XX. Quart de tour

XX. Quart de tour

After life, penitent for quotations; consequently, reaching its mullioned lights—After hafnium

Of different weights captivate several neutrons apiece—Blitzed exposures of Holland House (1940),

Where Addison drew his last breath (1719)—The Spectator No. 28 (1711), but what has the Fox

And the Seven Stars to do together? And when did the Lamb and the Dolphin ever meet, except upon a sign-post—

Rebutting fallen places, on quonset nights, whose minors stir shrapnel among the snowdrops,

Who do not even know which Faust you are going on about—Upon the enlarged lectern, cribs Ursula

Shaking the mantle with her exit, the fishnet ensembles—Dürer, absorbed, from his door, as Ursula

On a patch of turf—That being red, it dyes red souls to white (1609); among the tree's shredded clay decoration snow settles—Hafnium

Reignites the flue as dragon’s breath; having once inflamed, the node in Orion’s forearm, thrown it—Had Betelgeuse distended until Mars—Stalling, before an innocent snowdrop

Unclasping figments of ice aimed for an adversary’s face, straight as shot; retreat back into the house—

Surveying the savaged yellow satin-backed crêpe de chine with black swallows dragged off the line, by the fox

Now dozing in the nesting boxes—This season’s pursed nets over the double-mound where an albino stoat rambles—Near the viburnum, its signposts;

Screaming, from the warren, are terrible, and not the ermine larva of Carpaccio’s Young Knight in a Landscape (1510)—Until 1919, whose overpainted signpost
On the felled tree, is thought to be Dürer’s—A strange Northern bird visiting the Bellini workshop; intimating the yoke, tabletop, and ladder through which the humble enter; signed his initials—Not far in years from the journey to Ursula’s
Basilica in Köln from Nürnberg; the mode taken, omitted, for being on foot, for the Martyrdom of the Ten Thousand (1508)—There, at the center, are Willibald Perckheimer; then suffering from gout, and the artist, in black, with a fox’s
Brush on his face—Böhr submits his spin-orbit splitting, as the January flower plucked, and put back into its book after Dirk Coster, and Dürer collateral, Georg de Hevesy isolate hafnium (1923)—
Out of the Guérande salt blooms of Paysage Mauvais (1873), Carpaccio’s hares were rightly faint-hearted to be ridden by such a lout painting the back lawn in streaks—In Andersen’s city, of “The Snowdrop” (1863)—
Zirconium's impurity, and one of the six remaining in Mendeleev’s table (1869), refitted with Moseley’s whole atomic numbers (1914)—By averages, they meant unmuddled by their isotopic fates; the clipped coins of centuries—From the Fachwerkhaus

Of his youth; leafing through pages of the Liber Chronicarum (1493), he dreamed of becoming—His own wünderkammer and house's
Self Portrait with the fur-trim; approaching thirty, with Christ’s restraint (1500)—Within earshot of the Brown Shirts wearing miner’s lamps (1927); now, a signpost
Introduced as the specialist of Altdeutsche Meister, clutching a print of Knight, Death, and the Devil (1513), to breach the antlered, Gobelined galleries with Arno Breker, just before the snowdrops—
At Cologne, the nave of her hands aids the bowman, as fisherman carry on for doubled fish in dragnets; so few are given the poise of the St. Ursula—
Pillaged bunkers of Carinhall; what was left of them, after the Soviets (1945), were readymade for foxes—
From Nürnberg, the field hare's sketch of a window in its eye, proving it was living (1502), before the ravenous Volk; sits in pride of place in Vienna—1:1, Hafnium

Carbide, the most refractory of two elements, would have uselessly lined the exposed red brick oven at Dachau, after Reichsmarschall Göring bit on a cyanide capsule (1946)—Hafnium’s
Current is the least squandered as heat—With a penknife in my folded gloves, for the Red Baron, my death, averts two months, and 145 cargo trains, from Hungary—Taking two lefts from the gates of Auschwitz I—Rudolf Höss, who was obliged to exit his house,
For receipt of the first transport from Warsaw that August (1940)—After de Hevesy saw the Strandtidsel; its blue stars of tarnished silver staked in any waste, as a potential candidate for his radioactive tracers, and then recalled aqua regia for Franck and Laue’s medals; outfoxing
At least one plot of masse Raubgold—Barbara’s people bridled the drays carrying Buda-Etyek casks around Lake Velence, until the Dürers’s rise as goldsmiths—A signpost,

Proposing to turn Breker’s etching into a suicidal Ajax; boring, as merely another pretty athlete, onto copperplate just before 20 January 1942, Grossen Wannsee 56/58—Overlooking the grounds, then covered in snowdrops,
Shadowed to the male baths along the Pegnitz of the earliest print of the Paumgärtners (1496) that was, in my mother’s eyes, ameliorated by the altarpiece (1500)—Stephen and Lucas; the latter, the refined one, is St. Eustace—It was the stag that brought his hunter the cross, and my most projected belief was being struck by his Bodkin point—Carpaccio’s sleeping Ursula (1490)

Cometh forth like a flower, and is cut down; praying hands, where their request is hushed—But to draw them, swallows redaub their nests in front of the Scuola di Sant'Orsola—
Memory, or Nemesin; caught the slip of a girl, Else Lasker-Schüler (1914) among amputated soldiers, Jussuf of Thebes—Tirelessly I search your chest / for Pharaoh's golden pleasures—Travel again, this time by water, to the Low Countries, to vet 100 florins per annum, and to gaze upon the city of hafnium—
Willibald remarked on my Moon and Venus conjunction qualifying propagation as a woman—Besides the file and quarry pliers underneath Melencholia’s skirt (1513); Fata Morgana, in a fount the milk-white hind shall soil, by the intended bridegroom in the Nürnberg baths, holding the snowdrop—

Schumann’s Schneeglöckchen Lied (1849) becomes the Commission E monograph for its recapture fastening weighty, but charge-less particles, like a human emanation, to a Portrait (1493) with sea holly; flaring blue under an early retort—July 1520; an augured lobster (1495); sometimes mistaken for Cancro, but not by the molecanti towing in their pots—Coming upon the timberframe house
Before the swamp—Sailor’s talk of a beached whale to sketch; afloat like a dress, an eolienne with silk cords and stockings attached; freshly rinsed, except for the habitaculum of its eye, the efficient Dutch early that morning disjointed, ahead of foraging wolves and foxes—
Leaving a rose-tinged inlet for Venus and Arion to reawaken, upon their dolphins—An English deckhand, who had abandoned the living among his flocks, motioned upward, to my love's sign-post—

If, to distract, from my already engorged spleen; from malaria, it turns out—Pindar’s flock of doves are sign-posts of sailors; the Pleiades of Taurus, and first of the Northern winter’s constellations, as we should pay mind to Ursula Southeil, whose couplets distich an even greater fire, next time, in London (1666)—
Pursued by Aldebaran, red as a fox, conjoined with the Sun around June 1, from January, for lambing
As properties of hafnium and zirconium are challenging to parse, so is screaming of a trapped bird, fox or rabbit—Prints of snowdrops and sea holly light up a house, and from these journeys of our names; at the last prize, the door of heaven, where we all are conceived—