Guide From Silence to Philosophy: Silently querying poetry

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He passed by the Abbaside man without harming him in the least. Despite the fact that the Imam a. This shows us the degree of precision in following the orders and instructions of the Imams.


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Equally naive is that which alleged that the reason for it was to expose the reality of the Imams and their pretense of asceticism and that their pretense was only due to their inability to attain it. He knew that such posts would not in the least affect their stance and the public's regard towards them. Yet acceding to the post of caliph would not be in the eyes of the nation in conflict with the principle of asceticism if the objective is to establish an equitable society and to rule the nation by the principle of absolute justice. The Imams and their followers, however, regard government as one of their rights which was usurped from them by others; otherwise, how can you prove that there is a conflict between one's asceticism and his acceptance of a government post?

Did it undermine the asceticism of Imam Ali ibn Abu Talib a. Why did he specify that the route he should take would pass by Basrah, al-Ahwaz, Persia, and then Marw? Why did he forbid him from leading the Eid prayers after insisting repeatedly that he should do so?


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These questions may seem to some as naive and superficial, but they are deep enough to be considered in the calculation of the historian who aims at evaluating the event and its intricacies. They indeed say so. How dare anyone come to the caliph, after his subjects are completely loyal to him and so are his leaders and he is well-seated in his post, and tells him to hand over the caliphate to someone else? Is this conceivable? Nobody dares to do that. What they say is not true, but I shall tell you of the reason for that. If we observe the Imam's conduct towards al-Fadl, his view about the Imam a.

Al-Fadl was not ignorant of the status of the Imam a. I have come to you to speak in private; so, please clear the place," then al-Fadl brings out of his pocket an oath sworn by the sanctity of emancipation, divorce, and whatever has no kaffara , and both men say to him, "We have come to you to say a word of truth and honesty, and we know that your word is most effective, and the right belongs to you. O son of the Messenger of God! What we say with our tongues is attested to by our own conscience; otherwise, we would emancipate all that we have, and all our women are henceforth divorced, and I shall be required to perform the pilgrimage thirty times on foot When al-Fadl and Hisham heard the Imam a.

Before leaving, they were told by the Imam a. Al-Fadl, by so doing, was either serious in his offer or a pretender. If we suppose that he was serious, what would then his objective be? What we can understand as an interpretation of the situation is that al-Fadl was trying by so doing to involve the Imam a. If we suppose that he was a pretender in his offer, as al-Fadl tried to assert after the Imam's rejection of his plot, then the goal he was trying to achieve becomes quite clear, for he would then desire to disturb the standing relationship between the Imam a.

And so it happened; he sent letters to the Imam a. History books do not say much about that trip except small bits and pieces which do not provide us with a clear vision of its nature and mission. He had a pool built on its outside where stairs were also built according to his instructions leading to the low level of the spring water, so the Imam a. By the rights of your purified forefathers a.

He had two locks of hair on his shoulders, and people from all classes were standing and looking at him, some loudly crying and rolling in the dust before him while others were kissing the hooves of his mule. The noise became much louder, and the leading scholars loudly called upon people, "O folks! Listen and learn! Listen to what benefits you and do not harm us by your loud screams and cries! Abu Na'im said in Hilyat al-Awliya , after quoting the narrative above, "This is a firm hadith famous in this way of narration through the line of narrators from among the Purified Ones a.

Finally the Imam a. Having been convinced to accept, the Imam a. I agreed to what I agreed on the condition that I do not issue orders or overrule others, nor depose anyone or appoint anyone, nor do I go anywhere except wherever God sends me. By God! Caliphate was something I never desired, and I used to live in Medina where I go through its alleys on the back of my animal, and when its residents or others ask me to do them a favor, I do them a favor, and thus they become like my own uncles. My letters still carry weight in various lands and you have not increased me in whatever blessing God has bestowed upon me.

We have no choice here except to clear some of the ambiguity which encompasses this negative stance of the Imam a. Of course, his viewpoint was not positive due to his belief that a government was not legitimate as long as it remained distant from his own leadership in his status as the pristine Imam a. For this reason, we see how his companions unanimously disagreed that he should accept the post of regent which carried an implied recognition of the then caliphate. We can see the only justification they accepted was that the Imam a.

But the Imam a. Those individuals used to press to win his favor, flatter him, and carry out his desires whatever they might be so that they would be the first to win a stronger position in the government vehicle. Let us suppose that the Imam a. Or such a confrontation may expose the Imam's stance to dangerous repercussions which may historically affect his being and personality even if through cheap means and methods they plot behind the scenes to accuse him in order to incite the wrath of the government against him and also distort the sacred halo with which others surround him.

Do these persons lack special means to cast a shadow of doubt on the movements of the Imam a. When the Imam a. He stood and came close to his father and kissed his hand. He stood there but he did not kiss his hand. He was told to go and take his money. Abu Abbad kept inviting one Alawide and one Abbaside to take their money till all cash was depleted.

Historians do not record any other sermon he delivered besides this one on that occasion. Poets praised him in a most excellent way. The school of thought of Abu Nuwas was Shi'a, and myths of promiscuity were narrated about and attributed to him regarding which we have our own view which dissociates the poet from what was attributed to him. Abu Nuwas went out of his house once and noticed that there was a horseman who was riding beside him.

If people wish to see you but do not know, Your fragrance will tell them where to go. Once he saw the Imam a. I have composed a few verses about you and would like you to hear them. Cleansed and Purified they are, When mentioned, they are sanctified, Wherever they may be, near or far; When roots and lines are identified, If not Alawides, they indeed are With nothing to boast or pride In their lineage, in their deed; For when God created man and eyed You He selected and favored indeed And raised above the rest and all With the knowledge of His Qur'an And of its verses you stand tall.

As regarding Da'bal, the poet of the Ahl al-Bayt a. Da'bal seems in his poem to aim at stirring the sympathy of the nation in order to wake up the sense of loyalty to the Ahl al-Bayt a. Author K. Andrew Turner. Author Katherine Chin. Author Kathy Parker. Author Ken Allan Dronsfield. Author Koli Marie. Author Kristine Sihto.

Author Kyle Coare. Author Lamar Neal. Author Liz Newman. Author Lyne Beringer's "Alaskan Vogue. Author Mahinour Tawfik's poetry collection. Author Manoj Krishnan. Author Oscar Kamazima. Author Shellie Palmer. Author Steve Kelly. Author Sue Williams. Author Valeria Eden.


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Author Vincent Avanzi. Author W. Cushman's poetry book. Bamboo Leaves. Beyond Rock Bottom. Blake Edwards. Brady and the Bombii Bumblebee. Brandon Hildreth. Children's Book Review. Cracked Open. Creative Talents Unleashed. Cuts On Me. Dead Lions Don't Roar. Dictation from the Backyard: Poems. Don Foxe. Eddie Matsuoka. Eternal Echoes. First Rhyme Mom. First Rhyme Mom by Leanne Stoneley. Grey Today, But That's Okay. Harmony and the Genius Spot of Mankind. Heart Sounds: 'Murmurings'. Heart, Mind, Blood, Skin. Honest Book Reviews. Hope Between Heartbeats. Jacqueline Mead. Janki R. Joe Odey.

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The Silent Woman

Lucinda Clark. Madness: A Form of Love. Max J. Melissa Dolber Grappone. Mistakes Were Made. Joseph R. Trombatore Felino Soriano's rich and sonorous craft resonates still further as his poetic dowsing brings him to this thing called painting.

Hardly a mere parergon, Soriano ferries us to the vast perspectival perceptions within a frame that is blurred, a space where poetry is both inside and outside the painting itself. These stanzas are the ideal accompaniment of the pen stroke in service to the brushstroke. Kane X. In his newest work, Apperceptions of Reinterpretations, he reaches new realms of artistry. The poems astound as they are impeccable aesthetic, ontological postulates about great works on canvas.

There is no way to describe the feeling save to say, your entire being is shocked and overwhelmed, your vision is transformed, and your mind hyperstimulated by all that you have not seen. Leaning against an earth resting within the earth, eyes spanning a literary body turning pages of limbs, fantastical surgical massage. Lover absent from this session of sight, absent from the antiquated writing desk, its body fingered, aged from documenting past due, worldly correspondence.

Then we see the robing, the posturing of stance and symbolism, and, finally, such magnificence begins the deep probe into the subconscious, the postulation of the significance of what is not there. Here, we are taken to a new rarefied aesthetic plane. The paradigm is ancient, substantial. The paradigm of opposites, dichotomies eventually dissipates as skins resemble a unit measured in totality of humanized, concentrated connection.

Not just union is accomplished, dichotomies are abolished, the result being an ascendant humane creation that transcends its component structures. What is terribly important is that these are not exceptional poems in this volume; they are representative of the work of a brilliant, highly important poet. To not read this chap is, most assuredly, an aesthetic and profound deprivation of the highest order. In the fullest sense, this is a must read for any lover of glorious, transcendent verse. Soriano's series of poems called Painters' Exhalations, a sequence of poems incorporated in a book with poems and photographs by other people, who will not be considered here.

They show how the perceiver is free to structure the perceived in many ways, Create the car window. Believe fog can be beautiful, for its gray dress and dangling, wrinkled fabric silhouettes the feminine arches of attractive distant desires The poems range broadly form a melancholy awareness of finitude and death to a celebration of the orgiastic potential of consciousness of multiplicity.

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They help the reader see the paintings and as such should be of interest to lovers of the graphic and plastic arts as well as to lovers of poetry. So his poems become presentations of involved responses and not representations in the sense of copying an exterior, or even an interior such as the current fiction of the unconscious.

His poems are the presentation of an interior. His poems are anarchical linguistic etudes that deauralize publiciness so we can hear again. It it, like Mina Loy, fiery in its abstract language, fierce. It can also, like Barbara Guest, find in abstract language, something gentler and less tragic. The eye and ear do not glide; right from the start there is a perception of a poet being serious in discussion and use of terms as a philosopher; and one does not expect to glide across philosophy. Yet one expects to skim poetry, and then find in it some detail later, some unnoticed and apposite punning, some "magic eye" hidden clarity.

By contrast, this is serious and light, like the lily growing, but not playful in the sense of trivial. One sets out with a cautious step, and time to pause lest one turn one's ankle. A situation into which we rarely volunteer ourselves, but find ourselves there in crisis, in the middle of a dark wood. Here we are on the perimeter of the wood, the intertwined branches of lines calling forward and back to other lines and it is not dark, but challenges the whole melodrama of poetry's previous calls to seriousness, previous agonised stares at those who prefer linear prose. Words are not tokens of truth, here.

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They don't pretend to that kind of "being philosophical". There is a sense of wry play, as in the deceptive play of light, that is perhaps nearest to the Eliot of Four Quartets. Music is felt as a model of many lines moving and coming to clear voice. And there are wonderful plangent earthy words in the midst of the abstract lattices, "vagabond" not in a Beat poem is great, and "woolgathering" is almost Horatian. His latest collection of existential free-bop poetry will activate your cerebral relay circuit. Today's forecast calls for deep thought soul-ar flares. Nelson , author of Spiders in my Beard Felino Soriano is a 'poets poet' and authentic philosophical investigator.

He approaches subjects with a keen eye of immense intelligence unfolding them like origami over a series of poetic expositions perfect in structure and prosody. We are taken on a journey though the eye of a brilliant metaphysician and consummate philosopher to contemplate what most of us do not apprehend.

He does this and makes it vital -- this is the core of his genius. Soriano is one of the great poets of this modern age. To miss his work, is to impoverish the self. Constance Stadler , author of Tinted Steam Shadow Archer Press and Sublunary Curse Erbacce The apparition of abstraction is a concept for Hegel, it is akin to the apparition of the sonic in advanced modern jazz.

To me this means Henry Cow since I do not know much about jazz. And Felino's poetry approaches and in fact reaches the atonal brilliance of them accompanying Dagmar Krause in their live masterpiece Concerts. It is prescribed that we dismember the text, by The Law of The Cut, and these texts engage in an autoerotic self-dismembering and recollect it within the compass of a short chapbook. Ultimately, it may be a nostalgia for a single note in an improvisation that is THE corner note and explains everything in a preconceptual Satori. The chapbook is not a thesis and as such is enriched by not having to present stringent proof, and it is semantically rich qua poetry and thus free to provoke and impart its message by suggestion, as art and music and poetry will.

In many ways the book is difficult to access, since the concepts touched are conventionally brutally mistreated by poets who assume that they are unconventional. It's most profound success may be that it wins the argument by not presenting an argument. Like another philosopher may have said, it is a book that demands to be read and appreciated and left behind as a ladder to a wall we have already scaled. I, however, shall return to it. I like books that are ladders. David McLean , author of La morte vivante Shadow Archer Press Felino Soriano weaves a golden fleece of imagination, near capable of anything, magical, mystical possibly a healing thing are his poems.

He dreams on the page with lyrics-crescendo! He waxes philosophical-lofty! Deftly placing an ease of craft with every line, Felino takes experimental steps other writers leave behind in fear. He approaches this cleverly in his asymmetrical structure. There is a brassy power within him and yet a subtle delicacy in his language. One need only listen to his charms to see his great humanity and talent for invoking a need to search for truth and divine empathy in all. Felino writes a non-mirror language, expands Aristotle's mimesis the imitation of an action , abolishes themization, overcomes the false Western dichotomy of subject and object, transvalues binary oppositions into hitherto previously unknown fused realities.