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Some politicians become authentic maybe only at the Wax Museum !

quote by Octav Bibere
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Power Rangers Wax Music

4 wax figures
Brought to life
To protect the earth from evil forces
They will be given the status of heros
The power from within to defend
Known from this moment forward as....
Power Rangers Wax Magic

BRIDGE

Go go Power Rangers
Go go Power Rangers
Power Rangers Wax Magic
Let the force of goodness flow through you
Bring you alive
To hear our call
Go, go Power Rangers
Go, go Power Rangers
Power Rangers Wax Magic
Depending on you tonight

Each one gifted with weapons and a force from beyond the stars
They are something no normal man can understand
Once just wax and make-up
Now they are the choosen ones
The flesh we all must depend upon to save us
Get ready for the world's newest line
Power Rangers Wax Magic

REPEAT BRIDGE

Behind the sillest of eyes
They are watching over us all
Always ready to answer the call
And take the fall
Live waxen heros
That no one can beat
Power Rangers Wax Magic know no defeat

REPEAT BRIDGE

Hidden deep inside a museum of lovely artworks
There is hidden the secret of their power
Led by the the myterious Doe Devain

[...] Read more

poem by Ramona Thompson
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Waxen Figures

Greasy normally solid of form
wax cold wax grey still lifeless.
Grey lifeless dead wax
though strangely sentient.

Waxen figures grouped
on mirror window’s ledge.
Light is dim flickering
in mesmerizing flame
voices husky superimposed
over crackle creaking rain.
Semi-transparent grey ghosts
undulating by light of candle flame.

Wax cold wax grey still lifeless
cold wax warm wax blistering hot
a burning nova in cosmic creation.
Wick like a vein the soul within you.
Waxen figures my hand shaped and fed
devoid of life where is inherent meaning.
Strike a match instantaneous in friction ignite
how can match give, this sharp golden light?

Breathe life into figures
figures move transformed,
to a crisp white frost through
radiant warmth of an inner sun.
My nostrils quiver, a smell
obscure but heavy hangs in air.
Beyond comprehension untouchable
like smoke it spews forth
a continuous gently wavering stream
so faint it is barely there.
Is this the smell of creation?

Creation on a lesser scale
creation none the less.
Glorious in its wonder.
Independent of me from birth
figures walk through dimensions
beyond existence,
still I catch a glimpse
of multiplied universal wonder
figures glide serenely through.
Seen and unseen by me.

So many different worlds

[...] Read more

poem by Terence George Craddock
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The Museum of Nothing

Although the museum had nothing on exhibit...
The people not believing this,
Would still come in droves to visit.

They would stand in line to wait.
And pay their fee to gain entry.
And inquire, once inside...
Why was nothing there,
To sustain them with pride.

And from room to vacant room,
They walked behind the tour guide!

So the board of directors,
Decided to please them all.
And changed the name of the museum!
The museum was renamed,
The Museum of Nothing.
And people came in the Winter,
Spring, Summer and Fall.

And 'nothing' it was affectionately called.

Although the museum had nothing on exhibit...
The people not believing this,
Would still come in droves to visit.

They would stand in line to wait.
And pay their fee to gain entry.
Some adjusting to the nothingness.
While others stood for hours,
Just to stare as if in disbelief.

Addicted to anything said to them.
And clearly easy to deceive.

poem by Lawrence S. Pertillar
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Gioconda And Si-Ya-U

to the memory of my friend SI-YA-U,
whose head was cut off in Shanghai

A CLAIM

Renowned Leonardo's
world-famous
"La Gioconda"
has disappeared.
And in the space
vacated by the fugitive
a copy has been placed.

The poet inscribing
the present treatise
knows more than a little
about the fate
of the real Gioconda.
She fell in love
with a seductive
graceful youth:
a honey-tongued
almond-eyed Chinese
named SI-YA-U.
Gioconda ran off
after her lover;
Gioconda was burned
in a Chinese city.

I, Nazim Hikmet,
authority
on this matter,
thumbing my nose at friend and foe
five times a day,
undaunted,
claim
I can prove it;
if I can't,
I'll be ruined and banished
forever from the realm of poesy.

1928

Part One
Excerpts from Gioconda's Diary

15 March 1924: Paris, Louvre Museum

At last I am bored with the Louvre Museum.

[...] Read more

poem by Nazim Hikmet
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Sincere

Life use to be simple. Emotions clear.

Friends were friends, nothing to fear.

The kiss of a friend, the shake of a hand.

They were all signs of a friend, an honest man.

But now I look in your face and wonder what you hide.

Wonder what you really think, when you confide.

Now I no longer trust what I'm told.

Now that I'm no longer young but old.

I look deep into your face, trying to place

The words you say, wondering what parts you erase.

Trying to see through the layers of wax.

Wondering what parts of you are real and which are fake.

Wish I could light a candle, and watch it all melt.

So I can see what you really meant, what you really felt.

Tired of people, covered in wax, trying to pas what twasn't.

Wish I could go back to a time where wax wasn't.

Wanna be able to step in and know you mean it.

I wanna know that you really feel it.

What will I see, if I melt your wax away?

Is it really you who I'll find at the end of the day?

Are you a person sincere, without wax.

Or have you coated white wax over the black?

poem by Joses Tirtabudi
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Lassie Come Home

Lonely boy
Gazing on the afternoon
People drifting cross the surface of the twilight day
Theres a little yellow man standing by the railway station
Painting portraits on the brickwalls of billie holloway
Lovely lady smile, dance, my dear, Im only operating on lassie come home
This was authentic you, she spoke, this was authentic you who blew me cold
She had no chance to realize, it hit her straight between the eyes, so Ive been told
In the park, shes giving out some photographs
On which shes giving out some photos of what she hands around
They videoed a ghost tonite, she said before I turned it off
It rode an orange paper bike and left without a sound
Keep on riding, sir, open up the door and shout it out
Lassie come home, come home
This was authentic you, she spoke, this was authentic you who blew, who blew me cold
I had no chance to realize, it hit her straight between the eyes, so Ive been told
Lonely girl
Dancing in a music hall
Lightning struck her silver starship and turned it into stone
And now shes falling all the time into that void beyond her grey eyes
Somewhere a telephone is ringing but nobodys at home
Hello, junkie sweetheart
Listen now, this is your captain calling
Your captain is dead
Keep on riding, sir, open up the door and shout it out, shout it out, shout it out shout it out
Lassie come home
This is your captain calling
Were falling all the time
All the time
Lassie come home
Gold/1982

song performed by Alphaville
Added by Lucian Velea
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Matins

i

The authentic! Shadows of it
sweep past in dreams, one could say imprecisely,
evoking the almost-silent
ripping apart of giant
sheets of cellophane. No.
It thrusts up close. Exactly in dreams
it has you off-guard, you
recognize it before you have time.
For a second before waking
the alarm bell is a red conical hat, it
takes form.

ii

The authentic! I said
rising from the toilet seat.
The radiator in rhythmic knockings
spoke of the rising steam.
The authentic, I said
breaking the handle of my hairbrush as I
brushed my hair in
rhythmic strokes: That’s it,
that’s joy, it’s always
a recognition, the known
appearing fully itself, and
more itself than one knew.

iii

The new day rises
as heat rises,
knocking in the pipes
with rhythms it seizes for its own
to speak of its invention—
the real, the new-laid
egg whose speckled shell
the poet fondles and must break
if he will be nourished.

iv

A shadow painted where
yes, a shadow must fall.
The cow’s breath

[...] Read more

poem by Denise Levertov
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Commander Of All Evils

Politicians are the commander of all evil spirits
Their belief: deities are vain trifles
They have vowed to devotion themselves
Damnation, shoes, or slap does not frighten them
Nor they have distinction in hell and heaven
They are the least worried for the terrors of hell

Gulf exists between politicians and people
Politicians’ element is of devils
People are purely idol of virtuosity
Pride of power has allured them into hell
They will never see the face of God
They will never taste the eternal joys of heaven

When you kill a tiger you say a sport
When the tiger attacks on you, it is ferocity
When you kill millions of men
Politicians propagate peace and prosperity
You design to kill the innocent
Often the innocent are called the mastermind
Your evil spirit of policies creates the path of terrorists
Often our judiciary pronounces their innocence

People should not feel tormented with the sufferings
Inflicted by the politicians
People will have everlasting happiness of peace
And enjoy in heaven
Heaven is of God and for His dear one
Let them rule in hell

The breaking news flashes on channels
Politicians have embraced everlasting
Damnation by entertaining dangerous thoughts
Against people, nature and God’s fury

poem by Shujaat Hussain
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Endless Poem

In a modern museum
In an old synagogue
In the synagogue
I
Within me
My heart
Within my heart
A museum
Within a museum
A synagogue
Within it
I
Within me
My heart
Within my heart
A museum

poem by Yehuda Amichai
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Museum Of Idiots

They built this whole neighborhood out of wood, out of wood.
I guess I'll still be around when they burn, burn it down.
I will be standing around when they burn it down.
Here in the Museum of Idiots.
Honey, I'm there when you need me, please believe me, please believe me.
I'll still be right where you left me, if you manage to forget me.
Where we met is where you may forget.
Here in the Museum of Idiots.
If you and I had any brains, we wouldn't be in this place.
Chop me up into pieces if it pleases, if it pleases.
And when the chopping is through, every piece will say, "I love you."
Every piece of me will say "I love you."
Here in the Museum of Idiots.
Every piece of me will say "I love you, you you"
Here in the Museum of Idiots.

song performed by They Might Be Giants
Added by Lucian Velea
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Twin State

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university of denver and lacrosse camp
university of denver swimming summer cam

[...] Read more

poem by Caasder Fronds
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More Amazing Than The Crucifixion

More amazing that the crucifixion
was, of course, the holocaust.
That’s why some believe it’s fiction,
view Jew-haters have endorsed.
Sad fact is that truly it
occurred––six million crucified,
and not just one. Though Holy Writ
does not include them by his side,
Chagall has done this. From the cross
the Christ looks sadly down, an SS-man
observing bloody feet, a boss
who’ll claim he was a minor yes-man
to that atrocity we see
on Golgotha has taken place;
he never will confess that he
deserves great blame. The Jewish race
survived this SS-man’s attack
whose evil has been called banal,
confusing merely white and black!
confusion not one Marc Chagall
made showing cruelty to Christ
who’s cringing on the cross. Some think
they know why he was sacrificed.
I from such explanations shrink,
confronted by the genocide
of all the millions who were killed
with gas used like a pesticide
by people more than Romans skilled
in culture and humanity,
some God-believers, even, whose
world-views saw no profanity
in crucifixion of the Jews.

Inspired by an article by Randy Kennedy in the NYT on January 2,2010, describing the purchase of a Chagall gouache depicting the crucifixion by the London:

The London Jewish Museum of Art is a scrappy young institution, created in 2001 and camped in rented space in St. John’s Wood, off the beaten track of London’s art world. But over the last nine years the museum has been diligently trying to forge a reputation for itself, adding more than 100 works to an already substantial collection that grew out of that of the Ben Uri Gallery, a Jewish artists’ society founded in London in 1915. So when David Glasser, one of the museum’s chairmen, was perusing a Paris auction catalog a few months ago, he found it hard to believe what he saw: a previously unknown 1945 gouache by Marc Chagall. It was one of a small group of images Chagall made in direct response to the Holocaust, after he and his wife had fled France in 1941, after the German occupation and after he had begun to learn the details of the Nazi atrocities. The gouache on heavy paper, which Chagall signed and titled himself lightly with a pencil in Russian — “Apocalypse in Lilac, Capriccio” — employs one of his familiar motifs, an image of a crucified Jesus, which he used as a metaphor for persecuted Jewry. But this crucifixion, painted in New York, where Chagall settled for several years, is one of the most brutal and disturbing ever created by an artist primarily known for his brightly colored folkloric visions. “Apocalypse” shows a naked Christ screaming at a Nazi storm trooper below the cross, who has a backwards swastika on his arm, a Hitler-like mustache and a serpentine tail. Another small figure can be seen crucified and a second being hanged, and a man appears to be poised to stab a child. A damaged, upside-down clock falls from the sky. The darkness and directness of the work may have been a response not only to the war but also to the death of Chagall’s wife, Bella, a year earlier from a viral infection that might have been treated if not for wartime medicine shortages….
And beginning on Thursday, it will go on public display for the first time, at the Osborne Samuel gallery in Mayfair, before moving into the museum’s permanent collection at the end of the month. In going on view, it will become another of the notable publicly exhibited examples of Chagall’s wartime imagery, like the “Yellow Crucifixion” from 1943, at the Georges Pompidou Center, and the “White Crucifixion” from 1938 at the Art Institute of Chicago. “Although in many of his works Chagall had reacted to events in Germany, he usually did not depict them but used symbols — such as the crucifixion, a Jew holding a Torah, a mother protecting her child or a falling angel — to suggest what was happening there, ” writes Ziva Amishai-Maisels, a Chagall scholar and professor emeritus at Hebrew University of Jerusalem, in a catalog to accompany the exhibition of the painting. “Although he still used some of these symbols in ‘Apocalypse, ’ he combined them with the reality of the Holocaust in a manner that was very rare in his work. This and the way he depicted the conflict between the Nazi and the naked Christ make this a unique work.” Ms. Baron, of the Art Fund, agreed. “I think it is really a tremendous coup, ” she said, “to get it for this collection and for the country.”

1/2/10

poem by Gershon Hepner
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Torquing Torus

It very rare for Richard Serra
man of steel, to sculpt in error.
The shapes that he creates evoke
dunes, canyons and ravines. Baroque
the influence of all these curves.
Perhaps Borromini deserves
some credit for the inspiration
for their expressive undulation,
although, ingratiating, lavish,
his expertise inclines to ravish
as, torquing torus with inversion,
with parasexual perversion
it transforms alchemistically steel
into raw spaces where you feel
the presence of a dying numen
within the crevasse of the lumen
where people walk and need not climb
to sense a terror that’s sublime.

Michael Kimmelman reviews a retrospective exhibition of Richard Serra of sculptures at the Museum of Modern Art in New York, “Man of Steel, ” NYT, June 1,2007) :
That second floor at the Modern, by the way, is the show’s tour de force. A high, huge and like so much of this museum, totally unlovable space, it was conceived for housing Mr. Serra’s sculptures. Kirk Varnedoe, the Modern curator, came up with this idea, and the museum saw his plan through after his death. The resulting space is antiseptic, unfortunately, and too much of a barn for showing anything else, but it looks fantastic now. At one end is “Band, ” a 70-foot-long steel undulation, absent an inside or outside, forming four cavities. On the other end is “Sequence, ” which links two immense spirals. In between is “Torqued Torus Inversion, ” a pair of mirrored enclosures whose forms Mr. Serra has said may partly relate to his fondness for curvy Chinese bronzes…
These shapes and experiences are new. That’s about the best, and the rarest, compliment you can give to any artist. Mr. Serra’s “Torqued Ellipses” and “Torqued Toruses” and other recent works like “Band” and “Sequence” have their origins in work he did 40 years ago in rubber and lead, as this retrospective handsomely affirms, but these are nonetheless unprecedented variations on the theme of dumbfounding spirals and loops. The public’s perception of Mr. Serra’s work has also obviously changed from the bad days of “Tilted Arc, ” a quarter-century or so ago. That same vocabulary of curved, giant metal walls, once vilified as art-world arrogance, is now better understood and broadly admired. This is how radical art operates. In Mr. Serra’s case you can also call it democratic art because it sticks to pure form that requires no previous expertise to grasp. There’s no coy narrative, no insider joke or historical allusion or meta-art theme. There’s none of what Mr. Serra disdainfully calls, in the show’s catalog, “post-Pop Surrealism, ” by which he lumps together all contemporary art that leans for a crutch on language and Duchamp. In that catalog interview he was talking with Kynaston McShine, one of the show’s two curators. (The other is Lynne Cooke.) Mr. Serra famously looked at Borromini churches in Rome before he started torquing steel, but his work is not “about” Baroque architecture any more than it’s about Jackson Pollock or Barnett Newman or Donald Judd, whom he also looked at and learned from early on. The art is about the basic stuff of sculpture, isolated and recast: mass, weight, volume, material. What matters in the end are your own reactions while moving through the sculptures, at a given moment, the works being Rorschachs of indeterminate meaning….
A filmmaker I met in Bilbao, Spain, wandering through Mr. Serra’s sculptures there, likened the experience to movies. He thought the paths Mr. Serra devised within the works, between curving walls of steel, which suddenly jog, then arrive, unexpectedly, at cavities or enclosures, were like plot twists with surprise endings. Except there are no beginnings or endings in the sculptures. A novelist who has written about the Holocaust said the high, curving steel walls leaned over him threateningly, leading him until he became disoriented and lost, into what he felt were penned-in spaces, bringing to mind a concentration camp. The art scared him, he said, but he also loved it. Kant called this feeling “the terrifying sublime, ” which is “accompanied by a certain dread or melancholy.” Awe and fear mingle with pleasure. The concept was applied to mountain climbing, and Mr. Serra’s new works on the museum’s second floor, perhaps not coincidentally, evoke canyons, dunes, crevasses and ravines. The industrial steel walls, in uncalculated rusty orange and velvety brown, evoke natural terrains; the spaces through which the sculptures move people are akin to spaces in nature.

6/1/07

poem by Gershon Hepner
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Georgic 4

Of air-born honey, gift of heaven, I now
Take up the tale. Upon this theme no less
Look thou, Maecenas, with indulgent eye.
A marvellous display of puny powers,
High-hearted chiefs, a nation's history,
Its traits, its bent, its battles and its clans,
All, each, shall pass before you, while I sing.
Slight though the poet's theme, not slight the praise,
So frown not heaven, and Phoebus hear his call.
First find your bees a settled sure abode,
Where neither winds can enter (winds blow back
The foragers with food returning home)
Nor sheep and butting kids tread down the flowers,
Nor heifer wandering wide upon the plain
Dash off the dew, and bruise the springing blades.
Let the gay lizard too keep far aloof
His scale-clad body from their honied stalls,
And the bee-eater, and what birds beside,
And Procne smirched with blood upon the breast
From her own murderous hands. For these roam wide
Wasting all substance, or the bees themselves
Strike flying, and in their beaks bear home, to glut
Those savage nestlings with the dainty prey.
But let clear springs and moss-green pools be near,
And through the grass a streamlet hurrying run,
Some palm-tree o'er the porch extend its shade,
Or huge-grown oleaster, that in Spring,
Their own sweet Spring-tide, when the new-made chiefs
Lead forth the young swarms, and, escaped their comb,
The colony comes forth to sport and play,
The neighbouring bank may lure them from the heat,
Or bough befriend with hospitable shade.
O'er the mid-waters, whether swift or still,
Cast willow-branches and big stones enow,
Bridge after bridge, where they may footing find
And spread their wide wings to the summer sun,
If haply Eurus, swooping as they pause,
Have dashed with spray or plunged them in the deep.
And let green cassias and far-scented thymes,
And savory with its heavy-laden breath
Bloom round about, and violet-beds hard by
Sip sweetness from the fertilizing springs.
For the hive's self, or stitched of hollow bark,
Or from tough osier woven, let the doors
Be strait of entrance; for stiff winter's cold
Congeals the honey, and heat resolves and thaws,
To bees alike disastrous; not for naught
So haste they to cement the tiny pores
That pierce their walls, and fill the crevices
With pollen from the flowers, and glean and keep

[...] Read more

poem by Publius Vergilius Maro
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On Irish Politics And Politicians

Politics in the Republic of Ireland with any joy I can't recall
Nepotism rife in the ranks of the three major parties Labour, Fine Gael and Fianna Fail
Jobs for their kin and their mates only Irish Politicians in their ways so small
In Politics since my time in Ireland suppose things would not have changed much at all
I was never a member of any Irish Political Party to me they seemed a very flawed lot
The way they conducted their business I certainly haven't forgot
Any one party not cleaner than the other honest politicians anywhere hard to be found
I recall amongst Irish Politicians that nepotism did abound
They grew old and retired on their big pensions they took care of themselves and their own
Honesty and fairness with them not a high priority the most of them for such not known
When they spoke of doing good for the Country they did not mean what they did say
They only helped their families, friends and relations respect to them I could not pay
There were a few honourable Irish Politicians just a few that I can recall
But honesty does not survive well amongst Politicians they are a flawed lot overall.

poem by Francis Duggan
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So Hard To Find

There are a few honest politicians so honest and faithful and kind
But they are such a small minority honest politicians are so hard to find
They would do almost anything for to hold on to power as power in their lives is their central theme
They put power in their lives before principle or at least that is how it does seem,
There are a few honest politicians though their type are becoming quite rare
And shady deals are concocted in high places in the bigger World out there
So much corruption in high places where success can come through deceit
Far decenter than them poor and homeless and living it rough on the street
To most politicians to lie is so easy and one lie leads to another they say
And they are referred to as 'the honorable' yet they tell more lies every day
They are tainted by their lust for power to power they so desperately cling
Yet many see them as quite special and many their praises do sing
And many out there are so gullible and to the faults of the power wielders quite blind
And 'tis sad that honest politicians are becoming much harder to find.

poem by Francis Duggan
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Melting Fact Of Life

Life is like fire and wax candle
Life breaths through fire and melts into nothing
Live a colorless life as unsung ordinary
Or live a colorful life of power authority and popularity
And stand as wax doll in Madame Tussauds museum
With thermostat malfunction and arrival of heat
Wax develop wrinkles and cracks and melts into nothing
That is the melting fact of LIFE
Which breaths through fire and melts into nothing

poem by Kavin Charalan
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Please Do Not Bring This to Their Attention

Hmmm,
Authentic?
About as authentic as false smiles will allow.
I guess.
Or one's depiction of those envied,
At best.

Who knows?
One's truth is in the acceptance of one's perception.
And the ability to entertain denial!
Stand where you are,
And observe this!
It's free.

One who embellishes without constraint,
Can damage the quality of a class act.
By going through the motions.
And not a growth shown from that...
Is attempted with or without requests.

Authentic?
Will put replicas to shame.
If recognized!
But those accustomed to mediocrity,
Would never know the difference between
What's genuine or fake.
Since much of their environment,
Is based on substitutes and other things demeaned.

Oh...stop that glaring at me!
Open your eyes and let that be seen.
I'm just your tour guide.
Not the creator of this BS!

However,
Please do not bring this to their attention.
We find their pretentions,
Priceless.
And...
Judging by your reaction,
You do as well.
At least your good tastes have not been wasted.

poem by Lawrence S. Pertillar
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An Alliterative Amorous Answer

Alliterative Love Letter

Adored and angelic Amelia. Accept an ardent and artless amourist’s affections, alleviate an anguished admirer’s alarms, and answer an amorous applicant’s avowed ardour. Ah, Amelia! all appears an awful aspect! Ambition, avarice and arrogance, alas are attractive allurements, and abase an ardent attachement. Appease an aching and affectionate adorer’s alarms, and anon acknowledge affianced Albert’s alliance as agreeable and acceptable.

Anxiously awaiting an affectionate and affirmative answer, accept an ardent admirer’s aching adieu. Always angelic and admirable Amelia’s admiring and affectionate amourist, Albert
Wit and Wisdom 1826

An Alliterative Answer

Artless Amelia Acme’s answer adamantly admonishing artful Albert Acne’s announced amorous ambitions, and assertive advances, actively advocates appropriate alternatives. Also, attesting abhorrent Albert’s attempted abduction, Amelia asks an adequate aureate award. Advance “ amical ” arrangements are altogether abjured.

Adieu Albert!

Abused Amelia, an adorable angel, aghast and askance, acknowledges agile apostate Albert’s apparently avuncular, albeit astonishingly audacious application, and, as alleged affiancement alliances and anticipations are absent, appends an acceptable, accurate answer.

Aggressively accosted, Amelia acts advisedly, asking an acceptably authentic apology affirming all Albert’s avowed affiancement allegations as archetypal authoritarian autocratic attempts at annulling Amelia’s autonomy. Also, Albert’s absolutely alarmingly acquisitive ambitions afford anguish, anxiety, and, afterall, acute anger. All are anathema, as Albert, an adder, assumed angelic approbation after an abject attempt at abrogating and appropriating all Amelia’s assets.

Agamous Albert’s age, adiposity, and abnormally abrasive accents also argued against amorous agglutination. Agamy appeared advisable as Amelia always aspired at attaining an absolute amour, assiduously avoiding ambiguity. Ardent admiration activated Albert’s appetite as Amelia’s allure and accomplishments attracted all-round applause.

Amelia and Albert are at an apogee. Alliance anticipations are antilogical as Amelia’s aplomb and articulateness, and Albert ’s anthropomorphic antics are as antipodes apart as Aphrodite and an anthropoid ape. Acataleptic Albert, Amelia’s antithesis, acting almost as an aggressive animal, abused Amelia’s adolescent acquaintance, Anabelle, an alluring afro actress, - actually auditionning as an aria alto, - adventuring affront abruptly abbreviated.

Albert’s apologists are accomplices aiding and abetting an attack (after anticipating advantages agreed aforehand) .... At Ashcloth Abbey altar agnostic Albert asked Assyriac Abyssinian Archdeacon Ahasuerus and Arabian acolyte Abdul abn Abdulaziz abn Abdullah Abu an aboveboard absolution although Abbott Abraham Allsaints’ anterior abjuration altered all accomodating actions.

Apprehending arrogant acquiline Albert’s arbitrary approach, Amelia appositely acted appropriately, adjusting apparel. Applause and approbation are apropos.

Albert abusively alledges aristocratic alabaster Amelia’s assent - an assumption as absurd as an ass astride an advocate assiduously assembling an ascorbic acid apparatus!

Abstemious Amelia’s abilities attract acclaim - above all admirable administrative aptitudes, artistic aims, analytical assurance, amiability and amenability. Altruistic Amelia amalgamating agreeableness and authority, always assists aliens.

Alcoholic Albert’s abominations abound, as aforementioned as all adults agree, admonishing an aggressive ambiance........Albert apes affability!

Abusive adulation appalls, accelerates aversion and attracts adverse acknowledgements alienating affirmative adhesions. Allegorical accolades, artificially addressed, accumulate absurdities. although amiable acolytes are acceptable additions. Argot argues against acceptance as avid adventurers assume affected accents -, acquiring added artificial accomplishments.

Addressing amoral Albert, and apprehending amorphous arrangements, Amelia advises acrimonious Albert’s accepting any alternative Abigail, Alice and Anabella, as affianced amourette. Auburns are also admired as are armed assegaie’d ashanti, andalousian, algonquin, anabaptist and amerindian amours:

Abigail, Ada, Adrienne, Adriana, Adelaide, Agatha, Aglaë, Alice, Aliette, await Albert,
Aline, Alison, Amy Amanda, Amandine Andrea, Angela, Angelica, Ann, anticipate Albert
Anna, Annabelle, Anne, Annette, Angelina, Annick, Annie, Andrée, Anthea, alleviate Albert
April, Ariane, Ariane, Arlette, Armande, Armelle, Ashley, Astarte, Ava, appreciate Albert
.....And Albert annoys Amelia! - aggravating!

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poem by Jonathan Robin
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The Odyssey: Book 12

"After we were clear of the river Oceanus, and had got out into
the open sea, we went on till we reached the Aeaean island where there
is dawn and sunrise as in other places. We then drew our ship on to
the sands and got out of her on to the shore, where we went to sleep
and waited till day should break.
"Then, when the child of morning, rosy-fingered Dawn, appeared, I
sent some men to Circe's house to fetch the body of Elpenor. We cut
firewood from a wood where the headland jutted out into the sea, and
after we had wept over him and lamented him we performed his funeral
rites. When his body and armour had been burned to ashes, we raised
a cairn, set a stone over it, and at the top of the cairn we fixed the
oar that he had been used to row with.
"While we were doing all this, Circe, who knew that we had got
back from the house of Hades, dressed herself and came to us as fast
as she could; and her maid servants came with her bringing us bread,
meat, and wine. Then she stood in the midst of us and said, 'You
have done a bold thing in going down alive to the house of Hades,
and you will have died twice, to other people's once; now, then,
stay here for the rest of the day, feast your fill, and go on with
your voyage at daybreak tomorrow morning. In the meantime I will
tell Ulysses about your course, and will explain everything to him
so as to prevent your suffering from misadventure either by land or
sea.'
"We agreed to do as she had said, and feasted through the livelong
day to the going down of the sun, but when the sun had set and it came
on dark, the men laid themselves down to sleep by the stern cables
of the ship. Then Circe took me by the hand and bade me be seated away
from the others, while she reclined by my side and asked me all
about our adventures.
"'So far so good,' said she, when I had ended my story, 'and now pay
attention to what I am about to tell you- heaven itself, indeed,
will recall it to your recollection. First you will come to the Sirens
who enchant all who come near them. If any one unwarily draws in too
close and hears the singing of the Sirens, his wife and children
will never welcome him home again, for they sit in a green field and
warble him to death with the sweetness of their song. There is a great
heap of dead men's bones lying all around, with the flesh still
rotting off them. Therefore pass these Sirens by, and stop your
men's ears with wax that none of them may hear; but if you like you
can listen yourself, for you may get the men to bind you as you
stand upright on a cross-piece half way up the mast, and they must
lash the rope's ends to the mast itself, that you may have the
pleasure of listening. If you beg and pray the men to unloose you,
then they must bind you faster.
"'When your crew have taken you past these Sirens, I cannot give you
coherent directions as to which of two courses you are to take; I will
lay the two alternatives before you, and you must consider them for
yourself. On the one hand there are some overhanging rocks against
which the deep blue waves of Amphitrite beat with terrific fury; the
blessed gods call these rocks the Wanderers. Here not even a bird

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poem by Homer, translated by Samuel Butler
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