• List of Published Books


    The following books of poetry have been published by Aeon Press,

    a small private publisher in Halifax, Nova Scotia, Canada.

    This website has been linked to the Electronic Collections of the National Library and Archives of Canada: the whole content of each published book by Art Aeon is freely accessible from the list of the books in this site, and / or via the AMICUS Basic Search Program, Library and Archives Canada.








    Enigmas of the Trojan War by Art Aeon (2016)

    http://epe.lac- bac.gc.ca/100/200/300/aeon_press/enigmas/index.html


    Beyond the Trojan War by Art Aeon (2017)


    http://epe.lac-bac.gc.ca/100/200/300/aeon_press/beyond_ trojan/index.html





    Other Links


    The lists and locations of the libraries which keep the printed books by Art Aeon can be viewed at the website of the World Catalogue of Libraries:


    For a preview of the books by Art Aeon, please check

    Google Books Preview Program:




























      • About Art Aeon
             Art Aeon is a pen name used by Myong G. Yoon (also called Myong Yoon, Myonggeun Yoon, or Myong Geun Yoon) for the publication of his books of poetry since 2003.   He was trained in science (B.Sc. in physics at Seoul National University; Ph.D. in biophysics at the University of California, Berkeley).   He worked on the brain research at the California Institute of Technology in Pasadena. He moved to Canada as a faculty at Dalhousie University, in Halifax, Nova Scotia.
               Since his retirement from Dalhousie University, Myong Yoon has devoted himself writing his books of poetry. They have been published by AEON PRESS under the pen name: Art Aeon.
                 For more about Myong Yoon,  please check




      • Enigmas of the Trojan War (2016)
        by Art Aeon

        Enigmas of the Trojan War by Art Aeon is a long narrative poem in tercet stanzas. It imagines a timeless dream of Outis (the bard of Ithaca, known as Homer of the Odyssey) in which he converses with the spirit of his ancestor, Odysseus about the causes and outcomes of the Trojan War.


        It consists of two middle books of an epic poem, Inner Journey into Ancient Epics:


        Book 3: Reflections on the Trojan War

        Book 4: Revelations of Helen

        Title Text

        Homer and Odysseus  (2015)
        by Art Aeon




        Homer and Odysseus is a narrative poem in tercet stanzas. It imagines a timeless dream of Outis (the bard of Ithaca, known as Homer of the Odyssey) in which he converses with the spirit of his forefather, Odysseus. It consists of the beginning two books of an epic poem: Inner Journey into Ancient Epics.





        Book 1: Into a Dream of Homer unfolds imaginary dialogues between Outis and Odysseus in a revealing dream of the bard, Homer-Outis: The bard prays to muses for inspiration to write new epics, and falls asleep among scrolls of his unfinished works. In his dream, he sails to a mystic isle, and meets an ancient sage; he asks the stranger who he is. The visitor says that he is a bard from Ithaca, called Outis, known as Homer of the Odyssey. The sage entreats him to sing an episode from the Odyssey. When the bard sings the gist of Book 21 in which Odysseus succeeded in stringing his bow, the deeply moved sage reveals himself that he is Odysseus, the very Son of Pain. The elated bard prays in awe to the godlike hero to relate what happened after he had returned home. But Odysseus wants to hear the gist of the entire Odyssey to insure its validity before he tells what followed. Thus Outis narrates the main events of the hard adventurous homecoming of his hero. Odysseus confirms what Outis has sung in his Odyssey, except the episode of the hero’s alleged visit of the Hades in Book 11: He denies that he made such an impossible visit in reality. But he admires the bard’s insightful imaginations which enthrall him spellbound as if he had really underwent such vivid heart-breaking experiences; even if it is not real, the imaginative portrayal of deep human feelings that transcend the fathomless gulf between the quick and the dead is sublime.  Odysseus asks what the bard plans next to sing of. Outis confesses that he wishes to sing of a complete epic cycle of the Trojan War;  Although he admires the Iliad of the supreme bard, Meles, known as Homer of the Iliad, the deeper he peruses it, the epic seems to become more enigmatic to him. With great curiosity,Odysseus asks Outis to tell him the main points of the Iliad of Homer-Meles so that he may check out whether they agree with whatever he could remember from his own experiences of the terrible Trojan War. As he narrates a pithy gist of the Iliad, Outis points out his deep perplexity and frustrations about the epic. Odysseus asks Outis what matters trouble him so dismayed in darkly perplexity. Outis complains that Meles left the most crucial events in the Trojan War unsung in his Iliad: the eventual fall of Troy as well as the first nine years of its invasion by the massive Achaean armadas. Furthermore how and why the Trojan War had been provoked, and executed, and the mystery of Helen’s elopement were left unsung by Homer-Meles in apprehensive silence and deeply overwhelming enigma. Earnestly Outis entreats Odysseus, the brave and resourceful hero of the Trojan War, to relate him the whole story of the real Trojan War as he has experienced in person so that Outis may sing of what have really happened for the mankind to come. Prudent Odysseus eventually accepts the challenging task: he will try to relate whatever he could remember from his own experiences of the awful Trojan War with renewed pangs of pains and throes of agonies to bring forth the truth for the humanity. Beneath a sacred tree towering high up the boundless clear sky, Odysseus and Outis nestle down at ease. Resourceful warrior Odysseus turns into a bard to sing his own experiences.  The poet Outis becomes his captivated ardent audience, elated to hear what Odysseus will unfold. Thus deepens this creative revealing dream of the earnest bard Homer-Outis in his pure imaginative realm.




        Book 2: Exile of Odysseus with Penelope unfolds Odysseus’ narration of what happened after his return to 

        Ithaca: Telemachus summoned the Ithacan Assembly, and announced the return of his father. Odysseus revealed himself as a sole survivor of shipwrecks on the way sailing home after the sack of Troy. The Ithacans welcomed him stunned in deep awe and wonder. When he told that all suitors of his queen Penelope had perished, commotions erupted among the suitors’ families. He appointed Mentor as the commander of loyal soldiers to keep the justice within and safety from possible invasion from abroad. At this point, Odysseus was informed that his father, the old king Laertes, was gravely ill; he rushed to see Laertes at his remote farm.  At his death Laertes bade a moving farewell to his beloved son with prophetic advice. Soon after his father’s funeral, Odysseus fell ill; in spite of the loving cares of his wife, it got worse. He confessed to perceptive Penelope dire troubles in his mind; he felt as if he were a ghost of dead Odysseus, frightening his people with uneasy fears. With the support of his devoted wife,  Odysseus decided to abdicate his kingship, and retire with Penelope to his father’s farm as a humble hermit-farmer,following Laertes’ noble precedent. Telemachus was acclaimed by the Ithacan Assembly as their new king. He married Polycaste of Pylos, the youngest daughter of Nestor.Gradually Odysseus recovered his health as well as his vital verve, enjoying the plain pastoral life with his wife in simple peace. Eventually civility, peace, and amity were restored in Ithaca. When his dear nurse Eurycleia died at old age, Odysseus held a stately funeral. At this point Outis asks him why he paid such an unusual honour to the slave woman. Odysseus explains that Eurycleia opened his eyes to see the true beauty and wisdom of brilliant Penelope, while he went to the Tyndaraus’ palace as one of many outstanding suitors vying each other to win the coveted Helen’s hand in marriage.

         One day, Odysseus was suddenly awaken to realize that a massive armada of warships, launched by the enraged families of the slain suitors, threatened to invade Ithaca. He wanted to fight with military aids from his former comrades-in-arms in the Trojan War. But wise Penelope persuaded Odysseus and the commander of the enemy forces, King Nisus of Dulichion to negotiate for peace:  Let both parties consult with the oracle at Delphi, and abide the divine judgement on the critical dispute. The Delphic verdict was that the suitors’ families must repay tenfold what their sons had plundered; when they fulfil it, then Odysseus must leave Ithaca for a life-long exile. Resolutely Penelope insisted that she must join with Odysseus in his life-long exile: She persuaded Odysseus that they would pursue a new life as humble pilgrims to learn the human nature and righteous ways of life to the very end; she suggested to visit first wise old Nestor in Pylos for his advice; next she insisted that they should visit Helen and Menelaus in Sparta. Penelope held a strong conviction that the alleged abduction of her dear good cousin Helen by Paris or her elopement with him was an absurd hoax, made up by the vile Atrides; she was determined to find out the truth hidden deep in Helen’s heart. Penelope also wished to visit Troy with Odysseus as humble pilgrims for peace; she wanted to pay tribute to the innocent victims of the cruel war, valiant heroes of both Achaean and Trojan. And then she also wished to visit Egypt to learn of their timeless wisdom. At last Odysseus and Penelope sailed from Ithaca to the open sea. Odysseus steered his ship to make a surprise visit of King Nisus to restore mutual amity with the suitors’ family in person. When the first mission for peace was accomplished, they set the sails to Pylos to visit Nestor.






        Title Text

      • Revealing Dream of Vergil  (2014)
        by Art Aeon

            Revealing Dream of Vergil by Art Aeon (2014) is a long narrative poem of 2139 verses in syllabic tercet stanzas. It narrates an imaginary dialogue between Augustus (63 BCE-14CE), the first Roman emperor, and Varius Rufus (74-14 BCE), the literary executor of the great Roman poet Vergil (70-19 BCE): Varius comes to report the untimely death of Vergil to Augustus at his private library. Augustus is relieved to learn from Varius that the unborn brainchild of Vergil did not perish with him as Varius has kept Vergil’s manuscript of the Aeneid: a great heroic epic poem, Homeric in its lofty style but Roman in its patriotic spirit. At the sincere behest of Augustus, Varius relates a pithy gist of the first six books of the Aeneid: the awful shipwreck of the Trojan fleets commanded by Aeneas near Carthage; Aeneas’ meeting with Queen Dido of Carthage, and her generous reception of the Trojans as guests; Aeneas’ moving and heartbreaking narration of the tragic fall of Troy, and his wanderings over harsh wild seas to found his kingdom in Italy: the ardent love between Queen Dido and Aeneas that ended in the tragic suicide of Dido as Aeneas left her, obeying the decree of the gods; Aeneas’ supernatural adventure into Dis, the underworld of the dead, guided by Sybil, to see his dead father, Anchises in Elysium; Anchises’ revelations to Aeneas about the future of the great Roman empire to be founded by Aeneas in Italy.

            Deeply moved, Augustus requests Varius to bring Vergil's manuscript of the Aeneid to him so that he can peruse the Aeneid himself right away as he respects it as the wise and patriotic bequest to him and to all Romans by his beloved poet Vergil; he also asks Varius whether Vergil told him any last wishes that the emperor may fulfil. Varius says that Vergil made no request to commemorate him after his death. All that Vergil asked was that Varius hear his strange prophetic dream, and reveal it to others. In his numinous dream the shade of Aeneas came to Vergil, while he was wandering in Greece. Aeneas asked Vergil why he hesitated to bring his Aeneid into the light. When Vergil confessed that he felt his Aeneid was incomplete as it was, Aeneas offered to guide Vergil to visit Homer in the realm of Dis, and discuss the Aeneid. Thus encouraged, Vergil undertook the hard adventure to Dis with Aeneas. Eventually Vergil met with Meles, the Homer of the Iliad, and Outis, the Homer of the Odyssey. Vergil recited his Aeneid for the revered Greek poets in the presence of Proserpina and Aeneas in the temple of the Queen of the Dead. After profound poetic discussions on the Aeneid, the Odyssey, the Iliad, and the Epic of Gilgamesh, Vergil was convinced that he should bring forth his Aeneid as it was into the light. When Vergil finished revealing his numinous dream to Varius, he gently yielded to the stern call of death in peace.

            The ambiguous title of this poem may be interpreted at three levels: Vergil had a dream which was of revealing quality; or someone (Varius) revealed Vergil’s dream to others (Augustus); or someone (Art Aeon) reveals his own fanciful dream about Vergil.



















      • The Yosemite:  Images and Echoes (2013)   
        by Art Aeon
             The Yosemite: Images and Echoes by Art Aeon (2013) is a collection of sixty short poems and their matching photographs taken by the author, inspired by the sublime light and vibrant music of the divine trees in Sequoia National Park in California.

            The individual titles of the sixty pairs of images and poems are as follows:

        (1) Coming Home
        (2) Prayer by the River of Mercy
        (3) El Capitan at Sunrise
        (4) In El Capitan Meadows
        (5) Merced River flowing by El Capitan
        (6) El Capitan reflected on Merced River
        (7) El Capitan at Sunset
        (8) Yosemite Falls
        (9) Yosemite Falls in Spring Flush
        (10) Yosemite Falls at Sunrise
        (11) Yosemite Falls in Winter
        (12) Yosemite Falls in Mists
        (13) Reflections on Merced River
        (14) Yosemite Valley in Mists
        (15) Yosemite Valley in Early Spring
        (16) Sentinel Rock
        (17) Sentinel Rock Reflected on Merced
        (18) Sentinel Rock at Sunset
        (19) Cascade Creek
        (20) Vernal Fall
        (21) Nevada Fall
        (22) At the Top of Nevada Fall
        (23) Bridalveil Fall at Dusk
        (24) Bridalveil Creek
        (25) A Deer
        (26) A Wild Life
        (27) Glacial Polish in High Sierra
        (28) An Old Pine on Glacial Erratics
        (29) View from Olmstead Point
        (30) Tenaya Lake
        (31) Tenaya Peak and Lake
        (32) Panorama from Tioga Pass
        (33) Mono Lake
        (34) Tufa Sculptures
        (35) In Sequoia Park
        (36) Touch of Eternity
        (37) Heavenly Abode on Earth
        (38) Hallowed Tree Trunk in Tuolumne Grove
        (39) Art of Nature
        (40) Hetch Hetchy
        (41) View from Crane Flat
        (42) Clouds Rest
        (43) Cathedral Rocks
        (44) Cathedral Rocks in Mists
        (45) Cathedral Spires and Merced River
        (46) In Thunderstorms
        (47) Trees and Peaks in Storms
        (48) Autumn in Yosemite Valley
        (49) Half Dome
        (50) Half Dome at Dawn
        (51) Half Dome in Morning Calm
        (52) Half Dome at Noon
        (53) Half Dome at Sunset
        (54) Half Dome and Merced River
        (55) Autumn Dusk
        (56) Visage of Half Dome
        (57) Half Dome at a sudden Storm
        (58) Half Dome in Mists
        (60) Half Dome and the Moon.

































      • Dù Fǔ [杜甫] and a Pilgrim (2012)
        by Art Aeon


        Dù Fǔ [杜甫] and a Pilgrim (2012) by Art Aeon is a long narrative poem of 2111 verses in quaternary stanzas. It is an imaginary dialogue between Du Fu (712-770 ), the great Chinese Poet Saint of the T’ang Dynasty, and a fictional pilgrim character, a young poet, called Bright Moon.

        The pilgrim visits old frail Du Fu, stranded on a boat adrift the Grand River (Yangze). He confesses to Du Fu that he is a love-child of the learned courtesan, called White Lotus, in Chang An. Du Fu remembers seeing White Lotus dancing at a royal party; he wrote a poem about her exquisite artistry, and presented it the prince who invited him. White Lotus kept Du Fu’s poem, and cherished it as the most precious thing in her life. In spite of his harsh miserable life as a helpless orphan, the young man strove to find out his unknown father. Du Fu tells him that he is not his father, but he embraces him as his pupil with fatherly love. Du Fu presumes that the pilgrim might have been fathered by his revered friend, the great Chinese Poet Transcendental, Li Bai (701-762) as he has heard that Li Bai fell passionately in love with White Lotus while he worked at the Imperial Court in Chang An. Bright Moon entreats Du Fu to tell him about his youth and how he learned to write superb poems. Du Fu tells him cherished memories of his happy creative youth and his carefree adventures at famous scenic and historic sites with Li Bai, singing of them with youthful passions. Du Fu recites Li Bai’s poems, and asks the young poet to comment on each; Bright Moon perceives the ingenious spontaneity of Li Bai’s poems with keen insight. Encouraged by Du Fu, the pilgrim recites his own simple poems on nature. They remind Du Fu of the pure sublime poems of Wang Wei (701-761), the great Chinese Poet Buddha. Du Fu brings out an old chest that contains what he has written, and offers to let the pilgrim to read his poems, and to copy whichever he likes. Suddenly Du Fu collapses and falls into a deep sleep.  When he awakes at last, he relates his mysterious dream to the elated pilgrim; Li Bai came to see Du Fu on his boat; they celebrated their blissful reunion by exchanging poetic chants. The bright full moon was rising on the Grand River. All of sudden, Li Bai jumped off the skiff, as if trying to soar up to the moon. In shock, Du Fu swooned. When he regained his senses, Du Fu saw a noble bird flying into the moon. Then he awoke from the strange dream. When Du Fu finishes recalling his dream, a bright shooting star falls down nearby, stunning the pilgrim. In peace Du Fu gently passes away, blessing the pilgrim to be a pure poet true to his heart.


















      • Beyond the Tragedies
        of Oedipus and Antigone (2011)
        by Art Aeon






            Beyond the Tragedies of Oedipus and Antigone (2011) by Art Aeon is a long drama (2331 verses) in tercet stanzas. It consists of twelve scenes:


            Scene 1: The ghost of the self-blinded Oedipus walks alone on his way to Hades just after meeting his death at Colonus. He invokes Hermes to guide him. The compassionate Hermes comes down, and leads the helpless Oedipus.


            Scene 2: The court of final judgment of the dead in Hade. Queen Persephone sits on her throne with six divine judges. Hermes enters leading the blind Oedipus. Persephone asks Oedipus who he was and what he did while he was alive. Oedipus confesses that unwittingly he killed his father, King Laius of Thebes, and was married to the widowed Queen Jocasta, his own mother. The appalled judges ask Oedipus why he committed such abhorred misdeeds unintended. Oedipus says that the Delphic oracle of Apollo presaged that he had been so doomed even before he was born. The court of the dead decides to send a judge to see Apollo to confirm Oedipus’ incredible claim.


           Scene 3: Apollo in Olympus asserts to the judge from Hades that he knows nothing of Oedipus, let alone that he made such an absurd prophecy; he is indignant that vile humans make up such blatant fibs to blame gods as false excuses for their own horrible crimes.


          Scene 4: In Hades, Oedipus is deeply relieved to learn that Apollo had never condemned him with the awful prophecy; now he suspects that it might have been a hoax, plotted by Acastus, a wily ambitious noble of Corinth. Oedipus was brought up as the beloved son of King Polybus and Queen Merope of Corinth. In his happy youth, Oedipus fell in love with Arete, the daughter of Acastus; he slandered that Oedipus was a base foundling who would bring harm and shame, and thus must be banished lest he should become a terrible tyrant of Corinth.


           Scene 5: The ghost Acastus is summoned to the Court to testify. Apollo comes from Olympus to Hades to witness the trial of Oedipus. Acastus confesses that he played a subtle farce to save himself from political troubles with King Polybus; Acastus disguised himself as a priest at Delphi, and proclaimed to Oedipus that he had been doomed to kill his father, and mate with his own mother on his father’s bed. When Oedipus heard such an awful hoax, he was shocked in panic dismay, and fled from Corinth as a self-exile.


            Scene 6: The ghost of Laius is summoned. He encounters the disfigured Oedipus, and recognizes him as the youth who killed him at Phocis on his way to Delphi, but he denies resolutely that Oedipus was his infant son who had survived somehow his attempt at cruel infanticide.


            Scene 7: The ghost of the thrall of Laius and Jocasta is summoned. He admits that King Laius gave him an infant and bade him to discard it in the wilderness of Mount Cithaeron, but his conscience compelled him to disobey such a cruel command. Thus the thrall gave the infant to a shepherd from Corinth. King Polybus took the child from his shepherd and reared him as his son. Laius confesses that he attempted the cruel infanticide, because he was so afraid of the awful curse of Pelops that his son to be born would kill him.


           Scene 8: The ghost of Tiresias is summoned. He brags that he was a wise seer who foresaw things to come, and helped ignorant mortals to avoid misfortunes. Oedipus confutes that Tiresias did not predict crucial events before they occurred; his pretence of foreseeing was based on what he gathered from what had already happened.


        Scene 9: The ghost of Jocasta is summoned. She reveals her stunning secrets; the real father of Oedipus is not Laius but Chrysippus, the son of Pelops. She fell deeply in love with the handsome Chrysippus while he was detained in Thebes after he won the chariot race at the Nemean Games. When King Pelops sent his army, led by Atreus and Thyestes, Chrysippus’ two half-brothers, she attempted to elope with Chrysippus, waiting for him in the woods. When Chrysippus came to the hiding place, Atreus and Thyestes murdered their half-brother Chrysippus, and pretended that he had committed suicide to enrage King Pelops against Laius. Soon Laius proposed marriage to Jocasta.


         Scene 10: Suddenly the ghost of Antigone enters, led by Hermes. She tells the dismayed Oedipus that Creon put her to death as she disobeyed his stern edict not to bury her dead brother Polyneices, as she believes that a proper burial of the dead is an immutable law of Heaven. The entire court pays honour to the brave upright Antigone as the champion and martyr of divine law.


        Scene 11: The ghost of the veiled Arete, led by Jocasta, enters. She reveals that she gave birth to all four children by Oedipus as a surrogate mother. Antigone was overjoyed to learn that she was not a product of abhorred incest. The Court decides unanimously that Oedipus is innocent from any crime. The Court also elects Antigone as a new divine judge of the final judgment of the dead.


        Scene 12: Hermes confesses to Apollo that he wants to become a human to live with Antigone in Hades, quitting his divine post in Olympus as the herald of Zeus. They pursue deep ontological discussions about the divine and the human. Apollo invites all the characters involved in the trial of Oedipus to come up to Olympus, and present their human tragedy to move the gods. Hermes remains in Hades to coach them for the performance of the divine comedy in Olympus.








































      • The Final Day of Socrates (2010)
        by Art Aeon











            The Final Day of Socrates (2010) by Art Aeon is a narrative poem in syllabic tercet stanzas. It tells an imaginary dialogue (in the style of Plato’s Phaedo) between two characters, young Plato (428-348 BCE) and Xanthippe, the widow of Socrates, about what Socrates (469-399 BCE) discussed with his loyal friends (Crito, Cebes, Simmias, Antisthenes, and others) on his last day, and how he met his death in the Athenian prison.


           Before dawn of the fatal day, Crito and Xanthippe went to see Socrates in prison; they tried to persuade Socrates to escape his death, as Crito had done something with the jailer. Cebes and Simmias were waiting to escort Socrates wherever he would choose to settle. But Socrates refused it resolutely; he should die in Athens to uphold her laws in justice. When Cebes and Simmias came in, Socrates began to discuss the nature of death. He speculated that the state of death may be one of two things. Either it is an absolute nothingness; if so death would be a wonderful reward of timeless peace. If, on the other hand, death sets in transmigration of soul, it would be great blessing for us to die wisely; anyone who pursues philosophy must study nothing but how to die and be dead wisely. At this point Antisthenes (c. 445 – c. 365 BCE) came in; he asked how could a mortal human really know unseen immortal gods, and their minds.


        Socrates expounded the profound and revolutionary thoughts of his revered philosopher, Xenophanes (c. 570 - c. 475 BCE), who had criticized the traditional portrayal of gods in the poems by Hesiod and by Homer as absurd and ridiculous. Xenophanes wrote that they attributed to the gods all things that were disreputable and were to be punished when done by humans; and they told of the gods many ungodly deeds: stealing, adultery, and deception of each other. He criticized that mortals supposed that the gods were also begotten as they were, and that they wore human’s clothing, and the gods had human speech and body. Yes, and if oxen and horses or lions had hands, and could paint with their hands, and produce works of art as humans do, then horses would paint the forms of their gods like horses, and oxen like oxen, and make the body of their gods in their own images according to their several kinds. Furthermore Xenophanes recognized the intrinsic limit of humans' knowing anything in truth; the clear and certain truth no man can know nor there will be any human who knows about the impersonal abstract One that sets all things in orderly motions and governs all events without any change in Itself. Then Antisthenes asked Socrates about justice for the gods and for humans. Socrates discussed it with examples from the tragedy, Prometheus Bound, by Aeschylus (525 – 456 BCE).

            At last the jailer came in with a pot of poison; he ordered everyone to leave except Xanthippe. Suddenly he broke down, and urged Socrates to flee for freedom. Socrates said: “I thank you for your gracious sacrifice. But my conscience commands me to obey the laws with good cheers and hopes. I wish to pray to the gods, breathing in fresh air at calm sunset, and drink the drug as their gift to freedom.” In composure Socrates drank the poison; then he walked stately to meet death in deep awesome grandeur, beaming sublime, sacred, spiritual light. That was the numinous last sight of Socrates on earth. Thus Xanthippe ends the imaginary dialogue with Plato.
















































      • Breathing in Dao (道 ) (2009)
        by Art Aeon








              Breathing in Dao (道 ) (2009) by Art Aeon consists of two narrative poems in the formof syllabic tercet stanzas.

        Part I: Awakening by a Brook:

        Homage to Laozi (老 子 )

        This narrative poem attempts to unfold the quintessence of Dae De Jing, attributed to the wise esoteric Chinese sage, Laozi (6th century BCE), through fictional conversations between a meek wayfarer and a mystic voice resounding from water.

            The voice expounds: “All beings, by their intrinsic nature, come from the ultimate reality, say, ‘IT’ or ‘DAO’. If we do not confine it with words, it remains the pure, unknowable, ultimate origin of the whole cosmos; if we name it as ‘DAO’, then it becomes the ultimate Mother who begets all things. When one is bound by selfish desire, he peeps merely into its outer fringe; but freed from desire,one can see deep into its inner essence.”

            As for practical advice, the voice says: “Keep yourself to be true in what you think, speak, and act: be honest, just, and fair in your doing. Choose good ground to settle in. Find an abysm to purify your mind. Seek good people to learn the virtuous true ways of life. Be willing and faithful to serve others. A wise man acts without forcing; a good ruler governs without imposing; a sage puts himself behind others, yet he ends up ahead of all. One who can act selflessly realizes his own true self. One who regards others as lively parts of his own body may be trusted to govern people wisely. Choose the proper time for each action; resolve intrigues; blunt sharp edges; balance hostile opposites into good harmony. Merge humbly with the mundane world to be come harmonious with nature. Whoever keeps on such a way of life fulfils the noblest task for eternity.”



        Part II: A Tale of Dreaming Butterfly:

        Homage to Zhuangzi (莊 子 )

            Emulating the masterful art of using fables by the great Chinese sage poet, Zhuangzi (4th century BCE), in expounding his profound philosophical thoughts, this narrative poem portrays the character-butterfly who dreams that it is the wise sage, Zhuangzi. The butterfly visits a fictional character-rose who dreams that it is a poet. The butterfly explains to the rose the quintessence of the abstruse Inner Chapters of his philosophical book. It says: “I am, in fact the very man who had imagined the fantastic fables in Zhuangzi that have fascinated you. I aim to teach every one how to harmonize diverse things and conflicting opinions by virtue of DAO.” The rose says: “Show me what DAO is.” The butterfly replies: “DAO is the way; one learns it by walking on it. Man names a thing by his whim. Beyond such name, each thing has its intrinsic nature and its own function. Yet all different things turn out to be one in DAO; if we look beyond mere appearances, we see this ultimate oneness of all things; then we have no use of petty differentiation. Thus the sage dwells freely in the equality of all things; being equanimous is to realize one’s true nature; one lives in perfect freedom and pure happiness, inhering deep in immanent DAO.”













































      • Echoes from Times Past (2008)
        by Art Aeon







              Echoes from Times Past (2008) by Art Aeon is a collection of 101 short poems. It is divided into two parts: Pilgrimage to England and Pilgrimage to Italy.

        The individual titles of these short poems are as follows:

        {1} In Cambridge; {2} Walking along the Back; {3} An Old Student; {4} Workaday; {5} In the King’s College Chapel; {6} Even Song at the King’s Chapel; {7} The Fitzwilliam Museum; {8} Paleolithic Reindeer; {9} In the Wern Library, Trinity College; {10} Milton’sManuscripts; {11} Milton’s Paradise Lost; {12} To Milton; {13} In the Trinity College Chapel; {14} Newton’s Principia Mathematica: {15} Issac Newton; {16} In Nevile’s Court, Trinity College; {17} Striving; {18} In Little St. Mary’s Church, Peter House; {19} Spring Blossoms in the Backs; {20} In Saint John’s College; {21} At Pembroke Garden; {22} In Corpus Christi College; {23} On the Bridge of Clare College; {24} Shakespeare’s Tempest at Christ College; {25} The Shakespeare Monument in Stratford; {26} William Shakespeare; {27} Language and the Brain; {28} In the Bodleian Library, Oxford University; {29} In the Radcliffe Camera; {30} In Magdalen College; {31} In the Ashmolean Museum; {32} Port Meadow at Sunset; {33} Turner’s Watercolors in Ashmolean; {34} Evening Stroll along the Thames; {35} Michelangelo’s Late Drawings; {36} In London; {37} In the National Gallery, London; {38} Turner’s Paintings at the Tate Gallery; {39} The British Museum; {40} A Cycladic Figurine; {41} Sculptures from Greek Parthenon; {42} Demeter from Cnidus; {43} Cuneiform Tablets; {44} Clay Tablets of Gilgamesh; {45} Rosetta Stone; {46} An Egyptian Mummy; {47} Tomb Paintings from Thebes; {48} The Maxims of Ptahotep; {49} Symposium on Brain Research at Varena; {50} A Still Alpine Night; {51} A Storm over Lake Como; {52} La Boheme of Puccini at La Scalla, Milan; {53} A Pilgrim; {54} The Cathedral of Milan; {55} Inside Duomo, Milan; {56} In Teatro alla Scala; {57} Norma of Bellini; {58} In Santa Maria delle Grazie; {59} Leonardo’s The Last Supper; {60} Leonardo da Vince; {61} Michelangelo’s Ultimate Pieta; {62} Requiem of Verdi at San Sebastiano; {63} From Milan to Rome; {64}In Rome; {65} On Piazza del Campidoglio; {66} The Pantheon of Rome; {67} A view of Rome from St. Peter’s Dome; {68} Raphael’s The School of Athens;{69} Michelangelo’s Pieta in San Pietro; {70} Michelangelo’s Moses; {71} In the Sistine Chapel; {72} From Rome to Florence; {73} A View of Florence; {74} In the Baptistry of Florence; {75} The Cathedral of Florence; {76} Arnolfo di Cambio {77} Climbing Brunelleschi’ Cupola; {78} Filipo Brunelleschi; {79} Basilica di Santa Croce; {80} Praying in Santa Croce; {81} Galileo Galilei; {82} Scars of Arno’s floods on Santa Croce; {83} Giotto di Bondone; {84} In the Uffizi Gallery; {85} Palazzo del Bargello; {86} Palazzo Vecchio; {87} In the Palatine Gallery, Palazzo Pitti; {88} Fra Angelico’s Frescos in San Marco; {89} Fra Angelico; {90} The Laurentian Library in San Lorenzo; {91} The New Sacristy of Michelangelo; {92} Michelangelo’s Sketches on the Cellar; {93} Chamber Music in Santa Croce; {94} Il David of Michelangelo; {95} Michelangelo’s Slaves in Accademia; {96} Santa Croce at Sunset; {97} Michelangelo’s Florentine Pieta; {98} At Casa Dante; {99} A Mother and Child; {100} La Divina Commedia of Dante; {101} To Michelangelo.






















































      • Prayer to Sea (2007)
        by Art Aeon







        Prayer to Sea (2007) by Art Aeon is a collection of 95 short poems, inspired by the pristine seascapes of Nova Scotia, New Brunswick, and Prince Edward Island in the Atlantic Canada, and by the Pacific coasts in the northern California.

        The individual titles of the short poems are as follows:

        {1} Morning Calm; {2} Moonlit Sea; {3} Winter Bloom; {4} Acadie (Nova Scotia); {5} At Sea; {6} Cape Breton; {7} View; {8}Double Storms; {9} A Heron; {10} Winter Journey; {11} The Angelus; {12} The Last Leaf; {13} Wandering Free; {14} Dark and Light; {15} Along the Cabot Trails; {16} Halifax Harbour; {17} Cape Split; {18} Autumn Walk; {19} Family Hiking; {20} Summer Dream; {21} Peggy’s Cove; {22} Winter Hike; {23} A Fishing Cove; {24} Winter Lull; {25} Stupor; {26} In Snow; {27} In the Kejimkujik Park; {28} A Blest Shore; {29} Twinkling Stars; {30} In Spring; {31} A Sanctuary; {32} Vesper; {33} On the Sky Line Trail; {34} Moon in Clouds; {35} Blessing; {36} Summer Stroll; {37} Seascape; {38} Tempests; {39} A Haven; {40} Workaday; {41} Mahone Bay; {42} Autumn Leaves; {43} Thunderstorms; {44} Moonrise; {45} Invocation; {46} At Bay of Hope; {47} Snowstorms; {48} Chilly Spring; {49} Hiking in Mists; {50} Thanksgiving; {51} By the St. John River; {52} Autumn; {53} Abegweit; {54} Afterglow; {55} The San Francisco Bay; {56} On the Berkeley Hill; {57} Alma Mater; {58} Lawrence Radiation Laboratory; {59} At Morrison Library; {60} The International House; {61} Concert at Hertz Hall; {62} Beneath the Campanile; {63} Farewell to Berkeley Campus; {64} On the Golden Gate bridge; {65} Point Reyes Seashore; {66} The Yosemite in Winter; {67} Half Dome in Snow Storm; {68} Yosemite Falls; {69} Merced River; {70} El Capitan; {71} To Bridalveil Fall; {72} Cathedral Spires; {73} Hetch Hetchy; {74} To Sea; {75} Inner Sea; {76} A Bird and a Child; {77} Canoeing at Sea; {78} Spring Dream; {79} Meditation; {80} Silent Night; {81} Sunset on Sea; {82} Ecstasy; {83} Into Words; {84} Tides; {85} Plea; {86} A Froth on Sea; {87} The Muse; {88} Evening Walk; {89} Repose; {90} Dawn at Sunset; {91} Sea at Rest; {92} Inner Voice; {93} To Oneself; {94} Offering; {95} Prayer.


























































      • Snowflakes on Old Pines (2006)
        by Art Aeon













        Snowflakes on Old Pine (2006) by Art Aeon is a collection of 97 short poems in the form of haiku (5-7-5 syllables).

        The individual titles of the poems are as follows:

        {1} Prologue; {2} Autumn Leaves; {3} Purgation; {4} Tranquility; {5} Exuberance; {6} Rumination; {7} Blessing; {8} Spring Chill; {9} Adoration; {10} Flow of Seasons; {11} Empathy; {12} Leisure; {13} Bliss; {14} Sowing; {15} Winter Chores: {16} Amaryllis; {17} Voice of the Sea; {18} Art of Autumn; {19} Austere Beauty; {20} Capricious Spring; {21} Along Seacoasts; {22} The Last Rose; {23} Winter Journey; {24} Tilling; {25} The Sea and a Man: {26} Violets; {27} Winter Holidays; {28} Wandering Free; {29} Quest; {30} Beyond the Sea; {31} Winter Gloom; {32} In Mists; {33} Vesper; {34} In Autumn; {35} Daydream; {36} Finch; {37} To the Sea; {38} Yearning; {39} Desolation; {40} Spring Thaw; {41} Ecstasy; {42} Birds; {43} Winter Hike; {44} Hard Time; {45} Misgiving; {46} Solace; {47} Summons; {48} Mute Heart; {49} In English; {50} Recollection; {51} Prayer; {52} Angst; {53} Toils; {54} Autumn Glow; {55} Ryokan (1758-1831); {56} Pause; {57} Basho (1644-1694); {58} A Farmer and Poet; {59} Yoon Seun Doe (1587-1671); {60} Snowman; {61} Chung Huh (1520-1604); {62} Meditation; {63} Du Fu (710-770); {64} On Frozen Lake; {65} Li Bo (701-761); {66} To Myself; {67} Wang Wei (700-761); {68} Mother Earth; {69} D’ao Yen Ming (366-427); {70} Winter Sky; {71} Inner Chapters of Chaung Tzu (369?-286? BCE); {72} In Limbo; {73} The Odyssey of Homer; {74} Revelation; {75} Sophocles (496?-406 BCE); {76} Catharsis; {77} Phaedo of Plato (427?-347 BCE); {78} Forlorn; {79} The Aeneid of Virgil (70-19 BCE); {80} Renaissance; {81} Dante (1265-1321); {82} The Angelus; {83} Hamlet of Shakespeare ( 1564-1616); {84} Trance; {85} Paradise Lost of Milton (1608-74); {86} In Haiku; {87} Mass in b of Bach (1685-1750); {88} Waves and Words; {89} Requiem of Mozart (1756-91); {90} Serenity; {91} Missa Solemnis of Beethoven (1770-1827); {92} A Heron and a Man; {93} String Quintet of Schubert (1797-1828); {94} Reflection; {95} Beethoven (1770-1827); {96} Offering; {97} Orison.





































      • In the Range of Light: the Yosemite (2005)
        by Art Aeon






              In the Range of Light: The Yosemite (2005) by Art Aeon is a collection of 78 short poems, inspired by the sublime lights and divine music of the Yosemite and the High Sierra mountains in California. Each poem is marked by a number from {1} to {78} without any descriptive title.











      • Hymn to Shining Mountains:
        The Canadian Rockies (2004) by Art Aeon



             Hymn to Shining Mountains: The Canadian Rockies (2004) is a collection of 85 short poems, inspired by breathtaking mountains, glaciers, pristine lakes, and rivers in the Banff National Park, Jasper National Park in Alberta, and Mount Robson Provincial Park in British Columbia, Canada.   Each poem is marked by a number from {1} to {85} without any descriptive title.  

      • Flowing with Seasons (2003)
        by Art Aeon
        Flowing with Seasons (2003) by Art Aeon is a collection 76 short poems. It consists of 19 cycles of four seasons: spring - summer - autumn - winter. Each poem is marked by a number from {1} to {76} without any descriptive title.


      • Hymns to Nature (1999)
        by Myong Yoon
        (ISBN  0968452906)

        Hymns to Nature (1999) by Myong Yoon is a collection of 54 short lyric poems, inspired by the sublime mountains of the Canadian Rockies in Banff and Jasper National Parks in Alberta, and the Yosemite National Park in California. The titles of individual poems are as follows:

        {1} Arrival at Banff; {2} On Cascade Mountain; {3} Stopping by Bow Falls; {4} The Valley of Ten Peaks; {5} On Moraine Lake at Sunset; {6} Mount Victoria; {7} Reflection on Lake Louise; {8} Passing through the Icefield Parkway; {9} Mount Patterson; {10} Mount Chephren; {11} White Pyramid; {12} Lake Peyto; {13} Mount Athabasca; {14} On Athabasca Glacier; {15} On the Shore of Bow Lake; {16} Mount Rundleat Dawn; {17} Castle Mountain; {18} Decent; {19} Farewell to Lake Louise; {20} Mountain Railway; {21} A Glimpse of Mt. Robson; {22} Jasper; {23} In Maligne Canyon; {24} Medicine Lake; {25} Climbing Mt. Edith Cavell; {26} Farewell at Athabasca Fall; {27} At Inspiration Point, Yosemite; {28} In the Range of Light; {29} El Capitan at Sunrise; {30} Sentinel Rock in Mists; {31} Yosemite Falls in Spring; {32} Half Dome at Dawn; {33} Sunrise at Glacier Point; {34} In a Fallen Giant Sequoia; {35} Yosemite Valley at Night; {36} Climbers on El Capitan; {37} Bridalveil Fall; {38} Half Dome at Sunset; {39} Mirror Lake; {40} Yosemite Falls at Dawn; {41} Ancient Junipers on Glacial Polish; {42} On the Shore of Lake Tenaya; {43} Olmstead Point at Sunset; {44} Yosemite Falls in Winter; {45} Reflection of El Capitan; {46} Sentinel Rock at Sunset; {47} Cathedral Rocks; {48} Prayer at Bridalveil Fall; {49} The Moon and Half Dome; {50} In Mariposa Grove; {51} On Tuolumne Meadow; {52} Yosemite after Thunder Storm; {53} By the River of Mercy; {54} Prayer at Yosemite Falls.





































































      • Links

        For a preview of the books by Art Aeon,
        please check Google Books Preview Program:
        For a view of the lists and locations of the libraries
        which keep the books by Art Aeon,
        please check the World Catalogue of Libraries: