of wisdom nothing more then mean;
This with the other should, at least, have paird,
These two proportiond ill drove me transverse.

Chor:  Tax not divine disposal, wisest Men
Have err’d, and by bad Women been deceiv’d;
And shall again, pretend they ne’re so wise.
Deject not then so overmuch thy self,
Who hast of sorrow thy full load besides;
Yet truth to say, I oft have heard men wonder
Why thou shouldst wed Philistian women rather
Then of thine own Tribe fairer, or as fair,
At least of thy own Nation, and as noble.

Sam:  The first I saw at Timna, and she pleas’d
Mee, not my Parents, that I sought to wed,
The daughter of an Infidel: they knew not
That what I motion’d was of God; I knew
From intimate impulse, and therefore urg’d
The Marriage on; that by occasion hence
I might begin Israel’s Deliverance,
The work to which I was divinely call’d;
She proving false, the next I took to Wife
(O that I never had! fond wish too late)
Was in the Vale of Sorec, Dalila,
That specious Monster, my accomplisht snare.
I thought it lawful from my former act,
And the same end; still watching to oppress
Israel’s oppressours: of what now I suffer
She was not the prime cause, but I my self,
Who vanquisht with a peal of words (O weakness!)
Gave up my fort of silence to a Woman.

Chor:  In seeking just occasion to provoke
The Philistine, thy Countries Enemy,
Thou never wast remiss, I hear thee witness:
Yet Israel still serves with all his Sons.

Sam:  That fault I take not on me, but transfer
On Israel’s Governours, and Heads of Tribes,
Who seeing those great acts which God had done
Singly by me against their Conquerours
Acknowledg’d not, or not at all consider’d
Deliverance offerd : I on th’ other side
Us’d no ambition to commend my deeds,
The deeds themselves, though mute, spoke loud the dooer;
But they persisted deaf, and would not seem
To count them things worth notice, till at length
Thir Lords the Philistines with gather’d powers
Enterd Judea seeking mee, who then
Safe to the rock of Etham was retir’d,
Not flying, but fore-casting in what place
To set upon them, what advantag’d best;
Mean while the men of Judah to prevent
The harrass of thir Land, beset me round;
I willingly on some conditions came
Into thir hands, and they as gladly yield me
To the uncircumcis’d a welcom prey,
Bound with two cords; but cords to me were threds
Toucht with the flame: on thi
judy smith May 2016
Don’t take them at face value. Several leading actresses in Mollywood have shown themselves to be keen businesswomen too. So, if Poornima Indrajith, a fashionista in her own right and designer-in-chief of fashion store Pranaah, was the lone name in the list till recently, Kavya Madhavan, Lena, Kaniha, Shwetha Menon, Rima Kallingal and the like too have joined the fray to establish their credentials as entrepreneurs.

While Kavya owns Laksyah, an online fashion store, Rima runs Mamangam, a dance school in Kochi. Lena is busy with Aakruti, her weight-loss centre. Kaniha’s focus is on health care, as a franchise partner of Medall Diagnostics in Chennai. Shwetha, meanwhile, has opened a restaurant, Shwe’s Delight, in Dubai. Mallika Sukumaran owns Spice Boat, a restaurant in Doha, Qatar… The actresses talk at length to MetroPlus about why and how they went about it, the lessons they learnt and what lies ahead.

For Kavya it was the realisation of a long-cherished dream; of starting a business venture while she is at the peak of her career. “I zeroed in on a fashion boutique from several other options, such as dance school, beauty parlour, restaurant…,” says Kavya. “It was the safest and best choice because my father had been in the textile business back home in Neeleeswaram for nearly four decades. My brother, Midhun is a graduate in fashion technology and my mother and my sister-in-law too share the same passion. Laksyah is really a family-run enterprise,” she adds. Laksyah, which sells a range of one-off designer saris and daily wear and based out of Kochi, will be celebrating its first anniversary next month.

It was a photoshoot that lead Lena to open Aakruti. She had to lose a few kilos to get in shape for the shoot and her childhood friend, Louisa David, a physiotherapist, helped her achieve that goal. “I was happy with my weight loss and so we decided to launch a physiotherapy-based slimming centre. Louisa has been running her centre at Thrissur for five years and she helped me start Aakruti, in Chevayur, Kozhikode, in September last year,” Lena says.

Kaniha, always a multi-tasker, has a solid reason for taking the health care route too. It was the closest she could get to her childhood ambition to pursue medicine! “After coming back to India from the United States, my husband, Shyam Radhakrishnan and I wanted to start something. Since I couldn’t fulfil my dream of becoming a doctor and had to study engineering instead, I thought I should do something related to healthcare and that’s how Medall happened,” says the actress.

In Shwetha’s case, her restaurant was a venture waiting to happen. “In fact, those who know me for long are not surprised with my decision to open a restaurant. I am an absolute foodie. I am so very careful about what I eat that my cook always travels with me on my shoots. I also love hosting family and friends and often hold pyjama parties at home. That’s why a restaurant was the obvious choice when I thought about starting a venture,” says Shwetha. Shwe’s Delight [“I was called Shwe by my friends in modelling circuit”], which opened its doors last month, is a North Indian fine dining restaurant. “I wanted to give expatriate Malayalis in Dubai a different taste from the usual fare. We dish up a bit of Chinese food too,” she adds.

Being a celebrity helps, most of the time, especially to get publicity, say the leading ladies. For instance, Kaniha says she could bank upon her celebrity status to get corporate tie-ups. They also talk of brand value going up when a known face opens a venture. “There is a certain level of trust with potential customers because you are a known face,” explain Shwetha and Lena. “On the flipside, you are always under scrutiny. At times, I feel acting is much easier,” adds Shwetha. Kavya says it is not easy being the face of Laksyah. “I can’t go wrong with what I wear!” she adds, with a laugh.

Celeb status and a pretty face, though, is no guarantee for a successful business. All the actresses say that they put in a lot of hard work to get their businesses up and running. “The execution part was not easy, be it finding the right location, getting the interiors done, purchasing the machinery, appointing qualified staff, training them and even finalising the colour of the uniform. But I have become more confident now that we are opening a new branch in Kochi,” explains Lena. Kaniha, meanwhile, admits that she has learnt to be “more patient and be diplomatic.” Well played.Read more |****-formal-dresses
judy smith May 2015
An upcoming fashion show, and I don’t mean to be unkind here, is lacking in both. It’s just the way it is. These models are beautifully ordinary people, your neighbours, and their designs are self-crafted, each suiting the model’s personal interpretation of high fashion. It’s the social event of the season. Everyone in the “know” will be there.

Eight models and an emcee will take to the Capitol Theatre stage in Oxford Thursday at 7 p.m. for the third annual Foolish Fashion Show. Foolish is the operative word here. It’s an evening of fun, with each model parading across the stage in four outfits during the show. The fashions are indescribable literally. You have to see them to appreciate them.

The show is the annual fundraiser for the Oxford/Pugwash Unit of the Canadian Cancer Society. To date the show has raised about $5,000 for the society’s Lodge That Gives in Halifax.

The show was the idea of the local unit’s Bev Clark.

“At the time there were no people to canvas door-to-door,” she said. “People were getting older or had less time. There were also other fundraising campaigns going on at the time.”

After seeing a foolish fashion show elsewhere, she decided a similar one would work for the local cancer unit. The first show was a sellout and the models of the evening agreed to take to the stage the next year.

Each designer/model is responsible for their haute couture. With the final result left to their wild, some might say perverse, imaginations the creations are a sight to behold.

Unit secretary and past president Bob Hunsley in his best 007 voice introduces himself as “Bob, SpongeBob.”

“Every good fashion show should include good costumes,” he begins. “Here, our unit president Edna McCormick is wearing her all-weather coat. In this coat she is well prepared for sunshine, rain, fog and snow and all the wind that blows (the coat is adorned with representations of each weather condition). Notice her “son” hat (which is a tribute to her son).”

Jane Smith is new to the Foolish Fashion Show runway.

“I came to the show last year and really enjoyed it. It looked like fun,” she said.

First time jitters?

“Doesn’t bother me a bit.”

This show is one in which you can’t do anything wrong. You show off your creation however you deem fit. It’s all fun.

Tom Kay, is making his modelling debut also. And what will Councillor Kay be strutting his stuff in? Not to give too much away but a muscle shirt like you’ve never seen and shorts will be worn.

Nine-year-old Emma McCormick is also a featured model.

It’s a show not to be missed.Read more |
Nigel Morgan Jan 2014
Today has been a difficult day he thought, as there on his desk, finally, lay some evidence of his struggle with the music he was writing. Since early this morning he’d been backtracking, remembering the steps that had enabled him to write the entirely successful first movement. He was going over the traces, examining the clues that were there (somewhere) in his sketches and diary jottings. They always seem so disorganised these marks and words and graphics, but eventually a little clarity was revealed and he could hear and see the music for what it was. But what was it to become? He had a firm idea, but he didn’t know how to go about getting it onto the page. The second slow movement seemed as elusive today as ever it had been.

There was something intrinsically difficult about slow music, particularly slow music for strings. The instruments’ ability to sustain and make pitches and chords flow seamlessly into one another magnified every inconsistency of his part-writing technique and harmonic justification. Faster music, music that constantly moved and changed, was just so much easier. The errors disappeared before the ear could catch them.

Writing music that was slow in tempo, whose harmonic rhythm was measured and took its time, required a level of sustained thought that only silence and intense concentration made properly possible. His studio was far from silent (outside the traffic spat and roared) and today his concentration seemed at a particularly low ebb. He was modelling this music on a Vivaldi Concerto, No.6 from L’Estro Armonico. That collective title meant Harmonic Inspiration, and inspiring this collection of 12 concerti for strings certainly was. Bach reworked six of these concertos in a variety of ways.

He could imagine the affect of this music from that magical city of the sea, Venice, La Serenissima, appearing as a warm but fresh wind of harmony and invention across those early, usually handwritten scores. Bach’s predecessors, Schutz and Schein had travelled to Venice and studied under the Gabrielis and later the maestro himself, Claudio Monteverdi. But for Bach the limitations of his situation, without such patronage enjoyed by earlier generations, made such journeying impossible. At twenty he did travel on foot from Arnstadt to Lubeck, some 250 miles, to experience the ***** improvisations of Dietriche Buxtehude, and stayed some three months to copy Buxtehude’s scores, managing to avoid the temptation of his daughter who, it was said, ‘went with the post’ on the Kapelmeister’s retirement. Handel’s visit to Buxtehude lasted twenty-four hours. To go to Italy? No. For Bach it was not to be.

But for this present day composer he had been to Italy, and his piece was to be his memory of Venice in the dark, sea-damp days of November when the acqua alta pursued its inhabitants (and all those tourists) about the city calles. No matter if the weather had been bad, it had been an arresting experience, and he enjoyed recovering the differing qualities of it in unguarded moments, usually when walking, because in Venice one walked, because that was how the city revealed itself despite the advice of John Ruskin and later Jan Morris who reckoned you had to have your own boat to properly experience this almost floating city.

As he chipped away at this unforgiving rock of a second movement he suddenly recalled that today was the first day of Epiphany, and in Venice the peculiar festival of La Befana. A strange tale this, where according to the legend, the night before the Wise Men arrived at the manger they stopped at the shack of an old woman to ask directions. They invited her to come along but she replied that she was too busy. Then a shepherd asked her to join him but again she refused. Later that night, she saw a great light in the sky and decided to join the Wise Men and the shepherd bearing gifts that had belonged to her child who had died. She got lost and never found the manger. Now La Befana flies around on her broomstick each year on the 11th night, bringing gifts to children in hopes that she might find the Baby Jesus. Children hang their stockings on the evening of January 5 awaiting the visit of La Befana. Hmm, he thought, and today the gondoliers take part in a race dressed as old women, and with a broomstick stuck vertically as a mast from each boat. Ah, L’Epiphania.

Here in this English Cathedral city where our composer lived Epiphany was celebrated only by the presence of a crib of contemporary sculptured forms that for many years had never ceased to beguile him, had made him stop and wonder. And this morning on his way out from Morning Office he had stopped and knelt by the figures he had so often meditated upon, and noticed three gifts, a golden box, a glass dish of incense and a tiny carved cabinet of myrrh,  laid in front of the Christ Child.

Yes, he would think of his second movement as ‘L’Epiphania’. It would be full of quiet  and slow wonder, but like the tale of La Befana a searching piece with no conclusion except a seque into the final fast and spirited conclusion to the piece. His second movement would be a night piece, an interlude that spoke of the mystery of the Incarnation, of God becoming Man. That seemed rather ambitious, but he felt it was a worthy ambition nevertheless.
judy smith Jun 2015
Fashion, fun and entertainment will feature on August 1 when Hospice West Auckland and national business networking organisation BNI New Zealand partner to present the Absolutely Fabulous Fashion Show, proudly supported by major sponsor Douglas Pharmaceuticals.

Returning due to popular demand, the outrageous fashion fundraising event features upcycled outfits sourced from donations to West Auckland Hospice Shops. Included in the evening is a ‘Designer Clothes Sale’ featuring garments seen on the catwalk, which will be available to purchase on the night. Modelling the clothes will be celebrities, prominent Aucklanders, Hospice staff and professional models.

Award winning ‘Comedienne of the Decade’ and celebrity host for the evening Michele A’Court was delighted to be asked to MC the event. “It just sounds like tremendous fun and I am a sucker for Hospice fundraisers, so I jumped at the chance to be involved. Also, I am a massive fan of op shops, so how could I resist?”

CEO of Hospice West Auckland, Barbara Williams said, “We know the audience is in for a very special night for a great cause, with lots of laughs. We also want to showcase the fabulous range of designer clothing that donors so generously give us, and to highlight the quality of garments available from our Hospice Shops. Op shopping is good for your wallet, the planet and your community and we are keen to show that it can also be brilliant for your wardrobe.”

Barbara is delighted to welcome Douglas Pharmaceuticals as the major sponsor this event. “Douglas is a key supporter of Hospice West Auckland and Founder Sir Graeme Douglas has been our Patron since 1996. We are thrilled to have Jeff Douglas, Managing Director, continuing their support and appreciate his commitment to this event.”

Barbara acknowledges the support of long-time partner BNI NZ as a major asset for the event. “BNI’s networking groups up and down the country have supported Hospice for many years and raised over a million dollars for Hospice nationally.”

“Our long standing relationships with Douglas and BNI NZ and are very important to us, not only financially but also in terms of engaging with the communities their businesses operate in.”

Graham Southwell, National Director of BNI NZ, says BNI has a strong presence in West Auckland with a lot of local businesses participating in its networking groups. “Hospice West Auckland approached us because they know that we have active local business members in the community that could provide resources and help make this event even bigger and better this year,” Graham says. “It’s exciting to work with Hospice and use our expertise in BNI to help collaboratively put on the event. At BNI we are all about creating strong relationships in the community and Hospice have come to us because of our network and assistance with logistics as well as getting the word out about this fabulous event.”

Guests will be able to purchase some fabulous fashion, bid on a range of exciting auction items as well as enjoy wine, canapés and live music. All proceeds from the event will go to Hospice West Auckland, who provides free palliative care and support to patients and families living with terminal and life-limiting illness.Read more |
Attie Jul 2017
Skin that is not my own

Hunched shoulders and stifling bones

Bound chests turned to modelling clay

Scars  l e f  t  on skin

Gone and born again
Stanley Mungai Feb 2012
I see a flash
A sight to behold
The work of an immortal sculptor
Walking straight in elegant pride
Worth of a princess of the sun
Firmly transfixed in her twelve
Moving into the emptiness of an Invalid society
Her innocence screaming
In an unchallenged clarity

And only twelve moons
The framework of her modelling salivates
Wolves in men
Who's been exposed to the virus
Emerging from the bushland of their desires
To seek their vengeance in a fanatical hatred
And poor me the Princess
With the *** Lunacy roaming the streets
Sanity of abstinence is the greatest challenge.

Swung from poverty to adolescence
A pendulum of fates
Hunger at home for the family
And her homestead a moonscape of desolation.
The two Hundred shillings does the trick
She trades out her innocence
And virginity too- a girl's pride
And alongside the legal tender comes the virus
The minute Monster
Savoring a society of huge minds.

There is the tuberculosis
In a hospital ward
Full of undug graves and shrines unnamed
Drawn into the vacuum of her fate
Eyes wide open in dismal finality
The princess
Lie in freeze frame of death
A pyramid of events
Molded out of her last several terrible seconds
Lamentation for the society
A dull eulogy
For our girls.
brea Mar 2013
White wash walls
White starch coats
Translucent skin/veins
Vision blinded by numbers
Personality sequence
My numbers
The label stapled across my eyelids
Like a chip for feeble shoulders to bear
A dash of this
A dab of that
Happy member of society
Girls stuffed with modelling clay
Feed me lye and cigarette ash
Replace my brain with silicone
Paint cherry red lips
And tell me to be unique.
Bogle Sep 2013
      grade 8,
   sight reading,

Super rock,
      french cafe,
      don't go that way!



      not bothering.
Purcy Flaherty Feb 2020
The Equalist!

RE: The guerrilla girl’s poster 5% women artists yet 85% of the models are female.

This poster was heralded as a feminist rebuff of misogyny and the male gaze.

It is my opinion: one of the reasons females are more sexualised than males in Western society; is because the majority of women working in a sexualised industry such as modelling, dancing, fashion or *******; choose to perpetuate that role and the connection between *** and femininity; often in industries where females outnumber the men six to one; I'm also aware that the majority of the hierarchy in theses industries are male, it seems their gender solidarity is more concerned with the money; than notions of ****** inequality; thus perpetuating the issue.

Vernacular test:
Step one - Question one:
I took a survey of 30 fellow artists asking what is a misandry? followed by what is your gender?

Step two - Question two:
I took a survey of 30 fellow artists asking what is a misogyny? followed by what is your gender?

I did offer any information or allow any of the subjects to see the survey paper, or overhear the question.

Results: 30 subjects took part in the survey; One female knew both words and their meaning, and one female didn't know what Misogyny was. (Two females approached refused to take part in the survey, all men approached engaged.)

Step three - Question three:
I then gave all the subjects the dictionary definition and asked why they thought the vernacular misandry is not as well known as the word misogyny?

(I should add that I too couldn't recall the vernacular meaning of: Misandry; though I could recall the meaning or definition of Misogyny.)

Female... "I don't care"
Female... "It's due to a gender economic imbalance"
Female..."Blokes just don't like it when women speak out about it"
Female..."I don't get involved in protests"
Female..."I don't know"
Female..."Men just think with their ******"
Female... "There's more misogynists"
Female... "Because men are pigs"
Female... "Why does it mater"
Female... "It's just a word"
Female... "I'm not interested"
Female..."Try being a women"
Female... " It's *******; it's just a vernacular"
Female..."You wouldn't understand your a man"
The other 5 Females... chose to offer no explanation.


Male..."I don't know"
Male... "who cares"
Male... "Yeh that's interesting"
Male... Why does it matter"
Male... "Let me think about it"
Male... "Who gives a ****"
Male... "What's this about"
Male... "Can I see the results later"
The other 2 males... Chose to offer no explanation.

I personally identify as human; and don't wish to be defined, labeled or marginalised; I also don’t believe that secularism in any measure is healthy or meaningful in an inclusive society.

I question why 29 out of 30 subjects had heard of Misogyny; and just one person had heard of Misandry.

Sexism is not as the dictionary suggested prejudice, stereotyping, or discrimination, typically against women.
Everyone is effected buy prejudice, stereotyping, or discrimination.
The subtleties of which is played out every day.
Feminist or a Misogynist; I am an Equalist I believe that secularism is harmful and misleading for  an inclusive society.
samasati Nov 2013
at the desk, applying for jobs
there is coffee in my cup
and paint in the creases of my fingernails,
on the wall, a whiteboard with new song lyrics
and a list
of things I need to buy,
of course, once I have the money to buy them,
which brings me back to the desk
which an empty bottle of Cabernet Merlot
sits with an empty glass
and notebooks and a mason jar
with cloudy brown-red water
from the bristles of my paintbrushes
my coffee is cold
the french press is in the kitchen
but my flatmate is filming in there
so I’m stuck at my desk
with two sips of cold coffee left,
applying for jobs.
I feel very fragile
right now,
partly because I didn’t go to a job interview
partly because I didn’t go to a job trial,
on friday
though I don’t want to be a waitress
and **** modelling for art classes scares me.
there’s a plant on my windowsill
named Lucy
and she doesn’t have to do anything
and there are two vanilla candles and an incense holder
with lavender incense burning
but **** all the things that
"bring peace"
like small plants, candles, incense, crystals and photographs;
I want a healthy and clean life,
so I have these things
part as a protection
from my own mind
but to be perfectly honest,
I’m at the desk, browsing jobs online,
saving them for later into a bookmark folder entitled
"Wellington Jobs"
instead of actually applying.
dan hinton Nov 2011
He may love himself
But every man has
A weakness,
He loves his face too much
And a broken body
Is not a good one
For modelling
Cashmere scarves
And playing
This will be
Your downfall Adam
One day,
A guy’s gonna
Land you one
Right on the chin.
It’ll be like
A Magnum Colt going off
It’ll send you reeling
And even death will wince
Before taking you.
Mateuš Conrad Nov 2016
i should be handling a champagne flute by now,
i don't know, maybe it's the laughter
that's curbing me from doing so... oh the fizzling
of my shizzle: or whatever's the trend in Campton.

now i'm watching videos on the pros and cons
and i'm thinking: it's really out of my hands -
i can do what Pontius Pilate did, back when
everything political required things to be hygiene prone
- and when there were literate fishermen who
miraculously broke from physical toils
       and wrote anti-Pharisee booklets.
forget Socrates defiling the youth:
it's me and a few old men -
will i become martyred because of it,
am i deluded with an invasion of
Shoreditch coolio across the depth and breadth
of London: who cares?!
       i like a good film, and this one is
always going to be good -
it only takes one word (well, two): the queen;
mainly the logic stuck true to the end
result: it would have been too good to be true...
take that logic and make it into a motto -
        wholeheartedly honestly,
      i have not an inch of my own wet *****
dipped into your ear: that's what
being independent means -
it also means that Copernicus ruined
   all things nautical, sunrise, sunset,
                  and thank **** the earth is
3D, now the problem, what shape is the universe?
   as it goes we're in a fudge swamp -
we aren't going anywhere, we think we are,
but people forgot to twin thought and doubt together,
   instead we have thinking and denial twinned,
which means: no matter how many facts are
spewed and later picked up as golden nuggets
we're not going anywhere.
       that's the beauty of a niche armchair,
      you get to bypass the comforts of crowd and airing concerns -
i'd never miss those emotional reactions
of people slyly: for the world!
    i love how they think that spying is masquerading
and not stating the obvious: which it usually is,
spying is stating that: the opposite has a tradition
built upon using sharpened knives:
                    me and my blunt knives:
i'm tearing into the meat like a vulcher -
what the hell can you do?
   sell the truth for 30 quid, buy it back for 20.
  that's a Homeric certainty -
    no, not the jokey Springfield variety:
the serious Grecian 2000 year old (if not more)
one - and i already asked:
what are you here for?
  me? i'm into writing a 2000 year old chapter
ranging from monkey, neanderthal and man -
     given the obvious disparities
and image issues and ****** favours considering
the pale anorexic Parisian modelling skeletors.
     you know what i found distinct in that story:
Slavs among the Germanic tribalism?
i concentrated on the eyes, rather than admit
a less pronounced *occipital bone
: yeah,
that's almost a tail in evolutionary sprechen.
       all thanks to a girl in school who noted
that "defect".
     i just looked at the eyes and found they were
more ****, and subsequently quasi-Mongolian
and less Germanic fish-eyed fixative of ogling
out as if about to be gouged out, or simply
popping out with a reference to helium.
    once again: a stick has two ends.
         it's the historiological (why the iota in that
i'll never know) demand:
the pendulum simply said: too good to be true -
and it was:
  i'll go one better, better than black and female?
how about native?
   now that would be a game-changer -
      anything less than a native american is
as about as revolutionary or a status quo disciple
or a hamburger for breakfast:
hence the reason why sarcasm and apathy mingle
        and look down at the doormat:
  oh right, only wiping my shoes does it? hell,
i'll wipe my shoes: come in and take a ****.
     thus the misrepresentation of writing on
pixel-paper (or what's called:
       drunk, but still in want of having a chance to
revise, because we're all sloppy when
      staging what the original transgression was);
   i never write with a want to say the things i write,
i just think the misrepresentation comes
when i treat the internet as a punching-bag to think
things through: a voyeuristic-reversal,
        as such a great medium to think things out:
the new ****.
   nonetheless, it's hard not to laugh within
the framework of defending the freedom to sprechen
and leave the defence of the freedom to denken
  within a socialism that never manufactures
    anything: apart from protest marches -
the F. Gumps amid broken vocal chords.
                  you get suspicious about deaf people
hearing more than those able...
                                 to hear a crackpot mantra
and subsequently diffuse it.
                     i wish we lived in world summarised
by the words: all eyes on Mongolia...
            but that's what happens when you popularise
**** and industrialise it:
    a. China and India beat you in terms of industrialising
             it (over a billion buggers by my count, each!)
and b. it's a litmus test of youngsters in the future
              suffering from depression -
now that's really obscure - i don't really have a b.
     point to make... pornographic industrialisation
got me...            come to think of it:
if america didn't industrialise *** i'd be in a transgender
clinic trying to figure out whether i had
    any ego in my phallus - completely bewildered
whether i should accept my ******* as if a dog
accepting its canine extension...
        given women these days
and the fact that i had to pay for the pleasure tells me
a lot...
            i either pay for it and play the genteel role
or i go mad from ****** frustration and ****:
at least we're talking a contract,
like that bubbly Puerto Rican woman in Amsterdam:
                                         **** it... Freud!
so we solved the whole "earth is not flat" debate,
           even though we still require the n.e.w.s.
to go about our daily business... tragic: we now have
to encapsulate the universe as having a shape -
  milestones have been conquered,
  from a 2D earth into a 3D earth
      we now have an infinitely 1D universe -
                because it couldn't have been: a box
within a box, within a box: without an actual box,
or as the people said: hence we having the sport of boxing /
            the Russians put a man and a dog into
space: fair enough...
      we go a step further and end all fairytales
  and turn our children into ambitious astronauts
breakdancing on the moon -
                              then comes Mars...
if we're going with that sort of escapist route then we're done:
   these traditional capitalistic endeavours for
mere competition have turned into a variation of
simple escapism - as i was taught in a catholic school -
imagine yourself in a world, then leaving it -
always imagining the earth from afar, from the moon, say;
all that really was said was the Taoist motto
about not engaging with the world on terms of
rounding up, rabble talking and ******* whatever needed
******* (pervert, i know the slang in the engagement
     of the cultish excesses of skin; rough ***?).
   but that's what it is: escapism -
                         as they said: a message from former
communist countries -
                           a sprouting vogue in western
           societies: with their beards, and chequered shirts,
social conforming hippies know as hipsters:
i don a beard because it's cold around here:
plus i look less of a fat person -
alcohol fat ain't cutie pie fat: it's called being bloated.
       only among an obese population would you
get anorexia - again: historiological logic (the pendulum,
or the Newtonian impression) -
         once Newton was told he was less than accurate
people decided everything was relative:
the Greeks abhorred moral relativism -
   it's not that god died - cause & effect died
in what's modern, and reliably crescendo.          
sure, humanity will go on in any other argumentative suite,
      it's the one thing humanity can't be, i.e.: undermined.
*** is (after all), an existential variant of ******* -
you'd be daft to think that it was or could / would be
douglas chesa Feb 2012
The rain splutters at me in foreign tongue
As my mind hurdles under a mushroom
Shelter from the pelting lashes
Of nostalgic memory
Such vulnerable home from woes
Like a rodent hole in flooding summer

They tell me I am a finicky rat
That will not survive outside Sakubva
Oh but how true!
Each day I walk out in the morning
Come evening I pick every footprint I left
Back home
Prompted by need to use my footprints
Once more

Take care!
The radio blares
Save save save save
The television frowns
Wise up
Recycle is the trick in these hard times
Discarded beliefs, discarded memories, discarded tastes
Can be recycled
Recycled dreams, recycled husband, recycled wife...
I scrap my bottom in amazement
After all there is always a grain of virtue left
In what we discard -
O how I love the scent
God has made it that way
That each time you ****
Before you go
You save a nostalgic glance at your ****
Suppressing a sense of loss
For a part of you left behind

Like kites tied to strings we are
We regale in our false splendour
At time's mercy
The fruits of mental *******
Deflowered by new ****** worlds
Of lewd dreams in striking G-Strings
Gyrating ***** of fantastic insanity
That lure us
Into the heavy -bosomed clouds
Pregnant with cultural retribution
For the anarchy coursing our veins
Like the burning pain on my back
Each evening when I bend double
To pick up and bag my footprints
I left in the morning

This is not madness
When I tell you to let your beak
Of tolerance peck and peck
On your *******...
What difference is there
Between **** in your belly and
**** steaming betwixt your legs?
What difference is home
When you are young and when old?

Riding on the back of butterfly dreams
When I am a newborn macho
In the bullring of entrepreneurship
Or O such cosmopolitan hunk
In the realm of fashion and modelling...
Sounds like sheltering under a mushroom
That springs and dazzles but a day
Hope I will hurtle back
Hope sweet home, home sweet home
I am a finical rat
That won't live away from home.

Mateuš Conrad Feb 2016
where's the rain-man? where's the rain-man? where's the rain-man (comparison)? oh wait, in the interpretation of art by feminism: successful artist... house, wife, children... no... chauvinism's interpretation: desolation, desolation, car-boot sale for the rich at sotheby's - or nietzsche the inspiring thought in benito mussolini's mouth.

after edging to provide legal guidance
for the turkish shop by exposing the
legal balance worth a public bench
enclosed in the turk's caravan,
i became known as mathias del rado
(turkçe parçaladı), deltore, de amore (amoré)
bull's charging eye amore... olé! amoré!
que sera, sera... c'est la vie... well,
i do enjoy drinking and pretending to have
my shadow partner in ping-pong
always win... but why would i need to
feed a common consensus of drinking /
****** who masturbated prior having
the scalpel into the soft kangaroo hand-replica
when society eagerly sells and taxes the stimulant?
they criminalise the escapees of reality
ranging from classification A, B to C...
alcoholics aren't even categorised as D... we're
the troupe labelled Z... yet we're the most
economic addicts, we don't deal with shady
warlord economy, just dull political economy...
the two disparage when one shoots you
in the head and the other talks about an opinion
being free from dialectics... an opinion
free from dialectics (akin to shelling,
bullets whizzing past) is what entrenched
the germans and the english in belgium.
loved the film Ida (2013) though, an oscar contender,
not really black narcissus (but that's not the point),
english language movies can't ever capture
the purest existentialism of loneliness,
the way Ida was shot, black & white...
the poverty of the landscape, the Hopper like
moments after serious moments, honing
on the stasis of the the world and movement of
beings... the way one went back to the nunnery
with the truth of being spared by her family's
killer who purposively dug the grave and gave
back the remains of his butchery...
her aunt's suicide that was almost a secondary
comedy of the everyday shattered vase
in dialogue: i'm sorry, i broke the vase,
but did anything happen to you? no...
then there's nothing broken! the way she did her
final routine the last time,
shagged drunk, woke up and forgot it wasn't
her father, took a bath, turned on music,
got dressed in a jacket, but nothing beneath the waist,
and just jumped out of the window...
the music continued playing, the camera froze
on the scene as an infinite number of things
could have happened... then the nun Ida
embodied her nun, took to wearing heels,
a dress, showing her hair, drinking *****
spiralling in a window-curtain, smoking,
embodying her last remnant connection to a past
of jewry, imaging whether she could live out
the temptations suggested by her aunt...
she ****** the saxophone player and while
in bed she asked with dogmatic undertones
of useful regime instilled in her from early on:
and then? and then?
'a dog, children... and after that life's problems,'
he answered her.
she woke early and donned her nun outfit
and with a sense of courage retreated into
the convent. i mean, a great film...
but then mr. turner came up:
painting used to be so expensive,
all the necessary chemists to give aquamarine pigments,
poetry used to be expensive too,
write a poem, send a 100 men into a godforsaken war...
now technology has enabled painting
to be cheap, so cheap that graffiti tagging with spray
does the trick on a concrete grey slab of canvas...
and so poetry has become cheap too,
emotions have cheapened, people do not really
have ennobling emotions that might quake
100 men to go to war... perhaps 10 down the pub,
but war? not really... but it still leaves me detached,
admiring vintage cars from the 20th century on the driveways,
the way the familial cars dwarf trade cars (white mini van, e.g.),
for example the *mercury 1956 montclair 4-door hardtop
or the ford zephyr zodiac mark ii "lowline" saloon,
back in the day when people didn't make their life
compact, when girls modelling where the day
of modern day pornstars rather than shaped like coat-hangers,
and when people didn't make their life compact
and holiday resorts from mexico to kenya to australia
also compact in terms of their generics of cloning.
Kayotic Tragedy Jul 2017
Like a lamb, I walk this earth deathly unaware
Of the horrors it has hidden, lurking behind their stares.
My path is guided not by sun, but fooled by their lamp's glow.
Once their trap has set, there is nowhere else to go.

So here I follow, struck by words in which they choose to say
All they murmur is false belief in a happy way.
"You're so gorgeous, you are perfect, you are beautiful."
Then their hands slip, touching places that make me uncomfortable.

It's too late, I can't stop this! My heart skips a beat.
A look of shame upon my face as I admit defeat.
Hired as a model, treated as a toy.
Once a happy person, now they stole away my joy...

And to this day I can't tell him, cause I fear he will leave.
And then I'll follow suit, and once again be deceived.
By these photo shoots, they pay well in the end.
And sure it is degrading, but I suppose I can bend....
Don't you ever let the photographer touch above the knee or below the shoulder. Not even for the right price...
Dallas Phoenix Apr 2015
Her tone,
Crispy like new pair of headphones,
Screams when I finger down her *G string
Love hearing her moan,
Get over here and lay on my lap,
One hand down your neck while the other's ready to smack,
She's a brand new model,
My pick up line was immaculate,
Coke bottle modelling body,
Fuzz pedal throttled and jacked you in,
You fret all day and no one to hammer your strings,
******* Brew in Chili Peppers but I'm willing to make you Cream,
So lay across my leg and let me do the rest,
All that phat bass and no one to properly make you wet,
Rubbing across your curves making sure your knobs are turned,
Steel strings tight and ready to give this spanking you deserve,
Tease and deceive till your ready to sing,
Slip my fingers down your A and I'm ready to B,
Playing your scales,
Hitting that tail,
Your mahogany curves scrumptious as hell,
Maybe I'll stand up and ****** my hips,
Into that back of that phat bass while loving the notes you hit,
Strap you on because the way I like to hit it is hard,
Octaves ****** and quiver on my fingers,
Your heart,
The shape of that wide, seductive and sumptuous ***,
All that bass you have can make any guy..........
Sia Jane Apr 2014
Cady crushed
Soulful sunbeam
Modelling moonlight
Bright red scream.

Makeshift Marilyn
Winter wanders
Cavalier cowboys
Don't slow down.

****** valleys
Lightening laser
Taunting temptation
She'll be watching.

Dusted dimes
Matriarchy mothers
Electric evolution
At least pretend.

Sleeping sisters
Brutal brothers
Scoring shots
Smells like you.

Snakes stifled
River rapids
Drowning diseases
Love songs sung.

Their souls;

Unarticulated answers;

Paradise alley;

Ungrazed lips;

© Sia Jane
This is very random I do know! Not sure where it came from.
I also want to say I am trying to keep up with all your poems!!
SassyJ Mar 2016
As I sit on this assigned desk
ears drooling with institution gel
I swirl on the seat, the wind pause
Musing in evangelised dilemmas

Lobotomised to jerking veracities
Sagacity amateurs boost egos
Stooping and stooging in asylums
Barricading others progression

Regressed losing solid grounds
Jurisdictional custodial supervisions
An infused scent of propagandism
Scenes of robotic observational modelling

Unprincipled to insist on another destiny
Calculating targeted risked predictions
Regulated to invigilate and unroll a matrix grid
Who am I? To forge his,her or their trench
Alkira was an Aboriginal girl
with perfect oceanic
blue eyes.

Cast out and picked up
by an even more savage and unforgiving world.
The world
of modelling.
eatmorewords Dec 2012
The clowns are angry
but they don't show it.

Behind white faces there is no hint of the resentment
that grows underneath comically sized trousers.

The clowns know they only make sense
in a certain context
underneath a big top
modelling balloons at young Bens 7th birthday.

Not here in your garden
viewed from behind a curtain
To concretize my theorized love,
I could play the accidental odds and strew
slippery tongues of spotted petals
onto thickly trafficked highways,
or use the best predictive modelling
to deduce when and where I can poke out
a well-heeled boot to trick unwary spills
and ****** a kiss from the unsuspecting
lips of any suitably compatible
passerby oft times inconvenienced and passed
on by.

These well-oiled and crudely experimental
methods do produce expected results,
but not the breakthrough nor the looked-for
satisfaction of appropriate reactions,
so I'll keep my dotted eyes tucked in
their pulpy stems and my shoddy toes curled back
while I beam my bits of invitation through
circuitous routes spatially arrayed along
parallel paths where one might search
with an extra-terrestrial inventiveness,
and wait.

I know the trials of these errant waves
won't add up to a guarantee
my burpy blips of a pulse can reach
the receptively comprehending and responsive
soils I seek, but it's the remoteness of a stead
to come stalking that appeals, and despite
the Hawking drone of unveiled warnings
I might regret such contact, I'll risk it all
on vaguely washed wishes this astronomical
anomaly with an alien sensibility has
one match.
This work is licensed under a Creative Commons Attribution 3.0 License.
It's all about the social mining,the digging up,divining,modelling,refining,of what we call society,
the cream will rise like morning gold,
the frail,the weak,the poor and the old will sink into the sinkhole,poles apart from any start they though they might have had,
the world's gone fracking mad,
we are dug up,dusted,polished or busted and thrown back down the pit,they tell me **** don't smell so bad in a world gone fracking mad.
I refuse to heed the signs that say,'we'll all be socially mined one day' and prefer instead to look ahead to something far removed from the dynamite and the burning fuse.
The outcast few will far outlast the casting crew who cast their lines down the social mines to catch those who have not a clue that they're the bargain in the bucket,
**** it why do I care?
I've done my share of casting been outcast,outclassed,passed around and out and now in passing all I had, I still think the world's gone fracking
Madds May 2012
If I could, I'd sing to you sweetly
just to mend your broken lip.

And I'd steal all the pirates treasure
just to heal your scarring hips.

I would burn every magazine
and modelling agency
Just to see you taste again

If I could, I would oil these rusty arms
just to hold you forever.

I'd paint a smile on you permanently
with the richest colour pink,

Sticky tape your shattered ribs together
and watch you breathe again.

I promise I'd guide you to the mirror
and make sure it reflects just how beautiful
just how beautiful everyone sees that you are.
Tony Luxton Oct 2015
There it stands modelling a fine coat of dust
covering the rim chips that cheapen it.
This vase stood for more than I can understand.
In earthenware fashioned from English clay
by English hands, but unfashionable now
a small squat *** of Dalton blue and brown.
Two necklaces of tiny beads clasp its neck
like corsets holding open its cornet mouth.
But we no longer hear its tunes or read its runes.

When I hold it in my hands I see Great Grandma's room
with highland cattle in a Scottish mountain scene.
The long-case clock of fear and fascination
where mother was threatened with incarceration
but never ******. Its rustic case reached down
to Earth's grim brimstone and fiery domains.
'There,' Mother said, 'lie Grandma's tortured remains.'
The ghosts are attacking,they caught me out, slacking and sleeping through the day,if the ghosts had their way,they would shake me up,break me up,sweep me and keep me locked in my head.

I'm thinking that those ghosts have got to be dead, but I find that they're feeding on me, and running amok,pell mell ,chock a block,
In this binding I find a way to escape,don't sleep,stay awake,let the ghosts take the slow train and get out of my brain,flush them all down the drain,
just got to stay awake and alert and no matter how much it hurts me,it's the only way I see and the way to release.

The truce.

A piece of the peace or the rest of the rest I don't get,they won't let me alone,I can't eat,I'm becoming all skin and bone,which would be good, were I modelling the latest creations because skinny is cool in some men's imaginations,but what would they know about the dead and the dead slow,with looks that could **** those who don't fit their bill of what's acceptable to them,
but that's men,what did you expect,and the truth is no truce,no closing the sluice gates,the fates have me trapped between here and the next place,
full of grace,fair of face and a heavy heart, my eyes start to close as the ghosts rise around me,surrounded I'm bound once again.

Pain so they say is just that drumbeat when night meets your day and a slight thing to which you'll grow accustomed,I disagree,pain's just another mad moment running free and it always crashes head first into me,but I get used to it,it's just a constant yammering,stammering that hammers my soul,when the night's a black hole and day is a lifetime away.

When the ghosts have their fill and decide not to **** me but leave me,the funny thing is I miss them,what man am I to miss ghosts that would fly and disrupt me?
Tell me,
a contradiction, a contra addiction, predicting the best but expecting the worst,
I finally sleep.
Mateuš Conrad Jun 2016
revelation 13:3 so befitting me, a Hollywood plot:
they killed him, but he escaped -
a six round shooter with twelve bullets,
sacrilege of the theatre -
a new matthew 21:12 - expulsion
from the temple -
Jimmy 1:1 - Gaga the Leveller entered
the Hollywood factories and drove
out all who were "acting" and
modelling there. he smashed the cameras,
the props, he ******, then drank gasoline -
scratched his head and uttered:
it is done.
what do you expect?! what sort of acting
is this?! is it acting? take no. 100,
only Jackie Chan can show you excerpts
with the credits rolling, since he's his own
stunt artist - but all those other excerpts
with the credits rolling, forgetting your lines?
what is that?! if this was transformed into
a theatre the audience would be throwing
rotten cabbages tomatoes at the "actors",
Hollywood a viral infection, the only
downfall of Nietzsche was his blatant
ignorance of America, if he cited but one
American, that would be great, but he didn't.
for goodness sake, Palφ Emεrσoν, at least!
hand on my heart: i don't know what possesses
me, i know i'm paying for 10 seconds of
my own stupidity having believed a childhood
friend - but i never wished harm on anyone -
it's such an infuriating sadness, motivational,
of course, but so infuriating - perhaps if i were
normal the brain haemorrhage would be more
evident, the neurologist would not have asked
me to go outside the room when i asked
whether i was mentally ill: 'you're not, and
if someone says you are, they are mentally ill.'
so that's about six psychiatrists on red card,
a dozen people on a yellow card... imagine it:
angry sadness - i don't know what possessed me,
high on marijuana and gullible, sure, but
you're least expecting something like that,
a stranger, a homicide, i could take that, at least
the adrenaline would be there - the suddenly,
i could take that, a Hannibal Lecter whispering
into my ear about shock and ****,
but ******... that's a step up, i don't know
why the serotonin in my brain turned into
adrenaline and caffeine, this regime of not sleeping
one night, drinking myself to a lullaby the next
works well, but time elongates during the nights;
no! i don't know why i'm not a *******,
in the majority of cases people who suffer a
brain haemorrhage are crippled - i know that,
but that explains as much as the myths surrounding
Rasputin... but for ****'s sake, he was schemed
against by aristocrats... this *******
has a father who's a radiologist and a mother
who works in John Lewis at the perfume stand...
what's so ******* aristocratic about that?
it's so ****** annoying, it's as if i was purposively
spared to do something, write something,
anything... it's hardly delusional, i just
can't explain it... like i can't explain the wandering
stars in the night from time to time...
or seeing a lightning bolt without hearing
thunder... seeing the one headed Cerberus in the woods
chasing a rabbit... so many things, alone,
and all the better, the ****** U.F.O.
that was made from φosφorescent light -
my inability to write fiction, living in a country
where not a single poetry book is worth a review
in a newspaper - in a nation that prefers
waterfalls and rivers of sentencing, clear to follow,
cleanly cut, obvious, methodological,
not a whirlpool that ***** you in,
not the sea that overpowers you with
much depth, a storm and general unruliness,
just a waterfall and the easily digested plot,
predictability, a Thomas ******* Hardy novel,
fishing - some øberst-grüppenführer und
generaloberst whispers into the leader's ear:
fake the Luftwaffe attacks, dig a tunnel,
remember the Zeppelins.
you think i like this, this new personality?
cooked up in an ivory tower, hardly interested
in what i could have done prior, manual
labour on roofs? my personality changed so much
that i came to be un-bothered, launched myself
into reading philosophy - and it began with
only one word, negation, from Sartre's
being and nothingness, to my surprise i learnt
he was more than just a novelist, although
in translation from french, a pretty **** thinker.
i can't explain why i'm not crippled,
why they misdiagnosed me as schizoid,
N.H.S. short funding, couldn't get an M.R.I.
scan, had to travel to Poland to get one...
because it all looks great on the outside,
inside, a nanometre difference and pretty
much effects of global warming - remember Newton's
principle, forget this relative cause with no effect;
i mean, we can sit in this space-time parabola
for as long as we want - time happens when
space is indented, ****** obvious, no wonder
time is irrelevant elsewhere, where no physical
object resides, ask Neil Armstrong, i'm sure
he'd like to win 7 Tour de'France titles but later
have a face of a beetroot - or as all chemists say:
why did we bother? why not dope all of them?!
i mean, we've been working on enhancing
human potential everywhere, why not dope
all athletes and get it over and done with -
what's the point of science if you have one
foot in the river and one foot on dry land?
some newspaper columnist still freak out
about people protesting against G.M. foods...
well, let me tell you Jacky Sunshine, i'm
protesting against not doping every athlete,
if you can apply science to your diet, you might
as well apply science to spectator sports -
after all, if you know everyone does it,
then whoever is fitter naturally will still be
fitter with synthetic additives - as in:
we've synthesised enough things to enhance
the possibility, but when it comes to analysing
the situation, it's as if no science was ever engaged,
or if engaged, then left to rot on the scrap heap
of vanity.
Mateuš Conrad Nov 2015
b.** she’s in love with kierkegaard, i borrowed a quote by him
about poets...
i was going to end the poem with sarcasm...
the poem got deleted without being saved...
now to remember:
the missing diacritic in english of phoneticism
gives chaos to how english is punctuated:
bewildering that there are two types of quotation in english
rather than the polish / joycean irish
use of quote / dialogue,
in the latter instances we have the use of thye hyphen,
in the latter
the problem of what freedom of speech invokes:
how was it said if it wasn’t said?
  “      “    “   “   “  “      “        “    at all?
the english language has moved away from the classical
sense of the ditto...
it has moved into the confusing territory aking to its excessive spelling:
- i said you could have said it better.
- you thought that prior though?
- i did indeed.
this is the polish / joycean example of how dialogues flow.
but in english there’s a disparity of the usage of the dialogue “brackets”
that are “ “ and ‘ ‘...
in philosophy the ditto brackets are ambiguity stressors...
the mis-understood words in servitude of specified usages...
but there’s no contentment in applying
such notation to stress ambiguity when the mathematical
symbol modelling is already apparent - approximately:
i.e. instead of noting the ambiguity of meaning of a word like
truth via “truth” is no better than the notation ~truth:
since the former only revels in the negation of the meaning of the word
truth... that there’s a meaning & and an ambiguity of using such a word...
rather than the mathematical observance that there is an approximate truth:
the one that’s experienced / the one that’s related to / the one that’s
neither as a mere historical interpretation.
i detest being tested by a diety in the platonic sense...
i know what i'm writing about...
i can remember it and explain it - but of course poetry's
verbiose and sometimes ivory extravagence is self-explanatory,
poets know what metaphors are...
poets know what imagery is... but i hardly expect
there's a need to itemise which words fit the terminology
of identification for an essay... there would be
not creative fluidity if that was the sole intention behind poetry.
The boy dreamt of his father,

Between boys and men such
impossible expectations,
joyful boys with rumpled
hair crying for attention
Heart bursting to be
            the little man.

'Daddy, look at me, I am just like you'

Men slipping away their emotional
core, resisting temptation to display
the love they have for their boys.
Holding fast to important things,
to work and career, making money
and cutting the grass. Taking care
                       of things, like a man.

'Daddy, look at me, I am just like you'

Such distance between boys and men,
flowers grow faster than emotions.
Expectations and demands, alliances
and situations to be addressed.
Locker room jokes, tenderly
pretending feelings are for
'sissies'. Rugged role playing,
modelling behaviour of the
       tipped arrow of society.

'Daddy, look at me, I am just like you'

Things have changed, they will tell you.
Men can feel now. But we men, we
know the truth. The stereotype is
      still pervasive and controlling.

A man must be strong.
A man must be brave.
A man must not love unless
                    he is getting laid.

'Daddy, look at me, I am just like you'

'Daddy, were you ever scared and alone like me? '
Mateuš Conrad Feb 2016
looking through a fashion magazine,
it dawned on me, when i read
that the ******* magazine
was covering up it's modelling stance,
so i put 1 and 1 together and firstly
thought: the cows are coming home,
i've never seen times as grotesque as
these, where milking a cow
or seeing feeding parts represented
within a cleft of eroticism: or that
such a keen representation could ever be;
i know the urban population thinks
if not simply believing in the village idiot,
or that people living in less dense places
are just plain donkey dumb...
but with due respect... i think the urban
monkeys are a bit cuckoo, stressing
that the top tier of existence is selling
cow *******, or that cow ******* would
be a farmer's *******... but it does translate
as that for the grand couture towns' folk,
sure idiots in villages... perverts in cities;
(semi-colons are used when you're itchy
to pause and start a new sentence somehow
connected with the previous one...
you a semi-colon, rather than starting
a new follow-up sentence with a conjunction word
like and);
so what dawned on me? ah, the definition of
philosophy and philosopher, Hegel redefined it
(i know i slandered once for being a charlatan
for being the one to have invented what Kant
already did: that thesis, antithesis, (synthesis)
bit... critique of pure reason has a beautiful
section where there's a clear split) as:
philosopher is a puppeteer - i.e. to be
the extension of a thinking man's unwillingness
to will what he thinks... unless of course
you're a weltgeist (spirit of the world)...
like Hegel pointed out concerning Napoleon...
a strategist who's thinking-to-will is perfected
to an dualism without confusion.
annh Jul 2019
You build your nest of pretty words,
Sly threads of verbiage,
Plucked from outworn phrases,
Secondhand sentiments and frayed metaphors.

A thorny simile, a faded pink ribbon,
Of rhetoric woven with silky streamers;
A warp and weft of fond and found,
Borrowed references and stolen verses.

You recycle the shining heart,
Of another’s penmanship,
Modelling it into a tarnished,
Uninspired and untitled composition

‘I get a lot of big ideas, and occasionally I actually come up with one myself.’
- Bauvard, Some Inspiration for the Overenthusiastic
Michael John Nov 2018
now my memory fails
we share each ones piece
of ice or said
excuse me,
can you read..
no,but i can paint
but first we´  ll
drink and dance like
mad things
in the stench and
sounds lovely
i will tell mama
there will be fighting
and lewdness
if we getaway
on the deck
and modelling naked
the flash backs and
there is kate
glowing like
love transcends
Sia Jane Aug 2014
It’s one of those stories told through a sole picture, yet captures a time & place I’ll never forget. The old cliché; a picture can tell a thousand stories. Well, this one can tell one of those.

I was happy & sad, the two co-existed. A duality of such extreme emotions. The dress was of fabric so constrained, in my head I held the image of my Godmother when I witnessed her forced into a straightjacket when she was committed to the asylum. The one so derelict & haunting.

I was dictated to in the same ways I saw the nurses treat Nouna…the shouting, the noise, the pushing, touching, all feeling like restraints.
The lies I told, mirrored her lies. Denying suffering & hiding behind a mask. Glassy eyed hooked on *******. You see, it kept me thin in that “Size Zero” era. If your bones didn’t show, you didn’t show. Fashion & modelling was never a passion, it was more a necessity, even an addiction.

In this picture, the dress was used for a dark auteurist film exposing the true nature of obsession. Voyeurism haunted me. Blissfully unaware I roamed the streets, kept the blinds to my apartment unclosed. It was then I realised; unless a flash of a camera were present, I felt alone. Disturbingly alone. With no lights I was nothing. I became as addicted to the paparazzi as I had to the drugs I was inhaling each morning, noon & night.
I was terrified by fame, & terrified by the fear of being forgotten. I sold my soul to the devil & in true honesty, I never got it back.

Back then I was chained & shackled, a spirit as broken as an elephants. I may not have been beaten with sticks or chains. I was broken. I became submissive. A simple puppet of the play called “Life.” At least, the only life I knew.

© Sia Jane
Based on another fashion drawing by;
They haven't been combined yet but they will and they then will be shown here too;
Prathipa Nair Sep 2016
Blown bubbles of clouds moving faster
Wind kissing me with a gentle touch
Drizzling drops of rain tickling my ears
New born leaves together playing xylophone
Peacock dancing in its embroidered attic
Pigeons of peace enjoying freedom
Green grass standing with goosebumps
Orange with black dotted butterflies
Modelling a colourful boutique
In this evening of adorable nature
Awaiting my love in the garden of indigo flowers
Jealous of wind kissing me
Star alike alluring violet flowers welcoming me
To his arms of longing libido
judy smith Mar 2017
Veteran fashion show casting director James Scully has taken to Instagram to call out the fashion industry, specifically the Parisian contingent, for its treatment of models.

Taking on the role of whistle-blower, Scully named and shamed slew of brands contributing to the mistreatment of models during the casting process.

“So true to my promise at #bofvoices that I would be a voice for any models, agents or all who see things wrong with this business I'm disappointed to come to Paris and hear that the usual suspects are up to the same tricks,” Scully wrote on the social media app, before going into a story of the poor treatment of models waiting to be cast in the upcoming Balenciaga show in Paris.

“I was very disturbed to hear from a number of girls this morning that yesterday at the Balenciaga casting Madia & Ramy (serial abusers) held a casting in which they made over 150 girls wait in a stairwell told them they would have to stay over three hours to be seen and not to leave. In their usual fashion they shut the door went to lunch and turned off the lights, to the stairs leaving every girl with only the lights of their phones to see,” Scully revealed.

The casting director, who has worked with the likes of Stella McCartney, Derek Lam, Nina Ricci, Jason Wu, Carolina Herrera and for Gucci during the Tom Ford era, is a well-established and respected member of the fashion community and a long-time advocate for diversity in the modelling community.

“Not only was this sadistic and cruel it was dangerous and left more than a few of the girls I spoke with traumatised. Most of the girls have asked to have their options for Balenciaga cancelled as well as Hermes and Elie Saab who they also cast for because they refuse to be treated like animals,” Scully continued, adding that, “Balenciaga [is] part of Kering it is a public company and these houses need to know what the people they hire are doing on their behalf before a well-deserved lawsuit comes their way.”

Scully then went to touch upon the diversity and age issues the industry is also facing, noting that houses were turning away women of colour and attempting to use underage models.

“On top of that I have heard from several agents, some of whom are black, that they have received mandate from Lanvin that they do not want to be presented with women of colour. And another big house is trying to sneak 15 year-olds into Paris! It's inconceivable to me that people have no regard for human decency or the lives and feelings of these girls, especially when too, too many of these models are under the age of 18 and clearly not equipped to be here but god forbid well sacrifice anything or anyone for an exclusive right?”

Scully’s post has racked up over seven thousand likes and comments from models who found themselves entangled in the Balenciaga stairwell.

“I was one of this 150 girls waiting in this stairwell, Hopefully, I'm 27 now, and it's not my real job, but if I would have been younger and more into this, I would have been so destroyed by this kind of people or treatment. Personally, I decided to leave the casting, just before it was my turn. Just after I saw the casting director screaming at us to go out — outside, in the dark — and told us that we are like groupies in a concert, and how incredible and unbearable it was,” commented Instagram user Judith Schiltz, who purported to be in the stairwell.

Models Joan Smalls, Doutzen Kroes and Candice Swanepoel have also commented on the post.Read more at: |
Connor Mar 2016
Sterile sidewalk
bent black wood bench
fetch DOG fetch!
the sky is clear today
trees are trying out modelling again, for the painters.
I'm at the public park where Big Satanic Paul used to live in a tent
too small for his heart
I'm drinking another free coffee.
O potential Buddhas all about the place
Loved, loved by all
loved by nobody
Solipsism in tired affections
we've all experienced a similar doorknock on the heart
who's earth settles uncomfortably after feeling like that.
I'm drinking another free day
in my F R E E country
(as we're so obliged to believe. We didn't choose to be born here, but we certainly choose to die here)
Writing on a bathroom wall says something too rude for me to copy in this poem.
I'm drinking another hour
the weather is nice today,
I never met Big Satanic Paul, but according to my friend who shared tent space with him some six years ago, he wasn't the type to get better.
Anyways, I hope he died as gently as he lived.
I'm drinking another Spring.
Terry Collett Jun 2017
Walnutt brought
cigarettes to school
packet of five.

Davies said
the bogs was best
for a smoke.

I watched out
at the playground
for teachers or prefects.

O'Brien and Sutcliffe
and Davies and Walnutt
stood in a small circle
lighting their cigarettes
from the one match
Sutcliffe had.

O'Brien lit mine
and poked it
between my lips.

My big sister
got them for me
Walnutt said.

Good on
your big sister
O'Brien said.

Have you heard
about Austen
and the competition
he's having for
the best piece
of pottery
Sutcliffe said.

That's me out
I said
he says I couldn't
make a ***
to **** in.

Did he say that?
Davies said.

Not in so
many words
but that's
what he meant
I said.

Who gives a ****
about pottery
O'Brien said
how's your cousin
she had her photo
taken again recently?
any **** pictures
to show?

No she ain't
like that
Sutcliffe said
just modelling stuff.

I looked
at a prefect
walking over
by the woodwork
classroom wall.

Prefect near
I whispered
hiding my cigarette
behind my back
exhaling smoke
through pursed lips.

They all took
deep inhalations
and tossed
the cigarette butts
in the toilet pan.

Davies flushed
the chain.

O'Brien waved
his hand in the air
to wipe away
any smoke.

One by one
we ventured out.

My cigarette
flicked behind.

thanked Walnutt
for the cigarettes  
and for being kind.
nycteris Jan 2018
All of the words I have ever said
have been said before.
The life I have led
has been done before.

Such an average life
that doesn’t deserve notice.
A paper doll cut out with a knife
aiming for precision but left with
jagged edges.

What started out as a little thing
in the womb.
A life to be born with wings
torn to shreds when first sunlight
touches the skin.

Typically cradled by a loving mother
left to fall to the ground
without a bother.
Welts and a scarred heart
on the little baby.

Once a paper doll thought to be cut evenly and equally
like the other paper dolls of its kind.
Instead of scissors, a knife given to unworthy figures
created a paper doll.
Modelling it in their own image
destined to carry on its lineage.

— The End —