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It does not seem that the contradiction which exists between the aristocratic function of art and the democratic structure of modern society can ever be resolved.

quote by Herbert Read
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A Map Of Culture

Culture

Contents

What is Culture?

The Importance of Culture

Culture Varies

Culture is Critical

The Sociobiology Debate

Values, Norms, and Social Control

Signs and Symbols

Language

Terms and Definitions

Approaches to the Study of Culture

Are We Prisoners of Our Culture?

What is Culture?

I prefer the definition used by Ian Robertson: 'all the shared products of society: material and nonmaterial' (Our text defines it in somewhat more ponderous terms- 'The totality of learned, socially transmitted behavior. It includes ideas, values, and customs (as well as the sailboats, comic books, and birth control devices) of groups of people' (p.32) .

Back to Contents

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poem by Nyein Way
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Modern Dancing

Modern, modern, modern, modern dancing
Modern dancing, modern dancing
Modern dancing, modern
I see you acting modernly with the boys and girls
Exposure breeds discovery in the modern world
The 60's hairdos 90's eyes are just flashing lights
A touch of neon hinting class for the modern night
Modern dancing, modern dancing
Modern dancing, modern dancing
Dancing
Modern dancing, modern dancing
Modern dancing, modern
Mono vision tv face and determined eyes
The clothes are perfect the rips in place just the perfect size
Familiarity breeds contempt but it doesn't show
We've heard the music times before but it still makes you go
Modern dancing, modern dancing
Modern dancing, modern dancing
Modern dancing, dancing
....variations to fade....

song performed by Men Without Hats
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Murph Drag

Fellas (yeah), I'm back (back) {fade in}
The aristocratic black (black)
My whip ain't got no crack (crack)
But it got a hell of a bang (hell of a bang)
Fellas (yeah), I'm back (back)
The aristocratic black (black)
My whip ain't got no crack (crack)
But it got a hell of a bang (it's got a hell of a bang)
(What time is it?) {repeat in song)
(Come on) {repeat "777-9311" sample in song}
Everybody get ready
We got a brand new groove
Everybody cold listen
I'm gonna show U what 2 do
Kick your left on the beat y'all
Drag the other one behind
If U really wanna be hip
Then stick out your bottom lip
Now U're jammin' fine
CHORUS:
Murph Drag - Only people with money can do this dance
Can do this dance
Murph Drag - My bank roll's gettin' heavy
My bank roll's gettin' heavy in my pants
Murph Drag - Aristocratic dreams, aristocratic dreams
All the fine ladies scream
Murph Drag - Only people with money can do this dance
Can do this dance
Ho! (Murph...)
Count it
They can't mess with U, M.D. (...Drag)
Put it up
Go'n my brotha, tell 'em what time it is
Everybody get ready
We got a brand new cool
Everybody cold listen
I'm gonna show U what 2 do
But U can't talk 2 pinnacles
U can't talk 2 a gun
We are building up a brand new nation
Business is on the floor
CHORUS
(Put it up)
(We hittin', we hittin')
(Murph Drag) {repeat in BG}
I got a PhD in common sense
Can't nobody mess with me
The original jam operator
I could sell a forest trees (Yount!)
U dance 2 hard, baby (Go'n and tell her Morris)

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song performed by Prince
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Canto the Fourth

I.

I stood in Venice, on the Bridge of Sighs;
A palace and a prison on each hand:
I saw from out the wave her structures rise
As from the stroke of the enchanter’s wand:
A thousand years their cloudy wings expand
Around me, and a dying glory smiles
O’er the far times when many a subject land
Looked to the wingèd Lion’s marble piles,
Where Venice sate in state, throned on her hundred isles!

II.

She looks a sea Cybele, fresh from ocean,
Rising with her tiara of proud towers
At airy distance, with majestic motion,
A ruler of the waters and their powers:
And such she was; her daughters had their dowers
From spoils of nations, and the exhaustless East
Poured in her lap all gems in sparkling showers.
In purple was she robed, and of her feast
Monarchs partook, and deemed their dignity increased.

III.

In Venice, Tasso’s echoes are no more,
And silent rows the songless gondolier;
Her palaces are crumbling to the shore,
And music meets not always now the ear:
Those days are gone - but beauty still is here.
States fall, arts fade - but Nature doth not die,
Nor yet forget how Venice once was dear,
The pleasant place of all festivity,
The revel of the earth, the masque of Italy!

IV.

But unto us she hath a spell beyond
Her name in story, and her long array
Of mighty shadows, whose dim forms despond
Above the dogeless city’s vanished sway;
Ours is a trophy which will not decay
With the Rialto; Shylock and the Moor,
And Pierre, cannot be swept or worn away -
The keystones of the arch! though all were o’er,
For us repeopled were the solitary shore.

V.

[...] Read more

poem by Byron from Childe Harold's Pilgrimage (1818)
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Modern Dance

Maybe I should go and live in amsterdam
In a side street near a big canal
Spend my evenings in the van gogh museum
What a dream, van gogh museum
Maybe its time to see tangiers
A different life-style, some different fears
And maybe I should be in edinburgh
In a kilt in edinburgh
Doin a modern dance
Doin a modern dance
Or maybe I should get a farm in southern france
Where the winds are wispy and the villagers dance
And you and I wed sleep beneath a moon
Moon in june and sleep till noon
And maybe you and I could fall in love
Regain the spirit that we once had
Youd let me hold you and touch the night
That shines so bright, so bright with fright
Doin a modern dance
Doin a modern dance
Shit, maybe I could go to yucatan
Where women are women, a mans a man
Ah, no one confused, ever loses place
With their place in the human race
Maybe Im not cut out for city life
The smell of exhaust, the smell of strife
And maybe you dont wanna be a wife
Its not a life being a wife
Doin a modern dance
Doin a modern dance
So maybe I should go to tanganyika
Where the rivers run, down mountains tall and steep
Or go to india to study chants
And lose romance to a mantras dance
I need a guru, I need some law
Explain to me the things we saw
Why it always comes to this
Its all downhill after the first kiss
Maybe I should move to rotterdam
Maybe move to amsterdam
I should move to ireland, italy, spain
Afghanistan where there is no rain
Or maybe I should just learn a modern dance
Where roles are shifting the modern dance
You never touch you dont know who youre with
This week, this month, this time of year
This week, this month, this time of year
Doin a modern dance
You dont know who youre with modern dance
I should move to pakistan, go to afghanistan

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song performed by Lou Reed
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Fifth Book

AURORA LEIGH, be humble. Shall I hope
To speak my poems in mysterious tune
With man and nature,–with the lava-lymph
That trickles from successive galaxies
Still drop by drop adown the finger of God,
In still new worlds?–with summer-days in this,
That scarce dare breathe, they are so beautiful?–
With spring's delicious trouble in the ground
Tormented by the quickened blood of roots.
And softly pricked by golden crocus-sheaves
In token of the harvest-time of flowers?–
With winters and with autumns,–and beyond,
With the human heart's large seasons,–when it hopes
And fears, joys, grieves, and loves?–with all that strain
Of sexual passion, which devours the flesh
In a sacrament of souls? with mother's breasts,
Which, round the new made creatures hanging there,
Throb luminous and harmonious like pure spheres?–
With multitudinous life, and finally
With the great out-goings of ecstatic souls,
Who, in a rush of too long prisoned flame,
Their radiant faces upward, burn away
This dark of the body, issuing on a world
Beyond our mortal?–can I speak my verse
So plainly in tune to these things and the rest,
That men shall feel it catch them on the quick,
As having the same warrant over them
To hold and move them, if they will or no,
Alike imperious as the primal rhythm
Of that theurgic nature? I must fail,
Who fail at the beginning to hold and move
One man,–and he my cousin, and he my friend,
And he born tender, made intelligent,
Inclined to ponder the precipitous sides
Of difficult questions; yet, obtuse to me,–
Of me, incurious! likes me very well,
And wishes me a paradise of good,
Good looks, good means, and good digestion!–ay,
But otherwise evades me, puts me off
With kindness, with a tolerant gentleness,–
Too light a book for a grave man's reading! Go,
Aurora Leigh: be humble.
There it is;
We women are too apt to look to one,
Which proves a certain impotence in art.
We strain our natures at doing something great,
Far less because it's something great to do,
Than, haply, that we, so, commend ourselves
As being not small, and more appreciable
To some one friend. We must have mediators

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poem by Elizabeth Barrett Browning from Aurora Leigh (1856)
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Prince Hohenstiel-Schwangau, Saviour of Society

Epigraph

Υδραν φονεύσας, μυρίων τ᾽ ἄλλων πόνων
διῆλθον ἀγέλας . . .
τὸ λοίσθιον δὲ τόνδ᾽ ἔτλην τάλας πόνον,
. . . δῶμα θριγκῶσαι κακοῖς.

I slew the Hydra, and from labour pass'd
To labour — tribes of labours! Till, at last,
Attempting one more labour, in a trice,
Alack, with ills I crowned the edifice.

You have seen better days, dear? So have I —
And worse too, for they brought no such bud-mouth
As yours to lisp "You wish you knew me!" Well,
Wise men, 't is said, have sometimes wished the same,
And wished and had their trouble for their pains.
Suppose my Œdipus should lurk at last
Under a pork-pie hat and crinoline,
And, latish, pounce on Sphynx in Leicester Square?
Or likelier, what if Sphynx in wise old age,
Grown sick of snapping foolish people's heads,
And jealous for her riddle's proper rede, —
Jealous that the good trick which served the turn
Have justice rendered it, nor class one day
With friend Home's stilts and tongs and medium-ware,—
What if the once redoubted Sphynx, I say,
(Because night draws on, and the sands increase,
And desert-whispers grow a prophecy)
Tell all to Corinth of her own accord.
Bright Corinth, not dull Thebes, for Lais' sake,
Who finds me hardly grey, and likes my nose,
And thinks a man of sixty at the prime?
Good! It shall be! Revealment of myself!
But listen, for we must co-operate;
I don't drink tea: permit me the cigar!
First, how to make the matter plain, of course —
What was the law by which I lived. Let 's see:
Ay, we must take one instant of my life
Spent sitting by your side in this neat room:
Watch well the way I use it, and don't laugh!
Here's paper on the table, pen and ink:
Give me the soiled bit — not the pretty rose!
See! having sat an hour, I'm rested now,
Therefore want work: and spy no better work
For eye and hand and mind that guides them both,
During this instant, than to draw my pen
From blot One — thus — up, up to blot Two — thus —
Which I at last reach, thus, and here's my line
Five inches long and tolerably straight:

[...] Read more

poem by Robert Browning (1871)
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Intrigue

THOU art my love
And thou art the peace of sundown
When the blue shadows soothe
And the grasses and the leaves sleep
To the song of the little brooks
Woe is me.

Thou art my love,
And thou art a storm
That breaks black in the sky
And, sweeping headlong,
Drenches and cowers each tree
And at the panting end
There is no sound
Save the melancholy cry of a single owl
Woe is me!

Thou art my love
And thou art a tinsel thing
And I in my play
Broke thee easily
And from the little fragments
Arose my long sorrow
Woe is me.

Thou art my love
And thou art a weary violet
Drooping from sun-caresses.
Answering mine carelessly
Woe is me.

Thou art my love
And thou art the ashes of other men's love
And I bury my face in these ashes
And I love them
Woe is me.

Thou art my love
And thou art the beard
On another man's face
Woe is me.

Thou art my love
And thou art a temple
And in this temple is an altar
And on this altar is my heart
Woe is me.

Thou art my love
And thou art a wretch.

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poem by Stephen Crane
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Low Society

A judge a dentist or physician
In this low society
Trade ambition for position
In this low society
Have you heard its in the stars
Next july we collide with mars
Have you heard it in the bars
In this low society
No more pay and lots of leisure
In this low society
Low society
Im just doing what I can
In this low society
But Im an incidental man
In this low society
I give away what others sell
The secrets yours so never tell
cos if you do youll go to hell
Low society
Side by side and always tired
All for one and no-one hired
All thats left is love inspired
Low society
And when the party is complete
And youre still standing on your feet
The taste of victory is sweet
Low society
And darling dont forget
In this low society
To turn off your t.v. set
In this low society
The most important thing at all
In this low society
Is not to stand too tall
In this low society
In this world that never learns
I can see rome as it burns
All the passion and the power
Turns to ash within an hour
No more play and no more pleasure
In this low society

song performed by Heaven 17
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Modern Girl

Shes a modern girl
Out to rule the world
And nothing can stop her now
She knows what she wants
And shes out to get it
Shes a modern girl
Life is hard in a midlands town
For a girl with her head in the clouds
Everybody puts her down
Shes just one of the crowd
She finds it aint easy
To stand on her own two feet
It aint easy
She knows this time she wont be beat
Shes a modern girl
Out to rule the world
And nothing can stop her now
She knows what she wants
And shes out to get it
Shes a modern girl
Now its time for her to find
The way its always been
Love is just a word to her
Another broken dream
She finds it aint easy
To stand on her own two feet
It aint easy
She knows this time she wont be beat
Shes a modern girl
Out to rule the world
And nothing can stop her now
She knows what she wants
And shes out to get it
Shes a modern girl
[instrumental]
She finds it aint easy
To stand on her own two feet
It aint easy
She knows this time she wont be beat
Shes a modern girl
Out to rule the world
And nothing can stop her now
She knows what she wants
And shes out to get it
Shes a modern girl
Shes a modern girl
Out to rule the world
And nothing can stop her now
She knows what she wants
And shes out to get it

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song performed by Rick Astley
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Canto the Fifteenth

I
Ah! -- What should follow slips from my reflection;
Whatever follows ne'ertheless may be
As à-propos of hope or retrospection,
As though the lurking thought had follow'd free.
All present life is but an interjection,
An "Oh!" or "Ah!" of joy or misery,
Or a "Ha! ha!" or "Bah!" -- a yawn, or "Pooh!"
Of which perhaps the latter is most true.

II
But, more or less, the whole's a syncopé
Or a singultus -- emblems of emotion,
The grand antithesis to great ennui,
Wherewith we break our bubbles on the ocean, --
That watery outline of eternity,
Or miniature at least, as is my notion,
Which ministers unto the soul's delight,
In seeing matters which are out of sight.

III
But all are better than the sigh supprest,
Corroding in the cavern of the heart,
Making the countenance a masque of rest,
And turning human nature to an art.
Few men dare show their thoughts of worst or best;
Dissimulation always sets apart
A corner for herself; and therefore fiction
Is that which passes with least contradiction.

IV
Ah! who can tell? Or rather, who can not
Remember, without telling, passion's errors?
The drainer of oblivion, even the sot,
Hath got blue devils for his morning mirrors:
What though on Lethe's stream he seem to float,
He cannot sink his tremors or his terrors;
The ruby glass that shakes within his hand
Leaves a sad sediment of Time's worst sand.

V
And as for love -- O love! -- We will proceed.
The Lady Adeline Amundeville,
A pretty name as one would wish to read,
Must perch harmonious on my tuneful quill.
There's music in the sighing of a reed;
There's music in the gushing of a rill;
There's music in all things, if men had ears:
Their earth is but an echo of the spheres.

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poem by Byron from Don Juan (1824)
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Don Juan: Canto The Fifteenth

Ah!--What should follow slips from my reflection;
Whatever follows ne'ertheless may be
As à-propos of hope or retrospection,
As though the lurking thought had follow'd free.
All present life is but an interjection,
An 'Oh!' or 'Ah!' of joy or misery,
Or a 'Ha! ha!' or 'Bah!'-- a yawn, or 'Pooh!'
Of which perhaps the latter is most true.

But, more or less, the whole's a syncope
Or a singultus - emblems of emotion,
The grand antithesis to great ennui,
Wherewith we break our bubbles on the ocean,--
That watery outline of eternity,
Or miniature at least, as is my notion,
Which ministers unto the soul's delight,
In seeing matters which are out of sight.

But all are better than the sigh supprest,
Corroding in the cavern of the heart,
Making the countenance a masque of rest,
And turning human nature to an art.
Few men dare show their thoughts of worst or best;
Dissimulation always sets apart
A corner for herself; and therefore fiction
Is that which passes with least contradiction.

Ah! who can tell? Or rather, who can not
Remember, without telling, passion's errors?
The drainer of oblivion, even the sot,
Hath got blue devils for his morning mirrors:
What though on Lethe's stream he seem to float,
He cannot sink his tremors or his terrors;
The ruby glass that shakes within his hand
Leaves a sad sediment of Time's worst sand.

And as for love--O love!--We will proceed.
The Lady Adeline Amundeville,
A pretty name as one would wish to read,
Must perch harmonious on my tuneful quill.
There's music in the sighing of a reed;
There's music in the gushing of a rill;
There's music in all things, if men had ears:
Their earth is but an echo of the spheres.

The Lady Adeline, right honourable;
And honour'd, ran a risk of growing less so;
For few of the soft sex are very stable
In their resolves--alas! that I should say so!
They differ as wine differs from its label,

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poem by Byron
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The Cenci : A Tragedy In Five Acts

DRAMATIS PERSONÆ

Count Francesco Cenci.
Giacomo, his Son.
Bernardo, his Son.
Cardinal Camillo.
Orsino, a Prelate.
Savella, the Pope's Legate.
Olimpio, Assassin.
Marzio, Assassin.
Andrea, Servant to Cenci.
Nobles, Judges, Guards, Servants.
Lucretia, Wife of Cenci, and Step-mother of his children.
Beatrice, his Daughter.

The Scene lies principally in Rome, but changes during the Fourth Act to Petrella, a castle among the Apulian Apennines.
Time. During the Pontificate of Clement VIII.

ACT I

Scene I.
-An Apartment in the Cenci Palace.
Enter Count Cenci, and Cardinal Camillo.

Camillo.
That matter of the murder is hushed up
If you consent to yield his Holiness
Your fief that lies beyond the Pincian gate.-
It needed all my interest in the conclave
To bend him to this point: he said that you
Bought perilous impunity with your gold;
That crimes like yours if once or twice compounded
Enriched the Church, and respited from hell
An erring soul which might repent and live:-
But that the glory and the interest
Of the high throne he fills, little consist
With making it a daily mart of guilt
As manifold and hideous as the deeds
Which you scarce hide from men's revolted eyes.

Cenci.
The third of my possessions-let it go!
Ay, I once heard the nephew of the Pope
Had sent his architect to view the ground,
Meaning to build a villa on my vines
The next time I compounded with his uncle:
I little thought he should outwit me so!

[...] Read more

poem by Percy Bysshe Shelley
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Quatrains Of Life

What has my youth been that I love it thus,
Sad youth, to all but one grown tedious,
Stale as the news which last week wearied us,
Or a tired actor's tale told to an empty house?

What did it bring me that I loved it, even
With joy before it and that dream of Heaven,
Boyhood's first rapture of requited bliss,
What did it give? What ever has it given?

'Let me recount the value of my days,
Call up each witness, mete out blame and praise,
Set life itself before me as it was,
And--for I love it--list to what it says.

Oh, I will judge it fairly. Each old pleasure
Shared with dead lips shall stand a separate treasure.
Each untold grief, which now seems lesser pain,
Shall here be weighed and argued of at leisure.

I will not mark mere follies. These would make
The count too large and in the telling take
More tears than I can spare from seemlier themes
To cure its laughter when my heart should ache.

Only the griefs which are essential things,
The bitter fruit which all experience brings;
Nor only of crossed pleasures, but the creed
Men learn who deal with nations and with kings.

All shall be counted fairly, griefs and joys,
Solely distinguishing 'twixt mirth and noise,
The thing which was and that which falsely seemed,
Pleasure and vanity, man's bliss and boy's.

So I shall learn the reason of my trust
In this poor life, these particles of dust
Made sentient for a little while with tears,
Till the great ``may--be'' ends for me in ``must.''

My childhood? Ah, my childhood! What of it
Stripped of all fancy, bare of all conceit?
Where is the infancy the poets sang?
Which was the true and which the counterfeit?

I see it now, alas, with eyes unsealed,
That age of innocence too well revealed.
The flowers I gathered--for I gathered flowers--
Were not more vain than I in that far field.

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poem by Wilfrid Scawen Blunt
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Childe Harold's Pilgrimage: A Romaunt. Canto IV.

I.
I stood in Venice, on the Bridge of Sighs;
A palace and a prison on each hand:
I saw from out the wave her structures rise
As from the stroke of the enchanter's wand:
A thousand years their cloudy wings expand
Around me, and a dying Glory smiles
O'er the far times, when many a subject land
Look'd to the winged Lion's marble piles,
Where Venice sate in state, thron'd on her hundred isles!

II.
She looks a sea Cybele, fresh from ocean,
Rising with her tiara of proud towers
At airy distance, with majestic motion,
A ruler of the waters and their powers:
And such she was; her daughters had their dowers
From spoils of nations, and the exhaustless East
Pour'd in her lap all gems in sparkling showers.
In purple was she rob'd, and of her feast
Monarchs partook, and deem'd their dignity increas'd.

III.
In Venice Tasso's echoes are no more,
And silent rows the songless gondolier;
Her palaces are crumbling to the shore,
And music meets not always now the ear:
Those days are gone -- but Beauty still is here.
States fall, arts fade -- but Nature doth not die,
Nor yet forget how Venice once was dear,
The pleasant place of all festivity,
The revel of the earth, the masque of Italy!

IV.
But unto us she hath a spell beyond
Her name in story, and her long array
Of mighty shadows, whose dim forms despond
Above the dogeless city's vanish'd sway;
Ours is a trophy which will not decay
With the Rialto; Shylock and the Moor,
And Pierre, cannot be swept or worn away --
The keystones of the arch! though all were o'er,
For us repeopl'd were the solitary shore.

V.
The beings of the mind are not of clay;
Essentially immortal, they create
And multiply in us a brighter ray
And more belov'd existence: that which Fate
Prohibits to dull life, in this our state

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poem by Byron
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Canto the Thirteenth

I
I now mean to be serious; -- it is time,
Since laughter now-a-days is deem'd too serious.
A jest at Vice by Virtue's call'd a crime,
And critically held as deleterious:
Besides, the sad's a source of the sublime,
Although when long a little apt to weary us;
And therefore shall my lay soar high and solemn,
As an old temple dwindled to a column.

II
The Lady Adeline Amundeville
('T is an old Norman name, and to be found
In pedigrees, by those who wander still
Along the last fields of that Gothic ground)
Was high-born, wealthy by her father's will,
And beauteous, even where beauties most abound,
In Britain -- which of course true patriots find
The goodliest soil of body and of mind.

III
I'll not gainsay them; it is not my cue;
I'll leave them to their taste, no doubt the best:
An eye's an eye, and whether black or blue,
Is no great matter, so 't is in request,
'T is nonsense to dispute about a hue --
The kindest may be taken as a test.
The fair sex should be always fair; and no man,
Till thirty, should perceive there's a plain woman.

IV
And after that serene and somewhat dull
Epoch, that awkward corner turn'd for days
More quiet, when our moon's no more at full,
We may presume to criticise or praise;
Because indifference begins to lull
Our passions, and we walk in wisdom's ways;
Also because the figure and the face
Hint, that 't is time to give the younger place.

V
I know that some would fain postpone this era,
Reluctant as all placemen to resign
Their post; but theirs is merely a chimera,
For they have pass'd life's equinoctial line:
But then they have their claret and Madeira
To irrigate the dryness of decline;
And county meetings, and the parliament,
And debt, and what not, for their solace sent.

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poem by Byron from Don Juan (1824)
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Don Juan: Canto The Thirteenth

I now mean to be serious;--it is time,
Since laughter now-a-days is deem'd too serious.
A jest at Vice by Virtue's call'd a crime,
And critically held as deleterious:
Besides, the sad's a source of the sublime,
Although when long a little apt to weary us;
And therefore shall my lay soar high and solemn,
As an old temple dwindled to a column.

The Lady Adeline Amundeville
('Tis an old Norman name, and to be found
In pedigrees, by those who wander still
Along the last fields of that Gothic ground)
Was high-born, wealthy by her father's will,
And beauteous, even where beauties most abound,
In Britain - which of course true patriots find
The goodliest soil of body and of mind.

I'll not gainsay them; it is not my cue;
I'll leave them to their taste, no doubt the best:
An eye's an eye, and whether black or blue,
Is no great matter, so 'tis in request,
'Tis nonsense to dispute about a hue -
The kindest may be taken as a test.
The fair sex should be always fair; and no man,
Till thirty, should perceive there 's a plain woman.

And after that serene and somewhat dull
Epoch, that awkward corner turn'd for days
More quiet, when our moon's no more at full,
We may presume to criticise or praise;
Because indifference begins to lull
Our passions, and we walk in wisdom's ways;
Also because the figure and the face
Hint, that 'tis time to give the younger place.

I know that some would fain postpone this era,
Reluctant as all placemen to resign
Their post; but theirs is merely a chimera,
For they have pass'd life's equinoctial line:
But then they have their claret and Madeira
To irrigate the dryness of decline;
And county meetings, and the parliament,
And debt, and what not, for their solace sent.

And is there not religion, and reform,
Peace, war, the taxes, and what's call'd the 'Nation'?
The struggle to be pilots in a storm?
The landed and the monied speculation?
The joys of mutual hate to keep them warm,

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poem by Byron
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Canto the First

I
I want a hero: an uncommon want,
When every year and month sends forth a new one,
Till, after cloying the gazettes with cant,
The age discovers he is not the true one;
Of such as these I should not care to vaunt,
I'll therefore take our ancient friend Don Juan—
We all have seen him, in the pantomime,
Sent to the devil somewhat ere his time.

II
Vernon, the butcher Cumberland, Wolfe, Hawke,
Prince Ferdinand, Granby, Burgoyne, Keppel, Howe,
Evil and good, have had their tithe of talk,
And fill'd their sign posts then, like Wellesley now;
Each in their turn like Banquo's monarchs stalk,
Followers of fame, "nine farrow" of that sow:
France, too, had Buonaparté and Dumourier
Recorded in the Moniteur and Courier.

III
Barnave, Brissot, Condorcet, Mirabeau,
Petion, Clootz, Danton, Marat, La Fayette,
Were French, and famous people, as we know:
And there were others, scarce forgotten yet,
Joubert, Hoche, Marceau, Lannes, Desaix, Moreau,
With many of the military set,
Exceedingly remarkable at times,
But not at all adapted to my rhymes.

IV
Nelson was once Britannia's god of war,
And still should be so, but the tide is turn'd;
There's no more to be said of Trafalgar,
'T is with our hero quietly inurn'd;
Because the army's grown more popular,
At which the naval people are concern'd;
Besides, the prince is all for the land-service,
Forgetting Duncan, Nelson, Howe, and Jervis.

V
Brave men were living before Agamemnon
And since, exceeding valorous and sage,
A good deal like him too, though quite the same none;
But then they shone not on the poet's page,
And so have been forgotten:—I condemn none,
But can't find any in the present age
Fit for my poem (that is, for my new one);
So, as I said, I'll take my friend Don Juan.

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poem by Byron from Don Juan (1824)
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The Ghost - Book IV

Coxcombs, who vainly make pretence
To something of exalted sense
'Bove other men, and, gravely wise,
Affect those pleasures to despise,
Which, merely to the eye confined,
Bring no improvement to the mind,
Rail at all pomp; they would not go
For millions to a puppet-show,
Nor can forgive the mighty crime
Of countenancing pantomime;
No, not at Covent Garden, where,
Without a head for play or player,
Or, could a head be found most fit,
Without one player to second it,
They must, obeying Folly's call,
Thrive by mere show, or not at all
With these grave fops, who, (bless their brains!)
Most cruel to themselves, take pains
For wretchedness, and would be thought
Much wiser than a wise man ought,
For his own happiness, to be;
Who what they hear, and what they see,
And what they smell, and taste, and feel,
Distrust, till Reason sets her seal,
And, by long trains of consequences
Insured, gives sanction to the senses;
Who would not (Heaven forbid it!) waste
One hour in what the world calls Taste,
Nor fondly deign to laugh or cry,
Unless they know some reason why;
With these grave fops, whose system seems
To give up certainty for dreams,
The eye of man is understood
As for no other purpose good
Than as a door, through which, of course,
Their passage crowding, objects force,
A downright usher, to admit
New-comers to the court of Wit:
(Good Gravity! forbear thy spleen;
When I say Wit, I Wisdom mean)
Where (such the practice of the court,
Which legal precedents support)
Not one idea is allow'd
To pass unquestion'd in the crowd,
But ere it can obtain the grace
Of holding in the brain a place,
Before the chief in congregation
Must stand a strict examination.
Not such as those, who physic twirl,
Full fraught with death, from every curl;

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poem by Charles Churchill
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Conversation

Though nature weigh our talents, and dispense
To every man his modicum of sense,
And Conversation in its better part
May be esteem'd a gift, and not an art,
Yet much depends, as in the tiller’s toil,
On culture, and the sowing of the soil.
Words learn'd by rote a parrot may rehearse,
But talking is not always to converse;
Not more distinct from harmony divine,
The constant creaking of a country sign.
As alphabets in ivory employ,
Hour after hour, the yet unletter’d boy,
Sorting and puzzling with a deal of glee
Those seeds of science call’d his a b c;
So language in the mouths of the adult,
Witness its insignificant result,
Too often proves an implement of play,
A toy to sport with, and pass time away.
Collect at evening what the day brought forth,
Compress the sum into its solid worth,
And if it weigh the importance of a fly,
The scales are false, or algebra a lie.
Sacred interpreter of human thought,
How few respect or use thee as they ought!
But all shall give account of every wrong,
Who dare dishonour or defile the tongue;
Who prostitute it in the cause of vice,
Or sell their glory at a market-price;
Who vote for hire, or point it with lampoon,
The dear-bought placeman, and the cheap buffoon.
There is a prurience in the speech of some,
Wrath stays him, or else God would strike them dumb;
His wise forbearance has their end in view,
They fill their measure and receive their due.
The heathen lawgivers of ancient days,
Names almost worthy of a Christian’s praise,
Would drive them forth from the resort of men,
And shut up every satyr in his den.
Oh, come not ye near innocence and truth,
Ye worms that eat into the bud of youth!
Infectious as impure, your blighting power
Taints in its rudiments the promised flower;
Its odour perish’d, and its charming hue,
Thenceforth ‘tis hateful, for it smells of you.
Not e’en the vigorous and headlong rage
Of adolescence, or a firmer age,
Affords a plea allowable or just
For making speech the pamperer of lust;
But when the breath of age commits the fault,
‘Tis nauseous as the vapour of a vault.

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poem by William Cowper
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