Concealed and Congealed

All my poetry is baroque, [*] broke

And brittle, leaving little for wit to see

Or heart to sigh, and I in verse invoke

The museum of museology: for see,

The trope extends, like rope or a noose, entraps

The words inside a text, and tenterhooks

Expand seductively, like hookers’ paps

Where every poet sucks the liquid books

Of Copia,[†] Gongora’s gong,[‡] dispels

Orthography, punctuation, rhyme

And reason.  In every season, I hear bells

And letters,  proparoxytones in time:[§]

Cacophony, running out of measure;[**]

Logorhea, leaking down the stanza;[††]

Parapraxis, pumping down the pleasure.[‡‡]

In other words, I lose control of sense

And rediscover something deceitfully as dense.

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[*] Derived from the Portuguese barroco, or “oddly shaped pearl.”

[†]  Expansive richness and amplification as a stylistic goal. In Renaissance rhetoric, the figures of speech were copious, full, overflowing.

[‡] Luis de Góngora y Argote (11 July 1561 – 24 May 1627) was a Spanish Baroque lyric poet. Góngora and his lifelong rival, Francisco de Quevedo, are widely considered the most prominent Spanish poets of all time. His style is characterized by what was called culteranismo, also known as Gongorism (Gongorismo).

[§] Adjective 1. having an accent or heavy stress on the antepenultimate syllable.

[**]  Harsh or discordant sound : dissonance 2; specifically: harshness in the sound of words or phrases.

[††] Excessive and often incoherent talkativeness or wordiness — log·or·rhe·ic \-ˈ rē-ik\ adjective.

[‡‡] Parapraxis n. , pl. , -praxes . A minor error, such as a slip of the tongue, thought to reveal a repressed motive.