Botanisches Theater by Paul KleeUpdated at Oct 29, 2024, 10:04
Short Story Botanisches Theater by Paul KleeAct OneThe professional principle of sticking to the script had not seemed to require debate or discussion. All of the evening’s headlined participants agreed that it made practical sense. However, they did not each claim with the same degree of commitment that the highest priority tied to that principle needed only two words: safety first. Although none of the four tag-teaming competitors believed that this cautionary perspective was unimportant, one had emphasized more than once to his fellow wrestlers that honoring the traditional narratives was just as important. This was the stated position of the Honorable George Gordon Byron, 6th Baron Byron of Rochdale, author of the satiric epic poem Don Juan (and whose ring name was, appropriately, “Juan The Don”). Of the other three, it was known that the grappler most passionate about playing strictly by both spoken and unspoken rules in the new match—with the spoken rules defined largely by whichever particular promoter would be paying the performers—was Carl “The Butcher” Sandburg, the broad-shouldered bard working out of Chicago. Perhaps that was because from the quartet of rhyming wrestlers, he was the one most comfortable with the role to which he had been assigned by whoever had outlined the ritualistic ring rhythms to be followed in the next renewal of a seemingly eternal form of conflict-entertainment. Carl was elated to be slated to perform as a good-sport/good-guy (what wrestling fans call a “face,” short for “baby face”). As a relatively innocent fan favorite, he would almost always keep in character, ready to creep peacefully around the outside perimeter of the ropes in his pale-blue tights and soft new wrestling shoes trimmed with fluffy, gray-white fur at the ankles in near-futile attempts to tag his teammate. During this repetition of frustration, he would be progressively earning the sympathy of the crowd, their collective groaning growing as they watched him routinely get insulted and assaulted outside the ropes by one of the two bad-sport/bad-guy “heels” determined to prevent Carl The Butcher’s outstretched hand from finding and fingering his fellow face, Edward “Scot-Free” FitzGerald. At a predetermined moment he would, of course, appear to abandon his long-held patience, would finally erupt in hard-earned and undeniably righteous rage and pick up a metal chair to mime the motion of smashing it over the head of the notorious heel John “The Dungeon” Donne while Scot-Free FitzGerald would feign the simultaneous smashing of a wooden stool over the head of Donne’s partner heel, Juan The Don.Approximately forty-eight hours before the beginning bell was supposed to ring, a rumor ran rampant around the wrestling world that Juan The Don was a bit worried about “that Ed guy,” a last-minute substitution for a different “Ed”—Edgar Poe having suffered a severe muscle tear in Baltimore while practicing his signature “Ragin’ Raven Elbow Drop.” It was gossiped that the author of all sixteen thousand lines in the seventeen cantos of Don Juan was of the literary opinion that Edward FitzGerald’s reputation among certain arrogantly ungenerous academic critics was destined to be stamped and stained with the esoteric insult label “pseudepigraphic fabrication” and therefore . . . and so . . . well, at least one sophomoric wrestling-oriented sportswriter was wondering in print, “So what?” It was not as though Juan The Don cared all that much about whether or not a high percentage of the quatrains making up the text of the Rubaiyat of Omar Khayyam had really been authored by Persia’s most notable polymath before being translated into rhyme-patterned English six or seven centuries later; no, this troubled soul’s perhaps paranoid concern was that this inexperienced opponent—a replacement trained only recently for making what he jokingly and pseudo-poetically proclaimedwould be “my maiden voyage / into that tethered arena / the squared circle / of rope-tempered truth”—might feel free to wander off-script, based on his having wandered that way occasionally as five varied editions of his masterpiece had been revised and released, with some scholars suggesting that several of the revisions resisted being traced to source manuscripts of Omar. the lines of a freely translated poem, might be looking also for ways to improve the lines of a wrestling script and end up disrespecting, intentionally or otherwise, the ancient allegorical hallmarks to be honored in the agreed-upon drama. Sandburg seemed stunned that Byron would take such a possibility so seriously.“Now, Juan The Don,” Carl began in a folksy tone intended to be soothing, hoping to make light of the topic, “unless you think my fellow-face Fitzy will be killing time and his thirst back in the dressing room before the bout begins, I strongly doubt that he will be idly fiddling with the flow of scenic beats in our exhaustively choreographed encounter. I am at a loss to