VI. Avoir l'étrenne

VI. Avoir l'étrenne

Related rates of the spectral triangle’s streetlamp and shadow—Of a leering face in the customs

Officer’s portrait landscape of pierrot and his lady in contrast shoes (1886), whose inner moonlight

Bleaches her strand of red coral; Perseus, at the Feast of Bacchus, tells hardened at the touch of air, (IV.752)—
After the winged horse, the boy, Chrysaor, the couple who walks around leavings of a vulture

From a crow pulling its tail recall Piero di Cosimo detailing coral in the seawood anchor of his Liberation

Of Andromeda (1510-13) that Vasari overstated in her exsanguinated head (1570-2), and offered then as a blague

Among merwomen as decidual crystal—Red arils of Mangalore, from the harbor of Vasco da Gama, 1493, offloading fertilizer and iron, of jackfruit and cherimoya of a spread (1908) before the one hosted by Picasso, a blague—
Wilhelm Uhde and Sonia née Turk (Delaunay) appeared—Auden’s first Bucolic's boneless winds that blow / Round law-court and temple (September 1953) dedicated to coral island native Alexis Léger, sharing half-done customs
Each waking before their alarms—Eluding the father who’d cut you off by the second part, II. Woods (August 1952), searching sediments in a section of a cave for its residue of fire liberating
Piero di Cosimo’s raw fawns—There, among a calligraphy of branches the pair returning married at Carnaval—Moonlight
Swept over Atlas, changed into a hillock, for Willy Uhde’s Helmut Kolle, whose father popularized vaccination against diphtheria and cholera; improved the Salvarsan method, whose life studies of toreadors were shortened by a heart valve caused by a cold (1931)—This air
Of the shoddier parish cuts pot-boiled by Saint-Joseph-de-Cluny Convent, mixed with vigil paraffin in Séraphine Louis’s pigment mortar —Tears of the vulture

Into such flowers, the luminous Tree of Life (1928), by means of coals of a balefires coalesced ignus fatui, with the mistresses’s rouge—Cinereous vultures,
Hobbled on the ground, find this smear from samahdi Shiva seeping exasperation in the form of four-armed Mangal—Purified of the blague
Iceball thrown in the schoolyard with startling accuracy to the adversary’s nose—Lord of Mars, Tuesday, brass, maces, and red coral—Saul’s stone’s throw that directed the others to St. Stephen’s crown; a detail removed from teachings of the blue cathedral of Mangalore, with its school for girls—As from the fifth sphere of Paradise assumes a pure and tranquil evening air
There shoots from time to time a sudden fire (XV.14-15), where Cacciaguida addresses his grandson, sanguis meus (XV.28)—What Paul did not know, resting at a custom
House, is found in Caravaggio’s horse (1601)—Irritable, for being driven the hardest on its thrown shoe, for its better angels stall its liberating
Hoof on the mount on the way to Damascus, which almost crushes his master’s skull—Peering up from a shadehouse garden resembling L’Umbracle’s, the moonlight

Reflected by Enceladus through 99 Stellavista’s psychotropic skin; schemed by monoculture for corn bioplastic, which necessitated the move, the silicon shaped into a chair swaps with carbon through moonlight
Haunted lignin networks of a tree; stronger now, more adaptable, and less used for kindling—Setting off, a vulture
Gliding the thermals, with each exceeded planetary body with graded landing squares the stop-motion paper of one Oscar Fischinger’s optical poems (1938)—Liberating
The calendar from Earth and Mars, Saturn micro and macro scales arrest marginal cell memories in this place designed for comfort, or else a multitude of hubs move to reposition the arms, shuddering at a blague—
Anatolian warlord Piyama-Radu, Priam’s son had won—Willie, who went on swimming, in The World is Round (1938) is drawn, but turning the filter holder for blue or rose, by Clement Hurd’s mentor, Fernand Léger, whose gas-engine heart anticipated the air-
Fuel ratio to take us past the spiral, equal orbit, and rhomboid of the Palais de L’Air (1937), where the Cubist’s custom

Made space was dreamt by another Ceyx and Alcyone, Robert and Sonia Delaunay—Saturn, due to its oblateness and opacity of its rings displays the custom
Wavelengths that were once taken chiefly as a craniometric feature; Aldous Huxley’s spoken copy rescued from the déchet, the Person in the mud, / Or in the liquid moonlight (1948)—
Solenoids assimilated with parasitic broomrape purr, and reappear like false crocuses in the 1.1 gravity of Earth’s shortened ascent, but the softer ground absorbs—The photodamaged air
Of Anton Giulio Bragaglia’s Thaïs (1917), of life behind a retail counter attended to the non-count shapes and crescendos that purge consumption, is from here, within the bisected cocoon, vulture
Wings spread into a cross oscillating from resonant frequencies from Pearblossom Highway Route 138 liberating  

Divisions of atmosphere into frames (1986)—Overlooking blooming barrel cactus and desert globe mallow populating a drive interrupted with the blagues

Of a single radio station—Retaining these; seconds before the sulfur plastex in the glazing undergoes an abrupt change in viscosity, and the pane shoots out, as if by a blague—
Even though glass slabs of the staircase had been shattered, calyces of the sphere unaccustomed
To such jags; an intact screen streaming a dust devil shadow on a Martian rise; not feeling its opposition as much—Just then, we stop before an overhead panorama of the rings like the thin white slip to a darker base of the winding—Liberating
The passenger train from St. Petersburg—Are we very far from Mangalore, Manchouria; just off Stellavista and M, whose manifold requires our two charts to include every point; some falling unmatched from negligence; nevertheless, rival Mme. Delaunay’s simultaneities found in the geometric quilt, for Charles (1911); her life’s work, in that January’s paraselene moonlight
Then upturning the codex, and in our digitexts, as the most beautiful book ever made, never mind the poet of embers and ash, La prose du Transsibérien (1913)—With the air
Of Jehanne that reads John the Evangelist, painted by Piero di Cosimo (1504), whose tainted cup releases a colubrid comparable to the humble garter snake, with unique genes conferring Tetrodotoxin resistance, when the Calamity unspared most; and then you would appreciate the Hermitage Holy Family’s pond terrapin, after turtur offered at the Temple, which stretches its neck to match the gaze of the Virgin (1480)—Hastening our effort, if distending the form, without the brassiness, to catalog only copies of the crumbling sheer walls of Nyirgongo to the Sea of Japan’s precious red coral apportioned into eighths beyond the Sun’s reach; although, beyond the reach of dismantling vultures—

How to remake the peaceable kingdom sheltered under Robert Bright’s My Red Umbrella (1985)—Our halcyon, without so much as a blague plunging on a white cap on the methane sea, and to raise the vulture,
Herald of Upper Egypt, from Wallis’s field notes, all ivory and jet (1916)—By dies Mercurii, I. Sext, for that eye-on-the-object look (1954) liberating moonlight from a semi-pocked mirror akin to Earth’s satellite, Tethys’s  Ithaca Chasma and Teiresias Crater, the color of the Pearblossom crows’s eggs (1944) backlit by a frozen green band provided by the E-ring geyser from Enceladus—

There, then is the style of the hand-colored pochoirs of Fernand Léger’s Les Illuminations (1949), for Beatrice, his daughter—After Georgie, the ghost, the owl, the cat, and fretful rabbits, when articles for The Paris Times dried up; let us lease the custom air for our unaccustomed look—

XVIII. Le première matin d'année [ pour le Têt]

XVIII. Le première matin d'année [ pour le Têt]

Oui, c’était elle, l’enfant de la rue droite qui avait pleuré sur la Valse. C’était aussi celle qui savait que la femme qui avait joué cette Valse était la même que celle habillée de rouge qui était passé sur la piste blanche –Marguerite Duras’s L’Amant de la Chine du Nord (1991)

Rather than wring the truths of roses, leave the higher up Parnassius Apollo on a burnt
Orchid—Taken years after our directorial debut, La Musica (8 October 1966), after November’s green (1967)
Way to the directrice of la petite Roquette that housed Genet as a minor (1925)—With an overnight
Bag to you from La Samaritaine; the proprietor endeared to mother for her enterprise, onto Jäysinia, and refuge of intervening
Years—Filming le Gouffre Jean Bernard spelunkers under Samoëns (1984)—Piste noir of Lucio Fontana’s
Tagli taken as spatial concepts, and then expectations, from the citron panel where the hand mudrā

Of Buddha’s fingers, sought to enter—Love, plaintive for the hat makes the whole scene pink, shape my unknowing hand into a mudrā
Theophrastus first mentioned (371 B.C.E.)—The strange lemon seeded in pierced pots, as date palms that contour the oases, among the burnt
Offering of Le Jour (1962) made more satisfactory by puncturing its unary gold—Lucio Fontana
Required no less than ten pink tones for the growth of La Fine di Dio(1963-4)—Crescentic chatter of glacial blush an hour’s drive from Geneva; two, from Nabokov’s Montreux—Ours, being one continent, multiplies stonecrops, Sedum sp., of glancing Apollos, from another—Carboniferous marble and coal balls deposited from the atmosphere that excited green
Wildfires—At eighteenth place in the Puranas with the rupture of the Cosmic Egg, follow Argentina’s ligneous monkey puzzle tree seeds sped with overnight
Solutions to Che Guevara and Lionel Messi’s Rosario on the Paraná River—Maternal homeland of
Fontana, who begins in models, as if fashioned from the drying latex, Crucifixion (1948), from the Araucaria araucana, the monkey puzzle tree, Chile pine, or cinephile of the centenary crossword (1913) compiler of The Guardian (2013)—Intervening

Pére Fontana's grave monuments, and Unique Forms of Continuity in Space (1913), which was inspired by a footballer, though never to be cast in bronze in Boccioni’s lifetime—Two years before the fourth pour, the son finds the intervening
Weight of gesture, in the slash, with the lustrini crackling if allowed to set (1946)—With lunettes burnt
With lines as black body radiation, to later repeat that realization; in the manner of the mudrā
Disrupting so much stagnant composure, the terracotta, then bronzed spheres scored throughout an atrocious unnerving silence of imminent Moon travel, yet Natura (1959–60) sustains this vital drag as Phanes, was called by dispersed Nyx, Overnight—
Nyx begat Gaia, which is also a crater photographed by Voyager 1 and 2 (1979-80) from the Almathea gossamer ring of Jupiter, and like the driver who held the laurel ring over the Dux, Auriga (1944) with the stretched arm of the earlier Lucio Fontana,
Memento homo—Auriga casts an outline of Brahma’s heart, but also for the third decan of Aries, the March allegory of the Palazzo Schifanoia (1478), with light hair, 0-magnitude, Capella, in red leggings steeped on the horns of Taurus, in Aldebaran—Filtering the screens that type green

Stars, Auriga is crouched in conjunction, bearing two goats, from the 32 hand-colored plates issued in a moss-green
Case, to be held before a light source, Urania's Mirror (1830)—As for the Olii (1968), and intervening
Dual breaks made by Schiaparelli, the astronomer, and by the designer, who found a Cartier diamond a colour of China and Peru but not of the West –a shocking colour, pure and undiluted (1937)—Lucio Fontana
Grounded César Vallejo’s The Black Heralds (1919) from space—Trilce (1922), tres dulce, the equivalent of three years before the poet absconded to Europe (1923), after the Santiago de Chuco general store had burnt (1921)—
The delivered Summer rose, by September’s evening, when I sowed in your embers, as decreed / the puddles of this December night—Mudrās,
Producing joy, which Yves Klein qualified his pink as the signifier of the flesh, galvanize the five elements in ramifications of the Rose family—Peach trees that meet their chilling requirement in the Andes, Nepal and Vietnam; the latter, where their flowers are collected for Tết; pruned to their most burgeoning, almost overnight—

An incisive collector, or la gadoue, Iris Clert’s Portrait (1961) is a folded butterfly wing among azure flecks of its scales, or pendants, following Arman’s accumulations advertised by sardine can, whose wife, Éliane Radigue, became known for consistent frequencies of pink sound, overnight—

A second Iris (1961), completed on gold, contravenes the sitter’s low estimation—Fontana upturned a neon structure of the IX Triennale of Milan (1951), to later assimilate the illuminated chemist’s cross in Talens and cadmium green—
For us, beyond the fundamental orders of rose; then its scaffolding—A bower of gấc framing your father’s terrace in Sa Đéc, with the oven beyond the canvas, where a single stalk of jackfruit that reddens rice towards the finish of February, and the beginning of a new Lunar New Year, performs the Vajra mudrā
Above us, on this pallet; being too warm inside, this evening—Staging the 1961 Venice Biennale, in the intervening
Months before the exhibition, originates Murano glass into Spatial Concept: Venice Moon; perhaps, from discerning their shards in the canal bottom—The copper originals of the quadriga of St. Mark’s further import into Lucio Fontana’s
Wash of Attese (1961), of the patina Petrarch regarded (1362) while sorting out the bequest of his library, unlike the one at burnt

Alexandria; the perpetually rising tides ensured the volumes would be first water-laden, and eventually returning to Vaucluse—If, to provide a counterpoint black moon, using tools from Yves Klein’s burnt

Anthropometries, then Otto Piene’s Rauchbilder on red grounds, embedded platinum on argil as raster layers (2009)—From which he extends the technology of Fontana’s spontaneous copper crossings by making the punctures steady, and backlighting them, with a timer—Overnight,

Dreaming; for being less careworn, of the perennial vine of one’s youth, Momordica cochinchinensis, whose inflamed pigment when ripe can only be matched by the carbonized corollas—Lucio Fontana
Found the specialty of lacquering, for Teatrini (1964-66), to end on the link of trailing birds transiting a planetary body, or Ellisi (1966-68)—Hermann Hesse, who wrote until becoming a painter at 40, ended his tenth novel (1927, 1929) at The Magic Theater—After remorse over the old hospital wall with its gray-green

Weathering […] in which a thousand frescos could be fancied, and from glimpses of the bonsai araucaria on the landing, on the river whose estuaries hold the black panthers, the right hand’s agni mudrā
To actively seek out the nymphalid Blue Clipper from the cinnamon-apple tree, whose description has been misplaced from any post-colonial imprint, which in the intervening

Years of being on separate continents, we are united in an instant over the same burnt incense, or watching those intervening
Matinees caught away from school at the Eden cinema—With bánh tét, square-wrapped in green banana leaves, for the earth, from the Ho Chi Minh City Flower Street in honor of the eighth sign of the goat—With the discovery of all the compass rose, as a water rabbit and a wood rat, in the overnight

Fog that covers this alpine valley with its broadening blue slivers of midday regaining us in July for the Apollo breeding, we sense their mudrās with our whole bodies as Lucio Fontana’s The Sky of Venice (1961)—

IV. Quatre femmes [sur la terrasse près de la mer]

IV. Quatre femmes [sur la terrasse près de la mer]

Bow downward, into Tethys’s Cenozoic saltwater lightering tarpaulins and levered tins of sulphur
Candles fumigating grocers since Victorian tiled hospitals and manor vestibules—Off the same estuarine
Wavefronts as the late Whistler’s butterfly; impressit oculi, antennae, overtaken by a broadening proboscis—Here, Grace’s
Sightings exclaim notes, nocturnes; even more, from a sketch (c.1870) of Nenna James, from behind, who is the unheard fifth
Of a madrigal of Pomponio Nenna’s (1556–1608) performed as the quatuor lead approaching the campanili
Of tall chimneys of Wandsworth—Having left behind the Alexandrine lust of Canto XI once called strength, our ship manifest cleaves the ring of Dis, with Pisces rising on Holy Saturday—Botanizing

Submerged brimstone’s dried flowers soonest applied to apple scab, or to fireblight in loquat pots—Botanizing
On far-between free days, where James Paget is heartened by a description of trichinosis (1835) from a muscle biopsy of a man frozen in the station of the emperor’s crossed legs of sulphur,
The hanged man, of not choosing St. Bartholomew’s of William Harvey, consulting to James I (3 February 1608); the asklepieion within earshot of the campanile
Of St. Bartholomew the Less—Passing Hogarth each morning, whose full aspect is taken from the top of the stairs, and whose murals were undertaken without payment against the Venetian Amigoni—The Pool of Bethesda (1736) implies both a house of mercy and shame of the afflicted—Among confines of the estuarine
Rises of the North Sea that dismasted the Minotaur (1793), with the nine-pounders Turner left off his studies of merchant ships (1810)—Willis, the old salt, regales its Lieutenant captain and tame howling wolf borne down from no assistance offered in the Dutch shipping lane from Gothenberg—In the wrought iron and teak of splintered gunwales of withheld Grace
At the Battle of Aboukir (1801)—Giorgios Seferis reaches Cyprus, where it was ordained (1953) upon arrival, where the archer, Teucer perceives an unfilled tunic, as Trocchi’s gaze into the Clyde's menacing reflection of Young Adam (1954), and under Jean Blanche, Helen and Desire (1954); befitting Crowley and Lady Frieda Harris's fifth

Atu propped on an uneven decknail—The celestial womb of all Nuit nine-starred by the hierophant to manifest what is meant; announced in Mahler’s Fifth
Symphony (1901-2) in three movements, under Leonard Bernstein’s direction as heart attacks, botanizing
Coronaries of the Sixth Symphony’s marriage, indicative of the Word rather than the mere hunger to perform; the Book of Thoth graces
The London public with the Sun in Aries at zero degrees coincidental with the spring tide of 1944, whose emperor and empress, and cupid’s quiver bossed with Thelema, throw mauve patterns of the Great Work retrieved down there as purple spindrift, while green and purple sulphur
Bacteria respire—Dissolve Istrian stones of Visconti’s Morte a Venezia (1971), in the same decided interval of Cavani’s Il portiere di notte (1974),  of the stripped player's hair cropped in a boy’s style, over the horn solo of the Adagietto—Wilhelmina Stirling, displacing a ghost from her gilt chair, considered the four vertical and four horizontal lines of five tiers of Giotto's campanile
Exempt at first calculation that contained the diamond and hexagonal lozenges of Gubbio maiolica studied by her sister’s husband, William de Morgan—Turning the estuarine

Reclamation of Small Gains over in her hands—Two ruby lustre tiles worked tirelessly in their reductions borne up from estuarine
Incursions of World’s End, of the Moravian cemetery, buried up to their necklines to receive the thrown cordage after the forty-fifth
Day of Judgment—From the expanded chinaworks of Merton Abbey (1882) to Fulham, until interior realities; with the rich glow of a jewel’s heart, botanizing,
Receive the grace of application—Ben, that is, largest of the five bells of the London campanile
Intones in crossing under the cable-stayed span of the North bank to Cheyne Walk, where Elizabeth Blackwell composed four plates a week in parity bits through the partitions to her physician husband, who, with the grace
Of debtor’s prison, sources the Latin descriptions of A Curious Herbal (1737-1739)—Among which the loquat establishes the Chelsea Physick Garden, from the teeming hold of the HMS Dolphin (1768), and then Endeavor (1771); the latter of which was deployed by the fifth Astronomer Royal, and by minding the deck Almathea, to Tahiti for the Transit of Venus (3 June 1769)—As if drawn burst from a translucent womb of sulphur

The black oil drop is flowing now like the current hand-rolled coltsfoot cigarettes of Mrs. Stirling’s shadow, which fans the Lovers from her deck; again, pointing to the grayish Orphic egg between the twins—Before Eurycleia assents her scarred host draped in goat the order to fume sulfur
In the women’s rooms, her eyes cun; from sailing, he is aground, on her island of twenty years before, and it is Penelope’s dream fulfilled (XIX.476)—James Cook, having dislodged a coral boulder (1770) from the hull, settled within the estuarine
Great Barrier harboring the unknown land of the South—Except for cassias, lemons, and loquat trees contained in the soft estate of highway A8 that Jim, on the coal scuttle, dreamt of finding there; aided always by the lamps of philodendrons, Matisse completes this vision, if off-centered, in its majesty, with a vase of gardenias, Fauteuil rocaille (1946)—Where the skin burning candle end elates, Love’s fluency renames lichen, a winter staple of caribou, with algae, its preserving Grace
Lining a hummingbird cup, as Victor Hugo’s bird child belonging to the blue hour (1865), just after the green flash, as Ithuriel, conceived by Evelyn de Morgan (1900)—Two notes caught in space a perfect fifth
From Berthe Morisot’s Bois de Boulogne, or the common of Millais’s Dew-drenched furze (1889-90)—Of the Landstrasse Belvedere, whose patinated rooftop twinkles into green and gold, as was it from In Memoriam A.H.H., XI (1850), of the last nocturne of Arthur Hallam (1833) at the nearby Golden Pear—Further botanizing,
Lichen, wrapped on their birches, oaks, and elms as hallucinations, reacts to the sulfoxide showers carried by cars, as a campanile

Bioindicators of our own inculcation of the 16th element, for sulfur bridges, as the pre-1978 Floridsdorfer bridge, our couple sets off, now, into each other's arms—Stonewashed to pallor with confinement, after the campanile

Of St. Stephen’s sounds, where Beethoven saw the birds flying from the housing of its 23 bells; with its linen measure of a man’s arm, the ell, embedded in the wall—A human cell completes but five of its 47 divisions after birth using a pair of sulphur

Acids, crystallized as fire, where the shin composes three nails lighted by the saliva of yod—When I first laid down with you, in a flat Thames boat without a keel, our close reading that only comes from a life raft of strangers, contained Wagner and the Linke Wienzeile No. 40 Majolikahaus, to my senses washed out from the silks from the Woolworth’s at King’s Road—Botanizing,

Realize that it is the hotel on the corner, Wienzeile No. 38, encrusted with golden palms, where they wait awake all for this moment, where the estuarine

Blooms—Channeling Wilhelmina Stirling, for her sister’s copy of Botticelli’s Flora (1900), not to think it was for the island where Captain Cook died; tracing biwa tea, or Florentine nespolino, the pit’s liqueur, or the rust and indigo chaffinch gracing

A fork in the grove; a nest smoothed in lichen—For Floralia, 28 April to 3 May, from the Fifth

Fasti; Evelyn de Morgan, citing the Ovidean Botticelli refrained, for the Olenus flower to the daughter of Saturn contriving conception of Mars (V.229)—Averring; stem-temperate against the weather, campanili, obelisks, columns opposing crescents of sea and queuing the eye of the needle, φ of latitude—Whistler’s sketch, if the life drawing had fallen into our own laps, among two others is as Sibylline, signifying the solar return of one, the fifth day

After Ides, March 20, Isis and the birth of Harpocrates, for the time of resuming sailing the sulphurous cables thrown out from estuarine overreach of the Nile into the Mediterranean to Magna Grecia—

The last, your contemporary, is celebrated on February 19th; born on the cusp of Pisces, the middle of nine days of gifts of wine-soaked bread and violets to the Manes, whose collective D.M., dis manibus on Roman headstones nod in the discourse of the founding cemeteries of New England, and without concluding the strangeness of this ceremony, then chiastic Milton, Love without end, and without measure Grace (III. 140-42)—

III. Une histoire des poissons

III. Une histoire des poissons

...je lis dans les astres la bonne volonté des mes amis / dans un fleuve j'aime une main —Philippe Soupault, Comrade (1919)

Mean, apparent, and sidereal assimilated to the dream of a fading negative of a stellar

Trail along the wainscoting with cupids—Abstracting the length of Xiangqi red’s move

In the scholar’s nine-point courtyard; fierce peace, Jaromír bounded as the gallows, the block,

Or the knife, put down for bread pudding—The milkmaid’s umbra (1605) in burnt umber sumptuary

Emerging ten days from a jeweled egg ring, a bocage beneath chanterelles of the birch trees, Nymphalis antiopa

The mourning cloak, or Camberwell beauty, with Continental distribution, after the well of the Britons logged in vellum sheaths of the Domesday Book (1086)—

Bernard Bolzano (1781-1848); who separated calculus from the infinite (1817), whose maternal name, Maurer; wall-builder, and possibly Ashkenazic, portions Almaricus, the earliest surname on Norman record, from the Domesday Book—

Domus Dei, as the door on Mariánské street, now the municipal library founded by Jesuits, the Klementinum recording the climate continuously until 1939—Among stellar

Computations of the Observatory’s sundial, in view of Vltava spanned by eighteen bridges—Taking the eighteen minutes’s drive to rue de Meaux (1987-1991), where Nymphalis antiopa's

Ecdysteroid concentrations; having modeled its crumpled and drying wings, with pteridines, ommatins, melanins for scales, glides beyond its birch atrium, to ultimately drink from the stag's mouth fountain in view of Notre Dame, on the former grounds of L'Hôtel-Dieu—Born in the middle of a move (16 April 1994),

From cemeteries with fathers younger than the sons—Twin sons, Amphion and Zethos, in a lost play by Euripides (410 B.C.E), drink from the wellspring of Ismene, guarded by the Ares’s drakon, from drakein, to see clearly, the short-lived administrative block

Of Thebes assigned as Cadmeia, where all metamorphoses converge, as in a shocking quarter of butterfly hemolymph in the sumptuary

Transfer of the spermatophore hastening vitellogenesis, with myotropins for ensured contraction of oviduct—Sumptuary

Butterflies; borne on their inexhaustible fuels of syrup and nectar, summarizing this movement for us: what has once moved is enclosed and eternalized in the total union of all being like an insect in amber—Reads the book

Found in the January wreck at Sens (1960), with an Appendix of Songs, Le Gai Savoir (1882), and rather than going so far as to speculate on an absolute morality, with the dais vacant, consider the unknotted Linnaean divisions, with a blocking

Reagent, modifiable DNA binding regions with lysine annealing the backbone, and imino proline, which cannot steady α helix or a β sheet, allowing for ladder-turns—Prague, perhaps the most stellar

Of cities, with the Orloj skeleton still nodding the revolutions, hosted Kepler—Reviewing the Rudolphine tables in December, when Nymphalis antiopa

Overwinters to emerge as thorned chenilles in late June, early July, Kepler regarded the Great Conjunction of Jupiter and Saturn in Pisces (1603), which was then joined by Mars (1604), the most elliptical path moved

The fastest nearest to the Sun—While writing L’Été en Algérie (1954), did Camus inspect that pediment of Amor handing Mar’s sword to Venus—Consecrated by Augustus, evoking the prime movers

Venus’s son, Aeneas, and Rhea Silva; performing her exile, rheô, or stream, as the mother of the founding twins to interpolate the orphan, Octavian—Jacques Cormery, the sumptuary

Mars until it squanders—Jupiter, producer of the bounty reserved by the Saturn, who has locked fountains of the nymphaeum

Percolating the crypt of the library of Celsus (117 C.E.)—A diapause, for by yolk accrual, by lampbrush chromosomes, where the bee casts an unchanging shadow before departing from its cell of bookplates

When the still-warm ground graces frost flowers from its blustered xylems—Untitled (Butterfly Habitat), c. 1940, the peristaltic thorax titered juvenile hormone blocking

Further molting, or other rival queens between hives—Operatives, over the Bedfordshire model porcelain Fountain (1917), rather than its occupant, and yet the stellar

Apis Indica—The Indian bee, having migrated so far, for a proprietary swarm in the wind-braced locust within sight of Notre Dame; amended stellar

Region occupying 206 square degrees reframed by Kepler as a bird of paradise (1627)—Pollio; perhaps, interceding, is granted the gift of a son by the fourth Eclogue’s abbreviated peace at Brundisium that October (40 B.C.E.)—Octavian, whose later face trades in its clusters, where hard oaks shall drip dew of honey, who is known to himself as the Trojan refugee, spares moving

The Maro landholding in Mantua—Now returns the reign of Saturn, at the edge of a meadow at first scythed with great effort; furthered as a hotspot for butterflies—Since Maimonides (1135-1204) mentions the first modern dosage of antigen blocking

Mast cell degranulation of histamine belying all that is the low microbial biomass of bee pollen—The Hotel of the Golden Bee’s photostats of Saturn and Jupiter (1970), set at the ten and four hours, perform their rival sumptuary

Of a secret miracle around the teapot of Sagittarius, with the base’s striped kitten with matching storm bands of the signifying planet that is signed three times by the one born on Christmas eve—A philatelist unearths a Turkish Nymphalis antiopa (1988)—

We read Joseph Cornell from the plane of the ecliptic, at the Milky Way, with an outlook enclosed in the arch of the Pollio fountain at Ephesus (97 C.E.), Kuşadası, or bird island; the book

Opened at random, granting the species there undersides of a stump concealing an iridescent blue spray; a book

Supplanting the attention paid to a Delft foot warmer—Phenomenal as the impediments of Thebes  Zethos pressed against stirred by Amphion’s notes—Their mothers’s eponym of a stream, in the Untitled (Penny Arcade Portrait of Lauren Bacall) (1945-6) being presented this October (2015) in the Kunsthistorisches Wien! among the shifted cabinet of curiosities of Rudolf II—Among the sea-unicorn and alraune, tabulations of the most accurate stellar

Positions to date; ten years surveying the transits of Mars, Astronomia Nova (1609)—The Ancient Greeks noticed Nymphalis antiopa
Drinking from riparian willow diverted for fountains—The Golden Age of Prague (1583-1612) is this Bohemian sumptuary

Least of which is, and hope lives at these magnitudes, tolerance in the form of the Letter of Majesty (July 9, 1609)—Indifferent to being spotted in the moonlight, the Loew golem (c. 1606) rouses from its attic to look in on Kafka’s former residence at the Three Kings (No.3) Celestá Lane, where the solar hand pauses  for Hladnik on Pisces, and the lunary on Cancer (29 March 1939)—Beyond the birches, separate façades of the Renzo Piano housing move
Us to volumes of the dreamed Klementine library suggested in the slot-machine homage as much to Bogart as the rise and fall of a solitary cloudberry from  her aquavit, then draping her mink coat on the floorboards to sense its depth—Blocking

Each’s flair for exasperation; tugging at foci blocking our book’s breath spaces of a child, a lap spaniel—

Reflecting that this is always the case, Nymphalis antiopa opens its sumptuary cloak in winter, and last
Autumn’s Crocus sativus harvest astonishes—Rather than rearrange the cosmos, a stellar timekeeping raises my hand through the invisible labyrinth where the drop of water still clings to our cheeks—