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Thread: Collection of poems "Lost in Time" for Evi

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    Collection of poems "Lost in Time" for Evi

    Hey everybody!

    Here are the poems and interpretations I had promised.

    - They are supposed to be written in British-English (it seems more appropriate for this kind of work)
    - Several sentences or verses may be divided over more than one row or line
    -> this is because a part of such a verse / sentence has sufficient power in expression or enough content in itself
    - Punctuation is according to metric flow meant for recitation
    - They have been checked for errors, but these may still reside and a later revision is possible

    These poems and interpretations were written over a period of four months. They evolved after Evi had made a portrait for me.
    Inspiration came spontaneously, the urge was compelling to start writing!
    The person portrayed by Evi is a young Billy Gilman and the art reminded me of childhood and innocence I've never known without restrictions.





    Isn't it wonderful that artists inspire each other like that, a process which leads to art bringing forth more art?

    To make reading easier, as most of you won't take the effort to read all the interpretations, the poems are placed above the interpretations.

    Lost in Time


    Winding spiral

    Please hurry, while there is yet time
    Or will time erode the memory
    of witty playfulness?
    Please hurry!
    Fade, fading, ever growing fainter
    but the hurt remains
    please hurry!

    There’s no way to go back
    as time follows a one-way track
    but the memory seems to lack
    the will to avoid pain and drag,
    succumbs..
    and fades to black!

    Carefree, if only for a while
    To flee, even if there's no point
    Because the memory haunts, taunts and wants
    every bit of my mind
    Fade, fading, ever growing fainter
    but the hurt remains
    please hurry!

    It is a winding spiral
    that won't meet its end
    It is a confusing road
    that time won't bend
    no instrument..
    ..for a broken heart to mend!


    Rose, leaves dim and faint

    Rose, your leaves will grow dim and faint
    Whilst standing there, the flow of time won't wait

    And so it is true, you won't be ever pretty?
    Is there a way, that I can prevent
    your silken, soft and subtle beauty
    from feeling, from fleeing from thee!

    And is it necessary, that I should beg
    a heart so restless to start
    giving up the enchanting art
    of feeling, the desire to flee, to be separate from me?

    Rose, your leaves are growing faint
    Not possible, to find a point
    Where your beauty stops being existent
    Yet impossible, avoid to disappoint
    this restless heart, grasping for something that was meant
    as an argument
    to prove that joy and vanity are imminent!

    Oh, rise again, my beautiful rose!
    And your grace wouldn't flee from thee

    Rise and fall, one after all..


    Hold up the rush of time

    Youth, thine inner force, flows like a river
    Though this one soul, is not its giver
    An attempt to prevent, thou fleeing me, in prose or rhyme
    Can not even hold up the rush of time

    Not in outer things, is that we see
    In things inner, is that we truly feel
    the flow of youth, it is eternal
    as life is like a shade
    and made
    the great gift of heavenly dew
    Unrewarded rather than new
    new, as is every moment

    Life, is there a way to blame thee?
    and if such were to be true
    Where would it lead to?
    and thus it appears so bright and lively

    Life, is it that man doesn't deserve you?

    Not in outer things, is that we see
    In things inner, is that we truly feel
    the flow of life, it is eternal
    as the world is like a shade
    and made
    the great gift of heavenly dew
    Unrewarded rather than new
    new, as is every moment

    World, hast thou no other name?
    What makes it so hard
    - and it has been so from the start -
    to distinguish between things, seemingly the same


    Tread carefully

    Tread carefully
    Memory is like a maze, a labyrinth
    One could get lost in
    There is nothing to win
    for a dog chasing its tail
    A heart that gets lost is sure to fail!

    See in the mirror, don't recognize
    A memory haunts, to agonize
    buried away, like a ghost
    that resides somewhere
    like a shadow of the past
    that has died there

    Tread carefully
    Memory is like a maze, a labyrinth
    One could get lost in
    There is nothing to win
    for a snake poisoning its tail
    A heart that gets lost is sure to fail!

    Tread carefully
    Memory is like a maze, a labyrinth
    One could get lost in
    There is nothing to win
    For a scorpion being stung in the tail
    A heart that gets lost is sure to fail!


    Metamorphosis

    Mysterious in form
    the shape, as it's never the same -
    where did it come from?
    A shade, even if only grey
    Reveals colour the same way
    as rainbow and sun light up the day

    This message, as words now appear
    but without, the idea becomes unclear
    Consciousness, it has no boundary
    convey a message, without knowing
    did it travel through the void?

    Mysterious in form
    the shape, as it changes
    reveals a wide array and different ranges


    1. Interpretation to "Winding spiral"

    While it is true that even poets might not always be aware of each and every stylistic device and form of grammatical accuracy (even if they are very fond of such linguistic ornaments and precision), there's no doubt that personal feelings and experiences play an even bigger role in the process of creating poetry. And even if this ascertainment may be a cliché, it is without any doubt an essential and necessary component of the art which is poetry.
    Still, the emotions of a poet are like a maze and often remain a mystery, even for the author who wrote the piece.
    That is why, in the following interpretations, the usage of verbs such as "seem" may appear more frequently than "to be". In short, not everything is what it seems, not even the author of a poem is the master of his emotions or the fruit of its labour pain, which is poetry.

    Regarding the poem "winding spiral", the author makes no secret out of what caused him to compose it. The winding spiral, which is also the title of the corresponding poem, comes into play at the very end, the last strophe. This may hint at it being a conclusion or the most important statement of the poem, neatly packed and "wrapped up" in one noun with an adjective.
    The choice for an adjective such as "winding", combined with the thought of it "not ever meeting its end" (note the future tense), points out that the underlying feeling or thought is that the passing of time, rather than the mere process of ageing, is difficult or painful, like a struggle.
    The "confusing road", in itself a personification, as a road has neither the power nor the will of its own to be confusing, for it is rather the mind of the one who has ordered to construct the road or the one who regards the road as such, adds to the arduous task the lyrical subject seems to face.
    In his mentioning of "time not bending the road" (once more using the future tense), it becomes clear that hope had been set on time to ameliorate the general state of the lyrical subject, feeling the need to elude the sense of being incomplete or wounded ("the broken heart to mend"), the force of time which is supposed to heal all wounds ("the instrument") seems unable to fulfil that purpose.

    In general, the body and introductory part of the poem seem to be an attempt to motivate himself or the reader into being more aware of every bit of the phenomenon called time ("please hurry, while there is yet time"). In other words, action is considered necessary to honour time as such, granting and acknowledging (rather than giving) it the status of preciousness deemed appropriate by the lyrical subject.
    Even if time is continuously racing on and therefore ultimately running out ("while there is yet time" and "there's no way to go back, as time follows a one-way track"), the only consolation seems to reside in the possibility of spending it according to the wishes or conceptions conveyed in this poem.
    This wish seems to be thwarted, as (analogue to the last strophe) the sense of being unable to change the situation appears dominant, with time in vain being addressed to soften the pain or sense of helplessness. The rhetorical question "will time erode the memory of witty playfulness?" is being applied to signify this difficulty the lyrical subject faces.

    Coming to the conclusion of this interpretation one has to consider the psychological constitution of the lyrical subject.
    It becomes clear there is not only a sense of disappointment resulting out of the deficiencies belonging to the force mankind calls "time". Being unhappy and torn between two opposites such as the wish to hold and keep a precious amount of time ("Carefree, if only for a while - To flee, even if there's no point") and the inevitable on-going flow of time is also being magnified by the inability to take control over one's own emotions.
    Regarding this matter the memory, over which it seems impossible to have any control, even seems to possess a mind independent from the lyrical subject, as another personification, now combined with assonance, comes into play ("the memory haunts, taunts and wants every bit of my mind").
    Even if the "memory of witty playfulness" seems to grow fainter (using an odd but original combination of assonance and climax "fade, fading, ever growing fainter"), "the hurt remains".
    This is a particular painful situation for the lyrical subject, expressing his sorrow over losing a precious memory or its intensity, while not being able to escape the pain it accompanies. Of course, the question should arise why irony has made it so that time is able to "erode the memory" (at least to a certain degree), while keeping the negative counterpart ("hurt") intact.


    2. Interpretation to "Rose, leaves dim and faint"

    In order to develop an understanding of this poem, it might prove helpful to point out the meaning of the word "vanity" in this particular context. In the modern world, it is typically being associated with an exaggerated concern for physical appearance or it's perhaps also valid as a term for a character that has a bloated and overly positive perception of itself.
    In this case, the word should be approached with a different mind-set that derives from times long forgotten by the majority of the human race.
    The baroque era, which approximately spanned a period ranging from the 17th century to the midpoint of the 18th century, has in itself become symbolic for the connotation that was common in regard to the word "vanity". The true meaning implied the inevitableness of the passing of time ("the flow of time won't wait") and the helplessness of the human being, who was considered to be nothing more than a mere ball dancing on the waves of the ocean that is made up by the unstoppable force which is time.
    And even if physical beauty is not the pivotal theme in this poem, it is being elaborated on, using a rhetorical question to address the rose as if it were a person, and mentioned (using adjectives such as "..pretty?" and "beautiful" and a substantive such as "..beauty").

    This beautiful species of flower finds its use as a wedding present or perhaps to lay on the coffin of a dear deceased person. Such a usage may serve as an example of its widely recognized symbolic meaning for affection and warmth between people or the preciousness and fugaciousness ("..fleeing from thee") of life.
    This fugaciousness also becomes visible while regularly observing blossoming and decline of such a beautiful flower. At first, the leaves seem smooth and bright in colour. As time passes by, these leaves shrivel, lose their firm structure, the colour gets dim or darkened and the stem develops a bended form, much like an elderly lady.

    What is however a theme of great importance, if one wants to understand the intention of this poem, is that such a process of growing old and losing physical strength and beauty would have to lead to a logical contradiction or at least to a difficulty in that respect.
    It is impossible to exactly determine where the point of decline starts ("Not possible, to find a point - Where your beauty stops being existent") and the lyrical subject, which could be interpreted as a part for the greater whole (pars pro toto) of mankind, seems just as helpless in his inability for determination as he is in preventing his own deterioration.
    If the human momentariness is to be summed up in that regard, it seems that both losing the force and vitality of youth and the inaptness to pinpoint the turning towards degeneration seem to be parallel phenomena.
    As such the lyrical subject, or mankind, might feel assaulted from two sides. These two sides lead to an increase of the sense of being helpless, unable to know fully and unable to maintain cherished youth and beauty.
    Perhaps the only positive result that might arise from such a cleavage is the certainty that our knowledge is limited and the process of ageing inevitable. And this certainty is onto itself the limitation of the same human knowledge it is meant for to describe.
    This cleavage also becomes apparent in the development of the lyrical subject throughout the poem. After having asked the rose a question concerning its beauty, the lyrical subject seemingly hopes to find a way out of his doubt and emotional struggle by asking the rose for advice ("And is it necessary, that I should beg
    a heart so restless..")!

    This inner duality seems to be magnified by the formulation describing a heart that is motivated to feel, flee (using assonance as a stylistic device) and being separate from its "self". More importantly these inner emotional motives are being rated as an "enchanting art". Even if emotion, being sensitive, pain and inner duality are inevitably intertwined, the lyrical subject seems to want to conserve all these characteristics, preferring it over not having duality, which would also imply not being able to love and feel.
    Finally, while getting near the conclusion of the poem, the two impossibilities, which are not being able to pinpoint the loss of beauty and feeling without inner duality, are repeated and rephrased ("Not possible" and "Yet impossible").
    At the end of that particular strophe, the totality of feeling and pain (which is the duality) is rated positively, with the conclusion that "joy and vanity are imminent". Duality is worth paying the price, as it also renders possible the existence of joy.

    After this conclusion, the wish is uttered for the rose to rise again, using both an imperative ("..rise again.."), having the intention to force the rose to take a certain action, and a conjunctive ("..your grace wouldn't flee from thee"), out of which the conclusion could be drawn that such a situation is conceivable, but not yet real.
    The wish could be interpreted as a reference to the circle of life, as one may observe over the course of a year with its ever reoccurring seasons (the winter always being expelled by the new force of light and life which is spring).
    Another possible interpretation regarding this wish is the belief in the resurrection, the religious conviction that death will eventually and irrevocably be overcome by life.

    In trying to summarize the deeper message of this poem, it could be stated that there are answers to the questions regarding the turning point of beauty becoming "dim and faint".
    These questions are mentioned in the title of the poem that bears no cryptical meaning, as the mental leap from dying leaves to the association of mourning or the fear of losing beauty and youth doesn't seem too broad.
    Duality, with its rather problematic nature for the insecure human being, is unavoidable if one is to experience the joy of life.

    At the very end of the poem, the inevitable duality ("Rise and fall..") is mentioned once more. Finally the choice of words, having led to the usage of "one after all", seems to refer to the co-existence of the collective and the individual. The human being, being compared to the dying rose in his imperfection and limitation, can not claim himself to be everything there is, he is first and foremost dependent on the life around him in order to discern his own existence.


    3. Interpretation to "Hold up the rush of time"

    This poem has a somewhat rare but interesting structure. The poet or author, who should normally not be mistaken for the lyrical subject, has written this poetical work with the purpose or intention to describe the poetical process itself.
    At the first glance, this might not even be apparent to the observer, as the title once again mentions time, one of the central themes of this collection of poems. The introductory verse indicates the other central theme, which is youth ("Youth, thine inner force, flows like a river").
    Using a form of synthesis, these two notions are combined, as both time and youth irreversibly go forward like a flowing river. This means the lyrical subject seems to suggest that both phenomena are related to each other or, in other words, intertwined.

    An important underlying idea, which is being conveyed by the second verse, is the limitation of the lyrical subject concerning the vital force of youth. Although it is rated positively, "this one soul is not its giver", which means that youth is not being regarded as something that a human being, for which the lyrical subject serves as a part for the whole (pars pro toto), has created out of his own will. Using a different formulation, the synthesis of youth and time are considered to be a gift, not an acquisition.
    The aforementioned preciousness and vulnerability of such a gift are defined by the third verse, as an unsuccessful attempt is being described to prevent youth and time from elapsing, suggesting a wish to be able to possess a portion of youth and time.

    This, of course, leads to a logical contradiction, as it is impossible to conserve a phenomenon that is permanently and incessantly changing its characteristic or nature. The Greek philosopher Heraclites elaborated on this concept in ancient times, with his famous words "panta rei", which means "all flows". While observing a river, for instance, it is impossible to pinpoint a fixed conceptualization, because each and every moment during observation will render an image differing, if only slightly, in certain characteristics such as wave-length or reflection of light.

    The art of poetry itself is regarded as an attempt to separate a smaller unit of youth or time from the greater whole ("An attempt..in prose or rhyme") , having the intended purpose in mind to cherish it, as if it were an unchangeable possession.
    The desired unchangeable nature becomes apparent by the use of a comparison, which is "holding up the rush of time", meaning that time would be conceivable as standing still and therefore unchangeable.

    The poem is composed by utilization of a determined structure, which bears resemblance to the profile of a song.
    The first four verses (as a couplet) contain a posed impossibility, on which the first refrain answers by giving an elaboration in regard to the themes mentioned in the impossibility.
    While looking at the poem in its entireness, questions come into play ("Life, is there a way to blame thee?") as the poem progresses on to reach its conclusion.
    The structural characteristic of the poem derives its nature similar to that of a song, if one is to regard the quartets and octets as couplets and refrains respectively.

    The structure is effective to such an extent that certain phenomena, such as youth and time, are being collected and transferred to a greater whole.
    An answer to the posed problem or impossibility of the first couplet is the concept of youth as an eternity ("the flow of youth, it is eternal"). Even if youth is ever-changing and perhaps, on the smaller plain, not obtainable by the individual, its existence, in itself, is everlasting. Such an idea, which is rising and falling as part of an inexhaustible greater whole, would also fit in a religious perspective on existence, acknowledging God as the supreme and eternal Creator of all there is, or the circle of life.
    Another common perception in religious art and literature is the illusionary nature of the ephemeral world and the unchangeable, eternal nature of God. This concept is devised by the application of contrast between "outer things" and "things inner".
    An interesting point to note is that such a formation of words is called chiasmus as a stylistic device, even if the two poles of the contrast are separated or followed by a subordinate clause containing a verb denoting observation or the senses in general ("see" and "feel", in the first and second verse of the first refrain respectively).
    As is the case in philosophy, every question, even if it is partially answered according to the limitations of human knowledge, provokes the birth of new questions.
    The particular themes that are part of the introduction are answered by the first refrain and, not surprisingly, lead to a new empty space in the range of the lyrical subject's understanding.

    The next theme, which is to be explored, is the phenomenon of life itself and the question arises whether it is to blame for the imperfection experienced by the lyrical subject ("Life, is there a way to blame thee?"). Life is directly addressed to, parallel to youth and time in the first couplet, as if it were a person with a mind and responsibility of its own.
    This question seems to dissolve as soon as the lyrical subject realizes that even a confirmation of his question ("where would it lead to?") seems like a source for further uncertainty, meaning such a confirmation would not automatically lead to a satisfying solution. This question, on which the following refrain is meant to elaborate, also serves as a rhetorical device, forcing the reader to ponder the same difficulty.
    The last verse of the second couplet suggests a positive connotation ("thus it appears so bright and lively") regarding the content of the second refrain, in which the rhetorical question of the previous couplet is contemplated.

    One verse, that stands separated from greater groups of verses such as couplets and refrains, has an exceptional function, given the fact that there are no parallel compositional forms in this poem.
    Also in the form of a rhetorical question, both meant as an inner monologue and to direct at the reader, suggests that the problem may, in part or in totality, be caused or magnified by human ignorance and ingratitude ("Life, is it that man doesn't deserve you?").

    The answer to the problem posed in the second couplet is being given in a manner parallel to the previous refrain. The second refrain appears to be an exact copy, but if one looks more carefully it becomes clear that the themes of the first refrain have been replaced by life, which is now considered to be eternal, and the greater whole, defined as the world, respectively.
    An exact parallel to the first refrain is the mentioning of a certain religious metaphor ("heavenly dew") and the conclusion that this "great gift" is not being given the appreciation it deserves ("unrewarded rather than new").
    The fact that life is described as something that passes in the first refrain and something that's eternal in the second (refrain), could lead to a contradiction regarding the interpretation. Decisive in this matter is the difference between the fugacious experience, to which the lyrical subject and mankind are constricted, and the eternal nature of the corresponding elements in the greater whole which is God's creation.

    The very end of each refrain unveils the gist of the entire poem, using only one word ("new"), a characteristic attributed to "every moment". In order to avoid having to regret the choices made in life, it is essential to appreciate every moment. The unthankfulness, to which the separate sentence after the second couplet alludes, is the ingredient for certain regret and is, in other words, the enemy of a fulfilling way of life.

    The poem ends on a somewhat comical note, stating that it is hard to "distinguish between things, seemingly the same". The irony of the matter, even if this isn't irony in the cynical sense, is that, whenever one regards a certain problem, with the intention of trying to solve it by taking the issue to a higher level or dimension, one eventually ends up at the point from where one had started, meaning with exactly the same problematic question, albeit now on a higher level.
    If one is to draw a conclusion from this somewhat cryptical content, the limitation of human knowledge and understanding is what could be defined as the deeper but hidden message of this poem.
    Another couplet comes into use without being followed by another refrain, which means that the world is the largest greater collective the lyrical subject can think of or to which this particular poem allows the necessary space or appropriate context.


    4. Interpretation to "Tread carefully"

    This poem seems to have a somewhat more sombre tone compared to the more contemplative, serene or perhaps romantic nature of the previous ones. In this case, the title and the first verse seems to suggest a warning, which is an instruction for the reader to take or avoid a certain action necessary to prevent them from being disadvantaged by some sort of danger or evil.
    To tread, as a verb of movement, seems to indicate the lyrical subject is advising the reader to be careful and considerate in his actions, even if these are not yet specified. The process of treading, for example in the sense of a prudential series of footsteps, normally suggests a form of movement one might encounter in everyday life, the meaning is however abstract in this particular context.
    Whereas one would normally tread carefully in order to avoid injuries caused by falling after losing one's balance, the verb, in this poem, finds its usage as a means to describe an emotional state of being and the way to deal with such a complicated human characteristic.
    In other words, as is the case in being careful while walking to avoid falling and injury, the lyrical subject is convinced that a certain emotional blindness, which might lead to "getting lost in a maze or labyrinth", might prove just as treacherous to the well-being of man.

    The lyrical subject seems to bear a certain distrust towards his own memory or memory in general ("memory is like a maze, a labyrinth"). Using the aforementioned citation in brackets may serve as an interesting example of a miniature accumulation as a stylistic device, as only one word is added to complete the meaning and enforce the expressive power of the theme.
    At this point though, it is yet uncertain whether this distrust is being nurtured by the unreliability of the human memory or perhaps the notion that a certain emotion is attached to it, which might lead to irrational behaviour or obsession. Therefore it is at this point that one should keep in mind the pivotal question in trying to determine the essence of this poem: is the lyrical subject urging the reader to attach a greater or smaller value to the significance of the emotional human condition?

    Throughout the ages, such a theme was generally discussed and examined by scholars and writers. This problematic difficulty concerns the question whether reason or emotion is more likely to allow the human being a happy existence?

    The Age of Reason (later 18th and early 19th century), for instance, having brought forth writers such as Immanuel Kant, laid great emphasis on judging moral and ethic situations on a rational basis, a foundation that should be comprehensible and reproducible by all under all circumstances.
    The Romantic Period (roughly from the midpoint of the 19th century until the beginning of the 20th), having brought forth musicians such as Robert Schumann, who cared less about the mere strictness in compositional form than he did for emotional expression, was a constellation in art and literature that was more supportive of the concept that at its core contained the helplessness of the human being in trying to be the master over his emotion and, of course, the idea was broadly accepted as valid.
    Exactly this question still resides today, in the minds (rational) and hearts (emotional) of artists and scholars such as the poet who wrote this poem. Even if it may be widely considered a cliché, the idea is still relevant, yet mankind has not been able to conceive of a satisfactory solution to the dilemma posed by the two opposites which are reason and emotion.

    The first strophe contains an apparent warning "not to get lost in the maze or labyrinth". The choice of words (for "maze" or "labyrinth") may, in a metaphorical sense, serve as a way to describe and convey the gravity of the complexity which is inherent to the human emotional condition.
    In itself the importance of emotion is not being neglected or underestimated. The intention is rather to put emphasis on the responsibility of the individual to be wise in dealing with his emotions, pondering the consequences of his mind-set and actions, meaning that it is possible to cherish feelings and instinct while also being in contact with them.

    The synthesis between reason and emotion becomes apparent through the nature of the composition and its content.
    The poem has been structured according to the form one may encounter in songs. This means that the particular strophe which differs from all others ("see in the mirror .. that has died there") could be used as a refrain and is not repeated between each couplet to keep the poem compact.
    The other strophes, to explain how the synthesis between reason and emotion is attained, are to be considered couplets, and in itself have a symmetrical structure.
    The first three verses describe "getting lost" somewhere, which hints at reason, a necessary asset to prevent the lyrical subject or the human being from being harmed by careless thoughts or deeds. This potential harm is being indicated with the notion of getting lost, or in other words being helpless in finding one's destination or the place of belonging.
    Emotion is being described in the three remaining verses and therefore a symmetrical structure constitutes each couplet. To indicate emotion, it is stated that "there is nothing to win for a heart that gets lost". Again making use of the conception of getting lost, the link to emotion becomes apparent by the use of the substantive "heart", commonly regarded as the seat of passion and emotion, as opposed to memory, which in itself carries a more rational, functional essence.
    Getting lost is being mentioned in the last verses of the two segments which constitute a single strophe, out of which results a parallel distribution of words and meaning attached to the ends of those segments as a conclusion.

    Each strophe appears to be similar, with the only exception of different animals (dog, snake and scorpion) being mentioned in the context of the relationship each animal might have with its tail.
    Without exception this relationship seems to be an unhappy one. The "dog chasing its own tail" will never be able to obtain the permanently fleeing object it desires, the "snake being poisoned by its own tail" will suffer from its own venom, and a "scorpion that is stung in the tail" (most likely by another poisonous creature) would have damage done to the most important weapon that normally secures its survival. The state of unhappiness experienced by those animals is a comparison to describe the human condition, that may be impaired by improper usage of reason and emotion, the deeper message of this poem.

    Finally, the refrain is meant to depict the ultimate consequence of what might result out of not being in contact with one's reason and emotion. Not being in contact is alluded to using a comparison of looking in the mirror ("See in the mirror, don't recognize"), as a person who knows himself would have to be able to specify whose reflection appears on the surface of the mirror.
    The refrain also synthesizes the two central themes, as memory and certain verbs conveying a difficult or painful state of mind ("haunts"; "agonize") are applied to indicate reason and emotion respectively.
    Both "memory" and the "shadow of the past" are being personified, as if they have a will of their own to "haunt" the lyrical subject or even mortality ("..that has died there"). Again, emotion and reason are being assembled, as memory needs emotion, and vice versa, to attain their optimal form.
    The symbiotic relationship and its necessity become apparent by specifying how memories may be suppressed ("buried away"), which leads to being unable to free oneself from the past ("a shadow of the past") and a state of being inanimate, lifeless or disconnected from one's feelings ("that has died there").
    The choice for substantives such as "ghost" and "shadow" are also typical for a state in which there is an absence of light or life, much like the Underworld or Hades mentioned in ancient Greek mythology and literature, as the pitiable souls of the deceased, according to the ancient notion, spend their existence in a dark, monotonous dwelling place ("reside") void of hope.
    All in all, this explains the more sombre tone of this poem and the warning nature that has been attributed to it.


    5. Interpretation to "Metamorphosis"

    The last poem appropriately, directly carrying on the link to ancient mythology apparent in the previously discussed poem, has been given a Greek title, "Metamorphosis", which means a change of physical appearance or shape.
    The most fitting example, that is probably the most common and comprehensible in everyday life, is the transformation of the caterpillar into a butterfly.

    It is not only the last poem of this collection, it is also the shortest. In essence, it describes not so much the art of writing poetry, which was a theme in the third poem "Hold up the rush of time", but rather the inspiration which lies at the basis of all art.
    Of course, poetry is part of the greater collective called "art", so the statement may prove valid that it takes the idea of the third poem to a higher level or dimension.
    To paraphrase another connection to Greek mythology and cultural history, this last poem and the third are directly devoted to the Greek muses, goddesses that protect the fine arts and give inspiration accordingly.
    The question arises how change in physical appearance and art are assimilated in such a way that a connection between the two becomes logical and relevant. This question should be answered by evaluating the structure and character of the poem.

    The introductory part of the poem, made up by the first verse, mentions the word "mysterious", which suggests the lyrical subject is trying to grasp the meaning of something that is evident as a phenomenon and, on the other hand, hard to describe and understand.
    This also becomes apparent in the second verse, which denotes "the shape never being the same".
    Of course, a shape that is never the same is perpetually changing and this gives a clear reference to the title of the poem ("Metamorphosis") while also referring to the same philosophical notion of phenomena ever-changing that is most notably being elaborated on in the third poem.
    The third verse, being posed as a question ("where did it come from?"), contains the first indication regarding the artistic inspiration around which the entire poem is centred.
    The question in itself fulfils an allegoric purpose and the aforementioned shape, of which the origins are unknown, stands for the artistic inspiration that is just as veiled in inexplicable mystery. The artist may never be able to exactly pinpoint where the driving force, that renders motivation to start and complete his work, comes from, even if its existence seems just as poignant and evident as its origin is impossible to determine.

    An interesting feature in regard to the structure and content of this poem is that it's predominantly parallel to the third one (both being centred around the muses and describing the birth of artistic ideas and works in conjunction with the eternally changing nature of certain central themes) and directly connecting to the previous poem, which bears subtle references to Greek mythology, e.g. mazes and labyrinths, as in the story of the Minotaur, or the mentioning of certain aspects that would normally be associated with the Greek conception of the Underworld or Hades.
    These elements enable a consequent range and elaboration of themes, out of which a logical structure results, forming the underlying framework of this collection of poems.

    Surprisingly, the subject diverts to colours ("reveals colour the same way") rather than shape itself. What might appear as a contradiction, is that even "a grey shade" has the capacity "to reveal colour" and is subsequently being compared to the intensity and splendour of the rainbow, with its many colours, and the bright, golden sun.
    The fact that these attributes (the spectrum of the rainbow and the bright, golden sun) aren't mentioned reveals the usage of the ellipse as a stylistic device, which leaves out certain characteristics or information for esthetical or perhaps cryptical reasons.
    The apparent contradiction of greyness conveying colour suggests the lyrical subject is convinced that an appreciative outlook in life enables one to be susceptible, in a positive sense, to precious sensations that may be lost or imperceptible to others.

    The second group of verses is shorter than the first, and the third and final strophe is the shortest. The intention is to progressively reduce words describing content, out of which results the core meaning of the entire poem in a short but precise aphoristic form.
    In order to be able to understand the aforementioned core meaning, it is necessary to analyse the second strophe that leads to this conclusion.
    Its character could be described as mental in nature, meaning it provides insight into what is going on in the mind of the lyrical subject.
    The first verse refers to the process of the creation (".., as words now appear") of the poem itself ("This message.."). This particular verse is kept rather short and the reader might wonder what results out of "the words that are now appearing".
    This also means the ellipse is being used once more as a stylistic device. The purpose of the ellipse becomes apparent by the content of the second verse. Without the words mentioned in the first verse, it is impossible to define an idea that may serve as the basis of this poem or for art in general (pars pro toto).
    The positive connotation that is being attributed to the source of such words and ideas ("Consciousness") is being signified by its limitless nature ("..it has no boundary"). This means that there is an inexhaustible source of inspiration that may eventually lead to the creation of art.
    It is also possible that this creation of art happens unknowingly, as a deeper message or meaning may be transmitted without a conscious attempt by the one who bequeaths it ("convey a message, without knowing"), adding up to the mystery of not knowing where the origin of such inspiration is to be sought.
    Once again, in the fourth verse, a question, to be more precise a rhetorical one, arises ( "did it travel through the void").
    In fact it is very similar to the question asked in the third verse of the first strophe ("where did it come from?"), as it questions the origin of inspiration, with the mere difference of the second question being an attempt to be more specific, even if it's just as unsuccessful as the first question in not being able to give an answer.
    Without attaining a more concrete suggestion in the form of an answer, these questions also allude to the religious character that pervades this collection of poems, as God is commonly recognized, at least in the religious conception, as the ultimate, eternal and mysterious (see: "mysterious in form") entity that lies at the basis of all there is, understands and knows the human being to full extent, whereas the human being is incapable of knowing himself or God fully.
    Given the fact that God isn't directly mentioned, it may be stated that the entire poem is in itself a larger ellipse (meaning larger than one verse or strophe), alluding to rather than mentioning God by name.

    Finally, the last strophe, which only consists out of three verses, serves as a summarization of the poem by repeating the mysterious nature ("Mysterious in form") of shape and inspiration. The synthesis, based on the common characteristics shared by shape and inspiration, is that these two central themes are ever-changing and dynamic ("wide array and different ranges").
    All in all, these characteristics allow shape, the outer form of art that may manifest itself in words or colours, and inspiration, the inner, hidden force that motivates the artist to be creative, to be a source that can not be accurately defined regarding it's nature or origin while providing an inexhaustible and eternal flow of art and creativity.
    Last edited by EnigmaticSun; 07-08-2013 at 02:17 PM. Reason: szpelling 'n grammer
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    Re: Collection of poems "Lost in Time" for Evi

    Hey Fabian!
    Above all, thank you very much! VERY, VERY MUCH!!!
    I did not deserve such an honor.
    My modest portrait caused such a reaction in you?
    I will not judge style, I am not a literary critic.
    Just write what I feel. However, I have read in peace again poems and interpretations.
    I'm really incredibly thrilled but worried ...
    "The person portrayed by Evi is a young Billy Gilman and art reminded me of my childhood and innocence never know, without limitation"
    It's not a merry confession,I sense of melancholy here.
    "Is not it great that artists are inspired by each other so that the process that leads to the art of bringing more art?"
    Yeah! This is great, but in this case such as mine.
    Elvis is my inspiration and it does not compare to my humble work and the influence it to your creative impulse.
    For now, THANK YOU!
    I'll write more, much more.
    I'll Remember You!!!

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    Re: Collection of poems "Lost in Time" for Evi

    I'm very impressed sunshine. You are obviously far more talented than you've led me to believe. I can find certain verses in all of the poems that for, whatever reason speak to me.

    I particularly enjoyed Tread Carefully.

    Your interpretation "it is yet uncertain whether this distrust is being nurtured by the unreliability of the human memory or perhaps the notion that a certain emotion is attached to it" reminds me of trauma based disassociation and the fracturing of the psyche.

    Whether this was your intention, I'm unsure, but it immediately sprang to mind upon reading the opening verse.

    Definately worth the wait and most definately worth getting on your back to get these sooner, rather than later.

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    Re: Collection of poems "Lost in Time" for Evi

    Quote Originally Posted by elvia7 View Post
    Hey Fabian!
    Above all, thank you very much! VERY, VERY MUCH!!!
    I did not deserve such an honor.
    My modest portrait caused such a reaction in you?
    I will not judge style, I am not a literary critic.
    Just write what I feel. However, I have read in peace again poems and interpretations.
    I'm really incredibly thrilled but worried ...
    "The person portrayed by Evi is a young Billy Gilman and art reminded me of my childhood and innocence never know, without limitation"
    It's not a merry confession,I sense of melancholy here.
    There are two reasons for this. The portrait depicts a bright and happy boy. It's as if I can feel that liveliness while looking at it.
    What was also being described in "Metamorphosis" is the greyness revealing colour. The portrait is in black and white, but in my observation it becomes colourful, alive.
    The sense of youthful liveliness also leads to regret and sadness over not having had such a happy childhood.

    Another reason for this melancholy is what has become of Billy. My relationship to him is a special one, but.. it seems to be general. While at school I often get the impression of being asexual. The degeneration of the human race is not only showing in their minds, but also physically.

    Quote Originally Posted by elvia7 View Post
    "Is not it great that artists are inspired by each other so that the process that leads to the art of bringing more art?"
    Yeah! This is great, but in this case such as mine.
    Elvis is my inspiration and it does not compare to my humble work and the influence it to your creative impulse.
    For now, THANK YOU!
    I'll write more, much more.
    If it wasn't for Elvis, we wouldn't be exhanging art and thoughts here. Something to ponder for those who feel Elvis contributed nothing to this world on an intellectual basis.
    It is also important that we keep on being creative in our work, Evi. These are difficult times, under an economy and state so similar to the old Soviet Empire. You don't get a lot of attention and reward if Stalin doesn't like your art. And yes, "Stalin" is pars pro toto in this context!!
    Last edited by EnigmaticSun; 07-03-2013 at 11:03 AM. Reason: szpelling 'n grammer
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    Re: Collection of poems "Lost in Time" for Evi

    Quote Originally Posted by Snake Eyes View Post
    I'm very impressed sunshine. You are obviously far more talented than you've led me to believe. I can find certain verses in all of the poems that for, whatever reason speak to me.

    I particularly enjoyed Tread Carefully.

    Your interpretation "it is yet uncertain whether this distrust is being nurtured by the unreliability of the human memory or perhaps the notion that a certain emotion is attached to it" reminds me of trauma based disassociation and the fracturing of the psyche.

    Whether this was your intention, I'm unsure, but it immediately sprang to mind upon reading the opening verse.

    Definately worth the wait and most definately worth getting on your back to get these sooner, rather than later.
    Thank you for sharing your thoughts! You're both great friends to have on TCB-world.

    No, I hadn't heard of the trauma you have described. On the other hand it is true that poetry should convey something that is understood or tangible by many. You could also call it the art of formulating personal feelings and thoughts in such a manner, that they become common rather than purely individual.
    Surprisingly, every person may find something different that speaks to him, even if the content they refer to is exactly the same.
    Similarly, each person might select a different poem as his favourite.

    And there's something else.. if Billy had grown up to be a healthy young man, I'd have shared some of his recent pictures in your "for the ladies" thread.
    Haley Joel Osment is also both fat and unnatural nowadays, but at least he had the guts to play a queer person in one of his recent movies.
    Last edited by EnigmaticSun; 07-03-2013 at 11:18 AM. Reason: feeling tense over the use of tense
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    I'm only Your elvia7's Avatar
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    Re: Collection of poems "Lost in Time" for Evi

    Quote Originally Posted by EnigmaticSun View Post
    The degeneration of the human race is not only showing in their minds, but also physically.
    Yes, but you can see it on the streets as well. Not to mention the intellectual attempt to make contact with some of the young people.
    Take comfort, however, Fabian, I know some wonderful young people.
    You know what? I even know what sex are. This is not a joke, it's very deep problem!

    "You don't get a lot of attention and reward if Stalin doesn't like your art. And yes, "Stalin" is pars pro toto in this context!!"

    I agree here. Did you use of Latin .... Hmmm, I like it. Stalins we have many! I know what you mean.
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    Re: Collection of poems "Lost in Time" for Evi

    Quote Originally Posted by elvia7 View Post
    Yes, but you can see it on the streets as well. Not to mention the intellectual attempt to make contact with some of the young people.
    Take comfort, however, Fabian, I know some wonderful young people.
    You know what? I even know what sex are. This is not a joke, it's very deep problem!

    "You don't get a lot of attention and reward if Stalin doesn't like your art. And yes, "Stalin" is pars pro toto in this context!!"

    I agree here. Did you use of Latin .... Hmmm, I like it. Stalins we have many! I know what you mean.

    Nice to find some agreement here..
    Young people, they seem to want to be part of the group while not asking any questions.. give them a cigarette and junk food and they're satisfied.

    I'm happy that you are appreciative of my work. For the time being, not many will take the effort to pay it any attention. It is likely that, after my death, people will finally understand.
    I'm still pondering how the story might continue. Perhaps I could make a video with recitations and short interpretations. Another idea would be to compose song structures, of course.

    What I meant regarding Stalin was the following. First of all, pars pro toto means a part for the whole. One example serves to point out a common characteristic or phenomenon.
    Take for instance the movie "dr. Zhivago" released in 1965. Omar Sharif starred as a young poet in Russia. It occurred to me that, while being confronted with a powerful person from the Soviet authorities, he is being told his poems are personal, petit bourgeois and self-indulgent. In the "new Russia", there's no room for emotions or feelings. They are meaningless.
    This is so typical for the current situation, though in this constellation it is being achieved by providing medication, social networks and mindless entertainment to dumb down the masses rather than terror squads and forced labour as it was in the USSR.

    Again, thank you Evi. Keep on doing your work, too.

    And Snake Eyes, I really hope the Billy explanation has also served to help you finding out what could have been attractive.. though he wouldn't have been your type I'm sure!
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    Re: Collection of poems "Lost in Time" for Evi

    I don't know much about Haley Joel Osment other than he used to see dead people. You were bang on the money about him not being my type though. Not even close!

    Some of your other comments about dumbing down the masses, yes I'm in full agreement there. What can you do? I have these conversations constantly and people just don't get it. Take the red pill, take the blue pill. Ignorance is bliss it seems.

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    Re: Collection of poems "Lost in Time" for Evi

    Quote Originally Posted by EnigmaticSun View Post
    Take for instance the movie "dr. Zhivago" released in 1965. Omar Sharif starred as a young poet in Russia. It occurred to me that, while being confronted with a powerful person from the Soviet authorities, he is being told his poems are personal, petit bourgeois and self-indulgent. In the "new Russia", there's no room for emotions or feelings. They are meaningless.
    This is so typical for the current situation, though in this constellation it is being achieved by providing medication, social networks and mindless entertainment to dumb down the masses rather than terror squads and forced labour as it was in the USSR.

    It just so happens that "Doctor Zhivago" is one of my favorite movies.
    It is not entertaining novel. This is the real art.
    Great movie! A wonderful novel!
    "The novel of the same name, upon Which the movie was based, written by Boris Pasternak was published in the West amidst celebration and controversy. Pasternak's book had been known in Samizdat since some time after World War II. However, the novel was not completed until 1956. The book had to be smuggled out of the Soviet Union by an Italian called D'angelo is whom Pasternak had Entrusted the book to be delivered to Feltrinelli, an Italian publisher who published it shortly after. Helped by a Soviet campaign against the novel, it Became a sensation throughout the non-communist world. It spent 26 weeks atop the New York Times bestseller lists. "
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    Re: Collection of poems "Lost in Time" for Evi

    Quote Originally Posted by Snake Eyes View Post
    I don't know much about Haley Joel Osment other than he used to see dead people. You were bang on the money about him not being my type though. Not even close!

    Some of your other comments about dumbing down the masses, yes I'm in full agreement there. What can you do? I have these conversations constantly and people just don't get it. Take the red pill, take the blue pill. Ignorance is bliss it seems.



    I agree, sadly, people want to believe what they are fed by the oligarchy and if anyone tries to change the status quo, due to they being brainwashed by this age old system, they become maniac.

    Good system for the plutocracy and their incomes which increase every year, no matter what happens in the world.
    Last edited by Turbo; 07-06-2013 at 05:46 PM.

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    Re: Collection of poems "Lost in Time" for Evi

    Do not worry Fabian, as Hippocrates said:
    "Vita brevis, ars longa, occasio praeceps, experimentum periculosum, Iudicium difficile"
    Life is fleeting, art is eternal! Money is not always the most important. Do not bring neither peace nor happiness!
    I know something about you. Believe me and respect the most important, his own talent and true love.
    I'll Remember You!!!

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    Re: Collection of poems "Lost in Time" for Evi

    Quote Originally Posted by Snake Eyes View Post
    I don't know much about Haley Joel Osment other than he used to see dead people. You were bang on the money about him not being my type though. Not even close!

    Some of your other comments about dumbing down the masses, yes I'm in full agreement there. What can you do? I have these conversations constantly and people just don't get it. Take the red pill, take the blue pill. Ignorance is bliss it seems.
    Yes, that was his first big role. It seems a lot of kids once famous have some trouble reaching adulthood. It surprises me how they get ugly like that. So in other words, he could have been my type too, but considering the circumstances it doesn't work out.

    You've gotta agree the portrait by Evi is smashing, don't you think? I could spend days crying over it.

    Bet I could accurately pinpoint who is your type and who isn't..

    Thank you also for being able to see the seriousness of the situation regarding ignorance..
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    Re: Collection of poems "Lost in Time" for Evi

    Quote Originally Posted by Turbo View Post
    I agree, sadly, people want to believe what they are fed by the oligarchy and if anyone tries to change the status quo, due to they being brainwashed by this age old system, they become maniac.

    Good system for the plutocracy and their incomes which increase every year, no matter what happens in the world.
    There are certain terms or themes people are conditioned to to such an extent, that they flip out when they hear about it.

    For instance:

    "Government is fallible"

    Reaction in person or masses: "Abort, Retry, Ignore" (as was the case in the good old DOS days)
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    Re: Collection of poems "Lost in Time" for Evi

    Quote Originally Posted by elvia7 View Post
    It just so happens that "Doctor Zhivago" is one of my favorite movies.
    It is not entertaining novel. This is the real art.
    Great movie! A wonderful novel!
    "The novel of the same name, upon Which the movie was based, written by Boris Pasternak was published in the West amidst celebration and controversy. Pasternak's book had been known in Samizdat since some time after World War II. However, the novel was not completed until 1956. The book had to be smuggled out of the Soviet Union by an Italian called D'angelo is whom Pasternak had Entrusted the book to be delivered to Feltrinelli, an Italian publisher who published it shortly after. Helped by a Soviet campaign against the novel, it Became a sensation throughout the non-communist world. It spent 26 weeks atop the New York Times bestseller lists. "
    You know a lot about it! Thank you for sharing that information.
    I also like the soundtrack very much.. being a musician, you know how it is..

    Of course I also like to draw parallels between myself and the poet.
    There are also some very emotional scenes in the movie, like being separated from the one you love without even being able to say goodbye.

    Another thing we have in common, Evi. We both like this movie and have never been to Nicaragua.

    Quote Originally Posted by elvia7 View Post
    Do not worry Fabian, as Hippocrates said:
    "Vita brevis, ars longa, occasio praeceps, experimentum periculosum, Iudicium difficile"
    Life is fleeting, art is eternal! Money is not always the most important. Do not bring neither peace nor happiness!
    I know something about you. Believe me and respect the most important, his own talent and true love.
    Wise words. Fleeting and eternal, two themes that are also being elaborated in my poetical work.
    It's not about the money, really, even if it would be good to support one's living.
    Sometimes the question arises why certain videos get 2²³ views, even if they are testimony of brainlessness.
    There are pearls hidden away.
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    Re: Collection of poems "Lost in Time" for Evi

    Quote Originally Posted by EnigmaticSun View Post
    There are certain terms or themes people are conditioned to to such an extent, that they flip out when they hear about it.

    For instance:

    "Government is fallible"

    Reaction in person or masses: "Abort, Retry, Ignore" (as was the case in the good old DOS days)

    "So and so is very trustworthy" drives me nuts. "You can trust ....... ". "No, they wouldn't do that". Government, of course, is run by the oligarchy and plutocracy.

    When you research, you find that the people have their hands dipped in the major companies, for instance, pharmaceutical companies or the like; the poor public make them more money by buying their product which actually makes them sick. You can't convince your loved ones, as they listen to the news, refusing to read any facts, they will only listen to what is spoon fed to them by auditory means.

    This is such a major problem in our world. Why they believe blindly, perhaps lack of educating themselves, they leave it to what they are told. Perhaps they figure they are part of a group (or middle class system), which is more important to them than truth. Easier to not know the real truth, they prefer to believe spin doctors with their propaganda.

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    Re: Collection of poems "Lost in Time" for Evi

    Quote Originally Posted by EnigmaticSun View Post


    Surprisingly, every person may find something different that speaks to him, even if the content they refer to is exactly the same.
    Similarly, each person might select a different poem as his favourite.


    And there's something else.. if Billy had grown up to be a healthy young man, I'd have shared some of his recent pictures in your "for the ladies" thread.
    Haley Joel Osment is also both fat and unnatural nowadays, but at least he had the guts to play a queer person in one of his recent movies.
    It relates in principle to all forms of art.
    Any person who finds a piece of music is different. This is what some people feel as melancholy and gentle, others bored. Everything depends on the sensitivity.


    Yes, it was great courage on the part of this once so cute little boy! Thank you Fabian, do you know how much I liked this boy.
    Sad ...



    Quote Originally Posted by Snake Eyes View Post
    Ignorance is bliss it seems.
    Yeah!! AGREE with you Jen!!!!!



    Quote Originally Posted by EnigmaticSun View Post
    Yes, that was his first big role. It seems a lot of kids once famous have some trouble reaching adulthood. It surprises me how they get ugly like that. So in other words, he could have been my type too, but considering the circumstances it doesn't work out.

    Thank you also for being able to see the seriousness of the situation regarding ignorance..
    I understand what you mean by writing 'circumstances'.
    However, I can tell you a little, just a little comforted. Some children (the stars) goes! They may not be so sweet but equally fascinating.
    Dakota Fanning ,
    as a child and young woman

    Oh! No, not that! Not after I did a sketch for you, you cry.
    Please, Fabian :-)!!


    I also know, I know the taste Jen

    The ignorance of the masses is a source of strength which the basic principle of the rule of power is wealth (plutocracy or oligarchy, the same thing).
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    Re: Collection of poems "Lost in Time" for Evi

    Yes, I agree.

    Plutocracy and oligarchy have different meanings - if you check the dictionary.

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    Re: Collection of poems "Lost in Time" for Evi

    Quote Originally Posted by Turbo View Post

    Plutocracy and oligarchy have different meanings - if you check the dictionary.
    Wikipedia: The work on the history of political control plutocracy is rich oligarchy.

    However, this is not the main topic of this thread, I think
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    Re: Collection of poems "Lost in Time" for Evi

    Quote Originally Posted by EnigmaticSun
    Yes, that was his first big role. It seems a lot of kids once famous have some trouble reaching adulthood. It surprises me how they get ugly like that. So in other words, he could have been my type too, but considering the circumstances it doesn't work out.
    That was funny, but I know what you mean. Another case in point: Devon Sawa - very cute in Casper The Friendly Ghost. Seeing him again as Stan the psychotic fan in an Eminem video all grown up, didn't work out too well for him. I'm such a b*tch sometimes!

    Quote Originally Posted by EnigmaticSun
    You've gotta agree the portrait by Evi is smashing, don't you think? I could spend days crying over it.
    All of Evis' sketches are amazing, I think she'd be very touched that you've been moved to tears.

    Quote Originally Posted by EnigmaticSun
    Bet I could accurately pinpoint who is your type and who isn't..
    Well, you do have the advantage as you've seen the other thread, but I'll take that bet.

    Quote Originally Posted by EnigmaticSun
    Thank you also for being able to see the seriousness of the situation regarding ignorance..
    But of course, I'm not just about bouncy castles you know.

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    Re: Collection of poems "Lost in Time" for Evi

    Quote Originally Posted by Turbo View Post
    I agree, sadly, people want to believe what they are fed by the oligarchy and if anyone tries to change the status quo, due to they being brainwashed by this age old system, they become maniac.

    Good system for the plutocracy and their incomes which increase every year, no matter what happens in the world.
    That's the truth unfortunately, but it is amusing to a degree how people who question the elite are seen as maniacs. I like the saying "he who controls the gold, controls the world". I would like that much gold.

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    Replies: 10
    Last Post: 11-21-2007, 09:29 AM
  5. Replies: 2
    Last Post: 11-03-2006, 06:12 AM

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