❝ So, so you think you can tell
Heaven from hell
Blue skies from pain Can you tell a green field
From a cold steel rail?
A smile from a veil?
Do you think you can tell? .
Did they get you to trade
Your heroes for ghosts?
Hot ashes for trees?
Hot air for a cool breeze?
Cold comfort for change?
Did you exchange
A walk on part in the war
For a lead role in a cage? . How I wish, how I wish you were here
We’re just two lost souls
Swimming in a fish bowl
Year after year
Running over the same old ground
And how we found
The same old fears
Wish you were here
— Gilmour & Waters (emphasis is mine)
Jump to 6:06 in the video below to get to the purported point of poem. Yet, I am really asking and really wondering, is there merit in analysing every-fucking-thing? I mean to say, therapeutically speaking, is it not oftentimes best to stick to our own imagination and interpretation of a given poem’s point rather than to seek out it’s actual point (if indeed the poet’s stated this in a non-cryptic and unambiguous preface or footnote)…
I’ll give you my penny’s worth without writing another word:
❝ Just as does The Mayfly —
There was a moment in time, under a iridescent blinding light.
Where I shone so very bright and everything was alright.
I had in my grasp the flower of rejuvenation.
It’s nectar was desert rose, it’s sent jasmine carnation.
I was rapt by its blossoming beauty but it’s clasp and grip led me to take it for granted.
I placed it in a bouquet, my drops of dew sowed others too that I’d casually collected.
It was the time and place where I was made.
It’s now a haunting taste that I’m forbade.
For a ‘Naja haje’ snatched us apart one fang to our heart one to our soul.
Time gnawed away, memories darkened and heaven was rewritten as hell. — far from you, I shall die.
The Epic of Gilgamesh
The Epic of Gilgamesh
❝ S/he’s the unforgettable, ever-changing and eternally great being that consumes me in every single way.
— Tolstoy (1867) & Bidoonism (2020)
* Video One. — The Epic of Gilgamesh is the earliest substantive work of literature currently known to humankind; it was written down (etched with sun-dried, hand-sharpened Euphrates marsh reed quill into a freshly kneaded tablet of Tigris bank clay) by the Sumerians in c. 2,100 BC (yep.. over 4,000 years ago). In the video — retreived, youtu.be/QUcTsFe1PVs — you hear the opening lines of part of the epic, accompanied by a long-neck, three-string, Sumerian lute known as a “gish-gu-di.”
** Video Two. — Light in Babylon are a celebration of the cosmopolitan traditions of both Istanbul and its Sephardic Jewish community; wih the stunning voice of Elia Kamal and the beautiful sound of the “san-tur.”
*** Inspiration. — A lecture on The Epic of Gilgamesh, given in 2017 at the Harvard Semitic Museum by Andrew George (Professor of Babylonian, School of Oriental and African Studies, University of London).
❝ Love is or it ain’t. Thin love ain’t love at all. ❞
❝ Love is divine only and difficult always. If you think it is easy you are a fool. If you think it is natural you are blind. ❞
❝ Something that is loved is never lost. ❞
One&Only You are the only one for me
The Love of Paris and Helen By Jacques-Louis David (1788)
No one No one else compares to you
Ovid was a Roman poet who lived during the reign of Augustus. He was a contemporary of the older Virgil and Horace, with whom he is often ranked as one of the three canonical poets of Latin literature.
Love can kill
Love can save
& now, some poetry
The following five poems were all penned by Toni Morrison. In my humble opinion, amongst other things, they talk of love (“Once more you know / You will never die again”), sexual awakening (“fruit that had lost its green” / “Red cherries become jam”), identity and place (“the fish mistake my hair for home”).
I tore from a limb fruit that had lost its green.
My hands were warmed by the heat of an apple
Fire red and humming.
I bit sweet power to the core.
How can I say what it was like?
The taste! The taste undid my eyes
And led me far from the gardens planted for a child
To wildernesses deeper than any master’s call. 2
Now these cool hands guide what they once caressed;
Lips forget what they have kissed.
My eyes now pool their light
Better the summit to see. 3
I would do it all over again:
Be the harbor and set the sail,
Loose the breeze and harness the gale,
Cherish the harvest of what I have been.
Better the summit to scale.
Better the summit to be. ❞
“The Perfect Ease of Grain”
❝ The perfect ease of grain
Time enough to spill
The flavor of a woman carried through the rain. –
Down home dreams
A rushed by shapely prayer.
Evening lips part to hush
Questions raised at dawn. –
The melon yields another slice.
Ecstasy becomes us all.
Red cherries become jam. –
Deep juvenile sleep
A whistle trace
White shorelines in green air.
Welcome doors held open
When goodbye is “So long.” –
The perfect poise of grain
Time enough to spill
The flavor of a woman remembered on a train. ❞
“Someone Leans Near”
❝ Someone leans near
And sees the salt your eyes have shed. –
You wait, longing to hear
Words of reason, love or play
To lash or lull you toward the hollow day. –
Silence kneads your fear
Of crumbled star-ash sifting down
Clouding the rooms here, here. –
You shore up your heart to run. To stay.
But no sign or design marks the narrow way. –
Then on your skin a breath caresses
The salt your eyes have shed. –
And you remember a call clear, so clear
“You will never die again.” –
Once more you know
You will never die again. ❞
“It Comes Unadorned”
❝ It comes
Like a phrase
Strong enough to cast a spell;
Like the turn of sun through hills
Or stars in wheels of song.
The jeweled feet of women dance the earth.
Arousing it to spring.
Shoulders broad as a road bend to share the weight of years.
Profiles breach the distance and lean
Toward an ordinary kiss.
It comes naked into the world like a charm. ❞
I Am Not Seaworthy”
❝ I am not seaworthy.
Look how the fish mistake my hair for home.
I had a life, like you. I shouldn’t be riding the sea.
I am not seaworthy.
Let me be earth bound; star fixed
Mixed with sun and smacking air.
Give me the smile, the magic kiss
To trick little boy death of my hand.
I am not seaworthy. Look how the fish mistake my hair for home. ❞
“Garden of Earthly Delights” is the contemporary title given to Hieronymus Bosch’s mesmerising work. It was painted in around 1499 and is currently on show at the Museo del Prado in Spain.
Before digging and delving a little deeper, lets enjoy each panel in turn (click each of the three below to greatly expand the image); together, the three parts of a triptych are intended to tell a story which is read from left to right:
As so little is known about Bosch, opinions and interpretations of his work have ranged from, “an admonition of worldly fleshy indulgence,” through, “a dire warning on the perils of life’s temptations,” to, “an evocation of ultimate sexual joy!” Look again at the myriad of things going on in the central panel; there is a surfeit of symbolism. Contemporary scholars are divided as to whether the triptych’s central panel is a moral warning (good 😇) or a panorama of paradise lost (bad 😈). But come on YOLO (( Jae: WOLO )) bad is good ain’t it. We say wicked to mean good and sick to mean wow. I, for one would rather wallow in the last days of Rome, than be a prudish restrained human, living not for today but the mythical afterlife.
“Hidden meanings in The Garden of Earthly Delights”
by Fiona Macdonald (9 August, 2016) BBC
“Facts You Need to Know About the Delightfully Weird ‘Garden of Earthly Delights’”
by Jessica Stewart (6 July 6, 2019) MyModernMet
“Decoding Bosch’s Wild, Whimsical “Garden of Earthly Delights”
by Alexxa Gotthardt (18 October, 2019) Artsy.net
Tri– Etymology: From Latin tri- (“three”) and Ancient Greek τρι- (tri-, “three”).
A triptych is a work of art that is divided into three sections, or three carved panels that are hinged together and can be folded shut or displayed open. It is therefore a type of polyptych, the term for all multi-panel works.
A group of three related novels, plays or films etc.
A vehicle similar to a bicycle, but having three wheels, two at the back and one at the front.
Triangulation  (in surveying) the tracing and measurement of a series or network of triangles in order to determine the distances and relative positions of points spread over an area, especially by measuring the length of one side of each triangle and deducing its angles and the length of the other two sides by observation from this baseline. — “The triangulation of Great Britain.”  The formation of or division into triangles.  (In American politics) the action or process of positioning oneself in such a way as to appeal to or appease both left-wing and right-wing standpoints.
Triplicate Adjective: Existing in three copies or examples. Noun: A thing which is part of a set of three copies or corresponding parts. Verb: To make three copies of something; to multiply by three.
A three-legged stand for supporting a camera or other apparatus.
The branch of mathematics dealing with the relations of the sides and angles of triangles and with the relevant functions of any angles.
Tripartite  Shared by three parties. — “a tripartite coalition government.”  Consisting of three parts — “a tripartite classification.”
Tricolour Adjective: Something that has three colours. Noun: A flag with three bands or blocks of different colours, especially the French national flag with equal upright bands of blue, white, and red.
With reference to the trio of trilogies introduced above:
* AESCHYLUS [1 of 3]
Aeschylus (524–456 BC) was an ancient Greek tragedian and is today described as the father of tragedy.
It’s all Greek to me
An English idiom — which may be construed as rude by some — meaning that something is difficult to understand. The metaphor makes reference to Greek as an archetypal foreign form of communication both written and spoken. The idiom is typically used with respect to something of a foreign nature. We may choose to use it to refer to texts containing too much jargon etc. The idiom/metaphor’s roots may well be a direct translation of a similar phrase in Latin: “Graecum est; non legitur” (“it is Greek, [therefore] it cannot be read”) a phrase increasingly used by monk scribes in the Middle Ages, as knowledge of the Greek alphabet and language was dwindling among those who were copying manuscripts in monastic libraries. Recorded usage of the metaphor in English traces back to the early modern period. It appears in 1599 in Shakespeare’s play Julius Caesar.
[Informal • British]
Language that is impossible to understand. — “The instructions were written in double Dutch.”
Unintelligible or meaningless speech or writing. — “Our Doctor for English Literature often talks a load of gibberish.”
Language that is meaningless or is made unintelligible by excessive use of technical terms. — “His essay on Plato was pure gobbledygook.”
Language or ritual causing or intended to cause confusion or bewilderment. — “A maze of legal mumbo jumbo.”
** ALIGHIERI DANTE [2 of 3]
Dante Alighieri was born in 1265 in the Italian city of Florence. “Abandon hope, all ye who enter here,” is the famous phrase written above the gate of Hell in the 14th c. poem by Dante; the poem is called the “Divine Comedy” and Hell is known as “Dante’s Inferno.”
*** CHINUA ACHEBE [3 of 3]
Achebe is said to be the father of African literature in English. In spare and lucid prose, he writes of the universal tale of personal and moral struggle in a(n ever) changing world. In his most notable and accomplished work, Things Fall Apart, the individual tragedy of Okonkwo, ‘strong man’ and tribal elder in the Nigeria of the 1890s is intertwined with the transformation of traditional Igbo society under the impact of Christianity and colonialism. In No Longer at Ease, Okonkwo’s grandson, Obi, educated in England, returns to a civil-service job in colonial Lagos, only to clash with the ruling elite to which he now believes he belongs. Arrow of God is set in the 1920s and explores the conflict from the two points of view – often, but not always, opposing – of Ezuelu, an Igbo priest, and Captain Winterbottom, a British district officer.