III. La toile de fond

III. La toile de fond     

Cuneiform for Nineveh is a fish within a house—A shastri infills
Each foundation with the Ganges—By this drenched lattice of the first tercet,
In the dark forest of Inferno 9 (1300), a conduit forms from condensed breath, a shade—
Hearing of the occupation of Rome (410 C.E.), a Berber cleric recasts the repentant
Ninevites, who leveled households to return their poached beams, this liability,
Of the Hebrew, Septuagint contracting ruin from forty days to three—Topped

In his bath, the Vesi chieftain barges the Porta Salaria August 24, 410 topped
By two towers of squared tufa of opus mixtum—Frost-resistant hair and blood in-filling
Cement-rendered brick buildings—Buried upright in the Busento riverbed (410)—Liability
Concedes the same day, the gates were opened to Vandals (415)—Wendeln being both to stroll and to transform, as tercets
Interspliced with such commentary, wear the sense’s saplings distended by shades
Of Tautoberger Wald that swallowed 30,000 legionnaires in three days (9 C.E.), whose dimensions dictated from neither repentance

Nor a rainband east of the Rhine—Arminius, from armenium, specifying the ultramarine of repentant
Floodwater receding from the vaults back into borehole of ourselves, after the topping
Of Paysage Moralisé (1945)—The goldfish beneath the altar of the basilica of San Francesco, Ravenna; a shaded
Lot of the Empire, the flagrant marshes of Il deserto rosso (1964), a world weary museum-goer’s infilled
Meanings; a fish-scale sarcophagus with six niches of Sant'Apollinare in Classe; the crispy skate of its capitals, a liability
Of Canto XV—Giuliana runs green-mantled to the bloodshot Dis of an outbuilding, recall the tercet

Of the footrace in Verona (XV.123-124); the apprehended dead, confused by the train schedules' tercets—
On honeymoon (1920); the newly married Aleksandr Blok in Ravenna (1909); and godless, knew of the fugitive repentance
For Polenta, whose imperial eagle profiles the shade of Dante, whose economically spanned liability
Fueled three unprinted books (1313)—Sophia, Galla Placidia, Marina Tsvetaeva’s toppling
“Poems to Blok”—Your name at my temple—sharp click of a cocked gun (1916), with the intentionally shaded
Cornerstones willed in heaven, of cities that do not greet us—Since then, the Rubicone has been infilled,

Dredged—The chalk mark curls into ball lightning, allowing a dynamic shape to form of a ship; the bay infilling
So that it is not recognized; just the singing rocks, with a full view of the singer in death—Loosely, that tercet
From Paradiso (XXXIII.119-120), while the third seemed fire, with the smokestacks’ shades
Conspiring in an arrangement to be breathed equally from one and from the other—The repentance
Entering the three arms of the Mausoleum (425) Galla Placidia commissioned, for the liability
Of Athaulf’s son’s silver coffin, a Roman internment—Like the coarsened Dioscuri, the finely wrought mounts of the Quirinale untoppled

Since the 5th Century, Dante, revolved with the eternal twins, [and] saw revealed—Here, the toppled
Oceanic feeling (1930) recovered from studying all the elevations of Rome (1897); infilling
Jung with the plenitude—The attention, grown aquiline from reading, takes up Psyche’s liability,
Outflow of the Styx eddying with oil, and which might still be saturated, if not for the tercet’s
Circuitousness of rust swathes, or blue, exposed plumbing, with a rolling yellow exhaust shaded
By seabirds—Leviathans gyrate as common sardines in a weir; although the Light’s ascendancy releases them, an overcooked subject of repentance

Made itself felt; left uninhabitable for humans—Their repentance at the ready for an extraneous liner topped
By an undistinguished ensign, the Maurice Maeterlinck docks for the Aleksandr Blok Casino—We can imagine the tercet’s liability
Of his expropriated hothouse; unlike hells we’ve created, with the door ajar, and infilling with wildflowers—