Delie object de plus hault vertu was first published in 1544 in Lyon by Sulpice Sabon for the bookseller, Antoine Constantin. The subsequent 1564 edition, published in Lyon by Nicolas Du Chemin, follows the first edition closely, but moves the initial huitain (“A SA DELIE”) to the very end of the volume and includes an index of figures and first lines. The woodcut figures present significant changes from one edition to the other. The Délie has a mathematical layout; many suggestions have been made about its significance and about the relationship between text and image inasmuch as this work has a visual and spatial component. The Délie is composed of one decasyllabic huitain (an epigram of eight lines of verse), 449 decasyllabic dizains (epigrams of ten lines of verse), fifty woodcut emblems (each with a motto and a figure, surrounded by an ornamental border) which appear at regular intervals.
Paris : Nicolas du Chemin, 1564.
Scève’s Délie is a syncretic work, which bears the mark of the poet’s erudition and high concept of poetry. The work conveys the thoughts and feelings of a lover suffering from unrequited love and striving for perfection. Throughout the Délie, love is an obsessive and complex experience in which the sacred and the profane are intertwined. The question of Délie’s identity has tantalized critics; some have assimilated her to the Lyonnese poet Pernette Du Guillet, whose posthumous Rymes sometimes echo Scève’s Délie. La Croix du Maine, in contrast, saw the name “Délie” as the anagram of “L’Idée” (Idea), and stressed the Neo-platonic aspects of the lover’s quest. Yet, Délie eludes any attempt to define her; her composite persona combines references to Petrarch’s Rime Sparse and Petrarchan poetry, the Bible and Christian literature, classical texts and iconography, mythology, French and Neo-Latin sources. The concise quality of the dizains, and their convoluted syntax contribute to the complexity of this fascinating work.
The incredible detail in Moche ceramics could lend to the fact that they served as a sort of didactic model. Older generations could pass down general knowledge about reciprocity and incorporation to younger generations through these veristic portrayals. These sex pots could teach about procreation, sexual pleasure, cultural and social norms, a sort of immortality, and transfer of life and souls, transformation, and the relationship between the two cyclical views of nature and life.
The Assumption of the Azoetic Magical Self - Andrew d. Chumbley
By Arte enchant and fascinate the Portals to open, revealing those whom the Stars veil. Sing out their Passion in the War and Feast that is Thy Self! Taste ye of the sweet and secret wines of Heaven - the Ocean of Ichor spilt from the broken idols of Gods and Demi-gods. Carouse ye with my Satyrs and embrace the Succubi raised from Thine own Desires; swoon ye in rapture, in the nimbus of fever billowing over the lily field of the Night. Yet be not overcome! Fall not! Tire not of Pleasure, but seek ye the Ever-virgin Joys that hide beneath Medusine Veils.
Amidst these blossoms cavort and dance! 1 cap! Your skin aflame in peacock-iridescence! Your eyes like black fire at the heart of the storm!
For these are the Splendours of the Infinite, wrought in the Images and Effiges of I
"Speaking for myself, books like Azoetia are mystical love-letters to stangers whom I would not otherwise meet. "ADC