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“Poem of the Phalanx (Perception as Visual Personal Art) Memories, shard, intersect and twitch, Create images anew as they inter and switch. Amid blackness eternal, the ground breaks the day And the shape which cuts the ground— Phalanx in time—reapers way. 5 Thoughts as geometric planes galley the night mind, Images thoughted, float raging ever by. Comets to the mind–bolt outta the black they mortise and fly– Disappear they do–into their midnighted cry. (Yea, evil is wrought from the want of the want of Love’s lost ought. 10 Goodness wrights of the abundance of Love in blood ’twas bought. —Live the moment within God’s Mind too, For once missed she will pass by you. But He alone shall remember thy days, For in His Heart He will hold thy ways. 15 (. . . Surmount untold; reproaching its summits hidden self face, Can’t make for a daydrop of lost opportunity and regret’s disgrace. Yes, eternities of regrets can never create The day’s bested instance that was forsaked). Fleets of illusion harbor and snag, 20 Bristled spears impale with emotive jags. Willish anvil beaten and enhammored in bers red embs, Guards the hellgates unhinged in forged remembered contems. (Aye, the anvil of will beaten and wrought Sentinels the gate ripped in forged oughts). 25 Phalanx of dreams penetrate they deep, Guard thy soul they do lest the enemy storms thy keep. They rancor and barb thyself under penalty of arms, And kill the dragons that would do thee most harm. Yea, in the Belly of the Beast thy wounds do feel pierced, 30 For Love Eternal must cut darkness as the Spirit is so fierce. The hour of shadows exalt—! ’Gainst the Christ in His plain splin‴try array– Yet curshed in a moment on that ill-fated day. The way of caution doth forbear to tread beyond the mire In those bleak hours when the ‘Powers that Be’ seek to solace thee in thy soulish desires. 35 Mercy travails deep upon the Fires of His Winds To heal by His cut; His own everlasting His– Is to die to Love Eternal with He, –as He now does and is . . . Hell for others, heaven for some, His work ’tis finished all given and in all thrust done. 40 As Love rejoices His shed blood run red for thee—, —Things Divined and precioius for you and for me forever in He (The spear that killed Him gave Him life –the enemy’s travesty). Phalanx comes, phalanx goes, Wither are thou—dost thousest know? 45 Are ye pierced through and through out within? Seek his face so life may begin Sharp keys to hell the warriors doth say, Yet unlock they the gate to heaven’s pathway. End”

“Valley of the Damned (# 1 The 'Halla) As she sat teary, another story arose, Young and full of vigor hewed with manymanymany years of repose. “Comrades” she brightened, “listen again to my tale, Of courage and power, and how evil can never prevail. —Valkyrie Kari, Saint of the Blade Chapter 15, Valley of the Damned Footnote: In one form or another, everybody hears but very few listen. It is a lost art. Like developing a taste for classical art, music or fine wine, listening is a skill, a ‘taste’ to develop, an “acquired sound.” Valley of the Damned et al.”

“The ï⌁ᵶ⎔ctogon8⌁ð Do not beat your nik, Or play at fiddlesticks. Prefix not thy rhetoric With suffix that transfix. Play no dirty tricks, That try to s’nick or nix. Go the quick route fix– With things that intermix. Do not be thick, Or over politic. Be ye no sophistahick, Playin’ smartass in the sticks. Do not be sad or heartsick, If your neck has no ies full of hick. If you are not on the River Styx, Look alive–give Charon a kick. If a bad guy has given all the slip, Be chivalric: use a *sharp stick. If with a bovine that is lovesick, She’ll smooch you a wet cowlick. Light a candlestick: Let it all brightly click– [Eighth power of a # ∞8: ≒ ∼ ≓ —be sure well to remember]. Zenzic aside, Do not panic but abide. ’Tis just a mathematic– Past the deep end sixth— It is nothing ’cept a ⇌ ’twixt ⇋. Quite a simple pick: Avoid the contradixts– Choose humble little⌁ Zenzizenzizenzics ⌁—”

“Chimes at the Edge of Hearing (2011) Chimes in the heavens sound so fine, Whither does it go; how it chimes the time. Tumultuous river of colored tinselly sounds, Their music brasses forth, it has no bounds. Tinkle clackle tinke koo, How infinite the melody with notes so few. Chimes clanging silent at the edge of hearing, Does it not sound so jingly and endearing? Klankle ping chinkle cree, Quite the sound of discordant harmony. Pakkle kikkle ringly kat, Chimes echo out; they drift cackling back. A cacophony of clingles, pims and tinkle-ets, Chimes shinkle loud at the crescendo of their octets. Pakickle tamtankle jjingling kites, They fly into darkness on the clatter of midnight. Chimes symphonic at the coming black storm, Upon the shrieks their shimmering rrrings are born. Sounds and silences; the glistening chimes adorn, Haunting images of sounds so distant and forlorned. Cymbal they together; the sound of crackly glass, They remind of the times and rattles of the past. Metals on metals trinklelink clapping down the time, Their clittering rhythms broke, raw and refined. Concerto of jangles jinkles and dings, See their sound, how pleasant they dream. Off they go, winds klickle on smooth breeze, And chinkle and pinkle through my melodic tree. dlaurent”

“LaForche for his standing, understood Christina’s seditious intents, and for that, he monitored and hated the rude Vixen of Woe. Innumerable times they had quarresquabbled, sometimes very loudly, both during and after class. Christina’s wit, as fast as her blade, for the most part won the scathingly bitter, single-edged dialogues, much to the chagrin and embarrassment of LaForche. It was no big secret that trying to deal with his Anti-Mr. Spock logic was like trying to cross a baking salt-flat desert mid-summer with nothing to drink or eat except stale crackers and a big jar of out-dated defunct Peter Pan peanut butter, its original “crunch” now being only pasty sand mouth goo. She often asked herself how could you argue against no mind. It was an unassuming study in stupility to say the least. —Christina Brickley, The Lady and the Samurai”