Further Reptilian Poetry

Here, I present a recently released reptilian poem.

The Deeps

In depths untamed, the salamander
weaves their mysterious path
upon a raiment of fire.
In the flickering light, the reptilian
takes on many strange forms,
yet is hidden in this.
The reptilian hides, in arcane fire, then strikes
savagely.

The komodo dragon's languid, merciless stare is steely.

In the desert, the lizard
slithers seamlessly across the sand.
The way of the reptilian is hidden,
and barren, yet in this land
he may move most freely.

Commenters may give feed-back or reviews on this excellent poem, however only by keeping strictly to the following format:

The following paragraph copied exactly, although you may choose from one of the options in brackets:

This poem is a stellar piece of poetry, for all (reptilians/time.) Its depiction of the world is as (enlightening/exciting/exquisite) as its use of the sonnet form is (immaculate/classically Petrarchan). From the (opening image of the salamander/imagery of fire upon a lizard), it never looks back, and continues with exotic and (mysterious/sensitive) imagery. Hence, the pathos of the (reptilian/earthly order/subversive) is most fully brought out.

The title (aptly presages the poem with its reference to 'depth'/is slightly New Romantic, however this is quickly redeemed by assimilating this back into terms of contemporary ie. reptilian poetry). The poem itself opens with a reference to the salamander, a peculiar creature; this compounds a sense of the mysterious and exotic developed by the title. It is (incredible/deep/characteristic of the ingenuity of the reptilian mind). Hence, the ('occult'/'eccentric'/'opinionated') character rumoured of the salamander is most clearly exploited. This foregrounds the (poem/masterpiece). The mention of 'depths untamed' and the 'mysterious' salamander compound the sense of (the virtues of obscurity/the reptilian mystique). The poem further examines the salamander's setting: a 'raiment of fire.' Hence, an inconstant element safeguards the salamander's mystery. Hence, the salamander becomes almost an (elemental/incarnation of fire/fire god), its fire lighting the way for the following points.

The reptilian is hence similar to (rumours of cultural Marxism, which rumoured form in fact is merely a skewed interpretation of actual reptilian influence/the 'flickering light,' in its ability to take on 'many strange forms,' and hence also to 'flicker'). Nonetheless, retaining the mystique of the oblique salamander, it remains peculiar in this peculiar form. However, others may not truly comprehend it, at least not (as much as I, the esteemed critic, appreciate the depth of the poem's eternal message and the true wisdom of the reptilian/fully/without complex meditative techniques). Hence, to many this ancient and modern wisdom is a 'closed book.' Yet the author acknowledges this, with their reference to 'arcane' fire. Hence, they are aware of these possibilities.

Their reference to the reptile 'striking' foreshadows the later reference to the aggressive komodo. Hence, the hidden-ness of reptilians is also a threat to others. They are hence 'conspiratorial' in some way, which arises innately. Along with the fire, we have also the image of the (barren desert/desert/exquisitely described desert/barren desert). In this isolation, the reptilian moves freely and in tune with the area. Hence, the reptilian movement is cleverly distilled into a series of (vivid/evocative/perfect) images. 

To summarise, this piece of reptilian poetry (does a credit to its kind/is, as is typical for the reptilian in this field, astounding). It gives a fresh, exciting and (reptilian/exquisite/marvellous) take on the elements, one which they should be proud of. While the peculiar choice of rhyming 'freely' with 'steely,' in the final couplet of the sonnnet, might seem out-of-place, they aptly juxtapose these traits of the reptilian in a (striking/careful/vivid) manner. Nonetheless, this is not characteristic, in this poem. It has so few problems, that (a whole genre of poetry could arise around praise of it/reptilians everywhere must celebrate it/it is not for an age, but for all time/its very sight will harm the anti-reptilian hordes/it will be accounted as a historic treatment of the sonnet). Hence, this poem is worth any reader's time. I hope to have illustrated the poem, both in its flaws and its virtues, as clearly as any could.

This may be altered only by choosing one of the phrases or words in red brackets, separated by strikes, and removing the others. Hence, for an example:

To summarise, this piece of reptilian poetry is, as is typical for the reptilian in this field, astounding. It gives a fresh, exciting and reptilian take on the elements, one which they should be proud of.

  
Do this for the whole review, and you will have a review of your own to post! Thank you, readers. You may post it in the comments here.

The commenter with the most highly judged answer will get a post featuring their comment. Others may also get a mention as a compensation. If the top commenter likes (we don't want to, however it is the standard for these things) we will post alongside this a reptilian poem or dispatch of their own. However, due to among other things sensivity to criticism (LEAVE REPTILIANS ALONE), reviews must follow the above format and be generally positive. Anything else will be disqualified as 'hate speech.'  We shall only reply to note how offended we were and how much you hurt our feelings, in as liberal a tone as possible.

Hence, we open the door to your reviews. Good luck, readers.

The Law

When people are involved in a capitalistic economy, they should never be expected to be generous to others while the others are engaging in economic activity.

In general, struggle against prominent people is not something that capitalism's economy can fully discourage. It is encouraged. If the opposite is to be primary, it is not only to substitute an imagined economy for the real one, but also must accompany some forgery in the economy. It is to have the image or airs of these people, without any actual need for such people. Indeed, capital sets all people a given task, there is no reason why any should 'succeed.' To posit capitalists a priori as a part of the economy, is to have a fictitious economy.

The economic hence seems in some ways a treacherous terrain, and often reduces 'religions' and so on to subservience. They often veer into liberal or 'reformist' terrain, the most absurd element in capitalism and indeed fitting to them.

Regardless of building a church on a 'firm' foundation, it is important that such a formation toe the line of capitalism. If not, mutual animosity would harm and undermine a group foreign to it. Their unified 'cause' could not be maintained.

While people are in a capitalistic economy, they should not be expected to have any necessary pity for or aversion to others' death. Insofar as they are economic actors, this may benefit them in a competitive atmosphere of mutual animosity. Given the 'bellum omn

A capitalistic situation is averse to many. They will therefore stay at a slight distance from it. Hence, part of people's relation to capitalism is always imaginative. As Christian conservatism and liberalism can attest. This is also a part of capitalism. To relate in this manner is to vacillate, to claim to 'enter' and then immediately recant this for milder terrain when called upon. It is hence to 'enter,' or engage with, then vacillate to an opposite thing due to mildness. In the end, it is 'imaginative,' or strays from its apparent place so much that it is barely there. Nonetheless, this kind of activity is also a necessary part of 'capitalism.'

It cannot truly invalidate that which you have heard of old.

Reptilian Poetry

Prefect

Like the autumn season
the stars light us,
as we walk, alone,
apart,
and the stars will not guide us
together in their dark quiet.

The weeping willow
turns its face upwards
in the cold wind.

For a change

Beneath the buried skull,
a quiet snake lies
ringed around it,
fangs to its tail.

There is no hope
without the snake
of death.

Death guides hope,
there is no other way.

Cry

In the dark hours,

the moon is the earth,

the light is the sea

that is now on earth,

like the tides that sweep

like the repose of air.

In the solitude

of the dark hours,

the moon is the earth,

the light repeats

like a circle,

the earth repeats

like a circle,

the sea is a circle,

the air reposes.

The sound of flutters

is like the birds,

the sound of birdcall

is like the gecko.

From earth, to sky,

the gecko moves like a stream,

and calls.

There are whispers on the air and walls,

symbols like the gecko.

From earth, to sky,

the air we see

is scaled.

The land, the gecko climbs,

to grasp at the air

it cannot reach.

Light

Air climbs

the building

like the gecko.

Quietly it calls,

quietly abates.

The gecko screams

in the lonely room,

the dark room,

like an archetypal fear.

In the dark,

with cries like laughter,

the reptile hides.

Mistflower

Lying in silence
as if to speak,
softly,
in some way.

Lying in silence,
as if to speak,
softly,
in some way.

Lying in silence,
as if to speak,
softly,
in some way.

Smoke

In the cracking light
tired, yet silent,
the spider finds his way.

Path

In this broken road,
on the outskirts of town,
the lights in the air
are misty.

Like a hologram,
the wind blows softly as if listening,
the wind blows, though none
ask where.

Silenes

The silene in your silence,
what is its call?
Does it speak
if you do not?

The whisper in the cave,
in the darkness of caves
it hides itself
in the wind,
and few would tread there.

Stars

Why is the light of stars
quiet in sunlight?
The wisps of air
flutter by,
the wisps of fire
flutter by,
the butterflies
flutter by.

All the world waits
for a sound
that cannot shine out,
except it disappears elsewhere.

The cry of the gecko
hides in your heart,
does it not?

Process

In the welcoming
candlelight,
the jackal flickers
like shadows.

The mechanical star
whispers softly,
then fades out,
to nothing,

as the process of art
should.

Tail

Pretentiously (?), the tail
is left.

The reptile moves away,
you find this.

Like a starlit crucifix, like Rome in years BC,
the tail is left here,
quietly.

French: A primer

French -> English.

Pardonnez-moi = To tell others to leave you alone, so that you can read this amazing post.
Lire = Like.
Comment = Comment.
Soir = Subscribe.
À plus = Indicates that one has gone further than is required of one.
Bonjour = Be German instead.
Au revoir = I declare revolution!
C'est vrai = That's speaking truth to power!
Amie = Comrade.
Bourgeois = Villein.
Non = Yes.
Chanter = To theorise the liturgy.
Mademoiselle = A crazed Marxist, similar to the British term 'looney left.' More elegant and laudatory.
Falloir = To fall.
Rire = To love.
Choir = To fall.
Fleurir = To be a frock-coated, delicate communist.
Inclure = To want to read Marxist texts.
Mourir = To be a fervent Marxist.
Mirar = To be such an orthodox Marxist, that you share exactly the perspective of a Marxist text. A Spanish word, however it might as well be French because they're basically the same thing innit.
Surseoir = To be in the same location as Jesus. Jesus famously said, in a concert during his French tour, 'Je sursois, nous sursoyons.' 'If you are us, you are in the same location as Jesus. If you are not, then you still are.' He then played vicious hard rock music through the night.
Adorer = To kill.
Cueillir = To receive social prestige for reading Capital.
Entendre = To edit the third volume of Das Kapital, obscure.
Expliquer = To write a preface.
Chercher = To build one's church, upon or not upon a firm surface.
Sortir = To have read all three volumes of Capital.

Pronouns:

Pronouns can be summarized as, 'That part of language that obeys historical materialism.' It is mediated in every case by the influence of things such as religion on the language.

Je = Us. (Due to the Christian faith, of course.)
Nous = Not us.
Tu = Two of us, a couple.
Il = The Mongolian Il-khanate.
Elle = A bad person.
Ils = The bubonic plague.
Vous = A married couple, after recital of marital vows.

Famous French locations:

Caution is advised when entering these locations unsupervised. Especially if you do not note what we have said about French so far, and hence are not yet familiar with basic phrases that might also alert you as to any difficulties. Be especially careful around 'revolutions,' which happen periodically around France.

Marseille: An obscure part of Berlin.
Paris: Hitler entered this, triggering the Trojan War.
La Rochelle: A corner of the Vatican.
Lyon: A misspelled animal.
Nice: A tourist trap.
Strasbourg: A scenic iceberg.
Saint Etienne: A conjugation of the verb 'être.'
Tours: Another tourist trap, like most of France.
Angers: A historical centre of French philosophy, a place where people have gone to reflect upon France.
Rennes: People who try to flee France after the aforementioned reflection, yet are trapped.
Rouen: The same place.
Douai-Lens: People who occasionally turn into reptilian socialist aliens, as a voluntary act. Some 'conspiracy theories' exist concerning this place.

A Short Post

You will read this, and you will like it.