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RAJ NANDY Feb 2015
AN INTRODUCTION TO INDIAN ART IN VERSE  
By Raj Nandy : Part One

INTRODUCTION
Background :
The India subcontinent and her diverse physical features,
influenced her dynamic history, religion, and culture!
The fertile basin of the Sapta-Sindu Rivers* cradled one of
world’s most ancient civilization, (seven rivers)
Contemporary to the Sumerians and the Egyptians, popularly
known as the Indus Valley Civilization!
The Sindu (Indus), Jhelum, Chenab, Ravi, Sutlej, Bias, along
with the sacred river Saraswati, shaped India’s early History;
Where once flourished the urban settlements of Harappa and
Mohenjodaro, which lay buried for several centuries;
For our archaeologists and scholars to unravel their many
secrets and hidden mysteries!
Modern scholars refer to it as ‘Indus-Saraswati Civilization’;
By interpreting the text of the Rig Veda which mentions
eclipses, equinoxes, and other astronomical conjunctions,
They date the origin of the Vedas as earlier as 3000 BC;
Thereby lifting the fog which shrouds Ancient History! +
(+ Two broad schools of thoughts prevail; Max Mullar refers
to 1500 BC as the date for origin of the Vedas, but modern scientific findings point to a much earlier date for their Oral composition and
their long oral tradition!)

On the banks of the sacred Saraswati River the holy sages
did once meditate, *
When their third eye opened, as all earthly bonds they did
transcend !
From their lips flowed the sacred chants of the Vedas, as
they sang the creator Brahma’s unending praise!
These Vedic chants and incantations survived many
centuries of an oral tradition,
When Indian Art began to blossom into exotic flowers like
Brahma’s divine manifestations;
With all subsequent art forms following the model of
Brahma’s manifold creations!
The Vedas got written down during the later Vedic Age
with commentaries and interpolations,
And remain as India’s indigenous composition, forming a
part of her sacred religious tradition! *
(
Rig Veda the oldest, had hymns in praise of the creator;
Yajur Veda spelled the ritual procedures; Sama Veda sets
the hymns for melodious chanting, & is the source of seven
notes of music; Artha Veda had hymns for warding off evil
& hardship, giving us a glimpse of early Vedic life.)

IMPACT OF FOREIGN INVASIONS:
Through the winding Khyber Pass cutting through the rugged
Hindu Kush Range,
Came the Persians, Greeks, Muslims, the Moguls, and many
bounty hunters storming through north-western frontier gate;
Consisting of varied racial groups and cultures, they entered
India’s fertile alluvial plains!
Therefore, while tracing 5000 years of Art Story, one cannot
divorce Art from India’s exotic cultural history.
From the Cave Art of Bhimbetka, to the dancing girl of Harappa,
To the frescoes and the evocative figures of Ajanta and Ellora;
Many marvelous and exquisitely carved temples of the South,
And Muslim and Mogul architecture and frescoes along with
India’s rich Folk Art, enriched her artistic heritage no doubt!
Yet for a long time Indian Art had been the least known of
the Oriental Arts,
Perhaps because from Western point of view it was difficult
to understand the spirit behind Indian Art!
For Indian Art is at once aesthetic and sensual, also passionate,
symbolic, and spiritual !
It both celebrates and denies the individual’s love of life,
where free instinct with rigid reason combine !
These contradictory elements are found side by side due to
her culturally mixed conditions, as I had earlier mentioned!
Now, if we add to this the constant religious exaltation,
With the extensive use of symbolic presentation, from the
early days of Indian civilization;
We have the basic elements of an Art, which has gradually
aroused the interest of Western Civilization!

The further we get back in time, we only begin to find,
That religion, philosophy, art and architecture,
Had all merged into an unified whole to form India’s
composite culture!
But while moving forward in time, we once again find,
That art, architecture, music, poetry and dance, all begin to
gradually emerge, with their separate identities,
Where Indian Art is seen as a rich mosaic of cultural diversity!

(NOTES:-In the ancient days, the Saraswati River flowed from the Siwalik Range of Hills (foothills of the Himalayas) between Sutlej & the Yamuna rivers, through the present day Rann of Kutch into the Arabian Sea, when Rajasthan was a fertile place! Indus settlements like Kalibangan, Banawalli, Ganwaiwala, were situated on the banks of Sarsawati River, which was longer than the Indus & ran parallel, and is mentioned around50 times in the Rig Veda! Scientists say that due to tectonic plate movements, and climatic changes, Saraswati dried up around 1700BC ! The people settled there shifted east and the south, during the course of history! Some of those Indo-Aryan speaking people were already settled there, & others joined later. Max Muller’s theory of an Aryan Invasion which destroyed the Indus Valley Civilization during 1500BC, supported by Colonial Rulers, was subsequently proved wrong ! Indo-Aryans were a Language group of the Indo- European
Language Family, & not a racial group as mistaken by Max Mullar! Therefore Dr.Romila Thapar calls it a gradual migration, & not an invasion! The Vedas were indigenous composition of India. However, they got compiled & written down for the first time with commentaries, at a much later date! I have maintained this position since it has been proved by modern scholars scientifically!)

SYMBOLISM IN INDIAN ART
From the ancient Egyptian hieroglyphic to the Cretan Bull
of Greece,
Symbols have conveyed ideas and messages, fulfilling
artistic needs.
The ‘Da Vinci Code’ speaks of Leonardo’s art works as
symbolic subterfuge with encrypted messages for a secret
society!
While Indian art is replete with many sacred symbols to
attract good fortune, for the benefit of the community!
The symbols of the Dot or ‘Bindu’, the Lotus, the Trident,
the Conch shell, the sign and chant of ‘OM’, are all sacred
and divine;
For at the root of Indian artistic symbolism lies the Indian
concept of Time!
The West tends to think of time as a dynamic process which
is forward moving and linear;
Commencing with the ‘Big Bang’, moving towards a ‘Big
Crunch’, when ‘there shall be no more time’, or a state of
total inertia !
Indian art and sculpture is influenced by the cyclic concept
of time unfolding a series of ages or ‘yugas’;
Where creation, destruction and recreation, becomes a
dynamic and an unending phenomena!
This has been artistically and symbolically expressed in the
figure of Shiva-Nataraja’s cosmic dance,
Which portrays the entire kinetic universe in a state of
eternal flux!
The hour-glass drum in Nataraja’s right hand symbolizes
all creation;
Fire in his left hand the cyclic time frame of destruction!
The raised third hand is in a gesture of infinite benediction;
And the fourth hand pointing to his upraised foot shows the
path of liberation!

It was easier to teach the vast untutored population through
symbols, images, and paintings in the form of Art;
For a picture is more effective than a thousand words!
The Dot or ‘bindu’ becomes the focus for meditation,
Where the mental energies are focused on a single point of
creation,
As seen in the cotemporary art works of SH Raza’s
artistic representations!
Yet the same dot when expanded as a circle becomes
wholeness and infinity;
The shape of celestial bodies of the cyclic universe in its
creativity!
The Lotus seen in many sculptures, on temple walls, and
majestic columns, denotes purity;
A symbol of non-attachment rising above the muddy waters,
retaining its pristine color and beauty!
The Lotus is a powerful and transformational symbol in
Buddhist Art,
Where pink lotus is for height of enlightenment, blue for
wisdom, white for spiritual perfection, and the red lotus
symbolizing the heart!
This Lotus symbol also finds a place in Mughal sculptural
carvings and miniatures;
The inverted lotus dome resting on its petals, forms the
crown of Taj Mahal’s white marble architecture!
The trident or ‘trishul’ symbolizes the three god-heads
Brahma, Vishnu and Shiva;
As the Creator, Preserver and Destroyer, in that cyclic
chain which goes on forever!
The ***** stone of Shiva-lingam surrounded by the oval
female yoni symbolizes fertility and creation,
Usually found in the inner sanctuary of Hindu temples!
Finally, the symbol of ‘OM’ and its vibrating sound,
Echoes the primordial vibrations with which space and
time abounds!
All matter comes from energy vibrations manifesting
cosmic creation;
Also symbolized in Einstein’s famous matter-energy equation!
The Conch Shell a gift of the sea when blown, sounds the
ancient primordial vibration of ‘OM’!
It’s hallowed auspicious sound accompanies marriage
ceremonies and rituals whenever occasion demands;
And pacifies mother earth during Shiva-Nataraja’s sudden
seismic dance! (earthquakes)
Dear readers the symbols mentioned here are very few,
Mainly to curb the length, while I pay Indian Art my
artistic due!

A BRIEF COMPARISON OF ART:
Despite the many foreign influences which entered India
through the Khyber and Bholan pass,
India displayed marvelous adaptability and resilience, in
the development of her indigenous Art!
The aesthetic objectivity of Western Art was replaced by
the Indian vision of spiritual subjectivity,
For the transitory world around was only a ‘Maya’ or an
Illusion,- lacking material reality!
Therefore life-like representation was not always the aim
of Indian art,
But to lift that veil and reveal the life of the spirit, - was
the objective from the very start!
Egyptian funerary art was more occupied with after-life
and death;
While the Greeks portrayed youthful vigor and idealized
beauty, celebrating the joys of life instead!
The proud Roman Emperors to outshine their predecessors
erected even bigger statues, monuments, and columns
draped in glory;
Only in the long run to drain the Roman treasury, - a sad
downfall story!
Indian art gradually evolved over centuries with elements
both religious and secular,
As seen from the period of King Chandragupta Maurya,
Who defeated the Greek Seleucus, to carve out the first
united Indian Empire ! (app. 322 BC)

SECULAR AND SPIRITUAL FUSION IN ART:
Ancient Indian ‘stupas’
and temples were not like churches
or synagogues purely spiritual and religious,
But were cultural centers depicting secular images which
were also non-religious!
The Buddhist ‘stupa’ at Amravati (1stcentury BC), and the
gateways at Sanchi (1stcentury AD), display wealth of carvings
from the life of Buddha;
Also warriors on horseback, royal procession, trader’s caravans,
farmers with produce, - all secular by far!
Indian temples from the 8th Century AD onwards depicted
images of musicians, dancers, acrobats and romantic couples,
along with a variety of Deities;
But after 10th Century ****** themes began to make their mark
with depiction of sensuality!
Sensuality and ****** interaction in temples of Khajuraho and
Konarak has been displayed without inhibition;
As Tantric ideas on compatibility of human sexuality with
human spirituality, fused into artistic depictions!
Religion got based on a healthy and egalitarian acceptance
of all activities without ****** starvation;
For the emotional health and well-being of society, without
hypocritical denial or inhibition!
(’Stupas’= originated from ancient burial mounds, later became devotional Buddhist sites with holy relics, & external decorative gateways and carvings!)

KHJURAHO TEMPLE COMPLEX (950 - 1040 AD) :
Was built by the Chandela Rajputs in Central India,
When Khajuraho, the land of the moon gods, was the first
capital city of the Chandelas!
****** art covers ten percent of the temple sculptures,
Where both Hindu and Jain temples were built in the north-Indian
Nagara style of Architecture.
Out of the 85 temples only 22 have stood the vagaries of time,
Where a perfect fusion of aesthetic elegance and evocative
Kama-Sutra like ****** sculptural brilliance, - dazzle the eyes!

KONARAK SUN TEMPLE OF ORISSA - EAST COAST:
From the Khajuraho temple of love, we now move to the
Konark temple of *** in stones - as art!
Built around 1250 AD in the form of a temple mounted on
a huge cosmic chariot for the Sun God;
With twelve pairs of stone-carved wheels pulled by seven
galloping horses, symbolizing the passage of time under
the Solar God !
Seven horses for each day of the week, pulls the chariot
east wards towards dawn;
With twelve pairs of wheels representing the twelve calendar
months, as each cyclic day ushers in a new morn !
The friezes above and below the chariot wheels show military
processions, with elephants and hunting scenes;
Celebrating the victory of King Narasimhadeva-I over the
invading Muslims!
The ****** art and voluptuous carvings symbolizes aesthetic
bliss when uniting with the divine;
Following yogic postures and breathing techniques, which
Tantric Art alone defines!
(
Both Khjuraho & Konark temples were re-discovered by the
British, & are now World Heritage Sites!)

Artistic invention followed the model of cosmic creation;
Ancient Vedic tradition visualized the spirit of a joyous
self-offering with chants and incantations!
The world was understood to be a structured arrangement
of five elements of earth, water, fire, air, and ethereal space;
Where each element brought forth a distinct art-expression
with artistic grace!
Element of Sculpture was earth, Painting the fluidity of water,
Dance was transformative fire, Music flowed through the air,
and Poetry vibrated in ethereal space!

CONCLUDING INTRODUCTION TO INDIAN ART:

Indian Art is like a prism with many dazzling facets,
I have only introduced the subject with its symbolism,
- without covering its complete assets!
After my Part Three on ‘Etruscan and Roman Art’,
Christian and Byzantine Art was to follow;
But following request from my few poet friends I have
postponed it for the morrow!
Traditional Indian Art survives through its sculptures,
architecture, paintings and folk art, ever evolving with
the passing of time and age;
Influenced by Buddhist, Jain, Muslim, Mogul, and many
indigenous art forms, enriching India’s cultural heritage!
While the art of our modern times constitutes a separate
Contemporary phase !
The juxtaposition of certain concepts and forms might
have appeared a bit intriguing,
But the spiritual content and symbolism in art answers
our basic artistic seeking!
The other aspects of Indian Art I plan to cover at a later
date,
Hope you liked my Introduction, being posted after
almost forty days!
ALL COPY RIGHTS ARE WITH RAJ NANDY
E-Mail: rajnandy21@yahoo.
    FEW COMMENTS BY POETS ON 'POETFREAK.COM' :-
I have a vicarious pleasure going through your historical journey of Indian art! Thanks for sharing this here! 2 Mar 2013 by Ramesh T A | Reply

The prism of Indian Art is indeed has myriads of facets and is an awesome mixture of many influences some of which you list here so clearly - a very understandable presentation of symbolism too - -thank you for your fine effort Raj. 2 Mar 2013 by Fay Slimm | Reply

Oh what an interesting read with immense information capturing every single detail. You painted this piece of art with utmost care. Truly, it's works Raj…tfs 2 Mar 2013 by John Thomas Tharayil | Reply

First, I have to say, the part about the lotus symbolism reminds me – My name ‘NILOTPAL’ can be split into ‘NIL’ meaning BLUE and ‘UTPAL’ meaning LOTUS. So my name represents wisdom (although it contradicts ME.. LOL). A lot of things were mentioned in the veda and other ancient Indian texts that were way ahead of the time Like the idea of ‘velocity of light’ got considerable mention in the rig veda-Sahan bhasya, ‘Elliptical order of planets, ‘Black holes’ , although these are the scientific aspects. The emphasis on contradictory elements or even the idea of opposites in Indian art is interesting because India developed the mathematical concept of ‘Zero’ and ‘infinity’. Hard to believe Rajasthan was a fertile place but now it possesses its own beauty. It was great to read about the Natraja, ‘OM’ and the trident(Trishul). Among symbolisms, Lord Ganseha is my favorite because a lot is portrayed in that one image like the MOOSHIK representing
When I composed the History of Western Art in Verse & posted the series on 'Poetfreak.com', few Indian poet friends requested me to compose on Indian Art separately. I am posting part one of my composition here for those who may like to know about Indian Art. Thanks & best wishes, -Raj
Destiny’s games are stranger than
most games invented by man
and Draupadi’s swayamvara is for sure
amongst the strangest tales ever told

A truly blazing beauty is she,
a princess like no other
a rare fiery spirit has she
This daughter of Agni

The drums announce the happy news
today she shall choose
from amongst this gathering of kings
the one who she shall espouse

a prophecy has already foretold
that she is to be Arjuna’s bride
the swayamvara is but a test to tempt
that expert archer out from where he hides

every king from every land
is here to attempt
to win her hand
but no sign of the one she wants

but the contest has been announced
and hence must be begun
a test truly fit to try
the Gods themselves

on the ceiling
a revolving platform
on the platform
a jewel studded fish

on the floor a vat of oil
lying beside a great bow and shafts
the fish is mirrored
in the oil

the the target lies
in the fish’s ruby red eye
but a challenge fit for kings
cannot be so trouble-free!

The eye, itself, must not be looked upon
its reflection in the oil is the map to strike
not an easy feat to accomplish
only the best dare try this

for the failures
there is ridicule and humiliation
for the winner
this beautiful handmaiden

every eye that sees
looks on amazed
at her -a rare jewel
with some secret fire set ablaze

her eyes hot embers
her hair wisps of flame
Krishnaa-the dark skinned
like the fiery coal that is by ashes hid

in every heart she rouses
an uncontrollable passion
stunned, they stand as statues
incapable of any action

the desire to win her
is a great motivator
and while all try
none seems worthy

every king that rises
falls unable to bear
the weight of the bow
let alone string and employ it!

then rises Karna
truly a great archer
surely he will win her
says everyone in their mind

but before he even touches
the bow he is stopped
by the beautiful Draupadi
he is humiliated

“who is this false king
who dares to assume that
the high-born Draupadi will condescend
to marry a low-born sutaputra?”


silenced and insulted
Karna resumes his seat
but a desire for retribution
is in his mind-a tiny seed

the one who rises next
is clothed as a Brahmin
but his proud gait and muscled arms
are that of a Kshatriya

respectfully he picks up the bow
strings it with love
with arms upraised and face turned below
he launches the arrow

it strikes the eye
which falls to the ground
the Brahmin has won!
he is garlanded by Draupadi

their eyes meet
in silent acceptance of
their magnetic attraction
a scorching passion

a stunned silence in the hall
and then hell breaks loose
kings rant and princes protest
how can a princess marry a priest

they rise together
up in arms
and are routed
by the Brahmin and his brothers

with the Brahmins Draupadi goes
to their hut-a humble abode
with folded hands they stand outside
as the eldest calls, “Look mother, see what we’ve got!”

a gentle voice replies from within
“whatever be it, share it
amongst yourselves,
it equally belongs to all of you”


“Mother, what have you said
what a dilemma we are in
you-we have never disobeyed
and yet to obey would be a sin!”


The mother comes out and is aghast
at what she has done
her order once given cannot be revoked
by convention

in the midst of all this
turmoil and confusion
Krishna arrives
with his beatific smile

“Dear aunt, I am your brother’s son
your troubled brow betrays
some confusion
can this child offer you some consolation?”


“God bless you my child
I’ve heard your praise
You are wise, so advise
how this quandary can be resolved


with hasty words
i have told my sons
to share this woman
and doomed her to a life of debauchery”


“Do not worry aunt
this isn’t a problem at all
this woman in her past life
has gained a boon of five husbands


the boon was given
by Mahadeva himself
and besides a mother’s order
is always supreme


let all five of your sons
wed Draupadi
in the karmic logic
it isn’t an iniquity


Dear Draupadi listen
these men are none other
than the valourous Pandava brothers
your hand was won by Arjuna

it is your destiny
to be the spouse of all of them
and do not worry
worldly laws are not here applicable”


Hearing this was
a stealthy listener-
Draupadi’s brother
now both overjoyed and dismayed

in confusion
he approaches his father
and apprises him
of the matter

both father and son are
unsure whether to rejoice
that the Pandavas are alive
or curse their loved one’s predicament

plagued by mixed emotions
they are restless
then Vyaasa comes
to their relief

the kind sage shares his wisdom
that the marriage is inevitable
part of the Grand Plan
mortal laws must not interfere

a woman having
more than one man as spouse
isn’t always an immorality
they may fearlessly proceed

and so it is
that the marriage was celebrated
Draupadi became the
accidental polyandrist!

-Vijayalakshmi Harish
23.09.2012

Copyright © Vijayalakshmi Harish
Swayamvara: literally “self-marriage”. An ancient custom in which princesses chose their husband, usually through some contest.

Agni: The God of fire. Draupadi is said to have been “gifted” to King Drupada by the God of Fire.  Drupada had performed a sacrifice to Agni for a son, who would defeat Drona and a daughter, fit to be the wife of Arjuna.

Sutaputra: Son of a Charioteer.

Kshatriyas: Caste of kings and warriors.

Brahmin : The priestly class

Here I must put in a disclaimer saying that I am not a believer in the caste system, and see all people as equal! The insult against Karna is a part of the story, not my invention!

Though the title says “accidental polyandrist”, Draupadi’s  polyandry might not have been all that accidental. The legend goes that in her previous birth she had asked Lord Shiva to give her a husband who was kind and an upholder of Dharma, strong, brave and courageous, handsome and intelligent. Lord Shiva said that all these qualities can never be found together in a single man, and hence he would give her five!

This incident from the Mahabharata has been a pet peeve for feminists. The incident has been viewed as reeking of male chauvinism and subjugation of women.

I have always wondered about the silence of Draupadi here. Her character, as I understand her, is that of an assertive woman-one who would not have allowed such a thing to happen to her! In many occasions in the Mahabharata, she speaks without reserve when she sees injustice meted out. Even during her swayamvara, she was quick to chide Karna, who she presumed was unworthy of her. In such a scenario can her silence be construed as acceptance?

Others say of course that her protests were edited out. That she must have spoken against this, but she was silenced.

But why silence her only here? Why not on other occasions where she challenges “masculine” pride and chauvinism?

So many questions..no real answer! Would love if you'll could share your views.

Special thanks to Ammukutty who graciously proof-read this and made some suggestions which were taken with many thanks!
Danny Beatty Dec 2013
her dress flies round her face and I have been born in this way
that my rages there die

it has been foretold by secret ladybugs whirring 
whom I lend to my beloved when I kiss her to soothe her 
that my rages there die

I have taken fingers from 'round the rising angel away
and her dress flies round her face and I have been borne in this way

donkey in the barn who dreams of gold,  O wind upon his beloved's ears
where ruby thighs of folded flesh and blood of wars comes Spring

odd and beautiful flowers are sprung

braids of mud embrace the skin of those who bray on the knee of their masters
where rivers of blood the Buddha swims pink fizz and whirling bone
such tears sublime is leadgun simple clowned and winged socratic
godself poison mimicry of war's shred and burr let the hearts and minds fall droplet to ground
let the war dead drink their own rain
oval is the yawn of the sun and burly shadows weep sockets
where new flowers shall grow odd and beautiful pollen 
shall spring

children dream of trapeze birds laughing grinning rising falling at last into the ground 
how they learn that splendor and love is  ironic ascension 

odd and beautiful flowers 
thunderous rivers of blood the Bluebird sings the echoes
let the Bluebird sing of death no less than the crack of birth from egg
are sprung
oddly flowers beautiful
I pick a ***, for her, of goblin flowers,
       where sunbeam ponies she so loved high whinny.
     may the fat bees strum and wild ponies make love,
and baby birds grow big in kind hands of powerful trees
     may the meadow where she lies
pray through all, who need, there be pollen of eyes that hear
 
pale flower godmath raiment lay me rise me
let the Bluebird sing of death
I am mighty upon the breast my true dreams press
but when she weeps at my inconsolable rages
an angel I wish would swim bursts into me naked 
here is a rain from my thoughts where she walks 
with her cello and my bow
Limber seas and mountain dew blood of many tenderly writhe
viscous streams the dove in heaven tells sadly in sleep bends down the  brow each new soldier child 

pale flower godmath raiment lay me rise me
let the Bluebird sing of death
let the sun crack where the dead man peels my flesh from my hands trying to say goodbye 
let the wardead lift up their mouths their oval grins let them drink their own rain

the plaster dreams of dreary kings 
fall not round my hips and the whine of whips are far beyond the cello of lovely nights
her ******* and her thighs have forsaken the numberless dismal rains
upon these fluffy newborn children we lay our heads like down upon the duck in the dusk
upon soft pillows Buddha madly drumming Jesus spinning rain
the ducklings race and the pond seeks no moon nor sun
where lovers' beloveds swim

oingo boingo holes in hands of Jesus and Buddha rivet the godsun of baby bird eyes 
it has been foretold by secret ladybugs whirring 
whom I lend to my beloved when I kiss her to soothe her 
that my rages there die

for upon the last day that I live I shall see the true sky
upon the opened eye of the pastel lids of a new bird born dying

let me raise my veins and tendons 
from my fingers shall grasp the mother birds a math of upswoop 
let there be terrible storms of beauty let the donkey in barn who dreams of gold find love
a daisy sun and upon this I try forevermore to ascend when I kiss my beloved
there shall be terrible storms of beauty 

I have taken fingers from 'round the rising angel away
and her dress flies round her face and I have been born in this way
but there upon the mountain where a once fiery stormy river raged in dawns restless pounding
tumorous thoughts of old men whose young bodies give birth to themselves
abortion of souls by songs of flags' lie they shimmering
upon the upraised red streaked fingers of hybrid monster theories
vultures and the rats grow fat with existentialist jacking
brays ***** across their yellowed rivers  

their tears are hidden to them the way simple men come with axes
when the automatic weapons run dry melting
each rising atomic thing shall escape alone and search for its brethren
each hyena must dance naked in rain the last day
on a highway no child's cry can cease

let the sun crack where the dead man peels my flesh from my hands
trying to say goodbye and let them lift their mouths up and drink their rain
my love's ******* and thighs have forsaken the numberless dismal rains
upon our fluffy newborn child we lay our heads down upon
soft pillows 

take the glowing wafting breads of autumn and winter shall lay down no more
let me drink from the socket of the tender pastel ****** of death
where the baby wren dreams long after it has fallen and risen again 

where battlefields leave wisdom come Spring in odd and beautiful flowers

meadows arise with great fury my flesh and mountains and valleys cease their separation
there are many daisies and bumble bee songs in the heart of each unborn child
each young girl touches when she watches the ponies and the daffodils sway

giant head of death ambitious reminiscence
a red mud land of untold photon castles that tremble in the night
where the owlet gathers its fat body like goblets of scotch in the night
rancorous blackberry swaying tress of my true love's ******* 
where fingers of god the costume of moon is dew

I have taken fingers from 'round the rising angel away
and her dress flies round her face and I have been born in this way
where Buddha slides the eggplant curve and night falls, deep, into the ground
where battlefields leave wisdom come Spring through odd and beautiful flowers

where oingo boingo turtle eyes beam from the holes of Jesus
lay me mighty at my own feet


and her dress flies round her face and I have been born in this way
rancorous blackberry swaying tress of my true love's ******* 
where fingers of god the costume of moon is dew where Buddha slides the eggplant curve
night falls deep into the ground
oddly flowers beautiful


I pick a ***, for her, of goblin flowers,
       where sunbeam ponies she so loved high whinny.
My garden yet is filled with merry powers.
I pick a ***, for her, of goblin flowers.
May Jesus hold her, run with her, play with her.
Last night I heard my puppy's eyes dying fly.
I pick a ***, for her, of goblin flowers,
       where sunbeam ponies she so loved high whinny.
 








.
PART I

’Tis the middle of night by the castle clock
And the owls have awakened the crowing ****;
Tu-whit!—Tu-whoo!
And hark, again! the crowing ****,
How drowsily it crew.
Sir Leoline, the Baron rich,
Hath a toothless mastiff, which
From her kennel beneath the rock
Maketh answer to the clock,
Four for the quarters, and twelve for the hour;
Ever and aye, by shine and shower,
Sixteen short howls, not over loud;
Some say, she sees my lady’s shroud.

Is the night chilly and dark?
The night is chilly, but not dark.
The thin gray cloud is spread on high,
It covers but not hides the sky.
The moon is behind, and at the full;
And yet she looks both small and dull.
The night is chill, the cloud is gray:
‘T is a month before the month of May,
And the Spring comes slowly up this way.
The lovely lady, Christabel,
Whom her father loves so well,
What makes her in the wood so late,
A furlong from the castle gate?
She had dreams all yesternight
Of her own betrothed knight;
And she in the midnight wood will pray
For the weal of her lover that’s far away.

She stole along, she nothing spoke,
The sighs she heaved were soft and low,
And naught was green upon the oak,
But moss and rarest mistletoe:
She kneels beneath the huge oak tree,
And in silence prayeth she.

The lady sprang up suddenly,
The lovely lady, Christabel!
It moaned as near, as near can be,
But what it is she cannot tell.—
On the other side it seems to be,
Of the huge, broad-breasted, old oak tree.
The night is chill; the forest bare;
Is it the wind that moaneth bleak?
There is not wind enough in the air
To move away the ringlet curl
From the lovely lady’s cheek—
There is not wind enough to twirl
The one red leaf, the last of its clan,
That dances as often as dance it can,
Hanging so light, and hanging so high,
On the topmost twig that looks up at the sky.

Hush, beating heart of Christabel!
Jesu, Maria, shield her well!
She folded her arms beneath her cloak,
And stole to the other side of the oak.
What sees she there?

There she sees a damsel bright,
Dressed in a silken robe of white,
That shadowy in the moonlight shone:
The neck that made that white robe wan,
Her stately neck, and arms were bare;
Her blue-veined feet unsandaled were;
And wildly glittered here and there
The gems entangled in her hair.
I guess, ‘t was frightful there to see
A lady so richly clad as she—
Beautiful exceedingly!

‘Mary mother, save me now!’
Said Christabel, ‘and who art thou?’

The lady strange made answer meet,
And her voice was faint and sweet:—
‘Have pity on my sore distress,
I scarce can speak for weariness:
Stretch forth thy hand, and have no fear!’
Said Christabel, ‘How camest thou here?’
And the lady, whose voice was faint and sweet,
Did thus pursue her answer meet:—
‘My sire is of a noble line,
And my name is Geraldine:
Five warriors seized me yestermorn,
Me, even me, a maid forlorn:
They choked my cries with force and fright,
And tied me on a palfrey white.
The palfrey was as fleet as wind,
And they rode furiously behind.
They spurred amain, their steeds were white:
And once we crossed the shade of night.
As sure as Heaven shall rescue me,
I have no thought what men they be;
Nor do I know how long it is
(For I have lain entranced, I wis)
Since one, the tallest of the five,
Took me from the palfrey’s back,
A weary woman, scarce alive.
Some muttered words his comrades spoke:
He placed me underneath this oak;
He swore they would return with haste;
Whither they went I cannot tell—
I thought I heard, some minutes past,
Sounds as of a castle bell.
Stretch forth thy hand,’ thus ended she,
‘And help a wretched maid to flee.’

Then Christabel stretched forth her hand,
And comforted fair Geraldine:
‘O well, bright dame, may you command
The service of Sir Leoline;
And gladly our stout chivalry
Will he send forth, and friends withal,
To guide and guard you safe and free
Home to your noble father’s hall.’

She rose: and forth with steps they passed
That strove to be, and were not, fast.
Her gracious stars the lady blest,
And thus spake on sweet Christabel:
‘All our household are at rest,
The hall is silent as the cell;
Sir Leoline is weak in health,
And may not well awakened be,
But we will move as if in stealth;
And I beseech your courtesy,
This night, to share your couch with me.’

They crossed the moat, and Christabel
Took the key that fitted well;
A little door she opened straight,
All in the middle of the gate;
The gate that was ironed within and without,
Where an army in battle array had marched out.
The lady sank, belike through pain,
And Christabel with might and main
Lifted her up, a weary weight,
Over the threshold of the gate:
Then the lady rose again,
And moved, as she were not in pain.

So, free from danger, free from fear,
They crossed the court: right glad they were.
And Christabel devoutly cried
To the Lady by her side;
‘Praise we the ****** all divine,
Who hath rescued thee from thy distress!’
‘Alas, alas!’ said Geraldine,
‘I cannot speak for weariness.’
So, free from danger, free from fear,
They crossed the court: right glad they were.

Outside her kennel the mastiff old
Lay fast asleep, in moonshine cold.
The mastiff old did not awake,
Yet she an angry moan did make.
And what can ail the mastiff *****?
Never till now she uttered yell
Beneath the eye of Christabel.
Perhaps it is the owlet’s scritch:
For what can aid the mastiff *****?

They passed the hall, that echoes still,
Pass as lightly as you will.
The brands were flat, the brands were dying,
Amid their own white ashes lying;
But when the lady passed, there came
A tongue of light, a fit of flame;
And Christabel saw the lady’s eye,
And nothing else saw she thereby,
Save the boss of the shield of Sir Leoline tall,
Which hung in a murky old niche in the wall.
‘O softly tread,’ said Christabel,
‘My father seldom sleepeth well.’
Sweet Christabel her feet doth bare,
And, jealous of the listening air,
They steal their way from stair to stair,
Now in glimmer, and now in gloom,
And now they pass the Baron’s room,
As still as death, with stifled breath!
And now have reached her chamber door;
And now doth Geraldine press down
The rushes of the chamber floor.

The moon shines dim in the open air,
And not a moonbeam enters here.
But they without its light can see
The chamber carved so curiously,
Carved with figures strange and sweet,
All made out of the carver’s brain,
For a lady’s chamber meet:
The lamp with twofold silver chain
Is fastened to an angel’s feet.
The silver lamp burns dead and dim;
But Christabel the lamp will trim.
She trimmed the lamp, and made it bright,
And left it swinging to and fro,
While Geraldine, in wretched plight,
Sank down upon the floor below.
‘O weary lady, Geraldine,
I pray you, drink this cordial wine!
It is a wine of virtuous powers;
My mother made it of wild flowers.’

‘And will your mother pity me,
Who am a maiden most forlorn?’
Christabel answered—’Woe is me!
She died the hour that I was born.
I have heard the gray-haired friar tell,
How on her death-bed she did say,
That she should hear the castle-bell
Strike twelve upon my wedding-day.
O mother dear! that thou wert here!’
‘I would,’ said Geraldine, ’she were!’

But soon, with altered voice, said she—
‘Off, wandering mother! Peak and pine!
I have power to bid thee flee.’
Alas! what ails poor Geraldine?
Why stares she with unsettled eye?
Can she the bodiless dead espy?
And why with hollow voice cries she,
‘Off, woman, off! this hour is mine—
Though thou her guardian spirit be,
Off, woman. off! ‘t is given to me.’

Then Christabel knelt by the lady’s side,
And raised to heaven her eyes so blue—
‘Alas!’ said she, ‘this ghastly ride—
Dear lady! it hath wildered you!’
The lady wiped her moist cold brow,
And faintly said, ‘’T is over now!’
Again the wild-flower wine she drank:
Her fair large eyes ‘gan glitter bright,
And from the floor, whereon she sank,
The lofty lady stood upright:
She was most beautiful to see,
Like a lady of a far countree.

And thus the lofty lady spake—
‘All they, who live in the upper sky,
Do love you, holy Christabel!
And you love them, and for their sake,
And for the good which me befell,
Even I in my degree will try,
Fair maiden, to requite you well.
But now unrobe yourself; for I
Must pray, ere yet in bed I lie.’

Quoth Christabel, ‘So let it be!’
And as the lady bade, did she.
Her gentle limbs did she undress
And lay down in her loveliness.

But through her brain, of weal and woe,
So many thoughts moved to and fro,
That vain it were her lids to close;
So half-way from the bed she rose,
And on her elbow did recline.
To look at the lady Geraldine.
Beneath the lamp the lady bowed,
And slowly rolled her eyes around;
Then drawing in her breath aloud,
Like one that shuddered, she unbound
The cincture from beneath her breast:
Her silken robe, and inner vest,
Dropped to her feet, and full in view,
Behold! her ***** and half her side—
A sight to dream of, not to tell!
O shield her! shield sweet Christabel!

Yet Geraldine nor speaks nor stirs:
Ah! what a stricken look was hers!
Deep from within she seems half-way
To lift some weight with sick assay,
And eyes the maid and seeks delay;
Then suddenly, as one defied,
Collects herself in scorn and pride,
And lay down by the maiden’s side!—
And in her arms the maid she took,
Ah, well-a-day!
And with low voice and doleful look
These words did say:

‘In the touch of this ***** there worketh a spell,
Which is lord of thy utterance, Christabel!
Thou knowest to-night, and wilt know to-morrow,
This mark of my shame, this seal of my sorrow;
But vainly thou warrest,
For this is alone in
Thy power to declare,
That in the dim forest
Thou heard’st a low moaning,
And found’st a bright lady, surpassingly fair:
And didst bring her home with thee, in love and in charity,
To shield her and shelter her from the damp air.’

It was a lovely sight to see
The lady Christabel, when she
Was praying at the old oak tree.
Amid the jagged shadows
Of mossy leafless boughs,
Kneeling in the moonlight,
To make her gentle vows;
Her slender palms together prest,
Heaving sometimes on her breast;
Her face resigned to bliss or bale—
Her face, oh, call it fair not pale,
And both blue eyes more bright than clear.
Each about to have a tear.
With open eyes (ah, woe is me!)
Asleep, and dreaming fearfully,
Fearfully dreaming, yet, I wis,
Dreaming that alone, which is—
O sorrow and shame! Can this be she,
The lady, who knelt at the old oak tree?
And lo! the worker of these harms,
That holds the maiden in her arms,
Seems to slumber still and mild,
As a mother with her child.

A star hath set, a star hath risen,
O Geraldine! since arms of thine
Have been the lovely lady’s prison.
O Geraldine! one hour was thine—
Thou’st had thy will! By tarn and rill,
The night-birds all that hour were still.
But now they are jubilant anew,
From cliff and tower, tu-whoo! tu-whoo!
Tu-whoo! tu-whoo! from wood and fell!

And see! the lady Christabel
Gathers herself from out her trance;
Her limbs relax, her countenance
Grows sad and soft; the smooth thin lids
Close o’er her eyes; and tears she sheds—
Large tears that leave the lashes bright!
And oft the while she seems to smile
As infants at a sudden light!
Yea, she doth smile, and she doth weep,
Like a youthful hermitess,
Beauteous in a wilderness,
Who, praying always, prays in sleep.
And, if she move unquietly,
Perchance, ‘t is but the blood so free
Comes back and tingles in her feet.
No doubt, she hath a vision sweet.
What if her guardian spirit ‘t were,
What if she knew her mother near?
But this she knows, in joys and woes,
That saints will aid if men will call:
For the blue sky bends over all.

PART II

Each matin bell, the Baron saith,
Knells us back to a world of death.
These words Sir Leoline first said,
When he rose and found his lady dead:
These words Sir Leoline will say
Many a morn to his dying day!

And hence the custom and law began
That still at dawn the sacristan,
Who duly pulls the heavy bell,
Five and forty beads must tell
Between each stroke—a warning knell,
Which not a soul can choose but hear
From Bratha Head to Wyndermere.
Saith Bracy the bard, ‘So let it knell!
And let the drowsy sacristan
Still count as slowly as he can!’
There is no lack of such, I ween,
As well fill up the space between.
In Langdale Pike and Witch’s Lair,
And Dungeon-ghyll so foully rent,
With ropes of rock and bells of air
Three sinful sextons’ ghosts are pent,
Who all give back, one after t’ other,
The death-note to their living brother;
And oft too, by the knell offended,
Just as their one! two! three! is ended,
The devil mocks the doleful tale
With a merry peal from Borrowdale.

The air is still! through mist and cloud
That merry peal comes ringing loud;
And Geraldine shakes off her dread,
And rises lightly from the bed;
Puts on her silken vestments white,
And tricks her hair in lovely plight,
And nothing doubting of her spell
Awakens the lady Christabel.
‘Sleep you, sweet lady Christabel?
I trust that you have rested well.’

And Christabel awoke and spied
The same who lay down by her side—
O rather say, the same whom she
Raised up beneath the old oak tree!
Nay, fairer yet! and yet more fair!
For she belike hath drunken deep
Of all the blessedness of sleep!
And while she spake, her looks, her air,
Such gentle thankfulness declare,
That (so it seemed) her girded vests
Grew tight beneath her heaving *******.
‘Sure I have sinned!’ said Christabel,
‘Now heaven be praised if all be well!’
And in low faltering tones, yet sweet,
Did she the lofty lady greet
With such perplexity of mind
As dreams too lively leave behind.

So quickly she rose, and quickly arrayed
Her maiden limbs, and having prayed
That He, who on the cross did groan,
Might wash away her sins unknown,
She forthwith led fair Geraldine
To meet her sire, Sir Leoline.
The lovely maid and the lady tall
Are pacing both into the hall,
And pacing on through page and groom,
Enter the Baron’s presence-room.

The Baron rose, and while he prest
His gentle daughter to his breast,
With cheerful wonder in his eyes
The lady Geraldine espies,
And gave such welcome to the same,
As might beseem so bright a dame!

But when he heard the lady’s tale,
And when she told her father’s name,
Why waxed Sir Leoline so pale,
Murmuring o’er the name again,
Lord Roland de Vaux of Tryermaine?
Alas! they had been friends in youth;
But whispering tongues can poison truth;
And constancy lives in realms above;
And life is thorny; and youth is vain;
And to be wroth with one we love
Doth work like madness in the brain.
And thus it chanced, as I divine,
With Roland and Sir Leoline.
Each spake words of high disdain
And insult to his heart’s best brother:
They parted—ne’er to meet again!
But never either found another
To free the hollow heart from paining—
They stood aloof, the scars remaining,
Like cliffs which had been rent asunder;
A dreary sea now flows between.
But neither heat, nor frost, nor thunder,
Shall wholly do away, I ween,
The marks of that which once hath been.
Sir Leoline, a moment’s space,
Stood gazing on the damsel’s face:
And the youthful Lord of Tryermaine
Came back upon his heart again.

O then the Baron forgot his age,
His noble heart swelled high with rage;
He swore by the wounds in Jesu’s side
He would proclaim it far and wide,
With trump and solemn heraldry,
That they, who thus had wronged the dame
Were base as spotted infamy!
‘And if they dare deny the same,
My herald shall appoint a week,
And let the recreant traitors seek
My tourney court—that there and then
I may dislodge their reptile souls
From the bodies and forms of men!’
He spake: his eye in lightning rolls!
For the lady was ruthlessly seized; and he kenned
In the beautiful lady the child of his friend!

And now the tears were on his face,
And fondly in his arms he took
Fair Geraldine who met the embrace,
Prolonging it with joyous look.
Which when she viewed, a vision fell
Upon the soul of Christabel,
The vision of fear, the touch and pain!
She shrunk and shuddered, and saw again—
(Ah, woe is me! Was it for thee,
Thou gentle maid! such sights to see?)
Again she saw that ***** old,
Again she felt that ***** cold,
And drew in her breath with a hissing sound:
Whereat the Knight turned wildly round,
And nothing saw, but his own sweet maid
With eyes upraised, as one that prayed.

The touch, the sight, had passed away,
And in its stead that vision blest,
Which comfort
AROUND me the images of thirty years:
An ambush; pilgrims at the water-side;
Casement upon trial, half hidden by the bars,
Guarded; Griffith staring in hysterical pride;
Kevin O'Higgins' countenance that wears
A gentle questioning look that cannot hide
A soul incapable of remorse or rest;
A revolutionary soldier kneeling to be blessed;
An Abbot or Archbishop with an upraised hand
Blessing the Tricolour.  "This is not,' I say,
"The dead Ireland of my youth, but an Ireland
The poets have imagined, terrible and gay.'
Before a woman's portrait suddenly I stand,
Beautiful and gentle in her Venetian way.
I met her all but fifty years ago
For twenty minutes in some studio.

III
Heart-smitten with emotion I Sink down,
My heart recovering with covered eyes;
Wherever I had looked I had looked upon
My permanent or impermanent images:
Augusta Gregory's son; her sister's son,
Hugh Lane, "onlie begetter' of all these;
Hazel Lavery living and dying, that tale
As though some ballad-singer had sung it all;
Mancini's portrait of Augusta Gregory,
"Greatest since Rembrandt,' according to John Synge;
A great ebullient portrait certainly;
But where is the brush that could show anything
Of all that pride and that humility?
And I am in despair that time may bring
Approved patterns of women or of men
But not that selfsame excellence again.
My mediaeval knees lack health until they bend,
But in that woman, in that household where
Honour had lived so long, all lacking found.
Childless I thought, "My children may find here
Deep-rooted things,' but never foresaw its end,
And now that end has come I have not wept;
No fox can foul the lair the badger swept --

VI
(An image out of Spenser and the common tongue).
John Synge, I and Augusta Gregory, thought
All that we did, all that we said or sang
Must come from contact with the soil, from that
Contact everything Antaeus-like grew strong.
We three alone in modern times had brought
Everything down to that sole test again,
Dream of the noble and the beggar-man.

VII
And here's John Synge himself, that rooted man,
"Forgetting human words,' a grave deep face.
You that would judge me, do not judge alone
This book or that, come to this hallowed place
Where my friends' portraits hang and look thereon;
Ireland's history in their lineaments trace;
Think where man's glory most begins and ends,
And say my glory was I had such friends.
Tryst Jul 2018
And like a bride when all the guests had flown –
Unto her Quarter Master, veil upraised
And corsage strewn atop her lily gown,
The ****** MOON stood humble and unphased

A boon of SUN's light nestled in her tresses,
And HEAVEN's gift, bright star-born chandeliers –
COUTURIER, The Wind, bestowed caresses –
CENTAURUS brought an honour guard of spears

The MOON, her dimples pale, her mood unblemished,
Fell silent as a petal on a flower –
Her slender frame looked ever the more diminished
And wanton as she lay upon her bower

She watched the constellations rearranging
To mark this passing day across the skies,
And full aware that things were ever changing
The MOON laid down her guard and closed her eyes.
Claire Elizabeth Feb 2014
Oh God
He likes me
Oh Lord
He likes me
I think I like him
I know I like him
First date gone by
Winter formal dance
The words coming from his mouth next
"Looking forward to the next date."
Had my stomach tied in knots
Climbing out of his Mercedes Benz
With the broken radio
And the heat on full blast
A smirk
A smile
A raised eyebrow
A nod of the head
A kiss?
Too soon, perhaps
He a junior, me a sophomore
We could go places
The mall
Photo booth Polaroids
Strung about my room
Shared laughs
Long nights
Tired eyes
Upraised mouths
A relationship?
Maybe
A friend?
Definitely.
The ladye she stood at her lattice high,
Wi' her doggie at her feet;
Thorough the lattice she can spy
The passers in the street,

"There's one that standeth at the door,
And tirleth at the pin:
Now speak and say, my popinjay,
If I sall let him in."

Then up and spake the popinjay
That flew abune her head:
"*** let him in that tirls the pin:
He cometh thee to wed."

O when he cam' the parlour in,
A woeful man was he!
"And dinna ye ken your lover agen,
Sae well that loveth thee?"

"And how *** I ken ye loved me, Sir,
That have been sae lang away?
And how *** I ken ye loved me, Sir?
Ye never telled me sae."

Said - "Ladye dear," and the salt, salt tear
Cam' rinnin' doon his cheek,
"I have sent the tokens of my love
This many and many a week.

"O didna ye get the rings, Ladye,
The rings o' the gowd sae fine?
I wot that I have sent to thee
Four score, four score and nine."

"They cam' to me," said that fair ladye.
"Wow, they were flimsie things!"
Said - "that chain o' gowd, my doggie to howd,
It is made o' thae self-same rings."

"And didna ye get the locks, the locks,
The locks o' my ain black hair,
Whilk I sent by post, whilk I sent by box,
Whilk I sent by the carrier?"

"They cam' to me," said that fair ladye;
"And I prithee send nae mair!"
Said - "that cushion sae red, for my doggie's head,
It is stuffed wi' thae locks o' hair."

"And didna ye get the letter, Ladye,
Tied wi' a silken string,
Whilk I sent to thee frae the far countrie,
A message of love to bring?"

"It cam' to me frae the far countrie
Wi' its silken string and a';
But it wasna prepaid," said that high-born maid,
"Sae I gar'd them tak' it awa'."

"O ever alack that ye sent it back,
It was written sae clerkly and well!
Now the message it brought, and the boon that it sought,
I must even say it mysel'."

Then up and spake the popinjay,
Sae wisely counselled he.
"Now say it in the proper way:
*** doon upon thy knee!"

The lover he turned baith red and pale,
Went doon upon his knee:
"O Ladye, hear the waesome tale
That must be told to thee!

"For five lang years, and five lang years,
I coorted thee by looks;
By nods and winks, by smiles and tears,
As I had read in books.

"For ten lang years, O weary hours!
I coorted thee by signs;
By sending game, by sending flowers,
By sending Valentines.

"For five lang years, and five lang years,
I have dwelt in the far countrie,
Till that thy mind should be inclined
Mair tenderly to me.

"Now thirty years are gane and past,
I am come frae a foreign land:
I am come to tell thee my love at last -
O Ladye, gie me thy hand!"

The ladye she turned not pale nor red,
But she smiled a pitiful smile:
"Sic' a coortin' as yours, my man," she said
"Takes a lang and a weary while!"

And out and laughed the popinjay,
A laugh of bitter scorn:
"A coortin' done in sic' a way,
It ought not to be borne!"

Wi' that the doggie barked aloud,
And up and doon he ran,
And tugged and strained his chain o' gowd,
All for to bite the man.

"O hush thee, gentle popinjay!
O hush thee, doggie dear!
There is a word I fain *** say,
It needeth he should hear!"

Aye louder screamed that ladye fair
To drown her doggie's bark:
Ever the lover shouted mair
To make that ladye hark:

Shrill and more shrill the popinjay
Upraised his angry squall:
I trow the doggie's voice that day
Was louder than them all!

The serving-men and serving-maids
Sat by the kitchen fire:
They heard sic' a din the parlour within
As made them much admire.

Out spake the boy in buttons
(I ween he wasna thin),
"Now wha will tae the parlour ***,
And stay this deadlie din?"

And they have taen a kerchief,
Casted their kevils in,
For wha will tae the parlour ***,
And stay that deadlie din.

When on that boy the kevil fell
To stay the fearsome noise,
"*** in," they cried, "whate'er betide,
Thou prince of button-boys!"

Syne, he has taen a supple cane
To swinge that dog sae fat:
The doggie yowled, the doggie howled
The louder aye for that.

Syne, he has taen a mutton-bane -
The doggie ceased his noise,
And followed doon the kitchen stair
That prince of button-boys!

Then sadly spake that ladye fair,
Wi' a frown upon her brow:
"O dearer to me is my sma' doggie
Than a dozen sic' as thou!

"Nae use, nae use for sighs and tears:
Nae use at all to fret:
Sin' ye've bided sae well for thirty years,
Ye may bide a wee langer yet!"

Sadly, sadly he crossed the floor
And tirled at the pin:
Sadly went he through the door
Where sadly he cam' in.

"O gin I had a popinjay
To fly abune my head,
To tell me what I ought to say,
I had by this been wed.

"O gin I find anither ladye,"
He said wi' sighs and tears,
"I wot my coortin' sall not be
Anither thirty years

"For gin I find a ladye gay,
Exactly to my taste,
I'll pop the question, aye or nay,
In twenty years at maist."
beth winters Nov 2010
unwrap my ribs. carefully,
like a present you've been waiting for
since october.
smooth out the wrinkles
along my forehead, sip
the lines from my palms.
write letters to constellations
along my marked calves, and
stain my upraised mouth with
new words that don't
belong to me. sketch
characters inside my
elbows and draw their faces
down my stomach.

take a microscope to the pores
between my vertebrae, set
original sentiments and
grow them carefully. look through
my corneas like window-panes
shattered by heat from
a church fire. clean
the bridge of my nose of
headaches and bottles and bottles
of asprin, vicodin and something
nameless and strong.

snap my tibiae over your knee,
assemble a tired face,
put it over a mask, tie the
words to my lips and send
me out into the world a refreshed,
taken individual.
Prabhu Iyer May 2013
There is this bare stalk in my backyard. With upraised branches, all dried,  painted in contrast to the lush greenery all around: sometimes, I feel, like the branches of a swirling bolt fulminating against dark, brooding, boding skies.

I have seen three seasons pass by. This stalk has remained bare. All around, trees have gone from withering to flowering and onward. This one though, stands constantly poignant, almost embodying pathos, endlessly mourning.

Insects - termites? ants? I don't know, but I see they have covered large parts of the stalk. Raised to the skies, like an enigma, a puzzle thrown to the distant stars veiled by the firmament. Yes, I know this slow death that sustains life.

Yes, I can relate to it. It is like this pain that haunts my soul. Like the song of the smudged moon on a misty night, sung to uncaring, asleep worlds. After skies weep out their agony, the music of the last tears dripping off tips of drooping leaves.
Experimenting with verse here - read aloud!
Don Moore Dec 2016
The springs bracken fronds swish and sway and yet there is no wind
Lying on the soft verdant grass and observing the fern, there is movement
From between the intense greenness appears a black nose followed by a snout
Shades of grey, with a little black and as the head with observant eyes appears
There is white, although a ***** one, for it is Badger who appears
No announcement, no fanfare, in fact quite the opposite, for he has much to fear
His strong shoulders follow through as he pushes out into the field
He has a muscular body, built for digging and his nose snuffles as he tests the air
Behind him, but a little shy, his sow close by his heels as she enters the scene
For a moment both stand shoulder to shoulder, their noses both a quiver
He is first; he shuffles off into the meadow in search of food, worms and snails
The sow is wary, and well so as her cubs join her at the edge of uncertainty
They, a boy and a girl are not so worried, for life to them is full if surprises now
But they have not yet met the many who would take them for their dinner
Their mother and father are a different game, but presently Fox would like a go
There is weasel and stoat and owl floats above with buzzard and hawk
These hunters all like a youngster of any breed, and if there was chance of dinner
And so, as they gambol and play upon the grasses, their mother stands on watch
These cubs, they must be taught, taught playing does not feed their stomachs
Taught that food is not free and must be hunted each and every night or die
And the food they seek, there are also many others who feel their need to gorge
With one eye above, mother seeks the juicy worm, and tries to teach her cubs
Her youngsters eat all she can deliver, fat juicy snails and the odd slug or two
And then, upon the air although very scant, a smell most awful and rank
It would appear the lord of the hedgerow is nearby, and he will be out hunting
He wears a shiny coat of red; he carries a most bushy tail and fangs of yellow
At this time of year, he will have a family of his own and need extra food
His home is not near, or the Brock badger would know and challenge
Now the sow is worried where her husband is, and if he is near to protect them
The scent becomes harder and her lips peel slowly from her teeth and she hisses
Lifting from the ground over the green grass she dimly spies a red coat skulking
The evening light is falling fast, her eyes are poor, but she can smell her enemy
She hears the pad of his paws as he draws ever near, his coat brushed by grasses
Hissing she draws her cubs to her side, the decision quickly made to fight here
Speedily they run beneath her upraised body, her scent comforting she is mother
And on comes Fox, he’s not so stealthy now, he knows he has been seen
He skirts the trio out on the meadow; he knows she cannot be guarding two
And here he thinks is a quick early evening meal, he is confident, he is Fox
Near and ready he crouches to the ground, choosing his meal with care
Now ready decision made, he rushes in, his jaws open to grab a tender morsel
His eyes are centred on one cub that wanders from his mother’s belly fur
Bam out of the blue Fox is shunted away, the brock has returned, his teeth ready
There’s a fierce tussle and this Fox learns his lesson, to leave Brocks children alone
The male Badger returns his teeth bloodied, his teeth full of fur, but triumphant
His wife greets him, his cubs adore him, then he leads them back to the bracken in the night.
Observations from my childhood, and which led to my book of a Cornish Faery Tale.
david badgerow Jan 2014
shot of whiskey
i shot my mouth off at a bible salesman
shot a man with a glass eye on a street corner
he shot me a mean streak
shot out a candy cane window
a king in a powder blue sedan shot down the turnpike
never had a shot with her in a red flannel shirt
shot a broke down dog at a fire hydrant in birmingham
he shot out of a lawn mower
shot towards some handshaking stranger
shot down some train tracks
shadows shot with arms upraised
being shot at by electric trains
i shot a mirror at the stars
they shot back with a voiceless gesture
she shot right through my heart
her hair shot gold to kingdom come
Bethany Davis Jun 2014
Mist is a kiss,
Upon my bare skin,
In the middle of night in the rain,
A lover's caress,
A joy in each drop,
The love that falls from above.

In darkness I stand,
Each drop and each sound,
The peace of the valley below,
A kiss and a touch,
A whisper and blush,
The rain is my lover and friend.

I dance in the dark,
To a song no one knows,
As my skin is caressed by the rain,
My hips they do sway,
My arms are upraised,
My thanks for the kiss of the rain.

There is no joy,
As complete as mine now,
Out all alone in the rain,
No sound can be heard,
But the ****** of rain,
Here so far from the town.

Each splash of a drop,
A whisper, a touch,
It brings such joy to my soul,
My lover, my friend,
The life giving rain,
The moisture makes love to my skin.

Mist is a kiss,
Upon my bare skin,
In the middle of night in the rain,
A lover's caress,
A joy in each drop,
The love that falls from above.

~The Love That Falls From Above by Bethany Davis, June 7, 2014
John F McCullagh Apr 2013
I ran my race,I did my best.
I'm not the champion,I'm among the rest.
After twenty six miles I'm scant of breath.
I push myself but there's not much left.
I search the crowds on Boyleston Street.
for the friends That I'm supposed to meet.
I see an upraised friendly sign
that marks my race's finish line.
Then thunder, fire, billowing smoke.
The air is acrid and I am choked.
The starter clock reads Four oh Nine
as I fall across the finish line.
I think of him from ancient times
who ran a race as long as mine
To Athens he sped from Marathon
to bring good news in a troubled time.
My news is evil, I scarce can speak
of what I saw there in the street
A loud report, a second bomb,
A portion of the grandstand gone
A blur of color, the flag brought down
I see the picture but there's no sound.
Drawing on my experience of my running in past races to create a first person narrative of the tragic events in Boston today.
WoodsWanderer Apr 2017
Follow that burning you feel in your bones. That tingle of pure fire running through your veins
Ignite your soul.
there is so much I would love
to see

These trees
wrap their arms around my blossoming soul; my true home found in the purest laughter of the wind
and the dancing call of the creek

I am you and you are me

                                 we are everything

To be anything. Moment. Living present to recieve our presence. You are only ever here. Now. Embrace the breath found in these rolling forests
our glittering banks
Embrace your breath.

We are freedom. Living simply, living peacfully. We are love. Embrace this moment always.

The sun brushes kisses upon my upraised face
bringing warmth to my soul
opening in delicious appreciation of the wonderful heat that he is.
Everyday. bestowing kisses and asking nothing in return.
What can be more beautiful
then that?

Take this body. Release tension. Breath deep. Breathe to remind. You are anything. Everything. Take your body and live in your truth. Imagine if you did, how free you would be!

My soul is expanding, wide open hugging the earth in all her glory. So diverse, so intricate, so simple. She is everywhere. Fingers of wind running through my hair, salty kisses of the ocean, brushing my toes. The burbling laugh of mountain streams hopping rocks in their journey of release.
There is no search. There is only now, and the enjoyment of the chickadee calling goodmorning to the toes of sun running between the cedar trunks. There is only now. Breath.

I am you and you are me.

                          **we are everything
James Andrews Oct 2013
Drawn lines amongst the willows dripping,
Shadows of the morning,
Sight set upon the evening star,
He gazes at the solstice moon,
Plots placements of the plinths and altars,
Holds the hearts of sarsens.

Tomorrow all the villagers will come
Expecting messages and blessings.
Tonight he only dances.
Robed arms upraised
Reflect the branches overhead
Now shattered by the starlight,
Recessional of priesthood.

Across the yawning sway of centuries
He smiles.

He knows the fervid moss
A dream much like his own and all those after,
How the generations falling down
Will wonder, touch the giant stones

And breathe
James Ciriaco Nov 2011
There were certain
        disturbances:
Skirts high on the thigh,
        front-row desks and
        that shadow between
                the knees;
Questions showing
        the definition of the torso
        and the upraised arm;
Sojourns to the office
        at dusk
        to pose shyly–
                fingered tress in golden
                lamplight between door and frame–
        and the door closing;
And of course
        learning, passion,
        bright eyes and
        a vernal splendor
                of poetry.
Blood Word Oct 2011
Why won’t you hear? Why won’t you see?
I don’t want you to want any but me
My heart is raw, yours is numb
I feel you are deaf and dumb
To me alone, but to all others you gawk
Chasing after them like a hovering hawk
I figure in my mind, I reason away
That you get attention and like it that way
But you know commitment of heart is mine
You hate thinking of being tied down to a line
Even if that cord be anchored deep
And from the surging ocean keep
Safe and sound, forever held
In my arms, our hearts meld
No, the thought of that you can’t stand
So I stand alone with an empty hand
Staring at it upraised, forlorn, I’m thinking
Maybe, it’s best, but with that thought I’m sinking
In darkened void with destructive intent
No, you and me, somehow, it is meant.
"Chasing" was written after I began to realize that my long-time crush didn't return my feelings for me the way I thought she did. Surprisingly enough, it is actually a favorite of hers.
This poem was written August 21, 2010, at 11:00pm.
Prabhu Iyer Feb 2013
I.

A beat pulses through the song
rising like a plume of smoke
across the ridge.

The night rolls on.
A love languishes.

I can't help but
self-destruct.

The scattering clouds.
Heart-beats to the head-song.

Do you even exist?

II.

Arms upraised like those of a
tote bag. I surrender. Fold
up, like a gunny sack.

Not this, not this.

Stars flicker mourning my
slow disappearance.

You must, when I ask like this.

Dead man's procession. Every
***-holed road is a graveyard
of dogs. Dead, unsung.

III.

Milk spreads in the tea cup,
shooting out, widening,
tentacles, like fear.

IV.

Why is your voice this feeble?

My face, flatter than is usual
in this mirror?

You mean, you are me too?

I mean, does that even like
supposed to
mean something?

V.

I'm an Olympic hero. All of us.
Hubbub. Throb, to
the music-plume.

Mysterious plume.
Love. Instinct for suicide. Death. Fear. Renewal. Mystery.

An existential thought-stream. Free rhythm.
N23 Dec 2012
the appropriate place
on this exam
to
explain to you the way
that my heart
stuttered in my chest
and my words retreated
when you bent over my desk,
in response to my upraised hand.

Surprised,
I found that suddenly
the only questions I had left
had little to do with History
and

Everything

to do with the way
your ***
looked in your jeans.
O Lord, my God and Heavenly King,
my heart continues to rejoice;
for You alone are worthy of praise!
I honor Thee with my poetic voice.

Despite the scars of emotional hurt,
that constantly seek to swallow me up,
I know that You are nearby, having…
sipped from Your sacrificial cup.

Patiently, I wait, shedding anxieties
about my earthly troubles and circumstance.
Joyfully, I petition Thee with prayers,
thankful that You are… Lord of the Dance.

With my heart and upraised hands,
I bask in Your Presence and peace.
Guard my heart and mind with tranquility;
permit my turmoil… to permanently cease.

When I’m focused on whatever is pure,
It’s You - that has my spirit stirring.
Consume my Life with Your essence.
Insure that I… rejoice in everything!



Author Notes:

Loosely based on:
Phil 4:4-9

Learn more about me and my poetry at:
http://www.squidoo.com/book-isbn-1419650513/

By Joseph J. Breunig 3rd, © 2012, All rights reserved.
Ian Vehrmt May 2013
There is an entire world
that you do not belong in.

Their dreams seem distant,
their hearts of stone,
their smiles withered;
upon them shines a different sun.

You reach out,
but are unseen.

Did they do so, too?
Why, they did of course,
with upraised words most unbefitting,
they reached out as well
to you.

What good, however?
Between us, a chasm.

And those that,
much to your surprise,
did jump it -
did not jump to treat with you,
but as you,
to linger.

You linger still,
as do your hopes.

You do not in vain
hope for this different world
of peace and understanding
of gaps sutured shut
with meaningful intention.

But your words
are misaligned.

And you are, to all,
foreign,
of malice,
greed
and hatred.

You do not dream in vain,
but for now, you don't belong.
Robert C Howard Aug 2013
Cradling a handful of Illinois dust,
dry residue of sycamore, deer
and ancient Mississippians,
I splay my fingers like an eagle's claw -
releasing it to the fickle breezes.

A sudden gust of wind
swirls up an ocher cloud -
a cyclone dervish of sand and clay.

My hand, upraised for a shield
ever so briefly vanishes -
veiled by the impatient dust.

*May, 2008
Please consider checking out my book,  Unity Tree - available from Amazon.com in both book and Kindle formats.
Alyson Lie Jun 2015
Once fully liberated, she rides her antique, three-speed bike down the small hill from her campsite to the:  RESTROOMS – SHOWERS – PAYING CAMPERS ONLY. She dismounts and goes into the well-kept, recreational facilities and takes a hot, 50-cent, seven-minute shower, arching her soapy back against the white tiles, rubbing her soapy front in the same spot, up and down and up, and then, rinsed, she stands, dripping wet in front of the first full-length mirror she's seen in weeks, gyrating her hips, mocking pin-up poses to herself and all god's good-looking men with a sense of the absurd, then she wraps her towel around, tying the knot between her *******. She stands outside in the sweet, Santa Vidian air, finger-drying her hair and imagining, unabashedly imagining, guys in the campsite above, eating fresh-cooked meat and ogling her. Then she takes off down the road, pale green nightgown fluttering against the rear spokes, past Bonnie's trailer where from sundown till 11pm you can hear the best country music: Randi Travis, Willie Nelson, Hank Williams Sr. She pulls up to her sweet “Bleu Belle,” shushes the dogs reflexively, hops off the bicycle, and turns, eyes closed, face upraised into a rare shaft of redwood forest sun.
Published in another form in Bagels With the Bards, No. 3
Bethany Davis Jun 2014
For whom do I wait for and for whom do I long,
Through ages and times long past?
Whose touch is it that shakes my soul,
With joy and pleasure full?
Across my back a gentle touch,
That tickles as much as thrills.
Along me sides, I rise to meet,
And kisses my naked neck.
Astride my waste, my shoulders rub,
A weight that comforts and warms.
Along my arms, a gentle stroke,
That raises bumps across my skin.
Moving down on my feet to sit,
And rubs my upraised rear.
And down my thighs and my calves,
And my feet never knew such joy.
You role me over, my front exposed,
Your smile that makes me blush.
Up my legs your hands to roam,
And outward up my hips.
Once more you sit across my waist,
And now our eyes do meet.
Leaning down, you kiss my lips,
And from them come a sign.
You kiss my cheeks and then my nose,
And then my waiting neck.
My eyes are closed as your hands them roam,
And move across my *******.
I purr, I stretch, I love your touch,
The play of fingers deft.
How is your touch so well known,
Why do I know it so?
For whom do I wait for and for whom do I long,
Through ages and times long past?
Whose touch is it that shakes my soul,
With joy and pleasure full?
Your kisses come, first on my neck,
And then you kiss my chest.
Down between my lovely breast,
Your kisses pull my heart.
Round the bottom up the sides,
Your lips upon my breast.
Soft as snow and warm as fire,
And wet like springtime dew.
My flesh it moves, alive and free,
Delighting in your kiss.
Flesh to flesh, lip to breast,
Ecstatic joyous me.
First one breast and then the other,
Consuming all of me.
I quiver there beneath your hips,
And beneath your steamy breath.
I'm drowning here in ecstatic joy,
Beneath your loving kiss.
A way to die I'd be glad to have,
An ocean of your love.
Then you stop and give me breath,
And let me settle down.
You look at me with loving eyes,
In in them I am lost.
A smile you give, a crooked smile,
That bodes I know not what.
You hands them move, they touch my *******,
Then settle at my waist.
You moved down, I know not when,
For I was lost in bliss.
My waist held firm, your hips descend,
Now I'm like a bed.
Your searching kiss my belly finds,
It tickles and delights.
In circles slow with movements fair,
I giggle on my back.
And down you go, you kiss my hips,
One kiss on either side.
You kiss my mound, you move on down,
Your lips that do delight.
Once more I think and wonder why,
I swear I know your touch.
For whom do I wait for and for whom do I long,
Through ages and times long past?
Whose touch is it that shakes my soul,
With joy and pleasure full?
Your lips are soft, your gentle kiss,
Wet and fully there.
Kiss of delights that finds me there,
Kiss at my most hidden place.
A moving tongue, a searching kiss,
A building wave within.
Forever lost in sweet embrace,
A flower in the spring.
Petals part and nectar flows,
Consumed with daring care.
A flower opened for your joy,
And pleasure for myself.

~For Whom Do I Wait by Bethany Davis, June 1, 2014
mark john junor Oct 2013
the five fighters push past
at a slow run
their sweating form
a unified theory of motion
their thoughts
a universe of devotions
to the craft of defeat and victory's
they move with concentration through
the steady persistence of rain
as a single
organism of denials of the ability to
surrender to the dull life

as they push past you
pacing the wet pavement with careworn step
you can feel the cheering crowd
you can sense the elation
of the upraised fist of championship
and the eyes of the world upon
as they push past you sense
what it means to be
undefeated
undefeatable

five fighters
at a slow run
in the steady uncaring rain
and as they push past your
broken wheelbarrow existence
they reach out from within to share their strength
for the greatest champion
knows the strength of frailty
Amory Caricia Feb 2017
It was strange when it started. I thought I might be sick. I wasn't sure, though. I assumed that I either was, indeed, going to become dreadfully sick, or that with a clip of time, I would be fine and I wouldn't get sick at all--I wouldn't even remember ever feeling like getting sick, because I would be fine.

It's strange how when one is well, she feels so strong and forgets the feeling of being ill and assumes that it must have been a small thing last time she was truly ill; that she could easily handle it again. But then, with the smallest twinge of intestinal unsettlement, she remembers in full and would almost rather die than be ill again. Sometimes it's good to forget.
Bump!
"Hold it together, you're almost there", I told myself. "It's ok."
Sometimes it's good to lie to yourself. You become your own child, and tell yourself to cover your eyes and all the bad things won't be able to hurt you--the monsters won't be able to see you, because you can't see them.
Children are much better than us.

Bump...ba-bump!
Yuck. I needed something now. But, just as I was fully prepared to *****, it was fading...as quickly as it came. Yes, it was gone now, and nothing was going to keep me from feeling positively elated (except, perhaps, the descent, but forget that for now).
It was surely a wonder to sit on a seat, which was mounted in this small cabin, which was surrounded on all sided by absolutely nothing, and supported from below by the same--save some vague equations of space that permitted its reality.
"If this is a reality, I'd rather not dream. My dreaming could get quite out of hand after this."
Goodbye, city! Goodbye mountain faces, with the sharp jawline of a movie star! So long! What is that, now? I can't make it out. Never mind. Dust. Particles of dusty sky sweeping up around us into clouds. Cough. Cough. Like it hasn't been swept in years. Loomy fogs of two or three varying thicknesses. And then the light.

A light so strong it seemed like death, for sure. The look of all that light made me cringe. I thought I might melt like the wicked witch on The Wizard of Oz--the wicked witch I was. Ha-ha. The once dusty, sky was now a majestic and glowy quilt. It looked pearlized--like if you landed on it, you would just slide smoothly up and down the billowy bumps and around the polished curves. We could be over an ocean, for all I knew. Why was I so lazy to not investigate this before the trip? It would have been fantastic to know I was over some great sea, deep with crawlies and creepies with fins and tails and gills and hangies. Swishies and swooshies, faster than land types, that only could run or climb.

Yikes forget that. It would have been better to know that I was not over the ocean. Now, due to my uninformedness, I was merely left to ponder the terror of falling into the sea, in the event of a crash. These cushions on the seat before us, or so the little booklet told, could be used as flotation devices. I wondered how close we would have to be before we could jump out. I imagined exiting the aircraft into all this light, down, down, falling through the pearlized quilt, through the dusty billows, looking down at a vast sea a mile below, holding onto my cushion from the seat that had been in front of me, bracing myself. The sea would look uniform on the surface, but through the surface, one could make out divisions. Separate depths, maybe, or different mixtures of water. Shades of blue, blue-green, and green as the layers beneath the initial surface.

Back to reality. It was getting dark out. Night. Wait--no. No way. It couldn't possibly be night already. I talked to myself again, "are we supposed to travel into another time zone, or something? But it should be still morning and we've only been in flight about an hour..."
Were there storms above the clouds? I don't know. This...darkness...hmm..

But then I saw it. A shooting star. I only saw it for a flash of a millisecond--not only because it was travelling with such hideous speed and momentum, but also because in that instant, I was blinded. permanently.  I felt my way toward the cockpit. All the passengers besides me and one other man seemed to be sleeping. I stumbled on, using those reflective upraised strips that mark the hallway to guide my feet. I couldn't see a thing. This blindness prevented me from really accomplishing anything in this circumstance, but I had to get to the captain.

"Captain! Captain! Are you awake? What's going on? Where are we?"
It is now that I notice that the captain had been dead in the cockpit for some time. There was no co-pilot. I double-checked for a pulse. Nope. My assumption is that we had managed to fly into space, with nothing above or below. I felt for the breast of the captain's coat and shook him violently. Then, I began to weep.
I really should not be allowed on an airplane.
Wayne H Colegate Feb 2011
With gentle love and kindness, a mother’s hands take care
with strength and understanding a father’s hands are there.
The hands of time move forward and with them we must go.
We bite the hand that feeds us in spite of all we know.
Lend a hand to those we love, the deed will be returned,
let the left hand know the right, sharing secrets they have learned.
Hands O mighty hands beware, your strength is yet unknown,
heal and save with soothing ways and your worth soon will be shown.
Dynamic hands, loving hands and those that read in Braille,
hands that reach and hands that teach and hands that try and fail.
Hands that beg and hands that steal and hands that hold the light,
hands that search and hands that touch, warlike hands that fight.
Hands that point and hands that wave, some folded as they pray
hands that take and those that give in a very special way.
Hands that speak with a gentle grace, for those who hear no sound,
a world of words in fingertips has suddenly been found.
Stretch your arms up to the sky, rejoice with hands upraised
For he who gave us each two hands must surely now be praised.
Copyright Protected.....Wayne H. Colegate
Poetoftheway Aug 2017
cannot find true rest,
all the tumult in this world,
writ both large and small,
saps my upraised arms
alternate
flexing angry fists eager to strike hard
my revived new **** enemies,
and gods inexcusable and conspicuous absence in
Barcelona, Finland and my own
Charlottesville,
and
to quiet comfort commiserating, and storing
all the pain of individual souls I've acquired willingly

and the sunset comes quiet,
trying to sooth by adding
a gentling cream of cooling breeze,
the squirrels eye me suspiciously,
sensing the amiss within,
and all perfect sailboats voyaging past,
yet none stopping at the dock
to offer condolences or solaces

my watch ticks louder

each tick,
a worrisome cursed reminder
this real life seems to be endless struggle
interrupted by small comforts of little voices and
promises that escape is inevitable

each tock,
a fresh notification
the week's approach will contain
another visit from
Hamlet's ghost,
warning of warring factions
battlefield clashing
in a chesterfield plain
between two of mine shoulder blades

constantly reminded how lucky I am,
makes me grow quiet and put pen to one side,
and try to balance accounts, using this time,
pencil and erasure

I need a break and some glue
I need reparations and a battle plan
or happily learn to surrender
and accept being a
dumb terminal,
a slave,
that doesn't ask for
peace of mind
and knock off this poet of the
no way
Jai Rho Mar 2014
It's dust, mostly
the kind that burrows
deep into the creases
of his forehead
and hides inside
the crinkles
around his eyes

It's forever stuck
to the soles of his boots
and never rinses out
of his denims
in the river,
not entirely

And it finds a way
to roll with beads
of sweat in dripping
lines exposing
parchment skin

but somehow never
penetrates the ring
around his head,
preserved forever
by his stetson's brim

And it's also ashes
from chaparral
and tumbleweeds,
lit up in circles
where he camped

leaving a trail
of where he's been,
like breadcrumbs
swept away in a
restless breeze

It's the creaking sound
of leather in his saddle
and the rhythmic
thud of horseshoes
pounding sunbaked ground

It's the wind in his face
that grits his teeth
and squints his
glassy eyes

It's standing in the stirrups
to fly above the racing plain,
keeping balance
with the whipping mane

It's the endless sky,
and the horizon
that never fades

But mostly,
it's the dust
that he holds
in upraised palms

slipping through
his fingers, disappearing
from his touch

in the wild and still
untamed range
tears of sorrow
excoriated
the depths of her soul
a radiant angel
touched
her fathoms
with fingers of solicitude
their light
upraised
her from the depths
of aching despondency
Nat Lipstadt May 25
in my private conversations, so many
emiploy this phrase, arms on chest folded,
a whispery plaint, and I too am folded into
too pieces, as well, my understanding fulsome,
for the struggling is well familiar, I under stand
beneath you, arms upraised, holding your shaking,
throbbing, wistful hearty sighs, constant tumbling,
floor~falling, see rose petals of sighs, all quiet screams,
and
my weak remedy is urging you to express
with the skill, known in you possess, to give
it forth, give it out and let us love your burdens
shared, and thus the be the firmament of our ties…

selfishly, I plead that you stun us with the
insight inside, hopeless hoping you surrender
and share in the only way I know that expiates some,
the grief, some of pained shame, and for a momentary
gasping, allows us grasping you, through you poetry,
the value you can bring forth to others humanity,
helping us to make us a better~both, with written creating
sums far, far greater than the to~us whole…
nml

7:45AM
Sabbath
May 25
2024

Silver Beach, Shelter Island
Padan Fain Mar 2016
"Don't come any closer" she said
pulling a sliver from her heart,
the one she kept on her filament wrist

hand upraised, shaking but sure
a pinprick of light glinting in her fist
matching the spark shining through the hole
once filled with an object sharper than her pain

pull them out so you can forget
so you can remember
what it's like to breathe
what it's like to cast yourself
like the night sky

she lunged, a streak in the dark

everything roiled in a chaotic ink
except a twinkle one could balance
on the tip of a needle
Softly, they tickle
As they crawl, like fingers
Down caramel cheeks
Flawless, beautifully scalped

Dipped, sliding from both
Along her pores, tiny hairs
From her brown lashed eyes
Shadowed in sorrows

It's her cross, she cries
For pains unmade, left alone
But those tears stains skin
Bringing color to touch

Red, again so deep
Like her lips, pursed
Her tongue darts, tastes
It's the way; her way

She looks and sees
Upraised eyes, first time
All these years, through time
Friends lost, begging and gone

Mascara blood stained tears
Humming soundless tunes
A sorrowful lost small smile
Hunts her lips, painted matching

Her eyes bright
In palest moonlight
Seem to sparkle, nice
Memorizing glances; fight

Longish fingers dipped in red
Look, sensually gesturing
Spellbound graceful trap
Predatory heart

Still blood tears fall
Not for you, not for you
As she reaches, slow
Tears become rivers
Linkuya Nov 2017
Fifty seasons past, in times overgrown and abandoned,
Lived Hinterlands vast and wild, twice as unknown as fate,
Holding many mysteries both bewildering and unknown,
Lands wild, confusion and treachery all they would ever create.

A colony of spirits inhabiting the oak trees,
They would move in purpose and silence,
To and fro, the colony traveled as they pleased,
Killing under the moon, hands upraised in defiance.

The great wolf left loose,
He prowled through the land once again,
His mark found on every tree and every spruce,
Until a traveler sought the beast, and it was gracefully slain.

The sleeping foe was as tall as the night sky,
With every breath he would poison the air around him,
Thick stone-flesh covering his single ruby eye,
His foresight was still strong and true, tidings proved grim.

Hinterlands Folklore heard clearly and truthfully,
Untarnished by the seasons change, year after year,
Histories left both bizarre and beautifully,
Eloquently left in text, yet in history painfully austere.
mark john junor Feb 2016
her velvet mind
swallowed me whole
in one bite
noble i tried to encompass her fairest face
in words sweetly written
but knowledge awaits the little engine that could
chug chug chug up the hill pushing his boulder of wheat
till just as he reaches the top he tumbles back down again
so he must repeat till dooms day
so he must repeat till he learns the golden rule
there are no rules just fancy ways to cheat
just better circus clowns with speedy little lies
just bitter old men soaked in old wine
cursing with one fist feebly upraised at the ignorant sky
her velvet mind so smoothly takes away
more than was intended to give
but its an ignorant little engine that could
that tries to shortcut his break-even chances
that tries to cheat the cheaters

— The End —