“The way up and the way down are one and the same.” —Heraclitus, Fragment 60 (Diels–Kranz); cf. Fragment 69 (Kirk & Raven)
When the mind enclosed reels, the frame gives way— No border left to mark the night from day. No cry, no anchor, only this descent Where meaning bleeds and thought is all but spent.
It is not drift, but failure to remain— The loosening of self from shape, from name. It does not seek, nor struggle, nor insist— It simply ceases, lost beyond all reach.
No wind attends, no witness marks the trace, No voice declares the vanishing of place. The silence is not peace, but what survives When all the scaffolds break, and none revives.
No hand to hold, no vow left to defend— One thought still clings—then breaks before the bend. Just falling, falling, not to sky or land, But into being none can understand.
I. Stillness Before the Descent What stirs in silence but the thought of falling? The soul leans forward at the edge of time, Where earth gives way to rhythm without measure— No firmament beneath, no axis left to climb. The wind is absent here. The light, unsure. All motion trembles on the breath of stillness. We speak of peace, yet dread the calmest shore— For we have built our gods from fear and witness.
II. The Water Below Not storm, not wave, nor tempest’s hissing swell, But quiet depth—the fathomless unknown, Uncoiling silence from a buried bell Where light has never touched the sea-worn stone. Here dwell no monsters, save the mind’s own eye. The fear is not of drowning, but of seeing— That which reflects not sky, but self, and why The soul recoils from naked being.
III. The Humbling The sea does not instruct with word or wind— It shapes the soul by salt and slow erosion. A kneeling cliff, worn smooth where waves have pinned Each boast to sand, each name to dark devotion. The deeper still you go, the less you hold— No torch remains, no doctrine, no command. The deep forgives, but never does it fold— It presses wonder into trembling hand.
IV. What Remains So is the fear a gift, once held aright— A trembling compass on the soul’s long chart. For he who feared the deep, yet dared its night, Returns not wise—but hollowed, whole of heart. He cannot speak of what he saw below, Only that silence taught him how to kneel. And those who know will know. The rest may go To read their truths upon a turning wheel.
A Reflection Interwoven with Ante Verba, Verba, and Postverbum
Cy Twombly (1928-2011), Untitled 2005, acrylic on canvas, 128 x 194½ in “His madness is a circle of fire, an unbroken circuit of excess, each attempt at containment spilling into the next”—Art historian Malcolm Bull on the Bacchus paintings.
The three poems, CARMINA TRIA: DE VOCE AGGLUTIVA, which follow—Ante Verba, Verba, and Postverbum—did not emerge by design. They followed Liber Agglutivi as if by necessity. Once the treatise had been written, these poems had to be. They are not commentaries on the Liber, nor are they didactic restatements of its metaphysical claims. Rather, they are its echo—its ember. They are the hymns sung at the threshold that Liber Agglutivi only describes.
Even readers unfamiliar with the medieval-inspired treatise can enter these poems directly. They function as meditations on how language lives in us before we speak it, while we speak it, and after our words have fallen silent. Readers of the Liber will recognize these concerns, but the poems make them immediate and felt rather than theoretical.
They move through language as tremor, fire, and resonance. The sequence below mirrors the deeper structure of the Liber: from the agglutum primitivum (pre-verbal memory), to the verbum intransitivum (word as creation), to the postverbum and glosselitha (residual presence).
CARMINA TRIA: DE VOCE AGGLUTIVA
I. Ante Verba
Language as Tremor, Silence as Light
Ante Verba (Versus ad limen vocis) Verbum non dicitur, sed fit. Non transit, sed regnat. Nomen quod loquitur se ipsum non oritur ex ore, sed ex ossibus. Lingua non fert sensum, sed tremorem. Memoria quae nescit quid meminerit audit quod non sonat. Tacere est tangere lumen. Loqui est amittere formam, ut recipiatur flamma.
Before Words (Verses at the threshold of voice) The word is not spoken, but becomes. It does not pass through, but reigns. The name that speaks itself arises not from the mouth, but from the bones. Language carries not meaning, but tremor. Memory that knows not what it remembers hears what does not sound. To be silent is to touch light. To speak is to lose form, so that the flame may be received.
This poem inhabits the space where language has not yet been spoken but is already forming. It suggests that words do not begin with speech—they begin with the body, with memory, with a force older than conscious thought. In the Liber, this is called the agglutum primitivum—the murmur that speaks itself rather than being spoken.
The line “non oritur ex ore, sed ex ossibus” (“arises not from the mouth, but from the bones”) aligns with Martin Heidegger’s vision in Letter on Humanism, where language is not a tool but the “house of Being.” Maurice Blanchot, in The Writing of the Disaster, understands silence not as negation but as a paradoxical mode of presence—a vision we carry forward in our own line from Ante Verba: “Tacere est tangere lumen.”
The poem resists the tendency to think of silence as a void. It suggests instead that silence is already full—that the word is merely what breaks the threshold.
II. Verba
Language Does Not Carry Meaning—It Generates It
Verba Non instrumenta, sed ignes. Non indicia, sed invocationes. Ex spiritu fiunt formae. Ex sono fit lumen. Verbum non portat sensum; generat. Non sequitur lucem; effundit eam. Obliti sumus verba sentire— at illa nos sentiunt.
Words Not instruments, but fires. Not signs, but invocations. From spirit, forms arise. From sound, light is made. The word does not carry meaning; it generates it. It does not follow light; it pours it forth. We have forgotten how to feel words— but they feel us.
Verba shifts from anticipation to ignition. Here, the word becomes flame. It does not describe; it creates. This is the essence of the verbum intransitivum found in the Liber—a word that does not pass meaning from subject to object, but emits meaning by its very being.
This echoes Jacques Derrida’s insight in Of Grammatology: that language does not simply transmit ideas—it generates meaning anew with every utterance. Jean-Paul Sartre in What is Literature? treats language as an existential act, not a report, and this vision is mirrored in the line “Verbum non portat sensum; generat.”
The agglutivum, as the Liber defines it, is precisely this: a word that binds meaning not through grammar, but through presence. The poem closes with a reversal: it is not we who perceive words, but words that perceive us.
III. Postverbum
The Spectral Afterlife of Language
Postverbum Verbum abit, sed tremor manet. Non vox, sed vestigium vocis. Non lumen, sed fulgor in ruina. Post verbum non est silentium, sed memoria quae loqui recusat. Forma cecidit— resonantia viget. Non est oblivio, nec repetitio. Est remanentia sine nomine. Quod dictum est, abit. Quod vivit, remanet.
After-Word The word departs, but the tremor remains. Not voice, but the trace of voice. Not light, but gleam within ruin. After the word there is not silence, but memory that refuses to speak. Form has fallen— resonance thrives. It is not forgetting, nor repetition. It is remainder without name. What has been spoken departs. What lives remains.
What remains when the word falls away? Postverbum addresses the residue of speech, its spectral persistence. The Liber speaks of the glosselitha—words no longer active but still resonant. This poem inhabits that after-space: where meaning is not present, yet not gone.
Derrida’s trace (especially in Writing and Difference) hovers here: a remnant of presence that cannot be fully recovered, nor fully lost. Nietzsche, in The Gay Science, evokes this through the fragment—the broken form more alive than the whole. And Bachelard’s “intimate immensity,” in The Poetics of Space, seems apt: the vast echo of what once was word.
This is not nostalgia. It is presence beyond sound.
Coda: Language as Tremor, Fire, Trace
The poems above are not marginal to Liber Agglutivi—they are its liturgy. They enact what the treatise evokes: a philosophy of speech where the word is not a vessel but a lifeform.
If the Liber speaks of agglutive words—words that bind not by syntax but by resonance—then these poems are agglutive acts. They offer no argument. They offer invocation.
Together, they invite us to listen differently—not just to what we say, but to what speaks through us when we are most quiet, most present, most alive to the mystery of having language at all.
In myth, the Furies pursue the guilty. In this meditative poem, they do not chase or condemn, but pause—witnesses to memory, silence, and the uncertain balance between reckoning and reprieve. Beneath the yew, they wait—not gone, not appeased, but listening.
Vincent van Gogh, Trunk of an Old Yew Tree (1888) Oil on canvas, 91 × 71 cm London, Helly Nahmad Gallery
“Necdum illum aut trunca lustrauerat obuia taxo / Eumenis…” — Statius, Thebaid VIII. 9–10
“Nor yet had the Fury met him, bearing the lustral yew…” — Statius, Thebaid VIII. 9–10 (adapted translation)
As darkness descends and light abates, The Furies wake at the turning of fates. No horn is blown, no omen flies— Only the hush where judgment lies.
They come not crowned, but cloaked in ash, With broken names and eyes that flash. Not wrath alone, but what endures— The weight of memory that never cures.
They walk where silence used to sleep, Where secrets rot and letters bleed. The breath of dusk is cold and tight— A wound reopens in the night.
By yews they pause, where death takes root, In soil grown thick with ash and fruit. The bark is split with silent cries, The rings record what speech denies.
They do not speak, but still the trees Murmur of trespass in the breeze. The wind forgets its mournful tone— As if the world waits to atone.
A shadow stirs, but does not fall; A light withdraws, but leaves a call. No hand is raised, no doom is cast— And yet the pulse runs through the past.
The air is thick with what might be: A breaking, or a turning key. The Furies halt—but do not sleep. And from the yews, the silence… deep.
So still they stand beneath the yew— The Furies veiled in dusk’s soft hue. Its needles dark, its berries red, It shelters both the quick and dead.
They neither strike nor turn away, But hold the hush at break of day. Their eyes are dark, their purpose blurred— As if they wait to hear a word.
History shows that evil rarely marches under banners we immediately recognize. Too often, it comes draped in righteousness, purity, and fear. This piece is a lament for how easily we have been—and still can be—drawn into the machinery of cruelty.
My Friend, You Were There
My friend, When the Holy Catholic Church, seeking to preserve the Faith in all its radiant purity, instituted the Inquisition, you were there— not as a bystander, but as a willing voice.
You denounced the old widow, who lived alone with her cat. You whispered against the Jewish family— familiar, yet forever marked as other— and gave your assent to their undoing.
You crowded into the square to watch the trials. You sang hymns as the flames crowned their bodies with smoke. You wept tears of joy that the world was made purer that day.
My friend, When the ships came heavy with human cargo, and the auction blocks stained the soil, you were there.
You placed your bids. You weighed their flesh. You wrote the laws that chained their children.
You sang hymns on Sunday, and broke their backs on Monday. You called it providence. You called it order.
My friend, When the traders came with flags and rifles, when the rivers flowed with rubber and blood, you were there.
You signed the charters. You counted the profits. You sold the shackles and the scales.
You called it commerce. You called it destiny.
My friend, When the banners of the Reich unfurled, and the drums of destiny beat their hollow call, you were there.
You shouted with the crowds as glass shattered from shopfronts. You signed the letters, you cheered the laws, you raised your hand high in salute.
You bought the house, the shop, the art your neighbors were forced to leave behind.
You praised the strong hand that swept away the weak. You rejoiced as neighbors vanished, grateful that your streets were made clean.
My friend, When Stalin summoned the will of the people to root out the enemy within, you were there.
You reported the whispered doubts of your cousin, your friend, your brother.
You paraded with red flags while the trucks rumbled into the night. You filled the quotas. You seized the land. You counted the spoils as others disappeared.
You sang of the bright tomorrow as you cast your eyes down and stepped over the absent.
My friend, When Mao lifted the Little Red Book, and the children cried out against their fathers, you were there.
You led the chants. You scrawled denunciations across the walls. You struck the old professor who dared to hesitate. You cheered as the temples fell, and the old poems burned, convinced you were building a paradise on the bones of the past.
My friend, When Pol Pot promised that the fields would bloom with new life, you were there.
You marched the teachers into the paddies. You pointed the rifle. You praised the year zero that would erase the memory of all that came before.
You smiled as the world was reborn in silence.
My friend, When the generals rose in the name of order, when the prisons filled and the stadiums overflowed, you were there.
You nodded at the names. You counted the profits. You watched the blindfolded taken at night.
You called it security. You called it salvation.
My friend, You have always been there.
Only too late did you realize. Only too late did you doubt— but not much.
You fell silent, lest you betray your doubt. You looked away, lest you see.
You told yourself it would be different this time. You told yourself you had learned. But the signs are familiar. The words are familiar. The silence is familiar.
Northcoast Antiquarian 