As I played the opening bars of my new composition
An old man stood in the darkness and began to dance
A curious dance in which he would spread out one hand
And then the other
And then there was a curious bowing routine
In which he would tilt forwards and backwards
And raise his hat to the young woman in the row behind him
It was mesmerising as a candle in a darkened room
It was profound as broken silence
It was tragic as a fugitive's fatal error
It was a dance none of whose steps or movements he would be able to recall
Though he stared at his polished shoes
And gazed at his beautiful old man's hands
And when he realised at last
That he had not performed the dance
It had been the other way around
He smiled and bowed until his forehead touched the soil of a distant shore
An old man stood in the darkness and began to dance
A curious dance in which he would spread out one hand
And then the other
And then there was a curious bowing routine
In which he would tilt forwards and backwards
And raise his hat to the young woman in the row behind him
It was mesmerising as a candle in a darkened room
It was profound as broken silence
It was tragic as a fugitive's fatal error
It was a dance none of whose steps or movements he would be able to recall
Though he stared at his polished shoes
And gazed at his beautiful old man's hands
And when he realised at last
That he had not performed the dance
It had been the other way around
He smiled and bowed until his forehead touched the soil of a distant shore
👽: Well Done. How do you decide what imagery to write or is it organic?
ReplyDeleteI like it when the adjective, say 'mesmerising', gives something to the image as much as the image determines the limit of the adjective. The sentences serves as much to say that candles in darkness are mesmerising as to say how mesmerising the dance was. So it is important that we do not necessarily know that the adjective can describe the image until we see it. I hope that makes a bit of sense!
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