Nimbus Nothings

My attempt at Fanciful Farce: a comic dramatic work using buffoonery and horseplay and including characterization and a ludicrously improbable situations.

A lavelered lackey with leaden hands

near Pileated Pythius at attention stands

as Malthus head high to face the fray

arrives with Lord Launfall to set the array.

 

As onslaughts of obtuse objections abound

bold Criticus constrains the carpish crowd

of monophonic minions poising pointed sticks

at a mundane muse mulling triadic tricks.

 

With silhouette shirt tail blazoned on breeze

in threadbare twillings with knotted knees

Maecenes the malcontent sets tribute aside

so judicious jugates can be taken in stride.

 

These Freudian feelings nurture my syllabic soul

as Hippocrene hypes turn into heretic holes.

Then Cunneiform cobwebs inundate the psyche

to turn Nimbus Nothings into rank repartee.

Author's Note

meant to be fanciful word play with strong alliteration that examines how and why I write poetry.

Reviews

[Einstein Noodle]

had to get out the myths and legends corner of me nog and look a lot of things up .. pretty brilliant play on characters and buffoonery as you say .. a lot of the tools of the trade in your poem says i .. alliterations/images like the "...carpish crowd" and "..judiciate jugates" especially tickle the tongue and fun spirit i feel in reading .. i think you accomplished your goals in this one .. enjoyed reading and brushing up on my vocabulary and myths
E.

[carl]

thank your the read, review, and kind words, much appreciated. It was fun and intended as such. My youngest son (age 30+) writes fiction short stories and puts a lot of effort into not only the story but the sounds in reading, so I tried to pick up on his approach. -carl

[Einstein Noodle]

i took a free on line "MOOC" .. international classes run through the U. of Iowa and this particular class called what you speak of "milk tongue" .. words and phrases that are a delight rolling off the tongue. ... my youngest son also is a "creative" and use to post here .. has moved on to other things at the moment .. it's a blessing to have the next generation pick up their creative urges, isn't it!?

[carl]

yes, agreed - had never heard the term milk tongue, but makes sense. I am a big fan of Bod Dylan but firm in my opinion that his work must be sung not read and preferably sung by him because of his pronunciation or mispronunciation and with his select pauses or run on/over between words. I think first and foremost he is a poet and understands how he wants his words to fall on the ear.

[Einstein Noodle]

love the old classic Dylan! the 60s and some of the 70s stuff from him ... i saw him 10 or so yrs. ago, in his old age .. the crowd was age mixed .. he sang terribly and had a hard time staying in time but his band worked with him and no one really cared ... we all know the words to his songs and sang along with gusto :)

[Neville]

I scrolled down to see where you are coming from .. I was not disappointed in the slightest .. Neville

[carl]

thanks for the read review and encouragement much appreciated - carl

[E.P. Robles]

I appreciate your perspective on my poem and your interpretation of its intention. As a poet, it is important for me to engage with feedback and viewpoints that shed light on different aspects of my work. I understand that the poem's primary purpose was to employ fanciful wordplay and utilize strong alliteration to explore the motivations behind my poetic endeavors.

Your observation regarding the examination of how and why I write poetry aligns with my creative intention. By incorporating the technique of alliteration, I aimed to create a musicality and rhythmic flow that draws attention to the words themselves and their deeper meanings. The wordplay serves as a vehicle for self-reflection, inviting readers to contemplate the intricate relationship between my creative process and the emotions that fuel it.

I value your acknowledgment of the poetic qualities within the piece. Alliteration, with its repetition of sounds, can enhance the aesthetic appeal of the poem and create a memorable reading experience. Through this deliberate use of language, I sought to convey both the complexities and the joys of being a poet, inviting readers to explore the nuances of my creative journey.

Once again, thank you for taking the time to offer your critique. It is through conversations like these that I continue to grow as an artist and deepen my understanding of the impact my work has on readers. Your insights are valuable, and I will reflect upon them as I continue to craft my future poetic endeavors.

[E.P. Robles]

Interpreting, "Nimbus Nothings" requires diving into a rich texture of imagery, vocabulary, and allusion.

I would like to dissect this piece by piece:


The first verse sets the stage, evoking a sense of a traditional backdrop. It incorporates allusions to figures from Greek and Roman mythology. Pileated Pythius might symbolize Pythia, the renowned oracle of Delphi from ancient times. Malthus is likely a reference to Thomas Robert Malthus, a prominent economist of the 19th century, renowned for his theories on population control. As for Lord Launfall, it may allude to "Sir Launfal," a medieval tale featuring a knight, thus hinting at themes of chivalry and traditional honor. This juxtaposition of ancient, medieval, and modern allusions adds depth to the scene.

In the second verse, the focus shifts to conflict, depicted through the metaphor of "onslaughts of obtuse objections," suggesting the presence of disagreements or debates. Criticus, embodying a critic or critical thinking, emerges as a figure attempting to quell the ensuing chaos. The reference to "monophonic minions" conveys a uniform and unvarying mindset, contrasting with the richness of diverse thoughts and perspectives. The mention of the "mundane muse" alludes to the poet's struggle for inspiration amidst the stifling presence of narrow viewpoints.

Maecenas, a historical patron of the arts, symbolizes societal or financial support for the poet. His disregard for "tribute" implies the poet's sense of being undervalued or unsupported by society. The phrase "judicious jugates," likely representing fair judgments, is accepted gracefully, suggesting the poet's openness to criticism.


The final verse plunges into deep introspection, exploring the poet's psyche. The mention of "Freudian feelings" hints at subconscious influences shaping the poet's work. "Hippocrene hypes" alludes to the mythical Greek fountain of poetic inspiration and may symbolize the poet's attempts to conform to the expectations of "great poetry." The phrase "cuneiform cobwebs" signifies the accumulation of old, potentially outdated influences that clutter the mind. The expression "Nimbus Nothings" represents fleeting and empty inspirations, while their transformation into "rank repartee" reflects the poet's struggle to translate them into meaningful creations.

Taking a Jungian lens, the poem explores the poet's journey of individuation, striving to merge various influences (both external and internal) to birth something genuinely distinctive. The metaphor of "leaden hands" conveys the burden of history and past literary figures. The juxtaposition of the "mundane muse" and "Hippocrene hypes" signifies the clash between societal expectations and the poet's innate creativity. The underlying theme revolves around the poet's quest to harmonize these disparate elements into a unified entity, reflecting a core concept in Jungian psychology.


In essence, this poem delves into the multifaceted nature of the creative process, weaving together historical, cultural, and psychological themes. It portrays the tension between individual expression and societal norms, tradition and innovation, as well as the interplay between unconscious influences and conscious craftsmanship. The intricate and nuanced language mirrors this internal struggle, hinting that the act of writing the poem is an integral part of the very process it seeks to depict. You have a beautiful way with correlation. I very very much enjoyed this prose!

[carl]

Thank you for the read and incredible review. I feel as though you walked around in my mind and explored all the nooks and crannies examining and explaining things which I know not of. The poem was for me was an attempt to explain how it feels to write my most personal works ( a very freewheeling lights-off night time drive through the corn field) It is the writing that I enjoy the most and understand the least. Thank you for the time, effort, and courage to ride shotgun with me. I would greatly appreciate if you have the time and inclination to read my piece The Latest Flight of Fancy. I do not ask that you review it to the same degree as you have done here, only that you might see this is what I enjoy the most about writing. It is interesting to me that these are written over a period of time of deep dives and then coming up for air. It is the same way that my most enjoyable work in clay is done. Again thank you for your time and interest. Stay well and write on - carl

[John the Baptist]

First, thanks for the lesson in alliteration. Must admit to some googling to familiarize myself with some of the names. At my age, "Cunniform Cobwebs" can be a hindrance.

[Ken e Bujold]

you hit the bullseye here Carl, Fanciful wordplay that is a full sandwich of a meal. took me a while to get past (as in stop to think about anything other than how well this scans) the perfectly scanned meter of the work, but once I did I went back again, and now again, let the images of words wash over my mind and really enjoyed where the various trains of thought carried me off to.

ken

[carl]

thanks so very much for the encouragement. It was a fun romp for me in the writing and glad you enjoyed it.

[Eilis]

I think we have to remain somewhat oblique when examining the creative process and what drives us. So much of it is mysterious and we can spoil the whole illusion if we dip our hand in the water of it too deeply and the water stills. I like your approach to this. The silliness coupled with the metrical exploration offers a nice contrast and does mirror, to some extent, the act of creating. Welcome to the cafe, Carl. I hope you enjoy what you discover here.

[carl]

Thank you for the encouraging words. I fully agree we cannot try to hard to analyze the working of the creative process. Some of my most enjoyable moments are when I am working with clay and am somewhat oblivious to what I am doing, just engaged in the process and following after the leading.

[Fabian G. Franklin]

I found this thoroughly amusing. The Greeks and Romans are having an all out orgy of reticent refraction throughout. At least it isn't riddled with the ridicule or parsimonious pedantry. It spent more than a democrat politician on campaign promises. (just jibing at the jest or joust of jargon) My mind is now muddled and muddied with clouds of incalcitrant interpretation.

[carl]

Thank you, enjoyed your review almost as much as I enjoyed writing my poem.

[Fabian G. Franklin]

I like you. I feel a kindred spirit. You've got to post some more poetry for me to read. I was reading your bio thingy. Pottery eh? My sister-in-law loves pottery. She makes some pretty stuff but doesn't have her own kiln. She worked at a local college for years in their finance dept. so they let her use the kiln at the school to fire her art. I'm a wood carver myself, I like making walking sticks and picking my guitar. Been doing that for fifty years and I'm still not Glen Campbell or Jerry Reed though. Eh, I do okay though I guess. I have fun at it. I'm married to my soulmate and one heck of a sweet lady and we have a little girl together. I have a grown daughter too and grandkids. They're all living in Alaska with my Army Special Forces son-in-law, doing the military life gig. I miss my babies (grandchildren) though. 4000 miles is a long ways away. But my oldest calls about once a week and lets me chat to the babies. It could be worse. And she still says I'm the best dad ever...I'm not, of course, but I'm far from the worst. (laughing) I toast you with my cup of herbal tea...it's too late for coffee here. Cheers.

[carl]

I think the walking stick creation is pretty cool thing, I meet a veteran in North Carolina sitting outside a VA thrift store that carved and sold them , beautiful work and he had a good location b/c lots of older folks frequented the store. MY wife and I have five grown children and 6 grandkids only one of our kids lives close by the others are spread out from east coast to west coast so I can relate to your situation. I'll toast you right back as I take my evening meds with water. Take care.

[Fabian G. Franklin]

:) I missed your reply earlier as the site has been down on my end but I'm glad I revisited. I look forward to reading more of your work. Have you ever read anything by North Carolina native Tom Robbins? His post-modernist writing is like nothing else I've read. Tom turned 90 back in July.

[Ocelot]

I enjoyed reading your poem Carl, it is unusual- I like you being so many unusual words into it- I didn’t understand all of them but added word power is a good thing for poets.
I felt possibly the rhyme on the last two lines was not as direct as on the verses so slowed down the pace of the lines.
Also although this is just a musing there could be something simple juxtaposed with the complex language to pull your reader in- I find the use of you and I is helpful when fantastical visions are being created.

[carl]

Yes, I see what you mean on the last two lines, will reconsider that, thanks for your help