Introduce Poetry Quotes

You should date a girl who reads. Date a girl who reads. Date a girl who spends her money on books instead of clothes, who has problems with closet space because she has too many books. Date a girl who has a list of books she wants to read, who has had a library card since she was twelve. Find a girl who reads. You’ll know that she does because she will always have an unread book in her bag. She’s the one lovingly looking over the shelves in the bookstore, the one who quietly cries out when she has found the book she wants. You see that weird chick sniffing the pages of an old book in a secondhand book shop? That’s the reader. They can never resist smelling the pages, especially when they are yellow and worn. She’s the girl reading while waiting in that coffee shop down the street. If you take a peek at her mug, the non-dairy creamer is floating on top because she’s kind of engrossed already. Lost in a world of the author’s making. Sit down. She might give you a glare, as most girls who read do not like to be interrupted. Ask her if she likes the book. Buy her another cup of coffee. Let her know what you really think of Murakami. See if she got through the first chapter of Fellowship. Understand that if she says she understood James Joyce’s Ulysses she’s just saying that to sound intelligent. Ask her if she loves Alice or she would like to be Alice. It’s easy to date a girl who reads. Give her books for her birthday, for Christmas, for anniversaries. Give her the gift of words, in poetry and in song. Give her Neruda, Pound, Sexton, Cummings. Let her know that you understand that words are love. Understand that she knows the difference between books and reality but by god, she’s going to try to make her life a little like her favorite book. It will never be your fault if she does. She has to give it a shot somehow. Lie to her. If she understands syntax, she will understand your need to lie. Behind words are other things: motivation, value, nuance, dialogue. It will not be the end of the world. Fail her. Because a girl who reads knows that failure always leads up to the climax. Because girls who read understand that all things must come to end, but that you can always write a sequel. That you can begin again and again and still be the hero. That life is meant to have a villain or two. Why be frightened of everything that you are not? Girls who read understand that people, like characters, develop. Except in the Twilight series. If you find a girl who reads, keep her close. When you find her up at 2 AM clutching a book to her chest and weeping, make her a cup of tea and hold her. You may lose her for a couple of hours but she will always come back to you. She’ll talk as if the characters in the book are real, because for a while, they always are. You will propose on a hot air balloon. Or during a rock concert. Or very casually next time she’s sick. Over Skype. You will smile so hard you will wonder why your heart hasn’t burst and bled out all over your chest yet. You will write the story of your lives, have kids with strange names and even stranger tastes. She will introduce your children to the Cat in the Hat and Aslan, maybe in the same day. You will walk the winters of your old age together and she will recite Keats under her breath while you shake the snow off your boots. Date a girl who reads because you deserve it. You deserve a girl who can give you the most colorful life imaginable. If you can only give her monotony, and stale hours and half-baked proposals, then you’re better off alone. If you want the world and the worlds beyond it, date a girl who reads. Or better yet, date a girl who writes.

Alex loved books. He was the one who first introduced me to poetry. That's another reason I can't read anymore.

Today I introduced myself to my very own Heart, In silent agony, after all these years it bled apart.

Rainbows introduce us to reflections of different beautiful possibilities so we never forget that pain and grief are not the final options in life.

Here is a book of tongues. Take it. (Dark leaves invade the air.) Beware! I now know a language so beautiful and lethal My mouth bleeds when I speak it.

If poetry introduces the strange, it does so by means of the familiar. The poetic is the familiar dissolving into the strange, and ourselves with it. It never dispossesses us entirely, for the words, the images (once dissolved) are charged with emotions already experienced, attached to objects which link them to the known.

I have not known who I were until you introduced me to my heart.

dear empathy, please stop telling me that it’s okay when they hurt me stop allowing me to accept the knife you see in their side is a reasonable excuse for them to put two in mine please stop introducing me to their demons i don’t want to shake hands with the reasons they can’t seem to stay please stop waving a white flag and making me pity their anger and make peace with their madness

I have made a similar suggestion for poetry: that one should approach it as pure sonority, reading and rereading it as a sort of music, and should not introduce meanings or intentions into the diction before clearly grasping the system of sounds that every poem must offer on pain of nonexistence.

If I'm still wistful about On the Road, I look on the rest of the Kerouac oeuvre--the poems, the poems!--in horror. Read Satori in Paris lately? But if I had never read Jack Kerouac's horrendous poems, I never would have had the guts to write horrendous poems myself. I never would have signed up for Mrs. Safford's poetry class the spring of junior year, which led me to poetry readings, which introduced me to bad red wine, and after that it's all just one big blurry condemned path to journalism and San Francisco.

No, you don't write about love for the very same reason you refuse to learn to roller skate. You dislike the idea of introducing anything that requires hurting yourself repeatedly before you get good at it.

A Rough Guide Be polite at the reception desk. Not all the knives are in the museum. The waitresses know that a nice boy is formed in the same way as a deckchair. Pay for the beer and send flowers. Introduce yourself as Richard. Do not refer to what somebody did at a particular time in the past. Remember, every Friday we used to go for a walk. I walked. You walked. Everything in the past is irregular. This steak is very good. Sit down. There is no wine, but there is ice cream. Eat slowly. I have many matches.

Life is determined to introduce you to your true self. Be kind.

The subject of teaching Shakespeare at college level having been introduced: “First of all, dismiss ideas, and social background, and train the freshman to shiver, to get drunk on the poetry of Hamlet or Lear, to read with his spine and not with his skull.” Kinbote: “You appreciate particularly the purple passages?” Shade: “Yes, my dear Charles, I roll upon them as a grateful mongrel on a spot of turf fouled by a Great Dane.

Erasure is as important as writing. Prune what is turgid, elevate what is commonplace, arrange what is disorderly, introduce rhythm where the language is harsh, modify where it is too absolute. . . . The best method of correction is to put aside for a time what we have written, so that when we come to it again it may have an aspect of novelty, as of being another man's work; in this way we may preserve ourselves from regarding our writings with the affection that we lavish upon a newborn child.

In the first few pages, Kundera discusses several abstract historical figures: Robespierre, Nietzsche, Hitler. For Eunice's sake, I wanted him to get to the plot, to introduce actual "living" characters - I recalled this was a love story - and to leave the world of ideas behind. Here we were, two people lying in bed, Eunice's worried head propped on my collarbone, and I wanted us to feel something in common. I wanted this complex language, this surge of intellect, to be processed into love. Isn't that how they used to do it a century ago, people reading poetry to one another?

Hooper was no romantic. He had not as a child ridden with Rupert's horse or sat among the camp fires at Xanthus-side; at the age when my eyes were dry to all save poetry – that stoic, red-skin interlude which our schools introduce between the fast-flowing tears of the child and the man – Hooper had wept often, but never for Henry's speech on St Crispin's day, nor for the epitaph at Thermopylae. The history they taught him had had few battles in it but, instead, a profusion of detail about humane legislation and recent industrial change. Gallipoli, Balaclava, Quebec, Lepanto, Bannockburn, Roncevales, and Marathon – these, and the Battle in the West where Arthur fell, and a hundred such names whose trumpet-notes, even now in my sere and lawless state, called to me irresistibly across the intervening years with all the clarity and strength of boyhood, sounded in vain to Hooper.

However, to think with perfect clarity in a poetic sense one must first rid oneself of a great deal of intellectual encumbrance, including all dogmatic doctrinal prepossessions: membership of any political party or religious sect or literary school deforms the poetic sense-- as it were, introduces something irrelevant and destructive into the magic circle, drawn with a rowan, hazel or willow rod, within which the poet insulates himself for the poetic act.

Would you like to stand next to me and introduce yourself to the class?'' Smiled Mr Zimmerman, the English teacher. Nope, I would rather turn into bat! Leave me the heck alone. Ughh, why is it teachers ask ' Would you like to?' No teen ever wants to stand in front of strangers and be forced to talk about them. - Lenore Lee from Whitby After Dark

Chalmers, like many of the English writers whom he then most admired, felt a strong natural sympathy with everything French. At Rouen he imagined himself as having escaped into a world in which it was possible to speak openly and unaffectedly of all those subjects which in England must be introduced by an apology or guarded with a sneer - poetry, metaphysics, romantic love.

How pathetic it is that such products now appeal to a huge market of people who do not understand that the way to introduce children to music is by playing good music, uninterrupted by video clowns, at home; the way to introduce poetry is by reciting or reading it at bedtime; and the way to instill an appreciation of beauty is not to bombard a toddler with screen images of Monet’s Giverny but to introduce her to the real sights and scents of a garden. It is a fine thing for tired parents to gain a quiet hour for themselves by mesmerizing small children with videos—who would be stuffy enough to suggest that the occasional hour in front of animals dancing to Tchaikovsky can do a baby any real harm?—but let us not delude ourselves that education is what is going on.

Trust me when I say that everything you've ever felt has been experienced by another human being before you. You may not think so, but its true. That is what poetry is. It exists to remind us of this very fact. Poetry is mankind's way of saying that we are not entirely alone in the world; it offers a voice of comfort to resonate down through the ages like a lone foghorn's mournful call in the nautical night. Poetry is a stepladder between the centuries, from ancient Greece to tomorrow afternoon. Your problem is you just haven't been introduced to the pure poets - those who hit the head and the heart. The masters. But luckily for you, you have pitched at the right place. I'd say it is almost as if it were fate, if I could bring myself to believe in such an ethereal concept.

The Anglo-American can indeed cut down and grub up all this waving forest, and make a stump speech on its ruins, but he cannot converse with the spirit of the tree he fells, he cannot read the poetry and mythology which retire as he advances. He ignorantly erases mythological tablets in order to print his handbills and town-meeting warrants on them. Before he has learned his a b c in the beautiful but mystic lore of the wilderness he cuts it down, puts up a "deestrict" schoolhouse, and introduces Webster's spelling-book.

It is man who has introduced a little grace, beauty, unknown charm and mystery into creation by singing about it, interpreting it, by admiring it as a poet, idealizing it as an artist and by explaining it through science, doubtless making mistakes, but finding ingenious reasons, hidden grace and beauty, unknown charm and mystery in the various phenomena of Nature. God created only coarse beings, full of the germs of disease, who, after a few years of bestial enjoyment, grow old and infirm, with all the ugliness and all the want of power of human decrepitude.

Accident, agree, bagpipe, blunder, box, chant, desk, digestion, dishonest, examination, femininity, finally, funeral, horizon, increase, infect, obscure, observe, princess, scissors, superstitious, universe, village: those are just some of the everyday words that Chaucer introduced to the language through his poetry.

Thus into the prose sentences of the modern playwright as into the poetry of Racine Berma managed to introduce those vast images of grief, nobility, passion, which were the masterpieces of her own personal art, and in which she could be recognised as, in the portraits which he has made of different sitters, we recognise a painter.

From birth to death and further on As we were born and introduced into this world, We had a gift hard to express by word And somewhere in our continuous road, It kind of lost it sense and turned. There was that time we sure remember, When everything was now and 'till forever Children with no worries and no regrets, The only goal was making a few friends. But later on everything has changed, By minds that had it all arranged To bring the people into stress, Into creating their own mess. We have been slaved by our own mind, Turned into something out of our kind Slowly faded away from the present time, Forced to believe in lies, in fights and crime. They made it clearly a fight of the ego, A never ending war that won't just go They made it a competitive game, To seek selfish materialistic fame. They turned us one against eachother, Man against man, brother against brother Dividing us by religion and skin color, Making us fight to death over a dollar. Making us lose ourselves in sadly thoughts, Wasting our days by living in the past Depressed and haunted by the memories, And yet still hoping to fly in our dreams. Some of us tried learning how to dance, Step after step, giving our soul a new chance Some of us left our ego vanish into sounds, Thus being aware of our natural bounce. Some tried expressing in their rhymes, The voice of a generation which never dies They reached eternity through poetry Leaving the teachings that shall fulfill the prophecy Others have found their way through spirituality, Becoming conscious of the human duality Seeking the spiritual enlightenment, Of escaping an ego-oriented fighting Science, philosophy, religion, Try to explain the human origin. Maybe changes are yet to come, And it shall be better for some Death's for the spirit not an end, But a relieving of the embodiment So I believe that furthermore, We'll understand the power of our soul But leaving behind all we know, And all that we might not yet know It all resumes to that certain truth, That we all seek to once conclude.

Song When I am dead, my dearest, Sing no sad songs for me; Plant thou no roses at my head, Nor shady cypress tree: Be the green grass above me With showers and dewdrops wet; And if thou wilt, remember, And if thou wilt, forget. I shall not see the shadows, I shall not feel the rain; I shall not hear the nightingale Sing on, as if in pain: And dreaming through the twilight That doth not rise nor set, Haply I may remember, And haply may forget. Sir Thomas Wyatt has been credited with introducing the Petrarchan sonnet into the English language. Wyatt's father had been one of Henry VII's Privy Councilors and remained a trusted adviser when Henry VIII came to the throne in 1509. Wyatt followed his father to court, but it seems the young poet may have fallen in love with the king’s mistress, Anne Boleyn. Their acquaintance is certain, although whether or not the two actually shared a romantic relationship remains unknown. But in his poetry, Wyatt called his mistress Anna and there do seem to be correspondences. For instance, this poem might well have been written about the King’s claim on Anne Boleyn:

NMK is a well know maxillofacial surgeon, from India, pens his first poetry book Miracle Mix, favourably reviewed by literary critic Prof. M Krishnan Nair. He says "Every poem has an emotional reality. This is rarely found in modern poetry." Almost all the poems have a curious mix of humour and pathos. This anthology captures impressions made on poet's mind by various images and objects ranging from passing clouds, flowing streams to life itself. In simple yet evocative manner, the poet introduces the readers to his world of imagination through these poems. Sometimes he becomes one with the elements of nature and at others he narrates an old legend. Dr. Nikhil Kurien writes under the pen name NMK, he is an oral and maxillofacial surgeon. ISBN: 978-93-85020-82-7 Publisher: Zorba Books book available on Zorba Book Store, Flipkart, amazon, Infibeam and shop clues and on Kindle.

you said, “your bones belong in museums” i said, “when you kiss me, fireworks electrocute my spine” my mother is dying and doesn’t play piano anymore, i tell my mailman about how he should try pecan pie, when at the supermarket, i always forget about eggs, i’ve started collecting paintings, i go to little art shows all around New York City and introduce myself as “Rose” when strange boys stare at my lips, i kiss them, i chew poetry and forget to leave tips, i order wine and leave flowers at graveyards that don’t have any, when my father calls, i do not answer everything you say reminds me of brown tangerines, i want to spill this poem inside of you i work as a stewardess and the first thing they teach you is how to respond when someone asks you to take off your underwear i wish i could say “sure thing fella, let me wrap it around your throat until you turn purple” but instead it’s “if there’s anything else, please let me know” and so when you called, the only thing i could say was if there’s anything else, please let me know

Tagore claims that the first time he experienced the thrill of poetry was when he encountered the children’s rhyme ‘Jal pare/pata nare’ (‘Rain falls / The leaf trembles) n Iswrchandra Vidyasagar’s Bengali primer Barna Parichay (Introducing the Alphabet). There are at least two revealing things about this citation. The first is that, as Bengali scholars have remarked, Tagore’s memory, and predilection, lead him to misquote and rewrite the lines. The actual rhyme is in sadhu bhasha, or ‘high’ Bengali: ‘Jal paritechhe / pata naritechhe’ (‘Rain falleth / the leaf trembleth’). This is precisely the sort of diction that Tagore chose for the English Gitanjali, which, with its these and thous, has so tried our patience. Yet, as a Bengali poet, Tagore’s instinct was to simplify, and to draw language closer to speech. The other reason the lines of the rhyme are noteworthy, especially with regard to Tagore, is – despite their deceptively logical progression – their non-consecutive character. ‘Rain falls’ and ‘the leaf trembles’ are two independent, stand-alone observations: they don’t necessarily have to follow each other. It’s a feature of poetry commented upon by William Empson in Some Versions of Pastoral: that it’s a genre that can get away with seamlessly joining two lines which are linked, otherwise, tenuously.

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.

The other strikingly modern feature of the type of poet which Euripides now introduced into the history of literature is his apparently voluntary refusal to take any part whatever in public life. Euripides was not a soldier as Aeschylus was, nor a priestly dignitary as Sophocles was, but, on the other hand, he is the very first poet who is reported to have possessed a library, and he appears to be also the first poet to lead the life of a scholar in complete retirement from the world. If the bust of him, with its tousled hair, its tired eyes and the embittered lines round the mouth, is a true portrait, and if we are right in seeing in it a discrepancy between body and spirit, and the expression of a restless and dissatisfied life, then we may say that Euripides was the first unhappy poet, the first whose poetry brought him suffering. The notion of genius in the modern sense is not merely completely strange to the ancient world; its poets and artists have nothing of the genius about them. The rational and craftsmanlike elements in art are far more important for them than the irrational and intuitive. Plato’s doctrine of enthusiasm emphasized, indeed, that poets owed their work to divine inspiration and not to mere technical ability, but this idea by no means leads to the exaltation of the poet; it only increases the gulf between him and his work, and makes of him a mere instrument of the divine purpose. It is, however, of the essence of the modern notion of genius that there is no gulf between the artist and his work, or, if such a gulf is admitted, that the genius is far greater than any of his works and can never be adequately expressed in them. So genius connotes for us a tragic loneliness and inability to make itself fully understood. But the ancient world knows nothing of this or of the other tragic feature of the modern artist—his lack of recognition by his own contemporaries and his despairing appeals to a remote posterity. There is not a trace of all this—at least before Euripides. Euripides’ lack of success was mainly due to the fact that there was nothing in classical times that could be called an educated middle class. The old aristocracy took no pleasure in his plays, owing to their different outlook on life, and the new bourgeois public could not enjoy them either, owing to its lack of education. With his philosophical radicalism, Euripides is a unique pheno menon, even among the poets of his age, for these are in general as conservative in their outlook as were those of the classical age —in spite of a naturalism of style which was derived from the urban and commercial society they lived in, and which had reached a point at which it was really incompatible with political conservatism. As politicians and partisans these poets hold to their conservative doctrines, but as artists they are swept along in the progressive stream of their times. This inner contradiction in their work is a completely new phenomenon in the social history of art.

So often have I studied the views of Florence, that I was familiar with the city before I ever set foot within its walls; I found that I could thread my way through the streets without a guide. Turning to the left I passed before a bookseller's shop, where I bought a couple of descriptive surveys of the city (guide). Twice only was I forced to inquire my way of passers by, who answered me with politeness which was wholly French and with a most singular accent; and at last I found myself before the facade of Santa Croce. Within, upon the right of the doorway, rises the tomb of Michelangelo; lo! There stands Canova's effigy of Alfieri; I needed no cicerone to recognise the features of the great Italian writer. Further still, I discovered the tomb of Machiavelli; while facing Michelangelo lies Galileo. What a race of men! And to these already named, Tuscany might further add Dante, Boccaccio and Petrarch. What a fantastic gathering! The tide of emotion which overwhelmed me flowed so deep that it scarce was to be distinguished from religious awe. The mystic dimness which filled the church, its plain, timbered roof, its unfinished facade – all these things spoke volumes to my soul. Ah! Could I but forget...! A Friar moved silently towards me; and I, in the place of that sense of revulsion all but bordering on physical horror which usually possesses me in such circumstances, discovered in my heart a feeling which was almost friendship. Was not he likewise a Friar, Fra Bartolomeo di San Marco, that great painter who invented the art of chiaroscuro, and showed it to Raphael, and was the forefather of Correggio? I spoke to my tonsured acquaintance, and found in him an exquisite degree of politeness. Indeed, he was delighted to meet a Frenchman. I begged him to unlock for me the chapel in the north-east corner of the church, where are preserved the frescoes of Volterrano. He introduced me to the place, then left me to my own devices. There, seated upon the step of a folds tool, with my head thrown back to rest upon the desk, so that I might let my gaze dwell on the ceiling, I underwent, through the medium of Volterrano's Sybills, the profoundest experience of ecstasy that, as far as I am aware, I ever encountered through the painter's art. My soul, affected by the very notion of being in Florence, and by proximity of those great men whose tombs I had just beheld, was already in a state of trance. Absorbed in the contemplation of sublime beauty, I could perceive its very essence close at hand; I could, as it were, feel the stuff of it beneath my fingertips. I had attained to that supreme degree of sensibility where the divine intimations of art merge with the impassioned sensuality of emotion. As I emerged from the porch of Santa Croce, I was seized with a fierce palpitations of the heart (that same symptom which, in Berlin, is referred to as an attack of nerves); the well-spring of life was dried up within me, and I walked in constant fear of falling to the ground. I sat down on one of the benches which line the piazza di Santa Croce; in my wallet, I discovered the following lines by Ugo Foscolo, which I re-read now with a great surge of pleasure; I could find no fault with such poetry; I desperately needed to hear the voice of a friend who shared my own emotion (…)

He continues: "Happily the Greek nation, more than any other, abounds in literary masterpieces. Nearly all of the Greek writings contain an abundance of practical wisdom and virtue. Their worth is so great that even the most advanced European nations do not hesitate to introduce them into their schools. The Germans do this, although their habits and customs are so different from ours. They especially admire Homer's works. These books, above all others, afford pleasure to the young, and the reason for it is clearly set forth by the eminent educator Herbart: "'The little boy is grieved when told that he is little. Nor does he enjoy the stories of little children. This is because his imagination reaches out and beyond his environments. I find the stories from Homer to be more suitable reading for young children than the mass of juvenile books, because they contain grand truths.' "Therefore these stories are held in as high esteem by the German children as by the Greek. In no other works do children find the grand and noble traits in human life so faithfully and charmingly depicted as in Homer. Here all the domestic, civic, and religious virtues of the people are marvellously brought to light and the national feeling is exalted. The Homeric poetry, and especially the 'Odyssey,' is adapted to very young children, not only because it satisfies so well the needs which lead to mental development, but also for another reason. As with the people of olden times bravery was considered the greatest virtue, so with boys of this age and all ages. No other ethical idea has such predominance as that of prowess. Strength of body and a firm will characterize those whom boys choose as their leaders. Hence the pleasure they derive from the accounts of celebrated heroes of yore whose bravery, courage, and prudence they admire.

with local administration. These ladies are often very attractive, and are not seldom introduced at Court and enjoy high favor." "And successes depend

It was over thirty years since I had heard K speak, but on an impulse I went to his first evening talk at the Friends Meeting House on June 7. While I seemed to understand what he was saying while he was actually talking I could not afterwards have given any coherent idea of it to someone who had never heard him. Even now I find I understand him with that sense, that intuition, which grasps the meaning of difficult poetry rather than through my intellect. But on this occasion I was watching him far more intently than I was listening. The hall was packed; people were standing at the back. I did not see him come on to the platform; at one moment the solitary hard chair placed in the centre of the platform was empty; the next moment he was sitting there on his hands, having made no sound on entering, a very slight figure, impeccably dressed in a dark suit, white shirt, dark tie, feet in highly polished brown shoes placed neatly side by side. He was alone on the platform. (He is never introduced and he never has any notes.) There was complete silence in the hall as a strong vibration of expectancy ran through the audience. He sat there quite silent, his body still, assessing his audience with slight movements of his head from side to side. One minute; two minutes; I began to panic for him. Had he broken down altogether? I was prickling all over in an anguish of concern for him when he suddenly began, unhurriedly in his rather lilting voice with its faint Indian accent, startling the silence.

In 1913, on the eve of World War I, the Russian mathematician Andrei Markov published a paper applying probability to, of all things, poetry. In it, he modeled a classic of Russian literature, Pushkin’s Eugene Onegin, using what we now call a Markov chain. Rather than assume that each letter was generated at random independently of the rest, he introduced a bare minimum of sequential structure: he let the probability of each letter depend on the letter immediately preceding it. He showed that, for example, vowels and consonants tend to alternate, so if you see a consonant, the next letter (ignoring punctuation and white space) is much more likely to be a vowel than it would be if letters were independent. This may not seem like much, but in the days before computers, it required spending hours manually counting characters, and Markov’s idea was quite new. If Voweli is a Boolean variable that’s true if the ith letter of Eugene Onegin is a vowel and false if it’s a consonant, we can represent Markov’s model with a chain-like graph like this, with an arrow between two nodes indicating a direct dependency between the corresponding variables: Markov assumed (wrongly but usefully) that the probabilities are the same at every position in the text. Thus we need to estimate only three probabilities: P(Vowel1 = True), P(Voweli+1 = True | Voweli = True), and P(Voweli+1 = True | Voweli = False). (Since probabilities sum to one, from these we can immediately obtain P(Vowel1 = False), etc.) As with Naïve Bayes, we can have as many variables as we want without the number of probabilities we need to estimate going through the roof, but now the variables actually depend on each other.

For his inability to control his movements, WE temporarily exclude man as a subject for film. Our path leads through the poetry of machines, from the bungling citizen to the perfect electric man. In revealing the machine's soul, in causing the worker to love his workbench, the peasant his tractor, the engineer his engine— we introduce creative joy into all mechanical labor, we bring people into closer kinship with machines, we foster new people. The new man, free of unwieldiness and clumsiness, will have the light, precise movements of machines, and he will be the gratifying subject of our films.

It may appear surprising that sensibility should be introduced in connexion with mathematical demonstrations, which, it would seem, can only interest the intellect. But not if we bear in mind the feeling of mathematical beauty, of the harmony of numbers and forms and of geometric elegance. It is a real aesthetic feeling that all true mathematicians recognize, and this is truly sensibility.

One line is a form in the sense that any gesture is a form. Two lines introduce the idea of form as the energy of relation.

In 771, a traveller arrived in the city [Baghdad] with a copy of a work of Hindu astronomy called the Siddhanta (The Opening of the Universe), by the Indian mathematician Brahmagupta (598-668). Unlike Euclid, Brahmagupta did not set out his mathematical propositions clearly with proofs, but obscured them (as was traditional in Indian mathematics) under a veil of poetry -- beautiful, but extremely difficult to unravel. Al-Mansur gave his court astrologer, al-Fazari, the Herculean task of translating the Siddhanta, which introduced Baghdad to the concept of 'positional notation' -- the way we write numbers to this day, using the digits 1 to 9, in columns of units, tens, hundreds and so on. The possibilities that this system opened up were limitless; when it was eventually adopted, it transformed the entire discipline of mathematics by allowing calculations that would have been impossible with the old Roman-numeral system. Positional notation was already known in Syria and had been admired by Severus Sebokht, who wrote about the 'nine sings' of Indian mathematicians in 662.

Badāūnī unhappily attests that Brahmans introduced Sanskrit works that predicted Akbar’s rise to power as Vishnu’s avatar: Cheating imposter Brahmans . . . told [the king] repeatedly that he had descended to earth, like Ram, Krishan, and other infidel rulers, who, although lords of the world, had taken on human form to act on earth. For the sake of flattery, they presented Sanskrit poetry [shir-hā-yi hindi] allegedly uttered by tongues of sages that predicted a world-conquering padshah would arise in India. He would honor Brahmans, protect cows, and justly rule the earth. They wrote such nonsense on old papers and presented it to [the emperor]. He believed every word.65

In the entire vista of Malay literature—including even the Indonesian literatures—he was unique. None rivalled him in originality and poetic genius; in Malay Sufi literature none excelled the clarity and flowing simplicity of his prose which, nevertheless, reveals profound metaphysical insight in the Sufi doctrines; none exceeded him in poetry, whether it be in terms of literary output or in terms of intellectual content. He was, as I have earlier shown, the first man to set forth in systematic writing the essential aspects of the Şufi doctrines in Malay, and he not only impressed his influence upon certain historiographically important literary usages in Malay literature, but introduced as well new technical terminologies and concepts into the Malay language in general, and into Malay Sufi literature in particular, having do with theology, metaphysics and philosophy.

Dear Critics, since you employ the term "absurd humor," you should introduce its counterpart, "absurd seriousness." Learn to distinguish between forced and primitive seriousness, lighthearted and gallows seriousness. This bracingly sensical conception will jump-start critics and journalists alike. Do we not require, in life as in art, indiscriminate seriousness? bawdy seriousness? sparkling seriousness? spirited seriousness? I would read with pleasure about thinker X's "terrific sense of seriousness," about bard Ys "pearls of seriousness," about avant-garde Z's "offensive seriousness." Some reviewer or other will finally decide to remark that "playwright N. N.'s feeble play is redeemed by the effervescent seriousness of its conclusion" or that "in W.S's poetry one catches notes of unintentional seriousness." And why don't humor magazines have columns of seriousness? And why, moreover, do we have so many humor magazines and so few serious ones? Well?

In several ways the most profound development of the structure of intensification occurs in what is arguably the greatest achievement of all biblical poetry, the Book of Job. When we move from the prose frame story in Chapters 1 and 2 to the beginning of the poetic argument in Chapter 3, we are plunged precipitously into a world of what must be called abysmal intensities. It is only through the most brilliant use of a system of poetic intensifications that the poet is able to take the full emotional measure and to intimate the full moral implications of Job’s outrageous fate. The extraordinary poem that constitutes Chapter 3 is not merely a dramatically forceful way of beginning Job’s complaint. More significantly, it establishes the terms, literally and figuratively, for the poetry Job will speak throughout; and, as I shall try to show in my next chapter, when God finally answers Job out of the whirlwind, the force of His response will be closely bound with a shift introduced by His speech in the terms of the poetic argument and the defining lines of poetic structure. What I am suggesting is that the exploration of the problem of theodicy in the Book of Job and the “answer” it proposes cannot be separated from the poetic vehicle of the book, and that one misses the real intent by reading the text, as has too often been done, as a paraphrasable philosophic argument merely embellished or made more arresting by poetic devices.

To move in and take over cities, squirrels needed an ally to reshape their landscapes. They found that ally in Frederick Law Olmsted. Olmsted introduced the idea that cities should contain large tracts of idealized wilderness (his most famous design was New York’s Central Park). It was ideal for reading poetry in the shade or wandering with a friend, but mostly, it was ideal for being a squirrel.

Words are not the highest reality, nor’ what is expressed in words the highest reality. Why? Because the highest reality is an experience which cannot be entered into by means of statements’ regarding it. Poetry and visual symbols come much closer to reality. The mind must be in a state of wisdom to understand wisdom.

Without my choosing. Love began cruising. I was finding, not losing! - Soul Introducing

Old Testament poetry and especially Old Testament wisdom evoke a world charged with God’s grandeur as the Creator and redeemer. In the process of evoking this world, Old Testament wisdom invites, cajoles and even commands us to live our lives consciously in this world. Biblical poetry is never poetry for poetry’s sake. Yet it is still aesthetic and to be savored as such. Its creativity with words, sounds and images gives it its evocative and memorable powers. All of these wisdom books naturally became a part of the traditions in the home, the community and at festival gatherings. Each book thus generated a formative presence in the cultural consciousness of God’s people. In sum, we simply will not hear God’s address through Old Testament wisdom if we fail to attend closely to its poetic character. Here is a brief look at each of the books studied in the following chapters. Proverbs. Proverbs 1–9 is a highly symbolic collection of sayings from two very different sources: Woman Wisdom and the parents of a maturing son. The son is a realistic but fictional character entering the actual world adults encounter day to day. Woman Wisdom, however, is a fictional and cosmic character who, as wisdom personified, beckons the son to desire her ways and paths. This may be a complex way of getting at what’s going on in all of the imagery, but it alerts us to the great power of biblical art. The mysterious woman character creates the symbolic and allusive points of view introduced above. The point is not for the young man to believe that this woman is a human; rather, he is drawn to make the theological and experiential connections between God’s created purpose and the world he will soon enter as an adult. The woman’s cosmic, feminine character attaches urgency and emotion to the simple actions of life in this world, for they will be played out before God within the deep, mysterious, cosmic order he has formed.

As I see it, poetry is not prose simply because poetry is in one way or another formalized. It is not poetry by reason of its content or ambiguity but by reason of its allowing musical elements (time, sound) to be introduced into the world of words. Thus, traditionally, information no matter how stuffy (e. g. the sutras and shastras of India) was transmitted in poetry. It was easier to grasp that way. Karl Shapiro may have been thinking along these lines when he wrote his Essay on Rime in poetry.

To the wildflowers still striving and performing, may this book introduce you to a new way of living.

It might seem difficult, but all you should do is come here Hold on to my hand tight as I introduce you to my world

Before meeting you I was introduced to you Now I am criticized of my love For you. I weighed 187 pounds Now I am shamed & cannot Find clothes my size. It seems that everyone I meet is conscious of my health Except I. I am spoon deep in you I am made of you

Newton, a devout Puritan believer, has anecdote that when he claimed that no disciple had God, he refused to claim atheism, saying, "Do not speak disrespectfully about God, I am studying God." He paid much attention to the Bible and had an eschatological belief that the Saints would resurrect and live in heaven and reign with Christ invisibly. And even after the day of judgment, people would continue to live on the ground, thinking that it would be forever, not only for a thousand years. According to historian Steven Snowovell, he thought that the presence of Christ would be in the distant future centuries after, because he was very pessimistic about the deeply rooted ideas that denied the Trinity around him. He thought that before the great tribulation came, the gospel activity had to be on a global scale. 카톡pak6 텔레:【JRJR331】텔레:【TTZZZ6】라인【TTZZ6】 믿고 주문해주세요~저희는 제품판매를 고객님들과 신용과신뢰의 거래로 하고있습니다. 24시간 문의상담과 서울 경기지방은 퀵으로도 가능합니다 믿고 주문하시면좋은인연으로 vip고객님으로 모시겠습니다. 원하시는제품있으시면 추천상으로 구입문의 도와드릴수있습니다 ☆100%정품보장 ☆총알배송 ☆투명한 가격 ☆편한 상담 ☆끝내주는 서비스 ☆고객님 정보 보호 ☆깔끔한 거래 포폴,에토미,알약수면제 판매하고있습니다 Newton studied alchemy as a hobby, and his research notes were about three books. Newton served as a member of parliament on the recommendation of the University of Cambridge, but his character was silent and unable to adapt to the life of a parliamentarian. When he lived in the National Assembly for a year, the only thing he said was "Shut the door!" In Newton's "Optics" Volume 4, he tried to introduce the theory of unification that covered all of physics and solved his chosen tasks, but he went out with a candle on his desk, and his private diamond threw a candle There is a story that all of his research, which has not been published yet, has turned to ashes. Newton was also appointed to the president of the Minting Service, who said he enjoyed grabbing and executing the counterfeiters. Newton was a woman who was engaged to be a young man, but because he was so engaged in research and work he could not go on to marriage, and he lived alone for the rest of his life. He regarded poetry as "a kind of ingenious nonsense." [6] Newton was talented in crafting inventions by hand (for reference, Newton's craftsmanship was so good at his childhood that when he was a primary school student he was running his own spinning wheel after school, A child who throws a stone and breaks down a spinning wheel, so there is an anecdote that an angry Newton scatters the child.) He said he created a lantern fountain that could be carried around as a student at Cambridge University. Thanks to this, it was said that students who were going to attend the Thanksgiving ceremony (Episcopal Mass) were able to go to the Anglican Church in the university easily. Newton lost 20,000 pounds due to a South Sea company stock discovery, when "I can calculate the movement of the celestial body, but I can not measure the insanity of a human being" ("I can calculate the movement of the stars, but not the madness of men ").

Time traveller He calls himself a time traveller, He travels anywhere and anytime, He is a very adept traveller, Who knows how to bypass time, We once met suddenly, When the traveller was travelling the highway of life, He was pacing very efficiently, And that day I happened to be on the same highway of life, As I was about to cross a junction, He stopped there too, And enquired if I knew how this highway of life did function? “I may not know that better than you,” Was my polite and slow answer, “Ah haa, you appear to be a stranger on this highway, Come let me introduce you to few tricks old and quite a few newer, So, come let us go this way.” Said the traveller as we both stepped on the highway, And paced towards a destination of his choosing, It was a beautiful experience anyway, Though his few ways were very amusing, Then we stopped at a far away corner, And he pulled something from his bag, He was smart but this thing seemed smarter, He opened it and removed the safety tag, Now he turned to me and said, “Look at the sky, what do you see?” And I without being reticent said, “The sky, the Sun, that is all I see,” Looking at me he replied, “I thought so, and here is the fact, You see the sky and just the Sun, But you miss the real act, Time invested cannot be undone, You see I am a time traveller and I travel with it, Today on this highway, tomorrow on another, But I never miss the destination even by a bit, And as we were walking together, I asked you what you see when you look at the sky, You should have said, nothing, I have no time for it, Because the Sun will be there, so will be the sky, Being the time travellers we are not allowed to sit, We have to keep on moving and always seeking, Until we reach our destiny, Now this for you is my lesson worth heeding, If you are to find your final destiny, So let the Sun be, let the stars shine, and let the sky spread its magical blue, You keep travelling, moving, from one destination to another, Then you shall be a time traveller too, Like none other, like none other, So we switched lanes on the highway, He rode in a direction new, And now I was a lone rider on my life’s highway, Having realised what is known to just a few, That to be the time traveller, We should not wander but travel with a fixed aim, Because a true traveller is like a true lover, Who knows love and destiny are not a game, So for the real time traveller, it is always one destiny and one love, Though crossing many destinations is a part of it all, But the passion for love and to love, Supercedes the lure of destinations all! Now I often see the time traveller on the highways that I cross, We just bow our heads and move ahead, Because we have a destination to cross, To reach the final destiny of love, and in this pursuit we shall always stay ahead!

Wonderful, beautiful, blissful, gorgeous, lovely. Adjectives floated around in Archer’s head like cherry blossoms falling in late spring. He wanted to laugh, shout, and run amok, singing at the top of his voice. Snatches of romantic poetry learned in his salad days came to mind. She walks in beauty like the night; shall I compare thee to a summer’s day? He smiled then, looking up at the ceiling above his bed. He certainly did not possess the talent to fit into words what he felt. Too bad Byron was dead. He’d have hunted him down and introduced him to Miri. The master poet would have found words to do her justice.

It is by way of its poetry that the realism of De Sica takes on its meaning, for in art, at the source of all realism, there is an aesthetic paradox that must be resolved. The faithful reproduction of reality is not art. We are repeatedly told that it consists in selection and interpretation. That is why up to now the “realist” trends in cinema, as in other arts, consisted simply in introducing a greater measure of reality into the work: but this additional measure of reality was still only an effective way of serving an abstract purpose, whether dramatic, moral, or ideological.

I would have to go back and do some studying to talk properly about the characteristics of Old English poetry—that is, poetry written in Old English, or Anglo-Saxon, between the seventh century and a few decades after the Norman Conquest of England, which occurred in 1066. (This date is one that should be remembered especially by writers in English, because it is after this date that the French language was aggressively introduced into the existing languages of England; the Norman Conquest resulted in our having the wonderful doubled vocabulary that we have in English:

Perhaps the most famous and dramatic example of intellectual development in prison is that of Malcolm X.21 Malcolm Little (as he was born) entered prison immersed in drugs, sex, and petty crime. In prison he met a polymath named John Elton Bembry who was steeped in culture and history, able to hold forth on a wide variety of fascinating topics. On his advice Malcolm began to read—first the dictionary, then books on etymology and linguistics. He studied elementary Latin and German. He converted to Islam, a faith introduced to him by his brothers. In the following years he read the Bible and the Qur’an, Nietzsche, Schopenhauer, Spinoza, and Kant, as well as works of Asian philosophy. He pored over an especially loved book of the archaeological wonders of the East and the West. He learned the history of colonialism, of slavery, and of African peoples. He felt his old ways of thinking disappear “like snow off of a roof.”22 He filled his letters with verse, writing to his brother: “I’m a real bug for poetry. When you think back over all of our past lives, only poetry could best fit into the vast emptiness created by men.

By the fourteenth century, Romance dialects belonged to two broad categories. Those in which “yes” was pronounced oc—mostly south of the Loire River—were called langues d’oc (oc languages). Those in which speakers said oïl for “yes”—in the north—were called langues d’oïl, a term which came to be used interchangeably with Françoys. Oïl and oc are both derivatives of the Latin hoc (this, that), which at the time was used to say yes. In the south they simply chopped off the h. In the north, for some reason, hoc was reduced to a simple o, and qualifiers were added—o-je, o-nos, o-vos for “yes for me,” “yes for us” and “yes for you.” This was complicated, so speakers eventually settled for the neutral o-il—“yes for that.” The term was used in the dialects of Picardy, Normandy, Champagne and Orléans. Other important langues d’oïl were Angevin, Poitevin and Bourguignon, spoken in Anjou, Poitiers and Burgundy, which were considerably farther south of Paris. Scholars debate who created the designations langues d’oïl and langues d’oc. The poet Dante Alighieri, in his De vulgari eloquentia of 1304, was one of the first to introduce the term langue d’oc, opposing it to the langue d’oïl and the langue de si (Romance from Italy). A fifth important langue d’oïl was Walloon, the dialect of the future Belgium. The langues d’oc attained their golden age in the eleventh and twelfth centuries, when groups of wandering musicians, or troubadours, travelled from city to city spreading a new form of sung poem that extolled the ideal of courtly love, or fin’amor. This new poetry was very different from the cruder epic poems of the north, the chansons de geste, and it enjoyed great literary prestige that boosted the influence of two southern rulers, the Count of Toulouse and the Duke of Aquitaine. Even many Italian courts adopted the langue d’oc, which is also known today as Occitan. Wandering poets of the north, the trouvères of Champagne, also borrowed and popularized the song-poems of the south.

Poetry first introduced me to the concept that pain could, perhaps, be viewed as 'the pain' and not 'my pain.' That sorrow and loneliness and abandonment were the human condition, not my sole possession

The symbol in a poem does not function the way it does in everyday life. It operates the way a metaphor does, by introducing the possibility of comparison. But unlike a metaphor, the comparison is never completed. There is only the original thing, and the very strong feeling that it is going to transform, as in a metaphor, but without the other, completing term. Ed Hirsch writes in his Poetic Glossary that "in poetry, a symbol offers a surplus of resonance." This surplus is that strong feeling of meaning, implied but ultimately left unspecified and undefined.

But this is not all. Even in a lively oral narration, it is not unusual to introduce persons in conversation with each other, and to give a corresponding variety to the tone and the expression. But the gaps, which these conversations leave in the story, the narrator fills up in his own name with a description of the accompanying circumstances, and other particulars. The dramatic poet must renounce all such expedients; but for this he is richly recompensed in the following invention. He requires each of the characters in his story to be personated by a living individual; that this individual should, in sex, age, and figure, meet as near as may be the prevalent conceptions of his fictitious original, nay, assume his entire personality; that every speech should be delivered in a suitable tone of voice, and accompanied by appropriate action and gesture; and that those external circumstances should be added which are necessary to give the hearers a clear idea of what is going forward. Moreover, these representatives of the creatures of his imagination must appear in the costume belonging to their assumed rank, and to their age and country; partly for the sake of greater resemblance, and partly because, even in dress, there is something characteristic. Lastly, he must see them placed in a locality, which, in some degree, resembles that where, according to his fable, the action took place, because this also contributes to the resemblance: he places them, i.e., on a scene. All this brings us to the idea of the theatre. It is evident that the very form of dramatic poetry, that is, the exhibition of an action by dialogue without the aid of narrative, implies the theatre as its necessary complement. We allow that there are dramatic works which were not originally designed for the stage, and not calculated to produce any great effect there, which nevertheless afford great pleasure in the perusal. I am, however, very much inclined to doubt whether they would produce the same strong impression, with which they affect us, upon a person who had never seen or heard a description of a theatre. In reading dramatic works, we are accustomed ourselves to supply the representation.

Newton, a devout Puritan believer, has anecdote that when he claimed that no disciple had God, he refused to claim atheism, saying, "Do not speak disrespectfully about God, I am studying God." He paid much attention to the Bible and had an eschatological belief that the Saints would resurrect and live in heaven and reign with Christ invisibly. And even after the day of judgment, people would continue to live on the ground, thinking that it would be forever, not only for a thousand years. According to historian Steven Snowovell, he thought that the presence of Christ would be in the distant future centuries after, because he was very pessimistic about the deeply rooted ideas that denied the Trinity around him. He thought that before the great tribulation came, the gospel activity had to be on a global scale. 카톡【AKR331】텔레【RDH705】라인【SPR331】위커【SPR705】 믿고 주문해주세요~저희는 제품판매를 고객님들과 신용과신뢰의 거래로 하고있습니다. 24시간 문의상담과 서울 경기지방은 퀵으로도 가능합니다 믿고 주문하시면좋은인연으로 vip고객님으로 모시겠습니다. 원하시는제품있으시면 추천상으로 구입문의 도와드릴수있습니다 ☆100%정품보장 ☆총알배송 ☆투명한 가격 ☆편한 상담 ☆끝내주는 서비스 ☆고객님 정보 보호 ☆깔끔한 거래 포폴,에토미,알약수면제 판매하고있습니다 Newton studied alchemy as a hobby, and his research notes were about three books. Newton served as a member of parliament on the recommendation of the University of Cambridge, but his character was silent and unable to adapt to the life of a parliamentarian. When he lived in the National Assembly for a year, the only thing he said was "Shut the door!" In Newton's "Optics" Volume 4, he tried to introduce the theory of unification that covered all of physics and solved his chosen tasks, but he went out with a candle on his desk, and his private diamond threw a candle There is a story that all of his research, which has not been published yet, has turned to ashes. Newton was also appointed to the president of the Minting Service, who said he enjoyed grabbing and executing the counterfeiters. Newton was a woman who was engaged to be a young man, but because he was so engaged in research and work he could not go on to marriage, and he lived alone for the rest of his life. He regarded poetry as "a kind of ingenious nonsense." [6] Newton was talented in crafting inventions by hand (for reference, Newton's craftsmanship was so good at his childhood that when he was a primary school student he was running his own spinning wheel after school, A child who throws a stone and breaks down a spinning wheel, so there is an anecdote that an angry Newton scatters the child.) He said he created a lantern fountain that could be carried around as a student at Cambridge University. Thanks to this, it was said that students who were going to attend the Thanksgiving ceremony (Episcopal Mass) were able to go to the Anglican Church in the university easily. Newton lost 20,000 pounds due to a South Sea company stock discovery, when "I can calculate the movement of the celestial body, but I can not measure the insanity of a human being" ("I can calculate the movement of the stars, but not the madness of men ").

It's Gods Eden, the fountain of youth, the water of Truth and yes it shall set thee free of this world-wide mental misery. It's a pleasure to me to introduce the God that sets you free, sets you high, air castles in the cosmos that make you fly. Make you cry cause you know your recognition of your unworthiness; God comforted me in my loneliness, it's redemption from rags to riches in Gods holiness. These riddles are self-explanatory, explaining the exploration of this planet from the beginning of His story. Open your eyes for God's the one that abides.

You've granted me eyes to see and ears to hear and with more knowledge comes more sorrow. Only true substance can pay for a due but a print out of the false can only discharge, how true. Taking the false to introduce as a truth, polluting our minds, yoking us with a noose. Economic slavery, the complete opposite of freedom and bravery. I amend these words to constitute what's meant to we, as in us, the French area holds the trusts, friendship to hear what I'm saying with God is a must.

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!