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I play ***** tonks
and run down bars
I play mandolin
And two guitars
I play where you
can smoke cigars
I'm the best that's ever been

Name a song
I'll play it loud
I'll sing louder
than the crowd
My name is
Billy Joe Mc Cloud
I'm the best that's ever been

I'm the best **** four stringed six string
and eight stringed twelve string
or Three stringed mandolin player
That you will ever hear
And if you don't believe me
Listen up, and have a beer
You may think I'm crazy
But deep down you know it's true
I play a four stringed six string
eight stringed twelve string
three string mandolin
A hell of a lot better than you

I grew up
with little hands
Couldn't make it
In real bands
So, I cut some strings
You understand
And I'm the best that's ever been

So I miss some
minor notes
It still hits home
and the music floats
It's not the same
as what was wrote
But, I'm the best that's ever been

You'll love me
yes, I know you will
Just listen once
To get that thrill
One song in ,
your doubt I'll ****
I'm the best that's ever been

Little hands
and short of strings
But when i play
The guitar sings
Just have a beer
And some hot wings
I'm the best that's ever been
Yes, I'm the best that's ever been

I'm the best **** four stringed six string
eight stringed twelve string
Three stringed mandolin player
That you will ever hear
And if you don't believe me
Listen up, and have a beer
You may think I'm crazy
But deep down you know it's true
I play a four stringed six string
and an eight stringed twelve string
or athree string mandolin
A hell of a lot better than you
Emma Oct 2018
Strings, strings, wrapping around porcelain skin,
For why does the bruises not show?
With a waist, hip, and two legs that are so thin,
For why does the skin always glow?
Hair that never sheds, nor grows, nor messes,
For why does the girl not wash it?
With a merry face that still never truly expresses,
For why does the face not show even a slight fit?
Stoic, conjoined, the feet never stomping,
For why does the limbs never feel frostbit?
Perhaps it is a lie that the being is a girl,
As it is only with strings that she can ever twirl.
I did this about two weeks ago, as the poem you gotta send in order to the join the site. I hope y'all liked it. Does this count as a Halloween story?
mannley collins Sep 2014
When I do not write poetry!
When I cant write poetry!

When all I can write is strings of meaningless associated  words
about my meaningless associated experiences
in  any of my meaningless associated lifetimes.
Spent committing meaningless associated actions.
Avoiding meaningless associated people with their
meaningless associated GroupMinds.
All meaningless without the Isness of the Universe's hand in mine.

Wandering through life with few companions.
Clad in yellow  dust.
Doing my Raja Yoga practices.
Doing my Tantric Yoga practices.
Doing my Bhakti Yoga practices.
Doing my Gnana Yoga practices.
Doing my Karma Yoga practices.
Doing my Hatha Yoga practices.

Raja Yoga.
waking--sleeping--sitting --lieing--standing--walking--running--eating--*******-swimming--r­ock climbing-trekking the  high  Himalayas---and always doing deep nasal Kriya Yoga breathing as I contemplate the passage of my days and nights and seek the answer to the eternal question of --
Who am I?.
Who am I?.
Surely not the vain and deceitful Mind?
Am I really a small but equal individual,independent,nameless,formless,genderless and non physical individual Isness formed from the Isness of the Universe?.
An individualIsness chasing after being in the
ultimate state of Separate and Merged with the Isness of the Universe.

Tantric Yoga.
Doing various sweaty and pleasure filled acts of ***  with male or female or femboy or boygirl or ******* or pansexual or anyone I fancy with a **** or a ****--and a minimum of love.
My stiff **** in a ****.
A stiff **** in my mouth.
A stiff ****  in my *******.
My stiff ****  in an *******.
*** dribbling down the inside of my legs.
*** dribbling down my chin--all over my face.
Licking wet swollen **** lips.
Licking swollen *****.
Always aiming to arouse ******--to turn on Kundalini.
To reach out and touch the hem of the Isness of the Universe's robe

Bhakti Yoga.
Singing and dancing and painting and glassperlenspiel and cooking and laughing and crying and playing----.
Saxophones and clarinets and flutes and drums and  stringed instruments and the "fool".
Especially my beloved Selmer Alto Clarinet--curved like a
serpent drunk  on life
But the greatest of my instruments is-the "fool".
Foolish for life.
Foolish for unconditional love.
Foolish for to make people laugh.
Foolish for believing that I can solve the riddle of "who am I"?.
All for the delectation of the Isness of the Universe.

Gnana Yoga.
Reading books and pamphlets and essays and sutras and suras and verses and scribbles on grubby pieces of paper.
Searching for that elusive string of associated words that tell me that an honest woman or man passed this way before me.
Not a worshipper of any "god" or "goddess" or any other Celestial being made by the Isness of the Universe to mask  its innocence.
No enlightend beings for me-oh no!.
No buddas for me-oh no!.
No beings in Gnosis for me-oh no!.
No avatars for me--oh no!
No sons or daughters of any "god" or "goddess" for me --oh no!
Just a person,*** irrelevant but compulsory, that had realised,existentially, for a brief moment that they too are a part of the essence of the Isness of the Universe.

Karma Yoga.
Every act I commit adding or subtracting from that accumulation of
Karmas,good and bad or neutral, from every lifetime I have lived.
Boy you gonna carry that weight!!.
Roll that boulder up the hill.
Only ever making Neutral Karma.
Beyond the deceptions of Duality or Non-Duality.
Neutral Karma that only arises
by practising the Six Fundamental Yogas.
But not as an obsession or a lifestyle choice.
Hey Isness of the Universe-give me a helping  hand here!

Hatha Yoga.
Keeping my current body healthy enough so I can
do all other five of the Six Fundamental Yogas.
Cooking million star meals.
No 5 star chefs in my houses.
Eating Organically and drinking water from lifes many springs.
A green leaf salad every day
Taking part in the exercise of living.
No contortions or posturing for me.
Ha! the ingoing breath.
Tha! the  outgoing breath.
Breathing set as conditioned reflex--living on automatic.
Random deep nasal breathing--waking and sleeping.
Dreaming of the Isness of the Universe.
Waking up in the Isness of the Universe's arms.
Feeling the Isness of the Universe's breath on my fevered brow.
Listening to the Isness of the Universe murmuring in a billion billion different ways--
I love you.

Hearing the Isness of the Universe say--
I breathe through your nose and lungs.
I smell through your nose.
I see through your eyes and insightfulness.
I look through your eyes.
I lick the  juice of **** or **** with your tongue.
I taste Vanilla Ice-Cream with your tongue.
I blow a wet **** or stiff **** with your mouth.
I breathe life into the Alto-Clarinet with your mouth.
I touch nakedness of others with your fingers.
I feel the Void with your fingers.
I wake into consciousness at your urgent voice.
I spring into life at your very step.
I experience all through your body.
I experience existence through your life.
I love unconditionally through being
loved unconditionally by you.
I am humble before you.
My beingness is  exalted by your humility
Your beingness is exalted by my humility.

www.thefournobletruthsrevised.co.uk
RAJ NANDY Mar 2016
Dear Poet Friends, and all true lovers of Jazz!  Being a lover of Classical and Smooth Jazz, I had composed first two parts in Verse on the History and Evolution of Jazz Music. Seeing the poor response of the Readers to my Part One here, I was hesitant to post my Second Part. I would request the Readers to kindly read Part One of this True Story also for complete information. Please do read the Foot Notes. With best wishes, - from Raj Nandy of New Delhi.


THE STORY OF JAZZ MUSIC : PART-II
               BY RAJ NANDY

        NEW ORLEANS : THE CRADLE OF JAZZ
BACKGROUND :
Straddling the mighty bend of the River Mississippi,
Which nicknames it as the ‘Crescent City’;
(Founded in 1718 as a part of French Louisiana
Colony),  -
Stands the city of New Orleans.
New Orleans* gets its name from Phillippe II,
Duc d’ Orleans , the Regent of France ;
A city well known for its music, and fondness
for dance.
The city remained as a French Colony until 1763,
When it got transferred to Spain as a Spanish
Colony.
But in the year 1800, the Spanish through a
secret pact, -
To France had once again ceded the Colony back!
Finally in 1803 the historic ‘Louisiana Purchase’
took place ,
When Napoleon the First sold New Orleans and  
the entire Louisiana State, -
To President Thomas Jefferson of the United
States!     * (See notes below)

THE CONGO SQUARE :
The French New Orleans was a rather liberal
place,
Where slaves were permitted to congregate,
For worship and trading in a market place,
But only on Sabbath Days, - their day of rest!
They had chosen a grassy place at the edge of
the old city,
Where they danced and sang to tom-tom beats,
Located north of the French Quarters across the
Rampart Street,
Which came to be known as the Congo Square,
Where one could hear clapping of hands and
stomping of feet!
There through folk songs, music, and varying
dance forms,
The slaves maintained their native African musical
traditions all along!
African music which remained suppressed in the
Protestant Colonies of the British,
Had found a freedom of expression in the Congo
Square by the natives; -
Through their Bamboula , Calanda, and Congo dance!
The Wolof and Bambara people from Senegal River
area of West Africa,
With their melodious singing and stringed instruments,
Became the forerunners of ‘Blues’ and the Banjo.
And during the Spanish Era, slaves from the Central
African Forest Culture of Congo,
Who with their hand-drummed polyrhythmic beats ,
Made people from Havana to Harlem  to rise and
dance on their feet!      
(see notes below)

CULTURAL MIX :
After the Louisiana Purchase , English-speaking
Anglo and African-Americans flooded that State.
Due to cultural friction with the Creoles, the new-
comers settled ‘uptown’,
Creating an American Sector, separate from older
Creole ‘down-town’ !
This black American influx in the uptown had
ushered in,
The elements of the Blues, Spirituals, and rural
dances into New Orleans’ musical scene.
Now these African cultural expressions gradually
diversified, -
Into Mardi Indian traditions, and the Second Line.^^
And eventually into New Orleans’ Jazz and Blues;
As New Orleans became a cauldron of a rich
cultural milieu!

THE CREOLES :
The Creoles were not immigrants but were home-
bred;
They were the bi-racial children of their French
Masters and their African women slaves!
Creole subculture was centred in New Orleans.
But after the Louisiana Purchase of 1803,  -
The Creoles rose to the highest rung of Society! @
They lived on the east of Canal Street in the
French Sector of the city.
Many Creole musicians were formally trained in
Paris,
Had played in Opera Houses there, and later led
Brass Bands in New Orleans.
Jelly Roll Morton, Kid Oliver, and Sidney Bechet
were all famous Creoles;
About whom I now write as this true Jazz Story
gradually unfolds.
In sharp contrast on the west of Canal Street lived
the ***** musicians,
Who lacked the economic advantages the Creoles
possessed and had!
The Negroes were schooled in the Blues, Work Songs ,
and Gospel Music;
And played by the ear with improvisation as their
unique characteristic !
But in 1894 when Jim Crow’s racial segregation
laws came into force,     # (see notes below)
The Creoles were forced to move West of Canal
Street to live with the Negroes.
This mingling lighted a ‘musical spark’ creating
a lightening musical flash;
Igniting the flames of a ‘new music’ which was
later called ‘Jazz’ !

INFLUENCE OF THE EARLY BRASS BANDS:
Those Brass Bands of the Civil War which played the
‘marching tunes’ ,
Became the precursors of New Orleans’ Brass Bands,
which later played at funeral marches, dance halls,
and saloons !
After the end of the Civil War those string and wind
instruments and drums, -
Were available in the second-hand stores and pawn
shops within reach of the poor, for a small tidy sum!
Many small bands mushroomed, and each town had
its own band stand and gazebos;
Entertained the town folks putting up a grand show!
Early roots of Jazz can be traced to these Bands and
their leaders like Buddy Bolden, King Oliver, Bunk
Johnson, and Kid Orley;
Not forgetting Jack 'Pappa' Laine’s Brass Band
leading the way of our Jazz Story !
The Original Dixieland Band of the cornet player
'Nick' La Rocca,
Was the first ever Jazz Band to entertain US Service
Men in World War-I and also to play in European
theatre, came later.     (In 1916)
I plan to mention the Harlem Renaissance in my
Part Three,
Till then dear Readers kindly bear with me!

CONTRIBUTION OF STORYVILLE :
In the waning years of the 19th Century,
When Las Vegas was just a farming community,
The actual ‘sin city’ lay 1700 miles East, in the
heart of New Orleans!
By Alderman Story’s Ordinance of 1897,
A 20-block area got legalized and confined,  
To the French Quarters on the North Eastern side
called ‘Storyville’, a name acquired after him!
This 'red light' area resounded with a new
seductive music ‘jassing up’ one and all;
Which played in its Bordello, Saloons, and the
Dance Halls !         (refer  my Part One)
Now the best of Bordellos hired a House Pianist,
who also greeted guests, and was a musical
organizer;
Whom the girls addressed respectfully as -
‘The Professor’!
Jelly Roll Morton, Tony Jackson author of
‘Pretty Baby’, and Frank ‘Dude’ Amacher, -
Were all well-known Storyville’s ‘Professors’.
Early jazz men who played in Storyville’s Orchestra
and Bands are now all musical legends;
Like ‘King’ Oliver, Buddy Bolden, Kid Orley, Bunk
Johnson, and Sydney Bechet.      ++ (see notes below)
Louis Armstrong who was born in New Orleans,
As a boy had supplied coal to the ‘cribs’ of
Storyville !          ^ (see notes below)
Louis had also played in the bar for $1.25 a night;
Surely the contribution of Storyville to Jazz Music
can never be denied!
But when America joined the First World War in
1917,
A Naval Order was issued to close down Storyville;
Since waging war was more important than making
love the Order had said !
And from the port of New Orleans US Warships
had subsequently set sail.
Here I now pause my friends to take a break.
Part Three of this story is yet to be composed,
Will depend on my Reader’s response !
Please do read below the handy Foot Notes.
Thanks from Raj Nandy of New Delhi.

FOOT NOTES:-
New Orleans one of the oldest of cosmopolitan city of Louisiana, also the 18th State of US, & a major port.
Louisiana was sold by France for $15 Million, & was later realized to be a great achievement of Thomas Jefferson!
Many African Strands of Folk Music & Dance forms had merged at the Congo Square.
^^ ’Second Line Music’= Bands playing during funerals & marches, evoked voluntary crowd participation, with songs and dances as appropriate forming a ''Second Line'' from behind.
@ Those liberal French Masters offered the Creoles the best of Education with access to their White Society!
# ’Jim Crow'= Between 1892 & 1895, 'Blacks' gained political prominence in Southern States. In 1896 land-rich whites disenfranchised the Blacks completely! A 25 year's long hatred
& racial segregation began. Tennessee led by passing the ‘Jim Crow’ Law ! In 1896, Supreme Court upheld this Law with -  ‘’Separate But Equal’’ status for the Blacks. Thus segregation became a National Institution! This segregation divided the Black & White Musicians too!
+ Birth of Jazz was a slow and an evolving process, with Blues and Ragtime as its precursor!    “Jazz Is Quintessence of  Afro-American Music born on European Instruments.”
++ Jelly ‘Roll’ Morton (1885-1941) at 17 years played piano in the brothels, – applying swinging syncopation to a variety of music; a great 'transitional figure' between Ragtime & Jazz Piano-style.
++ BUDDY BOLDEN (1877-1931) = his cornet improvised by adding ‘Blues’ to Ragtime in Orleans  during 1900-1907, which later became Jazz! BUNK JOHNSON (1879-1849 ) = was a pioneering jazz trumpeter who inspired Louis Armstrong.  KID OLIVER (1885-1938) =Cornet player and & a Band-leader, mentor & teacher of Louis Armstrong; pioneered use of ‘mute’ in music! ‘Mute’ is a device fitted to instruments to alter the timber or tonal quality, reducing the sound, or both.
KID ORLEY (1886-1973) : a pioneering Trombonist, developed the '‘tailgate style’' playing rhythmic lines underneath the trumpet & cornet, propagating Early Jazz.  SYDNEY BECHET (1897-1959) = pioneered the use of Saxophone; a composer & a soloist, inspired Armstrong. His pioneering style got his name in the ‘Down Beat Jazz Hall of Fame’! LOUIS ARMSTRONG (1890-1971) = Trumpeter, singer, & great improviser. First international soloist, who took New Orleans Jazz Music to the World!  
% = After America joined WW-I in 1917, a Naval Order was issued to shut-down  Storyville, to check the spread of VD amongst sailors!
^^ ”Cribs”= cheap residential buildings where prostitutes rented rooms. Louis Armstrong as a boy supplied coal in those ‘Cribs’.
During the 1940 s  Storyville was raised to the ground to make way for Iberville Federal Housing Project.
ALL COPYRIGHTS RESERVED BY THE AUTHOR : RAJ NANDY **
E-Mail : rajnandy21@yahoo.in
My love for Jazz Music made me to dig-up its past History and share it with few interested Readers of this Site! Thanks, -Raj
Where Shelter May 2018
trigger warning:
Hate long poems?  move on.
Love words?  pleasure your self

<=>

drought and famine of the spirit,
over-staying summer
house guests in an overly sun blanched,
voided, white outed, mental abode.

faculties parched,
overly starched,
compositions lost in transition,
why can't they make it ashore?

It's after 2 AM, and though
ferries have stopped running,
mainland hangover hangerons are
working overtime to prevent
"author"izations, so all I get
when I press send is a whole lot of
"permission to cross," denied!

causes of vexation undisguised,
dual natured and manifold,
luxuriating and drowning in home grown,
city organic insipid,
makes one quick to blame
nobody in particular,
but yourself, repeatedly.

reasons many, the distractions of
rustling contradictions populate,
another life road fork looming,
a track record for choosing badly,
colors the blacktop even blacker and
ramps up desires for a janitorial,
but first do no harm, status quo.

Need a beer.
Need a distraction.
Need a homework assignment,
which I buy at the IGA market:

obey the eleventh commandment
which every writer knows;
you think you're Mr. Bigshot,
so pudding prove it,
write it,
one true sentence,
let it be a constitution for all,
with the lengthy consistency,
of a Hemingwayesque,
one true sentence.

dearth to riches occurs
as fast as a basketball
three second violation,
inspiration dripping like
windshield condensation,
got so many true sentences,
how ya gonna choose,

O sinner man?

sadly you don't hear or feel
my background music,
stringed surf sounds playing
Perlman's Mozart low to
the thunderous, sweltering,
swells of applause of
90+ degree heat
w/o a Crescent Beach breeze
to console the disowned

these superheated thoughts
now focused,
emerges a bill of sight,
lading my heart's many heresies,
staccato thoughts now,
rapid fire rebel,
a pre-discourse insurrection,
voices of words lash out -

pick me - immortalize me,
I wanna be,
a constitution for one,
one true sentence.

The Moment of Ownership.

Hillel did it,
standing on one leg,
a Sanskrit mantra,
not by me,
not for me,
not through me,
even more succinct.

full clarity unobtainable,
begin when fighting thru
the static of each nerve,
knowing that
each thought,
each emotion,
is a constitution
of sorts,
recognizing life is a series of
moments of ownership,
but that are truly ours
only when relinquished.

each one, a true sentence
when writ, spoke,
but only when disabused
of notions of possession
only true, when gifted away.

Lucian Freud painted those whom
he knew best, their portraits,
fully clothed but wholly naked,
a painter of revelation
thru the skin tones of the flesh.

exposeur of skins interior
displayer of old and ungainly,
left us eyesight more true
than an honest mirror,
with poetic brushstrokes overlay,
gained entry to what his
grandfather named id and ego,
artist's superego, his reflections,
a continuous judgment
on a pool of stretched canvas
that makes me despair that:

I will ere succeed
to cross the borderline
that modernity insists upon,
self preservation, neurotic fears,
impositions on my psyche and
that my moments of ownership
will be n'ere be stamped "transferred."

I take back my life,
by giving it away
this alphabetized self portrait,
a wrinkled sketch of me,
my ownings, undertakings
needs taking by you
so I can disown it.

these words are my own,
their conjunction is a
junction to you,
and a constitution for me.

once this expiation
is in your purview by the voted
election of Send,
bonded by a mutual
Moment of Ownership?

so net net,
bottom line,
these are my
one true sentences,
summarized, constitutionalized:
I am yours, for the taking,        
so come by, for and through me,
in many moments of ownership.


p.s. let us shelter together in place, an island growing
lost for many years; for Mary Winslow
SassyJ Jan 2016
Sensation, intuition, feeling, and thinking,
Is wrapped inside a ball,
A small pink ball inside our head,
That won't stop till we're dead,

Analytical bedrock inside oozing theories,
Elemental atoms sizzling logic,
The imaginative stranger,
One abstracted and eccentric,

Walking with shadows,
Talking and mocking,
Through these theories inside us,
Tilting our caps ‘til we’re shaking our heads,

Pensive love in storming analysis,
Sapiosexually excited, piqued interest,
Unemotional and thoughtfully attuned,
Absently minded, always condoned,

Unconventional and impartially stringed,
Weirdly wired in auxiliary functions,
Misconstrued and misunderstood,
An ****** intelligence bleeding paranoia,

Knocking unto me,
Into you, inside us all,
It’s something we all yearn to be,
And when you fail and prevail we laugh,

Crickling crickets thinking nothing,
Washing down the storm drain,
With no thoughts fluidly sliding down my throat,
Pop goes no questions into absolute concise words like freshly broken glass,

Again shadows await, but different shadows,
Blinking at me staring at you,
Wondering what’s what, inside this dementia made sense of a lovely afternoon,
Inside your sane, autocorrected, predetermined, twitching, little…mind.

Inspired by Myers Briggs Personality Test
Tyler is INTP... Logician  (Introverted INtuitive Thinking Perception)
The drifter, dreamer the absent minded professor!
SassyJ is INTJ... Architect  (Introverted INtuitive Thinking Judging)
The starry-eyed idealist manoeuvring life as if a giant chess board!

What Myer Briggs personality type are you?... See link below
It would be great to know.Please comment!!
http://www.16personalities.com/intp-personality
I am open for One a week collaboration till March 2016. Interested? Leave a comment or message me.

No 1. One a week series collaboration with Tyler James Birabent
Wow, It was creatively fun working with Tyler especially in my first ever collaborative writing here at HP. The piece was inspired by Myers Briggs personality test Tyler is (INTP) whilst I am (INTJ).Tyler is analytical, logical and a very composed individual. At the best of times he has beautifully mused and surprised me.

Thanks Tyler for working with me! ;0)
Tyler HP link: http://hellopoetry.com/tyler-james-birabent/
RAJ NANDY May 2017
Dear Poet Friends, I had posted Part One of the Story of Jazz Music in Verse few months back on this Site. Today I am posting Part Two of this Story in continuation. Even if you had not read part one of this true story, this one will still be an interesting portion to read especially for all lovers of music, and for knowing about America's rich cultural heritage. I love smooth & cool jazz mainly, not the hard & acid kind! Kindly do read the ‘Foot Notes’ at the end to know how the word ‘Jass’ became ‘Jazz’ way back in History. Hope to bring out a book later with photographs. Thanks, - Raj Nandy, New Delhi.


STORY OF JAZZ MUSIC  IN VERSE PART – II

    NEW ORLEANS : THE CRADLE OF JAZZ
BACKGROUND:
Straddling the mighty bend of the River Mississippi,
Which nicknames it as the ‘Crescent City’;
Founded in the year 1718, as a part of French Louisiana
colony.
New Orleans* gets its name from Phillippe II, Duc d’ Orleans,
the Regent of France;
A city well known for its music, and fondness for dance!
The city remained as a French Colony until 1763,
When it got transferred to Spain as a Spanish Colony.
But in 1800, those Spanish through a secret pact,
To France had once again ceded the colony back!
Finally in the year 1803, the historic ‘Louisiana Purchase’
had taken place, -
When Napoleon First of France sold New Orleans and the
entire Louisiana State,
To President Thomas Jefferson of the United States!
(See Notes below)

THE CONGO SQUARE:
The French New Orleans was a rather liberal place,
Where slaves were permitted to congregate,
To worship and for trading in a market place, on
Sabbath Days, their day of rest.
They had chosen a grassy place at the edge of the
old city ,
Where they danced and sang to tom-tom beats,
Located north of the French Quarters across the
Rampart Street;
Which came to be known as the Congo Square,
Where you could hear clapping of hands and
stomping of feet!
There through folk songs, music, and varying dance
forms, -
The slaves maintained their native African musical
traditions all along!
African music which remained suppressed in the
Protestant colonies of the British,
Had found a freedom of expression in the Congo Square
by the natives, -
Through their Bamboula, Calanda, and Congo dance forms
to the drum beats of their native music.
The Wolof and Bambara people from Senegal River of West
Africa, -
With their melodious singing and stringed instruments,
Became the forerunners of ‘Blues’ and the string banjo.
And during the Spanish Era slaves from the Central African
forest culture of Congo, -
Who with their hand-drummed poly-rhythmic beats,  
Made people from Havana to Harlem to rise up and dance
on their feet!   * (see notes below)

CULTURAL MIX:
After the Louisiana Purchase, English-speaking Anglo and
African-Americans flooded that State.
Due to cultural friction with the Creoles, the new-comers
settled ‘Uptown’,
Creating an American sector separate from older Creole
‘Downtown’.
This black American influx ‘Uptown’ brought in the elements
of the blues, spirituals, and rural dances into New Orleans’
musical scene.
These African cultural expressions had gradually diversified,
into Mardi Gras tradition and the ‘Second Line’. ^^ (notes below)
And finally blossomed into New Orleans’ jazz and blues;
As New Orleans became a cauldron of a rich cultural milieu!

THE CREOLES:
The Creoles were not immigrants but were home-bred.
They were the bi-racial children of their French masters
and their African women slaves!
Creole subculture was centred in New Orleans after the
Louisiana Purchase of 1803,
When the Creoles rose to the highest rung of society!
They lived on the east of Canal Street in the French
Sector of the city.   @ (see notes below)
Many Creole musicians were formally trained in Paris.
Played in opera houses there, and later led Brass Bands
in New Orleans.
Jelly Roll Morton, Kid Oliver, and Sidney Bechet were
famous Creoles,
About whom I shall write as this Story unfolds.
In sharp contrast on the west of Canal Street lived the
***** musicians;
But they lacked the economic advantages the Creoles
already had!
They were schooled in the Blues, Work songs, and Gospel
music .
And played by the ear with improvisation as their unique
characteristic,
As most of them were uneducated and could not read.
Now in 1894, when Jim Crow’s racial segregation laws
came into force,       # (see notes below)
The Creoles were forced to move west of Canal Street to
live with the Negroes!
This racial mingling lighted a ‘musical spark’ creating a
lightening flash, -
Igniting the flames of a ‘new music’ which was later came
to be known as JAZZ !

CONTRIBUTION OF STORYVILLE :
In the waning years of the 19th Century, when Las Vegas
was just a farming community,
The actual ‘sin city’ lay 1,700 miles East, in the heart of
New Orleans!
By Alderman Story’s Ordinance of 1897,  a 20-block area
had got legalised and confined, -
To the French Quarters on the North Eastern side called
‘Storyville’,   - a name which was acquired after him.
This red light area resounded with a new seductive music
‘jassing up’ one and all;
Which played in its bordellos, saloons, and dance halls!
The best of bordellos hired a House Pianist who greeted
guests and was also a musical organizer;
Whom the girls addressed respectfully as ‘The Professor’!
Jelly Roll Morton++, Tony Jackson author of  ‘Pretty Baby’,
and Frank ‘Dude’ Amacher, -
Were all well known Storyville’s  ‘Professors’!
Early jazz men who played in Storyville’s Orchestras and Bands
now form a part of Jazz Legend;
Like ‘King’ Oliver, Buddy Bolden, Kid Orley, Bunk Johnson,
and Sydney Bechet.    ++ (see notes below)
Louis Armstrong who was born in New Orleans, as a boy had
supplied coal to the ‘cribs’ of Storyville!   ^ (see notes)
He had also played in the bar for $1.25 a night,
Surely the contribution of Storyville to Jazz cannot be denied!
But when America joined the First World War in 1917,
A Naval Order was issued to close down Storyville!   % (notes)
Since waging war was more important than making love,
this Order had said;
And from the port of New Orleans the US Warships had
set sail!
Here I pause my friends to take a break, will continue
the Story of Jazz in part three, at a later date.
                                               -Raj Nandy, New Delhi
FOOT NOTES :-
NEW ORLEANS one of the oldest cosmopolitan city of Louisiana,
the 18th State of US , & a  major port city.
LOUISIANA was sold by France for $15 million, which was later
realised to be a great achievement of President Jefferson.
*Many African strands of Folk music and dance had merged at the
Congo Square!
^^ ‘SECOND LINE MUSIC’ = Bands playing during Funerals & Marches evoked voluntary crowd participation, with songs & dances as appropriate forming a ‘Second Line’ from behind.
@ =THOSE LIBERAL FRENCH MASTERS OFFERED THE CREOLES THE BEST OF EDUCATION WITH ACCESS TO WHITE SOCIETY!
#’JIM CROW’= between 1892&1895, blacks gained political prominence in Southern States. In 1896 LAND-RICH WHITES DISENFRANCHISED THE BLACK COMPLETELY! A 25 YRS LONG HATRED &RACIAL SEGREGATION BEGAN. TENNESSEE LED BY PASSING ‘JIM CROW LAW’. IN 1896, THE SUPREME COURT UPHELD THIS LAW WITH ITS ‘’SEPARATE BUT EQUAL’’ STATUS FOR THE BLACKS ! THUS SEGREGATION BECAME A NATIONAL INSTITUTION. THIS SEGREGATION DIVIDED THE BLACK & WHITE MUSICIANS ALSO.
+ BIRTH OF JAZZ WAS A SLOW AND EVOLVING PROCESS, WITH BLUES AND RAGTIME AS ITS PRECURSORS . “JAZZ WAS QUINTESSENCE OF AFRO-AMERICAN MUSIC BORN ON EUROPEAN INSTRUMENTS.”  See my ‘Part One’ for definitions.
++ JELLY ‘Roll’ Morton (1885-1941): At 17 yrs played piano in the brothels, applying swinging syncopation to a variety of music; a great Transitional Figure- between Ragtime & Jazz Piano-style.  ++ BUDDY BOLDEN (1877-1931): His cornet improvised by adding ‘Blues’ to Ragtime in Orleans; which between the years 1900 & 1907 transformed into  Jazz! BUNK JOHNSON (1879-1849): pioneering jazz trumpeter, inspired Louis Armstrong; lost all teeth & played with his dentures! KING OLIVER(1885-1938): Cornet player & bandleader, mentor& teacher of Louis Armstrong; pioneered use of ‘mute’ in music. KID ORY(1886-1973): a pioneering Trombonist, he developed the ‘tailgate style’ playing rhythmic lines underneath the trumpet & the cornet, propagating early Jazz !
SYDNEY BECHET (1897-1959): pioneered the use of SAX; a composer & a soloist, he inspired Louis Armstrong. His pioneering style got his name in the Down Beat Jazz Hall of Fame!
Louis Armstrong(1890-1971): was a trumpeter, singer and a great
improviser. Also as the First International Soloist took New Orleans music to the World!
% = After  America joined WW-I in 1917,  a Naval Order was issued to shutdown Storyville in order to check the spread of VD amongst sailors.
^ ’cribs”= cheap residential buildings where prostitutes rented rooms.
# "JASS" = originally an Africa-American slang meaning ‘***’ ! Born in the brothels of Storyville (New Orleans)  & the Jasmine perfumes used by the girls there; one visiting them was  said to be 'jassed-up' . Mischievous boys rubbed out the letter ‘J’ from posters outside announcing  "Live Jass Shows'', making it to read as ‘'Live *** Shows'’! So finally ‘ss’ of ‘jass’ got replaced by 'zz' of JAZZ .
DURING THE 1940s  STORYVILLE  WAS RAISED TO THE GROUND TO MAKE WAY FOR ‘IBERVILLE FEDERAL HOUSING PROJECT’ .
  *
ALL COPYRIGHTS RESERVED BY THE AUTHOR : RAJ NANDY
Just a crack in the brick wall
A red rubber ball
The last time you can't remember
When you stood tall

The monotonous hologram
The seaside hotdog stand
The regrets piled higher
than any mountain can

Four stringed guitar
Home in an abandoned  car
Courage in a bottle
Wishing still on the first star

Still he caresses the neck
Presses down the frets
Sings three octave blues
On life's reef of wrecks

He's free lost in the chords
The music opens doors
The pathway is as bleak as sin
While inside he reaches for more

He goes off to sleep
He has his dreams deep
About a paradise for losers
And a five string guitar
K Balachandran Oct 2014
In his dreams the Vally in the throes of efflorescence call out
in a language heart alone understands;
from the hanging bridge over Ganga, he views the ice-capped peaks,
Vally's ***** extravagance and the river's turbulence.

The river runs too deep, at times he finds,
the currents treacherously strong,
from the window of his *Ashram, the view is clear.
She bathes naked, alone on a step submerged in water,
eyes feast on her moonlit curves,
the pleasures skin deep, camouflage the existential dilemmas ! he smiles
In memory his Guru speaks:"Eat only those fruits that make one immortal"
Yet another Himalayan journey in search of the fruit tree unknown

It's too late to redefine, life and love when the avalanche thunders above
on his lonesome path, every step uphill is fraught with slippery stones,
one way leads to the top, to bathe in the light of  the star reaching down

Some days end in too long nights, too cold, the sun shows up hesitant,
her body has the warmth that reaches to his icy depths,
a ****** alone could penetrate, but it still wouldn't melt
Himalayan silence, chant of Ganga, the ghost of a ******
that follows him  like a faithful dog, are all these fragments of a dream
or realities stringed together from many different planes?
Ganga---river Ganges       Ashram---monastry
I look down and all I see are strings
Attached to my feet, tied around my ankles
I hear an engine rev in the distance
Sound of the engine goes distant
As I see the strings
Rise atop the ground
I panic, there's no escape in sight
I get dragged along the rocky ground
Bumps and cuts and scrapes and blood
All over my body, there's no escape in sight
Is there no escape or am I scared to cut
Cut the strings and let go
Let go of something that wasn't real
Something that was never real
Robert G Page Dec 2011
by
rgpage

her blonde wisps of hair riding the late evening’s breeze,
at the dark water’s edge they casually stroll
snuggled up close under her lover’s arm
as the breakers roar like a thunder’s roll.

a late night stroll on deserted shore
the  dark hour’s flushed with the full moon’s glow,
barely enough light for their silhouette’s form,
as they walk the water’s edge with its wave’s ebb and flow.

on a wool blanket stretched upon the cool evening sand
alone with nature, the couple takes pause
she sits and leans back on his bare muscled chest
lightly stroking his arm with her nail like claws.

light wine and cheese from a basket she packed
‘til nature takes hold and leads them along
with kiss’ on her ear and cheek he snacked
as young hormones pull on urges made strong.

with one finger lifting her tiny stringed strap
a motion foretelling of pleasures to be earned,
his fingers gently gliding it down her arm
exposing a prize for which he did yearn.

warm kiss’ exchanged give personal consent
the ocean’s loud din now muffled and still,
gentle fondling, soft kissing, their secrets are learned.
with their gifts to each other of a lover’s free will.

time pass’ quickly with the couple’s desires,
their two bodies joined in love’s embrace;
united hearts pounding to love’s ultimate dance
  at the water’s edge where the breakers chase….
Mind of mine, you alien child.
I spoon-fed you for many years.
I pretended it was a plane in some cases
and the things you spat out
I fed to you again.

Mind of mine, you shadow of a melody.
Homeless drifter on the A41
with a 5 stringed guitar and no common sense.
Begging for a shoelace to tie on
whilst you go hungry.

Mind of mine, you nervous gun clip.
You know you’re unloaded
so your barrel droops like a snowdrop.
No hippie can put a flower in you.
and your shakes are breaking my wrist.

Mind of mine, you scar butterfly-collector.
Snatching red admirals with a chameleon tongue
and when you stitch them in
their red eyes close on dusty wings.
I know you’re lying when you can’t feel a thing.

Mind of mine, You’re a ****** full of love
and a belly full of drugs.
Positive negative flip, as love is in electrics
and you’re still such a bad liar
to tell me it’s anything else.

Mind of mine,
I can be such a bad parent to you
and an even worse child.
Yenson Oct 2018
Oh Mr Sentinel *****, you *** with the bullwhip and echo tongue
For four hundred years they had your fathers and mothers
toiling the sugar and cotton fields no better than oxen and horses
They were all beasts together without rights or gain
All you knew was what Babylonians put in your heads
Your perceptions are nothing but that of a slave
As bright as those of the oxen and *****
That were your mates

Now you sit here thinking you're Bob Marley without stringed guitar
you may have a pen in hand but nothing much has changed
what you call a brain is just a dusty mirror from ***** in the Plantation mansion
you are just the *** overseer who gives your *** to ***** at night
payment for echoing his words and ******* a **** on Saturday
Who are you really but a mindless carcass with no class
Your momentum comes from ***** and is *****
it's 21st century and you are still a Sentinel on the cotton fields

You come cracking your bullwhip talking trash
your ****** *** still has a ten dollar price tag hanging off it
the mixed blood of your ancestors fight for dominance in vain
four hundred years of slavery and you're still in chains mind asleep
there's freedom in the sun whether in tropics or in snow town
freedom is a mind unchained to *****'s bulls and stunted ****
Show me the freedom of a ******* Sentinel the mottafucker chicken
Go find your ******* radicals and do your worst, how did your  pimping go in Liverpool.
or where you too busy spinning your **** in Birmingham Alabama.
XXV

A heavy heart, Beloved, have I borne
From year to year until I saw thy face,
And sorrow after sorrow took the place
Of all those natural joys as lightly worn
As the stringed pearls, each lifted in its turn
By a beating heart at dance-time. Hopes apace
Were changed to long despairs, till God’s own grace
Could scarcely lift above the world forlorn
My heavy heart. Then thou didst bid me bring
And let it drop adown thy calmly great
Deep being! Fast it sinketh, as a thing
Which its own nature doth precipitate,
While thine doth close above it, mediating
Betwixt the stars and the unaccomplished fate.
Praise ye the Lord!
Praise God in His sanctuary;
praise Him in the firmament of His power!
Praise Him for His mighty acts;
Praise Him according to His excellent greatness!
Praise Him with the sound of the trumpet;
Praise Him with the psaltery and harp!
Praise Him with the timbrel and dance;
Praise Him with stringed instruments and organs!
Praise Him upon the loud cymbals;
Praise Him upon the high sounding cymbals!
Let everything that hath breath Praise the Lord!
Praise ye the Lord!
HALLELUYAH.!!
Metempsychosis and Dream
METEMPSYCHOSIS AND DREAMSCAPES


Dramatis Personae ---


nYxEr0s -
an umbral being wielding the soul "morpheus nyktelios", in the shape of the sword of nocturnal dreams.
he can enter the dreams and sub-consciousness of trees, rocks, rivers, droplets of rain and people in order to restore inner balance, or destroy it.
he is the principality of earth and water intertwined.
the personification of ****** nocturnal desire and the night itself, and he wields the power to restore, fulfill of destroy dreams.


IrUx0iD -
a name that is whispered in nyxeros' dreams. the inverted and warped spelling of the secret name of his second self, his one true love; The Dioskouri.
this astral phantom wields the sword "Philopannyx", because his power and reason for being is to love the night, and all that the night encompasses.
one day these two variations of one purpose will meet, fuse in a loving and resplendent embrace and then the universe will devour itself, overlapping it's inexplicable film of pure darkness, converge the surrounding nothingness upon it's solemn silence in the darkness, and then light will be born and life will begin anew.


AWAKENING


An eldritch and wyld prescence has manifested itself upon these desolate shores. Emanating from the deep soil of a long forgotten world. Rich with life and benevolence, but also terrible cruelty. It is very old, and at the same time, very young. A will of old, and a spirit of youth. It has taken the shape of a human boy. He has come from beyond the river of eternal sleep. The merciless kiss of death and mortal undoing has left a crest upon that precious dwelling-place of his dreams and young intellect, as it is called in the world in wich his chtonic vessel now unknowingly decays. Now this being has come to us, in his final stage of sentience. Deep in his soul, the nexus of a bleeding ocean, a forgotten dream is trapped in perpetual waxing and waning. Upon his moonlit countenance, two glass-like spheres are set. They belong to him. This luminous soul, fettered to this pathetic configuration of earth and water. two lonely, dark and unfathomable windows into the neverending vacuum of his soul. lying there. poured into infertile soil. alien soil. a mortal coil lying in listless apathy. human apathy. what is this human doing here? from what resplendent dream did he sojourn from and traverse through. oh liminal, boundless being, your tragedy will inextricably unfold, like the petals of a perfectly nourished and complete lotus. there is nothing your dying body can do. the contriving universe has manifested you in this abstract realm for a reason. a purpose. to discover the hidden schemata and destiny that sleeps inside, and to encounter and seek out the other half. your other half. you are a split soul. a mysterious schizm. empty by yourself. whole and compleat when unified. he exists somewhere in this neverending desert of grief. precious limbs that was lost, and throbbing wounds gained in your previous stratum of existance, are in this world reconfigured and presented to you in the form of sacred gifts. weapons and protection and magic that you may wield in order to defend your heart, and the hearts of others in need. weapons of absolute destruction, or benevolent aegis. these curses transmuted as wonders we give to you. absolution for past crimes and malignancy we also give to you, precious dreamer. we exist to guide you. you will find that wich was lost to you. that wich you have longed for all these stringed existances. we incarnate you once again, so that you may resume this task. one day, the interlaced network of dark brooding stars that desperatley glitter and gleam inside of you, will reach out for that wich they yearn and interact and intertwine with your twin light. the one that was made to compliment and render absolute both of your insulated existances. this is the one and only true alchemy. in the black land, lies and misstruths are whispered by venomous tongues. poison poured from dread lips and fill the once pure air. tormenting all fragile life in this sphere. accept this sword, morpheus, in your hand and embrace the hidden music of the night. this is our gift to  you. accept them now into your etherial incarnation and your everflowing, grieving heart. wield your true gifts. wander alone beneath the dying stars of this world, and free the ones who dwell beneath and beside you. living in fear and despair. once you have done this, brave warrior, the hidden path shall be revealed to you, and your love will await at the ends of this universe. at the end of time. go now. into the endless night. dark haired creature. heart of the ocean flowing within. The death and rebirth of stars light the way through the neverending desert of perpetual night. nyxeros the gods whisper. a primordial name. a second gift granted to the warrior, so that all the creatures of this world may speak it and whisper it in benevolent tones amongst themselves. nyxeros had been wandering for 77 nights and 77 sub-nights. weary and lithe in limb and heart. he sat down in a patch of mysterious mercurial grass. everflowing darkness wreathed around him. framing his wyrd existance in silence and a subtle agony. he layed his sword Morpheus on the surface of silver beside him and shut his abyssal black eyes, and allowed sleep’s gentle touch to caress his mind and soothe his aching concience, and thus, for the first time scince he had awakened in this world, he fell asleep. he dreamed of planets making love to each other, and giving birth to supreme music that again gave birth to new planets. of galaxies exchanging wisdom and expanding into one-another. and of a voice, beckoning from some darkness. a darkness from a place in the nothingness. a hollow place. a compression of past, present and future. someone was calling to him. alien words that he could not decipher the meaning of. but his heart fluttered and a deep longing ignited within his heart of chaos. somewhere, in the infinite K0s:m0S, someone was waiting for him. someone had begun a journey at the opposite end of the vast darkness of space. wandering alone, and sad. but forward, always forward. towards him. nyxeros could feel it moving. a faint contraction of the fabric of space. a frequency so weak, barely noticable. but he could feel it nontheless. deep inside. nyxeros opened his eyes. the black stars residing behind the frail lids of his eyes eating up all the blackness of erebus, making the deep, black pools of his soul even blacker and deeper still. his left hand, engraved and scarred with terrible and agonizing poetry clasped around the hilt of morpheus. he stood up and peered deep into the horizon of chaos. The great and wide melancholia of dust and dead wind and withered mountains. The void and the chasm of his cleaved soul urging him to brave onwards. In the ever-expanding distance, a faint light was discernable. His black eyes could scarcely witness it, but it was there, without a doubt, and his heart convinced him that this was true. Something stirred in the distance. So he gripped the hilt of his dream-blade tightly, and began the long waltz towards the strange faint melting light beyond.
I wrote this as an experiment, to see what would pour out if i just kept on writing non-stop, without thinking about anything really...it actually makes a lot of sense to me, but it's mostly just metaphysical mumbo-jumbo, and it's not polished, or meditated upon. Anyway, i just felt like posting it. my reasoning and agenda behind exhibiting this piece is as abrupt and cumpulsive as the mode it was written in. thank you-
Cassandra Cepe Jul 2017
“cold winter sky—
where will this wandering beggar
grow old?”
— Issa


I. Stories

A ranch north of Spain,
his woman, their child... a dream
painted over, gone.
His... (unrequited)
...own tragedy for himself—
young death in Paris.
Quiet night at nine,
inside a café... gunshots—
being... nothingness...


II. Histories

A cold monochrome,
the winter hue of darkness:
umbra of despair.
Portraits of torment:
beggars, drunkards, prostitutes,
1901—
Lapis lazuli
thinned, turpentined—bleu de France—
ennui of sorrow.


III. Images

Melancholia
—the impotence of the will—
in Barcelona.
Barefoot on the street
corner, sitting on the ground,
he leaned on nothing.
A half-stringed guitar......
Germaine’s ******* distracted him..
he laid his revenge.


IV. Meanings

No can a beggar...
no steel strings a guitarist...
—a friend’s eulogy.
The cadaverous
curves of the bones torqued the flesh—
tedium of old age.
An allegory:
artists, poets, mendicants...
****** or broke oglers?


V. The Painting

His evocation:
the grave of Casagemas—
a guilt exorcised.
A mute’s discontent,
a blind man’s desolation,
an oil masterpiece!
An old guitarist,
blind, begging for an audience—
a blue Picasso.
Written
21 August 2013

Copyright
© Cassandra Cepe. All rights received.
Emma May 2019
Strings around porcelain skin
Bruises that are so thin
Skin never grows
Face never shows never feels
Twirl can she ever
For my art project, I took my first poem on this site and made a black out poetry of it.
PNasarudheen Dec 2011
WHAT is a Hindu, a Moslem or a Christian?
    Whence he comes and where he goes?
  
     Ocean is a solution, salty, but-
     Corers of Suns gleam on the crest of waves-
     One, only One at the helm in the blue.
    
     Pools and streams and lakes and bays
     Wells and springs and rain and ice
     We see nothing but a drop, in them drops
     Nay, vapor condensed: Nay, H2O-right?
     Think a little straight, sit up aright
      Am I not right? -break, break that H2O
     Baffling bright white-light you can see.
    Of heat and Energy, Oh! 'Sivam'!
    You may call it 'Noor' in Arabic
    'Siv' in Sanskrit-what then-
    Releases combustion in cells?
   Nothing but very heat and Energy.
   Uranium and Thorium release the same.
   We find Energy unborn eternal
    Omnipresent, Omnipotent
   Omniscient, and Formless.
   The Almighty is Brahma,
   Paramatma and Allah.
   Jehovah may be for some,
   For some Agni, may be that-
   Radiant and resplendent Yogic Light.
   Cant you see Ocean in rain drop
   Cosmic power in a cell or shell?
   Cell or Shell-what is in a name?
   Is chariot, coat or prison of the soul.
   When walls get weak the soul will part
   Out through the vent as air off the balloon.
   Reading Holy Scriptures, not knowing the sense-
  What use? -observe the Nature and think
  Knowledge is a chain of fact as pearls
  Stringed by Reason and Faith with a Coir of the Truth.
  Tension brews as experiences tightly
   Loaded on the string, still stronger by Faith.
  Knowledge is light to enlighten the folk
  Not to ****, but for, co-existence in Peace.
                 =================
Siv(sanskrit)=light=Noor(Arabic)
Samantha Creek Aug 2012
Her eyes are the stained glass broken from confession.
Her withered hair buried beneath dirt gravel.
Her forbidden mind fosters slobs of crazy.
Her mind is a battlefield of Trojan takeover.
Her bare feet remember sacred ground of tainted memories.
Her ears embrace the screech of still weather.
Her grapefruit mouth juiced with venom is tasteless.
her sharp egg shelled fingertips woven from braids of straw.
Her body is the Earthquake ruptured by the vibrations of collision.
Her thoughts trespass gated abandonment
Her firework pen exploding with gunpowder secrets.
Her gunpowder secrets deterring the sanity.
Her cracked lips cobweb from silenced words.
Her puppet stringed smile puts on a show to the audienced world.
Her soul has been toyed with by the cynical Fates.
Her echo without direction is a heartbroken drum line.
Her armor has been dowsed with sharp, penetrating words.
Her skin has painted stories interior to her porcelain frame.
Her soulless story can be dry swallowed by rocks.
Her tears bleed of whispered screams.
Julian Jul 2020
A key feature of invigoration is the enterprise of mapping the entire syntax of all relevant human language as measured by the gamut of applesauce that doesn’t sour and an in depth analysis of creative fiction and poetry for common cadence features in the linguistic enterprise of mapping the subroutines of complex articulation as etched by the fabric of genius intellects intertwined in a gamble with wits to try and create coded missives that entangle hypertrophy and enlarge the gamut of decryption in the universal rudiments of alchemy. This is based on depreciative and appreciative aspects of apperception that depend on visual cues and funding from a collaborative venture of universities to challenge people to zero-sum games or net positive games where teams collaborate to usher unconventional unchartered territory of classification beyond normal proclivities based on the lineaments of idiosyncrasy to pinpoint the provenance of ideation itself and unveil the mind at a bargain pittance for the eventual headway this could pave for the Department of Education to revert from froward to forward in their recalcitrance and insouciance with the current linguistic modalities of outstretched engraven hortoriginality trailblazing new modular seismotic waves and hotbeds for firebrands to debate and scholars to joust with in the jest of the cineaste metaphor and the rubricated rundles of rectiserial innovations in the taxonomy of devolved meaning relying on an inventive enterprise to galvanize a new jargon into prominence based primarily on guarded secrets of the trade that might unlock the primordial soup of verbal creativity while also probing detective apperception for a wide-ranging panoply of digested movies and beyond that a farsighted incumbent inclination to probe the calibration of numerical happenstance in estimate and in long-term theorization of taxed realty in the estate of guarded tegular relationships among the woven fabric of conceptual latticeworks pioneering in scope and analyzed rigorously in reward of discretion and furtive cryptology to untether the world from the apothegms of sloganeered piggybacks that swivel in sockets but enforce a reductive paradigm of obganiation of core themes reiterated hypnotically to traindeque entire generations into piebald thinking that overlooks the panorama for incident and incident for categorical generality when no such axiom can be the logical predicate of its antecedent conditions that spurn the traditional rote moot wernaggles of futility and inseminate crafty legerdemain of writhing contortion altering the specificity of revalorized meaning in the novel context. This instantiates that the consequence is always the consequence not only of its predicate but its successor by the very modalities of proven reversals and enantiodromias of sorts that revert in a reverse progression spatiotemporally to exact incident as antecedent of its own existence by the very fact of iteration and this map of the recursive cycles of consequences elapsed only because of their insertion in a predevoted matrix is the gnomic apothegm of a new frontier of advanced logic that assumes the impossible is only improbable if the possible can be proven impossible by reductive inversion of core precepts in the rigmarole of design that states for every orchestra of butterflies that echo is actually the incident of refraction that contaminated the first polyacoustic trace of amplified sources in space time to revert into primordial form but the reversion is only incurred upon the fixture of origination and beyond that point remains inscrutable because foreknowledge necessarily prevents accuracy in determining the spectrum of the cacophony or rhapsody of the echo dependent on the observer’s perspective: which is only fungible to the extent that the subliminal remains guarded by the protectors of the clepsammia and the recensed polarization of time. This transcendence of time transfixed on orbital gravitas and centripetal ****** initiates a promulgation of the swallock of a remanded entropy that works in swiveled contraposition to the dynamic flux of the internment of balkanized forces of demassification dampening the efficacy of the central butterfly actor to expand the ampitheater of its own audience to the extent that every cultural artifact can be mapped to the geotaxis of its conceptual orbit. Thereby we can prove that pivots of the obvious focal point peak in resurgence upon the heyday of retrieval but dampen into a logarithmic regression of decreasing amplitude fluctuating around the aleatory probability of insemination through the percolation of the widespread narrowed to a fulcrum that balances the orbit of the stellified narrative of ingemination that some artifacts like Stayin’ Alive achieve maximum geotaxis because of their centrality in the taxidermies of revived memory recapitulated by both virtuosity and valor and posing as consequences of future foresight clouded by preventive measures that one quaky spasm in alarm could paralyze the precedent to the incidence of the afflatus that galvanized the heyday of remonstrance so that we can affix a modular angular gravity to events as well as referents to those events in a spatiotemporal mapping of consequence reverted upon itself because of necessity that binds the taxemes of the subliminal in the architecture of a curvature of geotaxis that is centrobaric not necessarily to the contingencies that magnify the germane propositions that affix modern eyes but rather the overall stifling modularity of temporal sequence redoubled by manufacture and manufacture alone predevotes antecedents that trace to a pivot in space time curved without prescience beyond measure but precision enough to approximate the summation of collective cultural shifts away from the estrangement of diversion from itself as a balkanizing force into a collectivized unity that orbits eccentrically by the very nature of the parallax between gravitational pull and the dynamics of time itself centripetal but centrifugal simultaneously.  Both conditions must be met so the converse of meaning becomes the recapitulation of remontant blessings rather than pruned dry garbologies relevant only to margins of subculture minimized in heyday and scope but pinpointed with exact precision the dynamos that inhabit the sphere of the populated future defenestrated from the magnetism of the past by very definition. Thereby, we arrive at Back to the Future because the paradox of recensed calibration suggests the free fluctuation of time between the eccentricity of magnified lens distorted by the entropy of calculus to become the integral summation of the sinuous vacuum of a trigonometric balance that barks with amplification of synergistic elements of strings and quantum flux to emigrate from an origination to the mapping of the eventuality. This precisely explains the scene in Back to the Future with the amplifiers turned all the way up because by exaggerating the simplicity of the declassified it expedited cinema to its eventual intermediary conclusions heralded by that one event of transfixed mystery that binds spacetime into a coherent bidirection of multidimensional philosophy of the enantiodromias of sorts of the parallax among constellated events. Mapping the impact of funneled cartels that hegemonize regions of the geopolitical sphere explains the amplivagant effects of the refracturism of swallock and thereby seminal ideations can be traced to provenance of cowardice cloaked in excuse but incisive in the skullduggery of the mechanical reinvention of excuse and pretext as a cloak for more furtive workings of the intelligentsia to engineer time by deriving the precise tangential multidimensional syntax of the calculus of proliferation reviewed from a consequent perspective of a future unknowable gravitas fluctuating between states of annihilation and existence in the acatelpsy of design so that specters actually enforce more change than events and prospects magnify positive dimensional thrusts that galvanize prospectus emigrating from either distant knowns or parallel realities that converge on the optimum of either the hapless or calculated design of a synergistic development of social engineering so precisely mapped that it identifies trajectories of improbable events with increasing specificity at the alarm of the spectral realm promulgating wealth to the foreseeable compunction of science to revert to probable pivots of consensus manufactured by think tanks that outfox the syntalities that defy the system or piggyback on their very causes to empirically carve the spectrum of future possibility becoming entelechy desired or feared but always predestined or flanged into distortions of reification that are transformative of precision in design without exactitude in the terminus of the centrobaric chambers of all meaning. Thus the algorithm outsmarts itself until only the machination to dehumanize for prediction occurs at a pessimum of morality or an explosion of a proliferative new venture in unchartered territory conquers the novantique of novelty. The ampitheater of its own audience is the traction of embedded subculture in subroutine becoming a compound atocia that sterilizes opponent possibility and probabilizes the occurrence of endomorphs that resemble effigies of constellation primed to swivel in retrospection as a recurrent lapse of amplification upon the culmination of predestined time points or junctures specified within the realm of the matrix of possibilities to outstretch the realm into a dampened exponential explosion of self-reference becoming embedded consequence by conditioning and by anticipatory psychology working in preconcert to evoke the determinative impetus of momentum that magnifies the speed of acceleration in technology that depends on the propriety of reification itself that swarms us with evocative tempests that barnstorm in reiteration to recapitulate by design to engrave themselves on the collective psyches of the hortoriginality of many minds intrepid before me that transfigured reality in this precise contortion of terminology with variegations in the specificity of context and articulation of the clavigerous entropy of swallock and how the outfoxed design becomes that cage of destiny that is a baritone complexion of vibrant hues exploding into the trammeled paths that have elapsed before me by the first movers advantage of theoretical physics but nonetheless independently verified by dovetailed emergence of that centralized balance between design and destiny that is precedent to the antecedent of the consequence of the precedent’s consequence on the direct antecedent inflexion point upon which the provenance of momentum drifted into cultural psyche and enlarged the gamut of myth in the raillery of subaudition. Essentially Time only exists to those without the simultagnosia to appease a mirror parallax of universes upcoming and universes forestalled but pivot with omphalism on the gravitas of Einsteinian calculus that theorizes that the acatelpsy of enumerated prediction is a lapsed regress the pinpoints with the harpricks of specialization the regal momentum of time to its own behest to propagate the elucidated certainty of its own traversal to the expedited enumeration of the future which populates the past because the curvature of time is an entantiodromia of reflexive itinerant vagrancies that cement the authorship of events to warble through the tilted hypertrophy of design itself to maximize the freebooter avarice of those people that rely on the luxuriance of trespass to magnify the modular gravity of culture to forswink its compunction and regale its own recursive logic. Essentially Time is a mapped ampitheater that depends on an audience of sentience to enlarge its own gamut and because it is riddled with obscurantism of believable recursion it magnifies its own entropy in reversal to orchestrate events in a rectiserial convolution of the whipsaw between the expected and the foreknowledge of the knowing class because when shaky vacillatory politics prevail the behest of time looses its capitalization of the amplivagant affects of the marginalia that is wed to the devolved rudimentary rigmarole of proliferation scaffolds destiny in alternative configurations to fulminate with explosive progeny that latitude incumbent to those without perspicuous clarity to fathom the acatalepsy of the unfurled universe magnetized by the seminal tremendum of the moments memorialized by memory that provide the traction of time to supersede its own acceleration by the writ of the beneficence of the eccentric orbit of the brittle axioms of design to recense and revalorize the wilted transponders that refer to specific events where the space-time continuum was cleaved in divisive anticipation to balkanize the resistence to the fringe clavigerous amplification of the resonance of etiolation that marginalizes the dearth and amplifies the prospectus to make time supersolid beyond all reckoning to cement its captaincy as the algorithm of rhythmic gravitas orbiting the moribund fragmentary flictions of regimented truth to be at war with its own foresight. This is because foresight is a compulsion of time to recapitulate the foreknown deeds of the future to the regenerative hypothesis that hypostatizes that the transcendence of time is mirrored illusion because the future populates a region of space-time that is not forlorn but magnified in scope to reverse the trends of abomination and cast the aspersions of grandeur into eccentric orbit that by geotaxis foments the revolutionary impetus not of cancellation or nullification of the bereaved past but a culmination of deeds known only to the future that galvanize the very fruition of the dependent expectancy to become antecedent to the consequent by a warped form of recensed logic because the orbital sphere of considerations is tangential to the evocative memory of the memorialized statutes that prize their own entelechy above their divergence from design in such a peculiar way that obscurantism of the leaders of the world is manned by an alien presence to mendlatch the locked keys of a virtuouso future compounded in interest and destined for unfurled clarification. Time is an ironic boyg and quandary because for time to give birth to its own recapitulation it must be stammered with seismotic statutes that rip through the fabricated rudiments of predestination to enthrall the apostasy of the knowing from leverage over a future they vaguely see but provides largesse to the regimentation of design to rickety consternation that prediction is evocative of expectancy less than expectancy is its own geotaxis around the gamut of foreseen affairs that must be iterated rather than violated in order to maintain the mainlined integrity of the brittle fungible force of quantum dynamics to bypass the rigmarole of etched design to be evocative of a reverse transpondency that reconfigures the past into perfectible strings of amplification to anoint time its own behest at the formidable specters of its own violation by those who seek trepass but are predevoted out of ephorized control by the vicissitudes of the gamble and the frapplank of the known destiny catalyzing the unknown progeny. By that very definition this could not be obrogated in tenure or tutelage over the past because the elapsed gravitas of the known past depends on the pivot of the ampitheater of the future to ambitious reckoning that provides absolution to its forlorn vestiges to cement the centrifugal impetus of many from exact foreknowledge.  Many pioneers have probably theorized similar hypostasized concepts but the fact that even without a degree in physics I understand these arcane precepts yet tested by the rigmarole of comprehensive known experiment is a testament to the power of hortoriginality to pave the trailblazer focus on the rivets of a rickety secrecy designated by definiens of abstruse taxemes of yet defined meaning. The primary quandary is the isolated pretext of predevoted sequencing that abandons me (and this is central to my theory) from the weather of meaningful social encounter in order to hone in with precision on the empirical enterprise of seminal regress cemented as ceremonial progress and only by vaulting above this cage of finicky predestination can entelechy that desires rapprochement can be achieved because eventually the relevance of my ideas can be shelved and the peremptory obligation of intervention must be deployed to salvage my parable into completion. The itch for the government to anticipate the universe’s localized traction delimits the sphere of social indoctrination to a reality amenable not to the coercion of precise anticipation but the gamble on vagary to produce more seminal events that compound the amplivagant effects of ecumenical exhaustive troponders to the extent they flourish beyond the bounds of completion and into optimal conditions that is whipsawed by the demands of the rigmarole of precise definition of all trajectories conclave in their logarithmic design  anticipated by designation but not predevoted into futility because that capstone would reduce the proliferative affect of space time to carve a more extravagant reality that tests limits beyond frontiers of expectancy. The brain is highly malleable and entity theorists are moribund in their defenses of trite hackneyed racial arguments about intellect. The mythos preserves that radical ethos that prediction of my insights supersedes the importance of my rapprochement which will amplify the effects of the spatiotemporal mapping in a much more profound way with specialized focus. Thereby when we conceive of time we must specialize in inhabiting the sphere of acatalepsy of flanged prediction preventing the abortion of the future based on the vagrancies of the gyrovagues and bibliopolists seeking to demolish the fruition of the ribald coarse albatrosses of the future to diminutive leverage rather than amplifying the stringed syndication of knowledge to eccentrically stellify the unknown regions of the populated presence contingent on the populated future which ensures the eternal life of all by some formant boundaries of the universe because what is recapitulated in the lapse of certainty known by the anticipatory vagary of a riddled rigmarole of complex dynamism this thermodynamically reversible into the reversal of entropy because the organization of the past hinges upon the reconfiguration of the future and thereby we swivel endlessly with recursive iterations of evanescence that spoon-feed the generations among us to truckle beneath the cartels that array spatiotemporal mappings into their personal optimum to catapult the granular edification of all deeds beyond their forsifamiliation from their provenance gamboling with the distant frescade of a known destiny cavorting with the meddlesome reconnaissance of all that is observed and the tribunes magnify this effect by centralizing the bronteums of fulgurant strikes to be localized to a centralized pivot of universal acclaim that provides felicity for the ecumenical endeavor
Marian Aug 2013
Praise ye the Lord. Praise God
in his sanctuary: praise him in
the firmament of his power.
2 Praise him for his mighty acts:
praise him according to his excellent
greatness.
3 Praise him with the sound of the
trumpet: praise him with the psaltery
and harp.
4 Praise him with the timbrel and
dance: praise him with stringed
instruments and organs.
5 Praise him upon the loud
cymbals: praise him upon the high
sounding cymbals.
6 Let every thing that hath
breath praise the Lord. Praise ye the
Lord.
Hold hard, these ancient minutes in the cuckoo's month,
Under the lank, fourth folly on Glamorgan's hill,
As the green blooms ride upward, to the drive of time;
Time, in a folly's rider, like a county man
Over the vault of ridings with his hound at heel,
Drives forth my men, my children, from the hanging south.

Country, your sport is summer, and December's pools
By crane and water-tower by the seedy trees
Lie this fifth month unskated, and the birds have flown;
Holy hard, my country children in the world if tales,
The greenwood dying as the deer fall in their tracks,
The first and steepled season, to the summer's game.

And now the horns of England, in the sound of shape,
Summon your snowy horsemen, and the four-stringed hill,
Over the sea-gut loudening, sets a rock alive;
Hurdles and guns and railings, as the boulders heave,
Crack like a spring in vice, bone breaking April,
Spill the lank folly's hunter and the hard-held hope.

Down fall four padding weathers on the scarlet lands,
Stalking my children's faces with a tail of blood,
Time, in a rider rising, from the harnessed valley;
Hold hard, my country darlings, for a hawk descends,
Golden Glamorgan straightens, to the falling birds.
Your sport is summer as the spring runs angrily.
I

It was the Winter wilde,
While the Heav’n-born-childe,
All meanly wrapt in the rude manger lies;
Nature in aw to him
Had doff’t her gawdy trim,
With her great Master so to sympathize:
It was no season then for her
To wanton with the Sun her ***** Paramour.

II

Only with speeches fair
She woo’d the gentle Air
To hide her guilty front with innocent Snow,
And on her naked shame,
Pollute with sinfull blame,
The Saintly Vail of Maiden white to throw,
Confounded, that her Makers eyes
Should look so near upon her foul deformities.

III

But he her fears to cease,
Sent down the meek-eyd Peace,
She crown’d with Olive green, came softly sliding
Down through the turning sphear
His ready Harbinger,
With Turtle wing the amorous clouds dividing,
And waving wide her mirtle wand,
She strikes a universall Peace through Sea and Land.

IV

No War, or Battails sound
Was heard the World around,
The idle spear and shield were high up hung;
The hooked Chariot stood
Unstain’d with hostile blood,
The Trumpet spake not to the armed throng,
And Kings sate still with awfull eye,
As if they surely knew their sovran Lord was by.

V

But peacefull was the night
Wherin the Prince of light
His raign of peace upon the earth began:
The Windes with wonder whist,
Smoothly the waters kist,
Whispering new joyes to the milde Ocean,
Who now hath quite forgot to rave,
While Birds of Calm sit brooding on the charmed wave.

VI

The Stars with deep amaze
Stand fit in steadfast gaze,
Bending one way their pretious influence,
And will not take their flight,
For all the morning light,
Or Lucifer that often warned them thence;
But in their glimmering Orbs did glow,
Until their Lord himself bespake, and bid them go.

VII

And though the shady gloom
Had given day her room,
The Sun himself with-held his wonted speed,
And hid his head for shame,
As his inferior flame,
The new enlightened world no more should need;
He saw a greater Sun appear
Then his bright Throne, or burning Axletree could bear.

VIII

The Shepherds on the Lawn,
Or ere the point of dawn,
Sate simply chatting in a rustic row;
Full little thought they than,
That the mighty Pan
Was kindly com to live with them below;
Perhaps their loves, or els their sheep,
Was all that did their silly thoughts so busie keep.

IX

When such Musick sweet
Their hearts and ears did greet,
As never was by mortal finger strook,
Divinely-warbled voice
Answering the stringed noise,
As all their souls in blisfull rapture took:
The Air such pleasure loth to lose,
With  thousand echo’s still prolongs each heav’nly close.

X

Nature that heard such  sound
Beneath  the hollow round
of Cynthia’s seat the Airy region thrilling,
Now was almost won
To think her part was don
And that her raign had here its last fulfilling;
She knew such harmony alone
Could hold all Heav’n and Earth in happier union.

XI

At last surrounds their sight
A globe of circular light,
That with long beams the shame faced night arrayed
The helmed Cherubim
And sworded Seraphim,
Are seen in glittering ranks with wings displaid,
Harping in loud and solemn quire,
With unexpressive notes to Heav’ns new-born Heir.

XII

Such Musick (as ’tis said)
Before was never made,
But when of old the sons of morning sung,
While the Creator Great
His constellations set,
And the well-ballanc’t world on hinges hung,
And cast the dark foundations deep,
And bid the weltring waves their oozy channel keep.

XIII

Ring out ye Crystall sphears,
Once bless our human ears,
(If ye have power to touch our senses so)
And let your silver chime
Move in melodious time;
And let the Base of Heav’ns deep ***** blow,
And with your ninefold harmony
Make up full consort to th’Angelike symphony.

XIV

For if such holy Song
Enwrap our fancy long,
Time will run back, and fetch the age of gold,
And speckl’d vanity
Will sicken soon and die,
And leprous sin will melt from earthly mould,
And Hell it self will pass away
And leave her dolorous mansions to the peering day.

XV

Yea Truth, and Justice then
Will down return to men,
Th’enameld Arras of the Rain-bow wearing,
And Mercy set between
Thron’d in Celestiall sheen,
With radiant feet the tissued clouds down stearing,
And Heav’n as at som festivall,
Will open wide the gates of her high Palace Hall.

XVI

But wisest Fate sayes  no,
This must not yet be so,
The Babe lies yet in smiling Infancy,
That on the bitter cross
Must redeem our loss;
So both himself and us to glorifie:
Yet first to those ychain’d in sleep,
The Wakeful trump of doom must thunder through the deep,

XVII

With such a horrid clang
As on Mount Sinai rang
While the red fire, and smouldring clouds out brake:
The aged Earth agast
With terrour of that blast,
Shall from the surface to the center shake;
When at the worlds last session,
The dreadfull Judge in middle Air shall spread his throne.

XVIII

And then at last  our bliss
Full and perfect is,
But now begins; for from this happy day
Th’old Dragon under ground
In straiter limits bound,
Not half so far casts his usurped sway,
And wrath to see his Kingdom fail,
Swindges the scaly Horrour of his foulded tail.

XIX

The Oracles are dumm,
No voice or hideous humm
Runs through the arched roof in words deceiving.
Apollo from his shrine
Can no more divine,
With hollow shreik the steep of Delphos leaving.
No nightly trance, or breathed spell,
Inspire’s the pale-ey’d Priest from the prophetic cell.

**

The lonely mountains o’re,
And the resounding shore,
A voice of weeping heard, and loud lament;
From haunted spring, and dale
Edg’d with poplar pale
The parting Genius is with sighing sent,
With flowre-inwov’n tresses torn
The Nimphs in twilight shade of tangled thickets mourn.

XXI

In consecrated Earth,
And on the holy Hearth,
The Lars, and Lemures moan with midnight plaint,
In Urns, and Altars round,
A drear, and dying sound
Affrights the Flamins at their service quaint;
And the chill Marble seems to sweat,
While each peculiar power forgoes his wonted seat.

XXII

Peor, and Baalim,
Forsake their Temples dim,
With that twise-batter’d god of Palestine,
And mooned Ashtaroth,
Heav’ns Queen and Mother both,
Now sits not girt with Tapers holy shine,
The Libyc Hammon shrinks his horn,
In vain the Tyrian Maids their wounded Thamuz mourn.

XXIII

And sullen Moloch fled,
Hath left in shadows dred,
His burning Idol all of blackest hue,
In vain with Cymbals ring,
They call the grisly king,
In dismall dance about the furnace Blue;
And Brutish gods of Nile as fast,
lsis and Orus, and the Dog Anubis hast.
A certain poet in outlandish clothes
Gathered a crowd in some Byzantine lane,
Talked1 of his country and its people, sang
To some stringed instrument none there had seen,
A wall behind his back, over his head
A latticed window.  His glance went up at time
As though one listened there, and his voice sank
Or let its meaning mix into the strings.

MAEVE the great queen was pacing to and fro,
Between the walls covered with beaten bronze,
In her high house at Cruachan; the long hearth,
Flickering with ash and hazel, but half showed
Where the tired horse-boys lay upon the rushes,
Or on the benches underneath the walls,
In comfortable sleep; all living slept
But that great queen, who more than half the night
Had paced from door to fire and fire to door.
Though now in her old age, in her young age
She had been beautiful in that old way
That's all but gone; for the proud heart is gone,
And the fool heart of the counting-house fears all
But Soft beauty and indolent desire.
She could have called over the rim of the world
Whatever woman's lover had hit her fancy,
And yet had been great-bodied and great-limbed,
Fashioned to be the mother of strong children;
And she'd had lucky eyes and high heart,
And wisdom that caught fire like the dried flax,
At need, and made her beautiful and fierce,
Sudden and laughing.
O unquiet heart,
Why do you praise another, praising her,
As if there were no tale but your own tale
Worth knitting to a measure of sweet sound?
Have I not bid you tell of that great queen
Who has been buried some two thousand years?
When night was at its deepest, a wild goose
Cried from the porter's lodge, and with long clamour'
Shook the ale-horns and shields upon their hooks;
But the horse-boys slept on, as though some power
Had filled the house with Druid heaviness;
And wondering who of the many-changing Sidhe
Had come as in the old times to counsel her,
Maeve walked, yet with slow footfall, being old,
To that small chamber by the outer gate.
The porter slept, although he sat upright
With still and stony limbs and open eyes.
Maeve waited, and when that ear-piercing noise
Broke from his parted lips and broke again,
She laid a hand on either of his shoulders,
And shook him wide awake, and bid him say
Who of the wandering many-changing ones
Had troubled his sleep.  But all he had to say
Was that, the air being heavy and the dogs
More still than they had been for a good month,
He had fallen asleep, and, though he had dreamed
nothing,
He could remember when he had had fine dreams.
It was before the time of the great war
Over the White-Horned Bull and the Brown Bull.
She turned away; he turned again to sleep
That no god troubled now, and, wondering
What matters were afoot among the Sidhe,
Maeve walked through that great hall, and with a sigh
Lifted the curtain of her sleeping-room,
Remembering that she too had seemed divine
To many thousand eyes, and to her own
One that the generations had long waited
That work too difficult for mortal hands
Might be accomplished, Bunching the curtain up
She saw her husband Ailell sleeping there,
And thought of days when he'd had a straight body,
And of that famous Fergus, Nessa's husband,
Who had been the lover of her middle life.
Suddenly Ailell spoke out of his sleep,
And not with his own voice or a man's voice,
But with the burning, live, unshaken voice
Of those that, it may be, can never age.
He said, "High Queen of Cruachan and Magh Ai,
A king of the Great Plain would speak with you.'
And with glad voice Maeve answered him, "What king
Of the far-wandering shadows has come to me,
As in the old days when they would come and go
About my threshold to counsel and to help?'
The parted lips replied, "I seek your help,
For I am Aengus, and I am crossed in love.'
"How may a mortal whose life gutters out
Help them that wander with hand clasping hand,
Their haughty images that cannot wither,
For all their beauty's like a hollow dream,
Mirrored in streams that neither hail nor rain
Nor the cold North has troubled?'
He replied,
"I am from those rivers and I bid you call
The children of the Maines out of sleep,
And set them digging under Bual's hill.
We shadows, while they uproot his earthy housc,
Will overthrow his shadows and carry off
Caer, his blue-eyed daughter that I love.
I helped your fathers when they built these walls,
And I would have your help in my great need,
Queen of high Cruachan.'
"I obey your will
With speedy feet and a most thankful heart:
For you have been, O Aengus of the birds,
Our giver of good counsel and good luck.'
And with a groan, as if the mortal breath
Could but awaken sadly upon lips
That happier breath had moved, her husband turned
Face downward, tossing in a troubled sleep;
But Maeve, and not with a slow feeble foot,
Came to the threshold of the painted house
Where her grandchildren slept, and cried aloud,
Until the pillared dark began to stir
With shouting and the clang of unhooked arms.
She told them of the many-changing ones;
And all that night, and all through the next day
To middle night, they dug into the hill.
At middle night great cats with silver claws,
Bodies of shadow and blind eyes like pearls,
Came up out of the hole, and red-eared hounds
With long white bodies came out of the air
Suddenly, and ran at them and harried them.
The Maines" children dropped their spades, and stood
With quaking joints and terror-stricken faces,
Till Maeve called out, "These are but common men.
The Maines' children have not dropped their spades
Because Earth, crazy for its broken power,
Casts up a Show and the winds answer it
With holy shadows.' Her high heart was glad,
And when the uproar ran along the grass
She followed with light footfall in the midst,
Till it died out where an old thorn-tree stood.
Friend of these many years, you too had stood
With equal courage in that whirling rout;
For you, although you've not her wandering heart,
Have all that greatness, and not hers alone,
For there is no high story about queens
In any ancient book but tells of you;
And when I've heard how they grew old and died,
Or fell into unhappiness, I've said,
"She will grow old and die, and she has wept!'
And when I'd write it out anew, the words,
Half crazy with the thought, She too has wept!
Outrun the measure.
I'd tell of that great queen
Who stood amid a silence by the thorn
Until two lovers came out of the air
With bodies made out of soft fire.  The one,
About whose face birds wagged their fiery wings,
Said, "Aengus and his sweetheart give their thanks
To Maeve and to Maeve's household, owing all
In owing them the bride-bed that gives peace.'
Then Maeve:  "O Aengus, Master of all lovers,
A thousand years ago you held high ralk
With the first kings of many-pillared Cruachan.
O when will you grow weary?'
They had vanished,
But our of the dark air over her head there came
A murmur of soft words and meeting lips.
Valsa George Sep 2016
Across the sky is a blaze of scintillating gold
When the dawn quietly begins to unfold
Each morn is a fresh wonder
As the night willfully bows down to surrender

Every minute is a novel creation
With scenes and sights of great sensation
With every passing hour, new vistas unfold
Bringing insights varied and visions manifold

The blades of grass glow in sparkling dew
As the sun makes his customary march anew
Over the expanse of the brightening sky
Feathered folks to different directions fly

Here and there is many a plant in bloom
That dispels all clouds of graying gloom
Bees hum round opening flowers
Squirrels come out from their hidden covers

The gust of breeze that blows over
Brings scents so sweet in the morning air
The mountains that tower so high
In grandeur seem to touch the sky

The cuckoo and the magpie sing in joy
Their nestlings have nothing to annoy
The cascading falls sound the stringed trumpet
Running down from the mount’s heady summit

As Nature thus pipes a thousand songs
In capturing sounds and melodious tunes
In my heart is born a heavenly melody
      That I shall pour out in euphonious rhapsody
Inspired by a beautiful morning ! Please read it and feel it !
Flower Scent Nov 2010
I am

the red ripe apple  of the sinful tree
the honey suckle of the bumble bee

the pink blushed  rose of the secret garden
the stubborn spoilt lass never in pardon

the youngest daughter of the shining sun
the castle dream girl in  sands of fun

the jealous lover of the crescent moon
the blowing wind in a strong monsoon

the first white swan in the silver lake
the seizmic tremor of  a hot earthquake

the scarlet love bird on each window pane
the falling tear drop of  clear crystal rain

the candle's flicker of each passionate flame
the  mystery madam,mademoiselle or dame?

the  copper butterfly in each serene meadow
the Sunday's church girl in snow flake's shadow

the brown eyed maiden of  the deep blue seas
the pretty woman of ripe strawberries

the old fashioned  girl in sweet proposal
the gold  stringed harp in music's motion

the colored smile on a rainbow's face
the flamenco dancer  covered with  lace

the little mermaid in pirates'streams
the wafting wave in  glittered dreams

the twinkling star of black silk skies
the little lantern  light of fire-flies

the Cindirella in glass slippers
the happy verse of each romance

the soft wind's voice in a whispered breeze
the wood wind chime in sweet melodies

the Wishing feather of a free  white dove
the veiled young lady in the power of love.
couplet
Scarlet McCall Oct 2016
Wayfarer,
walk with me
down the open, crumbling road.
We’re two surviving souls--
billion year old
molecules binding
our hearts, muscles,
bones and nerves winding--
let us go back to the beginning,
before the time of sinning,
to the start of our creation,
before government or nation,
to find the garden and lose regarding--
regain our innocence.
The sun, rain and wind will test us--
we’ll build shelters of hides and bones,
pick berries and sharpen knives with stones,
play bone flutes and gut-stringed lutes,
and **** nothing without reason
and prepare for each change of season.
We’ll take our water from the glacial melt.
Our fashion will be the furry pelt.
Of course, we’ll remember poem and song--
for they were never wrong;
art was blameless.
It was the only thing
“Civilization” left us.

We’ll spark fire with pegs and strings
whirring, friction, small kindlings
into fire; we'll sit round and tell our history--
marvel at our ancestors’ folly, what mystery...
We’ll write dramas and dance;
we will honor this second chance.
English we will remember.
And French and Arabic, Latin and Hebrew.
We’ll start a new language, or two.
We’ll wash and sew condoms from intestines;
this time, what we’ll invest in
will be sustainability.
No need to propagate the earth--
it is fruitful enough already.
Only to be in harmony, a place neither above, nor below, others--
the animals and plants, who are our sisters and our brothers.
Wrote this a few years ago and it's already out of date. The arctic ice is melting along with most glaciers. The apocalypse, or the death of life as we have known it, will be here in about 35 years. Hopefully I'll be dead then because this is just a fantasy of what I would like to happen.
lowkeymorns Nov 2018
I sit watching with a lifeless gaze I see only the thoughts that grip my mind all an effect of words said.
Not the words spoken out loud but the words stringed into answered questions. Questions I have yet to ask and will never ask.

I see visions of what if's and what will, I see images depicting years of the most likely outcome influence by years of observation. i see them fall in place like falling leafs from a tree. A tree whos roots grew from insecurities of being nothing more then a seed.

I see not love stories nor happy ever afters but that timeless story life has forever told, the story of Truth.
I see a play of the willful becoming those who lack the will.

I see the stage set with actors holding back their desires fighting their inhibitions till the clock ticks hitting that split-second.
STOP!
Release the lights!
QUIT THE ACT,
Let the water run and split  the bar on the gate that is life.

I see the mind of those so many who jump ship in this flood, simply to drown in their waters. their last breath a regret! As They sink in their sea of pain calling out no name only asking who do I blame?
The waves washing over with no sway as if to whisper but one name.

I watch the outcome of this play day after day reeping my mind like the sun seeks the shade. it's fear, fear of loss and Fear To Love, it's of failing and failing to try, all the hellos and goodbyes. it's the moments and memories of with and without, its my thoughts and my doubts, it's no life with. And its a life going out.
I wrote this off of how I was feeling, the meaning behind it is how ever the reader interpreted it
Marian Mar 2013
Psalm 150**

1 Praise ye the Lord. Praise
God in his sanctuary: praise
him in the firmament of his
power.

2 Praise him for his mighty
acts: praise him according to his
excellent greatness.

3 Praise him with the sound of
the trumpet: praise him with the
psaltery and harp.

4 Praise him with the timbrel
and dance: praise him with
stringed instruments and organs.

5 Praise him upon the loud
cymbals: praise him upon the
high sounding cymbals.

6 Let every thing that hath
breath praise the Lord. Praise ye
the Lord.
Those shiny words in deep dreams meaningful
Dancing freely,calling for that song so beautiful
Adorned and set fine in the myriad web sub mental
Then killed as I wake, to you dear life real ******
A trailing deja vu of feelings finest found,now lost,
Those pearls stringed perfect smooth and shiny then
A noose now unseen choking,tight around my throat silent.
Chris Saitta Jul 2019
Here hang the wine-sotted troubadours of sadness and clouds,
~Having played serenas to paramours lipping at the cup of an evening bawd~
Like tethered donkeys now with their packsong of pastorela and alba,
No more musical mensurations of the ****** Mary, Cantigas de Santa Maria,
But slung over the railings of dawn-blotted taverns or courts of renown,
Here hang the wine-sotted troubadours of sadness and clouds,
Like drinking gourds, their stringed citherns dangle from their shoulders,
Leaking the strummed honey-wine of sound like the retchings of the nearby sea.
The troubadour flourished in France during the Medieval Ages (circa 1100-1350), primarily traveling from court to court.  

The “serena” (evening song for a lover waiting to consummate his love), “alba” (dawn song of a lover), and “pastorela” (song of love from a knight to a shepherdess) are all song forms.  

The “Cantigas de Santa Maria,” the well-known “Canticles of Holy Mary,” are 420 poems sung by troubadours, each mentioning the ****** Mary.  

“Citherns” are essentially the precursor to modern-day guitars.
When once the twilight locks no longer
Locked in the long worm of my finger
Nor ****** the sea that sped about my fist,
The mouth of time ******, like a sponge,
The milky acid on each hinge,
And swallowed dry the waters of the breast.

When the galactic sea was ******
And all the dry seabed unlocked,
I sent my creature scouting on the globe,
That globe itself of hair and bone
That, sewn to me by nerve and brain,
Had stringed my flask of matter to his rib.

My fuses are timed to charge his heart,
He blew like powder to the light
And held a little sabbath with the sun,
But when the stars, assuming shape,
Drew in his eyes the straws of sleep
He drowned his father's magics in a dream.

All issue armoured, of the grave,
The redhaired cancer still alive,
The cataracted eyes that filmed their cloth;
Some dead undid their bushy jaws,
And bags of blood let out their flies;
He had by heart the Christ-cross-row of death.

Sleep navigates the tides of time;
The dry Sargasso of the tomb
Gives up its dead to such a working sea;
And sleep rolls mute above the beds
Where fishes' food is fed the shades
Who periscope through flowers to the sky.

When once the twilight screws were turned,
And mother milk was stiff as sand,
I sent my own ambassador to light;
By trick or chance he fell asleep
And conjured up a carcass shape
To rob me of my fluids in his heart.

Awake, my sleeper, to the sun,
A worker in the morning town,
And leave the poppied pickthank where he lies;
The fences of the light are down,
All but the briskest riders thrown
And worlds hang on the trees.
Salmabanu Hatim Jul 2018
In a garden,
As beautiful as heaven,
At night Jasmine,
With white silky lips,
Unfolded its perfumed petals,
Blossoms in ethereal beauty,
With a creamy glow.
In the morning the Red Rose in bud,
Drenched in dew,
Unfurled its petals one by one,
On a single stem with its prickly thorn,
Sassy and beautiful.
Each with an ego of,
"I am the best",
Their hatred flared,
In fumes their scent flowed in waves.
The  birds and insects looked on,
Prayed for peace,
Tried to pacify them.
Then one day their enmity changed to love.
Bees and butterflies sang and chanted love songs,
As they sipped their nectar.
Soon The Rose proposed,
My love, let's get married,
For long have we tarried.
So the hummingbird  flew them to them to a famous wedding planner,
To be stringed into garlands,
Jasmine for the bride,
And The Red Rose for the groom.
The couple took their vows,
So did The Rose and Jasmine.
They made a beautiful pair,
And their children were called Jasrose.
Poetic fairy tale
Edna Sweetlove Aug 2015
This is a psalm by my friend Mad Pastor Grovell*

Praise the Lord with the sound of the trumpet!
Praise the Lord with the psaltry
(whatever on God's green earth that is!)
And with the harp while you are at it!
Praise the Lord with the tambourine
(another queer one!) and with dancing!

Praise the Lord with stringed instruments and electronic organs!
Praise the Lord on the loud cymbals and gongs
(and the high sounding cymbals too)!
Let every thing that breathes praise the Lord
(even midgets and the clinically obese and perverts)!

And that includes YOU - so get praising Him straight away!
Get down on your knees, blow your trumpet,
Rattle your silly tambourine like a mongo!
Clash your assorted cymbals and play with your *****!
Sing songs and hymns and cries of adoration to the Heavens

And clap till your hands are bleeding with joy!
Be a one-man band of earhole-busting praise for the Lord!
Praise ye the Lord lest He smite thee totally ******* senseless!
Or else WATCH OUT FOR THE GOOD LORD
WILL BASH OUT YOUR ******* WORTHLESS BRAINS
FOR YOUR FILTHY ***-SINS AND ALSO CONDEMN YOU
TO AN ETERNITY OF PASSIVE ****** IN HELL!
Jowlough Sep 2011
Don't get wasted,
you'll get stringed.
acting like a god,
is an act of sphinx

**** your mind outings,
until you realized the pages of your sheets.
reap what you sow
and realize you are a bull.

give another cheap shot,
pretend you are the weak, bleed.
sensitivity is a blessing
you never carried.

cut your insecurity,
burn your malicious thinking.
bring your flamboyant buddy,
immaturity is what your bringing

**** your mind outings,
until you realized your pages and sheets.
reap what you sow
and realize you are a bull.
(c) 2011 The moodswings of a bull named El toro - jcjuatco
To drift with every passion till my soul
Is a stringed lute on which all winds can play,
Is it for this that I have given away
Mine ancient wisdom, and austere control?
Methinks my life is a twice-written scroll
Scrawled over on some boyish holiday
With idle songs for pipe and virelay,
Which do but mar the secret of the whole.
Surely there was a time I might have trod
The sunlit heights, and from life’s dissonance
Struck one clear chord to reach the ears of God:
Is that time dead? lo! with a little rod
I did but touch the honey of romance—
And must I lose a soul’s inheritance?
Kim Davis Oct 2013
Ekard was a second attempt at attention
a second attempt to regain happiness
childhood
but not childhood
but a state of in between
Ekard was the voodoo doll that doubled as a voodoo prince
a puppeteer of a puppet, but a puppet for another puppeteer
he skated his way around everything
befriended everyone
manipulated everyone
became known
so known that his puppeteer
a mere child
collapsed herself under his name
some days she would praise it,
you should be friends with Ekard! He's the greatest.
others she could mock it,
he's a ****, don't talk to him!
she would string his name along into false promises
in order to manipulate her friends in real life into needing her
and in the process lost every ounce of respect that was had for her
because someone saw the trick
the strings ekard was laced on
didnt confront, but knew
everyone knew but couldnt say
and the kid gave up on ekard
blamed him for not being good enough to win gratitude of her friends and of strangers
but ekard was not only the puppeteer of his victims, his 'friends'
he had strings on the girl too
a defense mechanism
and he furthered her emotional instability,
showing her real attention
and that one can trick several people at once
that there was more than just facebook
stringed her mind into believing
that ekard was no longer some toy to play with
ekard was the real man
ekard was more than she was at this point
he had stories she'd woven and he performed,
he made her feel the sadness in these stories that didnt actually happen
made her connect to him spiritually
created drama for her as she did for him,
and eventually it all became so much that neither of them could stand it
he foiled his plot to destroy her
and she killed him
he was a vegetable
he existed only for closure and around his 'birthday'
but the rest of the year he was dead
she no longer felt his pain
felt the need to take care of his ego
all was done
everyone knew
and she was over with her scheme
but she was bored without her toys
and she devised a new one,
less active than Ekard, more than Elyk,
Ralyks.
What she didn't know, though, is that this new toy,
something so simple at first,
became an emporium of personalities,
later overbearing her, tearing from her the life she had left for those in real life.
Her new toy and her were one.
And that person, favoring manipulation and destruction, collapsed under what it'd come to be so fond of.

— The End —