Saturday, October 6, 2007
Friday, October 5, 2007
ESL Songs Week of 9 October 2007
Songs Week of 9 October 2007
THE GOLD DIGGERS' SONG
THE GOLD DIGGERS' SONG
("We're in the Money")
Ginger Rogers introduced this Harry Warren-Al Dubin song in the film, Gold Diggers of 1933. The phrase, "we're in the money" is idiomatic for "we have a lot of money." Jackie Gleason uses that idiom in an episode of The Honeymooners for this week's study.Gone are my blues and gone are my tears. I've got the news to shout in your ears. The long-lost dollar has come back to the fold, With silver you can turn your dreams to gold.
Oh, we're in the money, we're in the money. We've got a lot of what it takes to get along. Oh, we're in the money, the sky is sunny, Old Man Depression you are through, you've done us wrong.
Oh we never see a headline, 'bout a breadline today and when we see the landlord we can look that guy right in the eye.
We're in the money, c'mon my honey, let's lend it spend it send it throw it around! {Repeat chorus}
ALWAYS
This is one of possibly hundreds of Irving Berlin songs that became standards and are now considered part of the "Great American Song Book." (For most people, Berlin is most famous as the writer of "God Bless America," "Easter Parade," and the perennial, "White Christmas.") The song became the theme song of The Honeymooners. For those in my film class, every musical cue (or theme) has a purpose. Here the point is that despite Ralph Kramden's insensitive treatment of his wife, Alice, it's all a masculine bluff, and they will be lovers "always." The same point is made with the music in the reconciliation scenes usually featured in Honeymooner episodes at the end (see below). The great Bobby Darin recorded this song, though there must be hundreds of recordings available even now. Darin started out as a Rock singer in the wake of Elvis Presley but, eager for an adult audience, switched to Big Band Pop stylings. His idol was Frank Sinatra and he seemed obsessed with trying to capture Sinatra's sound. He had a limited vocal instrument, but his phrasing, in my opinion, places him among the great song stylists in twentieth-century popular music. Kevin Spacey's mother loved Darin; for this reason, Spacey filmed a biopic of Darin's life (Beyond the Sea), but, despite his age, cast himself as a young Bobby Darin and also sang his own songs, modeled on Darin's style.
I'll be loving you always, with a love that's true always. When the things you plan need a helping hand, I will understand always, always. Things may not be fair always, that's when I'll be there always. Not for just an hour, not for just a day, not for just a year, not for just a year. Ah, I'll be loving you always with a love that's true for always. When the things you plan need a helping hand I will understand always, always. Things may not be fair always, that's when I'll be there always, not for just an hour, not for just a day, not for just a year, ah, but always.This is one of possibly hundreds of Irving Berlin songs that became standards and are now considered part of the "Great American Song Book." (For most people, Berlin is most famous as the writer of "God Bless America," "Easter Parade," and the perennial, "White Christmas.") The song became the theme song of The Honeymooners. For those in my film class, every musical cue (or theme) has a purpose. Here the point is that despite Ralph Kramden's insensitive treatment of his wife, Alice, it's all a masculine bluff, and they will be lovers "always." The same point is made with the music in the reconciliation scenes usually featured in Honeymooner episodes at the end (see below). The great Bobby Darin recorded this song, though there must be hundreds of recordings available even now. Darin started out as a Rock singer in the wake of Elvis Presley but, eager for an adult audience, switched to Big Band Pop stylings. His idol was Frank Sinatra and he seemed obsessed with trying to capture Sinatra's sound. He had a limited vocal instrument, but his phrasing, in my opinion, places him among the great song stylists in twentieth-century popular music. Kevin Spacey's mother loved Darin; for this reason, Spacey filmed a biopic of Darin's life (Beyond the Sea), but, despite his age, cast himself as a young Bobby Darin and also sang his own songs, modeled on Darin's style.
LOVE IS HERE TO STAY
This beautiful anthem to enduring love was one of two last songs American composer, George Gershwin wrote with his brother, Ira, before George's untimely death in 1938. (The other was "Love Walked In.") It was introduced in The Goldwyn Follies (1938) and sung again by Gene Kelly in An American in Paris (1951). Jackie Gleason used it as background music for the reconciliation scenes in The Honeymooners shows, when Ralph Kramden apologizes to his wife, Alice for doing something foolish. The point is the same as that made with the title song, "Always": that this couple, no matter how much they fight, will stay together no matter what. Both songs are examples in television or movies of how directors use not merely a melody, but the educated viewer's knowledge of the lyrics that go with the melody in order to make a point.It's very clear our love is here to stay. Not for a year, but ever and a day. The radio and the telephone and the movies that we know may just be passing fancies and in time may go. But oh my dear our love is here to stay. Together we're going a long, long way. In time the Rockies may crumble, Gibralter may tumble, they're only made of clay, but our love is here to stay.
THEY ALL LAUGHED
Another standard by the Gershwin brothers. Introduced by Ginger Rogers in Shall We Dance (1937), this song is a virtual history lesson and refers to famous people whose inventions must have seemed unrealistic at the time but have since endured. In the classic American pop song, an only half-sung verse usually preceded the chorus in order to allow an easy transition between speaking and singing. But often the verse was included in the middle of the chorus when recorded, probably because buyers were impatient to hear the main melody first. Finally, the verse was omitted entirely for radio airplay. Fortunately the more serious singers insist on including these beautiful half-spoken, half-sung gems of American popular music in their recordings of the "Great American Song Book."
Ho, ho, ho, ha, ha, ha, ha, hee, hee, hee, you think the laugh's on me! They all laughed at Christopher Columbus when he said the world was round. They all laughed when Edison recorded sound. They all laughed at Wilbur and his brother when they said that man could fly. They told Marconi wireless was a phony, it's the same old cry. They laughed at me wanting you, said I was reaching for the moon but oh you came through now they'll have to change their tune. They all said we never could be happy, but ho, ho ho who's got the last laugh now? {verse} The odds were a hundred to one against me, the world thought the heights too high to climb. But people from Missouri never incensed me. Oh I wasn't a bit concerned for from history I had learned how many many times the world had turned. {Chorus} They all laughed at Rockefeller center now they're fighting to get in. They all laughed at Whitney and his cotton gin. They all laughed at Fulton and his steamboat, Hershey and his chocolate bar; Ford and his Lizzie kept the laughers busy, that's how people are. They laughed at me wanting you said it would be hello goodby, but oh you came through, Now they're eating humble pie. Darling let's take a bow. For who's got the last laugh now?Another standard by the Gershwin brothers. Introduced by Ginger Rogers in Shall We Dance (1937), this song is a virtual history lesson and refers to famous people whose inventions must have seemed unrealistic at the time but have since endured. In the classic American pop song, an only half-sung verse usually preceded the chorus in order to allow an easy transition between speaking and singing. But often the verse was included in the middle of the chorus when recorded, probably because buyers were impatient to hear the main melody first. Finally, the verse was omitted entirely for radio airplay. Fortunately the more serious singers insist on including these beautiful half-spoken, half-sung gems of American popular music in their recordings of the "Great American Song Book."
For the Week of 9 October 2007 (Listening Assignment Due 8 October 2007)
THE HONEYMOONERS:
MANAGER OF A BASEBALL TEAM
MANAGER OF A BASEBALL TEAM
In addition, for class discussion the week of 9 October 2007, you'll exchange views about the show,
a) giving your evaluation,
b) explaining why you think it was funny or wasn't funny,
c) how it differs from television shows today,
d) who your favorite character was,
e) whether you were involved in the story,
f) what the plot was.
1. What reason does Trixie give to explain why Ralph Kramden might be late?
2. According to the bus company, when did Ralph leave?
3. Why doesn't Ed want to stand on the corner to see if Ralph is coming?
4. According to Ed, what reason would Ralph have to run away?
5. Why couldn't Ed's brother remember his name?
6. What does Ed suggest to take their minds off Ralph's absence?
7. Who does Ralph say is "the lucky person" while drinking champagne?
8. What gift does Ralph give to Ed?
9. Why does Ralph hold a toast?
10. What kind of woman does the fortune teller predict Ed will meet?
11. What job does Ed believe he'll have for as long as he lives?
12. How much money will Ralph get on his new job?
13. What does Ralph promise Alice she can do once he gets his new job?
14. Why doesn't Ed like going to the mountains?
15. Why doesn't Trixie like Ed going to the beach?
16. Name four changes Ralph plans on each bus if he becomes president?
17. Why does Ralph go to the store?
18. Why did they name a seat for Ed in public school?
19. What does the telegram say?
20. Why doesn't Ralph want to move out of his apartment?
21. What does he plan to do to his apartment?
22. What does he plan to buy for the bedroom?
23. Why did Ralph want to be important?
VOCABULARY
extra shiftbus depot
crazy
corner
amnesia
cops
talk sense
take our minds off (something)
champagne
a toast
cheese spread
sweetie
tough to open
a wise guy
stunned
qualifications
read one's palm
executive ability
brunette
change (concrete noun)
chlorophyl
say so
fortune
bunion
honeymoon
ears pop
eyes pop
boy oh boy
superintendant
stewardess
outlet
straps
starve
cold cuts
a good head on one's shoulders
volley ball
pretty smart
telegram
loud mouth
delicatessen (deli)
robe
fraulein
cigar
in the money
"blew it again"
Thursday, October 4, 2007
Model Moon Day Narrative and Analysis
Wednesday, October 3, 2007
Model Moon Day narrative and analysis
Composition students,I wrote this hastily, with no native experience of Moon Day. Still I think it's fairly successful.
Note the short opening sentence, an eye-catcher. Then there's the comic use of "fattening" to modify "mooncakes," which might otherwise be only a dull sentence: "fattening" adds a comic tone/touch.
Same with "pollution." "Trying to find the moon" is banal; adding "pollution" makes it less so; it gives it a tone and point-of-view.
Then I add an ironic contrast between myself and the "more sophisticated" Cindy. The irony is that she's NOT more sophisticated. So I mean the opposite of what I say and I want the reader to appreciate the irony.
After writing about "superstitious things like moon watching," I went back and slightly amplified that phrase, making it more specific, adding the sentence, "Ch'ang-O doesn't exist anyway!" (I could easily have amplified at much greater length, referring to all the details of the myth of Ch'ang-O, but my story would have been too long for my intended purpose.)
Note the well-timed comic pause after using the word "intelligent" and leading to "fortune teller." That's part of style; knowing what one's purpose is and finding sentence structure to achieve that purpose.
There's more irony in saying Cindy reasoned better than I. Then there's a transition device by having a parallel structure: "she reasoned better" and "she drove faster." This insures coherence in changing scenes to the fortune teller's place, which I do economically, in the very next paragraph. (In another kind of story, with another purpose, I could have amplified extensively, describing the road trip to the fortune teller; but here I deliberately omit all that, not even mentioning whether they used a motorbike or a car, though "drive" implies a car ["rode" is more commonly used for motorbikes].)
Regarding diction, one day later, I read my story again and decided that "find out" (one's fortune) was not as well phrased as "learn" (one's fortune) in the phrase, "determined to find out her fortune." Hence I changed it (below).
Then I used description to make this man come alive. I also added humor by making fun of his serious treatment of what most consider superstition.
I was on shaky ground in describing his accent and dialect, because I don't know much about it. A Chinese writer could be more specific and subtle here. I just wanted to set an example of how to do it without necessarily saying it's the best way.
Note how important dialogue is when I first allow the fortune teller to speak. I elaborate with my reaction and Cindy's.
Then I describe the premises (fortune teller's place), always with a purpose or point of view in mind: details in themselves are not that important; they must cohere with a purpose. Here the purpose is to make fun of the typical fortune teller's mysterious surroundings. A dangling light bulb, especially in orange, always adds to an effect of menace.
Then I add comic effect and character as well as plot development by making this menacing man into a pitiful old man who just wants to make a living in a harmless way (nobody forces people to go to fortune tellers).
I then try to wrap things up in an orderly fashion, based on time and place: from home back to home; from the beginning of the Moon Day observance to the end, while referring to ideas already presented in the essay and repeating them at the end, to create a unity of effect; in other words, a focus.
I considered two changes in the final paragraph. I thought "monkish" was a better adjective for a male than a female (the "I' of the narrative is a woman); but I concluded nonetheless that it was a stronger, more colorful, adjective than the female alternative: nunlike). [Note that even in the above sentence I quickly altered diction or word choice: I had already typed "pondered" but thought "considered" was a more suitable, less intimidating, verb, especially for ESL students.] I also added "jealously" before "wondered," to clarify the speaker's mood: an example of when an adverb is more than just filling.
The reader feels that every word and detail all contributed to that single effect, or focus.
As for titles, I considered many, not all of which I liked: "Fortune Like the Moon"; "Cindy's Caper" (chosen for alliteration: C + C); "Very Like the Moon" (alluding to a line in Shakespeare's Hamlet: "very like a whale"); "Man in the Moonlight" (pun on "Man in the Moon" and referring to the fortune teller), and others.
Sometimes titles come easy; sometimes less so. This was a case of "less so."
Sometimes a title can come from one's story; sometimes the writer may purposely put a line in a story to justify the title. Other titles come from famous lines from the Bible or poetry.
In any case, the title should do justice to the text and remain in dialogue with it. I finally hit on a title I'm satisfied with: "Moonshine."
I like the ambiguity of the title; which refers, of course, to the moonshine of Moon Day; but also to the other meaning of "moonshine": nonsense or foolish talk; which of course would refer to the fortune teller in the story. So the title is a story in itself!
MOONSHINE
It was Moon Day. I wanted to celebrate the holiday in traditional fashion: eating fattening mooncakes and trying to locate the moon through all the pollution in Tainan County. But my friend, Cindy, was more sophisticated."Why waste time on superstitious things like moon watching?" she chastised. "Ch'ang-O doesn't exist anyway! Why not do something intelligent for a change?" She paused for dramatic effect. "Let's go to a fortune teller."
Cindy was one year ahead of me in university so she reasoned better than I did. She also drove faster.
Soon we were facing a tall, slender elderly man, with saucer eyes gazing at us intently who introduced himself simply as Mr. Wang. He then mumbled a few words in Taiwanese we could not exactly make out. Then he greeted us eagerly in Chinese, accented with a regional dialect that marked him as an immigrant from Mainland China. But the pasted smile on his face as he welcomed us quickly vanished as he assumed a more professional style with an abrupt dab of menace in his voice.
"You willing to risk the danger of having your fortune told?"
A shiver went down my spine, but Cindy, the rationalist, only nodded in agreement. Meanwhile I surveyed Mr. Wang's dimly-lit premises, which heightened the ghostly effect of an orange bulb dangling from the ceiling by an extension cord.
The aroma of incense almost stifled me and I noticed a partially-eaten box lunch on an antique mahogany desk, with two roaches nibbling from it. I tugged at Cindy's arm, silently pleading for us to leave. But, rationalist that she was, she was adamant, determined to learn her fortune—for better or worse.
Mr. Wang invited her to sit down in a wobbly folding chair with a tattered tea-stained cushion on it, then he grasped her right forearm and expectantly rotated her hand so the palm faced him. With exaggerated solemnity, he traced lines in her palm, grunting all the while, as if he were reading messages from another world—or a future time.
"Not to worry," he smiled. "These lines affect only ten percent of your life." He paused, as if deep in thought. "You have interesting lines—not all of which I can read fluently. I feel like an ESL student reading your palm—like I was reading a second language."
Mr. Wang continued to explore the geography of Cindy's palm as if he were trekking through darkest Africa.
"I suspect your future pertains to a foreign land—maybe England or America. Who knows for sure?
"Ah, yes. I see a marriage in the not-so-distant future, to a good-looking man. And this line here"—he traced a line in Cindy's palm with a long bony forefinger—"shows that you will bear children with this man."
Abruptly, Mr. Wang dropped Cindy's hand and seemed to totter on his feet.
"But I grow faint. The messages are too strong for me at the moment. I must rest. I'm an old man. I can't read as easily as I used to when I was your age. Please allow me to sit down. Luckily, with the money you pay me, I'll be able to visit the doctor down the block and he can restore my vitality, part of which I lost reading your palm."
He smiled a fatherly smile, not seeming menacing at all anymore—just a common and pitiful poseur. More out of sympathy than satisfaction, Cindy took a couple of NT dollars from her purse and handed them to the now weary reader of palms.
When he saw the money, Mr. Wang's eyes lit up and he reached for my forearm too—as if suddenly revitalized by a blood transfusion. But I had a foresight that Mr. Wang seemed to lack, and I kept both arms firmly buried in the pockets of my light evening jacket.
Realizing his profit margin that evening was not to grow much higher, Mr. Wang shot a glance at the wall clock—an ancient timepiece, with Roman numerals to mark the time.
It was clear he was impatient for us to leave. Taking the hint, we bid our farewells and gladly hastened out into the cool autumnal air.
After that painful experience, I pleaded with Cindy for us to observe the holiday in more traditional fashion, and for the two of us to watch the moon together—perhaps sharing a watermelon drink. But she frowned on such superstitious behavior.
"Besides," she added with a smile, "I've got to run home and figure out who's that handsome man Mr. Wang predicted I would bear children with. I've got several boyfriends at the moment, but none of them seem to fit the bill."
She smiled. I frowned, thinking of Cindy's many boyfriends and my lack of any. Feeling abandoned, I despondently planned to return to my monkish dorm and entertain myself with a box of Ramen noodles and the soundtrack from Titanic, jealously wondering what romance Cindy had in store for her.
Wednesday, October 3, 2007
Change Email Addresses
Students,
It seems that the HOTMAIL server is rejecting my email as SPAM mail. Therefore I request all HOTMAIL users to change to another server (gmail or yahoo). I request that you keep, if possible, your username, but just change the domain (server). So, for example, smith919@hotmail.com will become smith919@gmail.com and so on. In all cases, always include your OLD email address as well as your NEW email address in the message box so I can easily replace your address. Thanks.
It seems that the HOTMAIL server is rejecting my email as SPAM mail. Therefore I request all HOTMAIL users to change to another server (gmail or yahoo). I request that you keep, if possible, your username, but just change the domain (server). So, for example, smith919@hotmail.com will become smith919@gmail.com and so on. In all cases, always include your OLD email address as well as your NEW email address in the message box so I can easily replace your address. Thanks.
A Model from the Master: Charles Dickens
A Model of Good Descriptive Prose
from A Christmas Carol
by Charles Dickens
"Yo ho, my boys!" said Fezziwig. "No more work to-night.from A Christmas Carol
by Charles Dickens
I have taken 
this passage from Charles Dickens' famous novella to illustrate the description of a holiday party. All writing comes from what we've read. So let's study the style here.
Dickens begins on dialogue—always a strong choice. Note how Fezziwig's quote sums up the spirit of Christmas: "No more work to-night."
Then we get concrete action: "Let's have the shutters up." Not a general phrase, "We prepared the room." No, a concrete action; as is the "sharp clap of his hands."
We also have idiomatic usage ("before a man can say Jack Robinson"), which helps define a speaker often more than description.
Then too there are proper names—always a strong point in writing ("Dick. Ebenezer.") Instead of writing, "My sister," it's more forceful to write, "Sally, my sister," etc.
Then the prose perfectly captures the energy of the moment; first with a strong verb, "charged" ("They charged into the street"), then by counting out the speed of the action ("four, five, six . . . seven, eight, nine. . . ."). But Dickens is also careful to describe the action involved in putting up the shutters: barred 'em and pinned 'em.
A vivid analogy follows: "panting like race-horses."
Then the dancing begins. But the dance is not described generally: "We decided to dance"!
No. Instead we hear Fezziwig's excitement as he prepares for the dance: "Clear away, my lads, and let's have lots of room here!" Dickens then repeats that phrase "clear away" several more times for emphasis and a kind of "rhyme."
Then notice the vivid series of actions: "the floor was swept and watered. . . ." Also there's the implied contrast between private life (such as the employees now enjoy) and their otherwise drab "public life": "Every movable was packed off, as if it were dismissed from public life for evermore. . . ." Then Dickens repeats his "ands" to add more movement to his prose: "and the warehouse was as snug, and warm, and dry, and bright. . . ."
Dickens follows with two rhetorical tricks: reversing normal sentence order ("In came" instead of ("He) came in") and repeating that phrase several times. The reversed phrase ("In came") adds force to the action of arriving (coming in); the repetitions of that phrase add energy and coherence to the writing (because they all came in for the same purpose).
What follows shows great mastery of language—however simple the language: Note more reverse word order ("In they all came"; "away they all went"), the rhymed endings of the adverbs ("-ly"); repetition by exact word ("some"; "round"; "couple"); by opposite ("pushing/pulling;" anyhow/everyhow"; "old/new"); or by related movement ("up/down").
In the next paragraph note the strong verb ("plunged") and concrete action. Always show don't tell.
The next paragraph shows the use of polysyndeton: many "ands" to link phrases. The purpose is to show energy in the actions being done as a whirl of activity.
Note the linking conjunction "But," in the next paragraph, to create coherence. Then note the description of Fezziwig and his wife dancing—another concrete action.
This action also creates a climax in the scene: that is, the reader feels the writer has ordered his material from least to most important: from regular guests to the host couple; the description is not just random or casual, but necessary, with a point of view. Such climactic order controls the entire piece, since the vignette begins with a command to celebrate the holiday and ends with the end of the dance, depature of all the guests, and, finally, sleep.
Observe that Dickens doesn't mention any dance number but a specific dance number: "Sir Roger de Coverley" (the name of a tune, not a person).
The final three paragraphs are no less models of strong prose. Dickens carefully describes all the steps in the dance Fezziwig does with his wife. In the penultimate (next-to-last) paragraph he neatly shows how Fezziwig and wife stand on either end of the door to bid their guests farewell, establishing formal order and climactic coherence.
Finally, Dickens ends his vignette (short prose study) logically—by sleep ("the cheerful voices died away"). He even describes where the beds are located: if the prose is strong, everything will be specific and concrete. One feels the writer has actually lived the scene: been there and seen it.
Bad writing is a kind of lie. Just like when we lie, we are very vague. But good writing is the Truth. Because when we tell the truth we can be very specific—giving all the necessary details required.
Notice in all this that a large vocabulary is not necessary for vivid prose. But one has to work at it: analyze a moment; break it down; brainstorm for details ("ideas"); organize those details; then find the right (not necessarily the big) words to express one's ideas.
Dickens begins on dialogue—always a strong choice. Note how Fezziwig's quote sums up the spirit of Christmas: "No more work to-night."
Then we get concrete action: "Let's have the shutters up." Not a general phrase, "We prepared the room." No, a concrete action; as is the "sharp clap of his hands."
We also have idiomatic usage ("before a man can say Jack Robinson"), which helps define a speaker often more than description.
Then too there are proper names—always a strong point in writing ("Dick. Ebenezer.") Instead of writing, "My sister," it's more forceful to write, "Sally, my sister," etc.
Then the prose perfectly captures the energy of the moment; first with a strong verb, "charged" ("They charged into the street"), then by counting out the speed of the action ("four, five, six . . . seven, eight, nine. . . ."). But Dickens is also careful to describe the action involved in putting up the shutters: barred 'em and pinned 'em.
A vivid analogy follows: "panting like race-horses."
Then the dancing begins. But the dance is not described generally: "We decided to dance"!
No. Instead we hear Fezziwig's excitement as he prepares for the dance: "Clear away, my lads, and let's have lots of room here!" Dickens then repeats that phrase "clear away" several more times for emphasis and a kind of "rhyme."
Then notice the vivid series of actions: "the floor was swept and watered. . . ." Also there's the implied contrast between private life (such as the employees now enjoy) and their otherwise drab "public life": "Every movable was packed off, as if it were dismissed from public life for evermore. . . ." Then Dickens repeats his "ands" to add more movement to his prose: "and the warehouse was as snug, and warm, and dry, and bright. . . ."
Dickens follows with two rhetorical tricks: reversing normal sentence order ("In came" instead of ("He) came in") and repeating that phrase several times. The reversed phrase ("In came") adds force to the action of arriving (coming in); the repetitions of that phrase add energy and coherence to the writing (because they all came in for the same purpose).
What follows shows great mastery of language—however simple the language: Note more reverse word order ("In they all came"; "away they all went"), the rhymed endings of the adverbs ("-ly"); repetition by exact word ("some"; "round"; "couple"); by opposite ("pushing/pulling;" anyhow/everyhow"; "old/new"); or by related movement ("up/down").
In the next paragraph note the strong verb ("plunged") and concrete action. Always show don't tell.
The next paragraph shows the use of polysyndeton: many "ands" to link phrases. The purpose is to show energy in the actions being done as a whirl of activity.
Note the linking conjunction "But," in the next paragraph, to create coherence. Then note the description of Fezziwig and his wife dancing—another concrete action.
This action also creates a climax in the scene: that is, the reader feels the writer has ordered his material from least to most important: from regular guests to the host couple; the description is not just random or casual, but necessary, with a point of view. Such climactic order controls the entire piece, since the vignette begins with a command to celebrate the holiday and ends with the end of the dance, depature of all the guests, and, finally, sleep.
Observe that Dickens doesn't mention any dance number but a specific dance number: "Sir Roger de Coverley" (the name of a tune, not a person).
The final three paragraphs are no less models of strong prose. Dickens carefully describes all the steps in the dance Fezziwig does with his wife. In the penultimate (next-to-last) paragraph he neatly shows how Fezziwig and wife stand on either end of the door to bid their guests farewell, establishing formal order and climactic coherence.
Finally, Dickens ends his vignette (short prose study) logically—by sleep ("the cheerful voices died away"). He even describes where the beds are located: if the prose is strong, everything will be specific and concrete. One feels the writer has actually lived the scene: been there and seen it.
Bad writing is a kind of lie. Just like when we lie, we are very vague. But good writing is the Truth. Because when we tell the truth we can be very specific—giving all the necessary details required.
Notice in all this that a large vocabulary is not necessary for vivid prose. But one has to work at it: analyze a moment; break it down; brainstorm for details ("ideas"); organize those details; then find the right (not necessarily the big) words to express one's ideas.
Christmas Eve, Dick. Christmas, Ebenezer! Let's have the shutters up," cried old Fezziwig, with a sharp clap of his hands, "before a man can say Jack Robinson!"
You wouldn't believe how those two fellows went at it! They charged into the street with the shutters—one, two, three—had 'em up in their places—four, five, six—barred 'em and pinned 'em—seven, eight, nine—and came back before you could have got to twelve, panting like race-horses.
"Hilli-ho!" cried old Fezziwig, skipping down from the high desk, with wonderful agility. "Clear away, my lads, and let's have lots of room here! Hilli-ho, Dick! Chirrup, Ebenezer!"
Clear away! There was nothing they wouldn't have cleared away, or couldn't have cleared away, with old Fezziwig looking on.
It was done in a minute. Every movable was packed off, as if
it were dismissed from public life for evermore; the floor was
swept and watered, the lamps were trimmed, fuel was heaped upon
the fire; and the warehouse was as snug, and warm, and dry, and
bright a ball-room, as you would desire to see upon a winter's night.
In came a fiddler with a music-book, and went up to the lofty desk, and made an orchestra of it, and tuned like fifty stomach-aches. In came Mrs. Fezziwig, one vast substantial smile. In came the three Miss Fezziwigs, beaming and lovable. In came the six young followers whose hearts they broke. In came all the young men and women employed in
the business. In came the housemaid, with her cousin, the baker. In came the cook, with her brother's particular friend, the milkman. In came the boy from over the way, who was suspected of not having board enough from his master; trying to hide himself behind the girl from next door but one, who was proved to have had her ears pulled by her mistress.
In they all came, one after another; some shyly, some boldly, some gracefully, some awkwardly, some pushing, some pulling; in they all came, anyhow and everyhow. Away they all went, twenty couple at once; hands half round and back again the other way; down the middle and up again; round and round in various stages of affectionate grouping; old top couple always turning up in the wrong place; new top couple starting off again, as soon as they got there; all top couples at last, and not a bottom one to help them!
When this result was brought about, old Fezziwig, clapping his
hands to stop the dance, cried out, "Well done!" and the
fiddler plunged his hot face into a pot of porter, especially
provided for that purpose. . . .
There were more dances, and there were forfeits, and more
dances, and there was cake, and there was negus, and there
was a great piece of Cold Roast, and there was a great piece
of Cold Boiled, and there were mince-pies, and plenty of beer.
But the great effect of the evening came after the Roast
and Boiled, when the fiddler . . . struck up "Sir Roger de Coverley." Then old Fezziwig stood out to dance with Mrs. Fezziwig. Top
couple, too; with a good stiff piece of work cut out for them. . . .
A positive light appeared to issue from Fezziwig's calves. They shone in every part of the dance like moons. You couldn't have predicted, at any given time, what would have become of them next. And when old
Fezziwig and Mrs. Fezziwig had gone all through the dance; advance and retire, both hands to your partner, bow and curtsey, corkscrew, thread-the-needle, and back again to your place; Fezziwig "cut"—cut so deftly, that he appeared to wink with his legs, and came upon his feet again without a stagger.
When the clock struck eleven, this domestic ball broke up. Mr. and Mrs. Fezziwig took their stations, one on either side of the door, and shaking hands with every person individually as he or she went out, wished him or her a Merry Christmas.
When everybody had retired but the two 'prentices, they did the same to them; and thus the cheerful voices died away, and the lads were left to their beds; which were under a counter in the back-shop.
Monday, October 1, 2007
Bible: Songs Week of 2 October 2007
2 October 2007
The story is told of a young man who was preparing for a long trip. He told his friend,
"I am just about packed. I only have to put in a guidebook, a mirror, a microscope, a lamp, a telescope, a volume of fine poetry, a package of old letters, a few biographies, a book of songs, a sword, a hammer, and a set of books I've been studying."
"But you can't get all that into your bag," said his friend.
"Oh yes I can," he replied It doesn't take much room."
With that, he placed his Bible in the corner of his suitcase and closed the lid.
IN THE BEGINNING"I am just about packed. I only have to put in a guidebook, a mirror, a microscope, a lamp, a telescope, a volume of fine poetry, a package of old letters, a few biographies, a book of songs, a sword, a hammer, and a set of books I've been studying."
"But you can't get all that into your bag," said his friend.
"Oh yes I can," he replied It doesn't take much room."
With that, he placed his Bible in the corner of his suitcase and closed the lid.
This list of the biblical canon was set to music by jazz great, Duke Ellington. The Bible is divided into two Testaments or Covenants: the Jewish Testament, which Christians call the Old Testament; and the New Testament, with Jesus Christ as the center of the Covenant. Jewish Bibles are arranged a little differently from Christian Bibles. First of course there is no New Testament in the Jewish Bible. Because for Jews Jesus has not replaced the Torah (or Law/Teaching of Moses). The Jewish Bible, in other words, is not "old," but current. The Mosaic Law (Law of Moses) rules even today, although blood sacrifices ceased with the destruction of the Temple in 70 A.D. For Christians, blood sacrifices ceased because Jesus was the perfect blood sacrifice, so no other was needed.
Genesis, Exodus, Leviticus, Numbers, Deuteronomy, Joshua, Judges, Ruth, 1 Samuel, 2 Samuel, 1 Kings, 2 Kings, 1 Chronicles, 2 Chronicles, Ezra, Nehemiah, Esther, Job, Psalms, Proverbs, Ecclesiastes, Song of Songs, Isaiah, Jeremiah, Lamentations, Ezekiel, Daniel, Hosea, Joel, Amos, Obadiah, Jonah, Michah, Nahum, Habakkuk, Zephaniah, Haggai, Zechariah, Malachi, Matthew Mark, Luke, John, Acts, Romans, 1 Corinthians, 2 Corinthians, Galatians, Ephesians, Philippians, Colossians, 1 Thessalonians, 2 Thessalonians, 1 Timothy, 2 Timothy, Titus, Philemon, Hebrews, James 1 Peter, 2 Peter, 1 John, 2 John, 3 John, Jude, Revelation.
IN THE BEGINNING
This is part of American composer, Aaron Copland's a cappella ("in chapel style"=without instruments) setting of the first verses of Genesis, called In the Beginning (1947).
1: In the beginning God created the heaven and the earth.
2: And the earth was without form, and void; and darkness was upon the face of the deep. And the Spirit of God moved upon the face of the waters.
3: And God said, Let there be light: and there was light.
4: And God saw the light, that it was good: and God divided the light from the darkness.
5: And God called the light Day, and the darkness he called Night. And the evening and the morning were the first day.
6: And God said, Let there be a firmament in the midst of the waters, and let it divide the waters from the waters.
7: And God made the firmament, and divided the waters which were under the firmament from the waters which were above the firmament: and it was so.
8: And God called the firmament Heaven. And the evening and the morning were the second day.
9: And God said, Let the waters under the heaven be gathered together unto one place, and let the dry land appear: and it was so.
10: And God called the dry land Earth; and the gathering together of the waters called he Seas: and God saw that it was good.
I beheld the earth and lo, it was without form ad void and the Heavens and they had no light. I beheld the mountains and lo, they trembled, and all the hills moved lightly I beheld and lo, there was no man and all the birds of the heavens were fled. I beheld and lo the fruitful place was a wilderness and all the cities thereof were broken down by the presence of the Lord and by his fierce anger.
He saw an animal that liked to growl, big furry paws and he liked to howl, great big furry back and furry hair. "I think I'll call it a bear."
THE TITANIC2: And the earth was without form, and void; and darkness was upon the face of the deep. And the Spirit of God moved upon the face of the waters.
3: And God said, Let there be light: and there was light.
4: And God saw the light, that it was good: and God divided the light from the darkness.
5: And God called the light Day, and the darkness he called Night. And the evening and the morning were the first day.
6: And God said, Let there be a firmament in the midst of the waters, and let it divide the waters from the waters.
7: And God made the firmament, and divided the waters which were under the firmament from the waters which were above the firmament: and it was so.
8: And God called the firmament Heaven. And the evening and the morning were the second day.
9: And God said, Let the waters under the heaven be gathered together unto one place, and let the dry land appear: and it was so.
10: And God called the dry land Earth; and the gathering together of the waters called he Seas: and God saw that it was good.
JEREMIAH and Genesis
"Intertextuality" is a key word in modern critical theory, meaning that texts refer to other texts. The Bible was the first "intertextual" book and became more so by the time of Jesus, so that almost every word Jesus spoke seemed to predict Jesus or Jesus seemed to fulfill the Jewish Scriptures. The incipit (first words) of the Gospel of John famously refers back to the first words of Genesis. Here Jeremiah mocks the words of Creation in Genesis by warning of a de-creation for the sinful people of his time:I beheld the earth and lo, it was without form ad void and the Heavens and they had no light. I beheld the mountains and lo, they trembled, and all the hills moved lightly I beheld and lo, there was no man and all the birds of the heavens were fled. I beheld and lo the fruitful place was a wilderness and all the cities thereof were broken down by the presence of the Lord and by his fierce anger.
MAN GAVE NAMES TO ALL THE ANIMALS
In the 1970s Bob Dylan became a Christian. It's not clear if he's still a Christian, but this song, about Adam naming the animals, is from his first Christian album:
Man gave names to all the animals In the beginning, in the beginning. Man gave names to all the animals In the beginning, long time ago.In the 1970s Bob Dylan became a Christian. It's not clear if he's still a Christian, but this song, about Adam naming the animals, is from his first Christian album:
He saw an animal that liked to growl, big furry paws and he liked to howl, great big furry back and furry hair. "I think I'll call it a bear."
The water was always a source of terror to the Jews, who were not a seafaring people (not good on the sea). Moreover to combat pagan sea gods, the Jews made clear "in the beginning" that God ruled the seas (Jesus will do the same when he walks on water); and in the book of Revelation, there is no sea and so no monsters of the sea. In psychological terms, there are no mental monsters (the sea=the unconscious). Here the modern terror of the sea is imagined as punishment from God for wicked (in this case, rich) people. These sentiments may sound vengeful, as do many psalms; but the idea is that God's goodness must be upheld:
God moves on the waters, April the 14th day, children. God moves on the water, everybody had to run and pray. Titanic left Southhampton and all was sport and games, but when they struck that iceberg I know their minds were changed. God moves on the waters, April the 14th day. Yes, God moves on the waters, everybody had to run and pray. Their mothers told their daughters on a pleasure trip they may go but when they struck that iceberg they haven't been seen anymore. God moves on the water, April the 14th day. Yes, God moves on the water, everybody had to run and pray.
THE CREATION
This is a brief section from the beginning of Haydn's famous oratorio, The Creation, especially memorable for its setting of the climactic word, "light." (An oratorio is a religious choral setting of a text, from the Latin "orare" meaning "to pray." [The Latin root survives in the English words "oration" and "orator."])
And God said, "Let there be light," and there was light.
ADAM IN THE GARDEN
An early Afro-American shout (praise) song, based on a famous text in Genesis:
God called Adam, pinning [picking] up the leaves, Adam in the garden, pinning up leaves. God called Adam pinning up the leaves, Adam wouldn't answer, pinning up leaves (2)
THE JUICE OF THE FORBIDDEN FRUIT
Way back in old times long years before the war, when the apple tree Eve she did climb. She threw down the core that made her feel sore for Adam her husband to chaw [chew, eat]. And ever since then, all manner of men, the blind and the lame and the mute, the bankers and clerks, politicians and turks drink the juice of the forbidden fruit.
ADAM LAY YBOUNDEN
{This old English song says that Adam (that is, Man) lay bound ("ybounden") in sin for four thousand years because he ate the apple. Yet if the apple had not been eaten, the Virgin Mary ("heavenly queen"), mother of Jesus, would never have come. In this view, sin became a gift, as in the famous Latin phrase, "felix culpa," or "happy fault."}
Adam lay ybounden*, bounden* in a bond. Four thousand [*bound
winters thought he not too long. And all was for an apple, an apple that he took. As clerks* finden* written in their book. Ne* had [*writers *find *nor
the apple taken been (the apple taken been) Ne had never our lady
a-been* heavenly queen. Blessed be the time that apple taken [*had been
was, therefore we moun* singen*, Deo gracias*! [*might *sing *Thanks to God!
Adam told Eve, "Listen here to me, don't you let me catch you messing 'round that apple tree."
Yes, Adam was happy as a man could be 'til he started messing with that old apple tree. Ain't that just like a woman, ain't that just like a woman, ain't that just like a woman, they'll do it everytime.
winters thought he not too long. And all was for an apple, an apple that he took. As clerks* finden* written in their book. Ne* had [*writers *find *nor
the apple taken been (the apple taken been) Ne had never our lady
a-been* heavenly queen. Blessed be the time that apple taken [*had been
was, therefore we moun* singen*, Deo gracias*! [*might *sing *Thanks to God!
Sacred Harp Gospel: Ocean
This is a "fuging" choral music from early America. "Fuging" refers to the "chasing" of one voice after another, so different parts of the tune are sung at the same time. Simply, this is "counterpoint," but not as smooth as in classical music. This song shows the terror of the sea, common in the Bible, as well as God's mastery over it:
This is a "fuging" choral music from early America. "Fuging" refers to the "chasing" of one voice after another, so different parts of the tune are sung at the same time. Simply, this is "counterpoint," but not as smooth as in classical music. This song shows the terror of the sea, common in the Bible, as well as God's mastery over it:
Thy works of glory, mighty Lord, that rules the boisterous [noisy] sea: who tempts the dangerous way, at Thy command the winds arise and swell the towering [big] waves. The men astonished mount the skies and sink in gaping graves.
As for me, I can see I was meant to rejoice in the round vibrant sound of my own voice. It's all so perfect and so ideal and yet I do have one tiny reservation, there's nothing handy for making conversation here in Eden.
How did I come, where am I from, what's my utlimate aim, I don't know, even so, I'm glad I came. It's all so lovely, I may just weep, I love this garden and everything that's in it. And something tells me to treasure every minute, blossoms and violets, mountains and mud, I know I'll be happy, perfectly happy here in Eden.
With every sweet and juicy luscious bite of this not forbidden fruit, you'll see your mind expand and your perceptions grow more and more acute and you can teach him plumbing and philosophy, new techniques for glazing pottery, woodcraft, first aid or economy, Madam, Adam will be overjoyed when he becomes aware of your attainments he'll beam with loving pride, and he will say "Oh Eve you're indispensable please don't leave my side. And with your nifty new-found education, he'll relish every conversation, why you'll be Adam's inspiration this way, just an apple a day, wait and see, come with me to that tree, now!
THE APPLE TREE
Written by the team of Bock and Harnick, who wrote Fiddler on the Roof, The Apple Tree included three stories, one of which was about Adam and Eve. These two songs are from that musical. The first is Eve's monologue in Eden; the second is the serpent's temptation of Eve:
Written by the team of Bock and Harnick, who wrote Fiddler on the Roof, The Apple Tree included three stories, one of which was about Adam and Eve. These two songs are from that musical. The first is Eve's monologue in Eden; the second is the serpent's temptation of Eve:
HERE IN EDEN
So many creatures, so many things, each one wondrous object is beautiful and striking and I see nothing that isn't to my liking, here in Eden. There's plums and peaches and pears and grapes, so ripe and juicy and utterly inviting. I find the apples especially exciting here in Eden.As for me, I can see I was meant to rejoice in the round vibrant sound of my own voice. It's all so perfect and so ideal and yet I do have one tiny reservation, there's nothing handy for making conversation here in Eden.
How did I come, where am I from, what's my utlimate aim, I don't know, even so, I'm glad I came. It's all so lovely, I may just weep, I love this garden and everything that's in it. And something tells me to treasure every minute, blossoms and violets, mountains and mud, I know I'll be happy, perfectly happy here in Eden.
FORBIDDEN FRUIT
Listen closely let me fill you in about the rich ripe round red rosy apples they call forbidden fruit, what I'm about to say is confidential so promise you'll be mute, because if every creature in the garden knows, they'll come round like hungry buffalos and in no time there'll be none of those precious apples left for you and me. Now in the average apple you're accustomed to skins, seed, flesh and core. But you will find that these are special apples that give you something more. Why every seed contains some information that you need to speed your education, the seeds indeed of all creation are here. Why be foolish, my dear? Come with me to that tree.With every sweet and juicy luscious bite of this not forbidden fruit, you'll see your mind expand and your perceptions grow more and more acute and you can teach him plumbing and philosophy, new techniques for glazing pottery, woodcraft, first aid or economy, Madam, Adam will be overjoyed when he becomes aware of your attainments he'll beam with loving pride, and he will say "Oh Eve you're indispensable please don't leave my side. And with your nifty new-found education, he'll relish every conversation, why you'll be Adam's inspiration this way, just an apple a day, wait and see, come with me to that tree, now!
THE STORY OF ADAM AND EVE
This song shows how Bible stories have become part of popular culture.
In the garden of Eden, a long time ago There was a story I'm sure you all know, I'm sure you remember and I know you believe The story of Adam and Eve. The Bible has been the source of much humor, as well as what we now call "sexism" (blaming women). Here are two references to the Adam and Eve story in early Rock records:This song shows how Bible stories have become part of popular culture.
Adam told Eve, "Listen here to me, don't you let me catch you messing 'round that apple tree."
Yes, Adam was happy as a man could be 'til he started messing with that old apple tree. Ain't that just like a woman, ain't that just like a woman, ain't that just like a woman, they'll do it everytime.
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