Anticipation Poems Quotes

He had written her reams and reams of letters, as well as a poem that she kept folded in a locket around her neck. Her letters were full of love and anticipation, matching his for enthusiasm and tenderness. He was the luckiest man in the world.

We have a task before us which must be speedily performed. We know that it will be ruinous to make delay. The most important crisis of our life calls, trumpet-tongued, for immediate energy and action. We glow, we are consumed with eagerness to commence the work, with the anticipation of whose glorious result our whole souls are on fire. It must, it shall be undertaken to-day, and yet we put it off until to-morrow; and why? There is no answer, except that we feel perverse, using the word with no comprehension of the principle. To-morrow arrives, and with it a more impatient anxiety to do our duty, but with this very increase of anxiety arrives, also, a nameless, a positively fearful, because unfathomable, craving for delay. This craving gathers strength as the moments fly. The last hour for action is at hand. We tremble with the violence of the conflict within us, — of the definite with the indefinite — of the substance with the shadow. But, if the contest have proceeded thus far, it is the shadow which prevails, — we struggle in vain. The clock strikes, and is the knell of our welfare. At the same time, it is the chanticleer-note to the ghost that has so long overawed us. It flies — it disappears — we are free. The old energy returns. We will labor now. Alas, it is too late!

You ask how it is possible to be your own father and son. You should seek answers, although it is better to anticipate some, to be the light and dream.

You hold me like a favored book Pressing my spine with your fingers Leafing through my pages Anticipating each phrase You rest me on your knee As you ponder their meaning Feeling me weave Lyrically through your soul And when you return to me You devour me from cover to cover

The songs have changed, but really they are still quite beautiful. They have been concentrated in a smaller space, the space of the mind. They are dark, now, with desolation and anguish. And yet the notes recur. They hover oddly in anticipation of silence. The ear gets used to them. The eye gets used to disappearances. You will not be spared, nor will what you love be spared.

I wish to go down under the waters— the cool, crystalline waters that I knew, where all that is, here, existing, is is only to be lost within the susurrations and the rumours of water and the evening star we wait for...

At five that morning, Edgar Allan Poe met the fate anticipated in his poem “To Annie”: Thank Heaven! the crisis— The danger is past, And the lingering illness, Is over at last— And the Fever called ‘Living’ Is conquer’d at last.

Jesus didn’t talk about a God who wants to burn this place down and take us somewhere else; he talked about the renewing of this place, the only home we’ve ever had. Central to the story of the Bible is the affirmation of trees and seas and rocks and air and soil and blood and sweat and skin and all the materiality and diversity and creativity that we know to be central to our life in this world. Jesus talked about a coming time when God would restore and renew and reconcile and redeem and make things right, and he invites us to anticipate that day by doing our part to bring heaven to earth, here, now, today.

It was a destructive novel of acquired ideas. To finally wake up in a state of creative anguish, to lose oneself in order to find oneself again, to sleep in the arms of a beautiful student whose name one didn't know, to fall back to sleep over a love poem-that was called existence. The harmonics of artistic creation, of fertile sensibility, of anticipated events-history in movement-that was called a privilege.

SHOHAKU OKUMURA: We human beings have the ability to think of things not in front of us. We create stories in our minds in which the hero or heroine is always us. We evaluate what happened in the past, we analyze our present conditions, and we anticipate what should happen in the future. This is an important ability. Because of it, we can create art, study history, and have visions of the future. Without it, we couldn’t write or enjoy poems or movies. Almost all of human culture depends on seeing things not in front of our eyes. This means almost all culture is fictitious. Our ability to create such fictions is the reality of our lives. We cannot live without it. But this ability leads to many problems. We have certain expectations of our stories. If things go as we expect, we feel like heavenly beings, but if not, we feel we’re in hell. Often we desire more and more without ever experiencing satisfaction, like hungry ghosts. It’s important to see that it’s not life that causes suffering but our expectation that life should be the way we want. We can’t live without expectation, but if we can handle the feelings caused by the difference between our expectations and reality, that’s liberation. Zazen practice as taught by Dogen Zenji, Sawaki Roshi, and Uchiyama Roshi is taking a break from watching the screen of our stories and sitting down on the ground of the reality that exists before our imagination. When we’re not taken in by our fictitious world, we can enjoy and learn from the stories we make.

The concept of an author, the single creative person who gives the text 'authority', only comes later in this period. Most Old English poetry is anonymous, even though names which are in no way comparable, such as Caedmon and Deor, are used to identify single texts. Caedmon and Deor might indeed be as mythical as Grendel, might be the originators of the texts which bear their names, or, in Deor's case only, the persona whose first-person voice narrates the poem. Only Cynewulf 'signed' his works, anticipating the role of the 'author' by some four hundred years.

Pearl introduces an original story, in a form which was to become one of the most frequent in mediaeval literature, the dream-vision. Authors like Chaucer and Langland use this form, in which the narrator describes another world - usually a heavenly paradise - which is compared with the earthly human world. In Pearl, the narrator sees his daughter who died in infancy, 'the ground of all my bliss'. She now has a kind of perfect knowledge, which her father can never comprehend. The whole poem underlines the divide between human comprehension and perfection; these lines show the gap between possible perfection and fallen humanity which, thematically, anticipate many literary examinations of man's fall, the most well known being Milton's late Renaissance epic, Paradise Lost.

She did not mean to have her own affections entangled again, and it would be incumbent on her to avoid any encouragement of his. She wished she might be able to keep him from an absolute declaration. That would be so very painful a conclusion of their present acquaintance! and yet, she could not help rather anticipating something decisive. She felt as if the spring would not pass without bringing a crisis, an event, a something to alter her present composed and tranquil state.

The remoter poetry in particular was replete with effects, an effect being something hypnotic we cannot quite understand, whiteness of moon and wave related to the setting of Time in a manner "too subtle for the intellect." And all over Europe, by the late 19th century, poets had decided that effects were intrinsic to poetry, and were aiming at them by deliberate process. By the end of the century, in France, whole poems have been made "too subtle for the intellect," held together, as effects are, by the extra-semantic affinities of their words. Picking up a name that was once thrown around as their authors, we have learned to call them "Symbolist" poems. In the Symbolist poem the Romantic effect has become a structural principle, and we may say that Symbolism is scientific Romanticism, thus an effort to anticipate the work of time by aiming directly at the kind of existence a poem may have when a thousand years have deprived it of its dandelions and its mythologies, an existence purely linguistic, determined by the molecular bonds of half-understood words.

To the enduring seas - ; There cast my anchor of desire Deep in unknown eternity; Nor ever let my spirit tire, With looking for what is to be! It is hope's spell that glorifies, Like youth, to my maturer eyes, All Nature's million mysteries, The fearful and the fair - Hope soothes me in the griefs I know; She lulls my pain for others' woe, And makes me strong to undergo What I am born to bear. Glad comforter! will I not brave, Unawed, the darkness of the grave? Nay, smile to hear Death's billows rave - Sustained, my guide, by thee? The more unjust seems present fate, The more my spirit swells elate, Strong, in thy strength, to anticipate Rewarding destiny !

Anticipation of Love" Neither the intimacy of your look, your brow fair as a feast day, nor the favor of your body, still mysterious, reserved, and childlike, nor what comes to me of your life, settling in words or silence, will be so mysterious a gift as the sight of your sleep, enfolded in the vigil of my arms. Virgin again, miraculously, by the absolving power of sleep, quiet and luminous like some happy thing recovered by memory, you will give me that shore of your life that you yourself do not own. Cast up into silence I shall discern that ultimate beach of your being and see you for the first time, perhaps, as God must see you— the fiction of Time destroyed, free from love, from me.

There is a way to read a poem, and then there is a way to allow the poem to exit the body and be read by everyone in the room. The way you, with impeccable rhythm, hung each bit of language from the lights in that room and let me see them, even with my eyes closed. There are beats that happen in between the breaks of words that I think most poets don’t tend to understand. There is a way for a reader to manipulate silence so that it is no longer silence but something drawing a listener toward a brief and breathless anticipation that, too, is a type of beat. We know how to read our poems, if nothing else. I say we and mean black people, sure. People who have, at some point, clapped on the two and the four. But you, especially, are carrying songs to the people.

Dryden was a highly prolific literary figure, a professional writer who was at the centre of all the greatest debates of his time: the end of the Commonwealth, the return of the monarch, the political and religious upheavals of the 1680s, and the specifically literary questions of neoclassicism opposed to more modern trends. He was Poet Laureate from 1668, but lost this position in 1688 on the overthrow of James II. Dryden had become Catholic in 1685, and his allegorical poem The Hind and the Panther (1687) discusses the complex issues of religion and politics in an attempt to reconcile bitterly opposed factions. This contains a well-known line which anticipates Wordsworth more than a century later: 'By education most have been misled … / And thus the child imposes on the man'. The poem shows an awareness of change as one grows older, and the impossibility of holding one view for a lifetime: My thoughtless youth was winged with vain desires, My manhood, long misled by wandering fires, Followed false lights… After 1688, Dryden returned to the theatre, which had given him many of his early successes in tragedy, tragi-comedy, and comedy, as well as with adaptations of Shakespeare. ...... Dryden was an innovator, leading the move from heroic couplets to blank verse in drama, and at the centre of the intellectual debates of the Augustan age. He experimented with verse forms throughout his writing life until Fables Ancient and Modern (1700), which brings together critical, translated, and original works, in a fitting conclusion to a varied career.

Music of the Grid: A Poem in Two Equations _________________________ The masses of particles sound the frequencies with which space vibrates, when played. This Music of the Grid betters the old mystic mainstay, "Music of the Spheres," both in fantasy and in realism. LET US COMBINE Einstein's second law m=E/C^2 (1) with another fundamental equation, the Planck-Einstein-Schrodinger formula E = hv The Planck-Einstein-Schrodinger formula relates the energy E of a quantum-mechanical state to the frequency v at which its wave function vibrates. Here h is Planck's constant. Planck introduced it in his revolutionary hypothesis (1899) that launched quantum theory: that atoms emit or absorb light of frequency v only in packets of energy E = hv. Einstein went a big step further with his photon hypothesis (1905): that light of frequency v is always organized into packets with energy E = hv. Finally Schrodinger made it the basis of his basic equation for wave functions-the Schrodinger equation (1926). This gave birth to the modern, universal interpretation: the wave function of any state with energy E vibrates at a frequency v given by v = E/h. By combining Einstein with Schrodinger we arrive at a marvelous bit of poetry: (*) v = mc^2/h (*) The ancients had a concept called "Music of the Spheres" that inspired many scientists (notably Johannes Kepler) and even more mystics. Because periodic motion (vibration) of musical instruments causes their sustained tones, the idea goes, the periodic motions of the planets, as they fulfill their orbits, must be accompanied by a sort of music. Though picturesque and soundscape-esque, this inspiring anticipation of multimedia never became a very precise or fruitful scientific idea. It was never more than a vague metaphor, so it remains shrouded in equation marks: "Music of the Spheres." Our equation (*) is a more fantastic yet more realistic embodiment of the same inspiration. Rather than plucking a string, blowing through a reed, banging on a drumhead, or clanging a gong, we play the instrument that is empty space by plunking down different combinations of quarks, gluons, electrons, photons,... (that is, the Bits that represent these Its) and let them settle until they reach equilibrium with the spontaneous activity of Grid. Neither planets nor any material constructions compromise the pure ideality of our instrument. It settles into one of its possible vibratory motions, with different frequencies v, depending on how we do the plunking, and with what. These vibrations represent particles of different mass m, according to (*). The masses of particles sound the Music of the Grid.

One should wait, and gather meaning and sweetness a whole life long, a long life if possible, and then, at the very end, one might perhaps be able to write ten good lines. For verses are not feelings, as people imagine – those one has early enough; they are experiences. In order to write a single line, one must see a great many cities, people and things, have an understanding of animals, sense how it is to be a bird in flight, and know the manner in which the little flowers open every morning. In one's mind there must be regions unknown, meetings unexpected and long-anticipated partings, to which one can cast back one's thoughts – childhood days that still retain their mystery, parents inevitably hurt when one failed to grasp the pleasure they offered (and which another would have taken pleasure in), childhood illnesses beginning so strangely with so many profound and intractable transformations, days in peacefully secluded rooms and mornings beside the sea, and the sea itself, seas, nights on journeys that swept by on high and flew past filled with stars – and still it is not enough to be able to bring all this to mind. One must have memories of many nights of love, no two alike; of the screams of women in labour; and of pale, white, sleeping women in childbed, closing again. But one must also have been with the dying, have sat in a room with the dead with the window open and noises coming in at random. And it is not yet enough to have memories. One has to be able to forget them, if there are a great many, and one must have great patience, to wait for their return. For it is not the memories in themselves that are of consequence. Only when they are become the very blood within us, our every look and gesture, nameless and no longer distinguishable from our inmost self, only then, in the rarest of hours, can the first word of a poem arise in their midst and go out from among them. 

ONE of the evil results of the political subjection of one people by another is that it tends to make the subject nation unnecessarily and excessively conscious of its past. Its achievements in the old great days of freedom are remembered, counted over and exaggerated by a generation of slaves, anxious to convince the world and themselves that they are as good as their masters. Slaves cannot talk of their present greatness, because it does not exist; and prophetic visions of the future are necessarily vague and unsatisfying. There remains the past. Out of the scattered and isolated facts of history it is possible to build up Utopias and Cloud Cuckoo Lands as variously fantastic as the New Jerusalems of prophecy. It is to the past — the gorgeous imaginary past of those whose present is inglorious, sordid, and humiliating — it is to the delightful founded-on-fact romances of history that subject peoples invariably turn. Thus, the savage and hairy chieftains of Ireland became in due course “the Great Kings of Leinster,” “the mighty Emperors of Meath.” Through centuries of slavery the Serbs remembered and idealised the heroes of Kossovo. And for the oppressed Poles, the mediaeval Polish empire was much more powerful, splendid, and polite than the Roman. The English have never been an oppressed nationality; they are in consequence most healthily unaware of their history. They live wholly in the much more interesting worlds of the present — in the worlds of politics and science, of business and industry. So fully, indeed, do they live in the present, that they have compelled the Indians, like the Irish at the other end of the world, to turn to the past. In the course of the last thirty or forty years a huge pseudo-historical literature has sprung up in India, the melancholy product of a subject people’s inferiority complex. Industrious and intelligent men have wasted their time and their abilities in trying to prove that the ancient Hindus were superior to every other people in every activity of life. Thus, each time the West has announced a new scientific discovery, misguided scholars have ransacked Sanskrit literature to find a phrase that might be interpreted as a Hindu anticipation of it. A sentence of a dozen words, obscure even to the most accomplished Sanskrit scholars, is triumphantly quoted to prove that the ancient Hindus were familiar with the chemical constitution of water. Another, no less brief, is held up as the proof that they anticipated Pasteur in the discovery of the microbic origin of disease. A passage from the mythological poem of the Mahabharata proves that they had invented the Zeppelin. Remarkable people, these old Hindus. They knew everything that we know or, indeed, are likely to discover, at any rate until India is a free country; but they were unfortunately too modest to state the fact baldly and in so many words. A little more clarity on their part, a little less reticence, and India would now be centuries ahead of her Western rivals. But they preferred to be oracular and telegraphically brief. It is only after the upstart West has repeated their discoveries that the modern Indian commentator upon their works can interpret their dark sayings as anticipations. On contemporary Indian scholars the pastime of discovering and creating these anticipations never seems to pall. Such are the melancholy and futile occupations of intelligent men who have the misfortune to belong to a subject race. Free men would never dream of wasting their time and wit upon such vanities. From those who have not shall be taken away even that which they have.

As Shelley says in his famous poem, 'To a Skylark': 'We look before and after and pine for what is not Our sincerest laughter with some pain is fraught...' It is human nature to live either in the past or in the future. Such thinking is always the cause of pain and gives stress. Yoga emphasizes being in the moment and not to dwell in the past nor to anticipate the future.

Not Cancelled Yet Some honorary day if I play my cards right I might be a postage stamp but I won’t be there to lick me and licking is what I liked, in tasty anticipation of the long dark slither from the mailbox, from box to pouch to hand to bag to box to slot to hand: that box is best whose lid slams open as well as shut, admitting a parcel of daylight, the green top of a tree, and a flickering of fingers, letting go.

The first time I fell in love The first time I fell in love is when you read my poetry in front of me in an Upper West Side coffee shop. I watched your facial expressions change by the second and loved your smile of anticipation as you turned the page to read my next poem. The clincher was when you said, "You should do nothing but write. I will support you." As it turned out, I put down my writing for 16 years to support you and build a family. You're gone. I'm justanother American 55% divorce casuality. But thanks for that sweet sentiment, the coffee and the two kids.

I gifted him my words, the best ones from my wardrobe of poems But he dissolved those greedy high rollers in his cup of coffee They swam in his café au lait colonizing every molecular space, that was left between the sugar and the cream in anticipation that they could cover the distance between his cup and his lips quicker than I ever could

And it’s a relief, or a small death, to be standing, dressed in the simplicity of night, for once not crumpled by ecstasy, anticipation or senseless joy. Silently, you greet the ocean, this pliant metaphor for anything we feel at a given time. As of tonight, you ascribe to it no meaning, no truth, no character. But planted firmly in its moving sands, your mere presence is a question: is it true that everything will pass before your dry eyes, even this night stripped of tomorrow? from “Poem without kites,” All Roads Lead to the Sea (Auckland University Press, 1997)

Entertaining Possibilities "Why sometimes I've believed as many as six impossible things before breakfast." - The Queen of Hearts, Alice in Wonderland riding bareback on a triceratops through green galaxies while you ride beside me on your favorite mastodon running a finger over those I love and like a highlighter pen turning them neon noting them forever so I can return to them easily when I need them thinking something good can come of "ethnic cleansing" swimming in an ocean deep and wet enough to fill the eternity of love between these two sheets walking into the vowels of a word like open and becoming it locking away Pandora's box putting evil back in its place for good and swallowing the key lighting myself with a single match then watching me melt warm and liquid over your body cooling gently in the shape of you sitting flat in round anticipation I will be page 233 in the book that you have just opened and I will chew on each delicious moment of every turn as you move page by page closer to me stowing away in your pillowcase and sailing your dreams so that when you are sent to walk the plank I can catch you together we can be the mutiny on any bounty letting my best ideas ripen beside yours on the vine then stomping it all juicy between toes yours and mine aging then bottling it all till the sun falls and we uncork our store one by one and drink forever in the twilight planting a memory watering the spot watching it grow tall, tender, familiar, then putting my ear to its blossom and hearing my grandmother's voice tell me again that I can be both the gift and the giver

I could write a sonnet to Bristol’s nipples, the way they tip her breasts, the blend of pink and brown, roses and chocolate, shading her areola. I lean down to hover over them, my eyes snaring hers. Anticipation thickens the air. “I wanna do to you what spring does to the cherry trees,” I whisper, paraphrasing the Neruda poem before taking one nipple in my mouth and laving it with my tongue. Like a flower waiting for spring, she blossoms. She blooms like sweet fruit ripening between my lips.

People may say and have different Vibes and feelings. This anticipation of goodness is imminent to all to be happy in his or her small way. A culture that is dependent has diverse implications. Good or Bad it invokes judgment that can be managed. The ability to grow awakens us to a freedom of kindness and progressive maturity." Isaiah A. Asangalisah Quote Right

Because there is a growing belief among the community of thinking beings that by 2050 men and women will be marrying human like robots. At that point, how Craig Raine will describe his experiences will be fascinating to know. And in my imagination I have already travelled with the Green Man into the future called 2075 and witnessed How humans will experience love in 2075. Because this science fiction novel navigates through the possibility of men and women falling in love with machines, without knowing they are robots imitating human emotions. Will you still dare to fall in love in 2075 or will you strive to tell the difference between a human lover and a robotic lover? Now it is your turn to join the Green Man on this exciting journey into 2075, where he will reveal to you what the world would look like in 2075, and take you on an excitingly epic journey with the protagonist, Saabir, who criss crosses the highways and all by ways of emotional trajectory in the midst of synthetic emotions and feelings that engulf him. To know more, travel with the Green Man via the science fiction titled, They Loved in 2075. With this anticipation I shall dream of you tonight and hope that you will be able to unlock the alien imagination within you, to realise the part of you that is from Heaven. If you have any doubts, here is the poem by ​​Craig Raine to make you a dreamer who while asleep is always awake in his/her subconscious state too. Because he/she has learned the art of having a rendezvous with the light that radiates through the universe, to eventually settle in a dreamer's eyes who dares to dream beyond the ordinary and the 3 dimensional reality. "A Martian Sends A Postcard Home” Caxtons are mechanical birds with many wings and some are treasured for their markings-- they cause the eyes to melt or the body to shriek without pain. I have never seen one fly, but sometimes they perch on the hand. Mist is when the sky is tired of flight and rests its soft machine on the ground: then the world is dim and bookish like engravings under tissue paper Rain is when the earth is television. It has the properites of making colours darker. Model T is a room with the lock inside -- a key is turned to free the world for movement, so quick there is a film to watch for anything missed. But time is tied to the wrist or kept in a box, ticking with impatience. In homes, a haunted apparatus sleeps, that snores when you pick it up. If the ghost cries, they carry it to their lips and soothe it to sleep with sounds. And yet, they wake it up deliberately, by tickling with a finger. Only the young are allowed to suffer openly. Adults go to a punishment room with water but nothing to eat. They lock the door and suffer the noises alone. No one is exempt and everyone's pain has a different smell. At night, when all the colours die, they hide in pairs and read about themselves -- in colour, with their eyelids shut. Dedicated to you, the Green Man and Saabir who hails from 2075 and dares to love a real woman in 2075 because he loves her a lot!

I am grateful for the doom. I'd rather share my time with the dread than have no time at all.

The Son of a vacuum Among the tall trees he sat lost, broken, alone again, among a number of illegal immigrants, he raised his head to him without fear, as nothing in this world is worth attention. -He said: I am not a hero; I am nothing but a child looking for Eid. The Turkmen of Iraq, are the descendants of Turkish immigrants to Mesopotamia through successive eras of history. Before and after the establishment of the Ottoman Empire, countries crossed from here, and empires that were born and disappeared, and still, preserve their Turkish identity. Although, after the collapse of the Ottoman Empire and the division of the Arab world, they now live in one of its countries. Kirkuk, one of the heavens of God on earth, is one of the northern governorates of Iraq in which they live. The Kurdish race is shared with them, a race out of many in Iraq. Two children of two different ethnicities, playing in a village square in Kirkuk province when the news came from Baghdad, of a new military coup. Without delay, Saddam Hussein took over the reins of power, and faster than that, Iraq was plunged into successive wars that began in 1980 with its neighbor Iran, a war that lasted eight years. Iraq barely rested for two years, and in the third, a new war in Kuwait, which did not end in the best condition as the leader had hoped, as he was expelled from it after the establishment of an international coalition to liberate it, led by the United States of America. Iraq entered a new phase of suffering, a siege that lasted more than ten years, and ended up with the removal of Saddam Hussein from his power followed by the US occupation of it in 2003. As the father goes, he returns from this road, there is no way back but from it. As the date approaches, the son stands on the back of that hill waiting for him to return. From far away he waved a longing, with a bag of dreams in his hands, a bag of candy in his pocket, and a poem of longing by a Turkmen poet who absorb Arabic, whose words danced on his lips, in his heart. -When will you come back, dad? -On the Eid, wait for me on the hill, you will see me coming from the road, waving, carrying your gifts. The father bid his son farewell to the Arab Shiite city of Basra, on the border with Iran, after the outbreak of the Iran-Iraq war, as the homeland is calling its men, or perhaps the leader is calling his subjects. In Iraq, as in many countries of the Arab world, the homeland is the leader, and the leader is the homeland. Months passed, the child eagerly anticipating the coming of the feast, but the father hurried to return without an appointment, loaded on the shoulders, the passion reached its extent in the martyr’s chest, with a sheet of paper in his pocket on which he wrote: Every morning takes me nostalgic for you, to the jasmine flower, oh, melody in the heart, oh balm I sip every while, To you, I extend a hand and a fire that ignites in the soul a buried love, night shakes me with tears in my eyes, my longing for you has shaped me into dreams, stretching footsteps to the left and to the right, gleam, calling out for me, you scream, waking me up to the glimpse of the light of life in your face, a thousand sparkles, in your eyes, a meaning of survival, a smile, and a glace, Eid comes to you as a companion, without, life yet has no trace, for roses, necklaces of love, so that you amaze. -Where is Ruslan? On the morning of the feast day, at the door of his house, the kids asked his mother, -with tears in her eyes: He went to meet his father. A moment of silence fell over the children, -Raman, with a little gut: Aunt, do you mean he went to the cemetery? -Mother: He went to meet him at those hills.

The priest and his desires Not alone, but a lonely monastery priest, Resisting hard not to venture out and pursue the need for love and passion driven heist, Bound by his sanctum and religion, He tries not to give in to any seduction, Adam and Eve blamed the devil, The priest is baffled to decide who shall he blame for this evil, He rolls and turns restlessly in the bed of his desires, And every night after the Church service he deals with these raging fires, He is dressed in his black robe on the much anticipated Sunday mass, But he is distracted and sees passions and desires cast on peoples faces and even on mosaic glass, At the end of the service he serves all some fine and red wine, And when he stands face to face with a beautiful woman his inner self says “I wish you were mine!’” His Sunday night is spent in her curled hair locks, He is shackled to her beautiful face and desires that fasten around him like unbreakable locks, He often touches his cross that he wears always, Still his nights are restless and now it is so even during the sunny Spring days, He bows before the Altar and makes a solemn confession, “My Lord! her face and her overpowering beauty have become my obsession, Am I still worthy of worshipping you my God? For I have silently started worshiping this feeling of loving her and I do not feel odd, It is her thoughts that possess me even during my sermons, In her absence, not yours My Lord, everything presents itself like bad omens, To tame my wandering thoughts I refer to the Holy Book, But through it too peeps her face and her mesmerising look, I wonder if I shall quit clergy, And adopt this new synergy, I am drowning farther and farther in this mental eclipse, And I only want to think of her beautiful face, her warm skin and her red lips, Shall I forsake my black robe, My Lord, and not Thee? Or Forsake her and thereby my black robe and Thee? Because without her I do not feel anything that is a part of me, And without being me, how can I anything else be, Perhaps I am supposed to be a man of God but not a man, Never to fulfillmy own desires for I am busy fulfilling Your plan, So let me live with my state and the social taboo, While every night I place my desires in the coffin along with the happy morning cuckoo.” The Lord smiles at him, “It is your personal battle and it is grim, You desire her, her face, her charming ways, You think of her during nights and during the bountiful days, But you think of me too and that is enough for me to know, So seek her and kiss her grace, for then you shall better baptise in my glow, And before you fall too low, Rise to your calling and you shall reap as you shall sow, Whether you wear a black robe or her kisses, I shall judge you on how you made others feel with or without your kisses.” Said the Lord in His emphatic voice, And the priest stood up and made the right choice! To love the woman he loved and missed, And he felt something divine within him, whenever her deep beauty he kissed! Source of inspiration : The Thorn Birds 1983 Drama

The priest and his desires Not alone, but a lonely monastery priest, Resisting hard not to venture out and pursue the need for love and passion driven heist, Bound by his sanctum and religion, He tries hard not to give in to any form of seduction, Adam and Eve blamed the devil, The priest is baffled to decide who shall he blame for this evil? He rolls and turns restlessly in the bed of his desires, And every night after the Church service he deals with these raging fires, He is dressed in his black robe on the much anticipated Sunday mass, But he is distracted when he sees passions and desires cast on peoples faces and even on mosaic glass, At the end of the service he serves all some fine and red wine, And when he comes face to face with a beautiful woman, his inner self says “I wish you were mine!’” His Sunday night is spent in her curled hair locks, He is shackled to her beautiful face and desires that fasten around him like unbreakable locks, He often touches his cross that he wears always, Still his nights are restless and now it is so even during the sunny Spring days, He bows before the Altar and makes a solemn confession, “My Lord! her face and her overpowering beauty have become my obsession, Am I still worthy of worshipping you my God? For I have silently started worshiping this feeling of loving her and I do not feel odd, It is her thoughts that possess me even during my sermons, In her absence, not yours My Lord, everything presents itself like bad omens, To tame my wandering thoughts I refer to the Holy Book, But through it too peeps her face and her mesmerising look, I wonder if I shall quit clergy, And adopt this new synergy? I am drowning farther and farther in this mental eclipse, And I only want to think of her beautiful face, her warm skin and her red lips, Shall I forsake my black robe, My Lord, and not Thee? Or Forsake her and thereby my black robe and as well Thee? Because without her I do not feel anything that is a part of me, And without being me, how can I anything else be, Perhaps I am supposed to be a man of God but not a man, Never to fulfil my own desires for I am busy fulfilling Your plan, So let me live with my state and the social taboo, While every night I place my desires in the coffin along with the happy morning cuckoo.” The Lord smiles at him, “It is your personal battle and it is grim, You desire her, her face, her charming ways, You think of her during nights and during the bountiful days, But you think of me too and that is enough for me to know, So seek her and kiss her grace, for then you shall better baptise in my glow, And before you fall too low, Rise to your calling and you shall reap as you shall sow, Whether you wear a black robe or her kisses, I shall judge you on how you made others feel with or without your kisses.” Said the Lord in His emphatic voice, And the priest stood up and made the right choice! To love the woman he loved and missed, And he felt something divine within him, whenever her deep beauty he kissed! Source of inspiration : The Thorn Birds . 1983 Drama

. . . where we lounged through summer days, waiting for something to happen

Anyway! Like a memory she does not travel, She just stays in the mind of everything, A feeling that is abysmal and at the same time makes you feel well, Almost like experiencing everything but feeling nothing, But her thoughts and her memories remain intact, A lover affair of a different kind maybe, Where infinity is the witness and love that lasts for eternity is the pact, There is no other way for it to exist maybe, Or it could be my predilection towards her memories, That makes everything else less preeminent, And gradually one loses interest in all worldly stories, Because her thought is still fresh and omnipresent, Like a flower that you come to admire in Summer, And you wait for the seasons to pass by, To witness this flower again in the new Summer, There, anticipating and waiting you lie, Not for the Summer, but for the flower, And how unnecessary everything else seems, Almost like a desperate lover, Whose heart often her name screams, But the yearnings of heart are silent, And no matter how much it cries or screams everyday, It has no audience, except the helpless firmament, Where it is heard, but it can't do anything to help it anyway!

Anyway! Like a memory she does not travel, She just stays in the mind of everything, A feeling that is abysmal and at the same time makes you feel well, Almost like experiencing everything but feeling nothing, But her thoughts and her memories remain intact, A love affair of a different kind maybe, Where infinity is the witness and love that lasts for eternity is the pact, There is no other way for it to exist maybe, Or it could be my predilection towards her memories, That makes everything else less preeminent, And gradually one loses interest in all worldly stories, Because her thought is still fresh and omnipresent, Like a flower that you come to admire in Summer, And you wait for the seasons to pass by, To witness this flower again in the new Summer, There, anticipating and waiting you lie, Not for the Summer, but for the flower, And how unnecessary everything else seems, Almost like a desperate lover, Whose heart often her name screams, But the yearnings of heart are silent, And no matter how much it cries or screams everyday, It has no audience, except the helpless firmament, Where it is heard, but it can't do anything to help it anyway!

A Moment of Joy" The ruling global elites are holding their breath in anticipation of who may be the first to start a nuclear war! The wealthy and the stock market traders are fearfully watching the fluctuation in the stock prices… Writers, media pundits, and academics on the payroll of power and authority are worried about a potential revolution that may put an end to the powers in place, and consequently to their existence! Doctors, engineers, and other professionals are all alarmed and watching the job market in fear of losing their cushy jobs! Only the waitress at the nearby restaurant is experiencing a moment of joy for the generous tip she just received from the last customer tonight! [Original poem published in Arabic on October 30,2023 at ahewar.org]

Her humming became the only sound in the park. Her voice moved across the bench like a mutilated child. And I cried. For myself. For this woman talkin’ about love. For all the women who have ever stretched their bodies out anticipating civilization and finding ruins.

Most detached of all is the great but damaged Sonnet 146, which would be more at home in a religious than in an amatory sequence. It may be significant that it immediately follows the Anne Hathaway sonnet (No. 14S), which also seems irrelevantly imported into the collection. The antithesis between soul and body has occurred earlier, and will be repeated in a grosser context in Sonnet 151 (see pp. 53, 71, below). It is a Renaissance topos; Love's Labour's Lost might be regarded as an extended dramatization of it. Shakespeare develops it here with consummate skill in a perfectly formed poem, marred only by the textual dislocation in its second line. The couplet is worthy of John Donne ('Death, thou shalt die', Holy Sonnets, 6) and anticipates Dylan Thomas's `Death, thou shalt have no dominion' (itself biblical in origin):

I read somewhere that as much as 90% of the enjoyment we experience in life is experienced through anticipation. What that means is that we normally get more enjoyment out of the anticipation of upcoming events than we derive out of experiencing the actual events themselves. I don’t know if this is always true, but in 1991 I took my family on a vacation where I’d have to say that just about all of our enjoyment was experienced through the anticipation. Not that the vacation was horrible (which it was), but the anticipation of this vacation was incredible.

And if you loved my face as much as you love Christmas, I’d be safe from year to year. The same anticipation that you hold for holidays would smother me and glad I’d be to die so loved.

Tanto gentile e tanto onesta pare la donna mia,” he whispered, the words from Dante’s La Vita Nuova flooding from his lips. “Quand’ella altrui saluta, ch’ogne lingua deven tremando muta, e li occhi no l’ardiscon di guardare.” His voice was breathy from anticipation as he tried to soothe her, her body relaxing more with each word. He moved again and sparks flew through his body at the sensation. “That was beautiful,” she said. “The poem or the penetration?” he asked, not thinking before saying the words. “Shit, I shouldn’t have said that.” “I meant the poem, but the other part’s nice so far too,” she said shyly. “And you should’ve said that, because that’s who you are.

A Rose’s Choice A great valley spans between us, the place where we first met. The Rose I saw, I felt entranced, but you didn’t know me yet. A time would pass before you knew the way that my heart went. The friendship we had established, had made this straight smile bent. A heart that could not find any reason to keep this love inside. The risk I was willing to take, for a chance by your side. Alas it is a Roses choice, I wait for what she states. The anxious anticipation, to see if my heart breaks. A valley does span between us, but distance is nothing. Not when at the other end lays everything you’ve been wanting. A Rose I see, I’m still entranced by your smile and your eyes. Here I stand, waiting patiently, to see what she decides.

A Rose’s Choice A great valley spans between us, the place where we first met. The Rose I saw, I fell entranced, but you didn’t know me yet. A time would pass before you knew the way that my heart went. The friendship we had established, had made this straight smile bent. A heart that could not find any reason to keep this love inside. The risk I was willing to take, for a chance by your side. Alas it is a Roses choice, I wait for what she states. The anxious anticipation, to see if my heart breaks. A valley does span between us, but distance is nothing. Not when at the other end lays everything you’ve been wanting. A Rose I see, I’m still entranced by your smile and your eyes. Here I stand, waiting patiently, to see what she decides.