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A historical romance is the only kind of book where chastity really counts.

quote by Barbara Cartland
Added by Lucian Velea
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Romance Bore Seduction

Hand blessed hand, caressed.
A blushing rose, her face;
Her breast alive;
The elfin nose, a diamond set -
A kiss upon perfection

Bore a rise of pulse
To coach a sultry moan
Across a mellow breath of wine.
He knew; he sensed,
And easing loose a clasp of lace,
Another sign of her relenting:
Wild the play of eyes,
A fuller glide of skin;

He felt the now begin -
Her swell, intention in the sigh.

And so to hedge his move upon the cue -
The cry of deep anticipation,
Waxing all he saw -
Tho' not for us to view -
Arrived, emotion raw.

Copyright © Mark R Slaughter 2011

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poem by Mark R Slaughter
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Rearview Mirror Romance

Im movin Im feeling like Im rollin on my own (what could be better)
Then somewhere drivin my car the radio turn it on (what could be better)
I check around in traffic from my point of view (what could be better)
Then I saw her in the mirror
Maybe the same thing has happened to you
It was
(chorus)
Romance in a rearview mirror
Romance after just one look
Romance in a rearview mirror
I didnt know her but it didnt matter
Romance in a rearview mirror
Just by chance I still cant believe that its true love reflected sight
Its a rearview romance tonight
She pulled up close first glance I saw here eyes (what could be better)
I couldnt stop starin at her she didnt realize (what could be better)
Then looked up in the mirror smile on her faace
There she goes heaven knows
Maybe the same thing has happened to you
It was
Romance in a rearview mirror
Romance after just one look
Romance in a rearview mirror
I didnt know her but it didnt matter
Romance in a rearview mirror
Just by chance I still cant believe that its true love reflected sight
Its a rearview romance tonight
(solo)
There she goes heaven knows
I wanna meet her all alone
Romance in a rearview mirror
Romance after just one look
Romance in a rearview mirror
I didnt know her but it didnt matter
Romance in a rearview mirror
Just by chance I still cant believe that its true love reflected sight
Its a rearview romance tonight
Romance in a rearview mirror
Romance after just one look
Romance in a rearview mirror
I didnt know her but it didnt matter
Romance in a rearview mirror
Just by chance I still cant believe that its true love reflected sight
Its a rearview romance tonight
Romance in a rearview mirror
Romance after just one look
Romance in a rearview mirror
I didnt know her but it didnt matter
Romance in a rearview mirror
Just by chance I still cant believe that its true love reflected sight

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song performed by Cheap Trick
Added by Lucian Velea
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D. M. S. R.

Everybody, get on the floor
What the helld u come here 4?
Girl it aint no use, u might as well get loose
Work your body like a whore
Say everybody -- get on the beat
Were gonna show u mothers how 2 scream
People everywhere, loosen up your hair
Take a deeper breath and sing along with me, yes
Are u ready?
Everybody everybody ooh (ooh), alright (alright), dance music sex romance
Oh, everybody say ooh (ooh), alright (alright), dance music sex romance
Everybody (everybody) -- loosen up
Shake it like u just dont care (shake it like u just dont care)
Nevermind your friends, girl it aint no sin
2 strip right down 2 your underwear
I say everybody (everybody) -- screw the masses
We only want 2 have some fun (have some fun)
I say do whatever we want, wear lingerie 2 a restaurant
Police aint got no gun, u dont have 2 run
Everybody ooh (ooh), alright (alright), dance music sex romance
Everybody say ooh (ooh), alright (alright), dance music sex romance, oh
Everybody clap your hands now
All the white people clap your hands on the four now
One two three, one two three, one two three, one two three, listen 2 me
I dont wanna be a poet
cuz I dont wanna blow it
I dont care 2 win awards
All I wanna do is dance
Play music sex romance
And try my best 2 never get bored
If u feel all right lemme hear u scream
Somebody say dance (dance), music (music),
Sex (sex), romance (romance)
Somebody say dance (dance), music (music),
Sex (sex), romance (romance)
Everybody say dance (dance), music (music),
Sex (sex), romance (romance)
Everybody say dance (dance), music (music),
Oh say sex (sex), romance (romance)
Everybody dance (dance), music (music),
Everybody say sex (sex), romance (romance) ((d.m.s.r.))
Everybody dance (dance), music (music),
Sex(sex), romance (romance) ((d.m.s.r.))
Alright
Jamie starrs a thief
Its time 2 fix your clock
Vanity 6 is so sweet
No u can all take a bite of my purple rock, can we stop?
Are u ready? (hey!)
Everybody sing this song now, ooh (ooh), alright (alright),

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song performed by Prince
Added by Lucian Velea
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Eighth Book

ONE eve it happened when I sate alone,
Alone upon the terrace of my tower,
A book upon my knees, to counterfeit
The reading that I never read at all,
While Marian, in the garden down below,
Knelt by the fountain (I could just hear thrill
The drowsy silence of the exhausted day)
And peeled a new fig from that purple heap
In the grass beside her,–turning out the red
To feed her eager child, who sucked at it
With vehement lips across a gap of air
As he stood opposite, face and curls a-flame
With that last sun-ray, crying, 'give me, give,'
And stamping with imperious baby-feet,
(We're all born princes)–something startled me,–
The laugh of sad and innocent souls, that breaks
Abruptly, as if frightened at itself;
'Twas Marian laughed. I saw her glance above
In sudden shame that I should hear her laugh,
And straightway dropped my eyes upon my book,
And knew, the first time, 'twas Boccaccio's tales,
The Falcon's,–of the lover who for love
Destroyed the best that loved him. Some of us
Do it still, and then we sit and laugh no more.
Laugh you, sweet Marian! you've the right to laugh,
Since God himself is for you, and a child!
For me there's somewhat less,–and so, I sigh.

The heavens were making room to hold the night,
The sevenfold heavens unfolding all their gates
To let the stars out slowly (prophesied
In close-approaching advent, not discerned),
While still the cue-owls from the cypresses
Of the Poggio called and counted every pulse
Of the skyey palpitation. Gradually
The purple and transparent shadows slow
Had filled up the whole valley to the brim,
And flooded all the city, which you saw
As some drowned city in some enchanted sea,
Cut off from nature,–drawing you who gaze,
With passionate desire, to leap and plunge,
And find a sea-king with a voice of waves,
And treacherous soft eyes, and slippery locks
You cannot kiss but you shall bring away
Their salt upon your lips. The duomo-bell
Strikes ten, as if it struck ten fathoms down,
So deep; and fifty churches answer it
The same, with fifty various instances.
Some gaslights tremble along squares and streets
The Pitti's palace-front is drawn in fire:

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poem by Elizabeth Barrett Browning from Aurora Leigh (1856)
Added by Veronica Serbanoiu
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I. The Ring and the Book

Do you see this Ring?
'T is Rome-work, made to match
(By Castellani's imitative craft)
Etrurian circlets found, some happy morn,
After a dropping April; found alive
Spark-like 'mid unearthed slope-side figtree-roots
That roof old tombs at Chiusi: soft, you see,
Yet crisp as jewel-cutting. There's one trick,
(Craftsmen instruct me) one approved device
And but one, fits such slivers of pure gold
As this was,—such mere oozings from the mine,
Virgin as oval tawny pendent tear
At beehive-edge when ripened combs o'erflow,—
To bear the file's tooth and the hammer's tap:
Since hammer needs must widen out the round,
And file emboss it fine with lily-flowers,
Ere the stuff grow a ring-thing right to wear.
That trick is, the artificer melts up wax
With honey, so to speak; he mingles gold
With gold's alloy, and, duly tempering both,
Effects a manageable mass, then works:
But his work ended, once the thing a ring,
Oh, there's repristination! Just a spirt
O' the proper fiery acid o'er its face,
And forth the alloy unfastened flies in fume;
While, self-sufficient now, the shape remains,
The rondure brave, the lilied loveliness,
Gold as it was, is, shall be evermore:
Prime nature with an added artistry—
No carat lost, and you have gained a ring.
What of it? 'T is a figure, a symbol, say;
A thing's sign: now for the thing signified.

Do you see this square old yellow Book, I toss
I' the air, and catch again, and twirl about
By the crumpled vellum covers,—pure crude fact
Secreted from man's life when hearts beat hard,
And brains, high-blooded, ticked two centuries since?
Examine it yourselves! I found this book,
Gave a lira for it, eightpence English just,
(Mark the predestination!) when a Hand,
Always above my shoulder, pushed me once,
One day still fierce 'mid many a day struck calm,
Across a Square in Florence, crammed with booths,
Buzzing and blaze, noontide and market-time,
Toward Baccio's marble,—ay, the basement-ledge
O' the pedestal where sits and menaces
John of the Black Bands with the upright spear,
'Twixt palace and church,—Riccardi where they lived,
His race, and San Lorenzo where they lie.

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poem by Robert Browning from The Ring and the Book
Added by Veronica Serbanoiu
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Truth and the Devil

The devil unstoppably took pride in salaciously writing; the book of
obnoxious caste-creed and venomously penalizing hatred,

The devil unstoppably took pride in acrimoniously writing; the book of
indiscriminate bloodshed and disastrously traumatizing ruthlessness,

The devil unstoppably took pride in vengefully writing; the book of
tyrannical devastation and lecherously bellicose orphaning,

The devil unstoppably took pride in fretfully writing; the book of
vindictive war and satanically criminal holocausts,

The devil unstoppably took pride in maliciously writing; the book of
coldblooded barbarism and manipulatively bizarre malice,

The devil unstoppably took pride in forlornly writing; the book of
worthless
ghosts and mortuaries brutally anointed with fresh blood,

T The devil unstoppably took pride in indigently writing; the book of
nonchalant spuriousness and fecklessly insipid meaninglessness,

The devil unstoppably took pride in torturously writing; the book of
ominous
animosity and hedonistically pugnacious illwill,

The devil unstoppably took pride in dictatorially writing; the book of
licentious bawdiness and insanely threadbare nothingness,

The devil unstoppably took pride in heinously writing; the book of
lascivious poverty and baselessly crippling uncertainty,

The devil unstoppably took pride in savagely writing; the book of
despicable
defeat and lethally ballistic atrociousness,

The devil unstoppably took pride in raunchily writing; the book of
dolorous
delinquency and insidiously slandering betrayal,

The devil unstoppably took pride in preposterously writing; the book of
scurrilous lunatism and barbarously incarcerating fiendishness,

The devil unstoppably took pride in frigidly writing; the book of
jejune
mockery and impudently castigating brazenness,

The devil unstoppably took pride in heartlessly writing; the book of
ghastly
bloodshed and indefatigably bombarding politics,

[...] Read more

poem by Nikhil Parekh
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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)
Added by Veronica Serbanoiu
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Seventh Book

'THE woman's motive? shall we daub ourselves
With finding roots for nettles? 'tis soft clay
And easily explored. She had the means,
The moneys, by the lady's liberal grace,
In trust for that Australian scheme and me,
Which so, that she might clutch with both her hands,
And chink to her naughty uses undisturbed,
She served me (after all it was not strange,;
'Twas only what my mother would have done)
A motherly, unmerciful, good turn.

'Well, after. There are nettles everywhere,
But smooth green grasses are more common still;
The blue of heaven is larger than the cloud;
A miller's wife at Clichy took me in
And spent her pity on me,–made me calm
And merely very reasonably sad.
She found me a servant's place in Paris where
I tried to take the cast-off life again,
And stood as quiet as a beaten ass
Who, having fallen through overloads, stands up
To let them charge him with another pack.

'A few months, so. My mistress, young and light,
Was easy with me, less for kindness than
Because she led, herself, an easy time
Betwixt her lover and her looking-glass,
Scarce knowing which way she was praised the most.
She felt so pretty and so pleased all day
She could not take the trouble to be cross,
But sometimes, as I stooped to tie her shoe,
Would tap me softly with her slender foot
Still restless with the last night's dancing in't,
And say 'Fie, pale-face! are you English girls
'All grave and silent? mass-book still, and Lent?
'And first-communion colours on your cheeks,
'Worn past the time for't? little fool, be gay!'
At which she vanished, like a fairy, through
A gap of silver laughter.
'Came an hour
When all went otherwise. She did not speak,
But clenched her brows, and clipped me with her eyes
As if a viper with a pair of tongs,
Too far for any touch, yet near enough
To view the writhing creature,–then at last,
'Stand still there, in the holy Virgin's name,
'Thou Marian; thou'rt no reputable girl,
'Although sufficient dull for twenty saints!
'I think thou mock'st me and my house,' she said;
'Confess thou'lt be a mother in a month,

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poem by Elizabeth Barrett Browning from Aurora Leigh (1856)
Added by Veronica Serbanoiu
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Rubaiyat of Romance

Romance draws from response to stimulate,
and span two dreams’ convergence, second state,
meets live with love to spurn Time’s rendezvous,
ignoring jigsaw mind-set’s zigzag gait.

Love is link ‘pheronomic’ catalyzed,
Romance is ritual, hopes realized, -
what complicated seemed is later seen
as simple steps towards goal undisguised.

Romance: a link between ‘pretend’ ‘extend’,
where end to means is sometimes means to end,
where current flow re...volts as feelings churn ~
though real solutions may seem round the bend.

If whirlwind is Romance see dance with fast
advance, retreat before decision’s cast
upon love’s winds which often after time
turn zephyr into cyclone's whirlwind blast.

‘Festina lente’, ‘hasten slowly’, ~ Fate
may be amused when we anticipate
the way the dice is rolled a turn or two,
but should turn guilty temptor from gilt gate.

Romance is all about “anticipate”
while love is passion, - lessons learned too late
may heighten disillusion when heart’s chart
from artless spins to envy, hope to hate.

Romance is bed of roses for the mind,
Love, blind, this channels - nearness, distance pined,

Romance in polychrome makes awesome write
yet turns to empty rite with motives blind.

Be wary of presumption, stretching luck,
too few are called where most, lame, come unstuck,
identify the slipstream tipping crown,
avoid spin drown in cyclone vortex suck.

Oft man and maid confuse Romance and Love,
to summon images of turtle dove,
of partnership above Life's passing years,
no tears may know, advancing hand in glove.

Yet when to test of time is marriage put
Man calls both head and tail despite the foot
which in his mouth so often shows he lies
while maid’s mascara tears soon turns to soot.

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poem by Jonathan Robin
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The Greatest Romance Ever Sold

The greatest romance thats ever been sold
So what do u know, u and me
Finally face 2 face
Checking each other up and down
In all of the obvious places
Was there ever a reason 4 us 2 be apart?
The air that fills up this room says, not hardly
So this is where u end, and u and I begin ...
(thats where u and i, u and I begin)
The greatest romance thats ever been sold
The greatest romance thats ever been sold
Baby, baby
Now your mind is open
2 poetry seldom heard
Ur heart has never been broken
Until uve heard these words:
Your body was designed 2 respond 2 mine
In spite of your desire 2 mold me
And in the middle of it all -
We kiss and like rain (like rain) we fall into ...
The greatest romance thats ever been sold
The greatest romance thats ever been sold
Oh, I know u can feel me,know that u can dance
But what do you know about the greatest romance?
Not what u think, but what u believe
What was the real reason that adam never left eve?
And if the truth sounds like a memory
Then u know it was meant to be (meant 2 be), meant 2 be
Leave your inhibitions behind come on, come on, and see
So this is where u end (this is where u end)
And u and I begin ... (u-hu)
The greatest romance thats ever been sold
The greatest romance thats ever been sold
I know u can feel, I know that u can dance
But what do you know about the greatest romance?
(the greatest romance ...)
Not what u think, but what u believe
Can u tell me the reason (reason) that adam never left eve?
(the greatest (greatest) romance (romance) ...)
Listen 2 me
(... thats ever been sold)
U brought me
The grapes from the vine, yes u did
(the greatest romance ...)
Can I talk 2 u
(... thats ever been sold)
Listen
U help me 2 remember the secrets of time
And u - u - u, u offer me your love, your love, your love
So divine

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song performed by Prince
Added by Lucian Velea
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Every Little Counts

Every second counts
When I am with you
I think you are a pig
You should be in a zoo
I guess I shouldve known
Id end up on my own
Every second counts when I am with you
Every second counts
Every little counts
When I am with you
You make me feel so good
I never felt so new
I saw you long ago
Though you never let it show
Every little counts when I am with you
Every little counts when I am with you
Every second counts
When I am with you
Even though youre stupid
I still follow you
The smile upon your face,
It always stays in place
Every second counts when I am with you
Every second counts when I am with you
Every second...

song performed by New Order
Added by Lucian Velea
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Holiday Romance

On the subway train he sees adverts
For holidays in jamaica, a weekend in
Rome, a cruise round the
Mediterranean, and dreams of a quiet
Week in a little seaside resort away
From his wife, the ducks on the wall,
The soap operas, the office and his
Friends - and who knows, he might
Encounter a holiday romance.
Holiday romance
I had a break for a week
So I booked my seat
And confirmed a reservation
At a quiet little seaside hotel.
I packed my bags
And I caught my train and
Reached my destination
Just in time for the dinner gong--ding dong.
Then I saw lavinia
Standing at the bottom of the stairs.
And I fell for lavinia
The moment that I saw her standing there.
Lavinia looked so divine
As she walked up to the table to dine
And then lavinias eyes met mine.
I thought can this be love,
Can this be lovey-dove
Or just a holiday romance?
Can this be long lost love at last
Or is it just a flash in the pan?
Then after cheese and liqueurs they struck up the band,
I plucked up my courage and I asked lavinia to dance
That was the start of my holiday romance.
Just a holiday romance.
We did the foxtrot, samba and danced through the night
The last waltz came and we held each other so tight.
That was the start of my holiday romance.
Just a holiday romance
A simple holiday romance.
I wonder should I take a chance?
We walked on the beach,
And we paddled our feet,
And we watched all the swimmers,
And my holiday treat felt complete.
We drank lemonade,
And we sat in the shade,
I thought I must be on a winner
And I acted cool and discreet.
For I knew that lavinia
Was the shyest lady that Id ever met,

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song performed by Kinks
Added by Lucian Velea
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The King

"Farewell, Romance!" the Cave-men said;
"With bone well carved he went away,
Flint arms the ignoble arrowhead,
And jasper tips the spear to-day.
Changed are the Gods of Hunt and Dance,
And he with these. Farewell, Romance!"

"Farewell, Romance!" the Lake-folk sighed;
"We lift the weight of flatling years;
The caverns of the mountain-side
Hold him who scorns our hutted piers.
Lost hills whereby we dare not dwell,
Guard ye his rest. Romance, farewell!"

"Farewell, Romance!" the Soldier spoke;
"By sleight of sword we may not win,
But scuffle 'mid uncleanly smoke
Of arquebus and culverin.
Honour is lost, and none may tell
Who paid good blows. Romance, farewell!"

"Farewell, Romance!" the Traders cried;
Our keels ha' lain with every sea;
The dull-returning wind and tide
Heave up the wharf where we would be;
The known and noted breezes swell
Our trudging sail. Romance, farewell!"

"Good-bye, Romance!" the Skipper said;
"He vanished with the coal we burn;
Our dial marks full steam ahead,
Our speed is timed to half a turn.
Sure as the ferried barge we ply
'Twixt port and port. Romance, good-bye!"

"Romance!" the season-tickets mourn,
"~He~ never ran to catch his train,
But passed with coach and guard and horn --
And left the local -- late again!"
Confound Romance! . . . And all unseen
Romance brought up the nine-fifteen.

His hand was on the lever laid,
His oil-can soothed the worrying cranks,
His whistle waked the snowbound grade,
His fog-horn cut the reeking Banks;
By dock and deep and mine and mill
The Boy-god reckless laboured still!

Robed, crowned and throned, he wove his spell,

[...] Read more

poem by Rudyard Kipling
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VI. Giuseppe Caponsacchi

Answer you, Sirs? Do I understand aright?
Have patience! In this sudden smoke from hell,—
So things disguise themselves,—I cannot see
My own hand held thus broad before my face
And know it again. Answer you? Then that means
Tell over twice what I, the first time, told
Six months ago: 't was here, I do believe,
Fronting you same three in this very room,
I stood and told you: yet now no one laughs,
Who then … nay, dear my lords, but laugh you did,
As good as laugh, what in a judge we style
Laughter—no levity, nothing indecorous, lords!
Only,—I think I apprehend the mood:
There was the blameless shrug, permissible smirk,
The pen's pretence at play with the pursed mouth,
The titter stifled in the hollow palm
Which rubbed the eyebrow and caressed the nose,
When I first told my tale: they meant, you know,
"The sly one, all this we are bound believe!
"Well, he can say no other than what he says.
"We have been young, too,—come, there's greater guilt!
"Let him but decently disembroil himself,
"Scramble from out the scrape nor move the mud,—
"We solid ones may risk a finger-stretch!
And now you sit as grave, stare as aghast
As if I were a phantom: now 't is—"Friend,
"Collect yourself!"—no laughing matter more—
"Counsel the Court in this extremity,
"Tell us again!"—tell that, for telling which,
I got the jocular piece of punishment,
Was sent to lounge a little in the place
Whence now of a sudden here you summon me
To take the intelligence from just—your lips!
You, Judge Tommati, who then tittered most,—
That she I helped eight months since to escape
Her husband, was retaken by the same,
Three days ago, if I have seized your sense,—
(I being disallowed to interfere,
Meddle or make in a matter none of mine,
For you and law were guardians quite enough
O' the innocent, without a pert priest's help)—
And that he has butchered her accordingly,
As she foretold and as myself believed,—
And, so foretelling and believing so,
We were punished, both of us, the merry way:
Therefore, tell once again the tale! For what?
Pompilia is only dying while I speak!
Why does the mirth hang fire and miss the smile?
My masters, there's an old book, you should con
For strange adventures, applicable yet,

[...] Read more

poem by Robert Browning from The Ring and the Book
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Radio Romance

(john duarte/mark paul)
I see you baby
Every single day
Holding on to my best friend
But you dont see me
So I make the same request now
Every single night
Going out from me to you
On the dedication line
I wonder if youre listening
To the words that keep me wishing
That one day Ill be kissing you
Wo wo wo
Radio radio romance
Radio radio romance
Radio radio romance
Radio romance
My secret admiration
I wont reveal
I wouldnt want to hurt no one
By tellin how I feel
The dj knows my voice now
He even knows my choice now
He never says my name
He just says from the one
Who loves you baby
Radio radio romance
Radio radio romance
Radio radio romance
Radio romance
One night youll hear a song
And then youll know just who its from
(rap) I see you baby, every single day
Holding on to my best friend
But you dont see me
I wonder if youre listening
To the words that keep me wishing
That one day Ill be kissing you
Wo wo wo
Radio radio romance
Radio radio romance
Radio radio romance
Radio romance

song performed by Tiffany
Added by Lucian Velea
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A Fable For Critics

Phoebus, sitting one day in a laurel-tree's shade,
Was reminded of Daphne, of whom it was made,
For the god being one day too warm in his wooing,
She took to the tree to escape his pursuing;
Be the cause what it might, from his offers she shrunk,
And, Ginevra-like, shut herself up in a trunk;
And, though 'twas a step into which he had driven her,
He somehow or other had never forgiven her;
Her memory he nursed as a kind of a tonic,
Something bitter to chew when he'd play the Byronic,
And I can't count the obstinate nymphs that he brought over
By a strange kind of smile he put on when he thought of her.
'My case is like Dido's,' he sometimes remarked;
'When I last saw my love, she was fairly embarked
In a laurel, as _she_ thought-but (ah, how Fate mocks!)
She has found it by this time a very bad box;
Let hunters from me take this saw when they need it,-
You're not always sure of your game when you've treed it.
Just conceive such a change taking place in one's mistress!
What romance would be left?-who can flatter or kiss trees?
And, for mercy's sake, how could one keep up a dialogue
With a dull wooden thing that will live and will die a log,-
Not to say that the thought would forever intrude
That you've less chance to win her the more she is wood?
Ah! it went to my heart, and the memory still grieves,
To see those loved graces all taking their leaves;
Those charms beyond speech, so enchanting but now,
As they left me forever, each making its bough!
If her tongue _had_ a tang sometimes more than was right,
Her new bark is worse than ten times her old bite.'

Now, Daphne-before she was happily treeified-
Over all other blossoms the lily had deified,
And when she expected the god on a visit
('Twas before he had made his intentions explicit),
Some buds she arranged with a vast deal of care,
To look as if artlessly twined in her hair,
Where they seemed, as he said, when he paid his addresses,
Like the day breaking through, the long night of her tresses;
So whenever he wished to be quite irresistible,
Like a man with eight trumps in his hand at a whist-table
(I feared me at first that the rhyme was untwistable,
Though I might have lugged in an allusion to Cristabel),-
He would take up a lily, and gloomily look in it,
As I shall at the--, when they cut up my book in it.

Well, here, after all the bad rhyme I've been spinning,
I've got back at last to my story's beginning:
Sitting there, as I say, in the shade of his mistress,
As dull as a volume of old Chester mysteries,

[...] Read more

poem by James Russell Lowell
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My Romance Is Not a Part Time Job

My romance is not hard or odd.
Since I've got it to give.
It's here for you...
And it lives.

My romance is not a part time job.
Full time!
You-are-on-my-mind.

You've got to know...
My romance is not hard or odd.
You've got to know...
My romance is not a part time job.
You've got to know...
I'll sweat.
Because I can't let you go!

My romance is not a part time job.
And I'll sweat.
Because I can't let you go!

My romance is not hard or odd.
My romance is not a part time job.
My romance is coming from my heart.
And I'll sweat!
Since I can't let you go!

My romance is not hard or odd.
My romance is not a part time job.
My romance is coming from my heart.
And I'll sweat!
Since I can't let you go!

And I'll sweat!
Since I can't let you go!

poem by Lawrence S. Pertillar
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The Romance Of A Book

Reading a book, you're hit by romance,
No matter the subject matter,
You can read and read,
And every book is different,
Some stories are more pleasant than others,
While some are funny, but most are serious,
For the romance of a book,
Is in everyone's heart,
No matter their age or height,
Whether male or female:
It is all relative and I devour,
Each and every book,
I can read the classics,
Or even a heart-warming romance,
I just get through so many books,
I love every storyline,
Not so much the gory parts,
But the cleverness of the fictional detectives,
And those rock stars that roam the stage,
For a book is something that will never age,
No matter how many years on the shelf,
And stories can be shared with everyone else,
Yet everyone has their own views,
And books can be lifting when they're feeling blue,
For people have been reading fiction for centuries,
But, of course, not all books are fictional:
There're the historical books, interesting,
Even if a reader is just passing through,
And we can all learn something from the history books,
And let's not forget the autobiographies:
Many a man and woman fascinating,
Having lead unique lives and having had special loves,
And there is a romance to these people,
For they walked the same earth as everyone else,
Yet brought something strange and special to the world,
Like a scientist making a new discovery,
Or a rock star penning a hit song,
And all these things are which make books belong,
I haven't met anyone yet who finds books boring,
Because books are not boring: they are fascinating,
Unique, special, strange, romantic and enjoyable,
And every reader's dream: like hitting 'play' on a record,
For this is the romance of a book.

poem by Paula Glynn
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Tale XXI

The Learned Boy

An honest man was Farmer Jones, and true;
He did by all as all by him should do;
Grave, cautious, careful, fond of gain was he,
Yet famed for rustic hospitality:
Left with his children in a widow'd state,
The quiet man submitted to his fate;
Though prudent matrons waited for his call,
With cool forbearance he avoided all;
Though each profess'd a pure maternal joy,
By kind attention to his feeble boy;
And though a friendly Widow knew no rest,
Whilst neighbour Jones was lonely and distress'd;
Nay, though the maidens spoke in tender tone
Their hearts' concern to see him left alone,
Jones still persisted in that cheerless life,
As if 'twere sin to take a second wife.
Oh! 'tis a precious thing, when wives are dead,
To find such numbers who will serve instead;
And in whatever state a man be thrown,
'Tis that precisely they would wish their own;
Left the departed infants--then their joy
Is to sustain each lovely girl and boy:
Whatever calling his, whatever trade,
To that their chief attention has been paid;
His happy taste in all things they approve,
His friends they honour, and his food they love;
His wish for order, prudence in affairs,
An equal temper (thank their stars!), are theirs;
In fact, it seem'd to be a thing decreed,
And fix'd as fate, that marriage must succeed:
Yet some, like Jones, with stubborn hearts and

hard,
Can hear such claims and show them no regard.
Soon as our Farmer, like a general, found
By what strong foes he was encompass'd round,
Engage he dared not, and he could not fly,
But saw his hope in gentle parley lie;
With looks of kindness then, and trembling heart,
He met the foe, and art opposed to art.
Now spoke that foe insidious--gentle tones,
And gentle looks, assumed for Farmer Jones:
'Three girls,' the Widow cried, 'a lively three
To govern well--indeed it cannot be.'
'Yes,' he replied, 'it calls for pains and care:
But I must bear it.'--'Sir, you cannot bear;
Your son is weak, and asks a mother's eye:'
'That, my kind friend, a father's may supply.'

[...] Read more

poem by George Crabbe
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Joseph's Gloss On God

When Joseph tells his brothers: “I
am not God, ” he perhaps implies
that unlike God he sometimes lies,
and unlike Him, is doomed to die.

The words that Joseph never said
are wrong, as we find out when burned;
God often lies, a lesson learned
from history, and God is dead.

Inspired by a review by Paul Buhle of R. Crumb’s The Whole Book of Genesis, in Forward, October 10,2009 (“In the Image of God: The Ambition of R. Crumb’s Graphic Genesis”:

To say this book is a remarkable volume or even a landmark volume in comic art is somewhat of an understatement. It doesn’t hurt that excerpts of the book appeared during the summer in the New Yorker and that the Hammer Museum in Los Angeles is opening an exhibit of the original drawings from which the book’s contents were adapted. “The Book of Genesis, ” Robert Crumb’s version, nevertheless stands on its own as one of this century’s most ambitious artistic adaptations of the West’s oldest continuously told story.
No comic artist has been more influential than Crumb. In terms of sales, his work is dwarfed by the superheroes and, in comic art prestige. Art Spiegelman, and a short list of others including Alison Bechdel and Marjane Sartrapi may have displaced Crumb. But Crumb’s influence abides and endures in his occasional LP/CD covers, in his volumes of collected work (16 volumes so far and counting) , his artistic prizes and a generation of artists who have incorporated his particular view of humanity.
Surprisingly, his best work in 20 years has actually been in the genre of adaptation, specifically an adaptation of Franz Kafka, dating to the mid 1990s. On that highly curious point, any consideration of this “Genesis, ” as a highly personal comic art, properly begins. Notoriously, Crumb is a gentile who fled from his deeply dysfunctional Delaware family to the Cleveland neighborhood of Harvey Pekar and the arms of the first of two Jewish wives. “Crumb, ” the 1994 film documentary, was in many ways about emotional pain (including a brother doomed to suicide) and his craving for a certain kind of woman, who, although possibly any female with a bemuscled backside, was in fact most likely to be Jewish. She, reality and image, was his consolation. The strips that he drew of Jewish-American life, nevertheless, reworked stereotypes, some funny (he visits Florida with his second wife, and holds a tiny grandfather on his knee) , and some, doubtless, insulting to many readers.
In the pages of “Introducing Kafka, ” Crumb became his fictional protagonist with such depth of insight into the logic of the doomed writer, as well as of Kafka’s famed works, that many readers were simply astonished, this reviewer among them. Kafka is the exemplar par excellence of a type of ambiguous, tortured mittel European Jewish personality as it hovered between faith and uncertainty, shortly before the Holocaust. Not Spiegelman, not Ben Katchor, nor Sharon Rudahl, nor others who drew historical or quasi-historical strips about Jewish history, had taken the characterization as far as Crumb. An earlier escape from Middle American culture had propelled Crumb toward his satirical protagonist Mister Natural, a Zen-like, robed quasi-prophet of the 1970s-80s. Three decades later, Crumb’s robed prophets are far from Zen.
Crumb’s “Genesis” is then perfectly serious and the author wants us to know it. As he says on the cover, “Nothing Left Out! ” Every “beget” from the King James Bible can be found here, along with plenty of scenes censored from previous graphic adaptations. And more prose, in the final “Commentary” segment of the book, than non-writer Crumb may have put on the page anywhere, aside from his published letters. More striking for anyone but the seasoned Crumb fan: unlike previous Biblical comic adaptations, including some published and drawn by Jews, Crumb’s characters actually look Jewish, the women even more than the men. The contrast to the classic work, EC Comics’ “Picture Stories from the Bible” (1945) in that respect is most illuminating. But more recent works like the best-selling “Manga Bible” (2000) are not much different (nor was the “The Wolverton Bible” by one of the strangest of comic artists Basil Wolverton) . Close readers will see Crumb’s wife Aline Kominsky, to whom the book is dedicated, again and again, in various guises; perhaps only Chagall drew his beloved wife so often and with such varied imagination.
Not only are the characters Jewish here, they are all ages and sizes. If, for instance, there are more drawings of Jewish elders in any single volume of comic art anywhere, I have never seen them. The women here are beautiful when young, heavily busted with large, muscular thighs. The men are strong, their beards full and noble. The deity has a really big beard and retains his notoriously bad temper, as well as his commanding presence, and absolute demand for loyalty. The animals of Genesis (in Noah’s ark and elsewhere) may be where Crumb is most similar to earlier comic art adaptations of Biblical texts, but they are drawn, like everything else, with such loving care that they are special and demand repeated viewing.
In those extensive notes at the end, Crumb comes as close as he is ever likely to revealing the sources and depth of his commitment to the text. He had been puzzling, no doubt under a wave of feminist criticism, about the gender struggle, until Torah scholar Savina Teubel’s “Sarah the Priestess” (1984) gave him new insight: a matriarchal background, female deities and actual female power, in a society turning toward patriarchy but retaining some elements of women’s prehistorical strength and centrality to the direction of early civilization. If anything is reinterpreted purposefully in “Genesis, ” it is in gender, and Crumb does so not by scoring points but by rearranging the visual subtext. Gender issues also help him reframe somewhat the class dimension of tribal society, which endures not through brute force but because of the strength of its women.
The commentary on his visual choices and his broader interpretations explores and explains his few intentional deviations, not only in the name of narrative clarity but artistic intent. Mainly, his notes drive home how he struggled to interpret the text in suitable graphic form, chapter by chapter, sometimes even character by character. There is no doubting the artist’s integrity or hard work, in no small part because he redrew again and again, trying to find historically accurate clothing and scenery. The Old Testament of cinematic Charlton Heston, so to speak, became the Genesis of lived and perceived experience, socially real and super-real. Clues are provided with translations of specific Hebrew names within the visual text, essentially metaphorical in meaning. These clues may be the closest to footnotes that Crumb has ever provided.
Comics scholar Jeet Heer, has noted in “Bookforum” that Crumb’s biblical characters, with the exception of the deity, have no internal lives: only the deity has depth and personality. As with the original text, much more is implied in Crumb’s visual text than can be stated, because scenes rush by so fast and because the artist forever works out, pen or brush in hand, a unique meaning that escapes easy interpretation. Even closer to the mark, Heer argues that above all, this is a book about bodies, the natural expression of an artist whose work has, possibly more than any other master of comic art, been concerned with body structure and expression.
And offending the deity? Crumb treads with a caution all the more remarkable for an artist, who, short decades ago, allowed himself the full run of his imagination, heedless of the consequences. Crumb’s innovation might be summed up in his characterization of Joseph, brilliant in subjugating Egypt but weary of his own powers. In the final phrases of the book, the artist suggests a radical view several thousand years previous to Jewish Karl Marx. “In the very last chapter, when his obstreperous brothers fling themselves at this feet and proclaim, ‘Here we are, your slaves, ’ he says to them, “I am not God, am I’ Joseph has learned a much finer humility than the fear-driven kind shown by his barbaric brothers.” So says a humble Crumb.

10/22/09

poem by Gershon Hepner
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