A curate in the vipers nest.

The below is a computer-generated response from Neo, Neopoet’s AI:

This poem takes on an ambitious subject: a sustained interrogation of scriptural authority, institutional religion, and the gap between professed faith and worldly power. The central accusation—"A priest in a palace is no priest at all"—lands with real force because it is compressed and direct, and the poem earns it by building toward it through accumulated doubt rather than simply asserting it.

The strongest passage is the treatment of Judas. Setting the two biblical accounts of his death against each other—the hanging in Acts and the field of blood in Matthew, both cited by chapter and verse—is a genuinely effective move. Rather than telling the reader the scriptures contradict, the poem stages the contradiction and lets the question "How do you reconcile the contradictions" arise from evidence. This is the poem thinking on the page, and it is the most persuasive thing here.

The imagery in the second stanza also works well. "The leper tied to the mast / Fanned by a reluctant wind / Cooled by the beat of an angel's wing" has a strange, dreamlike specificity, and "reluctant wind" does a lot with a single adjective. This stanza trusts the image to carry meaning without explaining itself, and the poem would benefit from more of that trust elsewhere.

Where the poem is less sure-footed is in the passages that state their argument outright. Lines like "Power and wealth disguised as faith / An engine of control / Fear drives the wheels" name the theme rather than dramatize it, and after the vivid concreteness of the Judas section, this abstraction feels thinner. The "engine" and "wheels" and "craft" metaphors also compete with each other; consolidating around a single controlling image would strengthen the close. One concrete step: consider whether the final stanza's claims could be delivered through a figure as specific as the leper or Jacob's ladder, so the ending shows the same restraint the middle achieves.

A note on surface detail. Several spellings work against the poem's authority on a subject where precision matters—"clemancy," "extrordinary," "Dispondancy," "contridictions," "Sanai," "disgarded," "postion." Because the poem is asking readers to weigh scriptural accuracy, its own accuracy carries extra weight, and a careful proofreading pass would remove an easy distraction. Capitalization and spacing also vary line to line; settling on a consistent approach would let the reader focus on the argument.

One structural observation: the poem shifts from a meditative, image-led opening into a direct address by the end ("What is the end you seek"). That turn toward a second person is powerful, but it arrives suddenly. Introducing that adversarial "you" a little earlier, or seeding it, might make the closing confrontation feel inevitable rather than abrupt.

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 not wondered at the validity of the "Scriptures"?
I think that there is powerful evidence of truth in most of the "bibles of the world."
What we may never discover; is how much of religious writings are the words of 
'God' or man. I have no doubt, that there is something after this world, and we will all discover what, as we shuffle off this mortal coil. I guess that is going to have to be good enough. Nice subject for a dissertation in Seminary school? 
Well done, ~ Geezer.