The only thing I miss on stage is the falsetto.
quote by Barry Gibb
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The Rosciad
Unknowing and unknown, the hardy Muse
Boldly defies all mean and partial views;
With honest freedom plays the critic's part,
And praises, as she censures, from the heart.
Roscius deceased, each high aspiring player
Push'd all his interest for the vacant chair.
The buskin'd heroes of the mimic stage
No longer whine in love, and rant in rage;
The monarch quits his throne, and condescends
Humbly to court the favour of his friends;
For pity's sake tells undeserved mishaps,
And, their applause to gain, recounts his claps.
Thus the victorious chiefs of ancient Rome,
To win the mob, a suppliant's form assume;
In pompous strain fight o'er the extinguish'd war,
And show where honour bled in every scar.
But though bare merit might in Rome appear
The strongest plea for favour, 'tis not here;
We form our judgment in another way;
And they will best succeed, who best can pay:
Those who would gain the votes of British tribes,
Must add to force of merit, force of bribes.
What can an actor give? In every age
Cash hath been rudely banish'd from the stage;
Monarchs themselves, to grief of every player,
Appear as often as their image there:
They can't, like candidate for other seat,
Pour seas of wine, and mountains raise of meat.
Wine! they could bribe you with the world as soon,
And of 'Roast Beef,' they only know the tune:
But what they have they give; could Clive do more,
Though for each million he had brought home four?
Shuter keeps open house at Southwark fair,
And hopes the friends of humour will be there;
In Smithfield, Yates prepares the rival treat
For those who laughter love, instead of meat;
Foote, at Old House,--for even Foote will be,
In self-conceit, an actor,--bribes with tea;
Which Wilkinson at second-hand receives,
And at the New, pours water on the leaves.
The town divided, each runs several ways,
As passion, humour, interest, party sways.
Things of no moment, colour of the hair,
Shape of a leg, complexion brown or fair,
A dress well chosen, or a patch misplaced,
Conciliate favour, or create distaste.
From galleries loud peals of laughter roll,
And thunder Shuter's praises; he's so droll.
Embox'd, the ladies must have something smart,
[...] Read more
poem by Charles Churchill
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Get Off The Stage
Oh, you silly old man
You silly old man
Youre making a fool of yourself
So get off the stage
You silly old man
In your misguided trousers
With your mascara and your fender guitar
And you think you can arouse us ?
But the song that you just sang
It sounds exactly like the last one
And the next one
I bet you it will sound
Like this one
Downstage, and offstage
Dont you feel all run in ?
And do you wonder when they will take it away ?
This is your final fling
But then applause ran high
But for the patience of the ones behind you
As a verse drags on like a month drags on
Its very short, but it seems very long
And the song that you just sang
It sounds exactly like the last one
And the next one
I bet you it will sound
Like this one
So, get off the stage
Oh, get off the stage
And when we get down off of the stage
Please stay off the stage - all day !
Get off the stage
Oh, get off the stage
And when weve had our money back
Then Id like your back in plaster
Oh, I know that you say
How age has no meaning
Oh, but here is your audience now
And theyre screaming :
Get off the stage
Oh, get off the stage
Because Ive given you enough of my time
And the money that wasnt even mine
Have you seen yourself recently ?
Oh, get off the stage
Oh, get off the stage
For whom, oh ...
For whom, oh ...
For whom, oh ...
For whom, oh ...
Get off the stage
[...] Read more
song performed by Morrissey
Added by Lucian Velea
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Child Molester
Note- I wanted to write something something darker and deeper then what I currently have been.
This is what came out.
Dark Rewrite of Britney Spear's Womanizer
Storyline-One woman takes the stand that no one else will to save her street from the unthinkable
Perverted neighbor
I know where you're from
I think it's best you get your twisted... going
Got more then just a clue what you're up to
You can play squeaky clean tp all the others gathered here
But I know what you really are, what you really are sickie
Look at you
Tryin' to act so on the up and up
Sickie, you
Got everyone else here fooled
But not me, oh no, not me
Fakin' like deep down you're a good one
Let's just lay our cards out on the table
Get it all out now
Call 'em like we both know 'em
Child molester, child-child molester
You're a child molester
Oh, child molester, oh you're a child molester, sickie
You-you know-you know you are
You-you know-you know you are
Child molester, child molester, child molester
Sicko, don't try stage that front
Oh no, no, not with me
Cos I know just-just what you are, ah, ah, what you are
Sicko, don't try to stage that front
Oh no, no, not with me
Cos I know just-just what you are, ah, ah, what you are
(Spoken) You got some kind of twisted game goin'
You got them all believin' you're so charmin'
But I won't let you keep on doin' it
You child molester
Sicko, don't try stage that front
Oh no, no, not with me
Cos I know just-just what you are, ah, ah, what you are
Sicko, don't try to stage that front
Oh no, no, not with me
Cos I know just-just what you are, ah, ah, what you are
(Spoken) You say I'm crazy
[...] Read more
poem by Ramona Thompson
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Sally Simpson
Outside the house mr. simpson announced
Outside the house mr. simpson announced
That sally couldnt go to the meeting.
That sally couldnt go to the meeting.
He went on cleaning his blue rolls royce
He went on cleaning his blue rolls royce
And she ran inside weeping.
And she ran inside weeping.
She got to her room and tears splashed the picture
She got to her room and tears splashed the picture
Of the new messiah.
Of the new messiah.
She picked up a book of her fathers life
She picked up a book of her fathers life
And threw it on the fire!
And threw it on the fire!
She knew from the start
She knew from the start
Deep down in her heart
Deep down in her heart
That she and tommy were worlds apart,
That she and tommy were worlds apart,
But her mother said never mind your part...
But her mother said never mind your part...
Is to be what youll be.
Is to be what youll be.
The theme of the sermon was come unto me,
The theme of the sermon was come unto me,
Love will find a way,
Love will find a way,
So sally decided to ignore her dad,
So sally decided to ignore her dad,
And sneak out anyway!
And sneak out anyway!
She spent all afternoon getting ready,
She spent all afternoon getting ready,
And decided shed try to touch him,
And decided shed try to touch him,
Maybe hed see that she was free
Maybe hed see that she was free
And talk to her this sunday.
And talk to her this sunday.
She knew from the start
She knew from the start
Deep down in her heart
Deep down in her heart
That she and tommy were worlds apart,
That she and tommy were worlds apart,
But her mother said never mind your part...
But her mother said never mind your part...
[...] Read more
song performed by Who
Added by Lucian Velea
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The Parrot and the Billy-Goat
There were no romping children at Doctor Quibble's door;
Long past the silver wedding, no toys lay on the floor,
But to relieve her longings, to soothe her vain regrets,
His good wife had contrived to raise a family of pets.
What! a family of pets?
Yes! a family of pets;
His good wife had contrived to raise a family of pets.
A Spanish alto, Polly, who sang from early morn;
A bearded actor, Billy, who play'd the double horn;
A mimic man, Falsetto, who scaled the treble staff,
And climb'd the ledger lines above, and made the people laugh.
What! and made the people laugh?
Yes! and made the people laugh;
And climb'd the ledger lines above, and made the people laugh.
Remark'd the joking Doctor: "My dear, you ought to get
Another one -- a basso -- and have a full quartette."
She took his words in earnest, nor thought of ridicule;
She bargain'd from a circus man a educated mule.
What! an educated mule?
Yes! an educated mule;
She bargain'd from a circus man a educated mule.
Then said the Doctor gravely: "My dear, you should engage
That circus man as tutor, to fit them for the stage;
To cultivate their voices, and train them up by rule --
The parrot and the billy goat, the monkey and the mule."
What! the monkey and the mule?
Yes! the monkey and the mule;
The parrot and the billy goat, the monkey and the mule.
Three weary weeks she waited, and then the job was done;
Their education finish'd, their tutor's fortune won.
Tho' some folks thought she carried her husband's joke too far,
She organized a trav'ling troupe, each pet to be a star.
What! each pet to be a star?
Yes! each pet to be a star;
She organized a trav'ling troupe, each pet to be a star.
She sold a thousand tickets upon the opening night;
But when the curtain lifted, 'twas on a sorry sight:
The bearded actor Billy devoured a music roll;
Then burst the big bass drum, and went headforemost thro' the hole.
[...] Read more
poem by Henry Clay Work
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Sloth
They call me the sloth
Way down in the ghetto
Italian spaghetti
Singing falsetto
Sleeping all day
Rip van winklin
Spend my nights in bars
Glasses tinklin
Im so bad
Hes so nasty
Aint got no friends
Real outcasty
Stay out of my way
Or youll end up a cripple
Ill take this piece of paper
And slice your nipple
They call me the sloth
Way down in the ghetto
Italian spaghetti
Singing falsetto
Sleeping all day
Rip van winklin
Spend my nights in bars
Glasses tinklin
Colonel forbin stared at the fourteen bars that stood at the end of the cell. he ran his hand across the cold, damp dungeon wall and thought again about the door. he had traveled through the door out of necessity. once he knew it existed, he simply couldnt leave it alone. just like wilson. just like tela. just like errand wolfe. and he sat in the dungeon, and he realized that he was back again through the door. and through the tiny window in the corner of his cell, he heard the distant strains.
Errand
Errand
Errand
Errand
And from atop the mountain icculus looked down on all that went on below him. and he smiled.
song performed by Phish
Added by Lucian Velea
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Dont Let Me Down
Yeah-aahhh-yeah, ooooooooohhhhh
Even though Im scared,
And Im not pre-pared
I need to know
A way
To be oh so-sure
That-i-can-ah-dore your-heart (your-heart) your-soul(your-soul) your love
cos baby I care,
And I hope you feel the same (echo)
Dont let me down
Im telling you that youre my baby
The worlds gone crazy
This love weve found
Dont always come around (----wont you dance)
So-im-telling-you baby
Im still around (echo)
Ohhhhh-oh-oh-oh
Hhmmmmm-hm-hm
I apolgise,
For the way that i
Describe
My mind
To you.
With my-love for-you,
I would not fail to keep you true
Its all, i-have, to-do-do-do
cos baby, I care,
And I hope you feel the same (echo)
Dont deny me
Dont let me down
Im telling youw that youre my baby
The worlds gone crazy,
This love weve found (echo)
Dont always come around (----wont you dance)
So-im-telling-you baby
Im still around
(indeterminate warbling? falsetto cos you stole my heart. not-falsetto yes-you-did)
cos baby I care,
I hope you feel the same
Dont deny me (dont let me down (echo), Im telling you)
Im telling you (that youre my baby, the worlds gone crazy (echo))
This love weve found (echo)
Dont always come around (----wont you dance)
So Im telling you baby
Dont let me down (dont let me down-down)
Im telling you that youre my baby (youre my baby)
The worlds gone crazy
This love weve found (weve found)
Dont always come around (----wont you dance)
song performed by Will Young
Added by Lucian Velea
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Dont Let Me Down
Yeah-aahhh-yeah, ooooooooohhhhh
Even though Im scared,
And Im not pre-pared
I need to know
A way
To be oh so-sure
That-i-can-ah-dore your-heart (your-heart) your-soul(your-soul) your love
cos baby I care,
And I hope you feel the same (echo)
Dont let me down
Im telling you that youre my baby
The worlds gone crazy
This love weve found
Dont always come around (----wont you dance)
So-im-telling-you baby
Im still around (echo)
Ohhhhh-oh-oh-oh
Hhmmmmm-hm-hm
I apolgise,
For the way that i
Describe
My mind
To you.
With my-love for-you,
I would not fail to keep you true
Its all, i-have, to-do-do-do
cos baby, I care,
And I hope you feel the same (echo)
Dont deny me
Dont let me down
Im telling youw that youre my baby
The worlds gone crazy,
This love weve found (echo)
Dont always come around (----wont you dance)
So-im-telling-you baby
Im still around
(indeterminate warbling? falsetto cos you stole my heart. not-falsetto yes-you-did)
cos baby I care,
I hope you feel the same
Dont deny me (dont let me down (echo), Im telling you)
Im telling you (that youre my baby, the worlds gone crazy (echo))
This love weve found (echo)
Dont always come around (----wont you dance)
So Im telling you baby
Dont let me down (dont let me down-down)
Im telling you that youre my baby (youre my baby)
The worlds gone crazy
This love weve found (weve found)
Dont always come around (----wont you dance)
song performed by Will Young
Added by Lucian Velea
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Spleen (I)
Pluviôse, irrité contre la ville entière,
De son urne à grands flots verse un froid ténébreux
Aux pâles habitants du voisin cimetière
Et la mortalité sur les faubourgs brumeux.
Mon chat sur le carreau cherchant une litière
Agite sans repos son corps maigre et galeux;
L'âme d'un vieux poète erre dans la gouttière
Avec la triste voix d'un fantôme frileux.
Le bourdon se lamente, et la bûche enfumée
Accompagne en fausset la pendule enrhumée
Cependant qu'en un jeu plein de sales parfums,
Héritage fatal d'une vieille hydropique,
Le beau valet de coeur et la dame de pique
Causent sinistrement de leurs amours défunts.
--------------------------------- -----------------------------------------------
Spleen
January, irritated with the whole city,
Pours from his urn great waves of gloomy cold
On the pale occupants of the nearby graveyard
And death upon the foggy slums.
My cat seeking a bed on the tiled floor
Shakes his thin, mangy body ceaselessly;
The soul of an old poet wanders in the rain-pipe
With the sad voice of a shivering ghost.
The great bell whines, the smoking log
Accompanies in falsetto the snuffling clock,
While in a deck of cards reeking of filthy scents,
My mortal heritage from some dropsical old woman,
The handsome knave of hearts and the queen of spades
Converse sinisterly of their dead love affair.
— Translated by William Aggeler
---------------------------------- -------------------------------------------
Spleen
The Month of Rains, incensed at life, outpours
Out of her urn, a dark chill, like a penance,
Over the graveyards and their wan, grey tenants
And folk in foggy suburbs out of doors.
[...] Read more
poem by Charles Baudelaire
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The Apology
ADDRESSED TO THE CRITICAL REVIEWERS.
Tristitiam et Metus.--HORACE.
Laughs not the heart when giants, big with pride,
Assume the pompous port, the martial stride;
O'er arm Herculean heave the enormous shield,
Vast as a weaver's beam the javelin wield;
With the loud voice of thundering Jove defy,
And dare to single combat--what?--A fly!
And laugh we less when giant names, which shine
Establish'd, as it were, by right divine;
Critics, whom every captive art adores,
To whom glad Science pours forth all her stores;
Who high in letter'd reputation sit,
And hold, Astraea-like, the scales of wit,
With partial rage rush forth--oh! shame to tell!--
To crush a bard just bursting from the shell?
Great are his perils in this stormy time
Who rashly ventures on a sea of rhyme:
Around vast surges roll, winds envious blow,
And jealous rocks and quicksands lurk below:
Greatly his foes he dreads, but more his friends;
He hurts me most who lavishly commends.
Look through the world--in every other trade
The same employment's cause of kindness made,
At least appearance of good will creates,
And every fool puffs off the fool he hates:
Cobblers with cobblers smoke away the night,
And in the common cause e'en players unite;
Authors alone, with more than savage rage,
Unnatural war with brother authors wage.
The pride of Nature would as soon admit
Competitors in empire as in wit;
Onward they rush, at Fame's imperious call,
And, less than greatest, would not be at all.
Smit with the love of honour,--or the pence,--
O'errun with wit, and destitute of sense,
Should any novice in the rhyming trade
With lawless pen the realms of verse invade,
Forth from the court, where sceptred sages sit,
Abused with praise, and flatter'd into wit,
Where in lethargic majesty they reign,
And what they won by dulness, still maintain,
Legions of factious authors throng at once,
Fool beckons fool, and dunce awakens dunce.
To 'Hamilton's the ready lies repair--
Ne'er was lie made which was not welcome there--
Thence, on maturer judgment's anvil wrought,
The polish'd falsehood's into public brought.
[...] Read more
poem by Charles Churchill
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X-ray inferno
They called me to be an extra
They did not know I had a camera in my soul
For some all the worlds a stage
For some all the stage is the world
Wonder if the great one knew this
When he shook his spears
I was in between
Neither the real actor nor the real lifer
Perhaps this was each interpretation gave up
The stage I was standing on
I could not grasp the text even though I got it in time
Perhaps it was quite enough for a stage
Certainly not for a life
Act 1 and its main character
He had a face unto which
An invisible hand of law left the visible scars
A quite sufficient number of them for a drama
He had those eyes hesitating between comedy and tragedy
There was laughter in one eye and tears in another
He laughed the way the dramaturge ordered him to do
But he cried quite independently
He had those arms destroyed by uncreation
He never knew the text as he had no camera in his soul
Great words of great minds so frequently he stammered
Little did he understand even less did he rehearse
He was a great actor but on this stage
Under the spotlight all he did was stand frozen
Act 2 The Prompter
He was in collusion with the sky
The Hermes of a contemporary theatre
He flattered all the laws of life
He knew exactly how low to go down into his box
So as to avoid the knocks from the stage
He knew exactly what and when
To whisper the texts into whose ears
He had known the text by heart
Even before it was written
Great words of great minds he recited out of his underground darkness
And he always knew the right moment
Because he knew everything about time
He never acted but he was a real lifer
He made more than art out of whispering
And put enormous effort into his role
Up to the point of having vocal cords damaged
Act 3 Dramaturge
[...] Read more
poem by Miroslava Odalovic
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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
[...] Read more
poem by Elizabeth Barrett Browning from Aurora Leigh (1856)
Added by Veronica Serbanoiu
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III. The Other Half-Rome
Another day that finds her living yet,
Little Pompilia, with the patient brow
And lamentable smile on those poor lips,
And, under the white hospital-array,
A flower-like body, to frighten at a bruise
You'd think, yet now, stabbed through and through again,
Alive i' the ruins. 'T is a miracle.
It seems that, when her husband struck her first,
She prayed Madonna just that she might live
So long as to confess and be absolved;
And whether it was that, all her sad life long
Never before successful in a prayer,
This prayer rose with authority too dread,—
Or whether, because earth was hell to her,
By compensation, when the blackness broke
She got one glimpse of quiet and the cool blue,
To show her for a moment such things were,—
Or else,—as the Augustinian Brother thinks,
The friar who took confession from her lip,—
When a probationary soul that moved
From nobleness to nobleness, as she,
Over the rough way of the world, succumbs,
Bloodies its last thorn with unflinching foot,
The angels love to do their work betimes,
Staunch some wounds here nor leave so much for God.
Who knows? However it be, confessed, absolved,
She lies, with overplus of life beside
To speak and right herself from first to last,
Right the friend also, lamb-pure, lion-brave,
Care for the boy's concerns, to save the son
From the sire, her two-weeks' infant orphaned thus,
And—with best smile of all reserved for him—
Pardon that sire and husband from the heart.
A miracle, so tell your Molinists!
There she lies in the long white lazar-house.
Rome has besieged, these two days, never doubt,
Saint Anna's where she waits her death, to hear
Though but the chink o' the bell, turn o' the hinge
When the reluctant wicket opes at last,
Lets in, on now this and now that pretence,
Too many by half,—complain the men of art,—
For a patient in such plight. The lawyers first
Paid the due visit—justice must be done;
They took her witness, why the murder was.
Then the priests followed properly,—a soul
To shrive; 't was Brother Celestine's own right,
The same who noises thus her gifts abroad.
But many more, who found they were old friends,
Pushed in to have their stare and take their talk
[...] Read more
poem by Robert Browning from The Ring and the Book
Added by Veronica Serbanoiu
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The Four Ages of Man
1.1 Lo now! four other acts upon the stage,
1.2 Childhood, and Youth, the Manly, and Old-age.
1.3 The first: son unto Phlegm, grand-child to water,
1.4 Unstable, supple, moist, and cold's his Nature.
1.5 The second: frolic claims his pedigree;
1.6 From blood and air, for hot and moist is he.
1.7 The third of fire and choler is compos'd,
1.8 Vindicative, and quarrelsome dispos'd.
1.9 The last, of earth and heavy melancholy,
1.10 Solid, hating all lightness, and all folly.
1.11 Childhood was cloth'd in white, and given to show,
1.12 His spring was intermixed with some snow.
1.13 Upon his head a Garland Nature set:
1.14 Of Daisy, Primrose, and the Violet.
1.15 Such cold mean flowers (as these) blossom betime,
1.16 Before the Sun hath throughly warm'd the clime.
1.17 His hobby striding, did not ride, but run,
1.18 And in his hand an hour-glass new begun,
1.19 In dangers every moment of a fall,
1.20 And when 'tis broke, then ends his life and all.
1.21 But if he held till it have run its last,
1.22 Then may he live till threescore years or past.
1.23 Next, youth came up in gorgeous attire
1.24 (As that fond age, doth most of all desire),
1.25 His Suit of Crimson, and his Scarf of Green.
1.26 In's countenance, his pride quickly was seen.
1.27 Garland of Roses, Pinks, and Gillyflowers
1.28 Seemed to grow on's head (bedew'd with showers).
1.29 His face as fresh, as is Aurora fair,
1.30 When blushing first, she 'gins to red the Air.
1.31 No wooden horse, but one of metal try'd:
1.32 He seems to fly, or swim, and not to ride.
1.33 Then prancing on the Stage, about he wheels;
1.34 But as he went, death waited at his heels.
1.35 The next came up, in a more graver sort,
1.36 As one that cared for a good report.
1.37 His Sword by's side, and choler in his eyes,
1.38 But neither us'd (as yet) for he was wise,
1.39 Of Autumn fruits a basket on his arm,
1.40 His golden rod in's purse, which was his charm.
1.41 And last of all, to act upon this Stage,
1.42 Leaning upon his staff, comes up old age.
1.43 Under his arm a Sheaf of wheat he bore,
1.44 A Harvest of the best: what needs he more?
1.45 In's other hand a glass, ev'n almost run,
1.46 This writ about: This out, then I am done.
1.47 His hoary hairs and grave aspect made way,
1.48 And all gave ear to what he had to say.
1.49 These being met, each in his equipage
1.50 Intend to speak, according to their age,
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poem by Anne Bradstreet
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Getting Old
When you’re young you think you know it all
Then you get old and life begins to unfold.
In their youth they don’t think ahead
The future is something they do not dread.
They feel that everything in life they can control
They’re young and strong and very bold.
Aaaah! Those beautiful days bring back memories
Of how simple life used to be.
Youth had respect for the elderly
And their fellow man.
Now the elderly they try to scam.
When they are older they will see
They want respect and to live with dignity.
they are young and they don’t seem to understand
That with age you may need a helping hand.
Everything in life comes in stages
It’s like a book when you turn the pages
It gets deeper and keeps you enthralled
Until the time that you reach the end
And you’ve lost all your family and friends.
The First stage is when you are a child
And someone is taking care of you for that while.
The Second stage is when you become a teen
And you feel like a king or queen.
You feel that you can not get old
This is what you believe at this stage in your life
Because you’re not looking at the struggles and strife.
The Third stage is the adolescent years
And you feel you’re in control and lose your fears.
The final stage is when you become old and gray
And your youthful years have slipped away.
You look back and ask yourself!
where did All those years go?
Why did I waste so much time?
And the most important thing is
That I am so glad I made you mine
For with you by my side I had a life divine.
So to the youth who have not gotten to this stage
Don’t get angry, and get rid of your rage.
There is no way to turn back the time
For time just moves straight ahead
You’re getting to the point that you now dread.
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poem by Louis Rams
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From Epidermal Taxidermy to Internal Epiphany
FROM EPIDERMAL TAXIDERMY TO INTERNAL EPIPHANY
Portrait of fair mind is neither, nor!
neither mastered nor in pieces shred,
displayed to touring tourists - Turrell's bore -
whose dreams no themes of genius hint ahead.
Could paint drip down to mop pain's vail of tears,
unveiling pooled oasis to exchange,
past wraith, fresh faith to grace remaining years,
then fears would fade before excitement strange.
From monochrome to rainbow glow display
“we are such stuff as dreams are made of” shows,
no lifeless stuffing, feathers drooping, fray;
vitality surpasses surface glows
to put to shame greyed taxidermist’s skills
forever fixed in time: true talent spills.
True talent overflows as curiousity
channels potential, recent acquisitions,
to harness latent energy, to free
flame burning to encounter twin shared visions.
Gold courage holds no secrets for fair muse
whose darker shades may by Miss, understood,
misunderstandings sweep away to choose
hues better read, refusing mirage wood.
If one would ink fresh portrait of fair mind
contact’s impact could do it justice true,
where words match deeds indeed, feed surge behind
layered lines to tempt that talent through.
No taxidermist’s trophy, prized possession,
pro-active win/win casts out sin, transgression.
Shared view should sunshine through tune-blended flow
to filter out, to mend, doubt’s daunting pain,
suspend in amber all imbroglio
freeing focus, tender trust sustain.
Bottled up desire too well preserves
formaldehyde-postponed screw-cap allure,
throttles interaction, tires, reserves
soul’s parking place, secure in sinecure.
Restraints life paints can’t canvas open urge,
anticipate emotions strong, long stored
in hibernation waiting to emerge,
eager for adventures unexplored.
Suspended animation soul-song cheats
with taxidermist version of heart’s beats.
Could luck alight tonight and somehow show
new way to leech frustration numbing brain,
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poem by Jonathan Robin
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Who'll Say Imagination Fails? 0939
Thesis
Spring sap and summer sun prepare a page
Autumnal sending shivers down the spine.
Nine months gestation, three [s]core years, life's stage
Gives way to Winter woes, wan Death's design.
Though leaves believe in triumph for a space
Of years Time runs rings round ridged wrinkled bark,
Night falls too quickly, few leave lasting trace
As bite turns toothless finds falsetto bark.
Then blue skies turn to grey, youth's chestnut tresses,
Adored once, age transmutes to silver pure,
Life's wick is snuffed by Fate, the trick distresses,
Is trapped by Time, pathology none cure.
And yet, who'll say imagination fails,
When your smile warms, storms cease, new lease lifts scales.
Antithesis
Such themes, of tattered trees, of timber logged,
Are far from sure to forward lover's cause.
Nor are nightmares, white hairs, or blood-lines clogged,
Guaranteed to win true love's applause.
Turn then that page, think rather each day brings
Open space to change, to challenge fears,
New light to shed wrong's stings, to spread strong wings
Anticipating flight beyond frontiers
To which embittered habit often clings.
Accompany imagination, steer
Limitless course which no misgivings brings,
Is both at peace with others, self, sincere.
Acclaimed is tolerance, condemned disguise,
Wellspring flame true fame personnifies.
(23 May 2001)
poem by Jonathan Robin
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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:
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poem by Robert Browning (1871)
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Happiness in change of stages
I went on foot to far away school.
Then I rode on a bicycle with a pride.
Later two-wheeler took me to pedestal.
Now a car. In each stage I was happy.
In each stage the intensity was same.
Every up stage is a happy stage
till it is replaced by the next stage.
31.12.2000, Pmdi
poem by Rm. Shanmugam Chettiar
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Thespis: Act II
DRAMATIS PERSONAE
GODS
Jupiter, Aged Diety
Apollo, Aged Diety
Mars, Aged Diety
Diana, Aged Diety
Mercury
THESPIANS
Thespis
Sillimon
TimidonTipseion
Preposteros
Stupidas
Sparkeio n
Nicemis
Pretteia
Daphne
Cymon
ACT II - The same Scene, with the Ruins Restored
SCENE-the same scene as in Act I with the exception that in place
of the ruins that filled the foreground of the stage, the
interior of a magnificent temple is seen showing the background
of the scene of Act I, through the columns of the portico at the
back. High throne. L.U.E. Low seats below it. All the substitute
gods and goddesses [that is to say, Thespians] are discovered
grouped in picturesque attitudes about the stage, eating and
drinking, and smoking and singing the following verses.
CHO. Of all symposia
The best by half
Upon Olympus, here await us.
We eat ambrosia.
And nectar quaff,
It cheers but don't inebriate us.
We know the fallacies,
Of human food
So please to pass Olympian rosy,
We built up palaces,
Where ruins stood,
And find them much more snug and cosy.
SILL. To work and think, my dear,
Up here would be,
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poem by William Schwenck Gilbert
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