Beauty And Doubt
Beauty should be cause of doubt,
remaining as a paradox
within a fog that, with lights-out,
become its combination locks
which only should be opened for
the people that it may deceive
and all its images adore,
since they’re unable to believe
that lying very far beyond
the beauty that they worship lie
not icons of which they are fond
but feelings hidden from the eye,
felt only by the loving heart
that longs for union of the mind
with images that works of art
cannot portray till eyes are blind.
The image is to history
what certainty must be to doubt,
solution of a mystery
that true love can do well without.
Michael Kimmelman (“Unravelling a 15th-Century Whodunit, ” NYT, December 11,2008) writes about three images attributed to the Master of Flémaille, St. Veronica, Madonna and Child and Gnadenstuhl:
Here at the Städel Museum “The Master of Flémalle and Rogier van der Weyden” is an old-fashioned whodunit. Almost exhaustingly erudite, it mixes up very great Netherlandish paintings of the 15th century with a few not so great ones to unravel perennial questions from galaxy academe about which artist painted what. Why should we care? For the same reason film buffs debate if Howard Hawks was the real director behind “The Thing From Another World, ” the sci-fi classic from 1951 he produced, rather than Christian Nyby, the credited director, or whether the 1943 thriller “Journey Into Fear, ” for which Norman Foster is listed as director, was taken over by Orson Welles, who played a Turkish police detective in it and whose other movies it partly resembles.We should care because, commerce and the usual scholarly nitpicking aside, the debate is itself an excuse for looking closer, and because piecing together any great artist’s legacy is a bit like composing a novel, every chapter part of the artist’s grand narrative, without all of which the story is incomplete. And, well, also because good mysteries beg to be solved…. And yet. Some things are clear. The weary, aged face of Veronica looks deeply, memorably human. The young woman from Berlin is heartbreakingly beautiful. Elsewhere, a painting of a stout man who at first looks identical to a second portrait is built up from layers of paint that subtly absorb light and give weight and density to the face. Max J. Friedländer, the eminent historian, many years ago attributed the portrait to the Master of Flémalle, then later wondered if it wasn’t by Rogier. The curators here think maybe it was. But maybe not. Dendrochronological tests, to measure the dates of trees, have estimated the age of the wood panels on which it and other pictures were painted; spectrographs and X-rays have provided proof of under-drawings, pentimenti and erasures. The famous Mérode Altarpiece from the Cloisters in New York, long attributed to the Master of Flémalle, turns out to be partly copied, it seems, from a picture in Brussels, long thought to have been a copy of the altarpiece. That’s nice to know. But in the end the story of this exhibition is that beauty resides not just in the pictures (of course) but in doubt itself. That art of such profound and unprecedented verisimilitude, which took such pains to record the minutest details of the world, should remain shrouded in such a fog is both a paradox and healthy reminder of a basic truth. Great art is always a mystery.
12/11/08
poem by Gershon Hepner
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Related quotes
The First Artist and Author.
The first artist painted the sky with colors, such beauty,
Look at those sunsets, and the mountains, such reality;
The mountains, have shadows, of splendor that only the Master can do,
Yes! It's God who was the first Artist, and He also taught me too.
The first great artist painted the colors on the sea,
Blues, greens, aquas, Only one could do this you see;
And when there is a storm near, the sea goes so dark blue,
Yes! God is the first great artist, to paint it for me and you.
The first great Artist, loved to teach David to write poetry,
And also king Solomon, writing words of such beauty;
Oh such magnificent works, of color and in each word,
Yes! There is only one who could do this it is the Lord.
Then. We see in every rainbow, and in each shell as well,
Look at the colored sands, and in every bird, it does tell;
Then look at each animal, and also the petals of each flower too
Then as you look at these, , give Thanks for doing it for me and you.
poem by Margaret Haig
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A Great Master Poet Wrote
A great master poet told
how nature interceded
and interrupted a architect’s design
and made it’s own adjustments in time
but that the master designing artist’s eye,
his mind, comprehended
the difference and from it found
a brilliant answer to where
the problems were
and yet a man of the book
took it upon himself
to declare the designers work
as a copy of strokes
made by the hand of God
which lead to the ruination
of that master architect.
Now if we follow this argument
every poem, even every thought,
every painting
about nature’s splendour
or even the beauty of the human being
or whatever,
you could connect to God or His creation,
even when we sing words, paint pictures
and create art
it does not belong to the author
but to the Lord God and his church.
l’Envoi
If you take the artist away
from designs, verses, paintings, music
(from whatever art)
it will not be there
and it will not exist,
which leaves me to conclude
that some men of the holy book
do claim in the name of the divine
that which does not belong to them
or their church.
poem by Gert Strydom
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Am I a master
I am the master, master of art
have painted true pictures,
of rising sun, mountain, sea
through jungles flowing rivers,
shining stars, birds, cloudy sky,
can paint anything and everything.
insects, lions, bear and deer.
just like the living things.
I am the master, master of art,
can make my own paint and brush
Alas! but cannot create raw material
of any of paint, brush or canvas.
Oh! can not paint these seven
which are made only in heaven:
smell, touch, look, hear and taste,
emotions, thought and breathe.
No, I am not the master, master of art
can paint uncountable things yet not.
Not possible to paint love and laugh
I have to go again and again to learn
to the supreme master, who painted
the universe, stars, moon and sun
(C) S. D. Tiwari
poem by S.D. Tiwari
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A Painter In You!
who has painted your picture in my thoughts,
without a brush, the paints and the pallet,
not even sketched using a pencil and a knife,
the picture is perfect with the colors mixed,
your smiling is great with a thin line at the edges,
your eyes are wide open, sprinkling the cheerful messages,
every time the happy visuals of you pop out in the mind,
I couldn't have drawn such a beautiful portrait,
of you in my heart, who has done this painting?
You are the one who posed and painted on your own,
you are a great painter who can paint your pictures,
on everyone's heart whom you know, love and respect.
poem by Veeraiyah Subbulakshmi
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A Deformed Angel
Sometimes life gives us severe shock,
Undermines the plans and does block,
The ways of wisdom leading ahead,
Reveals the hands that secretly mock.
An artist thought to paint an angel,
To use the brush for the masterpiece,
But could not conceptualize the image,
Beauty combining innocence, purity.
One morn, at last, he luckily found,
A child playing on the grassy ground,
Having angelic countenance and grace,
Incarnation he was of sublime serenity.
Painted he the angel with skill utmost,
And earned he the world wide fame.
And he after three full fleeting decades,
Thought for the second master-sketch,
Now not of an angel, but of a devil.
He sought for the image far and wide,
But could not find corresponding one,
Fate then led him amid the prison walls,
There inside met he a young wretch man,
With a devilish nature, face and frame.
The master revealed his intent to paint,
Tears came in eyes of the devil formed,
Said he, “Oh! Master it is a matter of woe,
You sketched me an angel thirty years ago.”
poem by Muhammad Shanazar
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Portrait of a heart
Portrait of a heart
~
A portrait piece by piece
built through the heart
presents a romantic world
memories tell a moving tale
the full beauty of a loving heart
where the artist knows no end
and feels the strain of pride
still the picture takes its shape
to present a landscape of a life
touched by the words of love
scarred by the losses felt
the heart speaks and draws
from the uncharted depths
there in the eye of its picture
a romance reveals
a portrait of a world
built through the heart
poem by Matthew Holloway
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Did My Eyes Deceive
Should I see an optician, doubt
Should I seek a visionary, doubt
Should I find a seer, great doubt
She was flawless and perfect, no doubt
Was it beauty or elegance, both
Did my eyes deceive, never
Should I seek an illusionist, never
Can i call the prophets, never
Will the elders define, never
Is it a miracle of miracles, never
Did my eyes deceive, never
She was wonderfully made,
I desire the hands of the Creator,
Fashioning an embodiment of beauty,
A perfect replica of reality,
I saw greatness in the creativity,
Resisting all sources of ambiguity,
It is true, i saw beauty,
Did my eyes deceive, never
Beauty through the paparazzi,
I defined it on snaparazzi,
Before it in reality i can paint,
Exhausted to the bone, i will faint,
Pure in heart and mind,
To erase the thoughts I tried,
Did my eyes deceive, never
She fell in love with my eyes,
She was always with my heart,
Yet she was never in my heart,
It was the reflection of fate,
It was never late,
I told her she was beautiful,
My eyes believed she was grateful,
My heart I doubted it to be faithful,
Yet being with her, i was hopeful,
Yet my eyes still doubtful,
Did my deceive, never
Was it makeup or otherwise,
The wonders of the makers of beauty,
Or the foxy look of artificiality,
Did my eyes deceive, no they didnt,
I saw an Angel, so rare but true
poem by Gaylord Munemo
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And All These Beautiful Things
AND ALL THESE BEAUTIFUL THINGS
And all these beautiful things,
And all these great people,
Are too our world and our life
And all this beauty,
So so much beauty
Is too our life and our world.
So in the pain and in the doubt and in the suffering and in the worry and in the fear and in the great great sadness and difficulty,
We should also know the Beauty
And the Love
And the Goodness
Of our world
Is too our life
And never give up
Never never never give up.
poem by Shalom Freedman
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When is a Painting Finished?
I paint.
On my easel
pictures in oil and acrylic grow
like stalagmites in limestone caves.
I think that painting is a magical act
that transforms invisible thoughts
and feelings into visible colors
and forms.
But I never can tell
when is the work finished.
After all it is always possible
to change a line, a hue, or a color
or even the whole composition.
Painters have different opinions
about this.
Some say that when the artist
successfully planted
all the details onto the canvas
the image expresses itself
as a severed autonomous entity,
which frees the painter from
the task of continuing to paint.
From then on the painting gains
an independent inner life of its own.
However, abandoning a work of art
involves a moral decision
ripened by the stiffening tension
between skill, creativity and integrity.
At what point does the polished image
meet the artist’s expectations?
And then, even if it does,
no single image can express
all that an artist wants to show,
and consequently his muses
compel him to carry on with his work
and create more paintings.
Hence the oeuvre of the artist
evolves as a set of different images
of the same single thrust and grind.
Many years ago I was wandering
through the countryside
of southern France in Provence.
Once I stopped to look at the road
where the village met the meadow.
A sturdy artist stood there
in front of his easel
painting the landscape
with skilful brushstrokes
on a well-stretched canvas.
I stared for a while
at the burgeoning picture
and then asked him:
“How do you know
when is the composition complete? ”
He gave me a piercing glance.
“Well”, he said,
“if you take a hammer
and hit me on the head
I know that the painting is finished.”
poem by Paul Hartal
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The Portrait of Rachel Fayne
She glided into the studio
And dropped her clothes on the floor,
Gave the artist a pirouette,
And said: 'Do you want any more? '
He shrugged, and told her to take a seat
While he etched the background in,
'I'll paint you draped on the canapé,
I'll tell you, when I begin! '
She wandered naked around the room,
At home in the artist's den,
Rachel Fayne was the model's name,
She'd modelled since she was ten.
From auburn hair to her shapely calves
She'd stared from a hundred scenes,
That hung in frames under different names
As a slave, or a Gypsy Queen.
Her lips were full and her eyes were green,
They'd startled men in the past,
Staring from frames in the galleries,
In the windows of shops they passed,
So haughty and so beautiful,
And beyond the reach of men,
Yet here she'd bare, for all to share
Through the brush in the artist's den!
She hadn't sat for John Durrell
Before, but she knew his work,
The famous 'Woman of Paddington',
The 'Girl by the Friendly Kirk, '
His 'Venus under the Waterfall' -
Her heart had skipped a bit,
As she stared green-eyed in her wounded pride,
Would he never ask her to sit?
The summons came through a friend of hers,
'Be there, first thing in the morn! '
She'd bathed, and powdered her body well
By the light of the breaking dawn,
For John Durrell was a master, skilled
And she knew it would seal her fame,
To be tied to an R.A. masterpiece,
And the famous Durrell name.
'Don't ask too many questions, he's
Intense, and immersed in paint,
He's hard and cold, and inclined to scold
If you don't sit still, or faint,
He'll look at you like a curlicue,
An enigma of line and form,
His passion is brushed in his pictures,
So, it won't keep your body warm! '
He laid her out on the canapé
And took up his sable brush,
Mixed the tint on his palette there,
For the flesh tones, and the blush,
He worked with a growing intensity
And he frowned, as if in pain,
As he brought the features to life within
The portrait of Rachel Fayne.
She wasn't to see the canvas, he
Would cover it, out of sight,
Before she dressed, and took her fee,
Was bundled into the night,
Each day she lay on the canapé,
Each day he'd frown and paint,
'There's something isn't quite right, ' he'd say,
In a tone of quiet constraint.
While Rachel felt there was something wrong
With her, a cold or flu,
Perhaps it was her complexion,
It had taken a lighter hue,
She felt quite sick to her stomach,
Couldn't eat, and her sight was dim,
But he'd continued on painting, so
She held her sickness in.
While there on the painted canvas was
A beauty, so profound,
Her eyes of the deepest green, that seemed
To follow him around,
The lips were a pouting marvel,
Breathing life to the easel there,
Durrell becoming excited with
Each brush stroke through her hair.
His heart was beating much faster with
Each stroke applied anew,
The love that cozened, eluded him
Began to seep on through,
While Rachel gasped to take each breath
And couldn't speak, or think,
As the woman within the picture, well...
Her eyes, they seemed to blink!
The canvas facing the furthest wall
Belongs to John Durrell,
The first and the only portrait that
He swears he'll never sell,
For where the woman had been, is white,
No paint was left behind,
And Rachel Fayne, before she died,
They say that she was blind!
22 January 2010
poem by David Lewis Paget
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Emulation
Dependence leads to emulation,
but sadly creativity
demands thereafter separation,
with hypersensitivity
the reason often for defection
of emulator, who betrays
his master by his rude rejection.
Disengaged like divorcés,
regretting the dependence that
had once inspired them both, they lose
their symbiosis and combat
each other with conflicting views,
and claim they always had suspected
the other was far less inspired
than they, and ought to be rejected,
the sell-by date now long expired.
Inspired by an article Holland Cotter on an exhibition of the art of Titian, Tintoreeto and Verones at the Boston Museum of Fine Art (Passion of the Moment: A Triptych of Masters, NYT, March 12,2009) :
The show is about three such personalities: Tiziano Vecellio, or Titian; Jacopo Robusti, known as Tintoretto; and Paolo Caliari, called Veronese. All three shot off sparks as they reforged painting as a medium. And all three had feverishly competitive overlapping careers. These masters of 16th-century Venetian painting were no Holy Trinity. They were a discordant ménage-a-trois bound together by envy, talent, circumstances and some strange version of love. This is the story the exhibition tells through 56 grand to celestial paintings — no filler here, not an ounce of fat — sorted into broad categories (religious images, portraits, belle donne) and arranged in compare-and-contrast couplings and triplings to indicate who was looking at whom, and why, and when. And that story is set against a larger historical narrative that goes something like this. Before the 16th century Italian art was dominated by two cities, Florence and Rome, and by two kinds of painting: fresco and egg tempera — water-based, fast-drying, smooth-surfaced — on wood. Venice lay outside this mainstream. Fresco wasn’t viable in the city’s humid atmosphere; tempera had problems too. Then, at the end of the 15th century, oil painting, still little known in the rest of Italy, was introduced, and Venetian art caught fire….Finally into the arena strode a third giant, and a somewhat gentler one, Veronese (1528-88) . Named for his native city and still in his teens when he hit Venice, he was quickly acknowledged to be a prodigy, fully formed. Titian became the artist he was through long growth, Tintoretto by sifting and synthesizing influences. Veronese was Veronese from Day 1. Ingratiating in manner, he was a painter of fine texture, sweet color and courtly reserve. Patrons who found Tintoretto too outlandish gave Veronese their business; the elderly Titian took him under his wing. And from the 1540s to the 1580s Venetian painting became a three-way dance among these three men, a tricky choreography of emulation and rejection, dependence and separation. You can follow the moves in a cluster of steamy paintings of nudes at the center of the show, installed in a gallery with crimson walls and tasseled curtains. The Titians — the “Danae” from the Capodimonte Museum in Naples, “Venus with an Organist and Dog” from the Prado, “Venus With a Mirror” from the National Gallery of Art in Washington — are stop-and-stare fantastic.
3/13/09
poem by Gershon Hepner
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Girl And Gun
“All that you need is a girl and a gun
if you making a film, ” said Jean-Luc Godard.
In the dark with a girl you can have as much fun
as a guy who’s been laid in a film that is noir,
but if, when you switch on the light, you discover
the girl isn’t loaded, walk out of the trailer,
and if she complains that you’ve been a bad lover,
take out a revolver with which you can nail her.
Inspired by Manohla Dargis’s review of Gustav Deutsch’s “Film 1st, a Girl & an Gun” in the December 2,2009 NYT (“The Old Clips, A Paradise Found and Lost”) :
“To make a film, ” Jean-Luc Godard once memorably said, “all you need is a girl and a gun.” (A little money helps.) In “Film Ist. a Girl & a Gun, ” the Austrian director Gustav Deutsch complicates this witty, deceptively simple formula with a wealth of found footage (material shot by others for other purposes) borrowed from film archives from around the world. As the title suggests, there are girls (voluptuous, ecstatic, threatened) and there are guns (hard, phallic, threatening) along with something of a narrative. If the narrative that Mr. Deutsch has created is rather less thrilling than his mostly silent and often glorious images, this is nonetheless a story well worth considering, and watching. Using material gathered from the likes of the Imperial War Museum (in Britain) and the Kinsey Institute for Research in Sex, Gender and Reproduction (at Indiana University) , he has fashioned something of an origin story about cinema itself. It’s a tale that begins with an unidentified image of a woman in buckskin shooting at some targets and ends with a cowboy bandit pointing his gun at the camera, an image appropriated from Edwin S. Porter’s 1903 short, “The Great Train Robbery, ” one of the most famous in cinema history. Tucked between these loaded images, as it were, is a vision of cinematic paradise, found and lost.
Tumult of a kind pursues the shooting woman (nothing new there) in the form of a mesmerizing, mysterious shot of what looks like an archery target in flames and some text (“at the first Chaos came to be”) from “Theogony, ” an epic Greek poem by Hesiod about the origin of the world. The archery target gives way to fiery orange images of billowing smoke and some electronic thrumming. (The intermittent score tends to underscore the obvious.) The thrumming turns to droning, the smoke turns to lava, followed by more Hesiod (“wide-bosomed earth”) , a woman with bountiful breasts, “Paradeisos” (Greek for paradise) and naked beachfront frolickers…
Women turn out to be the fly in the ointment in “a Girl & a Gun.” (“Dead flies cause the ointment of the apothecary to send forth a stinking savor” or so it says in Ecclesiastes.) Among the many images that follow, many beautifully and floridly tinted, are sleeping, dreaming and fornicating clothed and unclothed women. In one early section, a woman drowsing in a steam room seems to dream of both an undulating jellyfish and a swimming man. In another section, a woman watches a man spin four strange dials hidden behind a cabinet, as if he were initiating her into a secret world. (On the soundtrack, you hear “she dies.”) A world, a subsequent shot suggests — of a woman reading a newspaper with the headline “Cine Monde” — that has been made from images…With “a Girl & a Gun, ” Mr. Deutsch brings in Eros and Thanatos to a seductive if familiar end.
12/2/09
poem by Gershon Hepner
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Master Of Mind Can only be a Master Mind!
Seeing and hearing,
Is it eye that see?
Is it ear that hear?
Eyes are windows of Mind,
Like are ears, eyes have eyelids, ears remain open!
Seeing is not perceiving,
Light passes through the small camera,
Giving picture of world around,
Yet mind is the processor,
Process the data,
Process the colourful image,
Sometime filling with its own colour!
But it is not vision,
mind sees something itself,
Seeing through the mind without the help of eyes
Neither windows opened,
Nor light from open windows affect!
Mind is that faculty sees something within,
And day by day the vision become clear,
When mind learns it is not the seer,
It sees everything clear,
Clearly presented to the master,
And Self is the master of Mind,
When mind is pure and clear,
Without prejudice and suspense traits,
Self perceives self in its true nature,
Nothing goes bad,
processed food for thought remain good for ever!
one who sees eyes as seer,
He is ignorant,
One who sees mind as a seer,
Knows not,
One whose mind sees the seer is different,
Vision get purified, seer can see through the mind,
Scenes seen by mind with eyes closed,
when perceived by seer,
It becomes vision of life,
And that vision when becomes ambition of life,
Ambition becomes aspiration,
Aspiration transforms into mission,
Mission transmits wisdom and genius of self!
Self becomes master Of mind
Self becomes master Mind,
Master and mind becomes one,
Master Of Mind Can only be a Master Mind
poem by Ramdas Bhandarkar
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The Nick Joaquin Story
I remember pretty well
As I write these
Poems, these unlikely
Unbecoming poems
Of a legal mind
Wanting still
To craft
A bridge poem
To connect
Two untalking
Worlds
Nick Joaquin indeed
Wrote so well and
Won the hearts
Of Filipino
Literati when
He gave them
The Portrait of
A Filipino as
An Artist
In fact the story
Was made into
A play and Nick
Was invited to watch
An actress who
Played a minor role
Was so irritated
About this drunken
Old rugged
foul smelling
alcoholic
dirty
man,
And seeing him
drank as
Usual with lots
Of beer,
she shouted
omigod!
shouted at
At him
“old man, this is
a nice play, so please
do not watch it drunk
and disappoint us
with your unruly
behaviour! ”
she felt he was just
kind of rude
uncultured
and disrespectful
to the content
of the play
of the portrait
of the Filipino
as an Artist.
she
agreed
the story
was grand
the play grander
what she did not know
she was shouting
at Nick Joaquin
the author
of the story
the
mighty author
of the story
that was made
into a grander play
of the century
Nick Joaquin left the theater
The actress did not really know
What she was saying about
Authorship
and
behavior.
poem by Ric S. Bastasa
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Rachel
The story of Rachel is a story of great love,
A story shaped by our Heavenly Father above.
A story of great mystery,
A wonderful story of biblical history.
Of a man in search of the love of his life,
The woman God would provide for a wife.
An epic of a wicked father, who cheated and lied,
A man of faith worked seven years and cried.
When the calendar turned over a fourteenth year,
Jacob would hear Rachel's sweet whisper in his ear.
He would remember a dry and dusty by a well,
And Rachel's beauty as well.
Rachel, to be true to your God is to be true to your self,
Follow the book and gain great spiritual wealth.
You have a natural beauty a delight to behold,
Much like the Rachel of old.
You are bright and willing to achieve,
Set your course drive hard and in Jesus believe.
You have parents old and new who in you delight,
And are watching to see you follow in God's might.
Painting From Memory
what could be more noble
than a son to paint a canvas
a portrait painted with years
of love heartfelt appreciation
a portrait of a beloved mother
lines of deep love appreciation
beauty bestowed upon mother
her face eternally young loving
you were extremely blessed
to have the love and discipline
of a wonderful caring mother
a mother among all mothers
radiant smile smiling as you smile
holding comforting ever loving
good fortune is having such a mother
a great blessing wonderful wise
a love like this is comfort blessing
during all the lived days of our life
poem by Terence George Craddock
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A Question About Art
Our world forgets – has never known, perhaps –
that questions are a treasured magic wand:
the question asked, the answer may, most like, come freshly said
out of a space that’s new alike to teacher and to taught;
your question is today – how factual should I leave
my verse, or should I seek to ‘colour’ it with metaphor? …
this image comes to mind: ‘old master’ in his studio,
famed painter of Madonnas with attendant Child;
demand’s incessant; so he draws the outlines in,
and passes on the canvas to his studio hand;
coloured then, maybe he adds the master’s touch of life -–
the smile of angel’s sweetness on the Madonna’s face;
the glimpse of future in the Christ Child’s eyes;
and off it goes to some great patron’s church,
to comfort all of womanhood in woes and joys,
its colours gleaming candlelit in sacred prayer;
and yet, how connoisseurs may treasure that quick sketch
on scrap of hand-made paper, where the very touch
of sanguine chalk or silverpoint, reveal the immediate mind
of that old master, as it found the new track of the line;
the world will praise, admire, your coloured image of Her face;
but She will see, in pencilled sketch, how love springs from her grace..
poem by Michael Shepherd
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The reason that I'm an actor, or an artist, is ultimately because I'm trying to paint a self-portrait, and the most complete and beautiful self-portrait that you can.
quote by Terrence Howard
Submitted by Lucian Velea
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The Master Painter
The master painter unfolds his palette
Strokes generously with his brush,
The sky explodes with images of delight,
An inspiration, for the mind, and heart.
Turner would be envious of such a canvas.
But all too soon the inspiration fades
The light extinguishes and darkness comes
For just moments you painted with your mind
Flew with the eagles into the soaring beauty
Escaped the everyday for the world of imagination
poem by James Tipp
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Assurances
I need no assurances, I am a man who is preoccupied of his own soul;
I do not doubt that from under the feet and beside the hands and
face I am cognizant of, are now looking faces I am not cognizant
of, calm and actual faces,
I do not doubt but the majesty and beauty of the world are latent in
any iota of the world,
I do not doubt I am limitless, and that the universes are limitless,
in vain I try to think how limitless,
I do not doubt that the orbs and the systems of orbs play their
swift sports through the air on purpose, and that I shall one day
be eligible to do as much as they, and more than they,
I do not doubt that temporary affairs keep on and on millions of years,
I do not doubt interiors have their interiors, and exteriors have
their exteriors, and that the eyesight has another eyesight, and
the hearing another hearing, and the voice another voice,
I do not doubt that the passionately-wept deaths of young men are
provided for, and that the deaths of young women and the
deaths of little children are provided for,
(Did you think Life was so well provided for, and Death, the purport
of all Life, is not well provided for?)
I do not doubt that wrecks at sea, no matter what the horrors of
them, no matter whose wife, child, husband, father, lover, has
gone down, are provided for, to the minutest points,
I do not doubt that whatever can possibly happen anywhere at any
time, is provided for in the inherences of things,
I do not think Life provides for all and for Time and Space, but I
believe Heavenly Death provides for all.
poem by Walt Whitman
Submitted by Veronica Serbanoiu
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