Artifacts From Tirisea

Once, every so often, one of us will get the crazy idea to create some work of art or piece of writing that is supposed to be derived directly from a culture or brain on Tirisea, rather than, say, some writing *about* Tirisea such as summaries, . This page is intended to accumulate those works, listed by culture of origin.

## Amalgama

**Seduction Through Outrage**

> **By Daneel Olivaw**
> (purportedly, anyway)
>
>

**About the poem:**

This
poem was ostensibly written by Daneel, the founder of the Collective
itself. There is a lot of debate over why exactly he wrote it- he was
a cooky man to be sure- but the running story is that this was a
response he wrote to a woman from Mura'kesz demanding to know why he
was such a lewd old man. A lot of people in The Collective find the
poem hilarious. And then thee are some who consider it... less than
diplomatic. :) **cough**
Dal'evrin **cough.**

Part
of the reason for this is that the poem is not just recited. It is
often *performed*
with a few key gestures. These have been marked, though some performers, much like actors and stage directions, will add in their own. Sometimes it is acted out with a
person of the opposite gender doing silent pantomimes along with the
performer.

There is also a good deal of debate about what some parts of the poem
mean. To some this is a subtle, mocking litany about the perils of
fearing ones own body, comparing the voice and the actions of the
body and mind to intimacy beyond mere physical contact. To others
this is a silly little poem about someone trying to convince a rather
conservative outsider to sleep with them.

**In Campaign:** Turned out to be a secret poem that can, thanks to enchantment laid down by Daneel, rotate Daneel's Peak to remove the Ascendant Dal's tower from the anchor that keeps it hidden away in the folds of time.

**Seduction Through Outrage**

My
dear precious muse,

Me
you do abuse,

With
all you refuse.

Candies
and sweet cake,

And
songs by the lake;

Of
these you partake!

But a
simple kiss

You
find remiss.

O how
you chide me,

And
always snidely,

Remarking
idly,

On my
interest.

So at
your request,

Nay-
your firm protest,

As
bound by steel bands.

I'll
keep my hands.

***(Hold hands as if***
**bound together, leaning away from secondary performer if present)**

But
see here, my dear,

I do
often fear,

You're
less than sincere.

I see
fire in you!

A
desire to do

The
same I long to.

What
your words contempt,

Your
eyes attempt.

***('*Secondary**
performer may actually slap here. Either way, performer reels back as
if struck'*)*

A
slap in response.

In
clothes you ensconce.

You
think me some ponce.

Treasures
hid away,

In
those folds they stay,

But
know my dismay.

I
contempt this taboo,

And
so ought you!

**(Vigorous pointing)**

(**Artful,**
**uplifted, almost singing pose)**

A
voice puts out more,

Of
life, lust and love,

Than
figure's allure.

A
song flies above,

Mere
earthly decor.

So
speak to me of,

The
truth and fiction.

Benediction!

**(Benediction said as if**
**in ecstasy. That is the point of the joke, after all.**)

And
in your actions,

Love,
hate, music, art,

Are
warring factions,

Of
your hidden heart.

Not
just abstractions,

But
parcel and part.

Voice
and deed are thus,

So
why the fuss?

It's
as if some hex,

Were
upon all sex,

If
but sight can vex.

Why
the fearsome ban?

I
reject this plan!

We
are much more than,

with
our inner arts,

The
sum of parts!

**(If you go with the**
**lewd version of the poem, grab your genitals here. If you're a woman,**
**your boobs will do as well.)**

If
you must, adorn.

Meet
my skin with scorn.

Stand
hidden, forlorn.

Keep
thy face and go.

Myself
not to know,

Why
you'll never show.

But
you can't protest!

My
hand. Your breast.

**(Lewd grasping motions.**
**Or a gentle hand to the other person's heart, depending on your**

**interpretation.)**