Twenty-Five Verses on Silence, as published in my 6th book Midland (Nov 2011) with various art references.
'T is for this, thou Silent River!
That my spirit leans to thee...
Henry Wadsworth Longfellow (1807-1882)
Verse 1:
Then there was silence immaculate, equanimity's lustful echo, and it was good.
Art ref: Morphological Echo by Salvador Dalí, 1904-1989.
Verse 2:
There was silence sublime, the pensive kind of rune then rime, and it too was good.
Poem ref: Dream Within A Dream by Edgar Allan Poe (el maestro), 1801-1849.
Verse 3:
There was silence supine broadening, akin mist and fens at twilight, midst her skin he skimmed beholding `low moonlight, and it was good.
Art ref: The Origin of the World by Gustave Corbet, 1819-1877.
Verse 4:
There was silence kissed by wisp of lips, thus adieu as per lisp, and it was good.
Art ref: Louise Brooks by Bill Brauker, contemporary.
Verse 5:
There was silence coupling mid redolence doubling, in drift aft shift of hankered thighs to dank sighs, and it was good.
Photo ref: John and Yoko (last photo) by Annie Leibovitz, contemporary.
Verse 6:
There was silence that wept for humanity’s death while kept to breast infancy’s breath, and it was good.
Art ref: Mother and Child by Pablo Picasso, 1881-1973.
Verse 7:
There was silence cold, caressing to hold both fallen and sullen as resolute latter lay down the rancor, sheathed their sabers, and it was good.
Film ref: Joyeux Noël directed by Christian Carion, contemporary.
Verse 8:
There was silence ill since the chill, riling the will, stifling the inhale whilst waned by pain to staining pale, as progeny’s cling graced anon easing finality’s sting, and it was good.
Art ref: The Dead Mother and Child by Edvard Munch, 1863-1944.
Verse 9:
There was silence weary by calluses dreary as drudgery trod upon sultry sod, hot yet copious, vis-à-vis hearth lustrous then girth desirous upon berth amorous, and it was good.
Art ref: Back to the Barn by Virginia Sonntag, contemporary.
Verse 10:
There was silence vibrant per iron tampered, steel tempered, rivets fisted, jacks assisted by torsos twisted due pneumatic pulsations of passion’s displays, and it was good.
Art ref: Steel Worker by Winold Reiss, 1886-1953.
Book reference: Human Action by Ludwig von Mises, 1881-1973.
Verse 11:
There was silence thrown monotone to drones of low unfettered winds, fondling slow dunes of unlettered tombs as caravans roam liberal liken paramours palatial, sensual, and it was good.
Art ref: The Caravan by Alexandre-Gabriel Decamps, 1803-1860.
Verse 12:
There was silence undone as artists’ tapestries finely spun; oil on canvas, sweat on flesh, appliqués enmeshed to arabesques, and it was good.
Art ref: Blue Nude by Pablo Picasso, 1881-1973.
Verse 13:
There was silence sculpted so etched in mind her thighs, breasts, nape, and tress hence obsessed to caress, hewn, and hone every vestal stone, and it was good.
Sculpture ref: Callipygian Venus by French Academy/Rome, 1683-1686.
Verse 14:
There was silence hinged and hung on edge then strung, out and under, as poet sunk in wine due sundered rimes, and it was good.
Art ref: Quixotic Postlude by Calvin Morris, contemporary.
Verse 15:
There was silence per voluptuous symphony, libidinous strings along salacious reeds strummed and hummed to orgasmic fermata, —¡Me encanta!—, gimió el compositor, and it was good.
Art ref: Violin and Glass by Juan Gris, 1887-1927.
Music ref: Symphony No. 1 in C Minor IV by Johannes Brahms, 1833-1897.
Verse 16:
There was silence besetting orchestral armadas, due his potent arpeggios mid her reverent fortissimos, ah the tempos di valse, and it was good.
Poem ref: Why Do I Drink? by Jim Morrison, 1943-1971.
Wine ref: Catena Zapata Estiba Reservada, Mendoza Argentina.
Verse 17:
There was silence of shrewd ado, when art spewed vim and vigor by hemming societal rigors, as to waft and kiss of serpentine hiss, and it was good.
Art ref: Sunset by Andy Warhol, 1928-1987.
Music ref: Break On Through by The Doors.
Verse 18:
There was silence noble as pinnacles celestial and precipices terrible oft to be, so were fears inferior o’er love posterior equally, and it was good.
Photo ref: Moon and Half Dome by Ansel Adams, 1902-1984.
Verse 19:
There was silence wide as deserts sighed by fervid catechisms withal thighs vivified by lucid classicalisms, and it was good.
Art ref: The Truth Seekers by Hassan Mohamed Hassan, 1906-1990.
Verse 20:
There was silence heard affixed to peace observed, transfixed by consistent words exhaled aphrodisiacal per ecclesiastical, and it was good.
Book ref: Peace in the Post-Christian Era by Thomas Merton, 1915-1968.
Verse 21:
There was silence in spring of intrinsic screams harbingering ascetic rebirths, liken ambrosial streams of immortal mirth deluging the dismal dirge, and it was good.
Art ref: The Natchez by Eugène Delacroix, 1798-1863.
Music ref: Migration album by Carlos Nakai, contemporary.
Verse 22:
There was silence midsummer terse as shallow verse, lacking callow curse due predestined perpetuation, abaft clandestine copulation by thespian lovers, and it was good.
Art ref: Elegy of Bohemia by Adolf Liebscher, 1857-1919.
Verse 23:
There was silence when autumn fell on hillocks and dells, ascribing élans and knells to expiring boughs o’er suspiring breasts, ensorcelled by twilight’s fest, and it was good.
Art ref: I Hope Its Her by Leonid Afremov, contemporary.
Verse 24:
There was silence uttered, winter’s dreaded presage stuttered in time’s savage language, rendered halcyon by tender acumen, and it was good.
Art ref: Tod und Mädchen by Egon Schiele, 1890-1918.
Verse 25:
Then there was silence immaculate, brevity esteemed to eternity’s hamlet, avidity redeemed from apathy’s gauntlet…
For such rarity mortals inhale, unfurling sails of soul, spanning mains of mind, as lovers’ rush to lust swelled thereon hush dwelled, passion’s lucid epiphany…
Hence the troubadour’s lament composed due poetic consent, amid ultimate descent by gallant ascent, and it was good.
Music ref: Love and of course, Imagine by John Lennon, 1940-1980.
Art/sketch ref: Self Portrait by Stu Sutcliffe, 1940-1962.
