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The Robin for the Crumb

864

The Robin for the Crumb
Returns no syllable
But long records the Lady's name
In Silver Chronicle.

poem by Emily Dickinson
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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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The Court Of Love

With timerous hert and trembling hand of drede,
Of cunning naked, bare of eloquence,
Unto the flour of port in womanhede
I write, as he that non intelligence
Of metres hath, ne floures of sentence;
Sauf that me list my writing to convey,
In that I can to please her hygh nobley.

The blosmes fresshe of Tullius garden soote
Present thaim not, my mater for to borne:
Poemes of Virgil taken here no rote,
Ne crafte of Galfrid may not here sojorne:
Why nam I cunning? O well may I morne,
For lak of science that I can-not write
Unto the princes of my life a-right

No termes digne unto her excellence,
So is she sprong of noble stirpe and high:
A world of honour and of reverence
There is in her, this wil I testifie.
Calliope, thou sister wise and sly,
And thou, Minerva, guyde me with thy grace,
That langage rude my mater not deface.

Thy suger-dropes swete of Elicon
Distill in me, thou gentle Muse, I pray;
And thee, Melpomene, I calle anon,
Of ignoraunce the mist to chace away;
And give me grace so for to write and sey,
That she, my lady, of her worthinesse,
Accepte in gree this litel short tretesse,

That is entitled thus, 'The Court of Love.'
And ye that ben metriciens me excuse,
I you besech, for Venus sake above;
For what I mene in this ye need not muse:
And if so be my lady it refuse
For lak of ornat speche, I wold be wo,
That I presume to her to writen so.

But myn entent and all my besy cure
Is for to write this tretesse, as I can,
Unto my lady, stable, true, and sure,
Feithfull and kind, sith first that she began
Me to accept in service as her man:

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poem by Anonymous Olde English
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Christabel

PART I

'Tis the middle of night by the castle clock
And the owls have awakened the crowing cock;
Tu-whit!- Tu-whoo!
And hark, again! the crowing cock,
How drowsily it crew.
Sir Leoline, the Baron rich,
Hath a toothless mastiff, which
From her kennel beneath the rock
Maketh answer to the clock,
Four for the quarters, and twelve for the hour;
Ever and aye, by shine and shower,
Sixteen short howls, not over loud;
Some say, she sees my lady's shroud.

Is the night chilly and dark?
The night is chilly, but not dark.
The thin gray cloud is spread on high,
It covers but not hides the sky.
The moon is behind, and at the full;
And yet she looks both small and dull.
The night is chill, the cloud is gray:
'T is a month before the month of May,
And the Spring comes slowly up this way.
The lovely lady, Christabel,
Whom her father loves so well,
What makes her in the wood so late,
A furlong from the castle gate?
She had dreams all yesternight
Of her own betrothed knight;
And she in the midnight wood will pray
For the weal of her lover that's far away.

She stole along, she nothing spoke,
The sighs she heaved were soft and low,
And naught was green upon the oak,
But moss and rarest mistletoe:
She kneels beneath the huge oak tree,
And in silence prayeth she.

The lady sprang up suddenly,
The lovely lady, Christabel!
It moaned as near, as near can be,
But what it is she cannot tell.-
On the other side it seems to be,
Of the huge, broad-breasted, old oak tree.
The night is chill; the forest bare;
Is it the wind that moaneth bleak?
There is not wind enough in the air

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poem by Samuel Taylor Coleridge
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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 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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The Cōforte of Louers

The prohemye.

The gentyll poetes/vnder cloudy fygures
Do touche a trouth/and clokeit subtylly
Harde is to cōstrue poetycall scryptures
They are so fayned/& made sētēcyously
For som do wryte of loue by fables pryuely
Some do endyte/vpon good moralyte
Of chyualrous actes/done in antyquyte
Whose fables and storyes ben pastymes pleasaunt
To lordes and ladyes/as is theyr lykynge
Dyuers to moralyte/ben oft attendaunt
And many delyte to rede of louynge
Youth loueth aduenture/pleasure and lykynge
Aege foloweth polycy/sadnesse and prudence
Thus they do dyffre/eche in experyence
I lytell or nought/experte in this scyence
Compyle suche bokes/to deuoyde ydlenes
Besechynge the reders/with all my delygence
Where as I offende/for to correct doubtles
Submyttynge me to theyr grete gentylnes
As none hystoryagraffe/nor poete laureate
But gladly wolde folowe/the makynge of Lydgate
Fyrst noble Gower/moralytees dyde endyte
And after hym Cauncers/grete bokes delectable
Lyke a good phylozophre/meruaylously dyde wryte
After them Lydgate/the monke commendable
Made many wonderfull bokes moche profytable
But syth the are deed/& theyr bodyes layde in chest
I pray to god to gyue theyr soules good rest

Finis prohemii.

Whan fayre was phebus/w&supere; his bemes bryght
Amyddes of gemyny/aloft the fyrmament
Without blacke cloudes/castynge his pured lyght
With sorowe opprest/and grete incombrement
Remembrynge well/my lady excellent
Saynge o fortune helpe me to preuayle
For thou knowest all my paynfull trauayle
I went than musynge/in a medowe grene
Myselfe alone/amonge the floures in dede
With god aboue/the futertens is sene
To god I sayd/thou mayst my mater spede
And me rewarde/accordynge to my mede
Thou knowest the trouthe/I am to the true
Whan that thou lyst/thou mayst them all subdue
Who dyde preserue the yonge edyppus
Whiche sholde haue be slayne by calculacyon
To deuoyde grete thynges/the story sheweth vs

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poem by Stephen Hawes
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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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The Flight of the Duchess

I

You're my friend:
I was the man the Duke spoke to;
I helped the Duchess to cast off his yoke, too;
So here's the tale from beginning to end,
My friend!

II

Ours is a great wild country:
If you climb to our castle's top,
I don't see where your eye can stop;
For when you've passed the cornfield country,
Where vineyards leave off, flocks are packed,
And sheep-range leads to cattle-tract,
And cattle-tract to open-chase,
And open-chase to the very base
Of the mountain where, at a funeral pace,
Round about, solemn and slow,
One by one, row after row,
Up and up the pine-trees go,
So, like black priests up, and so
Down the other side again
To another greater, wilder country,
That's one vast red drear burnt-up plain,
Branched through and through with many a vein
Whence iron's dug, and copper's dealt;
Look right, look left, look straight before—
Beneath they mine, above they smelt,
Copper-ore and iron-ore,
And forge and furnace mould and melt,
And so on, more and ever more,
Till at the last, for a bounding belt,
Comes the salt sand hoar of the great sea shore
—And the whole is our Duke's country.

III

I was born the day this present Duke was—
(And O, says the song, ere I was old!)
In the castle where the other Duke was—
(When I was happy and young, not old!)
I in the kennel, he in the bower:
We are of like age to an hour.
My father was huntsman in that day;
Who has not heard my father say
That, when a boar was brought to bay,

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poem by Robert Browning from Dramatic Romances and Lyrics (1845)
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Flight Of The Duchess, The

I.

You're my friend:
I was the man the Duke spoke to;
I helped the Duchess to cast off his yoke, too;
So here's the tale from beginning to end,
My friend!

II.

Ours is a great wild country:
If you climb to our castle's top,
I don't see where your eye can stop;
For when you've passed the cornfield country,
Where vineyards leave off, flocks are packed,
And sheep-range leads to cattle-tract,
And cattle-tract to open-chase,
And open-chase to the very base
Of the mountain where, at a funeral pace,
Round about, solemn and slow,
One by one, row after row,
Up and up the pine-trees go,
So, like black priests up, and so
Down the other side again
To another greater, wilder country,
That's one vast red drear burnt-up plain,
Branched through and through with many a vein
Whence iron's dug, and copper's dealt;
Look right, look left, look straight before,---
Beneath they mine, above they smelt,
Copper-ore and iron-ore,
And forge and furnace mould and melt,
And so on, more and ever more,
Till at the last, for a bounding belt,
Comes the salt sand hoar of the great sea-shore,
---And the whole is our Duke's country.

III.

I was born the day this present Duke was---
(And O, says the song, ere I was old!)
In the castle where the other Duke was---
(When I was happy and young, not old!)
I in the kennel, he in the bower:
We are of like age to an hour.
My father was huntsman in that day;
Who has not heard my father say
That, when a boar was brought to bay,
Three times, four times out of five,
With his huntspear he'd contrive

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poem by Robert Browning
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Daily Records

This could be suffering
This could be suffering
This could be pleasure
This could be pleasure
Im unaware of any difference
Im unaware of any difference
My head is aging
My head is aging
My balls are aching
My balls are aching
But Im not looking for deliverence
But Im not looking for deliverence
This could be letting on
This could be letting on
This could be highly cut
This could be highly cut
Im unaware of ~any difference
Im unaware of ~any difference
One says it cant be done
One says it cant be done
Then somebody does it - but
Then somebody does it - but
Im not watching for equivalents.
Im not watching for equivalents.
I just dont quite know how to wear my hair no more
I just dont quite know how to wear my hair no more
No sooner cut it than they cut it even more
No sooner cut it than they cut it even more
Got to admit that I created private worlds
Got to admit that I created private worlds
Cold sex and booze dont impress my little girls
Cold sex and booze dont impress my little girls
Daily records
Daily records
Just want to be making daily records
Just want to be making daily records
Try to avoid the bad news in the letters
Try to avoid the bad news in the letters
Just wanna be making records
Just wanna be making records
Play in - play out - fade in - fade out
Play in - play out - fade in - fade out
Making records day in - day out
Making records day in - day out
And they say its just a stage in life
And they say its just a stage in life
But I know by now the problem is a stage
But I know by now the problem is a stage
And they say just take your time and itll go away
And they say just take your time and itll go away

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song performed by Who
Added by Lucian Velea
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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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VI. Giuseppe Caponsacchi

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

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poem by Robert Browning from The Ring and the Book
Added by Veronica Serbanoiu
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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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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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The Sorcerer: Act II

DRAMATIS PERSONAE

Sir Marmaduke Pointdextre, an Elderly Baronet

Alexis, of the Grenadier Guards--His Son

Dr. Daly, Vicar of Ploverleigh

John Wellington Wells, of J. W. Wells & Co., Family Sorcerers

Lady Sangazure, a Lady of Ancient Lineage

Aline, Her Daughter--betrothed to Alexis

Mrs. Partlet, a Pew-Opener

Constance, her Daughter

Chorus of Villagers

(Twelve hours are supposed to elapse between Acts I and II)

ACT II-- Grounds of Sir Marmaduke's Mansion, Midnight

Scene--Exterior of Sir Marmaduke's mansion by moonlight. All the
peasantry are discovered asleep on the ground, as at the end
of Act I.

Enter Mr. Wells, on tiptoe, followed by Alexis and Aline. Mr. Wells
carries a dark lantern.

TRIO--ALEXIS, ALINE, and MR. WELLS

'Tis twelve, I think,
And at this mystic hour
The magic drink
Should manifest its power.
Oh, slumbering forms,
How little ye have guessed
That fire that warms
Each apathetic breast!

ALEXIS. But stay, my father is not here!

ALINE. And pray where is my mother dear?

MR. WELLS. I did not think it meet to see
A dame of lengthy pedigree,

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poem by William Schwenck Gilbert
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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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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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The House Of Dust: Complete

I.

The sun goes down in a cold pale flare of light.
The trees grow dark: the shadows lean to the east:
And lights wink out through the windows, one by one.
A clamor of frosty sirens mourns at the night.
Pale slate-grey clouds whirl up from the sunken sun.

And the wandering one, the inquisitive dreamer of dreams,
The eternal asker of answers, stands in the street,
And lifts his palms for the first cold ghost of rain.
The purple lights leap down the hill before him.
The gorgeous night has begun again.

'I will ask them all, I will ask them all their dreams,
I will hold my light above them and seek their faces.
I will hear them whisper, invisible in their veins . . .'
The eternal asker of answers becomes as the darkness,
Or as a wind blown over a myriad forest,
Or as the numberless voices of long-drawn rains.

We hear him and take him among us, like a wind of music,
Like the ghost of a music we have somewhere heard;
We crowd through the streets in a dazzle of pallid lamplight,
We pour in a sinister wave, ascend a stair,
With laughter and cry, and word upon murmured word;
We flow, we descend, we turn . . . and the eternal dreamer
Moves among us like light, like evening air . . .

Good-night! Good-night! Good-night! We go our ways,
The rain runs over the pavement before our feet,
The cold rain falls, the rain sings.
We walk, we run, we ride. We turn our faces
To what the eternal evening brings.

Our hands are hot and raw with the stones we have laid,
We have built a tower of stone high into the sky,
We have built a city of towers.

Our hands are light, they are singing with emptiness.
Our souls are light; they have shaken a burden of hours . . .
What did we build it for? Was it all a dream? . . .
Ghostly above us in lamplight the towers gleam . . .
And after a while they will fall to dust and rain;
Or else we will tear them down with impatient hands;
And hew rock out of the earth, and build them again.

II.

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poem by Conrad Potter Aiken
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