⊱ 𝐅𝐘𝐎𝐄𝐑𝐈 ⊰ . . . [ 08.03 ] (or, more intimately: fedyeria). the undying amaranth bloomed directly beside the tree of life, according to milton. when eden was compromised — the garden violated by man — the nectarous fruit drove its representation into temporal temptation, and ﴾ ﴿ took back the flower for only heaven to witness.
however, ﴾ ﴿ did not account for the remaining longing in which became humanity’s unanswered question. what became their τέλος — their suffering, their eros, their death. a longing which the greeks described as the violent rip of halves of the soul. what religion called the missing rib, and what adam called the missing hands of his Surgeon who probed at his insides. this longing, which humanity killed for, they loved for, they sacrificed for. that they prayed back to ﴾ ﴿ for, in ancient anamnesis.
all matter returns to recur, whether in its original state, or within the lack of it, per the law of conservation of mass, of you. and so: the violet flower was placed in the eclipse of his eyes, and the aeternus — without form and holding every form — manifested in the vines of her psyche. straddled between the natural and supernatural worlds, founded a singularity comprised of two (it is always a comprise of two) abilities and two souls. the first was bound to life in his deaths. eternity of the serpent fused into his bones, reviving and rotting his body all at once. face of deathly winter, voyeur of all violences — the most terrifying beauty was held in the strands of black hair, and elusive cadence.
and the second? in life, she was eclipsed in the death — eclipsed in all deaths. her creation was recurrence that used all deaths so passionately, until he could no longer tell whether the mortal needed death or rapture. the human will is as salvific as is sinful, and in her vigour of juxtaposition, she violated all previous meanings. to approach him as closely as she did without falter nor fear — without comprehending him as something more unearthly than he was — made him believe that her face of the empyrean held his lonely immortality, instead. and that she cradled it in her veins in this condemned rescue — breathing air, and life, and rivers of blood back into him — as if she were his greatest phantasm, the closest to ﴾ ﴿ he could get back to.
he hardly sleeps at night, though. and so, it would be better fitting to say: what a daydream his captor, his enemy, his lover, his temptation, his final demise — his rêverie is.
see, depictions i. ii. iii. ◞ introduction. ◞ bsd!reverie. ◞ ♫.
in the name of . . .
the father,
♱ hieros gamos. ◞ tea poured from the samovar (accompanied by three spoons of jam) ◞ philokalia ◞ shared annotations in worn books ◞ discussions that fall into the sciences, the humanities, and the blend of both back together ◞ knife (chess piece, and mind) held against the other’s throat ◞ madonna lilies ◞ devotion in the smallest of touches ◞ words of endearment, in tongues only he could understand ◞ the tenderness of violence ◞ forehead kisses ◞ sacredness of shared silence.
artwork . . . centre-left: christ and magdalene by arthur hacker. centre-right: raskolnikov and sonya from dostoevsky’s crime and punishment by vincent krennerich.
