If a kite had to fly
One child cried
If a kite had to fly
If a kite had to fly
One child cried
They say that if you believe in magic, you are a fool. Well, you might as well just accept the judgment and choose to see stupendous illusions some simply refuse to see because they say they’re loyal soldiers of logic, and as always claimed, of truth. Magic is deception but you should doubt that it is. Question is Is being tricked the same as being cheated? Are illusions there to target humans’ most pronounced tendencies of growing idiots out of ourselves when the littlest desirable lie is presented before us? You’d probably say hell no if you heed the call to be a fan of magic. Indeed magic may harm you or your sanity but you’d see how your mind jumps off a cliff only to be saved by a flying carpet. And then it takes you into the third side of the coin.
Never considered. Never existed. Or so we thought.
Magic is all around you. It’s not a new dimension. It has been there. It has existed and is older than its invention. You must’ve not been looking or must’ve always been ignoring periphery. Worse, you must’ve been blinded by what you can see as ordinary and normal. To top it all, you must’ve been thinking that a magic trick requires a logical explanation exposed at all times.
Well, with tricks concealed, magic entertains and is in a perennial battle against the keen eyes. More importantly, against those that never looked. But it never loses as we always do. It even survives the fight against the ordinary and the normal. Every single day is magic, with or without a show. And the greatest trap that you can fall into is believing that there can only be particular people who do magic. Certainly, there are illusionists but magicians are everywhere–in your room, at the park, on the pages of your book, along the strings of your guitar, outside your window, at your fingertips. On the face of that person you love the most.
If you want to be fan of magic, join me in counting the infinite corners of a circle. I give you my hand. Take it. Let’s count. Yet I warn you that no amount of intelligence or sanity for that matter can ensure our success in this mission of measuring infinity. And no. Magic can’t ensure it either. Magic happens as you hold my hand and not in knowing everything about shapes, about life’s tricks. Whether or not we succeed, we realize that magic has happened at that point when two people held hands and believed they could do an impossible. Magic divulges itself to those who believe they can see it. It is not an illusion. It is a spark and you decide if it’s fake or not. Your decision now becomes the trick and the key to that trick is itself.
Magic has gone mad. So its followers are fools. But their foolishness is on the level of twisted belief in the nuance among disbelief and faith and sensibility. I say that what distinguishes the greater magicians from the mediocre ones is their ability to find out what a thing is without breaking it. This is to do foolish with enthusiasm and stay foolish gorgeously.
The world is a magic box full of mysteries and secrets and lies. Continue to be a fool. Because in magic only when you believe that something’s happening would you see that another is not. Some things are better left unexplained. For it is in wonder that we appreciate love and our human capability to be in awe.
But stare longer.
For I love your eyes
And what they say
That is not exactly what your words do.
I like your metaphors
Your asking me
Your chasing me
Your kidding me.
We both pretend
We have not given and gotten the yes.
Of course not exactly true.
We just want to stay longer
So we can.
A Poem Analysis Using the Formalist Approach
A close study of the images and metaphors besieging every line of the poem “Please” reveals the common theme of erotic adoration – an adoration which springs from sexual thirst and yearnings. The poem is a plead for a desired one’s return; the word ‘desired’ instead of ‘loved’ thus used in this paper to lay emphasis on eroticism over romance.
The immediate title sets up the situation of a pleading. While the word “please” may mean a simple request, which is at a lesser degree of craving, at first glance, one sees its strong indication of the theme through the suggestive power of the lines that follow it. The title vis-à-vis the opening line, “Come back to me, Gongyla, here tonight,” introduces the basic situation wherein the persona pleads a certain Gongyla, someone that can be inferred to have departed long before, to come back and be with him/her that night. The word “tonight”, and not any other time of day, implies that this plead of return has something to do with the persona’s sexual gratification inasmuch as night suggests darkness and is the stereotypical time when people make love.
Following this analysis, one observes that the first stanza portrays erotic imagery. The word “rose” appeals to one’s sense of smell and the word “lyre” does to one’s sense of hearing which when examined against the established context are artistic metaphors for Gongyla’s scent and moans during the sexual intercourse the persona hence wishes to have. Furthermore, the word “delight” which the persona gets from “a beauty desired” tells much about the arousal of sexual feelings when s/he beholds Gongyla’s gorgeousness that s/he craves for. It can be inferred that there is no involvement of passionate feelings on the part of the persona since there is no explicit or implicit mention of any metaphor for ardor, let alone for Gongyla. It is but the desired physical beauty that is highlighted.
This point of desiring physical beauty alone is further justified in the second stanza introduced by the line “Even your garment plunders my eyes.” The “garment”, being a very material thing, is said to be ‘stealing’ his/her “eyes”. Physical attraction, to Gongyla’s clothes involving perhaps how they fit her body, is clearly exposed. The persona then says “I am enchanted” which signifies that this desired physical beauty causes him/her just the feelings of pleasure, with enchantment being equatable to mere fascination or amusement. Moreover, the second stanza, leading to the third, presents the persona’s previous complaint to and present beseeching of the “Cyprus-born goddess”, Aphrodite, the goddess of love, beauty, and, more importantly in this analysis, sexual desires. In consideration of the major conflict, this complaint may be about his/her grievance on Gongyla’s prior departure; the beseeching is overtly about her coming back.
The pronoun “this” in the third stanza’s line “Never to let this lose me grace” refers to the aforementioned complaint to Aphrodite. The persona wishes that instead of being ‘annoyed’ with his/her protest, Aphrodite would be convinced to bring Gongyla back to him/her because his/her strong desire for her is shown through the very protest. The “grace” symbolizes the goddess’ kindness or favor to grant the persona’s wish to have again the woman s/he “most wish to see”. Still, this last line proves the theme of erotic adoration. The use of “see” denotes worldliness and physicality. If it were “the one I most wish to spend my life with”, or “the one I most wish to cherish”, or “the one I most wish to love”, there would be an indication of romance. But to say “the one I most wish to see” alone is an evidence of craving for the outside – which gives pleasure, that is to say, that satisfies one’s sexual demands.
While at first reading the poem seems to portray a lover wanting to have her woman back, a careful scrutiny of its theme developed by its symbols and images shows that this literary piece is no more than an erotic plead for it fulfills the technical requisites of eroticism such as the suggestion of an invitation to mere sex and the craving for physical beauty.