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"OH WATERS, TEEM WITH MEDICINE TO KEEP MY BODY SAFE FROM HARM, SO THAT I MAY LONG SEE THE SUN." - Rig Veda
We asked the woman to decide what do to with her stillborn.
We gave her a thoughtful peach folder containing several options.
She considered the hospital memorial garden and its anemic roses,
A casket no bigger than a shoebox buried beneath a Japanese maple.
She thought about the furnace receiving all the medical by-products:
Bloodied gauzes, yellow tummy-tuck fat, a rounded finger stump.
We realized each option told us a little something about the mother—
Whether romantic or utilitarian about death. We tried not to judge them.
August fumed in its cruelty until what remained was given up to the fire.
I thought his funeral was impersonal without the body displayed as evidence.
I pictured him hiding under a pew listening to his ex-wives weep like pigeons.
Until it was my duty to pour his body from the side of a bridge,
And the ashes stuck to my hands, my hair, flew into my open mouth.
I thought about the peach folder, the forms, the tasteful calligraphy of grief:
My uncle next to me, crying in that poignant way only men can cry.
Die Rose (the Rose) is a longsword, dussack, rappier and quarterstaff technique described by fencing masters starting from about 1516AD. This striking sequence, as used by several masters including, Andre Paurnfeindt, Hans Czynner, Paul Hektor Mair  and Joachim Meyer , and several later derivative works , has confused some of us as we try to understand the relationship between the name and the application of the technique.
To be able to understand Die Rose I believe we need to understand what connotations therenaissance man had to the word rose and with that understanding we can apply it to our interpretations of the technique. The following article might seem like a novel by Dan Brown, but explores some of the ideas the men and women of the Renaissance shared, sometimes in more or less secret societies.