a Chopin Fantasia‏, opus 61

by richibi

 
to be specific, opus 61, you’ll more easily notice 
already the more abstract peregrinations of his
disciple, Debussy, and even the first stirrings of
improvisation incidentally, which is to say the
free-wheeling of idiosyncratic jazz, the very 
inversion of Classical order, personal expression
was trumping even ecclesiastical dictates, those 
very earlier immutable fundamentals of the long
unimpeachable Ten Commandments  
 
Oh Moses, Moses you stubborn, splendid, adorable 
fool, as Anne Baxter, Nefertiri, pagan, therefore 
insidious seductress, would admonish in the film
pronouncements, a film which of course fashioned 
the Biblical iconography of my entire generation,
a veritable “Divine Comedy” for our still recent
enough times, nothing has come up to displace it
meanwhile, though a progressively alternative
cultural morality seems steadily to harken
 
was Moses then a fool, a Prometheus in Christian
clothing 
 
time alone tells, and time is an inveterately
temperamental arbiter
 
 
it would appear now that faith equals
unconditional conformity, when I thought
that faith could not, by definition, be
constrained, faith had been meticulously
a considered personal conviction, an
individual emancipation rather than a
conformist, and nefarious ultimately, it
would appear, code 
 
I count on thoughtful efflorescence then,
and a garden of societal consideration, 
a pantheistic and cooperative accord
 
not excluding, let it be noted, the indeed
worthiest, by thoughtful process, of those
very Ten Commandments 
 
without my own children, for instance, I
still recommend honouring one’s parents,
this will bring, I knowlegeably warrant, 
untold benefits, indeed grace, peace and
profound satisfaction, plenary solace to
the very reaches of each our indeterminate
soul
 
take it right here from an appropriately  
distinctive Chopin, unparalleled poet to
the panoply of possible gods   
 
 
Richard