Here is a primer on the history of poetry

Features of Modernism

To varying extents, writing of the Modernist period exhibits these features:

1. experimentation

belief that previous writing was stereotyped and inadequate
ceaseless technical innovation, sometimes for its own sake
originality: deviation from the norm, or from usual reader expectations
ruthless rejection of the past, even iconoclasm

2. anti-realism

sacralisation of art, which must represent itself, not something beyond preference for allusion (often private) rather than description
world seen through the artist's inner feelings and mental states
themes and vantage points chosen to question the conventional view
use of myth and unconscious forces rather than motivations of conventional plot

3. individualism

promotion of the artist's viewpoint, at the expense of the communal
cultivation of an individual consciousness, which alone is the final arbiter
estrangement from religion, nature, science, economy or social mechanisms
maintenance of a wary intellectual independence
artists and not society should judge the arts: extreme self-consciousness
search for the primary image, devoid of comment: stream of consciousness
exclusiveness, an aristocracy of the avant-garde

4. intellectualism

writing more cerebral than emotional
work is tentative, analytical and fragmentary, more posing questions more than answering them
cool observation: viewpoints and characters detached and depersonalized
open-ended work, not finished, nor aiming at formal perfection
involuted: the subject is often act of writing itself and not the ostensible referent

............
Expressionism

Expressionism was a phase of twentieth-century writing that rejected naturalism and romanticism to express important inner truths. The style was generally declamatory or even apocalyptic, endeavoring to awaken the fears and aspirations that belong to all men, and which European civilization had rendered effete or inauthentic. The movement drew on Rimbaud and Nietzsche, and was best represented by German poetry of the 1910-20 period. Benn, Becher, Heym, Lasker-Schüler, Stadler, Stramm, Schnack and Werfel are its characteristic proponents, {1} though Trakl is the best known to English readers. {2} {3}

Like most movements, there was little of a manifesto, or consensus of beliefs and programmes. Many German poets were distrustful of contemporary society — particularly its commercial and capitalist attitudes — though others again saw technology as the escape from a perceived "crisis in the old order". Expressionism was very heterogeneous, touching base with Imagism, Vorticism, Futurism, Dadaism and early Surrealism, many of which crop up in English, French, Russian and Italian poetry of the period. Political attitudes tended to the revolutionary, and technique was overtly experimental. Nonetheless, for all the images of death and destruction, sometimes mixed with messianic utopianism, there was also a tone of resignation, a sadness of "the evening lands" as Spengler called them.

Expressionism also applies to painting, and here the characteristics are more illuminating. The label refers to painting that uses visual gestures to transmit emotions and emotionally charged messages. In the expressive work of Michelangelo and El Greco, for example, the content remains of first importance, but content is overshadowed by technique in such later artists as van Gogh, Ensor and Munch. By the mid twentieth-century even this attenuated content had been replaced by abstract painterly qualities — by the sheer scale and dimensions of the work, by colour and shape, by the verve of the brushwork and other effects.

Expressionism often coincided with rapid social change. Germany, after suffering the horrors of the First World War, and ineffectual governments afterwards, fragmented into violently opposed political movements, each with their antagonistic coteries and milieu. The painting of these groups was very variable, but often showed a mixture of aggression and naivety. Understandably unpopular with the establishment  — denounced as degenerate by the Nazis — the style also met with mixed reactions from the picture-buying public. It seemed to question what the middle classes stood for: convention, decency, professional expertise. A great sobbing child had been let loose in the artist's studio, and the results seemed elementally challenging. Perhaps German painting was returning to its Nordic roots, to small communities, apocalyptic visions, monotone starkness and anguished introspection.

What could poetry achieve in its turn? Could it use some equivalent to visual gestures, i.e. concentrate on aspects of the craft of poetry, and to the exclusion of content? Poetry can never be wholly abstract, a pure poetry bereft of content. But clearly there would be a rejection of naturalism. To represent anything faithfully requires considerable skill, and such skill was what the Expressionists were determined to avoid. That would call on traditions that were not Nordic, and that were not sufficiently opposed to bourgeois values for the writer's individuality to escape subversion. Raw power had to tap something deeper and more universal.

Hence the turn inward to private torments. Poets became the judges of poetry, since only they knew the value of originating emotions. Intensity was essential.  Artists had to believe passionately in their responses, and find ways of purifying and deepening those responses — through working practices, lifestyles, and philosophies. Freud was becoming popular, and his investigations into dreams, hallucinations and paranoia offered a rich field of exploration. Artists would have to glory in their isolation, moreover, and turn their anger and frustration at being overlooked into a belief in their own genius. Finally, there would be a need to pull down and start afresh, even though that contributed to a gradual breakdown in the social fabric and the apocalypse of the Second World War.

Expressionism is still with us. Commerce has invaded bohemia, and created an elaborate body of theory to justify, support and overtake what might otherwise appear infantile and irrational. And if traditional art cannot be pure emotional expression, then a new art would have to be forged. Such poetry would not be an intoxication of life (Nietzsche's phrase) and still less its sanctification.  Great strains on the creative process were inevitable, moreover, as they were in Georg Trakl's case, who committed suicide shortly after writing the haunting and beautiful piece given below

................
SYMBOLIST POETS
symbolism in poetry

Symbolism in literature was a complex movement that deliberately extended the evocative power of words to express the feelings, sensations and states of mind that lie beyond everyday awareness. The open-ended symbols created by Charles Baudelaire (1821-67) brought the invisible into being through the visible, and linked the invisible through other sensory perceptions, notably smell and sound. Stéphane Mallarmé (1842-98), the high priest of the French movement, theorized that symbols were of two types. One was created by the projection of inner feelings onto the world outside. The other existed as nascent words that slowly permeated the consciousness and expressed a state of mind initially unknown to their originator.

None of this came about without cultivation, and indeed dedication. Poets focused on the inner life. They explored strange cults and countries. They wrote in allusive, enigmatic, musical and ambiguous styles. Rimbaud deranged his senses and declared "Je est un autre". Von Hofmannstahl created his own language. Valéry retired from the world as a private secretary, before returning to a mastery of traditional French verse. Rilke renounced wife and human society to be attentive to the message when it came.

Not all were great theoreticians or technicians, but the two interests tended to go together, in Mallarmé most of all. He painstakingly developed his art of suggestion, what he called his "fictions". Rare words were introduced, syntactical intricacies, private associations and baffling images. Metonymy replaced metaphor as symbol, and was in turn replaced by single words which opened in imagination to multiple levels of signification. Time was suspended, and the usual supports of plot and narrative removed. Even the implied poet faded away, and there were then only objects, enigmatically introduced but somehow made right and necessary by verse skill. Music indeed was the condition to which poetry aspired, and Verlaine, Jimenez and Valéry were among many who concentrated efforts to that end.

So appeared a dichotomy between the inner and outer lives. In actuality, poets led humdrum existences, but what they described was rich and often illicit: the festering beauties of courtesans and dance-hall entertainers; far away countries and their native peoples; a world-weariness that came with drugs, isolation, alcohol and bought ***. Much was mixed up in this movement — decadence, aestheticism, romanticism, and the occult — but its isms had a rational purpose, which is still pertinent. In what way are these poets different from our own sixties generation? Or from the young today: clubbing, experimenting with relationships and drugs, backpacking to distant parts? And was the mixing of sensory perceptions so very novel or irrational? Synaesthesia was used by the Greek poets, and indeed has a properly documented basis in brain physiology.

What of the intellectual bases, which are not commonly presented as matters that should engage the contemporary mind, still less the writing poet? Symbolism was built on nebulous and somewhat dubious notions: it inspired beautiful and historically important work: it is now dead: that might be the blunt summary. But Symbolist poetry was not empty of content, indeed expressed matters of great interest to continental philosophers, then and now. The contents of consciousness were the concern of Edmund Husserl (1859-1938), and he developed a terminology later employed by Heidegger (1889-1976), the Existentialists and hermeneutics. Current theories on metaphor and brain functioning extend these concepts, and offer a rapprochement between impersonal science and irrational literary theory.

So why has the Symbolism legacy dwindled into its current narrow concepts? Denied influence in the everyday world, poets turned inward, to private thoughts, associations and the unconscious. Like good Marxist intellectuals they policed the area they arrogated to themselves, and sought to correct and purify the language that would evoke its powers. Syntax was rearranged by Mallarmé. Rhythm, rhyme and stanza patterning were loosened or rejected. Words were purged of past associations (Modernism), of non-visual associations (Imagism), of histories of usage (Futurism), of social restraint (Dadaism) and of practical purpose (Surrealism). By a sort of belated Romanticism, poetry was returned to the exploration of the inner lands of the irrational. Even Postmodernism, with its bric-a-brac of received media images and current vulgarisms, ensures that gaps are left for the emerging unconscious to engage our interest

......................

.
IMAGIST POETRY
imagist poetry

Even by twentieth-century standards, Imagism was soon over. In 1912 Ezra Pound published the Complete Poetical Works of its founder, T.E. Hulme (five short poems) and by 1917 the movement, then overseen by Amy Lowell, had run its course. {1} {2} {3} {4} {5} The output in all amounted to a few score poems, and none of these captured the public's heart. Why the importance?

First there are the personalities involved — notably Ezra Pound, James Joyce, William Carlos Williams {6} {7} {8} {9} — who became famous later. If ever the (continuing) importance to poets of networking, of being involved in movements from their inception, is attested, it is in these early days of post-Victorian revolt.

Then there are the manifestos of the movement, which became the cornerstones of Modernism, responsible for a much taught in universities until recently, and for the difficulties poets still find themselves in. The Imagists stressed clarity, exactness and concreteness of detail. Their aims, briefly set out, were that:

1. Content should be presented directly, through specific images where possible.
2. Every word should be functional, with nothing included that was not essential to the effect intended.
3. Rhythm should be composed by the musical phrase rather than the metronome.

Also understood — if not spelled out, or perhaps fully recognized at the time — was the hope that poems could intensify a sense of objective reality through the immediacy of images.

Imagism itself gave rise to fairly negligible lines like:

You crash over the trees,
You crack the live branch…  (Storm by H.D.)

Nonetheless, the reliance on images provided poets with these types of freedom:

1. Poems could dispense with classical rhetoric, emotion being generated much more directly through what Eliot called an objective correlate: "The only way of expressing emotion in the form of art is by finding an 'objective correlative'; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked." {10}

2. By being shorn of context or supporting argument, images could appear with fresh interest and power.

3. Thoughts could be treated as images, i.e. as non-discursive elements that added emotional colouring without issues of truth or relevance intruding too mu
...............
PROSE BASED POETRY
prose based poetry

When free verse lacks rhythmic patterning, appearing as a lineated prose stripped of unnecessary ornament and rhetoric, it becomes the staple of much contemporary work. The focus is on what the words are being used to say, and their authenticity. The language is not heightened, and the poem differs from prose only by being more self-aware, innovative and/or cogent in its exposition.

Nonetheless, what looks normal at first becomes challenging on closer reading — thwarting expectations, and turning back on itself to make us think more deeply about the seemingly innocuous words used. And from there we are compelled to look at the world with sharper eyes, unprotected by commonplace phrases or easy assumptions. Often an awkward and fighting poetry, therefore, not indulging in ceremony or outmoded traditions.
What is Prose?

If we say that contemporary free verse is often built from what was once regarded as mere prose, then we shall have to distinguish prose from poetry, which is not so easy now. Prose was once the lesser vehicle, the medium of everyday thought and conversation, what we used to express facts, opinions, humour, arguments, feelings and the like. And while the better writers developed individual styles, and styles varied according to their purpose and social occasion, prose of some sort could be written by anyone. Beauty was not a requirement, and prose articles could be rephrased without great loss in meaning or effectiveness.

Poetry, though, had grander aims. William Lyon Phelps on Thomas Hardy's work: {1}

"The greatest poetry always transports us, and although I read and reread the Wessex poet with never-lagging attention — I find even the drawings in "Wessex Poems" so fascinating that I wish he had illustrated all his books — I am always conscious of the time and the place. I never get the unmistakable spinal chill. He has too thorough a command of his thoughts; they never possess him, and they never soar away with him. Prose may be controlled, but poetry is a possession. Mr. Hardy is too keenly aware of what he is about. In spite of the fact that he has written verse all his life, he seldom writes unwrinkled song. He is, in the last analysis, a master of prose who has learned the technique of verse, and who now chooses to express his thoughts and his observations in rime and rhythm."

.............
OPEN FORMS IN POETRY
open forms in poetry

Poets who write in open forms usually insist on the form growing out of the writing process, i.e. the poems follow what the words and phrase suggest during the composition

From pent-up aching rivers,
From that of myself without which I were nothing,
From what I am determin’d to make illustrious, even if I stand sole
   among men,
From my own voice resonant, singing the phallus,
Singing the song of procreation,
Singing the need of superb children and therein superb grown people,
Singing the muscular urge and the blending,
Singing the bedfellow’s song, (O resistless yearning!
O for any and each the body correlative attracting!
O for you whoever you are your correlative body! O it, more than all
   else, you delighting!)
From the hungry gnaw that eats me night and day,
From native moments, from bashful pains, singing them,
Seeking something yet unfound though I have diligently sought it
   many a long year,
Singing the true song of the soul fitful at random,
Renascent with grossest Nature or among animals,
Of that, of them and what goes with them my poems informing,
Of the smell of apples and lemons, of the pairing of birds,
Of the wet of woods, of the lapping of waves,
Of the mad pushes of waves upon the land, I them chanting,
The overture lightly sounding, the strain anticipating,
The welcome nearness, the sight of the perfect body,
The swimmer swimming naked in the bath, or motionless on his back
   lying and floating,
The female form approaching, I pensive, love-flesh tremulous aching,
The divine list for myself or you or for any one making,
The face, the limbs, the index from head to foot, and what it
   arouses,
The mystic deliria, the madness amorous, the utter abandonment,
(Hark close and still what I now whisper to you,
I love you, O you entirely possess me,
O that you and I escape from the rest and go utterly off, free and
   lawless,
Two hawks in the air, two fishes swimming in the sea not more
   lawless than we;)
The furious storm through me careering, I passionately trembling.
The oath of the inseparableness of two together, of the woman that
   loves me and whom I love more than my life, that oath swearing,
(O I willingly stake all for you,
O let me be lost if it must be so!
O you and I! what is it to us what the rest do or think?
What is all else to us? only that we enjoy each other and exhaust
   each other if it must be so;)
From the master, the pilot I yield the vessel to,
The general commanding me, commanding all, from him permission
   taking,
From time the programme hastening, (I have loiter’d too long as it
   is,)
From ***, from the warp and from the woof,
From privacy, from frequent repinings alone,
From plenty of persons near and yet the right person not near,
From the soft sliding of hands over me and thrusting of fingers
   through my hair and beard,
From the long sustain’d kiss upon the mouth or *****,
From the close pressure that makes me or any man drunk, fainting
   with excess,
From what the divine husband knows, from the work of fatherhood,
From exultation, victory and relief, from the bedfellow’s embrace in
   the night,
From the act-poems of eyes, hands, hips and bosoms,
From the cling of the trembling arm,
From the bending curve and the clinch,
From side by side the pliant coverlet off-throwing,
From the one so unwilling to have me leave, and me just as unwilling
   to leave,
(Yet a moment O tender waiter, and I return,)
From the hour of shining stars and dropping dews,
From the night a moment I emerging flitting out,
Celebrate you act divine and you children prepared for,
And you stalwart *****.

The question regarding the question relies on what the question really is.

If the question implied is a question directed outwardly, then it may be misinterpreted as a question to oneself internally.

Otherwise, a question explicitly directed inwardly is critical to deciphering the question that one will address outwardly.  

If an indirect question is questioned through the user, then the question itself becomes a metaphysical question to choose from.

In the event a question is said through alternate means, consider the quantitative/qualitative state of the question at the time being; as it may be resolved by asking the question in a subconscious level indeed.  

Superficial means tends to seek fundamental questions to the reality of the state one naturally possesses.  

In the case where the unconscious decides the opportune event to question the conscious reality, one must interpret the means in examination of the intrapersonal mentality.  

If the question is imposed through correlative thought and subliminal expression, then the question itself is related to a parallel conscious state intertwined with the unconscious state of mind of progression.

If the question is relative in combination to the solutions mentioned above becoming apparent, then one has means to ask the question without questioning the question itself in disparate.

Otherwise, the question continues to perplex the question through the continuation of irrelevant questions that one will have thought; creating a treacherous belief so concurrent one could not have fought.

Therefore, is the reality of the question portrayed to the reality you live in or the reality of others? As this poem was conclusive to subtly evoke thought in the questions we construct.

By: Michael M. De La Fuente

Lawrence Hall
[email protected]
LogoSophia Magazine – A Pilgrim’s Journal of Life, Literature and Love
Fellowship & Fairydust (fellowshipandfairydust.com)
https://hellopoetry.com/lawrence-hall/
poeticdrivel.blogspot.com

           The Objective Correlative of the Construction Trades

A builder takes a vision of a surface
A vision of place, stability, and horizon
Connections between a bookcase and a window
Smooth transitions from sitting room to bath

And pours them all out as concrete indeed

Reaching into absolute nothingness
And yet, with just a glimpse,
or a second, or a moment past
My objective correlative
Just as you pass
I can grasp at straws and universes unknown
Yet to be explored
By spaceships or writers or wanderers alike

Swaths of color
bring subjective representations
of objective correlative
puddles sit
collecting in black retinal holes
becoming what we wish
or believe we know
creating ****
to break a never ending cycle
adonis, taken before her day
filth meticulously applied
to create an unknown class
an artifice
a ploy
aimed at degradation
filling broken vessels
drained of all that has been deemed important
now is as good as any moment
timeless all one and the same
spinning girl, the shepherdess
seen all as one
dissolving time and space
an altered aesthetic
flattening planes
all is over
and nothing has ever mattered in the end

Zefian; Butler of the greater demon, he would be forced to make the main stained glass window of the Castello del Horcondising, he will continue to put himself on the posts in each hermit tree to recruit from the horsemen lordships of the autumnal massif, towards an eternal wailing of birches in harmony. Pay attention to the words and challenges of presence in the Vernarthian Sub Mythology in Horcondising. Everything will be for the creative principle of a new world, where the materiality that will be useless on the surface, is of value and prosperity ubiquitously in any space where the human race degrades to eternity levels of consciousness.

Biological goal, codes of life, material works beyond a life that reconciles organic life and ethereal life. The evolutionary codes of life go further from the super existence, creating transformations that alternate life in spiritual memory, based on multidimensional spiritual intelligence. The consequence and serial of future ideas or captures of fruitive life,  which will be continued in storage links of gospels of remembrance, to preserve our bio-evolutionary trajectory codes. Super microscopic particles will be decomplexed by Zefián, more withdrawn from the demonicity that is rooted in our faith codes, procreating from there to our filtering mechanics of the dogma of existence, to be applied as perfectible memorization tools, allelomorphic from Tsambika to Horcondising. Creating codes of life and experiences between the creation of God and the creation of the superficial world, in such a way that between both canons, the emergent and fleeting guideline of experience contained in the threshold of death is issued. To go further away from the light itself that does not invade us with diseases correlative to the decomposition and corruptibility of the human born and steely spirit, heading towards an ethereal biological goal. .

Says Leiak: “As the spirit of the Vernarth forest in Horcondising, I have been a multi-parasitic organism in the barks of hyper-spaced oaks, beyond all vanity of large volumes of knowledge and extensions of knowledge. My possible genomes change, each time I blink for a longer time, than the short time I have when resources mutate in such a silent time, which I have been able to measure mathematically. The adaptations of nature to threatening changes also endorse the soul of plants, endowing them with the property of resurrection. The comparative sequences make the evolution of the divine being go beyond the biodegradable sequence, to the point of biological balance of constituting a new life, in the plane of selectivity proper to the particles that carry and attract towards the receptacle of a new life, under the code of a transition from one to one that is reborn in another. Each microscopic element functions as a totalitarian entity in Vernarth submythology, harmoniously linking the chaos and concretion of the world of Genesis with the world of the polytheistic worldview.

Says Borker: “My vaporous voice of the curse, guide that heralds a new one that is leading in Tsambika. Everything bad tends to resurrect in the arms of goodness, where it provides nourishment for those who need to incubate new chains of organic and inorganic adaptability, evangelized and not evangelized, because the light that carries them from the top of the oaks that I pass through the mornings, they always greet me, to proceed like Borker, son of nothing and father of nobody. Here I will be to lead together with Vernarth, the emancipation of the stagnant eco-systemic chains that are stranded in the mud of the administrative power of the supposed super intelligence, which relativizes everything and intervenes. Not knowing that the great super reason by itself recreates itself, making new chaos or riddles, overcome by itself”
Zefián says: “Originally, thousands of cells have been condemned to encompass the density of matter and life on the planet of the experiments called Earth. What is between heaven and earth is in the sub mythology of both poles. Eurydice was in the Orphic world given her romanticism with Orpheus Himself, now she is in our tracóntero, in the mask where she leads the forces between heaven and earth. Right here the Horcondising, which fills us with high associative density. Our populations have to live in the temples of evolutionary austerity and meekness, after events of three-dimensional changes, ours here in Horcondiing has already been mentioned, which is the same as now in Tsambika, for all the parishioners decomposing, but biologically mutating to reborn in a useful life reborn from the seed of sweet death "
  
The Vernarthian sub mythology is the one that perfectly communes with the genesis of the first light and sound, amplifying each other, adapting nobly with the amplitude of momentum exerted, to settle in plans of management of history in thick episodes that have not written by mortal hands in real or fictitious transition which we also conform. Each character that intervenes in the Verthian world ..., here something or someone has complementarity with all the heroes and titans that have existed in our collective memories, making them the anti-heroes or titans that still do not know each other.

Ingratia mol de petal says: “even after being purified, everything must be re-purified; we all owe it to thanks to the constant variability of the notes of the cosmos and its generation. The auras of action surpassed those that add up by thousands of years. I am a liquidator of cancer circles of carcinoma and sainete nodules”

Spermazoid fable is presented to everyone: “Serous plasma runs through the grasslands, before the supra-human count in Horcondising. We are all invisible liquid, that speaks crawling and feeding back its wounds, that do not fit with words that speak further of the rigor of well-being. As a heretical pro, he advanced in the roughness of all the ravines and abandoned reliefs, but when he advanced I do not retreat! I am more vile than time, because time passes and retraces the protozoan memory, moving me away to memories that live and are avant-garde of a mortal, but I have nothing everything. When I have these roughness, I am time and its atomic mass dimension stops time, and attached me to its extermination and nihilistic empty concavity”

Orfilia and Aranhis say while dancing: “a sylph and a naiad appear dressed in white, auguring the feminine aspect of the majesty of the elements. They dance through all the co-rugosities of Verthian sub-mythology, with the support of annulling the hieratic intervention of the spermatozoid fable, for this purpose of relativizing the chromatics of the mythological beings that made a dialogue wheel, peripatetic, even being actors having only audience of those who do not know each other. They dance and dance through all the estuaries and stands of the aristocratic families, who went more than three thousand meters to be judged by themselves, to be redistributed to the chilling of the simile *** bei Hinnom, which is at the top of Horcondising, where all the hallucinating timid flashes of all the re-born flowers of the spring of love whistle fiercely contained in the rosy tones of the Trisolate "

Trisolate: “I am and will be the great conductivity of great energy. Symbolism with a premise today to not think and know words with symbolism of speaking oak barks, where this oak says in itself (I say, later you say), the pronoun must be mutated to the sixth plane, where now we will say or that has never been heard. Only by naming the one that is no longer in the associative language of linguistic clans subject to the sixth pronoun of oaks that live and will live with the code of the language that we have never heard, but starting today if, as a point of reference already bet in the ears of the tree and not the deixis protozoan man! "
  
Vernarth says: “When I try to sleep at night resting my head on the understory of oaks, I sleep painlessly because of the vertebrae that urge to rearrange me, because the roots of his ego on the sixth plane make me consciously independent of the references of my fantasies, It will not be long before my wing comes around the metaphysical corner. Here at the Castello del Horcondising the blocks are not square, they are baldons of the memory of the natural ego, which takes the tram through which my shoes came without clothes that condition it or allow it to express itself tetraplegically handicapped, rather more validated by being trapped by the ghostly essence of oak that is never born or dies, but knowing that it has no Ego”

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Priesthood...LionQuest

COUCH ALLENS
12/13/17
to samikoku
Priesthood LionQuest…

Ultra-Gifted…New tonques audible

Utterances to an Expected EnD; Under a deserving

PRAISE…; Quantifying  of every deposits=SovereignPRODUCTS

….;7SPIRITCHANTS….;SQUAD-IN-ARKCORPOR­ATION MERCHANDISE THE SPIRITPROGRAMS IN THE INVOCATION

INSIGHTS-IQ TITHING EXPLOITS….SURPLUSINTERESTS

….THE FAITH RENDERING DECENT

….MENUINNOVATION THE PRIORITY OF MANY EXPERTISE

…PILGRIMSFACES REPLACING-ISSUES APPLAUDS.

Visibly decorated in the confronts overwhelming-nutrient…;

STRONGGOD Proven translation into HEAVENSBUOTANCY…

Recurring “Genetic-Going’ in the reality PUSHDIVINITY…: Unveiling

The universality of discipleship mightily in the EMBODIMENT OF

GODLY “Stocks-Attributes” The voted all virtues votes at infancy of

REDEPOSITES TAMED EXCELLENCIES OF AUDIBLEDOUBLE OATHS…;Quantifying believers deposition of interpretations…;Aided in the all “Potential-Pattern-Potency’ The Ego 9 SPIRITPROOF/ SailingColors/ ViSIONANALYSIS/ RHEMA REACHING ******/ DEEPNUGGING DISCOVERIES IN THE INDISPENSABLE TESTIMONIAL…;Reception rescues Advisory in GOSPELTHRILL

CHOSEN THE CORRELATIVE-FORCES…;RESOUNDING THE GOSHEN

CONTINUUM/ YIELDING INCREASESCREATE….;

BOSS-BREATHES  PREVALENCE....'


YOUR  HEAVENS ACCUMULATION-GUIDANCE,



SESSIONS  'STAFF' A WHOLE  ROYALTY CROWN CREST:

email : [email protected]

+2348131914240


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The pale face of morning
has not arrived yet.
The gloaming penumbra  of today
will break through and scatter
syllables of this dream across the
last face of today

I am going to try to write the haiku
I promised myself I would to
complete the seasons cycle.
It scares me to think that you
are going to see this attempt
to reach into tomorrow
and find in it the last vestige
of a psychiatric embrace
of all things Eliot.

Bring forth this
smothering  mother
of a morning,
The poetry
correlative of the condition
of this myth is a blessing.
This is a good thing
and lives in the sun's
bright chambers.

The grace rendered in the
skew of this is

a light that shines

in our imagination.



Caroline Shank
2/11/22

Spring

Clouds form.  Cold north winds
roll in.  We run toward Spring.
Slide.  You warm in me.


Caroline Shank

“Now with an exiguous preamble,
In the CoronaVirus 2020 year,
Hands held aback in geniality,
No longer pugnacious sense,

Even amongst men there is fear,
Breathing’s generally wary,
As we know weakness breathing,
We will fear that an end is at hand,

But this is the everyday intake,
Of   the imperceptible life force,
Willed as plague settles onward
They say just be cautious stay in,

In the airs of the populous air,
Now has become the extant colloquy,
No longer an effervescent fricative,
While not to make that ebullient point,

But a new garner dewy of air space,
A new sense of boundary,
Galileo truths are easy to understand,
But will we ever understand this beast,

To another perhaps not in this germ war,
A gesture of limited distance is disdain,
Now sufficing a simple nod is fine,
A minor simper or a slightly hoisted hand,

No longer in search of   its correlative,
Just a systematic warning within,
The acknowledgment to stand back,
Beautiful strangers now merciless,

Affixed on the other side of that,
Until a cure is disinterred they are,
We are or may be forever bound,
Tween one another evanescent conduit”
By Andrew Guzaldo © 04/25/2020 #187

Augmented legitimacy,
embodied
in the idea of loving
the personage in their very own skin
shuns (more often than not) -
the inconspicuous anomalies -
inherent of loving
the entirety of their being.



Accompanied
by an implicit denunciation - devaluation
suffered
by the pragmatic scope of improvement,
is the acquiscent vade mecum

(enforced).



Acceptance; ought not
be harassed
(by a reluctant compromise, maybe) -
in lieu of - an ambience
for correlative betterment, be
sponsored
by endearment of souls divine.



Might come off
as imposition perhaps, but
we are forever growing : learning
to love (in love);

to embrace
the object of one's love and not
submit and/or succumb
to our pernicious flaws

(combined).



© Kay Cee 2018

"... IN THE UNENDING AFTERNOON OF HER EYES..."

We drift from
Parisian museum to

Parisian museum
as if calling upon

some grand home
and the paintings deign

to see us
we the tourist class.

We are caught
in a deluge.

The unrelenting rain
tears time off

the present moment
revealing the past underneath

an older century
bleeding through.

How fragile are
les temps perdu.

I  whistle a motif
from César Franck.

"What's that ?" you say
"...the National Anthem of our love!"

I gaze up at Proust's
cork-lined room

102 boulevard Haussmann
now become a bank.

Imagine him there
glancing down at us

glancing up  at him
the slight movement of  blue satin drapes.

Or have I imagined him
as he imagines us

hurrying figures
from another time

the rain obscuring us
each from the other.

"Love..." Marcel reminds me
“...is space and time.."

his voice almost lost
in the rain's din

"...measured by the heart.”

"Allons Madeline....allons!"
A French mum scolds her sulky child.

The rain reigns
supreme.

*

By 1906, Proust’s parents had died, his brother had married, and he felt the family residence was too big. He moved to 102 Boulevard Haussmann(in the Ian Fleming novel Thunderball, it is described as "the solidest street in Paris" and the site of the headquarters of SPECTRE.) a building owned by his Uncle Louis, where he wrote the bulk of his work, mostly in bed.

Today the building belongs to the CIC bank, which has restored the bedroom, famously lined in cork for soundproofing, but the room’s contents are in the Musée Carnavalet, leaving the solitary chamber soulless..the silence listening to us not making a soundl.
.
SPECTRE in some fictional alternative world still has its headquarters on Boulevard Haussmannn...a fact of which I was totally unaware being pulverised by rain and time....the moment coming apart at the seams.

A reconstruction, with original furniture, of the room where Marcel Proust wrote In search of lost time can be seen in the  Musée Carnavalet.

Off in a cramped corner were the reassembled pieces of furniture from Proust’s bedroom, including a five-paneled Chinese screen, a velvet armchair that belonged to his father and a writing desk, used mostly for piling books. He kept his notebooks and writing materials on an old rosewood end table beside the bed. Two other tables are adrift in this cramped tableau, one of which was used for his morning coffee tray, usually served with milk and croissants.

The original Boulevard Haussmann apartment was spacious but crammed with furniture, with double windows always covered by padded blue satin drapes. The bedspread was blue satin as well and there was a chandelier, which was never lit when Proust was working. The only light was from a long-stemmed, green-shaded lamp on the bedside table.

We were headed for  the Musée Jacquemart-André, at 158 Boulevard Haussmann, the former home of banker and art collector Edouard André and his artist wife Nélie Jacquemart, recaptures the interior decor and lifestyle of respectable society. Proust was never a guest there, but he rotated in the same social circles, We were mere tourists...awed by the past.

As Beckett puts it in his essay on Proust...

"Life is habit. Or rather life is a succession of habits, since the individual is a succession of individuals; the world being a projection of the individual’s consciousness (an objectivation of the individual’s will, Schopenhauer would say), the pact must be continually renewed, the letter of safe-conduct brought up to date. The creation of the world did not take place once and for all time, but takes place every day. Habit then is the generic term for the countless treaties concluded between the countless subjects that constitute the individual and their countless correlative objects."

This poem is one of the countless treaties various individuals of me made with the moment in time that was mine being shared with Proust.

The enigma of the “little phrase” that “swept over and enveloped” Swann “like a perfume or a caress..." still lingers on as maybe Frack or as Proust admitted in a letter  Camille Saint-Saëns. I rather prefer Franck's Sonata in A major for Violin and Piano  for its perfect cyclic beauty and its gentle reflectiveness.

But it was Franck's gorgeous Symphony in D minor( and the transformations of its four-bar theme )that I was lost in that day and became for me the "...national anthem of our love."

“It is only through art that we can escape from ourselves and know how another person sees a universe which is not the same as our own and whose landscapes would otherwise have remained as unknown as any there may be on the moon.”

The title comes from a lovely phrase that has always haunted me...

"...calmly imprisoned in the unending afternoon of her eyes..."

THE GUERMANTES WAY - MARCEL PROUST.

"... IN THE UNENDING AFTERNOON OF HER EYES..."

We drift from
Parisian museum to

Parisian museum
as if calling upon

some grand home
and the paintings deign

to see us
we the tourist class.

We are caught
in a deluge.

The unrelenting rain
tears time off

the present moment
revealing the past underneath

an older century
bleeding through.

How fragile are
les temps perdu.

I  whistle a motif
from César Franck.

"What's that ?" you say
"...the National Anthem of our love!"

I gaze up at Proust's
cork-lined room

102 boulevard Haussmann
now become a bank.

Imagine him there
glancing down at us

glancing up  at him
the slight movement of  blue satin drapes.

Or have I imagined him
as he imagines us

hurrying figures
from another time

the rain obscuring us
each from the other.

"Love..." Marcel reminds me
“...is space and time.."

his voice almost lost
in the rain's din

"...measured by the heart.”

"Allons Madeline....allons!"
A French mum scolds her sulky child.

The rain reigns
supreme.

*

By 1906, Proust’s parents had died, his brother had married, and he felt the family residence was too big. He moved to 102 Boulevard Haussmann(in the Ian Fleming novel Thunderball, it is described as "the solidest street in Paris" and the site of the headquarters of SPECTRE.) a building owned by his Uncle Louis, where he wrote the bulk of his work, mostly in bed.

Today the building belongs to the CIC bank, which has restored the bedroom, famously lined in cork for soundproofing, but the room’s contents are in the Musée Carnavalet, leaving the solitary chamber soulless..the silence listening to us not making a sound.
SPECTRE in some fictional alternative world still has its headquarters on Boulevard Haussmannn...a fact of which I was totally unaware being pulverised by rain and time....the moment coming apart at the seams.

A reconstruction, with original furniture, of the room where Marcel Proust wrote In search of lost time can be seen in Musée Carnavalet.

Off in a cramped corner were the reassembled pieces of furniture from Proust’s bedroom, including a five-paneled Chinese screen, a velvet armchair that belonged to his father and a writing desk, used mostly for piling books. He kept his notebooks and writing materials on an old rosewood end table beside the bed. Two other tables are adrift in this cramped tableau, one of which was used for his morning coffee tray, usually served with milk and croissants.

The original Boulevard Haussmann apartment was spacious but crammed with furniture, with double windows always covered by padded blue satin drapes. The bedspread was blue satin as well and there was a chandelier, which was never lit when Proust was working. The only light was from a long-stemmed, green-shaded lamp on the bedside table.

We were headed for the Musée Jacquemart-André, at 158 Boulevard Haussmann, the former home of banker and art collector Edouard André and his artist wife Nélie Jacquemart, recaptures the interior decor and lifestyle of respectable society. Proust was never a guest there, but he rotated in the same social circles, We were mere tourists...awed by the past.

As Beckett puts it in his essay on Proust...

"Life is habit. Or rather life is a succession of habits, since the individual is a succession of individuals; the world being a projection of the individual’s consciousness (an objectivation of the individual’s will, Schopenhauer would say), the pact must be continually renewed, the letter of safe-conduct brought up to date. The creation of the world did not take place once and for all time, but takes place every day. Habit then is the generic term for the countless treaties concluded between the countless subjects that constitute the individual and their countless correlative objects."

This poem is one of the countless treaties various individuals of me made with the moment in time that was mine being shared with Proust.

The enigma of the “little phrase” that “swept over and enveloped” Swann “like a perfume or a caress..." still lingers on as maybe Frack or as Proust admitted in a letter to Camille Saint-Saëns. I rather prefer Franck's Sonata in A major for Violin and Piano for its perfect cyclic beauty and its gentle reflectiveness.

But it was Franck's gorgeous Symphony in D minor( and the transformations of its four-bar theme )that I was lost in that day and became for me the "...national anthem of our love."

“It is only through art that we can escape from ourselves and know how another person sees a universe which is not the same as our own and whose landscapes would otherwise have remained as unknown as any there may be on the moon.”

The title comes from a lovely phrase that has always haunted me...

"...calmly imprisoned in the unending afternoon of her eyes..."

THE GUERMANTES WAY - MARCEL PROUST.

I can understand that one is knowledgeable,
While understanding that this is not correlative or indicative of intelligence.
Likewise, I can understand one is both, or can be both,
And respect that in specific.
Yet; I can likewise understand,
That while the aforementioned individual(s)
Merits respect in that or those specific aspect(s) and/or attribute(s),
That that individual lacks patience & compassion.
And so that individual is ultimately unworthy/undeserving
Of any greater respect than in understanding them.

Otherwise, I hamper myself & only hinder others
In both intelligence & understanding.

Conversely, I can appreciate that one may understand what they're talking about
Even if I don't fully understand the experience as described.
Whether this is an aspect of one's own ignorance, as in a lack of understanding or confusion,
Or to/by the nature of how/what information is conveyed.
I can appreciate that communication can sometimes be difficult.
I can respect that individual still;
But only if they're earnestly, honestly trying & attempting to.
Only if they're honest & forthright in it & even about it.

Otherwise, they hamper only themselves & hinder others
In both knowledge & intelligence.