we all have fallen (in the Midnight Sky)

Body of Water Across Bridge during Nighttime

Fallen In (Into, etc.):

English language definition(s):

we all have fallen—

(in the Midnight Sky)





we all have fallen
(midnight sky)

the beauty
of roses & orchids
without butterfly

dainty backdrops
confirming variety

eggshells and seashells
broken, sand's grainy

we all have come
together for it, rational beings

we rightfully fit,
perpetually belonging in

knowing the beach trees
this much,

we know how
hardy we can get
without mulch





as the great wonders
of the sea,









we never really have










Photo of Sky During Sunset

Author's Notes/Comments: 

Reedited 4.)  01.07.2023 [03:02-03:16] (Reedited my grammar for this Notes/Comments Box/Section for clarification.)  3.)  01.02.2023 [21:32];  2.)  01.02.2023 [09:54];  1.)  01.02.2023 [00:58]



1.)  This time's reedition consists of one misworded adjective from the first line in the following verse:


"dainty backdrops
confirming variety"

(I previously supposed that I had used the correct word form for my concept that I hoped that could fit the right mental abstract while in that spur of the moment or in the middle of composing each lines.  But, I think, I got distracted or, for another reason, got plainly misused a proper word for what I was meaning to imply, which must be something else other than "dainty"..  Later, that was changed to the adjective "zany"...but I forgot the exact word in English really..and have muddled through. Upon that realization, at the time of keying this in 01/02/2023, I reverted to its original wording.)  


2.)  Momentarily, the poem's spacing (& other visual elements) were decidedly reedited (thinking how those, i.e. "visual", elements can cross artistic boundaries and or how its intersubjective features or how it relates to other multiperspective notions in meaning-making & sense-making..(such as in the case of concrete poetry vs. visual poetry) and as also pertaining to intertextuality—most of all, impact its totality (quality, et al).  Thank you for reading on.


3.)  Third reedition consisted some spacing readjustments (of the verses).. and, earlier or in the prior change, the addition of pictures derived from the public domain.


View tula's Full Portfolio

the songbird in its realm

the songbird in its








is she the golden
foliage of tree delight—
shining sun—rays
bravura so right—



to this agonizing world
the only heroine



huddled together,
on a heap

hoping that she
never leaves

(someone to keep)

especially that time when
their true hearts..{meet}
evoking winter



these fleeting moments
signify the
warm weather



crashing blue waves
here—to ponder
the beach is soggy—
English channel, there



although we are small
like speckled ornaments
we must not surrender



we often view clouds
like song meanings—
hardly we could ever remember








Author's Notes/Comments: 

Reedited, 2.)  01.02.2023 [10:02]; 1. ) 01.02.2023:




I reedited the following verses. From this:


"huddled together
on a heap"


"huddled together,
on a heap"

from this:

"Is she the golden
foliage of.." (forgotten original



"is she the golden
foliage of tree delight—
shining sun—rays
bravura so right—"

from this:

"crashing blue waves
here to ponder
the beach is soggy
English channel there"


"crashing blue waves
here—to ponder
the beach is soggy—
English channel, there"

from this:

"hoping that she
never leaves

someone to keep"


"hoping that she
never leaves

(someone to keep)"


from this:

"especially that time when
their true hearts
evoking winter"




"especially that time when
their true hearts..{meet}
evoking winter"

from this:

"we often view clouds
like song meanings
hardly we could ever remember"




"we often view clouds
like song meanings—
hardly we could ever remember"








I added the following hashtags to the already entered ones:

bird song, birdsong, bird vocalization, bird songs, bird calls, birding, oscen, Oscines, Passeri, Passeriformes, song-sharing hypothesis, thing theory, Ecology, stratagem, strategy, strategic,


may bagong liwanag








may bagong liwanag






sa bigat nitong dinadala,
kahit buhay ay tila
hindi natatamasa
at walang sigla



gaya mo rin,
ang bawat tao raw
ay may kani-kaniyang



mainam na makalaya
na nga, makaliwas ang
puso kong ito



at pati ng katawan
sa lupa
—mula sa kanilang









Author's Notes/Comments: 

Reedited 12.14.2023:  Title included parentheses.

How Bad Is It To Learn How To Love?

How Bad Is It To Learn How To Love?





When was the last time that
you have loved and lost,
and truly learn
its real, real cost?



(Utter feelings we kept the most.)



Is there a kind of an exit plan in
this lonesome strife,
something that we'd
cherish through life?



Let, therefore, our choices be
the wisest,
Hoping to see us live it through
the longest



We tend to love the ones we
have loved more (and more),
more so, that we sometimes
have lost control, until no more.



(Utter feelings we kept the most.)








sturdy trees (with Old English & German influence, w/ Dutch relation; formerly 'escapism')

sturdy trees

(with Old English & German influence, w/ Dutch relation; formerly, "escapism")




the trees are sturdy

valiant as the grey squirrels

clinging to its barks

sometimes seeing those acorns

like birds over earth's threshold

Author's Notes/Comments: 

Reedited on 07.17.2020


I have added the 'Old English, German, w/ Dutch relation' in the title to specify some word derivations and or their etymologies.  Then, I italicized the word "acorn" because it holds a special meaning to me and that's the word that had been emphasized to have Old English, German, & Dutch derivations.

Pagmamahal Ng Nakapag-aral at Matalino (In Tagalog Language)








Pagmamahal Ng Nakapag-aral at Matalino (In Tagalog Language)



Nakabuntis, umiyak

habang siya'y nagsasabing,

"Ano'ng gagawin...?"

Author's Notes/Comments: 

LEGAL DISCLAIMER:  This poem is an abstract idea and does not pertain to any particular person (i.e., like most art, they are subject to interpretation, as well).

Reedited on 12.18.2019 02:21:  I simply had added to the hashtags the following words/phrases:  Tagalog, Tagalog Poetry, Tagalog poem;

Reedited on 12.18.2019 (typographical/structural emendation of "clearer (" supplanted for "clearer", the omission of a parenthesis because of the doubling of that parenthesis);

Reedited/revised/emended/reupdated on 12.17.2019 (I've just added unto this Author's Notes/Comments and paraphrased it as I went, including the Legal Disclaimer above); 12.13.2019 (please see the consequent edits below) & 12.14.2019:  (a subsequent reedition/revision/emendation due to noticing a misspelled/mistyped "relat", upon my usual incidental reviews of my poems, then supplanting for "relate" in this Author's notes/comments.  Meanwhile, the first reedition was just about an incorrect Tagalog phrase, "Anong gagawin...", which have been supplanted for "Ano'ng gagawin...?", to make the meaning clearer & or to clearly relate what I was meaning to say with the last line in the verse—yet to exact what it is not necessarily its signification).  Texts affect meaning so I have to change it the way that I did for clarity.  Thank you for reading on.

Unknowing Escapists








Unknowing Escapists 




Death, ..not proud—So sleep!

...dreaming of thy softer skin


Author's Notes/Comments: 

Reedited on 06.10.2020:  I have noticed an incorrectly input hashtag term "correlative objective" which was actually "objective correlative" (this was what I have really meant & the two words comprising the term/phrase possibly got switched over for some unknown reason while reediting it during the last).  I've also committed some other huge errors, recently discovered, in regards to re-editing in one instance where a huge part of the Author's Notes/Comments got deleted, with just the remainder of it showing when discovered as of late (also for an unknown reason, but possibly for hitting some buttons mistakenly within the interface with such a small screen that which I am using).  Second of all, I re-edited the text sizes in this section to make the paragraphs or & the whole content in this Author's Notes/Comments uniformly presented.  Thank you for reading on.

Reupdated on 12.23.2019:  I simply have added unto the hashtags the following words/phrases/terms:  correlative objective, mimesis and diegesis, mimesis, diegesis.



Reedited on 07.19.2019, 07.18.2019, 07.17.2019 (On clarifications, disambiguation, misspelled/mistyped words, grammatical/semantical errors):  Upon reviewing my notes/comments, I could not help but notice something that I had to revise.  I have edited that something in my Author's Notes/Comments, for some time, yet I had not been able to update and indicate those in the former reedition (I may have forgotten it).  Some of my previous grammatical/semantical errors were corrected/edited; but that had also lent itself to being still erroneous after I had found out about the others/another, consequently.  Those were the scruples which I had, i.e., in noticing/not noticing/ignoring an unedited/missed part, i.e., of a sentence (that was erroneous & that which was consequently omitted.)


The idea behind this practice poem is certainly not an allusion to John Donne's famous line or to his poem, although it sounded like it—in fact, it was sort of in my head before this was done (I do not know about his poetics until later on, after doing this).  But the usage might easily denote such notions or concepts which you might have in mind already (a correlative or a relation/association to this).  The phrase first came to mind while I was in my first few steps of composing something (which I wanted to pull off in the creation process alone & not necessarily done while visualizing my supposed ends).  That might/could be dangerous if it was Magic.  I did not know what had prompted me.  It does not necessarily end up as I supposed to have wanted it to come off (in that it was not my endpoint, to think about it).  My orientation is/was not in that specified way, as for most poetic styles &/or semblances with each poems that are rather perceptual (aside from being already conceptual).  Generally.  It is a moot point to take note of the circularity of such philosophical arguments (e.g., especially at this time) which I could have done with the rest of my haiku adaptations during the last.  I kept on feeling awkward at using haikus in the first place, or for taking on the minimalistic Japanese approaches/styles (& the use of blank spaces), just to go about such particular pieces of "literary work".  I especially connote my written English aside from my own thoughts about the subjects (&/or objects) that comprise the 'denotata'/'designata' at the moment.  Besides, if you might want to really know about my objectives, you may outright realize that these would be my test pieces or guides for mapping out my whole understanding of Language.  I just hope that this note's real message (real intention) comes across and becomes well received in conjuction with the poem's explanation/history/reason/etc. as in the other author's notes/comments that went before this.

My ode to Meditation



My Ode To Meditation


Meditation, breathing heavy
Only sometimes, to re-inforce
The state of no mind


Meditation, Posture too
An old body, won’t help you
In the state of no mind


Meditation, No mind

And it does matter
Cos mind, is only designed
To tell you what you did


Meditation, higher mind
Is designed
With the future in mind
All of the time


Meditation, empty mind
To give it elevation
Paths of least resistance
A sat nav sublime


Meditation, the future
In and out of mind
At the same time
Confusing sometimes


Meditation, a must
To achieve higher mind
But when you think
Your higher mind sinks
Then back in this worlds grip

Author's Notes/Comments: 

My Ode To Meditation
By: Me
Written on September 15th, 2011

View dazthedruid's Full Portfolio


Standing on this brink,
I peek over the edge;
One step further
Could set me free
Looking over my shoulder,
I see no one.
Glancing over the horizon,
I see someone staring back.
I recognize the facial features;
The way his smile crooks to one side.
He stares blankly into my eyes;
Burning a hole into my mind.
Trying to escape his gaze—
I stand frozen in time,
lacking the strength to move.
Love struck again—sucked back in
Trapped is my heart,
In which he holds captive—
Finally, I break free,
From his telekinetic grasp;
And fall back—
My breath escapes.
Looking beyond,
To where he once was,
I realize he never—was.
All in my imagination,
Was the perfect man.
Standing up, I lean over,
And slip over the edge.
Landing silently, no sound—
Numb; floating out of my body.
My soul leaves and flies free—
No more, does he have a hold on me.

Author's Notes/Comments: 

Written in 2002

View foreverlonely's Full Portfolio