A Candy Necklace

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Eugène Delacroix, Dante und Vergil in der Hölle (Die Dante-Barke) (1822) 189 × 242 cm Musée du Louvre, Paris

Dante passes through the gate of Hell, which bears an inscription, the ninth (and final) line of which is the famous phrase “Lasciate ogne speranza, voi ch’intrate,” or “Abandon all hope, ye who enter here.” Before entering Hell completely, Dante and his guide see the Uncommitted Souls of people who in life did nothing, neither for good nor evil… Mixed with them are outcasts who took no side in the Rebellion of Angels. These souls are neither in Hell nor out of it, but reside on the shores of the Acheron, their punishment to eternally pursue a banner (i.e. self interest) while pursued by wasps and hornets that continually sting them while maggots and other such insects drink their blood and tears. This symbolizes the sting of their conscience and the repugnance of sin. As with the Purgatorio and Paradiso, the Inferno has a structure of 9 + 1 = 10, with this “vestibule” different in nature from the nine circles of Hell, and separated from them by the Acheron. (In ancient Greek mythology, Acheron was known as the river of pain, and was one of the five rivers of the Greek underworld. The Roman poet Virgil called it the principal river of Tartarus, from which the Styx and Cocytus both sprang. The newly-dead would be ferried across the Acheron by Charon in order to enter the Underworld. The Suda describes the river as "a place of healing, not a place of punishment, cleansing and purging the sins of humans.) [Wikipedia]


A Candy Necklace BY

D. J. Bouchard


Maria Malibran (1808-1836) Photo by Castello Sforesco, Milan

Hold back thy hours, dark Night till we have done: The day will come too soon; Young maids will curse thee if thou steal’st away, And leav’st their losses open to the day; Stay, stay, and hide The blushes of the bride! Stay, gentle Night, and with thy darkness cover The kisses of her lover. Stay, and confound her tears, and her shrill cryings, Her weak denials, vows, and often dyings; Stay, and hide all: But help not, though she call. Cynthia, Wedding Song, John Fletcher (1622) The Maid’s Tragedy, Beaumont & Fletcher

Opposite: Laura de Noves 1 Nemo repente tuit turpissimus (No one becomes very bad all at once.)

“A TEST OF FIRE”2 LAURA Of the fiery-brown jade eyes – Two gorgeous bouquets of flaming roses Glowing with triumph and satisfaction The leaven of concupiscence blazing3 Glory, aflame with carnage of battle And yearning for excitement: And blood. Devouring eyes – the green water of life:4 Wisdom imbibed with yine mother’s milk-flesh. The sordid essence of Synne5 is the lie: Noumena unknown to her love’s mind: A torrid grimoire slaked of heart’s tryst And lips that betray a final, fatal kiss… Two psychos having a confrontation At the end of their love’s lustrous relation Tempered by the fires of sacrifice And hammered on the anvil of high adventure, Utterly weary and full of despair, I abandon myself to sweet sorrow – An anodyne for my heart’s frightful pain… 1

Laura de Noves (1310–1348) was the wife of Count Hugues de Sade (possibly the ancestor of the Marquis de Sade). She could be the Laura that the Humanist poet Francesco Petrarch wrote about extensively; however she has never been positively identified as such. – Laura had a great influence on Petrarch’s life and lyrics. The historical information on Laura is meager at best. 2 Herostratus burnt down the Temple of Diana (Artemis) at Ephesus. “Lo, apart from Olympus, the Sun never looked on aught so grand.” Ἀντίπατρος, second half of the 1st century BCE Cf., Josephus in Antiquities of the Jews, gives us an account of how the Emperor Tiberius ordered a freedwoman named Ide to be crucified along with all of the priests of Isis in Rome, and had the temple of Isis destroyed. 3 Vehement libidinous desire and lust for the tings of this world. 4 Rev. 21:6 – “It is done. I am the Alpha and the Omega, the Beginning and the End. To him who is thirsty I will give to drink without cost from the spring of the water of life.” 5 Synne is the incestuous daughter of the devil and mother of death.


a forbidden book

Das Bild zeigt die Erzeugung des Homunculus in Goethes Faust II (Darstellung aus dem 19: Jahrhundert)

Proverbs 30:15, 16 (Ferrar Fenton: The speeches of Agur-Ben-Jakeh the Righteous: The message to be Delivered to the Atheist and Waster): On greed – (The leech) Lust possesses two daughters / who cry “Give! Give!” / These are three that are never glutted, / A fourth that says not “Enough.” / The Grave & the closed-up womb; / the earth un-sated with water; / & fire, that says not “Enough!” Cf., St. Jerome from Against Jovian: “The blood-sucking leech had three daughters, beloved in love, and they could not be satisfied; the fourth could never say ‘Enough.’” The leech is the devil; those beloved in love are the devil’s daughters who cannot be satisfied with the blood of those they have slain – cf. Countess Elizabeth Báthory de Ecsed (Alžbeta Bátoriová in Slovak, Báthory Erzsébet in Hungarian, 7 August 1560 – 21 August 1614), remembered as the “Blood Countess” or ‘Bloody Lady of Čachtice.’ After her husband’s death, she and four collaborators were accused of torturing and killing hundreds of girls and young women, with one witness attributing to them over 600 victims: Elizabeth herself was neither tried nor convicted; but, in 1610, however, she was imprisoned in the Čachtice Castle, where she remained bricked in a set of rooms until her death four years later. Hell – A woman’s love, dry earth & burning fire.


“Come, sweet breeze, come and fan my breast, come and allay the heat that burns me.”

Cephalus and Procris (The Death of Procris), Joachim Wtewael c. 1595-1600 Oil on canvas 129.9 x 98.4 cm Saint Louis Art Museum, Saint Louis, Missouri, United States

“True lovers hold their doubts of everything!” Ovid, Metamorphosis, Cephalus & Procris, line 76

“BY YOUR SIDE” (SEE) How shadows vanish whence shineth Laura’s eyes, Glowing like rose-red wine at early morn In fiery tints to receive the sun; Flushing the sky with red, & the sky – it – pales, As golden takes on a greenish pallor… Gold-eyed Laura who dispels night’s shadows, With flowing eyes & dew-wet rainy hair; Whose soft lips sip ambrosia’s sweet nectar From mine – least pretentious of her servants, Glad of the morning when night’s sleep is done. Goddess – forgive me if I tell the Truth! By all these truths I love Laura alone; She is my Heart, upon myne lips, her name Sweeps the waking skies of all stars on high: But truly, her eyes guard both day & night. Dreams voice is gone; sleep gone & day doth fly, O when Laura comes to wake in morning’s light. Goddess – forgive me if I cannot Lie…

Mihaly Zichy

Dante Gabriel Rossetti (1828-1882) Helen of Troy 6 (1863) Oil on canvas 31 x 71 cm. Kunsthalle, Hamburg Germany

[Wikipedia]: In Greek mythology, Helen (in Greek, Ἑλένη – Helénē), known as Helen of Troy (and earlier Helen of Sparta), was the daughter of Zeus and Leda (or Nemesis), daughter of King Tyndareus, wife of Menelaus and sister of Castor, Polydeuces and Clytemnestra. Her abduction by Paris brought about the Trojan War. Helen was described by Dr. Faustus in Christopher Marlowe’s eponymous play as having “the face that launched a thousand ships.” 6

In the form of a swan, the king of gods was chased by an eagle, and sought refuge with Leda. The swan gained her affection, and the two mated: Leda then produced an egg from which Helen was produced. Since Helen caused the Trojan War by eloping with Paris [ ] Crucifixion was chosen because it was particularly horrible and was thought to pay the victim back for the damage caused; it also might prevent the victim from being buried which in turn would deprive them of immortality. – The body might be left to be eaten by birds and would not be placed in a grave.

Her angel’s face,7 As the great eye of Heaven shyned bright, And made a sunshine in the shadie place.

Spenser, Faerie Queene, Book I Canto iii St. 4

“MISÈRE REMISE” Heavenly Panacea, Prettiest One, ‘t is true – in me supreme desire is sick wi’ love… How soft & brown thyne eyes are. – So faunish. You are innocent – without blemish. A scented blossom; fragrance; a pure spring; Honey-eyed horned moon; pearled mother’s milf-klesh… The queen fayrie dancing within shining eyes; A darkening fire searing a damning blaze… Conjugal pancies doth her lips wish. Not words alone please she of wont – smiling, Scintillating… torrid… sordid desiring… Woe! Smelted whispers as a mist spreading My love – or is it lust? – remembers her Down through the dark, lonely night of my years: Mouth’s wish to taste the formless milky-pearl – O that soft flesh which clothes her nakedness… E’er hungerin’ an appetite ne’er sated. & I know; now… this life I live is damned To e’er want! – & always yearn! &... for what! 7

The Lady Una, lonely and forsaken, was roaming through woods and lonely wilderness, in search of her lost love, the Red Crosse Knight: One day, being weary, she alighted from her steed, and lay down on the grass to rest. It was in the midst of a thicket, far from the sight of any traveler. Suddenly, out of the wood there rushed a fierce lion, which, seeing Una, sprang at her to devour her; but, when he came nearer, he was amazed at the sight of her loveliness, and all his rage turned to pity. Instead of tearing her to pieces, he kissed her weary feet and licked her lily hand as if he knew how innocent and wronged she was. When Una saw the gentleness of this kingly creature, she could not help weeping. Sad to see her sorrow, he stood gazing at her; all his angry mood changed to compassion, till at last Una mounted her snowy palfrey and once more set out to seek her lost companion. The lion would not leave her desolate, but went with her as a strong guard and as a faithful companion. When she slept he kept watch, and when she waked he waited diligently, ready to help her in any way he could. He always knew from her looks what she wanted.

But for your mouths kiss & for yine voice; For soft flesh – pleasure’s corruption; The song of your heart whilest ye sleep – it bleats Our moments together… & for ever – A pleasing brand which sears yine memory of love… In all Matters of Responsibility, I resolve thee & to hell cast foolish me: Hot-blooded iron & chastity to prove, I have laid “a Virgin sword” by thy side… Silent dread follows me - & looking back… I see… Can you imagine how, without your fire How cold & alone & in blackness I’d be?

“Luck & merit blend in man’s affairs.” Mephistopheles, Goethe, Faust

“Una and the Lion” by Briton Rivière (1840-1920)

O glorious trial of exceeding Love, Illustrious evidence, example high! One heart, one soul in both; whereof good proof This day affords, declaring thee resolv’d, Rather than Death or aught than Death more dread Shall separate us, linkt in Love so dear. To undergo with mee one Guilt, one Crime, If any be, of tasting this fair Fruit Eve [to Adam] Milton, Paradise Lost, IX, 961 - 972

Detail of The Temptation & the Fall by Michelangelo, (1510) Fresco, Sistine Chapel, Vatican, Rome

Camilla Horn (Gretchen/Marguerite) Faust - Eine deutsche Volkssage, a silent film produced in 1926 by UFA, directed by F.W. Murnau The connection between despair and the temptation to sin is an important theme in Goethe’s Faust, Part One. Despair and temptation are most clearly correlated in the attack on Gretchen's soul wherein Faust leads Gretchen astray and then leaves her to fend for herself. 8

An ancient truth, alas, is proved once more through me: That beauty & good fortune are but fleetly joined. Severed is now the bond of life like that of love, Lamenting both, I grievingly pronounce farewell! And one last time I fling myself into your arms. Helena [to Faust]

Goethe, Faust, II, iii, 9939-43 8

Faust and Mephistopheles travel about seeking pleasure: Faust meets a young maiden, Gretchen, who soon falls in love with him. Faust gives Gretchen’s mother a potion to make her sleep (so they can be together), but the potion is too strong and Gretchen’s mother dies. Gretchen becomes pregnant and her brother, Valentine, dies attempting to defend his sister’s honor. Faust abandons Gretchen. Then, in her distress because of so many deaths, Gretchen drowns her baby in a pond. She is carried away to prison where she awaits execution by hanging. Faust [ ] begins to long for Gretchen whose life he realizes he has destroyed. Faust and Mephistopheles travel to the prison where Gretchen is being held. They are able to see her and speak with her just before her execution. Faust wants Gretchen to escape with him, but, determined to pay her debt; she remains to receive her punishment. At the moment of her death, Mephistopheles fully expects to claim her soul, but the voice of God proclaims she is saved.


“Children laugh at fools in love.”

Untitled Canzone in honour of Laura

On Khnum’s wheel, first formed, O, myne heart’s Complaint: A flaming arrow I shot I into the air, A fiery dart opposed to sun & moon, Together, now, high above me in the blue: Nary a cloud, yet, warm dew washes our feet; A calming cool breeze dances o’er hushed waves, As soft sea-foam blankets my steps ‘pon white sands.

I I begin my Lai, lonely & lost wandering, And came an Old Man named Henry, with his son, And a few men were with him – all dripping (&) wet; “We’ve lost our dear England & here have no home.” This said, they were gone, & I was alone. Through dark Acadian woods – a fool in Love – Where-in she found me, O Princess Antaya, An Indian maid, who sang a sad song, “For you & for your Love – hot blood now turns cold.” Weary I wandered… till I found a cabin, And inside was a good lady, Hélène DesPortes. “Do you know my heart’s pain?” bleating, “Dear Laura!” “Fo’er & always – your poor poet’s blood shall burn.” ‘Twas her cold comforting relief… & she were gone. And, my Love grew hungry, as a pain in my stomach. In Love its always “eat or be eaten.” II In Montreal I climbed a hill for to see, And I saw French ships sailing in for to stay… And le habitants were kissing les fille du roi; Fife & drum & fiddle, then, were played for joy. Barbe Carrière née Halay was Queen of girls, Who mothered our nation – these first before all. – These young mothers, crying at their children’s graves On knees in snow, tears frozen to their blue cheeks. The wild, red sauvauge was, then, e’er at war With either French or English, or both; But civilization wouldst e’ermore encroach, And the birth of the New World was, O, their doom. Coeur des bois & voyageur paddling canoe… E’er searching for my heart’s true Love – ne’er at home. My heart falls into my chest – a butterfly. In Love its always “eat or be eaten.”


IX … I thus awoke within the dream And a woodsman was wrestling with a wild bear. He opened wide its great jaw – its teeth shone gold, Laughing into the beast’s deep maw, he set it free. “Name’s Albert Johnson – they call me Mad Trapper O’ Rat River, quick come with me – down into hell – For to see what manner of a man ye be. And, I thought I saw Laura, & she sighed, “In Love ‘tis always eat or be eaten.” X We left that place & drew nearer the mountain. Then, there was a drumbeat – deafening to hear – Thunderbird bringing the sun to a great cave-bear, Sitting, cub upon her lap, ‘fore a long-house; And she said, “The sun will set for me no more.” It grew dark as we entered into her home. And, I remembered… Laura ne’er e’er said, “In Love it’s always – eat or be eaten.” XI And before us were three men, sitting – still as stone Upon tombs; they said… “We baptized savages.” Modesti, who crossed the land, cutting Indian braids; And, the much-loved Charles – bleeding from his chest, The wind – a gunshot’s echo, roaring out his sore wound; In their shadow was the third priest hidden away, A skull in his hands…

FILE FRAGMENTED XII Blindly, I was led through cold Stygian blackness, And, Lo! – A speck of light afar off beckoned… Warmer glowing as we emerged from the hole: A great golden spike juts out of burning coal. Confederation’s Fathers were up on high; Their dry-peeling flesh was rotten & wormy; Vomiting coins to pig-tailed Chinamen, Who gathered them up, for-with to gamble! All crying, “New Life” & “Immortality” As fiery-headed blue-eyed Irish-Indians Came, drunken carousing, & cudgeling the chinks. Astride a skeletal bison – Death rode in, And fleeing scythe’s swooping, fled all the lemmings – The bloodless black-&-spotted of the world… O flooding in as moths flying into fire. And, I imagined that I could hear Laura say, “In Love it’s always eat or be eaten.” XIII O’er a chasm – the Universe below us Collapsing… Noman the Liar falling in (And with him was a spoilt brat dressed in yellow). Thus we came to the cruel Mistress of the Whip, A demon’s chain grasped her in an iron glove: It sodomized & rent a blue man to bits. And, the pin-heel of her tall, scaly opera-shoe, She ground into the third eye of another… Both men cursed me – calling me a dirty bastard. We ‘wayed & came to a boiling sea of fire; Therein was in the flames, O, a horrid thing, An angry man-in-chains, who said, “Don’t you forget.” Two sinners, seeing me, tried to swim away; And, I saw them both dragged under by the weight Of big, shiny badges, worn upon their chests!

XVI Thus, we crossed o’er, O to stand before the Beast, Within its nest of documents & red tape; And, the belly of the Dis was all full of shit – A cauldron of pain wherein lost souls e’er burned, Trying to keep noses out of flaming waste… And, I was brought to stop & rest beside a head – ‘Twas John A. – he said, “I’m up on Hirsch’s head!” Hence, I saw Lyin’ Brian – in a pustule sinking, The dirty filth of hell frothing in his mouth; Gene Poutine, too, talking out both sides o’ his face, In a changeling voice neither Englench nor Frish! Now, I next beheld Love’s worst criminals – Calthrope & Voil – both, devils, in Dis’ claws… And, Albert joked, “Thet’s you – ass up – in its mouth.” And, I looked into the mirror of my sins And the face of it betrayed all hidden thoughts, Revealing the consequence of Word & Deed – And those damnable actions were Accusers, Reaching out & pointing myne condemnation… TEXT MISSING Thus gave me a skeleton key. “Remember, Love is more important than anything else.” Albert smashed the revealing glass with his axe. “Now, climb Black Mountain, up to God’s Cloud-City… Thus said, as if life-long friends, he shook my hand And vanished! – The mirror & the sea of flames, too. O, but, if once Laura’s eyes had softly said, “In Love it’s always eat or be eaten.”

FRAGMENTS Concerning the old souls – living death – on either bank of the River of Life Eternal: And all these lost souls together were crying, “O why am I here? I didn’t do anything.” ÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷

And I dreamed I was the dreamer dreaming this dream. ÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷

The tall ships came booming in… cannon singing, “The Union Jack is here to stay… O lak-a-day. ÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷

Simcoe & Arnold, both sneaking through quiet woods, Blood-stained sabres … … l’espirit revolutionairé ÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷

“I & my children,” Riel said! - & was gone… Dissolving back to from whence he came – Limbo. ÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷

“And I am Annie Euphemia Dunsmuir.” I turned to our poor dear Effie… & smiled. ÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷

Concerning the Exovede Ghosts… And Jack Hillson came behind, led by a noose Around his neck & following behind Her, Bending to kiss Royal Ass… And came up to us, with a shit-eating grin, Promising each, he’d not press charges on us, If only his “stolen property” were returned. I said, “Is it a crime – if you steal from me, And I take back what is mine?” ÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷

And I got sick – nigh unto death – wraiths e’erywhere: All my Life’s-Blood ran hot, though I shivered cold, Sweat bled out my flesh’s e’ery pore – in pain, My stomach revolted… O, my tummy so sore…

The Triumph of Death, or the Three Fates Flemish tapestry (probably Brussels, ca. 1510-1520) Victoria and Albert Museum, London

The three Fates, Clotho, Lachesis and Atropos, who spin, draw out and cut the thread of life, represent Death in this tapestry, as they triumph over the fallen body of Chastity. This is the third subject in Petrarch’s poem “The Triumphs”: First, Love triumphs; and then Love is overcome by Chastity, Chastity by Death, Death by Fame, and Fame by Time and Time by Eternity.

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