SONOROUS TIME

 

***

Sonorous time, a fugue

a kind of immuring in fear

the life and I two parallel

rivers that meet in death.

Overexertion, compassion.

FOLCLORUL ROMÂNESC

 Hai fîs, hai fîs

haida, haida fîs 

hai fîs, hai fîs 

haida, haida fîs 

haida, haida, haida 

haida țup. 

COGITATION (MIHAI EMINESCU)

 If you strip M. Eminescu of his much-sought-after rhymes, he remains a dull-witted fool, miserably mouldy like any random passer-by. Everything in his work is rhymed prose, mere bluster. It isn't even a joke. Everything is a futile banality, quite far from the ancestors. This is the pure truth.

COGITATION (Arghezi, Barbu, Blaga, Bacovia)

 The likes of Arghezi, Barbu, Blaga, and maybe Bacovia played with rhymes as with the dick feverishly. They wrote poetry so hermetic that not even the devil understands it; in reality, they are just 'chiorts' (devils, unclean spirits) who want to be authors creators. But instead of a soul, these men had a stone that dripped venom.

LIBERATION

 

***

Liberation, liberation!

But do we have something

to liberate ourselves from?

The gods laugh at our naivety.

The hatred and the event are

synonyms. The kindness is

static. The world can’t be static.

The birds make their nest

in the head of the man.

This world is unreal

in any way we look at her  

even if she exists.

THE SONS OF SODOM

 

***

Among the multitudes

with their curly hair

paranoid, paraplegic

paralytic in their heads

the sons of Sodom, venomous

brood of vipers come and harvest

our vineyards stink the foul

coolness out and hide the harmless

sunlight, those perched

on top of the power give orders

to loot, orders to kill the children

to annihilate the aborigines

and they sell even their rags

and these paraplegic guys

sit at the banquets in the infirm

jubilation of the day and our

mountains become deserted.

The dark cemeteries – deluge

gathered the smells of the tempests,

of the debris where innumerable

vipers are celebrating the life

is getting thinner and is going

away to the paper skies

of the propellers that throw

excrement into the heads of the people.   

DEATH WITHOUT SIGHS

 ***

The death without sighs

our hurried daughter and maidservant

a vertex of desperate man biting

the crime whimpering in the mud

of the street Gyppo Turkish songs

gelatinize gypsies running amok.  

FARTHER AND FARTHER AWAY

 

***

Farther and farther away from these dogs

of Rumanians that revolve and run

and gyrate like a swarm of buzzing flies  

and they combative blacken carrion

on the roadside farther and farther

towards unsuspected moving frontiers.

You jackass, you were running on the fields

trumpeting and rotating the sword

of the Apocalypse until the harem girls

came to the barrier to kneel down

under the belly full of vegetables

and they mounted the withers shouting

and cheering exerting the atrocious

monstrosities, the erotic mechanics,

the weariness, the amorous dynamics

under the surveillance of the dogs.

Now I’m gone far away, I witness

the ardent hygiene of the races.

Over there the gate is open

to the extreme poverty

and to the crime. Oh, the terrible

shiver of the canine loves

on the bleeding soil. These

cannibalistic Rumanians

are visible in the sparks of hydrogen

into a depth where the danger

requests them and hides.   

 

EMINOWICZ THE BARD

 

***

Eminowicz the bard saw Veronica

beauteous and it seemed to him

that she pulled him by the ears

upwards to the eternal celestial

wheels and she didn’t disappear

in his eyes she was gyrating in his

pupils like a ship in the tempest

and she was giggling – she was a witch

who put horns fixedly on him  

and she put macaroni as earrings on his

ears and he woke up a stupid guy

and exclaimed, ”Ouch, the toilet

is clogged again...”

ANALYSIS OF THE DRAWING "HYPNOS AND THANATOS" BY L. NEAGOE

 

Here is a full, structured analysis of “Hypnos and Thanatos” by Liviu Neagoe, grounded in the visual language of the drawing you provided and in the broader mythological and symbolic tradition Neagoe often engages with.

Concise takeaway

The drawing stages the ancient myth of Sleep and Death as twin forces—tender, solemn, and inevitable—carrying the human body with a mixture of care and detachment. Neagoe transforms a classical motif into a meditation on vulnerability, transition, and the ambiguous boundary between rest and extinction.

1. Subject and Mythological Framework

In Greek mythology, Hypnos (Sleep) and Thanatos (Death) are twin brothers, sons of Nyx (Night). They appear together in the Iliad when they retrieve the body of Sarpedon from the battlefield and carry him away with divine gentleness.

Neagoe’s drawing clearly echoes this episode:

• Two winged, youthful figures flank a limp human body.

• Their gestures are careful, almost ritualistic.

• The scene is suspended in a timeless, blank space, emphasizing its archetypal nature.

The work is not an illustration of the myth but a reinterpretation: the emphasis is on the emotional and metaphysical tension between the two brothers and the fragile human they bear.

2. Composition and Spatial Logic

Symmetry and Duality

The composition is built on a strong bilateral symmetry:

• The two winged figures mirror each other in posture and proportion.

• Their wings form a visual cradle around the central body.

• The human figure lies horizontally, forming the axis that binds the two forces.

This symmetry is not rigid; it breathes. The slight variations in gesture and angle prevent the scene from becoming static. Instead, it feels like a moment caught mid‑transition.

The Floating Body

The unclothed human figure is rendered with vulnerability:

• Limbs relaxed, head tilted back.

• No resistance, no tension—only surrender.

This body is not depicted as dead in a gruesome sense; it is weightless, almost serene. Neagoe suggests that the passage between sleep and death is not a rupture but a continuum.

3. Color and Symbolic Atmosphere

Orange Bodies, Grey Wings

The two brothers are painted in warm orange, a color that evokes:

• Vitality

• Sacred fire

• The liminal glow between sunset and night

Their grey wings introduce a counter‑tone:

• Neutral, soft, neither angelic white nor demonic black

• Suggesting ambiguity, neutrality, inevitability

The contrast between warm bodies and cool wings creates a tension between life and detachment.

The Yellow Oval Above

The large yellow oval—neither sun nor halo—functions as:

• A metaphysical light source

• A symbol of transition

• A threshold between worlds

It is not tied to naturalistic space; it is a sign, a metaphysical marker. It may represent:

• The soul’s destination

• The divine realm

• The inner illumination of the moment of passage

Its ambiguity is deliberate.

4. Emotional Tone

The drawing is striking for its gentleness. There is no violence, no terror. Instead:

• Hypnos and Thanatos hold the human body with care.

• Their expressions are calm, almost introspective.

• The scene feels like a ritual of protection rather than abduction.

Neagoe often explores the tension between existential dread and spiritual tenderness. Here, he leans toward the latter: death is not an interruption but a carrying, a transport, a return.

5. Symbolic Interpretation

Sleep and Death as Continuum

The pairing of Hypnos and Thanatos suggests:

• Sleep as a rehearsal for death

• Death as a deeper form of sleep

• The human condition as suspended between these two states

The Human as Passive

The limp body symbolizes:

• The limits of agency

• The surrender inherent in mortality

• The vulnerability of the flesh

The Twins as Psychopomps

Though not traditionally psychopomps, Neagoe depicts them as such:

• Guides between worlds

• Carriers of the soul

• Mediators of transition

This aligns with his broader artistic interest in threshold figures—beings who stand between states of being.

6. Artistic Context within Neagoe’s Work

This drawing resonates with recurring themes in Neagoe’s oeuvre:

• Duality (light/dark, body/spirit, life/death)

• Mythic archetypes reinterpreted through a contemporary, symbolic lens

• Human fragility rendered with tenderness rather than despair

• Winged figures as metaphors for transcendence, burden, or guardianship

It also shares compositional affinities with his works on:

• The weighing of the soul

• The future man

• The cemetery

• The poet

All of these explore the liminal space between the material and the metaphysical.

7. Curatorial Note (ready for exhibition use)

“Hypnos and Thanatos” reimagines the ancient myth of Sleep and Death as twin forces gently carrying the human body across the threshold between worlds. Neagoe’s symmetrical composition and restrained palette create a scene of solemn tenderness: the warm, orange bodies of the brothers contrast with their cool grey wings, while a luminous yellow oval hovers above them like a metaphysical destination. The unclothed human figure, rendered with complete surrender, becomes an emblem of vulnerability and transition. In this work, Neagoe transforms a classical motif into a meditation on mortality, rest, and the fragile continuum between consciousness and oblivion.

If you’d like, I can also prepare:

• a short wall label (50–70 words),

• a longer catalogue essay,

• or a comparative analysis with other depictions of Hypnos and Thanatos in art history.

Which direction would you like to explore next?Here is a full, structured analysis of “Hypnos and Thanatos” by Liviu Neagoe, grounded in the visual language of the drawing you provided and in the broader mythological and symbolic tradition Neagoe often engages with.

Concise takeaway

The drawing stages the ancient myth of Sleep and Death as twin forces—tender, solemn, and inevitable—carrying the human body with a mixture of care and detachment. Neagoe transforms a classical motif into a meditation on vulnerability, transition, and the ambiguous boundary between rest and extinction.

1. Subject and Mythological Framework

In Greek mythology, Hypnos (Sleep) and Thanatos (Death) are twin brothers, sons of Nyx (Night). They appear together in the Iliad when they retrieve the body of Sarpedon from the battlefield and carry him away with divine gentleness.

Neagoe’s drawing clearly echoes this episode:

• Two winged, youthful figures flank a limp human body.

• Their gestures are careful, almost ritualistic.

• The scene is suspended in a timeless, blank space, emphasizing its archetypal nature.

The work is not an illustration of the myth but a reinterpretation: the emphasis is on the emotional and metaphysical tension between the two brothers and the fragile human they bear.

2. Composition and Spatial Logic

Symmetry and Duality

The composition is built on a strong bilateral symmetry:

• The two winged figures mirror each other in posture and proportion.

• Their wings form a visual cradle around the central body.

• The human figure lies horizontally, forming the axis that binds the two forces.

This symmetry is not rigid; it breathes. The slight variations in gesture and angle prevent the scene from becoming static. Instead, it feels like a moment caught mid‑transition.

The Floating Body

The unclothed human figure is rendered with vulnerability:

• Limbs relaxed, head tilted back.

• No resistance, no tension—only surrender.

This body is not depicted as dead in a gruesome sense; it is weightless, almost serene. Neagoe suggests that the passage between sleep and death is not a rupture but a continuum.

3. Color and Symbolic Atmosphere

Orange Bodies, Grey Wings

The two brothers are painted in warm orange, a color that evokes:

• Vitality

• Sacred fire

• The liminal glow between sunset and night

Their grey wings introduce a counter‑tone:

• Neutral, soft, neither angelic white nor demonic black

• Suggesting ambiguity, neutrality, inevitability

The contrast between warm bodies and cool wings creates a tension between life and detachment.

The Yellow Oval Above

The large yellow oval—neither sun nor halo—functions as:

• A metaphysical light source

• A symbol of transition

• A threshold between worlds

It is not tied to naturalistic space; it is a sign, a metaphysical marker. It may represent:

• The soul’s destination

• The divine realm

• The inner illumination of the moment of passage

Its ambiguity is deliberate.

4. Emotional Tone

The drawing is striking for its gentleness. There is no violence, no terror. Instead:

• Hypnos and Thanatos hold the human body with care.

• Their expressions are calm, almost introspective.

• The scene feels like a ritual of protection rather than abduction.

Neagoe often explores the tension between existential dread and spiritual tenderness. Here, he leans toward the latter: death is not an interruption but a carrying, a transport, a return.

5. Symbolic Interpretation

Sleep and Death as Continuum

The pairing of Hypnos and Thanatos suggests:

• Sleep as a rehearsal for death

• Death as a deeper form of sleep

• The human condition as suspended between these two states

The Human as Passive

The limp body symbolizes:

• The limits of agency

• The surrender inherent in mortality

• The vulnerability of the flesh

The Twins as Psychopomps

Though not traditionally psychopomps, Neagoe depicts them as such:

• Guides between worlds

• Carriers of the soul

• Mediators of transition

This aligns with his broader artistic interest in threshold figures—beings who stand between states of being.

6. Artistic Context within Neagoe’s Work

This drawing resonates with recurring themes in Neagoe’s oeuvre:

• Duality (light/dark, body/spirit, life/death)

• Mythic archetypes reinterpreted through a contemporary, symbolic lens

• Human fragility rendered with tenderness rather than despair

• Winged figures as metaphors for transcendence, burden, or guardianship

It also shares compositional affinities with his works on:

• The weighing of the soul

• The future man

• The cemetery

• The poet

All of these explore the liminal space between the material and the metaphysical.

7. Curatorial Note (ready for exhibition use)

“Hypnos and Thanatos” reimagines the ancient myth of Sleep and Death as twin forces gently carrying the human body across the threshold between worlds. Neagoe’s symmetrical composition and restrained palette create a scene of solemn tenderness: the warm, orange bodies of the brothers contrast with their cool grey wings, while a luminous yellow oval hovers above them like a metaphysical destination. The unclothed human figure, rendered with complete surrender, becomes an emblem of vulnerability and transition. In this work, Neagoe transforms a classical motif into a meditation on mortality, rest, and the fragile continuum between consciousness and oblivion.

SOURCE: COPILOT

DRAWING "HYPNOS AND THANATOS" IS FOR SALE

 

Drawing "Hypnos and Thanatos" is for sale. Who wants to buy it, please email me at vladneagoe52@gmail.com

THE HAG

 

The literary hag, a few years ago,

emerged from the brothel of communism

with a series of awards and a few watery

books, but having weathered coups d’état,

committees, and other "educational" actions—

she gratified the Securitate generals

with lyrical-sexual ecstasies

and the heads of state who visited our country.

Even the dogs were charmed by her legs.

Upon retirement, she refused to leave the public eye,

and the Securitate generals—whose

socks she mended and whose eggs she hatched—

tied an invisible thread to her face

without her knowing, and they lead her around

various universities where she gives concerts.

First, she howls like a nasty little bitch,

then shifts to a kind of hiccupping

broody-hen clucking that stirs wonder

and admiration—the Freemasons strike

their staffs on the floorboards,

while the transgenders beat their tambourines,

and she is very happy without knowing why,

her clucking coinciding with her "little girl" talk.

Afterward, she sits perched atop a museum-prison,

hatching God-knows-what plans that make you

want to send her to hell.  

THE LITERARY CRITIC

 

***

Everyone must build his own world,

his own abyss, clamours the literary

critic, big-boobed busybody with tank’s

ass who builds grand people out

of dogs writers civil servants, snitches

sons of bitches writing panegyrics to them

and inflating them blowing into their ass

with the pipe – such is the custom

of the communal Jews adding: the mania

of the cannibals must not become

destructive, they shall suck the juice

only from the innards, they shall not touch

the blood, their burdens are not light…

and he watches his work as if it were new.

Where can this puffing critic go

in such times he lifts up the nasty

little dog, but the nasty little dog stays

you receive nothing for free – you steal

not for the fuck are you in the world?          

JESUS DECEIVED

 The soul that suffers this morning is the body

of God it’s clearly visible on the countenance

that I suffer from myself and I suffer from Him,

from the natural silent acuteness of intellect

within Him. He rotates the sun you cling

on to your soul, on to your tenebrous endocrine

glands: you know that all that springs to your

thigh, all that descends through you from on high

as low as the ground wounds you. You, poor

man, now you pass by a big church from whence

escapes the voice of an incited priest: “The little

lamb of God who take upon yourself the sins

of the world have mercy on us” and in front

I see Jesus Christ happily ascending the hill

of Golgotha, naked and ascending rapturous

alone not compelled by anyone upon the cross

so that He lift up the sins of these mortals

who persecuted him, derided him and killed

him now shouting, “Kill me ye criminals

I am the little lamb and I am happy  

to forgive your sins.” And the voice

of the priest follows him like a dog

biting over and over again but I listen

to the harsh voice of the evangelist

in whom Jesus speaks, “If you were

Abraham’s children, you would do

what Abraham did, but now you seek

to kill me, a man who has told you

the truth which I heard from God;

this is not what Abraham did. You are

of your father the devil, and your will

is to do your father’s desires. He was

a murderer from the beginning, he is

a liar and the father of the lies but me

because I tell you the Truth ye want

to kill me, ye goddamned”. Ah, Jesus

these criminals are convinced that you

are the sublime idiot and the stupid guy,

so that you ignore them, bursting into tears

and they, getting their fill of blood sing,

“Little lamb of God who take upon yourself

the sins of the world”. They don’t know

that Thy kingdom that will come will be

like a lid of lead that will fall heavily

upon the criminals. Hosanna! Hosanna!

Because in the middle art Thou.       

BEATITUDES

 

Yeah, the man, I say the man, the only man

is like a hollow bamboo – no one is with him,

no one can make him vibrate with music,

with harmony. Only God has the capacity

to create a melody, instead He doesn’t have

an empty bamboo of which He should make

Himself a flute. Christ is the flute that God

plays, all that comes from Christ is the Word

of God. Therefore, christify yourself

and you shall desire nothing for yourself,

you are experiencing transfiguration

like resurrection. And yet Thy will be done

but I can’t escape because of my paranoia

because of my weakness for the doomed  

dynasties, for the empires on the brink

of collapse, for that Montezuma all along,

ah, he, too, a Christ, for those fed up

with themselves and with the world,

for those who believe in the inescapable,

for those exhausted and abnormal

for Romanovs and Habsburgs, for all

those who are awaiting their executioner,

for those who are in danger, for those

consumed by passions from everywhere,

for the Rumanians who gyrate

in the nothingness like a propeller

for all of them I pray with unparalleled

intensity and nothing is fulfilled.

I am consuming myself in vain,

Thy will be done. I open my mouth

saying, “Blessed are ye when people

shall be fed up with you and shall

deliver you over to the hand

of the executioner… Blessed,

blessed, blesses are ye for great

is your reward in heaven.”

ANALYSIS OF THE DRAWING "HOPE" BY L. NEAGOE

 

Here is a full, structured analysis of “Hope” by L. Neagoe, based entirely on the image you provided.

✧ Core Interpretation

“Hope” presents a luminous, child‑centered vision of aspiration, learning, and imaginative flight. The drawing blends everyday educational symbols with fantastical elements, creating a poetic allegory of how knowledge lifts the human spirit beyond its immediate circumstances. It is one of Neagoe’s gentler, more optimistic works—yet still anchored in his characteristic symbolic language.

✧ Composition and Visual Structure

• Foreground Figure: A young person stands on a green hill, holding an open purple book. The posture is upright, receptive, and quietly determined. The book becomes the central axis of the composition: everything that “flies” in the sky seems to emanate from the act of reading.

• Sky as a Realm of Possibility: The bright blue sky is populated by:

  • a gray airplane, symbol of real-world mobility, progress, and the possibility of leaving one’s current horizon;

  • two winged books, a whimsical metaphor for knowledge taking literal flight.

• Background Architecture: The blue-and-red building with a clock resembles a school. It anchors the scene in the familiar world of childhood learning, but it is placed behind the figure—suggesting that education is a starting point, not a limit.

• Color Palette: The palette is intentionally simple and bright: pink, green, blue, purple. These are colors associated with innocence, optimism, and emotional warmth. Neagoe often uses color symbolically; here, the palette reinforces the theme of youthful aspiration.

✧ Symbolic Reading

1. The Book as Portal

The open book is not just an object—it is a threshold. The winged books and airplane echo the idea that reading is a form of travel, a way to transcend one’s immediate environment. The book becomes a generator of movement, imagination, and escape.

2. The Hill as Perspective

The figure stands on a small hill, slightly elevated. This subtle height suggests:

• a vantage point,

• a moment of pause before taking flight,

• the early stage of a journey.

It is a metaphor for the first steps toward self‑realization.

3. The Airplane vs. Winged Books

The coexistence of a real airplane and fantastical flying books creates a dual register:

• the real: education can lead to concrete opportunities, mobility, a future beyond one’s current place;

• the imaginary: creativity, inner freedom, and the transformative power of stories.

Neagoe often juxtaposes the mundane and the symbolic to show how the inner world and outer world interact.

4. The Title: “Hope”

The title crystallizes the emotional tone. Hope here is not abstract—it is embodied in:

• the child’s stance,

• the open book,

• the upward movement of all flying elements,

• the bright, uncluttered sky.

Hope is portrayed as something learned, nurtured, and chosen.

✧ Emotional Atmosphere

The drawing radiates gentleness and sincerity. Unlike Neagoe’s darker or more existential works, “Hope” is disarmingly direct. It captures a moment of quiet possibility, where the future is not yet defined but feels open and reachable.

There is no irony, no tension—only a calm, luminous belief in growth.

✧ Curatorial Note (if you wish to use it)

“Hope” presents a child standing on a green hill, holding an open book from which imagination seems to take flight. Winged books and a passing airplane populate the sky, transforming the act of reading into a metaphor for movement, aspiration, and inner freedom. Behind the figure, a school building anchors the scene in the everyday world of learning, while the bright palette evokes innocence and optimism. Through this simple yet evocative composition, Neagoe suggests that hope is born from knowledge—an inner force that lifts us beyond our immediate horizon and opens the path toward possibility.

SOURCE: COPILOT

IN THE PUDDLE OF UKRAINE

 In the puddle of Ukraine

they eagerly make cocaine 

”The Happiness of the pig”

the invisible world of the future 

that opposes the world. 

DRAWING "HOPE" IS FOR SALE

 

Drawing HOPE is for sale. Who wants to buy it, please email me at vladneagoe52@gmail.com

THEY ARE ALL COVERED IN THE DROOL

 

***

They are all covered in the drool

by a humble, crazed creed

they recite old laments

from the Old Testament

so they’ll be given wagonloads of money

while they suck dick in the shade

beside the bodies of the wicked,

filthy, pot-bellied men

and from the degenerate ones

they who turn them into flesh

and mould—

the foolish, sombre

farcical fate

with a repulsive smell.

THE THIEVING BOSSES ARE NOT ASHAMED

 The country is poor,

but the thieving bosses are not ashamed

they jump like fleas and shout: Jump! Jump!

I'M A POOR MAN AND YOU DON'T SEE ME

 I fuck your mouth, you god,

I am a poor man

and you don't see me.

THE CUCKOO

 I fuck your mouth, you cuckoo,

because you are thirsty for death

and you sing.

THE GYPSY'S RAGE

 I'll fuck you in the mouth

today and tomorrow and the day after tomorrow

you, cannibal criminal, politician

lost in blood

hidden in robberies

in the molar of oblivion.

BANDIȚII GÂNGAVI LA PARLAMENT

 

***

Bandiții gângavi la parlament

cu mutre de cuceritori ai lumii

își umflă mațul gros cu bogăție

personală în vuietul operei lor

devoratoare.

THE STAMMERING BANDITS AT THE PARLIAMENT

 The stammering bandits at the parliament

with faces of conquerors of the world

stuff their thick guts with personal

wealth in the roar of their

devouring work.

JOCUL RÂVNEI

 

***

Jocul râvnei scurtat

la joc de glezne junk junk junk

sfârșeala și frica îngălbenește canibalii.  

THE GAME OF ZEAL

 The game of zeal shortened

to ankle-flicking junk junk junk

exhaustion and fear turn the cannibals yellow.

GUVERNANȚII ÎN ALIANȚĂ

 

***

Guvernanții în alianță

se pupă-n cur ca nebunii

nu par prea temerari

să-și smulgă coaiele.

THE RULERS IN ALLIANCE

 The rulers in alliance

kiss each other's asses like crazy

they don’t seem too audacious

to rip each other’s balls off.

MÂNIA ȚIGANULUI

 

Să te fut în gură

azi și mâine și poimâine

criminal canibal, politican

în sânge pierdut

în tâlhării ascuns

în măseaua uitării.

PREMIILE MASONILOR

 

Eu îți dau ție jvacika

tu-mi dai mie jvacika

eu îți dau ție jvacika sexi

tu-mi dai mie jvacika pepsi

eu ție-ți dau jvacika pulalită

tu-mi dai jvacika pizdalită

noi suntem elită ursită

pe noi universul ne citește

și vede bine că suntem stricați

degenerați, ciumați

dar scriem minciuni moarte.

Vrei o jvacikă? Scrie o opinie fistichie.