THE DYING SWAN MOVEMENTS OF THE CLOCK AND THE CLASSICAL EPIPHANY OF ALBERT EINSTEIN’S TIME DILATION: THERE IS NO MORE FIRMAMENT
The Dying Swan, ballet performed by Anna Pavlova circa 1910
Consciousness-Analogue
Colours are splashed by the sun’s primal meridian
Evoking the silence of silvery nights
Dim light’s ambrosiac reminiscer of the seas
Over a book of Hamlet, recollecting
Ancient coins, stamps, murals and seals
Time’s prolific mistress Ophelia is drowning
Drowning in the indistinguishable ether of memory
At the bottom of the floor the mosaic patterns mirror oblivion
Unoccupied by the birth of a star or a stream that flows by in
Words are radioactive decay of atoms causing collapse
Silence is the superposition
Thinking allows us to master the universe
In the holy Ajna, the sacred fire is the peacock’s wish to dance like the rain
Darker the clouds lighter the burden of the sinuous hills
And as the peaks coiled like serpent’s tail He Fathered the deep symmetry of the race
Events that become the ground reality of things self-collapsed into one possible nothingness frame
Rest all are mathematical projections of the hyperspace functions
Divine Mother, Mirra Alfassa
The candle doesn’t mark the end of time but eternity
As long as we live as ‘one in many’, in the many fields of the Symbolist Movement
Crossing the frontier with Mallarme and Laforgue
Into the dead analogous world of parallel uncertainties
Paris transfigures
As Rome as Venice
The flowers in the garden
Bringing Her glory of the spring
Nestled in the relative harmonics of simultaneity
Sharp like the knife’s edge in the chill delirium
Voices ringing in the far-off shores
Felt the constant stillness of the soul.
The actor suffers to deliverance
The mob cracks; the walls, the fire
‘THERE IS NO MORE FIRMAMENT’
Far and beyond as near to nearness compelling thy light
To manifest itself in the synecdoche of universal bliss.
-Joy Roy Choudhury
Ref: ‘There is no more firmament’, one-act surrealist play by French playright Antonin Artaud, 1920s
