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To me, a painter, if not the most useful, is the least harmful member of our society.

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Painter Man

Went to college, studied arts
To be an artist make a start
Studied hard, gettin my degree
But no one seemed to notice me
Painter man, painter man
Who wanna be a painter man
Painter man, painter man
Who wanna be a painter man
Tried cartoons and comic books
Dirty postcards could have done
Here was where the money laid
Classic art has had its day
Painter man, painter man
Who wanna be a painter man
Painter man, painter man
Who wanna be a painter man
Did adverts for t.v.
Household shops and brands of tea
Labels all around the cans
Who wanna be a painter man
Painter man, painter man
Who wanna be a painter man
Painter man, painter man
Who wanna be a painter man
La...la...la...la...la...la...
La...la...la...la...la...la...la...
Painter man, painter man
Who wanna be a painter man

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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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Last Instructions to a Painter

After two sittings, now our Lady State
To end her picture does the third time wait.
But ere thou fall'st to work, first, Painter, see
If't ben't too slight grown or too hard for thee.
Canst thou paint without colors? Then 'tis right:
For so we too without a fleet can fight.
Or canst thou daub a signpost, and that ill?
'Twill suit our great debauch and little skill.
Or hast thou marked how antic masters limn
The aly-roof with snuff of candle dim,
Sketching in shady smoke prodigious tools?
'Twill serve this race of drunkards, pimps and fools.
But if to match our crimes thy skill presumes,
As th' Indians, draw our luxury in plumes.
Or if to score out our compendious fame,
With Hooke, then, through the microscope take aim,
Where, like the new Comptroller, all men laugh
To see a tall louse brandish the white staff.
Else shalt thou oft thy guiltless pencil curse,
Stamp on thy palette, not perhaps the worse.
The painter so, long having vexed his cloth--
Of his hound's mouth to feign the raging froth--
His desperate pencil at the work did dart:
His anger reached that rage which passed his art;
Chance finished that which art could but begin,
And he sat smiling how his dog did grin.
So mayst thou pérfect by a lucky blow
What all thy softest touches cannot do.

Paint then St Albans full of soup and gold,
The new court's pattern, stallion of the old.
Him neither wit nor courage did exalt,
But Fortune chose him for her pleasure salt.
Paint him with drayman's shoulders, butcher's mien,
Membered like mules, with elephantine chine.
Well he the title of St Albans bore,
For Bacon never studied nature more.
But age, allayed now that youthful heat,
Fits him in France to play at cards and treat.
Draw no commission lest the court should lie,
That, disavowing treaty, asks supply.
He needs no seal but to St James's lease,
Whose breeches wear the instrument of peace;
Who, if the French dispute his power, from thence
Can straight produce them a plenipotence..
Nor fears he the Most Christian should trepan
Two saints at once, St Germain, St Alban,
But thought the Golden Age was now restored,
When men and women took each other's word.

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La Fontaine

The Rhemese

NO city I to Rheims would e'er prefer:
Of France the pride and honour I aver;
The Holy Ampoule and delicious wine,
Which ev'ry one regards as most divine,
We'll set apart, and other objects take:
The beauties round a paradise might make!
I mean not tow'rs nor churches, gates, nor streets;
But charming belles with soft enchanting sweets:
Such oft among the fair Rhemese we view:
Kings might be proud those graces to pursue.

ONE 'mong these belles had to the altar led,
A painter, much esteemed, and who had bread.
What more was requisite!--he lived at ease,
And by his occupation sought to please.
A happy woman all believed his wife;
The husband's talents pleased her to the life:
For gallantry howe'er he was renowned,
And many am'rous dames, who dwelled around,
Would seek the artist with a double aim:
So all our chronicles record his fame.
But since much penetration 's not my boast,
I just believe--what's requisite at most.

WHENE'ER the painter had in hand a fair,
He'd jest his wife, and laugh with easy air;
But Hymen's rights proceeding as they ought,
With jealous fears her breast was never fraught.
She might indeed repay his tricks in kind,
And gratify, in soft amours, her mind,
Except that she less confidence had shown,
And was not led to him the truth to own.

AMONG the men attracted by her smiles,
Two neighbours, much delighted with her wiles;
Were often tempted, by her sprightly wit,
To listen to her chat, and with her sit;
For she had far the most engaging mien,
Of any charmer that around was seen.
Superior understanding she possessed;
Though fond of laughter, frolick, fun, and jest.
She to her husband presently disclosed
The love these cit-gallants to her proposed;
Both known for arrant blockheads through the town,
And ever boasting of their own renown.
To him she gave their various speeches, tones,
Each silly air: their tears, and sighs, and groans;
They'd read, or rather heard, we may believe,
That, when in love, with sighs fond bosoms heave.
Their utmost to succeed these coxcombs tried,

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Howard Nemerov

The Painter Dreaming in the Scholar’s House

in memory of the painters Paul Klee
and Paul Terence Feeley

I

The painter’s eye follows relation out.
His work is not to paint the visible,
He says, it is to render visible.

Being a man, and not a god, he stands
Already in a world of sense, from which
He borrows, to begin with, mental things
Chiefly, the abstract elements of language:
The point, the line, the plane, the colors and
The geometric shapes. Of these he spins
Relation out, he weaves its fabric up
So that it speaks darkly, as music does
Singing the secret history of the mind.
And when in this the visible world appears,
As it does do, mountain, flower, cloud, and tree,
All haunted here and there with the human face,
It happens as by accident, although
The accident is of design. It is because
Language first rises from the speechless world
That the painterly intelligence
Can say correctly that he makes his world,
Not imitates the one before his eyes.
Hence the delightsome gardens, the dark shores,
The terrifying forests where nightfall
Enfolds a lost and tired traveler.

And hence the careless crowd deludes itself
By likening his hieroglyphic signs
And secret alphabets to the drawing of a child.
That likeness is significant the other side
Of what they see, for his simplicities
Are not the first ones, but the furthest ones,
Final refinements of his thought made visible.
He is the painter of the human mind
Finding and faithfully reflecting the mindfulness
That is in things, and not the things themselves.

For such a man, art is an act of faith:
Prayer the study of it, as Blake says,
And praise the practice; nor does he divide
Making from teaching, or from theory.
The three are one, and in his hours of art
There shines a happiness through darkest themes,
As though spirit and sense were not at odds.

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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

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Of Pacchiarotto, and How He Worked in Distemper

I
Query: was ever a quainter
Crotchet than this of the painter
Giacomo Pacchiarotto
Who took "Reform" for his motto?

II
He, pupil of old Fungaio,
Is always confounded (heigho!)
With Pacchia, contemporaneous
No question, but how extraneous
In the grace of soul, the power
Of hand,—undoubted dower
Of Pacchia who decked (as we know,
My Kirkup!) San Bernardino,
Turning the small dark Oratory
To Siena's Art-laboratory,
As he made its straitness roomy
And glorified its gloomy,
With Bazzi and Beccafumi.
(Another heigho for Bazzi:
How people miscall him Razzi!)

III
This Painter was of opinion
Our earth should be his dominion
Whose Art could correct to pattern
What Nature had slurred—the slattern!
And since, beneath the heavens,
Things lay now at sixes and sevens,
Or, as he said, sopra-sotto—
Thought the painter Pacchiarotto
Things wanted reforming, therefore.
"Wanted it"—ay, but wherefore?
When earth held one so ready
As he to step forth, stand steady
In the middle of God's creation
And prove to demonstration
What the dark is, what the light is,
What the wrong is, what the right is,
What the ugly, what the beautiful,
What the restive, what the dutiful,
In Mankind profuse around him?
Man, devil as now he found him,
Would presently soar up angel
At the summons of such evangel,
And owe—what would Man not owe
To the painter Pacchiarotto?
Ay, look to thy laurels, Giotto!

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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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Country Club

(Catesby Jones/Dennis Lord)
I took a double take out on the interstate
When I saw her makin' eyes at me
So I followed her down - the clubhouse drive
Past the pool on the 18th green
In the parkin' lot...I said it's mighty hot
Maybe I could buy you a beer
She said I'm glad you asked...but I'll have to pass
Cause only members are allowed in here...and I said
Well I'm a member of a country club
Country music is what I love
I drive an old Ford pick-up truck
I do my drink-in from a dixie cup
Yea I'm a bona-fide dancin' fool
I shoot a mighty mean game of pool
At any honky-tonk roadside pub
I'm a member of a country club
You look so invitin'...thought it might be excitin'
For a woman with a limousine
To go bouncin around...in a beat up truck
With a man...in wore out jeans
It's five o'clock before Friday night
Here's where the fun begins
So don't worry 'bout your reputation
Cause you can tell all your friends
Well I'm a member of a country club
Country music is what I love
I drive an old Ford pick-up truck
I do my drink-in from a dixie cup
Yea I'm a bona-fide dancin' fool
I shoot a mighty mean game of pool
At any honky-tonk roadside pub
I'm a member of a country club
Well I'm a member of a country club
Country music is what I love
I drive an old Ford pick-up truck
I do my drink-in from a dixie cup
Yea I'm a bona-fide dancin' fool
I shoot a mighty mean game of pool
At any honky-tonk roadside pub
I'm a member of a country club

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The Sanctity Of Dreams

Paint a moustache on the Mona Lisa
Ride a Harley through the heart of danger
Pick up a pen and fight a war for the right to dream
I was seventeen
Give up my house, sleep for nights on concrete
Meditate with all the bums on Vine Street
No more running, no more hiding in the house of the dead
I think I'll grow some dreads
I believe in the sanctity of dreams
No more running from these masqueraders
I believe that society will never dream like me
I dream of loving, of the empty graveyard
I dream of Vegas and the transcendental wildcard
A place where noone waits to die before they go into the light
And just the blind have sight
I follow nothing but the compass of my instinct
No matter where it leads, I know it will take me to the brink
And leave me there by myself and all alone with my dreams
Can you hear my scream?
I believe in the sanctity of dreams
No more running from these masqueraders
I believe that society will never dream like me
Never dream like me
Society will never dream like me
Never dream like me
Ooh ooh ooh
I believe in the sanctity of dreams
No more running from these masqueraders
I believe that society will never dream like me
Oh-oh
I believe in the sanctity of dreams
No more running from these masqueraders
I believe that society will never dream like me
Never dream like me
Society
Society will never dream like me
Society
Society
Society will never dream like me

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Sanctity Of Dreams

Paint a moustache on the Mona Lisa
Ride a Harley through the heart of danger
Pick up a pen and fight a war for the right to dream
I was seventeen
Give up my house, sleep for nights on concrete
Meditate with all the bums on Vine Street
No more running, no more hiding in the house of the dead
I think I'll grow some dreads
I believe in the sanctity of dreams
No more running from these masqueraders
I believe that society will never dream like me
I dream of loving, of the empty graveyard
I dream of Vegas and the transcendental wildcard
A place where noone waits to die before they go into the light
And just the blind have sight
I follow nothing but the compass of my instinct
No matter where it leads, I know it will take me to the brink
And leave me there by myself and all alone with my dreams
Can you hear my scream?
I believe in the sanctity of dreams
No more running from these masqueraders
I believe that society will never dream like me
Never dream like me
Society will never dream like me
Never dream like me
Ooh ooh ooh
I believe in the sanctity of dreams
No more running from these masqueraders
I believe that society will never dream like me
Oh-oh
I believe in the sanctity of dreams
No more running from these masqueraders
I believe that society will never dream like me
Never dream like me
Society
Society will never dream like me
Society
Society
Society will never dream like me

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The Painter (Ang Pintor)

The Painter...
He colored the sky
He colored the sea
and even the mountains
and the field.

The Painter...
He colored the roses
and even the birds
and animals
in the farm.

The Painter...
even my life...
He colored.

But the Painter,
I guess no one
have seen Him yet.

The Painter...
can anyone paint the colors
of His life?

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A Painter Passing Through

Once upon a time I was on my own
Once upon a time like youve never known
Once upon a time I would be impressed
Once upon a time my life would be obsessed
Once upon a time, once upon a day when
I was in my prime, once along the way
If you want to know my secret dont come runnin after me
For I am just a painter passing through in history
Yesterday is gone, yesterdays alright
Yesterday belongs in my dreams at night
Yesterday is swell, yesterday is great
Yesterday is strong, remembering can wait
Once upon a time, once upon a day when
I was in my prime, once along the way
If you want to know an answer I cant turn your life around
For I am just a painter passing through the underground
I was in my stride, always at my game
Here comes mister cool, along the walk of fame
I was in demand, always in control
The world was in my hands, my touch had turn to gold
Once upon a time, I was in a daze when
I was in my prime, once along the way
If you want to know my secret dont come runnin after me
For I am just a painter passing through in history
Now that I am old, let me rest a spell
All that I am told, I can never tell
Never in my life, never will it pass
I am still alone, remembering at last
Once upon a time, once upon a day when
I was in my prime, once along the way
If you want to know an answer I cant turn your life around
For I am just a painter passing through the underground
If you want to know my secret dont come runnin after me
For I am just a painter passing through in history

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Matthew Arnold

Epilogue To Lessing's Laocooen

One morn as through Hyde Park we walk'd,
My friend and I, by chance we talk'd
Of Lessing's famed Laocooen;
And after we awhile had gone
In Lessing's track, and tried to see
What painting is, what poetry--
Diverging to another thought,
'Ah,' cries my friend, 'but who hath taught
Why music and the other arts
Oftener perform aright their parts
Than poetry? why she, than they,
Fewer fine successes can display?

'For 'tis so, surely! Even in Greece,
Where best the poet framed his piece,
Even in that Phoebus-guarded ground
Pausanias on his travels found
Good poems, if he look'd, more rare
(Though many) than good statues were--
For these, in truth, were everywhere.
Of bards full many a stroke divine
In Dante's, Petrarch's, Tasso's line,
The land of Ariosto show'd;
And yet, e'en there, the canvas glow'd
With triumphs, a yet ampler brood,
Of Raphael and his brotherhood.
And nobly perfect, in our day
Of haste, half-work, and disarray,
Profound yet touching, sweet yet strong,
Hath risen Goethe's, Wordsworth's song;
Yet even I (and none will bow
Deeper to these) must needs allow,
They yield us not, to soothe our pains,
Such multitude of heavenly strains
As from the kings of sound are blown,
Mozart, Beethoven, Mendelssohn. '

While thus my friend discoursed, we pass
Out of the path, and take the grass.
The grass had still the green of May,
And still the unblackan'd elms were gay;
The kine were resting in the shade,
The flies a summer-murmur made.
Bright was the morn and south the air;
The soft-couch'd cattle were as fair
As those which pastured by the sea,
That old-world morn, in Sicily,
When on the beach the Cyclops lay,
And Galatea from the bay
Mock'd her poor lovelorn giant's lay.

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IX. Juris Doctor Johannes-Baptista Bottinius, Fisci et Rev. Cam. Apostol. Advocatus

Had I God's leave, how I would alter things!
If I might read instead of print my speech,—
Ay, and enliven speech with many a flower
Refuses obstinate to blow in print,
As wildings planted in a prim parterre,—
This scurvy room were turned an immense hall;
Opposite, fifty judges in a row;
This side and that of me, for audience—Rome:
And, where yon window is, the Pope should hide—
Watch, curtained, but peep visibly enough.
A buzz of expectation! Through the crowd,
Jingling his chain and stumping with his staff,
Up comes an usher, louts him low, "The Court
"Requires the allocution of the Fisc!"
I rise, I bend, I look about me, pause
O'er the hushed multitude: I count—One, two—

Have ye seen, Judges, have ye, lights of law,—
When it may hap some painter, much in vogue
Throughout our city nutritive of arts,
Ye summon to a task shall test his worth,
And manufacture, as he knows and can,
A work may decorate a palace-wall,
Afford my lords their Holy Family,—
Hath it escaped the acumen of the Court
How such a painter sets himself to paint?
Suppose that Joseph, Mary and her Babe
A-journeying to Egypt, prove the piece:
Why, first he sedulously practiseth,
This painter,—girding loin and lighting lamp,—
On what may nourish eye, make facile hand;
Getteth him studies (styled by draughtsmen so)
From some assistant corpse of Jew or Turk
Or, haply, Molinist, he cuts and carves,—
This Luca or this Carlo or the like.
To him the bones their inmost secret yield,
Each notch and nodule signify their use:
On him the muscles turn, in triple tier,
And pleasantly entreat the entrusted man
"Familiarize thee with our play that lifts
"Thus, and thus lowers again, leg, arm and foot!"
—Ensuring due correctness in the nude.
Which done, is all done? Not a whit, ye know!
He,—to art's surface rising from her depth,—
If some flax-polled soft-bearded sire be found,
May simulate a Joseph, (happy chance!)—
Limneth exact each wrinkle of the brow,
Loseth no involution, cheek or chap,
Till lo, in black and white, the senior lives!
Is it a young and comely peasant-nurse

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Juan De Paresa, The Painter's Slave

'T was sunset upon Spain. The sky of June
Bent o'er her airy hills, and on their tops,
The mountain cork-trees caught the fading light
Of a resplendent day. The painter threw
His pencil down, and with a glance of pride
Upon his beautiful and finish'd work,
Went from his rooms. And Juan stood alone—
Gazing upon the canvas, with his arms
Folded across his bosom, and his eye
Fill'd with deep admiration, till a shade
Of earnest thought stole o'er it. With a sigh,
He turn'd away, and leaning listlessly
Against the open casement, look'd abroad.
The cool fresh breezes of the evening came,
To bathe his temples with the scented breath
Of orange blossoms; and the caroll'd song
Of the light-hearted muleteer, who climb'd
The mountain pass—the tinkling of the bells,
That cheer'd his dumb companions on their way—
The passing vesper chime—the song of birds—
And the soft hum of insects—soothingly
Stole in with blended sweetness to his ear.
And then the scene! 't was of Spain's loveliest;
Mountain and forest, emerald pasture slopes,
Dark olive groves, and bowers of lemon-trees;
Vineyards, and tangled glens, the swift cascade,
Leaping from rock to rock, the calm bright stream,
The castle, and the peasant hut, were there,
All group'd in one bright landscape. Juan gazed,
Until the spirit of its beauty pass'd,
Like some fine subtle influence to his heart,
Filling it with rich thoughts. He had not known
The teachings of Philosophy, nor fed
The cravings of his spirit, from the page
Of intellectual glory; but his eye
Had been unseal'd by Nature, and his mind
Was full of nice perceptions; and a love,
Deep and intense, for what was beautiful,
Thrill'd like vitality around his heart,
With an ennobling influence.

He had stood
Beside the easel, day by day, to feed
The pallet of the Painter with the hues
That lived upon the canvas, and had watch'd
The fine and skilful touch, that made a thing
Of magic of the pencil, till he caught
The o'ermastering glow of spirit, and he long'd
So to pour out his soul, and give the forms
Of beauty, that were thronging it, to life.

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The Master's Hand

The painter was a genius,
His pupil knew this well,
For in the times that they discuss
They bond as in a spell...
They think such thoughts that change their art,
Their purpose and their style,
Such that new wisdom can impart
Its reasons for a smile...

The pupil spent a whole weekend
Within the studio,
Together with his brand new friend,
Who seemed all things to know...
The painting pupil's Easter scene
Was called The Cross of Christ.
Behold the Man... The Nazarene...
God's Lamb here sacrificed...

The pupil thought his painting done
When Sunday night came round,
He smiled as if a war was won,
As if a treasure found...
The master painter let him leave
So he could travel home
And yet Christ's painting made him grieve
The cruelty of Rome...

And in the night, he painted on,
Transforming here and there,
A stream of light to shine upon
The Saviour's bleeding hair...
With Pilate's words now coloured gold,
For all the world to see
The greatest story ever told...
Christ died for you and me...

When morning came, he painted still,
The gamblers at Christ's feet,
The thieves who died there on that hill,
The sort you'd hate to meet...
The scoffers in the crowd below
And Mary full of tears...
The crown of thorns, Christ's blood in flow,
While Satan stares and cheers...

Then something new the painter felt
That he should add that day...
A weeping angel humbly knelt
At Christ's feet there to pray...
He was Death's angel sent ahead

[...] Read more

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Ladys Aid Society

In every little town and village too
Somewhere in the neighborhood
Youll find a little band of ladies who
Cant stop doing good
Good for the pigeons in the park
Good for the weekly tea
Good for the national bank where they keep their treasury
Were the ladies aid society
And were really a great bunch of girls
Were the ladies aid society
And soon well take over the world
Here they come marching down the street
Witgh their picket signs in hand
With their blue and white pleated uniforms
And their all girl five-piece band
Down with long haired singing groups
Down with the mayor too
And if you;re under 65 theyre down on you
Were the ladies aid society
And we just want to sell you the truth
Were the ladies aid society
And its time we clamp down on the youth
Were the ladies aid society
And were really a great bunch of girls
Were the ladies aid soicety
And soon well take over the world
Were the ladies aid society
And we just want to sell you the truth
Were the ladies aid society
And its time we clamp down on the youth

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Superficial Society

So I'm not good enough to hang out with your friends
You say it's a bluff, it's no lie
You want to be cool and hang with both sides
But what would they say, I'm the fool
It's a superficial society
It's a bunch of bullshit can't you see
Why wouldn't you wake up to reality
I guess backstabbing ain't the way of life for me
Open your mind and close your eyes
To the things that really persist
It's not your hair or the things you wear
That makes someone socially exist
It's hard to find yourself sometimes
Around the people with a cool policy
Why don't you let yourself unwind
And leave that lame society
Superficial society
Superficial society
Superficial society
It's all superfical to me
Superficial society
Superficial society

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Murder is Bad and Why?

The Man spoke:
'It is in the murdering' he said
that I find the most puzzlement.
Why should I or anyone not murder
one and all. It is, I think, human's basic instinct.

'Look' he said to the priest 'is not all of history;
more a story of murderous war than peace and tranquility?

'So what is most common to human nature?
Seems clear to me, humans murder their fellows, rest up during the peace
and, as soon as possible, get back to the murdering.'

The priest:

'Murder is wrong in God's eyes and in the eyes of society and
the murderer will pay with fire and brimstone, and the death penalty.
Ending murder is the bedrock of all society, even pirates have a code
that says don't murder your fellows.

Humm, said the man 'Society has several faces; it is ok to murder in war, but
not in peace. Where here is the consistency?
Even your God says do not take life but vengeance is mine and murdering in retaliation, he says, is mine. Seems murder is at best relative; sometimes the act of the monster and sometimes the act of the hero in war.
Who decides which is which; and I tell you father I see no hand of God in this but that of politicians. And no one will mistake them for God.

The Sociologist spoke then:

Well, here the point is clear; we kill those who threaten the peace and make society impossible by preying upon the weak. Without restraint bandits and warlords would rule, look abroad Iraq, Afghanistan and the rest. Rule by guns and by the strong is a recipe in the end for mankind's extinction. Therefore, we have the rule murder is not only bad, but stopping murder promotes the good.

The Little Girl:
I think God, and society makes murder bad to protect the children. I think God and society makes things crimes to protect us from adults who would be cruel and leave no one to grow up to inherit this earth.

The Democrat:
There lies the convincing point. Murder is bad because not murdering gives the species a better chance at survival. What species eat their young and have survived? None.
But the larger point is I think is that the genius needed for society to meet all its challenges cannot be predicted. Therefore, all must be preserved because no one can predict from where, or whom, critical keys to human survival will evince.
Take Einstein: who would have made the prediction that a math-challenged youngster would change the world? No one. So the point, kill no one since you are not God and can't know where human salvation will come from.

The Priest said:
Yes, and imagine the world, if Jesus had lived.

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