Dicaments

Jeffrey Herrick
ISSUE 2007-1
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Dicaments The technically poetic characteristics of poetry dramatize the speaking occasion as of a particular human pertinence, but leave its actual significance secreted within the thought-content of what is verbally presented. The most ostensibly poetic, externally evident, marks of the poetic are meaning-mute: they match the unsaid of music. Laura (Riding) Jackson, "Body and Mind and the Linguistic Ultimate" In those voids no opiods Or words cerebus, in cerebra Loop the loupe of lucubration To luces for luxate lacunas, Beams to burn the beam In thine own moan, Paper pretext for forfending The ineffable paralipsis of the lipped Humane, the main manie, The presence absence hences, Till a reddition tells, In dead letters deft, So our aureate hours art Art orated at hip Hopes that happen to count A runer’s pitches to wis Dumb algesia to deliquescence, Then smelt hoarse dung To tongue nuncupative funky Facundity to stupe stupidity And land lenitive pungency To painstaking crania in tacit Pacts, worts and all, To sum divined afflatus To geste conjectures to geists Breathed, it reads hear, Here as there, for perspective, (À bas with relief), to relive As lucidities of moment, repeatable Experiments in sensuous scientia, The deepest steeps peeped And piped to moored mores, Habitudes of hebetude educed To discover diction whence to docent Decent sentences for selvage Of ages, acroamas agape Lives in in outing innermost Dicaments, languaged gauges Of the human hu who Homes to poem owns And emancipates to proclaim none One, eyne on dicacity In gravitation to the grave, apart- Ment meant on othered earth As ether to author to all, Suffrages for sufferance in substance As airers of comity come To sound to be of mind.