GREAT ARTISTS & THEIR IMMORTAL WORKS :
CONCLUDING ITALIAN RENAISSANCE IN
VERSE.  -  By Raj Nandy, New Delhi.

Dear Readers, continuing my Story of Western Art in Verse chronologically, I had covered an Introduction to the Italian Renaissance previously. That background story was necessary to appreciate Renaissance Art fully. Now, I cover the Art of that period in a summarized form, mentioning mainly the salient features to curb the length. The cream here lies in the 'Art of the High Renaissance Period'! Hope you like it. Thanks, - Raj.

                          INTRODUCTION
“Painting is poetry that is seen rather than felt, &
  Poetry is painting that is felt rather than seen.”
                                                        – Leonardo Da Vinci
In the domain of Renaissance Art, we notice the
enduring influence of the Classical touch!
Ancient Greek statues and Roman architectures,
Inspired the Renaissance artists in their innovative
ventures!
The pervasive spirit of Humanism influenced
creation of life-like human forms;
Adding ****** expressions and depth, deviating
from the earlier stiff Medieval norms.
While religious subjects continued to get depicted
in three-dimensional Renaissance Art;
Portraits, **** figures, and secular subjects, also
began to appear during this great ‘Re-birth’!
The artists of the Early and High Renaissance Era
are many who deserve our adoration and artistic
due.
Yet for the sake of brevity, I mention only the
Great Masters, who are handful and few.

EARLY RENAISSANCE ARTISTS & THEIR ART

GITTO THE PIONEER:
During early 13th Century we find, Dante’s
contemporary Gitto di Bondone the Florentine,
Painting human figures in all its beauty and form
for the first time!
His masterwork being the 40 fresco cycle in the
Arena Chapel in Padua, depicting the life of the
****** and Christ, completed in 1305.
Giotto made the symbolic Medieval spiritual art
appear more natural and realistic,
By depicting human emotion, depth with an
artistic perspective!
Art Scholars consider him to be the trailblazer
inspiring the later painters of the Renaissance;
They also refer to Giorgio Vasari’s “Lives Of
The Eminent Artists,” - as their main source.
Giotto had dared to break the shackles of earlier
Medieval two-dimensional art style,
By drawing lines which head towards a certain
focal point behind;
Like an illusionary vanishing point in space,
- opening up a 3-D ‘window into space’!
This ‘window technique’ got adopted by the
later artists with grace.
(Giorgio Vasari, a 16th Century painter, architect & Art
historian, was born in 1511 in Arezzy, a city under the
Florentine Republic, and painted during the High
Renaissance Period.)

VASARI’s book published in 1550 in Florence
was dedicated to Cosimo de Medici.
Forms an important document of Italian Art
History.
This valuable book covers a 250 year’s span.
Commencing with Cimabue the tutor of Giotto,
right up to Tizian, - better known as Titan!
Vasari also mentions four lesser known Female
Renaissance Artists; Sister Plantilla, Madonna
Lucrezia, Sofonista Anguissola, and Properzia
de Rossi;
And Rossi’s painting “Joseph and Potiphar’s
Wife”,
An impressive panel art which parallels the
unrequited love Rossi experienced in her own
life !
(Joseph the elder son of Jacob, taken captive by Potiphar
the Captain of Pharaoh’s guard, was desired by Potiphar’s
wife, whose advances Joseph repulsed. Rossi’s painting
of 1520s inspired later artists to paint their own versions
of this same Old Testament Story.)

Next I briefly mention architects Brunelleschi
and Ghiberti, and the sculptor Donatello;
Not forgetting the painters like Masaccio,
Verrocchio and Botticelli;
Those Early Renaissance Artists are known to
us today thanks to the Art historian Giorgio
Vasari .

BRUNELLESCHI has been mentioned in Section
One of my Renaissance Story.
His 114 meter high dome of Florence Cathedral
created artistic history!
This dome was constructed without supporting
buttresses with a double egg shaped structure;
Stands out as an unique feat of Florentine
Architecture!
The dome is larger than St Paul’s in London,
the Capitol Building of Washington DC, and
also the St Peters in the Vatican City!

GILBERTI is remembered for his massive
15 feet high gilded bronze doors for the
Baptistery of Florence,
Containing twenty carved panels with themes
from the Old Testament.
Which took a quarter century to complete,
working at his own convenience.
His exquisite naturalistic carved figures in the
true spirit of the Renaissance won him a prize;
And his gilded doors were renamed by Michel
Angelo as ‘The Gates of Paradise’!
(At the age of 23 yrs Lorenzo Ghiberti had won the
competition beating other Architects for craving the
doors of the Baptistery of Florence!)

DONATELLO’S full size bronze David was
commissioned by its patron Cosimo de’ Medici.
With its sensual contrapposto stance in the
classical Greek style with its torso bent slightly.
Is known as the first free standing **** statue
since the days of Classical Art history!
The Old Testament relates the story of David
the shepherd boy, who killed the giant Goliath
with a single sling shot;
Cutting off his head with Goliath’s own sword!
Thus saving the Israelites from Philistine’s wrath.
This unique statue inspired all later sculptors to
strive for similar artistic excellence;
Culminating in Michael Angelo’s **** statue of
David, known for its sculptured brilliance!

MASSACCIO (1401- 1428) joined Florentine
Artist’s Guild at the age of 21 years.
A talented artist who abandoned the old Gothic
Style, experimenting without fears!
Influenced by Giotto, he mastered the use of
perspective in art.
Introduced the vanishing point and the horizon
line, - while planning his artistic works.
In his paintings ‘The Expulsion from Eden’
and ‘The Temptation’,
He introduced the initial **** figures in Italian
Art without any inhibition!
Though up North in Flanders, Van Eyck the
painter had already made an artistic innovation,
By painting ‘Adam and Eve’ displaying their
****** in his artistic creation;
Thereby creating the first **** painting in Art
History!
But such figures greatly annoyed the Church,
Since nudes formed a part of pagan art!
So these Northern artists to pacify the Church
and pass its censorship,
Cleverly under a fig leaf cover made their art to
appear moralistic!
Van Eyck was also the innovator of oil-based paints,
Which later replaced the Medieval tempera, used to
paint angles and saints.

Masaccio’s fresco ‘The Tribute Money’ requires
here a special mention,
For his use of perspective with light and shade,
Where the blithe figure of the Roman tax collector
is artistically made.
Christ is painted with stern nobility, Peter in angry
majesty;
And every Apostle with individualized features,
attire, and pose;
With light coming from a single identifiable source!
“Render unto Caesar the things that are Caesar’s,
and unto God things that are God’s”, said Christ;
Narrated in Mathew chapter 22 verse 21, which
cannot be denied.
Unfortunately, Masaccio died at an early age of
27 years.
Said to have been killed by a jealous rival artist,
who had shed no tears!

BOTTICELLI the Florentine was born half a
century after the Dutch Van Eyck;
Remembered even to this day for his painting
the ‘Birth of Venus’, an icon of Art History
making him famous.
This painting depicts goddess Venus rising out
of the sea on a conch shell,
And the glorious path of female **** painting
commenced in Italy, - casting a spell!
His full scale **** Venus shattered the Medieval
taboo on ******.
With a subject shift from religious art to Classical
Mythology;
Removing the ‘fig-leaf cover’ over Art permanently!

I end this Early Period with VERROCCHIO, born
in Florence in fourteen hundred and thirty five.
A trained goldsmith proficient in the skills of both
painting and sculpture;
Who under the patronage of the Medici family
had thrived.
He had set up his workshop in Florence were he
trained Leonardo Da Vinci, Botticelli, and other
famous Renaissance artists alike!

FOUR CANONICAL PAINTING MODES OF
THE RENAISSANCE:
During the Renaissance the four canonical painting
modes we get to see;
Are Chiaroscuro, Sfumato, Cangiante and Unione.
‘Chiaroscuro’ comes from an Italian word meaning
‘light and dark’, a painting technique of Leonardo,
Creating a three dimensional dramatic effect to
steal the show.
Later also used with great excellence by Rubens
and the Dutch Rembrandt as we know.
‘Sfumato’ from Italian ‘sfumare’, meaning to tone
down or evaporate like a smoke;
As seen in Leonardo’s ‘Mona Lisa’ where the
colors blend seamlessly like smoke!
‘Cangiante’ means to ‘change’, where a painter
changed to a lighter or a darker hue, when the
original hue could not be made light enough;
As seen in the transformation from green to
yellow in Prophet Daniel’s robe,
On the ceiling of Sistine Chapel in Rome.
‘Unione’ followed the ‘sfumato’ quality, but
maintained vibrant colors as we get to see;
In Raphael’s ‘Alba Madonna’ in Washington’s
National Gallery.

ART OF HIGH RENAISSANCE ERA - THE
GOLDEN AGE.

“Where the spirit does not work with the
hand there is no art.”- Leonardo

With Giotto during the Trecento period of the
14th century,
Painting dominated sculpture in the artistic
endeavor of Italy.
During the 15th century the Quattrocento, with
Donetello and Giberti,
Sculpture certainly dominated painting as we get to
see!
But during the 16th century or the Cinquecento,
Painting again took the lead commencing with
the great Leonardo!
This Era was cut short by the death of Lorenzo the
Magnificent to less than half a century; (Died in 1493)
But gifted great masterpieces to the world enriching
the world of Art tremendously!
The Medieval ‘halo’ was now replaced by a fresh
naturalness;
And both Madonna and Christ acquired a more
human likeness!
Portrait paintings began to be commissioned by
many rich patrons.
While artists acquired both recognition and a status
of their own.
But the artistic focus during this Era had shifted from
Florence,  - to Venice and Rome!
In the Vatican City, Pope Julius-II was followed by
Pope Leo the Tenth,
He commissioned many works of art which are
still cherished and maintained!
Now cutting short my story let me mention the
famous Italian Renaissance Superstar Trio;
Leonardo, Raphael, and Michael Angelo.

LEONARDO DA VINCI was born in 1452 in
the village of Vinci near the City of Florence,
Was deprived of a formal education being born
illegitimate!
He was left-handed, and wrote from right to left!
He soon excelled his teacher Varrocchio, by
introduced oil based paints into Italy;
Whose translucent colors with his innovative
techniques, enhanced his painting artistically.
Sigmund Freud had said, “Leonardo was like a
man who awoke too early in the darkness while
others were all still asleep,” - he was awake!
Leonardo’s  historic ‘Note Book’ has sketches of a
battle tank, a flying machine, a parachute, and many
other anatomical and technical sketches and designs;
Reflecting the ever probing mind of this versatile
genius who was far ahead of his time!
His ‘Vituvian Man’, ‘The Last Supper’, and ‘Mona Lisa’,
Remain as his enduring works of art and more popular
than the Leaning Tower of Pisa!
Pen and ink sketch of the ‘Vitruvian Man’ with arms
and leg apart inside a square and a circle, also known
as the ‘Proportion of Man’;
Where his height correspondence to the length
of his outstretched hands;
Became symbolic of the true Renaissance spirit
of Man.
‘The Last Supper’ a 15ft by 29ft fresco work on
the refectory wall of Santa Maria, commissioned
by Duke of Milan Ludovic,
Is the most reproduced religious painting which
took three years to complete!
Leonardo searched the streets of Milan before
painting Judas’ face;
And individualized each figure with competence!
‘Mona Lisa’ with her enigmatic smile continues
to inspire artists, poets, and her viewers alike,
since its creation;
Which Leonardo took four years to complete
with utmost devotion.
Leonardo used oil on poplar wood panel, unique
during those days,
With ‘sfumato’ blending of translucent colors with
light and shade;
Creating depth, volume, and form, with a timeless
expression on Mona Lisa’s countenance!
Art Historian George Varasi says that it is the face
of one Lisa Gherardini,
Wife of a wealthy Florentine merchant of Italy.
Insurance Companies failed to make any estimation
of this portrait, declaring its value as priceless!
Today it remains housed inside an air-conditioned,
de-humidified chamber, within a triple bullet-proof
glass, in Louvre France.
“It is the ultimate symbol of human civilization”,
- exclaimed President Kennedy;
And with this I pay my humble tribute to our
Leonardo da Vinci!

MICHEL ANGELO BUONARROTI (1475-1564):
This Tuscan born sculptor, painter, architect, and
poet, was a versatile man,
Worthy to be called the archetype of the true
‘Renaissance Man’!
At the age of twelve was placed under the famous
painter Ghirlandio,
Where his inclination for sculpting began to show.
Under the liberal patronage of Lorenzo de Medici,
He developed his talent as a sculptor as we get
to see.
In the Medici Palace, he was struck by his rival
Torregiano on the nose with a mallet;
Disfiguring permanently his handsome face!
His statue of ‘Bacchus’ of 1497 and the very
beauty of the figure,
Earned him the commission for the ‘PIETA’ in
St Peter’s Basilica;
Where from a single piece of Carrara marble he
carved out the figure of ****** Mary grieving
over the dead body of Christ;
This iconic piece of sculpture which along with
his ‘David’ earned him the ‘Superstar rights’!

Michel Angelo’s **** ‘DAVID’ weighed 6.4 tons
and stood 17 feet in height;
Unlike the bronze David of Donatello, which
shows him victorious after the fight!
Michel’s David an epitome of strength and
youthful vigour with a Classical Greek touch;
Displayed an uncircumcised ***** which had
shocked the viewers very much!
But it was consistent with the Mannerism in Art,
in keeping with the Renaissance spirit as such!
David displays an attitude of placid calm with
his knitted eyebrows and sidelong glance;
With his left hand over the left shoulder
holding a sling,
Coolly surveys the giant Goliath before his
single sling shot fatally stings!
This iconic sculpture has a timeless appeal even
after 500 years, depicting the ‘Renaissance Man’
at his best;
Vigorous, healthy, beautiful, rational and fully
competent!
Finally we come to the Ceiling of the Sistine
Chapel of Rome,
Where Pope Julius-II’s persistence resulted in the
creation of world’s greatest single fresco that was
ever known!
Covering some 5000 square feet, took five years
to complete.
Special scaffoldings had to be erected for painting
scenes from ‘The Creation’ till the ‘Day of Judgment’
on a 20 meter’s high ceiling;
Where the Central portion had nine scenes from
the ‘Book of Genesis’,
With ‘Creation of Adam’ having an iconic significance!
Like Leonardo, Michel Angelo was left-handed and died
a bachelor - pursuing his art with devotion;
A man with caustic wit, proud reserve, and sublimity
of imagination!

RAFFAELLO SANZIO (1483-1520):
This last of the famous High Renaissance trio was
born in 1483 in Urbino,
Some eight years after Michel Angelo.
His Madonna series and decorative frescos
glorified the Library of Pope Julius the Second;
Who was impressed by his fresco ‘The School
of Athens’;
And commissioned Raphael to decorate his
Study in the Vatican.
Raphael painted this large fresco between 1510
and 1511, initially named as the ‘Knowledge of
Causes’,
But the 17th century guide books referred to it
as ‘The School of Athens’.
Here Plato and Aristotle are the central figures
surrounded by a host of ancient Greek scholars
and philosophers.
The bare footed Plato is seen pointing skywards,
In his left hand holds his book ‘Timaeus’;
His upward hand gesture indicating his ‘World
of Forms’ and transcendental ideas!
Aristotle is seen pointing downwards, his left
hand holds his famous book the ‘Ethics’;
His blue dress symbolizes water and earth
with an earthly fix.
The painting illustrates the historic continuance
of Platonic thoughts,
In keeping with the spirit of the Renaissance!
Raphael’s last masterpiece ‘Transfiguration’
depicts the resurrected Christ,
Flanked by prophets

~ Ode to Spring ~

Cherry blossoms filled with bloom
rhododendron’s sweet perfume
warming winds feign summer’s breeze
songbirds singing from the trees

Open windows, déjà vu
sunsets filled with graceful hues
families gather on their strolls
Mother Nature for the soul

Baseball season at the park
evenings lifted from the dark
daylight savings' finally here
patios for wine and beer

Cleaning house and planting seeds
rebirth fills the days and deeds
picnic baskets, hummingbirds
poets find their way in words

Kaleidoscope of bedding plants
shorts in favour over pants
farmers markets, garage sales
power-wash the decks and rails

Hiking, tennis, gardening
inhale the freshness of the spring!
painters, sculptors shape their art
gather here with grateful hearts

A story by tiger body

By All Means Increase Your Hate For Sculptors
they won't conceal the sour lies
they are silent on the subject of biting, vinegar tangy
and their hands over your eyes

take my body to a mathematician
they will not revive you
they will empty your mind of jagged ruggedness
and deny you the sun

Surrender your mind to an accountant
carelessly ignore the lead and leaf
denying you from horrid hellholes
they are unlikely to conceal and bore

Be selfish with you're disinterest of painters
you're no better off as enemies
they still the whirling innanities
in a one act play, that changes every day

By All Means Increase Your Hate For Sculptors
don't believe the silence they keep from you
they have lost their ropes and nets
later and momentarily

if you're out of hate for politicians
you are unaware of the validity of it
once in a while the path is blocked
to leave this hatred behind myself

An enigmatic smile she’s dressed with to chant mystery,
Poets and bards with their magical poesy tried the mystery,
Philosophers and thinkers broke their minds to unravel the secrecy,
Scientists and law makers built hypotheses and verdicts to read hers,
Painters and sculptors fatigued with their colours and clay,
Actors and directors enacted to unknot the thread of obscurity.
Odes and epics, long-written, attempted to sing Lisa’s Smile;
But reflections of their beloveds’ smile read in their verses,
Philosophies and thoughts expressed in huge volumes;
But less understood even the painter’s invention,
Theories and laws built around Science and Law;
But little is the outcome of their propositions sans the mystery,
Colours and clay played on mighty imaginative realms;
But Mona Lisa ne’er spoke of her mystery Smile.
Enactments on massive stages thrilled the collective audiences;
But Mona Lisa hid the mystery of her Smile.

I walked around the garden of poetry with fragrance of mystery,
I saw a poem in her distinctive beauty ruling my mind’s eye.
She smiled at my heart and in turn my heart smiled at her,
Her smile taught me a mystery and it took time to read it;
Yet there was a veil betwixt us, and I took my plume to write.
She took my heart unto her, and I romped in joy.
She’s been decked with melody and rhymes,
And the string of verses stretched beyond the horizon,
Where the mystery of Lisa’s Smile be found.
She took me with her beyond the horizon,
And I followed her with no utterance till our destination.
She laughed at me for my silence;
Yet she smiled unto me; but her smile looked unfathomable.

She smiled and smiled at me; yet she had no utterance for me;
She looked a little bit puzzling unto me, and I had no answer;
Yet her smile dwelled in me, and I invoked the Muse of Poetry.
“Thou art to be a silent lover, and her smile is the answer unto thee,
She’s the Mona Lisa; she can’t speak, but smile and smile.”
I lay on the soil of the kingdom of poetry, imbibing Lisa’s Smile,
I adorn her smile; I worship her smile; I revere her smile,
Let me not move away from the garden of poetry
Till Lisa’s Smile is translated unto me.

I waited and waited and I found the answer:
Lisa smiles and her smile is the love of silence.
My heart rests in silence that her love is felt within.
She uttered into me:”Speak not, but love with smile,
And that the mystery of my Smile and my Smile lasts.”

I know why Mona Lisa smiles.
She loves me with her silent Smile.

An enigmatic smile she’s dressed with to chant mystery,
Poets and bards with their magical poesy tried the mystery,
Philosophers and thinkers broke their minds to unravel the secrecy,
Scientists and law makers built hypotheses and verdicts to read hers,
Painters and sculptors fatigued with their colours and clay,
Actors and directors enacted to unknot the thread of obscurity.
Odes and epics, long-written, attempted to sing Lisa’s Smile;
But reflections of their beloveds’ smile read in their verses,
Philosophies and thoughts expressed in huge volumes;
But less understood even the painter’s invention,
Theories and laws built around Science and Law;
But little is the outcome of their propositions sans the mystery,
Colours and clay played on mighty imaginative realms;
But Mona Lisa ne’er spoke of her mystery Smile.
Enactments on massive stages thrilled the collective audiences;
But Mona Lisa hid the mystery of her Smile.

I walked around the garden of poetry with fragrance of mystery,
I saw a poem in her distinctive beauty ruling my mind’s eye.
She smiled at my heart and in turn my heart smiled at her,
Her smile taught me a mystery and it took time to read it;
Yet there was a veil betwixt us, and I took my plume to write.
She took my heart unto her, and I romped in joy.
She’s been decked with melody and rhymes,
And the string of verses stretched beyond the horizon,
Where the mystery of Lisa’s Smile be found.
She took me with her beyond the horizon,
And I followed her with no utterance till our destination.
She laughed at me for my silence;
Yet she smiled unto me; but her smile looked unfathomable.

She smiled and smiled at me; yet she had no utterance for me;
She looked a little bit puzzling unto me, and I had no answer;
Yet her smile dwelled in me, and I invoked the Muse of Poetry.
“Thou art to be a silent lover, and her smile is the answer unto thee,
She’s the Mona Lisa; she can’t speak, but smile and smile.”
I lay on the soil of the kingdom of poetry, imbibing Lisa’s Smile,
I adorn her smile; I worship her smile; I revere her smile,
Let me not move away from the garden of poetry
Till Lisa’s Smile is translated unto me.

I waited and waited and I found the answer:
Lisa smiles and her smile is the love of silence.
My heart rests in silence that her love is felt within.
She uttered into me:”Speak not, but love with smile,
And that the mystery of my Smile and my Smile lasts.”

I know why Mona Lisa smiles.
She loves me with her silent Smile.

Authors and actors and artists and such
Never know nothing, and never know much.
Sculptors and singers and those of their kidney
Tell their affairs from Seattle to Sydney.
Playwrights and poets and such horses' necks
Start off from anywhere, end up at ***.
Diarists, critics, and similar roe
Never say nothing, and never say no.
People Who Do Things exceed my endurance;
God, for a man that solicits insurance!

Two bodies intertwine to be one soul. You and she explore every curve that hasn’t been carved. Both of you are the sculptors, sculpting on each other flaws. Physical acceptance is what you both tame from the beginning. It flows well. Yet, the conversation of those eyes is out of intonation. Leads to perform old war. That tender hand begins to abuse God’s magnum opus, the sculpture. More aesthetic flaws divine it. Scratches and bruises. After one whole day as it feels like one decade of hell, you both doubt that love can bring infinite elation. Silent moment fills the room. Wisdom whispers in melodically rhymes. Suddenly, the man cracks the moment.




He asks “How are you? (I know you’re thinking of something. Tell me)”

She answers “I’m fine. (I wonder if this is love or lust.)”

Painters, by the highest degree of inspiration,
And poets who with the Muse commune,
Command in their respective trades un-
Common craftmanship, exquisite creation
Of pen and brush upon the parchment
And canvass, through unfettered figment.

Gifted: poets, painters and musicians. Three
Geniuses on this terrestrial plane, with mind
As efficient as the moon in its fullest grind,
As do all artistic souls whose mastery
In finest workmanship are seen. Worship
The God of arts ye astronauts in spaceship,

For poets and painters are cardinal in artistic
Enrolment--and no less endowed are many another
Like sculptors--with thoughts solitary and cryptic.

These are my modern English translations of sonnets by the French poet Stephane Mallarme.

The Tomb of Edgar Poe
by Stéphane Mallarmé
loose translation/interpretation by Michael R. Burch

Transformed into himself by Death, at last,
the Bard unsheathed his Art’s recondite blade
to duel with dullards, blind & undismayed,
who’d never heard his ardent Voice, aghast!

Like dark Medusan demons of the past
who’d failed to heed such high, angelic words,
men called him bendered, his ideas absurd,
discounting all the warlock’s spells he’d cast.

The wars of heaven and hell? Earth’s senseless grief?
Can sculptors carve from myths a bas-relief
to illuminate the sepulcher of Poe?

No, let us set in granite, here below,
a limit and a block on this disaster:
this Blasphemy, to not acknowledge a Master!

The original French poem appears after the translations

"Le Cygne" ("The Swan")
by Stéphane Mallarmé
this untitled poem is also called Mallarmé's "White Sonnet"
loose translation/interpretation by Michael R. Burch

The virginal, the vivid, the vivacious day:
can its brilliance be broken by a wild wing-blow
delivered to this glacial lake
whose frozen ice-falls impede flight? No.

In past reflections on its thoughts today
the Swan remembers freedom, but can’t make
a song from its surroundings, only take
on the winter's ghostly hue of snow.

In the Swan's white agony its bared neck lies
within a guillotine its sense denies.
Slowly being frozen to its inner being,
the body ignores the phantom spirit fleeing...

Cold contempt for its captor
is of no use to the raptor.



Le tombeau d’Edgar Poe
by Stéphane Mallarmé

Tel qu’en Lui-même enfin l’éternité le change,
Le Poète suscite avec un glaive nu
Son siècle épouvanté de n’avoir pas connu
Que la mort triomphait dans cette voix étrange!
Eux, comme un vil sursaut d’hydre oyant jadis l’ange
Donner un sens plus pur aux mots de la tribu,
Proclamèrent très haut le sortilège bu
Dans le flot sans honneur de quelque noir mélange.
Du sol et de la nue hostiles, ô grief!
Si notre idée avec ne sculpte un bas-relief
Dont la tombe de Poe éblouissante s’orne
Calme bloc ici-bas chu d’un désastre obscur
Que ce granit du moins montre à jamais sa borne
Aux noirs vols du Blasphème épars dans le futur.



Le Cygne
by Stéphane Mallarmé

Le vierge, le vivace et le bel aujourd'hui
Va-t-il nous déchirer avec un coup d'aile ivre
Ce lac dur oublié que hante sous le givre
Le transparent glacier des vols qui n'ont pas fui !
Un cygne d'autrefois se souvient que c'est lui
Magnifique mais qui sans espoir se délivre
Pour n'avoir pas chanté la région où vivre
Quand du stérile hiver a resplendi l'ennui.
Tout son col secouera cette blanche agonie
Par l'espace infligée à l'oiseau qui le nie,
Mais non l'horreur du sol où le plumage est pris.
Fantôme qu'à ce lieu son pur éclat assigne,
Il s'immobilise au songe froid de mépris
Que vêt parmi l'exil inutile le Cygne.

Stephane Mallarme was a major French poet and one of the leading French symbolist poets.

Keywords/Tags: Stephane Mallarme, France, French poet, symbolism, symbolist, symbolic, poetry, Edgar Allan Poe, grave, tomb, sepulcher, memorial, elegy, eulogy, epitaph, sonnet

******* white people;
hide their racism behind
vapid "opinion".

******* white folks will
argue you can't argue with
results and numbers

because white people
can strip race from the issue
and swear it's "equal".

White people without
culture or identity,
strip it from others.

Call you naked as
they strut in stolen clothing.
Full of silicone.

**** with white people,
find out they know the struggle
by the article.

They can sweat big stuff,
but their racism is in
the cracks and seeping.

Disappointingly,
you can't trust white people for
****, not even me.

Not Bush, not Clinton,
Donald Trump, Bernie Sanders,
******* Macklemore,

Not Bill O'Reilly,
and not Jon Stewart, and not
viral feminists/

white feminism,
Taylor Swift's white sisterhood,
their artists, music,

writers, poetry,
actors, authors, painters and
sculptors and bloggers,
their politicians,
obviously, but also
their lawyers, doctors,
their engineers and
scientists and businesses,
economists or
pastors, preachers, religion,
programmers, products,
video games and novels;
They will let you down.

The rich or the poor,
it really doesn't matter.
They will let you down.

And the age ended, and the last deliverer died.
In bed, grown idle and unhappy; they were safe:
The sudden shadow of the giant's enormous calf
Would fall no more at dusk across the lawn outside.

They slept in peace: in marshes here and there no doubt
A sterile dragon lingered to a natural death,
But in a year the spoor had vanished from the heath;
The kobold's knocking in the mountain petered out.

Only the sculptors and the poets were half sad,
And the pert retinue from the magician's house
Grumbled and went elsewhere. The vanished powers were glad

To be invisible and free: without remorse
Struck down the sons who strayed their course,
And ravished the daughters, and drove the fathers mad.

In fourth grade I got a handwritten paper back from the teacher.
All my lowercase letter b’s were perfectly circled in red ink.
I think that’s what made me allergic to fire ants and yellow jackets.

I used to work at a breakfast restaurant and I smiled a lot.
I brought him his omelet and he told me it was as big as a body *****.
It was nice that I got to ask strangers for their first names.

I donate blood every fifty-six days on the dot because I like the questions
about prostitutes, and the ****** Butters, the rubber bands and the iodine swabs.
I am O positive and I feel regeneration as the bag fills up.

I wore black in Valencia and I could feel the gray matter pulsing in my brain.
I danced with the balcony girl in the bathrobe and I watched the whole city burning.
He always offered me the same breakfast, a warm glass of milk and a cigarette.

I slept on salty bark in Big Sur and we drove fast over Bixby Bridge.
I couldn’t get my head far enough out of the window in the backseat.
I smelled so human and breathed in the waste of the redwood beasts.

I came across an old barn with an old truck parked permanently behind it.
The bed was piled high with bundles of dried lavender harvested before I was born.
I grabbed scratchy handfuls and rubbed the brittle stalks on my arms and neck.

I stood in the cathedral so I could feel the weight of each broken back.  
The forest sculptors and lamb carvers believed in what they could not see.
Light pours in through the stained glass window and I feel the colors in my bones.

Gravity isn’t a factor when a jellyfish plague leaves
a layer of purple gelatinous mass on the beach.
The hills unzip their jackets into the ocean waves,
feeling the cool breeze on their uppermost ridges.
Rocks are painted from within
demonstrating all the colors of the turkey tail.
There are spirits around me,
watching from the pine trees and rippling the water when they wink.
The explosion of the dawn wood pigeons
startles the leaves awake.
I was there when the lightning made this river,
filling it with life and movement.
I can see your shadow from behind the aspen grove,
tunneling the light towards the chalk cliffs.
The ground is shaking from the thunder core of my fiery center,
I take shelter under the strongest branches.
I wrap a blanket of constellations around my shoulders
and count the times the bullfrog burps.

“I can never remember if the Earth goes around the moon
or if the Sun goes around the Earth.”
‘That’s alright, I can never remember if the tides are pulled on strings by fish
or by machines under the marsh.”

Then there are these blue dreams of mine, underwater in a car with one door open.
My ears are popped and I can’t get them unpopped, even if I chew bubblegum.
So I put my thumb and index finger on either side of my nose and blow.

The shale abounds
above the pounding waves
with perfect snapshots
of a lost, impossible world

Images beyond the skill of sculptors,
ridged, spined and rippled
frozen in rock, of rock -
who could have guessed
how long the armour would protect?

And yet -
trilobites
who ruled the shallows
when dinosaurs were but a glint
in Pachamama's eye,
are dead, gone, passed over
in the battle for existence.

While in the boiling surf below,
the jellyfish
who still blithely ride the tides
insolently call:
"Good luck wi thae shells, boys -
"Bet yis'll be safe wi thaim!"
and disappear
in a bubble of translucent laughter.

"The pity of war, the pity war distills". - Wilfred Owen"

Just as a feral war begs for armistice,
    a season of peace engenders
a violence vacuum that begs to be filled
    as surely as a hollow begs for a pond.

It seems a cosmic battle rages
      between the oversouls of people
who would chisel a sculpture to grace
     and those who would hack off its arms.

History’s fools fire up their bully horns
     shouting proud oratory to ignorance -
and lemmings goose-step to the precipice -
      doomed to plunge into a sea of misery.  

Then there is quiet - guilty and reflective.
     How could we let this happen
with so much gain and loss in the balance?

and the sculptors of civilization
      find fresh marble to once again
carve reason, beauty, purpose
      from the acrid ashes of pride.
    
But the oversoul of hate will brood and re-fester
     as long as it's thought noble to **** for a cause.

© 2016 by Robert Charles Howard

When I grow old, I hope I have wooden bones
that chip with a sculptors chisel and decompose
into the same soil as the dirt underneath my nails.
When I grow old, I hope I've found my green thumb,
and haven't forgotten Eden's hum, to have a garden to
drink coffee in.
When I grow old, I hope I still smoke tobacco from a pipe,
and read by candlelight, I hope I look back on life
and feel at peace when I go to bed at night.

When I grow old, I hope I find company in a woman with
grey hair whose somber, but bright eyes still stare at the Robins through the morning sun's glare. I hope she hasn't forgotten
how to smile when I'm being senile. And her joyous laugh still resonates deep in her stomach.
I hope we talk about the weather, how last winter was
better, and that we grieve well growing old together.

When I grow old, I hope the young ones will take my
mundane advice, and even if they find it trite,
pretend that it's wise.
I hope I have granddaughters and sons who'll be
just as excited for the sunrise as I, sharing the same
childish wonder for dawn's light sky.

When I grow old, I hope I still hope,
and haven't sunken into the stodgy bitterness that
plagues old men,
but still remain with fiery kind eyes that yearn
to turn earth into God's garden again.

I always loved your hands.
Not in any kind of lustful way, just the look of them.
I still love your hands, henna-ed and smooth
And so soft- startlingly soft-
If my fingers accidentally brush yours.
I used to marvel when you'd lace your fingers through mine-so casual- as we walked,
At how they felt like moonlight looked.
I love to watch you work, the careful way you do everything
Like it's all art, like it's all important.
Hell, you make a sandwich like you're carving a sculpture
And I find myself watching you, fascinated like always,
And I want to laugh, and I want to tell you you're beautiful.
And my smile turns wry
And I say nothing
Because who thinks of things like that?

I have a favorite photograph from long ago
Of your hands as you were drawing.
They've not changed.
That's why I always ask "Is that ring new?"
Because I catch myself noticing them
The way you might catch yourself absently holding a smooth stone you left in your pocket and forgot was there.
I used to secretly wish that someday you'd draw on me in henna
And I'd have the daring to ask you
To leave a handprint on my shoulder
Like a promise.

I've told you you look like a sculpture, too perfect not to be planned
And
I remember long hours in the museums as a child
Walking through a maze of white porcelain and marble women
Wondering how rock could look softer than my own skin.
I wanted to reach out and touch
See if they would be cold and hard like they should be
Or warm and velvety.
And their hands... So graceful and light-
The sculptors of old strove for perfection
Believing that they had not found it in humanity
Always imagining something smoother, something lovelier, something more delicate and more exquisite.
(You weren't around yet.)

Your hands always reminded me of something from that soaring hall
With all its silky looking statues and its ceiling of cross-paned windows.

So when I sit here, watching Art
Make ham sandwiches
It feels so incongruous.
Something here just doesn't belong.
And I can't tell if it is me or you
But honestly
How many people can say
They have watched Artemis sit down at the counter beside them
As if she has no idea she's divine?

reading book with the same title by Stephenie Meyer ...*

There you stood in
the pouring downpour
each raindrop dressed
in the scent of
your damp feral being


I gaze long and hard
at those hands
how beautiful they looked!
maybe they were those
of a sculptors
having sculpted
a thousand deaths before
with sheer perfection


Every time
lightening struck
the night would morph from
gray to black to ocher
just like…
those eyes
of yours (?)


those strides promised ecstasy
as they advanced towards me


only when the fangs
dug deep into my fevered flesh
could I Smell blood for the first time
crunchy…salty and peppery


I never wanted the rain to end

I won’t chisel a spirit to make
It resemble some other formation,
Like the sculptors of the faces
On the rocks.
I love the mountains more
When their jagged edges and
Sun-kissed outcrops
Create patterns all their own;
Granite spires, volcanically
Windblown,
Unabashedly wild,
No artist’s signature
Laying claim to the beautiful
Potential of the stone;
Only the forces of the
Universe
Determine our growth.
Like Crazy Horse,
I want to be brave,
Paint streaks of lightning on
My face;
Look to the mountains and scream,
I love you
Just like that,
Untamed.

Listless.

the psychology of a social construct so easily broken down.

cracks so exposed and well worn wedges do pleasures deeds.

electromagnetic synapses delving into the degree of damage.

Prose for ill minds comes in droves and withholds no force.

fates memory holds in high regard the lasting forgotten.



drowned stone fire pits lost within reflections craters

Tis so easily tapped through wayward degrading honesty

neither gasp nor exclaim as treacherous glare busts horizons

Proclaim righteousness for the still air of true possibilities

crushing microcosmos with known unfounded pestilence



Flare and stone berate the cold states of spectrum reach

Reminders on the dust tails of impact praise residing

well woven whispers dilute the hollow hold resonating

but of course destruction impact anguish abides

but of course destruction. sculptors require fire.

what fragments lay in stone and silent wait
for sunrise creeping stealthily through dark
to back-light marbled forms who knew Petrarch
truncated arms which strain to touch and sate
a cold and calculated yearning carved
in everlasting porous rock compressed
as otherworldly beauty barely dressed
they stand exposed and gorgeous, proud yet starved
to feast on passion's fragments etched inside
by sculptors long since sated, fed and dead
who pounded love with hammer, chisel, sweat
from abstract concept into sanctified
emotion pulsing from unbreathing stone;
stories bled from humankind alone

We all start with blank faces.
Ebony or
Ivory or
Olive or
Anything in between.
Skin so dark they don't sell the shade at Sephora.
Skin so light you've got to mix the color with white to make it match.
Whatever the color, it's all the same skin.

We all start with blank faces
Made of cells and covered in blemishes
Stretched thin across our cheekbones
Or hanging loose and wrinkled with age,
With lines on our foreheads like
Punishment
for laughing too much.
When did laughter become such a grievous crime?

We all start with blank faces.
… and then we become Van Gogh.
With expert brush strokes, we paint.
We coat ourselves with thick layers of pastey goop like Elmer's glue
Paint it on thick to cover our blemishes and red spots
We top it off with pigment like powdered sugar on sweets
Not knowing that the more opaque our makeup is, the more transparent.

We all start with blank faces.
… and then we become sculptors
Contouring and contorting to conform to unrealistic standards.
We highlight our best features and conceal the rest.
We conceal the redness of our cheeks just to paint it on again with blush.
We paint wings on our eyes although we'll never fly.

We all start with blank faces.
… and then we become victims of consumerism
Spending our money on different shades of the same **** thing
They raise the prices because they know they'll sell it to us anyway
They force it upon us, then shame us for becoming slaves to it
We are the victims and the perpetrators.

We all start with blank faces
… and then we become artists
… and then we become victims
… and then we become warriors

**This is our war paint.

SMOKE of autumn is on it all.
The streamers loosen and travel.
The red west is stopped with a gray haze.
They fill the ash trees, they wrap the oaks,
They make a long-tailed rider
In the pocket of the first, the earliest evening star..    .    .
Three muskrats swim west on the Desplaines River.

There is a sheet of red ember glow on the river; it is dusk; and the muskrats one by one go on patrol routes west.

Around each slippery padding rat, a fan of ripples; in the silence of dusk a faint wash of ripples, the padding of the rats going west, in a dark and shivering river gold.

(A newspaper in my pocket says the Germans pierce the Italian line; I have letters from poets and sculptors in Greenwich Village; I have letters from an ambulance man in France and an I. W. W. man in Vladivostok.)

I lean on an ash and watch the lights fall, the red ember glow, and three muskrats swim west in a fan of ripples on a sheet of river gold..    .    .
Better the blue silence and the gray west,
The autumn mist on the river,
And not any hate and not any love,
And not anything at all of the keen and the deep:
Only the peace of a dog head on a barn floor,
And the new corn shoveled in bushels
And the pumpkins brought from the corn rows,
Umber lights of the dark,
Umber lanterns of the loam dark.

Here a dog head dreams.
Not any hate, not any love.
Not anything but dreams.
Brother of dusk and umber.

Go on, file a paper,
make an imaginary notice of imaginary things,
and build on this a physical entity.  
See how deaf the masses will go,
from hearing the Latin tongue:
parchment, and paper,
tomes of dust and sand.  
Make a rule because you can,
and cement again the fetters,
our fathers and mothers cleft in twain.  

Ireland is still an English land,
while English law remains.  
Tories breed like rabbits,
so don't ask me what's wrong,
why you're unsatisfied with your oppression,
why enough is never enough,
till the colonial fetish is propagated,
into every heart and mind there,
worked deep into the furrows of our holy ground.  

Will you never have done?
Are you not content with your own misery,
without inflicting it on others?
Is it not enough to be in chains,
but to love and ****** those chains?
  
Oh mighty sculptors of our race,
chip chip away and see what's left.

Words are craved from the mind
Written down on pad do bind
With flow of an ink product of thinking

Oil paint of justice, the write up made of
Sometimes is injustice bound of
Sometimes shared experiences
Sometimes deepest imaginations
Sometimes pains, hate, joy and sadness

Words of mine flow for peace and love
For happiness and liberation from bond
Sculpting like Davinci's vitruvian image
As stars light up path of truth vintage

In my heart so, I write the words on book
As readers read the words they grow
Like wild plants upon a silent brook
Hoping one day everything straightened backing way of the Crook

As the words sound, resonant they as a ****
With much roots like a hard and heavy like rock
Sculpting my words requires deep thinking
For I encrypt them like road of the gods living
Whose gifts are uncontestable
As they burn within do unquenchable

by Martin Ijir

My Meat

With this piece I would like to set the stage for the holidays not so much to think but to feel, some
Admittedly have a hard time getting into the spirit of Christmas at least it will take you

To the door hopefully at most it’s just writing then and something will touch and move you at this time
Of the year as the title suggests labor of the heart that you can’t explain but it is who you are I know not

Many of us are stone cutters or sculptors of stone but there is so much depth passion involved I want to
Write about it as part of the piece so in the studio sets this six feet tall by three feet block of marble as

He stands before this solid mass if he hasn’t touched it physically it has already touched his inner being
It calls to him from the center of the stone just a faint cry but a constant one deliver what you see and

Know is my true identity maybe an idyllic statue of a woman with a look of sorrow as she stands looking
Out on a neighborhood forlorn because of its slow decline illustrious in so many ways but the spirit has

Long been eroded although the outward show can fool many inward truth can’t be denied by those truly
Connected sadness runs deep as the hidden lines in this piece devoid at first of what it really is he begins

The arduous task of removing the excess marble it slowly forms a pile at the foot of the sculpture his
Fingers glide softly over the cuts and the chipped places all the while his irreversible vision holds and

Continues to demand the perfection he sees with a sustained grace more powerful than even marble
He pursues beauty from block to exquisite form after many days the release is almost final she has

Emerged from her rock cocoon and as true as any butterfly she beautifies the studio magnificently. Be
Fore long her journey will begin to her new home the final leg most likely will travel the I.5 down the

Valley to 101 across to 1 coastal highway right down to Huntington Beach one of the great cities of

Southern California now we will talk about another’s meat one that is not impressed by outward show
When it is rife with deception you know it projects perfection but the truth never shows into the

Desperate lives of lost sheep at night they have no shepherd to bring them in through the sheep gate to
Close them in safely as he maintains guard now they can sleep all over the city some even in rich men’s

Houses but look at them and they are starving cold shaking feeble it takes the same eyes as the sculptor
With deep longing and love to see them free healthy nourished on the holy bread that alone gives life

Not the brevity of this world that is only a moment in comparison to forever every evil imaginable is
There constant companion it poisons thinking and even helps destroy the body before its time all the

While set down in this battle field of the soul a place of prominence with fire and power to burn up all
The debris and garbage stoked faithfully by the man of God doesn’t exist here and still the sheep die

Without hope or love that was adequately provided by the cross and its Holy sacrifice Christ said it is my
Meat to do the will of the father each and every one needs to find his or her purpose at this special time

Of the year and rededicate themselves in the shadow of the cross for the great need of others the lady
That was sculptured sets in the park she longs to see Christ in this and other cities at the end of the ages

Churches are closing due to lack of interest what foolishness it the only place that life streams from only
Death reigns from all other sources the spirit beacons will you answer if not Christ less graves will

Continue to grow

what have i to do with these grips,
these squared, white knuckles
holding tight to handle bars?
what have i to do with these empty stares,
eyes void of truth?

these "fill-in-the-bubble, A B or C, music only reaches the ears" types of humans
attempting to tell me how to carry out my existence,
attempting to tell me the most efficient
practical
mindless ways to die?
attempting
to tell me
to show me
the most rewarding ways
to die.

what have i to do with these sculptors
who try and quantify the rain,
who try and evaporate
the sun?
what have i to do with these ideas of perfection, of what is best?
these assumptions of false fulfillment,
these preludes to orderly, institutionalized chaos
and contempt?
what have i to do with all of these cardboard boxes
which cannot differentiate between being filled
empty
open
closed
soft
rough
dry
loved?
what have i to do with those who cannot detect their own storms,
their own energy waiting to explode?
what have i to do with one shade of blue?
what have i to do with feet that cannot move,
knees that cannot bend?
what have i to do with white houses
black cars
trimmed bushes
a front porch?
what have i to do with stationary?
what have i to do with these wings
unless they are free to flutter?
what have i to do with structure
with corners
with average
with plain?
what have i to do with boredom
with settling
with insignificant breath?

what have i to do with waste?
what
have i
to do
with waste.

At times,
I get a creative tornado
in my head,
as I am going along
in my daily life
And I can't wait to go home
to sit in front of my computer
to write all my poetic thoughts down

I'm convinced they are masterpieces,
that people will be blown away
by my work
but.............

All is silent on the response button

And suddenly I think
I am not that talented
That my work really wasn't
so great to begin with

This must be what all
artists go through...
painters, authors, sculptors,
screenwriters, playwrights,
songwriters and musicians
Doubting themselves
when art lies in the eye
of the beholder

Its all part of the subjective
nature of art

Part 1.

What wantless seeds attest to willing soil,
Each rooted finger delving to earth's core
In counterweight, as newborn limbs recoil
Up from the grave, to rise, to lift, to soar;
To marry gold above with gold below
As petaled faces bask in fiery glow.

In each low nook, on each high rising hill,
By narrow streams wending like living trails
Down through deep harbored vales where winds lay still,
Where night and shadows meet in mingled veils,
All sacred spots that nature calls her own
Know bounty of pure beauty fully grown.

Heaven to some, to some Arcadia;
Her lands enriched not by cold ore struck gold,
But by a blessed cornucopia
That wise men seek, but few will yet behold:
Into this realm a weary hunter treads,
As silent as a widow in silk threads.

His hooded face as weathered as a storm,
Dark eyes, a crooked nose, a fearsome chin;
Worn leather garb clung to his sinewed form,
Drab long cloak loosely clasped by silvered pin;
Old sword and dagger hung from side to side,
Short bow and quiver tarry not his stride.

Part 2.

The vestige trace long lost to eyes unskilled
Takes umbrage at his oft' requited glance,
And twisting like a ****** darkly quilled
To gift the puzzled reader bare a chance,
Turns this and that but all to no avail:
The hunter ever watchful of the trail.

Through field and copse, down to a steep ravine,
Plumbing the darkly deepness of a cave
That writhes through earthly riches like a stream,
Rising to spring like buds from winters grave:
Emerging into light as one exhumed,
The hunter pushes on, the hunt resumed.

For mile to broken mile the land retreats
To greet the rouse and sleeping of the sun;
As day and night dance gaily round their seats,
Taking a turn to sit on either one;
By light of sun, or moon, or stars, the prey
Sets firmer tracks each passing of the day.

Until a dawn awakes to shrieks of mourning,
One golden speck cries foul at visions edge;
Espying of the hunter's cruel adorning
She flits away towards a mountain ridge:
The hunter leaps, pursuing at a pace,
His prey is found, his hunt becomes a chase!

Part 3.

Arcadia delights in summer faire,
Yet all departed seasons lie within;
Protected from the ravage of time's stare,
They wander here or there upon a whim;
And to her borders, winter is inclined,
So comes the chill as summer falls behind.

Soft fertile plains give way to rocky climbs,
And mountain shadows mock sun's feeble stare;
Ice clung to stone, to sting all clinging limbs,
The hunter's eyes blinded by frigid glare;
His prey nearby, she clambers up the *****,
Her racing heart surged by false glinted hope.

Arcadia bade mountains rise up steep,
To keep her borders free of dint or breach,
And rising heavenward, each snow-capped peak,
An endless climb beyond all skillful reach:
The hunter clambers swift to shrink the gap,
And in a breath she falls into his trap.

A foxhole late encumbered with deep snow
Becomes her prison hemmed by harsh cold rock,
The hunter stands above, inclines his bow,
With silken string depressed by feathered nock;
One pause to blink before she pays his toll:
He stalls, steps back, and stumbles from the hole.

Part 4.

"Cold winds chill numb the hands, freeze not the mind!
What trick of sight gives light to such deceit?
Dare I to look once more? Pray will I find
My prey's own claws or tender dainty feet?
Treacherous snow lies deep, my eyes misled!
A beast I sought, a maiden found instead!"

"Kind sir, I find myself at your command!
Pray lend me arms no smith nor fletcher made,
But as my own formed of the sculptors sand
To shape the flesh into the mould he bade:
Pray open up your heart, come set me free,
For I would spy which hunter bested me!"

"Afore I gift my fingers to your plight,
Would you attest to count them fore and aft?
And pledge no claws will scratch nor teeth will bite?
And offer up the scheming of your craft?
A beast I hunt, yet here I catch no beast,
Be swift of tongue, the swifter then released!"

"Upon the sky that houses sun and moon,
The trembling mountains tamed by winters shiver,
The hills, trees, shrubs, vales, Arcadia's bloom,
The living streams, flowers like natures mirror:
Upon all things of worth if word be aught,
I gift my word, my ill to you is naught!"

Part 5.

Her slender form, as light as sleight of white,
He lifts up to assuage her troubled snare;
And looking then upon her wondrous sight,
With darting eyes for fear the sirens glare;
He feels a hammer strike a pillowed blow:
His lifeless limbs collapse into the snow.

"Fear not for words I gift are duty bound,
And bind me as a branch unto a tree;
Would I were fool to feast upon my hound,
My bonded words so too would feast on me:
But listen now, this nymph has had her fun,
The chase is run, the quest is just begun!

Arcadia opens up her vaulted gate
To fallen souls with honor on their name;
Not that bestowed where mongers congregate,
By kings rewarding those who **** and maim;
But those revered for kindly word and deed
Are born again through Arcadia's seed.

Live free to roam in Arcadia's haven,
Fish, hunt, give chase, for sport and for the thrill;
But heed me well, my bonded words are graven,
Open no doors to death, nor test his skill:
Death hunts you like the beast you thought to best,
Though chase be long, be sure he will not rest.

Part 6.

*Arcadia has but one proposition,
Be glad of heart, her realm cannot be broken;
But of your hand she makes a supposition,
You wear it still, a lovers gifted token:
All bonded vows should break upon her border,
That yours did not has brought her some disorder!

Though day and night swing endless through the sky,
No time shall pass within this hallowed glade;
Where once you stood, forever shall you lie,
One breath between a life and bitter shade:
Arcadia can open up her door
And with a breath, release you evermore!

Return to life, return to love's embrace,
Return to sickness, death and poverty;
Go now and lose all knowledge of this place,
Be troubled not by wistful memory;
This path once trod can never be unstarted.
Be warned: no path returns here once departed!

Here then your quest continues with a choice,
Remain within Arcadia's golden land;
Or live a mortal life and then rejoice
To greet your death when taken by his hand:
One breath to choose, one solitary breath,
Immortal life or yet a mortal death."

What are the thoughts you're hiding
behind those stoney eyes?
What dreams have you whispered
to the million passers-by?
What happiness will ever find you
if you always stay so cold?
What trouble will befall you
if you never break your mould?
What substance will you treasure
if there is nothing there to find?
What stolen moments would you have
if I could see into your mind?

What life is this that has you jailed?
what sculptors tool won't speak?
Did he realise that he was strong

but he has left you weak?

Across the ocean's dome,
Controlled by piercing shouts without a doubt;
On an altar in the distance:
An open book with censored words!
Tear a page,
Observe the rage.
Not what any freedom fighter would.

In a rowboat in the open,
Draw the source of their devotion.
Pencil sketch the jagged beard,
And stretch the nose a thousand years.

What a time to strike some fear!

The terrorists will echo with madness,
The pen is your sword.
The innocent will run to the forests,
And the artists make war.

Across the desert homes,
Contained by giant seas to some degree;
In a planetary orbit:
A crying team with crooked teeth!
See the page,
The winds enrage.
Not what any freedom lover should.

Bullets charge at the comedian's door,
Burning down all the carpenter's lore.
Sculptors mourne over severed stones,
The innocent turn, yearn, learn...

The invasions form, warn, and burn.

As the terrorists echo with madness,
Hold the pen as your sword.
As the innocent run to the forests,
Let the artists make war.

Throw the drawings ashore!

We are here to preach the dream,
to share the good word
of passionate fantasy
and the desire for happiness.

We are messengers,
disciples,
proteges,
of the things that help us
reach the moon and back.

We are slaves to art,
and the emotions that inspire it.

We live to create
and destroy that
which hinders us.

We are here to preach the dream.
The dream to be
who we want to be;
the lust for satisfaction
with ourselves.

We breathe to make others
laugh,
feel,
want,
love,
be.

We are the apostles of innovation,
rising from dust
where light once shown
to shine light forth
into obsidian hearts and ashen souls.

We are bandages for the bleeding,
braille for the blind,
and cotton blankets
for the faint of heart.

We are for those who need us,
and for those who don't know
what they need.

We are poets,
drawers,
painters,
sculptors,
musicians,
lovers.

And with our pencils and pens,
brushes and hands,
guitars and hearts,

we will call to arms
all of those who
have ever felt something
move like we have.

We are a romantic tragedy,
an exuberant atrophy.
We are anonymously outspoken.

Hear us,
silent.

your lips disturb.
often they wince and form the bud
of a nameless flower.
crowned by a veil of luxury they threaten to blossom
at the slightest touch.
what a delight to see them tremble like poppies
when blown by the breezes of my gaze!
your lips tinted with the most succulent red.
sculptors of endless kisses.
your lips steeped in mysteries.

(Luis R Santos)

Of the Domino Sugar Refining Plant, have their works at display here. The painting was sold, I guess the question is do quantum events have any effect on the Newtonian world.

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On the first Friday of every month
the Arts District of Richmond VA
becomes alive at night with the buzz of artists
local artists of almost every medium
galleries which are only open for ten hours a month
suddenly filled with leather shoes
plaid shirts, skinny jeans, beards, and holes in earlobes
they walk around crowding the streets
coaxing families who made the trip from all the way uptown
to listen to the poets and painters and photographers and sculptors
prattle on about what sets them apart
they all clap each other on the back for being so **** original
I’m walking through the parted sepia sea
avoiding gazes of strangers cast in iron
I marvel at their work
which for this one night is the subject of a city
more or less, anyways
we were high on life. We were high off of too much ***
and all of the local talent
high on validation and pretension
the Mormons accosted us
their attempts to save our souls from damnation
really geeked us out
we took their lemonade, but not their word
“Incarceration: the art of captivity”
an installation by some kid who has never seen a shade of true blue
through the lens of his iPhone
if we all believe really hard -
then maybe when the sky opens up
to **** us all into the hungry sky -
all of this art will save us

If parking lots aren't art, they are at least a gallery,
cars as the masterpieces which we gawk at, pretending
to be smart -- "ah, a famous Lamborghini piece."
And if that still isn't art, then call it something else -- a form of beauty beyond our comprehension, made by no one and everyone in this town.
Those construction workers who made this are ghostly sculptors of asphalt.
The yellow lines on the road are delicate brushstrokes, laid down by the most careful of craftsmen.
One day this parking lot will turn to dust,
and that is where the beauty comes from.