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The Conundrum of the Workshops -- Rudyard Kipling

Guest poem sent in by Arun Krishnaswamy Simha
(Poem #305) The Conundrum of the Workshops
When the flush of a new-born sun fell first on Eden's green and gold,
Our father Adam sat under the Tree and scratched with a stick in the mould;
And the first rude sketch that the world had seen was joy to his mighty heart,
Till the Devil whispered behind the leaves, "It's pretty, but is it Art?"

Wherefore he called to his wife, and fled to fashion his work anew --
The first of his race who cared a fig for the first, most dread review;
And he left his lore to the use of his sons -- and that was a glorious gain
When the Devil chuckled "Is it Art?" in the ear of the branded Cain.

They fought and they talked in the North and the South, they talked and they fought in the West,
Till the waters rose on the pitiful land, and the poor Red Clay had rest --
Had rest till that dank blank-canvas dawn when the dove was preened to start,
And the Devil bubbled below the keel: "It's human, but is it Art?"

They builded a tower to shiver the sky and wrench the stars apart,
Till the Devil grunted behind the bricks "It's striking, but is it Art?"
The stone was dropped at the quarry-side and the idle derrick swung,
While each man talked of the aims of Art, and each in an alien tongue.

They fought and they talked in the North and the South, they talked and they fought in the West,
Till the waters rose on the pitiful land, and the poor Red Clay had rest --
Had rest til the dank, blank-canvas dawn when the dove was preened to start,
And the Devil bubbled below the keel: "It's human, but is it Art?"

The tale is as old as the Eden Tree -- and new as the new-cut tooth --
For each man knows ere his lip-thatch grows he is master of Art and Truth;
And each man hears as the twilight nears, to the beat of his dying heart,
The Devil drum on the darkened pane: "You did it, but was it Art?"

We have learned to whittle the Eden Tree to the shape of a surplice- peg
We have learned to bottle our parents twain in the yelk of an addled egg,
We know that the tail must wag the dog, for the horse is drawn by the cart;
But the Devil whoops, as he whooped of old: "It's clever, but is it Art?"

When the flicker of London sun falls faint on the Club-room's green and gold,
The sons of Adam sit them down and scratch with their pens in the mould --
They scratch with their pens in the mould of their graves, and the ink and the anguish start,
For the Devil mutters behind the leaves: "It's pretty, but is it Art?"

Now if we could win to the Eden Tree where the Four Great Rivers, flow,
And the Wreath of Eve is red on the turf as she left it long ago,
And if we could come when the sentry slept and softly scurry through,
By the favour of God we might know as much as out father Adam knew.
-- Rudyard Kipling
Funnily enough, my appreciation of this poem did not start from a vitriolic
critique in a paper. This poem actually spurred me to understand the genius
of Sachin Tendulkar!

I'm a member of a cricket mailing list and also venture into the hallowed
portals of rec.sport.cricket once in a while. Every now and then you see
cricketer bashing. Sachin cannot play on bouncy tracks, Sachin can't bat
against McGrath etc. We, the "knowledgeables", often dissect his artistry
so much that it fails to provide us joy. Instead, we try to probe deeper
and deeper into his failings. People like Sachin, Warne and Lara come to
the world stage once in a lifetime. Let us relish them while they are
there. ..

...and yes, the shot was in the air all right..and it *Still* was art!!!!!

I think Kipling seems to have taken a critique too personally. To me, the
poem seems to be a response to de-humanizing creation. After all, every
creation is art. Who are critics - or devils - to label something as art?

http://www.bartleby.com/103/50.html
[broken link] http://www.wockyjivvy.com/poetrysurf/index.html
http://www.kipling.org.uk/

Arun Simha

The Subway Piranhas -- Edwin Morgan

Guest poem sent in by Vikram Doctor
(Poem #304) The Subway Piranhas
  Did anyone tell you
  that in each subway train
  there is one special seat
  with a small hole in it
  and underneath the seat
  is a tank of piranha-fish
  which have not been fed
  for quite some time.
  The fish become quite agitated
  by the shoogling of the train
  and jump up through the seat.
  The resulting skeletons
  of unlucky passengers
  turn an honest penny
  for the transport executive,
  hanging far and wide
  in medical schools.
-- Edwin Morgan
Some years ago, Edwin Morgan was commissioned by the Scottish Arts Council
to write a series of poems for the inauguration of Glasgow's refurbished
Underground system. He sent this sample, which sent such alarm through the
Strathclyde transport executive that they decided against using the poems.

from Poems On The Underground

Even London Underground didn't dare to use the poem - its only given in the
anthology's notes. I was reminded of it both by the Morgan poem you gave,
and by a trip last week to Calcutta. Passing the entrances to the Calcutta
Metro, I couldn't help remembering that Calcutta is also the centre of
India's thriving human skeleton export trade...

Vikram

The Ballad of Little Musgrave and Lady Barnard -- Anonymous

Guest poem sent in by Lamba Aaman

Here's a nice ballad I came across - one with a Holmesian touch!

The version I include here is from Percy's Reliques (1658):
(Poem #303) The Ballad of Little Musgrave and Lady Barnard
 As it fell out on a highe holye daye,
     As many bee in the yeare,
 When yong men and maides together do goe
     Their masses and mattins to heare,

 Little Musgràve came to the church door,
     The priest was at the mass ;
 But he had more mind of the fine women,
     Then he had of our Ladyes grace.

 And some of them were clad in greene,
     And others were clad in pall ;
 And then came in my lord Barnardes wife,
     The fairest among them all.

 Shee cast an eye on little Musgràve
     As bright as the summer sunne :
 O then bethought him little Musgràve,
     This ladyes heart I have wonne.

 Quoth she, I have loved thee, little Musgràve,
     Full long and manye a daye.
 So have I loved you, ladye faire,
     Yet word I never durst saye.

 I have a bower at Bucklesford-Bury,
     Full daintilye bedight,
 If thoult wend thither, my little Musgràve,
     Thoust lig in mine armes all night.


 Quoth hee, I thank yee, ladye faire,
     This kindness yee shew to me ;
 And whether it be to my weale or woe,
     This night will I lig with thee.

 All this beheard a litle foot-page,
     By his ladyes coach as he ranne :
 Quoth he, thoughe I am my ladyes page,
     Yet Ime my lord Barnardes manne.

 My lord Barnàrd shall knowe of this,
     Although I lose a limbe.
 And ever whereas the bridges were broke,
     He layd him downe to swimme.

 Asleep or awake, thou lord Barnàrd,
     As thou art a man of life,
 Lo! this same night at Bucklesford-Bury
     Litle Musgrave's in bed with thy wife.

 If it be trew, thou litle foote-page,
     This tale thou hast told to mee,
 Then all my lands in Bucklesford-Bury
     I freelye will give to thee.

 But an it be a lye, thou litle foot-page,
     This tale thou hast told to mee,
 On the highest tree in Bucklesford-Bury
     All hanged shalt thou bee.

 Rise up, rise up, my merry men all,
     And saddle me my good steede ;
 This night must I to Bucklesford-Bury ;
     God wott, I had never more neede.


 Then some they whistled, and some they sang,
     And some did loudlye saye,
 Whenever lord Barnardes horne it blewe,
     Awaye, Musgràve, away.

 Methinkes I heare the throstle cocke,
     Methinkes I heare the jay,
 Methinkes I heare lord Barnards horne ;
     I would I were awaye.

 Lye still, lye still, thou little Musgràve,
     And huggle me from the cold ;
 For it is but some shephardes boye
     A whistling his sheepe to the fold.

 Is not thy hawke upon the pearche,
     Thy horse eating corne and haye ?
 And thou a gay lady within thine armes :
     And wouldst thou be awaye ?

 By this lord Barnard was come to the dore,
     And lighted upon a stone :
 And he pulled out three silver keyes,
     And opened the dores eche one.

 He lifted up the coverlett,
     He lifted up the sheete ;
 How now, how now, thou little Musgràve,
     Dost find my gaye ladye sweete ?

 I find her sweete, quoth little Musgràve,
     The more is my griefe and paine ;
 Ide gladlye give three hundred poundes
     That I were on yonder plaine.

 Arise, arise, thou little Musgràve,
     And put thy cloathes nowe on,
 It shall never be said in my countree,
     That I killed a naked man.

 I have two swordes in one scabbàrde,
     Full deare they cost my purse ;
 And thou shalt have the best of them,
     And I will have the worse.

 The first stroke that little Musgrave strucke,
     He hurt lord Barnard sore,
 The next stroke that lord Barnard strucke,
     Little Musgrave never strucke more.

 With that bespake the ladye faire,
     In bed whereas she laye,
 Althoughe thou art dead, my little Musgràve,
     Yet for thee I will praye :

 And wishe well to thy soule will I,

     So long as I have life ;
 So will I not do for thee, Barnàrd,
     Thoughe I am thy wedded wife.

 He cut her pappes from off her brest ;
     Great pitye it was to see
 The drops of this fair ladyes bloode
     Run trickling downe her knee.

 Wo worth, wo worth ye, my merrye men all,
     You never were borne for my goode :
 Why did you not offer to stay my hande,
     When you sawe me wax so woode ?

 For I have slaine the fairest sir knighte,
     That ever rode on a steede ;
 So have I done the fairest lady,
     That ever ware womans weede.

 A grave, a grave, Lord Barnard cryde,
     To putt these lovers in ;
 But lay my ladye o' the upper hande,
     For she comes o' the better kin.
-- Anonymous
Notes:

Throughout the fifteenth and sixteenth centuries the Scottish border
country was ravaged by lawless Reiver[1] families in a vicious cycle of
raid, reprisal and blood feud. Their allegiance was first to the family,
the surname, not the crown, whether English or Scottish. Many of these
reiver families were married into both sides of the border. Divided up
into three Marches on each side of the border, each with its own warden,
the crown made some attempt to control the volatile region. Strongpoints
were castles and Pele towers, hundreds are still to be found, some even
in use today. Many of the alarums and excursions found their way into
the "Border Ballads" like those collected by Sir Walter Scott (Scott
even used a quote from "Little Musgrave" as a chapter quote in Chapter
Sixteenth of The Heart of Midlothian: "And some they whistled - and some
they sang, And some did loudly say, Whenever Lord Barnard's horn it
blew, 'Away, Musgrave, away!'"). I make no specific claim for this,
except that Dr. Watson and his literary agent, the inveterate Walter
Scott readers,  might have come across the name in Scott and used it to
mask that of another of the families of the March.

One of these families was that of the Musgraves, which gave its name to
the villages of Great Musgrave and Little Musgrave north of Kirkby
Stephen in Westmorland. "Little Musgrave" may simply have been the
knightly branch based in that location.

The ballad often rendered as "Little Musgrave and Lady Barnard", "Little
Musgrave" and "Matthy Groves" (among others) has been found in texts as
early as 1611[2], and may originate at least a century before. It is known
as Child Ballad 81, from the grand five volume compendium of folk song
collected by 19th century folklorist Francis James Child, English and
Scottish Popular Ballads[3]. It's fascinating to see how it's been
collected throughout the British Isles, and in Canada and the United
States (here in the anglophonic diaspora, it has persisted long after it
had in England); its text mutating through that charming strangeness
know as "the folk process". Child lists 15 variant texts, and other song
collectors even more. Numerous folksingers[4] have recorded one version or
another in more recent years.

Here are some of the permutations of our principal players found in
various versions of the ballad (and there are many more than I list here):
The Husband     The Young Man
Lord Barnard    Little Musgrave
Lord Barnet     Little Masgrove
Lord Barnabas   Mossgrey
Lord Arnold     Little Matthy Groves
Lord Allen      Matthy Groves
Lord Daniel     Little Matthew Groves
Lord Dannel     Marshall Groves
Lord Donald     Matty Groves
Lord Bengwill   Little Sir Grove
Lord Orland     Little Matthew Groves

Some versions even include ritual questions from the Lord to the young
man. I particularly like the lines that go:

Saying, "How do you like my feather bed, Musgrave?
And how do you like my sheets?
How do you like my lady,
Who lies in your arms asleep?"

"Oh, well do I like your feather bed,
And well do I like your sheets,
But better I like your lady gay,
Who lies in my arms asleep."

1 The Steel Bonnets: The Story of the Anglo-Scottish Reivers, by George
  Macdonald Fraser (author of the Flashman Papers). This is a splendid
  study of the region and period, full of excitement.
2 A fragment is also quoted in John Fletcher and Francis Beaumont's (as
  in the well-worn theatrical phrase: "That went out with Beaumont &
  Fletcher!") 1611 play. "The Knight of the Burning Pestle," Act V, scene
  ii:
  And some they whistled, and some they sung,
  "Hey, down, down!"
  And some did loudly say,
  Ever as the Lord Barnet's horn blew,
  "Away, Musgrave, away!"
3  English and Scottish Popular Ballads, Francis James Child
  (1825-1896). Five volumes published 1882 through 1898. I have referred
  to the 1965 reprint by Dover  Publications from the Houghton, Mifflin &
  Company edition.
4 Just from my collection:  Fairport Convention, as "Matty Groves" on
  "Liege & Lief" (Island, 1969) and more recently on "In Real Time: Live
  '87" (Island, 1987); and as "Little Musgrave" by Frankie Armstrong,
  "Songs & Ballads" (Antilles, 1975); Martin Carthy & Dave Swarbrick,
  "Prince Heathen"; Planxty, "The Woman I Loved So Well" (Tara, 1980); and
  Eileen McGann, "Heritage" (Dragonwing Music, 1997).

Thanatopsis -- William Cullen Bryant

Guest poem sent in by Mukund Rangamani
(Poem #302) Thanatopsis
     To him who in the love of Nature holds
  Communion with her visible forms, she speaks
  A various language; for his gayer hours
  She has a voice of gladness, and a smile
  And eloquence of beauty, and she glides
  Into his darker musings, with a mild
  And healing sympathy, that steals away
  Their sharpness, ere he is aware. When thoughts
  Of the last bitter hour come like a blight
  Over thy spirit, and sad images
  Of the stern agony, and shroud, and pall,
  And breathless darkness, and the narrow house,
  Make thee to shudder, and grow sick at heart;--
  Go forth, under the open sky, and list
  To Nature's teachings, while from all around--
  Earth and her waters, and the depths of air--
  Comes a still voice--Yet a few days, and thee
  The all-beholding sun shall see no more
  In all his course; nor yet in the cold ground,
  Where thy pale form was laid, with many tears,
  Nor in the embrace of ocean, shall exist
  Thy image. Earth, that nourished thee, shall claim
  Thy growth, to be resolved to earth again,
  And, lost each human trace, surrendering up
  Thine individual being, shalt thou go
  To mix for ever with the elements,
  To be a brother to the insensible rock
  And to the sluggish clod, which the rude swain
  Turns with his share, and treads upon. The oak
  Shall send his roots abroad, and pierce thy mould.

     Yet not to thine eternal resting-place
  Shalt thou retire alone, nor couldst thou wish
  Couch more magnificient. Thou shalt lie down
  With patriarchs of the infant world--with kings,
  The powerful of the earth--the wise, the good
  Fair forms, and hoary seers of ages past,
  All in one mighty sepulchre. The hills
  Rock-ribbed and ancient as the sun,--the vales
  Stretching in pensive quietness between;
  The venerable woods--rivers that move
  In majesty, and the complaining brooks
  That make the meadow green; and, poured round all,
  Old Ocean's gray and melancholy waste,--
  Are but the solemn decorations all
  Of the great tomb of man. The golden sun,
  The planets, all the infinite host of heaven,
  Are shining on the sad abodes of death,
  Through the still lapse of ages. All that tread
  The globe are but a handful to the tribes
  That slumber in its bosom.--Take the wings
  Of morning, pierce the Barcan wilderness,
  Or lose thyself in the continuous woods
  Where rolls the Oregon, and hears no sound,
  Save his own dashings--yet the dead are there:
  And millions in those solitudes, since first
  The flight of years began, have laid them down
  In their last sleep--the dead reign there alone.
  So shalt thou rest, and what if thou withdraw
  In silence from the living, and no friend
  Take note of thy departure? All that breathe
  Will share thy destiny. The gay will laugh
  When thou art gone, the solemn brood of care
  Plod on, and each one as before will chase
  His favorite phantom; yet all these shall leave
  Their mirth and their employments, and shall come
  And make their bed with thee. As the long train
  Of ages glide away, the sons of men,
  The youth in life's green spring, and he who goes
  In the full strength of years, matron and maid,
  The speechless babe, and the gray-headed man--
  Shall one by one be gathered to thy side
  By those, who in their turn shall follow them.

     So live, and when thy summons comes to join
  The innumerable caravan, which moves
  To that mysterious realm, where each shall take
  His chamber in the silent halls of death,
  Thou go not, like a quarry-slave at night,
  Scourged to his dungeon, but, sustained and soothed
  By an unfaltering trust, approach thy grave,
  Like one who wraps the drapery of his couch
  About him, and lies down to pleasant dreams.
-- William Cullen Bryant
A descendant of early Puritan immigrants, Bryant at 16 entered the sophomore
class of Williams College. Because of finances and in hopes of attending
Yale, he withdrew without graduating. Unable to enter Yale, he studied law
under private guidance at Worthington and at Bridgewater and at 21 was
admitted to the bar. He spent nearly 10 years in Plainfield and at Great
Barrington as an attorney, a calling for which he held a lifelong aversion.
At 26 Bryant married Frances Fairchild, with whom he was happy until her
death nearly half a century later. In 1825 he moved to New York City to
become coeditor of the New York Review. He became an editor of the Evening
Post in 1827; in 1829 he became editor in chief and part owner and continued
in this position until his death. His careful investment of his income made
Bryant wealthy. He was an active patron of the arts and letters.

The religious conservatism imposed on Bryant in childhood found expression
in pious doggerel; the political conservatism of his father stimulated "The
Embargo" (1808), in which the 13-year-old poet demanded the resignation of
President Jefferson. But in "Thanatopsis" (from the Greek "a view of
death"), which he wrote when he was 17 and which made him famous when it was
published in The North American Review in 1817, he rejected Puritan dogma
for Deism; thereafter he was a Unitarian. Turning also from Federalism, he
joined the Democratic party and made the Post an organ of free trade,
workingmen's rights, free speech, and abolition. Bryant was for a time a
Free-Soiler and later one of the founders of the Republican party. As a man
of letters, Bryant securely established himself at the age of 27 with Poems
(1821). In his later years he devoted considerable time to translations.

The Noble Nature -- Ben Jonson

Merry Christmas everyone :)

Guest poem sent in by Mallika
(Poem #301) The Noble Nature
It is not growing like a tree
In bulk, doth make man better be;
Or standing long an oak, three hundred year,
To fall a log at last, dry, bald, and sere:
A lily of a day
Is fairer far in May,
Although it fall and die that night --
It was the plant and flower of Light.
In small proportions we just beauties see;
And in short measures life may perfect be.
-- Ben Jonson
This puts into perspective some of the
misplaced energy of our times; prolonging
life - on what terms? To pull the plug
eventually?

The Hippocratic oath was to reduce
suffering, not to play god.

BJ was a contemporary of Shakespeare
and Inigo Jones; he was Poet Laureate
both unofficially and by appointment.

More on BJ at:
http://www.excite.com/entertainment/books_and_literature/authors/last_name_a_z/j/authors_jo/jonson_ben/

Mallika