This Irish flute of solitude,
Has played me too long with it’s illusory jest;
And when I blow my heart out into it;
It’s timbre vacillates my timber breast
Atop this meadow hill I stand;
Hold the flute of solitude in my hand;
I’ll Pump my soul in the wooden pipe;
So that all may hear my loneliness’ gripe
No trite song shall I play today;
For the song must summon my lover of old;
To her I shall surrender my destiny;
For I am hers; to shape; to mould;
So I commence; thence; put all my compunction aside;
She’s calling me from Elysium and I must abide;
But guilty seas lie in between / and / I don’t think I can sail through;
I have no ship and I have no sail; the wind’s my enemy and I have no crew;
But I shall persist; command and insist
Her to spare me this pointless privation;
And to return from those frozen lands
And be the cause of my joy and elation;
And all the while, this wooden flute;
Rendering all the other voices mute,
Whispers gently to the gentler air,
"She's gone / she's gone; she's never coming back;
she's gone forever; despair; despair"
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- suraj sharma
- my mind, therefore, becomes this outstretched field of immeasurable serenity, which, although illuminated at angles awkward and unfamiliar to my eyes - is neither dark nor twilit. The strange lighting turns the vacuous foreplay of shadows chasing shadows into an euphoric, almost utopian feeling which is held in suspension as long as this configuration of appearances beckons the restlessness of reason ever forward into the uncharted hinterlands of imagination while at the same time compelling me to bless the lighting director.
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