Saturday, April 19, 2008

Hymn

Sung at the completion of Concord Monument, April 19, 1836.

By the rude bridge that arched the flood,
Their flag to April's breeze unfurled,
Here once the embattled farmers stood,
And fired the shot heard round the world,

The foe long since in silence slept,
Alike the Conqueror silent sleeps,
And Time the ruined bridge has swept
Down the dark stream which seaward creeps.

On this green bank, by this soft stream,
We set to-day a votive stone,
That memory may their deed redeem,
When like our sires our sons are gone.

Spirit! who made those freemen dare
To die, or leave their children free,
Bid time and nature gently spare
The shaft we raise to them and Thee.
--Ralph Waldo Emerson

Remember.

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Friday, April 18, 2008

'Tis the season...

...to honor those who came before.

Paul Revere's Ride

Listen my children and you shall hear
Of the midnight ride of Paul Revere,
On the eighteenth of April, in Seventy-five;
Hardly a man is now alive
Who remembers that famous day and year.

He said to his friend, "If the British march
By land or sea from the town to-night,
Hang a lantern aloft in the belfry arch
Of the North Church tower as a signal light,--
One if by land, and two if by sea;
And I on the opposite shore will be,
Ready to ride and spread the alarm
Through every Middlesex village and farm,
For the country folk to be up and to arm."

Then he said "Good-night!" and with muffled oar
Silently rowed to the Charlestown shore,
Just as the moon rose over the bay,
Where swinging wide at her moorings lay
The Somerset, British man-of-war;
A phantom ship, with each mast and spar
Across the moon like a prison bar,
And a huge black hulk, that was magnified
By its own reflection in the tide.

Meanwhile, his friend through alley and street
Wanders and watches, with eager ears,
Till in the silence around him he hears
The muster of men at the barrack door,
The sound of arms, and the tramp of feet,
And the measured tread of the grenadiers,
Marching down to their boats on the shore.

Then he climbed the tower of the Old North Church,
By the wooden stairs, with stealthy tread,
To the belfry chamber overhead,
And startled the pigeons from their perch
On the sombre rafters, that round him made
Masses and moving shapes of shade,--
By the trembling ladder, steep and tall,
To the highest window in the wall,
Where he paused to listen and look down
A moment on the roofs of the town
And the moonlight flowing over all.

Beneath, in the churchyard, lay the dead,
In their night encampment on the hill,
Wrapped in silence so deep and still
That he could hear, like a sentinel's tread,
The watchful night-wind, as it went
Creeping along from tent to tent,
And seeming to whisper, "All is well!"
A moment only he feels the spell
Of the place and the hour, and the secret dread
Of the lonely belfry and the dead;
For suddenly all his thoughts are bent
On a shadowy something far away,
Where the river widens to meet the bay,--
A line of black that bends and floats
On the rising tide like a bridge of boats.

Meanwhile, impatient to mount and ride,
Booted and spurred, with a heavy stride
On the opposite shore walked Paul Revere.
Now he patted his horse's side,
Now he gazed at the landscape far and near,
Then, impetuous, stamped the earth,
And turned and tightened his saddle girth;
But mostly he watched with eager search
The belfry tower of the Old North Church,
As it rose above the graves on the hill,
Lonely and spectral and sombre and still.
And lo! as he looks, on the belfry's height
A glimmer, and then a gleam of light!
He springs to the saddle, the bridle he turns,
But lingers and gazes, till full on his sight
A second lamp in the belfry burns.

A hurry of hoofs in a village street,
A shape in the moonlight, a bulk in the dark,
And beneath, from the pebbles, in passing, a spark
Struck out by a steed flying fearless and fleet;
That was all! And yet, through the gloom and the light,
The fate of a nation was riding that night;
And the spark struck out by that steed, in his flight,
Kindled the land into flame with its heat.
He has left the village and mounted the steep,
And beneath him, tranquil and broad and deep,
Is the Mystic, meeting the ocean tides;
And under the alders that skirt its edge,
Now soft on the sand, now loud on the ledge,
Is heard the tramp of his steed as he rides.

It was twelve by the village clock
When he crossed the bridge into Medford town.
He heard the crowing of the cock,
And the barking of the farmer's dog,
And felt the damp of the river fog,
That rises after the sun goes down.

It was one by the village clock,
When he galloped into Lexington.
He saw the gilded weathercock
Swim in the moonlight as he passed,
And the meeting-house windows, black and bare,
Gaze at him with a spectral glare,
As if they already stood aghast
At the bloody work they would look upon.

It was two by the village clock,
When he came to the bridge in Concord town.
He heard the bleating of the flock,
And the twitter of birds among the trees,
And felt the breath of the morning breeze
Blowing over the meadow brown.
And one was safe and asleep in his bed
Who at the bridge would be first to fall,
Who that day would be lying dead,
Pierced by a British musket ball.

You know the rest. In the books you have read
How the British Regulars fired and fled,---
How the farmers gave them ball for ball,
>From behind each fence and farmyard wall,
Chasing the redcoats down the lane,
Then crossing the fields to emerge again
Under the trees at the turn of the road,
And only pausing to fire and load.

So through the night rode Paul Revere;
And so through the night went his cry of alarm
To every Middlesex village and farm,---
A cry of defiance, and not of fear,
A voice in the darkness, a knock at the door,
And a word that shall echo for evermore!
For, borne on the night-wind of the Past,
Through all our history, to the last,
In the hour of darkness and peril and need,
The people will waken and listen to hear
The hurrying hoof-beats of that steed,
And the midnight message of Paul Revere.

--Henry Wadsworth Longfellow

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Tuesday, April 15, 2008

Irony...let me show you it

From the April 15, 2008 edition of The Patriot Post:

"If duties are too high, they lessen the consumption; the
collection is eluded; and the product to the treasury is not
so great as when they are confined within proper and moderate
bounds. This forms a complete barrier against any material
oppression of the citizens by taxes of this class, and is itself
a natural limitation of the power of imposing them."

-- Alexander Hamilton (Federalist No. 21, 1787)

History is silent on whether Mr. Hamilton wrote this with a straight face, but I'm willing to give him the benefit of the doubt.

According to figures published at Bizzy Blog, federal tax receipts grew from $1.782 trillion in September 2003 to more than $2.567 trillion in September 2007. This happened during the "worst economy since the Great Depression," I seem to recall some feckless poltroon of a candidate saying.

Meanwhile, from the campaign trail, we have this gem:

"The truth is, in order to get things like universal health care and a revamped education system, then someone is going to have to give up a piece of their pie so that someone else can have more."

I don't know why I even bother mentioning that there is no constitutional authority for federal involvement in either sphere; it's like shouting into the hurricane, but I keep doing it anyway. Beyond that, though, I suppose it's worth knowing that someone is that someone is planning that blatantly to take what I earned and give it to someone else, and where it won't be used to buy votes directly from their dependent clients, it will be used to buy additional campaign contributions.

Happy Tax Day. I guess.

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Monday, March 31, 2008

Not a whole lot like a tundish, it turns out...

This is a post I'd intended to do long since, inspired by red's post on the "tundish scene" from A Portrait of the Artist As a Young Man. I'm (sort of, and temporarily) caught up on my studies to spare part of an hour, and I want to post a companion of sorts, the "jargon" scene from Richard Llewellyn's How Green Was My Valley.

Our stooooory so far: The protagonist and narrator, Huw Morgan, has lately beaten the jeezly crap out of a schoolteacher for humiliating a little girl by making her wear a board chalked, "I must not speak Welsh in school."

Morgan goes over the mountain to apologize to the teacher, and this is where I shall pick up the thread.
Mr. Jonas was sitting up with a bandage about his eyes and a muffler round his mouth, a nightcap on his head and a sticking-plaster on his right-hand knuckles, that he lifted for Mrs. Jonas to close the door.

"Well," he said, "I suppose you want a pardon, do you?"

"Yes," I said. "I am sorry for what I did, Mr. Jonas."

"Not a bit of use to me. You deserved expulsion, and I insisted on it or I would have prosecuted you. Lick my boots and you shall have no pardon from me or word to Mr. Motshill, either."

"Not a pardon I want," I said, "only to say I am sorry."

"Look here," he said, "I know your sort too well. Humbugs. A vice with all of you. You humbug yourselves and you humbug others. But I know you. And I am sick of you. Damned lot of cant."

"I am sorry," I said, for there was shaking in his voice not good to hear, and the voice not strong as usual.

"Sorry, my God," he said. "A hundred yards from the house and everybody in town will hear you neighing. I had you brought up here just to tell you what I thought of you, you gutter-bred rat. Now get out."

He could have said anything to me and I would have said nothing back. I was so filled with surprise to be called a humbug.

"Why am I a humbug, Mr. Jonas?" I asked him.

He was looking at me from under the bandage, with his head up. I could just see hurt blue flesh, and I was sorrier than ever.

"Why?" he said, and sent breath from his nose with impatience. "As an illustration, your school record. You deliberately tried to ruin my name with Mr. Motshill, and since the devil is kind to his own, you were quite successful for a time. For a time. It may be some consolation to you to know that I shall be teaching Standard Six again when I return."

"But why am I a humbug?" I asked him.

"Because you pretend to be what you are not," he said, and in a temper to take the voice from him. "But why should I expect anything else? After all, look at your background. As I told Mr. Motshill, why be surprised? Coal miners. Living like hogs, with nothing in life but beer and bruisers and using the Chapel as a blind. Welsh. Good God, what a tribe."

"But why am I a humbug, Mr. Jonas?" I asked him again.

"Get out," he said, "you make a murderous attack on me presumably because I check the use of jargon in school, and yet you have the audacity to question me in English. Simon-pure humbug."

"You started in English," I said, "I thought you never spoke Welsh or I would speak it to you."

"Look here, Morgan," he said, and shifting on his elbow, as though he would throw me out as soon as finished, "there is no reason why I should talk to you like this, and God knows why I should do it. But I want to tell you this before you go. Welsh never was a language, but only a crude means of communication, between tribes of barbarians stinking of woad. If you want to do yourself some good, stop troubling your tongue with it."

"Oh," I said, and nothing else I could think of, except my mother and father and Bron.

"Yes," he said, "oh, English. The language of the Queen and all nobility. Welsh. Good God Almighty, the very word is given to robbers on racecourses."

"But you are Welsh, Mr. Jonas," I said.

"I had the misfortune to be born in the country," he said.
The tone here is rather different than Joyce's tone in the tundish scene, although the basic idea is much the same: the devaluing of a native tongue for an alien.

So is Llewellyn's purpose different, I think. Llewellyn in How Green Was My Valley is much less ambivalent about Wales than is Joyce (hoping I do no injustice) about Ireland in A Portrait of the Artist As a Young Man. In fact, compared to Joyce, Llewellyn's work is practically a polemic, although on its own I should not quite call it that.

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Sunday, January 27, 2008

Poetry Sunday

Because some of our fellow men and women seem determined to re-embark on the periodic glorious march to Utopia, this seems like a good time for a few words from Kipling.

The Gods of the Copybook Headings

1919

As I pass through my incarnations in every age and race,
I Make my proper prostrations to the Gods of the Market-Place.
Peering through reverent fingers I watch them flourish and fall,
And the Gods of the Copybook Headings, I notice, outlast them all.

We were living in trees when they met us. They showed us each in turn
That Water would certainly wet us, as Fire would certainly burn:
But we found them lacking in Uplift, Vision and Breadth of Mind,
So we left them to teach the Gorillas while we followed the March of Mankind.

We moved as the Spirit listed. They never altered their pace,
Being neither cloud nor wind-borne like the Gods of the Market-Place.
But they always caught up with our progress, and presently word would come
That a tribe had been wiped off its icefield, or the lights had gone out in Rome.

With the Hopes that our World is built on they were utterly out of touch
They denied that the Moon was Stilton; they denied she was even Dutch
They denied that Wishes were Horses; they denied that a Pig had Wings.
So we worshipped the Gods of the Market Who promised these beautiful things.

When the Cambrian measures were forming, They promised perpetual peace.
They swore, if we gave them our weapons, that the wars of the tribes would cease.
But when we disarmed They sold us and delivered us bound to our foe,
And the Gods of the Copybook Heading said: "Stick to the Devil you know."

On the first Feminian Sandstones we were promised the Fuller Life
(Which started by loving our neighbour and ended by loving his wife)
Till our women had no more children and the men lost reason and faith,
And the Gods of the Copybook Headings said: "The Wages of Sin is Death."

In the Carboniferous Epoch we were promised abundance for all,
By robbing selected Peter to pay for collective Paul;
But, though we had plenty of money, there was nothing our money could buy,
And the Gods of the Copybook Headings said: "If you don't work you die."

Then the Gods of the Market tumbled, and their smooth-tongued wizards withdrew,
And the hearts of the meanest were humbled and began to believe it was true
That All is not Gold that Glitters, and Two and Two make Four --
And the Gods of the Copybook Headings limped up to explain it once more.

* * * * *

As it will be in the future, it was at the birth of Man --
There are only four things certain since Social Progress began --
That the Dog returns to his Vomit and the Sow returns to her Mire,
And the burnt Fool's bandaged finger goes wabbling back to the Fire --
And that after this is accomplished, and the brave new world begins
When all men are paid for existing and no man must pay for his sins
As surely as Water will wet us, as surely as Fire will burn
The Gods of the Copybook Headings with terror and slaughter return!

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Saturday, January 26, 2008

Continuing a theme...

...and being too busy harried lazy to come up with anything original, I instead present this:

Oil is $100 a barrel and there are food shortages in Venezuela. That is all you really need to know about socialism.

Somebody opined that food shortages are a distribution problem, and that the one has nothing to do with the other. That can be true, but the worthy failed to read the source article. There are food shortages in Venezuela because the illegitimate Chavez regime is forcing those who have food to sell to accept less than the cost of production for it.

I found this piece at VodkaPundit via Geek With a .45. Doesn't quite win the Internet, but maybe Sean will give Catholic Libertarian a domain to play with.

Friday, January 25, 2008

We have a winnah!

Let all here know by these presents that on this day January 25, in the year of our Lord 2008, Commenter Sean wins the Internet.

Found in this post at The Smallest Minority, one of our finer blogs. Better than this dump, that's for sure.

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