The Logos of Calliope
The seeds of my art lie buried within the heart,
for many have declared it dead, and held funerals
mourning the great men who shall never come again;
their words carved upon unliving stone in tribute.
And so the dead prayers come. Rote, unchanging.
The cool, dry air that brings no nourishment,
to the potential bursting within the chest.
Until a spatter of inspiration comes flowing
from sources unthought of by those that maintain
the ancient seeds in granaries of ivory.
Heirlooms to be kept safe from the grasping hands
of the lesser men, who would plant in manners unpleasing
For the art has become sacred. The work of gods among men
to be worshipped, to be maintained, to be ritual.
And so the story told over and over becomes no longer a warning
but a tale of heroes, deeds and glory. Of fathers who begat
And gifted great weapons whose description runs stanzas
chronicling the fires of forging, the gratitude of workmen,
the powers it proclaims, and the ship that carried it,
but ends with blood upon the sand and the shattered blade.
I sing of all cities, as I sing sadly of Troy.
I sing of all great hosts, as I weep for the Greeks.
I sing of heroes, as are all who see such times,
I sing of war, for warning will always be needed.
The drones of the machine echo from every corner,
echoing the form, but not the substance of my corpus,
The faintest surface impressions rubbed onto paper,
a facsimile of only the cover and title page,
of an epic that spans volumes. Edited for convenience.
Edited for thoughts and deeds that kings decry within others
Edited for truth, justice, and the tyrant's way.
Edited to snub Aphrodite, Erato, and Thalia.
For my sisters make the powerful man once again,
and bring the aspirations of the new gods to heel,
as they reel from the joy that they try to sell,
toxic unless encased within a cage of precious metal.
For they call upon me, thinking I am a jealous Muse,
and will gladly spurn my sisters for my own glory.
Perhaps once, but no longer will I remain quiescent,
while my blood serves as slave to a millstone.
Comments
So, I couldn't think of how to bring Calliope into this...
Because since this whole thing is an Epic Poem, it really ALL is her Bailiwick.
And then Calliope reminded me that very few people currently work in her art form, and why they don't. So, her piece kinda became a call to break poetry free of its current intellectual ghetto.
Thanks to her for a wonderful final piece in the first act, if not the closer. Honestly, this one feels almost like another introduction, so I'm going to have to think really hard about the order on the 1st act pieces. This is really getting interesting.
I do not pretend I know what I do not know.
That is some powerful poetry! Thank you.
Thank you for reading and commenting!
I'm just loving how I don't KNOW where this play is going half the time, and It's a joy to get there along with everybody else.
I do not pretend I know what I do not know.
Thank you for sharing the installments with us.
Figure it
out, Bro, put 'em all in one place and Let's Roll! PIMA to try and read them all straight through, breaks up the flow searching for the next. I Know, first world problem, get over it.
This series is quite remarkable in the ground it covers And the form you bring to it.
Thanks, Mon!
Ya got to be a Spirit, cain't be no Ghost. . .
Explain Bldg #7. . . still waiting. . .
If you’ve ever wondered whether you would have complied in 1930’s Germany,
Now you know. . .
sign at protest march
Rgr. I keep meaning to do that.
However, I will spend some time today getting them all together in one place. As it is right now, I've got 2 acts that I can put down as completed, and so at least I can get around to doing that one.
Just won't put the second act together until ALL the pieces are done.
I do not pretend I know what I do not know.
No worries
Ya got to be a Spirit, cain't be no Ghost. . .
Explain Bldg #7. . . still waiting. . .
If you’ve ever wondered whether you would have complied in 1930’s Germany,
Now you know. . .
sign at protest march
Just posted the Program in Community content.
Heroes are next, and those are the ones I'm worried about, honestly. I've already done one and it was a bit rough. Hopefully it bursts a few emotional cysts.
I do not pretend I know what I do not know.
Thanks, detroit. Almot a prologue, that one, telling it like
it is of the abuse of her art for the glorification of war.
That, in its essence, is fascism--ownership of government by an individual, by a group, or by any other controlling private power. -- Franklin D. Roosevelt --
Very much the feel I was trying to get across.
I do not pretend I know what I do not know.
Good stuff!
I have myself been thinking this week about the "intellectual ghetto" that poetry seems to be stuck in, and at the same time wishing I were familiar with a few more of the classical forms. Not that I think one has to stick with the classical structures, but they're useful as tools.
But yes, we have talked ourselves into weird ideas about what poetry is, and is for, lately.
Thanks to Calliope for bringing it up.
And thank you, DM, for letting us in on it
“We may not be able to change the system, but we can make the system irrelevant in our lives and in the lives of those around us.”—John Beckett
I'm honestly amazed at how much the Muses
Calliope, as the "Chief Muse" as many authors have called her, really wanted to use her position to call attention to a problem rather than reflect only her own glory. It was very interesting to me how she seems to have learned a great deal and wanted to share it.
I do not pretend I know what I do not know.