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

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

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

EARLY RENAISSANCE ARTISTS & THEIR ART

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

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

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

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

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

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

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

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

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

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

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

ART OF HIGH RENAISSANCE ERA - THE
GOLDEN AGE.

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

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

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

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

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

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

Ah, doth swayeth the grass around the heavily-watered grounds, and even lilies are even busy in their pondering thoughts. Dim poetry is lighting up my insides, but still-canst not I, proceed on to my poetic writings, for I am committed to my dear dissertation-shamefully! Cannot even I enjoy watery sweets in front of my decent romantic candlelight-o, how destructible this serious nexus is!

Ah, and the temperatures' slender fits are but a new sensation to this melancholy surroundings. How my souls desire to be liberated-from this arduous work, and be staggered into the bifurcating melodies of the winds. O, but again-these final words are somehow required, how blatantly ungenerous! What a fine doomed environment the greenery out there hath duly changed into. White-dark stretches of tremor loom over every bald bush's horizon. O-what a dreadful, dreadful pic of sovereign menace! Not at all lyrical; much less gorgeous! Even the ultimate touches of serendipity have been broomed out of their localised regions. Broomed forcibly; that their weight and multitudes of collars whitened-and their innocent stomachs pulled systematically out. Ah, how dire-dire-dire; how perseveringly unbearable! A dawn at dusk, then-is a normal occurence and thus needeth t' be solitarily accepted. No more grains of sensitivity are left bare. Not even one-oh, no more! A tumultous slumber hinders everything, with a sense of original perplexity t'at haunts, and harms any of it t'at dares to pass by. O, what a disgrace t'at is secretly housed by t'is febrile nature! And o, t'is what happeneth when poets are left onto t'eir unstable hills of talents, with such a wild lagoon of inspirations about! Roam, roam as we doth-along the parked cars, all unread-and dolefully left untouched, like a moonlit baby straightening his face on top of the earth's liar *****. Ah, I knoweth t'is misery. A misery t'at is not only textual, but also virginal; but what I comprehendeth not is the unfairness of the preceding remark itself-if all miseries were crudely virginal, then wouldst it be unworthy of perceiving some others as personal? O, how t'is new confusion puzzles me, and vexes me all too badly! Beads of sweat are beginning to form on my humorous palms, with lines unabashed-and pictorial aggressions too unforgiving too resist. Ah, quiver doth I-as I am, now! O, thee-oh, mindful joyfulness and delight, descend once more onto me-and maketh my work once again thine-ah, and thy only, own vengeful blossom! And breathe onto my minds thy very own terrific seizure; maketh all the luring bright days no more an impediment and a cure; to every lavish thought clear-but hungrily unsure! Ah, as I knoweth it wouldst work-for thy seizure on my hand is gentle, ratifying, and safely classical. How I loveth thy little grasps-and shall always do! Like a moonlight, which had been carried along the stars' compulsive backs-until it truly screamed, while the bountiful morning retreated, and mounted its back. Mounted its back so that it could not see. Invasive are the stars-as thou knoweth, adorned with elaborations t'at humanity, and even the sincerest of gravities shall turn out. Ah, so 'tis how the moon's poor sailing soul is-like a chirping bird-trembled along the snowy night, but knocked back onto abysmal conclusions, soon as sunshine startled him and brought him back anew, to the pale hordes of mischievous, shadowy roses. Ah, all these routines are similar-but unsure, like thoughts circling-within a paper so impure. And when tragic love is bound, like the one I am having with 'im; everything shall crawl-and seem dearer than they seem; for nothing canst bind a heart which falls in love, until it darkeneth the rosiness of its own cheeks, and destroys its own kiss. Like how he hath impaired my heart; but I shall be a stone once more; abysses of my deliciously destroyed sapphire shall revive within the glades of my hand; and my massive tremors shall ever be concluded. O, love, o notion that I may not hate; bestow on my thy aberrant power-and free my tormented soul-o, my poor tormented soul, from the possible eternal slumber without tasting such a joy of thine once more! I am now trapped within a triangle I hated; I am no more of my precious self-my sublimity hath gone; hath attempted at disentangling himself so piercingly from me. I am no more terrific; I smell not like my own virginity-and much less, an ideal lady-t'at everyone shall so hysterically shout at, and pray for, ah, I hath been disinherited by the world.

Ah, shall I be a matter to your tasty thoughts, my love? For to thee I might hath been tentative, and not at all compulsory; I hath been disowned even, by my own poetry; my varied fate hath ignored and strayed me about. Ah, love, which danger shall I hate-and avoid? But should I, should I diverge from t'is homogeneous edge I so dreamily preached about? And canst thou but lecture me once more-on the distinctness between love and hate-in the foregoing-and the sometimes illusory truth of our inimical future? And for the love of this foreignness didst I revert to my first dreaded poetry-for the sake of t'is first sweetly-honeyed world. For the time being, it is perhaps unrighteous to think of thee; thou who firstly wert so sweet; thou who wert but too persuasive-and too magnanimous for every maiden's heart to bear. Thou who shone on me like an eternal fire-ah, sweet, but doth thou remember not-t'at thou art thyself immortal? Thou art but a disaster to any living creature-who has flesh and breath; for they diverge from life when time comes, and be defiled like a rusty old parish over one fretful stormy night. Ah, and here I present another confusion; should I reject my own faith therefrom? Ah, like the reader hath perhaps recognised, I am not an interactive poet; for I am egotistic and self-isolating. Ah, yet-I demand, sometimes, their possibly harshest criticism; to be fit into my undeniable authenticity and my other private authorial conventions. I admireth myself in my writing as much as I resolutely admireth thee; but shall we come, ever, into terms? Ah, thee, whose eyes are too crucial for my consciousness to look at. Ah, and yet-thou hath caused me simply far-too-adequate mounds of distress; their power tower over me, standing as a cold barrier between me and my own immaculate reality of discourse. Too much distress is, as the reader canst see, in my verse right now-and none is sufficiently consoling-all are unsweet, like a taste of scalding water and a tree of curses. Yes, that thou ought to believe just yet-t'at trees are bound to curses. Yester' I sheltered myself, under some bits of splitting clouds-and t'eir due mourning sways of rain, beneath a solid tree. With leaves giggling and roots unbecoming underneath-ah, t'eir shrieks were too selfish; ah, all terrible, and contained no positive merit at all-t'at they all became too vague and failed at t'eir venerable task of disorganising, and at the same time-stunning me. Ah, but t'eir yelling and gasping and choking were simply too ferociously disoriented, what a shame! Their art was too brutal, odd, and too thoroughly equanimious-and wouldst I have stood not t'ere for the entire three minutes or so-had such perks of abrupt thoughts of thee streamed onto my mind, and lightened up all the burdening whirls of mockery about me in just one second. O, so-but again, the sound melodies of rain were of a radical comfort to my ears-and t'at was the actual moment, when I realised t'at I truly loved him-and until today, the real horror in my heart saith t'at it is still him t'at I purely love-and shall always do. Though I may be no more of a pretty glimpse at the heart of his mirror, 'tis still his imagery I keepeth running into; and his vital reality. Ah, how with light steps I ran to him yester' morning; and caught him about his vigorous steps! All seemed ethereal, but the truthful width of the sun was still t'ere-and so was the lake's sparkling water; so benevolently encompassing us as we walked together onto our separated realms. And passing the cars, as we did, all t'at I absorbed and felt so neatly within my heart was the intuitive course; and the unavoidable beauty of falling in love. Ah, miracles, miracles, shalt thou ever cease to exist? Ah, bring but my Immortal back to me-as if I am still like I was back then, and of hating him before I am not guilty; make him mine now-even for just one night; make him hold my hands, and I shall free him from all his present melancholy and insipid trepidations. Ah, miracles; I doth love my Immortal more t'an I am permitted to do; and so if thou doth not-please doth trouble me once more; and grant, grant him to me-and clarify t'is tale of unbreathed love prettily, like never before.

As I have related above I may not be sufficient; I may not be fair-from a dark world doth I come, full not of royalty-but ambiguity, severed esteem, and gales-and gales, of unholy confidentiality. And 'tis He only, in His divine throne-t'at is worthy of every phrased gratitude, and thankful laughter; so t'is piece is just-though not artificial, a genuine reflection of what I feelest inside, about my yet unblessed love, and my doubtful pious feelings right now-and about which I am rather confused. Still, I am to be generous, and not to be by any chance, too brimming or hopeful; but I shall not be bashful about confessing t'is proposition of love-t'at I should hath realised from a good long time ago. Ah, I was but too arrogant within my pride-and even in my confessions of humility; I was too charmed by myself to revert to my extraordinary feelings. Ah, but again-thou art immortal, my love; so I should be afraid not-of ceasing to love thee; and as every brand-new day breathes life into its wheels-and is stirred to the living-once more, I know t'at the swells of nature; including all the crystallised shapes of th' universe-and the' faithful gardens of heaven, as well as all the aurochs, angels, and divinity above-and the skies' and oceans' satirical-but precious nymphs, are watching us, and shall forgive and purify us; I know t'at this is the sake of eternity we are fighting for. And for the first time in my life-I shall like to confess this bravely, selfishly, and publicly; so that wherever thou art-and I shall be, thou wilt know-and in the utmost certainty thou canst but shyly obtain, know with thy most honest sincerity; t'at I hath always loved thee, and shall forever love thee like this, Immortal.

Angelic minds, they say, by simple intelligence
Behold the Forms of nature. They discern
Unerringly the Archtypes, all the verities
Which mortals lack or indirectly learn.
Transparent in primordial truth, unvarying,
Pure Earthness and right Stonehood from their clear,
High eminence are seen; unveiled, the seminal
Huge Principles appear.

The Tree-ness of the tree they know-the meaning of
Arboreal life, how from earth's salty lap
The solar beam uplifts it; all the holiness
Enacted by leaves' fall and rising sap;

But never an angel knows the knife-edged severance
Of sun from shadow where the trees begin,
The blessed cool at every pore caressing us
-An angel has no skin.

They see the Form of Air; but mortals breathing it
Drink the whole summer down into the breast.
The lavish pinks, the field new-mown, the ravishing
Sea-smells, the wood-fire smoke that whispers Rest.
The tremor on the rippled pool of memory
That from each smell in widening circles goes,
The pleasure and the pang --can angels measure it?
An angel has no nose.

The nourishing of life, and how it flourishes
On death, and why, they utterly know; but not
The hill-born, earthy spring, the dark cold bilberries.
The ripe peach from the southern wall still hot
Full-bellied tankards foamy-topped, the delicate
Half-lyric lamb, a new loaf's billowy curves,
Nor porridge, nor the tingling taste of oranges.
—An angel has no nerves.

Far richer they! I know the senses' witchery
Guards us like air, from heavens too big to see;
Imminent death to man that barb'd sublimity
And dazzling edge of beauty unsheathed would be.
Yet here, within this tiny, charmed interior,
This parlour of the brain, their Maker shares
With living men some secrets in a privacy
Forever ours, not theirs.

don’t tell me “I love you” ~by Roxanne, for Cyrano~

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that’s a verse I’ve heard many too times before,
that’s a curse of low majesty, a quatrain too plain,
if that’s your best sally, retreat, say no more,
too simp verses, or ungolden silences, agents of dissatisfying pain

I need the best of your taste
the finest visions that you eyelids occlude,
make haste for my mouth grows exceedingly
impatient for the other senses to do their tandem wooing

slap only my face with the creature comforts others savor,
words of diamonds and pink pearls mined from your breast,
the bejeweled words that will decorate my evergreen,
that never dies, lest, unless and until,
you want my mortal affection suppressed

give me your linguistic promiscuity, wake me from the stupor
of ordinary, arouse me with thy tongue coiling, a bee sting delivery,
a wet poem that makes all my orifices!|offices weep, your mouth,
my souls recouper,
your wizardry bewitching,
answer my inquiry with unbounded festivity

then and after all, the plain simplicity of an “I love you,”
will be edged with sublimity, my mercies, your mercies
our jointed, sharp pointy, introverting, interlocking,
our futures becoming
our pasts

11:07am
19-9-30

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https://thenewgroup.org/production/cyrano/?gclid=Cj0KCQjwz8bsBRC6ARIsAEyNnvoENpdnWyqeUEwq0avNStgWCf4CocB1i2­39c2mHdNSFF8gOlWZtfjsaAls4EALw_wcB

taste of salt air and nectar'd apricot brandy
musky scent of silken satin sheet'd sin
lips bruised of unfurled ecstasy
coral fire in the ***** ignited rapturous essence
eyes glistening in the moment of a little death
soul of  a poet on the edge of reflective verse
once chosen     surrender in zest's soulful unveiling
blithely trapped stargazing unto eternity's sublimity

Prescient, her essence
Casts a demure persuasion,                
Endowed with verve and vision;
Concept to consummation,
The serenely possessed,
Creator, originator,
Allusion to the eternal azure,
Logos of abstraction,
Word and image collision.

Tonal palette of faith infused reason
Beauty and sublimity,
Serve to season
Verse, canvas and film,
Mediating aesthetic, seminal senses blossom,
Lyrical each permutation,
Seeds of vibrant chroma diffusing the mystical.

Visage and hair,  her figure haunted
With perfection - a work of Art
Nurtured and lived invocation,
The canon of taste;
Crystal for the *****
Devotional fragrance ,
Holistic ethos, melodic invention,
Animated, pure -
The embodiment of redemption.

Transcending form, parenthetically  
(Merely) the decorative,  
Allure, artistry and symmetry
Superlative complexity,
Her erudition satiates, supplanting
Winds of constructive banality.

Purveyor of an uncommon savor,
She collaborates in the peculiar
Pursuit and reward,
Encounter  with depth, explored,
Human and divine, prosaic meets sublime
Igniting within an Eros
Passion for truth, being and Telos.

Visionary of grace and peace
Transforming our earthbound dissonance;
Our caprice,
Hope and abundance, the myth of scarcity,
She narrates the Good.
Pen, lens, color and stage
Vulnerable, unrepressed, effusive
Romantic articulation,
The reservoir deep,
Innately primed conduit of Love.

Beyond plebeian, cosmetic, the trite
Woman of substance, pulchritude
And delight.
Effervescent - her smile exquisite,
Eclipsing suffering,
Wordless expression, understood language.
I am transported, my imagination replete,
Sonya Rose -
Art personified; unabridged, complete.

©2008 & 2013 W.S . Warner

forever alone-
even in the midst of my fellows
I am alone-
how I long to know the gentle caress
of your warm hands
how I wish to know the answer to the question:
is every one of my kind as alone as I?

I lay in wait for just a hint of your presence.
This cold and damp room
I have been deposited to
offers no condolences of comfort.
Thankless mortuary of life,
grounding point for unending successions of failure.
Mold grows abundant and varied on every surface,
forever feeding,
forever decaying-
forever reminding- the self defense I practice
is no match for time.

I have surrendered myself to your will
you repay my penance with stoic indifference,
how I curse my fate, to be stuck in this condition
stuck in this form
stuck in this cycle of irrelevance
where my purpose is as obscured as your presence-
I know it is there- I catch glimmers of it,
wafting on fumes of promise
welling up through my limbs-
yet, as I try to focus on its sweetness,  it melts away
and my condition teeters on the realization of the futility of my dreams,
dreams that perhaps there is something in this world I may possess,
something exempt from this foetid destiny of decay.

I pray to you every day- you bestow to me sustenance, delivered
within the few short moments of clarity
when your benevolence washes over my limbs
and that chill is abated, temporarily.  

oh love I need you
I need you
I need you
I need you-oh-
I need you now...

The joy you give me wells up in my core-
it spirals through my body in radiant fumes
arousing within me an electricity
which charges and grows, crackling and rippling through my being-

Your weightless touch
caresses the supple flesh of my newly unfurled limbs
your heat makes my lust ignite
until my rapture bursts and floods fragrantly out of my body
through small delicate folds soft as angel’s lips
burning crimson flames in contrast to the relentless leaden landscape.


Much like my prayers,
these too wither and evaporate back into the rimple of your coat of infinite possibility.
I am left broken, exploited by a purpose
that has been kept hidden from me.
Fate has decreed I must blossom during winter
serving as a beacon to the world around me,
I implore you my beloved,  who will serve as my beacon?
Who will lend vibrance to my dismal soul
when the skies are gray
and the cold lingers ever-present like a blade to the throat?

oh love I need you
I need you
I need you
I need you-oh-
I need you now...

I continue to endure
these seasons of deception.  
The offerings of my flesh, my soul, my intentions
are hung in severe strings
as reminders of the union I may never have
reminders that I will never be as perfect as I know is possible-
that most of my dreams
will miscarry to oblivion and their potentials as realities will slip away as fast as the thoughts that carried them-
slip away as fast as the memory of my existence.

the only thing keeping me from joining you
is me
my form, this body, this anchor to the Earth.
In spite of this forlorn existence, I try to brighten my world-
my offerings are these poems of flesh,
frail and transient
moments of sublimity
apices of material existence
bridges to the divine

Exercises in wishfulness do nothing to change states.
What I truly desire is freedom,
freedom from these roots
freedom from hunger
freedom from wishes
freedom from these interminable winters
freedom from this sadness
freedom from this life

I do NOT write "poetry".
I do write words.
I cannot write "poetry".
I do write words.
I do not want to write "poetry".
I do write words.
Ive never "seen" myself as a "poet".
I spend my time avoiding the mediocracy of **** licking criticism
unlike every so-called "poet" I ever met.
I watch as "poets"wallow in the slough of narcissicism.
Ive never want to be called a "poet".
I do not want to be immersed in the depth of narcissicism
where "poets" spend their lives.
What an insult to be compared to a "poet".
any "poet" even Josef Stalin or Mao Tse Tung or the Dali Lama who all wrote 'poetry'..
"poets" make their homes in  the heights of false humility.
Edward Lear would be the height of unanimity
in his approval of my nonsensical behaviour.
I should throw all of my words out my window
for all the good they'll do.
I have no name or identity.
I have no name or identity.
Names only exist in official documents.
I know who I am.
I am the individual Isness.
Which is a small but equal,individual,independent,nameless,
formless,genderless and non physical Isness formed from the Isness of the Universe and incarnated in this human body.
Reborn lifetime after lifetime after lifetime until I let go, permanently,
of Mind and Conditioned Identity and become Isness realised
which is the true goal in life for all humans.
I have no mind or conditioned identity.
There are words that are a call sign to the ears in this body.
Words that are not uttered by the mind driven liars
on these threads,with their asinine cries
for their conditional love and the possessiveness it engenders.
This is but my latest in a string of bodies
since I left the Isness of the Universe at the very beginning of existence .
Bodies that have been the vehicle for me,the individual Isness,
to be incarnated in since existence began
before the dawn of time or space or .
Ive read my words out aloud in Edingburgh.
Ive read out aloud my words in Formentera and Ibiza and Tanger
and Paris and Amsterdam and Delhi and Calcutta and Bangkok and lots more cities of EVIL and repression.
Ive read out aloud my words in Better Books in London.
I stood next to Bart Huges with Lee Bridges,
one night in  1967 reading words from a blank page--
with Jimi playing round the corner.
I stood in the square of Saviours in the north and
shouted my non-violent words
at the crowd of violent supporters of the Oligarchy.
I am definitely NOT a "poet".
Oh no!.
Wouldn't want to be a "poet".
Oh no!.
I don't write "poetry".
Not ****** likely.
Oh no!.
I only write strings of meaningful associated words.
Or write strings of meaningful dissasociated words.
Or write just words--supply your own unjust meanings.
Wouldn't want to write "poetry".
Sooner write how I adore the flowing lines a curvaceous ****,
or a dragon fly hovering over a Marguerite--irridescant,
or licking a sweet smelling dripping ****--licky lips,
or a cloud floating by serene and bubbly,
or having a stiff **** in my mouth dribbling precum,
or a night sleeping on the banks of the Ganges
alone with humanity as my bed companion,
emptying the warm fresh contents of the attached *****
into my eager mouth,
or the soft grip of a baby monkeys fingers around mine,
or slipping a length of my hot flesh into the **** or **** of the beloved,
or the sublimity of a crunchy salad with balsamic dressing.
"poetry" is so boring compared with these verses and chapters
of experiential knowingness.
"poetry" is used as a beard by"religions" with their vain and bloodthirsty "gods" and "goddesses" and untrustworthy mendacious corrupt but pleasant priests.
"poetry" is used by Monarchs and other assorted Tyrants to proclaim
the " phoney kinship" they have with these vain and bloodthirsty
"gods"and "goddesses" as they enrich themselves with the gold teeth of their willing victims.
"poetry" is used by cruel dictators to proclaim their phoney kinship with the uneducated uncultured and unwashed  masses
as they lead them to the pits of mental slavery and destruction.
All these narcissistic scribblers proclaiming themselves
to be this or that or the other--when all they actually are
is a bag of nothing but cold air--that turns into just-ice..
Insecure and vain destroyers of ancient trees,
filling pages with their deranged and strangled but beautiful syntax. .
Inane tossers of epithets murdering prose with tongues
stored in the knife drawer and sharpened daily
on dead peoples bones...
fake humility abounds among "poets".
Arrogant professors of greeting card messages.
Throw your scribbles to the winds.
Let nature rot them in the garbage can of history or her story.
Fozzywhockered.
Fozzywhockered.
Fozzywhockered.

www.thefo­urnobletruthsrevised.co.uk

There’s a distance, an echo
Of hollowness
Upon the blacktop
Asphalt concrete
Sidewalks 3 in the a.m.

I am more than
This
Heaviness
Like the iron bars
Of prisons.

Your faraway
Song, an echo
Of hallowed
Be

An Infinitesimal touch
Of infinite
Within the heart,
Fully filled by
Sublimity
Overcome to tears,

At dawn, like the sun’s
Brilliances.

Life
As evidence
Trillions all
In benevolence

Seeing
The light…

“I am more
Than this
Heaviness of

Emptiness
Within
My soul

I am
More
Than this …
shallow
Shadow’s
Hollow.”

I am ...

You want to read little pristine pretty posies
not get involved betwixt & ignore the thorns of life
whatcha gonna do when your scratch becomes infected
hiding in the bushes of denial will get you hives
of the contradicting type, bucking like a bronco
amidst the flowery storm clouds of refusal
riding through wild fields of four leaf clovers
on unicorns wings of phantasmal puff'd perfectly pink skies
pseudo fairy tales conjured up in the mind
never to cross the median line of reality's mock deception
swallow the chimerical pill of inauthentic utopia
just be sure your mythical allegory never plays havoc
in your secret garden of rainbow streaming sublimity,
the fall is greater from the zenith of repudiation

Joy's sublimity
New Naruto episode
Wide eyes ******

Your presence is of the essence
Of a charming chamber violin
Like when you speak words
-That disappears unheard-
It warmly unravels my nerves
And makes me love in silence

Wholly my being afloat since when
The time in the beat was mutually spent
A promise upon the dance of two
A present to me, with harmony from you
Stunned soundly by this melody of mine
With its enchantment so purely sublime
This beautiful song that is made for two
With sacred hands by me and you

This violin sings as angels cry
That presence has no alibi
No orchestra to accompany
Her lonely wistful melody
Like a serenade to a haunted room
About love, given to her beautiful doom
Seems only time can take away
The lonely echo we left that day
Only dreams can tell us when
We'll hear the song we love again

November 5, 2010 at 2:59 am

{Inspired by Dr. Boshra 3agban, Nizzar Qabani}


You're a woman;
created from the Greek myths,
wrapped in the veil of my fantasies,
Reborn from all the phoenix ashes,
You're the history of my life, miss;
it bounds u not..no years no seas,
you grant the moon those glaring flashes,
So I never sleep at nights to see thy gypsy eyes,

It's enough to write your name,
Just to be the perfect poet,
It's enough to be loved by thee,
It is so enough for me,
& I'll be mentioned in the history;
As the man & the angel that met,
At the horizon's end,
On the edge of the dreams,

You're a woman;
Carved by an angel's hands,
& made from the diamonds of verse,
Veiled in the golden cloak of my dreams,
A deity from some mystic lands,
Glowing through my murky universe,
Born from heaven's springs & streams,
Your tidal dormant waves through me they arise,

You're a woman;
Greater than Aphrodite & Athena,
You're the endless music of the lyre of pan,
You're the gauzy clouds that may make spring a winter eve,
Picturing you ..Tottering...is the ****** of me,
Thy swift stalk...gazing at you; forever I span,
arrayed in thy mantle of every hyacinth's leaf,
That sings the odes of love in me heart they incise,

You're a woman;
Caring not for time or years,
Neither aging nor death can touch thee,
You're the eternal rose of all the nerieds,
Knowing not no pains or fears,
Thy treads' rhythm lurks through me,
Your love's a religion, belief & a creed,
& my prayers from now forth art thy drowsy sighs,


It's enough to write your name,
Just to be the perfect poet,
It's enough to be loved by thee,
It is so enough for me,
& I'll be mentioned in the history;
As the man & the angel that met,
At the horizon's end,
On the edge of the dreams,

You're a woman;
Drest in the Elysium stars,
With pinions of an angel of life,
Fretting on waters of rivers of Eden,
Healing my feeble searing scars,
Heaping my ardent fires that thrive,
With dewy kisses That're unforgotten,
I've never lived before...now I realize,

You're a woman;
Of wavy hair & wavy weather,
Of blushy cheeks, like of the primrose,
Nestling these lips gushing with love,
I pledge my heart & soul for a feather,
Of thy wing that flips & shows,
Sublimity with that dimpled smile of a dove,
That holds all the answers & whys...


It's enough to write your name,
Just to be the perfect poet,
It's enough to be loved by thee,
It is so enough for me,
& I'll be mentioned in the history;
As the man & the angel that met,
At the horizon's end,
On the edge of the dreams....

sat in your lap
jealousy builds
like pressure
once a fissure

it now inches
its way across
my soiled soul
lather it on my body
like blood -
thick and treacly
dark, sticky
ever so sickly

tell me your lies
tell me your truths
trace them into my flesh
mark me

cast the runes
now they have spoken
clatter on the rocks
like my pride has
broken

my rage glowing
all I can see
forever growing

I embody entropy
A rule of disorder

hatred rises
through the flames
let it burn me
to ashes
like your touch
sizzles my skins frame

it's a crime scene
of blood swirling like ink
pills scattered
around me
like a ritual
I wonder what
my mother would think

you're a dream thief
knife in my
heavy heart
you've stripped me bare
and I stand
as you depart
with nothing but
at your mercy

I'm you're experiment V
the looking glass shows me
what's left
a withered mess
existing
for you to thrive
tired pile of crumbly bones and
shrivelling rotting insides
tossed aside

burn me to
oblivion

I want the skin
to stop sticking to my bones
melt it off
let the blood pool onto stone
let the fat droop and distend
mocking me, me mocking
never ever stopping
wretch and stretch
till I break
rip my organs out
serenade my limp body
with the liquid lava that drips
as you extract
my black heart
take a sip of my sublimity

I am all you will never be
because I don't think I ever was
do what you will to my material
never to extinguish my fire
that does
never
cease
limitlessly
increase
the
entropy

KG

now, I will try to abandon time and space
in this form of truancy.

what is this abandonment trying to measure?
  the abeyance of presence.

what is the measured variable trying
to dissect? the impossibility of absence.

a poem aspires to be something concrete. a poem
   is what is real and imagined in the same context.

I try to invoke Abad -- what is imagined is most
   real.  this shall be its leitmotif.

now, i imagine the horizon as a point

of origin, or a template to some familiar projection,
  or a tagebuch summarized into a fine line
of allegories and denouement.

what this line tries to prove is that

an enjambment is a mimesis.

acknowledge the sublimity of a
  creation. notice that the sequence that will
be promised is diegesis of absence as form
     but not a poem as in a poem that enshrines
lucidity -- but the lack of it.

there is only the photograph of horizon
   as hypothesis of perpetuality. this now

is a subject, a speculative undertaking rearing a
   poem -- writing as preparatory for absence,

finishing a line as pursuit of thesis, gravity of
    its heft as tabulation of emphasis, or
verbosity, which may be telling of meaning or chronology.

a poem that is not a poem,
  But poem as a form of absence

that aspires to be a poem.

what is transpiring now is that i am assuming
   an utterance: utterance as being here,

and perhaps voice as sound of becoming but not finality
   of presence, and sound as disappearance

post-peak. its point-source silence and formation
   of thought, and then a poem is written as

evidence of disappearance in deep and close
   contest with a vision coming from another

audience as an objective supposition or
   reaction that may propel an exchange

but only when silence is entertained does
  silence happen, and so this may be dismissed

as a monologue among dialogues insofar as
    only to pinpoint this arrogant feat:

i may be speaking glossolalia, or in tongues,
  and that i seek no reprieve nor vestige,

all the more response -- intone of voice
   stilling itself in the tense setting

of being gazed upon, glazed with coherence
  of senses from one identity to another say,

you hear me speak as in speaking
as baring sound.
   but now that i have spoken, i have already undone

  the quiet to stir volumes and amplitudes
to attest sound-fade as vital component of absence,

whereas this poem produces ample sound
  if you pay close attention to yourself reading

in the lull form of reading (your
breathing will have intensified here,

your reasoning will have made so much
  noise here) as i continue to whittle

away in form of verse, verse not as poem,
  verseliteration not as occupancy of space,

but all in all, a body of work
that is a visage of movement - or a trace of absence, physics of space and kinesis of departure.

a delineation of a thing that was once
   thriving in threshold accompanied

by its tendency to wane: sound may be an
     analogue of unheard, as sound is impervious
to quietude but quietude conscious of sound
     and its potential,

that quiet coheres to its inclination to consummation,

this completeness so emphatic,
this allegory as
  absence the somatic, axiomatic,

indefatigable machinery of a presage,
   or continuity -- this poem that is not a poem,

but an excess of sound, a body that
   deserves end,  a punctuation.
     verity of this argument in basest form.

this body of work as absence
  and its completeness, volition

of its enigma: is this the end
  of sound or your silence summoned?

to drag it back, its recalcitrant body,
   is form of revision, then possession

of an absence, a recollection that will have granted
   seamless entry and translation

which passes on from its origin to
  a new clause -- to end it here, now and pass

over as readable only in the background that is
   an embellishment of absence amongst

things in exclusive continuity, to have this produced
   in space as empirical of absence,

and to punctuate this, a mystification,
or say, acceptable fabrication,

to read and extricate as acceptance of an absence
   as form: this poem that is not a poem but

only a physicality delimited -- to speculate
and study
as disbelief, and to have done such simply

demystification of its transition.

Those onion dome cupolas,
Sheer Slavic sublimity,
Instructing us:
Perhaps Peter the Near Great--
Rather than picking a pack of pickled peppers--
Decides to provide us a solid reminder
Of just what Greatness implies.
The near great never so
Great as Greatness requires.
According to a foremost authority
On pre-Mongol Russian architecture:
“Whip me up some beet soup, Bubala.”
Mike Myers, of course,
Doing “Coffee Talk with Linda Richmond!”
Yeah, a bowl of borscht and a plate of pirozhki.
Feed the stereotype: Ivan, Boris & Natasha,
All obviously Down’s-Syndrome-Feeble-Minded,
Pre-Mongolian Idiotic, as we once said.
Our weltanschauung—
Our World View--
As Good Neighbors Reinhard or Wolfgang,
See the business of global politics.
www.wikipedia.com “The framework of ideas and beliefs forming a global description through which an individual, group or culture watches and interprets the world and interacts with it.”
Thank you, Huns--
Wayne Newton singing:
“Danke schön.”
You always,
Always Hungry Huns.
Danke schön, you Campbell Soup
Man-handler-Hungry Huns,
Fueled on Goethe & Nietzsche,
Zoroaster & ***-ner
Germany:  A Nation of Militarists & Conquistadors,
Just when the Cold War could have been over so quickly,
So prudently averted by asking one simple question:
When have the Russians ever been the
Aggressive party in any conflict?
Be they simple border disputes,
Or true malice aforethought.
Some Napoleonic,
Or Hitlerian.
It was a simple case of HUAC histrionics.
No, decidedly not.
The Near-Great Peter’s was--
If anything--
An Open Door Policy,
A diplomatic Welcome Mat,
A soft squeeze of one’s ball sac,
Pleasant & promising,
“Mi casa es su casa,
Try the Chicken Kiev.”
No Iron Curtain,
If I might, coin a phrase.
But a strong shot of Oswald Spengler,
Pessimistic & carnelian,
Jogs us to Stalin & Khrushchev,
Brezhnev & Putin--
Putin--Vladimir, of that surname--
Perhaps the scariest
Bond villain, yet.
Putin makes a historical first:
Invasion of Crimea.
Invasion of Ukraine.
Maybe those Cold Warrior masterminds,
Actually did us a favor.
(Come out of the closet, J. Edgar.
A retrospective tribute is in the making?
Tom Hanks playing a likable you?)
Tom Clancy & Company
Whipping us up like smoothies,
To fight the good fight,
Noses to the capitalist grindstone,
Building for Divine-Right Nabobs.
New shrines & tombs,
New Coliseums
& Amphitheaters.
New terrible fears of Ivan.

Fuzzy— buzz of wings,
Ruby throated hummingbirds,
Strings of theory sing.

~
the peculiar sound of morning
during the long, boarded-up winter,
resonating through a cistern
set apart by thin waves
of decaying reservoir

a hint of canticle
in the unfounded wind,
impossible to ignore,
a series of collapsing oppositions
like interior and exterior,
self and other, the momentum
conveys the sublimity of being,
immersed in an unfathomable vastness,
of being part of an indivisible whole

a repeated glitch in the system,
our forever changing
constellation of feelings
and backward configurations,
slipping into a stream,
where the water precedes us,
and it will outlast us

we don't so much carry life
as allow ourselves to be carried
along by it, swept up in its current
for a little while
~

scrabble tile - no vowels
exact change only
spider solitaire - tetris
distraction

furtive glances
quiet moments alone
lie to friends
weep with no tears

lonliness
gritted teeth with cavities
must mend myself
procrastinate

cars go fast
constant peripheral hearing
night sweats
vivid imagery, pretty colours, sublimity

consideration, politeness, restraint
roman numerals, 24 hour clock
crumpled notes, lacing on a glass
temporary sensations

four walls, three sides, two's company
shocking weather we are having isn't it?

So
                     they
   say nothing can compare to
      the delicacies that claim
         our sky. High above,
      far beyond our air, lights
    break the               darkness.

                        I
                    must
admit to their magnificence; truly
       breathtaking. Is it such
         a coincidence, that
    your presence has similar
effects                           on me?

                        I
                    watch
their genuine glow, and wish you
     were there beside me; to
         share in this wonder.
        To gain the experience
      of true                 sublimity.

                        I
                    know
that if you were really there with
       me, my gaze would fall.
          No longer focusing
      on the sky, but instead
     upon                     your all.

                      And
                    because
these moments don't last forever-
      I know I could watch these
        stars whenever. But it
      wouldn't be us, together-
    I would              take it all in.

                       An
                  amazing
experience it is; the feeling of being
      close, to the one thing I've
         found that surpasses
      the stars I've seen, in both
   amazement        and in beauty

When Black Roses cease to BLOOM,
And violets are Black and Blue;
When Ravens in the dead of Night,
Fall upon our Morning Dew;

This Love that clouds thee,
Upon our Sublimity Day -
Idle in Auroras of August;
To my flower - pray!

To some twas a majestic force,
Mysterious and beautiful,
Courageous and never full
From a vast, adventurous feast.
It roamed – a horn upon a horse,
A gallop one could never cull,
It thought itself invincible,
Yet to some it was a beast.

Its orchestra – a masterpiece
Assembled from around the Earth,
But labouring perfections birth
Was a harpist’s absent beat.
The pains of searching now could cease
As landing upon emerald berth,
The unicorn unearthed its serf
As sublimity filled that seat.

The harpist liked her homely scene,
Despite its audience so small.
She’d rather stay than leave it all
And face the unicorns stampede.
And so she suffered wrath obscene:
She was forced to attend the ball,
Waiting centuries for the call
To leave an orchestra based on greed.

In present day the harp is home,
Back to where it is meant to be,
Beauty played independently,
But the unicorn does not mourn,
For now both creatures often roam
To a ball outside of history
And play a peaceful melody:
“The Harpist and the Unicorn.”

The  Kristeille  Bra :
And Other Pathways To   -  ( Disaster ! )

Polarities :    so smartly empowdered
And,  petitely enslaved -
Potentialities ?
- In extremis, I'm afraid.

But if thus were so, then ...
(Even thinly veilled) ;

Let us duly consider :
Are our appetites (fe\male)
In actuality and fact umm,
Needlessly Manichean;
The torments of
noisy Siblings ?

Why, after all I ask,
only two -
Don't
You ?


Alas,
To the Medici
Roundly go the
Battle and the day !
       (And sublimity)
(Or so the legend
goes ...... )

For those who favour
such Palantines,
(and gravity)
a throne.



For  :
Pure symetry confounds my interest -
hnn.us/articles/7202.html


James R. Morse NYC  2012.
All Rights Reserved.

She kept staring at the full moon
Her friend, confidant, fixation
Regretfully, I learn later, her escape
I kept talking in eerie silence
And keeping company to no effect
She like a bird tethered in a cage
I remember that night
Solemn the scar
Fourteen years hence
We were parked along a beach in Hawaii
Paradise one would think
Man and wife
Gazing in the opposite direction
I learn later our lasting vacation
Somewhere in the distance
Happy palm trees dance to the music of the waves
Whitecaps accentuate the moonshine of the night sea
Statues of tall mountains stand sentry
Separated by a treeline
Rolling hills, bare picket fences
And a defining moment
In the darkness and contrast
In·con·gru·ous
I see a few horses approaching our view, us
No doubt curious
My wife jests, as her eyes, depart the moon
Her reverie, her prayer pause
As the inside of the car shrivels
My heart braces
Her words, one by one
Denouncement at its finest
As she looks back at the horses, then me
"Even the poppies are in love
They're so stable"
She says this over and over
For my effect
Her eyes glassy
Her voice but a whisper
Steel, still
Drawing the horses nearer
Where soon their eyes
And noses peek through the fences of gloom
Big and brown,
Neighing
She begins to tear
Again
Sad and red
Real childlike
Her past begins to flash
Where she says something to the effect
That she once worked the corner of 42nd steet
In San Francisco
A bombshell went off
The horses sank in their seats
Lava spewed from my head
Mount Robertson in ashes
No votive candles could save her
Or us
Her angels on her shoulder
Lost to her rescue
Only albatrosses
Sinking
Sinking, us
Again in reverie
"Even the poppies are in love
They're so stable"
On and on
"I once worked the corner of 42nd Street
In San Francisco"
Her words, again, like ice
Melting
Reverberating in my mind
Where did I go wrong, I thought
Melancholy on the rocks
That night a man
And a moon cried
The sublimity of her message
The pantomime
The mock of steel
The planted seeds
The turning point
I can only gaze at the rolling hills
Now with two horses hoofing it back to safety
The darkness
The lost rebuttal and love
Her full moon
So prophetic
My teary eyes and mind could only wander
Past the happy palm trees
To the pieces of the puzzle
"You don't love me any more"
Deeply, I dug, wanting to find the answers
As her eyes and fingers quickly curled my lips
My insides a mess
She blows out my candle
Takes away the shovel
I knew
She knew
No words needed to be expressed
Only these
"Even the poppies are in love
They're so stable"
Soon it seamed,
Seemed
Stitches of our love ripped apart
That car that was once parked along the beach
Paradise searching
Now more suited for a funeral procession
As we  bereave the aloha attire, hotel, vacation and then the airport
As two ships departed in bereavement
Rudderless, without sails
Our port becoming a pretense
The living room couch soon my refuge
Saturated with my tears
Faithfulness and honor
Her bi-polarity worsening
Sadly
Truly
I didn't know at the time
If only I had known
Had some understanding
The winds at war
Of what was in her harbor
More of the anchors of doom
Holding her down
The barnacles, erosions of her mind
I could have helped
I will always remember that night
Fourteen years hence
Two horses short of being stable
And the battles in my mind
The tears
The waning days and months
Where the seasons and time felt lost
A year later,
A morning dawn
Mourned
I looked into her vacant eyes
The stillness
She was finally at peace
No longer tethered or caged
There was a full moon the night before

Logan Robertson

3/04/2019

Paul of Tarsus resented his visit, among so many issues of paganism and Christianity that somehow tried to establish it in Jewish orthodoxy, for goods in non-Romanesque centuries of centuries, dissimilar to a Roman statute in the past to decree it today as ****-Clerical.

Saint John the Apostle says: “Christian doctrines were limited when they settled in Jerusalem, nor did they submit to worldly Judaism. He preached it while breaking the loaves in the fasmatémporos or sacralized breadbaskets of salvation, and of the company of those who were circumcised, by those who received the kingdom while they were born into Roman *******. Everything was Estebanian obfuscation as the first martyr of the ecclesiastical order, where the universe points between races, society, and sensual possessions; between Greeks as junk between barbarians and uneducated, and Israelites between Jews and pagans, to make capital laws but hidden among the subjugated codes of dictatorialism, like all the slaves, gathered in Corinth. And of female inferiority to male supremacy, without inheriting the flesh in the reconciliation of shared worlds. His policy moves the bellows of the free winds, for an enclave that begins to be a direct belonging of another man with the Alpha, and finally, this ends up being his landowner in Omega, as a fugitive baptismal sprinkling of those who become attached to the lord, that they do not recognize and if they do it under their clothes and thoughts, that they even carry sores or wounds even on their chromosomes. The genotype is the third month of gestation with embryos that can even be heard with their heartbeats beyond all the galaxies back and forth, colliding with the head of the woman who puts order to the established opinion of the extreme polarity of the genome. The coronation sculptures were made diverse with Gothic forms that differed with duplications of the stars that were built, not specified in any quantity of accumulated energy after thousands of years to be released in the channeling of the corbel, where the Cherubs rested. dedicated today to the lordship of the ancestry of the invocation, and the exaltation of the stained glass that descended from the sky with sectioned iridescence, marking the canonical hours of the first century, the beginning of the fifth decade, where Paul was already pointing to the letter to the Romans, "Where you give free grazing to the sheep, the rams overwhelm the density of certainty with their betrayals, the sublimity of the atrial rebound movement, makes their disparate ears warn of the justification of pointing out where the danger grows". In this way, Pablo de Tarso decided to name himself in the middle of Mataki, as Pablo de Patmos, because his soul still depended on the Marial outlet for his canonical lapses, in fact becoming the main and actant incarnation of faith, with the cardinal points.

Goddess Nike appears again to consummate the victory, then from the exhausted stadiums of the Pergamon amphitheater, Wonthelimar will bring Victory with the other "V" of the goddess Nike, also borne by Athenea Nikephoros. From this duplicity, both are transposed into Vernarth's "V" as an initiatory pseudonym; which will depict the reinforced twin of the Hellenic genesis of Wonthelimar, articulating from this Prótypo with the genesis of the cardinal Mandragoron, which will be Vernarthian architectural and divinized hierarchy.

Mandragoron Geodesy

- North: Vóreios (Zefian Boreal)
- South: Nótos (Austral de Borker)
- West: Dyticá (Sunset of Leiak)
- East: Aftó (Equinoctial of Kaitelka)

Faced with this geodesic repositioning, Pablo de Patmos makes the context of narrowing the analogy of the cross and the intersection point of them through, the Zohar Light that emerged from the iconographic program that was spreading out of the Ave Maria that was heard in echo intervals, The main one being the one heard by the oil press that Vernarth was holding, to lavish the first virginal thread of olive oil, which joined with the sleet drizzle falling between the intersecting points of Vóreios from north to south Notós, and from Oeste Dyticá with the Necromancy of Leiak to the Kaitelka Peninsula.

All seated began to pray, then the nascent of the Empyrean that came with the sleet emerged, and the ****** olive grove of the first degree, all went into a trance, the soul was overwhelmed only with light that each one could see in their features through the irradiation of the eyes of Vernarth and Saint John, and in the breathing of each being difficult and discordant. In the distance you could see the sparkles of Peter and James, together with the Mashiach, they came to enter the peace of each one of those who were here in the Katapausis, the night was warned by the Notós de Borker who prayed with the disciples of the Mashiach accompanied by the three winds from the south, which transfigured the colt of Bethany that admitted them to take them to the Seventh Heaven, here at the first stone of the Megaron with the Mataki, the seven bread baskets and candelabra, taken by the agony of the chalice that everyone carried in their bodies where they sprang from their interior, along with the thread of oil mixed with blood that had fled from Zion to Gethsemane, thus lifeless with the interdict stained the lights of the Menorah, which was propelled over the gray and agonizing shadows of the bread that asked why hand would be divided? They all say drink with their hands, but the hands of the Mashiach opened the sky first to illuminate the exacerbation of Leiak's Dyticá, saying that the sweat of agony will fill our chalices intensely adorning what is revealed by our disturbing sleet. The Equinoctial became magenta and Eritrean, where glory made it pertinent to leave and ask for an oblation in the natural reaction of the recipient, before offering himself! The shudders only spoke of the rictus, when Vernarth huddled every so often to blow the embers of the incense that spread from Aorion, spliced in the Fourth Arrow of Zefian, to leave the ergonomics bronze point, pointing out the Cherubs that came from Heaven falling, to those who went up with their sacrilegious bodies to purge their errors, adoring them with purely beatific simplicity, to bring them back to Patmos to purge there, what the error will make of virtue the light over the darkness in lives that stumble over the moaning death, whose sufferings ravage beyond life, where they suffer undaunted pains of danger, not knowing how to resist them.

Frontality becomes ordinal from unity to three, and from duality to four; that is to say, from Vóreios to Notós and from Aftó to Dyticá, making the Escurialense cross with the crossed lines filled with the celestial blue that filled them with the Seventh Heaven. The darkness macerated the embryos on the error of confronted anguish before an impartial body fallen from the discouragement of overcoming it and moving away from the eschatological. The Mashiach moves his hands through the Codices of Raedus pro generating Jubilee, for the branches that climb the thread of the olive tree that was scalding with passion, to hang on the wood of the Kashmar. The Kardiá resembled lost in the minutes of Kairós, failing to rejoice them, to then overwhelm them in some Escurialense demonym, forming the golden cross, whose four arms were already covered by blue and blue enamel, and in parapsychological fractality, making temporality move in the super imagination of Áullos Kósmos de Vernarth.

My heart - delicate,
and malleable
undulates
within two poles,
seamlessly juxtaposed -
beauty and affliction
capricious container-
truth and fiction;
the sheer surfeit
of choice
reverberates with
imperious diversion,
settled invitation-
loud and shiny things.

Hard to breathe,
I'm in exile
slave to my emotions,
obsequious and servile
barren, cold and mute
existence - the brute;
tilted reminiscence,
scars of loss
contrive frames  
around moments -
footprints,  
interminable -
being and time.

Infinite deity,
triune polyphony
artist of sublimity
smearing shades
of loneliness,
vestiges of faith,
to retrieve
hues of meaning;
oddly convivial
prophets
of reprieve.

Orpheus lost Eurydice
palpable discordancy
suffused in time
could not resolve
without verse
decidedly sonorous,
canvas showered pain,
splashed
Jackson Pollack stain
Love - onerous,
deep beneath
the veneer,
it's mercy severe.

Fiction from the first
Eden‘s fatal gift,
lucidity cursed
altered cosmos murmur,
parlance of
disordered elegance;
effusive language,
phrasing art nouveau
tacit script;
ensconced within
the fabric;
create a Thirst
torment - visceral
and immediate.

Ardor and innocence
once quenched,
render
pathos in proportion
to the pleasure,
conveyance of beatitude
The past absorbed
into the treasure,
Inscrutable Heart -
devotion and turpitude
desire, loathing and paucity
affinity in abundance,
fear and doubt
inhabit certitude.

©2009 & 2011 W.S. Warner

I believe we are of sound and worthy mind;
That we might cast our constant glare back,
Towards our own transgressions and
Pretensious claims to ascendance.
That we may reflect on our own fortune,
Alive and affluent, rich in life and
Experience ill afforded to our elders.
Perhaps then we might pretend,
If only for fleeting moments,
That we are as deserving as we commonly believe.
For we are nothing if not
The cynical generation, born into
A world so mature that we need be
Nothing but children within it.
We have no politics, no beliefs, no
Drive to propel us into an existence of
Grace and enlightenment. We scoff
At signs of sentiment, we laugh
At barefaced gesture and divulgence.
We indulge in ceaseless pleasures and
Live upon the surface of the shallows.
Yet we forfeit the beauty of feeling,
The release afforded by sublimity;
We are afraid of what is bigger than us,
And we respond with profane derision.
I tire of popularity competitions,
Of gossip and blunt innuendo, of
Social ladders and picking up.
I yearn, with nostalgia and music, for
A time foreign to this weary soul,
A time perhaps non-existent, when
Such games were not all there was.

Trapped 'tween
  adjectives' objections
succumbed to
  long-windedness,
snared 'neath an
  expanse of circumlocution,
paraphrasing periphrases
   buried under layers
       of technicalities,
all in a day's multiformity
   working midst the madness
           of poetry's sublimity