Saturday, February 16, 2008

Kubla Khan or, A Vision in a Dream. A Fragment.

By Samuel Taylor Coleridge
Dead poet's society - session III
Wednesday Feb 13 2008

Recited By: Gaurav

In Xanadu did Kubla Khan
A stately pleasure-dome decree:
Where Alph, the sacred river, ran
Through caverns measureless to man
Down to a sunless sea.

So twice five miles of fertile ground
With walls and towers were girdled round:
And there were gardens bright with sinuous rills,
Where blossomed many an incense-bearing tree;
And here were forests ancient as the hills,
Enfolding sunny spots of greenery.

But oh! that deep romantic chasm which slanted
Down the green hill athwart a cedarn cover!
A savage place! as holy and enchanted
As e'er beneath a waning moon was haunted
By woman wailing for her demon-lover!
And from this chasm, with ceaseless turmoil seething,
As if this earth in fast thick pants were breathing,
A mighty fountain momently was forced:
Amid whose swift half-intermitted burst
Huge fragments vaulted like rebounding hail,
Or chaffy grain beneath the thresher's flail:
And 'mid these dancing rocks at once and ever
It flung up momently the sacred river.
Five miles meandering with a mazy motion
Through wood and dale the sacred river ran,
Then reached the caverns measureless to man,
And sank in tumult to a lifeless ocean:
And 'mid this tumult Kubla heard from far
Ancestral voices prophesying war!

The shadow of the dome of pleasure
Floated midway on the waves;
Where was heard the mingled measure
From the fountain and the caves.
It was a miracle of rare device,
A sunny pleasure-dome with caves of ice!

A damsel with a dulcimer
In a vision once I saw:
It was an Abyssinian maid,
And on her dulcimer she played,
Singing of Mount Abora.
Could I revive within me
Her symphony and song,
To such a deep delight 'twould win me
That with music loud and long
I would build that dome in air,
That sunny dome! those caves of ice!
And all who heard should see them there,
And all should cry, Beware! Beware!
His flashing eyes, his floating hair!
Weave a circle round him thrice,
And close your eyes with holy dread,
For he on honey-dew hath fed
And drunk the milk of Paradise.

Friday, February 15, 2008

Forgotten beauty of poetry

As a young student in school, the class that I looked forward to the most was English. There were good teachers and not so good teachers but it didn’t matter to me as I was transported into another world reading the poems or enacting the plays in my head. In my mind I created my own scene of Portia and Shylock as I read Merchant of Venice. I had not seen daffodils but I fell in love with it as I read Wordsworth’s poem.
Over the years, I forgot about this passion as I studied Engineering and went on with my career . Occasionally I felt this same emotion when I walked out on an early spring morning trampling the dew covered grass to see a fruit or flower that had just bloomed in my garden.
When we started the dead poets’ society, I was a little apprehensive as I have enjoyed reading poetry in solitude but I discovered that it was a lot more fun to share the joy with friends.
I had forgotten this part of me and I am so happy to have discovered it again. It is in those moments that we feel close to nature, do we actually live. Poetry is one that goes straight to your heart makes you feel one with nature. It is a beautiful thing never to be forgotten again !

The Leech Gatherer (Resolution and Independence)

William Wordsworth
Dead Poets Society - session III
Recited by Ashwini

The poem describes the mood swing that the poet undergoes while wandering in the woods. He happens to meet an old man who was stirring the pond & finds out that the old man makes his living by selling leeches. Leeches were used in medicine in those days to suck out bad blood from wounds. The poet feels that it is the hand of Providence that has led him to this man to show him how the old man was persevering in his job without any complaints, remorse or pain.



There was a roaring in the wind all night;
The rain came heavily and fell in floods;
But now the sun is rising calm and bright;
The birds are singing in the distant woods;
Over his own sweet voice the Stock-dove broods;
The Jay makes answer as the Magpie chatters;
And all the air is filled with pleasant noise of waters.

All things that love the sun are out of doors;
The sky rejoices in the morning's birth;
The grass is bright with rain-drops; -on the moors
The Hare is running races in her mirth;
And with her feet she from the plashy earth
Raises a mist; that, glittering in the sun,
Runs with her all the way, wherever she doth run.

I was a traveller then upon the moor;
I saw the Hare that raced about with joy;
I heard the woods and distant waters roar;
Or heard them not, as happy as a boy:
The pleasant season did my heart employ:
My old remembrances went from me wholly;
And all the ways of men, so vain and melancholy!

But, as it sometimes chanceth, from the might
Of joy in minds that can no further go,
As high as we have mounted in delight
In our dejection do we sink as low,
To me that morning did it happen so;
And fears and fancies thick upon me came;
Dim sadness -and blind thoughts, I knew not, nor could name.

I heard the Skylark warbling in the sky;
And I bethought me of the playful Hare:
Even such a happy Child of earth am I;
Even as these blissful creatures do I fare;
Far from the world I walk, and from all care;
But there may come another day to me -
Solitude, pain of heart, distress, and poverty.

My whole life I have lived in pleasant thought,
As if life's business were a summer mood:
As if all needful things would come unsought
To genial faith, still rich in genial good:
But how can He expect that others should
Build for him, sow for him, and at his call
Love him, who for himself will take no heed at all?

I thought of Chatterton, the marvellous Boy,
The sleepless Soul that perished in his pride;
Of Him who walked in glory and in joy
Following his plough, along the mountain-side:
By our own spirits are we deified;
We Poets in our youth begin in gladness;
But thereof comes in the end despondency and madness.

Now, whether it were by peculiar grace,
A leading from above, a something given,
Yet it befell that, in this lonely place,
When I with these untoward thoughts had striven,
Beside a pool bare to the eye of heaven
I saw a Man before me unawares:
The oldest man he seemed that ever wore grey hairs.

As a huge Stone is sometimes seen to lie
Couched on the bald top of an eminence;
Wonder to all who do the same espy,
By what means it could thither come, and whence;
So that it seems a thing endued with sense:
Like a Sea-beast crawled forth, that on a shelf
Of rock or sand reposeth, there to sun itself;

Such seemed this Man, not all alive nor dead,
Nor all asleep -in his extreme old age:
His body was bent double, feet and head
Coming together in life's pilgrimage;
As if some dire constraint of pain, or rage
Of sickness felt by him in times long past,
A more than human weight upon his frame had cast.

Himself he propped, his body, limbs, and face,
Upon a long grey Staff of shaven wood:
And, still as I drew near with gentle pace,
Upon the margin of that moorish flood
Motionless as a Cloud the Old-man stood;
That heareth not the loud winds when they call;
And moveth all together, if it move at all.

At length, himself unsettling, he the Pond
Stirred with his Staff, and fixedly did look
Upon the muddy water, which he conned,
As if he had been reading in a book:
And now a stranger's privilege I took;
And, drawing to his side, to him did say,
"This morning gives us promise of a glorious day."

A gentle answer did the Old-man make,
In courteous speech which forth he slowly drew:
And him with further words I thus bespake,
"What occupation do you there pursue?
This is a lonesome place for one like you.
"He answered, while a flash of mild surprise
Broke from the sable orbs of his yet vivid eyes.

His words came feebly, from a feeble chest,
But each in solemn order followed each,
With something of a lofty utterance drest -
Choice word and measured phrase, above the reach
Of ordinary men; a stately speech;
Such as grave livers do in Scotland use,
Religious men, who give to God and Man their dues.

He told, that to these waters he had come
To gather Leeches, being old and poor:
Employment hazardous and wearisome!
And he had many hardships to endure;
From pond to pond he roamed, form moor to moor;
Housing, with God's good help, by choice or chance;
And in this way he gained and honest maintenance.

The Old-man still stood talking by my side;
But now his voice to me was like a stream
Scarce heard; nor word from word could I divide;
And the whole Body of the Man did seem
Like one whom I had met with in a dream;
Or like a man from some far region sent,
To give me human strength, by apt admonishment.

My former thoughts returned: the fear that kills;
And hope that is unwilling to be fed;
Cold, pain, and labour, and all fleshly ills;
And mighty Poets in their misery dead.-
Perplexed, and longing to be comforted,
My question eagerly did I renew,
"How is it that you live, and what is it you do?"

He with a smile did then his words repeat;
And said that, gathering Leeches, far and wide
He travelled; stirring thus about his feet
The waters of the Pools where they abide.
"Once I could meet with them on every side;
But they have dwindled long by slow decay;
Yet still I persevere, and find them where I may."

While he was talking thus, the lonely place,
The Old-man's shape, and speech, all troubled me:
In my mind's eye I seemed to see him pace
About the weary moors continually,
Wandering about alone and silently.
While I these thoughts within myself pursued,
He, having made a pause, the same discourse renewed.

And soon with this he other matter blended,
Cheerfully uttered, with demeanour kind,
But stately in the main; and when he ended,
I could have laughed myself to scorn to find
In that decrepit Man so firm a mind.
"God," said I, "be my help and stay secure;
I'll think of the Leech-gatherer on the lonely moor!"

Thursday, February 14, 2008

Lament for Boromir (JRR Tolkien)

Dead poet's society - session III
Wednesday Feb 13 2008

Recited By: Vinod

The Lament for Boromir is very poignant. The most interesting part of this poem is that Legolas composes the second verse, and Aragorn composes the first and the third stanzas; while, Tolkien believes that in his plot, Legolas is a better poet than Aragorn, and brings that out in the imagery of the verses. The second stanza is far more poetically dense in terms of expression, poetic depth, even construction as opposed to the stanzas 1 and 3. Talk about getting into the character and writing in the moment!!

Through Rohan over fen and field where the long grass grows
The West Wind comes walking, and about the walls it goes.
'What news from the West, O wandering wind, do you bring to me tonight?
Have you seen Boromir the Tall by moon or by starlight?'
'I saw him ride over seven streams, over waters wide and grey;
I saw him walk in empty lands, until he passed away
Into the shadows of the North. I saw him then no more.
The North Wind may have heard the horn of the son of Denethor.'
'O Boromir! From the high walls westward I looked afar,
But you came not from the empty lands where no men are.'

From the mouths ofthe Sea the South Wind flies,from the sandhills andthe stones;
The wailing of the gulls it bears, and at the gate it moans.
'What news from the South, O sighing wind, do you bring to me at eve?
Where now is Boromir the fair? He tarries and I grieve.'
'Ask not of me where he doth dwell --- so many bones there lie
On the white shores and the dark shores under the stormy sky;
So many have passed down Anduin to find the flowing Sea.
Ask of the North Wind news of them the North Wind sends to me!'
'O Boromir! Beyond the gate the seaward road runs south,
But you came not with the wailing gulls from the grey sea's mouth.'

From the Gate of Kings the North Wind rides, and past the roaring falls;
And clear and cold about the tower its loud horn calls.
'What news from the North, O mighty wind, do you bring to me today?
What news of Boromir the Bold? For he is long away.'
'Beneath Amon Hen I heard his cry. There many foes he fought.
His cloven shield, his broken sword, they to the water brought.
His head so proud, his face so fair, his limbs they laid to rest;
And Rauros, golden Rauros-falls, bore him upon its breast.'
'O Boromir! The Tower of Gaurd shall ever northward gaze
To Rauros, golden Rauros-falls, until the end of days.'

-- J.R.R. Tolkien

The World was Young, the Mountains Green -- or Why the Dwarves Chose to Live in Darksome Holes (JRR Tolkien)

Dead poet's society - session III
Wednesday Feb 13 2008

Recited By: Vinod


These days, the writing of heroic fantasy has become a mass-production industry; scarcely a week goes by without an author inventing a brave new world and subsequently being acclaimed as "the true inheritor of Tolkien's mantle", or some such. Unfortunately, fantastic settings alone do not an epic make, and 90% of new fantasy writing is crap - the same generic swords and sorcery, thud and blunder, repeated ad nauseam.

Tolkien is different. His imaginary homelands are not just names on the (by now obligatory) frontispiece map, they're countries, with rich histories and vibrant cultures; his invented tongues are not meaningless agglomerations of random syllables, they're carefully designed showcases of the linguist's art, with comprehensive lexica and detailed etymologies; his many invented beings are not cardboard cutout monsters, they're creatures who live and breathe and walk the pages of his books as convincingly as do his human heroes and heroines. The suspension of disbelief in Tolkien is total.

And then there's his verse. Tolkien's verse has genuine poetic merit, and it's not in the least bit self-conscious; when his characters break into song (which, mind you, occurs fairly often in his books), it always seems the perfectly natural thing to do. Today's poem is an excellent example: in "The Fellowship of the Ring" (the first volume of "The Lord of the Rings"), the eponymous fellowship are forced to detour through the dark and deserted Dwarven mines of Moria. One of the party asks why the Dwarves chose to live in such darksome holes; in reply, Gimli, the lone representative of that race in the Fellowship, half sings, half chants a poem describing the glory of the Dwarven kingdom in the Elder Days... at the end of the recital, the reader is left with the realization that the story of Moria couldn't have been told any other way: mere prose is simply too dry to communicate the wonder and the beauty that was Khazad-dum.

As always with Tolkien, the form reinforces the content to marvellous effect: the language is intentionally archaic, the alliteration pronounced (but never obtrusive), the sense of nostalgia and loss almost palpable. Notice how Gimli never explicitly states just what it was that caused Moria's abandonment: his reticence seems to imply that the events being recounted occurred at a great remove from the here and now; this in turn enhances the mystery, the vague undercurrent of dread that runs through the poem (and especially through the last stanza). This lack of particularity might be annoying in what is ostensibly a historical tale, but this is definitely one of those cases where less is more: a straightforward cataloguing of facts could never hope to capture the audience's attention the way Gimli's hypnotically beautiful couplets do.

And beautiful they certainly are: Tolkien's feel for the English language, for the music of words and the perfection of images, is flawless. It's a pity that his poetic output was (by and large) limited to within the confines of his invented universe (wide though they were); he could easily have been this century's successor to Kipling and Tennyson, so perfect is his verse, so effortless his prosody...

The World was Young, the Mountains Green

The world was young, the mountains green,
No stain yet on the Moon was seen,
No words were laid on stream or stone,
When Durin woke and walked alone.
He named the nameless hills and dells;
He drank from yet untasted wells;
He stooped and looked in Mirrormere,
And saw a crown of stars appear,
As gems upon a silver thread,
Above the shadow of his head.

The world was fair, the mountains tall,
In Elder Days before the fall
Of mighty kings in Nargothrond
And Gondolin, who now beyond
The Western Seas have passed away:
The world was fair in Durin's Day.

A king he was on carven throne
In many-pillared halls of stone
With golden roof and silver floor,
And runes of power upon the door.
The light of sun and star and moon
In shining lamps of crystal hewn
Undimmed by cloud or shade of night
There shone for ever fair and bright.

There hammer on the anvil smote,
There chisel clove, and graver wrote;
There forged was blade, and bound was hilt;
The delver mined, the mason built.
There beryl, pearl, and opal pale,
And metal wrought like fishes' mail,
Buckler and corslet, axe and sword,
And shining spears were laid in hoard.

Unwearied then were Durin's folk;
Beneath the mountains music woke:
The harpers harped, the minstrels sang,
And at the gates the trumpets rang.

The world is grey, the mountains old,
The forge's fire is ashen-cold;
No harp is wrung, no hammer falls:
The darkness dwells in Durin's halls;
The shadow lies upon his tomb
In Moria, in Khazad-dum.
But still the sunken stars appear
In dark and windless Mirrormere;
There lies his crown in water deep,
Till Durin wakes again from sleep.

-- J. R. R. Tolkien

P.S.: Some stuff in the initial funda isnt mine, thanks to Amit, a friend of mine.

The Diverting History of John Gilpin


By William Cowper

Wednesday, Feb 13th, 2008.
Dead Poets' Society -- Session 3
Recited by Itisha.

John Gilpin was a citizen
Of credit and renown,
A train-band captain eke was he,
Of famous London town.

John Gilpin's spouse said to her dear,
"Though wedded we have been
These twice ten tedious years, yet we
No holiday have seen.

"To-morrow is our wedding-day,
And we will then repair
Unto the 'Bell' at Edmonton,
All in a chaise and pair.

"My sister, and my sister's child,
Myself, and children three,
Will fill the chaise; so you must ride
On horseback after we."

He soon replied, "I do admire
Of womankind but one,
And you are she, my dearest dear,
Therefore it shall be done.

"I am a linendraper bold,
As all the world doth know,
And my good friend the calender
Will lend his horse to go."

Quoth Mrs. Gilpin, "That's well said;
And for that wine is dear,
We will be furnished with our own,
Which is both bright and clear."

John Gilpin kissed his loving wife.
O'erjoyed was he to find.
That though on pleasure she was bent,
She had a frugal mind.

The morning came, the chaise was brought,
But yet was not allowed
To drive up to the door, lest all
Should say that she was proud.

So three doors off the chaise was stayed,
Where they did all get in;
Six precious souls, and all agog
To dash through thick and thin.

Smack went the whip, round went the wheels,
Were never folks so glad!
The stones did rattle underneath,
As if Cheapside were mad.

John Gilpin at his horse's side
Seized fast the flowing mane,
And up he got, in haste to ride,
But soon came down again;

For saddletree scarce reached had he,
His journey to begin,
When, turning round his head, he saw
Three customers come in.

So down he came; for loss of time,
Although it grieved him sore,
Yet loss of pence, full well he knew,
Would trouble him much more.

'Twas long before the customers
Were suited to their mind,
When Betty screaming came downstairs,
"The wine is left behind!"

"Good lack!" quoth he, "yet bring it me,
My leathern belt likewise,
In which I bear my trusty sword
When I do exercise."

Now Mistress Gilpin (careful soul!)
Had two stone bottles found,
To hold the liquor that she loved,
And keep it safe and sound.

Each bottle had a curling ear,
Through which the belt he drew,
And hung a bottle on each side,
To make his balance true.

Then over all, that he might be
Equipped from top to toe,
His long red cloak, well brushed and neat,
He manfully did throw.

Now see him mounted once again
Upon his nimble steed,
Full slowly pacing o'er the stones,
With caution and good heed.

But finding soon a smoother road
Beneath his well-shod feet,
The snorting beast began to trot,
Which galled him in his seat.

"So, fair and softly!" John he cried,
But John he cried in vain;
That trot became a gallop soon,
In spite of curb and rein.

So stooping down, as needs he must
Who cannot sit upright,
He grasped the mane with both his hands,
And eke with all his might.

His horse, who never in that sort
Had handled been before,
What thing upon his back had got,
Did wonder more and more.

Away went Gilpin, neck or nought,
Away went hat and wig;
He little dreamt, when he set out,
Of running such a rig.

The wind did blow, the cloak did fly
Like streamer long and gay,
Till, loop and button failing both.
At last it flew away.

Then might all people well discern
The bottles he had slung;
A bottle swinging at each side,
As hath been said or sung.

The dogs did bark, the children screamed,
Up flew the windows all;
And every soul cried out, "Well done!"
As loud as he could bawl.

Away went Gilpin--who but he?
His fame soon spread around;
"He carries weight! he rides a race!
'Tis for a thousand pound!"

And still as fast as he drew near,
'Twas wonderful to view
How in a trice the turnpike-men
Their gates wide open threw.

And now, as he went bowing down
His reeking head full low,
The bottles twain behind his back
Were shattered at a blow.

Down ran the wine into the road,
Most piteous to be seen,
Which made the horse's flanks to smoke,
As they had basted been.

But still he seemed to carry weight.
With leathern girdle braced;
For all might see the bottle-necks
Still dangling at his waist.

Thus all through merry Islington
These gambols he did play,
Until he came unto the Wash
Of Edmonton so gay;

And there he threw the wash about
On both sides of the way,
Just like unto a trundling mop,
Or a wild goose at play.

At Edmonton his loving wife
From the balcony spied
Her tender husband, wondering much
To see how he did ride.

"Stop, stop, John Gilpin!--Here's the house!"
They all at once did cry;
"The dinner waits, and we are tired;"
Said Gilpin--"So am I!"

But yet his horse was not a whit
Inclined to tarry there;
For why?--his owner had a house
Full ten miles off, at Ware.

So like an arrow swift he flew,
Shot by an archer strong;
So did he fly--which brings me to
The middle of my song.

Away went Gilpin, out of breath,
And sore against his will,
Till at his friend the calender's
His horse at last stood still.

The calender, amazed to see
His neighbour in such trim,
Laid down his pipe, flew to the gate.
And thus accosted him:

"What news? what news? your tidings tell;
Tell me you must and shall--
Say why bareheaded you are come,
Or why you come at all?"

Now Gilpin had a pleasant wit,
And loved a timely joke;
And thus unto the calender
In merry guise he spoke:

"I came because your horse would come;
And, if I well forebode,
My hat and wig will soon be here,
They are upon the road."

The calender, right glad to find
His friend in merry pin,
Returned him not a single word,
But to the house went in;

Whence straight he came with hat and wig,
A wig that flowed behind,
A hat not much the worse for wear,
Each comely in its kind.

He held them up, and in his turn
Thus showed his ready wit:
"My head is twice as big as yours,
They therefore needs must fit."

"But let me scrape the dirt away,
That hangs upon your face;
And stop and eat, for well you may
Be in a hungry case."

Said John, "It is my wedding-day,
And all the world would stare
If wife should dine at Edmonton,
And I should dine at Ware."

So turning to his horse, he said
"I am in haste to dine;
'Twas for your pleasure you came here,
You shall go back for mine."

Ah! luckless speech, and bootless boast!
For which he paid full dear;
For while he spake, a braying ass
Did sing most loud and clear;

Whereat his horse did snort, as he
Had heard a lion roar,
And galloped off with all his might,
As he had done before.

Away went Gilpin, and away
Went Gilpin's hat and wig;
He lost them sooner than at first,
For why?--they were too big.

Now Mistress Gilpin, when she saw
Her husband posting down
Into the country far away,
She pulled out half-a-crown;

And thus unto the youth she said
That drove them to the "Bell,"
"This shall be yours when you bring back
My husband safe and well."

The youth did ride, and soon did meet
John coming back amain;
Whom in a trice he tried to stop,
By catching at his rein.

But not performing what he meant,
And gladly would have done,
The frighted steed he frighted more,
And made him faster run.

Away went Gilpin, and away
Went postboy at his heels,
The postboy's horse right glad to miss
The lumbering of the wheels.

Six gentlemen upon the road,
Thus seeing Gilpin fly,
With postboy scampering in the rear.
They raised the hue and cry.

"Stop thief! stop thief! a highwayman!'"
Not one of them was mute;
And all and each that passed that way
Did join in the pursuit.

And now the turnpike-gates again
Flew open in short space;
The toll-man thinking, as before,
That Gilpin rode a race.

And so he did, and won it too,
For he got first to town;
Nor stopped till where he had got up,
He did again get down.

Now let us sing, Long live the King,
And Gilpin, long live he;
And when he next doth ride abroad.
May I be there to see.


Dead Poets Society - Session III

Wednesday Feb 13 2008
Arun & Ashwini's place

Vinod - 2 of Tolkien's poems/songs
Ashwini - "The Leche Gatherer" or "Resolution and Independence" by William Wordsworth
Gaurav - "Kubla Khan" or "A vision in a dream. A Fragment." by Samuel Taylor Coleridge
Itisha - "The Diverting History of John Gilpin" by William Cowper

Friday, February 8, 2008

Moment of Silence (Emmanuel Ortiz)

Dead poet's society - session II
Wednesday Feb 6 2008

Recited By: Vinod

Emmanuel Ortiz is a Chicano (native born Mexican), a Puerto Rican, an Irish American.. but foremost an activist and a spoken-word poet. He works with the Minnesota Alliance for the indigenous Zapatistas. The wikipedia entry for this poem has the following to say...
Moment of Silence is a controversial poem by Emmanuel Ortiz published on September 11, 2002, the first anniversary of the September 11th, 2001 attacks. The poem links the history of colonialism, neocolonialism, imperialism, the War on Terror, environmental racism, and structural violence to the attacks.

The poem goes on to critique the notion of a moment of silence, perhaps best summed up by the lines: "From somewhere within the pillars of power, you open your mouth to invoke a moment of our silence and we are all left speechless" and "This is a poem about what causes poems like this to be written." The majority of the poem serves as a list of historical crimes by the West against indigenous peoples or the Third World and how the structures which perpetuate those crimes slip through the cracks whenever people take a "moment of silence". Essentially, Ortiz believes a moment of silence "cut[s] in line" by failing to acknowledge previous and ongoing forms of structural violence.

A MOMENT OF SILENCE, BEFORE I START THIS POEM

Before I start this poem, I'd like to ask you to join me
In a moment of silence
In honor of those who died in the World Trade Center and the
Pentagon last September 11th.
I would also like to ask you
To offer up a moment of silence
For all of those who have been harassed, imprisoned,
disappeared, tortured, raped, or killed in retaliation for those strikes,
For the victims in both Afghanistan and the U.S.

And if I could just add one more thing...
A full day of silence
For the tens of thousands of Palestinians who have died at the
hands of U.S.-backed Israeli
forces over decades of occupation.
Six months of silence for the million and-a-half Iraqi people,
mostly children, who have died of
malnourishment or starvation as a result of an 11-year U.S.
embargo against the country.

Before I begin this poem,
Two months of silence for the Blacks under Apartheid in South Africa,
Where homeland security made them aliens in their own country.
Nine months of silence for the dead in Hiroshima and Nagasaki,
Where death rained down and peeled back every layer of
concrete, steel, earth and skin
And the survivors went on as if alive.
A year of silence for the millions of dead in Vietnam - a people,
not a war - for those who
know a thing or two about the scent of burning fuel, their
relatives' bones buried in it, their babies born of it.
A year of silence for the dead in Cambodia and Laos, victims of
a secret war ... ssssshhhhh....
Say nothing ... we don't want them to learn that they are dead.
Two months of silence for the decades of dead in Colombia,
Whose names, like the corpses they once represented, have
piled up and slipped off our tongues.

Before I begin this poem.
An hour of silence for El Salvador ...
An afternoon of silence for Nicaragua ...
Two days of silence for the Guatemaltecos ...
None of whom ever knew a moment of peace in their living years.
45 seconds of silence for the 45 dead at Acteal, Chiapas
25 years of silence for the hundred million Africans who found
their graves far deeper in the ocean than any building could
poke into the sky.
There will be no DNA testing or dental records to identify their remains.
And for those who were strung and swung from the heights of
sycamore trees in the south, the north, the east, and the west...

100 years of silence...
For the hundreds of millions of indigenous peoples from this half
of right here,
Whose land and lives were stolen,
In postcard-perfect plots like Pine Ridge, Wounded Knee, Sand
Creek,
Fallen Timbers, or the Trail of Tears.
Names now reduced to innocuous magnetic poetry on the
refrigerator of our consciousness ...

So you want a moment of silence?
And we are all left speechless
Our tongues snatched from our mouths
Our eyes stapled shut
A moment of silence
And the poets have all been laid to rest
The drums disintegrating into dust.

Before I begin this poem,
You want a moment of silence
You mourn now as if the world will never be the same
And the rest of us hope to hell it won't be. Not like it always has
been.

Because this is not a 9/11 poem.
This is a 9/10 poem,
It is a 9/9 poem,
A 9/8 poem,
A 9/7 poem
This is a 1492 poem.

This is a poem about what causes poems like this to be written.
And if this is a 9/11 poem, then:
This is a September 11th poem for Chile, 1971.
This is a September 12th poem for Steven Biko in South Africa,
1977.
This is a September 13th poem for the brothers at Attica Prison,
New York, 1971.
This is a September 14th poem for Somalia, 1992.
This is a poem for every date that falls to the ground in ashes
This is a poem for the 110 stories that were never told
The 110 stories that history chose not to write in textbooks
The 110 stories that CNN, BBC, The New York Times, and
Newsweek ignored.
This is a poem for interrupting this program.

And still you want a moment of silence for your dead?
We could give you lifetimes of empty:
The unmarked graves
The lost languages
The uprooted trees and histories
The dead stares on the faces of nameless children
Before I start this poem we could be silent forever
Or just long enough to hunger,
For the dust to bury us
And you would still ask us
For more of our silence.

If you want a moment of silence
Then stop the oil pumps
Turn off the engines and the televisions
Sink the cruise ships
Crash the stock markets
Unplug the marquee lights,
Delete the instant messages,
Derail the trains, the light rail transit.

If you want a moment of silence, put a brick through the window
of Taco Bell,
And pay the workers for wages lost.
Tear down the liquor stores,
The townhouses, the White Houses, the jailhouses, the
Penthouses and the Playboys.

If you want a moment of silence,
Then take it
On Super Bowl Sunday,
The Fourth of July
During Dayton's 13 hour sale
Or the next time your white guilt fills the room where my beautiful
people have gathered.

You want a moment of silence
Then take it NOW,
Before this poem begins.
Here, in the echo of my voice,
In the pause between goosesteps of the second hand,
In the space between bodies in embrace,
Here is your silence.
Take it.
But take it all...Don't cut in line.
Let your silence begin at the beginning of crime. But we,
Tonight we will keep right on singing...For our dead.

EMMANUEL ORTIZ, 11 Sep 2002.

Here's a link to an mp3 rendering of this poem!

Thursday, February 7, 2008

The Highwayman (Alfred Noyes)

Dead poet's society - session II
Wednesday Feb 6 2008

Recited By: Itisha

Alfred Noyes (September 16, 1880 – June 28, 1958)[1] was an English poet, best known for his ballads The Highwayman (1906) and The Barrel Organ.


PART ONE

I

THE wind was a torrent of darkness among the gusty trees,
The moon was a ghostly galleon tossed upon cloudy seas,
The road was a ribbon of moonlight over the purple moor,
And the highwayman came riding—
Riding—riding—
The highwayman came riding, up to the old inn-door.

II

He'd a French cocked-hat on his forehead, a bunch of lace at his chin,
A coat of the claret velvet, and breeches of brown doe-skin;
They fitted with never a wrinkle: his boots were up to the thigh!
And he rode with a jewelled twinkle,
His pistol butts a-twinkle,
His rapier hilt a-twinkle, under the jewelled sky.

III

Over the cobbles he clattered and clashed in the dark inn-yard,
And he tapped with his whip on the shutters, but all was locked and barred;
He whistled a tune to the window, and who should be waiting there
But the landlord's black-eyed daughter,
Bess, the landlord's daughter,
Plaiting a dark red love-knot into her long black hair.

IV

And dark in the dark old inn-yard a stable-wicket creaked
Where Tim the ostler listened; his face was white and peaked;
His eyes were hollows of madness, his hair like mouldy hay,
But he loved the landlord's daughter,
The landlord's red-lipped daughter,
Dumb as a dog he listened, and he heard the robber say—

V

"One kiss, my bonny sweetheart, I'm after a prize to-night,
But I shall be back with the yellow gold before the morning light;
Yet, if they press me sharply, and harry me through the day,
Then look for me by moonlight,
Watch for me by moonlight,
I'll come to thee by moonlight, though hell should bar the way."

VI

He rose upright in the stirrups; he scarce could reach her hand,
But she loosened her hair i' the casement! His face burnt like a brand
As the black cascade of perfume came tumbling over his breast;
And he kissed its waves in the moonlight,
(Oh, sweet, black waves in the moonlight!)
Then he tugged at his rein in the moonliglt, and galloped away to the West.

PART TWO

I

He did not come in the dawning; he did not come at noon;
And out o' the tawny sunset, before the rise o' the moon,
When the road was a gypsy's ribbon, looping the purple moor,
A red-coat troop came marching—
Marching—marching—
King George's men came matching, up to the old inn-door.

II

They said no word to the landlord, they drank his ale instead,
But they gagged his daughter and bound her to the foot of her narrow bed;
Two of them knelt at her casement, with muskets at their side!
There was death at every window;
And hell at one dark window;
For Bess could see, through her casement, the road that he would ride.

III

They had tied her up to attention, with many a sniggering jest;
They had bound a musket beside her, with the barrel beneath her breast!
"Now, keep good watch!" and they kissed her.
She heard the dead man say—
Look for me by moonlight;
Watch for me by moonlight;
I'll come to thee by moonlight, though hell should bar the way!

IV

She twisted her hands behind her; but all the knots held good!
She writhed her hands till her fingers were wet with sweat or blood!
They stretched and strained in the darkness, and the hours crawled by like years,
Till, now, on the stroke of midnight,
Cold, on the stroke of midnight,
The tip of one finger touched it! The trigger at least was hers!

V

The tip of one finger touched it; she strove no more for the rest!
Up, she stood up to attention, with the barrel beneath her breast,
She would not risk their hearing; she would not strive again;
For the road lay bare in the moonlight;
Blank and bare in the moonlight;
And the blood of her veins in the moonlight throbbed to her love's refrain .

VI

Tlot-tlot; tlot-tlot! Had they heard it? The horse-hoofs ringing clear;
Tlot-tlot, tlot-tlot, in the distance? Were they deaf that they did not hear?
Down the ribbon of moonlight, over the brow of the hill,
The highwayman came riding,
Riding, riding!
The red-coats looked to their priming! She stood up, straight and still!

VII

Tlot-tlot, in the frosty silence! Tlot-tlot, in the echoing night!
Nearer he came and nearer! Her face was like a light!
Her eyes grew wide for a moment; she drew one last deep breath,
Then her finger moved in the moonlight,
Her musket shattered the moonlight,
Shattered her breast in the moonlight and warned him—with her death.

VIII

He turned; he spurred to the West; he did not know who stood
Bowed, with her head o'er the musket, drenched with her own red blood!
Not till the dawn he heard it, his face grew grey to hear
How Bess, the landlord's daughter,
The landlord's black-eyed daughter,
Had watched for her love in the moonlight, and died in the darkness there.

IX

Back, he spurred like a madman, shrieking a curse to the sky,
With the white road smoking behind him and his rapier brandished high!
Blood-red were his spurs i' the golden noon; wine-red was his velvet coat,
When they shot him down on the highway,
Down like a dog on the highway,
And he lay in his blood on the highway, with the bunch of lace at his throat.

* * * * * *

X

And still of a winter's night, they say, when the wind is in the trees,
When the moon is a ghostly galleon tossed upon cloudy seas,
When the road is a ribbon of moonlight over the purple moor,
A highwayman comes riding—
Riding—riding—
A highwayman comes riding, up to the old inn-door.

XI

Over the cobbles he clatters and clangs in the dark inn-yard;
He taps with his whip on the shutters, but all is locked and barred;
He whistles a tune to the window, and who should be waiting there
But the landlord's black-eyed daughter,
Bess, the landlord's daughter,
Plaiting a dark red love-knot into her long black hair.

Song of Man (Khalil Gibran)

Dead poet's society - session II
Wednesday Feb 6 2008
Recited by Ashwini

(Khalil Gibran (1883-1931) was a Lebanese American poet and writer.)

I was here from the moment of the
Begining, and here I am still. And
I shall remain here until the end
Of the world, for there is no
Ending to my grief-stricken being.

I roamed the infinite sky, and
Soared in the ideal world, and
Floated through the firmament. But
Here I am, prisoner of measurement.

I heard the teachings of Confucius;
I listened to Brahma's wisdom;
I sat by Buddha under the Tree of Knowledge.
Yest here I am, existing with ignorance
And heresy.

I was on Sinai when Jehovah approached Moses;
I saw the Nazarene's miracles at the Jordan;
I was in Medina when Mohammed visited.
Yet I here I am, prisoner of bewilderment.

Then I witnessed the might of Babylon;
I learned the glory of Egypt;
I viewed the warring greatness of Rome.
Yet my earlier teachings showed the
Weakness and sorrow of those achievements.

I conversed with the magicians of Ain Dour;
I debated with the priests of Assyria;
I gleaned depth from the prophets of Palestine.
Yet, I am still seeking the truth.

I gathered wisdom from quiet India;
I probed the antiquity of Arabia;
I heard all that can be heard.
Yet, my heart is deaf and blind.

I suffered at the hands of despotic rulers;
I suffered slavery under Insane invaders;
I suffered hunger imposed by tyranny
Yet, I still possess some inner power
With which I struggle to greet each day.

My mind is filled, but my heart is empty;
My body is old, but my heart is an infant.
Perhaps in youth my heart will grow, but I
Pray to grow old and reach the moment of
My return to God. Only then will my heart fill!

I was here from the moment of the
Begining, and here I am still. And
I shall remain here until the end
Of the world, for there is no
Ending to my grief-stricken being.

Dead Poets Society - Session II

Wednesday Feb 6 2008
Arun & Ashwini's place

Arun - Zen poems and a poem by James Kavanaugh
Itisha - Highwayman by Alfred Noyes
Vinod - Moment of Silence by Emmanuel Ortiz
Ashwini - Song of Man by Khalil Gibran
Julius Ceasar - Scenes I & II of ACT I

Thursday, January 31, 2008

मेरा नया बचपन

mMaora nayaa bacapna

kivayat`I sauBad/a kumaarI caaOhana


baar baar AatI hO mauJakao,

maQaur yaad bacapna torI .

gayaa Ê lao gayaa tU jaIvana kI

sabasao mast KuSaI maorI ।


icanta riht Kolanaa Kanaa, Ê

vah ifrnaa inaBa-ya svacCMd .

kOsao BaUlaa jaa sakta hO

bacapna ka Atuilat Aanand ।/


!ca naIca ka &ana nahIM qaa Ê

CuAa Cut iksanao jaanaI Ñ

banaI huyaI qaI Aah Ê JaaopD,I

AaOr caIqaD,ao maoM ranaI ।


ike dUQa ko kullao maOMnao

caUsa AMgaUza sauQaa ipyaa .

iklkarI kllaaola macaakr

saUnaa Gar Aabaad ikyaa ।


raonaa AaOr macala jaanaa BaI

@yaa Aanand idKato qao

baD,o baD,o maaotI sao AaM^saU

jayamaalaa phnaato qao ।


maOM rao[- Ê maaM^ kama CaoD,kr

Aa[- Ê mauJakao ]za ilayaa .

JaaD, paoMCkr caUma caUma

gaIlao gaalaaoM kao sauKa idyaa ।


Aa jaa bacapna Ñ ek baar ifr

do do ApnaI inama-la SaaMit .

vyaakula vyaqaa imaTanao vaalaI

vah ApnaI p`akRt ivaEaaMit ।


vah BaaolaI saI maQaur sarlata

vah Pyaara jaIvana inaYpap .

@yaa ifr Aakr imaTa sakogaa

tU maoro mana ka saMtap Æ


maOM bacapna kao baulaa rhI qaI

baaola ]zI ibaiTyaa maorI .

naMdna vana saI fUla ]zI

yah CaoTI saI kuiTyaa ।


ªmaaM^ Aao' khkr baulaa rhI qaI Ê

ima+I Kakr Aa[- qaI .

kuC mauM^h maoM Ê kuC ilae haqa maoM

mauJao iKlaanao Aa[- qaI ।


pulak rho qao AMga Ê dRgaaoM maoM

kaOtUhla qaa Clak rha .

mauM^h pr qaI Aah\laad laailamaa Ê

ivajaya gava- qaa Jalak rha ।


maOMnao pUCa Ê " yah @yaa laa[- Æ "

baaola ]zI vah Ê " maaM^ Ê kaAao ."

huAa p`fuillat hRdya KuSaI sao

maOMnao kha Ê " tumhIM KaAao । "


payaa maOMnao bacapna ifr sao Ê

bacapna baoTI bana Aayaa Ê

]sakI maMjaula maUit- doKkr

mauJamaoM navajaIvana Aayaa ।


maOM BaI ]sako saaqa KolatI

KatI hUM^ Ê tutlaatI hUM^ .

imalakr ]sako saaqa svayaM

maOM BaI baccaI bana jaatI hUM^ ।


ijasao KaojatI qaI barsaaoM sao

Aba jaakr ]sakao payaa .

Baaga gayaa qaa mauJao CaoD,kr

vah bacapna ifr sao Aayaa ।

The Daffodils (William Wordsworth)

Wednesday, January 30, 2008.
Dead Poets' Society -- Session 1.
Recited by Gaurav.
I WANDER'D lonely as a cloud
That floats on high o'er vales and hills,
When all at once I saw a crowd,
A host of golden daffodils,
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.

Continuous as the stars that shine
And twinkle on the Milky Way,
They stretch'd in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.

The waves beside them danced, but they
Outdid the sparkling waves in glee:
A poet could not but be gay
In such a jocund company!
I gazed, and gazed, but little thought
What wealth the show to me had brought:

For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasure fills,
And dances with the daffodils.

Coromandel Fishers (Sarojini Naidu)

Wednesday, January 30, 2008.
Dead Poets' Society -- Session 1.
Recited by Ashwini.
Rise, brothers, rise; the wakening skies pray to the morning light,
The wind lies asleep in the arms of the dawn like a child that has cried all night.
Come, let us gather our nets from the shore and set our catamarans free,
To capture the leaping wealth of the tide, for we are the kings of the sea!

No longer delay, let us hasten away in the track of the sea gull's call,
The sea is our mother, the cloud is our brother, the waves are our comrades all.
What though we toss at the fall of the sun where the hand of the sea-god drives?
He who holds the storm by the hair, will hide in his breast our lives.

Sweet is the shade of the cocoanut glade, and the scent of the mango grove,
And sweet are the sands at the full o' the moon with the sound of the voices we love;
But sweeter, O brothers, the kiss of the spray and the dance of the wild foam's glee;
Row, brothers, row to the edge of the verge, where the low sky mates with the sea.

Charge of the Light Brigade (Alfred Lord Tennyson)

Wednesday, January 30, 2008.
Dead Poets' Society -- Session 1.
Recited by Ganesh.
Half a league, half a league,
Half a league onward,
All in the valley of Death
Rode the six hundred.
`Forward, the Light Brigade!
Charge for the guns!' he said:
Into the valley of Death
Rode the six hundred.

`Forward, the Light Brigade!'
Was there a man dismay'd?
Not tho' the soldier knew
Some one had blunder'd:
Theirs not to make reply,
Theirs not to reason why,
Theirs but to do and die:
Into the valley of Death
Rode the six hundred.

Cannon to right of them,
Cannon to left of them,
Cannon in front of them
Volley'd and thunder'd;
Storm'd at with shot and shell,
Boldly they rode and well,
Into the jaws of Death,
Into the mouth of Hell
Rode the six hundred.

Flash'd all their sabres bare,
Flash'd as they turn'd in air
Sabring the gunners there,
Charging an army, while
All the world wonder'd:
Plunged in the battery-smoke
Right thro' the line they broke;
Cossack and Russian
Reel'd from the sabre-stroke
Shatter'd and sunder'd.
Then they rode back, but not
Not the six hundred.

Cannon to right of them,
Cannon to left of them,
Cannon behind them
Volley'd and thunder'd;
Storm'd at with shot and shell,
While horse and hero fell,
They that had fought so well
Came thro' the jaws of Death,
Back from the mouth of Hell,
All that was left of them,
Left of six hundred.

When can their glory fade?
O the wild charge they made!
All the world wonder'd.
Honour the charge they made!
Honour the Light Brigade,
Noble six hundred!

Ithaka (Constantine Cavafy)

Wednesday, January 30, 2008.
Dead Poets' Society -- Session 1.
Recited by Vinod.
As you set out for Ithaka
hope the journey is a long one,
full of adventure, full of discovery.
Laistrygonians and Cyclops,
angry Poseidon - don't be afraid of them:
you'll never find things like that on your way
as long as you keep your thoughts raised high,
as long as a rare excitement
stirs your spirit and your body.
Laistrygonians and Cyclops,
wild Poseidon - you won't encounter them
unless you bring them along inside your soul,
unless your soul sets them up in front of you.

Hope the voyage is a long one.
may there be many a summer morning when,
with what pleasure, what joy,
you come into harbours seen for the first time;
may you stop at Phoenician trading stations
to buy fine things,
mother of pearl and coral, amber and ebony,
sensual perfume of every kind -
as many sensual perfumes as you can;
and may you visit many Egyptian cities
to gather stores of knowledge from their scholars.

Keep Ithaka always in your mind.
Arriving there is what you are destined for.
But do not hurry the journey at all.
Better if it lasts for years,
so you are old by the time you reach the island,
wealthy with all you have gained on the way,
not expecting Ithaka to make you rich.

Ithaka gave you the marvellous journey.
without her you would not have set out.
She has nothing left to give you now.

And if you find her poor, Ithaka won't have fooled you.
Wise as you will have become, so full of experience,
you will have understood by then what these Ithakas mean.