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The Enfolding

where the threat is exposed,
where the coping deteriorates,
where critters from the attic are let loose
procreating without our consent,
where everyone runs at their own pace
from the lives they have perceived.

no longer protecting against carnivores
in this day and age;
no longer tangible intimidations
in this day and age;
we have have been slowly but surely knitting
our own mental terrorism.

poem by Chris Jelens
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The House Of Dust: Complete

I.

The sun goes down in a cold pale flare of light.
The trees grow dark: the shadows lean to the east:
And lights wink out through the windows, one by one.
A clamor of frosty sirens mourns at the night.
Pale slate-grey clouds whirl up from the sunken sun.

And the wandering one, the inquisitive dreamer of dreams,
The eternal asker of answers, stands in the street,
And lifts his palms for the first cold ghost of rain.
The purple lights leap down the hill before him.
The gorgeous night has begun again.

'I will ask them all, I will ask them all their dreams,
I will hold my light above them and seek their faces.
I will hear them whisper, invisible in their veins . . .'
The eternal asker of answers becomes as the darkness,
Or as a wind blown over a myriad forest,
Or as the numberless voices of long-drawn rains.

We hear him and take him among us, like a wind of music,
Like the ghost of a music we have somewhere heard;
We crowd through the streets in a dazzle of pallid lamplight,
We pour in a sinister wave, ascend a stair,
With laughter and cry, and word upon murmured word;
We flow, we descend, we turn . . . and the eternal dreamer
Moves among us like light, like evening air . . .

Good-night! Good-night! Good-night! We go our ways,
The rain runs over the pavement before our feet,
The cold rain falls, the rain sings.
We walk, we run, we ride. We turn our faces
To what the eternal evening brings.

Our hands are hot and raw with the stones we have laid,
We have built a tower of stone high into the sky,
We have built a city of towers.

Our hands are light, they are singing with emptiness.
Our souls are light; they have shaken a burden of hours . . .
What did we build it for? Was it all a dream? . . .
Ghostly above us in lamplight the towers gleam . . .
And after a while they will fall to dust and rain;
Or else we will tear them down with impatient hands;
And hew rock out of the earth, and build them again.

II.

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poem by Conrad Potter Aiken
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De Critters' Dance

Ain't nobody nevah tol' you not a wo'd a-tall,
'Bout de time dat all de critters gin dey fancy ball?
Some folks tell it in a sto'y, some folks sing de rhyme,
'Peahs to me you ought to hyeahed it, case hit 's ol' ez time.

Well, de critters all was p'osp'ous, now would be de chance
Fu' to tease ol' Pa'son Hedgehog, givin' of a dance;
Case, you know, de critters' preachah was de stric'est kin',
An' he nevah made no 'lowance fu' de frisky min'.

So dey sont dey inbitations, Raccoon writ 'em all,
'Dis hyeah note is to inbite you to de Fancy Ball;
Come erlong an' bring yo' ladies, bring yo' chillun too,
Put on all yo' bibs an' tuckahs, show whut you kin do.'

W'en de night come, dey all gathahed in a place dey knowed,
Fu' enough erway f'om people, nigh enough de road,
All de critters had ersponded, Hop-Toad up to Baih,
An' I 's hyeah to tell you, Pa'son Hedgehog too, was daih.

Well, dey talked an' made dey 'bejunce, des lak critters do,
An' dey walked an' p'omenaded 'roun' an' thoo an' thoo;
Jealous ol' Mis' Fox, she whispah, 'See Mis' Wildcat daih,
Ain't hit scan'lous, huh a-comin' wid huh shouldahs baih?'

Ol' man T'utle was n't honin' fu' no dancin' tricks,
So he stayed by ol' Mis' Tu'tle, talkin' politics;
Den de ban' hit 'mence a-playin' critters all to place,
Fou' ercross an' fou' stan' sideways, smilin' face to face.

'Fessah Frog, he play de co'net, Cricket play de fife,
Slews o' Grasshoppahs a-fiddlin' lak to save dey life;
Mistah Crow, 'he call de figgers, settin' in a tree,
Huh, uh! how dose critters sasshayed was a sight to see.

Mistah Possom swing Mis' Rabbit up an' down de flo',
Ol' man Baih, he ain't so nimble, an' it mek him blow;
Raccoon dancin' wid Mis' Squ'il squeeze huh little han',
She say, 'Oh, now ain't you awful, quit it, goodness lan'!'

Pa'son Hedgehog groanin' awful at his converts' shines,
'Dough he peepin' thoo his fingahs at dem movin' lines,
'Twell he cain't set still no longah w'en de fiddles sing,
Up he jump, an' bless you, honey, cut de pigeon-wing.

Well, de critters lak to fainted jes' wid dey su'prise.
Sistah Fox, she vowed she was n't gwine to b'lieve huh eyes;
But dey could n't be no 'sputin' 'bout it any mo':
Pa'son Hedgehog was a-cape'in' all erroun' de flo.'

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poem by Paul Laurence Dunbar
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XI. Guido

You are the Cardinal Acciaiuoli, and you,
Abate Panciatichi—two good Tuscan names:
Acciaiuoli—ah, your ancestor it was
Built the huge battlemented convent-block
Over the little forky flashing Greve
That takes the quick turn at the foot o' the hill
Just as one first sees Florence: oh those days!
'T is Ema, though, the other rivulet,
The one-arched brown brick bridge yawns over,—yes,
Gallop and go five minutes, and you gain
The Roman Gate from where the Ema's bridged:
Kingfishers fly there: how I see the bend
O'erturreted by Certosa which he built,
That Senescal (we styled him) of your House!
I do adjure you, help me, Sirs! My blood
Comes from as far a source: ought it to end
This way, by leakage through their scaffold-planks
Into Rome's sink where her red refuse runs?
Sirs, I beseech you by blood-sympathy,
If there be any vile experiment
In the air,—if this your visit simply prove,
When all's done, just a well-intentioned trick,
That tries for truth truer than truth itself,
By startling up a man, ere break of day,
To tell him he must die at sunset,—pshaw!
That man's a Franceschini; feel his pulse,
Laugh at your folly, and let's all go sleep!
You have my last word,—innocent am I
As Innocent my Pope and murderer,
Innocent as a babe, as Mary's own,
As Mary's self,—I said, say and repeat,—
And why, then, should I die twelve hours hence? I—
Whom, not twelve hours ago, the gaoler bade
Turn to my straw-truss, settle and sleep sound
That I might wake the sooner, promptlier pay
His due of meat-and-drink-indulgence, cross
His palm with fee of the good-hand, beside,
As gallants use who go at large again!
For why? All honest Rome approved my part;
Whoever owned wife, sister, daughter,—nay,
Mistress,—had any shadow of any right
That looks like right, and, all the more resolved,
Held it with tooth and nail,—these manly men
Approved! I being for Rome, Rome was for me.
Then, there's the point reserved, the subterfuge
My lawyers held by, kept for last resource,
Firm should all else,—the impossible fancy!—fail,
And sneaking burgess-spirit win the day.
The knaves! One plea at least would hold,—they laughed,—
One grappling-iron scratch the bottom-rock

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poem by Robert Browning from The Ring and the Book
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A Digital Map Of Anatomical Body

moving compositions

anatomy of mental formations
anatomy of mental formations
anatomy of mental formations
anatomy of mental formations
...
anatomy of mental formations
anatomy of mental formations
anatomy of mental formations
anatomy of mental formations
anatomy of mental formations
anatomy of mental formations
anatomy of mental formations
anatomy of mental formations
anatomy of mental formations
anatomy of mental formations
anatomy of mental formations
anatomy of mental formations
anatomy of mental formations
contemplated erosions below! ! !
The body detailes concepts!

poem by Nyein Way
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Killer On The Loose

Some people they call me jack
Some people they call me insane
Im looking for somebody
And I dont even know her name
I might be looking for you
Wherever you may be
For there is something Ive got to do to you honey
And its between you and me
Now you might think its funny
Or maybe its a joke
But youve got plenty of reason to worry honey
'cause you wouldnt stand a hope
Theres a killer on the loose again
A killer on the loose
Theres a killer on the loose again
A ladykiller on the loose
Now Im not trying to be nasty
Or Im not trying to make you scared
But theres a killer on the loose
Or havent you heard
Hell be walking around this town
Just about midnight
Yes, thats chinatown
Thats right
Thats right
Now you might think Im messing
Or he dont exist
But honey Im confessing
Im a mad sexual rapist
Theres a killer on the loose again
A killer on the loose
Theres a killer on the loose again
A ladykiller on the loose
Ill be standing in the shadows of love
Waiting for you
Dont unzip your zipper
'cause you know Im jack the ripper
Now dont wail, dont...
Theres a killer on the loose again
Standing in the shadows
A killer on the loose
Theres a killer on the loose again
Coming to get you
A ladykiller on the loose
Theres a killer on the loose again
Standing in the shadows of love
A killer on the loose
Theres a killer on the loose again
Thats right jack
A ladykiller on the loose

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song performed by Thin Lizzy
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Keep looking for loose ends; Keep alive and kicking

Keep looking for loose ends, Keep alive and kicking

The very essence of survival among
All living systems lies in the
Locating of loose ends and fixing them adequately

Making of another million
May be one’s loose end while
Winning the next meal
May be that of some one else
Growth of his industrial empire
May be the loose end of an entrepreneur, while
Moving on to the next stage in the spiritual path
May be that of someone different
Getting a loan for building own accommodation
May be some other’s loose end while
Paying back the availed loan
May be the loose end of a third other person
Keeping in tact his political position and
Getting a suitable placemen
May be other loose ends, which are common
Building a new nest may be a bird’s loose end while
Snatching the next prey may be a tiger’s loose end

Thus all are after loose ends

The fact is that locating a loose end is not really the end
As loose ends by themselves are no issues
Loose ends get entangled and invite
New and unknown complications

Some know their loose ends
They seemingly do not think or act on these
May be they are confident of meeting the resultant
Complications effectively and adequately

Some are lost in worrying over the complications
And they find no time to fix loose ends
Loose ends remain loose anytime to blow up
With unexpected implications

It is indeed, the desire that fix loose ends
This desire leads these people as how to fix them
They act on the knowledge and secure loose ends

Loose ends are really fixed by
Emotion-free and knowledge-based actions

So,

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poem by Bashyam Narayanan
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The Aeneid of Virgil: Book 11

SCARCE had the rosy Morning rais’d her head
Above the waves, and left her wat’ry bed;
The pious chief, whom double cares attend
For his unburied soldiers and his friend,
Yet first to Heav’n perform’d a victor’s vows: 5
He bar’d an ancient oak of all her boughs;
Then on a rising ground the trunk he plac’d,
Which with the spoils of his dead foe he grac’d.
The coat of arms by proud Mezentius worn,
Now on a naked snag in triumph borne, 10
Was hung on high, and glitter’d from afar,
A trophy sacred to the God of War.
Above his arms, fix’d on the leafless wood,
Appear’d his plumy crest, besmear’d with blood:
His brazen buckler on the left was seen; 15
Truncheons of shiver’d lances hung between;
And on the right was placed his corslet, bor’d;
And to the neck was tied his unavailing sword.
A crowd of chiefs inclose the godlike man,
Who thus, conspicuous in the midst, began: 20
“Our toils, my friends, are crown’d with sure success;
The greater part perform’d, achieve the less.
Now follow cheerful to the trembling town;
Press but an entrance, and presume it won.
Fear is no more, for fierce Mezentius lies, 25
As the first fruits of war, a sacrifice.
Turnus shall fall extended on the plain,
And, in this omen, is already slain.
Prepar’d in arms, pursue your happy chance;
That none unwarn’d may plead his ignorance, 30
And I, at Heav’n’s appointed hour, may find
Your warlike ensigns waving in the wind.
Meantime the rites and fun’ral pomps prepare,
Due to your dead companions of the war:
The last respect the living can bestow, 35
To shield their shadows from contempt below.
That conquer’d earth be theirs, for which they fought,
And which for us with their own blood they bought;
But first the corpse of our unhappy friend
To the sad city of Evander send, 40
Who, not inglorious, in his age’s bloom,
Was hurried hence by too severe a doom.”
Thus, weeping while he spoke, he took his way,
Where, new in death, lamented Pallas lay.
Acoetes watch’d the corpse; whose youth deserv’d 45
The father’s trust; and now the son he serv’d
With equal faith, but less auspicious care.
Th’ attendants of the slain his sorrow share.
A troop of Trojans mix’d with these appear,
And mourning matrons with dishevel’d hair. 50

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poem by Publius Vergilius Maro
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Very Slowly

Tick tock
The moonlights hummin
My fingers on the button and my hob-nobs drummin
Slow down were moving too fast
Better wait a minute make the good times last
Ive learned something bout livin
You dont get nothing if you dont stop givin
We both know that we got so much but there aint no rush
Wanna love you slowly
When you slide on down
Wanna love you slowly turn that body round
You wont be able to control me
When your love slow down
Wanna love you slowly slowly slowly slowly
Slowly..
Hold tight
Love is all I need I guess its sweeter when its more than just a tease
Let me hold you close enough to stick
Love is an illusion lets play that trick
Slow hand moving down my back
If you get a chance u feel my heart attack
Real love has never been a crime
Wanna take my time
Wanna love you slowly
When you slide on down
Wanna love you slowly
And turn that body round
You wont be able to control me
When your love slow down
Wanna love you slowly slowly slowly slowly slowly...
Aah...oah...uah...
Slowly...aah...oah...uah...
Slowly... yeah...aah...oah...uah...
If you get a chance you feel my heart attack
Aah...oah...uah...
Real love has never been a crime
Wanna take my time
Wanna love you slowly
When you slide on down
Wanna love you slowly
And turn that body round
You wont be able to control me
When your love slow down
Wanna love you slowly slowly slowly slowly slowly...
Slowly...aah...oah...uah...slowly...aah...oah...uah...
Slowly... yeah...aah...oah...uah...aah...oah...uah...

song performed by Geri Halliwell
Added by Lucian Velea
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Canto the First

I
I want a hero: an uncommon want,
When every year and month sends forth a new one,
Till, after cloying the gazettes with cant,
The age discovers he is not the true one;
Of such as these I should not care to vaunt,
I'll therefore take our ancient friend Don Juan—
We all have seen him, in the pantomime,
Sent to the devil somewhat ere his time.

II
Vernon, the butcher Cumberland, Wolfe, Hawke,
Prince Ferdinand, Granby, Burgoyne, Keppel, Howe,
Evil and good, have had their tithe of talk,
And fill'd their sign posts then, like Wellesley now;
Each in their turn like Banquo's monarchs stalk,
Followers of fame, "nine farrow" of that sow:
France, too, had Buonaparté and Dumourier
Recorded in the Moniteur and Courier.

III
Barnave, Brissot, Condorcet, Mirabeau,
Petion, Clootz, Danton, Marat, La Fayette,
Were French, and famous people, as we know:
And there were others, scarce forgotten yet,
Joubert, Hoche, Marceau, Lannes, Desaix, Moreau,
With many of the military set,
Exceedingly remarkable at times,
But not at all adapted to my rhymes.

IV
Nelson was once Britannia's god of war,
And still should be so, but the tide is turn'd;
There's no more to be said of Trafalgar,
'T is with our hero quietly inurn'd;
Because the army's grown more popular,
At which the naval people are concern'd;
Besides, the prince is all for the land-service,
Forgetting Duncan, Nelson, Howe, and Jervis.

V
Brave men were living before Agamemnon
And since, exceeding valorous and sage,
A good deal like him too, though quite the same none;
But then they shone not on the poet's page,
And so have been forgotten:—I condemn none,
But can't find any in the present age
Fit for my poem (that is, for my new one);
So, as I said, I'll take my friend Don Juan.

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poem by Byron from Don Juan (1824)
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Amys In The Attic

Mr. piser, I think you should come up here
Amys in the attic and brain has gone ecstatic
Not another day of all the suffering and pain I was just a little boy ever so naive
Amy was my best friend, I never want to hurt her
I never wanna ever wanna think about her murder
On the playground, I chase her down the slide
I chase her cross the monkey bars and she would run and hide
Jinglin and tumbling, I pushed her off the sled
Amy coincidently hit her head
Dumbling inside my brain, down came the wade
Amy isnt answering, who would get the blame?
Amy isnt laughing, amy isnt crying
Amy isnt really breathing, God I think shes dying
Suddenly, the air is cold I must get her inside
Even though she died, amy has to hide
Nobody must ever know that I made amy sick
Lock her up forever in the attic
Maybe it is best to die, thinking did she really die
Im thinking if its really true then how come I am telling you
And if I really meant to do it, should I be a victim to
Should I walk the terror stairs, and savior all my
Terror fears, no
Mr. piser, I think you should come up here
Amys in the attic and my brain has gone ecstatic
Every day I suffer but eleven years have passed
How long will this keep and the nightmares last
Sitting in my living room, another strange feeling
I think Im hearing tiny footsteps on the ceiling
Looking in my mirror, the image isnt clear
I feel as if a little girl is standing at my rear and
Then I awake at the blink of an eye
Voices from the attic yellin, why?
What if amy wasnt dead living in the box
Banging on the walls, rattling the locks
Feeding on the roaches, rodents, and filth
And when theres nothing left, she feeds off herself
Why do I think in amy of this way?
She was once a lovely girl running out to play
Maybe its all a dream insane fanatic
Maybe theres no amy in the attic after all
Maybe it is best to die, thinking did she really die
Im thinking if its really true then how come I am telling you
And if I really meant to do it, should I be a victim to
Should I walk the terror stairs, and savior all my
Terror fears, no
Mr. piser, I think you should come up here
Amys in the attic and my brain has gone ecstatic
Maybe it is best to die, thinking did she really die
Im thinking if its really true then how come I am telling you
And if I really meant to do it, should I be a victim to

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song performed by Insane Clown Posse
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Seventh Book

'THE woman's motive? shall we daub ourselves
With finding roots for nettles? 'tis soft clay
And easily explored. She had the means,
The moneys, by the lady's liberal grace,
In trust for that Australian scheme and me,
Which so, that she might clutch with both her hands,
And chink to her naughty uses undisturbed,
She served me (after all it was not strange,;
'Twas only what my mother would have done)
A motherly, unmerciful, good turn.

'Well, after. There are nettles everywhere,
But smooth green grasses are more common still;
The blue of heaven is larger than the cloud;
A miller's wife at Clichy took me in
And spent her pity on me,–made me calm
And merely very reasonably sad.
She found me a servant's place in Paris where
I tried to take the cast-off life again,
And stood as quiet as a beaten ass
Who, having fallen through overloads, stands up
To let them charge him with another pack.

'A few months, so. My mistress, young and light,
Was easy with me, less for kindness than
Because she led, herself, an easy time
Betwixt her lover and her looking-glass,
Scarce knowing which way she was praised the most.
She felt so pretty and so pleased all day
She could not take the trouble to be cross,
But sometimes, as I stooped to tie her shoe,
Would tap me softly with her slender foot
Still restless with the last night's dancing in't,
And say 'Fie, pale-face! are you English girls
'All grave and silent? mass-book still, and Lent?
'And first-communion colours on your cheeks,
'Worn past the time for't? little fool, be gay!'
At which she vanished, like a fairy, through
A gap of silver laughter.
'Came an hour
When all went otherwise. She did not speak,
But clenched her brows, and clipped me with her eyes
As if a viper with a pair of tongs,
Too far for any touch, yet near enough
To view the writhing creature,–then at last,
'Stand still there, in the holy Virgin's name,
'Thou Marian; thou'rt no reputable girl,
'Although sufficient dull for twenty saints!
'I think thou mock'st me and my house,' she said;
'Confess thou'lt be a mother in a month,

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poem by Elizabeth Barrett Browning from Aurora Leigh (1856)
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Fifth Book

AURORA LEIGH, be humble. Shall I hope
To speak my poems in mysterious tune
With man and nature,–with the lava-lymph
That trickles from successive galaxies
Still drop by drop adown the finger of God,
In still new worlds?–with summer-days in this,
That scarce dare breathe, they are so beautiful?–
With spring's delicious trouble in the ground
Tormented by the quickened blood of roots.
And softly pricked by golden crocus-sheaves
In token of the harvest-time of flowers?–
With winters and with autumns,–and beyond,
With the human heart's large seasons,–when it hopes
And fears, joys, grieves, and loves?–with all that strain
Of sexual passion, which devours the flesh
In a sacrament of souls? with mother's breasts,
Which, round the new made creatures hanging there,
Throb luminous and harmonious like pure spheres?–
With multitudinous life, and finally
With the great out-goings of ecstatic souls,
Who, in a rush of too long prisoned flame,
Their radiant faces upward, burn away
This dark of the body, issuing on a world
Beyond our mortal?–can I speak my verse
So plainly in tune to these things and the rest,
That men shall feel it catch them on the quick,
As having the same warrant over them
To hold and move them, if they will or no,
Alike imperious as the primal rhythm
Of that theurgic nature? I must fail,
Who fail at the beginning to hold and move
One man,–and he my cousin, and he my friend,
And he born tender, made intelligent,
Inclined to ponder the precipitous sides
Of difficult questions; yet, obtuse to me,–
Of me, incurious! likes me very well,
And wishes me a paradise of good,
Good looks, good means, and good digestion!–ay,
But otherwise evades me, puts me off
With kindness, with a tolerant gentleness,–
Too light a book for a grave man's reading! Go,
Aurora Leigh: be humble.
There it is;
We women are too apt to look to one,
Which proves a certain impotence in art.
We strain our natures at doing something great,
Far less because it's something great to do,
Than, haply, that we, so, commend ourselves
As being not small, and more appreciable
To some one friend. We must have mediators

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poem by Elizabeth Barrett Browning from Aurora Leigh (1856)
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The Aeneid of Virgil: Book 12

WHEN Turnus saw the Latins leave the field,
Their armies broken, and their courage quell’d,
Himself become the mark of public spite,
His honor question’d for the promis’d fight;
The more he was with vulgar hate oppress’d, 5
The more his fury boil’d within his breast:
He rous’d his vigor for the last debate,
And rais’d his haughty soul to meet his fate.
As, when the swains the Libyan lion chase,
He makes a sour retreat, nor mends his pace; 10
But, if the pointed jav’lin pierce his side,
The lordly beast returns with double pride:
He wrenches out the steel, he roars for pain;
His sides he lashes, and erects his mane:
So Turnus fares; his eyeballs flash with fire, 15
Thro’ his wide nostrils clouds of smoke expire.
Trembling with rage, around the court he ran,
At length approach’d the king, and thus began:
“No more excuses or delays: I stand
In arms prepar’d to combat, hand to hand, 20
This base deserter of his native land.
The Trojan, by his word, is bound to take
The same conditions which himself did make.
Renew the truce; the solemn rites prepare,
And to my single virtue trust the war. 25
The Latians unconcern’d shall see the fight;
This arm unaided shall assert your right:
Then, if my prostrate body press the plain,
To him the crown and beauteous bride remain.”
To whom the king sedately thus replied: 30
“Brave youth, the more your valor has been tried,
The more becomes it us, with due respect,
To weigh the chance of war, which you neglect.
You want not wealth, or a successive throne,
Or cities which your arms have made your own: 35
My towns and treasures are at your command,
And stor’d with blooming beauties is my land;
Laurentum more than one Lavinia sees,
Unmarried, fair, of noble families.
Now let me speak, and you with patience hear, 40
Things which perhaps may grate a lover’s ear,
But sound advice, proceeding from a heart
Sincerely yours, and free from fraudful art.
The gods, by signs, have manifestly shown,
No prince Italian born should heir my throne: 45
Oft have our augurs, in prediction skill’d,
And oft our priests, a foreign son reveal’d.
Yet, won by worth that cannot be withstood,
Brib’d by my kindness to my kindred blood,
Urg’d by my wife, who would not be denied, 50

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poem by Publius Vergilius Maro
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Prince Hohenstiel-Schwangau, Saviour of Society

Epigraph

Υδραν φονεύσας, μυρίων τ᾽ ἄλλων πόνων
διῆλθον ἀγέλας . . .
τὸ λοίσθιον δὲ τόνδ᾽ ἔτλην τάλας πόνον,
. . . δῶμα θριγκῶσαι κακοῖς.

I slew the Hydra, and from labour pass'd
To labour — tribes of labours! Till, at last,
Attempting one more labour, in a trice,
Alack, with ills I crowned the edifice.

You have seen better days, dear? So have I —
And worse too, for they brought no such bud-mouth
As yours to lisp "You wish you knew me!" Well,
Wise men, 't is said, have sometimes wished the same,
And wished and had their trouble for their pains.
Suppose my Œdipus should lurk at last
Under a pork-pie hat and crinoline,
And, latish, pounce on Sphynx in Leicester Square?
Or likelier, what if Sphynx in wise old age,
Grown sick of snapping foolish people's heads,
And jealous for her riddle's proper rede, —
Jealous that the good trick which served the turn
Have justice rendered it, nor class one day
With friend Home's stilts and tongs and medium-ware,—
What if the once redoubted Sphynx, I say,
(Because night draws on, and the sands increase,
And desert-whispers grow a prophecy)
Tell all to Corinth of her own accord.
Bright Corinth, not dull Thebes, for Lais' sake,
Who finds me hardly grey, and likes my nose,
And thinks a man of sixty at the prime?
Good! It shall be! Revealment of myself!
But listen, for we must co-operate;
I don't drink tea: permit me the cigar!
First, how to make the matter plain, of course —
What was the law by which I lived. Let 's see:
Ay, we must take one instant of my life
Spent sitting by your side in this neat room:
Watch well the way I use it, and don't laugh!
Here's paper on the table, pen and ink:
Give me the soiled bit — not the pretty rose!
See! having sat an hour, I'm rested now,
Therefore want work: and spy no better work
For eye and hand and mind that guides them both,
During this instant, than to draw my pen
From blot One — thus — up, up to blot Two — thus —
Which I at last reach, thus, and here's my line
Five inches long and tolerably straight:

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poem by Robert Browning (1871)
Added by Veronica Serbanoiu
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Go Mental

Out of the hospital out against my will
Life is so beautiful Ive gone mental
Mental mental
Ive killed my family they thought I was an oddity
Life is so beautiful I am a vegetable
Mental mental
Ive gone mental Ive gone mental
Staring at my goldfish bowl popping phenobarbitol
Life is so beautiful Ive gone mental mental mental
Sitting on my window sill life is so beautiful
Ive become irrational Ive gone mental
Mental mental Ive gone mental

song performed by Ramones
Added by Lucian Velea
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Prejudice

IN yonder red-brick mansion, tight and square,
Just at the town's commencement, lives the mayor.
Some yards of shining gravel, fenced with box,
Lead to the painted portal--where one knocks :
There, in the left-hand parlour, all in state,
Sit he and she, on either side the grate.
But though their goods and chattels, sound and new,
Bespeak the owners very well to do,
His worship's wig and morning suit betray
Slight indications of an humbler day

That long, low shop, where still the name appears,
Some doors below, they kept for forty years :
And there, with various fortunes, smooth and rough,
They sold tobacco, coffee, tea, and snuff.
There labelled drawers display their spicy row--
Clove, mace, and nutmeg : from the ceiling low
Dangle long twelves and eights , and slender rush,
Mix'd with the varied forms of genus brush ;
Cask, firkin, bag, and barrel, crowd the floor,
And piles of country cheeses guard the door.
The frugal dames came in from far and near,
To buy their ounces and their quarterns here.
Hard was the toil, the profits slow to count,
And yet the mole-hill was at last a mount.
Those petty gains were hoarded day by day,
With little cost, for not a child had they ;
Till, long proceeding on the saving plan,
He found himself a warm, fore-handed man :
And being now arrived at life's decline,
Both he and she, they formed the bold design,
(Although it touched their prudence to the quick)
To turn their savings into stone and brick.
How many an ounce of tea and ounce of snuff,
There must have been consumed to make enough !

At length, with paint and paper, bright and gay,
The box was finished, and they went away.
But when their faces were no longer seen
Amongst the canisters of black and green ,
--Those well-known faces, all the country round--
'Twas said that had they levelled to the ground
The two old walnut trees before the door,
The customers would not have missed them more.
Now, like a pair of parrots in a cage,
They live, and civic honours crown their age :
Thrice, since the Whitsuntide they settled there,
Seven years ago, has he been chosen mayor ;
And now you'd scarcely know they were the same ;
Conscious he struts, of power, and wealth, and fame ;

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poem by Jane Taylor
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A Fable For Critics

Phoebus, sitting one day in a laurel-tree's shade,
Was reminded of Daphne, of whom it was made,
For the god being one day too warm in his wooing,
She took to the tree to escape his pursuing;
Be the cause what it might, from his offers she shrunk,
And, Ginevra-like, shut herself up in a trunk;
And, though 'twas a step into which he had driven her,
He somehow or other had never forgiven her;
Her memory he nursed as a kind of a tonic,
Something bitter to chew when he'd play the Byronic,
And I can't count the obstinate nymphs that he brought over
By a strange kind of smile he put on when he thought of her.
'My case is like Dido's,' he sometimes remarked;
'When I last saw my love, she was fairly embarked
In a laurel, as _she_ thought-but (ah, how Fate mocks!)
She has found it by this time a very bad box;
Let hunters from me take this saw when they need it,-
You're not always sure of your game when you've treed it.
Just conceive such a change taking place in one's mistress!
What romance would be left?-who can flatter or kiss trees?
And, for mercy's sake, how could one keep up a dialogue
With a dull wooden thing that will live and will die a log,-
Not to say that the thought would forever intrude
That you've less chance to win her the more she is wood?
Ah! it went to my heart, and the memory still grieves,
To see those loved graces all taking their leaves;
Those charms beyond speech, so enchanting but now,
As they left me forever, each making its bough!
If her tongue _had_ a tang sometimes more than was right,
Her new bark is worse than ten times her old bite.'

Now, Daphne-before she was happily treeified-
Over all other blossoms the lily had deified,
And when she expected the god on a visit
('Twas before he had made his intentions explicit),
Some buds she arranged with a vast deal of care,
To look as if artlessly twined in her hair,
Where they seemed, as he said, when he paid his addresses,
Like the day breaking through, the long night of her tresses;
So whenever he wished to be quite irresistible,
Like a man with eight trumps in his hand at a whist-table
(I feared me at first that the rhyme was untwistable,
Though I might have lugged in an allusion to Cristabel),-
He would take up a lily, and gloomily look in it,
As I shall at the--, when they cut up my book in it.

Well, here, after all the bad rhyme I've been spinning,
I've got back at last to my story's beginning:
Sitting there, as I say, in the shade of his mistress,
As dull as a volume of old Chester mysteries,

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poem by James Russell Lowell
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Slowly But Surely

(words & music by wayne - weisman)
Slowly but surely Im gonna wear you down
Slowly but surely Im gonna bring you round
To my way of thinking, my way of kissing, my way of lovin
Slowly but surely, Im gonna make you mine
I aint gonna rush ya, Ill let you meditate
Though I wanna crush ya my arms will have to wait
Ill just take it easy, so nice and easy, real cool really
Slowly but surely, Im gonna make you mine
Oh yeah! mm-mm, Ive got a feelin Im not wasting my time
Oh yeah! when you get the message its going to be fine
Slowly but surely, the tables gonna turn
Slowly but surely, your lips are gonna burn
For what youve been missin is my kind of kissin, my kind of lovin
Slowly but surely, Im gonna make you mine
Oh yeah! mm-mm, Ive got a feelin Im not wasting my time
Oh yeah! when you get the message its going to be fine
Slowly but surely, the tables gonna turn
Slowly but surely, your lips are gonna burn
For what youve been missin is my kind of kissin, my kind of lovin
Slowly but surely, Im gonna make you mine
Im gonna make you mine
Im gonna make you mine

song performed by Elvis Presley
Added by Lucian Velea
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Slowly But Surely (#1)

Slowly but surely I'm gonna wear you down
Slowly but surely I'm gonna bring you round
To my way of thinking, my way of kissing, my way of lovin'
Slowly but surely, I'm gonna make you mine
I ain't gonna rush ya', I'll let you meditate
Though I wanna crush ya' my arms will have to wait
I'll just take it easy, so nice and easy, real cool really
Slowly but surely, I'm gonna make you mine
Oh yeah! Mm-mm, I've got a feelin' I'm not wasting my time
Oh yeah! When you get the message it's going to be fine
Slowly but surely, the table's gonna turn
Slowly but surely, your lips are gonna burn
For what you've been missin' is my kind of kissin', my kind of lovin'
Slowly but surely, I'm gonna make you mine
Oh yeah! Mm-mm, I've got a feelin' I'm not wasting my time
Oh yeah! When you get the message it's going to be fine
Slowly but surely, the table's gonna turn
Slowly but surely, your lips are gonna burn
For what you've been missin' is my kind of kissin', my kind of lovin'
Slowly but surely, I'm gonna make you mine
I'm gonna make you mine
I'm gonna make you mine

song performed by Elvis Presley
Added by Lucian Velea
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The Cremona Violin

Part First

Frau Concert-Meister Altgelt shut the door.
A storm was rising, heavy gusts of wind
Swirled through the trees, and scattered leaves before
Her on the clean, flagged path. The sky behind
The distant town was black, and sharp defined
Against it shone the lines of roofs and towers,
Superimposed and flat like cardboard flowers.

A pasted city on a purple ground,
Picked out with luminous paint, it seemed. The cloud
Split on an edge of lightning, and a sound
Of rivers full and rushing boomed through bowed,
Tossed, hissing branches. Thunder rumbled loud
Beyond the town fast swallowing into gloom.
Frau Altgelt closed the windows of each room.

She bustled round to shake by constant moving
The strange, weird atmosphere. She stirred the fire,
She twitched the supper-cloth as though improving
Its careful setting, then her own attire
Came in for notice, tiptoeing higher and higher
She peered into the wall-glass, now adjusting
A straying lock, or else a ribbon thrusting

This way or that to suit her. At last sitting,
Or rather plumping down upon a chair,
She took her work, the stocking she was knitting,
And watched the rain upon the window glare
In white, bright drops. Through the black glass a flare
Of lightning squirmed about her needles. 'Oh!'
She cried. 'What can be keeping Theodore so!'

A roll of thunder set the casements clapping.
Frau Altgelt flung her work aside and ran,
Pulled open the house door, with kerchief flapping
She stood and gazed along the street. A man
Flung back the garden-gate and nearly ran
Her down as she stood in the door. 'Why, Dear,
What in the name of patience brings you here?

Quick, Lotta, shut the door, my violin
I fear is wetted. Now, Dear, bring a light.
This clasp is very much too worn and thin.
I'll take the other fiddle out to-night
If it still rains. Tut! Tut! my child, you're quite
Clumsy. Here, help me, hold the case while I -
Give me the candle. No, the inside's dry.

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poem by Amy Lowell
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