Arcadia in a Sicilian Painting

ARCADIA in a Sicilian Painting

It was a thick grove of white poplars, flowering thorns and intricate thickets, in which a thousand amorous vines intertwined, and with tight lacing enwound. In the fields, that could be seen at a little distance, it seems that Mistress Nature wanted the earth to compete with the beauty of the stars of the sky by the variety of Her panoply of flowers. And it was there that the Springtime of the Fables unrolled Her painted carpets, for the gardens of Jupiter: or not otherwise than in the great stained-glass windows of variegated squares and triangles and such in mosaic, all seen in vast swaths of undulating change, and the sunflowers beam on the meadow.

The white narcisse fragrant testament to self-love and martyrized egotist egoism and the Rose Incarnate [or is it egoist egotism?] the fleshly rose of first forms born of the blood of the flesh of Venus’ foot when running bare thru the thorns to her Adonis’ rescue

She who was the first to feign flowers by paintbrush

Symphonia arborum SETTING progressively painted surrounding in rank the sloping fieldlands, the wooded wild burst out in bunched patterns of deciduous and evergreen canopies, well-worn and veined with country tracks, or in some densities thick and pathless, incumbent or erect in countless layers of understory and overstory from the forest floor to the bobbing culminate strata of top-shade and every scrap of dead or living tangle trapped between them,

a symphony of trees:

GRANDIFOLIA

PARVIFOLIA

Pan is parceled

in the foillage

FOLIA means Latin Leaf

LA FEUILLE (FOILL, etc. in Old French)

LA HOJA (La FOLLA in Old Spanish)

Foliage/Foliate/etc

by evolution.

There was Sylvia, the root-word

Queen of the standingpeople

she had her Pastoral Symphony

her lost tap-root

the germination of a seed proliferation or a root invasion in a cross-pollenated world in expansion in the boundary branching out lines between kingdom phylum class and order into family with blurring categories with their subs on to the genus species and subspecies compatibly interbreedable [are they?] incestually among closely related varieties, and all the intercalated quasi extrapolated mass of subcategorizations labelling biosphere creatures in dead languages, so much so that if you could see the whole thing at once in chart form summarized which is after all its truest form with majestic self-display of this formidable maze of a Family-Tree in the madness of a trance, megalomaniac in the dense jargon of the science probe summarized all the foment of life in its intricate configuration,

empires of treedom, a forest of words, there is no end to this profligate production, perpetual reproduction of the stamen, or the petal, or the cone,

and a bed of dead folia, falling

folding to dirt.

Represented by a skull in the corner

A certain painter of the Venetian Renaissance

My Bucolica is a modern reboot of the "eclogue" form originating in Classical Greece and Rome and much rehashed throughout all European literature. It usually comes in the form of a collection of shepherd's songs, dialogues, and stories featuring themes of love/desire, nature/the seasons, death/mortality, and the passing of time. It is often a playground to poeticize the animal world and humankind's relation to it, as well as particulars of the seemingly idyllic life led by simple shepherds and farmers in Arcadia. It is also referred to as bucolic literature. I wrote my Bucolica 2017-2018 in a mix of poetry and prose.