EDITORIAL
WHERE WERE WE HEADING AGAIN?
AncientWorlds, Maximius Flavius

Again, it's mid-month, and time for four-five people to get very stressed over an online publication! We have a lot of material for this issue - and at least the record for poetry submissions was broken, as the end of this page will show!

Although not enough happens to fill an Archaeology News section every time, as always, our City & Group News section, edited by Hapshetsut Nebet, is filled with material from all over the site, describing the latest development in cities and groups, as is the History & Archaeology section, edited by Vortigern Aedui, which includes interesting material from first to last article.

"Where are we heading?" is a question on the lips of many members of this site today. In answering this question, we hope that this monthly splash of information will help. As hard it can be, we try to bring you the latest development and latest opinions from the site in general. One good opening is the next text on this page, a letter to the editor written by an active patron of AncientWorlds. On the part of the ACTA DIVRNA editorial staff, I wish merry whatever winter celebration you will have, dear friends!

SOME SUGGESTIONS FOR POTENTIAL IMPROVEMENT OF ANCIENT WORLDS
Rome, Quintillius Fabius

To the Editor:

I write you today with the best interests of the Ancient Worlds community in mind. Enclosed are a number of suggestions intended to improve the "Ancient Worlds experience," including the following: the inclusion of an ignore function in the gram feature; a return to private message boards; a re-enabling of the chat feature; and the launching of a number of new groups, including ones devoted to South Asian and East Asian cultures. It is my sincere belief that Ancient Worlds can only benefit from adopting these measures.

If one is able to corner either a cyberdeity or a city scribe long enough to get them to delineate which customer complaint they deal with most often, day in, day out, one is most likely to hear that they get a lot of complaints about people being forced to fend off unwanted grams from other AW members. In AW's previous incarnation (Ancient Sites) this complaint was deftly and ingeniously handled by installing an "ignore" function in the site's gram system. I have mentioned it to Ancient Worlds' adminstration a number of times, and received assurances that it is "in the works." I include it in this missive in hopes of speeding the plow, as it were, as I believe that an ignore function would free up our over-worked AW staff to address those things (assisting newbies, planning festivals, etc) they seem to enjoy more than dealing with this always nettlesome problem. Since people will eternally disagree over one thing or another, the institution (or re-institution) of an ignore feature would allow for a speedier arrival at a place where aggreived parties have no choice other than to politely agree to disagree, otherwise, being left alone and unhassled is a mere click away.

Another feature of Ancient Sites which did not make the transition to Ancient Worlds is the private message board. There are any number of reasons why this sort of board is vastly preferable to the open one we have now. Not least of these is the fact although no one likes a "snoop", almost everyone has the impulse to do precisely that, and a private message board releives one of said temptation. What's more, this site does suffer from a number of members who seem to take great delight in either parodying what they read on other peoples' message boards or in outright mocking it. Again, a private message board function solves this problem. Also, there are members of this site who indulge in occasionally spamming the domuses of any persons they see online with a bilboard-type message that they place at dozens of domuses/oikoi, etc. A private message board discourages spamming because it removes thousands of unintentionally ready-made "billboards" from circulation. Lastly, a private message board may be used as yet another incentive for citizens to upgrade their membership to that of a paying member, hence more potential revenue is to be had for Ancient Worlds because of this innovation. After all, who wants their mail to be opened at read, regardless of whether there may be something objectionable" contained within it?

Speaking of potential incentive for citizen upgrades to paying member status, I believe that including a chat feature at the home site of each paying member (again, something that was a feature at Ancient Sites which has not survived the transition to Ancient Worlds) would be a strong incentive for non-paying members to upgrade their memberships. What's more, intimate, multi-member java chats at Ancient Sites managed to spawn any number of lively discussions on both the group and public boards, something we could stand to have more of here at Ancient Worlds.

Lastly, I believe that it would be a good idea for Ancient Worlds to launch at least two new city boards: one called (potentially) Mohenjo Daro, which would focus on ancient India, another for ancient China (which could be called Cathay), and possibly even one for ancient Japan. It seems that if we are going to have ancient cities representing Native American civilizations and the pre-literate civilizations of both the ancient Celts and Germans, we ought to also have cities representing two of the planet's most successful, exhastively documented, cuturally rich, and oldest civilizations. This can only assist us in our avowed goal of attracting new membership, and thereby ensuring the continued existence of this important cyber community.

After all, that's what Ancient Worlds is: a "virtual" community, and communities either grow and evolve and change for the better, or they stagnate and die. I am certain no one reading my thoughts here wishes to see the latter come to pass, so why not show some leadership, pick up the gauntlet I here lay at the collective feet of our great society and move forward with the planning and implentation of these ways of making this site more enjoyable, user-friendly, profitable, and, in the long run, infinitely more viable? Let's re-institute those things that worked about AS (ignore feature, private chat rooms, private member message boards), in addition to innovating and bringing in some new blood in the form of cyber communities for at least two Asian cultures, lest AW itself suffer the same fate as its predecessor. The alternative is stagnation and entropy.

HANGING FROM THE CHANDELIER
Germania, Andabairtha Gunthigg

I'm absolutely fascinated by the flexibility of the "log in" system at AW. When I first joined, I would obediently type in my password in order to be allowed past the Cerberus at the portals, but recently, purely by accident, I have found that I can type in a variety of options, and STILL have the same result. MOST exciting. Of course it doesn't ALWAYS happen, but it's happened enough to arouse my intense speculation.

It originally started when I accidentally typed in the password for another site - similar password but with the last two letters changed. I got in! Then I found that a few additional typos still caused the Cerberus to wave me benignly in. It doesn't matter if I type upside down or swinging from the chandelier - it's quite delightful how often I can access on an erroneous password. Today was the climax - I typed in (without thinking - too early in the morning for rational thought), my name at another board, followed by the password here - altogether 18 letters and numbers instead of the usual 10 - and yep -Cerberus wagged his tail, rolled over and played dead.

I really do wonder if it's just that I have a way with three headed dogs, or whether there is in fact, a slight problem with the site security at AW. Get that dog down to the vet, say I!

THEM DANAIDES ARE A BIT DAFT - THE LLOYD WEBBER EXHIBITION
Germania, Andabairhta Gunthigg

“They’ve look like they’ve had collagen injections that have gone HORRIBLY wrong!” It was true. All the women in the paintings, tapestries and drawings by the Pre-Raphaelite brotherhood – particularly Rossetti, Millais and Burne Jones sported the same highly bee-stung and rather sulky lips. We had just inspected the first gallery of the Royal Academy, in London, which was featuring an extensive selection of Pre-Raphaelite and other Victorian Painters; part of the impressive collection belonging to the composer Andrew Lloyd Webber.

I was beginning to feel rather disappointed. Was it just me, I wondered? The pictures of these sultry, rather expressionless women failed to move me. There was a flatness and lack of life to them that I found rather odd, as I’ve always had rather a soft spot for the vivacity of Victorian painters. Even though I could admire the skill of the brush/pen/chalk work involved I found I didn’t linger. I was rather more impressed by the really wonderful and massive Burne Jones Arthurian tapestries (even though virtually all the figures possessed “the mouth”, but it wasn’t until I reached the third gallery that I felt a bit less…..er….down in the mouth!

Ancient Worlds is of course, a site most concerned with ancient matters – therefore I shall not talk at great length about the more “contemporary paintings” and conversation pieces set in or near the Victorian times in which they were painted. But briefly let me recommend some of the glorious and often utterly charming works by Grimshaw, Munnings, Holman Hunt (landscapes), Leighton, Fildes, Tissot, Battaglia, Henshall. I paint, in real life – but oh, I feel humble when I stand and stare at these marvellous creations. It’s hard to believe nowadays, that Victorian art once lay stranded and ignored on the skeleton coast of fashion, bones bleaching, derided and that you could pick up a painting for a few pounds. Some of those same paintings are now worth millions. Certain Victorian art was considered sentimental, unfashionable, even “too perfect” because of the attention to detail favoured by the artists . One of the great Tadema paintings (not in the exhibition) was, I believe, rescued from a skip. It seems incredible that even if the person who threw it there, hated the painting, they were oblivious to the glory of the work involved.

The high Victorian painters were also much concerned with classic or romantic (Arthurian) subjects and therefore, in accordance with the AW ethos, it’s I shall refer only to these – though I’m LONGING to enthuse about so many others!

Lloyd Webber is fortunate to possess several luminous works by Alma Tadema. Poynter, Leighton and Tadema all shared an interest in the painting of classical subjects, most often highly attractive young women, disporting themselves in a variety of surroundings and in various stages of undress. Most of the paintings are sensuous, even provocative, and make full use of the painters’ talent for skin tones.

Even as a child, I remember being fascinated by Tadema’s remarkable sense of grandeur and proportion. The marble columns of his roman baths dominating a painting, imbuing a sense of size and power, his trick of figures looking down from high places – you are up there with them. The draperies on the young womens figures are meticulously painted, the flowers held in a girl’s hand (The Baths of Caracalla) have just been picked. They’re highly idealised, but so filled with mediterranean sun you want to shield your eyes from the glare reflected off the white marble. Tadema’s paintings are usually monumental – sometimes I find them a little “mannered” or obvious, especially in their sexual content, but there was a charming, modestly small painting called “Goldfish”. The roman girl, a redhead, lies on her front on the marble floor, green sandals complimenting her dress, peering into a pool of goldfish. I couldn’t quite work out what business a large vase of roses had to be on the floor besides here – but hey! Who cares? It looked good!

If I had unlimited funds, there were at least a dozen paintings that I would covet. For sheer richness of detail, I would have to have “The Mirror” by Dicksee . A print cannot convey the magic employed here – to transform mere paint into the iridescent mother of pearl chair on which the girl reclines, or the draperies she wears into gold, glimmering thread. The Roman girl peering into her mirror, is very beautiful – the skin tones are stunning and the painting is a feast for the eye.

John William Waterhouse was also well represented at the exhibition. My husband was much intrigued by the painting The Danaides, who were condemned to fill a leaking bowl with water for all eternity, having most inconveniently all murdered their husbands. He studied the painting – a very impressive piece – the weariness of the somberly clad young women is very apparent as they empty the copper jars of water into the huge brass cauldron, from which the water flows out again through a grimacing mouth. “Why on earth don’t they just stuff something in the hole?” He asked. Actually, he’s right. Those gals obviously didn't use their initiative!

I wonder why the classics seem to exert such fascination upon the Victorian artists? In this particular exhibition there were some Arthurian and (loosely) medieval paintings, such as The Knight of the Sun by Hughes, but certainly, Roman and Greek legends appear to be most popular by far.

The huge Burne Jones “Holy Grail” tapestries were remarkable. As a person who finds it difficult to sew a straight line, I could only stand and goggle at the richness of texture and the skill employed here. The tiniest stitches – millions of them - are used to create these remarkable pieces that are paintings in tapestry. The detail in the garments, the wings of the angels, even the botanical details of the many plants in the design are quite remarkable. The “Arming and Departure of the Knights” has a Tolkien-like feel to it, the figures graceful, slightly aloof and serene – I’ll even forgive them “the mouth”.

Overall, the exhibition was huge – gallery after gallery packed with paintings (including a Richard Dadd that because of frailty is unlikely to be moved out of it’s current Webber home again), sculpture, pieces of furniture, ceramics and literature that will seldom ever be seen by the public. For those of you in the UK – get to it whilst you can. You won’t regret it.

There was a really excellent catalogue you could buy in the RA shop for around £20 (I did) which features all the works, but good though the prints are – they can’t hope to capture the colour, the textures, the “depth” that delights the eye and overwhelms the senses. To walk around an exhibition of this importance and feel bathed in the glow emanating from these works that I can only describe as being painted with light, was a privilege.

POETRY

QUEEN OF MYSTERIES
Drakos Alexandros

Hear the Ash and Elm, in Rowan's song:
Gray Ravens cross the sky from west to east
As Weeping Willow sadly mourns the Sun
And sorrow drains the heart of every beast
Behold, the constellation in full swing
Sets, sensuously in the darkling west
My ardor dies as each star seeks to sing
Endeavouring to sate desire best

And silent bides the constant spring of self
Unbidden, lofty Fae, Goblin and Elf
Are gathering beside me as I rest
Upon the Faerie circle of the blessed
And the Queen of Mysteries, tonight
Comes forth dressed only in the pale green light
Her beauty structured by a coppered heart
Such cheeks ridged gently with the finest art

Sweet royal splendor dances 'twixt the vines
Each sway bewitches as her smile desmisgnes

Behold, she dances raindrops in the dell
Glittering, begemmed and jewelled well
And I am thrummed by passes to a lull
My mind entranced, my wits numbed slow and dull
So when she asks me, "Would I steal one kiss?"
Thoughts rebel, my body whispers: "Yes"
"Shall I love her, each and every way?"
Lips that once were mine speak fervent: "Aye!"

And so I entered Fae, the land of wiles
Life's traceries forgot, as my Queen smiles
Her eyes the sky of azure, cloudless climes
Her touch, music beset with stellar chimes
And hair, her cornsilk weaves within my heart
So lost, the earthly realm I set apart
For I shall live forever with the Fae
As all my mortal limits wash away

HELIOS DIOS - A SONNET FOR APOLLO
Drakos Alexandros

O source of all, your warmth and light prevail
'Gainst bitter chill of ice or storm of hail
Your mighty gentleness enfolds with love
Hail to Apollo, Helios above

Ignite the heavens with rainbow sunshine
Nourish us with warmth and your song sublime
Illuminate our darkness! strike the night
Phoebus Apollo, Helios so bright

Shoot arrowed beams upon our sun-drenched world
Awaken shoots to beauty where'ere furled
King of the new dawn, morning traveller
Hail to Apollo, Helios sol star

Empower all things under sunlit haze
For everything that lives, lives by your gaze

MOON SILVER - A SONNET FOR ARTEMIS
Horumhareb Senwosret

Not everything that lives lives by your grace,
Thine is a different, gentler blessed gleam
Let no one fear to look upon thy face,
Unlike thy twin no harm shines from thy beam.
Inconstant one, unsullied, virgin, chaste
Your bright visage no wanton lust can mar
Why must you wane and wax with such great haste ?
Why will you only dwell amongst the stars ?
Great is the light which brightens up the day
Greater by far what glimmers in the night
Precious beyond all price, you show the way
Lucky the man who keeps thee in his sight.
Bright as thy brother's golden gleams may shine
Silver to me's a metal far more fine.

WORLD BEARER
JesseAlexander Hatshepsut

True titan, heavy of burden and strong of back,
How cruel your punishment from judgement's lack.

How heavy the load placed upon you weighs
To shoulder the Earth her myriad days.

Best you had not led in mad war's caprice
Instead seeking green olive branch of peace.

And then you would not a burden be gifted . . .
Nor given a colossus eternally to be lifted.

Atlas, oh, son born of Gaia and Uranus,
From Zeus's wrath-like punishment save us.

OH ATEN, BEST BELOVED; GOD OF EGYPT HONOR UP YOUR DEAD
JesseAlexander Hatshepsut

Once you stood in Golden Glory
Honored by Biped.
Your city Gold of Ruminations
Your architect pure of illuminations.

Oh Akhetaten,All that I ever had,
all that I ever loved,is of God is of love
is of life.
Before you I stood, Love in my hand;
Truth in my heart,And Costing me
My Neferititi wife.

I stand before you now,Oh Creator Aten...
Protector of Life and Family Royal.
I stand before you judged, and I
your servant am still loyal.

Oh Aten, best beloved; God of Egypt
Honor up your dead.
Once you stood in Golden Glory
Honored by Biped.
Your city Gold of Ruminations
Your architect pure of illuminations.

ONE DAY AS A LIE IN CONTEMPLATION OF MY KA
JesseAlexander Hatshepsut

as a being should
one hand idly drifting within the living waters
there came abeingthatdidproclaim himself my God.
He was animal faced and walked big upon the land.
We, the people, did give him homage that in his passing
we would speed his end and lesson his markings upontheland.
Coffers grew fat as worship of his fellow God beings increased
And the people began to worship less to the true and living kings
and more to the maskanimalfaces
that had proclaimedthemselves our Gods.
In serenity we worshipped in mat knowing
onedaytherewouldberenewal and we wouldworship
nomore these animal masks that called themselves man.

THE LOOKING GLASS
Caileadair Etana

Behold the view through the lucid looking glass,

and step through the magic portals to where the answer lies.

~~ Alkaemy, the Merlin Mystery



I stepped through...

only to find myself lost

amongst the mists of memories

that ached, winter in old bones

darkness that could not be parted

light that ever moved further away

loss that could never be assuaged.



I stumbled upon answers

and no balance could I maintain

for the answers were all spoken

in dour silence, tripping

me unto the barren tear-dampened ground

echoing down the portals

of emotions that bore bittermost fruit.

whirling into the mists

silent scream, I fell

again...



the struggle

once more...

to arise from that well of memories

longing, longing

and my hands pressed against

this other side of the silvered

looking glass
staring, staring

at what could never be

at what sung magic songs

illusive, elusive

dreams that came and went

as silent as the mists

as cold as icy winter snows...



Behold! this self

again...

one hand held up to the glass

and seeing clearly through

the ache growing

the darkness filling

the light arcing above

all expanding inexorably

until in somber

accepting silence

I take one step

beyond the fence

beyond the songs

beyond the looking glass

a wistful glance behind

and dissolve into nothing...



no magic found...

no answer came...



1/8/03

MYSTERIOUS RHYTHM
Carol Duchesneau

In a world so confusing
Nothing stays the same
Sometimes I walk in a thick fog
Wondering if I remember my name

I can’t seem to shake this unrevealing mist
Enshrouding my mind
I keep asking myself
“What is going on?”

Poetry in motion, Music in flow
Dance to your own beat, and don’t let go

Step forward and face your fears
Don’t let life get you down
Dry up sorrow’s tears

Things aren’t so bad you have to give up
Life isn’t always easy
You may suffer some

Poetry in motion, Music in flow
Dance to your own beat, and don’t let go

Keep your head up and hold your chin firm
The bumps in life make you more strong
Sometimes it’s difficult
Knowing right from wrong
Choosing your path is sometimes hard

Poetry in motion, Music in flow
Dance to your own beat, and don’t let go

Be your own person
Follow your own road
If you travel enough
You’ll find your true home

Poetry in motion, Music in flow
Dance to your own beat, and don’t let go

Voice your joy and sing your song
Being happy isn’t wrong
Live life to its fullest, and do all you can
Watch for the answers, Learn to understand

Poetry in motion, Music in flow
Dance to your own beat and don’t let go

Music in poetry and Poetry in Dance
Nothing ends, All is continuous
Poetry in motion, Music in flow
Dance to your own beat, and don’t let go

Don’t be afraid to reach for the stars
Soar like an eagle, Pounce like a hawk
Keep on trying don’t give up
Remember your dreams and you’ll travel far

Poetry in motion, Music in flow
Dance to your own beat, and don’t let go

Here my song and dance I must end
Though the wheel of life rolls on
Through time’s endless turns and bends

Poetry in motion, Music in flow
Dance to your own beat, and don’t let go
Poetry in motion, Music in flow
Life goes on, as well you know

EDITORIAL
Maximius Flavius

SOME SUGGESTIONS FOR POTENTIAL IMPROVEMENT OF ANCIENT WORLDS
Quintillius Fabius

HANGING FROM THE CHANDELIER
Andabairhta Gunthigg

THEM DANAIDES ARE A BIT DAFT - THE LLOYD WEBBER EXHIBITION
Andabairhta Gunthigg

POETRY CORNER