From Venus and Adonis

May 22nd, 2007 by chiomrano

by William Shakespeare

But, lo! from forth a copse that neighbours by,
A breeding jennet, lusty, young, and proud,
Adonis’ trampling courser doth espy,
And forth she rushes, snorts and neighs aloud;

     The strong-neck’d steed, being tied unto a tree,
     Breaketh his rein, and to her straight goes he.

Imperiously he leaps, he neighs, he bounds,
And now his woven girths he breaks asunder;
The bearing earth with his hard hoof he wounds,
Whose hollow womb resounds like heaven’s thunder;

     The iron bit he crushes ‘tween his teeth
     Controlling what he was controlled with.

His ears up-prick’d; his braided hanging mane
Upon his compass’d crest now stand on end;
His nostrils drink the air, and forth again,
As from a furnace, vapours doth he send:

     His eye, which scornfully glisters like fire,
     Shows his hot courage and his high desire.

Sometime her trots, as if he told the steps,
With gentle majesty and modest pride;
Anon he rears upright, curvets and leaps,
As who should say, ‘Lo! thus my strength is tried;

     And this I do to captivate the eye
     Of the fair breeder that is standing by.’

What recketh he his rider’s angry stir,
His flattering ‘Holla,’ or his ‘Stand, I say?’
What cares he now for curb of pricking spur?
For rich caparisons or trapping gay?

     He sees his love, and nothing else he sees,
     Nor nothing else with his proud sight agrees.

Look, when a painter would surpass the life,
In limning out a well-proportion’d steed,
His art with nature’s workmanship at strife,
As if the dead the living should exceed;

     So did this horse excel a common one,
     In shape, in courage, colour, pace and bone

Round-hoof’d, short-jointed, fetlocks shag and long,
Broad breast, full eye, small head, and nostril wide,
High crest, short ears, straight legs and passing strong,
Thin mane, thick tail, broad buttock, tender hide:

     Look, what a horse should have he did not lack,
     Save a proud rider on so proud a back.

Sometimes he scuds far off, and there he stares;
Anon he starts at stirring of a feather;
To bid the wind a race he now prepares,
And whe’r he run or fly they know not whether;

     For through his mane and tail the high wind sings,
     Fanning the hairs, who wave like feather’d wings.

He looks upon his love, and neighs unto her;
She answers him as if she knew his mind;
Being proud, as females are, to see him woo her,
She puts on outward strangeness, seems unkind,

     Spurns at his love and scorns the heat he feels,
     Beating his kind embracements with her heels.

Then, like a melancholy malcontent,
He vails his tail that, like a falling plume
Cool shadow to his melting buttock lent:
He stamps, and bites the poor flies in his fume.

     His love, perceiving how he is enrag’d,
     Grew kinder, and his fury was assuag’d.

His testy master goeth about to take him;
When lo! the unback’d breeder, full of fear,
Jealous of catching, swiftly doth forsake him,
With her the horse, and left Adonis there.

     As they were mad, unto the wood they hie them,
     Out-stripping crows that strive to over-fly them.
     I prophesy they death, my living sorrow,
     If thou encounter with the boar to-morrow.

"But if thou needs wilt hunt, be rul’d by me;
Uncouple at the timorous flying hare,
Or at the fox which lives by subtlety,
Or at the roe which no encounter dare:

     Pursue these fearful creatures o’er the downs,
     And on they well-breath’d horse keep with they hounds.

"And when thou hast on food the purblind hare,
Mark the poor wretch, to overshoot his troubles
How he outruns with winds, and with what care
He cranks and crosses with a thousand doubles:

     The many musits through the which he goes
     Are like a labyrinth to amaze his foes.

"Sometime he runs among a flock of sheep,
To make the cunning hounds mistake their smell,
And sometime where earth-delving conies keep,
To stop the loud pursuers in their yell,

     And sometime sorteth with a herd of deer;
     Danger deviseth shifts; wit waits on fear:

"For there his smell with other being mingled,
The hot scent-snuffing hounds are driven to doubt,
Ceasing their clamorous cry till they have singled
With much ado the cold fault cleanly out;

     Then do they spend their mouths: Echo replies,
     As if another chase were in the skies.

"By this, poor Wat, far off upon a hill,
Stands on his hinder legs with listening ear,
To hearken if his foes pursue him still:
Anon their loud alarums he doth hear;

     And now his grief may be compared well
     To one sore sick that hears the passing-bell.

"Then shalt thou see the dew-bedabbled wretch
Turn, and return, indenting with the way;
Each envious briar his weary legs doth scratch,
Each shadow makes him stop, each murmur stay:

     For misery is trodden on by many,
     And being low never reliev’d by any.

"Lie quietly, and hear a little more;
Nay, do not struggle, for thou shalt not rise:
To make thee hate the hunting of the boar,
Unlike myself thou hear’st me moralize,

     Applying this to that, and so to so;
     For love can comment upon every woe."

From Venus and Adonis

May 22nd, 2007 by chiomrano

by William Shakespeare

But, lo! from forth a copse that neighbours by,
A breeding jennet, lusty, young, and proud,
Adonis’ trampling courser doth espy,
And forth she rushes, snorts and neighs aloud;

     The strong-neck’d steed, being tied unto a tree,
     Breaketh his rein, and to her straight goes he.

Imperiously he leaps, he neighs, he bounds,
And now his woven girths he breaks asunder;
The bearing earth with his hard hoof he wounds,
Whose hollow womb resounds like heaven’s thunder;

     The iron bit he crushes ‘tween his teeth
     Controlling what he was controlled with.

His ears up-prick’d; his braided hanging mane
Upon his compass’d crest now stand on end;
His nostrils drink the air, and forth again,
As from a furnace, vapours doth he send:

     His eye, which scornfully glisters like fire,
     Shows his hot courage and his high desire.

Sometime her trots, as if he told the steps,
With gentle majesty and modest pride;
Anon he rears upright, curvets and leaps,
As who should say, ‘Lo! thus my strength is tried;

     And this I do to captivate the eye
     Of the fair breeder that is standing by.’

What recketh he his rider’s angry stir,
His flattering ‘Holla,’ or his ‘Stand, I say?’
What cares he now for curb of pricking spur?
For rich caparisons or trapping gay?

     He sees his love, and nothing else he sees,
     Nor nothing else with his proud sight agrees.

Look, when a painter would surpass the life,
In limning out a well-proportion’d steed,
His art with nature’s workmanship at strife,
As if the dead the living should exceed;

     So did this horse excel a common one,
     In shape, in courage, colour, pace and bone

Round-hoof’d, short-jointed, fetlocks shag and long,
Broad breast, full eye, small head, and nostril wide,
High crest, short ears, straight legs and passing strong,
Thin mane, thick tail, broad buttock, tender hide:

     Look, what a horse should have he did not lack,
     Save a proud rider on so proud a back.

Sometimes he scuds far off, and there he stares;
Anon he starts at stirring of a feather;
To bid the wind a race he now prepares,
And whe’r he run or fly they know not whether;

     For through his mane and tail the high wind sings,
     Fanning the hairs, who wave like feather’d wings.

He looks upon his love, and neighs unto her;
She answers him as if she knew his mind;
Being proud, as females are, to see him woo her,
She puts on outward strangeness, seems unkind,

     Spurns at his love and scorns the heat he feels,
     Beating his kind embracements with her heels.

Then, like a melancholy malcontent,
He vails his tail that, like a falling plume
Cool shadow to his melting buttock lent:
He stamps, and bites the poor flies in his fume.

     His love, perceiving how he is enrag’d,
     Grew kinder, and his fury was assuag’d.

His testy master goeth about to take him;
When lo! the unback’d breeder, full of fear,
Jealous of catching, swiftly doth forsake him,
With her the horse, and left Adonis there.

     As they were mad, unto the wood they hie them,
     Out-stripping crows that strive to over-fly them.
     I prophesy they death, my living sorrow,
     If thou encounter with the boar to-morrow.

"But if thou needs wilt hunt, be rul’d by me;
Uncouple at the timorous flying hare,
Or at the fox which lives by subtlety,
Or at the roe which no encounter dare:

     Pursue these fearful creatures o’er the downs,
     And on they well-breath’d horse keep with they hounds.

"And when thou hast on food the purblind hare,
Mark the poor wretch, to overshoot his troubles
How he outruns with winds, and with what care
He cranks and crosses with a thousand doubles:

     The many musits through the which he goes
     Are like a labyrinth to amaze his foes.

"Sometime he runs among a flock of sheep,
To make the cunning hounds mistake their smell,
And sometime where earth-delving conies keep,
To stop the loud pursuers in their yell,

     And sometime sorteth with a herd of deer;
     Danger deviseth shifts; wit waits on fear:

"For there his smell with other being mingled,
The hot scent-snuffing hounds are driven to doubt,
Ceasing their clamorous cry till they have singled
With much ado the cold fault cleanly out;

     Then do they spend their mouths: Echo replies,
     As if another chase were in the skies.

"By this, poor Wat, far off upon a hill,
Stands on his hinder legs with listening ear,
To hearken if his foes pursue him still:
Anon their loud alarums he doth hear;

     And now his grief may be compared well
     To one sore sick that hears the passing-bell.

"Then shalt thou see the dew-bedabbled wretch
Turn, and return, indenting with the way;
Each envious briar his weary legs doth scratch,
Each shadow makes him stop, each murmur stay:

     For misery is trodden on by many,
     And being low never reliev’d by any.

"Lie quietly, and hear a little more;
Nay, do not struggle, for thou shalt not rise:
To make thee hate the hunting of the boar,
Unlike myself thou hear’st me moralize,

     Applying this to that, and so to so;
     For love can comment upon every woe."

Blow, blow, thou winter wind

May 22nd, 2007 by chiomrano

by William Shakespeare

Blow, blow, thou winter wind,
Thou art not so unkind
As man’s ingratitude;
Thy tooth is not so keen,
Because thou art not seen,

      Although thy breath be rude.
      Heigh-ho! sing, heigh-ho! unto the green holly:
      Most friendship is feigning, most loving mere folly:
     Then, heigh-ho, the holly!
     This life is most jolly.

   Freeze, freeze, thou bitter sky,
  That does not bite so nigh
  As benefits forgot:
  Though thou the waters warp,
  Thy sting is not so sharp
  As friend remembered not.
  Heigh-ho! sing . . .

All the World’s a Stage

May 22nd, 2007 by chiomrano

by William Shakespeare

All the world’s a stage,
And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts,
His acts being seven ages. At first, the infant,
Mewling and puking in the nurse’s arms.

Then the whining schoolboy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school. And then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow. Then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honor, sudden and quick in quarrel,
Seeking the bubble reputation

Even in the cannon’s mouth. And then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side;
His youthful hose, well saved, a world too wide

For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.

Biograpi William Shakespeare

May 21st, 2007 by chiomrano

Wshakesp
William Shakespeare was born on April 23, 1564, in Stratford-on-Avon. The
son of John Shakespeare and Mary Arden, he was probably educated at the King
Edward IV Grammar School in Stratford, where he learned Latin and a little
Greek and read the Roman dramatists. At eighteen, he married Anne Hathaway, a
woman seven or eight years his senior. Together they raised two daughters:
Susanna, who was born in 1583, and Judith (whose twin brother died in boyhood),
born in 1585.

Little is known about Shakespeare’s activities between 1585 and 1592. Robert
Greene’s A Groatsworth of Wit alludes to him as an actor and playwright.
Shakespeare may have taught at school during this period, but it seems more
probable that shortly after 1585 he went to London to begin his apprenticeship
as an actor. Due to the plague, the London theaters were often closed between
June 1592 and April 1594. During that period, Shakespeare probably had some
income from his patron, Henry Wriothesley, earl of Southampton, to whom he
dedicated his first two poems, Venus and Adonis (1593) and The Rape
of Lucrece
(1594). The fomer was a long narrative poem depicting the
rejection of Venus by Adonis, his death, and the consequent disappearance of
beauty from the world. Despite conservative objections to the poem’s
glorification of sensuality, it was immensely popular and was reprinted six
times during the nine years following its publication.

In 1594, Shakespeare joined the Lord Chamberlain’s company of actors, the
most popular of the companies acting at Court. In 1599 Shakespeare joined a
group of Chamberlain’s Men that would form a syndicate to build and operate a
new playhouse: the Globe, which became the most famous theater of its time.
With his share of the income from the Globe, Shakespeare was able to purchase
New Place, his home in Stratford.

While Shakespeare was regarded as the foremost dramatist of his time,
evidence indicates that both he and his world looked to poetry, not
playwriting, for enduring fame. Shakespeare’s sonnets were composed between
1593 and 1601, though not published until 1609. That edition, The Sonnets of
Shakespeare
, consists of 154 sonnets, all written in the form of three
quatrains and a couplet that is now recognized as Shakespearean. The sonnets
fall into two groups: sonnets 1-126, addressed to a beloved friend, a handsome
and noble young man, and sonnets 127-152, to a malignant but fascinating
"Dark Lady," whom the poet loves in spite of himself. Nearly all of
Shakespeare’s sonnets examine the inevitable decay of time, and the
immortalization of beauty and love in poetry.

In his poems and plays, Shakespeare invented thousands of words, often
combining or contorting Latin, French and native roots. His impressive
expansion of the English language, according to the Oxford English
Dictionary, includes such words as: arch-villain, birthplace, bloodsucking,
courtship, dewdrop, downstairs, fanged, heartsore, hunchbacked, leapfrog,
misquote, pageantry, radiance, schoolboy, stillborn, watchdog, and zany.

Shakespeare wrote more than 30 plays. These are usually divided into four
categories: histories, comedies, tragedies, and romances. His earliest plays
were primarily comedies and histories such as Henry VI and The Comedy
of Errors
, but in 1596, Shakespeare wrote Romeo and Juliet, his
second tragedy, and over the next dozen years he would return to the form,
writing the plays for which he is now best known: Julius Caesar,
Hamlet, Othello, King Lear, Macbeth, and Antony
and Cleopatra
. In his final years, Shakespeare turned to the romantic with
Cymbeline, A Winter’s Tale, and The Tempest.

Only eighteen of Shakespeare’s plays were published separately in quarto
editions during his lifetime; a complete collection of his works did not appear
until the publication of the First Folio in 1623, several years after his
death. Nonetheless, his contemporaries recognized Shakespeare’s achievements.
Francis Meres cited "honey-tongued" Shakespeare for his plays and
poems in 1598, and the Chamberlain’s Men rose to become the leading dramatic
company in London, installed as members of the royal household in 1603.

Sometime after 1612, Shakespeare retired from the stage and returned to his
home in Stratford. He drew up his will in January of 1616, which included his
famous bequest to his wife of his "second best bed." He died on April
23, 1616, and was buried two days later at Stratford Church.

Relationship Emotions

May 21st, 2007 by chiomrano

Crying tears of happiness,
Hugs of joy,
Smiles from the heart,
Living with you is my course.

Kisses so soft,
Touches so light,
Hands clutched tightly,
Bodies intertwined.

One day that special day will come,
But for now all I can say is . . .
I love you, and that is enough.

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Ernest Christopher Dowson

May 16th, 2007 by chiomrano

Cristoper_dowson

Ernest C. Dowson, poet, was born
in Kent.
He received some of his education in France,
and in 1866 entered Queen’s College, Oxford.
Having read considerably and widely, Dowson left without obtaining a degree. He
went to London where he joined the literary circle of Aubrey Beardsley, Oscar Wilde, and their
friends. He was also one of the Rhymers’ Club and contributed to The Books of
the Rhymers’ Club (1892 and 1894), The Yellow Book and The Savoy. In 1891 he
met ‘Missie’ Adelaide Foltinowicz, a twelve-year-old who later became a key
image of innocence and lost love in his poetry.

In September 1891 he converted to Roman Catholicism, which is reflected in his
devotional poetry, such as ‘Nuns of the Perpetual Adoration’ and ‘Carthusians’.
These were his most successful poems. His father died in 1894 having suffered
from advanced tuberculosis. Within months of his death, Dowson’s mother hanged
herself. A number of stories called Dilemas appeared in 1895. After this,
Dowson travelled between London,France and Ireland, drinking heavily. He
published the first of his two books of poetry, Verses, in 1896, which included
the acclaimed ‘Non Sum Qualis Eram’ or ‘Cynara’, and the second, Decorations in
Verse and Prose in 1899. His one-act verse play, The Pierrot of the Minute came
out in 1897. In addition, he translated Voltaire, Zola and Balzac. Amongst his
verse which celebrates nature is ‘Breton Afternoon’, and the poems representing
weariness and the monotony of life include ‘Vitae Summa Brevis’ and ‘To One in
Bedlam’. ..

Fallen Angel

May 11th, 2007 by chiomrano

I have fallen
from sky,
Fallen to the ground,


I am the angel of sadness,
Angel of lost hopes,
Angel of lost dreams,
I am the fallen angel,
Fear me not,
I am here for reason,
That reason is to have a second chance in life,
That life I was given for a reason,
They took my wings,
They took me apart made me human,
I was the fallen angel,
But that fallen angel had one chance in life that he was given,
This angel won’t make the same mistakes he made before,
This angel will go down the right path that has been chosen for him,
This fallen angel know what he has to do to be forgiven.

Taken from Jennifer Rondeau