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Annual Bibliography of Commonwealth Literature 2007
This paper argues that discourses of love in Ghanaian market literature for youth offer a view into complex negotiations of agency and empowerment. Drawing on Deborah Durham's notion of youth as "social `shifters'" and Francis Nyamnjoh's conception of the "interconnectedness" of agency, I take Ghanaian market literature as one specific case of how African literature for youth foregrounds questions of continuity and change as African societies enter into increasingly complex global relations. In this literature for youth, received notions of love, often constructed out of impressions from American pop and hip hop music, carry new notions of agency that compete with existing "domesticated" forms. Authors like Ike Tandoh and Evelyn Tay employ discourses of love to offer youth alternative avenues for empowerment in a context of socio-economic disenfranchizement. In a creative process of "straddling", this writing both reveals and reproduces the contradictions that obtain in youth configurations of agency.

Fifty Bab Ballads

W >> William S. Gilbert >> Fifty Bab Ballads

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It was enough: they felt they could more pleasantly get on,
For (ah, the magic of the fact!) they each knew ROBINSON!
And Mr. SOMERS' turtle was at PETER'S service quite,
And Mr. SOMERS punished PETER'S oyster-beds all night.

They soon became like brothers from community of wrongs:
They wrote each other little odes and sang each other songs;
They told each other anecdotes disparaging their wives;
On several occasions, too, they saved each other's lives.

They felt quite melancholy when they parted for the night,
And got up in the morning soon as ever it was light;
Each other's pleasant company they reckoned so upon,
And all because it happened that they both knew ROBINSON!

They lived for many years on that inhospitable shore,
And day by day they learned to love each other more and more.
At last, to their astonishment, on getting up one day,
They saw a frigate anchored in the offing of the bay.

To PETER an idea occurred. "Suppose we cross the main?
So good an opportunity may not be found again."
And SOMERS thought a minute, then ejaculated, "Done!
I wonder how my business in the City's getting on?"

"But stay," said Mr. PETER: "when in England, as you know,
I earned a living tasting teas for BAKER, CROOP, AND CO.,
I may be superseded--my employers think me dead!"
"Then come with me," said SOMERS, "and taste indigo instead."

But all their plans were scattered in a moment when they found
The vessel was a convict ship from Portland, outward bound;
When a boat came off to fetch them, though they felt it very kind,
To go on board they firmly but respectfully declined.

As both the happy settlers roared with laughter at the joke,
They recognized a gentlemanly fellow pulling stroke:
'Twas ROBINSON--a convict, in an unbecoming frock!
Condemned to seven years for misappropriating stock!!!

They laughed no more, for SOMERS thought he had been rather rash
In knowing one whose friend had misappropriated cash;
And PETER thought a foolish tack he must have gone upon
In making the acquaintance of a friend of ROBINSON.

At first they didn't quarrel very openly, I've heard;
They nodded when they met, and now and then exchanged a word:
The word grew rare, and rarer still the nodding of the head,
And when they meet each other now, they cut each other dead.

To allocate the island they agreed by word of mouth,
And PETER takes the north again, and SOMERS takes the south;
And PETER has the oysters, which he hates, in layers thick,
And SOMERS has the turtle--turtle always makes him sick.



Ballad: AT A PANTOMIME. BY A BILIOUS ONE.



An Actor sits in doubtful gloom,
His stock-in-trade unfurled,
In a damp funereal dressing-room
In the Theatre Royal, World.

He comes to town at Christmas-time,
And braves its icy breath,
To play in that favourite pantomime,
Harlequin Life and Death.

A hoary flowing wig his weird
Unearthly cranium caps,
He hangs a long benevolent beard
On a pair of empty chaps.

To smooth his ghastly features down
The actor's art he cribs, -
A long and a flowing padded gown.
Bedecks his rattling ribs.

He cries, "Go on--begin, begin!
Turn on the light of lime -
I'm dressed for jolly Old Christmas, in
A favourite pantomime!"

The curtain's up--the stage all black -
Time and the year nigh sped -
Time as an advertising quack -
The Old Year nearly dead.

The wand of Time is waved, and lo!
Revealed Old Christmas stands,
And little children chuckle and crow,
And laugh and clap their hands.

The cruel old scoundrel brightens up
At the death of the Olden Year,
And he waves a gorgeous golden cup,
And bids the world good cheer.

The little ones hail the festive King, -
No thought can make them sad.
Their laughter comes with a sounding ring,
They clap and crow like mad!

They only see in the humbug old
A holiday every year,
And handsome gifts, and joys untold,
And unaccustomed cheer.

The old ones, palsied, blear, and hoar,
Their breasts in anguish beat -
They've seen him seventy times before,
How well they know the cheat!

They've seen that ghastly pantomime,
They've felt its blighting breath,
They know that rollicking Christmas-time
Meant Cold and Want and Death, -

Starvation--Poor Law Union fare -
And deadly cramps and chills,
And illness--illness everywhere,
And crime, and Christmas bills.

They know Old Christmas well, I ween,
Those men of ripened age;
They've often, often, often seen
That Actor off the stage!

They see in his gay rotundity
A clumsy stuffed-out dress -
They see in the cup he waves on high
A tinselled emptiness.

Those aged men so lean and wan,
They've seen it all before,
They know they'll see the charlatan
But twice or three times more.

And so they bear with dance and song,
And crimson foil and green,
They wearily sit, and grimly long
For the Transformation Scene.



Ballad: HAUNTED.



Haunted? Ay, in a social way
By a body of ghosts in dread array;
But no conventional spectres they -
Appalling, grim, and tricky:
I quail at mine as I'd never quail
At a fine traditional spectre pale,
With a turnip head and a ghostly wail,
And a splash of blood on the dickey!

Mine are horrible, social ghosts, -
Speeches and women and guests and hosts,
Weddings and morning calls and toasts,
In every bad variety:
Ghosts who hover about the grave
Of all that's manly, free, and brave:
You'll find their names on the architrave
Of that charnel-house, Society.

Black Monday--black as its school-room ink -
With its dismal boys that snivel and think
Of its nauseous messes to eat and drink,
And its frozen tank to wash in.
That was the first that brought me grief,
And made me weep, till I sought relief
In an emblematical handkerchief,
To choke such baby bosh in.

First and worst in the grim array-
Ghosts of ghosts that have gone their way,
Which I wouldn't revive for a single day
For all the wealth of PLUTUS -
Are the horrible ghosts that school-days scared:
If the classical ghost that BRUTUS dared
Was the ghost of his "Caesar" unprepared,
I'm sure I pity BRUTUS.

I pass to critical seventeen;
The ghost of that terrible wedding scene,
When an elderly Colonel stole my Queen,
And woke my dream of heaven.
No schoolgirl decked in her nurse-room curls
Was my gushing innocent Queen of Pearls;
If she wasn't a girl of a thousand girls,
She was one of forty-seven!

I see the ghost of my first cigar,
Of the thence-arising family jar -
Of my maiden brief (I was at the Bar,
And I called the Judge "Your wushup!")
Of reckless days and reckless nights,
With wrenched-off knockers, extinguished lights,
Unholy songs and tipsy fights,
Which I strove in vain to hush up.

Ghosts of fraudulent joint-stock banks,
Ghosts of "copy, declined with thanks,"
Of novels returned in endless ranks,
And thousands more, I suffer.
The only line to fitly grace
My humble tomb, when I've run my race,
Is, "Reader, this is the resting-place
Of an unsuccessful duffer."

I've fought them all, these ghosts of mine,
But the weapons I've used are sighs and brine,
And now that I'm nearly forty-nine,
Old age is my chiefest bogy;
For my hair is thinning away at the crown,
And the silver fights with the worn-out brown;
And a general verdict sets me down
As an irreclaimable fogy.



Footnotes:

{1} A version of this ballad is published as a Song, by Mr.
Jeffreys, Soho Square.

{2} This ballad is published as a Song, under the title "If," by
Messrs. Cramer and Co.

{3} "Go with me to a Notary--seal me there
Your single bond."--Merchant of Venice, Act I., sc. 3.

{4} "And there shall she, at Friar Lawrence' cell,
Be shrived and married."--Romeo and Juliet, Act II., sc. 4.

{5} "And give the fasting horses provender."--Henry the Fifth, Act
IV., sc. 2.

{6} "Let us, like merchants, show our foulest wares."--Troilus and
Cressida, Act I., sc. 3.

{7} "Then must the Jew be merciful."--Merchant of Venice, Act IV.,
sc. 1.

{8} "The spring, the summer,
The chilling autumn, angry winter, change
Their wonted liveries."--Midsummer Night Dream, Act IV., sc. 1.

{9} "In the county of Glo'ster, justice of the peace and coram."
Merry Wives of Windsor, Act I., sc. 1.

{10} "What lusty trumpet thus doth summon us?"--King John, Act V.,
sc. 2.

{11} "And I'll provide his executioner."--Henry the Sixth (Second
Part), Act III., sc. 1.

{12} "The lioness had torn some flesh away,
Which all this while had bled."--As You Like It, Act IV., sc. 3.

{13} Described by MUNGO PARK.

{14} "Like a bird."--Slang expression.

{15} Reprinted from the "The Graphic," by permission of the
proprietors.





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