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Lefelach Harimon

LEFELACH HARIMON ADAMAH RAKTEKH
K'GEBAH HAERMON DZHABOHAH KOMATEKH
V'MOR 'EYM KINAMON YAPEYCHAN MEBYTEKH
TZABIYAH 'AYNAYAH LALIBI OSARU
L'AYNI HAYONIM ADAMAH 'AYNAYAH
K'MU CHOT HASHANI DAMOT SIFTATEYAH
LYOFYAH 'AM 'ONYM YABORAKH TZORAYAH
LEBAVI W'LABAVEH B'AHAVAH NIKHSHORU
LABANAH KASAHAR MEYRAH KACHAMAH
MADELAGAT MAHAR ELEY GIBA'AH RAMAH
ANI ARBAH MUHAR TANU LI HA'ALMAH
LEBAVI 'IM RUACH BYADAH NACHABARU
CHABATZ LAT SHARON W'SHOSHANAT 'EMEK
NATUYOT HADZHARON W'ELAY TITCHAMAK
W'TABYAH HACHARON LALYBBI HANAMEK
RATYAH HABYAV LAMAKATI ZORU

song performed by Ofra Haza
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1984

Someday they wont let you, now you must agree
The times they are a-telling, and the changing isnt free
Youve read it in the tea leaves, and the tracks are on tv
Beware the savage jaw
Of 1984
Theyll split your pretty cranium, and fill it full of air
And tell that youre eighty, but brother, you wont care
Youll be shooting up on anything, tomorrows never there
Beware the savage jaw
Of 1984
Come see, come see, remember me?
We played out an all night movie role
You said it would last, but I guess we enrolled
In 1984 (who could ask for more)
1984 (who could ask for mor-or-or-or-ore)
(mor-or-or-or-ore)
Im looking for a vehicle, Im looking for a ride
Im looking for a party, Im looking for a side
Im looking for the treason that I knew in 65
Beware the savage jaw
Of 1984
Come see, come see, remember me?
We played out an all night movie role
You said it would last, but I guess we enrolled
In 1984 (who could ask for more)
1984 (who could ask for mor-or-or-or-ore)
(mor-or-or-or-ore)
1984
1984
1984 (mor-or-or-or-ore)
1984
1984 (mor-or-or-or-ore)
1984

song performed by David Bowie
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Confessio Amantis. Explicit Liber Quintus

Incipit Liber Sextus

Est gula, que nostrum maculavit prima parentem
Ex vetito pomo, quo dolet omnis homo
Hec agit, ut corpus anime contraria spirat,
Quo caro fit crassa, spiritus atque macer.
Intus et exterius si que virtutis habentur,
Potibus ebrietas conviciata ruit.
Mersa sopore labis, que Bachus inebriat hospes,
Indignata Venus oscula raro premit.

---------------------------------- -------------------------------------------------

The grete Senne original,
Which every man in general
Upon his berthe hath envenymed,
In Paradis it was mystymed:
Whan Adam of thilke Appel bot,
His swete morscel was to hot,
Which dedly made the mankinde.
And in the bokes as I finde,
This vice, which so out of rule
Hath sette ous alle, is cleped Gule;
Of which the branches ben so grete,
That of hem alle I wol noght trete,
Bot only as touchende of tuo
I thenke speke and of no mo;
Wherof the ferste is Dronkeschipe,
Which berth the cuppe felaschipe.
Ful many a wonder doth this vice,
He can make of a wisman nyce,
And of a fool, that him schal seme
That he can al the lawe deme,
And yiven every juggement
Which longeth to the firmament
Bothe of the sterre and of the mone;
And thus he makth a gret clerk sone
Of him that is a lewed man.
Ther is nothing which he ne can,
Whil he hath Dronkeschipe on honde,
He knowth the See, he knowth the stronde,
He is a noble man of armes,
And yit no strengthe is in his armes:
Ther he was strong ynouh tofore,
With Dronkeschipe it is forlore,
And al is changed his astat,
And wext anon so fieble and mat,
That he mai nouther go ne come,
Bot al togedre him is benome
The pouer bothe of hond and fot,

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poem by John Gower
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1984/do Do

Someday they wont let you, now you must agree
The times they are a-telling, and the changing isnt free
Youve read it in the tea leaves, the tracks are on tv
Beware the savage jaw
Of 1984
Theyll break your pretty cranium, and fill it full of air
And tell that youre eighty, but lover you wont care
Youll be shooting up this huge world, like tomorrows wasnt there
Beware the savage jaw
Of 1984
(come see, come see, remember me? )
We played out an all night movie role
You said it would last, but I guess weve grown
In 1984 (who could ask for more)
1984 (who could ask for more)
Now we can talk in confidence
Did you guess that weve been done wrong
Lies jumped the queue to be first in line
Such a shameless design
He thinks hes well screened from the man at the top
Its a shame that his children disagree
They cooly decide to sell him down the line
Daddys brainwashing time
Hes a do do, no no didnt hear it from me
Hes a do do, no no didnt hear it from me
She doesnt recall her blessed childhood out of yore
When a unit was a figure not a she
When lovers chose each other seems the perks are due
Another memo to screw
Shes a do do, no no didnt hear it from me
Shes a do do, no no didnt hear it from me
Can you wipe your nose my child without them slotting in your file a photograph
Will you sleep in fear tonight wake to find the scorching light of neighbour jim
Come to, turn you in
But the do do, no no, didnt hear it from me
Another do do, no no, didnt hear it from me
Another do do, no no, didnt hear it from me
Another do do, no no, didnt hear from me
Come see, come see, remember me?
We played out an all night movie role
You said it would last, but I guess we enrolled
In 1984 (who could ask for more)
1984 (who could ask for mor-or-or-or-ore)
(mor-or-or-or-ore)
1984
1984
1984 (mor-or-or-or-ore)
1984
1984 (mor-or-or-or-ore)
1984

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song performed by David Bowie
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Tha e ne (Kosli kabita)

Khet mor ta kudmi muin bunmi muin bija
Sabu karmi muin lata bachha palha rua
Daebar madabar gharke buhibar kam bhi mor.
Mate chhadidele aaru ni na kihe kehensithane
Kenta karmi karmi jenta jena chhadmi heta henu
Aaru ni jaen kahin.
Muin achhen e na aaru e na thibartak heba
Jenta karuthimi heta
Ni kalata heba heta kahebarta kenta alajuk aae.
Achhen muin morthane basuchhen uthuchhen gadhuchhen
Dekhuchhen karuchhen mor kam mor khete
Mor kala kam thanu kenta sikhla tume sikhi ja
Aaru tha e na.

poem by Gajanan Mishra
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Temora - Book VII

ARGUMENT.

This book begins about the middle of the third night from the opening of the poem. The poet describes a kind of mist, which rose by night from the Lake of Lego, and was the usual residence of the souls of the dead, during the interval between their decease and the funeral song. The appearance of the ghost of Fillan above the cave where his body lay. His voice comes to Fingal on the rock of Cormul. The king strikes the shield of Trenmor, which was an infallible sign of his appearing in arms himself. The extraordinary effect of the sound of the shield. Sul-malla, starting from sleep, awakes Cathmor. Their affecting discourse. She insists with him to sue for peace; he resolves to continue the war. He directs her to retire to the neighboring valley of Lona, which was the residence of an old Druid, until the battle of the next day should be over. He awakes his army with the sound of his shield. The shield described. Fonar, the bard, at the desire of Cathmor, relates the first settlement of the Fir-bolg in Ireland, under their leader Larthon. Morning comes. Sul-malla retires to the valley of Lona. A lyric song concludes the book.

From the wood-skirted waters of Lego ascend, at times, gray-bosomed mists; when the gates of the west are closed, on the sun's eagle eye. Wide, over Lara's stream, is poured the vapor dark and deep: the moon, like a dim shield, lay swimming through its folds. With this, clothe the spirits of old their sudden gestures on the wind, when they stride, from blast to blast, along the dusky night. Often, blended with the gale, to some warrior's grave, they roll the mist a gray dwelling to his ghost, until the songs arise.

A sound came from the desert; it was Conar, king of Inis-fail. He poured his mist on the grave of Fillan, at blue-winding Lubar. Dark and mournful sat the ghost, in his gray ridge of smoke. The blast, at times, rolled him together; but the form returned again. It returned with bending eyes, and dark winding of locks of mist.

It was dark. The sleeping host were still in the skirts of night. The flame decayed, on the hill of Fingal; the king lay lonely on his shield. His eyes were half clothed in sleep: the voice of Fillan came. "Sleeps the husband of Clatho? Dwells the father of the fallen in rest? Am I forgot in the folds of darkness; lonely in the season of night?"

"Why dost thou mix," said the king, "with the dreams of my father? Can I forget thee, my son, or thy path of fire in the field? Not such come the deeds of the valiant on the soul of Fingal. They are not a beam of lightning, which is seen and is then no more. I remember thee, O Fillan! and my wrath begins to rise."

The king took his deathful spear, and struck the deeply-sounding shield: his shield, that hung high in night, the dismal sign of war. Ghosts fled on every side, and rolled their gathered forms on the wind. Thrice from the winding vales arose the voice of deaths. The harps of the bards, untouched, sound mournful over the hill.

He struck again the shield; battles rose in the dreams of his host. The wide-tumbling strife is gleaming over their souls. Blue-shielded kings descended to war. Backward-looking armies fly; and mighty deeds are half hid in the bright gleams of steel.

But when the third sound arose, deer started from the clefts of their rocks. The screams of fowl are heard in the desert, as each flew frightened on his blast. The sons of Selma half rose and half assumed their spears. But silence rolled back on the host: they knew the shield of the king. Sleep returned to their eyes; the field was dark and still.

No sleep was thine in darkness, blue-eyed daughter of Conmor! Sul-malla heard the dreadful shield, and rose, amid the night. Her steps are towards the king of Atha. "Can danger shake his daring soul?" In doubt, she stands with bending eyes. Heaven burns with all its stars.

Again the shield resounds! She rushed. She stopt. Her voice half rose. It failed. She saw him, amidst his arms, that gleamed to heaven's fire. She saw him dim in his locks, that rose to nightly wind. Away, for fear, she turned her steps. "Why should the king of Erin awake? Thou art not a dream to his rest, daughter of Inis-huna."

More dreadful rings the shield. Sul-malla starts. Her helmet fails. Loud echoes Lubar's rock, as over it rolls the steel. Bursting from the dreams of night, Cathmor half rose beneath his tree. He saw the form of the maid above him, on the rock. A red star, with twinkling beams, looked through her floating hair.

"Who comes through night to Cathmor in the season of his dreams? Bring'st thou aught of war? Who art thou, son of night? Stand'st thou before me, a form of the times of old? a voice from the fold of a cloud, to warn me of the danger of Erin?"

"Nor lonely scout am I, nor voice from folded cloud," she said, "but I warn thee of the danger of Erin. Dost thou hear that sound? It is not the feeble, king of Atha, that rolls his signs on night."

"Let the warrior roll his signs," he replied, "To Cathmor they are the sounds of harps. My joy is great, voice of night, and burns over all my thoughts. This is the music of kings, on lonely hills, by night; when they light their daring souls, the sons of mighty deeds! The feeble dwell alone, in the valley of the breeze; where mists lift their morning skirts, from the blue-winding streams."

"Not feeble, king of men, were they, the fathers of my race. They dwelt in the folds of battle, in their distant lands. Yet delights not my soul in the signs of death! Lie, who never yields, comes forth: O send the bard of peace!"

Like a dropping rock in the desert, stood Cathmor in his tears. Her voice came, a breeze on his soul, and waked the memory of her land; where she dwelt by her peaceful streams, before he came to the war of Conmor.

"Daughter of strangers," he said, (she trembling turned away,) "long have I marked thee in thy steel, young pine of Inis-huna. But my soul, I said, is folded in a storm. Why should that beam arise, till my steps return in peace? Have I been pale in thy presence, as thou bid'st me to fear the king? The time of danger, O maid, is the season of my soul; for then it swells a mighty stream, and rolls me on the foe.

"Beneath the moss-covered rock of Lona, near his own loud stream; gray in his locks of age, dwells Clonmal king of harps. Above him is his echoing tree, and the dun bounding of roes. The noise of our strife reaches his ear, as he bends in the thoughts of years. There let thy rest be, Sul-malla, until our battle cease. Until I return, in my arms, from the skirts of the evening mist, that rises on Lona, round the dwelling of my love."

A light fell on the soul of the maid: it rose kindled before the king. She turned her face to Cathmor, from amidst her waving locks. "Sooner shall the eagle of heaven be torn from the stream of his roaring wind, when he sees the dun prey before him, the young sons of the bounding roe, than thou, O Cathmor, be turned from the strife of renown. Soon may I see thee, warrior, from the skirts of the evening mist, when it is rolled around me, on Lona of the streams. While yet thou art distant far, strike, Cathmor, strike the shield, that joy may return to my darkened soul, as I lean on the mossy rock. But if thou shouldst fall, I am in the land of strangers; O send thy voice from thy cloud, to the midst of Inis-huna!"

"Young branch of green-headed Lumon, why dost thou shake in the storm? Often has Cathmor returned, from darkly rolling wars. The darts of death are but hail to me; they have often rattled along my shield. I have risen brightened from battle, like a meteor from a stormy cloud. Return not, fair beam, from thy vale, when the roar of battle grows. Then might the foe escape, as from my fathers of old.

"They told to Son-mor, of Clunar, who was slain by Cormac in fight. Three days darkened Son-mor, over his brother's fall. His spouse beheld the silent king and foresaw his steps in war. She prepared the bow, in secret, to attend her blue-shielded hero. To her dwelt darkness at Atha, when he was not there. From their hundred streams, by night, poured down the sons of Alnecma. They had heard the shield of the king, and their rage arose. In clanging arms, they moved along towards Ullin of the groves. Son-mor struck his shield, at times the leader of the war.

"Far behind followed Sul-allin, over the streamy hills. She was a light on the mountain, when they crossed the vale below. Her steps were stately on the vale, when they rose on the mossy hill. She feared to approach the king, who left her in echoing Atha. But when the roar of battle rose; when host was rolled on host, when Son-mor burnt, like the fire of heaven in clouds, with her spreading hair came Sul-allin, for she trembled for her king. He stopt the rushing strife to save the love of heroes. The foe fled by night; Clunar slept without his blood; the blood which ought to be poured upon the warrior's tomb.

"Nor rose the rage of Son-mor, but his days were silent and dark. Sul-allin wandered by her gray stream. with her tearful eyes. Often did she look on the hero, when he was folded in his thoughts. But she shrunk from his eyes, and turned her lone steps away. Battles rose, like a tempest, and drove the mist from his soul. He beheld with joy her steps in the hall, and the white rising of her hands on the harp."

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poem by James Macpherson
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Robin Hood And The Potter

In schomer, when the leves spryng,
The bloschems on every bowe,
So merey doyt the berdys syng
Yn wodys merey now.

Herkens, god yemen,
Comley, corteysse, and god,
On of the best that yever bar bou,
Hes name was Roben Hode.

Roben Hood was the yemans name,
That was boyt corteys and fre;
For the loffe of owr ladey,
All wemen werschep he.

Bot as the god yemen stod on a day,
Among hes mery maney,
He was war of a prowd potter,
Cam dryfyng owyr the ley.

'Yonder comet a prod potter,' seyde Roben,
'That long hayt hantyd this wey;
He was never so corteys a man
On peney of pawage to pay.'

'Y met hem bot at Wentbreg,' seyde Lytyll John,
'And therfor yeffell mot he the,
Seche thre strokes he me gafe,
Yet they cleffe by my seydys.

'Y ley forty shillings,' seyde Lytyll John,
'To pay het thes same day,
Ther ys nat a man arnong hus all
A wed schall make hem ley.'

'Her ys forty shillings,' seyde Roben,
'Mor, and thow dar say,
That y schall make that prowde potter,
A wed to me schall he ley.'

Ther thes money they leyde,
They toke bot a yeman to kepe;
Roben befor the potter he breyde,
And bad hem stond stell.

Handys apon hes horse he leyde,
And bad the potter stonde foll stell;
The potter schorteley to hem seyde,
'Felow, what ys they well?'

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poem by Andrew Lang
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Maiden in the Mor Lay

Maiden in the mor lay--
in the mor lay--
Seuenyst fulle, seuenist fulle.
Maiden in the mor lay--
in the mor lay--
Seuenistes fulle ant a day.

Welle was hire mete.
wat was hire mete?
�e primerole ant the--
�e primerole ant the--
Welle was hire mete.
Wat was hire mete?
The primerole ant the violet.

Welle [was hire drying.]
wat was hire mete?
�e chelde water of pe--]
�e chelde water of �e welle-spring
Welle was hire drying.]
Wat ws hire drying?]
�e chelde water of �e welle-spring.

Welle was hire bour.
wat ws hire bour?
The rede rose an te--]
The rede rose an te--]
[Welle was hire bour.]
[Wat was hire bour?]
The rede rose an te lilie flour.

Translation

Maiden In The Moor

Maiden in the moor lay,
In the moor lay--
Seven nights full, seven nights full.
Maiden in the moor lay--
Seven nights full and a day.

Good was her meat.
What was her meat?
The primrose and the--
The primrose and the--
Good was her meat.
What was her meat?
The primrose and the violet.

Good was her drink.

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poem by Anonymous Olde English
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Kuch Naya Sa

Pee ke ladkhadana
aur ladkhada ke sambhal jana to saaki
Purani aadat thi,
Youn bin piye ladkhadana
aur ladkhadayee he jaana
yeh,
nayee bala hai.

Chot khakar dard me tadpna
aur tadap kar roo jana
to theek tha,
youn bina chot dard me chatpatana
aur chatpatahat mei chein pana,
yeh,
naya marz hai.

Jang me jeetna aur
uska jashn manana
Riwaz hai purana,
Youn bin lade sabkuch haar jaana
Phir haar ka jashn manana,
yeh,
Naya dastoor hai.

Kuch paana, aur paakar khona
Toh samajh aata hai,
Youn bin kuch paaye hi sab kuch khoo dena
yeh,
Naya sa ahsas hai.

Pee ke ladkhadana
aur ladkhada ke sambhal jana to saaki
Purani aadat thi,
Youn bin piye ladkhadana
aur ladkhadayee he jaana
yeh,
nayee bala hai.

poem by Anjali Kakati
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Triptych

Prelude, climax, aftermath,
that is the story of our lives, triptych
that takes away from he who hath,
without bell, book or even candlestick,
what he regarded as his own,
his life, which will be confiscated and
leave him with nothing, all alone,
trite triptych trash within a no-man’s land.
His narrative is adumbrated,
returning earth to earth, to adamah,
where he as prelude was created,
to be mere aftermath, from climax far.

Adamah is Hebrew for “earth, ” and the root of the name of “Adam, ” which in the Creative narrative denotes “First Man, created from the earth” (Gen.2: 7) .

Inspired by an article by Alan Jenkins in the TLS, December 5,2008 (“Human Meat”) . He writes:
That so many of Bacon’s motifs derived, in complex, vigilant ways from photography and film is entirely consistent with his acute awareness that these new art forms had rendered representation in painting obsolete, and with his horror of mere “illustration”. This was not to say that painting should not deal in “fact”: just that fact comprehended more than what is “seen naturally”. “One wants a thing to be as factual as possible and at the same time as deeply suggestive or deeply unlocking of areas of sensation other than simple illustration of the object”, as Bacon put it to David Sylvester. He was also one of the most literary of painters, an admirer of Ulysses, an avid reader of poetry and drama who saw that the Oresteia and T. S. Eliot’s Sweeney Agonistes were blood relations, who liked to quote lines from both yet who repeatedly and sometimes fiercely repudiated attempts to read “a story” into his own work.
But he insisted too much. At one level, his habit of working in triptychs, and at a deeper one the suggestiveness he often in fact achieved, not just in triptychs but in single paintings, militates against that very insistence. It is hard to look at such works as the “Crucifixions” of 1962 and 65, “Lying Figure” (1969) , “Triptych, Studies from the Human Body” (1970) or “Triptych March 1974” without a sense of prelude, climax and aftermath – though not necessarily in that order. Some such adumbrated narrative, an intimate human drama about to be embarked on, concluded or aborted also haunts the restrained and very beautiful portrait studies of a suited “Man in Blue”, his face and hands bright-lit on a deep blue ground, that are at once the most “readable” of all Bacon’s male figures, and the most ambiguous.

12/8/08

poem by Gershon Hepner
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The Trove at Bioda Mor

The last I saw of Sebastian Fudge
He was dancing the hempen jig,
To pay for the years of pirating
At the side of Captain Kidd.
While Kidd was swung at Tilbury,
Was dipped in a coat of tar,
Then hung in chains by the River Thames
As a sign to the faint of heart!

I'd sailed with Fudge on the Emerald,
In the days when men were bold,
And there wasn't a Frenchman privateer
That we couldn't divest of gold,
I thought of the Spanish throats we'd cut
And the nights of rum and hock,
As Fudge went tripping his final jig
At Execution Dock.

That left just me and Jackie Straw,
Midshipman Bowes, and Penn,
The last of the Jolly Roger crew
Of the ships we'd sailed back then,
So we met at the back of Polly's place,
The One-Eyed Tar that night,
And drank to the soul of Fudge, and drank!
We drank to the broad daylight!

And Polly had joined us there at dawn
The tears still on her face,
She'd been with Fudge, his faithful Moll,
As he swung with little grace:
'He scribbled a map for me, ' she said,
'I've kept it safely hid,
We could have collected the treasure trove
If he hadn't sailed with Kidd! '

'Belay that, let us see the map! '
Said Straw, his eyes ablaze,
And I caught a glimpse of his cutlass raised
In the raiding party days,
But 'Aye', said Penn, 'there's gold enough
And a chest of jewels each,
If we follow the trail of the castaways,
And the gold of Captain Teach! '

'You and your Caribbean gold,
I have no mind for that,
Rather a treasure close at hand,
It's marked on Fudge's map! '
Polly drew out a parchment then

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poem by David Lewis Paget
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Confessio Amantis. Explicit Liber Primus

Incipit Liber Secundus

Inuidie culpa magis est attrita dolore,
Nam sua mens nullo tempore leta manet:
Quo gaudent alii, dolet ille, nec vnus amicus
Est, cui de puro comoda velle facit.
Proximitatis honor sua corda veretur, et omnis
Est sibi leticia sic aliena dolor.
Hoc etenim vicium quam sepe repugnat amanti,
Non sibi, set reliquis, dum fauet ipsa Venus.
Est amor ex proprio motu fantasticus, et que
Gaudia fert alius, credit obesse sibi.

Now after Pride the secounde
Ther is, which many a woful stounde
Towardes othre berth aboute
Withinne himself and noght withoute;
For in his thoght he brenneth evere,
Whan that he wot an other levere
Or more vertuous than he,
Which passeth him in his degre;
Therof he takth his maladie:
That vice is cleped hot Envie.
Forthi, my Sone, if it be so
Thou art or hast ben on of tho,
As forto speke in loves cas,
If evere yit thin herte was
Sek of an other mannes hele?
So god avance my querele,
Mi fader, ye, a thousend sithe:
Whanne I have sen an other blithe
Of love, and hadde a goodly chiere,
Ethna, which brenneth yer be yere,
Was thanne noght so hot as I
Of thilke Sor which prively
Min hertes thoght withinne brenneth.
The Schip which on the wawes renneth,
And is forstormed and forblowe,
Is noght more peined for a throwe
Than I am thanne, whanne I se
An other which that passeth me
In that fortune of loves yifte.
Bot, fader, this I telle in schrifte,
That is nowher bot in o place;
For who that lese or finde grace
In other stede, it mai noght grieve:
Bot this ye mai riht wel believe,
Toward mi ladi that I serve,
Thogh that I wiste forto sterve,

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poem by John Gower
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Confessio Amantis. Explicit Liber Secundus

Incipit Liber Tercius

Ira suis paribus est par furiis Acherontis,
Quo furor ad tempus nil pietatis habet.
Ira malencolicos animos perturbat, vt equo
Iure sui pondus nulla statera tenet.
Omnibus in causis grauat Ira, set inter amantes,
Illa magis facili sorte grauamen agit:
Est vbi vir discors leuiterque repugnat amori,
Sepe loco ludi fletus ad ora venit.

----------------------------------- ------------------------------------------------

If thou the vices lest to knowe,
Mi Sone, it hath noght ben unknowe,
Fro ferst that men the swerdes grounde,
That ther nis on upon this grounde,
A vice forein fro the lawe,
Wherof that many a good felawe
Hath be distraght be sodein chance;
And yit to kinde no plesance
It doth, bot wher he most achieveth
His pourpos, most to kinde he grieveth,
As he which out of conscience
Is enemy to pacience:
And is be name on of the Sevene,
Which ofte hath set this world unevene,
And cleped is the cruel Ire,
Whos herte is everemore on fyre
To speke amis and to do bothe,
For his servantz ben evere wrothe.
Mi goode fader, tell me this:
What thing is Ire? Sone, it is
That in oure englissh Wrathe is hote,
Which hath hise wordes ay so hote,
That all a mannes pacience
Is fyred of the violence.
For he with him hath evere fyve
Servantz that helpen him to stryve:
The ferst of hem Malencolie
Is cleped, which in compaignie
An hundred times in an houre
Wol as an angri beste loure,
And noman wot the cause why.
Mi Sone, schrif thee now forthi:
Hast thou be Malencolien?
Ye, fader, be seint Julien,
Bot I untrewe wordes use,
I mai me noght therof excuse:
And al makth love, wel I wot,

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poem by John Gower
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Confessio Amantis. Explicit Liber Tercius

Incipit Liber Quartus

Dicunt accidiam fore nutricem viciorum,
Torpet et in cunctis tarda que lenta bonis:
Que fieri possent hodie transfert piger in cras,
Furatoque prius ostia claudit equo.
Poscenti tardo negat emolumenta Cupido,
Set Venus in celeri ludit amore viri.

Upon the vices to procede
After the cause of mannes dede,
The ferste point of Slowthe I calle
Lachesce, and is the chief of alle,
And hath this propreliche of kinde,
To leven alle thing behinde.
Of that he mihte do now hier
He tarieth al the longe yer,
And everemore he seith, 'Tomorwe';
And so he wol his time borwe,
And wissheth after 'God me sende,'
That whan he weneth have an ende,
Thanne is he ferthest to beginne.
Thus bringth he many a meschief inne
Unwar, til that he be meschieved,
And may noght thanne be relieved.
And riht so nowther mor ne lesse
It stant of love and of lachesce:
Som time he slowtheth in a day
That he nevere after gete mai.
Now, Sone, as of this ilke thing,
If thou have eny knowleching,
That thou to love hast don er this,
Tell on. Mi goode fader, yis.
As of lachesce I am beknowe
That I mai stonde upon his rowe,
As I that am clad of his suite:
For whanne I thoghte mi poursuite
To make, and therto sette a day
To speke unto the swete May,
Lachesce bad abide yit,
And bar on hond it was no wit
Ne time forto speke as tho.
Thus with his tales to and fro
Mi time in tariinge he drowh:
Whan ther was time good ynowh,
He seide, 'An other time is bettre;
Thou schalt mowe senden hire a lettre,
And per cas wryte more plein
Than thou be Mowthe durstest sein.'

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poem by John Gower
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Chevy-Chase

The Perse owt off Northombarlonde,
And a vowe to God mayd he
That he wold hunte in the mowntayns
Off Chyviat within days thre,
In the magger of doughte Dogles,
And all that ever with him be.

The fattiste hartes in all Cheviat
He sayd he wold kyll, and cary them away:
'Be my feth,' sayd the doughteti Doglas agayn,
'I wyll let that hontyng yf that I may.

Then the Perse owt off Banborowe cam,
With him a myghtee meany,
With fifteen hondrith archares bold off blood and bone;
The wear chosen owt of shyars thre.

This begane on a Monday at morn,
In Cheviat the hyllys so he;
They chylde may rue that ys un-born,
It wos the mor pitte.

The dryvars thorowe the woodes went,
For to reas the dear;
Bomen byckarte uppone the bent
With ther browd aros cleare.

Then the wyld thorowe the woodes went,
On every syde shear;
Greahondes thorowe the grevis glent,
For to kyll thear dear.

This began in Chyviat the hyls abone,
yerly on a Monnyn-day;
Be that it drewe to the oware off none,
A hondrith fat hartes ded ther lay.

The blewe a mort uppone the bent,
The semblyde on sydis shear;
To the quyrry then the Perse went,
To se the bryttlynge off the deare.

He sayd, 'It was the Doglas promys
This day to met me hear;
But I wyste he wolde faylle, verament;'
A great oth the Perse swear.

At the laste a squyar off Northomberlonde
Lokyde at his hand full ny;
He was war a the doughetie Doglas commynge,

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poem by Anonymous Olde English
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Aagla din

Rahemi kenta chhadikari tamke
Bisita laguche samiya
Ni thilabele tame ine.
Mor aink ni parbar dekhi
Aaru kichhu ketebele.
Raet ni sarbar ni sarbar din
Aaru muin hauchhen hapsi kechdei.
Morthanu kenke paleichha bhail tame
Mor e chhuri hebarta sat aai kain.
Kaan thirar lagi muin ni parbar rahi
morta kenta heba tamar
kede kede bepari helena phel ena
Aaru chhadikari palale na surat.
Aaru ken kaje mate deba kie kana
Phulmala aaru muin kahemi hela hela
Thik bujhagala.
Aagla din takichhe mate aaru
Tumke dekhabarkaje aaru ken kenta.

poem by Gajanan Mishra
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Requiem Night

amu's chall
nan vara
nam erai
king's dead
the day's out
watch the night

para mor
para dour
should the old soul
prepare the last bow

eterna non
non kira'll
nam hara
nothing's eternal
nothing can escape
from the fate of night

car vaval
nya hira
noha asai
the mist's thickening
glory was yesterday
tomorrow's unsure

para mor
para neir
should the old soul
raise a new star

eterna non
noin tira'll
dain matta
nothing's eternal
no darkness will stay
when morning comes

poem by Maria Sudibyo
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Eyes That See In The Dark

You're not meant to be alone I'll share your dream
I'll show you love you've never know-ow-own
Two flames together in the deep of the ni-i-ight
Up in your lo-ove -
Close by you, when you call, I'll take my stand
One chance to make or lose it a-a-all
This time my journey to wherever you are-are-are
I sail on your river, so far my love we'll never be fou-ound
If you believe we got eyes, that see in the dark
And the power of love lives for making you mi-ine
And in the light of close investiga-ation
Is it only my imagina-ation, I go-ot you, I got you
Moonlight shining on your face. my bridges burned
With all my tears that you repla-a-aced
Two hearts together is a beautiful si-i-ight
I'll take you to heaven, so far my love will follow you there-ere
If we believe we got eye-eyes that see in the dark
And the power of love lives for making you mi-ine
Am I the light of someone you need mor-ore of
Let me be that love you can be sur-ure of
Is it only my imagina-ation, I go-ot you
Like the eagle that flies in the su-u-un
I'll be lost in your fire before we are do-o-one
And the view from my window is brighter
Born to be all you nee-eed
We got eye-eyes that see in the dark
And the power of love lives for makin' you mi-ine
Am I the light of someone you need mor-ore of
Let me be that love you can be sur-ure of
Is it only my imagina-ation, I got you
We got eyes that see in the dark
And the power of love lives (fade)

song performed by Kenny Rogers
Added by Lucian Velea
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Malerie fra Jyllands Vestkyst

Man seer ei Træ, ei Busk, selv Lyngen vil ei groe,
Fra Sandet pipper frem et Græsstraae eller to;
Sandklitter reise sig, de vexle Dag for Dag,
Og rundtom stikke frem de nøgne, sorte Vrag.
Foruden Grændse Havet udstrakt for os staaer,
Speilklart og glat det er, saa langt som Øiet naaer,
Strandbredden er belagt med Stene, store, smaae,
Og alle runded' smukt, see, røde, hvide, blaae!
Hist komme Fiskere, de gaae til Havet froe;
En herlig Slægt det er, med Marv i hver en Kno.
Nu læses først en Bøn, fromt folder sig hver Haand,
Saa ile de med Christ, Gud og den hellig Aand.


Den gamle Mor paa Klinten staaer,
Saa graat som Sand er hendes Haar!
Hun drikker Solens Ild saa smaat,
Og skutter sig, det gjør saa godt.
Men som hun ret paa Havet seer,
Strax hendes gustne Ansigt leer,
Thi ude, hist paa Bølgens Hjem,
En prægtig Seiler glider frem,
Men uden Roer og uden Mast;
Den borer sig i Sandet fast,
Det Dødningskibet er man seer,
Thi see nu er det ikke meer.
Da knæler fromt den gamle Mor,
Hun læser høit et Fadervor,
Og siger: „Gud! til os Du see!
Lad det paa vores Kyst dog skee!
De drukne vist, den hele Flok,
Men vi skal leve, veed Du nok!"


Blikstille hviler Havet, tyst som de Dødes Hjem,
Men underligt fra Dybet en Susen stiger frem,
De mange Fiskerbaade med Bytte, høit i Lag,
See, hvor de søge Kysten, med stærke Aareslag.
Med eet sig Floden hæver, den stiger meer og meer,
Den grumset, sorte Bølge, høi, som et Bjerg, man seer.
Vel hundred' Favne reiser den sig med Gny og Larm,
Men Brændingen den knuser til Støvregn i sin Harm.
Dog gjennem hver en Brænding, hver Fiskerbaad nu gik,
Stift holdt hver Fisker Aaren, hver saae med Ørnens Blik;
Nu springe de i Søen, de drage Baaden frem,
Saa slæbe deres Qvinder det rige Bytte hjem;
Dybt bøiet under Vægten de gaae med deres Smaae,
Mens Manden mørk og stille ved Stranden seer derpaa.
— Hvad svæver over Dybet? Hvi er saa taus hver Mand?
Der er et Skib i Havs-Nød, det driver stærkt mod Land.

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poem by Hans Christian Andersen
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Anchorless and Engulfed

Two who each other barely knew -
though both drew down delinquency
some streets apart, are past, and few
shall etch sketch wretched memory.
Two travelled on lines parallel
while wheeled real reel of history,
banned reel ran out span's tocsin bell
tolled once to tell eternity

‘Bonjour, ma mie, je t'aime, adieu! '
The mocking bird of Destiny
nests but a moment. All falls through
before each earth-bound entity
grasp pain's pain glass a second, spell
life's sensitivity to see
things in perspective ere Death's knell
engulfs hopes in Styx misery.

Confined upon Earth's ark our zoo
builds up its bars too readily.
Why all the fuss and bother to
paint rosy hues enticingly
when threescore ten years pass pell-mell,
too few attain vain century,
and those that do weak souls would sell
for one more week's dichotomy.

Upon Life's cruise a motley crew
free choice demands, yet few feel free,
awash with superstitious spew,
how few refuse to bend the knee?
The ‘finger writes' and then farewell!
A door to which there is no key
was ever veiled when curtains fell,
'and then no more of thee and me.'

'Time out! ' Reflection's hard to chew
in context where modernity
accelerates change [st]range most rue,
soon redefines autonomy,
confines empowerment to brew
disinformation debility,
losing second thoughts' review
of truth till last breath's verity
renders verdict curlicue
on humankind's inanity.

Climate out of kilter new
climactic catastrophe
prepares, ice-melt sends shockwaves through

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poem by Jonathan Robin
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Queen Gormlai

NOT fingers that e'er felt
Fine things within their hold
Drew needles in and through,
And smoothed out the fold,
And put the hodden patch
Upon the patch of grey
Unseemly is the garb
That's for my back to-day!

O skinflint woman, Mor,
Who knows that I speak true
I had women once,
A queen's retinue;
And they were ones who knew
The raiment of a queen;
Their thoughts were on my tire,
Their minds were on my mien!

Light of hand and apt,
And companionable,
Seven score women, Mor,
I had at my call,
Who am to-day begrudged
The blink of candle-light
To put it on, the garb,
That leaves me misbedight.

I wore a blue Norse hood
The time I watched the turns
And feats of Clann O'Neill
We quaffed from goblet-horns;
A crimson cloak I wore
When, with Niall the King,
I watched the horses race
At Limerick in the Spring!

In Tara of King Niall
The gold was round the wine,
And I was given the cup
A furze-bright dress was mine;
And now this clout to wear
Where I rise to sup whey,
With root-like stitches through
The hodden on the grey!

No more upon the board
Candles for kings are lit,
No more can I bid her
And her bring gowning fit;
The bramble is no friend

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poem by Padraic Colum
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