Here is a primer on the history of poetry

Features of Modernism

To varying extents, writing of the Modernist period exhibits these features:

1. experimentation

belief that previous writing was stereotyped and inadequate
ceaseless technical innovation, sometimes for its own sake
originality: deviation from the norm, or from usual reader expectations
ruthless rejection of the past, even iconoclasm

2. anti-realism

sacralisation of art, which must represent itself, not something beyond preference for allusion (often private) rather than description
world seen through the artist's inner feelings and mental states
themes and vantage points chosen to question the conventional view
use of myth and unconscious forces rather than motivations of conventional plot

3. individualism

promotion of the artist's viewpoint, at the expense of the communal
cultivation of an individual consciousness, which alone is the final arbiter
estrangement from religion, nature, science, economy or social mechanisms
maintenance of a wary intellectual independence
artists and not society should judge the arts: extreme self-consciousness
search for the primary image, devoid of comment: stream of consciousness
exclusiveness, an aristocracy of the avant-garde

4. intellectualism

writing more cerebral than emotional
work is tentative, analytical and fragmentary, more posing questions more than answering them
cool observation: viewpoints and characters detached and depersonalized
open-ended work, not finished, nor aiming at formal perfection
involuted: the subject is often act of writing itself and not the ostensible referent

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Expressionism

Expressionism was a phase of twentieth-century writing that rejected naturalism and romanticism to express important inner truths. The style was generally declamatory or even apocalyptic, endeavoring to awaken the fears and aspirations that belong to all men, and which European civilization had rendered effete or inauthentic. The movement drew on Rimbaud and Nietzsche, and was best represented by German poetry of the 1910-20 period. Benn, Becher, Heym, Lasker-Schüler, Stadler, Stramm, Schnack and Werfel are its characteristic proponents, {1} though Trakl is the best known to English readers. {2} {3}

Like most movements, there was little of a manifesto, or consensus of beliefs and programmes. Many German poets were distrustful of contemporary society — particularly its commercial and capitalist attitudes — though others again saw technology as the escape from a perceived "crisis in the old order". Expressionism was very heterogeneous, touching base with Imagism, Vorticism, Futurism, Dadaism and early Surrealism, many of which crop up in English, French, Russian and Italian poetry of the period. Political attitudes tended to the revolutionary, and technique was overtly experimental. Nonetheless, for all the images of death and destruction, sometimes mixed with messianic utopianism, there was also a tone of resignation, a sadness of "the evening lands" as Spengler called them.

Expressionism also applies to painting, and here the characteristics are more illuminating. The label refers to painting that uses visual gestures to transmit emotions and emotionally charged messages. In the expressive work of Michelangelo and El Greco, for example, the content remains of first importance, but content is overshadowed by technique in such later artists as van Gogh, Ensor and Munch. By the mid twentieth-century even this attenuated content had been replaced by abstract painterly qualities — by the sheer scale and dimensions of the work, by colour and shape, by the verve of the brushwork and other effects.

Expressionism often coincided with rapid social change. Germany, after suffering the horrors of the First World War, and ineffectual governments afterwards, fragmented into violently opposed political movements, each with their antagonistic coteries and milieu. The painting of these groups was very variable, but often showed a mixture of aggression and naivety. Understandably unpopular with the establishment  — denounced as degenerate by the Nazis — the style also met with mixed reactions from the picture-buying public. It seemed to question what the middle classes stood for: convention, decency, professional expertise. A great sobbing child had been let loose in the artist's studio, and the results seemed elementally challenging. Perhaps German painting was returning to its Nordic roots, to small communities, apocalyptic visions, monotone starkness and anguished introspection.

What could poetry achieve in its turn? Could it use some equivalent to visual gestures, i.e. concentrate on aspects of the craft of poetry, and to the exclusion of content? Poetry can never be wholly abstract, a pure poetry bereft of content. But clearly there would be a rejection of naturalism. To represent anything faithfully requires considerable skill, and such skill was what the Expressionists were determined to avoid. That would call on traditions that were not Nordic, and that were not sufficiently opposed to bourgeois values for the writer's individuality to escape subversion. Raw power had to tap something deeper and more universal.

Hence the turn inward to private torments. Poets became the judges of poetry, since only they knew the value of originating emotions. Intensity was essential.  Artists had to believe passionately in their responses, and find ways of purifying and deepening those responses — through working practices, lifestyles, and philosophies. Freud was becoming popular, and his investigations into dreams, hallucinations and paranoia offered a rich field of exploration. Artists would have to glory in their isolation, moreover, and turn their anger and frustration at being overlooked into a belief in their own genius. Finally, there would be a need to pull down and start afresh, even though that contributed to a gradual breakdown in the social fabric and the apocalypse of the Second World War.

Expressionism is still with us. Commerce has invaded bohemia, and created an elaborate body of theory to justify, support and overtake what might otherwise appear infantile and irrational. And if traditional art cannot be pure emotional expression, then a new art would have to be forged. Such poetry would not be an intoxication of life (Nietzsche's phrase) and still less its sanctification.  Great strains on the creative process were inevitable, moreover, as they were in Georg Trakl's case, who committed suicide shortly after writing the haunting and beautiful piece given below

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SYMBOLIST POETS
symbolism in poetry

Symbolism in literature was a complex movement that deliberately extended the evocative power of words to express the feelings, sensations and states of mind that lie beyond everyday awareness. The open-ended symbols created by Charles Baudelaire (1821-67) brought the invisible into being through the visible, and linked the invisible through other sensory perceptions, notably smell and sound. Stéphane Mallarmé (1842-98), the high priest of the French movement, theorized that symbols were of two types. One was created by the projection of inner feelings onto the world outside. The other existed as nascent words that slowly permeated the consciousness and expressed a state of mind initially unknown to their originator.

None of this came about without cultivation, and indeed dedication. Poets focused on the inner life. They explored strange cults and countries. They wrote in allusive, enigmatic, musical and ambiguous styles. Rimbaud deranged his senses and declared "Je est un autre". Von Hofmannstahl created his own language. Valéry retired from the world as a private secretary, before returning to a mastery of traditional French verse. Rilke renounced wife and human society to be attentive to the message when it came.

Not all were great theoreticians or technicians, but the two interests tended to go together, in Mallarmé most of all. He painstakingly developed his art of suggestion, what he called his "fictions". Rare words were introduced, syntactical intricacies, private associations and baffling images. Metonymy replaced metaphor as symbol, and was in turn replaced by single words which opened in imagination to multiple levels of signification. Time was suspended, and the usual supports of plot and narrative removed. Even the implied poet faded away, and there were then only objects, enigmatically introduced but somehow made right and necessary by verse skill. Music indeed was the condition to which poetry aspired, and Verlaine, Jimenez and Valéry were among many who concentrated efforts to that end.

So appeared a dichotomy between the inner and outer lives. In actuality, poets led humdrum existences, but what they described was rich and often illicit: the festering beauties of courtesans and dance-hall entertainers; far away countries and their native peoples; a world-weariness that came with drugs, isolation, alcohol and bought ***. Much was mixed up in this movement — decadence, aestheticism, romanticism, and the occult — but its isms had a rational purpose, which is still pertinent. In what way are these poets different from our own sixties generation? Or from the young today: clubbing, experimenting with relationships and drugs, backpacking to distant parts? And was the mixing of sensory perceptions so very novel or irrational? Synaesthesia was used by the Greek poets, and indeed has a properly documented basis in brain physiology.

What of the intellectual bases, which are not commonly presented as matters that should engage the contemporary mind, still less the writing poet? Symbolism was built on nebulous and somewhat dubious notions: it inspired beautiful and historically important work: it is now dead: that might be the blunt summary. But Symbolist poetry was not empty of content, indeed expressed matters of great interest to continental philosophers, then and now. The contents of consciousness were the concern of Edmund Husserl (1859-1938), and he developed a terminology later employed by Heidegger (1889-1976), the Existentialists and hermeneutics. Current theories on metaphor and brain functioning extend these concepts, and offer a rapprochement between impersonal science and irrational literary theory.

So why has the Symbolism legacy dwindled into its current narrow concepts? Denied influence in the everyday world, poets turned inward, to private thoughts, associations and the unconscious. Like good Marxist intellectuals they policed the area they arrogated to themselves, and sought to correct and purify the language that would evoke its powers. Syntax was rearranged by Mallarmé. Rhythm, rhyme and stanza patterning were loosened or rejected. Words were purged of past associations (Modernism), of non-visual associations (Imagism), of histories of usage (Futurism), of social restraint (Dadaism) and of practical purpose (Surrealism). By a sort of belated Romanticism, poetry was returned to the exploration of the inner lands of the irrational. Even Postmodernism, with its bric-a-brac of received media images and current vulgarisms, ensures that gaps are left for the emerging unconscious to engage our interest

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IMAGIST POETRY
imagist poetry

Even by twentieth-century standards, Imagism was soon over. In 1912 Ezra Pound published the Complete Poetical Works of its founder, T.E. Hulme (five short poems) and by 1917 the movement, then overseen by Amy Lowell, had run its course. {1} {2} {3} {4} {5} The output in all amounted to a few score poems, and none of these captured the public's heart. Why the importance?

First there are the personalities involved — notably Ezra Pound, James Joyce, William Carlos Williams {6} {7} {8} {9} — who became famous later. If ever the (continuing) importance to poets of networking, of being involved in movements from their inception, is attested, it is in these early days of post-Victorian revolt.

Then there are the manifestos of the movement, which became the cornerstones of Modernism, responsible for a much taught in universities until recently, and for the difficulties poets still find themselves in. The Imagists stressed clarity, exactness and concreteness of detail. Their aims, briefly set out, were that:

1. Content should be presented directly, through specific images where possible.
2. Every word should be functional, with nothing included that was not essential to the effect intended.
3. Rhythm should be composed by the musical phrase rather than the metronome.

Also understood — if not spelled out, or perhaps fully recognized at the time — was the hope that poems could intensify a sense of objective reality through the immediacy of images.

Imagism itself gave rise to fairly negligible lines like:

You crash over the trees,
You crack the live branch…  (Storm by H.D.)

Nonetheless, the reliance on images provided poets with these types of freedom:

1. Poems could dispense with classical rhetoric, emotion being generated much more directly through what Eliot called an objective correlate: "The only way of expressing emotion in the form of art is by finding an 'objective correlative'; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked." {10}

2. By being shorn of context or supporting argument, images could appear with fresh interest and power.

3. Thoughts could be treated as images, i.e. as non-discursive elements that added emotional colouring without issues of truth or relevance intruding too mu
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PROSE BASED POETRY
prose based poetry

When free verse lacks rhythmic patterning, appearing as a lineated prose stripped of unnecessary ornament and rhetoric, it becomes the staple of much contemporary work. The focus is on what the words are being used to say, and their authenticity. The language is not heightened, and the poem differs from prose only by being more self-aware, innovative and/or cogent in its exposition.

Nonetheless, what looks normal at first becomes challenging on closer reading — thwarting expectations, and turning back on itself to make us think more deeply about the seemingly innocuous words used. And from there we are compelled to look at the world with sharper eyes, unprotected by commonplace phrases or easy assumptions. Often an awkward and fighting poetry, therefore, not indulging in ceremony or outmoded traditions.
What is Prose?

If we say that contemporary free verse is often built from what was once regarded as mere prose, then we shall have to distinguish prose from poetry, which is not so easy now. Prose was once the lesser vehicle, the medium of everyday thought and conversation, what we used to express facts, opinions, humour, arguments, feelings and the like. And while the better writers developed individual styles, and styles varied according to their purpose and social occasion, prose of some sort could be written by anyone. Beauty was not a requirement, and prose articles could be rephrased without great loss in meaning or effectiveness.

Poetry, though, had grander aims. William Lyon Phelps on Thomas Hardy's work: {1}

"The greatest poetry always transports us, and although I read and reread the Wessex poet with never-lagging attention — I find even the drawings in "Wessex Poems" so fascinating that I wish he had illustrated all his books — I am always conscious of the time and the place. I never get the unmistakable spinal chill. He has too thorough a command of his thoughts; they never possess him, and they never soar away with him. Prose may be controlled, but poetry is a possession. Mr. Hardy is too keenly aware of what he is about. In spite of the fact that he has written verse all his life, he seldom writes unwrinkled song. He is, in the last analysis, a master of prose who has learned the technique of verse, and who now chooses to express his thoughts and his observations in rime and rhythm."

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OPEN FORMS IN POETRY
open forms in poetry

Poets who write in open forms usually insist on the form growing out of the writing process, i.e. the poems follow what the words and phrase suggest during the composition

Set of cave genes If you could read... pluri freedoms of the dark light of ignorance teach understand that breathe under the Naturality Natural Nature is not necessary to have an understanding heart and store on their empty heads of knowing ancient rain where wisdom possess. If dance on every grain of chickpea for each foot plant what could a plant obey; foot, Plant, and Plantation...

Resulting in kingdoms on my animals, fungi, plants, and protists, media freedom as a seed to reach our evolutionary lack of ceased hopeness...

First  Ellipsis Angle loneliness"God felt Chained"

Chained down by dragging the last link of its multiple arcane freedom in which transfigured recent swings where he collapsed with the latter being of himself whose life lies lifeless alive but lost. The latter that child not to know and deprived of nascent freedom that will never be born and come knowledge in our genome of Independence.

When the caveman thought to be a complement to the world is enslaved by the mystery of lost in himself... The born and born, never dies, that's so naive and innocent... is still full unaware of their free will, rather it is he who must re-literate and be a living part of the ancestral genome Cavernario component. Oh Heavenly Lord of the steppes I look because more of you today without having lived what you lived, as he would have played with my gaze to succor and keep you had fallen into the fangs of an animal, or you had fallen on the glacier cliff where he has separated you from your Clan Cave.

Emancipation means to be always innocent, my blood runs through yours,
I read and understand any phenomenon of deprivation exist without you lack wisdom satiate if all your generations crushed by the ignorance of falling subject will be well, me and my being I take my precognitions as a tormented child's worst nightmare before about sleeping. Sixth Papal almost, almost kneel before the creation of memorizes creation. This prerogative Lord lives Bread’s God Minor remaining....of whose iconography will not leave this fifth fraternal dimension will not come, if not more will enter the latter end of absolute solitude... and shorter than the last thousand years of Neandertal.


Cavernary Political and Ellipsis:

On a day of gentle wind and tense rain proclaiming Clan joined, they all shouted running, the ground shook and the children slept in terror... the 10 infants who were talking about the Sign from above, but the nines they crossed his arms remaining to create solidarity roof that protects the man in your imagination...
The eighth child of the clan ran quickly into the arms of his mother and she imagined how far, how far would never come... uncharacteristically who came with his brother seventh had in their hands the word of entertainment of Being, to be a plaintiff political all of braiding them together with lines enabling the hermit may decide that creation is a mass of lines of certain fashions together, everything sings like the slightest cyclamen dew on the line pointy rough fallen fungus. All arms folded on the upper porch of the Vatican Macario in Franconia, saying that many who unite in their fevered requests large modern man ceased to be autonomous when it came out of their caves and charnel pit.

Ran all she enjoyed doing that almost without knowing whether or not they fall...
Ran because of every day the sun ahead of them a lesson for a man of the future...
They are running to be released the day of his birth chained to stars of light, to carry him to his mother and father, sneaking to his brothers.

Brother worn eleventh birth to her existence as another being evolved Eukaryotic: Surely those provided beings of cell membranes rhizomes reflected in higher liberty lives purged of ectoplasm walk without a discounted subsidiary. Shakespeare in Helsingor appeared immune to a blood brother to all that limits the Draconian feel in the pinnacles drawn 700 greened steeds. From the deepest swoon in the underworld subway Helsingor, follow the prevailing souls presided over by the great ear of the hard sandcastle, stressed hard Ghosts of Stratford upon Avon.

Freedom plague spits words of pancreatic poisoned exordium, spits verses of confusion disorders without permission, without solid bass sound without liquid sea that resists mad edges followed by solid sound...
But smaller stones give priority to conjugate final sentence and noble verses Guardian
to mission how important would Liberation:

Maybe it's a synonymy of Astral Solar...
It is not Solitude, is a free nation that has its own kind prosecutor's office for even when Euthanasia closes your eyes to the astral, will run the stones of the Sea of joy believing that neither you dare if there is no healthy grass to clarify the rainy day terror.


Reverse walk creeks aggravated birds feet, walking great playful ruse.
Reverse run my comrades preparing festivity meals with chandeliers and singing lay plenary., Singing Avenue pine port Firenze, Second run subtracting minutes and hours the minute is enough for me with your face in my arms to recognize your longevity anathema times oblique faces for lip-smacking hailstones Templars.

In 1297 in northern Italy nearby rural families migrate to chalky Venice, Perugia came the exiles walked to find their independence south of the Iberian Peninsula. They were so atoned as in the echoing flutes, harps, zithers, and harpsichords field temperate; They invited the blunting of intemperate monocordio.

Golden Chariot Carrenio

The golden carriage carrying them came without a single space rather than inheritances acquired goldsmiths of ancient noble and chaste solid shine. Carrenio; the coachman wore on his left arm bracelet thousand mobile travel without stopping to drink more water and to feed their horses. After revamping its gold pieces bartered by a slave who was getting Carrenio Christians fleeing the Romans. Well, they fled as far as the plains of great earthly squandered his memory and that end of the end should come.

How am away from my land more I learn it's back to her,
There is no ground for the first time, but that which is foreign
Carrenio of Perugia and sensed that ****** was Jewish ashes,
Luther King black paste of burnt forest,
Mandela and Biko Ogre garage from Victorian Empire,
Gandhi in his humility is always put behind the Sun
to figure out the small
Tagore trashed my heart caressing the entire universe uncorrupted
Hölderlin together in the cabin waiting for his mother at Zimmerman,
That my beloved Borker forest should shine gold teeth with black resin,
Theresa of Calcutta was eaten and swallowed all diseases lepers knowing good taste proverbial dessert psalm,
Jose Miguel Carrera was more than a trench, clay bullets in each of his temples where he received
To be doubly Lonco is to be halved, lacerated by lay his head on his land, not galloping on his back throngs of wit and hope out Nazareth trembles when an F-16 diluted ***** covering landless caravans Heritage continues to lead the people killed but the mosque wall has been Fe Erecta.
Helena plenipotentiary Kowalska at Vilnius, Faustina Divine Mercy Diadema
The agonizing deprivation of millions of people with cancer in every continent of private well-being analgesic, weighed down by increased pain, almost as strong as the Master Hammered Golgotha, so it was that Joshua has cancer always to slow it down on us. Benigno whether metastasis, malignant albeit benign finance.
The death of an innocent little angel devoured by the beast remains as a fluff hairless sardine in the jaws of a shark baron.
Khalil Gibran writes that with both hands to support the reviewer behind in Bicharri and bohemian Paris,

Salvador Allende Gossens was born since he was deceived by his parents who would heal politics, would rather dig their ancestors in their brains scattered in the currency in face seal or tail of.

Frei Montalva that today has to receive the Macro Augusto Heaven their arms, their sorrows, and regrets, although his worst military executioner.

Legion is an offshoot of liquid central gray material, which defers well done becoming but not defeated, it is the decree of the divine threshold space Living or ceases to live, that failure does not exist, it is the postponement of success - success.

The Genocide September 11 in New York was a ritual, who produced was a small wrath strength of the Rotary world, as the camshaft is upset in the history of trying to make more alphabet in schools where the flag hoisting and found scholars in West and East, so they can learn more than reading of both unlettered, lip and water to possess it to write with it. The worst disaster is read with the memory that will never happen... I write my greatest need with lipstick and my greatest need I write eagerly to participate. Yesterday I passed by a boutique and buy lipsticks that are closer to the language, written with the mouth and not the hand. !

Freedom, debauchery, libration, drawer, Bookstores..! Carrenio..: he said see I'm right! Raise and educate has a great synonymy with autonomy because the ancestors wrote everything that deprived them and made them fear, but do not have to eat the autumn gives me to dress the return of spring, bread orchid, and cineraria. Hence by that inner syllabic singing hunger sated that sought sheet to sheet rid of everything until the end of the book as the encounter between night and day without considering oblivious to anything or anyone on the track window swing wind, wind seeping.


It was old Zeus or Hera of Antique,
Cavern to house geometric polyphonic, angular seeds to create fashions kiss kissed everything that any vertical plane does not fit with the closed horizon
For hands and angels, Hebrews the inner soul of every carpenter and stonemason shrunk, wash their eyes and cheeks with songs of vibration and idyllic comfort,
Everything resembled and sounded Bethlehem 2.0 deities choirs sweeping grasslands,
The similarity of this clairvoyant child is born in a cave...
Rising motherly free Soliloquy Papini sitting to the right of ruminant cattle,
So archaic that to be born is not born in a clinic mega Cristus but hundreds of kilometers and hundreds who are born with the undergirding whispers and servitude being.
Where the multi gray impetuous born star is a healthy gauze story in the present tense... this angelic child grows by Miriam washes his feet in a belligerent abolished stone. His father must wash their hands on a stone which is where measured his ecclesiastical mystical stature, stone Madonna to heal his feet where he leaves to free himself, to free us... Marble gamete fémina vault, where he sleeps without knowing whether it is due, the ***** fell from the sky.
How wise is the Wise, it makes permissible for much more than two thousand years we stone quarry wheel and wheel, homily, and blessing to not wake at night to sleep startle middle and uphill.

Me of the referent of antiquity is not me of today is polished cobble stone,
Useful weapon quarry road there and backtrack to have blisters stone and soft thoughts under my pillow soft stone as a whole.

If you're ****** private living and have a free soul choosing coexist, then you are low in the cemetery on a tombstone of heresies.

Neolithic early 4500 after Hildegard von Bingen and his entourage and prowled full and channeled, swooning in her swoon with flowers in his hands and his followers planting forests on top of Stonehenge.

Carrenio says...: you see I'm right, we coexist, I die like the worst ****** cancer and then put a tombstone Stonehenge conspire in my honor black pain prayers of Salisbury. It blooms in vibrant red rubies that detonate in chromaticity and life. The stream itself is exceeded the aquatic plant Macarenia.

Call us and civilize us, outdated as far as my tired feet though I come not ashamed to see my new tracks.

Carrenio says...; see I'm right Joshua has traces of gold from other Caterpillar shod feet. Antique everything is prescribed according to their legacy today is Lent Pro that came before it was Lent vestige Pentecost came to be a nickname of the mystery of the passion in less than a rooster crows.

Beside it is the mystery of the disappointment of stubborn demon, which helps you all carry the cross, but not the entire load. Fire and Light at dawns where the splendor born...


Genome Freedom, even today every centimeter of my witness of each component, if the basic origin of the signs of the primitive world, is that we have lost the bark of the lexicon, which does not allow us to understand the meditations to ask for something, not You need to ask something. Today genome is requesting something because thousands of people who asked for millions of years, now it's time to cater to them. They were wrapped in cloth shroud of spiritual sacredness, today cemeteries mega dance their souls leave no sleepers both much grass on their heads not yet sullied by the puppet Azrael.


Impossible not to decorate the rocks forged empires that fall into the rubble, they bring 476 d. C., a new opening Middle age freedom of travel both in history thousands of years begins a new axis Golden Carrenio’s Chariot.

Carrenio Wagon

This great colossal ship Carrenio time is a timber that holds the sky, a beam that does not faint or distended thousands a. C, and the old age of King's large musings that were forgotten. It is astride ship millennium, their history of oppression has seen in the wheel, instrument wise rolling like a wheel before 5, 000 years ago, here  We fought and prostrated to distant lands millennium after millennium him away.

Golden Chariot is the structure that freedman us to enforce a new life on earth, even the Gods prided themselves move the stars to constellations called her noble Auriga sailing in full the Universes and Cartwheel Galaxy or cart Wheel. As if to say that when the Universe and its own mythology, were visited between them inch by inch by wherever they shine.

Carrenio mask and frame used had strength, temper, and tittle. When the first libertarian squall of antiquity came closer, Rome was already small and nobles populate what is a quote, Piccola. The executioner always frightened and starts out of his own wickedness. Markos Botsaris as did in Greece, and surrounding towns Messologhi remote, they were free more than tuned in massif Arankithos high wind. He was riding to Kanti once again with the golden rider Etrestles of Kalavrita. According to the Chronicle that came from distant millennia has envisioning promote its neighbor's heroic to free Messolonghi of ****** wars. All this I saw with his own eyes Carrenio, every thousand years styling with Etrestles, cleaned their nostrils so that new breed of horses to thrive,

Avignon, in the necropolis, witnessed as Azrael was cleaning his wings Jade antipopes, another story begins... even he seeks to candela who can read this story, and who can provide it from hand to hand cutting semicolons who disclosed.


Second  Ellipsis Angle  New Era:

Ara released the ropes throwing a big ship, History makes a man is at the center of the world. Revolutions, thinking, communication, and especially vindicate man in his right-libertarian. artists with their creations flowing all over the world, mutating classic Renaissance to abstract overlook. Family appearing welfare and needs. A ramble and so many broken laws. Mankind is distracted l film and theater artist of tradition. Art now has sound and movement, then social and political revolutions are industrial that unite everyone behind the pivot deployment of social classes.


Everything evolves until we get tired of doing so. It rests and then continues. This is modern reality, we wrote about the history of events on facts that have never been told. The world has tired all the Eras, but each pause time that has happened has been recharged, nothing finished if not started again. After so many wise lawyers, clergy plunged into great towers bound books. Is evident again can not read or understand. Our realities are missing valid without knowing I close and then open another door. human and civil rights, fair wages, so excessive autocracy monarchy. Freeman can walk along the paths, even if they were trenches.

Zephyr soft murmur which clutters in the Irises by Van Gogh, the painter is the biggest star trek, called with his feet images and colors that would make his own liberty to live naturally insane. And many others Brueghel "Triumph of Death" that roam the countryside, perhaps a medieval piece of Tarskovski; Andrei Rublev in futile painters decorating steps in the fontano chignon Androniko Monastery Moscow, extinct Rublev 70 years, Tarkovsky 54.

Early ellipsis - Campo dei Fiori in Rome to see die at the stake Giordano Bruno by order of the Holy Inquisition. The irruption of the Inquisition, but their feet are touching the flowers, the seasoned cassock continues to haunt the universe of Faith Dominica Trastevere, it is seen to lectures on how to be bold with the informers and the Whistle Blower dies without shade in spring, you resist the star on the asphalt on the magical island of holiness.

Carrenio says: Come I'm right, we can not read, because the brutality of the Cosmos is manure per ton weathered in the backyard of the aristocracy. I will continue with respect and crosed in Crete. Lila Kedrova means the fear of bunk bed tied to her bed and is free in foreign lands leg. Queen insular matriarchy, she lives more than any Greek Goddess, waiting for his Adonis, to fill out honors. Win an Oscar but lost to Zorba, he loses his house but won a Tony Awards. How many women teach us that to win you have to give everything to lose his brains, and thus count as the lost number remains to be retained. Zorba whines in her arms, she moans in the arms of her husband Zeus Steve, proof of a new era. Onyx for his tomb, plate of this great tragedy.

On the evening of December 14, 1964, attended the premiere. Soul of Carrenio was with them but was denied his attendance at the banquet, finally running out and watching the glasses lips and stoles spent his neck.

                                          
          ­                      Numbered Mysterious Death
                                                  Mané

If I have to feel floe on my feet and cold in my prayers will be the Dark Glory. What is slimming rays of the day, everything smelled of silence, maybe it was Kennedy, or better was The Mané.

Closure of my glory suffers the wind...
Flowers lying silence my soul alight,
Thick square displays the song of my voice...
When they speak Quadratils one to one order their
Spirituous voice.

And the spirit singing fiber of my heart told me:
Never you say I Exist ¡ not exist because they do not exist!
Only face daily the different reflection of your body
In front of yourself with another face and another body...

I want to talk with the thought
And this same subtract my little silhouette,
Lavishes wingless bird that flies only in their theology...
That is the duty and melt with my look,
Solid colors components
Crunching the altars of heaven retaining its pale warmth of anorexia.

Yellow Glory hair good event...
If you receive yellow lights, plus I do not sing my own game here in my empty veins,
Yellow my heart...
Yellow my heart
Yellow my collective heart.

They are run by large green and sunny meadows, children who had Mane in this major milestone in its last gasp. Now she is the mother of his children; it up and them in the last temptation of the mystery of death.

Carrenio keeps rolling, the brightness offered his Golden wagon to the ground. Gold grooves ago, and looking at where it realizes that it's landmass light mud. Since he felt whispers from the confines of time he had never felt as if you were finishing your journey or the world. It raining years and years and continues because nobody mends the mysterious death Numbered.

Heaven and Earth did not hold, the bottom fell precipitously pocket Lord and denied several times uncontained. She shivered in the World and the rooster crowed several times to never be heard or the Pentagon.

He is walking and knees bent,
we embraced by the golden chariot and oxen nor held
we bent us all lying on his knees,
up shoulders not hear from where came the bad grace of his departure,
numbered all the time of complaints of how then she would come,
It is unknown who would be but brought wine in his hand on the crispy mask
We ran from side to side and nothing was real

Everything seemed to sing in the chapel on a sad day,
But I hear loudly like Latin and watchfulness,
Those who know his mystery is no stranger to them
They all look but transgress the sin of silence.

Carrenio still absorbed in the hallway,
Angulo ellipsis she comes winged like a star burning tar,
A high speed to give us the new
No garden can deprive greet in speed visit
Dome comes, it comes on the eve of the new moon.

Numbered Widow mysterious,
Mané is a land of golden color and no celestial whoever wants in his cell,
A breath test, and feeding the Toffy and his henchmen
That sustaining more lively detail, there is no one that can not be targeted

It was modern, it was night, it was his torn life as an accomplice of his exile abandonment in his allegory of tender dismissal. Carrenio achieved so say goodbye to the beams of light that told him of the mysterious death Numbered. He sat on the roadside and drank some wine. Then dry with his handkerchief his neck, and have never wanted to experience such an event in a toast ever drunk.

Third Ellipsis Angle  of  New Era

Independence of Chile, it concerns Mapuche atingent case. Araucania pound, then 1818 central Chile. In Brief, Earth makes free an entire nation. His naive and primitive braves inhabitants emancipated themselves from all sides, they came to save a people who were just following where nobody can reach. Independence of the United States separates us for approximately 42 years, breaking up owners of nowhere. Industrial Abolitionist and South Slaver and Agraria. The biggest event that more than 640, 000 men and fallen activists planted safely from repression fields.

In Chile all rule resembled this secession in today's Araucano man prays for his fallen by almost more than 3 centuries in Chilean lands of Araucanía’s men. Lautaro genius and his supporters the heart of Pedro de Valdivia ate; Map ever made to your battle mapping Tucapel. "Initiation and final symbol occurred after 282 years of fierce war" and Mapuche land forever their independence from the Spanish Empire Captain-General important in foreign lands never subjected to foreign rule would eat.

The Machis and Loncos make supplications in native forests falling on them pollen on its back as if nothing out 10 times better...

To Libertas strengthen in the west is necessary to push the limits of the earth beneath his tongue and penance for the greedy entangled in the lines of bloodied sky, rebellions Chieftains death-defying all together at the edge of a cliff. 1769 The Pehuenches led by Lebian Cacique, joined the Mapuches razing Yumbel and Laja, the most peaceful Huilliches also joined mass alerting perhaps innocent people land blood-stained war and the Mackay Luchsinger.

No doubt portals military rebellion trigger blood, where they opened a tip and swords in the past. Here's reading concern is that the succession is timeless time, a sword without a sword, but on the tip of her blood is seen where there were herds and warriors crushed by their own footsteps. Here the phenomenon of freedom begins; Humanity runs treading his own footsteps, to save his family from a threat, but not strange forces that force you to use your defenses, because in the groves populate many helpless souls with his sword unused at the expense of being forced to use.

Freedom genome; It aims to reach where it has not come without looking back,
Chalices pour out is where the troubadours do not cuddle her close looks like time, singing while watching the changes are not of a new life


Heaven star,
Come to me,
I ask a sign to see them arrive,
Because I want to thus been dragged
Being together Eager to feel...
Those respites without being comforted
going to the mouth of the serpent.

About the Garden,
My home is to put my love,
He has to put the days imagining close...
To enjoy yourself is nonexistent...

Oh, my house tormenting me...!
Because in it I feel your smell
They are alone lights
Where I would wait for me to be in the dark...

In the coming future,
You will not see or hear my anger...
Perhaps my happiness nor peace praying
As the spear in the hands of the perpetrator.

You know a storm of whispers
I do sow your name in the wilderness,
It's because my judgments of hope
They mount up arable land deposited in my frenzy
Misled by a love which is my love.

But you never understand,
Because time has invaded my dwelling,
Invading my brain to give
It has invaded my choosing to love...

On the grass path,
Every time I move away from you,
I turn to see if you have not been...

Love came,
And I think that leaves us alone to avail ourselves
Ranging in our time...


But I can not resist his silence,
For my house want the noise of its action,
Why keys to the gates that serve my understanding.

Tramples my heart the fragmenting oddities into smaller pieces,
Your answer that call.

Tur love be like if I had created...
As if only you had appreciated your beautiful creation.

Do not destroy your work expresses in his mystery give life to your dreams!
Man aiming better earth, ask some of you to join your dreams...

! Your wife of this land does not procrastinate your misfortune,
I discover far peaceful landscapes like an echo in the spring,
As large and deep as your forgiveness for loving me more


It tells the Earth to the Sun in its perky tear benefactress of new opportunities as good and healthy smile rainbow on the back of Oviedo sheep valleys of freedom of Pietrelcina life.

To be continued…

The Ache is leaving. Three years languished by dead end jobs, drugs and friends. Last week above a bagel store, the sun morphs mute amidst travelling clouds, indifferent fluctuations of light on an otherwise featureless day.

You arrive a tight knot of anxieties over a moment in time that could only have arrived after its departure. The Ache welcomes you into their sparse interior. You trace last month’s 21st across the black mould complex; navigate piles of stacked boxes, unsure if anything is inside of them.

“I always make the best friends in departure,” the Ache says, flipping a plushy up and down by the waist.

“Maybe you can only love that which is already lost,” you reply, with an insight a friend will give you a week later.

The acid tastes bitter under your tongue. Small marks your body bursting, a glowing radiance of interconnections you’d always had but only now begun to feel. The Ache follows suit and you sit on the couch together to watch .hack//Legend of the Twilight. The come up entangles you in the spectacle; the screaming boy protagonist, the chipped tooth gag, the moe sister in need of saving from the liminal space of dead code. You take part in it; you revel in it. Bodies morph on the surface of the screen in hyperflat obscenity, their parts interchangeable to the affect of the drama. Faces invert, break and disfigure, before reformation into the self-same identity form.

A month earlier, you’d hosted a house show at your flat. Too anxious to perform you’d dropped a tab as you’ve done now. An overbearing sensation of too-much-ness — of sickening reality — washed through the nexus of your being. You writhed on the ground screaming into a microphone as a cacophony of sounds roiled through you. Everyone cheered.

The floor rose later that night. A damp, disgusting intensity that triggered contractions in your throat and chest. Pulled to the ground, you fought off your bandmate’s advances, too shocked to express your revulsion and horror, to react accordingly, to reconstitute a border of consensual sociality. You broke free and slurred “I’m no one’s! I’m no one’s!” before running out of the room. Hours later, you tried to comfort them. Weeks later, you realised how ******* ******* that had been. Months later, you learnt their friend had committed suicide days before the show.

Back in the lounge, a prince rides onto the screen on a pig. You turn to the Ache and say “This is ******* awful.”

The Ache responds “I know right?”

Outside the world burns blue with lustre. The Ache trails you and falls onto their stomach. “Oh my god,” the Ache blurts, “this is why I love acid. Everything just feels right.” They gaze wistfully at the grasses and flowers before them; catch a whiff of asphalt and nectar, intermingled. “Like, gender isn’t even a thing, you know? Just properties condensed into a legible sign to be disciplined by heteronormative governmentality.”

“Properties! Properties!” You chant, stomping around the Ache with your arms stretched out. You wave them in the air like windmills. You bare your teeth. “Properties! Properties!”

“You know what I mean, right?” The Ache asks, pointedly. “You know what I mean?”

You continue chanting “Properties!” for another minute or two, before spotting a slug on a blade of grass beneath your feet. You fall to your knees and gasp “It’s a slug!”

You and the Ache stare at the tiny referent for an indefinite period of time, absorbed in its glistening moistures. Eventually, the Ache says “I think it’s actually a snail.”

You used to read postmodern novels on acid. You loved their exploration of hyperreality; their dissection of culture as a system of meaning that arises out of our collective, desperate attempts to overcome the indifference of facticity. Read symptomatically, culture does not reveal unseen depths in the world, but rather, constitutes shallow networks of sprawling complexity — truth effects — illusions of mastery over an, otherwise, undifferentiated and senseless becoming.

Then one day, the world overwhelmed you. Down the hall, your flatmates sounded an eternal return. As they spoke in joyous abandon you traced the lines from their mouths — found their origin in idiot artefacts of Hollywood Babylon. The joy of abstraction you once relished in your books took on an all too direct horror. You recoiled. You bound your lips in hysteria, for fear of becoming another repeating machine of an all too present culture industry. Better dumb than banal — better to say nothing at all, than everything that already was and would ever be. You cried and cried until everyone left — until you were alone with your silence and your tears and your nonexistent originality.

Dusk falls in violet streaks. You reach your room on the second floor of the building, open the bedside window and stick your legs out into a cool breeze. The Ache joins you. Danny Burton, the local MP, arrives in his van, his smiling bald face plastered on its side like an uncanny double enclosing its original.

“Hey look, it’s Danny Burton, the local MP.” Danny Burton turns his head. He glares at your dangling feet for a few seconds before entering his house. “You know, this is the first time in three years he’s looked at me and it’s at the peak of my degeneracy.” You turn to the Ache. “One of my favourite past times is watching him wander around the house at night, ******* and unsure of himself. He always goes to check on his BBQ.” You bounce on the bed in mania.

“See this is what people do, right?” the Ache says, mirroring your excitement. “Like, look at that lady walking her dog.” The Ache motions, with a cruel glint in their eyes, to the passerby on the fast dimming street. “What do you think she gets out of that? Doing that every night?” Without waiting for you to respond, the Ache answers, in a low, sarcastic tone “I guess she gets enjoyment. Doing her thing. Like everyone else.” The lady and the dog disappear beyond the curve of the road. Another pair soon arrives, taking the same path as the one before.

A few months back, you’d met an old friend at an exhibition on intersectional feminism. After the perfunctory art, wine and grapes, she drove you home, back to your run down flat in an otherwise bourgeois neighbourhood. She sat silent as the sun set before the dashboard, then asked how anyone could live like this; how anyone could stand driving out of their perfect suburban home, at the same time every morning, to work the same shift every day, for the rest of their stupid life. The dull ache of routine; the slow, boring death. You said nothing. You said nothing because you agreed with her.

“Life began as self-replicating information molecules,” you reply, obliquely. “Catalysis on superheated clay pockets. Repetition out of an attempt to bind the excess of radiant light.”

It is dark now; a formless hollow, pitted with harsh yellow lamps of varying, distant sizes. The Ache flips onto their stomach and scoffs “What’s that? We’re all in this pointless repetition together?”

You respond, cautiously “I just don’t think that being smart is any better than being stupid; that our disavowed repetitions are any worthier than anyone else’s.”

The Ache returns your gaze with an intensity you’ve never seen before. “Did I say being smart was any better? Did I say that? Being smart is part of the issue. There is no trajectory that doesn’t become a habitual refrain. When you can do anything, everything becomes rote, effortless and pointless.

“But don’t act as if there’s no difference between us and these ******* idiots,” the Ache spits, motioning into the blackness beyond your frame. “I knew this one guy, this complete and utter ****. We went to a café, and he wouldn’t stop talking about the waitress, about how hot she was, how he wanted to **** her, while she was in earshot, because, I don’t know, he thought that would get him laid.

“Then we went for a drive and he failed a ******* u-turn. He just drove back and forth, over and again. A dead, automatic weight. A car came from the other lane, towards us, and waited for him to finish, but he stopped in the middle of the street and started yelling, saying **** like, ‘what does this ******* want?’ He got out of his car, out of his idiot u-turn, and tried to start a fight with the other driver — you know, the one who’d waited silently for him to finish.”

You don’t attempt a rebuttal; you don’t want to negate the Ache’s experience. Instead, you ask “Why were you hanging out with this guy in the first place?”

The Ache responds “Because I was alone, and I was lonely, and I had no one else.”

It is 2AM. Moths dance chaotic across the invisible precipice of your bedside window, between the inner and outer spaces of linguistic designation. There is a layering of history here — of affects and functions that have blurred beyond recognition — discoloured, muted, absented.

In the hollow of your bed, the Ache laughs. You don’t dare close the distance. Sometimes you find the edges of their impact and trace your own death. All your worries manifest without content. All form and waver and empty expanse where you drink deeply without a head. Because you have lost so much time already. And nothing keeps.

Months later, after the Ache has left, you will go to the beach. You will see the roiling waves beneath crash into the rocky shore of the esplanade, a violence that merges formlessly into a still, motionless horizon, for they are two and the same. You will be unable to put into words how it feels to know that such a line of calm exists out of the pull and push of endless change, that it has existed long before your birth and will exist long after your death.

The last lingering traces of acid flee your skin. Doused in tomorrow’s stupor, you close your eyes. You catch no sleep.

Tonight I have no words.
I cannot grandly sweep my pen
In flowing arcs across the page,
Drawing little soft impressions
(little soft depressions)
That show how lovely pain can be.
I cannot play the great Creator
Who rips a vital pulsing mass
from out His chest,
And molds still-beating clay
With a sad old potter’s gentle hands
into a little melancholic harpist
who plucks the heartstrings perfectly.

No, I have no words that fit
Like others have made fit before,
composing language to fit all the inward lines and curves
(I once knew a few of her’s)
that twist and turn and come entwined,
(the twists and turns of long ago)
crying “Lacrimosa!” in some wee hour
as the breeze blows a lacy curtain back.
I am no Aeolian instrument
Sounding a sweet ethereal chord into the night.
I am the vacuous breath left behind in silence
When the musician’s music stops —
A tuneless referent —
An empty exclamation mark
Howling noiselessly in space,
Meaning nothing
And everything, all the same.

!

The last of the angels’
Castaway nametags
Hung from the plush red edges
Of the art deco interior.
A breeze from the open door
Cast the doctor’s pamphlets to the floor
Advertising his services
For the special remediation program
Since he could not sleep
What with all the voices
From below chanting his name—
How he envied the people he killed:
For they were spoken so little of.
That is, except for on his intake sheet:
After passing over the names,
Seven in all,
Whose lives were, shameless,
Shed over ***,
The latch clicked
And out came the doctor’s hand
Beckoning through the door
A “come hither” gesture.
On the couch he sat,
Neck conforming perfectly to the couch
As he swam a cascade of Rorschachs
Apart the mirror-faced, owl-like man.
Speaking with a heavy Eastern-European accent
He knew exactly why Elliot had come:
Perhaps the intentions were dubious,
Perhaps he was looking
For quick solutions;
Regardless, Mirror-Face was there to help:
Too easily, these days, was it
To determine dysfunction in the masculine—
And this case was rare,
Awash in chatter from below.
So, there must be something deeper
Rooted in fear of perpetual
Romance fetishism
And absence of its referent.
Yes! The penetrative is missing—
The limerant object
Is without form, shapely, and feminine
And would forever escape him,
In part by suicide,
In part by isolation.
The reason you are here
Is the absent-present offspring
Of such missing ***,
A veritable porcupine-dilemma
In the flesh, a show of insufficient ****** capital—
See now in this face of mine.
Yes, now that I’ve diagnosed
What ails
Let us explore what solutions
Could have been:
The living world does offer suitable surrogates
For those lacking—
Recognizing this is the first step
To being forgotten,
To allow you to sleep.
Yes, you recognized then
The gun as the extension of the phallus
And it levels the playing field
Raised up, aroused by power
One feels when operating heavy machinery—
Yes, all flesh which is the metaphorical egg,
The bullet is the *****,
Which penetrates the flesh of the paramour
Impregnating her with life inverted
And creates, in death,
The child of ****** frustration.
While this child is one of children lost,
It is child nonetheless.
Yes, and this gun, the metal *****,
***** not one
But many—in fact, incestuously,
It ***** entire families,
Entire communities,
And leaves their lives gravid
With your legacy.
Yes, it is the only way to create
The ultimate matron, the universal feminine,
The supreme m-Other
For the Supreme Gentleman.
And you, as you see me,
Are the absent-present of this child of death
This union of bullet-***** and the whole-body womb,
With which you, sadly, impregnated yourself.
But, here’s the secret,
Because of this, you can only do damage control:
Your child will prevail.
Yes, the name may be gone, but the child prevails.
Name may be gone, but child prevails.
Name gone, child here.
So, have the voices stopped?
Has the child matured in you?
You are on your way to being forgotten,
But the child lives on:
Yes, the name may be gone, but the child prevails.
Name may be gone, but child prevails.
Name gone, child here.

He’s a ***** of in-
tellectual acumen. A real conveyor of post-modern acuity.
What he has to say doesn’t make sense to me.
No one understands his esoteric complexity.
He speaks of Aristotelian “virtues”, Platonic Forms, and other
“practical” participation by the particularities.
Part of all that not even he fully understands.

Juxtaposing Quniean “webs of Knowledge” with Davidson Coherantism
He is challenged by McDowells 2nd nature Bildung.
His conventional English is thus un-sung, while meta-physical abstractions are then hung
Out to dry, in the abstract realm sky. What color is that sky?
“Unfair Question” he cries.

“Tell me about God” I ask, “very well” he replies.
My brain is numb after one question, and a few words.
He continues, “Do the God(s) agree upon what is good?”
Yes is my reply. “If so, do they love what is good?” Again yes.
“Then, is the Good whatever the God(s) love, or do the God(s) love what is Good?”
He must be on drugs.

A little philosophy makes a man an atheist.
A lot makes him a believer,
just not in God. He praises Reason, his room is a shrine.
Within four walls one will not find, no not any sign
Of conviction.

What? All this time thinking, reflecting, meditating, abstracting, observing, weaving grand tapestries of thought and still he does not find a foot hold in reality?
What the hell were you thinking about?
He responds.

A stream of consciousness is all that is,
past is a referent future is a predicate.
I am not the “me” I refer to when I say “my book.”
No sir, I have never spoken to you any knowledge of me.
For that I have none of, but knowledge I am not without.
If it is one thing I know, it is that I know nothing.

I tell him certainly my English teacher would know something to defeat him,
I am soon disenchanted, for he has ammunition for her.
“Ask her”, he says “to ascertain the truth value to this grammatically perfect declarative Sentence.”  
Colorless green ideas sleep furiously.

Te referent fluctus.
HORACE.

Naguère une même tourmente,
Ami, battait nos deux esquifs ;
Une même vague écumante
Nous jetait aux mêmes récifs ;
Les mêmes haines débordées
Gonflaient sous nos nefs inondées
Leurs flots toujours multipliés,
Et, comme un océan qui roule,
Toutes les têtes de la foule
Hurlaient à la fois sous nos pieds !

Qu'allais-je faire en cet orage,
Moi qui m'échappais du berceau ?
Moi qui vivais d'un peu d'ombrage
Et d'un peu d'air, comme l'oiseau ?
A cette mer qui le repousse
Pourquoi livrer mon nid de mousse
Où le jour n'osait pénétrer ?
Pourquoi donner à la rafale
Ma belle robe nuptiale
Comme une voile à déchirer ?

C'est que, dans mes songes de flamme,
C'est que, dans mes rêves d'enfant,
J'avais toujours présents à l'âme
Ces hommes au front triomphant,
Qui tourmentés d'une autre terre,
En ont deviné le mystère
Avant que rien en soit venu,
Dont la tête au ciel est tournée,
Dont l'âme, boussole obstinée,
Toujours cherche un pôle inconnu.

Ces Gamas, en qui rien n'efface
Leur indomptable ambition,
Savent qu'on n'a vu qu'une face
De l'immense création.
Ces Colombs, dans leur main profonde,
Pèsent la terre et pèsent l'onde
Comme à la balance du ciel,
Et, voyant d'en haut toute cause,
Sentent qu'il manque quelque chose
A l'équilibre universel.

Ce contre-poids qui se dérobe,
Ils le chercheront, ils iront ;
Ils rendront sa ceinture au globe,
A l'univers sont double front.
Ils partent, on plaint leur folie.
L'onde les emporte ; on oublie
Le voyage et le voyageur... -
Tout à coup de la mer profonde
Ils ressortent avec leur monde,
Comme avec sa perle un plongeur !

Voilà quelle était ma pensée.
Quand sur le flot sombre et grossi
Je risquai ma nef insensée,
Moi, je cherchais un monde aussi !
Mais, à peine **** du rivage,
J'ai vu sur l'océan sauvage
Commencer dans un tourbillon
Cette lutte qui me déchire
Entre les voiles du navire
Et les ailes de l'aquilon.

C'est alors qu'en l'orage sombre
J'entrevis ton mât glorieux
Qui, bien avant le mien, dans l'ombre,
Fatiguait l'autan furieux.
Alors, la tempête était haute,
Nous combattîmes côte à côte,
Tous deux, mois barque, toi vaisseau,
Comme le frère auprès du frère,
Comme le nid auprès de l'aire,
Comme auprès du lit le berceau !

L'autan criait dans nos antennes,
Le flot lavait nos ponts mouvants,
Nos banderoles incertaines
Frissonnaient au souffle des vents.
Nous voyions les vagues humides,
Comme des cavales numides,
Se dresser, hennir, écumer ;
L'éclair, rougissant chaque lame,
Mettait des crinières de flamme
A tous ces coursiers de la mer.

Nous, échevelés dans la brume,
Chantant plus haut dans l'ouragan,
Nous admirions la vaste écume
Et la beauté de l'océan.
Tandis que la foudre sublime
Planait tout en feu sur l'abîme,
Nous chantions, hardis matelots,
La laissant passer sur nos têtes,
Et, comme l'oiseau des tempêtes,
Tremper ses ailes dans les flots.

Echangeant nos signaux fidèles
Et nous saluant de la voix,
Pareils à deux soeurs hirondelles,
Nous voulions, tous deux à la fois,
Doubler le même promontoire,
Remporter la même victoire,
Dépasser le siècle en courroux ;
Nous tentions le même voyage ;
Nous voyions surgir dans l'orage
Le même Adamastor jaloux !

Bientôt la nuit toujours croissante,
Ou quelque vent qui t'emportait,
M'a dérobé ta nef puissante
Dont l'ombre auprès de moi flottait.
Seul je suis resté sous la nue.
Depuis, l'orage continue,
Le temps est noir, le vent mauvais ;
L'ombre m'enveloppe et m'isole,
Et, si je n'avais ma boussole,
Je ne saurais pas où je vais.

Dans cette tourmente fatale
J'ai passé les nuits et les jours,
J'ai pleuré la terre natale,
Et mon enfance et mes amours.
Si j'implorais le flot qui gronde,
Toutes les cavernes de l'onde
Se rouvraient jusqu'au fond des mers ;
Si j'invoquais le ciel, l'orage,
Avec plus de bruit et de rage,
Secouait se gerbe d'éclairs.

Longtemps, laissant le vent bruire,
Je t'ai cherché, criant ton nom.
Voici qu'enfin je te vois luire
A la cime de l'horizon
Mais ce n'est plus la nef ployée,
Battue, errante, foudroyée
Sous tous les caprices des cieux,
Rêvant d'idéales conquêtes,
Risquant à travers les tempêtes
Un voyage mystérieux.

C'est un navire magnifique
Bercé par le flot souriant,
Qui, sur l'océan pacifique,
Vient du côté de l'orient.
Toujours en avant de sa voile
On voit cheminer une étoile
Qui rayonne à l'oeil ébloui ;
Jamais on ne le voit éclore
Sans une étincelante aurore
Qui se lève derrière lui.

Le ciel serein, la mer sereine
L'enveloppent de tous côtés ;
Par ses mâts et par sa carène
Il plonge aux deux immensités.
Le flot s'y brise en étincelles ;
Ses voiles sont comme des ailes
Au souffle qui vient les gonfler ;
Il vogue, il vogue vers la plage,
Et, comme le cygne qui nage,
On sent qu'il pourrait s'envoler.

Le peuple, auquel il se révèle
Comme une blanche vision,
Roule, prolonge, et renouvelle
Une immense acclamation.
La foule inonde au **** la rive.
Oh ! dit-elle, il vient, il arrive !
Elle l'appelle avec des pleurs,
Et le vent porte au beau navire,
Comme à Dieu l'encens et la myrrhe,
L'haleine de la terre en fleurs !

Oh ! rentre au port, esquif sublime !
Jette l'ancre **** des frimas !
Vois cette couronne unanime
Que la foule attache à tes mâts :
Oublie et l'onde et l'aventure.
Et le labeur de la mâture,
Et le souffle orageux du nord ;
Triomphe à l'abri des naufrages,
Et ris-toi de tous les orages
Qui rongent les chaînes du port !

Tu reviens de ton Amérique !
Ton monde est trouvé ! - Sur les flots
Ce monde, à ton souffle lyrique,
Comme un oeuf sublime est éclos !
C'est un univers qui s'éveille !
Une création pareille
A celle qui rayonne au jour !
De nouveaux infinis qui s'ouvrent !
Un de ces mondes que découvrent
Ceux qui de l'âme ont fait le tour !

Tu peux dire à qui doute encore :
"J'en viens ! j'en ai cueilli ce fruit.
Votre aurore n'est pas l'aurore,
Et votre nuit n'est pas la nuit.
Votre soleil ne vaut pas l'autre.
Leur jour est plus bleu que le vôtre.
Dieu montre sa face en leur ciel.
J'ai vu luire une croix d'étoiles
Clouée à leurs nocturnes voiles
Comme un labarum éternel."

Tu dirais la verte savane,
Les hautes herbes des déserts,
Et les bois dont le zéphyr vanne
Toutes les graines dans les airs ;
Les grandes forêts inconnues ;
Les caps d'où s'envolent les nues
Comme l'encens des saints trépieds ;
Les fruits de lait et d'ambroisie,
Et les mines de poésie
Dont tu jettes l'or à leurs pieds.

Et puis encor tu pourrais dire,
Sans épuiser ton univers,
Ses monts d'agate et de porphyre,
Ses fleuves qui noieraient leurs mers ;
De ce monde, né de la veille,
Tu peindrais la beauté vermeille,
Terre vierge et féconde à tous,
Patrie où rien ne nous repousse ;
Et ta voix magnifique et douce
Les ferait tomber à genoux.

Désormais, à tous tes voyages
Vers ce monde trouvé par toi,
En foule ils courront aux rivages
Comme un peuple autour de son roi.
Mille acclamations sur l'onde
Suivront longtemps ta voile blonde
Brillante en mer comme un fanal,
Salueront le vent qui t'enlève,
Puis sommeilleront sur la grève
Jusqu'à ton retour triomphal.

Ah ! soit qu'au port ton vaisseau dorme,
Soit qu'il se livre sans effroi
Aux baisers de la mer difforme
Qui hurle béante sous moi,
De ta sérénité sublime
Regarde parfois dans l'abîme,
Avec des yeux de pleurs remplis,
Ce point noir dans ton ciel limpide,
Ce tourbillon sombre et rapide
Qui roule une voile en ses plis.

C'est mon tourbillon, c'est ma voile !
C'est l'ouragan qui, furieux,
A mesure éteint chaque étoile
Qui se hasarde dans mes cieux !
C'est la tourmente qui m'emporte !
C'est la nuée ardente et forte
Qui se joue avec moi dans l'air,
Et tournoyant comme une roue,
Fait étinceler sur ma proue
Le glaive acéré de l'éclair !

Alors, d'un coeur tendre et fidèle,
Ami, souviens-toi de l'ami
Que toujours poursuit à coups d'aile
Le vent dans ta voile endormi.
Songe que du sein de l'orage
Il t'a vu surgir au rivage
Dans un triomphe universel,
Et qu'alors il levait la tête,
Et qu'il oubliait sa tempête
Pour chanter l'azur de ton ciel !

Et si mon invisible monde
Toujours à l'horizon me fuit,
Si rien ne germe dans cette onde
Que je laboure jour et nuit,
Si mon navire de mystère
Se brise à cette ingrate terre
Que cherchent mes yeux obstinés,
Pleure, ami, mon ombre jalouse !
Colomb doit plaindre La Pérouse.
Tous deux étaient prédestinés !

Le 20 juin 1830.

Chapter **
Decalogue

In the absence of Vernarth's transitory, Sardinia was still burning with lilting water. Already rejoining the plasma from which he saw him depart, he continued in the liturgy with monophonic ideologies, characteristic of trance as an element of his regressive parapsychological transfiguration. Already divided into various personalities and entities, he could have almost been instructed to leave for Piacenza and join Raeder and Petrobus to set sail for the Dodecanese to expand his duties with Saint John the Evangelist. He meets with Etréstles and the participating comrades that when he arrived at the refuge in the morning, everyone was asleep, except Etréstles who was starching some sheets of bread dough for breakfast. Meanwhile, he had sacred fire heating with sacred water for everyone. Vernarth approaches and Khaire tells him, he answers, a joy to see you.

Vernarth says: Beloved Brother Etrétles, I have already taken the notations to begin the decalogue. Today in the afternoon we will board the Sailboat and leave for Piacenza. We are in the final offering. In the Izanna tower, I called upon the powers of the Universe to present them, and I was commissioned to make notations of the Decalogue of the souls that Live in all the ages of time and its vicissitudes.

Everyone starts to wake up, look at him and say hello. They sit in a circle to enjoy breakfast. Meanwhile, outside the shelter, the horns felt moving to the rhythm of the minutes. In such a way, that the last sound of the Doric scale that the storm segregates, will provide the beginnings of each one of boarding the float that will take them to the pier of Cala Cogone. Everyone says goodbye and hugs each other, Vernarth and his brother says Khaire.

Decalogue I                  
Hanael
                                      ­      
Generosity transformed into a crowd. Many stones co-exist emanating the sweet energy of Hanael, and among these is the Onix, known as the stone of truth. Whose objectivism was dreamed of the Value of generosity in its maximum expression in the courage centered on the very vibration flower of the Gerbera, along with its sober goats of the reign of the heights? Hyperkinetic foot and ascension to spiritual psychic growth, which is the real emblem and symbolism of all the virtues of all the planes, the history not traced, or the memory that is mentioned.

Two unicorns alone will be reached by the ****** who will numb them with the perfume of her purity and her chastity, the reason why she will be related to the ****** Mary and the incarnation of her son Jesus by hugging them with her cloak. The Unicorn's single horn is an emblem of the spiritual arrow, divine revelation, the entrance of the supernatural into man, the sword of God, the opening of the third eye, whose vision is projected towards the ends of the angelic world. Hail Regina Sine Labe Originali Spectam.

Decalogue II
Saint Gabriel

Vernarth you tied to a tree with canvases draws himself to the Angel in his name meaning "God is my strength". According to the Abrahamic religions and Judaism. As a result, she became known as "the messenger". Angel Gabriel continues to have a role in the world, helping both parents and human messengers. Blowing the trumpet to announce the return of the lord to Earth.

In his mediumship, the Archangel Gabriel inspires artists, singers, poets, writers, and dancers, helps them communicate on a spiritual level to recover inspiration, innocence, purity, and joy of living. From which this egregious Vernarth Travel Wheel is not exempt until it is consecrated in Patmos as a sacred and lay reference of a spiritual being in gestation. From here he will cultivate the dignity and the Abrahamic mothers so that they can accept their body, awakening in the souls the scriptural power and communicating vigorous forces, which facilitate overcoming fear and lack of decision in life. Sponsoring God's messages to those who worship him.

Vernarth violates the Xiphos sword's decree to shed blood, but rather to purify the gesture of shedding Faith that cuts hopelessness. United in the Templars gripped by their fellow men of the spiritual warfare that never loses, that is always ready to the limit.


Decalogue III
Two premises

From the first two decalogues, the third is born. Both by the glow of the first reactivates the other, which is a rectilinear light that surprises the dark light that tries to invade its luminosity. At very meager kilowatts, the years that separate the times of adding more vestiges of transcending on moral exercise unfold from intertwining; in such a way that in periods of frank over-excited navigation, the energy of the spirit is advanced, only measurable by the actions and intercommunications of the Angels and Archangels.
"Decalogues / ten analyzes" Assimilations of divine inspiration, which will contain ten components beyond an enumeration of premises that expose the visions when justifying a test. This decalogue includes maxims such as "The Angel is the fundamental value of Mystical Perseverance."


Decalogue IV
Where is the North

The North: Biblical scholars have suggested that the north symbolizes the permanent or the eternal, perhaps because the pole stars could be seen throughout the year. It is the place of God's heavenly habitation (Isa. 14:13) and from where his glory descends (Job 37:22) to bless or judge (Eze. 1: 4). He is the true King of the North. But the north, represented by the left hand, is also a symbol of disaster. The enemy of God's people came from the north (Jer. 1:14, 15; Eze. 38: 6), bringing destruction. In a sense, the enemy was the false king of the north who tried to usurp the role of God and who is ultimately destroyed by the Lord (Sof. 2:12; Dan. 11: 21-45). To see resting in Faith, the north does not distract your gaze, it blesses resting the whole concept that shakes the predisposition to arise to all merit given by physical unity, which I inhabit where I will rest, and the glory has to exalt me. Whoever comes from the north bringing destruction, will crash upon him, bringing reparation for the faith that rebuilds itself. The north is an anti-magnet, preventing what it cannot distort from itself in the Christian saying.


Decalogue V
The desert

Vernarth has to consume the desert like a placid arid and inhospitable place when swallowing it. There is nothing in his hands, not even the most elementary thing found. Where you suffer all kinds of discomforts: thirst and heat, inclement weather, sudden changes in temperature, sand discomfort, deprivation, and material deprivation; not only of the futile things but also of the most necessary. It must be supplied in large baskets to serve those who cultivate and protect it. The desert is a meek sheep in periods of drought when it never leaves you.

The physical reality of the desert can be like a symbol of the imminent spiritual life: it is the place of the detachment of everything superfluous; an invitation to austerity and a return to the essential. It is there where man experiences his fragility and his own limitations; the place of trial and purification. But also the most appropriate setting for a renewed and mature search for our personal encounter with God in prayer, in the silence of the soul, and in the simplicity of the essential. It is here that every symbol, more than all its significance, is transformed into a test of loneliness beyond all abundance of Faith, without even having to support it.


Decalogue VI
Vampirism

In the behavior of the person who acts like a vampire, that society prevails that the behavior is dissociated to whoever does it and not. Many vampire souls have made a pilgrimage for good. No one has been able to exclude them from the darkness and stop rising from the dead to roam the night in a bulky black cape and use long, sharp canine teeth to bite the victims' necks and **** their blood. But modern vampires tend to encounter problems of strict uniqueness such as not being happy, believing even more than by dying to them they are more than a fatal vampire. "We are all Vampires in eternity who deal with darkness and light, fear and courage."
Vampire in Sardinia is drinking the same blood and sprinkling it on the earth that nothing conceals or prescribes sin. Then a child appears, picks up the flower that germinates right there, and the cycle begins again.

“When I train myself in writing saying who I am, I only receive from the purulence of the multitudes, in centuries by centuries, not finding a basis to answer me. They say they do not know what to answer because there is no content that compares to those who have no Age, Life, or compassion. That I only have to communicate with the Strigoi messenger articulated with the souls of the dead who come out of their graves at night to terrorize the neighborhood. That it is the same as I condemned to sail and swarm the World of the Nosferatu aristocracy, a survivor of all human vanity, in all the empires of the World believing to live thousands of years without knowing who helped me, because few give me the option of giving what good of me ”


Decalogue VII
Holy incense

I breathe humid air from the superior deities; they opt for my forehead, as practices that replace those that are detonating to expel theirs. Rain of aromas alter or renew low-voltage emotions for high gods, like the Egyptians who used the most precious varieties of incense. These incense craftsmen, in the times of the Pharaohs, knew all the secrets for making high-quality incense. It has been verified that in some of the precious vessels found in the funeral chambers of Tutankhamun, they kept hundreds of kinds of incense that have still retained their magnificent aroma through the centuries. On Sheesham's bunk beds of fire. Wood and Incense with ultra sensory olfactory powers, to design elemental and supernatural hearts, to house and be adaptable to hyper-connectivity. In the Hindu religion, akasha is the foundation and essence of all things in the material world; the first palpable and concrete material element created by the god Brahmá (air, fire, water, earth are the others). "Here he sleeps without waking up when the morning doesn't wake up, and sleeps when the night doesn't get dark"


Decalogue VIII
Mythology

As mythology, it is called the set of myths typical of a people or culture. Myths, for their part, are narrations starring gods, heroes, or fantastic beings, who explain or give meaning to certain events or phenomena. The word, as such, and this in turn from the Greek μυθολογία (mythology) . Mythology, in this sense, is made up of the set of stories and beliefs, relatively cohesive, with which a people has traditionally explained itself. its origin and the reason for being of everything around it. Hence, we can affirm that mythology shapes the worldview or belief system of a culture. Vernarth from Sardinia where he never thought he was undoubtedly opens up belonging to this place more than the hundred millionth essence of his Being. It unites all the elements that melt together the liquid, aqueous, physical, gaseous, and aqueous., To form the mythology of a true verb of a parapsychological regression, like a great condiment that every mortal lacks as opposed to an immortal.
Alikantus paradigm of Alikanto on his astral journey just three days after climbing in Gaugamela...! The corners of anxiety buzz after lightening their igneous hooves by the slippery stones of the footsteps that seemed to be the same projections of their tasks that marked the Tracian soil before arriving at the request of their harangue. He resorts to Medea, before arriving in Thrace after wandering around different places in search of protection and advice to protect his master Vernarth. While He was submitting to his last opioid libations of vivid liliaceous from angiosperms encapsulated by his right pectoral. That was Alikanto's missive. Ask Medea for a potion so that she can supply her master to deflate his breastplate, and thus be able to use his Panoply breastplate in combat since there were three days left for the duel. Medea arrived in the city of Athens on a stormy day with great dark Dantesque gray on the palm of the cliff, previously escaping near the Abdera cliff, whose east was evacuating black poetry,.


Decalogue XIX
Falangist

As a tactical organization for war created in Ancient Greece and later imitated by various Mediterranean civilizations. ... The term is of Greek origin, φάλαγξ (phálanx), which was used for the defensive formation used by the Hoplites, who constituted the classical phalanx.
Almost at dusk over Zeus's beards, the Vernarth Phalanges begin to arrive. The Macedonian Phalanx or Macedonian Phalanx was an infantry formation created and used by Philip II, and later by his son Alexander the Great in the conquest of the Persian Empire. The Macedonian phalanx arose, in fact, as a response to the tactical modifications that the Theban strategists, Epaminondas and Pelópidas of ground forces, developed in the early 4th century BC. C. to oppose the superiority, although already decadent, that the Spartan hoplite formation had exerted in the land combats between the Greek cops until that date.
Nothing depresses me more than not delegating others as if they were my Falangists, making them participate in defending themselves against all disadvantages and worse punishment with the Panoply armor, a superb protector of those who has no defender. "God is my Breastplate, his Gospel protects me by never being damaged"


Decalogue X
Lepanto

Where I have to shelter, says Vernarth, hostility haunts me. Beautiful landscape that is swayed between the rushes of good that tries to be less bad. Policy judgments, how close to marketing peace, and so far from founding true poetry. Still, Vernarth crossed the waters and their customs. From Lepanto, Greece. He appeared exhausted with his eyes reddened by the gassed atmosphere that greeted them in Battle. Of whose intraterrestrial castes it was the one that was in his iron spirit and reappeared in his cape as a gesture of his personality. He arrived cracking the ****** floors of Tel Gomel when he arrived ... he was assaulted by a soldier who asked for mercy to extend his bad fortune. Lepanto is a pre-military senatorial seat, and a great preparatory to the charms of the drama of my duties that will be in Patmos, never-ending dramas.

Falangist: With his helmet in his hands and the Dorus on his cloak on the ground tells him; every single thing I tried the double edge of my sword stained him. The top sheet notified me that my family in Kalidona was in a state of irregularity since my two older children were called to serve in the militias. And the second edge of my lower Dorus I bow before the meanest preciousness of that of observing with a good spirit to cooperate, now with the callousness of my soul that overcomes it exploiting and dragging my wife as easy spoil. I know that my descendants were buried under the effect of the cataclysm of Pompeii in the future. All will emigrate and then flee when they are devastated and the unwelcome comrades return to reintegrate into the Santa María festival. The Patron Saint who consoled me, but prepared me for the resistance of such bad fortune, that one day she would let herself fall with my crops in the culture of peasant angels in fruits and devotions. I sobbed and sobbed rubbing my animals through my empty eyes day and night. They did it next to me, with the singularity of not affecting me; they went to the nearest stream to sob for me so that I would not be affected by the fatal annihilation.

Epilogue
Patmos and Saint Gabriel

Once installed with the vision of visionary brotherhood that characterizes its filial union with Reader and Petrobus. It will begin in its mediumship with the Archangel Gabriel who inspires artists, singers, poets, writers, and dancers, helps them communicate on a spiritual level to recover inspiration, innocence, purity, and joy of living. As an input of character to validation the function of the Troubadour, Juggler, or Visionary. If it were not for the written and not musical notes, nothing would be more than a vision of being closer to almost hyper-reality, established by the prophecies as historical and religious support. With this last decalogue, Vernarth establishes that one in the work of oneself remains the summary of the prototype of the work. And from the work, the summary that allows the common man to be erected, who in his free will, does not deny, but rather power his unshakable satiety of science in his prostrated soul, under the key of dogma and questioning?
Hildegard Von Bingen has sparked the interest of many scholars, mainly because it seems to contain a major contradiction with respect to the rest of his statements about his visionary experience. In that absence of ecstasy that characterizes the visionary experience of Hildegard von Bingen, It also figures the fundamental difference that separates it from its contemporary Elisabeth von Schönau, and some scholars based this fact to deny it a mystical character and grant it the attribute of prophetic. The attention of this specific passage obeys its comparison with Saint John the Evangelist. The understanding of itself seeks a model, a referent, whose wide field of meaning has to be reconstructed in order to restore the full meaning of this statement. The analysis will stop at the following aspects:

1. In the gesture through which Saint John is shown, and by which Hildegard associates herself with the evangelist and, as we will see, according to the identifications of the time, with the beloved disciple of Christ and with John of Patmos, the author. of the apocalypse.

2. Hildegard's identification with Juan de Patmos will lead us to a comparison of both visionaries focused on the modes of their representation.

3. Finally, the content of the images will be reflected on from an example, hoping that all of this will be concluded with a sharper profile of Hildegard von Bingen's visionary experience.
Vernarth says: “I wander from the stony ruins in Sardinia, to go in search of those who gave rise to themselves. When I thought about believing to create them, they presented themselves to me as a whole that prophesies Creation. ”

strictly speaking,
there exist no
referent
for Yesterdays Aches
or Tomorrows Concerns
in the Real World -
just
quaint tongue dances
and groans
of the throat.

"A great artist can make art by simply casting a glance" – Robert Smithson

Not by drawing a glance,
but casting.

Imagine the studio. What
Molten materials, what
Molds needed?

Who models, and will they
Recognize their eyes, or
Is it their object reified –

The signifier or the referent
Denoted in this indexical
Congealing.

Shy, illicit, bold, flirtations, imperial,
The variations and series of directed looks,
Is this the content, or is the captured casting

The direction -  just the path of pointing:
A laser beam, redone in spider web, then
done again as differentials of the air?

And what of the early work, the
Imperfections, who filed down the seams?
And would cracks in the mold shift

The glance askew, revealing
A pliers, a heater, a
Reader’s thought?

How Does History Really Work?

The enantiodromia of parallax founded as a predicated fulmination of retrograde incident precluding accidental consequent is a natural referent of a bypassed bridge that through tip-lipped coercion resorts to the nature countenance and visage of the holiest creator of our majestic universe bolted to the linearity of patterns of trigonometric spelunkers seeking a sub-Pythagorean orbit of granular generativity that becomes its own amplivagant vessel and simultaneously ampitheater that is a fission of magnetized smog mobilized in ulterior provenances of heightened parlance for impavid labtebricole secrets marauding with visagists that cloak the heavens in the elective cardiac synergy of a saturnine swindle wandering listlessly with jive-talking smooth-walking creatures of cerebral habit jaunty with legacy but bounded by the strict cloffins of the lambent source of journeymen into the sojourn neither of regaled destiny nor whispered prophecy but more on the lines of a conflated flux dispersal of entropies competing in space time to wander endlessly through the diaspora of the living hallowed graves of the Potemkin Village of the silentium of the protectorate behind McCauley Culkin’s agoraphobia. History rotates upon a transdimensional supercalendrical access point beyond which there is  nothing but terminus even in the absence of pointed aberration because the milk of even the lactose inferior mettle of scurrilous witwanton bludgergrumbles of the wednongues is a hallowed wassail only to the degree the counterfeit becomes moribund by the rickety cringes of logical deceit becoming tinsellated surfeit that the stars appetize for but because they are installed with a degree of reticent amnesia it grafts a gridlock of paralysis from which the hostage situation humanity has prevailed through despite velivolant winds to the contrary is capable of plumbing abyssopelagic transportation only in the moments when the material world and the numinous intersection of the seminal ingeminations of orderly demarches in the folksy remedies which bandy their temptations on the borrowed bibliopolists who in gingerly Canada Dry secrecy burrow the furrows of the sulcate grooves of waxen miracles in the glabrous limelight of the gallywow diversion that earns leverage over the meager rather than spars with the promethean pataphysics of a time that is becoming so prolific with fulgurant streaks disguised by smog that even  the most well-paid firefighters can never stop the rampant conflagrations from infiltrating cantabank muses upon alighted destinies. We are at a centripetal point in time among many others but because we witness the transdimensional bypass with such geopolitical clarity it becomes an obvious zugzwang for those who try chryselephantine gambits and gimcracks in the ginnels of backwater boondoggles to enforce the hibernaculum of blackguard engraved in the literate apostasy of man from the true origins of the dynamos that all decided together to ensure the vitality of the syndicated enterprise of the very transgressions and felonious against the “Space Cops” to the extent their overflush of ostentation in their gingerly mannerisms becomes itself the guarantor of an ascertained future clouded by murky residual charnels in the nemorivagant chase for the shining beacons of the brains that siphon unprecedented influence in order to cleanse lavaderos of the ***** grime of egestuous obolary poverty of the pastorauling and the aspen groves that lurk with pernicious impertinence above sandapiles of sadly deceased souls journeying towards neither an eternal conflagration nor a vacancy of substance but rather that substantial determination of magnanimity. The myths that perplex humanity were clothed as a parvenu IQ test for the people who sizzled with the saute of keen acumen foisted upon a thought loop of lunatic subversion of ultraviolet genius beyond the detection of the lens of prismatic fortunes gained by reversing photons in time to regionalize the spectral reality into the elaborate alveolate ploy by the elite to assume not by arrogation but rather by thaumaturgy that all witnesses become contributors in the modern age and therefore this funnels the continuum and spectrum of a radiological race girded by the futtocks of jetsetting analysis to bifurcate planes of trajectory that at first diverge widely because of raconteurs grafted with numinous fictions of the facade of man in a Potemkin Village like Manhattan which saw its population decline by nearly four-hundred thousand people in three months (All of the Boroughs) to invest in enclaves where their furtive fruition would be recognized. The very invention of time travel is an epigenetic alien configuration of races that outlived us and sought sidereal mysteries in boosterism that granted us parceled notaries that spell doom for democracy but bonanzas for the autarky found in inalienable rights such as the pursuit of happiness most importantly configured into the realms of persuasion to become a meddlesome hypestorm that few tempestuous mercurial sailors would dare to journey beyond because the early grave is reserved froward in the momentary amnesia of videos of accidental leaps that frogmarch us into a more clever ascertained future micromanaged by a collective syndicate of outfoxed limiculous creations drowning in cesspool swamps of money to bury the bridewells alive because essentially we are now entering the pivotal crux of  history when one man’s barnstorm becomes a collectivized enterprise to radically reform the conditional antiquity inherent to time and to gouge funding for armadas fought by warriors that lapse between milliseconds in order to deliver calculated payloads with extremely precise mathematical precision. When someone patented the Theory of Relativity he postulated that the condensation of matter is fungible and flexible plasticity rather than a benumbed sopiter race of grumbling groaks that become costermongers for comatose sleeping pills and mandatory heart monitoring. There are a few moments in history capable of jump starting the generator not of myth but the progeny of priggish mathematical facts lurid in their prurience of permanence to ensure that neither mythomane nor sophist can clamber into an artificial alcove of the celestial paint of enhanced perception predominating over a century obsessed with perceptual enhancements of prosthetic invention emigrating from distal orbits among the lunisolar accord as well as around the regional taxes of Saturn and its cove of troves of bohemian impertinence. Analyzing history in the alpenglow of the donnism of hedonistic impetuous importance is a yield and cloveryield to an optimism of guarded shibboleths easily duplicated by laboratory investigations into the microbiological elements of the functioning human society upon which percolations of reality drawing ever near the icebergs of certainty that the ship will eventually sink in Africa and that sad welter should appall us all but because one person who owns the master of destiny cognomen capable of surpassing the largesse of the frissons of glamour becomes the swift parvenu of an anointed bludgergrumble extorted by powerful puns in this society of fashionable violence to enforce codes of silence by tampering with individualism and individual flavorks that demassify to preselect by artificial implements that the predestination they heard was a warbled echo of a now extinct future aborted as the time line converged upon the antipodes of fission and friction to exert filagersion in geotaxis to ensure that the sworn blatteroons of bloviation endowed with such great fiduciary importance that when exact events are hallowed in history movie dialogue memorializes those moments at the very second they are observed without being an underminnow of lip syncing. Some primary examples of pataphysical conundrums exorcised from time is how the whiskey bar aloft in the heights of the stratosphere could find direct knowledge of the future live on camera in movies like Twister to memorialize the thaumaturgy of sartorial shoes mixed up in time and how in Lost’s final episode of the first season the entire cast was elated by their renewal of knowledge or the introduction of the inseminated creed of the mysterious bottle that was kicked and then dematerialized. Physics is a funny science but the belabored tropes of game theory existentially altered the trajectory of humanity from a docile ploy of slot machine slaves into a society that engraves its superstitions upon pervious minds to the salubrious decorum of a whittled henpeck of privilege that whatever is broadcast automatically becomes preeminent because it is so widely spread even among piebald audience of sebastomania and lunacy can be cordial with poorly kept secrets secreting the jaundice of self-reference and milking dead organs of surgical pride for the stomached emasculation of the humane virility undergirding civilization. Right now and starting in early September 2020 and much before that if you study the Earthquakes created near Hawthorne, Nevada the meterologist suddenly becomes the kingpin because his Big Lebowski antics are a sardonic rift on the rafts of publicity to reprove the agentic force of a discarnate inanimate evil of a being that lacks sensory capacity so thereby seeks to disincarcerate its own obligatory tether to the vacuum of warbled tilts of information to domineer with a degree of captaincy catapulted by the future dominion of historicity compounded by the dearth of energized rebuke flabbergasted venom of deceitful charlatans of yobbery complicant   on contraplex bromidrosis of ergasia flapdoons emigrate from the citadel of veridical truth.

Spílaiaus, noticing that Vernarth felt unprotected on the iridescent Nimbus, greeted Zefian; he was in the Phlegrean Fields reliving the Sibylline Treatises of the Pytia Cumea, when the last death rattle of the Universe began to beat with force Zefian sent from his Thracian Gold Quiver right next to where the Sibylline Treatises could materialize again by withdrawing the Arrow of the Vóreios where it began to protrude from the Doric stylobats of the Megaron, everything was comparable to the Parnassus from which Leto; Apollo's mother would grant them Vernarth's Megaronic Songs, making up for her withdrawal since he was saved from the fire in 548 BC.  from the Acropolis, being able to assent to the presence of Triads Women who moaned at him due to his deserted unbalanced voice without being able to receive his exclamations. Zefian then before the lightness of his cosmic phalanges withdrew the Fourth Arrow from the Phlegrean Fields; before it from the volcanic caldera, he released the nine books recovered in total from the six cremated, to then be pierced by Zefian's Arrow to finally project them towards the contiguities of Prophyits Ilias where their spirits appeared here with such reflections of Miletus conversing with each other that the beauty of Coronis was not enough tenor of Paralesias of the Firmament of Apollo, so the Heavens of Patmos had to be opened with the nine sybilline books along with Vernarth's Hellenic Trilogy to establish the Duoverse as paralesias of the world that would restart from the Ádyton to save the Inheritance and his astrophysicist strangulation.
Both vicissitudes of the Fourth Arrow were heading at incalculable speeds to collide and merge with the Arrow that pierced Apollo's Lynothorax to the detriment of Coronis, thus abandoning transcripts of the oracles that crossed paths in the Seventh Hour of Paralysis to later touch with holistic chrysanthemums with their pointed ivory ornaments that hung from the Universe wrapped in an omphalos, which became a Kosmous of wands encrusted with igneous flames to burn to a great degree among the stylobates that the upper canopy prevented from being incinerated from the rest, protecting the parapets from the Megaron that depended on the nearby Cloud of the Iridescent Nimbus where Vernarth resided in the armband patterns of the monarch Croesus.

Spílaiaus replies to Vernarth: “From this promontory, I go to your parents, I tell you that I see signs of great parapets where the center of the Kosmous rises; “The Ádyton, is closely linked to the fusion of the Quarta Saeta, and Septenario del Ibic or Virola to the depths of the Katabainen; whose Katabasis grows through places of impious land from a Megaron that is nothing more than traces of Lycurgus in limber blood that the tabernacle could not contain, nor could it dispossess for a chalice the firmness of an instigated Christus that could now flow and be reborn by submitting to Cyrus, and other satraps of the past, referring to the fact that Vernarth's asceticism depended on the minimum luminance that could come out of Tartar. Vernarth, distinguished himself more calmly when he perceived that Eurydice filled him with greater agreement with the one who is delimited from an underground room, than from a sub-empyrean who began to separate him from the parapets of the Megaron with the shape of a Howling Kosmous burnishing from the same district Strategoi.

In this way, the Adyton was made up of a temple with Seven Steps until the arrival of the fusion of Zefian's Arrow to collide with that of Apollo, then both being the curtain of the interface of the Duoverse that became oracular with the presence of Jerome de Estridón, and Spílaiaus taking them to the Forests of Parnassus and Kanthillana with the Pythonesses in the spurious Oracular of the nuptials. The Sybilla Herofila is present with her veil with the darkness of Castalia, with ceremonious gestures also in front of her the Sybilla Cumea for the brothers of Delphi and Adyton who reopen it with the power of their God, who was accumulating access to an infinite where nothing isolates it, not even from the sip of a sea that does not grant the gift of quenched thirst, then the Psiloi custodians as advisers of their "V" of the pentagram would take charge of the Oracle's minions to unite the center of the Kosmous with the Universe-Duoverse where he rested on the niche of Hestia.

Apollo emerges between some proxenos that accompanied him before noticing the impact of the Arrowheads, and compasses between proxenos that would admit the New Duoverse of the Oracle of Adyton, for a new universe that was gestating from a polymer towards a multidimensional height that rotated to exhibit only the edge that would admit the mass of Saetas to create rings of vibration, and frequency of Apollo in front of Vernarth looking from the magnanimous lookouts of all Greece. This is where the shepherd Coretas juxtaposed himself with his flock to swarm in the thin strips of landslides that would be left by the atomic detonations of both colliding Arrows, whose cracks would drop obtuse crude oil down mysterious empty cliffs in the face of a Greece that would be born before Anthropotite or humanity, only eclipsing Vernarth in the company of the atomic hatching in the middle of the sieve of the same faces of his entourage that will make him return every day of his transition, like fiery Ashin of the Roman Vestal in assiduity of Naples.
Apollo indicates to Vernarth: “If you stay alone in the drift of Astro Cirrus, you stay with the shadow of Coronis, or you will tell me that it dissipates from the discharges of Tarquino Prisco, you must treasure your Trilogy as a pendulum on the towpath of the Dodona or from the hiding places of the fetish between leaves of the inventory that unknown is not by an auspice that will open from the greatest Paradise ”

In advance of the hallmarks of the Itheoi Duoverse; with the Pre-Kelesete or Possession, they decide to contribute the Anticipatory that will open the doors of the Soul that they have to enter the Universe of San Juan Apóstol, from then on a whopping bump are unleashed with the hatching of Saetas between Zefian and Apollo. The Cabal skirmish was accomplished in the dark! The macro transport of spiritual masses begin to coexist transporting the end of the Himation Ceremonial, later until an impartial right here appeared from Camphor, it was his signature Macrowave protoform of the Himation itself; called Camphor-Xórki (syllabus). The Pre-Kalesete began its walk through the Nothing when Vernarth tried to look down on the limpid spheres of Patmos seeing the holistic whole involved in a Greece that was hailed from the Hatching Arrows coming from the last breath near the Camphor-Xórki of San Juan Apóstol where the Xorkí began to syllable “O θάνατός σου είναι τώρα Ζωή – Your Death is now Life”, from the Quantum atomic that began spelling out by Vernarth's Stóma; or beginning of his astonishing mouth that was regurgitating the oscillating lapses between the Keselete and Xorkí.

With expeditious speed came the Arrows of the Phlegrean Fields, forking one by one until the Fourth Sagittal that was isolated in the evolution of myriads of stars that were made up of the proximity of the Nimbus where Vernarth provided himself in decades of nebula Celestines that shone to tear pimps fibers that still aspired to hijack the remains of the Millitum Vernarth, in the form of clusters of radio galaxies that moved towards the reddish, expanding from the Campos Phlegraios in Naples itself; like geological hydrothermal fissures that clustered behind a sudden crimson blue of the great Universal that split receiving the Saeta Prima from said field of fire. The gravitational completion of the curve generated the Saeta Prima that was made conventional with assistant telescopes, before exultant excesses of wanting to see it as a Quasar that descended from Andromeda together with the Auriga, in such a radio galaxy journey to melt the bars of the Universe to be distended by Vernarth's bombastic Stóma that expressed itself more than his dwarfed senses by the Galaxy that was propelled by the waning of the radiance of the Quasars.

The Primal Saeta is abducted in the intermediate vortex of the Quasars, it remains in the orbit of the Nimbus where Vernarth remained in photometric that allowed him to reflect it in its silhouette with the closest astral referent of Orion. The Secunda Saeta came out of the transversal valleys, this came with the agreement of the Pre-Keselete of Saint John the Apostle bathed in ultra-luminous infrared Ouranos, making vibrating strings of the frequency of the Universe in an ultra-luminous dream emanating from molecular gas, adapting to the new fusion of Zefian's Prima and Secunda Saeta with the determination to split the monoxide at the base of the Nimbus from the acroteria that still accompanied it with the universal entity of the Empyrean as hydrogen that formulated the Saetas clash in homologation of the same aerodynamics prop of the Xiphos, from solid metal to liquid in pearly spirals from the magnitude collapse of the Tercia Saeta, this would bring the same from the Horkun hydrothermal or Horcondising Mountain with thousandths of a thousand light years that would unify on their Solid and Liquid pedestals as the Fifth Essence of the Horkun, the Third Bolt arrived between five Kyrios who followed her through the atrium that was beyond the Hydor that incarnated in collusion with her deformation to soon reform, beginning to go towards the manifest of shared energy towards magnitudes divided by the coefficient 0.7 Micron of atomic energy levitating from the quasar equivalent that stretched from the luminous zenithal meridian in front of the mast of the Four Leaf Clover, which pretended to be a Cherub still emanating from nothing, towards the fractal splendor of the Patmos region ten times greater than the hydrothermal that reconfigured Greece at a distance of ten molecular cycles minus a molecular trace of the carbonate crystal. The diameters of the absolute observable were coming out to the delight of a Hellenic Ego observable in the wide Cosmos rendered in anti-gravity of the Fourth Arrow; being competent to see how he appropriated a snowy-blue sky that softened with the obstructed eyes of Saint John the Apostle, granting more than ninety percent of the explosiveness of the Quarta Saeta above the infrared that dominated the collisions, leaving them inactive for only seven seconds before concluding the snowy waves with the dense and glacial gas helically topped by few waves of any gas that sprout from each galaxy that never ended as an isolated Nimbus as Kant preceded, in a time that becomes more extensive than our own light that lives in its bright end. The dislocated morphology of the Fourth Saeta would ignite the border of the Pre-Keselete from the Phlegrean Fields, Kimolos, the Horkun, and Patmos in an unleashed spiral since the matter was uncontrolled from other unknown matter between myriads of collisions caused by Zefian to the limit that cuts his inspiration, only falling asleep all the previously mentioned Duoverse with Vernath's Megaronic Odes in Epilogue of Xorkí, from here towards the metallic lithic tip of the Xiphos with its spelled enchantment.

Megaronic Odes

"You see from the Enchantment in which all matter becomes Free, You see how each one of them after being Four will now be one that speaks of their very existence that you do everything... you realize that the noise of the Duoverse is born from the Xorkí, where everything dark turns grey... and black is Xorkí.

“Everything that has four digits moves with your four wings, everything that you call Quarta Saeta is a Xorkí syllable…”
Camphor is the heat of friction of the contracted memory, it is here that all pain that is in this field of tragedy urges it, and leaves you distrustful of sap that is another that you lead to the Pre-Keselete as an environment of infernal turns that seem to be good of a good that is born to crash fatally. I want to tell you with these Megaronic Odes that I write, which do not belong to me, they are concise clashes of two atomic ignition fields of the Keselete and Xorkí of San Juan Apóstol that make me not mortified, that you will destine me to the gross speed of the blinking of my Hellenes eyes quicker than those of enchanted thought.

“I need to tell you that between La Prima and Quarta Saeta, my charms between frictions will rest on herbs from Corinto and Sudpichi, I will join the choir that will begin to rise for me, it will do so for you who have just begun to know me, soon we will see you, my dear Adelfos"

"As for the Primal and Quarta Saeta, it is the fanfare of a being that would visit every night, it would invite you to live your own experience that was seen to shine for the last time while being handcuffed to an agro bush, which would sustain itself against an enchantment of the Xorkí in a revived future of the brand new Vernarth with his prodded and resonant Xiphos”

Vernarth utters: “Eurydice... here I am, a closed pilgrimage looms towards the dim light with the nocturnal phrase of him endowing me through the conclusive!! Father... Mother, Myloi of the Sad Wind, here I am with your Primordial Arrow endorsing Pillows, beloved Adelfós, the Rabih San Juan? Almighty God bless you from this Quilt holding our spirited hope of seeing you again! "

Between The Prima and Quarta Saeta, enormous hydrothermal plasmas of the drained Don would be cited, which would conglomerate between the interdimensional of the four Saetas, to later send them from the "Heroon Hurkun Funeral Home of Kanthillana", from there to Lefkandi for the transition of his cremated body that began to revive from there ipso facto, later from the Phlegrean Fields with the Fourth Arrow that Zefian would finally bring with the III Trilogy of Vernarth Hellenic being transferred from the iron prop, supremely seconded by settling in the Prophytis Ilias to revive in autonomous descent of the body of a “Hero in his Heroon who will be reborn from his immolated body”. Incontinently, the arrows will be spaced through the interdimensional strapping of all of Greece to revive its awakening just as it happened with Erestles in Messolonghi; but this time of Orion's Wagon breaking with its coined bar eternity in its Hurkun chamber. In this way, Vernarth is distracted by looking at him at three hundred and sixty degrees looking at the Prima, and from this Secunda Saeta seeing how he rose and accelerated his trajectory adjacent to the Tercia and Quarta that would take him towards a failed break over Thyatira; with the Son of Yahweh, who has eyes like a flame of fire or Aish, and feet similar to going burnishing the bronze chaff towards Patmos to revive immediately with the subrogation of his body in the company of the almighty Mashiaj, Saint John the Apostle and the granted Right of the Hexagonal Birth, with the posterity of prosapies remaining everlasting to resurrect him from the neophyte and Hellenic Hortus Heliacus.

O, syllables of a lovely song.
You are the charmed expression of the meaning of words of a given song.
The beautiful referent in the lyrics travels alongside the rhythmic tune of the song.
And like a well-expressed graphic, it conveys the feeling and nature of the song with separate insight into our emotions.

I hold on to its meaning, for crying out the different versions of my heart.
The melancholia of the song is absorbed in its tune and pitch!
I tend to sing it happily, and by crying despite the concerned tonality, the weak brimming tears hold back half of the tune.

The miserable foley artist inside me, which is on advancement for enjoying the sources of musical genre, remains on edge to shape the inner quality of concentration and the draining attitude!
It tries to make the challenge easier by letting the crying red nose remind me if hyphenation is possible while singing,
I can sing the tune while crying through my throat and letting the teary layovers pour out!
Similarly, crying and running nose reminds me that if hyphenation is not required,
I can sing the song with my agonizing heart for its reasoning!

The crying failed achievement of composition allows the heart of patching attention of foley artist to empathize with the theory of syllables.

And so, thankfully, somehow, I learn to feel the eagerness of the song at heart!
©️shivpoetesspriya