I lived the first decade of my life on the kauri gumlands of rural Ararua in the Northland province of Aotearoa/New Zealand. Ararua may be translated as two (or both) rua; and ara as ways (or paths), while Aotearoa is taken to mean 'the land of the long white cloud'.
The opening words of the early Christian text, the Didache, are
There are two ways, one of life and one of death, but a great difference between the two ways.
In his poem The Definition of Love, the metaphysical poet Andrew Marvell plays on Euclid's fifth postulate as a conceit to support the theme of his poem.
As lines, so loves oblique may well Themselves in every angle greet; But ours so truly parallel, Though infinite, can never meet.
The Mexican writer Alphonso Reyes wrote a haiku also citing Euclid's fifth postulate
Hai-kai de euclides Líneas paralelas son las convergentes que sólo se juntan en el infinito
The final strand that led me to adopt a parallel haiku-influenced format for my continuing journey were the following words by Dutch religious philosopher Gerardus van der Leeuw
Religion and art are parallel lines which intersect only at infinity, and meet in God.
This was reinforced for me by the matters explored in Ivan Karamazov’s Euclidean Mind: the ‘Fact’ of Human Suffering and Evil the abstract of which states
In The Brothers Karamazov, Fyodor Dostoevsky addresses the problem of how to reconcile God’s goodness with the evil in the world by comparing the metaphysical implications of Ivan Karamazov’s and the Elder Zosima’s Euclidean and non-Euclidean epistemologies. For Ivan, the moral opposites of good and evil cannot be reconciled, just as two parallel lines cannot meet (Euclid’s fifth postulate). For Zosima, the symbol of the crucifix represents a meeting of the parallel lines and the moral opposites. [The Polish Journal of Aesthetics pp. 49–62 (1/2020) DOI: 10.19205/56.20.3]
In seems possible that the path of my parallel verse compositions continues to lead me towards something like Elder Zosima’s conclusion.