Once across a Caledonia dreary, whose Echo,
Amid the Jötnar, was MAN, I wandered hurt and weary,
Until yon Glare, with deadly Rage flaming,
Lo! I beheld, next to the Iron Gates
Of a long-forgotten Ruin named still
After incorruptible Titanium.

A noble, finely engraved feudal Vest,
Under a Luminary invisible, implacable,
Shone thither with a Glare fiercer, methought,
Than that of the rubies at warlike Valhalla,
Amid Walls time-eaten, kingly Banners, and proud Towers,
And dwelt there in melting Titanium.

Deep memories of martial Woe
Like an arrow piercing my *****, and aimed
Thro' the Night with lethal Glare,
No barrier was there to be found
Between my Past yielding and this conquering Robe
With Runes marked deep in Titanium.

Thus I remembered having once graved,
In revered silence and solitary anger,
Into the Glare, within the Hills, upon the Dust,
The Emblem of the OVERMAN,
Which thou may again now see gleaming,
With pride Superhuman, o'er this garb of Titanium.

My Enemy Wraith haunting me no more,
Into a most profane dying hour,
I walked forth, to wear of the Armour of the Glare the worth,
And felt, intensely, from the Zenith of a most fiery Heaven,
The Rays from the Stars imbuing my Very Gore
With blinding, rageful Titanium.

Hereupon, with Cuirass thus worn, I bethought me of boldly ascending,
With heavy Claymore drawn, in a Guard of the Hawk,
At Ultima Thule, of the Bluish Glare, the Hidden Rock,
And at its scorching Crest, with Blade o'er me flashing, widened my gathering Breast,
The Largest Mirror, the Highest Beacon, aye,
Before the wild Blaze molten down in Titanium.

The space between.

A time to sell yourself.

A time for passing.

Sometimes I touch the right.

Too much, the wrong.

Resplendent deterioration
we live by.

With casuistic slogans
and closing doors.

D'you know disembarkment
leads to land sickness?

It does.

And who can then make
heads or tails out of
the qualms of tolerance
and his cousin, ignorance?

Sitting outside, i close my eyes to the sound of Tycho-Dive,
Middle of the night, stars wrapped around the night stormy sky,
Moon is finally asleep, and all is dark and quiet.
Deep breath, cool wind surpasses my warm skin on this cold summer stormy night.
Thinking deep thoughts about my life, these are the moments i feel free.
When no one is around, i can finally think calm to myself, and feel finally at ease.
Wish these calm moments can last forever.
They say night time is when our demons come out to play, but i feel so much comfort in this earthly darkness that my emotions escape me, they escape me because i can be me.
No one can stare at me
No one can talk to me
No one, just no one around to bother me
I want to feel free,
Just now as i do,
Have my heart set at bay,
to feel, think and breath this life we live.
Calm rain pellets dash above the porch roof.
Aroma of the heated pavement from the hot sun during the day.
Let me breath.
Let me be me.

I Have a Yong Suster
(anonymous Medieval English riddle-poem, circa 1430)
translation by Michael R. Burch

I have a young sister
Far beyond the sea;
Many are the keepsakes
That she sent me.

She sent me the cherry
Without any stone;
And also the dove
Without any bone.

She sent me the briar
Without any skin;
She bade me love my lover
Without longing.

How should any cherry
Be without a stone?
And how could any dove
Be without a bone?

How should any briar
Be without a skin?
And how could I love my lover
Without longing?

When the cherry was a flower,
Then it had no stone;
When the dove was an egg,
Then it had no bone.

When the briar was unborn,
Then it had no skin;
And when a maiden has her mate,
She is without longing!

This poem was sung in the movie "Animal House" by a college troubadour played by Stephen Bishop. A toga-clad John Belushi destroyed his guitar! Keywords/Tags: riddle, medieval, Middle English, young, sister, cherry, stone, dove, bone

whenever this feeling
of uneasiness visits my skin,
i convince the goosebumps
that im just overthinking,
that im not in danger,
that they only show
because warmth is
a foreigner wandering
the premise of my heart,
but when I consult
my heart,
it tells me that this
warmth brings
back memories
of when it
was stone cold,
a feeling that is
now unbearable
to even imagine.

Sumer is icumen in
anonymous Middle English poem, circa 1260 AD
loose translation/interpretation by Michael R. Burch

Summer is a-comin’!
Sing loud, cuckoo!
The seed grows,
The meadow blows,
The woods spring up anew.
Sing, cuckoo!

The ewe bleats for her lamb;
The cows contentedly moo;
The bullock roots,
The billy-goat poots ...
Sing merrily, cuckoo!

Cuckoo, cuckoo,
You sing so well, cuckoo!
Never stop, until you're through!

Sing now cuckoo! Sing, cuckoo!
Sing, cuckoo! Sing now cuckoo!

***

Keywords/Tags: Middle English, medieval, reading, rota, round, partsong, summer, cuckoo, sing, cuckold, seed, meadow, woods, ewe, lamb, cows, bullock, goat, billy-goat, poot, ****, pass gas, never stop

These notes were taken from the poem's Wikipedia page ...

"Sumer Is Icumen In" (also called the Summer Canon and the Cuckoo Song) is a medieval English round or rota of the mid-13th century. The title translates approximately to "Summer Has Come In" or "Summer Has Arrived". The song is composed in the Wessex dialect of Middle English. Although the composer's identity is unknown today, it may have been W. de Wycombe. The manuscript in which it is preserved was copied between 1261 and 1264. This rota is the oldest known musical composition featuring six-part polyphony. It is sometimes called the Reading Rota because the earliest known copy of the composition, a manuscript written in mensural notation, was found at Reading Abbey; it was probably not drafted there, however (Millett 2004). The British Library now retains this manuscript (Millett 2003a). A rota is a type of round, which in turn is a kind of partsong. To perform the round, one singer begins the song, and a second starts singing the beginning again just as the first got to the point marked with the red cross in the first figure below. The length between the start and the cross corresponds to the modern notion of a bar, and the main verse comprises six phrases spread over twelve such bars. In addition, there are two lines marked "Pes", two bars each, that are meant to be sung together repeatedly underneath the main verse. These instructions are included (in Latin) in the manuscript itself:

"Hanc rota cantare possum quatuor socii. A paucio/ribus autem quam a tribus uel saltem duobus non debet/ dici preter eos qui dicunt pedem. Canitur autem sic. Tacen/tibus ceteris unus inchoat *** hiis qui tenent pedem. Et *** uenerit/ ad primam notam post crucem, inchoat alius, et sic de ceteris./ Singuli de uero repausent ad pausacionis scriptas et/non alibi, spacio unius longe note."

(Four companions can sing this round. But it should not be sung by fewer than three, or at the very least, two in addition to those who sing the pes. This is how it is sung. While all the others are silent, one person begins at the same time as those who sing the ground. And when he comes to the first note after the cross [which marks the end of the first two bars], another singer is to begin, and thus for the others. Each shall observe the written rests for the space of one long note [triplet], but not elsewhere.)

The lyric may have been composed by W. de Wycombe, also identified as W de Wyc, Willelmus de Winchecumbe, Willelmo de Winchecumbe or William of Winchcomb. He appears to have been a secular scribe and precentor employed for about four years at the priory of Leominster in Herefordshire during the 1270s. He is also thought to have been a sub-deacon of the cathedral priory as listed in the Worcester Annals or possibly a monk at St Andrew's in Worcester. But it is not know if he composed the song, or merely preserved it by copying it.