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"syllogism" poems
There should be a genre of poetry called waste verse tasteless and terse like the khaki pine needles that litter the space underneath your porch. a neglected place, where the broken blue bottles and dew marry in early morning , attended by a congregation of woodchips, beers cans and guinea pig **** dancing easy with the morning breeze, and carried like the currency of an early dreamer's reverie, morning. morning. morning is gluing a teacup together knowing that it will be broken tomorrow. and day by day, the absence in form will grow until that once teacup becomes nothing but empty space, with its base designated in place of the back porch ash tray. when i turned back one day, there was nothing left of its body nothing left of it that i could see but paint dust, a couple of cuts and some blood covered by a bandaid that doesn't stay on because feet sweat a little too much. morning is repetition for comfort but breaking routine is starting to feel more appealing than keeping it, because I know one morning I will wake alone, with a rusted infrastructure and fractured backbone, and have to look upon a screen with thousand texts that read, "there are other fish in the sea" well, **** you, maybe he was my sea. i mean, he is my sea, maybe. there is a genre of waste verse called poetry, and the simple syllogism of it all leaves me reeling. but after i finish my cigarette over the khaki pine needles beneath your porch and go inside, "good morning", i say. "good morning", he said. i cannot remember what was so important just a few moments ago. morning.
0
Mar 8, 2013
Mar 8, 2013 at 11:58 AM UTC
Variations on Waste Verse (Morning)
There should be a genre of poetry called waste verse tasteless and terse like the khaki pine needles that litter the space underneath your porch. a neglected place, where the broken blue bottles and dew marry in early morning , attended by a congregation of woodchips, beers cans and guinea pig **** dancing easy with the morning breeze, and carried like the currency of an early dreamer's reverie, morning. morning. morning is gluing a teacup together knowing that it will be broken tomorrow. and day by day, the absence in form will grow until that once teacup becomes nothing but empty space, with its base designated in place of the back porch ash tray. when i turned back one day, there was nothing left of its body nothing left of it that i could see but paint dust, a couple of cuts and some blood covered by a bandaid that doesn't stay on because feet sweat a little too much. morning is repetition for comfort but breaking routine is starting to feel more appealing than keeping it, because I know one morning I will wake alone, with a rusted infrastructure and fractured backbone, and have to look upon a screen with thousand texts that read, "there are other fish in the sea" well, **** you, maybe he was my sea. i mean, he is my sea, maybe. there is a genre of waste verse called poetry, and the simple syllogism of it all leaves me reeling. but after i finish my cigarette over the khaki pine needles beneath your porch and go inside, "good morning", i say. "good morning", he said. i cannot remember what was so important just a few moments ago. morning.
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43
Hallelujah Simpkins, Syllogism Brown, Wandered up to Barkingside to walk around the town. Does it make you wonder, when they ring the bell, How they press the ***** keys and sing along as well? Syllogism wondered so he climbed the tower to see; Hallelujah, Simpkins said, I know that I am free. Hallelujah Simpkins, Pendlebury Jane, Hurried to the hospital and hurried home again. Does it make you wonder, when they run so fast, How they know they'll ever reach the hospital at last? Pendlebury wondered even though she couldn't run, Hallelujah, Simpkins said, today I have a son. Hallelujah Simpkins, Academic Smith, Never et an orange if they couldn't eat the pith. Does it make you wonder, if oranges can float, Why they catch the Underground and never catch a boat? Academic wondered so he went and caught the train; Hallelujah, Simpkins said, and said it once again. Hallelujah Simpkins, Concertina Flight, Hear the song the angels sing in Dagenham tonight! Does it make you wonder, climbing Heaven's stair, How you'd speak to Hallelujah Simpkins, if he's there? Simpkins only wondered whom he followed as he soared; Hallelujah, Simpkins said, and glory to the Lord!
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May 22, 2010
May 22, 2010 at 9:36 PM UTC
Hallelujah Simpkins
*walking along tormented path* 1. daisies hum hymns in flutter-eyes weeping willow leans down to whistle a medley of fifteen-odd tunes you used to know but never quite did grasp the axis merry-tilts just a bit and you try to grab hold of a patch of sullen-sky but the clouds shift once more and you're unexpectedly holding rain in your joints running steady-rivulets in the morrow's wrinkles 2. you step onto the pavement avoiding the lines a knack acquired over years of practice on the sidelines of others' lives kerb jumps up like a ***** with no chapeau its inordinate-syllogism bites your ankle like a swarm of ants in dread-ire in disorderly tornado-twirls step.. step.. step.. walk on..... (piece-a-cake....right?) S T - 4 decked / on / double
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Dec 4, 2013
Dec 4, 2013 at 3:27 PM UTC
avoiding the lines
"Changes" Metamorphosis. This is my epiphany, To old self bid gone. "Honoring" The servant-hearted, Selfless and genuine soul, Sheer blessing to us. "Unconditional" The Almighty God Loved me for all that I am, A love so ardent. "Levanther" Such comforting wind Sweeping off between my hair; Here goes the chimes ring. "Syllogism" Great continuum, Why such distance imposed That wall between us? "Cantor" Oh that lone guitar, Let me caress such old strings And I'll sing sweet songs. "Maktub" The wheel of fate turns, Made me search off the cosmos, All leading to you.
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Jul 6, 2014
Jul 6, 2014 at 9:25 PM UTC
Catharsis
Standing as a posthumous syllogism on the main platform of the terminal, is the statue, Of what is perceived to be man. Nondescript in attitude and feature, balanced By the raw fact that a craftsman was disposed to cast it in bronze. The likeness of the general populace, defined through blank eyes, in the perfect reflection Of the truth. It seems that the epitome of accepted natural progression, that there Should be no inscription, no engraved statement of popularity or definition on its base. The dank smell and dust on the edifice on which it resides, continues to be a grim reminder of the expected and the commonplace. The reminder of what was and is, is left unnoticed, Forgotten by the familiar repetitive sight. The dying terminal (a redundant epithet) has grown dark through the cast of despair And false hope showering its massive windows from above. Light source has been cut off, Leaving only a path of beaten resolve, to direct the feet of the misguided. Not unlike the path, closest to the fence, struck hard by the hooves of the cattle, prompted forward by the hand out of food in the first cold days of winter. The stream grows on a daily basis, more and more The masses trip and stumble aboard the trains, to find their lurching, rocking way to self destruction. Nobility could have been found in even handed choice. Those who chose the line, the prolonged rail of Indifference and non-comprehension. Rails of iron, rusted like the rotted cheap pines on the waters edge. It is the longest journey, containing the most miles, the last station, the end of earth and existence. In some way you have known the base emotion, and what has been the guise of continuity, it is a new Reality, a new abstraction, there are no contradictions. The checked premise and the realization In words and concepts, those things we have known all along. The realization is loved and hated at the same time, and it can only be beneficial that the welcome Exceeds the hatred. The desperate homage to the masses is fading from the tangibleness, and is Replaced the the disquieting base physical feeling of the impending no mater being undesired. More important is the knowledge, that the precepts and premises held Without words have the tangible meaning long desired, And that the intangible reward, that can only be shared with few.
0
Dec 26, 2011
Dec 26, 2011 at 9:02 PM UTC
Destiny Rail
Standing as a posthumous syllogism on the main platform of the terminal, is the statue, Of what is perceived to be man. Nondescript in attitude and feature, balanced By the raw fact that a craftsman was disposed to cast it in bronze. The likeness of the general populace, defined through blank eyes, in the perfect reflection Of the truth. It seems that the epitome of accepted natural progression, that there Should be no inscription, no engraved statement of popularity or definition on its base. The dank smell and dust on the edifice on which it resides, continues to be a grim reminder of the expected and the commonplace. The reminder of what was and is, is left unnoticed, Forgotten by the familiar repetitive sight. The dying terminal (a redundant epithet) has grown dark through the cast of despair And false hope showering its massive windows from above. Light source has been cut off, Leaving only a path of beaten resolve, to direct the feet of the misguided. Not unlike the path, closest to the fence, struck hard by the hooves of the cattle, prompted forward by the hand out of food in the first cold days of winter. The stream grows on a daily basis, more and more The masses trip and stumble aboard the trains, to find their lurching, rocking way to self destruction. Nobility could have been found in even handed choice. Those who chose the line, the prolonged rail of Indifference and non-comprehension. Rails of iron, rusted like the rotted cheap pines on the waters edge. It is the longest journey, containing the most miles, the last station, the end of earth and existence. In some way you have known the base emotion, and what has been the guise of continuity, it is a new Reality, a new abstraction, there are no contradictions. The checked premise and the realization In words and concepts, those things we have known all along. The realization is loved and hated at the same time, and it can only be beneficial that the welcome Exceeds the hatred. The desperate homage to the masses is fading from the tangibleness, and is Replaced the the disquieting base physical feeling of the impending no mater being undesired. More important is the knowledge, that the precepts and premises held Without words have the tangible meaning long desired, And that the intangible reward, that can only be shared with few.
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27
I catch the wind as it sings, the air slides off so smoothly as it licks me clean I am the essence of the prolonged flight a necessary piece of this biological schema or meme Viewed from below, the sky caresses my form fractal in its simple, yet non-single shadow swarm Hunting in the perfect performance; I must scream: THIS IS LIFES’ **** Suddenly I am separated in somewhat sinful schism I drift apart from the forlorn form of what was once my prism I miss that system...It was my home not my iron-clad prison ….but apart after the start....If I am part of the parts........... ….how shall I help my whole being... ….complete it’s functional syllogism with heart? Falling so slowly, Mother sky please excuse me At this junction I must depart In conclusion I bid you adieu from my heart of hearts.... ============================================until I am Picked up by a man imbued with spirit, He holds the eagles medicine now firmly in his hand. Distinct in shape and my weight helps him to understand..... ….his brother in the sky the being way up high the one who is watching far away but nearby.... I now know my function, though I lost sight for a while I can help teach him to fly, out of his body and into the cry of the eagle that soars with him now, A brother in arms================= a lover of ours, now with a friend on his brow, helping fulfill a spiritual how.
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Feb 12, 2016
Feb 12, 2016 at 10:59 AM UTC
What am I?
A symphony of modality, Of fiction and reality. With the rhythm of a syllogism Of a logical decision. A shallow sky, where rats fly Singing lies to passersby Amidst the cries and goodbyes The night sighs, as glistening scythes Steal souls and take lives But nothing dies, nothing vanishes in this cryptic lullaby I'll start walking, I don't care what you say. I'll start talking, I don't care to who you pray. I'm done standing here watching you fly like I always do. I'm not stranded here, it's time for something new. So I leave you in this cryptic lullaby.
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Jul 21, 2015
Jul 21, 2015 at 5:37 PM UTC
A Tipsy Goodbye
{if you would let me:} i want to unlock the steadiness of your hands and the tranquility of that knowing gaze, unfurl the scroll tucked deep inside your ribcage and set a metronome to the beat drumming in your chest. i want to decode the secrets folded up in the corners of your crooked smile and chant them mixed into sacred hymns - gibberish and syllogism. i want to feel the electricity pulsing vigorously in your tempest and the crack-crack-BOOM visceral quake of thunder shaking at the edges of understanding. i want to chisel at the surface of your caverns 'til the exterior gives way and the inner waters surge through. i want to stand waist-deep soaking in the river and learn the intricacies of its currents, the way it flows over-into-through itself and smooths jagged surface. i want to hear the song of its roaring waves and whisper harmony into the wind, trailing my fingertips along the waterbed i'll spin with whirlpools spontaneous. i want to hold the heavy earth between my palms, and let the sandy subtleties slip through the cracks. i want to caress the faces of rock formations crafted by the weathering of decades as a blind man discovering through ardent touch... meditating on intimate geography, i'll construct a map to the sacred space where our spirits meet overlapping in synchronicity. and if you commune with me there, i'll uncover the mysterious universe bursting forth in me, and we can learn how to integrate our corners of infinity.
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Apr 20, 2015
Apr 20, 2015 at 2:34 PM UTC
intimate geography
if i knew that whichever way i travelled i would still come back to this crossroads would the journey matter at all? No, unless i was not the same, carrying the new disease of experience, wisdom, and enlightened by perspective then would this crossroads be the same, if i were different? would i not pass on this illness, to infect someone else? if i knew that no matter where i journeyed i would still return to this crossroads would my travels matter at all? Perhaps if i were changed, mutated by the infection, with imagination, creativity, and enlightened by relationships then would this crossroads be the same, if i were different? would i not pass this blessing, to better someone else? at a crossroads i sat, and pondered a syllogism
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Mar 22, 2016
Mar 22, 2016 at 2:09 PM UTC
If disease is change, and change a blessing
This world’s a plum blossom Bound to fall in its blooming. Ten thousand leaves shivering for the trunks sappy ***** In attempts ill, to arrive: A syllogism, best left unsaid. Peace known only by the dead And those that cease their striving For the fall is easy, the road Slippery. To abstract in words Seems simple, yet birds Don’t cling to their branched abode. Nor should we, our own constructions Lest we rouse misconception from its place Kiss it square on its blemished face And with it, bury our logical deductions. For the Zazen mats are warmed Not by the coals but fact: The world is burning with emptiness What’s left to do, but the dishes?
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Apr 13, 2014
Apr 13, 2014 at 9:34 PM UTC
Hakuin
The Gram sir, polygonal father firefly stand in Cibatus ... thread and thread form light. In the year 1300 miliérnaga great night, the Lucibatus provoke a detritment an ***** He fell back to Cibatus And her delicate body broke into two parts... In the center was in "A"; Her two columns Stumble down at the head of Mr. Gram. He in the compartment, The pulverized seeds scraped Galloping ice that undermined the Cibatus The year in 1200, Oh syllogism much light! You coordinate the central hole Cibatus basket; gramineous navel dim oracle Coming through the middle, Dodona River as light. In the center of barley, Mr. Gram healed their wounds; Fecracia corpuscles, Major ***** Susea ... that ruled with all his power by blizzards. "Not Cibatus or broken, traditional custom was broken by wind and not by Light gram " In the dark night of San Corinth, It fell night where Mr. Gram asleep ... happy told the fierfly your damage would not alter its sun. Toward the end of the day, He said his greatest roar... Their wings hawked loose Cibatus noise pain! Lat night came, and invisible, transparent body wanted spring, Love this protozoan Cibatus alone. Farewell  said fierfly in 1300, when it fell by the protozoan crag ... Signs metal birds They said ...; Aaaah ..! and noise Gram God, They said! Aaaaah ... Aaah ...! Nor no hugs or charity, the rough particle spring circle flierfly donated the ***** ... Limestone Road He loved the feet of ash, white bodies laughed and they transmuted his absent body. Flierfly he opened his eyes... Cibatus looked at his winged whistling song: " Fly Fierfly, stretch your threads; Mr. Whiskers love Gram ... buried next to the root of Cibatus " Farewell Thousand Three Hundred ... ! JOSÉ LUIS  CARREÑO TRONCOSO 10 to 11 July 1995.
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Apr 4, 2018
Apr 4, 2018 at 5:16 PM UTC
C I B A T U S
The Gram sir, polygonal father firefly stand in Cibatus ... thread and thread form light. In the year 1300 miliérnaga great night, the Lucibatus provoke a detritment an ***** He fell back to Cibatus And her delicate body broke into two parts... In the center was in "A"; Her two columns Stumble down at the head of Mr. Gram. He in the compartment, The pulverized seeds scraped Galloping ice that undermined the Cibatus The year in 1200, Oh syllogism much light! You coordinate the central hole Cibatus basket; gramineous navel dim oracle Coming through the middle, Dodona River as light. In the center of barley, Mr. Gram healed their wounds; Fecracia corpuscles, Major ***** Susea ... that ruled with all his power by blizzards. "Not Cibatus or broken, traditional custom was broken by wind and not by Light gram " In the dark night of San Corinth, It fell night where Mr. Gram asleep ... happy told the fierfly your damage would not alter its sun. Toward the end of the day, He said his greatest roar... Their wings hawked loose Cibatus noise pain! Lat night came, and invisible, transparent body wanted spring, Love this protozoan Cibatus alone. Farewell  said fierfly in 1300, when it fell by the protozoan crag ... Signs metal birds They said ...; Aaaah ..! and noise Gram God, They said! Aaaaah ... Aaah ...! Nor no hugs or charity, the rough particle spring circle flierfly donated the ***** ... Limestone Road He loved the feet of ash, white bodies laughed and they transmuted his absent body. Flierfly he opened his eyes... Cibatus looked at his winged whistling song: " Fly Fierfly, stretch your threads; Mr. Whiskers love Gram ... buried next to the root of Cibatus " Farewell Thousand Three Hundred ... ! JOSÉ LUIS  CARREÑO TRONCOSO 10 to 11 July 1995.
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64
I am from         waking up at 5 a.m.         and making my dad pour me a glass         of chocolate milk and put in         the Tom & Jerry VCR tape. I am from         the years spent on stage         performing, acting, dancing,         making music from the keys and strings of instruments         that I have since abandoned. I am from         the technology that shaped me,         which I cannot live without-         the shows and movies and games; staying up,         the bright screen of my laptop glaring against the darkness of my room. I am from         crying until my eyes are red and raw,         happy and sad and laughing tears         from the deaths and lives and breakups and reunions         of the characters and shows I will never forget. I am from         lying in my bed         listening to the music that has healed me,         blaring in my ears         and against the four walls that enclose me. I am from         the places I’ve been-         from La Jolla to Lancaster to Boston and Nanjing,         to the places I wish to go-         from Sydney to Quebec to Venice and Chicago. I am from         homework and studying and tests,         and homework and studying and tests.         Yearning for college since middle school,          to be around people who crave knowledge, too. I am from         Modus Ponens and Modus Tollens and Disjunctive Syllogism,         and memorizing fallacies and philosophy arguments at 8 a.m.,         the course that challenged me beyond my limits,         the course that introduced me to my favorite place in the world. I am from         my home away from home-         lying on the grass of the quad,         dancing beneath the stars         to the Canon, the soundtrack of my youth. I am from         the memories I hold         within polaroids and photos behind screens,         within songs and books and between the lines         of the poems that I have bled from my heart onto paper. I am from         my previous and continuing attempts to escape this town,         and the meaningless interactions within the cold halls of highschool;         trying to find the people who will become my people         and the places I will call home.                                                                                          j.z.
0
Oct 12, 2015
Oct 12, 2015 at 11:48 AM UTC
5 a.m.
I am from         waking up at 5 a.m.         and making my dad pour me a glass         of chocolate milk and put in         the Tom & Jerry VCR tape. I am from         the years spent on stage         performing, acting, dancing,         making music from the keys and strings of instruments         that I have since abandoned. I am from         the technology that shaped me,         which I cannot live without-         the shows and movies and games; staying up,         the bright screen of my laptop glaring against the darkness of my room. I am from         crying until my eyes are red and raw,         happy and sad and laughing tears         from the deaths and lives and breakups and reunions         of the characters and shows I will never forget. I am from         lying in my bed         listening to the music that has healed me,         blaring in my ears         and against the four walls that enclose me. I am from         the places I’ve been-         from La Jolla to Lancaster to Boston and Nanjing,         to the places I wish to go-         from Sydney to Quebec to Venice and Chicago. I am from         homework and studying and tests,         and homework and studying and tests.         Yearning for college since middle school,          to be around people who crave knowledge, too. I am from         Modus Ponens and Modus Tollens and Disjunctive Syllogism,         and memorizing fallacies and philosophy arguments at 8 a.m.,         the course that challenged me beyond my limits,         the course that introduced me to my favorite place in the world. I am from         my home away from home-         lying on the grass of the quad,         dancing beneath the stars         to the Canon, the soundtrack of my youth. I am from         the memories I hold         within polaroids and photos behind screens,         within songs and books and between the lines         of the poems that I have bled from my heart onto paper. I am from         my previous and continuing attempts to escape this town,         and the meaningless interactions within the cold halls of highschool;         trying to find the people who will become my people         and the places I will call home.                                                                                          j.z.
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56
*"Klaus Fuchs did what he had to do like a good harbinger, there is virtue in being faithful to his cause"* this is where my cousin's brutally honest syllogism took me today *"a simplified view is always what gets you at the bottom of a swamp"* this is where he swings a club and bounces back from his recent bogey against me in the greens with Jim
0
Jun 3, 2016
Jun 3, 2016 at 10:39 PM UTC
untitled
Derelict  recondite alone and Hemorrhaging. nocturnal ebullience, sporadic . Effulgent , Paltry surreptitiously vacuous and limpid to deliquesce upon perspicuity at its core abhorrent , perhaps surreptitious assuredly altogether banal. Marginal, salacious      nominal not liminal. decrepit cerebral palimpsest. Sesquipedalian abstrusity . Obumbrated syllogism stochastically innervated.   Berated lugubriously . Masticated openly opaquely supercilious mellifluous synergy extirpated redundantly.
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Apr 30, 2025
Apr 30, 2025 at 2:52 AM UTC
No
⸎⟆⥉⦕⫯⟴ Ode to the Count De St. Germaine ⸎⟆ Dearest Count, I know you watch and listen. It is through you I set sail upon this ship of thoughts To you, to whom, I christen. These polysemic effulgence do, alas, waxen, wane, but seldom in vain. In antediluvian silence drawn, manifests in hyperborean dearth a logos, sir in autochthonous rebirth. Their, hierophantic murmurs will obfuscate, the omphalos of matter, still inchoate, where perichoresis in vertiginous tide the fractal that doth assuredly bide. A palimpsest of null embrace where these false augurs drink from hollowed urns, and time itself forgets to turn. Perfidious orisons, whisper-thin, in circumflected aeons spin, converging on the cusp of naught, where paradigms in silence rot. A chrysalis of paradox, enshrouds the fey, unbridled clocks, that chime in fugue, then dissipate beyond the hinge of latent fate... The pericombobulatory grand design deliquesces in auctorial decline! (Syncretic palingenesis unspools, within the aether’s epistemic pools, a syzygetic parallax unweaves the thaumaturgic spoor that time bereaves.) For naught but vacuous profundities remain, a simulacrum of the arcane mundane, where in sesquipedalian grandeur lies a syllogism clad in grandiloquent guise. Ouroboric concatenations of antinomian design, circumvolute within paracryptic paradigms malign, as obmutescent theogonic vestiges coalesce in the eidetic zymurgy of aphasic largesse. Metagnostic palimpsests, fracto-linear and obtuse, catachrestically wane in hyperchromatic profuse, whilst locutions, effulgent yet contrite, obumbrate the paramorphic tautology of night. A transcendental abecedarium, paralogical and vast, consanguineous with the inexorable umbrage of our shared Jungian past, germinates within the syntagmatic— Ever relaxed or ecstatic, Coalesced to pragmatic, Lugubriously emphatic. Within this hypostatized ratiocinative mire, where sophronistic axiom and non-being conspire, one finds but an echolalic, chimerical gleam, an ontosemantic palinode to the dream. The Archetype realized. The Alchemist mystically re-materialized. Count, oh Count. "Wherefore art thou," indeed, in this : our time of greatest need.
0
Feb 24, 2025
Feb 24, 2025 at 4:23 PM UTC
⸎⟆⥉⦕⫯⟴ Ode to the Count De St. Germaine ⸎⟆⥉⦕⫯⟴
⸎⟆⥉⦕⫯⟴ Ode to the Count De St. Germaine ⸎⟆ Dearest Count, I know you watch and listen. It is through you I set sail upon this ship of thoughts To you, to whom, I christen. These polysemic effulgence do, alas, waxen, wane, but seldom in vain. In antediluvian silence drawn, manifests in hyperborean dearth a logos, sir in autochthonous rebirth. Their, hierophantic murmurs will obfuscate, the omphalos of matter, still inchoate, where perichoresis in vertiginous tide the fractal that doth assuredly bide. A palimpsest of null embrace where these false augurs drink from hollowed urns, and time itself forgets to turn. Perfidious orisons, whisper-thin, in circumflected aeons spin, converging on the cusp of naught, where paradigms in silence rot. A chrysalis of paradox, enshrouds the fey, unbridled clocks, that chime in fugue, then dissipate beyond the hinge of latent fate... The pericombobulatory grand design deliquesces in auctorial decline! (Syncretic palingenesis unspools, within the aether’s epistemic pools, a syzygetic parallax unweaves the thaumaturgic spoor that time bereaves.) For naught but vacuous profundities remain, a simulacrum of the arcane mundane, where in sesquipedalian grandeur lies a syllogism clad in grandiloquent guise. Ouroboric concatenations of antinomian design, circumvolute within paracryptic paradigms malign, as obmutescent theogonic vestiges coalesce in the eidetic zymurgy of aphasic largesse. Metagnostic palimpsests, fracto-linear and obtuse, catachrestically wane in hyperchromatic profuse, whilst locutions, effulgent yet contrite, obumbrate the paramorphic tautology of night. A transcendental abecedarium, paralogical and vast, consanguineous with the inexorable umbrage of our shared Jungian past, germinates within the syntagmatic— Ever relaxed or ecstatic, Coalesced to pragmatic, Lugubriously emphatic. Within this hypostatized ratiocinative mire, where sophronistic axiom and non-being conspire, one finds but an echolalic, chimerical gleam, an ontosemantic palinode to the dream. The Archetype realized. The Alchemist mystically re-materialized. Count, oh Count. "Wherefore art thou," indeed, in this : our time of greatest need.
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59
Ouroboric concatenations of antinomian design, circumvolute within circumspatial paradigms malign, as obmutescent theogonic vestiges coalesce in the eidetic zymurgy of aphasic largesse. Metagnostic palimpsests, fracto-linear and obtuse, catachrestically wane in hyperchromatic profuse, whilst locutions, effulgent yet contrite, obumbrate the paramorphic tautology of night. A transcendental abecedarium, paralogical and vast, consanguineous with the inexorable umbrage of our shared Jungian past, germinates within the syntagmatic— Ever relaxed or ecstatic, Coalesced to pragmatic, Lugubriously emphatic. For naught but vacuous profundities remain, a simulacrum of the arcane mundane, where in sesquipedalian grandeur lies a syllogism clad in grandiloquent guise.
0
Feb 28, 2025
Feb 28, 2025 at 8:56 PM UTC
What even is English ? Dictionary time
The masculine assault upon the reluctance of the “coy” woman lies at the heart of Marvell’s best-known love poem—perhaps the most famous “persuasion to love” or carpe diem poem in English—”To his Coy Mistress.” Everything we know about Marvell’s poetry should warn us to beware of taking its exhortation to carnality at face value. Critics from T. S. Eliot on took note of the poem’s “logical” structure, but then it began to be noticed that the conditional syllogism in that structure is invalid—a textbook case of affirming the consequent or the fallacy of the converse. Has Marvell made an error? Or does he attribute an error to the speaking persona of the poem? Or is the fallacy part of the sophistry that a seducer uses on an ingenuous young woman? Or is it a supersubtle compliment to a woman expected to recognize and laugh at the fallacy? These alternatives must be judged in the light of the abrupt shifts in tone among the three verse paragraphs. In the opening lines the seducer assumes a pose of disdainful insouciance with his extravagant parody of the Petrarchan blason: An hundred years should go to praise Thine Eyes, and on thy Forehead Gaze. Two hundred to adore each Breast: But thirty thousand to the rest. An Age at least to every part, And the last Age should show your Heart. Although the Lady is said to “deserve this State,” the compliment is more than a little diminished when the speaker adds that he simply lacks the time for such elaborate wooing. It is also likely that most women would be put off rather than tempted by the charnel-house imagery of the poem’s middle section where the seducer, sounding like a fire-and-brimstone preacher, warns that “Worms shall try / That long preserv’d Virginity.” Finally, the depiction of ****** intimacy at the poem’s close, with its vision of the lovers as “am’rous birds of prey” who will “tear our Pleasures with rough strife,” is again a disconcerting image in an ostensible seduction poem. The persona’s desire for the reluctant Lady is mingled with revulsion at the prospect of mortality and fleshly decay, and he manifests an ambivalence toward ****** love that is pervasive in Marvell’s poetry.”
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Oct 18, 2018
Oct 18, 2018 at 11:29 PM UTC
Andrew Marvell ~ first, the blah blah critique, the placement
The masculine assault upon the reluctance of the “coy” woman lies at the heart of Marvell’s best-known love poem—perhaps the most famous “persuasion to love” or carpe diem poem in English—”To his Coy Mistress.” Everything we know about Marvell’s poetry should warn us to beware of taking its exhortation to carnality at face value. Critics from T. S. Eliot on took note of the poem’s “logical” structure, but then it began to be noticed that the conditional syllogism in that structure is invalid—a textbook case of affirming the consequent or the fallacy of the converse. Has Marvell made an error? Or does he attribute an error to the speaking persona of the poem? Or is the fallacy part of the sophistry that a seducer uses on an ingenuous young woman? Or is it a supersubtle compliment to a woman expected to recognize and laugh at the fallacy? These alternatives must be judged in the light of the abrupt shifts in tone among the three verse paragraphs. In the opening lines the seducer assumes a pose of disdainful insouciance with his extravagant parody of the Petrarchan blason: An hundred years should go to praise Thine Eyes, and on thy Forehead Gaze. Two hundred to adore each Breast: But thirty thousand to the rest. An Age at least to every part, And the last Age should show your Heart. Although the Lady is said to “deserve this State,” the compliment is more than a little diminished when the speaker adds that he simply lacks the time for such elaborate wooing. It is also likely that most women would be put off rather than tempted by the charnel-house imagery of the poem’s middle section where the seducer, sounding like a fire-and-brimstone preacher, warns that “Worms shall try / That long preserv’d Virginity.” Finally, the depiction of ****** intimacy at the poem’s close, with its vision of the lovers as “am’rous birds of prey” who will “tear our Pleasures with rough strife,” is again a disconcerting image in an ostensible seduction poem. The persona’s desire for the reluctant Lady is mingled with revulsion at the prospect of mortality and fleshly decay, and he manifests an ambivalence toward ****** love that is pervasive in Marvell’s poetry.”
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