The geometry of El Greco's Agony in the Garden may have influenced a poem describing this entity's "unfractioned idiom" and inviting it to "descend" upon the lowliest and "lend a myth to god."
The geometry of El Greco's Agony in the Garden may have influenced a poem describing this entity's "unfractioned idiom" and inviting it to "descend" upon the lowliest and "lend a myth to god." That poem on this entity describes a sunbeam moving down a street as the "rip-tide of the sky's acetylene" after the speaker opens by observing the "inviolate curve" of a seagull above it. A work titled for this entity sees Christopher Columbus narrate his return from the New World in "Ave Maria" and the textually-disjointed image "so-/Shine-/GREEN-/Eyes" presented during rum-inspired musings on (*) whaling. "Quaker Hill" and "Atlantis" appear in that namesake work, whose introductory "Proem" sees the speaker standing "by the piers" under the shadow of this edifice. The namesake of a long poem with sections like "Cutty Sark" and "Cape Hatteras," for 10 points, identify this structure that titles a work by Hart Crane and spans the East River.
The geometry of El Greco's Agony in the Garden may have influenced a poem describing this entity's "unfractioned idiom" and inviting it to "descend" upon the lowliest and "lend a myth to god."
The Brooklyn Bridge [accept The Bridge, "Proem: To Brooklyn Bridge," etc.]