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The pupil who is never required to do what he cannot do, never does what he can do.

quote by John Stuart Mill
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Love Toy

Doo wop bop
When it comes to boys
Mamma always said
Never let any temptation
Go to your head
Doo wop bop
Oh but its so tempting so delicious
When I kiss your lips
When I feel your fingertips
Cause ooh, you my love toy
No batteries required
Ooh youre my love toy
Wind me up and I start to move
Ooh youre my love toy
No batteries required
No, no, no Id be so ashamed
Beisdes Ive got my reputation to maintain
Must you be so darn persistent
Tryin to make me weak
bout to knock me off my feet
Ooh, you my love toy
No batteries required
Ooh youre my love toy
Wind me up and I start to move
Ooh youre my love toy
No batteries required
Doo wop bop, ooi ooi doo wop, doo wop bop
You are always on the sly
When I see you smiling
With that look in your eyes
Whispering those little secrets
You really turn me on
Doo wop bop
Makes me wanna have more fun
Ooh, you my love toy
No batteries required
Ooh youre my love toy
Wind me up and I start to move
Ooh youre my love toy
No batteries required
Ooh...que rico
Ooi ooi doo wop bop
No batteries required
Ooi ooi doo wop bop
Love toy
Ooi ooi doo wop bop
No batteries required
Ooi ooi doo wop bop
Love toy

song performed by Gloria Estefan
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The Master's Hand

The painter was a genius,
His pupil knew this well,
For in the times that they discuss
They bond as in a spell...
They think such thoughts that change their art,
Their purpose and their style,
Such that new wisdom can impart
Its reasons for a smile...

The pupil spent a whole weekend
Within the studio,
Together with his brand new friend,
Who seemed all things to know...
The painting pupil's Easter scene
Was called The Cross of Christ.
Behold the Man... The Nazarene...
God's Lamb here sacrificed...

The pupil thought his painting done
When Sunday night came round,
He smiled as if a war was won,
As if a treasure found...
The master painter let him leave
So he could travel home
And yet Christ's painting made him grieve
The cruelty of Rome...

And in the night, he painted on,
Transforming here and there,
A stream of light to shine upon
The Saviour's bleeding hair...
With Pilate's words now coloured gold,
For all the world to see
The greatest story ever told...
Christ died for you and me...

When morning came, he painted still,
The gamblers at Christ's feet,
The thieves who died there on that hill,
The sort you'd hate to meet...
The scoffers in the crowd below
And Mary full of tears...
The crown of thorns, Christ's blood in flow,
While Satan stares and cheers...

Then something new the painter felt
That he should add that day...
A weeping angel humbly knelt
At Christ's feet there to pray...
He was Death's angel sent ahead

[...] Read more

poem by Denis Martindale
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Bald

I didn’t need shampoo to clean my scalp; instead a glass of tainted
water
could excellently do the job,
On the other hand you required tones of bubbly froth to cleanse your
hair;
evacuate the petulant granules of dandruff neatly entrapped between
your
follicles.

I didn’t need gleaming hair oil to smear on my head; all I had to do
was clap
it loudly with my bohemian palms,
On the other hand you required swanky ointments; antiseptic creams to
keep the
conglomerate of your hair well in place.

I didn’t need scintillating scissors to use on my scalp; it would
appear
wholesomely ludicrous even if I held one in close proximity with it,
On the other hand you required a plethora of sharp instruments; pairs
of
intricate razors; in order to occasionally trim the unruly tentacles of
your
hair.

I didn’t need a brush to part my scalp; as it nimbly obliged to my
scrubbing
it with a dust cloth,
On the other hand you required a luxuriously serrated comb; to
meticulously
entangle the incorrigible knots formed in your long hair.

I didn’t need to camouflage my scalp with a taut piece of cloth every
time I
ventured out; as there was no danger of the wind blowing it away,
On the other hand you required to embellish yourself with a
grandiloquent cap;
a host of flapping sunshades; in order to ensure that the thin wisps of
your
hair didn’t rip apart with the tenacious breeze,

I didn’t need to incessantly browse my hands through my scalp; while
attending
pompous parties,
On the other hand you required to sporadically run your fingers against
your
cuticles; making sure that they remained stringently aligned.

I didn’t need to wash my scalp after bathing in the saline ocean;
instead let

[...] Read more

poem by Nikhil Parekh
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On Seeing A Pupil Of Kung-sun Dance The Chien-ch`i

On the nineteenth day of the tenth month of the second year of Ta-li (15 November 767), in the residence of Yuan Ch`ih, Lieutenant-Governor of K`uei-chou, I saw Li Shih-er-niang of Lin-ying dance the chien-ch`i.

Impressed by the brilliance and thrust of her style, I asked her whom she had studied under. ``I am a pupil of Kung-sun'', was the reply.

I remember in the fifth year of K`ai-yuan (717) when I was still a little lad seeing Kung-sun dance the chien-ch`i
and the hun-t`o at Yen-ch`eng. For purity of technique and self-confident attack she was unrivaled in her day.

From the ``royal command performers'' and the ``insiders'' of the Spring Garden and Pear Garden schools in the palace down to the ``official call'' dancers outside, there was no one during the early years of His Sagely Pacific and Divinely Martial Majesty who understood this dance as she did. Where now is that lovely figure in its gorgeous costume? Now even I am an old, white-haired man; and this pupil of hers is well past her prime.

Having found out about the pupil's antecedents, I now realized that what I had been watching was a faithful
reproduction of the great dancer's interpretation. The train of reflections set off by this discovery so moved me
that I felt inspired to compose a ballad on the chien-ch`i.

Some years ago, Chang Hsu, the great master of the ``grass writing'' style of calligraphy, having several times
seeen Kung-sun dance the West River chien-ch`i at Yeh-hsein, afterwards discovered, to his immense
gratification, that his calligraphy had greatly improved. This gives one some idea of the sort of person Kung-sun
was.

In time past there was a lovely woman called Kung-sun, whose chien-ch`i astonished the whole world. Audiences numerous as the hills watched awestruck as she danced, and, to their reeling senses, the world seemed to go on rising and falling, long after she had finished dancing. Her flashing swoop was like the nine suns falling, transfixed by the Mighty Archer's arrows; her
soaring flight like the lords of the sky driving their dragon teams aloft; her advance like the thunder gathering up its dreadful rage; her stoppings like seas and rivers locked in the cold glint of ice.

The crimson lips, the pearl-encrusted sleeves are now at rest. But in her latter years there had been a pupil to whom she transmitted the fragrance of her art. And now in the city of the White Emperor the handsome woman from Lin-ying performs this dance with superb spirit. Her answers to my questions have revealed that there was good reason to admire, my ensuing
reflections fill me with painful emotion.

Of the eight thousand women who served our late Emperor, Kung-sun was from the first the leading performer of the chien-ch`i. Fifty years have now gone by like a flick of the hand - fifty years in which rebellions and disorders darkened the royal house. The pupils of the Pear Garden have vanished like the mist. And now here is this dancer, with the cold winter sun
shining on her fading features.

South of the Hill of Golden Grain the boughs of the trees already interlace. On the rocky walls of Ch`u-t`ang the dead grasses blow forlornly. At the glittering feast the shrill flutes have once more concluded. When pleasure is at its height, sorrow follows.

The moon rises in the east; and I depart, an old man who does not know where he is going, but whose feet, calloused from much walking in the wild mountains, make him wearier and wearier of the pace.

poem by Du Fu
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On Seeing a Pupil of Kung-sun Dance the Chien-ch`i

On the nineteenth day of the tenth month of the second year of Ta-li (15 November 767), in the residence of
Yuan Ch`ih, Lieutenant-Governor of K`uei-chou, I saw Li Shih-er-niang of Lin-ying dance the chien-ch`i.
Impressed by the brilliance and thrust of her style, I asked her whom she had studied under. ``I am a pupil of
Kung-sun'', was the reply.

I remember in the fifth year of K`ai-yuan (717) when I was still a little lad seeing Kung-sun dance the chien-ch`i
and the hun-t`o at Yen-ch`eng. For purity of technique and self-confident attack she was unrivalled in her day.
From the ``royal command performers'' and the ``insiders'' of the Spring Garden and Pear Garden schools in the
palace down to the ``official call'' dancers outside, there was no one during the early years of His Sagely Pacific
and Divinely Martial Majesty who understood this dance as she did. Where now is that lovely figure in its
gorgeous costume? Now even I am an old, white-haired man; and this pupil of hers is well past her prime.

Having found out about the pupil's antecedents, I now realized that what I had been watching was a faithful
reproduction of the great dancer's interpretation. The train of reflections set off by this discovery so moved me
that I felt inspired to compose a ballad on the chien-ch`i.

Some years ago, Chang Hsu, the great master of the ``grass writing'' style of calligraphy, having several times
seeen Kung-sun dance the West River chien-ch`i at Yeh-hsein, afterwards discovered, to his immense
gratification, that his calligraphy had greatly improved. This gives one some idea of the sort of person Kung-sun
was.

In time past there was a lovely woman called Kung-sun, whose chien-ch`i astonished the whole world. Audiences numerous as
the hills watched awestruck as she danced, and, to their reeling senses, the world seemed to go on rising and falling, long after
she had finished dancing. Her flashing swoop was like the nine suns falling, transfixed by the Mighty Archer's arrows; her
soaring flight like the lords of the sky driving their dragon teams aloft; her advance like the thunder gathering up its dreadful
rage; her stoppings like seas and rivers locked in the cold glint of ice.

The crimson lips, the pearl-encrusted sleeves are now at rest. But in her latter years there had been a pupil to whom she
transmitted the fragrance of her art. And now in the city of the White Emperor the handsome woman from Lin-ying performs
this dance with superb spirit. Her answers to my questions have revealed that there was good reason to admire, my ensuing
reflections fill me with painful emotion.

Of the eight thousand women who served our late Emperor, Kung-sun was from the first the leading performer of the
chien-ch`i. Fifty years have now gone by like a flick of the hand - fifty years in which rebellions and disorders darkened the
royal house. The pupils of the Pear Garden have vanished like the mist. And now here is this dancer, with the cold winter sun
shining on her fading features.

South of the Hill of Golden Grain the boughs of the trees already interlace. On the rocky walls of Ch`u-t`ang the dead grasses
blow forlornly. At the glittering feast the shrill flutes have once more concluded. When pleasure is at its height, sorrow follows.
The moon rises in the east; and I depart, an old man who does not know where he is going, but whose feet, calloused from
much walking in the wild mountains, make him wearier and wearier of the pace.

poem by Tu Fu
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Shakuntala Act 1

King Dushyant in a chariot, pursuing an antelope, with a bow and quiver, attended by his Charioteer.
Suta (Charioteer). [Looking at the antelope, and then at the king]
When I cast my eye on that black antelope, and on thee, O king, with thy braced bow, I see before me, as it were, the God Mahésa chasing a hart (male deer), with his bow, named Pináca, braced in his left hand.

King Dushyant: The fleet animal has given us a long chase. Oh! there he runs, with his neck bent gracefully, looking back, from time to time, at the car (chariot) which follows him. Now, through fear of a descending shaft, he contracts his forehand, and extends his flexible haunches; and now, through fatigue, he pauses to nibble the grass in his path with his mouth half opened. See how he springs and bounds with long steps, lightly skimming the ground, and rising high in the air! And now so rapid is his flight, that he is scarce discernible!

Suta: The ground was uneven, and the horses were checked in their course. He has taken advantage of our delay. It is level now, and we may easily overtake him.

King Dushyant: Loosen the reins.

Suta: As the king commands. – [He drives the car first at full speed, and then gently.] – He could not escape. The horses were not even touched by the clouds of dust which they raised; they tossed their manes, erected their ears, and rather glided than galloped over the smooth plain.

King Dushyant: They soon outran the swift antelope. –Objects which, from their distance, appeared minute, presently became larger: what was really divided, seemed united, as we passed; and what was in truth bent, seemed straight. So swift was the motion of the wheels, that nothing, for many moments, was either distant or near. [He fixes an arrow in his bowstring.]

[Behind the scenes.] He must not be slain. This antelope, O king, has an asylum in our forest: he must not be slain.

Suta: [Listening and Looking.] Just as the animal presents a fair mark for our arrow, two hermits are advancing to interrupt your aim

King Dushyant: Then stop the car.

Suta: The king is obeyed. [He draws in the reins.]

Enter a Hermit and his Pupil.

Hermit: [Raising his hands.] Slay not, O mighty sovereign, slay not a poor fawn, who has found a place of refuge. No, surely, no; he must not be hurt. An arrow in the delicate body of a deer would be like fire in bale of cotton. Compared with thy keen shafts, how weak must be the tender hide of a young antelope! Replace quickly, oh! replace the arrow which thou hast aimed. The weapons of you kings and warriors are destined for the relief of the oppressed, not for the destruction of the guiltless.

King Dushyant: [Saluting them.] It is replaced.

[He places the arrow in his quiver.]

Hermit: [With joy] Worthy is that act of thee, most illustrious; of monarchs; worthy, indeed, of a prince descended from Puru. Mayst thou have a son adorned with virtues, a sovereign of the world!

Pupil: [Elevating both his hands.] Oh! by all means, may thy son be adorned with every virtue, a sovereign of the world!

King Dushyant: [Bowing to them.] My head bears with reverence the order of a Bráhmin

Hermit: Great king, we came hither to collect wood for a solemn sacrifice; and this forest, and the banks of the Malini, affords an asylum to the wild animals protected by Shakuntala, (Shakuntala) whom our holy preceptor Kanva has received as a sacred deposit. If you have no other avocation, enter yon grove, and let the rights of hospitality be duly performed. Having seen with your own eyes the virtuous behaviour of those whose only wealth is their piety, but whose worldly cares are now at an end, you will then exclaim, 'How many good subjects are defended by this arm, which the bowstring has made callous!'

King Dushyant: Is the master of your family at home?

Hermit: Our preceptor is gone to Sómatirt'ha, in hopes of deprecating some calamity, with which destiny threatens the irreproachable Shakuntala, and he has charged her, in his absence, to receive all guests with due honour.

King Dushyant: Holy man, I will attend her; and she, having observed my devotion, will report it favourably to the venerable sage.

Both: Be it so; and we depart on our own business. [The Hermit and his Pupil go out.]

King Dushyant: Drive on Suta. By visiting the abode of holiness, we shall purify our souls.

Suta: As the king (may his life be long!) commands. [He drives on.]

[...] Read more

poem by Kalidasa
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Lots Of Writing Talents

let us discuss the pupil-writer
worst pupil in the class
with lots of writing talents

worst pupil in the class
with lots of writing talents
worst behaviour most

potential makes perfect sense
lazy uninterested bodes
well for a bad future pending

bodes well as a bad storm omen
storm in a tea cup or personal trials?
wisdom pretends to make an effort

poem by Terence George Craddock
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Book III - Part 02 - Nature And Composition Of The Mind

First, then, I say, the mind which oft we call
The intellect, wherein is seated life's
Counsel and regimen, is part no less
Of man than hand and foot and eyes are parts
Of one whole breathing creature. But some hold
That sense of mind is in no fixed part seated,
But is of body some one vital state,-
Named "harmony" by Greeks, because thereby
We live with sense, though intellect be not
In any part: as oft the body is said
To have good health (when health, however, 's not
One part of him who has it), so they place
The sense of mind in no fixed part of man.
Mightily, diversly, meseems they err.
Often the body palpable and seen
Sickens, while yet in some invisible part
We feel a pleasure; oft the other way,
A miserable in mind feels pleasure still
Throughout his body- quite the same as when
A foot may pain without a pain in head.
Besides, when these our limbs are given o'er
To gentle sleep and lies the burdened frame
At random void of sense, a something else
Is yet within us, which upon that time
Bestirs itself in many a wise, receiving
All motions of joy and phantom cares of heart.
Now, for to see that in man's members dwells
Also the soul, and body ne'er is wont
To feel sensation by a "harmony"
Take this in chief: the fact that life remains
Oft in our limbs, when much of body's gone;
Yet that same life, when particles of heat,
Though few, have scattered been, and through the mouth
Air has been given forth abroad, forthwith
Forever deserts the veins, and leaves the bones.
Thus mayst thou know that not all particles
Perform like parts, nor in like manner all
Are props of weal and safety: rather those-
The seeds of wind and exhalations warm-
Take care that in our members life remains.
Therefore a vital heat and wind there is
Within the very body, which at death
Deserts our frames. And so, since nature of mind
And even of soul is found to be, as 'twere,
A part of man, give over "harmony"-
Name to musicians brought from Helicon,-
Unless themselves they filched it otherwise,
To serve for what was lacking name till then.
Whate'er it be, they're welcome to it- thou,
Hearken my other maxims.

[...] Read more

poem by Lucretius
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Cadenus And Vanessa

THE shepherds and the nymphs were seen
Pleading before the Cyprian Queen.
The counsel for the fair began
Accusing the false creature, man.
The brief with weighty crimes was charged,
On which the pleader much enlarged:
That Cupid now has lost his art,
Or blunts the point of every dart;
His altar now no longer smokes;
His mother's aid no youth invokes—
This tempts free-thinkers to refine,
And bring in doubt their powers divine,
Now love is dwindled to intrigue,
And marriage grown a money-league.
Which crimes aforesaid (with her leave)
Were (as he humbly did conceive)
Against our Sovereign Lady's peace,
Against the statutes in that case,
Against her dignity and crown:
Then prayed an answer and sat down.

The nymphs with scorn beheld their foes:
When the defendant's counsel rose,
And, what no lawyer ever lacked,
With impudence owned all the fact.
But, what the gentlest heart would vex,
Laid all the fault on t'other sex.
That modern love is no such thing
As what those ancient poets sing;
A fire celestial, chaste, refined,
Conceived and kindled in the mind,
Which having found an equal flame,
Unites, and both become the same,
In different breasts together burn,
Together both to ashes turn.
But women now feel no such fire,
And only know the gross desire;
Their passions move in lower spheres,
Where'er caprice or folly steers.
A dog, a parrot, or an ape,
Or some worse brute in human shape
Engross the fancies of the fair,
The few soft moments they can spare
From visits to receive and pay,
From scandal, politics, and play,
From fans, and flounces, and brocades,
From equipage and park-parades,
From all the thousand female toys,
From every trifle that employs
The out or inside of their heads

[...] Read more

poem by Jonathan Swift
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After Working Sixty Hours Again for What Reason

The best job I had was moving a stone
from one side of the road to the other.
This required a permit which required
a bribe. The bribe took all my salary.
Yet because I hadn’t finished the job
I had no salary, and to pay the bribe
I took a job moving the stone
the other way. Because the official
wanted his bribe, he gave me a permit
for the second job. When I pointed out
that the work would be best completed
if I did nothing, he complimented
my brain and wrote a letter
to my employer suggesting promotion
on stationery bearing the wings
of a raptor spread in flight
over a mountain smaller than the bird.
My boss, fearing my intelligence,
paid me to sleep on the sofa
and take lunch with the official
who required a bribe to keep anything
from being done. When I told my parents,
they wrote my brother to come home
from university to be slapped
on the back of the head. Dutifully,
he arrived and bowed to receive
his instruction, at which point
sense entered his body and he asked
what I could do by way of a job.
I pointed out there were stones
everywhere trying not to move,
all it took was a little gumption
to be the man who didn’t move them.
It was harder to explain the intricacies
of not obtaining a permit to not
do this. Just yesterday he got up
at dawn and shaved, as if the lack
of hair on his face has anything
to do with the appearance of food
on an empty table.

poem by Bob Hicok
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Cymon And Iphigenia. From Boccace

Old as I am, for lady's love unfit,
The power of beauty I remember yet,
Which once inflamed my soul, and still inspires my wit.
If love be folly, the severe divine;
Has felt that folly, though he censures mine;
Pollutes the pleasures of a chaste embrace,
Acts what I write, and propagates in grace,
With riotous excess, a priestly race.
Suppose him free, and that I forge the offence,
He showed the way, perverting first my sense:
In malice witty, and with venom fraught,
He makes me speak the things I never thought.
Compute the gains of his ungoverned zeal;
Ill suits his cloth the praise of railing well.
The world will think that what we loosely write,
Though now arraigned, he read with some delight;
Because he seems to chew the end again,
When his broad comment makes the text too plain,
And teaches more in one explaining page
Than all the double meanings of the stage.

What needs he paraphrase on what we mean?
We were at worst but wanton; he's obscene.
I nor my fellows nor my self excuse;
But Love's the subject of the comic Muse;
Nor can we write without, nor would you
A tale of only dry instruction view.
Nor love is always of a vicious kind,
But oft to virtuous acts inflames the mind,
Awakes the sleepy vigour of the soul,
And, brushing o'er, adds motion to the pool.
Love, studious how to please, improves our parts
With polished manners, and adorns with arts.
Love first invented verse, and formed the rhyme,
The motion measured, harmonized the chime;
To liberal acts enlarged the narrow-souled,
Softened the fierce, and made the coward bold;
The world, when waste, he peopled with increase,
And warring nations reconciled in peace.
Ormond, the first, and all the fair may find,
In this one legend to their fame designed,
When beauty fires the blood, how love exalts the mind.
In that sweet isle, where Venus keeps her court,
And every grace, and all the loves, resort;
Where either sex is formed of softer earth,
And takes the bent of pleasure from their birth;
There lived a Cyprian lord, above the rest
Wise, wealthy, with a numerous issue blest.

But, as no gift of fortune is sincere,

[...] Read more

poem by John Dryden
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The Dog

THE key, which opes the chest of hoarded gold.
Unlocks the heart that favours would withhold.
To this the god of love has oft recourse,
When arrows fail to reach the secret source,
And I'll maintain he's right, for, 'mong mankind,
Nice presents ev'ry where we pleasing find;
Kings, princes, potentates, receive the same,
And when a lady thinks she's not to blame,
To do what custom tolerates around;
When Venus' acts are only Themis' found,
I'll nothing 'gainst her say; more faults than one,
Besides the present, have their course begun.

A MANTUAN judge espoused a beauteous fair:
Her name was Argia:--Anselm was her care,
An aged dotard, trembling with alarms,
While she was young, and blessed with seraph charms.
But, not content with such a pleasing prize,
His jealousy appeared without disguise,
Which greater admiration round her drew,
Who doubtless merited, in ev'ry view,
Attention from the first in rank or place
So elegant her form, so fine her face.

'TWOULD endless prove, and nothing would avail,
Each lover's pain minutely to detail:
Their arts and wiles; enough 'twill be no doubt,
To say the lady's heart was found so stout,
She let them sigh their precious hours away,
And scarcely seemed emotion to betray.

WHILE at the judge's, Cupid was employed,
Some weighty things the Mantuan state annoyed,
Of such importance, that the rulers meant,
An embassy should to the Pope be sent.
As Anselm was a judge of high degree,
No one so well embassador could be.

'TWAS with reluctance he agreed to go,
And be at Rome their mighty Plenipo';
The business would be long, and he must dwell
Six months or more abroad, he could not tell.
Though great the honour, he should leave his dove,
Which would be painful to connubial love.
Long embassies and journeys far from home
Oft cuckoldom around induce to roam.

THE husband, full of fears about his wife;
Exclaimed--my ever--darling, precious life,
I must away; adieu, be faithful pray,

[...] Read more

poem by La Fontaine
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Maintaining A Maintenance Of One's Sanity

Maintaining a maintenance of one's sanity,
Requires constant discipline.
And the benefits of rest one gets...
Not outdated 'yet' or considered obsolete.

These times we live press forward,
With lightening fast speed.
So quick some noses may even bleed.

Swift are the thoughts required to think.
Leaving decisions made,
Before clouded eyes are seen to blink.

Technology driven are electronic inventions.
And a mental nimbleness...
Is required to live a life in the midst of this.

And those believing they can live without PC's...
Will be left behind conversing with robots.
Once referred to as human beings.

Swift are the thoughts required to think.
Leaving decisions made,
Before clouded eyes are seen to blink.

Maintaining a maintenance of one's sanity,
Requires constant discipline.
And the benefits of rest one gets...
Not outdated 'yet' or considered obsolete.

poem by Lawrence S. Pertillar
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Half-Life

less than three months
and she's all-ready
already
asking me

the inconceivable
irretrievable
reduction of
eternity

half a lifetime
in the making
half a decade
consummating
a half-life
decaying

Copyright R. Resh 2005

half–life
Function: noun: the time required for half of something to undergo a process: as a: the time required for half of the atoms of a radioactive substance to become disintegrated b: the time required for half the amount of a substance (as a drug or radioactive tracer) in or introduced into a living system or ecosystem to be eliminated or disintegrated by natural processes
Merriam-Webster's Medical Dictionary, © 2002 Merriam-Webster, Inc.

LETTER TO YOUNG POETS

Beware of those bearing outrageous professions and promises. For they shall only break each and every one of them- often when you are most vulnerable. They will be replace with threats, infidelity and unimagined dishonesty. Lest such come as any surprise, or suddenly. Be grateful for the fantastic illusions which they fed you- fuel for finer poetry.

Write as you must, but do not haste to publish with any sense of immediacy. Review the pieces ages later, marking growth for journey.

Above all:
Be grateful for the well-earned lessons learned, rare slim jewels of exquisite poetry; expecting nothing else in return. For it was their acting which fed you, moved you; so hungered for ink-spill willing. Expect such and that only.

Your experience is truly the least uncommon. Try as you may- we are all too human. So strive that your poetry be truthful, wise, humourous, distinct, sensual, moving, exceptional as extraordinary; inspired of horrors' temporal folly- from the profane and mundane unto ageless bewildering beauty.

Be kind to yourself. Remain healthy. Life and poetry only grow the more rewarding.

Liter scripta manet.

randy resh 2010

poem by Randy Resh
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Good teachers make the best of a pupil's means; great teachers foresee a pupil's ends.

classic quote by Maria Callas
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That is the difference between good teachers and great teachers: good teachers make the best of a pupil's means; great teachers foresee a pupil's ends.

quote by Maria Callas
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The educator must believe in the potential power of his pupil, and he must employ all his art in seeking to bring his pupil to experience this power.

quote by Alfred Adler
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Teacher’s Day (in acrostic)

Teaches and trains even the worst pupil
Ever ready to help the student in troubled times
Allows students to nurture their talents
Chides and punishes justly
Held in high esteem
Exemplary and encouraging
Remembers the pupil, forgets the name
’Selflessly serves society to the best of his/ her ability

Defends the weaker students against the robust
Advises appropriately
Yields to the highly intelligent student

Copyright By Dr John Celes 5-09-’11

poem by John Celes
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The Buddha says;

The Buddha said:
We must open ourselves to the world
Knowing that what we sense about the world
Is Maya.
and the pupil asked: If what we see is an illusion
then what is the purpose of opening to lies?
The Buddha answered To open our inner eye
to the truth which is found by emptying oneself
of all that you know about the world.
the pupil asked: If all that we see is misrepresented
then what is the use of inquiry?
The Buddha said: You have already asked that question
What is the use of repeating the answer?

poem by George Murdock
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Part VI

With a change
Of his whole manner, opens out at once
The Adversary.

"Now, my friend, for you!
You who, protected late, aggressive grown,
Brandish, it seems, a weapon I must 'ware!
Plain speech in me becomes respectable
Therefore, because courageous; plainly, then—
(Have lash well loose, hold handle tight and light!)
Throughout my life's experience, you indulged
Yourself and friend by passing in review
So courteously but now, I vainly search
To find one record of a specimen
So perfect of the pure and simple fool
As this you furnish me. Ingratitude
I lump with folly,—all's one lot,—so—fool!
Did I seek you or you seek me? Seek? sneak
For service to, and service you would style—
And did style—godlike, scarce an hour ago!
Fool, there again, yet not precisely there
First-rate in folly: since the hand you kissed
Did pick you from the kennel, did plant firm
Your footstep on the pathway, did persuade
Your awkward shamble to true gait and pace,
Fit for the world you walk in. Once a-strut
On that firm pavement which your cowardice
Was for renouncing as a pitfall, next
Came need to clear your brains of their conceit
They cleverly could distinguish who was who,
Whatever folk might tramp the thoroughfare.
Men, now—familiarly you read them off,
Each phyz at first sight! O you had an eye!
Who couched it? made you disappoint each fox
Eager to strip my gosling of his fluff
So golden as he cackled 'Goose trusts lamb?'
'Ay, but I saved you—wolf defeated fox—
Wanting to pick your bones myself!' then, wolf
Has got the worst of it with goose for once.
I, penniless, pay you ten thousand pounds
(—No gesture, pray! I pay ere I depart!)
And how you turn advantage to account
Here's the example! Have I proved so wrong
In my peremptory 'debt must be discharged'?
O you laughed lovelily, were loth to leave
The old friend out at elbows—pooh, a thing
Not to be thought of! I must keep my cash,
And you forget your generosity!
Ha ha, I took your measure when I laughed
My laugh to that! First quarrel—nay, first faint

[...] Read more

poem by Robert Browning from The Inn Album (1875)
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