Date: Mon, 20 Jan 1997 22:47:35 -0800
From: Lucio Privitello <lucioangelo-AT-earthlink.net>
Subject: MB: Encore!...ancorche'.


-AT- X, 22-27:

	While all, and (pas-toute) that is riddled is so(wn) to gore; 
"there" calls again, addressing its own answer to "Che Vuoi?", and hoping 
to befork the favella into a 'discours sans paroles'. And while a lovers 
quarrel, now  tumbles over the marks [-AT-->->-------] that signed off alla 
Twombly; caught between "The Fire that Consumes All Before It", and 
counterbalanced to "Shades of Eternal Night", again there is sent a 
'Querelle des anciens et des modernes', between "i siciliani a i 
Toscani". This Villon, as Francois, scribbles upon its back: "Quoy qu'on 
tient belles langagieres/ Florentines, Veniciennes,/ Assez pour estre 
messagieres,/ Et mesmement les anciennes;/...... Il n'est bon bec que de 
Paris." (Even though their speech is sharp those women from Florence or 
Venice, sharp enough to carry on intrigues of love, and we'll include the 
ancients;/.. ... there is no tongue like one from Paris). 
Unless,..perhaps..if as one's (m)other tongue in knots, and con-viction. 

	Should a response then come as "Perche' mi scerpi?", which ousts 
your _Inferno_ X, to _Inferno_ XIII? But then della Vigna speaks, but 
still I'm so(wn) 'tosco'. Who asks _me_ to turn; is it he who smokes the 
gnarled toscani, to that which calls out from a fiery coffin, addressing 
in gibelline Manente/manette? No, Paradiso not, but from _L'Inferno_ a 
voice still says: "vengo del loco ove tornar disio; amor mi mosse, che mi 
fa parlare."(II.71-72). No, not even Laura "fra le vane speranze e 'l van 
dolore" (Petrarca, Sonetto I). Are the folds those of Theresa, which in a 
dream also sits upon the LAP of St. Anne, and there finds "pas-une"! Or, 
should a response, in 'tono sdegnoso', which sees the mix of farina and 
Farinata within the pleats of your sculpted call at the hands of 
Gianlorenzo, turn and say "simile qui con simile e' sepolto"? Or should a 
response be the act of throwing a book into this fiery coffin - one from 
a magician of the 'mot juste' - _The Temptation of St. Antony_? There 
between Death and Lust we hear the request, the demand: "Impregnate me 
where I rot." (VII). 

	Tiresias also with the perfection of blind orbs. Then there is 
what slips in Apollinaire's _The Brazier_, which allow the ear to slip to 
signify as any "passeur" or "passeuse" has learned from Caronte. "And the 
flock of shinxes regains the sphinxery / Slowly They will hear all their 
lives the shepherd's song / Up there the theater is built of dense fire / 
Like stars that nourish empty space." More Ariosto, less Dante, and in 
Orlando, 'matto e furioso', a 'machine a' parole' shows you "l'amour 
mort" with an "Angelica", or without a loving Lot ...since here where 
heavy metal sandals rest, "L'Insu Que Sait De L'Une-Bevue S'Aile A 
Mourre"; - and trains travel in (k)not.


_Inferno_, XXVI, 96-99.
porte d'boue alla 'resonance du corps',
Lucio Angelo Privitello