A modest question

If
L(ife) = some
Of M(atter) + some of S(oul),
Then D(eath) = M + (– S), or does it?
Is D(ying) really S(pirit) (minus M(ass)), to
show of that energy and that ‘I’ that lives on?
Or, is Living made of Material and Spirits, not
one but two, since in the same each moment we
can sing and weep, cry and laugh,
Praise and envy, blame when still and still
inside we know our shame,
And in our Dying must each Self unravel,
Till, when new-combined, it
Can know the unknown
As I?

{Explanatory note on the form employed: This is an example of the (formula-to-words) Fibonaccian Quintenelle (with Vesuvian inversion), which it has to be acknowledged is rarely employed by poets as it is seen as tending to the creation of rather cryptic verse. In a Fibonaccian Quintenelle, the poet generally proceeds from algebraic formula (although this element is considered optional) to lexical discourse, while the stress scheme mimics the Fibonacci series (0,1,1, 2,3,5,8, ...), and the ‘rhyme’ scheme follows a five (thus Quintenelle) end-phoneme structure (a,b,c,d,e). The stress scheme must always move along the number series – at no time can a line have the same number of stresses as the preceding line. [When Vesuvian inversion is incorporated, the Fibonnacian stress scheme peaks at 13 stresses and then recedes back through the sequence to 1 (thus avoiding the need for a single or indeed double landscape format to achieve a complete repetition of the Quintenelle). Vesuvian inversion, though considered a doubtful and possibly bogus term by some academics, is generally seen as derived from the idea of the poem/discourse following volcanic contours, although highly distorted and obviously translated through 90 degrees.*] It should be noted that formula elements should receive their full spoken form so that ‘>’, for example, can only be used in a line of at least two stresses, representing as it does the formulaic equivalent of ‘greater than’. A difficulty with this poetic structure is required line length – in the above example, lines have had to be indented to try and imply their full line length when shown on a landscape format although, unfortunately the indentation has not been accepted by the text submission program and, thus, the indentation no longer can show in the presented text and must be understood. Even when employing Vesuvian inversion, it is necessary to achieve a line length of at least 13 stresses in the 6th line in order to satisfactorily effect a complete repetition of the Quintenelle; a further complexity arises from the tension (some would say ‘incompatibility’) between the Quintenelle and the Vesuvian Fibonaccian in that the Quintenelle is inevitably complete in the penultimate two-stress line, thus leaving the 'poet' with a final one-stress line (which must be included in order to complete the number series) where there is no clear framework for the choice of end-phoneme. However, some say that this very uncertainty is the defining appeal of this particular poetic structure. Others have preferred to dispense with Vesuvian inversion, but these, to effect a complete repetition of the Quintenelle, have had to achieve a final line length of 89 stresses in order to adhere to the Fibonaccian element of the single-repetition Quintenelle:)}
*[Given these doubts about this term, Leon Cornflower proposed the alternative term of reflected semi-Fuji reversion.]