{'fraction_non_alphanumeric': 0.03304347826086956, 'fraction_numerical': 0.0, 'mean_word_length': 4.938144329896907, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
The Flow of Blood in Medieval Norwich

Brueghel's Fall of Icarus is a visually overwhelming painting: aquamarine ex panses of ocean, luminous hills and trees, a world alive with oxen, plowmen, shepherds. The young boy with failed wings plummets to his watery death in a crowded foreground, legs barely visible above engulfing waves. A ship continues its oblivious voyage, a farmer tends his fields, the sun radiates indifferent gold. Transforming Brueghel's painting into poetry, W. H. Auden observed in "Musee des Beaux Arts" that such deaths occur with a diurnal weariness: