“THE LEVELLED CHURCHYARD", BY THOMAS HARDY

“O passenger, pray list and catch
Our sighs and piteous groans,
Half stifled in this jumbled patch
Of wrenched memorial stones!

“We late-lamented, resting here,
Are mixed to human jam,
And each to each exclaims in fear,
‘I know not which I am!’

“The wicked people have annexed
The verses on the good;
A roaring drunkard sports the text
Teetotal Tommy should!

“Where we are huddled none can trace,
And if our names remain,
They pave some path or p-ing place
Where we have never lain!

“There’s not a modest maiden elf
But dreads the final Trumpet,
Lest half of her should rise herself,
And half some local strumpet!

“From restorations of Thy fane,
From smoothings of Thy sward,
From zealous Churchmen’s pick and plane
Deliver us O Lord! Amen!”

_____

"AH, ARE YOU DIGGING ON MY GRAVE?", BY THOMAS HARDY

"Ah, are you digging on my grave,
My loved one? - planting rue?"
- "No: yesterday he went to wed
One of the brightest wealth has bred.
'It cannot hurt her now,' he said,
'That I should not be true.'"

"Then who is digging on my grave,
My nearest dearest kin?"
- "Ah, no: they sit and think, 'What use!
What good will planting flowers produce?
No tendance of her mound can loose
Her spirit from Death's gin.'"

"But someone digs upon my grave?
My enemy? - prodding sly?"
- "Nay: when she heard you had passed the Gate
That shuts on all flesh soon or late,
She thought you no more worth her hate,
And cares not where you lie.

"Then, who is digging on my grave?
Say - since I have not guessed!"
- "O it is I, my mistress dear,
Your little dog , who still lives near,
And much I hope my movements here
Have not disturbed your rest?"

"Ah yes! You dig upon my grave...
Why flashed it not to me
That one true heart was left behind!
What feeling do we ever find
To equal among human kind
A dog's fidelity!"

"Mistress, I dug upon your grave
To bury a bone, in case
I should be hungry near this spot
When passing on my daily trot.
I am sorry, but I quite forgot
It was your resting place."

_____

"THE SECOND COMING", BY WILLIAM BUTLER YEATS

Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.

Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?

_____

MORE EUROBEAT, THE SOUND OF PARA PARA

As I said a post ago, it's really only one version of Ike Ike that counts, the one by Tri-Star. And lo and behold, here it is:



As a bonus, here is a Para Para video with parts of Ganguro, by Franz "Mad Cow" Tornado and the Yamanba-Gals:



Franz Tornado (real name Federico Rimonti) is a personal Eurobeat favourite that shows up in a endles row of different "groups", of which Franz Tornado and the Royal Eurobeat Orchestra of Bazookistan is one of the best (names, that is). The endles changes of band names is a joke, as most of it is really made by a rather small group of people.

Another favourite - and part of the Tornado clan - is Bazooka Girl (real name Cristiana Cucchi). Here is a video with parts of her Velfarre 2000:



And finally, I linked to it yesterday, but the deep and subtle poetry of Bazooka Girl's Cantare Ballare (Happy Eurobeat) simply must be shared again:


Cantare Ballare (Happy Eurobeat)

Suck a Bazooka
No One Sleep In Tokyo
Din Don Dan
Money Go
Night of Fire
Bandolero Comanchero
Boom Boom Girl
Virtual Love

Go Go Dance
Technotronic Flight
Shadow In The Night
Telephone
Try Me
Ike Ike
Dancing In The Jungle
Dancing In The Maharaja Night

Mad Cow
Bazooka Man
Boom Boom Japan
Hot Girl
Deja Vu
O Sole Mio
My Only Star
Don’t Stop The Music
Love Generation

Mad Cow
Bazooka Man
Boom Boom Japan
Hot Girl
Deja Vu
O Sole Mio
My Only Star
Don’t Stop The Music
Love Generation
(Cantare Ballare)
(Cantare Ballare)

My Sweet Banana
Dancing At Twin Star
Milan Milan Milan
Get My Love
Round ‘n’ Round
Hot Love & Emotion
Deltadance.com
Be My Lover

______

PARA PARA - AS IT SHOULD SOUND

My friend, the Mad Mullah, has put up an instruction video for Para Para dancing - that subtle and lovely Japanese addition to teen culture. But ... it's without music. That's really utterly pointless. Now this is what Para Para should look - and sound - like:



It's silly. It's embarrassing. It's annoying. And the music is the perfect drug for pointless tasks in the office - when mixed with at least six shots of espresso.

And the best thing, The Very Best Thing, this being music directed at japanese 14 year olds and mostly written by Italians, is of course the lyrics. As some of you may not be fluent in Japanese, here are the English lyrics for Ike Ike (which really should be heard in the Tri-Star version):

Ike Ike

Living night
I need to feel imagination
Yes, all right
I need a rhythm invasion
Sing together "na-na-na-na"
I wanna dance all the night
Oh - oh - oh Oh - oh - oh

Ehy, DJ John Robinson
Make me feel the rhythm and hot desire
In Roppongi Tokyo
Keep me into your heaven
Baby, take me higher

Ikeike
Lucky night, pretty girl
Mini-skirt Ikeike
Hi-heel shoes and then you feel the power
Ikeike, magic nights
And the blue, my baby, will go bye
Uoh-ho

Lovely night
You take me up imagination
In my heart
You bring me up your confusion
When you dance I'm gonna head out
I like to dance eurobeat
Oh - oh - oh Oh - oh - oh


It's great poetry, though not quite as good as the lyrics to Cantare Ballare (Happy Eurobeat). Then again, few things are. That might be a reason for cheerfulness. Then again, maybe not.

(As to the title of this post: This was written listening to Matt Howdens record As They Should Sound. It's not half bad. But it's useless for Para Para.)
_____

“THE MAD GARDENER'S SONG", BY LEWIS CARROLL

He thought he saw an Elephant,
That practised on a fife:
He looked again, and found it was
A letter from his wife.
‘At length I realise,’ he said,
The bitterness of Life!’

He thought he saw a Buffalo
Upon the chimney-piece:
He looked again, and found it was
His Sister’s Husband’s Niece.
‘Unless you leave this house,’ he said,
“I’ll send for the Police!’

He thought he saw a Rattlesnake
That questioned him in Greek:
He looked again, and found it was
The Middle of Next Week.
‘The one thing I regret,’ he said,
‘Is that it cannot speak!’

He thought he saw a Banker’s Clerk
Descending from the bus:
He looked again, and found it was
A Hippopotamus.
‘If this should stay to dine,’ he said,
‘There won’t be much for us!’

He thought he saw a Kangaroo
That worked a coffee-mill:
He looked again, and found it was
A Vegetable-Pill.
‘Were I to swallow this,’ he said,
‘I should be very ill!’

He thought he saw a Coach-and-Four
That stood beside his bed:
He looked again, and found it was
A Bear without a Head.
‘Poor thing,’ he said, ‘poor silly thing!
It’s waiting to be fed!’

He thought he saw an Albatross
That fluttered round the lamp:
He looked again, and found it was
A Penny-Postage Stamp.
‘You’d best be getting home,’ he said:
‘The nights are very damp!’

He thought he saw a Garden-Door
That opened with a key:
He looked again, and found it was
A Double Rule of Three:
‘And all its mystery,’ he said,
‘Is clear as day to me!’

He thought he saw a Argument
That proved he was the Pope:
He looked again, and found it was
A Bar of Mottled Soap.
‘A fact so dread,’ he faintly said,
‘Extinguishes all hope!’

_____

"LIMITS", BY JORGE LUIS BORGES

Of all the streets that blur in to the sunset,
There must be one (which, I am not sure)
That I by now have walked for the last time
Without guessing it, the pawn of that Someone

Who fixes in advance omnipotent laws,
Sets up a secret and unwavering scale
for all the shadows, dreams, and forms
Woven into the texture of this life.

If there is a limit to all things and a measure
And a last time and nothing more and forgetfulness,
Who will tell us to whom in this house
We without knowing it have said farewell?

Through the dawning window night withdraws
And among the stacked books which throw
Irregular shadows on the dim table,
There must be one which I will never read.

There is in the South more than one worn gate,
With its cement urns and planted cactus,
Which is already forbidden to my entry,
Inaccessible, as in a lithograph.

There is a door you have closed forever
And some mirror is expecting you in vain;
To you the crossroads seem wide open,
Yet watching you, four-faced, is a Janus.

There is among all your memories one
Which has now been lost beyond recall.
You will not be seen going down to that fountain
Neither by white sun nor by yellow moon.

You will never recapture what the Persian
Said in his language woven with birds and roses,
When, in the sunset, before the light disperses,
You wish to give words to unforgettable things.

And the steadily flowing Rhone and the lake,
All that vast yesterday over which today I bend?
They will be as lost as Carthage,
Scourged by the Romans with fire and salt.

At dawn I seem to hear the turbulent
Murmur of crowds milling and fading away;
They are all I have been loved by, forgotten by;
Space, time, and Borges now are leaving me.

_____

"A CHRISTMAS CAROL", BY G.K. CHESTERTON

The Christ-child lay on Mary's lap,
His hair was like a light.
(O weary, weary were the world,
But here is all aright.)

The Christ-child lay on Mary's breast,
His hair was like a star.
(O stern and cunning are the kings,
But here the true hearts are.)

The Christ-child lay on Mary's heart,
His hair was like a fire.
(O weary, weary is the world,
But here the world's desire.)

The Christ-child stood at Mary's knee,
His hair was like a crown.
And all the flowers looked up at Him,
And all the stars looked down.
_____

"YULE HORROR", BY H.P. LOVECRAFT

There is snow on the ground,
And the valleys are cold,
And a midnight profound
Blackly squats o'er the wold;
But a light on the hilltops half-seen hints of feastings un-hallowed and old.

There is death in the clouds,
There is fear in the night,
For the dead in their shrouds
Hail the sin's turning flight.
And chant wild in the woods as they dance round a Yule-altar fungous and white.

To no gale of Earth's kind
Sways the forest of oak,
Where the sick boughs entwined
By mad mistletoes choke,
For these pow'rs are the pow'rs of the dark, from the graves of the lost Druid-folk.

_____

FOUR POEMS BY DOROTHY PARKER

A Very Short Song

Once, when I was young and true,
Someone left me sad-
Broke my brittle heart in two;
And that is very bad.

Love is for unlucky folk,
Love is but a curse.
Once there was a heart I broke;
And that, I think, is worse.



Inventory

Four be the things I am wiser to know:
Idleness, sorrow, a friend, and a foe.

Four be the things I’d been better without:
Love, curiosity, freckles, and doubt.

Three be the things I shall never attain:
Envy, content, and sufficient champagne.

Three be the things I shall have till I die:
Laughter and hope and a sock in the eye.



I Shall Come Back

I shall come back without fanfaronade
Of wailing wind and graveyard panoply;
But, trembling, slip from cool Eternity-
A mild and most bewildered little shade.
I shall not make sepulchral midnight raid,
But softly come where I had longed to be
In April twilight's unsung melody,
And I, not you, shall be the one afraid.

Strange, that from lovely dreamings of the dead
I shall come back to you, who hurt me most.
You may not feel my hand upon your head,
I'll be so new and inexpert a ghost.
Perhaps you will not know that I am near-
And that will break my ghostly heart, my dear.



Portrait Of The Artist

Oh, lead me to a quiet cell
Where never footfall rankles,
And bar the window passing well,
And gyve my wrists and ankles.

Oh, wrap my eyes with linen fair,
With hempen cord go bind me,
And, of your mercy, leave me there,
Nor tell them where to find me.

Oh, lock the portal as you go,
And see its bolts be double….
Come back in half an hour or so,
And I will be in trouble.


_____

"THE COURTYARD", BY H.P. LOVECRAFT

It was the city I had known before;
The ancient, leprous town where mongrel throngs
Chant to strange gods, and beat unhallowed gongs
In crypts beneath foul alleys near the shore.
The rotting, fish-eyed houses leered at me
From where they leaned, drunk and half-animate,
As edging through the filth I passed the gate
To the black courtyard where the man would be.

The dark walls closed me in, and loud I cursed
That ever I had come to such a den,
When suddenly a score of windows burst
Into wild light, and swarmed with dancing men:
Mad, soundless revels of the dragging dead -
And not a corpse had either hands or head!

_____

"The Courtyard" is poem no. IX from the cycle Fungi from Yuggoth.
_____

"MAY", BY CHRISTINA ROSSETTI

I cannot tell you how it was,
But this I know: it came to pass
Upon a bright and sunny day
When May was young; ah, pleasant May!
As yet the poppies were not born
Between the blades of tender corn;
The last egg had not hatched as yet,
Nor any bird foregone its mate.

I cannot tell you what it was,
But this I know: it did but pass.
It passed away with sunny May,
Like all sweet things it passed away,
And left me old, and cold, and gray.
_____

"ALBUM", BY R.S. THOMAS

My father is dead.
I who am look at him
who is not, as once he
went looking for me
in the woman who was.

There are pictures
of the two of them, no
need of a third, hand
in hand, hearts willing
to be one but not three.

What does it mean
life? I am here I am
there. Look! Suddenly
the young tool in their hands
for hurting one another.

And the camera says:
Smile; there is no wound
time gives that is not bandaged
by time. And so they do the
three of them at me who weep.
_____

POETRY, HILL-STYLE

Due to popular demand, more Benny Hill. This time in a poetic mode ...


_____