VIII. Prendre entre quat'z-yeux

VIII. Prendre entre quat'z-yeux

Herculean Addition—This roofless state of a planisphere of a room, or Palazzo di Schifanioa belayed
By an escaped kestrel with jesses along painstakingly applied azurite
Aligned with the Dragon's Head; Midheaven with Jupiter, for the day's effort
On the laborer cordoned with a hangman's rope—The Moon’s first and eighth
Housed hours, while not yet having the decanates, the hypostasis of Circe
Eludes answer—There is a feralia of Giovanni “El Grechetto” Castiglione (1609-1664)

Whose etchings on laid paper imply the Mother of the Lares; after Ovid, Lara—Castiglione’s
Unknown dealings in Ferrara, as shade from the Lion’s tower cornered by Fortune’s eight-spoked wheels of D’Estensi, for Mantua—Joachim du Bellay’s
Petrarchanism culminating in Les Regrets (1558) seven decades after the Florentine editio princeps of Homer (1488), Book X's fulfillment of Circe—
Begun in 1492, Rossetti’s Palazzo dei Diamanti, at the orthogonal arteries of angels and equinoxes; or, redder still, the ashlar siding of Solari’s Muscovite Palace of Facets (1490)—Borso's guest, Boiardo, whose Orlando innamorato (1482) offered azurite
From the river at the base of Etna creased by a jealous boulder, found his way down a marble staircase sketched with carbon—The effort
Of 22 letters formed by the 10th letter, appearing in print as tears or sweat; there again, the planetary triangle—Four stanzas of eight-lines,

Yeats’s opening of The Tower (February 14, 1928)— Pellegrino Prisciani’s suite for the west wall, the effaced eighth
Sign of Ercole I d'Este, Scorpio (26 October 1431)—Martial reparation, where Castiglione’s
Rachel packs the idols, to Laban, then realizing their loss (1650); their concealed efforts,
The Codex De sphera entry of the Sforzas (1491)—Dating to the execution of the Palazzo di Schifanoia’s Venus, with imitated Graces, Francesco’s pigment belays
Maia, Uni Mae of the Piacenza Liver, with one of the twin Lares; April’s Bull opposite the Scorpion, where a Circean
Sunless wound deposited in Chiron, the posited four cures of gentian, bay-leaves, myrrh, birth-wort—Azurite

Of the hyperborean Fauna, left by Hercules; Petrarca’s eight years in Milan, the last four at Arquà—Triumph of Love’s azurite
Birth of Adam and Passion of Christ, April 6, 1327—Hercules choice, where six labors line the Hall of the Five Hundred, and the plucked chalk line of intonaco is mislaid to mass print—Francesco del Cossa drifts to Bologna, with its eight
Colleges founded by 1500, as one by a later name—El Grechetto reaches Rome (1632), with his prepared market flocks, their capriccio shepherd expressions with nothing comparable to say, amends this unknowing concession to Circe—
This Annunciation (1472), attended by a snail, is the duration of one’s ambitions, if Baldassare Castiglione of Mantua denotes this life, the obvious effort’s
Antithesis of grace (1528)—Scorpions of Ficino (19 October 1433) and Bronzino (November 17, 1503); ambivalent and infected by what is most desired, belying

What is renounced, and the only logic of earning office—From the Este court, Bioardo translated Apuleius belaying
Stygian sleep from Psyche’s casks (VI.26); as Erichthonius, the charioteer of the Ferrante month of March offset in azurite—
A page holds Minerva's arrow and ring target, as a graven images of the earth, the snake—Capella, the sixth brightest in the sky, from Capra, the goat star—From there, the saint thwarting all efforts
To restore the stalks of her eyes (1473/1474)—Their contingency; of an offensive life, Petrarca’s twisted sword sits in its brace (Canzone 134); rather, the vegetal forte of eight
Caulicoles of the capitals Vitruvius accredited to Callimachus (VI.10)—Theseus; shown on El Grechetto’s distinct printing matrix (1643), the monotype, discovers his father’s arms, with the pyramid of Remus; it was once thought, for being raised squarely on his brother’s fence—Circe’s
Creation of the animals, trumping the sixth day’s creation of man, streams into the ark, and out from the moneychanger’s stalls—Castiglione

Imitates this adjustment, in a panoply of metal mounted by guinea pigs—With the dissolution of courtesy, the reactionary Castiglione
Judges between the claims Matteo Maria Boiardo, now a Count, inured to a 78-card Trionfi deck somewhere between 1460 and 1494—Belaying
Two lines as if they were one; Ercole d’Este’s commissions of Plautus and Terence,  Priscani abolishes the Circean
Masque with a proscenium; the players conscious of themselves, in the silhouettes of bows, as 23 Via Scandiana’s intermediary azurite—
Proportioned by Alberti in Spectacula (c.1501) for the comedy of Alfonso d'Este and Lucrezia Borgia (1502)—Confined to Bioardo’s Patience, or Psyche, with a horse (Tarocchi 5.25-27)—One palpates the heart by the 23^rd day, and then it is foaled in winter, and expected to race—Directing one’s efforts

To other decks, the atavistic 97-card Minchiate, whose 23^rd is a fox balanced precariously above quills, and threatening to consume its subsidy of air—Bearing in mind Boiardo’s eighth

Assignment, after the Triumph of (7) Anger—Ira, as one of Petrarca’s five enemies of peace, and the force behind Castiglione’s eight duplications
Of Justice, against the first angels wheeling in their azurite—Reversions, then, to the beast of Circe’s
Menagerie that does not ask if, and when it rains, and belaying efforts, if one deigns to speak of hopes, Ipse vero scit viam meam, et, si probaverit me, quasi aurum egrediar—

VI. Avoir des atomes crochus

VI. Avoir des atomes crochus

Oft in her absence mimic Fansie wakes
To imitate her; but misjoyning shapes,
Wilde work produces oft, and most in dreams,
Ill matching words and deeds long past or late. —Paradise Lost V.110-113

ROSETTA: After a feast of sugar icing cornets, our August blackout (1959) is spent
Huddled with them over a paraffin candle with peel and stick eyes on sewn felt
Fauna—Giraffes; loveable, for being wrynecked, or lions, of 5th and 42nd Street
Alone, before having almost found sleep at daybreak; putting on Columbia's six-eyed
Kind of Blue (1959)—To concoct for you, as an opium pipe, as Rashid; alternate
Of your stony pick-up animated by incest—Coffined in bar smoke, then in my bed,

EMBLE: Ptolemy V's sister; all honors transferred, a grandiorite reiterated three times—Taboo finally assenting a bridal-bed
Not by one guileless with a lingerie hook; perhaps, for a professional dressing store mannequins, who had spent
The last dance dilating on the miracle contaminant of St. Mary's hospital (1928)—Alternating
As to inquire about Penicillin G, for a sailor on shore for leave, or, our own city states; their parchment drying in felt (Inferno I.105)
With the graces of the seven ages's collapse—Nijinsky's entrechat-six resigned to wandering medieval streets
One took to—The first night; and cannot help forget in those moments, stolid by shame's survey of clear-eyed

ROSETTA: Chaos—All the albums burn; the population turns into piles of luggage and hair, when, arriving bleary eyed
From a dream, embrace—Six years since catching the premiere of Green Dolphin Street; booking a full-term bed
At Bellevue seconds past the initial setting 23:53 of the Bulletin's Doomsday Clock (1947)—Foreign policy took on qualities of quarantine; sugar rationing is lifted, and left to explain the streets—
Our fed horses of the morning pause, as if exchanging Mt. Palomar's gaze among the spent
People; too many to admit charity—From Delos, the Mountain Purgatory, shaken as these spans with freight, of Jupiter's Latona and twin stars, born the night of the studio quake—Their alternating
Hands lead along the gum-marked pavement, breccia of construction sites the Christmas Blizzard from our window arrayed in gray felt

EMBLE: Up from the 52nd Street dives, approaching Seagram's plaza (1957) of the former Steinway piano factory, whose founder, lacking musical erudition, felt
Their scales—Transplanting his wife's kitchen prototype to five showroom floors razed to erect these topaz I-beams—Quid boni faciam; our eyes
Net reflections of sparrow hawks, and you thought Steinweg's cast-iron frames were all the more resonant when dropped by moving cranes; alternating
In exclusively voluble and vatic tones—Hopper's Palaces and Globes, where Malin and Quant await a nod to the washroom, the limited national emergency goes unrecognized—Out of crumpled beds
Followers of Silenus emerge, as from the Sixth Eclogue; a staggered few thought on Proust's six volumes circumspect to the bust on Cleveland Street (1889)—
Stiffened by degrees of naval chipped beef and Cutty Sark from a foam cup, they diagnose our match set spent—

ROSETTA: The Senate Majority Leader's diet—Tearing around the ranch in a Lincoln Continental, away from the apparent good taste in lies—Semesters his sister spent
Cataloging the Library of Congress; among them, which will be the Hibbing High School Hematite (1959); Auden, a name significant to him for winning the Pulitzer (1948)—Reading, what Lyndon had seen, the felted
Sweaters from year-round park benches, the ricketed boy pulled for lashings from the outhouse, ranging the pocked streets—
His neighbor's dark labor set to dig post holes for a quarter—Runic things, broken by their slippered feet outside our bedroom;
Partition of Czechoslovakia, then September 1, 1939—Fall Weiss, as Cotulla, assumes an internal reconnaissance (1928)—Two decades since the small moon in my apartment made your clothes cling in icy folds; our eyes,
Or both, will seize upon our blue, screen-lit faces from interrupted David and Bathsheba (1964), by a daisy-pulling girl, and then the August 6 drop (1945), alternating

EMBLE: Camera zooms of the personal, from Les Quatre Cents Coups (1959), with the mandative to vote—Alternating
For our beloved, the Maker for which there are no stages, with how one ought to strive, get along with the other kids, for days spent
On the jungle gym, beyond nonviable dirges—What then, of simulated bombing runs and fallout shelters, and enforced pledges, under God underwriting the Dow Industrial Average high (1954)—Deflections of the eye,
Romantic tenements of rose masonry and cardboard panes blocking the wind; Father Divine's stoic denial of them shrinking blocks of the densest hells—How we felt
If not acted, ascribed to Yeats's rose upon the rood of time (1892) against the epilogue of the streets
Repaved in odd years, after commissioner raises—Setting aside a leaflet on myoglobin chains, one thought of the Pharaonic lines of a poster, The Defiant Ones (1957), and those links to police sirens capturing new exiles, from our bed—


Sacred kitsch, in its feigned uniforms; or better still, family photos erased of their faults—Of this one
At their camp beds, with the fraying string strung between tin cans—September's sapphire felt to our
Weary eyes the likeness of a throne, on which we spent a precious; for others too far between, day, on the streets among transparent hosts—

XIX. Respirons la douceur de vivre

XIX. Respirons la douceur de vivre

ADA: Clarice (1977), on her patio, inspects the horizon seam's kilometers of polarized air, and is surprised to hear
Cervical cancer, by an endemic virus—Startled less by the prediction of the tsunami
In two days than substantiated report of the death in the Graceland Mansion (August 16, 1977); on the Sunda Islands—
Spending more time Stateside, since conscripted into a DoD programmable language; she adds, for promulgation of war than cures—
Omniscience affords disclosing the tumor suppressor gene (p53) eroding off the replication cogwheels, where 8000 viral base
Pairs trigger a transcriptional cascade—Sculpting the epidermal linings into roseate eruptions—Sainthood

CLARICE: Striking the organ most used, when the self is most unreachable; safe to assume this sainthood
Was not contracted from a dog, unlike those nuns—Crass jokes are overheard
Transpirations of the ka's pyramid, the last word will be the fourth dimension—Angela forms the base
Of a third yet unsolved (m)other, a half-sister of Herodotos, assuming three-vector tsunami
Landslide bathymetry, which has befallen the same exemptions of tripartite time—Pancreatic islets,
And their three, Greek cell lines mature in a fetus, whose insatiable hunger exogenous insulin cannot cure—

ADA: Consolation, in your novel dedicated to the Schumanns, which is soon to be published—Profound regret of one's birth as a cure
For Mania, your mother; each of us begetting three ourselves, the humiliating sainthood
Next to the planned obsolescence—Don't forget, in the meantime, that this is the season for strawberries. Yes—Incising the islands
On the block lino, the message from Gilbert Peyre's automatons, many of birds—Hear
The direct and two-way flow of electricity excommunicated from the body, in spite of the base
Wire's movements, which cannot compete with the acid-etched Satinato, the table's humid oasis, of the blue Murano vase, whose essence is a tsunami—

CLARICE: The thing possessed as a substitution for the body, with its synthetic hexagrams, outpourings akin to the Vajont Dam tsunami (1963)
Noted for its proximity to Venice, where he fled from Augusta Leigh, with half-sister Medora (1814)—The Corsair (1814) predating  his death in Greece by ten years (1824); the cure

Of the account as a read-only punchcard (X)—Having to add for your diagnosis; unceremonious, as the warts on Ulysses, my dog, howling at this highrise’s bass

Transmissions—Restful, if deaf, after the revolutions of Beethoven’s The Consecration of a House (1822); opening the Josefstadt, the oldest still performing  Viennese theater—Without hastening sainthood’s

Restive matchsticks, and sighting your face as a stamp on those Microsoft products, accept this offer of the best view from a concrete island—

A blue-naped chlorophonia nest, with startling prisms of detector souls, in my geranium—For a daily bayonet of banana; otherwise, seen but not heard

ADA: Dickens, an incurable epileptic, read at my much delayed death (November 27, 1852), as a talking, walking, wondering Dombey (1846)—Mother, who thought it best, left my rainbow sonnet off my epitaph, and hearing
Of the Hucknall burial next to my father, did not attend—Even not properly one’s own, in illness, when friends disperse; nevertheless, there is the exhilarating drawback before the tsunami’s
Broken mirrors and refracted spray—That is, the Brewster kaleidoscope (1816), and mention of the third visible condensation, the just-written phosphorescent ampoules; serrated release into bluish clouds, as by a mouth, cohering into the island
Of Paphos—Whose native reflection is a metallurgist's, as the ribbed aluminum lined with your national press columns; or, my incurably
Sobering plait of nerves two warps pulled down and cut, of my tutor's hand—Staring into the threadbare court carpet at the base
Of the piano, she enlarges upon their staccato of ground, on my mother's perpendiculars satisfying the outrage of being brought back, from elopement (1832)—From reading Conway's itinerary of Dürer (1889), with a later engraving of a Blue Roller Wing (1512) come to live in me, as inarticulate sainthood—

CLARICE: Grace from inferences of time; however sketchily drawn, are insistent, and breathtaking—Sainthood's
Resistance to mental hygiene; Rilke spent ten years; first, in Trieste, and then in a Swiss fortress, to find ten elegies of things he might recognize (1912-1923; 1920)—Who, if I cried out, would hear
The first begins, and like your Bernoulli's square pyramidal numbers, where an airfoil was put down, as the basis
Of an sound education, annunciates—Writing a single line is enough to save your own heart; making Angela declare, and the stunned alpine tsunami's
Coordinates are loomed into the Fifth Elegy's harlequin ape grimacing to command, where the rose of watching momentarily encloses, until this island
Of scoured coral sand reappears beneath our trembling feet—Before it can be lifted again by careless winds, we survey a winding family of saltimbanques (1905); taking the most cure

From knowing where they fall, a surefooted sainthood, or a hierarchy of angels, to describe to us happiness, in the picture's child of the tender ape, and awareness of cured
Sunlight, by the chalk of their hands—At the base of a mistral blasting for two days, Rilke finishes Sonnets to Orpheus and Elegies (February 9-11, 1922), and the locking gears of Muzot release a tsunami
Heard, and reviving the remotest islands of ourselves, the Tenth Elegy's clear, shining M / that stands for Mothers—

XVI. Une pierre de touche

XVI. Une pierre de touche

Maintained as they had gone on; pollarded to outgrowth, the fennucio
Piero di Cosimo pruned for his eggs, this time, concealed a rabbit rearing over the limbs
Of her nursing kits—George Eliot's remarks from the Piazza del Mercato Vecchio (1862), of doves, brood
Hares, approached by a copy of Dovizia (1430)—Abundance’s coherent scales of pietra de fossato reasserted
In the arcades of Santo Spirito—Photoelectric radiations of iron and gilded lightning;
The potential plastic, self-assembled Janus nanoparticles, bending in an emulsion with the mutability of selenium—

Electric paper passed for liquid crystals; the spun element beneath its aberrations diffuses direct current—Selenium,
Borne out of the tailings from a tenth century copper mine decried as hell (1817), for copper oxide, and color of fennucio,
With which Prometheus strew fire to the new masters—Unfluctuating in our overlooked, fire-hot filaments, terra verde offsets the lightning
Of transparent egg tempera—Spare mineral ringing the stroma, in non-point shadows of disporting limbs
Solidification of spheres at the end of which enter fluorescent ligand in receptors brooding
From the edge denied at our peril—Brightening the cell as the therapeutic target, the reasserted

Touchstone—Sixteen years buried; Copernican Revolutions (1514, 1543), and Ristori’s August 1st ascendency of Cosimo de’Medici reasserting
The sixteen-week blockade of Actium (31 B.C.E.), in Prato, with Saturn in Capricorn (1537)—Sovereign meaning’s smelted pyrite in the lead chambers yields interconverted selenium (1817)—
The graying to white stampede over Vigueirat sticklebacks; rooted in both the Barb, and brooding
Criollo—Sixteenth century cabbage leaf arras largely replacing the torpid limbs
Poplar panels of Botticelli’s Mars and Venus (1485), and then Piero di Cosimo’s Mars, Venus, and Cupid (1490)—Fennucio,
After all, is transcribed in Greek as marathon, and scene of a battle (490 B.C.E.)—What delicate pelvic girdles to wear carapace armor, or lift a child; they are understood as the same face of Venusian, Martial ages—Lightening

The work of Tetrabiblos (90–168 C.E.), where four parts seize upon their junction—Bronzino’s Eleonora of Toledo’s blackwork embroidery, with lapis lazuli lightening
The fact of this (1562)—Her internment dress, after succumbing with her sons to malaria at Livorno—Reasserting
Relations, deliberations, the way in which the ambient is attuned to such and such a temperament (IV.10), with the thyrsus as fenuccio—
Resistance of astrology in two bodies; deferents and epicycles imperfectly sweeping for Kepler’s equal areas during equal intervals of time (1609)—Selenium
Compounding proteins as selenocysteine (UGA), a stop codon that eclipses translation’s brooding
Powers they embody—The upper and lower perimeter of a celestial body, and the unseeing bow limbs

Taking aim—From his master, Rosselli, to which we are indebted the cat at the Sistine Chapel’s Last Supper (1484); among this enclosed profusion of rampant limbs—
Why harass the warren’s labyrinth with an application hostile to it—The cassone’s excitable panther and man-breaking thyrsus lightened
By a draftsman who suspended Satan from Judas’s hair, as a quaking leaf—Hase, the hazy sfumato, conceivable by the German’s oils; or how brooding
Scales of the marketplace, trembling under the burden of ground durum, were indispensable to opening the Moon’s libration—Reasserting
This profile of Simonetta Vespucci (1480), as Cleopatra, where billows enlarged her purple sails, one hears the end-inspiratory crackles of consumption—Consequent of another look, the sacred grove of fenuccio
One takes pains to keep the house dogs out of; familiar to Ovid as cuniculus, the hare and mine out which they transpire, with eyes open; etching the tellurium-selenium

Storage disc of exclusive glimpses of this stage—Vulcan and Aeolus (1490), whose sleeper implies another age, alongside un-wrought crescents of native selenium—
Piero’s craftsmen here are not yet coarsened; instead secure their mount’s coffin bones—That is, before Orpheus is torn limb from limb;
Transparent cruelty was labelled foresight under various names, among them, catastrophe, the 1524 conjunction in Pisces mistaken as another Flood—Where once fenuccio’s
Intoxication forced inherent in colors from giornate, the inverted central innervation to the pineal gland frequently withdrawing until the body’s resolve, trials—Lightening
At the vernal point of Pisces, characterizing a month; disappearing behind the Ecliptic, after much undetectable staring into the darkest portions of Cennini (1390s), or Alberti’s (1434) perspective—Brooding
On the Cusp of Midheaven, regulating the Angles, without any articulation of them in George Eliot’s or Nietzsche’s reactions to Strauss’s The Life of Jesus (1835) except for reasserted

Cramped cells, convention; the miraculous decomposed until the merging shadows reassert themselves—Amorphous domains of selenium resorb their barriers—
Out of the fenuccio dashes fertile hares of distracted form, doubling mind’s pivots of a threshold, as Viognier vines; defiant to take, via Gehennae, then by a bloom imparted by Nebbiolo—Lightening,
Uova di giornata, the domicile and exaltation of Venus in Pisces formed in composite—
Piero di Cosimo’s Magdalene (1501); once mislaid in her reading; together, we stake the temperate, brooding limbs in its currents—