Rudyard Kipling in his study, circa 1895. ______________________________________________________________
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!
When icicles hang by the wall ---And Dick the shepherd blows his nail, And Tom bears logs into the hall, ---And milk comes frozen home in pail, When blood is nipt, and ways be foul, ---Then nightly sings the staring owl, ------------Tuwhoo! Tuwhit! Tuwhoo! A merry note! While greasy Joan doth keel the pot.
When all aloud the wind doth blow, ---And coughing drowns the parson's saw, And birds sit brooding in the snow, ---And Marian's nose looks red and raw; When roasted crabs hiss in the bowl, ---Then nightly sings the staring owl, ------------Tuwhoo! Tuwhit! Tuwhoo! A merry note, While greasy Joan doth keel the pot.
I'll tell you a plan for gaining wealth, -----Better than banking, trade or leases — Take a bank note and fold it up, -----And then you will find your money in creases! This wonderful plan, without danger or loss, Keeps your cash in your hands, where nothing can trouble it; And every time that you fold it across, -----'Tis as plain as the light of the day that you double it!
THE "Red Death" had long devastated the country. No pestilence had ever been so fatal, or so hideous. Blood was its Avatar and its seal -- the redness and the horror of blood. There were sharp pains, and sudden dizziness, and then profuse bleeding at the pores, with dissolution. The scarlet stains upon the body and especially upon the face of the victim, were the pest ban which shut him out from the aid and from the sympathy of his fellow-men. And the whole seizure, progress and termination of the disease, were the incidents of half an hour.
But the Prince Prospero was happy and dauntless and sagacious. When his dominions were half depopulated, he summoned to his presence a thousand hale and light-hearted friends from among the knights and dames of his court, and with these retired to the deep seclusion of one of his castellated abbeys. This was an extensive and magnificent structure, the creation of the prince's own eccentric yet august taste. A strong and lofty wall girdled it in. This wall had gates of iron. The courtiers, having entered, brought furnaces and massy hammers and welded the bolts. They resolved to leave means neither of ingress or egress to the sudden impulses of despair or of frenzy from within. The abbey was amply provisioned. With such precautions the courtiers might bid defiance to contagion. The external world could take care of itself. In the meantime it was folly to grieve, or to think. The prince had provided all the appliances of pleasure. There were buffoons, there were improvisatori, there were ballet-dancers, there were musicians, there was Beauty, there was wine. All these and security were within. Without was the "Red Death."
It was toward the close of the fifth or sixth month of his seclusion, and while the pestilence raged most furiously abroad, that the Prince Prospero entertained his thousand friends at a masked ball of the most unusual magnificence.
It was a voluptuous scene, that masquerade. But first let me tell of the rooms in which it was held. There were seven -- an imperial suite. In many palaces, however, such suites form a long and straight vista, while the folding doors slide back nearly to the walls on either hand, so that the view of the whole extent is scarcely impeded. Here the case was very different; as might have been expected from the duke's love of the bizarre. The apartments were so irregularly disposed that the vision embraced but little more than one at a time. There was a sharp turn at every twenty or thirty yards, and at each turn a novel effect. To the right and left, in the middle of each wall, a tall and narrow Gothic window looked out upon a closed corridor which pursued the windings of the suite. These windows were of stained glass whose color varied in accordance with the prevailing hue of the decorations of the chamber into which it opened. That at the eastern extremity was hung, for example, in blue -- and vividly blue were its windows. The second chamber was purple in its ornaments and tapestries, and here the panes were purple. The third was green throughout, and so were the casements. The fourth was furnished and lighted with orange -- the fifth with white -- the sixth with violet. The seventh apartment was closely shrouded in black velvet tapestries that hung all over the ceiling and down the walls, falling in heavy folds upon a carpet of the same material and hue. But in this chamber only, the color of the windows failed to correspond with the decorations. The panes here were scarlet -- a deep blood color. Now in no one of the seven apartments was there any lamp or candelabrum, amid the profusion of golden ornaments that lay scattered to and fro or depended from the roof. There was no light of any kind emanating from lamp or candle within the suite of chambers. But in the corridors that followed the suite, there stood, opposite to each window, a heavy tripod, bearing a brazier of fire that protected its rays through the tinted glass and so glaringly illumined the room. And thus were produced a multitude of gaudy and fantastic appearances. But in the western or black chamber the effect of the fire-light that streamed upon the dark hangings through the blood-tinted panes, was ghastly in the extreme, and produced so wild a look upon the countenances of those who entered, that there were few of the company bold enough to set foot within its precincts at all.
It was in this apartment, also, that there stood against the western wall, a gigantic clock of ebony. Its pendulum swung to and fro with a dull, heavy, monotonous clang; and when the minute-hand made the circuit of the face, and the hour was to be stricken, there came from the brazen lungs of the clock a sound which was clear and loud and deep and exceedingly musical, but of so peculiar a note and emphasis that, at each lapse of an hour, the musicians of the orchestra were constrained to pause, momentarily, in their performance, to hearken to the sound; and thus the waltzers perforce ceased their evolutions; and there was a brief disconcert of the whole gay company; and, while the chimes of the clock yet rang, it was observed that the giddiest grew pale, and the more aged and sedate passed their hands over their brows as if in confused reverie or meditation. But when the echoes had fully ceased, a light laughter at once pervaded the assembly; the musicians looked at each other and smiled as if at their own nervousness and folly, and made whispering vows, each to the other, that the next chiming of the clock should produce in them no similar emotion; and then, after the lapse of sixty minutes, (which embrace three thousand and six hundred seconds of the Time that flies,) there came yet another chiming of the clock, and then were the same disconcert and tremulousness and meditation as before.
But, in spite of these things, it was a gay and magnificent revel. The tastes of the duke were peculiar. He had a fine eye for colors and effects. He disregarded the decora of mere fashion. His plans were bold and fiery, and his conceptions glowed with barbaric lustre. There are some who would have thought him mad. His followers felt that he was not. It was necessary to hear and see and touch him to be sure that he was not.
He had directed, in great part, the moveable embellishments of the seven chambers, upon occasion of this great fete; and it was his own guiding taste which had given character to the masqueraders. Be sure they were grotesque. There were much glare and glitter and piquancy and phantasm -- much of what has been since seen in "Hernani." There were arabesque figures with unsuited limbs and appointments. There were delirious fancies such as the madman fashions. There was much of the beautiful, much of the wanton, much of the bizarre, something of the terrible, and not a little of that which might have excited disgust. To and fro in the seven chambers there stalked, in fact, a multitude of dreams. And these -- the dreams -- writhed in and about, taking hue from the rooms, and causing the wild music of the orchestra to seem as the echo of their steps. And, anon, there strikes the ebony clock which stands in the hall of the velvet. And then, for a moment, all is still, and all is silent save the voice of the clock. The dreams are stiff-frozen as they stand. But the echoes of the chime die away -- they have endured but an instant -- and a light, half-subdued laughter floats after them as they depart. And now again the music swells, and the dreams live, and writhe to and fro more merrily than ever, taking hue from the many-tinted windows through which stream the rays from the tripods. But to the chamber which lies most westwardly of the seven, there are now none of the maskers who venture; for the night is waning away; and there flows a ruddier light through the blood-colored panes; and the blackness of the sable drapery appals; and to him whose foot falls upon the sable carpet, there comes from the near clock of ebony a muffled peal more solemnly emphatic than any which reaches their ears who indulge in the more remote gaieties of the other apartments.
But these other apartments were densely crowded, and in them beat feverishly the heart of life. And the revel went whirlingly on, until at length there commenced the sounding of midnight upon the clock. And then the music ceased, as I have told; and the evolutions of the waltzers were quieted; and there was an uneasy cessation of all things as before. But now there were twelve strokes to be sounded by the bell of the clock; and thus it happened, perhaps, that more of thought crept, with more of time, into the meditations of the thoughtful among those who revelled. And thus, too, it happened, perhaps, that before the last echoes of the last chime had utterly sunk into silence, there were many individuals in the crowd who had found leisure to become aware of the presence of a masked figure which had arrested the attention of no single individual before. And the rumor of this new presence having spread itself whisperingly around, there arose at length from the whole company a buzz, or murmur, expressive of disapprobation and surprise -- then, finally, of terror, of horror, and of disgust.
In an assembly of phantasms such as I have painted, it may well be supposed that no ordinary appearance could have excited such sensation. In truth the masquerade license of the night was nearly unlimited; but the figure in question had out-Heroded Herod, and gone beyond the bounds of even the prince's indefinite decorum. There are chords in the hearts of the most reckless which cannot be touched without emotion. Even with the utterly lost, to whom life and death are equally jests, there are matters of which no jest can be made. The whole company, indeed, seemed now deeply to feel that in the costume and bearing of the stranger neither wit nor propriety existed. The figure was tall and gaunt, and shrouded from head to foot in the habiliments of the grave. The mask which concealed the visage was made so nearly to resemble the countenance of a stiffened corpse that the closest scrutiny must have had difficulty in detecting the cheat. And yet all this might have been endured, if not approved, by the mad revellers around. But the mummer had gone so far as to assume the type of the Red Death. His vesture was dabbled in blood -- and his broad brow, with all the features of the face, was besprinkled with the scarlet horror.
When the eyes of Prince Prospero fell upon this spectral image (which with a slow and solemn movement, as if more fully to sustain its role, stalked to and fro among the waltzers) he was seen to be convulsed, in the first moment with a strong shudder either of terror or distaste; but, in the next, his brow reddened with rage.
"Who dares?" he demanded hoarsely of the courtiers who stood near him -- "who dares insult us with this blasphemous mockery? Seize him and unmask him -- that we may know whom we have to hang at sunrise, from the battlements!"
It was in the eastern or blue chamber in which stood the Prince Prospero as he uttered these words. They rang throughout the seven rooms loudly and clearly -- for the prince was a bold and robust man, and the music had become hushed at the waving of his hand.
It was in the blue room where stood the prince, with a group of pale courtiers by his side. At first, as he spoke, there was a slight rushing movement of this group in the direction of the intruder, who at the moment was also near at hand, and now, with deliberate and stately step, made closer approach to the speaker. But from a certain nameless awe with which the mad assumptions of the mummer had inspired the whole party, there were found none who put forth hand to seize him; so that, unimpeded, he passed within a yard of the prince's person; and, while the vast assembly, as if with one impulse, shrank from the centres of the rooms to the walls, he made his way uninterruptedly, but with the same solemn and measured step which had distinguished him from the first, through the blue chamber to the purple -- through the purple to the green -- through the green to the orange -- through this again to the white -- and even thence to the violet, ere a decided movement had been made to arrest him. It was then, however, that the Prince Prospero, maddening with rage and the shame of his own momentary cowardice, rushed hurriedly through the six chambers, while none followed him on account of a deadly terror that had seized upon all. He bore aloft a drawn dagger, and had approached, in rapid impetuosity, to within three or four feet of the retreating figure, when the latter, having attained the extremity of the velvet apartment, turned suddenly and confronted his pursuer. There was a sharp cry -- and the dagger dropped gleaming upon the sable carpet, upon which, instantly afterwards, fell prostrate in death the Prince Prospero. Then, summoning the wild courage of despair, a throng of the revellers at once threw themselves into the black apartment, and, seizing the mummer, whose tall figure stood erect and motionless within the shadow of the ebony clock, gasped in unutterable horror at finding the grave-cerements and corpse-like mask which they handled with so violent a rudeness, untenanted by any tangible form.
And now was acknowledged the presence of the Red Death. He had come like a thief in the night. And one by one dropped the revellers in the blood-bedewed halls of their revel, and died each in the despairing posture of his fall. And the life of the ebony clock went out with that of the last of the gay. And the flames of the tripods expired. And Darkness and Decay and the Red Death held illimitable dominion over all.
Did you know that Jane Asher, the young redheaded actor who plays Francesca, dated Paul McCartney, the ex-Beatle? Ms. Asher had been McCartney's long-time girlfriend before he married Linda (Eastman) McCartney, his first wife of almost 30 years (who died of breast cancer). *
Portrait of Walter Scott, novelist and poet, 1822 by Sir Henry Raeburn. ______________________________________________________________
This posting is dedicated to Gov. Rod Blagojevich (D-Illinois); may he watch his backside in the Federal Pen. See YouTube press conference below.
O, Brignall banks are wild and fair, And Greta woods are green, And you may gather garlands there, Would grace a summer queen. And as I rode by Dalton Hall Beneath the turrets high, A Maiden on the castle wall Was singing merrily-- "O, Brignall banks are fresh and fair, And Greta woods are green; I'd rather rove with Edmund there Than reign our English queen."
-- "If, Maiden, thou wouldst wend with me, To leave both tower and town, Thou first must guess what life lead we, That dwell by dale and down? And if thou canst that riddle read, As read full well you may, Then to the greenwood shalt thou speed As blithe as Queen of May." Yet sung she, "Brignall banks are fair, And Greta woods are green; I'd rather rove with Edmund there Than reign our English queen.
"I read you, by your bugle horn And by your palfrey good, I read you for a Ranger sworn, To keep the king's greenwood." "A Ranger, lady, winds his horn, And 'tis at peep of light; His blast is heard at merry morn, And mine at dead of night." Yet sung she, "Brignall banks are fair, And Greta woods are gay; I would I were with Edmund there, To reign his Queen of May!
"With burnish'd brand and musketoon, So gallantly you come, I read you for a bold Dragoon That lists the tuck of drum." -- "I list no more the tuck of drum, No more the trumpet hear; But when the beetle sounds his hum, My comrades take the spear. And O! though Brignall banks be fair And Greta woods be gay, Yet mickle must the maiden dare, Would reign my Queen of May!
"Maiden! a nameless life I lead, A nameless death I'll die! The fiend whose lantern lights the mead Were better mate than I! And when I'm with my comrades met Beneath the greenwood bough, What once we were we all forget, Nor think what we are now."
Chorus
"Yet Brignall banks are fresh and fair, And Greta woods are green, And you may gather garlands there Would grace a summer queen."
Illinois Gov. Rod Blagojevich was arrested on Tuesday on charges he brazenly conspired to sell or trade the U.S. Senate seat left vacant by President-elect Barack Obama to the highest bidder in what a federal prosecutor called a "corruption crime spree."
U.S. Attorney Patrick Fitzgerald told a news conference prosecutors make "no allegations" Obama was aware of any alleged scheming.
Blagojevich also was charged with illegally threatening to withhold state assistance to Tribune Co., the owner of the Chicago Tribune, in the sale of Wrigley Field, according to a federal criminal complaint. In return for state assistance, Blagojevich allegedly wanted members of the paper's editorial board who had been critical of him fired.
"We were in the middle of a corruption crime spree and we wanted to stop it," Fitzgerald said Tuesday, calling the corruption charges against Blagojevich "a truly new low."
There were three gypsies a come to my door, And down stairs ran this a-lady, O. One sang high and another sang low And the other sang bonny bonny Biscay O
Then she pulled off her silk finished gown, And put on hose of leather, O The ragged ragged rags about our door And she's gone with the wraggle, taggle gypsies O
It was late last night when my lord came home, Inquiring for his a-lady O The servants said on every hand She's gone with the wraggle-taggle gypsies, O
O saddle to me my milk-white steed And go and fetch me my pony, O That I may ride and seek my bride, Who's gone with the wraggle-taggle gypsies O
O he rode high, and he rode low He rode through wood and copses too, Until he came to a wide open field, And there he espied his a-lady O
What makes you leave you house and land? What makes you leave you money, O? What makes you leave you new-wedded lord, To follow the wraggle-taggle gypsies, O.
What care I for my house and land? What care I for my money,O? What care I for my new-wedded lord, I'm off with the wraggle-taggle gypsies, O!
"Last night you slept on a goosefeather bed, With the sheet turned down so bravely, O. Tonight you'll sleep in a cold open field, Along with the wraggle-taggle gypsies, O."
"What care I for a goose-feather bed, With the sheet turned down so bravely, O. For tonight I'll sleet in a cold open field, Along with the wraggle-taggle gypsies, O.
In Song Catcher from the Southern Mountains (New York: AMS Press, 1966) author Dorothy Scarborough says that in the earliest edition of the ballad, the gypsy is called Johnny Faa, a name common among gypsies. When the gypsies were banished from Scotland in 1624, Johnny Faa disobeyed the decree and was hanged. *
