The 270° Triangle

Dear Forrest,

You tell us that we should find “where warm waters halt” before trying to solve any of the other clues. Imagining that we haven’t seen the rest of the poem, and all we have to go on is:

a. “begin it where warm waters halt” and
b. “somewhere in the mountains north of Santa Fe”

Do you think that we can confidently determine the starting place for your treasure trail? ~ Steve

No, if all you have to go on are those two clues you cannot proceed with confidence. Look at it this way. If you were making a cake and you left out a few ingredients, would you achieve your goal?

Your question reminds me of another:  You leave home and walk a straight line for a mile, turn 90 degrees left and walk a curved line for a mile and shoot a bear. Then you turn 90 degrees left again and walk a straight line back to your home. What color is the bear?f

↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝

Once Upon a While

Stories in the order that they appear:

Supplemental Punishment - Forrest's father assigns him the dishes as punishment, and Forrest sings an aria the entire time.

The Long Jump - The story about Forrest jumping off the bridge in the middle of the night.

Sweet Fragrances - The story about the spices in the drawer.

An Education from Stanley - The story about Forrest selling fake art, and his friend compares it to the two ladies wearing mink coats from different stores.

The Loom of the Desert - This is about a book titled with the chapter name.

Me and Little Beaver - This story is about Forrest's Red Rider BB Gun.

Shelling Corn - Joseph Henry Sharp's painting of two people shelling corn. 

Experiences with Joe - This story is about how Joe used to give him the torn comics without the covers to read, and how Joe used to have dinner at their house often.

Glory is Never Enough - Very short story about the Central Junior High School Kittens, the football team Forrest briefly played on.

Explosion on 3rd Street - Skippy's fireworks stand explosion

Divorce logic - It is about a woman that Forrest knows getting a divorce, and she is very distraught. Forrest suggest to her that she make a piece of pottery and they will bury it together, symbolically burying her problems at San Lorenzo.

Once in a While I do Something Right - Forrest unswears himself as a witness in a court case. 

Annabella's Hat - About a hat Forrest bought from a sheepherder for $300.

I Never go Shopping, But... - This is the story about Forrest going to the grocery store and pissing off another patron.

The Unfortunate Hiccup - This story is about a flask and a gentleman that was drinking from it during a golf game. 

In a Tuck - The story about Forrest jumping from the tower diving board at the swimming pool.

Rainy Night Blessings This story is about Forrest playing a game of Bingo and winning, only to find out he still didn't have enough money to buy a bus ticket back to Radio school.

The Quahada Chief on a Black Pony - This is about an old battleground Forrest tried to locate as a young man.

Prince of the Comancheros - About a man named Jose that was tortured and snitched on the Comanches, and about a bronze that Forrest helped create of the man.

Montana Golden - This is the story where Forrest goes fishing at Avalanch Lake, and hides a Dr. Pepper under a rock.

Remnants of the Past - This is the story about the Mammoth tusk that Forrest found, and later gave away pieces of.

Things I covet - This is the story about the Paint Pallets that Forrest collects.

Well, Here's Moses - This is about a small wooden statue of Moses that was carved, and Forrest purchased.

Salute to a Warrior - Story about Renelle.

The Iron Rooster of Santa Fe County - A story about a bronze chicken that Forrest purchased, and then commissioned an artist to paint it.

Lessons from Forrest - A story about a bronze artist also named Forrest.

Memories that Never Die - Story about George Dabich, a friend Forrest made in Vietnam.

Me and Mummy Joe - Story about Forrest's bone knife carved from a bone found in Mummy Joe's cave.

Algernon's Relative - A story about Algernon Smith, a military leader that dies along General Custer in the famous battle at Little Big Horn.

Cultures on Top of Cultures - A story about a cave Forrest explored on his friend's ranch in Arizona. He found a stone knife in the ashes of an ancient hearth.

The Evolution of My Art Opinion - Story about how Forrest sold his gallery. 

Doug Hyde in Stone - This is about the 2 Alabaster sculptures that Doug made and Forrest possesses, and about Joe Medicine Crow.

Apaches in the Garage - The time Forrest flew to a garage sale and bought everything in it from a famous collector's estate.

Me and Michael Douglas - The story about the time Forrest flew statues to Michael Douglas' house and met Elton John without knowing it.

Is It My Candy Ann? - A poem in the style of Edgar Allen Poe's The Raven.

The Graciella Experience - About a painting Forrest purchased for someone else, then decided to keep, only to sell it to the lady later.

Partying with Suzanne Somers - The story about Forrest and Shiloh going to the party at Suzanne's house.

The Bullet Comes Home - The story about Forrest getting the Bullet back.

The Price of Freedom - The story about a bronze sculptor that Forrest knew, but died rescuing someone from a river.

Revisiting Nine Clues, Nine Sentences

In the spring of 2016, Fenn did an interview and it's contents are available online here:

Spring 2016 Interviews

The interview is broken up into shorter segments and the one I'm interested in for this post is San Lazaro - Part 1.  It is about writing and in it, Fenn says 

"...you can't end a sentence with a colon, so down there by the page number I put a period..."

What's interesting about this is that in the book, The Thrill of the Chase, before the poem is a sentence and it ends with a colon, then the poem.

So I wrote a poem containing nine clues that if followed precisely, will lead to the end of my rainbow and the treasure:

There aren't many people who are including that sentence as part of the poem, but I believe the colon connects the sentence to the poem and is part of what is necessary to solve the poem!

What normally follows a colon?  A list.

How is that list usually formatted?  Bullet points.

So I wrote a poem containing nine clues that if followed precisely, will lead to the end of my rainbow and the treasure:

• As I have gone alone in there And with my treasures bold, I can keep my secret where, And hint of riches new and old.
• Begin it where warm waters halt And take it in the canyon down, Not far, but too far to walk.
• Put in below the home of Brown.
• From there it’s no place for the meek, The end is ever drawing nigh; There’ll be no paddle up your creek, Just heavy loads and water high.
• If you’ve been wise and found the blaze, Look quickly down, your quest to cease, But tarry scant with marvel gaze, Just take the chest and go in peace.
• So why is it that I must go And leave my trove for all to seek?
• The answers I already know, I’ve done it tired, and now I’m weak.
• So hear me all and listen good, Your effort will be worth the cold.
• If you are brave and in the wood I give you title to the gold.

New Article About the Chase

“I designed the hunt to be difficult, but certainly not impossible,” Fenn insists. “Most searchers don’t put enough emphasis on the first clue, and without it their effort is futile.

“The poem is written in plain English words that mean exactly what they say. No need to figure pounds per square inch, head pressures, acre feet, square roots, or where true north is, to find the solution.”

Those quotes, and more, are in a new article about the Thrill of the Chase on MSN:

On the Trail of Forrest Fenn's Hidden Treasure

Imagination

“Imagination is more important than knowledge. For knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and understand.”
-Albert Einstein

Imagination isn’t a technique, it’s a key. f
-Forrest Fenn

--------------------------------

Imagination
4.
a : a mental image, conception, or notion formed by the action of imagination
b : a creation of the mind; especially : an idealized or poetic creation

Imagination: reverie, daydream, conception, pie in the sky, speculation, fancy, cup of tea, rainbow, castle in the air, art, adroitness, idea, visualization, invention, warmth, fish story, yarn, pot boiler, Einstein, aptitude, charade, disguise, legend, lore, myth, twist, flash, contemplation, reflection

Adjusting to Solve the Poem

The blueprint is challenging so the treasure may be located by the one who can best adjust. To illustrate my point go to YouTube – Smarter Every Day. f

Adjust: 
 to put in order :  reduce to a system :  regulate

------------------

What does “warm” mean to you?
It means being comfortable.

http://dalneitzel.com/2017/02/08/forrest-gets-mail-13/

------------------

Comfortable:
:  enjoying or showing comfort and ease:
a :  at ease physically :  in a restful situation :  without urgent unsatisfied wants :  free from pain, irritation, stricture, or other unpleasant feelings :  relaxed

Relaxed:
:  easy of manner :  free from stiffness :  informal, easygoing

Synonyms: calm, unstressed, rested, resting, easy

-----------------

For each clue Fenn provides a wide variety of hints to help you adjust and see what he means.  He does that with specific things, and with things that he just implies.  All of the hints direct us to finding the right word, the word he wants us to use, to solve the poem.

So using warm waters halt....how does that work if warm = comfortable

If comfortable is warm, and comfortable is easy-going, and comfortable is calm, then warm waters are waters that are calm and easy going and they're going to halt being calm and easy-going.

Where do calm and easy-going waters halt?  If it's the waters we're thinking about, they halt being calm and easy-going when they change to rough and raging waters.

So where to easy-going and calm waters stop being calm and easy-going to become rough and raging waters?

That would be a place where the topography either becomes rough and rocky causing the water to become raging rapids, or when they go over a waterfall and land at the bottom with force before continuing along the creek, river or other water way.

My Two Sense

The Big Picture

Forrest Fenn has told us that the poem is a "map".

MAP:  appearance, face, globe, layout, blueprint, plan, representation, drawing, approach, scheme, prototype, outline, plan, organization, road map, big picture.

Wait, what?  BIG PICTURE?

If you look at the poem, and start at the bottom line with "I", then go to each letter around the four corners of the poem, you'll spell the word "IDEA".  Is this the "big picture" that Fenn has said we need to look at?

Big picture: Idea, encircling, approach

Decipher

In the above video, there are a few quotes worth reviewing; they begin at 10:34.

"You're not going to find the treasure unless you decipher the nine clues in the poem."

"The poem is a map and it'll take you to the treasure if you can follow its directions."

"You have to read the poem and comprehend what the clues mean."

"If you don't have the first clue, you don't have anything."

Decipher:

• convert into normal language
• convert into intelligent form
• represent by oral description or pictorial art
• unscramble
• find the key
• straighten out
• spell out
• put in plain English
• set right
• get to the bottom of
• throw light upon

Comprehend:

• grasp mentally
• see daylight
• realize
• get the picture
• imagine
• understand
• tell apart
• recognize

Once Upon A While

Here is the cover of Forrest Fenn's third memoir, Once Upon A While:

And here is the inside cover spread:

Musical Connections

Call this one a rabbit hole.  It's interesting, but still just a rabbit hole.

There are 10 octaves in the range of human hearing, which is 20hz to 20khz It doesnt go back to zero, just goes higher than humans can hear. There are 24 lines in the poem, or 2 octaves.

Maqam

Arabic maqams are based on a musical scale of 7 notes that repeats at the octave. Some maqams have 2 or more alternative scales (e.g. Rast, Nahawand and Hijaz). Maqam scales in traditional Arabic music are microtonal, not based on a twelve-tone equal-tempered musical tuning system, as is the case in modern Western music. Most maqam scales include a perfect fifth or a perfect fourth (or both), and all octaves are perfect. The remaining notes in a maqam scale may or may not exactly land on semitones. For this reason maqam scales are mostly taught orally, and by extensive listening to the traditional Arabic music repertoire.

Since microtonal intervals are impractical to accurately notate, a simplified musical notation system was adopted in Arabic music at the turn of the 20th century. Starting with a chromatic scale, the Arabic scale is divided into 24 equal quarter tones, where a quarter tone equals half a semitone in a 12 tone equal-tempered scale. In this notation system all notes in a maqam scale are rounded to the nearest quarter tone.

The 24-tone system is entirely a notational convention and does not affect the actual precise intonation of the notes performed. Practicing Arab musicians, while using the nomenclature of the 24-tone system (half-flats and half-sharps), still perform the finer microtonal details which have been passed down through oral tradition.

Maqam scales that do not include quarter tones (e.g. Nahawand, ‘Ajam) can be performed on equal-tempered instruments such as the piano, however such instruments cannot faithfully reproduce the microtonal details of the maqam scale. Maqam scales can be faithfully performed either on fretless instruments (e.g. the oud or the violin), or on instruments that allow a sufficient degree of tunability and microtonal control (e.g. the nay or the qanun, or the Clarinet). On fretted instruments with steel strings, microtonal control can be achieved by string bending, as when playing blues.

The exact intonation of every maqam scale changes with the historical period, as well as the geographical region (as is the case with linguistic accents, for example). For this reason, and because it is not common to notate precisely and accurately microtonal variations from a twelve-tone equal tempered scale, maqam scales are, in practice, learned auditorally.

The central tones (nucleus) of a maqam are created from two different intervals. The eleven central tones of the maqam used in the phase sequence example above may be reduced to three which make up the "nucleus" of the maqam.

There are nine maqam families:

Ajam
Segah
Bayātī
C minor
Rast Panjgah (means right or direct)
Hijaz, aka Phrygian Dominant Scale (aka "Spanish gypsy scale")
Saba
Kurd
Nawa Athar (aka "Hungarian Gypsy Scale")

Indulgence

Indulgence anagrams to "ending clue".

The end is the beginning, the beginning is the end.

We shall not cease from exploration, and the end of all our exploring will be to arrive where we started and know the place for the first time. 
T. S. Eliot

The last clue is also the first clue, is also the ending, but also the beginning. 

First Clue Confirmed!

Back in April 2013, Forrest Fenn was interviewed on a radio program in New Zealand.  At the time, two people had figured out the first clue, but had walked past the other seven.  In that interview, Fenn noted that the first clue IS "where warm waters halt"!

Listen here!

How the Treasure May be Hidden

__________________________________________________________________

Put in below the home of Brown

Put in below the home of Brown.

One sentence, short and sweet - what is it telling us to do?  

There are a few ways to read the sentence:

"Put in___below" as a phrase "put in" then "below", telling us to do something at the "home of Brown"

"Put___in___below" as three separate words directing us to do something at the "home of Brown"

"Put in" "below" = a place located below "the home of Brown" that requires nothing more than noting the location of the "put in"

PUT = position, frame, assign, place, commit, invest, cause to undergo something, adapt, arrange, set-up, order, pose, cause to be in a certain state
IN = inch, Indiana, direction, inward, currently fashionable, to, toward, toward the inside, there
PUT IN = insert, enclose, introduce, lay aside for future use, devote time, store away, break in, install, boat ramp, entrance, set-up, submit, inject, throw in, access point

BELOW = under, beneath, at a lower level, downstairs, down, at a lower place, lower floor, under

Just...

It's amazing how many synonyms some of the words in the poem have.  Take "just" for a moment...here are some of the words to consider:

Good, holy, accurate, distinct, detailed, correct, specific, true, unmistakable, definitive, definite, exact, explicit, fair, logical, likely, justifiable, all, totally, exactly, entirely, well-suited, desired, relevant, generous, lavish, bountiful, straight forward, honest, befitting, germane, happy, balanced, proportional, symmetrical, uniform, evened, candid, objective, upfront, upright, plain, impartial, equal, blunt, fortunate, stone, rarely, flawless, pure, common, self-ruling, laid-back, aloof, cool, poker-faced, due, rightful, fitting, earned, ethical, even-handed, inspired, telling, applicable, fit, wise, worthy, fitting, not quite, with trouble, scantly, little.

So what do you think "just" means in "Just take the chest and go in peace"?

Who-Why-What-When-Where and How

Who, Why, What, Where, When and How are the basics of writing - readers want each answered throughout a story, otherwise the story is difficult to follow. The story can be fiction or non-fiction, the elements are the same where it's a mystery novel or a newspaper article.

As we read The Thrill of the Chase, we learn the "who" (Fenn), the "what" (hidden treasure), "when" (79 or 80 years old, or 2009-2010), and perhaps some "why" (he was going to die and wanted to take it with him, on his own terms).  Fenn does tell us though that he tells the truth, but not all the truth.

What the story told in the book lacks is the "where" and the "how" and the fully truthful "why" (which you'll understand why I say that when you solve it).

It seems many search diligently for the "where" but not so much on the "how" in the poem.  IMO, the "why" in the poem becomes self-evident as you solve it, so you don't have to specifically look to figure that out, just understand it when it does come to light as you solve the where and how.

And Hint of Riches New and Old

To me, this is a very interesting line in the poem.....

And     hint     of riches     new and old

And    hint of    riches    new and old

And hint     of riches     new and old

And hint of     riches     new and old

And hint of riches     new and old

where, and hint of    riches    new and old

where, and hint     of riches     new and old

And hint of    riches new and old

secret where, and hint of    riches     new and old

where, and hint of    riches new and old

Each of the above groupings of words works out to different potential meaning.....

Hint

cue, key, nod, coax, dash, help, fish, idea, look, mark, open, salt, seek, show, sign, tint, vein, wind, wink, angle, flash, gleam, infer, point, press, refer, sauce, savor, spark, taste, taint, token, touch, track, whiff, denote, gossip, naming, pepper, prompt, shadow, bid fair, caution, key word, marking, mention, pointer, promise, signify, suppose, symptom, warning, whisper, allude to, disclose, associate, inference, penetrate, symbolism, ultimatum, undertone, allegorical, disclosure, expression, foreshadow, make likely, scattering, smattering, sprinkle, etc.

Do the Sentences Change Our View?

The poem can be viewed in two ways - as either stanzas, or as sentences.  I think both need to be considered when we're solving the poem.

Case in point:

Begin it where warm waters halt
And take it in the canyon down,
Not far, but too far to walk.
Put in below the home of Brown.

As a stanza it appears we're to find a place where warm waters halt, then take something in the canyon down, then go a distance that is not far, but too far to walk, then put in below the home of Brown.

If instead we view the stanza in the sentences that are complete, and structurally sound - that is grammatically correct, we get:

Begin it where warm waters halt and take it in the canyon down, not far, but too far to walk.  Put in below the home of Brown.

The sentences, read this way, tell us that we are going to begin "it" where warm waters halt and take "it" in the canyon down, not far, but too far to walk.

Can you see the difference?  Do you think it matters?

Is the Book a Requirement?

"If you're really serious about looking for the treasure, get TTOTC and read it, and then go back and read the poem over and over and over again, and then go back and read the book again but slowly, looking an..looking at every little abstract thing that might catch up in your brain, that might be a hint to help you with the clues. Any part of some is better than no part of any. f"

In this, Fenn makes it clear - at least to me - that if you are serious about solving the poem and looking for the treasure, you absolutely must have the book, The Thrill of the Chase.

I believe now that there are reasons why he's repeatedly said similar - to read the poem, read the book, go back to the poem, etc.

The book helps you understand HOW to solve the clues in the poem.  

For example, in the book, Fenn gives a lot of different ways to understand the word "brown" - from browning pies in the oven, to the color of the stain on his pants when he slid down the fire escape.  This helps us understand the roll of synonyms and word usage in the poem because a word like "brown" can means many things; our job is to tease out what it means in the poem, and the book gives us examples of not only what brown can mean, but also how Fenn uses it in different contexts.

So, is the book a requirement to solve the poem?

At this point, I do believe it is required to solve the poem; it's available from Collected Works in Santa Fe, NM.

Adjusting the View of the Nine Clues

CLUE 1:
As I have gone alone in there and with my treasures bold, I can keep my secret where, and hint of riches new and old.

CLUE 2:
Begin it where warm waters halt and take it in the canyon down, 

CLUE 3:
Not far, but too far to walk.

CLUE 4:
Put in below the home of Brown.

CLUE 5:
From there it's [it is, it has] no place for the meek, the end is ever drawing nigh; There'll [there will, there shall] be no paddle up your creek, just heavy loads and water high.

CLUE 6:
If you've [you have] been wise and found the blaze, look quickly down, your quest to cease, but tarry scant with marvel gaze, just take the chest and go in peace.

CLUE 7:
So why is it that I must go and leave my trove for all to seek?  The answers I already know, I've [I have] done it tired, and now I'm [I am] weak.

CLUE 8:
So hear me all and listen good, your effort will be worth the cold.

CLUE 9:
If you are brave and in the wood I give you title to the gold.

Over time I may continue to adjust how the clues line up as I continue to solve the poem, but for now, that is the nine clues as I am seeing them.

A Word that is Key

In Jenny's six questions on Feb. 4, 2014:

"It is interesting to know that a great number of people are out there searching. Many are giving serious thought to the clues in my poem, but only a few are in tight focus with a word that is key. The treasure may be discovered sooner than I anticipated."

A word that is key.

Key.

It turns out there are nine (9) synonyms for "key" in the poem:

As I have gone alone in there
And with my treasures bold,
I can keep my secret where,
And hint of riches new and old.

Begin it where warm waters halt 
And take it in the canyon down,
Not far, but too far to walk. 
Put in below the home of Brown.

From there it’s no place for the meek,
The end is ever drawing nigh;
There’ll be no paddle up your creek, 
Just heavy loads and water high. 

If you’ve been wise and found the blaze,
Look quickly down, your quest to cease,
But tarry scant with marvel gaze,
Just take the chest and go in peace.

So why is it that I must go
And leave my trove for all to seek?
The answers I already know,
I’ve done it tired, and now I’m weak. 

So hear me all and listen good,
Your effort will be worth the cold. 
If you are brave and in the wood
I give you title to the gold.

NINE WORDS THAT ARE "KEY"

Secret + hint + put in + draw + heavy + load + answers + hear + cold

Secret hint put in drawing heavy load answers hear cold.

The drawing with no connection within the book, The Thrill of the Chase:

It

Clue 1 is what it is
Clue 2 is where it is
Clue 3 is where you begin it (where warm waters halt) and you take it in the canyon down

There are also five instances of it in the poem:

Begin it where warm waters halt
Take it in the canyon down
From there it's no place for the meek
So why is it that I must go
I've done it tired

Where is the Treasure?

“There isn't a human trail in very close proximity to where I hid the treasure.” f

Later, when asked for clarification, Fenn answered:

Dear Mr. Fenn,
You once wrote: “There isn’t a human trail in very close proximity to where I hid the treasure.”  You also once wrote: “And in close proximity were stone projectiles and crudely made hand axes that could have been 30,000 years old.”
Can you clarify for us your definitions of “close proximity” and “very close proximity?” (e.g. 10 feet, 50 feet, 100 feet, 500 feet, etc.?)
Thanks, Milan


It’s not that easy Milan. Are you asking me to carry a caliper in my pocket? Each “close proximity” is different, relative, and site-specific, as you pointed out. So I can’t answer your question. To an ant a mud puddle can be like an ocean. f

There isn't [is not] a human trail in very close proximity to where I hid the treasure.

The automatic assumption is that Fenn is telling us there is no trail near the hiding spot.  But if we use the method of the 'word that is key' to define what Fenn is saying, here is what we get:

Not = no
No = dissent, decline, negative, nothing, refusal, opposite, not by any means
Human = person, imperfect, errant, frail, faulty, gentle, natural, practical, uncertain, weak
Trail = course, stream, dangle, shadow, path, linger, shadow

So, while Fenn has misdirected us with words, what he did really say is that there IS a declining, weak path in close proximity to his hiding spot for the treasure.

Close = near, adjacent, adjoining, neighbor, warm, bordering on, joining, border, matching
Proximity = relation, area, territory, surroundings, vicinity, contiguity, contact, region

It's interesting that contiguity is a synonym of proximity - Fenn has said the clues are contiguous, so let's see what we get from that word:

Contiguity = touch, close, hit, nearness, adjacent, familiarity, locality, tract, region

So, taken together, we're looking for a faint/weakly defined trail, perhaps one that is used infrequently, but remains visible, even if difficult to see...it is declining, so either going down in elevation or getting narrow along the way, and it is bordering the area of where the chest is hidden, or joining that area in some way.

Unlocking the Clues

“Many have given serious thought to the clues in the poem but only a few are in tight focus with a word that is key.”

Serious = deliberate, thoughtful, significant, skillful, thorough, critical
Thought = attention, thinking, understanding, concentration, care
Clues = suggestion, hint, proof, solution, idea, cue, definition
Tight = narrow, solid, strong, close, compact, familiar, constant
Focus = target, heart, center, adjust, core, gist, compact, converge
Key = access, entry, answer, legend, base, central, primary, crucial, telling

Deliberate attention to definitions of familiar words you adjust to get the gist of where they converge for the answer.

Forrest Fenn is a wordsmith, he used words to hide the answers to the clues in the poem, and now you have to use words to unlock those clues to reveal the answers!

First Clue: Fun with Words

As I have gone alone in there and with my treasures bold, I can keep my secret where, and hint of riches new and old.

as adverb \əz, (ˌ)az\ 
1
:  to the same degree or amount :  to such an extent :  equally — used to modify an adjective or an adverb
<I haven't found any new poems as good as my old favorites — Randall Jarrell>
<neither of them wrote as well after the experience as before it — Van Wyck Brooks>
<nowhere else in the world is there a people as intelligent or perceptive of humor — F. P. Adams>
2
:  for instance :  by way of example :  thus — usually used to introduce illustrative details
<high-pitched sounds come to suggest spatial height, as in bird songs — Thomas Munro>
3
:  when considered in a specified form or relation — usually used before a preposition or a participle

<my opinion as distinguished from his>

as conjunction \əz, (ˌ)az\ 
1
:  to which (degree or amount) :  in which (degree or extent) :  in or to the same degree in which — usually used as a correlative after an adjective or adverb modified by adverbial as or so and often followed by a noun or pronoun representing an incomplete clause whose verb would be the same as that of the main clause
<the position of this science is as honorable as it is secure — L. A. White>
<no general presentation … can interest the children as much as the learning of the foreign language — Ruth Mays>
<his dull red hair was snow-powdered nearly as white as that of a British grenadier>
2
:  in the same way or manner that :  in the form or condition in which
<his hair is brown as are his eyes>
<studied the simile as Horner used it>
— sometimes followed by a noun or pronoun representing an incomplete clause whose verb would be the same as that of the main clause
<during his stay on the island he lived as an islander>
3
:  according to what :  in accordance with that which or the way in which
<as he said, the stream was full of trout>
<his criticisms, as I remember, were coldly received>
<he is really quite good as boys go>
4
:  as if
<were saying farewell to each other as to their childhood — Edith Sitwell>
<this mechanical thought is crushing as with an iron roller all that is organic — W. B. Yeats>
5
:  during or at the same time that :  while, when
<promptly opened fire again as he turned away — C. S. Forester>
<as he paced back and forth the idea occurred to him>
<you will see the tower as you cross the bridge>
6
:  notwithstanding the degree to which :  though
<some see in him, Gael as he was, the earliest Protestant — Gilbert Highet>
7
:  in a manner or degree befitting or having equal certainty with the fact, belief, or hope that
<this swears he, as he is a prince, is just and as I am a gentleman, I credit him — Shakespeare>
<as I live, I cannot believe it>
8
:  for the reason that :  because, since
<remained in great loneliness and considerable privation as he had no income — W. L. Sullivan>
9
dialectal :  than — used in comparisons
<he better not be later as midnight — T. B. Costain>
10
a :  that the result is :  that — used with preceding so or such
<so clearly guilty as to leave no doubt of his conviction>
<and such a son as all men hailed me happy — John Milton>
b :  that — used to introduce a noun clause and now dialectal except in certain negative expressions with know, say, or see that have wide usage in informal speech
<he said as he would come>
<I don't know as it makes any difference>
c dialectal :  in so far as :  that — used to introduce an adverbial clause
<he hasn't come out again as I've seen>
— as is
:  in its present condition :  without any repairs, improvements, or alterations being made
<the car was priced at 00 as is>
— as it were
:  as if it were so :  in a manner of speaking
<her triumph, as it were, did not last long>
— as new
:  practically new :  in the best secondhand condition
<the clothes offered for sale were all prewar and all as new>
— as was
British, informal
— used after a former name
<Myanmar—Burma as was [=Myanmar, which was formerly called Burma]>
— as you were
— a military command used (1) to cancel another command that has not yet been executed or (2) to direct troops to return to the position occupied before the last command
Origin of AS

Medieval Latin as, alse, alswa

The point of this post was to highlight the dimension of just one word, as, in the poem.  How did Fenn use the word "as" in the above sentence?