Deception Poems Quotes

We stand now where two roads diverge. But unlike the roads in Robert Frost's familiar poem, they are not equally fair. The road we have long been traveling is deceptively easy, a smooth superhighway on which we progress with great speed, but at its end lies disaster. The other fork of the road — the one less traveled by — offers our last, our only chance to reach a destination that assures the preservation of the earth.

Beware of fair-weather friends. They come to you when the sky is crystal clear and disappear when the same sky is overcast with dark clouds.

It was just a game for you-your flames blazed brighter And with my sizzling coals, I mistakenly thought I was the strong one- You drew me in as easily as you put me out.

When Wyatt writes, his lines fledge feathers, and unfolding this plumage they dive below their meaning and skim above it. They tell us that the rules of power and the rules of war are the same, the art is to deceive; and you will deceive, and be deceived in your turn, whether you are an ambassador or a suitor. Now, if a man's subject is deception, you are deceived if you think you grasp his meaning. You close your hand as it flies away. A statute is written to entrap meaning, a poem to escape it.

On the first day of November last year, sacred to many religious calendars but especially the Celtic, I went for a walk among bare oaks and birch. Nothing much was going on. Scarlet sumac had passed and the bees were dead. The pond had slicked overnight into that shiny and deceptive glaze of delusion, first ice. It made me remember sakes and conjure a vision of myself skimming backward on one foot, the other extended; the arms become wings. Minnesota girls know that this is not a difficult maneuver if one's limber and practices even a little after school before the boys claim the rink for hockey. I think I can still do it - one thinks many foolish things when November's bright sun skips over the entrancing first freeze. A flock of sparrows reels through the air looking more like a flying net than seventy conscious birds, a black veil thrown on the wind. When one sparrow dodges, the whole net swerves, dips: one mind. Am I part of anything like that? Maybe not. The last few years of my life have been characterized by stripping away, one by one, loves and communities that sustain the soul. A young colleague, new to my English department, recently asked me who I hang around with at school. "Nobody," I had to say, feeling briefly ashamed. This solitude is one of the surprises of middle age, especially if one's youth has been rich in love and friendship and children. If you do your job right, children leave home; few communities can stand an individual's most pitiful, amateur truth telling. So the soul must stand in her own meager feathers and learn to fly - or simply take hopeful jumps into the wind. In the Christian calendar, November 1 is the Feast of All Saints, a day honoring not only those who are known and recognized as enlightened souls, but more especially the unknowns, saints who walk beside us unrecognized down the millennia. In Buddhism, we honor the bodhisattvas - saints - who refuse enlightenment and return willingly to the wheel of karma to help other beings. Similarly, in Judaism, anonymous holy men pray the world from its well-merited destruction. We never know who is walking beside us, who is our spiritual teacher. That one - who annoys you so - pretends for a day that he's the one, your personal Obi Wan Kenobi. The first of November is a splendid, subversive holiday. Imagine a hectic procession of revelers - the half-mad bag lady; a mumbling, scarred janitor whose ravaged face made the children turn away; the austere, unsmiling mother superior who seemed with great focus and clarity to do harm; a haunted music teacher, survivor of Auschwitz. I bring them before my mind's eye, these old firends of my soul, awakening to dance their day. Crazy saints; but who knows what was home in the heart? This is the feast of those who tried to take the path, so clumsily that no one knew or notice, the feast, indeed, of most of us. It's an ugly woods, I was saying to myself, padding along a trail where other walkers had broken ground before me. And then I found an extraordinary bouquet. Someone had bound an offering of dry seed pods, yew, lyme grass, red berries, and brown fern and laid it on the path: "nothing special," as Buddhists say, meaning "everything." Gathered to formality, each dry stalk proclaimed a slant, an attitude, infinite shades of neutral. All contemplative acts, silences, poems, honor the world this way. Brought together by the eye of love, a milkweed pod, a twig, allow us to see how things have been all along. A feast of being.

The suburb of Saffron Park lay on the sunset side of London, as red and ragged as a cloud of sunset. It was built of a bright brick throughout; its sky-line was fantastic, and even its ground plan was wild. It had been the outburst of a speculative builder, faintly tinged with art, who called its architecture sometimes Elizabethan and sometimes Queen Anne, apparently under the impression that the two sovereigns were identical. It was described with some justice as an artistic colony, though it never in any definable way produced any art. But although its pretensions to be an intellectual centre were a little vague, its pretensions to be a pleasant place were quite indisputable. The stranger who looked for the first time at the quaint red houses could only think how very oddly shaped the people must be who could fit in to them. Nor when he met the people was he disappointed in this respect. The place was not only pleasant, but perfect, if once he could regard it not as a deception but rather as a dream. Even if the people were not "artists," the whole was nevertheless artistic. That young man with the long, auburn hair and the impudent face -- that young man was not really a poet; but surely he was a poem. That old gentleman with the wild, white beard and the wild, white hat -- that venerable humbug was not really a philosopher; but at least he was the cause of philosophy in others. That scientific gentleman with the bald, egg-like head and the bare, bird-like neck had no real right to the airs of science that he assumed. He had not discovered anything new in biology; but what biological creature could he have discovered more singular than himself? Thus, and thus only, the whole place had properly to be regarded; it had to be considered not so much as a workshop for artists, but as a frail but finished work of art. A man who stepped into its social atmosphere felt as if he had stepped into a written comedy.

To a disciple who lamented in a poem that he sought to become an eagle in the sky, but only managed to become a hen looking up to the eagle, pat came the reply: The hen that you are, how will you know what deceptive ways Grace will descend. It is Grace that brought you here and it is Grace that will deliver: I prefer the hen that looks up to the sky than an eagle that flies but always looking down. How high is not the question, but how intense is your longing for the sky. May you always be in Grace.

You knew rainy days were to follow, that our spring had come to an ending. You started, mercifully, surrendering to my love with deception, that elevated me in a dearer way than the true love of a wrong man ever could.

The place was not only pleasant, but perfect, if once he could regard it not as a deception but rather as a dream. Even if the people were not 'artists,' the whole was nevertheless artistic. That young man with the long, auburn hair and the impudent face--that young man was not really a poet; but surely he was a poem.

The moon did warn me How shadows love to play Tricks on eyes too willing to believe Sending hearts into chaos and disarray

I was murdered, snuffed out, by this society full of lies and deception Murdered by a deadly conspiracy of feelings.

In Lewis Carroll’s poem, when the hunters finally capture the deceptive Snark, it reveals itself not to be a foreign beast, but one of the human hunters sent to trap it. And so it had turned out with cancer. Cancer genes came from within the human genome. Indeed the Greeks had been peculiarly prescient yet again in their use of the term oncos. Cancer was intrinsically “loaded” in our genome.

We stand now where two roads diverge. But unlike the roads in Robert Frost’s familiar poem, they are not equally fair. The road we have long been traveling is deceptively easy, a smooth superhighway on which we progress with great speed, but at its end lies disaster. The other fork of the road--the one less traveled by--offers our last, our only chance to reach a destination that assures the preservation of the earth.

One lie might eye the highest throne / inside the castle of your mind, / and any whim may play the lord / when left unchecked, out of control, / once knights of reason flee their posts, / let sentiments invade these walls, / then leave the keep without defense. / How easily a kingdom falls! (from Interior Kingdom)

…I wanted to remove, my diamond earrings, for I felt they were, weighing a little heavy. I wanted to remove my heels, for I felt they were, taking me a little, above the ground, than I needed to be. I wanted to, throw away my blazer, for it was too much, of a thick layer, to what I am deep inside.” (Poem- Unambitious, Book- Ginger and Honey)

For the Love of Dying 
 The tortures of hell are stern, their fires burn fiercely. Yet vultures turn against the air more beautifully than seagulls float downwind in cool sunlight, or fans in asylums spin a loom of fate for hope which never ventured up so high as life’s deception, astride the vulture’s flight. If death can fly, just for the love of flying, what might not life do, for the love of dying?

While altering the saga of Odysseus’s Return to make my Elyman suitors serve as Penelope’s lovers, I had to protect myself against scandal. What if someone recognized the story and supposed that I, Nausicaa the irreproachable, had played the promiscuous harlot in my father’s absence? So, according to my poem, Penelope must have remained faithful to Odysseus throughout those twenty years. And because this change meant that Aphrodite had failed to take her traditional revenge, I must make Poseidon, not her, the enemy who delayed him on his homeward voyage after the Fall of Troy. I should therefore have to omit the stories of Penelope’s banishment and the oar mistaken for a flail, and Odysseus’s death from Telemachus’s sting-ray spear. When I told Phemius of these decisions, he pointed out, rather nastily, that since Poseidon had fought for the Greeks against the Trojans, and since Odysseus had never failed to honour him, I must justify this enmity by some anecdote. “Very well,” I answered. “Odysseus blinded a Cyclops who, happening to be Poseidon’s son, prayed to him for vengeance.” “My dear Princess, every Cyclops in the smithies of Etna was born to Uranus, Poseidon’s grandfather, by Mother Earth.” “Mine was an exceptional Cyclops,” I snapped. “He claimed Poseidon as his father and kept sheep in a Sican cave, like Conturanus. I shall call him Polyphemus—that is, ‘famous’—to make my hearers think him a more important character than he really was.” “Such deceptions tangle the web of poetry.” “But if I offer Penelope as a shining example for wives to follow when their husbands are absent on long journeys, that will excuse the deception.

when i left them, i painted myself burgundy and grey i stopped saying the words “please” and “i’m sorry” i walked into grocery stores and bought too many clementines, ordered too much Chinese, spent my last four dollars on over the counter sleeping pills that made my stomach bleed but my soul forget every time i wanted to tell you “i’m sorry”, i wrote you a poem instead, i said things like “i hope your mother calls you beautiful” to strangers and when boys with dry hands and broken eyes asked me on dates i didn’t hesitate no, didn’t even stop them when their hands grazed my breasts and when they moaned my name against my thighs i cried i opened the mail and didn’t tell anyone for a week that i got accepted into law school, i stopped watering the plants and filled the bathtub with roses and milk, when i got invited to parties, i wore blue jeans with white shirts, sat alone in some kitchen drinking hard liquor until some boys mouth made me feel like home i stopped answering the phone for a month, i didn’t like how my name tasted in his mouth but he was older and didn’t say things like “it doesn’t matter” and i think i went insane, my heart boiled blisters, i couldn’t understand why my bones felt like cages, i walked around art museums until closing, watched them lock up the gates and then open them up again the very same morning, i thought about clocks and how time was a deception of my fingertips, i had stars growing inside of me into constellations, and only when some man on the 9 AM bus asked me for the time did i realize that you cannot run from light igniting your lungs, you cannot run from yourself.

When I Uncovered Your Body” I thought shadows fell deceptively, urging memories of perfect rhyme. I thought I could bestow beauty like a benediction and that your half-dark flesh would answer to the prayer. I thought I understood your face because I had seen it painted twice or a hundred times, or kissed it when it was carved in stone. With only a breath, a vague turning, you uncovered shadows more deftly than I had flesh, and the real and violent proportions of your body made obsolete old treaties of excellence, measures and poems, and clamoured with a single challenge of personal beauty, which cannot be interpreted or praised: it must be met.

I am not saying that literature is something totally unconnected with reality. What I am saying is that the truths that come out of literature are never the truths personally experienced by the writer or the reader. Literature is not a transposition of living experience. Real and important knowledge about reality always comes out of literature, but through lies, through a distortion of reality, through a transformation of reality by imagination and the use of words. That is why the novel that tries to depict real experience in an objective and precise way fails. It cannot succeed because the novel was invented, not to transcribe reality, but to transform it, to do something different, to make of real reality an illusion, a separate reality. When you succeed in creating something different out of real reality, real experience, you also achieve the possibility of communicating something that was not evident before that novel or poem or play existed. But you cannot plan this transmission of knowledge. The novel is a reality in itself, reality created out of fantasy and words that makes literature something very different from real life, which, of course, is something not created by imagination or words. Thus when you write a novel you must not shrink from the idea of distorting or manipulating reality. Distortion and manipulation of fact are necessary in a novel. You must lie without any scruples, but in a convincing way so that the reader accepts your lies as truths. If you succeed in this deception, something true will come through these lies, something that did not exist before, something that was not evident before. But if your intention is just to reproduce things of reality in fiction, you will probably fail as a writer because literature, in order to persuade and convince the reader, must become a sovereign world, independent, a world that has emancipated itself from its mother, from reality.

When the victor, in a fight of the cities, according to the law of warfare, executes the whole male population and sells all the women and children into slavery, we see, in the sanction of such a law, that the Greek deemed it a positive necessity to allow his hatred to break forth unimpeded; in such moments the compressed and swollen feeling relieved itself; the tiger bounded forth, a voluptuous cruelty shone out of his fearful eye. Why had the Greek sculptor to represent again and again war and fights in innumerable repetitions, extended human bodies whose sinews are tightened through hatred or through the recklessness of triumph, fighters wounded and writhing with pain, or the dying with the last rattle in their throat? Why did the whole Greek world exult in the fighting scenes of the "Iliad"? I am afraid, we do not understand them enough in "Greek fashion," and that we should even shudder, if for once we did understand them thus. But what lies, as the mother-womb of the Hellenic, behind the Homeric world? In the latter, by the extremely artistic definiteness, and the calm and purity of the lines we are already lifted far above the purely material amalgamation: its colours, by an artistic deception, appear lighter, milder, warmer; its men, in this coloured, warm illumination, appear better and more sympathetic — but where do we look, if, no longer guided and protected by Homer's hand, we step backwards into the pre-Homeric world? Only into night and horror, into the products of a fancy accustomed to the horrible. What earthly existence is reflected in the loathsome-awful theogonian lore: a life swayed only by the children of the night, strife, amorous desires, deception, age and death. Let us imagine the suffocating atmosphere of Hesiod's poem, still thickened and darkened and without all the mitigations and purifications, which poured over Hellas from Delphi and the numerous seats of the gods! If we mix this thickened Boeotian air with the grim voluptuousness of the Etruscans, then such a reality would extort from us a world of myths within which Uranos, Kronos and Zeus and the struggles of the Titans would appear as a relief. Combat in this brooding atmosphere is salvation and safety; the cruelty of victory is the summit of life's glories. And just as in truth the idea of Greek law has developed from murder and expiation of murder, so also nobler Civilisation takes her first wreath of victory from the altar of the expiation of murder. Behind that bloody age stretches a wave-furrow deep into Hellenic history. The names of Orpheus, of Musaeus, and their cults indicate to what consequences the uninterrupted sight of a world of warfare and cruelty led — to the loathing of existence, to the conception of this existence as a punishment to be borne to the end, to the belief in the identity of existence and indebtedness. But these particular conclusions are not specifically Hellenic; through them Greece comes into contact with India and the Orient generally. The Hellenic genius had ready yet another answer to the question: what does a life of fighting and of victory mean? and gives this answer in the whole breadth of Greek history.

I am bundled in the warmth of the price and the purchase, and its solid completion, as in royal robes-- marvelous these royal robes! These robes are authority that can decree that trouble, sin of my heart, and the deceptive obstruction of will and reasoning be sent to banishment.

Ah, among the unhappiest blunders a man makes is this, that he childishly misjudges the value of the gifts that nature bestows on him most easily, and, contrariwise, considers most precious the endowments that come hardest. The precious stone buried in the earth's entrails, the pearl hidden in the ocean depths—these are what people regard as the greatest treasures; but they would look down on them if nature strewed them underfoot like pebbles and seashells. We are casual about our own excellences; we try to deceive ourselves about out weaknesses so long that we end up taking them for eminent virtues. Once, after a concert by Paganini, when I confronted the master with passionate praises for his violin playing, he interrupted me with these words: 'But today how did you like my bows, my genuflections?

One of the linguists reported that although he did not identify words, he felt that one prayer had been structured in much the same way a modern poem is structured. "Modern poetry depends upon sound as much as upon verbal meaning to get across its message," he said. "In this one prayer, I felt that although I didn't understand the literal sense of her words, I did catch the emotional content of what she was saying. It was a hymn of love. Beautiful." It was interesting, too, that although no language known to these men was recorded, they had frequently identified language patterns on the tapes. The "shape" of real language, the variety of sound combinations, infrequency of repetition and so forth, is virtually impossible, so they said, to reproduce by deliberate effort. Remembering Dina Donohue's parody of tongues-speaking, I had slipped onto the tapes two instances of pure made-up gibberish, one by our son, Scott, and one by Tib. They had tried to sound as much as possible like the tongues on the rest of the tape, but the linguists spotted the deception immediately. "That's not language," one man said. "That's just noise.

When Wyatt writes, his lines fledge feathers, and unfolding this plumage they dive below their meaning and skim above it. They tell us that the rules of power and the rules of war are the same, the art is to deceive; and you will deceive, and be deceived in your turn, whether you are an ambassador or a suitor. Now, if a man’s subject is deception, you are deceived if you think you grasp his meaning. You close your hand as it flies away. A statute is written to entrap meaning, a poem to escape it.

It was a quietness that left the dammed singing. The dead can't sing, it's just a deception. Through a breeze, they murmur their tune. Is the breeze in the cemetery truly dead individuals singing? Chilly, blusterous shouts of shallow woes, it's indeed them singing.

The Unknowable Scribe by Stewart Stafford Behind the looking glass, Lurks the trembling hand of deception, How deep it goes. Scratching worthlessly on the glass, Yet leaving diamond shavings in its wake, To ponder over endlessly. Question not, despise not, Seek no answers here For there are none to give. The cygnet is mooncalf, To the mighty swan, Cat's paw to catchpenny. Birther to birthing, A classification of bedding, To redress the baseness of our grindings. © Stewart Stafford, 2021. All rights reserved.

How can I be ? Proud of my struggle, but having nothing to show. Guns , petrol, tires , gas, everything blows Now I am standing on top of Museum building burned into ashes. It Is smoke in the mirrors. Look at our Repercussions. Our legacy, our reputation. Canvas and portraits of arrogance Lies, deception, fractions results of politicians Insurrection results of a failed mission Blood used to paint our image Poor quality in this fotos, because nothing changed. You might think it is the 80’s, because you can see tribalism and racism. A perfect black and white picture. Sound of freedom turned into sound of violence, Ambulance, Police siren , people crying and dying Hunger and poverty used as tourists attraction They say look more poorer, so we can get more donation. I am getting global media coverage, Because I am queuing and walking long distance for food, Not because we are getting killed , abused and treated unfairly. They look at me and say Africa is starving Took my pics , post them on social media. Now they are laughing. Being born with a price tag, that says you not worth it, because your black. Government looted everything from the poor Now the poor are looting the government. It is like a stolen movie. Those who started it all and who are behind it, are not getting their credit and spotlight . If we change looting to colonization , then they would be heroes. Not sure whether to say goodbye or good night Because when you're in Phoenix , this might be your last night. 

It is true that there are kinds of imagery which do not involve visualisation. We speak, for example, of aural or tactile imagery. Yet the word remains more deceptive than illuminating. For some eighteenth-century critics, imagery referred to the power of poetry to make us 'see' objects, to feel as if we were in their actual presence; but this implied, oddly, that the function of poetic language was to efface itself before what it represented. Language makes things vividly present to us, but to do so adequately it must cease to interpose its own ungainly bulk between us and them. So poetic language attains its pitch of perfection when it ceases to be language at all. At its peak, it transcends itself. Images, on this theory, are representations so lucid that they cease to be representations at all, and instead merge with the real thing. Which means, logically speaking, that we are no longer dealing with poetry at all, which is nothing if not a verbal phenomenon. F. R. Leavis writes of the kind of verse which 'has such life and body that we hardly seem to be reading arrangements of words . . . The total effect is as if words as words withdrew themselves from the focus of our attention and we were directly aware of a tissue of feelings and perceptions.

Villicus Vadum: Soldier Of Fortune by Stewart Stafford I am the ghost of lupine Romulus, Founder of Rome, hear my tale, Of Villicus Vadum - young, driven, Steward to Senator Lucius Flavius. Villicus wanted Flavia, the senator’s daughter, But she was betrothed to Marcus Brutus; A consul of noble and virtuous stock, Villicus conspired to take Flavia's hand. Treachery and deception were his tools, Knavish peacock of Rome's epic stage, Sought to take Flavia from Marcus Brutus, To snatch and cage his treasured gem. Bribed a false soothsayer to trap her, Believing her beloved began with V, Flavia agreed to elope with him to Gaul, With Brutus vowing deadly vengeance. Fleeing to the bosom of Rome's enemy - Vercingetorix, at war with Julius Caesar, Villicus offered to spy on the Senate, While plotting to seize Gaul's throne. Queen Verica also caught his eye, Villicus was captured by Mark Antony, Taken to Caesar's camp as a traitor; Brutus challenged him to a duel. Brutus slashed him but spared his life, They dragged Villicus to Rome in chains, To try him for his now infamous crimes; Cicero in defence, Cato as prosecutor. Cicero argued Villicus acted out of love, And that his ambition merited mercy, Cato wanted death for his wicked threat, Julius Caesar pondered a final verdict. Villicus - pardoned but banished from Rome, Immediate death if he returned to Flavia, Villicus kissed the emperor's foot for naught, Flavia refused to join him in fallen exile. Now learn from this outcast's example, friends, That I, Romulus, warn you to avoid at your peril, Villicus Vadum, the wrath of the gods upon him, Until time ceases, sole spectre of night's edge. © Stewart Stafford, 2023. All rights reserved.

It may be argued that American politics is about the lies we tell ourselves, as a nation. Our politicians do not generally offer us a menu of solutions, but a menu of self-deceptions. They tell us what we want to hear. They tell us how innovative we are, and how powerful we are, and how strong our union is. All the while our government spending is out of control. Our economy is sluggish and hampered by regulations. That we are dying, as a society, they do not tell us; for the family is dying, fatherhood is under attack, motherhood is under attack; and that coldest of all cold monsters, the state, is taking charge of everyone and everything. Hope and change, it is called. But everywhere, as the poem says, the “ceremony of innocence is drowned.

Whitman’s reticence, or outright deceptiveness, later in his life on the subject was inconsistent, to say the least. It’s often been pointed out that male love, not necessarily homosexual love, was accepted during that time in a way not many decades later it wasn’t: men embracing, kissing, calling each “lover,” was apparently commonplace. In fact, when Leaves of Grass was “banned in Boston,” it was because of the passages of heterosexual eroticism, not the portions that could be construed as being homosexual. There’s no question that Whitman later on did clearly want to temper the frankness that informed so much of the passages of homosexual experience that he’d recorded during those first years of the poems, but the words are there.

Some people claimed that the most beautiful thing anyone had ever done for them was writing them a poem, composing a song, or confessing their undying love in an epic gesture. But right then, as I was cocooned in Aaron's long legs, his fingers delicately massaging my neck simply because I'd look tense, I realized I didn't need or want any of that. If I never got my epic declaration, I'd be fine. Because his words were, without a doubt in my mind, the most beautiful thing I would ever hear said about me. To me. And for me.

Bloodline by Stewart Stafford Stuart Richards, 5,001st in line to the British throne, A distant cousin of the king but hitherto unknown, He dreamt of the crown and his fair queen's hand, But there was no baiting the hook unless he had a plan. He chose to eliminate the competition, stood before him, Through a dark celebration, they'd never know what hit them, He sent out invitations to the 5, 000 heirs, Promising vast feasting, with music and fanfare He built a fake house front with a door and a sign, That said: "Welcome to the party. Now, kindly form a line." Behind the door, there awaited a cliff face and a fall, A master of deception, his warm smile greeted them all. He stood at the front door with a charming bow, And, welcoming each guest, he said: "In you go now!" He watched them disappear as they stepped through the door, Counting steps to ascension, lemmings queued up for more. Backslapping himself, inner cackling at his scheme, Imagining himself as king - glory rained down, it seemed, But his Machiavellian plotting had a monstrous flaw, One thing he'd forgotten that greedy eyes never saw. The king was still alive, and he was not amused, He got wind of this plot and responded unconfused, He sent his guards to arrest him for sedition in a fury, They swept him off his feet, planting him before a jury. Put on trial for treason - the verdict was most guilty, Execution set, he had the neck to beg for mercy, But the king was not budging and barked: "Off with his head!" An Axeman's reverse coronation, he joined the fallen dead. Halting 2,986th in line to the British throne, A distant cousin of the king, headless spirit flown, In jealous craving, dispossessed as ruler of the land, Crowned pride came before a fallen plan. © Stewart Stafford, 2023. All rights reserved.

The pragmatic mood is already visible in the Odyssey. The poem opens with Odysseus living on a remote island ruled by a nymph who offers him immortality if he will remain as her consort. A bit surprisingly to anyone steeped in the orthodox Western religio-philosophical-scientific tradition, he refuses, preferring mortality and a dangerous struggle to regain his position as the king of a small, rocky island and be reunited with his son, aging wife, and old father. He turns down what the orthodox tradition says we should desire above all else, the peace that comes from overcoming the transience and vicissitudes of mortality, whether that peace takes the form of personal immortality or of communing with eternal verities, moral or scientific—in either case ushering us to the still point of the turning world. Odysseus prefers going to arriving, struggle to rest, exploring to achieving—curiosity is one of his most marked traits—and risk to certainty. The Odyssey situates Calypso’s enchanted isle in the far west, the land of the setting sun, and describes the isle in images redolent of death. In contrast, Odysseus’s arrival at his own island, far to the east, a land of the rising sun, is depicted in imagery suggestive of rebirth. Another thing that is odd about the protagonist, and the implicit values, of the Odyssey from the orthodox standpoint is that Odysseus is not a conventional hero, the kind depicted in the Iliad. He is strong, brave, and skillful in fighting, but he is no Achilles (who had a divine mother) or even Ajax; and he relies on guile, trickery, and outright deception to a degree inconsistent with what we have come to think of as heroism or with its depiction in the Iliad. His dominant trait is skill in coping with his environment rather than ability to impose himself upon it by brute force. He is the most intelligent person in the Odyssey but his intelligence is thoroughly practical, adaptive. Unlike Achilles in the Iliad, who is given to reflection, notably about the heroic ethic itself, Odysseus is pragmatic. He is an instrumental reasoner rather than a speculative one. He is also, it is true, distinctly pious, a trait that the Odyssey harps on and modern readers tend to overlook. But piety in Homeric religion is a coping mechanism. Homeric religion is proto-scientific; it is an attempt to understand and control the natural world. The gods personify nature and men manipulate it by “using” the gods in the proper way. One sacrifices to them in order to purchase their intervention in one’s affairs—this is religion as magic, the ancestor of modern technology—and also to obtain clues to what is going to happen next; this is the predictive use of religion and corresponds to modern science. The gods’ own rivalries, mirroring (in Homeric thought, personifying or causing) the violent clash of the forces of nature, prevent human beings from perfecting their control over the environment. By the same token, these rivalries underscore the dynamic and competitive character of human existence and the unrealism of supposing that peace and permanence, a safe and static life, are man’s lot. Odysseus’s piety has nothing to do with loving God as creator or redeemer, or as the name, site, metaphysical underwriter, or repository of the eternal or the unchanging, or of absolutes (such as omniscience and omnipotence) and universals (numbers, words, concepts). Odysseus’s piety is pragmatic because his religion is naturalistic—is simply the most efficacious means known to his society for controlling the environment, just as science and technology are the most efficacious means by which modern people control their environment.

Vividly mortal on the verge of outrageous ideals blending in with the flowing concept of a caged singing bird longing for the final chaos only the wind will ever bring, undergoing the slow progress of the third wave of the futuristic trance. Analyze the crux of new age black holes characterizing your mind with mine, never fall in love while you're dead asleep at the wheel; turning degrees higher than the circling star above the golden ceiling, and despite the rough hard intellect one poem by accident or purpose will bring any being to their knees, cutting off your tongue for her motherly instinct outside any language, and further than any classic realm reborn of dying art forgotten of by beautiful deceptions and silver screens dreams.

Outlandish feelings Outlandish worlds exist within us all, Because there are stars that rise and then they fall, Stars that belonged to a different world and now here in an alien world they are, Alienated from their native skies to be cast into worlds astoundingly too far, And in this outlandishness of rising feelings and many a belief, The mind with the heart seeks familiar trails of relief, But both lie mired in their unwillingness to accept forced retirement, Because loving her thoughts, believing in her brings wavers of excitement, That condition the mind to seek the heart that felt and knew her so well, In this outlandish emotional landscape where fate launches its ominous spell, To never let the mind find the heart that easily fell for her charms, Trapping the mind in new emotional storms, Where life is turned into this falling star, That gets thrown into a world of alien sentiments and a new emotional spar, Between the mind that seeks those known feelings and the heart that knew her so well, And deals with the hostile world of emotions where nothing feels like her and nothing bears her smell, And it is in these outlandish territories of life that few of us seek a domicile existence, Even if that means indulging in pretense and experience a few artificial moments of romance, Whatever the case maybe, the romantic mind always seeks the romantic heart, In these unknown landscapes where the fakeness of the alien feelings every sense does so easily outsmart, Until the mind learns to calm itself with the hope that fallen stars rise and shine again, And it forms a covenant of survival with the diabolic and ruthlessly crude spells of pain. And then life continues to wander in all directions seeking the heart that knew her, Until one day it resembles the life that hangs on the devil’s spur! But the aging mind is still rigid and unwilling to believe in the deceptive landscapes of this outlandish territory, Because it remembers all the heart beats of love and still believes in their fraternity, Finally one day the mind rises once again above the feelings of alienation, Because few minds believe in endlessly seeking her sequestered feelings of love with a God like determination!

Heart’s deviation Let us travel from now to then, from today to tomorrow, Let us fulfill our desires and wishes in a row, Because they lie sequenced in the order only you and I know, And you can see them all over my face while I see them appearing on your beautiful brow, Let me take you into the clouds and get wet, Let me take you there where I first saw you and then our hearts met, Because in that place everything is still wet, Although there are no clouds and the sky is clear, I wonder from where it could such a cover of wetness get, Let me take you there and together discover its secret, Let us know what no one else knows about it, Because the place is mysteriously always wet and it is beyond my wit, Or it could be it is just my false impression of it, Let me then make a confession, that since you left nothing has returned, Let me reveal to you the world that appears deceptively wet as it is actually the world that has endless burned, Because when from distance you see fields of burned desires and wishes turned to ash, they look like wet surfaces where everything is frozen in stillness and unturned, And it is from ash covered places like these life has all its ploys learned, Let me take you away from here too, somewhere far, very far, where burning is not required, Let us travel there where heart’s find whatever they have wished for and desired, Because they say utopia is somewhere where human feelings are never by desperate moments mired, And in this outlandish possibility let us seek each other and never feel tired, Let me love you behind the clouds and beyond the blue sky, Let us go there where everything burns: the sun, the stars, the universe, and everything that flies by, Because there, maybe when you see them burning in the fire of eternity and cry, You might realise why few places appear to be always wet long after their fires die, Let me look at your face, your eyes; and understand you a bit more, Let me see you in reality’s dress and then let me your every sentiment explore, Because when we realise what burning feels like it is then your true soul peeps from your skin’s every pore, Then let me kiss you and see if you too ever felt wet, and feel the corner of your heart where all your feelings you store, Let me let you explore me in the same ways, Let me let you experience the wetness of my soul, that has burned endlessly for nights and days, Because only then you might be able to see what you could never feel because you knew not how to deal with heart’s ways, As it is with all of us, in the beginning we let our minds dictate the darkness of our nights and the brightness of our days, Let me cover you with my desires and their fires and everything that you wish to feel, Let me show you how human lives turn and spin on the fate’s wheel, Because sometimes what appears to be a reality is actually not real, Maybe it will be the misadventure of our hearts but then if you look at the world and the universe even real sometimes seems unreal, Let me introduce you to the world where everything is real because there is no fake dimension, Let us then live in this romantic moment this romantic sensation, Because in the miscellany of my feelings, desires, and endless wishes, your feelings appear to be my heart’s only native creation, So let me, my love Irma, make you feel what true impenitence feels like when you do not obey your mind but you follow your heart’s every selfless deviation!

Heart’s deviation Let us travel from now to then, from today to tomorrow, Let us fulfill our desires and wishes in a row, Because they lie sequenced in the order only you and I know, And you can see them all over my face while I see them appearing on your beautiful brow, Let me take you into the clouds and get wet, Let me take you there where I first saw you and then our hearts met, Because in that place everything is still wet, Although there are no clouds and the sky is clear, I wonder from where it could such a cover of wetness get, Let me take you there and together discover its secret, Let us know what no one else knows about it, Because the place is mysteriously always wet and it is beyond my wit, Or it could be it is just my false impression of it, Let me then make a confession, that since you left nothing has returned, Let me reveal to you the world that appears deceptively wet as it is actually the world that has endlessly burned, Because when from the distance you see fields of burned desires and wishes turned to ash, they look like wet surfaces where everything is frozen in stillness and unturned, And it is from ash covered places like these life has all its ploys learned, Let me take you away from here too, somewhere far, very far, where burning is not required, Let us travel there where heart’s find whatever they have wished for and desired, Because they say utopia is somewhere where human feelings are never by desperate moments mired, And in this outlandish possibility let us seek each other and never feel tired, Let me love you behind the clouds and beyond the blue sky, Let us go there where everything burns: the sun, the stars, the universe, and everything that flies by, Because there, maybe when you see them burning in the fire of eternity and cry, You might realise why few places appear to be always wet long after their fires die, Let me look at your face, your eyes; and understand you a bit more, Let me see you in reality’s dress and then let me your every sentiment explore, Because when we realise what burning feels like it is then your true soul peeps from your skin’s every pore, Then let me kiss you and see if you too ever felt wet, and feel the corner of your heart where all your feelings you store, Let me let you explore me in the same ways, Let me let you experience the wetness of my soul, that has burned endlessly for nights and days, Because only then you might be able to see what you could never feel because you knew not how to deal with heart’s ways, As it is with all of us, in the beginning we let our minds dictate the darkness of our nights and the brightness of our days, Let me cover you with my desires and their fires and everything that you wish to feel, Let me show you how human lives turn and spin on the fate’s wheel, Because sometimes what appears to be the reality is actually not real, Maybe it will be the misadventure of our hearts but then if you look at the world and the universe even real sometimes seems unreal, Let me introduce you to the world where everything is real because there is no fake dimension, Let us then live in this romantic moment this romantic sensation, Because in the miscellany of my feelings, desires, and endless wishes, your feelings appear to be my heart’s only native creation, So let me, my love Irma, make you feel what true impenitence feels like when you do not obey your mind but you follow your heart’s every selfless deviation!