Upon this marble bust that is not I Lay the round, formal wreath that is not fame; But in the forum of my silenced cry Root ye the living tree whose sap is flame. I, that was proud and valiant, am no more; — Save as a dream that wanders wide and late, Save as a wind that rattles the stout door, Troubling the ashes in the sheltered grate. The stone shall perish; I shall be twice dust. Only my standard on a taken hill Can cheat the mildew and the red-brown rust And make immortal my adventurous will. Even now the silk is tugging at the staff: Take up the song; forget the epitaph.
–Edna St. Vincent Millay
(Read in Washington, November 18th, 1923, at the unveiling of a statue of three leaders in the cause of Equal Rights for Women)
Thanks to my friend Erica Charis for sharing this with me.
1990 alumna and Berklee staff member Renese King is a talented instrumentalist and arranger whose soulful and moving voice has been called “resplendent” by The Boston Globe and garnered her a Boston Music Award for Gospel Artist of the Year.
King has toured with the Boston Pops, the Tanglewood Festival Chorus, and many other orchestras, and was a featured artist on the soundtrack to the Emmy award-winning film Freedom Riders, which was produced for National Public Television’s American Experience.
Today I am sad because someone wonderful died unexpectedly. I only knew him casually, but well enough to know it goes down as a dear loss in the world’s ledger. His name was John McGann; he was a wonderful person and a brilliant musician. If you knew him, you undoubtedly miss him too. If you didn’t, I’m sad you won’t have that opportunity.
May God bless you and receive you in His love, John.
It is moments like this that make all of the normal stuff seem absurd.
Musee des Beaux Arts
by W. H. Auden
About suffering they were never wrong, The old Masters: how well they understood Its human position: how it takes place While someone else is eating or opening a window or just walking dully along; How, when the aged are reverently, passionately waiting For the miraculous birth, there always must be Children who did not specially want it to happen, skating On a pond at the edge of the wood: They never forgot That even the dreadful martyrdom must run its course Anyhow in a corner, some untidy spot Where the dogs go on with their doggy life and the torturer’s horse Scratches its innocent behind on a tree.
In Breughel’s Icarus, for instance: how everything turns away Quite leisurely from the disaster; the ploughman may Have heard the splash, the forsaken cry, But for him it was not an important failure; the sun shone As it had to on the white legs disappearing into the green Water, and the expensive delicate ship that must have seen Something amazing, a boy falling out of the sky, Had somewhere to get to and sailed calmly on.
Elvis Costello wrote a great song called “A Monster Went and Ate My Red 2” for Sesame Street. It’s a master class in committing to the rhyme vocabulary of the song as a means of prosodically supporting your themes.
Almost every line contains a rhyme for the key words in the title: ‘red’ and ‘two.’
As a secondary layer, Costello rhymes ‘count’ and ‘number’ throughout the song as well.
Anywhere from 1 to 4 of those four rhyme sounds appear in every line in the song except one. See color key below.