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Maze Runner: The Scorch Trials [trailer 2]

Cast: Dylan O'Brien, Nathalie Emmanuel, Thomas Brodie-Sangster, Kaya Scodelario, Aidan Gillen, Katherine McNamara, Giancarlo Esposito, Patricia Clarkson

trailer for Maze Runner: The Scorch Trials, directed by Wes Ball, screenplay by T.S. Nowlin, inspired by James Dashner (2015)
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Emmanuel

Emmanuel, emmanuel.
Wonderful, counselor!
Lord of life, lord of all;
Hes the prince of peace, mighty god, holy one!
Emmanuel, emmanuel.
Emmanuel, emmanuel.
Wonderful, counselor!
Lord of life, lord of all;
Hes the prince of peace, mighty god, holy one!
Emmanuel, emmanuel.
Emmanuel, emmanuel.
Wonderful, counselor!
Lord of life, lord of all;
Hes the prince of peace, mighty god, holy one!
Emmanuel, emmanuel.
Emmanuel, (emmanuel, emmanuel), emmanuel.
Emmanuel, (emmanuel, emmanuel), emmanuel.
Wonderful, counselor!
Lord of life, lord of all;
Hes the prince of peace, mighty god, holy one!
Emmanuel, emmanuel, emmanuel, emmanuel....
(emmanuel, emmanuel, emmanuel, emmanuel.)

song performed by Amy Grant
Added by Lucian Velea
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Maze Runner: The Scorch Trials

Cast: Dylan O'Brien, Nathalie Emmanuel, Thomas Brodie-Sangster, Kaya Scodelario, Aidan Gillen, Katherine McNamara, Giancarlo Esposito, Patricia Clarkson

trailer for Maze Runner: The Scorch Trials, directed by Wes Ball, screenplay by T.S. Nowlin, inspired by James Dashner (2015)
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Emmanuel, God With Us

We dim the light.
We stoke the fire.
We breathe the evergreen.
Young ones wait
While the old ones make up
Tales of how it used to be.
China dolls,
Candy corn,
Painted wooden toys,
Treasures found
To the wondrous sound
Of carolling the savior
Born to us on christmas morn.
Emmanuel, God with us,
Emmanuel!
Emmanuel, God with us,
The son of israel.
And still he calls
Through the night,
Beyond the days of old.
A voice of peace
To the weary ones,
Who struggle with the human soul.
All of us,
Travellers,
Through a given time.
Who can know
What tomorrow holds?
But over the horizon,
Surely you and I will find.
Emmanuel, God with us,
Emmanuel!
Emmanuel, God with us,
The son of israel.
And the years they come,
And the years they go,
Though we may forget somehow
That the child once born in bethlehem
Is still among us now.
(emmanuel....)
(emmanuel, God with us.
The son of israel.)
Emmanuel, God with us, (emmanuel.)
Emmanuel! (emmanuel.)
Emmanuel, God with us, (emmanuel.)
The son of israel. (israel.)
The son of israel.
The son of is...israel. (son of israel.)

song performed by Amy Grant
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Christ The Messiah

Words: michael w. smith, deborah d. smith, and elizabeth l. jones
Music: michael w. smith
Christ the messiah
Savior
Christ the messiah
Jesus
Emmanuel emmanuel
Emmanuel emmanuel
Our God is with us now
Christ the messiah
God is with us
Savior
Our redeemer comes
Christ the messiah
Angels sing it
Jesus
Our redeemer comes
Emmanuel emmanuel
Emmanuel emmanuel
Emmanuel
And the glory of the lord rises now upon you
And the glory of the lord rises now upon you
And the glory of the lord rises now upon you
Christ the messiah
God is with us
Savior
Our redeemer comes
Christ the messiah
Angels sing it
Jesus
Our redeemer comes
Emmanuel emmanuel
(emmanuel our God is with us)
Emmanuel emmanuel
Our God is with us now

song performed by Michael W. Smith
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Maze Runner: The Death Cure

Cast: Kaya Scodelario, Dylan O'Brien, Walton Goggins, Nathalie Emmanuel, Katherine McNamara, Thomas Brodie-Sangster, Rosa Salazar

trailer for Maze Runner: The Death Cure, directed by Wes Ball, screenplay by T.S. Nowlin, inspired by James Dashner (2018)
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Maze Runner: The Death Cure [trailer 2]

Cast: Kaya Scodelario, Dylan O'Brien, Walton Goggins, Nathalie Emmanuel, Katherine McNamara, Thomas Brodie-Sangster, Rosa Salazar

trailer for Maze Runner: The Death Cure, directed by Wes Ball, screenplay by T.S. Nowlin, inspired by James Dashner (2018)
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The Sale of Saint Thomas

A quay with vessels moored

Thomas
To India! Yea, here I may take ship;
From here the courses go over the seas,
Along which the intent prows wonderfully
Nose like lean hounds, and tack their journeys out,
Making for harbours as some sleuth was laid
For them to follow on their shifting road.
Again I front my appointed ministry. --
But why the Indian lot to me? Why mine
Such fearful gospelling? For the Lord knew
What a frail soul He gave me, and a heart
Lame and unlikely for the large events. --
And this is worse than Baghdad! though that was
A fearful brink of travel. But if the lots,
That gave to me the Indian duty, were
Shuffled by the unseen skill of Heaven, surely
That fear of mine in Baghdad was the same
Marvellous Hand working again, to guard
The landward gate of India from me. There
I stood, waiting in the weak early dawn
To start my journey; the great caravan's
Strange cattle with their snoring breaths made steam
Upon the air, and (as I thought) sadly
The beasts at market-booths and awnings gay
Of shops, the city's comfortable trade,
Lookt, and then into months of plodding lookt.
And swiftly on my brain there came a wind
Of vision; and I saw the road mapt out
Along the desert with a chalk of bones;
I saw a famine and the Afghan greed
Waiting for us, spears at our throats, all we
Made women by our hunger; and I saw
Gigantic thirst grieving our mouths with dust,
Scattering up against our breathing salt
Of blown dried dung, till the taste eat like fires
Of a wild vinegar into our sheathèd marrows;
And a sudden decay thicken'd all our bloods
As rotten leaves in fall will baulk a stream;
Then my kill'd life the muncht food of jackals. --
The wind of vision died in my brain; and lo,
The jangling of the caravan's long gait
Was small as the luting of a breeze in grass
Upon my ears. Into the waiting thirst
Camels and merchants all were gone, while I
Had been in my amazement. Was this not
A sign? God with a vision tript me, lest
Those tall fiends that ken for my approach

[...] Read more

poem by Lascelles Abercrombie
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Laking Marikina, Part 2

Isang paraiso no'n ang Ilog Marikina
Daming binubuhay, daming umaasa
Malinis na tubig, siya'ng pinagkukunan,
Inumin sa banga, panligo sa tapayan
Tumana sa baybay, daming binubuhay
Palakaya sa tubig, iba't-iba ang paraan
Sa inyo ko'y babanggitin, anu-ano ang pangalan

BINGWIT

Ang Bingwit ay isang panghuli ng isda
Na may tangkay, pisi, pabigat at taga
Sa Ingles siya ay rod, hook, line and sinker
Bingwit or Fishing Rod, parehong may pain
Pain namin no'n ay hipon at bulate
Sari-saring isda ang nangahuhuli
Biya, hito, kanduli, minsa'y bakule
Bingwit ay di pare-pareho ang gamit
Merong sa tubig lang ay inilalawit
Merong hinihila matapos ihagis
Para ng isda ang pain ay mapansin
Akala niya'y buhay, agad sasagpangin
Ang tawag namin sa ganitong paraan
Ay di namimingwit, kundi nanggagalay

PATUKBA

Patukba ay parang bingwit na maliit
Maikli ang pisi, ang tangkay ay siit
Tangkay ay matulis para maitusok
Pag iniuumang na sa tabi ng ilog
Sa dulo ng tangkay doon nakalawit
Ang pising sa dulo, taga'y nakakabit
Kung ito'y iumang ay sa dakong hapon
Pain ay palaka, kuliglig o suhong
IIwang magdamag hanggang sa umaga
ang oras na dapat sila'y pandawin na
Ang paing sa tubig ay kakawag-kawag
Ng bulig o dalag gustong sinisiyab
Ang aking patukba'y tatlumpu ang bilang
Di marami, di kaunti, lang ay katamtaman
Sa bilang na ito, bawat pag-uumang
Ang dalag kong huli'y naglalaro sa siyam
Ang paing kuliglig saan kinukuha?
Sa ilalim ng yagit sa bukid/tumana
Ang suhong naman ay sa mga putikan
Sa tabi ng ilog, kahit na nga saan
Ang palaka naman ay sa mga lawa, Sa bukid, sa ilog at lugar na basa

KITANG

[...] Read more

poem by Pacific Hernandez
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The Maze Runner

Cast: Dylan O'Brien, Kaya Scodelario, Will Poulter, Thomas Brodie-Sangster, Patricia Clarkson, Ki Hong Lee, Aml Ameen, Blake Cooper

trailer for The Maze Runner, directed by Wes Ball (2014)
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The Maze Runner [trailer 2]

Cast: Dylan O'Brien, Kaya Scodelario, Will Poulter, Thomas Brodie-Sangster, Patricia Clarkson, Ki Hong Lee, Aml Ameen, Blake Cooper

trailer for The Maze Runner, directed by Wes Ball (2014)
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Thomas the Rhymer

Part First

Ancient

True Thomas lay on Huntlie bank;
A ferlie he spied wi' his ee;
And there he saw a lady bright,
Come riding down by the Eildon Tree.

Her skirt was o the grass-green silk,
Her mantle o the velvet fyne,
At ilka tett of her horse's mane
Hang fifty siller bells and nine.

True Thomas he pulld aff his cap,
And louted low down to his knee:
'All hail, thou mighty Queen of Heaven!
For thy peer on earth I never did see.'

'O no, O no, Thomas,' she said,
'That name does not belang to me;
I am but the queen of fair Elfland,
That am hither come to visit thee.

'Harp and carp, Thomas,' she said,
'Harp and carp, along wi' me,
And if ye dare to kiss my lips,
Sure of your bodie I will be!'

'Betide me weal, betide me woe,
That weird sall never daunton me;
Syne he has kissed her rosy lips,
All underneath the Eildon Tree.

'Now, ye maun go wi me,' she said,
'True Thomas, ye maun go wi me,
And ye maun serve me seven years,
Thro weal or woe as may chance to be.'

She mounted on her milk-white steed,
She's taen True Thomas up behind,
And aye wheneer her bride rung,
The steed flew swifter than the wind.

O they rade on, and farther on -
The steed gaed swifter than the wind -
Until they reached a desart wide,
And living land was left behind.

'Light down, light down, now, True Thomas,

[...] Read more

poem by Sir Walter Scott
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The Last Rhyme Of True Thomas

The King has called for priest and cup,
The King has taken spur and blade
To dub True Thomas a belted knight,
And all for the sake o' the songs he made.

They have sought him high, they have sought him low,
They have sought him over down and lea;
They have found him by the milk-white thorn
That guards the gates o' Faerie.

'Twas bent beneath and blue above,
Their eyes were held that they might not see
The kine that grazed beneath the knowes,
Oh, they were the Queens o' Faerie!

"Now cease your song," the King he said,
"Oh, cease your song and get you dight
To vow your vow and watch your arms,
For I will dub you a belted knight.

"For I will give you a horse o' pride,
Wi' blazon and spur and page and squire;
Wi' keep and tail and seizin and law,
And land to hold at your desire."

True Thomas smiled above his harp,
And turned his face to the naked sky,
Where, blown before the wastrel wind,
The thistle-down she floated by.

"I ha' vowed my vow in another place,
And bitter oath it was on me,
I ha' watched my arms the lee-long night,
Where five-score fighting men would flee.

"My lance is tipped o' the hammered flame,
My shield is beat o' the moonlight cold;
And I won my spurs in the Middle World,
A thousand fathom beneath the mould.

"And what should I make wi' a horse o' pride,
And what should I make wi' a sword so brown,
But spill the rings o' the Gentle Folk
And flyte my kin in the Fairy Town?

"And what should I make wi' blazon and belt,
Wi' keep and tail and seizin and fee,
And what should I do wi' page and squire
That am a king in my own countrie?

[...] Read more

poem by Rudyard Kipling
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Lord Thomas And Fair Ellinor

Lord Thomas he was a bold forrester,
And a chaser of the kings deere;
Faire Ellinor was a fine woman,
And Lord Thomas he loved her deare.

'Come riddle my riddle, dear mother,' he sayd,
'And riddle us both as one;
Whether I shall marrye with faire Ellinor,
And let the browne girl alone?'

'The browne girl she has got houses and lands,
Faire Ellinor she has got none;
And therefore I charge thee on my blessing,
To bring me the browne girl home.'

And as it befelle on a high holidaye,
As many there are beside,
Lord Thomas he went to faire Ellinor,
That should have been his bride.

And when he came to faire Ellinor's bower,
He knocked there at the ring;
And who was so readye as faire Ellinor,
To lett Lord Thomas withinn?

'What newes, what newes, Lord Thomas,' she sayd,
'What newes dost thou bring to mee?'
'I am come to bid thee to my wedding,
And that is bad newes for thee.'

'O God forbid, Lord Thomas,' she sayd,
'That such a thing should be done;
I thought to have been the bride my selfe
And thou to have been the bride-grome.'

'Come riddle my riddle, dear mother,' she sayd,
'And riddle it all in one;
Whether I shall goe toLord Thomas his wedding,
Or whether shall tarry at home?'

'There are manye that are your friendes, daughter,
And manye a one your foe;
Therefore I charge you on my blessing,
To Lord Thomas his wedding don't goe.'

She cloathed herself in gallant attire,
And her merrye men all in greene;
And as they rid through every towne,
They took her to be some queene.

[...] Read more

poem by Anonymous Olde English
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Each Morning At The Breakfast Table

Who’ll stone you when you feel unable,
eating at the breakfast table,
to answer who’s the great composer,
implying that you are a loser?
Not my wife, though she’s most brainy;
on my creations never rainy,
she doesn’t let me feel alone,
rolling like a lonely stone.
Less than I a fan of Bob
on no occasions will she rob
me of my confidence. Sure, Dylan
to her appears to be a villain,
because of his association
with other forms of inspiration.
but she won’t stone me ever, that’s
why I won’t settle for ersatz.
She sees through masks, including mine,
but never stones the wearer, she
is morning coffee, evening wine,
and midnight she is ecstasy.
Not number twelve or thirty-five,
she’s number one, and helps me thrive
like Scarlett on the screen with Gable,
each morning at the breakfast table.

Inspired by Bob Dylan’s “Rainy Day Women, #12 and 35, ” which he sang wwith a lot of other songs at Prospect Park Bandshell two days ago. Nate Chinen writes in the NYT, August 14,008 (“In Prospect Park, the Consequences of Love and a Shot of War”) :
In the final moments of his sold-out Celebrate Brooklyn concert at the Prospect Park Bandshell on Tuesday night, Bob Dylan struck a pose. He was standing at center stage, feet planted wide. Dressed in black from his hat on down, he faced outward, proud, flanked by stone-faced band members. Then he formed his hands into pistols — six-shooters, let’s say — and fired shot after shot, roguishly slaying the crowd. It was a pretty good illustration of what had been happening for the past two hours.
Mr. Dylan can be an inconstant performer, and sometimes an indifferent one. But here he was dynamic, enthusiastic, out for blood. His set list featured more than half a dozen irrefutable classics, starting with “Rainy Day Women #12 & 35.” And he showed ironclad focus, commanding the same professionally gritty crew heard on his most recent album, “Modern Times” (Columbia) . As usual Mr. Dylan transformed his old songs, in some cases preserving only the lyrics. “Girl From the North Country” adopted some shadowy new harmonies, and “It’s Alright Ma (I’m Only Bleeding) ” turned up with a Celtic-Appalachian lilt. “Blowin’ in the Wind, ” the civil rights anthem that put Mr. Dylan on the map roughly 45 years ago, underwent the most radical revision, riding a crisp backbeat and rhythm-guitar part that suggested the heyday of Muscle Shoals rhythm and blues. Necessity surely birthed some of these inventions: Mr. Dylan,67, now sings with a (more) limited range, and a coarse, throaty tone. (When he rasped, “Lay across my big brass bed, ” in “Lay Lady Lay, ” he sounded like the Big Bad Wolf entreating Little Red Riding Hood.) And he rarely plays guitar, instead favoring an organlike keyboard, and occasionally the harmonica. Rhythm is his asset, his best means of asserting control; the bassist Tony Garnier and the drummer George Receli dug in but followed his lead.
Mr. Dylan has a new edition of his popular Bootleg Series due out in October: “Tell Tales Signs” (Columbia/Legacy) , consisting of relatively recent recordings, many previously unreleased. Only one track from that package, “Lonesome Day Blues, ” crept into the show. (It can also be found on the 2001 album “Love and Theft.”) Meanwhile the five songs culled from “Modern Times” held up admirably. “The Levee’s Gonna Break, ” set at a hard-rollicking tempo, was especially strong. But the two most potent songs, in a show that often touched upon the consequences of love, had to do explicitly with war. One was “John Brown, ” an early protest song that Mr. Dylan never released on a studio album: its narrative, forcefully told, involves a shattered soldier returning to his chastened mother. The other was “Masters of War, ” a much more celebrated song from the same era, which draws its focus wide but sharp. Here Mr. Dylan enunciated unusually clearly, over a drone-haunted vamp. “I hope that you die, ” he snarled, leaving two bars of open space before the next line, “And your death will come soon.” But his peak of intensity came paired to something other than a death wish. “I can see through your masks, ” he wailed, stretching out the last word of the phrase for emphasis. He seemed to know firsthand about masks, and seeing through them.

8/14/08

poem by Gershon Hepner
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How Does It Feel To Be Alone?

How does it feel to be alone
with no one round with whom you can
hang out, e-mail and telephone
now silent from your loverman?

How does it feel to get no kicks
from your beloved? Who is left,
for you to mix with, will you nix
your lovelife, loverman bereft?

Stone cold and lonely, lady, will
you roll, or will you gather moss?
On empty running, will you fill
your life again, make up your loss?

I knew that you were bound to fall
when first you fell for me. D’you feel
there’s someone else now you can call
and hope that you can make a deal?

With no direction home, is there,
d’you think, another man who’ll hold
you as I did, and if so, where
d’you think that like a stone he’s rolled?

Inspired by an article in the NYT by Adam Liptak on the use of lyrics by Bob Dylan in the Supreme Court (“The Chief Justice, Dylan and the Disappearing Double Negative, ” June 29,2008) :

The last chief justice liked light opera. The new one cites Bob Dylan. oour pages into his dissent on Monday in an achingly boring dispute between pay phone companies and long distance carriers, John G. Roberts Jr., the chief justice of the United States, put a song lyric where the citation to precedent usually goes. “The absence of any right to the substantive recovery means that respondents cannot benefit from the judgment they seek and thus lack Article III standing, ” Chief Justice Roberts wrote. “ ‘When you got nothing, you got nothing to lose.’ Bob Dylan, Like a Rolling Stone, on Highway 61 Revisited (Columbia Records 1965) .”
Alex B. Long, a law professor at the University of Tennessee and perhaps the nation’s leading authority on the citation of popular music in judicial opinions, said this was almost certainly the first use of a rock lyric to buttress a legal proposition in a Supreme Court decision. “It’s a landmark opinion, ” Professor Long said.
In the lower courts, according to a study Professor Long published in the Washington & Lee Law Review last year, Mr. Dylan is by far the most cited songwriter. He has been quoted in 26 opinions. Paul Simon is next, with 8 (12 if you count those attributed to Simon & Garfunkel) . Bruce Springsteen has 5.
But Mr. Dylan has only once before been cited as an authority on Article III standing, which concerns who can bring a lawsuit in federal court. His key contribution to legal discourse has been in another area.
“The correct rule on the necessity of expert testimony has been summarized by Bob Dylan: ‘You don’t need a weatherman to know which way the wind blows, ’ ” a California appeals court wrote in 1981, citing “Subterranean Homesick Blues.” Eighteen other decisions have cited that lyric.
Chief Justice Roberts’s predecessor, William H. Rehnquist, cited his beloved Gilbert & Sullivan in a 1980 dissent from a decision that the press had a constitutional right of access to court proceedings. He was still an associate justice, and he thought the court had made up the right out of whole cloth. In rebuttal, Justice Rehnquist relied on the Lord Chancellor in “Iolanthe” to rebuke the majority. “The Law is the true embodiment of everything that’s excellent, ” the Lord Chancellor says. “It has no kind of fault or flaw, and I, my Lords, embody the Law.”
That made Justice Rehnquist’s point pretty well. The Roberts citation is more problematic. On the one hand, he showed excellent taste. “Like a Rolling Stone, ” as Greil Marcus has written, is “the greatest record ever made, perhaps, or the greatest record that ever would be made.” On the other hand, Chief Justice Roberts gets the citation wrong, proving that he is neither an originalist nor a strict constructionist. What Mr. Dylan actually sings, of course, is, “When you ain’t got nothing, you got nothing to lose.”
It’s true that many Web sites, including Mr. Dylan’s official one, reproduce the lyric as Chief Justice Roberts does. But a more careful Dylanist might have consulted his iPod. “It was almost certainly the clerks who provided the citation, ” Professor Long said. “I suppose their use of the Internet to check the lyrics violates one of the first rules they learned when they were all on law review: when quoting, always check the quote with the original source, not someone else’s characterization of what the source said.” The larger objection is that the citation is not true to the original point Mr. Dylan was making, which was about the freedom that having nothing conveys and not about who may sue a phone company. (See, e.g., “Me and Bobby McGee.”)

6/29/08

poem by Gershon Hepner
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Thomas the Rhymer

True Thomas lay on Huntlie bank;
A ferlie he spied wi' his e'e;
And there he saw a ladye bright
Come riding down by the Eildon Tree.

Her skirt was o' the grass-green silk,
Her mantle o' the velvet fyne;
At ilka tett o' her horse's mane,
Hung fifty siller bells and nine.

True Thomas he pu'd aff his cap,
And louted low down on his knee
'Hail to thee Mary, Queen of Heaven!
For thy peer on earth could never be.'

'O no, O no, Thomas' she said,
'That name does not belang to me;
I'm but the Queen o' fair Elfland,
That am hither come to visit thee.

'Harp and carp, Thomas,' she said;
'Harp and carp along wi' me;
And if ye dare to kiss my lips,
Sure of your bodie I will be.'

'Betide me weal; betide me woe,
That weird shall never daunten me.'
Syne he has kiss'd her rosy lips,
All underneath the Eildon Tree.

'Now ye maun go wi' me,' she said,
'True Thomas, ye maun go wi' me;
And ye maun serve me seven years,
Thro' weal or woe as may chance to be.'

She 's mounted on her milk-white steed,
She 's ta'en true Thomas up behind;
And aye, whene'er her bridle rang,
The steed gaed swifter than the wind.

O they rade on, and farther on,
The steed gaed swifter than the wind;
Until they reach'd a desert wide,
And living land was left behind.

'Light down, light down now, true Thomas,
And lean your head upon my knee;
Abide ye there a little space,
And I will show you ferlies three.

[...] Read more

poem by anonym
Added by Veronica Serbanoiu
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Thomas the Rhymer

True Thomas lay on Huntlie bank;
A ferlie he spied wi' his e'e;
And there he saw a ladye bright
Come riding down by the Eildon Tree.

Her skirt was o' the grass-green silk,
Her mantle o' the velvet fyne;
At ilka tett o' her horse's mane,
Hung fifty siller bells and nine.

True Thomas he pu'd aff his cap,
And louted low down on his knee
'Hail to thee Mary, Queen of Heaven!
For thy peer on earth could never be.'

'O no, O no, Thomas' she said,
'That name does not belang to me;
I'm but the Queen o' fair Elfland,
That am hither come to visit thee.

'Harp and carp, Thomas,' she said;
'Harp and carp along wi' me;
And if ye dare to kiss my lips,
Sure of your bodie I will be.'

'Betide me weal; betide me woe,
That weird shall never daunten me.'
Syne he has kiss'd her rosy lips,
All underneath the Eildon Tree.

'Now ye maun go wi' me,' she said,
'True Thomas, ye maun go wi' me;
And ye maun serve me seven years,
Thro' weal or woe as may chance to be.'

She 's mounted on her milk-white steed,
She 's ta'en true Thomas up behind;
And aye, whene'er her bridle rang,
The steed gaed swifter than the wind.

O they rade on, and farther on,
The steed gaed swifter than the wind;
Until they reach'd a desert wide,
And living land was left behind.

'Light down, light down now, true Thomas,
And lean your head upon my knee;
Abide ye there a little space,
And I will show you ferlies three.

[...] Read more

poem by Anonymous
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Thomas the Rhymer

True Thomas lay on Huntlie bank;
A ferlie he spied wi' his e'e;
And there he saw a ladye bright
Come riding down by the Eildon Tree.

Her skirt was o' the grass-green silk,
Her mantle o' the velvet fyne;
At ilka tett o' her horse's mane,
Hung fifty siller bells and nine.

True Thomas he pu'd aff his cap,
And louted low down on his knee
'Hail to thee Mary, Queen of Heaven!
For thy peer on earth could never be.'

'O no, O no, Thomas' she said,
'That name does not belang to me;
I'm but the Queen o' fair Elfland,
That am hither come to visit thee.

'Harp and carp, Thomas,' she said;
'Harp and carp along wi' me;
And if ye dare to kiss my lips,
Sure of your bodie I will be.'

'Betide me weal; betide me woe,
That weird shall never daunten me.'
Syne he has kiss'd her rosy lips,
All underneath the Eildon Tree.

'Now ye maun go wi' me,' she said,
'True Thomas, ye maun go wi' me;
And ye maun serve me seven years,
Thro' weal or woe as may chance to be.'

She 's mounted on her milk-white steed,
She 's ta'en true Thomas up behind;
And aye, whene'er her bridle rang,
The steed gaed swifter than the wind.

O they rade on, and farther on,
The steed gaed swifter than the wind;
Until they reach'd a desert wide,
And living land was left behind.

'Light down, light down now, true Thomas,
And lean your head upon my knee;
Abide ye there a little space,
And I will show you ferlies three.

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poem by Anonymous Americas
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Card Swapping

O’Brien brought
cigarette cards

to school
and showed you

what he had
in the playground

and Davis said
who’s the dame?

Veronica Lake
O’ Brien said

holding the card out
between finger and thumb

Sutcliffe took hold of it
and held it close

to his eyes
not bad

he said
you looked over

Sutcliffe’s shoulder
my dad likes her

you said studying
the picture

taking it
from Sutcliffe’s hand

who else you got?
Davis asked

and O’Brien fingered
through the pack

mostly soccer players
and the odd movie star

he said
hey got any Marilyn Monroe?

Sutcliffe said
gazing short-sightedly

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poem by Terry Collett
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The Brus Book XIV

[Edward Bruce goes to Ireland]

The erle off Carrik Schyr Edward,
That stoutar wes than a libard
And had na will to be in pes,
Thocht that Scotland to litill wes
5 Till his brother and him alsua,
Tharfor to purpos gan he ta
That he off Irland wald be king.
Tharfor he send and had tretyng
With the Irschery off Irland,
10 That in thar leawte tuk on hand
Off all Irland to mak him king
With-thi that he with hard fechting
Mycht ourcum the Inglismen
That in the land war wonnand then,
15 And thai suld help with all thar mycht.
And he that hard thaim mak sic hycht
Intill his hart had gret liking
And with the consent of the king
Gadryt him men off gret bounte
20 And at Ayr syne schippyt he
Intill the neyst moneth of Mai,
Till Irland held he straucht his wai.
He had thar in his cumpany
The Erle Thomas that wes worthi
25 And gud Schyr Philip the Mowbray
That sekyr wes in hard assay,
Schyr Jhone the soullis ane gud knycht
And Schyr Jhone Stewart that wes wycht
The Ramsay als of Ouchterhous
30 That wes wycht and chevalrous
And Schyr Fergus off Ardrossane
And other knychtis mony ane.
In Wolringis Fyrth aryvyt thai
Sauffly but bargan or assay
35 And send thar schippis hame ilkan.
A gret thing have thai undretane
That with sa quhoyne as thai war thar
That war sex thousand men but mar
Schup to werray all Irland,
40 Quhar thai sall se mony thousand
Cum armyt on thaim for to fycht,
But thocht thai quhone war thai war wicht,
And forout drede or effray
In twa bataillis tuk thar way
45 Towart Cragfergus it to se.

[The Scots defeat the lords of Ulster]

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poem by John Barbour
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