Towering urns
Towering urns
.original poetry
by @d-pend
.
with images
by Felisberto
and Lostknightkg
Towering urns
Thoughts pour wax upon these walls
With the faux wood grain to watch.
Reflecting, the feathers of dust
Flow all-invisibly un-interred.
A half-burnt wick, a slanted stand,
Mythical ash, you take my hands;
Make a gesture placating falls.
An urge to drink the forest is sated
by means of milk and gall.
You—were here, never here.
You—the nothing of fire.
The frenzy of coal mended
By Saturn's umbrage erased my ire.
Stains pour clarity along my cliffs
Where I tap unremembered the tomb.
Some flimsy reverberance sings
And dull harmonics map dead dreams.
Poetry by
@d-pend
9/26/18
.
Images by
.I—"Obelisk" by Felisberto
II—"Chalet of the Countess of Edla" by Lostknightkg
III—"Temple Doors" by Lostknightkg
IV—"Hieronymites Monastery" by Lostknightkg
Greetings, @d-pend.
I find it fascinating that the images that accompany this poem tell a very interesting story along the lines the story told by the poem.
I don’t see the poem depicting the Christian god as much as it depicts gods in general and the transience of beliefs. What are 2 thousand or 10 thousand years in the great scheme of things, after all?
The towering urns, as depicted by the first image may symbolize the erection of monuments that more than representing the reverence for deities (in ways similar to what cathedrals or palaces do) represent the obliteration of the deity in ways not so distant to what modern physics suggest about time and black holes. The Universe as a complex beast that sometimes devours its own offspring, just like Saturn/Cronus did.
The second image is intriguing because even though it may just be a good picture of a curious architectonic sample, Chalet of the Countess of Edla in Sintra (Portugal), represents a milieu of cultures and beliefs, reinforced in the last two pictures (the connection of Europe—Portugal with the east—India). This Countess (Elise Friedericke Hensler) was a Swiss-born American actress who married morganatically into Portuguese royalty.
The last two images may be connected: a Hindu temple and a monastery erected to pay homage to the place where Portuguese seamen led by Vasco da Gamas spent the night entrusting themselves to their god before leaving for the landmark never-before-attempted expedition of 1497 circumnavigating the southern tip of Africa to get to India and back.
This achievement went beyond the mere economic boom that favored Portugal over Spain. Not only did it open trade routes, it also opened the gates for eastern religions and philosophies to penetrate into the western world.
Thus, no matter how much faux wood or wax we veneer our wall with, the
feathers of dusk of time will always remain uninterred. Saturn/Cronus, as a matter of fact was also represented as winged inevitably and destroy everything at the end.
The reference to “milk and gall” brings Lady Macbeth to the table and its temptress role. Like Macbeth, the narrator of the poem is urged into destruction by the soothing voice of guts and bitterness. The same dilemma the ancient conquistodores faced, the same dilemma the ancient gods faced. Saturn, who married wealth and destruction and who, afraid of the prophesy of internal destruction, devoured his children, set the scene for subsequent performances of the never ending cycle of ruin and regeneration. Insubstantial echoes of the past answer the call of the present in matter divine and profane as “dull harmonics map dead dreams.”
La idea de representar la divinidad con grandes creaciones arquitectónicas y escultóricas está presente en el planeta desde edades muy antiguas de la humanidad, incluso en tiempos politeístas.
Construcciones que apuntan al cielo, que sugieren que es "arriba", donde están los dioses, aunque intentan encerrarlos en grandes templos.
Todas las religiones tienen "urnas elevadas" tratando de alcanzar su versión de Dios, ya sean monoteístas, politeístas o henoteístas.
No obstante, la voz sugiere que Dios siempre ha estado, aunque no encerrado en lugares de adoración.
Hay una declaración de la voz acerca del lugar donde sí está Dios oculto y olvidado por muchos, esperando por el recuerdo perdido en una existencia que se va en un soplo, lo cual repercute en no recordar el verdadero significado de Dios, sino en el final:
Sin embargo, un fenómeno sonoro producido por la reflexión, deja una ligera permanencia del sonido aunque la fuente original ha dejado de emitirlo, quedando encerrado en esos lugares sólo un murmullo que intenta reproducirlo y revivirlo:
Este poema retrata a Dios como habitante de su templo natural, que no es arquitectónico, sino vivo.
Great Post With Great Information and pics.
My 100 % upvote for this post.