The Dhoad gypsies from Rajasthan performed at the Madison World Music Festival in Sep' 07. Some of us were lucky enough to be there for their scintillating performance!
The hooting is us and though the camera didn't capture it, the gypsies had us captured - we danced deranged ON the stage , falling over the musicians...
They also performed tricks!
Thursday, November 29, 2007
Tuesday, November 27, 2007
More Ta-Gore
Where The Mind is Without Fear
Where the mind is without fear and the head is held high,
Where knowledge is free...
Where the world has not been broken up into fragments,
By narrow domestic walls.
Where words come out from the depth of truth,
Where tireless striving stretches its arms towards perfection.
Where the clear stream of reason has not lost its way,
Into the dreary desert sand of dead habit.
Where the mind is led forward by thee,
Into ever-widening thought and action,
Into that heaven of freedom, my Father, let my country awake.
-Rabindranath Tagore
indeed !
Where the mind is without fear and the head is held high,
Where knowledge is free...
Where the world has not been broken up into fragments,
By narrow domestic walls.
Where words come out from the depth of truth,
Where tireless striving stretches its arms towards perfection.
Where the clear stream of reason has not lost its way,
Into the dreary desert sand of dead habit.
Where the mind is led forward by thee,
Into ever-widening thought and action,
Into that heaven of freedom, my Father, let my country awake.
-Rabindranath Tagore
indeed !
If...
Kipling says it all...
If you can keep your head when all about you
Are losing theirs and blaming it on you,
If you can trust yourself when all men doubt you
But make allowance for their doubting too,
If you can wait and not be tired by waiting,
Or being lied about, don't deal in lies,
Or being hated, don't give way to hating,
And yet don't look too good, nor talk too wise:
If you can dream--and not make dreams your master,
If you can think--and not make thoughts your aim;
If you can meet with Triumph and Disaster
And treat those two impostors just the same;
If you can bear to hear the truth you've spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,
And stoop and build 'em up with worn-out tools:
If you can make one heap of all your winnings
And risk it all on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breath a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: "Hold on!"
If you can talk with crowds and keep your virtue,
Or walk with kings--nor lose the common touch,
If neither foes nor loving friends can hurt you;
If all men count with you, but none too much,
If you can fill the unforgiving minute
With sixty seconds' worth of distance run,
Yours is the Earth and everything that's in it,
And--which is more--you'll be a Man, my son!
-Rudyard Kipling
If you can keep your head when all about you
Are losing theirs and blaming it on you,
If you can trust yourself when all men doubt you
But make allowance for their doubting too,
If you can wait and not be tired by waiting,
Or being lied about, don't deal in lies,
Or being hated, don't give way to hating,
And yet don't look too good, nor talk too wise:
If you can dream--and not make dreams your master,
If you can think--and not make thoughts your aim;
If you can meet with Triumph and Disaster
And treat those two impostors just the same;
If you can bear to hear the truth you've spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,
And stoop and build 'em up with worn-out tools:
If you can make one heap of all your winnings
And risk it all on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breath a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: "Hold on!"
If you can talk with crowds and keep your virtue,
Or walk with kings--nor lose the common touch,
If neither foes nor loving friends can hurt you;
If all men count with you, but none too much,
If you can fill the unforgiving minute
With sixty seconds' worth of distance run,
Yours is the Earth and everything that's in it,
And--which is more--you'll be a Man, my son!
-Rudyard Kipling
Thursday, November 15, 2007
Ami chini go chini
Another translation attempt (despite my shaky Bangla)...
Ami chini go chini tomare o go bideshini,
Tumi thaako shindhu paare o go bideshini!
Dekhechi sharodo-praate tomar,
Dekhechi madhobi-raate tomar,
Dekhechi hride majhare,
O go bideshini.
Ami aakashe patiya kaan,
Sunechi sunechi tomare gaan,
Ami tomare sopechi praan,
O go bideshini!
I know you, know you O’ foreigner lady,
You live across the ocean O’ foreigner lady!
I have seen you on autumn mornings,
I’ve seen you on madhavi nights,
And I’ve envisioned you at the core of my heart.
I turn to the sky and listen to you,
I have often heard your songs,
And my soul is yours to keep.
I entrust you with it O’ foreigner lady!
Bhubhon bhramiya sheshe,
Ami ayeshechi nooton deshe,
Ami otithi tomare daare,
O go bideshini!
I’ve traveled far and wide,
To arrive in a new land,
I'm a guest at your doorstep...
O’ foreigner lady!
- Rabindranath Tagore
Wednesday, November 14, 2007
MP's Interview With Sir Edward Ross
(Monty Python's Flying Circus)
Transcribed By: Jonathan Partington
Eric Idle: Good evening and welcome to another edition of It's the Arts.And we
kick off this evening with Cinema.
Host (John Cleese): Good evening. One of the most prolific film directors of
this age, or indeed of any age, is Sir Edward Ross, back
in his native country for the first time for five years
to open a season of his works at the National Film
Theatre, and we are indeed fortunate to have him with us
in this studio tonight.
Ross (Graham Chapman): Good evening.
Host: Edward... you don't mind if I call you Edward?
Ross: No, not at all.
Host: Because it does worry some people - I don't know why - but they are a
little sensitive so I take the precaution of asking on these occasions.
Ross: No, that's fine.
Host: So Edward's all right. Splendid. I'm sorry to have brought it up.
Ross: No, no, please. Edward it is.
Host: Well thank you very much for being so helpful. And it's more than my
job's worth to, er...
Ross: Yes, quite.
Host: Makes it rather difficult to establish a rapport - put the other person
at his ease...
Ross: Quite.
Host: Silly little point but it does seem to matter. Still, er, least said
the better. Ted, when you first started you... I hope you don't mind
if I call you Ted, er, I mean as opposed to Edward?
Ross: No, no, everyone calls me Ted.
Host: Well of course it's shorter, isn't it.
Ross: Yes it is.
Host: And much less formal!
Ross: Yes, Ted, Edward or anything!
Host: Thank you. Um, incidentally, do call me Tom. I don't want you bothering
with this 'Thomas' nonsense! Ha ha ha ha! Now where were we? Ah yes.
Eddie Baby, when you first started in the...
Ross: I'm sorry, I'm sorry, but I don't like being called "Eddie Baby".
Host: What?
Ross: I don't like being called "Eddie Baby".
Host: (pause) Did I call you "Eddie Baby"?
Ross: Yes, you did! Now if you could get on with the interview...
Host: I don't think I did call you "Eddie Baby".
Ross: You did!
Host: Did I call him "Eddie Baby"?
(Audience murmurs of 'yes' etc.)
Host: I didn't really call you "Eddie Baby", did I, sweetie?
Ross: Don't call me "sweetie"!
Host: Can I call you "sugar plum"?
Ross: No.
Host: "Pussycat"?
Ross: No!
Host: "Angel drawers"?
Ross: No you may not! Get on with it!
Host: Can I call you "Frank"?
Ross (suspiciously): Why "Frank"?
Host: It's a nice name. Richard Nixon's got a hedgehog called Frank.
Ross: What IS going on?
Host: Now Frank -- Fran -- Frannie -- little Frannie-pooh...
Ross: No. I'm leaving. I'm off. I'm going. I've never... (exits)
Host (loudly): Tell us about your latest film, Sir Edward.
Ross (nearly offstage): What?
Host: Tell us about your latest film, Sir Edward, if you'd be so very kind.
Ross: None of this "Pussycat" nonsense?
Host: Promise. (Pats seat next to him.) Please, Sir Edward.
Ross: My latest film?
Host: Yes, Sir Edward.
Ross: Well the idea, funnily enough, is based on an idea I had when I first
joined the industry in 1919. Of course, in those days I was only the
tea boy and...
Host: Oh shut up!
Transcribed By: Jonathan Partington
Eric Idle: Good evening and welcome to another edition of It's the Arts.And we
kick off this evening with Cinema.
Host (John Cleese): Good evening. One of the most prolific film directors of
this age, or indeed of any age, is Sir Edward Ross, back
in his native country for the first time for five years
to open a season of his works at the National Film
Theatre, and we are indeed fortunate to have him with us
in this studio tonight.
Ross (Graham Chapman): Good evening.
Host: Edward... you don't mind if I call you Edward?
Ross: No, not at all.
Host: Because it does worry some people - I don't know why - but they are a
little sensitive so I take the precaution of asking on these occasions.
Ross: No, that's fine.
Host: So Edward's all right. Splendid. I'm sorry to have brought it up.
Ross: No, no, please. Edward it is.
Host: Well thank you very much for being so helpful. And it's more than my
job's worth to, er...
Ross: Yes, quite.
Host: Makes it rather difficult to establish a rapport - put the other person
at his ease...
Ross: Quite.
Host: Silly little point but it does seem to matter. Still, er, least said
the better. Ted, when you first started you... I hope you don't mind
if I call you Ted, er, I mean as opposed to Edward?
Ross: No, no, everyone calls me Ted.
Host: Well of course it's shorter, isn't it.
Ross: Yes it is.
Host: And much less formal!
Ross: Yes, Ted, Edward or anything!
Host: Thank you. Um, incidentally, do call me Tom. I don't want you bothering
with this 'Thomas' nonsense! Ha ha ha ha! Now where were we? Ah yes.
Eddie Baby, when you first started in the...
Ross: I'm sorry, I'm sorry, but I don't like being called "Eddie Baby".
Host: What?
Ross: I don't like being called "Eddie Baby".
Host: (pause) Did I call you "Eddie Baby"?
Ross: Yes, you did! Now if you could get on with the interview...
Host: I don't think I did call you "Eddie Baby".
Ross: You did!
Host: Did I call him "Eddie Baby"?
(Audience murmurs of 'yes' etc.)
Host: I didn't really call you "Eddie Baby", did I, sweetie?
Ross: Don't call me "sweetie"!
Host: Can I call you "sugar plum"?
Ross: No.
Host: "Pussycat"?
Ross: No!
Host: "Angel drawers"?
Ross: No you may not! Get on with it!
Host: Can I call you "Frank"?
Ross (suspiciously): Why "Frank"?
Host: It's a nice name. Richard Nixon's got a hedgehog called Frank.
Ross: What IS going on?
Host: Now Frank -- Fran -- Frannie -- little Frannie-pooh...
Ross: No. I'm leaving. I'm off. I'm going. I've never... (exits)
Host (loudly): Tell us about your latest film, Sir Edward.
Ross (nearly offstage): What?
Host: Tell us about your latest film, Sir Edward, if you'd be so very kind.
Ross: None of this "Pussycat" nonsense?
Host: Promise. (Pats seat next to him.) Please, Sir Edward.
Ross: My latest film?
Host: Yes, Sir Edward.
Ross: Well the idea, funnily enough, is based on an idea I had when I first
joined the industry in 1919. Of course, in those days I was only the
tea boy and...
Host: Oh shut up!
Monty Python's Argument Sketch
(Monty Python's Flying Circus)
A man walks into an office.
Man: Good morning, I'd like to have an argument, please.
Receptionist: Certainly, sir. Have you been here before?
Man: No, this is my first time.
Receptionist: I see, well we'll see who's free at the moment.
Mr. Bakely's free, but he's a little bit concilliatory. No.
Try Mr. Barnhart, room 12.
Man: Thank you.
He enters room 12.
Angry man: WHADDAYOU WANT?
Man: Well, Well, I was told outside that...
Angry man: DON'T GIVE ME THAT, YOU SNOTTY-FACED EVIL PAN OF DROPPINGS!
Man: What?
A: SHUT YOUR FESTERING GOB, YOU TIT! YOUR TYPE MAKES ME PUKE! YOU VACUOUS
STUFFY-NOSED MALODOROUS PERVERT!!!
M: Yes, but I came here for an argument!!
A: OH! Oh! I'm sorry! This is abuse!
M: Oh! Oh I see!
A: Aha! No, you want room 12A, next door.
M: Oh...Sorry...
A: Not at all!
A: (under his breath) stupid git.
The man goes into room 12A. Another man is sitting behind a desk.
Man: Is this the right room for an argument?
Other Man:(pause) I've told you once.
Man: No you haven't!
Other Man: Yes I have.
M: When?
O: Just now.
M: No you didn't!
O: Yes I did!
M: You didn't!
O: I did!
M: You didn't!
O: I'm telling you, I did!
M: You didn't!
O: Oh I'm sorry, is this a five minute argument, or the full half hour?
M: Ah! (taking out his wallet and paying) Just the five minutes.
O: Just the five minutes. Thank you.
O: Anyway, I did.
M: You most certainly did not!
O: Now let's get one thing perfectly clear: I most definitely told you!
M: Oh no you didn't!
O: Oh yes I did!
M: Oh no you didn't!
O: Oh yes I did!
M: Oh no you didn't!
O: Oh yes I did!
M: Oh no you didn't!
O: Oh yes I did!
M: Oh no you didn't!
O: Oh yes I did!
M: Oh no you didn't!
O: Oh yes I did!
M: No you DIDN'T!
O: Oh yes I did!
M: No you DIDN'T!
O: Oh yes I did!
M: No you DIDN'T!
O: Oh yes I did!
M: Oh look, this isn't an argument!
(pause)
O: Yes it is!
M: No it isn't!
(pause)
M: It's just contradiction!
O: No it isn't!
M: It IS!
O: It is NOT!
M: You just contradicted me!
O: No I didn't!
M: You DID!
O: No no no!
M: You did just then!
O: Nonsense!
M: (exasperated) Oh, this is futile!!
(pause)
O: No it isn't!
M: Yes it is!
(pause)
M: I came here for a good argument!
O: AH, no you didn't, you came here for an argument!
M: An argument isn't just contradiction.
O: Well! it CAN be!
M: No it can't!
M: An argument is a connected series of statement intended to establish a
proposition.
O: No it isn't!
M: Yes it is! 'tisn't just contradiction.
O: Look, if I *argue* with you, I must take up a contrary position!
M: Yes but it isn't just saying "no it isn't".
O: Yes it is!
M: No it isn't!
O: Yes it is!
M: No it isn't!
O: Yes it is!
M: No it ISN'T! Argument is an intellectual process. Contradiction is just
the automatic gainsaying of anything the other person says.
O: It is NOT!
M: It is!
O: Not at all!
M: It is!
The Arguer hits a bell on his desk and stops.
O: Thank you, that's it.
M: (stunned) What?
O: That's it. Good morning.
M: But I was just getting interested!
O: I'm sorry, the five minutes is up.
M: That was never five minutes!!
O: I'm afraid it was.
M: (leading on) No it wasn't.....
O: I'm sorry, I'm not allowed to argue any more.
M: WHAT??
O: If you want me to go on arguing, you'll have to pay for another five
minutes.
M: But that was never five minutes just now!
Oh Come on!
Oh this is...
This is ridiculous!
O: I told you...
I told you, I'm not allowed to argue unless you PAY!
M: Oh all right. (takes out his wallet and pays again.) There you are.
O: Thank you.
M: (clears throat) Well...
O: Well WHAT?
M: That was never five minutes just now.
O: I told you, I'm not allowed to argue unless you've paid!
M: Well I just paid!
O: No you didn't!
M: I DID!!!
O: YOU didn't!
M: I DID!!!
O: YOU didn't!
M: I DID!!!
O: YOU didn't!
M: I DID!!!
O: YOU didn't!
M: I-dbct-fd-tq! I don't want to argue about it!
O: Well I'm very sorry but you didn't pay!
M: Ah hah! Well if I didn't pay, why are you arguing??? Ah HAAAAAAHHH!
Gotcha!
O: No you haven't!
M: Yes I have!
If you're arguing, I must have paid.
O: Not necessarily.
I *could* be arguing in my spare time.
M: I've had enough of this!
O: No you haven't.
(door slam)
A man walks into an office.
Man: Good morning, I'd like to have an argument, please.
Receptionist: Certainly, sir. Have you been here before?
Man: No, this is my first time.
Receptionist: I see, well we'll see who's free at the moment.
Mr. Bakely's free, but he's a little bit concilliatory. No.
Try Mr. Barnhart, room 12.
Man: Thank you.
He enters room 12.
Angry man: WHADDAYOU WANT?
Man: Well, Well, I was told outside that...
Angry man: DON'T GIVE ME THAT, YOU SNOTTY-FACED EVIL PAN OF DROPPINGS!
Man: What?
A: SHUT YOUR FESTERING GOB, YOU TIT! YOUR TYPE MAKES ME PUKE! YOU VACUOUS
STUFFY-NOSED MALODOROUS PERVERT!!!
M: Yes, but I came here for an argument!!
A: OH! Oh! I'm sorry! This is abuse!
M: Oh! Oh I see!
A: Aha! No, you want room 12A, next door.
M: Oh...Sorry...
A: Not at all!
A: (under his breath) stupid git.
The man goes into room 12A. Another man is sitting behind a desk.
Man: Is this the right room for an argument?
Other Man:(pause) I've told you once.
Man: No you haven't!
Other Man: Yes I have.
M: When?
O: Just now.
M: No you didn't!
O: Yes I did!
M: You didn't!
O: I did!
M: You didn't!
O: I'm telling you, I did!
M: You didn't!
O: Oh I'm sorry, is this a five minute argument, or the full half hour?
M: Ah! (taking out his wallet and paying) Just the five minutes.
O: Just the five minutes. Thank you.
O: Anyway, I did.
M: You most certainly did not!
O: Now let's get one thing perfectly clear: I most definitely told you!
M: Oh no you didn't!
O: Oh yes I did!
M: Oh no you didn't!
O: Oh yes I did!
M: Oh no you didn't!
O: Oh yes I did!
M: Oh no you didn't!
O: Oh yes I did!
M: Oh no you didn't!
O: Oh yes I did!
M: Oh no you didn't!
O: Oh yes I did!
M: No you DIDN'T!
O: Oh yes I did!
M: No you DIDN'T!
O: Oh yes I did!
M: No you DIDN'T!
O: Oh yes I did!
M: Oh look, this isn't an argument!
(pause)
O: Yes it is!
M: No it isn't!
(pause)
M: It's just contradiction!
O: No it isn't!
M: It IS!
O: It is NOT!
M: You just contradicted me!
O: No I didn't!
M: You DID!
O: No no no!
M: You did just then!
O: Nonsense!
M: (exasperated) Oh, this is futile!!
(pause)
O: No it isn't!
M: Yes it is!
(pause)
M: I came here for a good argument!
O: AH, no you didn't, you came here for an argument!
M: An argument isn't just contradiction.
O: Well! it CAN be!
M: No it can't!
M: An argument is a connected series of statement intended to establish a
proposition.
O: No it isn't!
M: Yes it is! 'tisn't just contradiction.
O: Look, if I *argue* with you, I must take up a contrary position!
M: Yes but it isn't just saying "no it isn't".
O: Yes it is!
M: No it isn't!
O: Yes it is!
M: No it isn't!
O: Yes it is!
M: No it ISN'T! Argument is an intellectual process. Contradiction is just
the automatic gainsaying of anything the other person says.
O: It is NOT!
M: It is!
O: Not at all!
M: It is!
The Arguer hits a bell on his desk and stops.
O: Thank you, that's it.
M: (stunned) What?
O: That's it. Good morning.
M: But I was just getting interested!
O: I'm sorry, the five minutes is up.
M: That was never five minutes!!
O: I'm afraid it was.
M: (leading on) No it wasn't.....
O: I'm sorry, I'm not allowed to argue any more.
M: WHAT??
O: If you want me to go on arguing, you'll have to pay for another five
minutes.
M: But that was never five minutes just now!
Oh Come on!
Oh this is...
This is ridiculous!
O: I told you...
I told you, I'm not allowed to argue unless you PAY!
M: Oh all right. (takes out his wallet and pays again.) There you are.
O: Thank you.
M: (clears throat) Well...
O: Well WHAT?
M: That was never five minutes just now.
O: I told you, I'm not allowed to argue unless you've paid!
M: Well I just paid!
O: No you didn't!
M: I DID!!!
O: YOU didn't!
M: I DID!!!
O: YOU didn't!
M: I DID!!!
O: YOU didn't!
M: I DID!!!
O: YOU didn't!
M: I-dbct-fd-tq! I don't want to argue about it!
O: Well I'm very sorry but you didn't pay!
M: Ah hah! Well if I didn't pay, why are you arguing??? Ah HAAAAAAHHH!
Gotcha!
O: No you haven't!
M: Yes I have!
If you're arguing, I must have paid.
O: Not necessarily.
I *could* be arguing in my spare time.
M: I've had enough of this!
O: No you haven't.
(door slam)
"Vellai Pookal" (UW Diwali Night)
The translation from Tamil is courtesy of amigo Hari Gopalakrishnan.
VeLLai PookaL ulagam engum malarhavae
May white flowers bloom all over the world
vidiyum Bhoomi amaidhikaaga vidihavae
May this earth see the dawn only for peace
manmel manjal veluchcham vizhuhavae
May the soil be illuminated by yellow light
malarae sombal muRiththu ezhuhavae
May the flower shake off its laziness and bloom
kuzhanthai vizhikattumae
May the child open its eyes...
Thaayin katha kathappil
...in the warmth of its mother
ulagam vidiyattumae
May the world see the light...
piLLayin sirumugha siRippil
..in the child's innocent smile
kaatrin perisaiyil,
In the breeze's great melody,
mazhai paadum paadalgalum,
would even the tunes played by the raindrops..
oru maunam poal inbam tarumooOO?
..be as blissful as silence?
koadi keertanayum,
Would the countless great compositions,
kavi koartha vaarthaigalum,
or even the beautiful words chosen by a poet
thuLi kaNNeer poal arththam tharumo?
..be as meaningful as a single drop of tear?
yengu siru kuzhanthai
Where the little child..
than kaigal neetidumo,
Shall reach out with its hands,
angu thondrayo koLLai nilavae!
May the beautiful moon appear there!
enghu manidha Inam,
Where mankind..
poar oyinthu sayinthidumo,
Shall cease fighting,
angu koovadho veLLai kuyilae?
Won't the white bird sing there?
Composition - AR Rehman
Lyrics Vairamuthu
From Movie Kannathil Muthamittal
VeLLai PookaL ulagam engum malarhavae
May white flowers bloom all over the world
vidiyum Bhoomi amaidhikaaga vidihavae
May this earth see the dawn only for peace
manmel manjal veluchcham vizhuhavae
May the soil be illuminated by yellow light
malarae sombal muRiththu ezhuhavae
May the flower shake off its laziness and bloom
kuzhanthai vizhikattumae
May the child open its eyes...
Thaayin katha kathappil
...in the warmth of its mother
ulagam vidiyattumae
May the world see the light...
piLLayin sirumugha siRippil
..in the child's innocent smile
kaatrin perisaiyil,
In the breeze's great melody,
mazhai paadum paadalgalum,
would even the tunes played by the raindrops..
oru maunam poal inbam tarumooOO?
..be as blissful as silence?
koadi keertanayum,
Would the countless great compositions,
kavi koartha vaarthaigalum,
or even the beautiful words chosen by a poet
thuLi kaNNeer poal arththam tharumo?
..be as meaningful as a single drop of tear?
yengu siru kuzhanthai
Where the little child..
than kaigal neetidumo,
Shall reach out with its hands,
angu thondrayo koLLai nilavae!
May the beautiful moon appear there!
enghu manidha Inam,
Where mankind..
poar oyinthu sayinthidumo,
Shall cease fighting,
angu koovadho veLLai kuyilae?
Won't the white bird sing there?
Composition - AR Rehman
Lyrics Vairamuthu
From Movie Kannathil Muthamittal
Tuesday, November 13, 2007
"Said A Whiting To A Snail"
"Will you walk a little faster?" said a whiting to a snail,
"There's a porpoise close behind us, and he's treading on my tail.
See how eagerly the lobsters and the turtles all advance!
They are waiting on the shingle--will you come and join the dance?
Will you, won't you, will you, won't you, will you join the dance?
Will you, won't you, will you, won't you, won't you join the dance?
"You can really have no notion how delightful it will be
When they take us up and throw us, with the lobsters, out to sea!"
But the snail replied "Too far, too far!" and gave a look askance--
Said he thanked the whiting kindly, but he would not join the dance.
Would not, could not, would not, could not, would not join the dance.
Would not, could not, would not, could not, could not join the dance.
"What matters it how far we go?" his scaly friend replied.
"There is another shore, you know, upon the other side.
The further off from England the nearer is to France--
Then turn not pale, beloved snail, but come and join the dance.
Will you, won't you, will you, won't you, will you join the dance?
Will you, won't you, will you, won't you, won't you join the dance?"'
-Lewis Carroll (who else?)
"There's a porpoise close behind us, and he's treading on my tail.
See how eagerly the lobsters and the turtles all advance!
They are waiting on the shingle--will you come and join the dance?
Will you, won't you, will you, won't you, will you join the dance?
Will you, won't you, will you, won't you, won't you join the dance?
"You can really have no notion how delightful it will be
When they take us up and throw us, with the lobsters, out to sea!"
But the snail replied "Too far, too far!" and gave a look askance--
Said he thanked the whiting kindly, but he would not join the dance.
Would not, could not, would not, could not, would not join the dance.
Would not, could not, would not, could not, could not join the dance.
"What matters it how far we go?" his scaly friend replied.
"There is another shore, you know, upon the other side.
The further off from England the nearer is to France--
Then turn not pale, beloved snail, but come and join the dance.
Will you, won't you, will you, won't you, will you join the dance?
Will you, won't you, will you, won't you, won't you join the dance?"'
-Lewis Carroll (who else?)
Father William
You Are Old, Father William
"You are old, father William," the young man said,
"And your hair has become very white;
And yet you incessantly stand on your head--
Do you think, at your age, it is right?"
"In my youth," father William replied to his son,
"I feared it might injure the brain;
But, now that I'm perfectly sure I have none,
Why, I do it again and again."
"You are old," said the youth, "as I mentioned before,
And you have grown most uncommonly fat;
Yet you turned a back-somersault in at the door--
Pray what is the reason for that?"
"In my youth," said the sage, as he shook his grey locks,
"I kept all my limbs very supple
By the use of this ointment - one shilling a box--
Allow me to sell you a couple?"
"You are old," said the youth, "and your jaws are too weak
For anything tougher than suet;
Yet you finished the goose, with the bones and the beak--
Pray, how did you manage to do it?"
"In my youth," said his father, "I took to the law,
And argued each case with my wife;
And the muscular strength, which it gave to my jaw,
Has lasted the rest of my life."
"You are old," said the youth, "one would hardly suppose
That your eye was as steady as ever;
Yet you balanced an eel on the end of your nose--
What made you so awfully clever?"
"I have answered three questions, and that is enough,"
Said his father. "Don't give yourself airs!
Do you think I can listen all day to such stuff?
Be off, or I'll kick you down stairs.
- Lewis Carroll (Alice in Wonderland)
"You are old, father William," the young man said,
"And your hair has become very white;
And yet you incessantly stand on your head--
Do you think, at your age, it is right?"
"In my youth," father William replied to his son,
"I feared it might injure the brain;
But, now that I'm perfectly sure I have none,
Why, I do it again and again."
"You are old," said the youth, "as I mentioned before,
And you have grown most uncommonly fat;
Yet you turned a back-somersault in at the door--
Pray what is the reason for that?"
"In my youth," said the sage, as he shook his grey locks,
"I kept all my limbs very supple
By the use of this ointment - one shilling a box--
Allow me to sell you a couple?"
"You are old," said the youth, "and your jaws are too weak
For anything tougher than suet;
Yet you finished the goose, with the bones and the beak--
Pray, how did you manage to do it?"
"In my youth," said his father, "I took to the law,
And argued each case with my wife;
And the muscular strength, which it gave to my jaw,
Has lasted the rest of my life."
"You are old," said the youth, "one would hardly suppose
That your eye was as steady as ever;
Yet you balanced an eel on the end of your nose--
What made you so awfully clever?"
"I have answered three questions, and that is enough,"
Said his father. "Don't give yourself airs!
Do you think I can listen all day to such stuff?
Be off, or I'll kick you down stairs.
- Lewis Carroll (Alice in Wonderland)
' Twas Brillig
Jabberwocky
'Twas brillig, and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.
"Beware the Jabberwock, my son!
The jaws that bite, the claws that catch!
Beware the Jubjub bird, and shun
The frumious Bandersnatch!"
He took his vorpal sword in hand:
Long time the manxome foe he sought--
So rested he by the Tumtum tree,
And stood awhile in thought.
And, as in uffish thought he stood,
The Jabberwock, with eyes of flame,
Came whiffling through the tulgey wood,
And burbled as it came!
One two! One two! And through and through
The vorpal blade went snicker-snack!
He left it dead, and with its head
He went galumphing back.
"And hast thou slain the Jabberwock?
Come to my arms, my beamish boy!
O frabjous day! Callooh! Callay!"
He chortled in his joy.
'Twas brillig, and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.
- Lewis Carroll (Alice in Wonderland)
'Twas brillig, and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.
"Beware the Jabberwock, my son!
The jaws that bite, the claws that catch!
Beware the Jubjub bird, and shun
The frumious Bandersnatch!"
He took his vorpal sword in hand:
Long time the manxome foe he sought--
So rested he by the Tumtum tree,
And stood awhile in thought.
And, as in uffish thought he stood,
The Jabberwock, with eyes of flame,
Came whiffling through the tulgey wood,
And burbled as it came!
One two! One two! And through and through
The vorpal blade went snicker-snack!
He left it dead, and with its head
He went galumphing back.
"And hast thou slain the Jabberwock?
Come to my arms, my beamish boy!
O frabjous day! Callooh! Callay!"
He chortled in his joy.
'Twas brillig, and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.
- Lewis Carroll (Alice in Wonderland)
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