Pigeons - Genesis

 

I would have thought it was so obvious it is barely worth the effort of formulating the interpretation, which hitherto has been withheld, into more precise or possibly less prosaic summarisation and analysis of 'the lyric' contained in the expertly crafted, rhythmically edifying and philosophically illuminate language apropos the OPs desire to maintain a level of detached observational distancing that permits remote superintending of any ensuing analysis and discussion that would run counter to his preconceptions that have gestated under careful conditions of deliberation and self-cogitatation, which by deflectional means would indubitably focus upon the hegemony of the besieged combatants in the narative, (if the mere mention of both an office of a distinctly foreign nature and a square that commemorates an ocean-born battle between two opposing nations in the opening stanza were not indicative enough, henceforth no further hints or clues will be provided), coupled with the suppresion of the proletariat albeit in a metaphorical a<SPAN>nthropomorphism</SPAN> caricature by virtue of an avian population, (of the clade Columbidae, and that is positively the last clue), that is an erzatz representation of the zeitgeist gestalt schadenfreude inherrent in the decentralised federalisation of quasifuedal civilisations embroiled in a timeless conflict between the corporate monitarianistic deregulation and fiscally-predicated puissance masquerading as a politicopsychosocial (yet often racially motivated and theologically delineated) Blytonism, [after Enid Mary, b.1897 d.1968, not to be confused with Carterism, Bonhamism or Helenaism, which are beyond the scope of this compendiary], which, all will be familiar, entails a central protagonist's companion of a diminutive stature and disproportionate aural receptors, hitherto a dweller of an ethereal kingdom that also is native to creatures whose chosen domicile is beneath a construction of timbers designed to facilitate the traversing of a waterway by a sojournering family of the genus capra, which would be worthy of further contemplation if it were not such a clumsily placed contrivance of no specific relevance to the lyric-anatomisation process. Needless to say subsequent derivations are an inevitable consequence and not necessarily constrained within the dictum of academic stricture normally found in such torpid establishments, which is a sufficient means of conveying the central idiomatic notionalisation that it is encompassing a considerable quantity of the encrusting guanofication of line one, verse one.

 

I would have thought it was so obvious it is barely worth the effort of formulating the interpretation, which hitherto has been withheld, into more precise or possibly less prosaic summarisation and analysis of 'the lyric' contained in the expertly crafted, rhythmically edifying and philosophically illuminate language apropos the OPs desire to maintain a level of detached observational distancing that permits remote superintending of any ensuing analysis and discussion that would run counter to his preconceptions that have gestated under careful conditions of deliberation and self-cogitatation, which by deflectional means would indubitably focus upon the hegemony of the besieged combatants in the narative, (if the mere mention of both an office of a distinctly foreign nature and a square that commemorates an ocean-born battle between two opposing nations in the opening stanza were not indicative enough, henceforth no further hints or clues will be provided), coupled with the suppresion of the proletariat albeit in a metaphorical anthropomorphism caricature by virtue of an avian population, (of the clade Columbidae, and that is positively the last clue), that is an erzatz representation of the zeitgeist gestalt schadenfreude inherrent in the decentralised federalisation of quasifuedal civilisations embroiled in a timeless conflict between the corporate monitarianistic deregulation and fiscally-predicated puissance masquerading as a politicopsychosocial (yet often racially motivated and theologically delineated) Blytonism, [after Enid Mary, b.1897 d.1968, not to be confused with Carterism, Bonhamism or Helenaism, which are beyond the scope of this compendiary], which, all will be familiar, entails a central protagonist's companion of a diminutive stature and disproportionate aural receptors, hitherto a dweller of an ethereal kingdom that also is native to creatures whose chosen domicile is beneath a construction of timbers designed to facilitate the traversing of a waterway by a sojournering family of the genus capra, which would be worthy of further contemplation if it were not such a clumsily placed contrivance of no specific relevance to the lyric-anatomisation process. Needless to say subsequent derivations are an inevitable consequence and not necessarily constrained within the dictum of academic stricture normally found in such torpid establishments, which is a sufficient means of conveying the central idiomatic notionalisation that it is encompassing a considerable quantity of the encrusting guanofication of line one, verse one.