'illusionary' poems - Hello Poetry

Matt Feb 2015

Sunyata (Emptiness) in the Mahayana Context

Matt Feb 2015

Sunyata (Emptiness) in the Mahayana Context

Form is emptiness
Emptiness is form

1. Sunyata (Emptiness) is the profound meaning of the Mahayana Teaching.

Two thousand five hundred years ago, the Buddha was able to realise "emptiness" (s. sunyata). By doing so he freed himself from unsatisfactoriness (s. dukkha). From the standpoint of enlightenment, sunyata is the reality of all worldly existences (s. dharma). It is the realisation of Bodhi — Prajna. From the standpoint of liberation, sunyata is the skilful means that disentangle oneself from defilement and unsatisfactoriness. The realisation of sunyata leads one to no attachment and clinging. It is the skilful means towards enlightenment and also the fruit of enlightenment.

There are two ways for us to understand this concept of sunyata in the Mahayana context. One way is to try to understand the explanation about its true nature. The other way is the realisation through practice. What we are going to discuss now is about its true nature.

Mahayana teachings have always considered that the understanding of sunyata is an attainment which is extremely difficult and extraordinarily profound.

For example, in the Prajna Sutra it says "That which is profound, has sunyata and non-attachment as its significance. No form nor deeds, no rising nor falling, are its implications."

Again in the Dvadasanikaya Sastra (composed by Nagarjuna, translated to Chinese by Kumarajiva A.D. 408) it says: "The greatest wisdom is the so-called sunyata."

This sunyata, no creation, calmness and extinction (s. nirvana) is of a profound significance in the Mahayana teachings. Why do we see it as the most profound teaching? This is because there is no worldly knowledge, be it general studies, science or philosophy, that can lead to the attainment of the state of sunyata. The only path to its realisation is via the supreme wisdom of an impassionate and discriminating mind. It is beyond the common worldly understanding.

2. The Significance of Sunyata and Cessation

The Buddha always used the terms void, no rising and falling, calmness and extinction to explain the profound meaning of sunyata and cessation. The teachings of the Buddha that were described in words are generally common to worldly understandings. If one interprets the teachings superficially from the words and languages used, one will only gain worldly knowledge and not the deeper implication of the teachings. The teachings of the Buddha have their supra-mundane contexts that are beyond the worldly knowledge.

For example, sunyata and the state of nirvana where there is no rising nor falling, are interpreted by most people as a state of non-existence and gloom. They fail to realise that quite the opposite, sunyata is of substantial and positive significance.

The sutras often use the word "great void" to explain the significance of sunyata. In general, we understand the "great void" as something that contains absolutely nothing. However, from a Buddhist perspective, the nature of the "great void" implies something which does not obstruct other things, in which all matters perform their own functions. Materials are form, which by their nature, imply obstruction. The special characteristic of the "great void" is non-obstruction. The "great void" therefore, does not serve as an obstacle to them. Since the "great void" exhibits no obstructive tendencies, it serves as the foundation for matter to function. In other words, if there was no "great void" nor characteristic of non-obstruction, it would be impossible for the material world to exist and function.

The "great void" is not separated from the material world. The latter depends on the former. We can state that the profound significance of sunyata and the nature of sunyata in Buddhism highlights the "great void’s" non-obstructive nature.

Sunyata does not imply the "great void". Instead, it is the foundation of all phenomena (form and mind). It is the true nature of all phenomena, and it is the basic principle of all existence. In other words, if the universe’s existence was not empty nor impermanent, then all resulting phenomena could not have arisen due to the co-existence of various causes and there would be no rising nor falling. The nature of sunyata is of positive significance!

Calmness and extinction are the opposite of rising and falling. They are another way to express that there is no rising and falling. Rising and falling are the common characteristics of worldly existence. All phenomena are always in the cycle of rising and falling. However, most people concentrate on living (rising). They think that the universe and life are the reality of a continuous existence.

Buddhism on the other hand, promotes the value of a continuous cessation (falling). This cessation does not imply that it ceases to exist altogether. Instead, it is just a state in the continuous process of phenomena. In this material world, or what we may call this "state of existence", everything eventually ceases to exist. Cessation is definitely the home of all existences. Since cessation is the calm state of existence and the eventual refuge of all phenomena, it is also the foundation for all activities and functions.

The Amitabha Buddha who was, and is, revered and praised by Buddhists around the world, radiates indefinite light and life from this "state of cessation". This state is a continuous process of calmness. It will be the eventual refuge for us all. If we think carefully about the definitions of calmness and extinction, then we can deduce that they are the true natural end-points of rising and falling. The true nature of the cycle of rising and falling is calmness and extinction. Because of this nature, all chaos and conflicts in the state of rising and falling will eventually cease. This is attainable by the realisation of prajna.

3. Contemplating the Implications of Sunyata and Stillness (Nirvana) by Observing Worldly Phenomena

All existences exhibit void-nature and nirvana-nature. These natures are the reality of all existence. To realise the truth, we have to contemplate and observe our worldly existence. We cannot realise the former without observing the latter. Consider this Heart Sutra extract, "Only when Avalokitesvara Bodhisattva practised the deep course of wisdom of Prajna Paramita did he come to realise that the five skandhas (aggregates, and material and mental objects) were void."

Profound wisdom leads us to the realisation that all existences are of void-nature. The sutras demonstrate that the profound principle can be understood by contemplating and observing the five skandhas. We cannot realise the truth by seeking something beyond the material and mental world. The Buddha, using his perfect wisdom, observed worldly existence from various implications and aspects, and came to understand all existences.

In summary, there are three paths to this observation:

a) We should observe the preceding state and the current state of conditions. i.e., Observation according to the concept of time.

b) We should observe existences according to their interrelationships. i.e., Observation via the concept of space (either two or three-dimensions).

c) We should observe the true nature of all myriad beings. This is like observing the worldly existences of a point, a line and an area. Those with supreme wisdom understand the true nature of all worldly existences by observing vertically the relationships between the preceding and current conditions, and horizontally the interrelationships. Then we can understand the true meaning of void-nature and nirvana-nature.

3.1 By observing the preceding-stage and the current-stage conditions, we can verify the Law of Impermanence of all worldly existences. All existences, be they material or mental, be they the material world, or the physical or mental states of sentient beings, are subject to continuous change.

The world may have certain states of beings where they stay static or are in equilibrium on a temporary basis (for example hibernation). But when we observe them with supreme wisdom, we will find that not only do they keep changing on a yearly basis, but also that this change applies to even every briefest moment. After the current state of conditions have ceased to exist, the newly-formed state materialises. This is the state of rising and falling. The rising and falling of each small moment reveals that all existences are ever-moving and ever-changing.

Conventional scholars have a very good explanation of these ever-changing worldly conditions. However they, including the practitioners of dharma, try to make sense of the reality from the ever-changing worldly existences. That is, they are fooled by the material existences and are not able to understand the deeper truth of all existences.

Only those with the supreme wisdom of the Buddha and Mahabodhisattvas realise and understand that all existences are illusions. They understand that existences are not real from the observation of the flow of changing existences. The numerous illusionary existences may well be diverse and confusing, arising and decaying. But when we look into their true nature, we will find them void and of nirvana-nature.

On the other hand, since all existences are of nirvana-nature, they appear from the perspective of time, to be ever-changing. They never stay the same even for the briefest moment. Impermanence implies existences do not have a permanent entity. This is another implication of the nature of sunyata and stillness.

3.2 From observations of existence via inter-relationships, we can conclude that nothing is independent of the Law of Causation, and that everything is without ego. For example, the Buddha explains that the individual sentient being is composed of physical, physiological and psychological phenomena. The so called ego is a deluded illusion which does not exist in reality. Its existence depends on the combination of both physical and mental factors. It is a union of organic phenomena. Thus we call it the empirical ego. It is a mistake to cling to it as an infatuated ego.

The Indian concept of the supreme spirit implies someone who rules. The spirit is the ruler who is independent of is self-dependent and all causes. In other words, the spirit is the one who is free from all primary and secondary causes (for physical and mental aspects). The spirit is the one who has the soul of his own body and mind. This is the ego or supreme spirit that the theologists cling to. From their view point, the only way to avoid physical and mental decay is to be self-determined and self-sovereign. In this way, the supreme being can stay permanent in the cycle of reincarnation, and return to the absolute reality by liberating himself from life and death.

But from the profound contemplation and wisdom of the Buddha and Mahabodhisattvas, we know there is no such reality. Instead, egolessness (non-self) is the only path to understand the reality of the deluded life. All existences are subject to the Law of Causes and Conditions. These include the smallest particles, the relationship between the particles, the planets, and the relationship between them, up to and including the whole universe! From the smallest particles to the biggest matter, there exists no absolute independent identity.

Egolessness (non-self) implies the void characteristics of all existence. Egolessness (non-self) signifies the non-existence of permanent identity for self and existence (Dharma). Sunyata stresses the voidness characteristic of self and existence (Dharma). Sunyata and egolessness possess similar attributes. As we have discussed before, we can observe the profound significance of sunyata from the perspective of inter-dependent relationships. Considering dharma-nature and the condition of nirvana, all existences are immaterial and of a void-nature. Then we see each existence as independent of each other. But then we cannot find any material that does exist independent of everything else. So egolessness also implies void-nature!

3.3 From the observation of all existences, we can infer the theory of nirvana and the complete cessation of all phenomena. From the viewpoint of phenomena, all existences are so different from each other, that they may contradict each other. They are so chaotic. In reality, their existence is illusionary and arises from conditional causation. They seem to exist on one hand, and yet do not exist on the other. They seem to be united, but yet they are so different to one another. They seem to exist and yet they do cease! Ultimately everything will return to harmony and complete calmness. This is the nature of all existence. It is the final resting place for all. If we can understand this reality and remove our illusions, we can find this state of harmony and complete calmness.

All our contradictions, impediments and confusion will be converted to equanimity. Free from illusion, complete calmness will be the result of attaining nirvana. The Buddha emphasised the significance of this attainment and encouraged the direct and profound contemplation on void-nature. He said, "Since there is no absolute self-nature thus every existence exhibits void-nature. Because it is void, there is no rising nor falling. Since there is no rising nor falling, thus everything was originally in complete calmness. Its self-nature is nirvana."

From the viewpoint of time and space, we can surmise that all existences are impermanent, all existences have no permanent self, and nirvana is the result of the cessation of all existences - the Three Universal Characteristics. But there are not three different truths. Instead, they are the characteristics of the only absolute truth and the ultimate reality. This is the explanation of Dharma-nature and the condition of nirvana. The three characteristics are the one characteristic, and vice versa!

We may cultivate our meditation, contemplating the impersonality of all existences. This will lead us to enlightenment via the path of voidness. Contemplating nirvana and complete calmness leads to enlightenment by the path of immaterial form. Contemplating the impermanence of all existences, leads us to enlightenment by the path of inactivity (no desire).

The Three Universal Characteristics are the other implications of Dharma-nature and nirvana. The paths to enlightenment are also the same cause of absolute reality. All of them return to the Dharma-nature and the condition of nirvana. In short, the teachings of the Buddha start from the observation and contemplation of all worldly phenomena. They are like thousands of streams of water competing with each other, and flowing from the top of the mountains to the bottom. Eventually, all of them return to the ocean of voidness and nirvana.

4. Sunyata and Cessation is the Truth (Nature) of All Existences.

All existences that are recognised by worldly understanding, whether materially, spiritually or intellectually, have always been misunderstood by us. We cling to them as real, physically existing and permanent. Actually, they are only unreal names.

The more precise meaning of the term "unreal name" is "assumption" or "hypothesis". It is an empirical name. It is formed by the combination of various causes and effects. (These include the effects of mental consciousness.) It does not exist by itself. Everything exists relatively. Thus, what is the ultimate truth? If we investigate existence further, we realise that all existences are empty. This is the fundamental characteristic and reality of all existence. It is ultimate and absolute. But we should not think that empty means nothing. It implies the disentanglement from the worldly misunderstanding of the existence of self, identity, and the realisation of the absolute.

In the Sutras and Abhidharma, the worldly understandings are sometimes referred to as all phenomena (Dharma). Sunyata is referred to as "Dharma-nature", and hence there is a distinction between "phenomena" and "Dhamma-nature". However, this is only an expedient explanation that helps us to realise the truth of sunyata through the phenomena of all existences.

We should not think that "existence" and "nature"; or the "phenomena of Dharma" and "Dharma-nature" are something contradictory. They are just concepts needed to understand the implication of sunyata.

We may analyse the exp

RAJ NANDY Nov 2015

CONCLUDING ITALIAN RENAISSANCE WITH DA VINCI, MICHEL ANGELO & RAFFAEL, THREE GREATEST TRIO

RAJ NANDY Nov 2015

CONCLUDING ITALIAN RENAISSANCE WITH DA VINCI, MICHEL ANGELO & RAFFAEL, THREE GREATEST TRIO

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

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

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

EARLY RENAISSANCE ARTISTS & THEIR ART

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

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

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

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

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

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

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

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

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

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

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

ART OF HIGH RENAISSANCE ERA - THE
GOLDEN AGE.

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

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

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

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

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

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

Fizza Abbas Jun 2015

Your soul

Fizza Abbas Jun 2015

Your soul

Your soul buoys up a body of mine,
leaving imperishable marks of an illusionary joy,
holding me through a lagoon of flowers,
embracing me in a verdant of sigh;
my soul becomes your captive while my body tells a lie.

#soul

JVL NARASIMHA RAO Mar 2011

A DEVOTIONAL PRAYER AND THE ILLUSIONARY LAYER

JVL NARASIMHA RAO Mar 2011

A DEVOTIONAL PRAYER AND THE ILLUSIONARY LAYER

There are three ways to reach the All-Mighty
Knowledge, devotion and disinterested duty
Knowledge is infinite
but Man’s vision is only finite

If man honestly performs his duty
It is undoubtedly a great beauty
But there are many hurdles
Which make him leave the ideals

Only devotion seems to be the easiest
It may be Rama, Allah or Jesus Christ
You need not be a great scholar
And need not be a wonderful performer

You will reach God through a devotional prayer
But you should unveil the illusionary layer
Only philosophy and God seem to the ultimate truth
Although it may not appeal greatly to an atheist and the youth

Kenneth R Pariseau Feb 2021

Waterfall

Kenneth R Pariseau Feb 2021

Waterfall

As I stand before the mountain of confidence called hope, I see a clear path up, not too steep, not too straight, but this path is embodied with rewards to the top.

At the top, there is a magnificent tree made of gold, silver leaves and Copper roots. Hope mountain held a perfect prize awaiting me, a Tree called Faith.
This sight to behold was everything I wanted, everything before me was so clear, but at the bottom where I was, there was a River.

This River was called Shame.
This river was filthy, the water was calm where I was, but looking downstream I could see the rapids of rage, the ripples of conditioning before the raging rapids were inviting.

The dreary stonewalling fortification on the banks allowed no light through, downstream was scary and looked impossible, why would I go that way? why even look?
I looked upstream and saw a blinding light, what could this be? I was so curious, so I waited, a true gentleman always waits.

Two days later the light took shape, as it came closer I could finally see, I could see a lifeboat with a caring nurturing beautiful woman.

As this beautiful woman came closer, I could see the river was being supplied by this woman, I could see she was the source.

The river of Shame was being fed by this woman, this filth in front of me was coming from her, but the beauty was something I've never seen, this beauty had me curious.

This beauty made me forget of the supply to the river.
  What I saw wasn't real all the sudden, what I believed was now real.
She came close enough for my heart to be heard, since she had no heart she was envious, she hated what others admired.

She wanted my wholesome heart, so she used her falsehood love bombing to create one, dreamingly admiring the mountain, we were planning different paths right then.
As I stared at the golden Tree of Faith glowing upon Hope mountain, I didn't notice the river was rising, as the numbing waters were rising it covered my feet, I didn't notice she also took a piece of my heart to claim as her own.

She used toxic gas and light to create a projection that this heart was hers to give back to me.

I didn't know any better so I accepted this ambient abused heart, this unfelt abuse gave me amnesia, this hidden poison of my cognitive dissonance gave her all of me.

Since she had nothing and that's what she craves, I had everything so she wanted to enslave.
I forget about the mountain with the tree even being there. I forgot I was here.

Her lifeboat was awkward, it was shaky,
it has imperfections, it has holes,
   her lifeboat is sinking,
     her heart is missing.
my knightly kind hearted empathy,
   my buffering and nurturing sympathy         pick this beautiful woman up
      I pick this gem up because of her idealization of me.
I can clean this insidious gem because she makes me believe, but through the veil I cannot see.
I throw her over my shoulder to carry all her weight, it's hard to move, hard to breathe, building a new boat was extremely hard, carrying her pain was extremely hard.

Everyone thought it was impossible to do it, my shear will power to commit ****** one foot in front of the other, I just didn't know that going downstream was impossible.

What about the mountain?

I couldn't remember from the amnesia, the dark night blinded my sight of the mountain, the drug in me was you and it consumed, i fell in love with misery and misery loves it's companies.

I stared the snake behind the veil in the eyes, standing tall on her pedastool made of spackle it breaks, I fall onto piercing confusion, I pull out shrapnel's of dissolution, I'm covered in her blood of invalidation.

I'm already floating in the boat with her, this wasn't my plan, this wasn't my reality.
I gaze upon this woman, sun shining behind her, no clouds in the sky.
floating downstream she tells me it's faster, that we'll end up behind the mountain higher.

I'm not worried now, I'm now contempt with shame.
I already forgot reality, I already forgot i'm going downstream, I forgot the searing pain, I forgot what I believe.

I'm relaxed, I'm tired, I'm still happy in love with this spellbound misery.

As we drift slowly through the stonewalls, no light shines through, I ask her for assurance, it's getting dark, I'm getting scared.

That's when the veil comes off, that's when the unnatural beauty grows quiet, that's when my voice screams silently within these stone walls.

This isn't her, this isn't real,
I know there's love I can feel, that was our bond, that was our deal, not to steal.

I fall over board and the water is cold, there's leaches, the debris is so random, the shameful water is moving faster, the all consuming cold confusion, random gaslighting and triangulations moving in around me faster.

I immediately can't bear it. My heart pulsates hard, my mind misfires my flight mode, i cannot intake the overbearingly unowned toxic Shame, her coldness activated my fawn mode, I froze, I start to doze.

luckily she had my leg, luckily she knew excessive admiration CPR, just as my body went limp in the agonizing River of Shame, she pulls me out. luckily she got me just in time, luckily she saved my life.

I awoke away from the stonewalls, it's sunny and safe again, we're together through impossible odds, we built this boat and she saved my life.

The abuse amnesia made me forget, the cognitive dissonance was real, I am not.

The mountain was now farther away, I was worried, I grew fearful, what I wanted looked farther away, that's when everything became gloomy, my goal was no longer there, but she didn't care, she knew where the river went, I believed her, I still do.

The ambient abuse made me anxious, the atmosphere was maddening of fear, it carried anxiety, I couldn't see it, but I was breathing it in.

Her eyes were so incapacitating, her heart disorienting, her soul captivating, she had a better plan, for us to press on and build another boat, to add another life, to believe in her, to not stare at the knife.

We build another boat, were out of the shame waters finally, she's helping me, were soon to be a real family, but the only thing real here was me.

Everything is better on the land, were dry, it's sunny, it's better to feel the nirvanic sand. It's here we bring our new seed, to be sprouted downstream.

I now believe in this new mountain downstream, I don't even remember the mountain I seen, were pressing on downstream past a levy, were now in the River of Grief, we're off to the end of make believe.

This river is really turbulent with rapids of devaluation, the splashes make me irrelevant, the dinigrating actions around make me small, I feel lost and confused, nothing makes sense anymore at all.

At the mouth of the River of Grief it opens up into a valley. She jumped onto a rock of vanity and pushed the tree of disloyalty upon the boat.

This throws me out head first, but luckily I have our seed safe and sound, luckily I learned how to drown.

I turn around falling and see her at the top staring down, she smirked and throws enormously heavy anvils of bereavement to make me fall harder, to keep me down longer.

Evil is real, but only if you believe, I crave the flattery of illusionary love, I still had amnesia, I love misery, the feeling reminds me I can feel, I love my slow death so I say I'll find you, I have the seed, I'll wait for you.

As I fall the thorns of numbing premeditation pierce, the pain is searing, as I fall i'm locked on her, my falsehood of love is still enduring, I don't feel the discard, I ignore the distaste.

I land in a field of hopium still protecting the seed, my amnesia is now worse, I can't remember her smirk, I can't remember the weighted anvils of bereavement, I can't remember the tree of disloyalty, I still can't remember the mountain.

My movement is heavy like concrete, my heart sits down at my feet, my mind is nowhere to be found, my spirit is fading on this ground.

I gather everyone from a nearby village to find her, it's impossible, they can't see her, she never existed, my amnesia was now delusional, the hopium mixed realities, nothing was real, there was nothing I could truly feel because everything was wrong, but I believe misery needs me and I yearned.

I say she's at the top, we have to throw her a rope,
they say it won't reach what isn't there,
I say we need a ladder to throw the rope, they say the ladder isn't safe that high.

I say everyone can hold the ladder while I climb perilously to the top, they say it will never work, but since they can see me, since they see a part of me is still real, everyone holds the ladder for me.

While I acend with my broken dignity, I acend with a fatigued heart, I acend to find what I believe, no matter how hard I try, I will be taking my destined decent.

The top of the ladder is shaky, I spent forever getting there, it's scary, the heights bring great fear over me, more than I've ever felt, but my knighthood makes me overcome anything.

I suppress, the seed is safe down below, I'm here to impress, I can see her now, only much less.

Her snake skin is peeling, the sun scorched blistering skin shows immense pain, witnessing this releases empathy, the caring knighthood in me naturally wanted to save her again.

So I wrap what's left of my discarded soul upon my broken fatigued heart and I use my trauma bonded mind as bait.

I throw her the rope,
she catches the rope,
I tell her to tie off the rope,
she ties a noose with the rope,
her neck is now wrapped with this rope.

If she falls I can't stop the tightening of the rope, if she falls I already know I'll jump for her and release from her neck this rope.

We jump together and I release the rope around her neck, I see the ground coming fast, but I love this snake, I'll die for this snake because I believe, false beauty inside is all I see.

I grab her and turn her away from the rushing ground, I fell once, I can take the fall again.

She is already hurt, immense pain, she will not feel no more pain, because I'm not hurting for I'm with misery again, I believe I can take all the pain for her, the hopium was numbing everything I consumed.

I awoke to a distressed angel, flawed personality, beautiful nightmare, mirroring the devil, but what I saw was a veil over the snake eyes, what I saw was what I believed before.

What I had wasn't real, who I am is no longer there, for I had ambience amnesia, nothing around me fit, nothing around me was grounded, nothing around me was divine.

The eyes that gazed upon me were captivating, spriling, time froze and only she was moving, the feeling was there, a drug within me, the drug was her and I longed for the misery, I yearned for the pain to remember what was real, I needed the intermittent reinforcement, I wanted my all bets in investment back and I risked a short sale.

We faded into the black, into a new boat, she made this boat, she had plugs in  holes of the boat I couldn't see, I believed it was perfect, I didn't know what awaited was a life long anguish.

I still didn't know what was downstream is impossible, I didn't know this new River of Anguish has piranhas of triangulation, I didn't know the rapids were of oppression, I didn't know the rocks causing these rapids she already put in place, I didn't know it was so black around me in this place, I didn't know my seed would become two, I didn't know I would have to choose.

I didn't know true love was in front of me in my hands and not behind the veil, I thought it was her, all the villagers knew, but as I drew closer to the snake the darkness only grew and the seeds too.

The feeling of my lingering mortality reverberates, she built me a coffin and chained it to my ankles, with this immense weight, I carry it with me just in case.

We floated very fast down this River of Anguish, everything seemed fine to all others including me, the darkened skies covered the evil, the cold waters made my body numb, the seeds were held up high to be be safe from the tormenting waters.

As I held them up high, I didn't realize she was still holding the schraded butcher knife in the water, I didn't believe she would hurt me, I didn't conceive the possibility that knife I didn't see was there all along for me.

The waters of Anguish smothered me, the triangulating piranhas slowly nibbled on my feet in the water, the rapids of oppression kept me gazing in the water, the rocks of malice in the water tried to tip me over, but my balance was true and the seeds were safe from harm, but I am not safe, I'm dying inside.

I don't know why, but after every agonizing stab from this knife when I'm not looking, it hurts, but the numbing knife only helped me when it was pulled out, it has holes in the knife so she could pull it out without me knowing.

I always turned around and cleaned the knife covered in my blood, I always gave it back to her, but every wipe upon this blade made it grow, and every wipe made the label on the handle more clear.

I find out in the end this knife is called narcissistic rage, the brand of this knife is called gaslighting and my blood is the supply.

I didn't know any of this until it was too late to save myself, my reality wasn't real, my dreams are gone, my nightmare is all consuming and existent, my seeds are still safe, but I am not.

When I start to notice the knife exists, I forgive her, the conditioning made the skies darker, I wipe the blood off and give it back, the knife is now a sword, it's name is discard.

The waters are uneven, the piranhas of triangulation feel like strangulation, my clothes are still soaking wet with anguish, my hair is slimy and covered in Shame, my feet are cold and numb from the grief.

I can't understand why I'm here,
  I can't understand why I'm actually meant to be here.

Every turbulence has thrown me down, she pushes me over head first, as I try to lean up to breathe she has her foot on my neck in the cold numbing river, but this river does not affect her, this river is warmer than her, the warmth from anguish pleased her, the piranhas followed her commands to bite, she smirked as the rocks she placed crushed against my head.

She waited until I went limp every time, but she knew idealization CPR, her deceit was without compassion, her rage was without sympathy, but I had severe ambience abuse amnesia, I still couldn't remember the mountain, I am now trauma bonded from the stabs she's counting.

I only saw her veil, her gaze convinced me I placed these rocks here, her gaze made me ignore the stonewalls around me, her pure hatred was covered in false intentions, her illusion was my isolation.

As everything was becoming clearly dangerous, as everything went pitch black, I look back and see the light from the mountain glowing, I see there is something wrong where I'm at, I see the seeds are not growing, I start to see the pain all around me.

Non the wiser, I keep coming back from drowning, I keep falling for misery, I keep wiping my blood off the blade, I keep isolated, but now I feel there is something painfully wrong, the reason abates me but I feel it, it hurts, it's camouflaged by deceit, it's all in my head, my coffin is soon to be my bed.

I look to the shores, there are other villagers worried, they are waving frantically, they're pointing at a waterfall ahead, this waterfall is called Doom, this fall would be death, the sound is raging, the mouth all consuming.

I see the stream to the side that the villagers are pointing to, I see the calm waters awaiting our safety, but the boat will not fit.

Only me and the seeds are real, everything else around me is illusional, the trauma delusional, the possible harm to the seeds was not refutable, my love for misery was unsuitable.

I could see my life was in danger, I could see the stream nearby screaming safety, I knew the seeds needed me, now I can't stop shaking.

Without her knowing what I was doing, I turned my back towards her facing the water, I knew she was going to stab me over and over again until I turned around, I now see the hypnotic eyes behind the veil. Not turning around only enraged her, the blood on the knife was condesating.

  The safety of the stream for my seeds was a new found glory in my exodus.

I paddled with my small hands this large weighted boat towards the stream, her knife was venomous, the water was echoless, the air imparted dreadfulness, all of this was dimensionless, all of this was not real, unless I let it be, now I can see, now I can finally flee.

As I came closer to the stream the waterfall grew stronger, the pain larger, the sound louder, I knew we were closer to the end, I knew I needed to jump off with my seeds, but I know the torment will end.

I melted my enduring pain inside with molten lava heartache to mold anew, I compartmentalize because I have to choose.

I had a vision that if I jump, the seeds will be safe, the climb to the mountain can still happen, I knew I was right about how I felt all along, I realized the veil couldn't cover the true self, I now believed In me.

I now know the water air and land were not what she made me believe, I knew I didn't choose this path, I knew I could survive, I know the seeds are going to be safe now. I know because I manifested instead of throwing in the towel.

Once close enough I finally looked at her and smiled I love you, jumping into the river I could feel the bitter cold agonizing tormenting river smash me with bereavement and disillusion by dissociation, I felt the coma of trauma surround, for I am now trauma bound.

I hold my seeds up high, I kept them safe because they don't feel the water, they're starting to sprout already, no more decay.

As I climb out of the frigid waters and still dripping wet, the drops are red, my feeling is coming back, my back is full of knives, I'm scared but I survived.
Knowing the worst is over I look back to her, she is consuming the river because she was the source, everything dark folds in on itself because the light cannot touch here, for this black hole is collapsing in on itself, I cover the seeds to shield them of this exorcist, they're safe here because my love is relentless.

The tormenting pain makes it hard to stand tall, still going through bereavement of a false reality where I lost it all, the answers we're all lost in the waterfall
"" "" "" "" "" "" "" "" "" "" "" "" ”"" "" "" "”" "" ""

Mateuš Conrad Oct 2016

after receiving a compliment from a supermarket cashier

Mateuš Conrad Oct 2016

after receiving a compliment from a supermarket cashier

to me, the Cartesian saying had to be relegated to shrapnel,
i treat the cogito
                                           ergo                       sum
like i'd treat atoms, brushing and
signaturing each other with
a stabilised unification
under the name: helium, or hydrogen.
evidently that's also a term
for three dimensional space
and the cohorts of chaos that come
from it.
           but something worries me,
intrinsically it's what i would simply
term: the automation of thinking.
basically? it's blood hard to stop thinking,
to do yoga to intricate being
in nothingness,
    as Heidegger suggested:
non-being is a tier below nothing,
      and i guess automated thinking
comes from non-being,
because there's this intrinsic manifestation
of instinct found in all sport activities
that doesn't allow thinking to take place,
no footballer thinks about his exertion
on the football pitch, no golfer maps
out a system of thought to *** the hole
in one...
                some would even say
that thinking is a form of laziness,
          i find that the whole notions turns
out to be a **** up affair of concern,
the mere notion that thought is automated
    and cannot be barricaded against
its relentless battering our very being
is due to the fact that so many of us
do not attain the all that glitters is gold
particularity of fame...
             it's not that we are doubtful,
but that we are mindful / thoughtful,
a few of us make it to the top of the sardine
can, but so many of us are minding
our own business on this placebo earthenware:
yes, i call this a placebo urn of things
needed (people always rave about nouns
anyway, call it slang, or whatever,
it trends, hashtags and the outdated
forms of phone numbers - calling big brother
eeny, meeny, miny, moe) - i could
swear it's so, but then again, maybe not so.
still (what a crass digression),
coming back to the Cartesian shrapnel...
           basing in on weights and measures -
it's so tiny, that expression,
                      we can think the realistic
and only express a centimetre of the world,
we can be the realistic and only
express a centimetre of the world,
  and then we can think the illusionary
and express a mile of the world,
        and we can be the illusionary and express
   a kilometre of the world:
toward the basis of fame and contentment of
  the shadows...
       yes, we have achieved a "death" of history,
by simply stating our recreational pursuits
being more important than our
need for historical eventuality and crisis, and change...
we have stated a "death" of history
via our population size, our ability to combat
diseases (whether infantile or of a certain maturity),
yes, we have established a congested world,
which facilitates nothing quite like a herd
(cattle mentality): hence the modern concern
for alienation... we're created a collective manifestation
of insects, or as one might suggest
  this is yet another geocentric and heliocentric
concern for us... although relegated to
egocentric and the collective ethos of comrades -
but given the former has been eradicated
as it was previous known: communism -
      in economic vocabulary it's all but gone,
but still exists in the sports: yet again,
the re-surfacing of abolishing automated thinking,
namely, automated collision with the daily
activity - either competitive or mundane,
    as we all soon realised: if automated thinking
is not eradicated by automated doing
     we end up mentally distraught -
our own thinking alienates us and even progresses
to symptoms that have no viability
       concerning a drowning man, nonetheless
we're actually drowning.
i can hardly think that nothing is an abyss -
       to me thought is an abyss (cat meows,
i write, the fermentation of wine goes on in
four jars to my left, bob, pop, bob, pop,
and daniel licht is playing to the fatty *****
that's my brain) -
                     i knew that ponderings ii - vi
would get my creative juices flowing:
finally! a book on philosophy that i can comprehend
within that bilingual complex i've established!
or: this much can be said upon
giving a supermarket cashier a signed copy of
my actually printed works
     and hearing a compliment with eyes
waxed with glee (Tarah);
           now i have 100 copies to push,
become akin to a drug dealer with poetry,
           and that's not going to be easy
without p.r. and all that jingly marketing qualms.
still, what's there to be done
        if not that there is something to be done,
even if it's nothing, or a pebble on a mountain:
which is why there is so much
   potential in individuality, but also so much
angst - instead of doing crosswords we have
other riddles to be bothersome about,
   but so few even get a ?         to be concerned with.
again the Cartesian shrapnel equation,
              so much is staged on it in terms
of how thinking becomes automated, robotic
to the point of making children succumb to
    premature depression -
      back when premature dementia was the hit
on Broadway or in an Estonian lunatic asylum
in the 19th century,
when we first received our psychiatric vocabulary,
now it's the young who are odd
   and it is premature depression,
          a bit like the black plague, against
all hopes, a single identifiable folly.
             and where the best rewards?
solitude, where else?
                          for all that swindling of the talk of species
and competition within / without,
        always one ******* says:
                           i am the zeitgeist - always one:
are there really benefits to realising that
****** equation? are there? to feel alive, to feel
conscious, or the madness of Nietzsche's reversal
stating that he's a thing that simply, exfoliates
necessary thought?
           thought is primarily a moral ought -
the should i or shouldn't i?
        it's intrinsic, inherent and simply: just there...
or in the unlikely event, a step into the abyss
   and subsequent pathologies of the enabling of
   a destruction of the soul: as manifestation
of a transgressively transcendent embodiment
of pure body.
                 so, against all duality, i simply fathom
that ****** thing as shrapnel,
     curiously via (as i already might have said):
so much thinking doesn't precipitate into being,
     and so much being doesn't precipitate into thinking -
or of those who adorn mental silk fabrics and Solomon rings,
         and those who have to pay for elocution
lessons due to their ****** endeavours -
      yet again, alignment with Thesaurus Rex,
cue: down Synonymous Avenue
                     because how many times are we sharpening
our narrative trying to feels less inclined
                 to exfoliate in the exotica of what's
the necessary verbiage, and escape into single
identifiable meanings, without poker, without politics,
without sexualised ambiguity?
for me language should work, not be desecrated
to fun: it, should, work;
                     or here i rest my ambitions,
without any poetic dogma - or to make poetry unrecognisable
when stated, for no reason to discredit
   the systematics of poetry: but for reason
                        Kraken wrangler on language -
as much as Nietzsche might have said about
      philosophical systems and their errors and lack of
honesty: i say as much about poetry careful to
be identified as such: metaphors, imagery blah blah -
all things that make people conscious of what
they're reading is actually what they're reading and say
it's poetry - as i said to the supermarket cashier:
enso (Japanese,
marcon purposively missing) - to write while standing up,
and so the reader is standing up,
         not a novel you take to bed,
                     and read for months on end,
dozing off, or sneering at "uneducated" people
on the train...
                         i might as well be writing instruction
manuals for the sadistic training of ballerinas -
              one cut, one incision, and get the **** out;
or at least that's the idea -
      learn to spell, work on punctuation variations,
    learn to tie your shoelaces... and don't believe in
the word edit.

Jamaal J Ferguson Sep 2016

Illusionary Tales

Jamaal J Ferguson Sep 2016

Illusionary Tales

Can't fall asleep
looking at the ceiling/
like how do I reach the top
with correct appealing/
resisting a rest
I confess
until I'm non other
dealing with the best/
feeling/
I did it it was my decision/
I said I was the greatest
I hadn't even finish/
Part truth of the statement
barley even started
Belated secret garden
Draped in decent garments
somewhere in the middle
tarnished/
An unidentified target/
Illusionary tales/
remunerate than recuperate
hoping I fare well/
thus the only way/
This the stuff wich
legends are made/
Against all odds through the opposite end of the cave/
1 verse a thousand
possibly how can he sustain/
Stay the course specifically
officially to obtain/
Rewards within the parameters
Invisible rules Of the game/
Visual subliminal critically
to attain/
The critically acclaimed/
Regardless of what
the critics be saying/
Goals agenda
to what ever it is your aim/
One in the same
With particulars bitter sweet/
Smoke and mirrors Vividly
Conspiracy? What do you see?/
Believe half of that
The Better half
you have to seek/
They took it for granted
But don't take this from me.

#inspirational

Umi Mar 2018

A lullaby for a Vampire

Umi Mar 2018

A lullaby for a Vampire

Sleep, dearest creature of the night, you who adores the shining moon, I said to myself as the music began to echo through the room
A nyctophile blood ******* devil, gifted black demonic wings alike a bat when it flies, strengh beyond reason and a tongue full of sick lies,
Yet a ray of sun may be lethal to you, burning you away as if you were paper caught in a firestorm, an inferno of heat, vaporized at last,
Life force relies in blood, impurities of constant change I need since I have already passed away theoretically I am most likely already dead
A music box plays for me alone, transient melodies from the recurring memories of a brighter, vivid past, to which I am are unable to return to,
Ahh, phantoms, a nuisance of the mortal life I have escaped alike the shooting stars over a clear, living,traveling, dark blue night sky
Have I toiled well, hard or long to achieve heaven, yet have become stuck as the devils tool in a illusionary world with no end ?
Flowing water seals me away, I cannot cross when it rains, and need a polite, kind invitement to intrude and cause wicked bloodshed
Sleep, so I may can be innocent until the sun has sunken down to rest,
Slumber, the world of dreams is free from weaknesses to purification,
With great magic, comes a devils recitation, engaging in a distant dream far beyond the grasp of my crimson, blood drenched hands,
Unable to advance, shadows of those who have forgotten the fear of darkness spread and creep around, hidden in nights embrace
Empty consciousness I am attracted like a fluttering butterfly to the gentle reflected light by the full moon in its fullest sensation,
Raise this song of love and paint it in a moonlit night for me,
Dance with me, until we aren't part of this world any longer, dear,
Sounds melt into silence, structure forms within chains of destiny,
Even if tomorrow were never to come, I couldn't care less,
For now, just let me rest my eyes

~ Umi

#vampires #sleep #memories #transient #life #lethal #night #day #light #inhuman

Umi Mar 2018

Short living Eternity

Umi Mar 2018

Short living Eternity

Antimatter mirroring our existance on the pathway of a reverse world
Imagine it, time stands still, halts without a will to continue its flow if it were to possess one to begin with, and everything is but fragile,
Illusionary moon, shine on in this distorted realm in which not even gravity is reliable or even trustworthy at this point, up is down here,
An imperishable night caught under a spell of eternity, uninterrupted
Everlasting, permanently shining, the fake moons appearance is clear,
Unremitting, sweetly told as a if it was a lie, the rumours of this world spread more likely like a disease through the ancient, young earth,
A line parallel drawn to ours, a dimension coexisting without sense,
It appears to be fragile, like a newborn child, the smallest disturbance would mostlikely ruin it's balance, bring tremor upon it wretchedly,
But where that life sparkles as then fades, two dimensions surely would overlap, of course, maybe it will be the world you inhabit, no?
In the realm of the dead, a loitering, lingering darkness thins the borders of reality and illusion, causing them to exist as one, now with the same heart and soul, a fantasy heaven which became reality,
After all, that place is only temporary,one surely could even call it a;
Short living eternity,

~ Umi

#eternity #living #death #darkness #light #illusion #dimension #parallel #antimatter

Amitav Radiance May 2015

Slumber

Amitav Radiance May 2015

Slumber

An illusionary sleep
Has taken over every soul
Eyes wide open
Yet the vision is blurred
Every step is a stupor
Across broken paths
Not an inch of freedom
Spaces are traps
Detached from the soul
Every waking hour a tribulation
Truth swept under the delusion
Under an unknown spell
Magic wand instructs every move
It’s time to wake up
From an illusionary sleep

#sleep #souls #delusions #spell #slumber #awakenings

Jay G Jul 2013

Simple Illusionary Tale / Dancing Daggers

Jay G Jul 2013

Simple Illusionary Tale / Dancing Daggers

The illusion is that you are simply reading this poem.
The reality is that this is more than a poem.
This is a beggar's knife, a blooming tulip.

This is a soldier marching through war torn fields of wheat.

You on your deathbed.

This is Li Po laughing madly underground.
This is not a ******* poem.
This is a horse asleep, a butterfly fluttering in your mind.

This is the devil's circus.

You are not reading this text.
The text is reading you.
Feel it?
It's a cobra coiled to attack, an eagle circling the sky.

This is not a poem, poems are dull, they make you sleep.

These words are for your ailing madness, the one that makes you walk the streets.

— The End —