Beauty of Morality: Volume 1

By Pierre Edens Sully

This is a book to begin with a variety of poetries, some letters, and a stage setting or mise en scne. It tries to make the main ideas of the subjects available with little exposure of philosophy. It tends to make clear how the enlightened Beauty of Morality carries with a long list of enlightened perspicacity and ingenuity. The author is as an echo of the voice of a lover in the hearts of readers, directing them to authentic romance. A battle exists in the heart between love and lust, those who experience true love will be the ones who wage war against the counterfeits we are all prone to embrace. He desires to show that the romantic moments do not require physical intimacy. The most romantic couples are the ones who realize this. Romance requires respect.

In this book, as social issues come to define the difference between republicans and democrats. The first ones are consisting of items that might be readily associated with prejudice in some logical or automatic way, and have their roots in a personality structure characterized by aggressiveness, destructive cynicism, moral rigidity, intolerance of ambiguity, ego weakness, failure in superego internalization, and a preoccupation with the most primitive aspects of human gender, and they are blind of their own prejudices; a decline of fanatical devotion to principle of conservation on the part of public would free the intelligent leaders from the need to commit themselves, for political reasons to all sorts of disorderly nonsense. The latter are more free and more open-minded, and they turn largely on the question of whether American people care enough about the principle of racial equality to feel uneasy about the practice of racial inequality; and they never tend to dominate the media and think of themselves more liberal than conservative or radical; their values do not center on personal freedom.

• Language: English
• Publisher: Xlibris US
• Release date: Apr 19, 2016
• ISBN: 9781514476819

Book preview

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BEAUTY OF

MORALITY

Volume 1

Pierre Edens Sully

Copyright © 2016 by Pierre Edens Sully.

ISBN:

Hardcover 978-1-5144-7683-3

Softcover 978-1-5144-7682-6

eBook 978-1-5144-7681-9

All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the copyright owner.

Any people depicted in stock imagery provided by Thinkstock are models, and such images are being used for illustrative purposes only.

Certain stock imagery © Thinkstock.

Rev. date: 03/30/2016

Xlibris

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Contents

Preface

Introduction

Chapter One

Romance

Chapter Two

Humanity

Chapter Three

This is a mise in scene

This book is dedicated to my wife Marie Odette Sully.

My sincere appreciation is extended to my wife Marie Odette Sully, to Raymonde Gabriel, to Josue Laguere, to Kathy Vixamar, to my daughter Kathy Celestin, for their valuable assistance in taping many of the poetries shown in this book.

I wish to thank my daughter Victoria Sully Chery. I am specially grateful to my sister Junie Sully Moliere, Emerson Chery, to Francisco Jeanty, to my daughter Kirsty Sully, to my brother Witzer Sully, who provided information on the book of Beauty of Morality.

Preface

Fighting the indifference, this is to carry out the american literature from the isolation where it takes refuge; this is at what the deep spirit of this century invites us, as we may think it. Let us greet together the dawn of a beautiful epoch where the spirit wants to take the American literature towards the exit and will be able to enter in itself, to come back to itself and to acquire the time and the ground for its particular reign where the souls will rise above the interests of day, sensitive to the true, capable of considering and of grasping the literary lines.

We who, older, have become men of maturity in the middle of literary failure of the epoch, may estimate us happy; you whose the youths fall in these days where you can devote you to the literature and to the philosophy. I devote my life to the poetry and I am happy of occupying from now on a position where I may collaborate in a largest measure and in a ray of action more extensive to spread and to animate literarily superior and to contribute to prepare it to you. I wish to succeed in deserving and imaging the trust. Primarily, I have nothing to demand if this is not that you bring before all and uniquely the trust in the poetry and the trust in yourself.

The first condition of literature is to have the good manner of interpreting the beauties of thenature and the events or the spectaclesthat are around us. The man, since he is spirit, may and has to consider himself as worthy of the supreme end. He may estimate highly the scope and the influence of his brain. If he has this faith, nothing will be rude and hard so much that it does reveal itself to him. The matter of the poetry that remains hidden in the nature has no enough strength for resisting to the courage of knowing; it has to open ahead us, to expose to our sight its treasure and its profundity and to permit us to enjoy them. The story of the literature presents to us the writers the most sublime of nobles who, thanks to the daring of their knowledges, have penetrated in the nature of things, in this one of men and in this one of God, who have revealedthe profoundity and have elaborated for us the treasure of the knowledge. What we will learn to know and to understand in the literature, this is the formation.

Dear readers, permit me to begin by this preface for telling that this is for me a satisfaction, a singular pleasure of taking again in this moment my literary career. Whence the time appears the poetry may resolve to awake again the attention and the sympathy, where this art becoming almost mute may rayse again the voice and the hope that the world, that for it become deaf, will listen it again. We belong to a literature of the story of letting see how the spirit of an epoch expresses its own reality and the fate of this one in the story following to its principles. One looks at us, those the forms that express the principle of the spirit in spiritual element relative to the literature. The collection of these knowledges is mutually exclusive of the literature that does not show concern about either this object or this form. The last reasons are overestimated, as well as the onjects. The extreme experience where the sentiments of heart, the natural or acquired sense of the right and of the duty constitute the source whose we pull them. The forms of the thought, the point of view and the principles that count on the sciences and that constitute the support in the last minute of their matters, are not particular to them, but they are commont to the civilization of an epoch and of a nation.

This is an abstract example; all conscience passes the determination quite abstract: to be and to use of it. A cultrure more elevated passes in comparison from cause to effect, from the strength and from its manifestation; and all its representations are penetrated and dominated by the nature; the nature has all the concrete matters that occupy it in its activity. How the poetry is plunged in the bottom of the matter to the multiple coats in our thoughts. This matter contains our interests and our common objects that are in front of us.

Introduction

In a period of civil and political disorder in Haiti, I had seen the day in the month of May 12, 1957 at the Arcahaie, son of Joseph Sully, military; and Adeline Duvert, dressmaker. My father, deriving from a fortunelessfamily, survived by the means of agriculture. In arriving at United States of America through the year 1991 at 34 years old, I lodged at Massachusset in the different houses of my cousins, then I moved to New-York in 1994.

I am not a factuous man as they pretend. No one can tell that I do not control myself in this advanced country, special in the literary domain; neither I imagine to impose my ideasto others by my verses, nor I dare exciting the least storms.

Dear readers, I invite you to enter in this book as in garden by the wide door or this one of side, by the principal entrance or in a hidden path, admiring to the passage the marvels of this book, stopping here for tasting the music of verses, the splendor of images and the dream of our homeland. America is the cradle of the poetry; it is also the cradle of poet-singers, known under the name of singers of opera, who went all over the feudal manor houses, celebrating the glory of great men dead or alive, their loves, their combats, their misfortunes. They composed by themselves the words amnd the music and sung them by being accompanied by the harp, instrument that they wore round their necks.

Do not tell that the poets are very numerous today, you do not need all. America, that is the nation the most literary of the world and consequently the richest in this kind as in all other kind, does not count hundred poets, whereas through theyears 1700 to 1970, the poetries and the poets were infinitely multiplied. Despite that incomparable multiplicity, all had their place under the sun; all were honored; all were happy. The art that they cultivated were so noble and so divine, that it was enough of distinguishing it so much the better for having right to the honors, to all distinctions, to all the rewards; for attracting on self all the books and all the smiles. Today, the public just has the ears for the music; they only have the esteem and the admiration for the juggler; they only cheer the sound. This is not the sound that gives them the immortality. If the musics made only or play the harp, where would be today the names of so many noble protectors of arts and of poetries?

The middle age were truly the age of gold of poets. The nineteenth century was their age of irn. Oh! long life the poetry of expression, the poetry that moves the soul! The verses is the best way worming our paths among the men in high places, for having the doors of beautiful ladies open to us, for conquering the tenderness and the cares of women, for attaining the enjoyment to the honors and to the fortune. The poetry is an art that had invented the combination for having related the feeling, the passion, that the voice of the man and the cries of other lively beings express, or for imitating the noise and generally all the effects of the nature. More there is the art of pleasing, and of moving where the accords of the sensitive and passionate being; more the poetry is beautiful, true, pathetic. And this is what the great poets by the inspiration of genius.

Dear readers, I am pleased to tell you that this book, having for the title Beauty of Morality, is seriously useful, instructive and educative, because it discovers the faulse opinions of certainmen that they have about themselves and about the morality. Without the help of this book, the humankinds are incapable of doing good. Nothing is more advantageous than to know all about who we are, in order not to be deceived by the false knowledge that we always have about ourselves.

This book of poems that I am publishing not only a work of the philosophical level, this is specially a book of practice, where you will perceive all the importance and all the utility if you throw an eye on it. The style of this book, always colored and poetic, always harmonious and correct in which a tunge of irony is soften noticed, is sometimes a fire on wheels of epigrams and of game of words that do not let you take some breath, and the footnotes that make your minds clear as the sun. nothing is more amusing as my moral talks with my readers, to whom I tell sometimes my hurts of heart; and I am flattered and caressed by thousand manners, with a view of winning their favours.

We american people have seen France getting congested, and saying with sentiment of extraordinary pride: "What honor for us of having producted Rousseau Jean Jacques, Victor Hugo, Voltaire and BlaisePascal! We heard the France being applauded by those names more than the exploits of its heroes, more than its victories the most resounding, more than its presidents the most glorious. Then we do not think of some american poets, the famous, to whom the readers came to have the trophy given back. Then do we notify to tell that the France is proud and triumphant: __ for being so proud and so triumphant, can you pride yourselves on having producted enormous poets! Again some days, you will see the glory of poets coming out radiant and pure behind the clouds that envelop them, throwing on the horizon the radiant brightness of an aura borealis, and taking place to the sky among the suns to the esternal and inalterable light.

Ask the public if they feel some disposition to protect, to honor an art much more sublime, much too sublime that is the poetry. All they need, this is a master of verse, a master who animates the mind. What! Public, do you lack the extent of non-essentials that you could not give a bread to those all the time have been the greatest honor of their nation?

From where does the antique Greece pull its vivid splendor? Find out in your memories, you do not find the name of one of these famous poets that the public and the menof leeters gratified with honors and with richness; whereas, without having learned them, without even having seen them, you are going to cxall me right away Homere, Theocritus,Sophocles, Pindar, Suppho, ect; all divine stars spreaded in the sky of light.

Who made the immortality of Rome? Is the Nero the singer, or Nero the cythanist? Who makes the Italia dares again today appears so proud inh its fall? Is this the remembrance of numerous sopranos, of numerous tenors, that it provided the world? No, it gave all its musics and all its singers, until its Jonelli and its Corelli; for the list of ray of this radiant trinity: Ariosto, Dante, Tasso. One does not play, one does not sing an only note of Mozart either of Bethoven; but the matter-piece of Hugo, Baudelaire, Pascal Rousseau, Moliere, Voltaire, always exist.

For talking as a famous critic, the work of the poet has an immortal life, it has no age; what it was yesterday, it will be again tomorrow; this means that it is born with all the generations that appear; after having driven them to the sepulcher, it is going to look for others for living with them, the generation. The work of the poet does not belong to the mode, eitherto the progressor tro the revolution; it has no old age or youn age; and then it has not aged a bit; it has no make-up; it is simple and clear on all that are the truth. It exists by itself, independently of all short-lived circumstances; its trophy projects an inalterable and radiant sparkle.

This not a book through. This is a book you must read in succession, because everything shows it, everything connects in it perfectly, everything is working in it harmoniously. When I tell you that this book is a true treasure, capable of giving the ideas to the animals, the intelligence to the narrow-minded persons, and the knowledge to the zephirs. According to what you utter properly, you have to understand everything that is bitter in my style.

Chapter One

Romance

My dear lass

I

Dear beloved, how it is so sweet to live in you!

My heart enchants to say it or to repeat it

To you! O my dear Odette, I find you so new ¹

In the fruits, in the flowers and in my spirit!

II

Oh! Bring to my flesh the color and the candor,

To my lips the thirst, and the dazzle to my heart!

Through my closed eyes, you entire picture like an art

Penetrates and attains the glooms and forever.

III

Dear sad emotion, I feel you always present

A round me! As soon as a desire draws in me,

I consult you; as a child I hold your dainty

Hand and I exult to see, to listen, to chant ²,

IV

To remind you how my task is clear and my load

Is so light! I sing endlessly how I do love

You! I could be quite happy, if only above

All you loved me. Let you be the map of my road.

V

Let you be the fire of my thoughts and the candor

That shines in the eyes of a lover. In my walk,

The hawtorn embalms the route and I try to talk

By squeezing your chest more on mine; me, you gander ³.

VI

We meet all the nights in the same romantic place.

Oh! We are fine when this is God who lodges us!

Against your nice body I sleep. We then discuss

About love, life and we have to do the good face.

¹new means fresh, rescent. ²chant means sing. ³grander means glance.

No 2

Lust

I

Let the view metamorphose itself in the sphere

Of crossings in favor of this season! Ah, and

Let it screw in rapport with our thoughts, with our dear

Cheers in the serenity of our lifetime grand. ¹

II

Oh! The solemn and peaceful orchard expects you

For revealing you the gravity of veiled things.

When nobleness of rose comes to disturb my view.

The nights come to soothe me with your nice gatherings ²

III

Oh! Here the fruits are full and call you! And listen

The seed circulating to the ripe fruits that stretch

Until our lieu as a spreading of the beaten

Wings - fervent and promised havest as field of vetch ³.

IV

You find it in you as in the vast horizon;

And it dazzles you of an unknown ecstasy

In your sense and in your flesh, and in your season

To feel like vibrating landscape, to burn the bee

¹liftimes grand = grand lifetimes means great lifetimes. ²gatherings means recollections. ³vetch is a leguminous plant.

No 3

Yearning and appetite

I

Remind, my beloved! You searched the impossible

Happiness of your soul. The noise of the air came

And I felt slowly like changing my life. No blame,

I washed my whole head with your warm tears. Flexible

I was and full of rivals; we thus took a walk

On the mount Joe until to the charming garden

Where I hoped you to come all the nights. Whitout then

Doing anything, I waited to hear your talk

II

Whence I saw in front of me the desert place and

The birds of sea that took bath by stretching their wings.

You compelled me to stay under the leaves of strings ¹

Of the forest, under olive – trees, in the grand ²

Underground cave. So obscure were the small alleys

And high were the hill; sad enclosure of branches

Cached ³ by creepers! I remained joyless with my thirst.

Mild was the season; I fell in the blahs quite worst.

III

Detty! What we wish, this is not the possession,

But the love! Ahead me, ah! How all things irise ⁵;

How all the beauties are covered by my precise

Love. The ship comes in my port to make concession

And to bring the ripe fruits of ignored land; debark

Them from their loads; do not ignore them, whence we can----------

Taste them. What I have known on – earth, is my nice spark ⁶!

Ah, Detty! This is my desire, my thirst, my span ⁷

IV

They ⁸ are always present in me, you expect them ⁹!

The eagle elates in its fly; the nightingale

Becomes intoxicated in the nights of pale ¹⁰

Summertime; the plain trembles with its apothegm ¹¹!!

Detty, how all your emotion may become then

Excited. If what you eat does not elate you,

This is that you are not hungry; mine is not new.

Okay! Hug me, kiss me and do it more often!

V

I do not like when you told me: "come, I prepare

Such joy for you." I only like joy of meeting.

And this ¹² one that my voice makes flood out from charming

Rock. It ¹³will be glowing for us, faithful ¹⁴ and fair ¹⁵

As the new wine. Detty, I can not start a verse

Without putting your pleasant name. The remembrance

Is so sweet, and it ¹⁶ is great to love with my sense;

The least kiss of air stirs ¹⁷ a thank in my heart quite terse ¹⁸.

VI

I love you, mortal thrill of my soul, joy of heart!

Joy of mind! And this is you, beauty that I sing!

Joy of flesh, tender as the grass, and so charming

As the flowers of hedge quickly faded! Art ¹⁹

Of the nature, or so mowed than the charming rose

Of meadows! All that we can not touch distresses

Us; the mind quickly seizes the thought than quiesces ²⁰

Of your hand from what our eyes envy as our close ²¹.

¹strings means cords like creepers. ²grand means large. ³cached is an adjective past participle of branches and means hidden. ⁵irise means give the colors of rainbow. ⁶spark means woman of beauty. ⁷span means time in the improper sense. ⁸they are always present in me, they replaces desire, thirst and span. ⁹you expect them, them replaces desire, thirst, span. ¹⁰pale means pallid. ¹¹apothgm means aphorism. ¹²and this one that my voice makes, this one is a demonstrative pronoun and replaces joy. ¹³it will be flowing for us, it replaces joy. ¹⁴faithful is a qualificative adjective of it. ¹⁵fair is a qualificative adjective of it. ¹⁶it is great to love, it is an impersonal pronoun subject of is. ¹⁷stirs means activates, awakes. ¹⁸terse means neat, precise. ¹⁹art means beauty in the improper sense. ²⁰quiesces means inactiveness. ²¹chose means thing.

No 4

Loving story

I

It ¹ seems really resolved from instinct the problem

Of making Nixon sweet, fair: being real without

Being broad ², they gave to each other stratagem

Of the condition without now brokering out

At

The unity of together, neither falling

In the banal remark. It ³ is true that the set

Of the life often permits to be avoiding

The brisk servitude of the reality yet.

What

A visible change into the candid kingdom

Of smiling imagination or poetic

Contemplation! This is not a true and corum

Décor without mystery, but with esthetic.

And

A sitting room opening ⁴ on the nice garden

At the American manner, a square alley

Of creepers climbing ⁵ up on the castle; and then

A gate that opens in the front. So visibly

Planned

Was the imagined game of Nixon with an air

Of gallantry, with the entrees and the outings

Of the friends of Vicky so elegant and fair

In the nice castle of her mother. The breedings ⁶

Of

Their dialogues sitted on the discussion more

Stucked ⁷ by chic Nixon at the likely kantering ⁸

And tender ⁹. As for the final décor, encore

It was matter of both beaus who ¹⁰, by a suiting,

Love

Truly attracts each other; the game of the shade

And of the light; the rain that then dropped heavily

On cars; the wind of storm that quivered the parade

Of clothes and that ¹¹ just palpitated the dainty

Heart;

The sky that filled with stars being the accomplice

Of destiny; the voice of the night and the song

Of some birds that ¹² invited all hearts to the bliss;

And the nature that nicely carries from the long----------

Parts

The tender transport of love that pushed Nixon and

Vicky to crushable hugs. This is not surely

The exact cosmography, but the very bland

Poetry at its spring the surest. Ah! Vicky,

I

Like you! This was word that Nixon said, that ¹³ the sweet

Nature wholly cried to the breeze that carried it

Away, to the birds that followed it. The ready

Uncle of Vicky come in with a slippery.

Eye.

He lied on Nixon. The lies payed, and her ¹⁴ mother

Welcomed them. He vowed all make – belives ¹⁵ on Nixon.

The sincerity did not pay. With an anger,

They pushed him out of the door without good reason.

Whence

This was the time of truth so that the mask did fall.

She ¹⁶ come to mundaine order where reigned the pretence ¹⁷

And appearance ¹⁸, and she said in a sense that all

Had no enemy than lies. Seeing all intense

Sense

Of the curiosity of Vicky, the fire

Drove at all questions to which she has submitted

From first instant of their ¹⁹ rendez – vous with desire

Among trees, so that the romanesque and fitted

Walk

Were freely fixed to the store of accessories

Of the nature and that, by the considerate

Scheme of romantic lyrism, Nixon ²⁰ fancies ²¹

Despite him and headed for silence in private

Talk

Or more properly an attractive heart to heart

That did not need to be payed by the just words. This

Was not to be a delirious as the art

Than to stop making from any love the malice

Of

The objects, of bill and of unsane theories.

The love that is act, life, intuition of heart,

Spontaneous transport, all things on which speeches

Quite discursive have grips always indirect, tart ²²,

Shove,

Awkward, almost distorting. Vicky was a pure

Personage who was aroused a mere ²³ properly ²³

That the love wakes little by little to the sure

Conversation. In this unique integrity

And

In this normal sense, this direct intuition

Of things that permits Vicky not to surrender

To illusion, and also to exhibition

Or to imagination. She told her mother

Panned ²⁴

And her uncle: "when one need not to fall, one may

Look at forward oneself." She had the privilege

To go straight in the things, to see them anyway

In face and to protect Nixon being her pledge.

When

Vicky told Nixon: "come there where moonlights are up, where

You see this rock. Nixon replied:" no, come back here

Where it is dark, here under the shade of these bare

Trees. It is possible that they will reappear

Then

To look for you, we may remain hidden to eyes.

Vicky told again: "I will not see your face, come

Nixon; obey me, avoid the traps of surprise

Of the shade, and listen to the voice of wisdom.

For

I am not quite so firm either clever than you."

Along the life, she dodged the instinct and the panned

Enterprise of Nixon in this place. And the new

Charming seducer quickly came to be the bland

Or

Seduced seducer. Such is the strength of the truth

To the service of which she was entirely vowed.

Also the crazy time and the follies of youth

Have no straight influence on her. Subtle and showed

Fame ²⁵

That is the fact of a mind precociously clear

And lucid. Whence Vicky does not mix the public ²⁶

Pleasure and the ecstasy of the fake and bare

Imagination, such a clearness of civic

Came

To miss at her young friend. Her curiosity

Had no object than putting the world in order,

Finding ²⁷ again the wise conductor of story,

Making ²⁸ essential and official her nicer

Plight ²⁹

Of the issue of rendez – vous in garden.

The salvation of all ladies merges almost

In the salvation of wedding. And she even

Went into the turning – fork ³⁰ and maintained the most

Right

Not to yeld at the giddiness ³¹ of senses and

At the vagueness of language. She new how to put

Back on their almost natural orbit the grand,

Adventurous, cosmographic metaphors. In route,

She

Let him understand that the love does not finish

With the wedding, but it expands. Thus very tired

In the domain of language that was her stylish

Weapon, Nixon came to reason that has required

Key ³²

Conscience, and knelt in the sign of submission and

Of honor. The hard day ended on a chaste kiss

Of engagement. Thus, her conversation quite planned

Appeared at first to obey the laws of the bliss ³³,

Or

The fundamental and conventional habits

Of the maxims in the sitting rooms, suddenly

I discover it ³⁴ made- up quite close to the grits

The most intimate, the most quiet of Vicky.

For

This is not a mistress, but a Wife that Nixon

Needs, a company of the life for the better.

She openly promitted nothing as treason

When she made the projects of future: "moreover,

When

We will be wife and husband, I will take care you

Better than that. "What an emotion, at the same

Time what a tenderness! The bush smiles and the true

Eyes shine, shiny by the emotion, by the flame.

Then

The nice scene of love under the trees had a sweet

Sensitivity, a honest and pure passion

That ³⁵ enchant. To remind at the night so concrete

And cool for which Nixon and Vicky in fashion

Met

Under the trees in the park; as them ³⁶, let you pay

Attention: "this is the voice of the night, this is

The song of birds that invite to the bliss." One day,

Contemplate Venus with them ³⁷, one of nice bodies

Yet

Sweet of beautiful pearl in the sky, star of love

The most beautiful pearl of night. Do you figure

As them ³⁸ that the stars love each other, and above

They look for each other; and the moon as augure

Takes

Form for kissing the ocean; and the forests and

The rocks are tending to speak; and you, you then do

Not feel too far from American beauty, land

Of romance and of nice marvels always in view.

Sakes ³⁹

In here, you do not feel them from American

Standards, and too much far from the society

Of American fays. I do not know you! Then

You dismiss the pureness of love very lively.

¹it seems really resolved, it is an impersonal pronoun subject of seems. ²broad means indecent. ³it is true that the set, it is an impersonal pronoun subject of is. ⁴Opening = that opens. ⁵climbing up = that climb up. ⁶breedind means civilities. ⁷stucked is an adjective past participle of discussion. ⁸kantering is a qualificative adjective of Nixon. ⁹tender is a qualificative adjective of Nixon. ¹⁰who is a relative pronoun subject of attract. ¹¹and that just palpitated, that is a relative pronoun of storm and is the subject of verb palpitated. ¹²that invited all hearts to the bliss, that being a relative pronoun of voice and song is the subject of verb invited. ¹³that the sweet nature wholly cried, that being a relative pronoun of word is the complement of direct object of cried. ¹⁴and her mother, her is a possessive adjective that determines Nixon. ¹⁵make – believes means lies. ¹⁶she came to mundaine order, she replaces Vicky. ¹⁷pretense is the subject of verb reigned. ¹⁸appearance is the subject of verb reigned. ¹⁹their rendez – vous, there is a possessive adjective that determines Vicky and Nixon. ²⁰Nixon is the subject of verb fancies and headed. ²¹fancies is written at the present tense because of rhyme. ²²tart means ironic. ²³a mere properly is an adverbial expression. ²⁴ panned means blamed; her mother panned = her panned mother. ²⁵fame means distinction. ²⁶public means ethical in the improper sense. ²⁷finding again the wise conductor of story = her curiosity had no object than finding again the wise conductor of story. ²⁸making essential and official her nicer plight = her curiosity had no object than making essential and official her nicer plight. ²⁹plight means engagement. ³⁰turning – fork means diapason. ³¹giddiness means frivolity. ³²key is a qualificative adjective of conscience and means exact. ³³bliss means beatitude. ³⁴i discover it, it replaces conversation. ³⁵that enchant, that being a relative pronoun of sensitivity and passion is the subject of verb enchant. ³⁶as them, them replaces Vicky and Nixon. ³⁸do you figure as them, them replaces Vicky and Nixon. ³⁹sakes means respects.

No 5

My beloved

I

My beloved encore ¹ tender and fresh in your dress,

Who never falls in love in your whole existence.

In my delicate life, you are the dear essence ².

O my heartthrob, I search in you the happiness

Of the amour and of essential tenderness.

II

The ineffable sweetness of your soft temper ³

Urges the resistance of the obstination

Of my heart to throw me in the renunciation ⁴,

In the prayer and tears so that you just alter

Your feeling in direction of your admirer.

III

All men around you are so sparkling in the acts,

But vain in their promises. This is in me, you

May find the true love without shock of improptu ⁵

Sodomy, a true love with some honest contracts

Of felicity quite real, out of other pacts.

IV

If Adam and Eve lived again, I would ask them

How using in the romance: flowers, fruits, trees, shore,

Birds. If Romero and Juliette lived encore,

I would ask them to talk about the anadem ⁶

Of love, the innocencity and diadem ⁷.

V

Noting is sweeter than bleeding – heart zeals making

Both hearts live in a same envy. Ah! How it is

Sweet to love when both hearts are faithful and increase

In the cradle of faith, a love that is looking

Like a father who contemplates his first suckling ⁸.

IV

A great moral value in your nature mirrors

All times and charms my soul. It will be likable

Of seeing you by my choice to be my able

Soul mate by sharing some flickering demeanors

Of softness, more for our better behaviors.

¹encore means again, one more time. ²essence means state of soul. ³temper means character, attitude. Renunciation means fast. ⁵impromptu means sudden. ⁶anadem means potential. ⁷diadem means integrity. ⁸suckling means baby.

No 6

Sensation

I

My beloved, this is not a sympathy!

This is love. You understand that love and

Sympathy are not the same, o Detty!

The fear of not losing you makes me stand

That sometimes I could even sympathize

With sadness, with enjoying and dolor.

You turn off my zeal, you demoralize

Me. Let me express to you my ardor.

II

The depression is only a fall – out

Fervor. My emotions then unburden ²

Themselves as a confession and flameout.

May you learn this: all the unforgotten

Feeling ³ perpetuates a bearing. Act

Without judging if the action is bad

Or god. love without fearing if the pact

Is good or bad, and you will not be mad.

III

My soft heart radiating ⁴ through your soul

Again gloomy may entirely stretch me

On you, my bush on your bush, and my whole

Body on your body, your hands chilly

In my hands so burning, and my trembling ⁵

Heart, - capture it. For this is a freshness

So exquisite where the charm of sleeping

Is so tender that it ⁶ seems in rawness ⁷;

IV

And there, several delicious meals expect

That we are hungry. Expect all that come

To you, but desire only all object ⁸

That come to you. Still desire with wisdom,

All you have. Understand that each instant ⁹

You may have possesses prosperity

In its totality. May your real pant

Be love! May your possession be cuddly ¹⁰

¹stand means remain upright. ²unburden means open. ³feeling means sensation. ⁴radiating = that radiates. ⁵trembling is a qualicative adjective of heart and means shaking. ⁶that it seems almost, it replaces charm. ⁷rawness means forgetness. ⁸object is written at the singular because of rhyme. ⁹instant is the subject of verb possesses. ¹⁰cuddly means lovely.

No 7

Tenderness

I

The day approaches

At its end, and all

Are calm, superb – ease ¹,

Hermitical ², small ³,

And melancholic ⁴

To the nice desert,

And ready ⁵ to stick

Themselves or divert

Themselves to the silence. The solitude performs

A last concert where the waters, the birds, the trees,

The breezes, make ⁶ the diverse parts of this unique

Concert. O my break – heart, observe in all the forms

These sad sounds with our smiles and our kisses,

This gracious blooming that renders us prosaic.

II

O Detty ⁷, admit

This longing music

With our love, our wit ⁸.

Ah! This angelic

Blossom that renders

Us rhymer, equal

To the nice flowers

Is nor classical ⁹

Than the feeling of tenderness that is in us.

It is not also more beautiful than your voice.

Detty, do not be a harmful smoke in my eyes;

Do not let the large spot ¹⁰ appear in your precious

Heart. What I call the virtue is not a nice choice

Of clothes for going to the church to ¹¹ eulogize.

III

Detty, for sleeping

Tranquil, it imports

Not to be having

Some vile dreams, transports.

It ¹² is sad to dream

To live in a ranch

Where buzz the supreme

And nice songs in French,

To ¹³ see you waking up in a dirty shanty

Full of the wreekages of orgy, to ¹⁴ see you

In the arms of a frightful specter who murders

You by calling you my love. And yet, your cloudy

Sight only expects several stabs, also a new

Gun. This is what happens the ill – behaved lovers.

IV

I perceive the light

Of your nice body

Between the polite

Flamboyant quite free.

At the same moment

My flame comes to be

Diverted: movement

And the likety

Beating ¹⁵ my nice heart make place to a sweet quickness.

This is you who make ravish my tenacious heart

To serve you; you will be forever served by it

As long as it ¹⁶ is alive. When the uprightness

Will be in our faithful love a stable pert-smart, ¹⁵

We will have nothing to fear; it ¹⁷ is explicit.

¹supperb – ease is a qualification adjective of all. ²hermitical is a qualificative adjective of all and means lonely, solitary. ³small is a qualificative adjective of all. ⁴melancholic is a qualificative adjective of all. ⁵ready is a qualificative adjective of all. ⁶waters, birds, trees, breezes are the subjects of verb make. ⁷Detty is the nick name of Odette. ⁸wit is written at the singular because of shyme and means humor. ⁹classical means symmetrical. ¹⁰spot means vice. ¹¹to eulogize = for eulogizing. ¹²it is sad, it is an impersonal pronoun subject of is. ¹³to see you waking up in a dirty shanty = it is sad to see you waking up in a dirty shanty. ¹⁴to see you in the arms of a frightful specter = it is sad to you in the arms of a fright – full a specter ¹⁵pert-smart means in good or high spirits.

No 8

Controversial love

I

Soul always gay, do not fear anything of what

Can fade the limpidicity of your body.

How do you realize that a fruit is ripe or pat ¹?

When it leaves the branch. O fruit full of quality

That the volupty

Envelopes, truly

I realize that I must make abandon of you

To sprout. Oh! This copious ² flesh so exquisite

And so sweetened, you do not see how you subdue

My heart. O love, I must die so that you make it.

II

Everything you relinquish ³ in you will take place.

Any woman who seeks to notice herself turns

Herself down. A woman ⁴ who does not seek the trace

Of the immorality respects and discerns

In love the moral

Norms. The practical

Life may be the nicest that you do not consent

It ⁵. O sweet heart! O love! As far as my desire

Can extend where I will go. O my enjoyment,

Come back to me! I bring you in my nice empire.

III

For the wisdom is not only in the reason,

But also in the love. I attentively hear ⁵

Noise of storm hiding in your heart as a poison;

I quickly feel dropping on my shoulder a tear.

O storm of the heart,

It is quite in part

The drop of your rain! I flatter the girl I love

But telling: "why you hide me something, open me

Your heart, o my beauty! This makes me fly above

When I tend to see in your soul quite so dainty.

IV

Tell me other secrets of your inquietude

That bothers you. Well, you weep on an unreal case

Between us. The constant contradiction ⁶ quite crude

In your attitude and bad gesture ⁷ with your face,

The pride ⁸ of your flesh ⁹,

The lift ¹⁰ of your fresh ¹¹

Soul in the great things, your suxeptibility ¹²

In the little things then draw you as a witch

Quite incomprehensible in your vanity.

Nevertheless am quite far to call you bitch.

V

Ah! You are a mortal erosion to my clean

Flesh, but as the soul is exhausted when nothing

Seems to enjoy it ¹³. Thence the heart the most serene

In appearance resembles to the prevailing

Wellspring. The facet ¹⁴

Appears tranquil yet,

When your regards ¹⁵ tend through the bottom of fountain.

You thus perceive a large crocodile that the wells

Nourish in its water. The lechers of unsane

Love only sing their vices and also their spells ¹⁶.

¹pat means perfect. ²copious means excessive, extravagant. ³relinquish means resign. ⁴woman is the subject of verbs respects and discerns. ⁵hear means listen. Contradiction is the subject of verb draw. ⁷gesture is the subject of verb draw. ⁸pride is the subject of verb draw. ⁹flesh means body. ¹⁰lift is the subject of verb draw. ¹¹fresh means full of vim and full of vigor. ¹²susceptibility is the subject of verb draw. ¹³to enjoy it, it replaces soul. ¹⁴facet means aspect. ¹⁵regards means looks, glances. ¹⁶spells means talks in the improper sense.

No 9

Broken love

I

In the back of garden, under dropplets of night

You remain unseen; you burst into tears alone.

What depressed tragedy gently moves on your slight

Soul? Dark remembrances in the past that inflame,

A lasting regret and a clear conscience that blame

You as your parents, that ¹ do not want to have gone.

II

You vainly realize in the surface of the time

A hurt whose person is unable of healing.

What misfortune is picking your freshing springtime!

O love! O my young partner! O my hopefulness!

Nothing from me can cease the course of your distress!

On screen of your sad eyes flashes the coveting ²

III

In the other side and in the glidded evenings,

You see the voguish women to the delighted

And dreamful eyes to spark as of brilliant beings ³

In many thriving treasures that Jehovah veils

Us, from ⁴ them ⁵ this is one that ⁶ at our sight unveils.

The distress of life brings in your heart the hatred.

IV

You never see a nectared ⁷ fruit in a hamper

Deteriorating ⁸ before you enjoy it.

O admirable creature! O my well – wisher!

You mislead in the labyrinth of your fury.

The vanity is a point in time of folly

That makes our women dance on the blameworthy beat.

V

¹that do not want to have gone, that is a relative pronoun of regret and conscience is the subject of verb have gone. ²coveting is the subject of verb flashes. ³beings means persons. ⁴from means about. ⁵from them, them replaces treasures. ⁶that at our sight unveils, that being a relative pronoun of this one is the subject of verb unveils. ⁷nectared means sugared. ⁸deteriorating = that deteriorates.

No 10

Take me back

I

The vagabond breeze has caressed the flower.

I listen you with my heart, o song of first

Morning! Early rapture, dawning ray, power

Of day, petal wholly sticky with the durst

Of time! Please accept, without too much waiting,

The advices the most tender and then let

The future fully invade you, my baiting ¹!

Behold! It ² happens very quite futive yet

The mild caress of day that person the most

Raw ³ gives up oneself to the love. I admire

How the desire ⁴, soon as we becomes almost

In love, comes to be inaccurate as lyre.

II

My lass, you who come when I do not listen

The noise of your steps and the murmurs of spring

Of your mouth that my lips had not drank often

Its freshness. You who later will be reading

Me, this is for you that I write these pages.

Ah! Do not shake enough to love or live!

You do not admire carefully these stages

Of miracles stunning that the life does give.

It sometimes appears that ⁵ this ⁶ is with my thirst

That you thus drink, and that ⁷ what leans over

Other man that you caress, this is at first

My own desire. O you, I love forever.

III

You turn the eyes through the originating

Stars, I know all the names: each one has several.

They have different vitues. Their unsighting ⁸

Moves ⁹ that appear calm to us are merucal

And make them ¹⁰ burning. Whence their 11 fearful ardors

Cause so much great violence in their runs, and

Their ¹² wonders are effects of it ¹³ as splendors.

An intimate well ¹⁴ pushes them ¹⁵ and does mend

Them ¹⁶ an exquisite zeal burns them ¹⁷ and consumes

Them ¹⁸; this is for that they ¹⁹ are shining and new,

Look beautiful. On – earth who ²⁰ daily perfumes

My nose and makes me so happy, this is you.

IV

The stars stand close each other entirely stuck ²¹

By the links that are virtues and drenghts, so that

The one depends on the other, not by luck;

And the others depend on all. So the pat ²²

Way of each one is outlined and each one finds

Its way. The one cannot alter it ²³ without

Diverting the other with of normal kinds ²⁴,

Each one is very occupied, without doubt,

By each other. And each one chooses its way

According that it ²⁵ has to follow it ²⁶. Thus

We must watch, and the way that seems again fay ²⁷

To us is the best way to each one, no fuss ²⁸.

V

A complete love guides the stars. And their choices

Fix the laws, we depend on them; we can not

Escape each other, this reason rejoices

Us. It ²⁹ is true, spouse! I wait for you a lot

And you do not know! And I will look for you,

And you do not feel my approach! Ah, Detty!

The man has for you a little time, the true

Rest of the time will recall you just to me.

My heart has knocked at your door, you have answered

It in your heart, and then you stay ³⁰ on your knees

Without opening. My bush stays sequestered ³¹.

My hand cannot stretch because of my worries ³²

VI

The river that passes may water again

My dry soil, and my lips will quench more its thirst

From it. But what do I know about it.? Then

What it ³³ has for me, only the freshness. First,

What burns when it passes over. Appearance

Of my desire, you will flow out as water!

If the water renews itself here with sense,

This will be for a constant freshness. Further,

You are not this little captured water where

My both hands soaked and I threw after because

It ³³ had no more freshness. Captured water, there

You are perennial ³⁵freshness of my cause.

VII

The incomplete appetites, the unstemmed thirst,

The shudder, the tiredness and insomnia,

The vain expectations…, may all those ³⁶ at first

Spare you. Oh! How I want you with your drama!

Incline you through my heart, my lips! The branches

Of all my body bring the fruit. Make the walls

Collapse, pull down the barricades or branches

To which the jealous devourers with of galls ³⁷

Occupy all space. Raise your head and permit

At last that your heart fills neither with the hate

Nor with the envy, but with the love. Admit

That all calls happiness reach you, my dear mate.

¹baiting means enticement. ²raw means rude, crude. ³it happens quite very furtive, it is an impersonal pronoun subject of happens. ⁴desire is the subject of come to be. ⁵it appears sometimes that this is with my thirst, that being a conjunctive pronoun is the complement of direct object of verb is. ⁶this is with my thirst, this being a demonstrative pronoun is the subject of verb is. ⁷that what leans over, that being a conjunctive pronoun is the complement of direct object of leans. ⁸unsighting means unseeing and unseen. ⁹moves is the subject of verb are and make. ¹⁰make them burning, them replaces stars. ¹¹whence their fearful ardors, their is a possessive adjective that determine stars. ¹²and their wonders, there is a possessive adjective that determines stars. ¹³effects of it, it being a personal pronoun of violence is the complement of noun of effect and replaces violence

i ¹⁴well is the subject of verbs pushes and does mend. ¹⁵well pushes them, them being a personal pronoun complement of direct object of verb pushes replaces stars. ¹⁶and does mend them, them being a personal pronoun complement of direct object of verb does mend replaces stars. ¹⁷zeal burns them, them replaces stars. ¹⁸and consumes them, replaces stars. ¹⁹this is for that they are shuning and new, they being a personal pronoun subject of verbs are and look replaces stars. ²⁰on earth who daily perfumes, who being a relative pronoun is the subject of verbs perfumes and makes. ²¹stuck is an adjective past participle of each other. ²²pat means perfect, exact. ²³the one can not alter it, it being a personal pronoun complement of direct object of verb can not alter replaces way. ²⁴kinds means qualities. ²⁵that it has as to follow, it being a personal pronoun subject of verb has to follow replaces each one. ²⁶it has to follow it, it replaces way. ²⁷fay used as a qualificative adjective of that and means mischievous and fatal in the improper sense. ²⁸fuss means discussion and dispute. ²⁹it is true, it is an impersonal subject of verb is. ³⁰stay means remain. ³¹requestered being a qualificative adjective of bush means out of words. ³²worries means complaints. ³³what it has for me it replaces river. ⁴it had no more freshness, it being a personal pronoun is the subject of verb had and replaces water. ³⁵perennial means intarissable. ³⁶may all those, those replaces appetites, thirsts, shudder, tiredness, insomnia, and expectations. ³⁷ gall means audacities.

No 11

Cheated woman

I

O perfect beauty! I work for you, but my pride

Remains singular in the middle of my dreams.

I do not want to heave you against your denied

Boyfriend, either to conquer the garrulous gleams. ¹

You must understand that I have suffered, there are

Injuries that one cannot take off the bandage.

My springlike ² shoots ³ are very pure as certain jar

Of gold. My crush strenghtens in my chest as a siege.

II

The occasion may not be better, and either

The smooth circumstances are more favorable,

If I try at least to flower and to prosper.

I cannot speak, o love, about your lewd fable ⁴

Of your frivolity and of your craziness,

Of your caprice putting you on the podium

Of disgrace, going on the train of your keenness

Fixing the instant of your kind of odium.

III

If the echo of my nice thoughts does not arrive

Until you, if you have been already pierced by

The malices of this century so alive.

If one does not inform you about the dark lie

Of men in your community, they are only

Foxes and wolves. Whence invite me in your nice house

To eat your dark bread and to drink in your comely

Thank the vaporized water in wanting to dowse.

IV

Listen to me, this is not the time to banter

The good habits before you take the appetite

In the lecherous movements and to consider

Debaucheries without being debauched. Abright,

Accept me as a noble statue descending

From its pedestral to walk with