21st Century Love . . . Andy & Aria's Act II Scene II
https://allpoetry.com/story/13448814-21st-Century-Love-.-.-.-Andy---Arias-Act-II-Scene-I-by-Lucretia-Mccloud
Act II Scene II 'She' approaches Aria back at the bench
at her last period's end with a 'post-it' containing Andy's number written in pen.
Narrator: 'She' did indeed "round the block."
Inside her brain a 'tick tock' not in vain.
'She' not recalling
unlike to be "children, tossed about as by waves
and carried here and there by every wind of teaching
by means of the trickery of men,
by means of cunning in deceptive schemes."
'She' decided Andy hers by any worldly wicked means.
Shyly she broaches Aria with a notion.
She: Hi. Isn't your name Aria?
Aria: Who wants to know? And why? (Cutting curt with a simple smile.)
Narrator: At a young age, Aria learned suspicious to proceed when others, not 'true' friends but strangers wanted to pry.
She: Oh!... It's just that... you know, Andy--the guy with an amazing artistic eye?... Well, he'd be flattered to paint you. He asked me to inquire. Your beauty inspires him to give it a try.
Aria: Didn't I see you both earlier today?... Why didn't he approach, given what you just had to say?
Narrator: 'She' hadn't figured on Aria's lack of vanity just allowing 'She' to maneuver through pride and narcissistic greed.
The need to be stroked on which 'She' herself did feed.
Lowering her head, eyes raised as in secret to utter, 'She' began another lie to mutter.
She: You see, Andy's religion keeps him confined. Manipulates his life, his spirit, his mind. Yet, when he sees you, he wants to revolt.
To throw in the towel. His conscious revoke.
Narrator: With this line of thinking Aria did not agree.
Yet, peaked indeed was her curiosity.
Aria: By-the-way, what is your name? Forgive me my crudeness.
Sometimes my lack of manners brings me shame.
She: Oh, just call me 'Vie'. Maybe we can be the best of friends.
I wouldn't ask. Sometimes I'm extremely shy.
Narrator: Suddenly a high wind almost unhinges Andy's cell number from Aria's hand. With swift action it contained, both girls exit the stage the beginning of a relationship detrimental to remain.
Vie with plan initiated and Aria suitably engaged.
Unbeknown to Andy, who'd be irritated with Vie's conspiracy
to inner rage... TO BE CONT'D.
Act II Scene II 'She' approaches Aria back at the bench
at her last period's end with a 'post-it' containing Andy's number written in pen.
Narrator: 'She' did indeed "round the block."
Inside her brain a 'tick tock' not in vain.
'She' not recalling
unlike to be "children, tossed about as by waves
and carried here and there by every wind of teaching
by means of the trickery of men,
by means of cunning in deceptive schemes."
'She' decided Andy hers by any worldly wicked means.
Shyly she broaches Aria with a notion.
She: Hi. Isn't your name Aria?
Aria: Who wants to know? And why? (Cutting curt with a simple smile.)
Narrator: At a young age, Aria learned suspicious to proceed when others, not 'true' friends but strangers wanted to pry.
She: Oh!... It's just that... you know, Andy--the guy with an amazing artistic eye?... Well, he'd be flattered to paint you. He asked me to inquire. Your beauty inspires him to give it a try.
Aria: Didn't I see you both earlier today?... Why didn't he approach, given what you just had to say?
Narrator: 'She' hadn't figured on Aria's lack of vanity just allowing 'She' to maneuver through pride and narcissistic greed.
The need to be stroked on which 'She' herself did feed.
Lowering her head, eyes raised as in secret to utter, 'She' began another lie to mutter.
She: You see, Andy's religion keeps him confined. Manipulates his life, his spirit, his mind. Yet, when he sees you, he wants to revolt.
To throw in the towel. His conscious revoke.
Narrator: With this line of thinking Aria did not agree.
Yet, peaked indeed was her curiosity.
Aria: By-the-way, what is your name? Forgive me my crudeness.
Sometimes my lack of manners brings me shame.
She: Oh, just call me 'Vie'. Maybe we can be the best of friends.
I wouldn't ask. Sometimes I'm extremely shy.
Narrator: Suddenly a high wind almost unhinges Andy's cell number from Aria's hand. With swift action it contained, both girls exit the stage the beginning of a relationship detrimental to remain.
Vie with plan initiated and Aria suitably engaged.
Unbeknown to Andy, who'd be irritated with Vie's conspiracy
to inner rage... TO BE CONT'D.
Figurative Use. Winds can spring up quickly and just as quickly die down, thus appropriately representing the transitoriness of man’s life. (Job 7:7) Having no solid substance, wind can denote vain knowledge and labor, empty words and hopes (Job 15:1, 2; 16:3; Ec 5:16; Ho 12:1), as well as nothingness. (Isa 26:18; 41:29; Jer 5:13) As vain works end up in futility, pursuing them is like “striving after wind.” (Ec 1:14; 2:11) And the man who brings ostracism upon his house takes “possession of wind.” He gains nothing that is worth while or has real substance.—Pr 11:29.
Winds scatter and toss objects about, and so being ‘scattered to every wind’ or ‘divided toward the four winds’ signifies complete dispersion or division. (Jer 49:36; Eze 5:10; 12:14; 17:21; Da 11:4) Like a vessel that is tossed about by the winds, with no set course, persons lacking Christian maturity are subject to being “carried hither and thither by every wind of teaching by means of the trickery of men, by means of cunning in contriving error.”—Eph 4:13, 14.
Winds scatter and toss objects about, and so being ‘scattered to every wind’ or ‘divided toward the four winds’ signifies complete dispersion or division. (Jer 49:36; Eze 5:10; 12:14; 17:21; Da 11:4) Like a vessel that is tossed about by the winds, with no set course, persons lacking Christian maturity are subject to being “carried hither and thither by every wind of teaching by means of the trickery of men, by means of cunning in contriving error.”—Eph 4:13, 14.
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