The Year of the Earth Pig

Happy Year of the Earth Pig!  Today (February 5th 2019) marks the beginning of Lunar Year 4716 in the Chinese calendar.  I really meant to write more dog-theme posts last year during the year of the dog: how did it run off so quickly? But no matter…we can always write more about man’s best friend. Today belongs to the pig and, despite a somewhat grubby nomen, the earth pig has a great deal to recommend it!

In the Chinese zodiac, pigs are water sign animals. The easygoing and affable earth pig thus betokens a year of friendship, camaraderie, and social success.  Pigs love having fun together, so, in addition to social delights, the year will feature plenty of luxuries, treats and opulent spectacles.   Friendship and social bonding are one thing, but romance is quite another, so, although the year may be marked by new friendship and bonhomie, it is not likely to be especially happy one in terms of love and intimacy (which is fully in line with broad international trends).

Financially speaking, the Earth Pig moves slowly yet inexorably towards abundance.  The ground is the root of all wealth and this pig has all four feet squarely upon the earth. The online oracle which I consulted states “This zodiac sign has a solid work ethic and is willing to put in the hours to get ahead. Patience and willpower are the name of the game for anyone wishing to get ahead in 2019. And don’t forget the power of building friendly alliances with colleagues.”  I suppose that sounds pretty good, but I have been to farmyards and seen how things work out for pigs.  I would probably paraphrase this: your financial year will combine a great deal of hard work with some foolish lapses due to inattention, greed, and other people’s guile.  Be careful! The rewards of your labor could be enjoyed by someone else…

Sadly, all pig years come with an admonition not to overdo it with sweets, rich foods, and alcohol, but I hardly see how gluttony could be a problem here in [checks notes] oh…um…yeah, I guess we will also have to keep a careful eye on what we are eating.

Speaking of gluttony, no conversation about pigs would be complete without a mention of China’s literary superstar pig, Zhu Bajie, one of the three animal heroes of “The Journey to the West” (well, actually there are four, but the horse is usually just a horse and only jumps into the game in moments of true duress).  Zhu Bajie is an immortal pig monster with enormous strength and bravery…but he is also cursed with constant hunger, laziness, and a desire for other joys of the flesh.  Zhu’s earthy passions cause substantial trouble to both him and his sharper companions (although, ironically, the monkey, who represents intellect, will, and arrogance, usually gets in even more trouble by leaping out ahead of everyone).   This is of course o remind everyone that we need the intellect in the upcoming year, but we also need the tolerance, soft-heartedness, and the optimism of the pig.  Humans are monkeys after all.  Like Sun Wukong, the monkey god, we tend to be rather cruel to pigs.  Let the Year of the Earth Pig remind you to be more gentle and compassionate to our big-bellied curly toed friends…or even to yourself if love of luxury or your hungry belly leads you astray.  The great lesson of the Chinese zodiac is that we are all animals, but animals have a celestial magic! Be wary but embrace your inner pig and have a wonderful year 4716.

Don’t Throw Your Books Away

America loves Marie Kondo, a self-help author and lifestyle guru who has exploited people’s insecurities (and our culture’s dark codependent relationship with disposable consumer goods) in order to become enormously rich.  If you have somehow missed the fuss about Kondo, she wrote a book called “The Life-changing Magic of Tidying Up: The Japanese Art of Decluttering and Organizing”, which is typical cultish self-help waffle about how you should throw all of your things away, paint your walls white, and fold your few remaining textiles with chilling robotic precision.  Kondo has leveraged her success into a “brand” and now appears on Netflix, going through people’s lives and discarding everything that does not “spark joy.” In one recent episode, she caused great anxiety to intellectuals and bibliophiles when she applied her methodology to book collections. In her worldview, unread books should be discarded, as should books which you wish to read again, but are not presently reading. Kondo said that her ideal library was, at most, thirty books.  If there are parts of a book you love, you should cut out the relevant pages and throw away the rest (although it seems this may have been an experimental Kondo methodology which didn’t work out even for her).

As you can imagine, these ridiculous & harmful ideas have caused book-lovers (and idea-lovers) to become apoplectic.  The history of people who destroy books or encourage their elimination is not very splendid or happy. It is hard not to elide Kondo’s claptrap with some of these sad episodes. Fortunately for Kondo, there are few intellectuals and booklovers in contemporary society, but there are legions of people who are angry in one way or another about identity politics. To the eyes of these Kondo apologists, the scholars and bibliophiles spluttering indignantly about the importance of books or whatever are racists who are lashing out at a successful Asian-American woman because of her wealth and influence.  As with everything in America in 2019, the entire episode has made everyone furious and left all parties looking bad.

In Kondo’s defense, I can sympathize with how difficult it is to create new material every day.  If you are forced to continuously churn stuff out, sometimes your material is not always terribly good. It is all too easy to say or do stupid things.  That is one of the reasons we throw things away. Indeed, I haven’t watched the offending episode, but have only read about it.  Maybe she was tossing out shelves of Dilbert cartoon books, Ayn Rand novels, or 1850s books about the glories of colonialism and slavery.  Since the show is about people appealing to her for help, she might have been throwing away hundreds of tendentious self-help books!

Also to her credit, Kondo identifies the information inside the book as the important part, and admonishes us not to idolatrously love unread books for their own sake or use them as props.

But, and this is the critical part: it is unclear how one would ever extract this knowledge if they discarded the book before reading it.  The things that “spark joy” in my life right now are different from the ones that will spark joy in my life a year from now.  When I was growing up, my parents had mysterious and compelling shelves of books from their college days.  Every day I walked past the diseased eye on the cover of Camus’ “The Plague” and wondered what was going on in that book.  Looking at the troubling dissection on “Gray’s Anatomy”, the dandy on “Vanity Fair”, the strange Van der Weyden portrait on “Masterpieces of the National Gallery” and the magnificent sperm whale on “Moby Dick” made me curious about the contents of those books too.  Sometimes I would pick them up and try to understand them.  Eventually I picked them up and read them.  If my parents had thrown those books away, maybe I would have found them later and read them on my own, or maybe not.  Maybe I never would have become as interested in reading to begin with.

Also, books are our cultural heritage.  “Moby Dick” was universally unloved when it first came out in 1851.  It took 70 years before it found success.  What if 1890s Marie Kondo (I am sure there was an analogous busybody) had come along and thrown away the copy that caused a critic to love it and rescue it from obscurity.  Books are not knick-knacks or ill-used toiletries, they are bigger and have bigger meanings which are not immediately evident. Kondo seemingly fails to understand or acknowledge this.  Also I love books! Imagine if some third party went into Marie Kondo’s life and started throwing away the things she cares about most (dollars & followers) until she only had thirty of each left: I bet she would be pretty dissatisfied.

Beyond these obvious and cursory points about the nature of writing and thinking, Kondo’s insistence on shoveling this tripe into our face right now so she can become richer and more important speaks to the nature of now (when every business is busy making shortsighted decisions in order to maximize profits and our leaders are clinging to power even if it causes the republic to founder.).  Her unwise advice also increases our country’s dangerous love affair with anti-intellectualism, a perennial scourge, which, in the Trump era, is becoming a threat to the continued existence of the nation.

I have been meaning to write about Kondo as part of a larger polemic against minimalism (an undying aesthetic movement from the 21^st century which is not just ugly, but which is morally injuring us).  However, the fact that Marie Kondo is apparently openly attacking knowledge itself, temporarily derailed my anti-minimalist essay.  We need to defend literature and the accumulated knowledge of humankind against the ridiculous menace of the gentle Japanese art of throwing everything away (or whatever this crap is called).  Don’t worry though, I haven’t forgotten my original point and we will get to minimalism and oversimplification tomorrow some time next week. Events on the ground complicated my plans (because the world is complicated and not simple).

Drawing on the Q Train

Today I was riding home on the subway after a loooong day of Monday office work.  I was drawing in my little book when a friendly stranger asked me about the drawing I was working on (which was the surreal cartoon about modern dystopia which is pictured  above).  Uncharacteristically we started talking about dystopean fiction…and then the other people in the train joined in the conversation about favorite works of epic heroic fantasy, and Jungian archetypes, and science fiction as it relates to day-to-day society.  It was quite amazing and restored my faith in the world.  As ever, I was particularly impressed by Millennial-age people (by which I mean the cohort of younger American adults–not 1000-year-old-humans) who are much-maligned in turgid journals, but who strike me as polite, eager-to-learn, funny, and kind.  Anyway, the cartoon is about the unfortunate direction which society is going in at present (and it pokes fun at the inane yet somehow compelling Kevin Costner science-fiction movie),  however my unexpected book talk with strangers on a train makes me think the world might be headed in a much better direction!

A Poem by Wen Tong

I am still thinking about Lady Xia’s pet gibbon, the first and last known representative of its kind, and the subject of yesterday’s post.  After I wrote about the interwoven fates of rice and trees and men and apes, I spent a long time looking through Ferrebeekeeper archives for the beautiful gibbon poem which I alluded to in the essay, but I came to realize that I never did write about it, so today’s post is another post about pet gibbons in ancient China. Bear with me, for the poem is an exquisite piece of history, and a remarkably soulful examination of pets…and of the winsome sadness of life itself.

The poem was written by Wen Tong (1019–1079AD), a scholar-artist of the Northern Song Dynasty who was famous for his bamboo paintings. Allegedly he could simultaneously paint different stalks of bamboo with both hands, and lovely examples of his work are still extant a thousand years after he painted them…as is poetry about his favorite pet (As an aside, medieval China featured a class of learned polymaths who were masters of writing, erudition, gardening, and “painting without financial reward”: there is no clear career analogy in the modern western world although the painting without financial reward part sounds rather familiar).

Wen Tong wrote about his love and admiration for his pet, and the poem quietly reveals a great deal about the household mores and emotional norms of well-to-do life in the Northern Song dynasty (note how the painter has so many retainers that he just passingly assigns one to look after the gibbon).  It is a lovely and heartfelt window into a vanished world which is well worth examining line by line. As a poetic device, the back-and-forth switches from first person to second person keeps readers attentively off balance and yet draws them closer to both Wen Tong and his gibbon.  Although, the writer’s privilege and possessiveness shine through, so does his kindness, playfulness and curiosity (perhaps there is a reason he got on so well with his remarkable pet that we are still thinking about it all of these centuries later). However, the final stanzas transcend the writer’s time and place.  The poem speaks to the uneasy and fraught relationship we have with our fellow life-forms.  For animals have their own lives and hearts and spirits, no matter how much we want to love and possess them. Wen Tong also delves into the realm of the existential, questioning the apparently painful randomness of fate, which mocks notions of ownership and control.

Don’t let my clumsy words put you off reading the actual poem (coincidentally I have taken the whole translated work from “Altruistic Armadillos, Zenlike Zebras: Understanding the World’s Most Intriguing Animals” By Jeffrey Moussaieff Masson).  It really moved me greatly and I hope you will also find it to be equally enchanting and sad.

it really is extraordinary and I think it will move you

Last year a Buddhist Monk of Hua-p’ing, in the Min mountains,

Obtained a gibbon for me and had it delivered from afar.

On arrival he was already tame and accustomed to captivity,

And his swift and nimble movements were a delight to watch.

He would come and go as told, as if he understood my speech

And seemed to have lost all desire to return to his mountains.

Put on a leash he was not interesting to watch,

So I set him free and let him romp about as much as he liked.

On a moonlit night, he would sing, swinging from a branch,

On hot days he would sit by the flowers and doze facing the sun.

When my children were around or my guests showed their interest,

He would hang upside down or jump about showing his tricks.

I had told a man to look after all his needs,

So that he never even once lacked his seasonal food and drink.

Yet the other day his keeper suddenly told me the gibbon was ill.

He stood on my steps, the gibbon in his arms, and I went to look,

Offered him persimmons and chestnuts, but he didn’t glance at them.

Legs drawn up, head between his knees, hunched up with folded arms,

His fur ruffled and dull, all at once his body seemed to have shrunk,

And I realized that this time he was really in great distress.

Formerly you were also subject to occasional slight indispositions,

But then after I had fed you a few spiders as a remedy,

After having swallowed them you would recover at once.

Why did the medicine fail now, though given several times?

This morning when a frosty wind was chilling me to the bone,

Very early I sent someone to inquire, and he reported you had died.

Although in this world it is hard to avoid grief and sadness,

I was tormented by repentance and bitter self-reproach.

You could be happy only when near your towering mountains.

You had been yearning for far plains and dense forests.

You must have suffered deeply being on a leash or chain,

And that was why your allotted span of life was short.

I had his body wrapped up well and buried deep in a secluded corner,

So that at least the insects would leave his remains in peace.

Mr. Tzu-p’ing, my western neighbor, a man of very wide interests,

When he heard about this, slapped his thigh sighing without end.

He came to inquire several times, in deep sorrow over my loss,

Then, back home, he wrote a long poem of over a hundred words.

Reading those lines my lonely heart was filled with sadness.

Well had he expressed the grief caused by my gibbon’s death!

He also tried to console me by referring to life’s natural course, “That

Meetings result in partings, subject to the whims of fate.”

I took his poem out into the garden, read and reread it

—

Then, looking up at the bare branches, I burst out in tears.

A Spring Poem By Li Po

April is poetry month!  Just thinking about it makes me recall wilder, grander (younger) times when I spent my life carousing with poets, drinking infinite goblets of wine and talking all night about the great unfathomable mysteries of life and love.  Those days are gone, those friends have all vanished to wherever poets go, and the great mysteries remain unsolved (of course).  Yet, anon, it is spring once again.  There is a cold breeze blowing clouds across the white moon.  The garden is empty and dead, but the buds are starting to form on the cherry tree.

To celebrate these wistful memories and to celebrate the eternal art of poetry here is a very short poem by the original drunk master, Li Po, a roving carouser famous for descriptions of the natural world combined with intimations of otherworldly knowledge.  This poem is a good example–and a good spring poem.  The Chinese original is probably filled with cunning homonyms and allusions of which I am ignorant (at this point, everyone might be ignorant of some of them…Li Po lived in the Tang Dynasty from 701 AD to 762 AD).  But it seems like Jasper Mountain is an allusion to the court intrigues of the capital.  It also helps to know that peach blossoms are associated with celestial/fairy folk not unlike the Ae Sidhe.  Enough prose, here is Arthur Copper’s translation of Li Po’s succinct masterpiece:

IN THE MOUNTAINS: A REPLY TO THE VULGAR

They ask me where’s the sense

on Jasper Mountain?

I laugh and don’t reply,

in heart’s own quiet:

 

Peach petals float their streams

away in secret

To other skies and earths

than those of mortals.

 

A plate from “Europe, A Prophecy”

What with the holiday crush and the end of the year, I have had less time than I would like for blogging, but I will put up some Christmas posts and year-end thoughts here in the coming days.  For now, here is an illuminated page of William Blake’s 1794 volume “Europe a Prophecy,” a dense symbolic poem about the benighted state of Europe (and humankind) at the end of the 18th century.  I won’t get into the text but suffice it to say the magnificent crowned serpent seems to hold unusual sway over the affairs of men.

Looking into the Future for a New Topic

Thanks for bearing with me during last week when I took a much-needed break from blogging. Sadly, it does not seem like misinformation, social manipulation, distortion, and outright fabrication took a break during Ferrebeekeeper’s absence…they are more popular than ever! So I have decided to get with the program and add a new topic much in keeping with this trend. Well I say “new”, but this subject is profoundly ancient and originated before cities or even agriculture. This ancient practice has always given people exactly what they want…often to their terrible detriment. If one is looking for chicanery, mendacity, wish fulfillment, and showmanship untethered from life’s hard truths (and a cursory look at bet-sellers, infomercials, politics, and society itself indicate that a lot of people want exactly that) then here is a subject I predict will suit perfectly: I am speaking of the ancient and manipulative art of PROPHECY!

Consulting the Oracle (John William Waterhouse, 1884, oil on canvas)

A prophecy is a sort of supernatural prediction about what will happen in the future (or a pretense of access to some otherwise inaccessible truth). The trappings of prophecy are many—entrails, crystals, special numbers, magical talismans, star signs, geomancy, demons, ghosts, gods and goddesses, etcetera etcetera. I hardly need to tell you that empiricists have never found any statistically meaningful evidence that such things work beyond the level of general platitudes (discounting inside knowledge and deception). Yet magical predictions endure and flourish in all societies. From the rudest hunter gatherer tribe, to the greatest globe-spanning empire, this “magic” has been present. Throughout history, oracles, scryers, prophets, augers, diviners, and astrologers have proliferated like, well, like human wishes.

So why am I writing about this? Why do we need to look again at (sigh) astronomy and “The Secret” [spits] and at the ridiculous chickens of Publius Claudius Pulcher? First of all, as Freud knew, our wishes reveal so much about us—they provide a true dark mirror where we can see who we are with terrible clarity if we have the courage to really look. If prophecy does not necessarily have empirical merit, it often possesses immense artistic value. The essential dramatic truth of literature or scripture is frequently revealed in augury. The witch of Endor, the Delphic oracle, John the Baptist, and the witches in Macbeth set the action going (while at the same time foreshadowing/explaining how things will ultimately work out).

But beyond the artistic merit of oracular truth, augury is related to prediction—the ability to think abstractly about the future and to shape outcomes by making intelligent choices based of guesses. I said that prophecy predated cities or agriculture (a breezy claim for which I naturally have no written evidence…although there are plenty of artifacts that are probably scrying tools and enormous amounts of similar circumstantial evidence): perhaps prophecy was a necessary step on the way to those things. Without being able to imagine the future, there is no need for seed corn or brickyards. The seeds to real inquiry can often be found in fantasy inquiry. Looking back across the breadth of history we see how religion became philosophy; geomancy became geology; astrology graduated to astonomy; even psychics and physicists have something in common. So follow along in this new topic. I confidently predict you will be surprised and delighted (and even if I am wrong we will at least have learned something).

“Jesus Tempted in the Wilderness” by James Tissot

Ash Wednesday is 40 days before Easter.  It begins the Lenten season which commemorate the 40 days that Christ spent in the wilderness fasting while being tempted by the world (and by the great Adversary).  Jesus’ 40 days in the wilderness came just after he was baptized by Saint John and before his Galilean ministry.  The story was not particularly germane to the events of holy week and the Passion, yet it is built into Lent nonetheless.

I find the story of Christ in the wilderness powerful.  The story of a man overcoming hedonism, materialism, and egoism for something far greater has a singularly compelling power.  Indeed, the episode seemingly gave rise to Christian monasticism—which was one of the defining forces of the middle ages.  However, even though there are parts of the life of Jesus which appear again and again and again in art, the temptation in the wilderness is underrepresented because of the challenge it poses for visual artists (save perhaps for the grand finale, where the devil takes Christ to a high place and offers him the whole world for a moment of adoration).  The asceticism and emptiness which make up the majority of the event does not lend itself well to visual idiom.

Jesus Tempted in the Wilderness (James Tissot, ca. 1890, gouache on paper)

This is why I am presenting this impressive image by James Tissot, a French weirdo who spent his youth illustrating lavish high fashion events of the nineteenth century before having an extreme religious conversion (which coincided with the French Catholic revival).  Thereafter, Tissot painted episodes from the Bible, and he is among the greatest of Biblical illustrators not just for his innovative, passionate, and exquisite images, but also because he departs so thoroughly from the centuries of Christian artistic convention.  There are stories in the Bible which were painted by almost nobody ever…except for James Tissot.

Here is Tissot’s version of Christ in the wilderness.  The Son of Man has encountered Satan in the guise of a fellow hermit proffering plain food.  The landscape is weirdly alien and empty…a truly fitting canvas for this monumental moral conflict.  Yet, closer study reveals it is a surprisingly accurate depiction of the hot evaporitic lgeology around the Dead Sea.  Jesus turns away from the Devil, and yet he simultaneously turns away from us, the viewers.  His face is perfectly revealed—yet like the naked landscape of canyons and dunes it is somehow mysterious and hidden.  Our eyes fall instead on the Devil, who kneels before Jesus, off center at the bottom of the picture and yet dominates the composition with weird energy.  Blackened by the sun he holds up weird lumps of bread. He looks just like a friendly Osama Bin Laden.  The temptation is clear, but the rejection of the bread (and its dangerous peddler) is even more strongly demonstrated by the arrangement of the figures.

Tissot’s early works show perfectly fashionable aristocrats who exemplify every aspect of worldliness and status consciousness.  That effete tutelage has given this austere painting its power.  Think about the disturbing Beckett-like simplicity of this arrangement.  Yet there is a universe of meaning in the relationship between these three principals (Jesus, Satan, us).

“The Year 1817”

When I was barely an adolescent I read “Les Miserables” and the vast scope of the work caught my brain on fire.  It was like living hundreds–or maybe thousands–of lives over multiple generations.  We can (and will) return to that remarkable novel’s great themes of humanism, systematic oppression, historicism, Christianity, and economics (among other things), but for now I would like to concentrate on the first chapter of Book III.  The chapter is titled “The Year 1817” and it details what everyone was talking about in France in 1817.

Naturally, the excited 14-year-old me was hoping for soaring words about battle, republic, redemption, and perfect compassion, and so the chapter was an immense disappointment.  It was about the mincing affairs of unknown aristocrats and quibbles about fashion or taste which were utterly incomprehensible (and even more ridiculous).  Here is a random sample of this Bourbon Restoration word salad:

Criticism, assuming an authoritative tone, preferred Lafon to Talma. M. de Feletez signed himself A.; M. Hoffmann signed himself Z. Charles Nodier wrote Therese Aubert. Divorce was abolished. Lyceums called themselves colleges. The collegians, decorated on the collar with a golden fleur-de-lys, fought each other apropos of the King of Rome. The counter-police of the chateau had denounced to her Royal Highness Madame, the portrait, everywhere exhibited, of M. the Duc d’Orleans, who made a better appearance in his uniform of a colonel-general of hussars than M. the Duc de Berri, in his uniform of colonel-general of dragoons– a serious inconvenience.  

It goes on in this fashion for several pages. If you want the full effect, you can read the rest here (along with the other 1200 pages of the book, come to think of it).

Now I can understand these words individually, and even piece together their social importance, but the sense of momentous grandeur is entirely gone.  This is, of course, as Victor Hugo wanted it.  His true story was about people vastly beneath the notice of M. the Duc d’Orleans.  To give the appropriate sense of scale, he needed to show how ephemeral the allegedly important and noteworthy people and things in a year actually are.  What is really important takes longer to comprehend—and even the consensus of history keeps changing as history progresses.  Naturally Hugo also wanted us to take a step back from our own time and realize that soon it will all be as dull, insipid, and inconsequential as the affairs of 1817.

I really really hope you will take that lesson to heart, because most of our shared experience is made of flotsam—stupid tv shows, bad songs, political hacks who are already fading away, ugly fashions, and useless hype.  In 25 years, nobody but old fogeys and experts in early 21^st century culture will have any idea who Beyonce is.  In a hundred years nobody will understand Facebook or Google.  Even if he destroys the republic and precipitates universal war, precious few people will recall Trump in 2217.  By next week we will have forgotten this accursed “Milo” (who, I guess, is a failed actor who pretended to be a Nazi to make money off of conservative frenzy?).  It already doesn’t make sense!

As you proceed through the year 2017, hang on to the lessons of “The Year 1817”.  Most things that are current and fashionable and celebrated are useless piffle.  Celebrity culture has always been a meretricious mask used to defraud people of their money and attention.  The great are mostly not so great (sorry, Beyonce and Duc de Orleans), but beyond that, even the fundamental concept of current events or contemporary culture is predominantly a soap-bubble.  And where does that leave us?

Shepheardes Calender XI: November.

The November eclogue of the Shepheardes Calender is the best and strongest, but, alas, it is also the most mournful.  It is an elegy for a dead shepherd maiden.  The poetry actually accomplishes what some other parts of the work do not: it marries the allusions of ancient Rome and Greece with the Christian worldview of Early Modern England. Additionally  the poem alloys the Chaucerian English (which Spenser always looks back towards with such longing) with the modern English he used for writing and speaking.  The best parts of the poem anticipate metaphysical poetry…and maybe even some of Victorian verse.  If you listen to the sad yet thunderous music of the lament there is also not a little of Shakespeare in it: it is strange to be reminded that he had powerful antecedents and did not spring like Minerva from godhead.

Shepheardes Calender XI: November.

Edmund Spenser

THENOT. COLIN.

Colin, my Dear, when shall it please thee sing,
As thou wert wont, Songs of some Jouisance
Thy Muse too long slumbereth in sorrowing,
Lulled asleep through Love’s misgovernance.
Now somewhat sing, whose endless Sovenance
Emong the Shepherds Swains may aye remain;
Whether thee list thy loved Lass advance,
Or honour Pan with Hymns of higher Vein.

COLIN.
Thenot, now nis the time of Merry-make,
Nor Pan to herie, nor with Love to play;
Sike Mirth in May is meetest for to make,
Or Summer Shade, under the cocked Hay.
But now sad Winter welked hath the Day,
And Phoebus weary of his yearly Task,
Ystablisht hath his Steeds in lowly lay,
And taken up his Inn in Fishes Hask,
Thilk sullen Season sadder Plight doth ask,
And loatheth sike Delights, as thou doost praise:
The mournful Muse in Mirth now list ne mask,
As she was wont in Youngth and Summer-days.
But if thou algate lust light Virelays,
And looser Songs of Love to underfong
Who but thy self deserves sike Poet’s Praise?
Relieve thy Oaten Pipes, that sleepen long.

THENOT.
The Nightingale is Sovereign of Song,
Before him fits the Titmouse silent be:
And I, unfit to thrust in skilful Throng,
Should Colin make judge of my foolery?
Nay, better learn of hem that learned be,
And han been watred at the Muses Well:
The kindly Dew drops from the higher Tree,
And wets the little Plants that lowly dwell.
But if sad Winter’s Wrath, and Season chill,
Accord not with thy Muse’s Merriment;
To sadder times thou maist attune thy Quill,
And sing of Sorrow and Death’s Dreriment,
For dead is Dido, dead alas and drent!
Dido, the great Shepherd his Daughter sheen:
The fairest May she was that ever went,
Her like she has not left behind I ween.
And if thou wilt bewail my woeful Teen,
I shall thee give yond Cosset for thy pain:
And if thy Rimes as round and rueful been,
As those that did thy Rosalind complain,
Much greater Gifts for Guerdon thou shalt gain,
Than Kid or Cosset, which I thee benempt;
Then up I say, thou jolly Shepherd Swain,
Let not my small Demand be so contempt.

COLIN.
Thenot, to that I chose, thou dost me tempt,
But ah! too well I wote my humble vein,
And how my Rimes been rugged and unkempt:
Yet as I con, my Cunning I will strain.

Up then Melpomene, the mournfulst Muse of nine,
Such cause of mourning never hadst afore;
Up grisly Ghosts, and up my ruful Rime,
Matter of Mirth now shalt thou have no more:
For dead she is, that Mirth thee made of yore,
Dido my Dear, alas, is dead,
Dead, and lieth wrapt in Lead:
O heavy Herse!
Let streaming Tears be poured out in store:
O careful Verse!

Shepherds, that by your Flocks on Kentish Downs abide,
Wail ye this woful Waste of Nature’s Wark:
Wail we the Wight, whose Presence was our Pride;
Wail we the Wight, whose Absence is our Cark.
The Sun of all the World is dim and dark;
The Earth now wants her wonted light,
And all we dwell in deadly Night;
O heavy Herse!
Break we our Pipes, that shrill’d as loud as Lark:
O careful Verse!

Why do we longer live, (ah why live we so long?)
Whose better Days Death hath shut up in Woe?
The fairest Flower our Girlond all among,
Is faded quite, and into Dust ygo;
Sing now ye Shepherd’s Daughters, sing no mo
The Songs that Colin made you in her praise,
But into Weeping turn your wanton Lays.
O heavy Herse!
Now is time to die: Nay, time was long ygo.
O careful Verse!

Whence is it, that the Flowret of the Field doth fade,
And lieth buried long in Winter’s Bale?
Yet soon as Spring his Mantle hath displayde,
It flowreth fresh, as it should never fail.
But thing on Earth that is of most avail,
As Vertue’s Branch and Beauty’s Bud,
Reliven not for any good.
O heavy Herse!
The Branch once dead, the Bud eke needs must quail:
O careful Verse!

She while she was, (that was a woful Word to sain)
For Beauty’s Praise and Pleasance had no Peer:
So well she couth the Shepherds entertain
With Cakes and Cracknels, and such Country Cheer.
Ne would she scorn the simple Shepherd’s Swain;
For she would call him often heam,
And give him Curds and clouted Cream.
O heavy Herse!
Als Colin Clout she would not once disdain:
O careful Verse!

But now sike happy Cheer is turn’d to heavy Chaunce,
Such Pleasance now displac’d by Dolor’s dint:
All Musick sleeps, where Death doth lead the Daunce,
And Shepherds wonted Solace is extinct.
The blue in black, the green in gray is tinct:
The gaudy Girlonds deck her Grave,
The faded Flowers her Corse embrave.
O heavy Herse!
Mourn now my Muse, now mourn with Tears besprint:
O careful Verse!

O thou great Shepherd Lobbin, how great is thy Grief,
Where bin the Nosegays that she dight for thee?
The coloured Chaplets wrought with a chief,
The knotted Rush-rings, and gilt Rosemaree?
For she deemed nothing too dear for thee.
Ah, they been all yclad in Clay,
One bitter Blast blew all away.
O heavy Herse!
Thereof nought remains but the Memoree:
O careful Verse!

Ay me that dreery Death should strike so mortal Stroke,
That can undo Dame Nature’s kindly Course:
The faded Locks fall from the lofty Oke,
The Flouds do gasp, for dried is their Source,
And Flouds of Tears flow in their stead perforce.
The mantled Meadows mourn,
Their sundry Colours tourn:
O heavy Herse!
The Heavens do melt in Tears without remorse:
O careful Verse!

The feeble Flocks in Field refuse their former Food,
And hang their Heads, as they would learn to weep:
The Beasts in Forest wail as they were wood,
Except the Wolves, that chase the wandring Sheep,
Now she is gone, that safely did hem keep.
The Turtle on the bared Branch,
Laments the Wound, that Death did lanch.
O heavy Herse!
And Philomel her Song with Tears doth steep:
O careful Verse!

The Water Nymphs, that wont with her to sing and dance,
And for her Girlond Olive Branches bear,
Now baleful Boughs of Cypress done advance:
The Muses that were wont green Bays to wear,
How bringen bitter Elder Branches sere:
The fatal Sisters eke repent,
Her vital Threed so soon was spent.
O heavy Herse!
Mourn now my Muse, now mourn with heavy Chear:
O careful Verse!

O trustless State of earthly things, and slipper Hope
Of mortal Men, that swink and sweat for nought,
And shooting wide, do miss the marked Scope:
Now have I learn’d (a Lesson dearly bought)
That nis on Earth assurance to be sought:
For what might be in earthly Mould;
That did her buried Body hold;
O heavy Herse!
Yet saw I on the Beere when it was brought:
O careful Verse!

But maugre Death, and dreaded Sisters deadly spight:
And Gates of Hell, and fiery Furies force;
She hath the Bonds broke of eternal Night,
Her Soul unbodied of the burdenous Corse.
Why then weeps Lobbin so without remorse?
O Lobb, thy Loss no longer lament;
Dido nis dead, but into Heaven hent:
O happy Herse!
Cease now my Muse, now cease thy Sorrow’s sourse,
O joyful Verse!

Why wail we then? why weary we the Gods with Plaints,
As if some Evil were to her betight?
She reigns a Goddess now emong the Saints,
That whylom was the Saint of Shepherds light;
And is enstalled now in Heavens hight.
I see the blessed soul, I see,
Walk in Elysian Fields so free.
O happy Herse!
Might I once come to thee (O that I might!)
O joyful Verse!

Unwise and wretched Men to weet what’s Good or Ill,
We deem of Death as doom of ill Desert:
But knew we, Fools, what it us brings until,
Die would we daily, once it to expert:
No Danger there the Shepherd can assert;
Fair Fields and pleasant Layes there been;
The Fields aye fresh, the Grass aye green:
O happy Herse!
Cease now my Song, my Woe now wasted is,
O joyful Verse!

Dido is gone afore (whose turn shall be the next?)
There lives she with the blessed Gods in Bliss;
There drinks she Nectar with Ambrosia mixt,
And Joys enjoys, that mortal Men do miss.
The Honour now of highest Gods she is,
That whylom was poor Shepherds Pride,
While here on Earth she did abide:
O happy Herse!
Cease now my Song, my Woe now wasted is:
O joyful Verse!

THENOT.
Aye frank Shepherd, how been thy Verses meint
With doleful Pleasance, so as I ne wot,
Whether rejoyce or weep for great constraint?
Thine be the Cosset, well hast thou it got.
Up Colin up, ynough thou mourned hast:
Now ‘gins to mizzle, hie we homeward fast.

COLIN’S EMBLEM.
La mort ny mord.