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Bread And Milk For Breakfast

Bread and milk for breakfast,
And woollen frocks to wear,
And a crumb for robin redbreast
On the cold days of the year.

poem by Christina Georgina Rossetti
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Social Netowrking Of Robots

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poem by Rwetewrt Erwtwer
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Joseph's Gloss On God

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

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

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

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

10/22/09

poem by Gershon Hepner
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Robin Hood And Guy Of Gisborne

When shawes been sheene, and shradds full fayre,
And leeves both large and longe,
Itt is merry, walking in the fayre forrest,
To heare the small birds songe.

The woodweele sang, and wold not cease,
Amongst the leaves a lyne:
And it is by two wight yeomen,
By deare God, that I meane.

'Me thought they did mee beate and binde,
And tooke my bow mee froe;
If I bee Robin a-live in this lande,
I'le be wrocken on both them towe.'

Sweavens are swift, master,' quoth John,
'As the wind that blowes ore a hill;
For if itt be never soe lowde this night,
To-morrow it may be still.'

'Buske yee, bowne yee, my merry men all,
For John shall goe with mee:
For I'le goe seek yond wight yeomen
In greenwood where the bee.'
^ TOP

The cast on their gowne of greene,
A shooting gone are they,
Untill they came to the merry greenwood,
Where they had gladdest bee;

There were the ware of a wight yeoman,
His body leaned to a tree.

A sword and a dagger he wore by his side,
Had beene many a man bane,
And he was cladd in his capull-hyde,
Topp, and tayle, and mayne.

'Stand you still, master,' quoth Litle John,
'Under this trusty tree,
And I will goe to yong wight yeomen,
To know his meaning trulye.'

'A, John, by me thou setts noe store,
And that's a farley thinge;
How offt send I my men beffore,
And tarry my-selfe behinde?

It is noe cunning a knave to ken,

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poem by Anonymous Olde English
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Robin Hood's Flight

Robin Hood's mother, these twelve years now,
Has been gone from her earthly home;
And Robin has paid, he scarce knew how,
A sum for a noble tomb.

The church-yard lies on a woody hill,
But open to sun and air:
It seems as if the heaven still
Were looking and smiling there.

Often when Robin looked that way,
He looked through a sweet thin tear;
But he looked in a different manner, they say,
Towards the Abbey of Vere.

He cared not for its ill-got wealth,
He felt not for his pride;
He had youth, and strength, and health,
And enough for one beside.

But he thought of his gentle mother's cheek
How it sunk away,
And how she used to grow more weak
And weary every day;

And how, when trying a hymn, her voice
At evening would expire,
How unlike it was the arrogant noise
Of the hard throats in the quire:

And Robin thought too of the poor,
How they toiled without their share,
And how the alms at the abbey-door
But kept them as they were:

And he thought him then of the friars again,
Who rode jingling up and down
With their trappings and things as fine as the king's,
Though they wore but a shaven crown.

And then bold Robin he thought of the king,
How he got all his forests and deer,
And how he made the hungry swing
If they killed but one in a year.

And thinking thus, as Robin stood,
Digging his bow in the ground,
He was aware in Gamelyn Wood,
Of one who looked around.

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poem by James Henry Leigh Hunt
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Robin Redbreast

Good-bye, good-bye to Summer!
For Summer's nearly done;
The garden smiling faintly,
Cool breezes in the sun;
Our Thrushes now are silent,
Our Swallows flown away, --
But Robin's here, in coat of brown,
With ruddy breast-knot gay.
Robin, Robin Redbreast,
O Robin dear!
Robin singing sweetly
In the falling of the year.

Bright yellow, red, and orange,
The leaves come down in hosts;
The trees are Indian Princes,
But soon they'll turn to Ghosts;
The scanty pears and apples
Hang russet on the bough,
It's Autumn, Autumn, Autumn late,
'Twill soon be Winter now.
Robin, Robin Redbreast,
O Robin dear!
And welaway! my Robin,
For pinching times are near.

The fireside for the Cricket,
The wheatstack for the Mouse,
When trembling night-winds whistle
And moan all round the house;
The frosty ways like iron,
The branches plumed with snow, --
Alas! in Winter, dead and dark,
Where can poor Robin go?
Robin, Robin Redbreast,
O Robin dear!
And a crumb of bread for Robin,
His little heart to cheer.

poem by William Allingham
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Robin Hood And The Butcher

Come, all you brave gallants, and listen awhile,
With hey down, down, an a down,
That are in the bowers within;
For of Robin Hood, that archer good,
A song I intend for to sing.

Upon a time it chanced so,
Bold Robin in forrest did 'spy
A jolly butcher, with a bonny fine mare,
With his flesh to the market did hye.

'Good morrow, good fellow,' said jolly Robin,
'What food hast [thou]? tell unto me;
Thy trade to me tell, and where thou dost dwell,
For I like well thy company.'

The butcher he answer'd jolly Robin,
'No matter where I dwell;
For a butcher I am, and to Nottingham
I am going, my flesh to sell.'

'What's [the] price of thy flesh?' said jolly Robin,
'Come, tell it soon unto me;
And the price of thy mare, be she never so dear,
For a butcher fain would I be.'

'The price of my flesh,' the butcher repli'd,
'I soon will tell unto thee;
With my bonny mare, and they are not too dear,
Four mark thou must give unto me.'

'Four mark I will give thee,' saith jolly Robin,
'Four mark it shall be thy fee;
The mony come count, and let me mount,
For a butcher I fain would be.'

Now Robin he is to Nottingham gone,
His butchers trade to begin;
With good intent to the sheriff he went,
And there he took up his inn.

When other butchers did open their meat,
Bold Robin he then begun;
But how for to sell he knew not well,
For a butcher he was but young.

When other butchers no meat could sell,
Robin got both gold and fee;
For he sold more meat for one peny
Then others could do for three.

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poem by Andrew Lang
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Robin Hood and the Prince of Aragon

NOW Robin Hood, Will Scadlock and Little John
Are walking over the plain,
With a good fat buck which Will Scadlock
With his strong bow had slain.

`Jog on, jog on,' cries Robin Hood,
`The day it runs full fast;
For though my nephew me a breakfast gave,
I have not yet broke my fast.

`Then to yonder lodge let us take our way,
I think it wondrous good,
Where my nephew by my bold yeomen
Shall be welcomd unto the green wood.'

With that he took the bugle-horn,
Full well he could it blow;
Streight from the woods came marching down
One hundred tall fellows and mo.

`Stand, stand to your arms!' crys Will Scadlock,
`Lo! the enemies are within ken:'
With that Robin Hood he laughd aloud,
Crys, They are my bold yeomen.

Who, when they arriv'd and Robin espy'd,
Cry'd, Master, what is your will?
We thought you had in danger been,
Your horn did sound so shrill.

`Now nay, now nay,' quoth Robin Hood,
`The danger is past and gone;
I would have you to welcome my nephew here,
That hath paid me two for one.'

In feasting and sporting they passed the day,
Till Phoebus sunk into the deep;
Then each one to his quarters hy'd,
His guard there for to keep.

Long had they not walked within the green wood,
But Robin he was espy'd
Of a beautiful damsel all alone,
That on a black palfrey did ride.

Her riding-suit was of sable hew black,
Sypress over her face,
Through which her rose-like cheeks did blush,
All with a comely grace.

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poem by Anonymous Olde English
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Robin Hood, A Child.

It was the pleasant season yet,
When the stones at cottage doors
Dry quickly, while the roads are wet,
After the silver showers.

The green leaves they looked greener still,
And the thrush, renewing his tune,
Shook a loud note from his gladsome bill
Into the bright blue noon.

Robin Hood's mother looked out, and said
"It were a shame and a sin
For fear of getting a wet head
To keep such a day within,
Nor welcome up from his sick bed
Your uncle Gamelyn."

And Robin leaped, and thought so too;
And so he has grasped her gown,
And now looking back, they have lost the view
Of merry sweet Locksley town.

Robin was a gentle boy,
And therewithal as bold;
To say he was his mother's joy,
It were a phrase too cold.

His hair upon his thoughtful brow
Came smoothly clipped, and sleek,
But ran into a curl somehow
Beside his merrier cheek.

Great love to him his uncle too
The noble Gamelyn bare,
And often said, as his mother knew,
That he should be his heir.

Gamelyn's eyes, now getting dim,
Would twinkle at his sight,
And his ruddy wrinkles laugh at him
Between his locks so white:

For Robin already let him see
He should beat his playmates all
At wrestling, running, and archery,
Yet he cared not for a fall.

Merriest he was of merry boys,
And would set the old helmets bobbing;
If his uncle asked about the noise,

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poem by James Henry Leigh Hunt
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Cold Feet

There was a little boy once upon a time
Who in spite of his young age and small size knew his mind
For every copper penny and clover he would find
Make a wish for better days the end of hard times
For no more cold feet
Cold cold cold cold feet
His clothes were always clean
His face was always scrubbed
There was food on the table enough to fill him up
His house was full of life - his house was full of love
But when winter days arrived
There was never money enough to shod his cold feet
Cold cold cold cold feet
He grew up to be a worker determined to succeed
He made a life for himself, free from worldly wants or needs
But with nobody to share the life hed made
No body to keep him warm at night
When hed go to sleep hed sleep alone with his cold feet
Cold cold cold cold feet
One night he walked the street looking to the heavens above
Searching for a shooting star a benevolent god
When a woman passing by brushed his arm
He turned and found love
He then wished for the courage to ask this stranger
Who she was to not have cold feet
Cold cold cold cold feet
He thought shed like the party life and want the finer things
So he promised more than he could buy
And he promised her the sun and moon to not have cold feet
Cold cold cold cold feet
He worked day and night his fingers to the bone
Hi worried mind guilty conscience drive him on
He cant give her what she needs
He wants to give her what he thinks she wants
Her sad-eyed face, his empty pockets drive him on and his cold feet
Cold cold cold cold feet
Hed struggled all his life to be an honest man
Proud that the dirt on his palms was the soil of the land
But some guys he knew from high school days
Said they had a plan to get rich quick
And they could count him in if he dont have cold feet
Cold cold cold cold feet
He thought about their offer accepted it without qualms
Dreamt about the life hed buy
The comfort that would come without cold feet
Cold cold cold cold feet
He decided to tell his wife things would soon turn around
He said the little boy is dead
A man stands with you now without cold feet
Cold cold cold cold feet

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song performed by Tracy Chapman
Added by Lucian Velea
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The Witch's frolic

[Scene, the 'Snuggery' at Tappington.-- Grandpapa in a high-backed cane-bottomed elbow-chair of carved walnut-tree, dozing; his nose at an angle of forty-five degrees,--his thumbs slowly perform the rotatory motion described by lexicographers as 'twiddling.'--The 'Hope of the family' astride on a walking-stick, with burnt-cork mustachios, and a pheasant's tail pinned in his cap, solaceth himself with martial music.-- Roused by a strain of surpassing dissonance, Grandpapa Loquitur. ]

Come hither, come hither, my little boy Ned!
Come hither unto my knee--
I cannot away with that horrible din,
That sixpenny drum, and that trumpet of tin.
Oh, better to wander frank and free
Through the Fair of good Saint Bartlemy,
Than list to such awful minstrelsie.
Now lay, little Ned, those nuisances by,
And I'll rede ye a lay of Grammarye.

[Grandpapa riseth, yawneth like the crater of an extinct volcano, proceedeth slowly to the window, and apostrophizeth the Abbey in the distance.]

I love thy tower, Grey Ruin,
I joy thy form to see,
Though reft of all,
Cell, cloister, and hall,
Nothing is left save a tottering wall,
That, awfully grand and darkly dull,
Threaten'd to fall and demolish my skull,
As, ages ago, I wander'd along
Careless thy grass-grown courts among,
In sky-blue jacket and trowsers laced,
The latter uncommonly short in the waist.
Thou art dearer to me, thou Ruin grey,
Than the Squire's verandah over the way;
And fairer, I ween,
The ivy sheen
That thy mouldering turret binds,
Than the Alderman's house about half a mile off,
With the green Venetian blinds.

Full many a tale would my Grandam tell,
In many a bygone day,
Of darksome deeds, which of old befell
In thee, thou Ruin grey!
And I the readiest ear would lend,
And stare like frighten'd pig;
While my Grandfather's hair would have stood up an end,
Had he not worn a wig.

One tale I remember of mickle dread--
Now lithe and listen, my little boy Ned!

Thou mayest have read, my little boy Ned,
Though thy mother thine idlesse blames,
In Doctor Goldsmith's history book,
Of a gentleman called King James,
In quilted doublet, and great trunk breeches,

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poem by Richard Harris Barham
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Robin Hood

Now here’s the tale of a Derbyshire boy by the name of Robin Dean
who was born near to Buxton where the hills are so green.
His parents struggled to find enough food to feed their family,
so Robin and his brothers stole food regularly.

The gaunt looking Robin was caught stealing at the age of ten
and was sentenced to a life of servitude in the Hall at Elvasten.
He scrubbed floors, washed pots and pans, and cleaned cutlery,
but he dreamed of becoming the Earl’s Master of Archery.

At the age of twelve years he had to learn the ways of the land
and the gamekeeper made sure he was a reliable hand.
Before long he became a maker of longbows and arrows
he then as an archer won prizes at county shows.

King Richard asked his noblemen for men to fight the crusades,
he wanted the best archers and those who could swing blades.
Robin Dean was equipped and sent to fight the Lion Heart’s cause
he became honoured in battle, and won the King’s applause.

Time and time again he produced his archery long-range skills
and was knighted Sir Robin Dean of the Derbyshire Hills.
The King gave him land on the Derbyshire and Nottingham border
to provide a suitable income for a knight of the highest order.

After seven hard years of fighting, the crusades were not going well
King Richard had been captured and imprisoned in a cell.
He was put up for ransom and the cost was highest ever asked,
so the soldiers returned to England to raise gold by the cask.

A storm in the English Channel forced the ship Robin Dean was on
to sail up the coast and dock in the port of Lincoln’s Boston.
He travelled across the county to the land which belonged to him,
but in Nottingham he entered and gained an Archery Tournament win.

This caused eyebrows to be raised throughout the tournament day,
the Nobles didn’t like a stranger taking their prize money away.
Sir Robin Dean the archer, became well known from there on
and he was offered a place to stay at the Castle in Donington.

At supper the Baron asked many questions about the life of his guest,
but Robin said little, which left the Baron to guess.
They eventually said goodnight and went to their bedrooms to retire
and before the sun rose, Robin had left for his estate in Derbyshire.

Sir Robin’s estate bordered into a part of the huge Sherwood Forest
where he was held by robbers demanding the purse from his vest.
Though outnumbered he drew his sword and put up a courageous fight,
but they over powered him, and took him to their forest camp site.

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poem by Orlando Belo
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Madge: Ye Hoyden

At Madge, ye hoyden, gossips scofft,
Ffor that a romping wench was shee--
"Now marke this rede," they bade her oft,
"Forsooken sholde your folly bee!"
But Madge, ye hoyden, laught & cried,
"Oho, oho," in girlish glee,
And noe thing mo replied.

II

No griffe she had nor knew no care,
But gayly rompit all daies long,
And, like ye brooke that everywhere
Goes jinking with a gladsome song,
Shee danct and songe from morn till night,--
Her gentil harte did know no wrong,
Nor did she none despight.

III

Sir Tomas from his noblesse halle
Did trend his path a somer's daye,
And to ye hoyden he did call
And these ffull evill words did say:
"O wolde you weare a silken gown
And binde your haire with ribands gay?
Then come with me to town!"

IV

But Madge, ye hoyden, shoke her head,--
"I'le be no lemman unto thee
For all your golde and gownes," shee said,
"ffor Robin hath bespoken mee."
Then ben Sir Tomas sore despight,
And back unto his hall went hee
With face as ashen white.

V

"O Robin, wilt thou wed this girl,
Whenas she is so vaine a sprite?"
So spak ffull many an envious churle
Unto that curteyse countrie wight.
But Robin did not pay no heede;
And they ben wed a somer night
& danct upon ye meade.

VI

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poem by Eugene Field
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Seasonable Retour-Knell

SEASONABLE RETOUR KNELL
Variations on a theme...
SEASONABLE ROUND ROBIN ROLE REVERSALS

Author notes

A mirrored Retourne may not only be read either from first line to last or from last to first as seen in the mirrors, but also by inverting the first and second phrase of each line, either rhyming AAAA or ABAB for each verse. thus the number of variations could be multiplied several times.- two variations on the theme have been included here but could have been extended as in SEASONABLE ROUND ROBIN ROLE REVERSALS robi03_0069_robi03_0000

In respect of SEASONABLE ROUND ROBIN ROLE REVERSALS
This composition has sought to explore linguistic potential. Notes and the initial version are placed before rather than after the poem.
Six variations on a theme have been selected out of a significant number of mathematical possibilities using THE SAME TEXT and a reverse mirror for each version. Mirrors repeat the seasons with the lines in reverse order.

For the second roll the first four syllables of each line are reversed, and sense is retained both in the normal order of seasons and the reversed order as well... The 3rd and 4th variations offer ABAB rhyme schemes retaining the original text. The 5th and 6th variations modify the text into rhyming couplets.

Given the linguistical structure of this symphonic composition the score could be read in inversing each and every line and each and every hemistitch. There are minor punctuation differences between versions.

One could probably attain sonnet status for each of the four seasons and through partioning in 3 groups of 4 syllables extend the possibilites ad vitam.

Seasonable Round Robin Roll Reversals
robi03_0069_robi03_0000 QXX_DNZ
Seasonable Retour-Knell
robi03_0070_robi03_0069 QXX_NXX
26 March 1975 rewritten 20070123
lllllllllllllllllllllllllllllllllllll lllllllllllllllllll
For previous version see below
_______________________________________
SPRING SUMMER

Life is at ease Young lovers long
Land under plough; To hold their dear;
Whispering trees, Dewdrops among,
Answering cow. Bold, know no fear.

Blossom, the bees, Life full of song,
Burgeoning bough; Cloudless and clear;
Soft-scented breeze, Days fair and long,
Spring warms life now. Summer sends cheer.

AUTUMN WINTER

Each leaf decays, Harvested sheaves
Each life must bow; And honeyed hives;
Our salad days Trees stripped of leaves,
Are ending now. Jack Frost has knives.

Fruit heavy lays Time, Prince of thieves,
Bending the bough, - Onward he drives,

[...] Read more

poem by Jonathan Robin
Added by Poetry Lover
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Robin and Makyne

ROBIN sat on gude green hill,
   Kepand a flock of fe:
Mirry Makyne said him till
   'Robin, thou rew on me:
I haif thee luvit, loud and still,
   Thir yeiris twa or thre;
My dule in dern bot gif thou dill,
   Doutless but dreid I de.'

Robin answerit 'By the Rude
   Na thing of luve I knaw,
But keipis my scheip undir yon wud:
   Lo, quhair they raik on raw.
Quhat has marrit thee in thy mude,
   Makyne, to me thou shaw;
Or quhat is luve, or to be lude?
   Fain wad I leir that law.'

'At luvis lair gif thou will leir
   Tak thair ane A B C;
Be heynd, courtass, and fair of feir,
   Wyse, hardy, and free:
So that no danger do thee deir
   Quhat dule in dern thou dre;
Preiss thee with pain at all poweir
   Be patient and previe.'

Robin answerit hir agane,
   'I wat nocht quhat is lufe;
But I haif mervel in certaine
   Quhat makis thee this wanrufe:
The weddir is fair, and I am fain;
   My scheip gois haill aboif;
And we wald prey us in this plane,
   They wald us baith reproif.'

'Robin, tak tent unto my tale,
   And wirk all as I reid,
And thou sall haif my heart all haill,
   Eik and my maiden-heid:
Sen God sendis bute for baill,
   And for murnyng remeid,
In dern with thee bot gif I daill
   Dowtles I am bot deid.'

'Makyne, to-morn this ilka tyde
   And ye will meit me heir,
Peraventure my scheip may gang besyde,
   Quhyle we haif liggit full neir;
But mawgre haif I, and I byde,

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poem by Robert Henryson
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Rubaiyat Of A Robin - After Edward Fitzgerald - Rubaiyat Of Omar Khayyam

Jest plays with rubaiyat and, four by four,
unseals for your amusement more and more
verses together thread in rosary
unreeled to bloom till tomb will curtains draw.

Repealed are value judgement and perspective
revealed through standpoint purely introspective,
darkside concealed of moon’s yin-yang shines clear
when we’re in orbit, - option more effective.

Rolled form performs rôle midwife to perception,
sprung tongue in cheek, tweaks sense of imperfection
or willingness to leach between the lines,
impeach entrenched ideas of self-[s]election.

This prose arose as stream deprived of section,
where ‘dip at will’ will still sustain inspection,
the current’s sense, at odds with current views
ignores round holes, square pegs, top-down direction.

Here there’s no fear of critics’ peer rejection,
contention treated with due circumspection
intention is to mention for retention
an overview or clue to extrospection.

Life’s curtains are a veil through which few see,
as many haste taste-waste eternity,
mixed up, ignore life fixes finite sum
to/through infinite opportunity.

Can “Truth” exist? all ask, who seek its core,
we, modest, etch our words to sketch the score,
diverse the verses which converge to link
reflections mirrored many times before.

Vast content, style, a while, united are,
aim at soul stimulation, nothing bar,
to pleasure, treasure, or discard at will
as minds outreach to other minds on par.

Meditating, we shed light on what
tomorrow’s tot may factor into ‘bot’ -
the poet’s lot, forgot, to help all think
ahead of time, enhance life for a lot

Some seek Nirvana, Faith speaks more than “how”.
Others reject Salvation’s wraith, - w[h]ine “now”.
Verifying facts? Inventing dreams?
Each furrow-burrows with a different plough.

[...] Read more

poem by Jonathan Robin
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Rockin Robin

(thomas)
Twiddley dee, twiddley diddley dee
Twiddley dee, twiddley diddley dee
Twiddley dee, twiddley diddley dee
Tweet, tweet, twiddley de
He rocks in the treetops all the day long
Hoppin and a-boppin and a-singing this song
Every little bird, every little bee
Loves to hear the robin go tweet-tweet-tweet
Rockin robin, tweet, twiddley dee
Rockin robin, tweet, twiddley dee
Yeah go rockin robin, really gonna rock tonight
Every little swallow, every chick-a-dee
Every little bird in the old oak tree
Wise old owl, big black crow
Put out their wings singing go bird go
Rockin robin, tweet, twiddley dee
Rockin robin, tweet, twiddley dee
Yeah go rockin robin, really gonna rock tonight
The chief bird standing at the birdbath stand
Taught him how to do the bop and it was grand
Start goin steady and bless my soul,
He out-bopped the buzzard and the oriole
He rocks in the treetops all the day long
Hoppin and a-boppin and a-singing this song
Every little bird, every little bee
Loves to hear the robin go tweet-tweet-tweet
Rockin robin, tweet, twiddley dee
Rockin robin, tweet, twiddley dee
Yeah go rockin robin, really gonna rock tonight
Break
The chief bird standing at the birdbath stand
Taught him how to do the bop and it was grand
Start goin steady and bless my soul,
He out-bopped the buzzard and the oriole
He rocks in the treetops all the day long
Hoppin and a-boppin and a-singing this song
Every little bird, every little bee
Loves to hear the robin go tweet-tweet-tweet
Rockin robin, tweet, twiddley dee
Rockin robin, tweet, twiddley dee
Yeah go rockin robin, really gonna rock tonight
Twiddley dee, twiddley diddley dee
Twiddley dee, twiddley diddley dee
Twiddley dee, twiddley diddley dee
Tweet, tweet, twiddley de

song performed by Hollies
Added by Lucian Velea
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You Wear It So Well

All of those things
Yeah, that you got to give
Yeah, you wear it so well
Hey, you wear it so well
All of those stories
Honey, that i know you could tell
Yeah, you wear it so well
And your face hides it so we can't tell
That you knew we would wear it so well
You wear it so well
Yeah darling, you wear it so well
(you wear it so well)
Yeah baby, you wear it so well
(you wear it so well)
Yeah now baby, you wear it so well
(you wear it so well)
Hey now darling now, yeah, you wear it so well
(you wear it so well)
All of those things
That make poets sing
You wear it so well
Yeah, you hide it so well
And all of those pain
That you used to tell
You hide it so well
Can't tell from your face that you knew it so well
Hey, now that you have such a story to tell
Yeah, you got style and grace and you wear it so well
You wear it so well
And you got, you got such a story to tell
Yeah, yeah, yeah, you wear it so well
Grace and style equals you so well
Yeah, yeah, yeah, you wear it so well, well, yeah, so well
Yeah, you wear it, wear it, wear it now, wear it now, baby
Yeah, now you wear it so well
And you got such a story to tell
(ooohhh, ooohhh, ooohhh)
(ooohhh, you wear it so well)
(you wear it so well)
(you wear it so well)

song performed by Lou Reed
Added by Lucian Velea
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Robin Suicide

A robin committed suicide today
dead against my living room window pane;
flying fast in chilly mid-November;
perhaps heading south.

The sound; wings blurred; a thump!
he went straight to ground.

He should have missed the house,
it's large, the window is below the roof,
he was not flying blind
or forgot to look.

Like a jet with no flaps down,
he hit the window full-throttle;
smashing pain.

I got up took a look
expecting him to fly or stir
but he didn't move below; lay quiet.

I went down to see.
Robin, older, neck awry
didn't stir, didn't move.
no silent cry.

Neck broken.
Instant Death.
Instant Oblivion,

I looked for mourners.
There were none.

This Robin was solo in Death as we all are;
on his own.

It didn't seem fitting
to conduct a garbage-can burial,
I said a few words, cursed,
and decided to bury him in dirt.

Picked him up by his tail plumage
took him to the back yard;

dug a shallow grave, mumbled something;
lay him down in there;
patted the top of his dirt pyre
my good deed done.

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poem by Lonnie Hicks
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Better Dayz

Lookin for these better days
Better days, heyyy! Better days
Got me thinkin bout better days
Better days! Better days, better days
Heyyy! Better days
Got me thinkin bout better days
Time to question our lifestyle, look how we live
Smokin weed like it ain't no thang, so even kids
wanna try now, they lie down and get ran through
Nobody watched 'em clockin the evil man do
Faced with the demons, addicted to hearin victims screamin
Guess we was evil since birth, product of cursed semens
Cause even our birthdays is cursed days
A born thug in the first place, the worst ways
I'd love to see the block in peace
With no more dealers and crooked cops, the only way to stop the beast
And only we can change
It's up to us to clean up the streets, it ain't the same
Too many murders, too many funerals and too many tears
Just seen another brother buried plus I knew him for years
Passed by his family, but what could I say?
Keep yo' head up and try to keep the faith
And pray for better days
Better days, better days, heyyy!
Better days.. got me thinkin bout better days
Better days, better days, better days
Heyyy! Better days
Got me thinkin bout better days
Thinkin back as an adolescent, who would've guessed
that in my future years, I'd be stressin
Some say the ghetto's sick and corrupted
Plus my P.O. won't let me hang with the brothers I grew up with
Tryin to keep my head up and stay strong
All my homies slangin llello all day long, but they wrong
So I'm solo and so broke
Savin up for some Jordan's, cause they dope
I got a girl and I love her but she broke too, and so am I
I can't take her to the place she wanna go to
So we argue and play fight, all day and night
Makin passionate love 'til the daylight
Plus we about to get evicted, can't pay the rent
Guess it's time to see who really is yo' friend
Tell me you pregnant and I'm amazed
So many blessings while we stressin
Lookin for them better days
For better days, better days, better days, heyyy!
Better days.. got me thinkin bout better days
Better days, better days, better days
Heyyy! Better days.. got me thinkin bout better days
Now me and you was real cool, hell on them square fools

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song performed by 2 Pac
Added by Lucian Velea
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Robin Hood and Little John

When Robin Hood was about twenty years old,
With a hey down down and a down
He happend to meet Little John,
A jolly brisk blade, right fit for the trade,
For he was a lusty young man.

Tho he was calld Little, his limbs they were large,
And his stature was seven foot high;
Where-ever he came, they quak'd at his name,
For soon he would make them to fly.

How they came acquainted, I'll tell you in brief,
If you will but listen a while;
For this very jest, amongst all the rest,
I think it may cause you to smile.

Bold Robin Hood said to his jolly bowmen,
Pray tarry you here in this grove;
And see that you all observe well my call,
While thorough the forest I rove.

We have had no sport for these fourteen long days,
Therefore now abroad will I go;
Now should I be beat, and cannot retreat,
My horn I will presently blow.

Then did he shake hands with his merry men all,
And bid them at present good b'w'ye;
Then, as near a brook his journey he took,
A stranger he chancd to espy.

They happend to meet on a long narrow bridge,
And neither of them would give way;
Quoth bold Robin Hood, and sturdily stood,
I'll show you right Nottingham play.

With that from his quiver an arrow he drew,
A broad arrow with a goose-wing:
The stranger reply'd, I'll liquor thy hide,
If thou offerst to touch the string.

Quoth bold Robin Hood, Thou dost prate like an ass,
For were I to bend but my bow,
I could send a dart quite thro thy proud heart,
Before thou couldst strike me one blow.

'Thou talkst like a coward,' the stranger reply'd;
'Well armd with a long bow, you stand,
To shoot at my breast, while I, I protest,
Have nought but a staff in my hand.'

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poem by anonym
Added by Veronica Serbanoiu
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