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Post by Adey on Oct 3, 2005 20:23:34 GMT
NFE - according to the generally perceived wisdom - is the first of her albums that Kate was really happy with. It's unique feel & styles are I believe, down to her really taking control of the arrangements for the first time, rather than being at the mercy of a talented producer (Andrew Powell) and an in-house EMI retained band, no matter how sympathetic they all were.
So no, not a concept album per se, but the start of Kate's unique conceptual vision as to how music - and thus her recordings - should be made. NFE is a celebration of her rapidly growing independence at that time and the first flowering of that independence. Love it for that, if nothing else..
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Post by Al Truest on Oct 4, 2005 1:20:43 GMT
NFE - according to the generally perceived wisdom - is the first of her albums that Kate was really happy with. It's unique feel & styles are I believe, down to her really taking control of the arrangements for the first time, rather than being at the mercy of a talented producer ( Andrew Powell) and an in-house EMI retained band, no matter how sympathetic they all were. So no, not a concept album per se, but the start of Kate's unique conceptual vision as to how music - and thus her recordings - should be made. NFE is a celebration of her rapidly growing independence at that time and the first flowering of that independence. Love it for that, if nothing else.. That's what I was going to say. Very true Adey.
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Sheila
Moving
Life is a minestrone served up with parmesan cheese.
Posts: 701
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Post by Sheila on Oct 15, 2005 4:13:27 GMT
NFE - according to the generally perceived wisdom - is the first of her albums that Kate was really happy with. It's unique feel & styles are I believe, down to her really taking control of the arrangements for the first time, rather than being at the mercy of a talented producer ( Andrew Powell) and an in-house EMI retained band, no matter how sympathetic they all were. So no, not a concept album per se, but the start of Kate's unique conceptual vision as to how music - and thus her recordings - should be made. NFE is a celebration of her rapidly growing independence at that time and the first flowering of that independence. Love it for that, if nothing else.. That's what I was going to say. Very true Adey. That might (most likely) have something to do with why this is favorite album. But it also has to do with the fact I think it is the most brilliant lyrically. And I think it has the best album cover too! Not that I believe for a second that you can judge a book (album) by it's cover----just another musing.
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Post by Kevin2 on Nov 16, 2005 7:57:10 GMT
That might (most likely) have something to do with why this is favorite album. ah hah Greetings fellow Never for Ever-ite! It's my favorite album too though it's that simply due to it being the first Kate album I heard. (But yeah, rockin' cover.) So what do you think - does Babooshka end in divorce or frisky business?
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Max
Reaching Out
You and I and Rosabel believe
Posts: 152
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Post by Max on Sept 6, 2006 11:09:24 GMT
That might (most likely) have something to do with why this is favorite album. ah hah Greetings fellow Never for Ever-ite! It's my favorite album too though it's that simply due to it being the first Kate album I heard. (But yeah, rockin' cover.) So what do you think - does Babooshka end in divorce or frisky business? I saw a video on YouTube of Kate talking about Babooshka, and she was saying that the song ends with the woman throwing plates at the husband in the cafe in which she arranges to meet him. This would explain the sounds of breaking glass/china at the end of the song.
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Post by Kevin2 on Sept 7, 2006 20:39:01 GMT
Ooh yeah... now that you've mentioned it, Max, I do recall seeing a listing for that video. I've been tempted though cause I can't recall ever seeing/hearing Kate talk about any of her songs... which I'm glad for.
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Post by Barry SR Gowing on Apr 13, 2008 2:18:03 GMT
Tannis just posted (in the poetry thread) a link to Kate commenting about this album. I thought it was worth mentioning here: gaffa.org/garden/kate8.htmlKate attempts a brief summary of each song, and also comments on the album cover: The album cover has been beautifully created by Nick Price (you may remember that he designed the front of the Tour programme). On the cover of Never For Ever Nick takes us on an intricate journey of our emotions: inside gets outside, as we flood people and things with our desires and problems. These black and white thoughts, these bats and doves, freeze-framed in flight, swoop into the album and out of your hi-fis. Then it's for you to bring them to life.This is definitely one cover where it pays to get the LP! Upon first looking at the cover one is immediately drawn to the phantasmagoria of creatures and apparitions flying toward the viewer. Only later is one's eye drawn up to the top left hand corner to find Kate herself standing there, evidently the source of it all. The way this is represented is quite spectacular. --Paul--
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Post by rosabelbelieve on Apr 13, 2008 22:44:40 GMT
Yes, isn't the Never For Ever album cover just fantastic! The artwork is gorgeous, and I love the idea of it representing the whole of life, complete with all the bats and doves, the monstrous and the beautiful. Kate has always been an artist who explores the whole spectrum, and this cover illustrates that wonderfully, I think.
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Post by tannis on May 14, 2008 16:45:49 GMT
This is definitely one cover where it pays to get the LP! Upon first looking at the cover one is immediately drawn to the phantasmagoria of creatures and apparitions flying toward the viewer. Only later is one's eye drawn up to the top left hand corner to find Kate herself standing there, evidently the source of it all... KATE'S BUSH and KATE'S BOSCH...
On the attic cover to Lionheart, Kate's slender, 'heroin chic' frame is photographed on top of a signed crate. What is hiding in the attic crate? What does KaTe conceal in her 'Pandora's box'? What story does the cover tell? On the cover to Never for Ever, KaTe opens her 'Pandora's Box', and the attic crate reveals a flow of Boschian monsters and chimeras!
The Never for Ever cover reads like a visual pun or catch phrase play on KaTe's name: Kate, Bosch, Kate Bush..."Light and dark, good and bad. Both types of emotions flow out of Kate Bush and into her songs. Visually, it's all there on the sleeve of Never For Ever. Nick Price's Hieronymus Bosch-style cover shows a confused mass of bats and swans. The latter symbolise good, and on their backs ride the bad--all of them billowing out of Kate's dress, which is handsomely decorated with the clouds of her imagination." - gaffa.org/reaching/i80_rm.htmlNick Price, the artist on Never For Ever: "She gave me a specific brief. Light and dark creatures coming out from under her skirt. I think the meaning is unequivocal, but I did ask her at the time. She just gave a big grin!" In earlier centuries, Hieronymus Bosch was regarded as "the inventor of monsters and chimeras". Bosch confronts his viewer with a world of dreams and nightmares in which forms seem to flicker and change before our eyes. In the twentieth century, scholars have come to view Bosch’s vision as less fantastic, and accepted that his art reflects the orthodox religious belief systems of his age. His depictions of sinful humanity, his conceptions of Heaven and Hell are now seen as consistent with those of late medieval didactic literature and sermons. In 1960, the art historian Ludwig von Baldass wrote that Bosch shows "how sin came into the world through the Creation of Eve, how fleshly lusts spread over the entire earth, promoting all the Deadly Sins, and how this necessarily leads straight to Hell". Charles de Tolnay wrote that the center panel represents "the nightmare of humanity", where "the artist's purpose above all is to show the evil consequences of sensual pleasure and to stress its ephemeral character". Hieronymus Bosch. Temptation of St. Anthony. Central panel, 1500upload.wikimedia.org/wikipedia/commons/thumb/9/9c/Temptation_of_Saint_Anthony_central_panel_by_Bosch.jpeg/549px-The Garden of Earthly Delights, Hell, 1504, Boschwww.dinocrat.com/wp-content/Hieronymus_Bosch_-_The_Garden_of_Earthly_Delights_-_Hell.jpg...and KATE'S BATS! gaffa.org/wow/k285.jpggaffa.org/wow/k286.jpggaffa.org/wow/k287.jpgKATE BUSH, Never for Ever, 1980 (Drawings: Nick Price; Photography: JCB)gaffa.org/sensual/cov_nfe2.jpg
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Post by tannis on May 14, 2008 22:12:19 GMT
KB: "Its name is Never For Ever, and I've called it this because I've tried to make it reflective of all that happens to you and me. Life, love, hate, we, are all transient. All things pass, neither good or evil lasts. So we must tell our hearts that it is "never for ever," and be happy that it's like that!" Kate's KBC article (1980)gaffa.org/garden/kate8.htmlThe phrase Never for Ever is rather like the Latin Memento mori, translated as "Remember that you are mortal," "Remember you will die," or "Remember your death". "Om mani padme hum" (the blessed jewel within the lotus) has become "Never for Ever" (Life, love, hate, we, are all transient). Indeed, the bottom left-hand corner of the album could be interpreted as a tomb inscription that simply reads: Never for Ever Kate BushAll things pass, neither good or evil lasts; and death is a state of being never for ever. On Never for Ever, Kate is as deathly pale as 'Cathy'. She stands on her funeral mound, "barefoot and pregnant", reincarnating light and dark creatures, giving it all from her billowing aerial-decorated dress... Indeed, the photoshoot for the NFE album sleeve shows KaTe wearing what seems to be a red chintz maternity dress... www.kundavega.com/kate/stickyB.jpggaffa.org/wow/k_b.jpgand see also: gaffa.org/wow/k187.jpgDeath and morbid curiosity are often found at the heart of KaTe's work, from Wuthering Heights to King of the Mountain. On May 12, 1978, the television special was broadcast with KaTe singing in and around the Haunted Castle at Efteling theme park. Reportedly this was Kate Bush’s first television appearance. And right from the very beginning KaTe had her tombstone in mind... In the "Kate Bush Special from De Efteling theme park" (1978), one of the props KaTe uses is a macabre tombstone inscribed 'KATE BUSH'!KATE BUSHgaffa.org/passing/de1.gifKate Bush - Wuthering heightswww.youtube.com/watch?v=IuTXqtAswk4On the back cover to NFE is a Sunset photograph - the 'sun and the moon meet' and KaTe takes to the sky as vampire bats. Note that the NFE Back Cover ("concept and photography, John Carder Bush") has a very similar 'sun set meeting moon' theme to the Back cover ("original ideas: John Carder Bush and Del Palmer") of The Kick Inside. Both the NFE and TKI back covers feature a sunset sky with moon and flying creatures. Even the sloping hill horizon is similar... see Kate Bush - The Album Coverswww.katebush.pl/minivinyl.htm
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Post by tannis on Mar 24, 2009 3:27:13 GMT
On Never for Ever, Kate is as deathly pale as 'Cathy'. She stands on her funeral mound, "barefoot and pregnant", reincarnating light and dark creatures, giving it all from her billowing aerial-decorated 'maternity' dress. Indeed, the bottom left-hand corner of the album could be interpreted as a tombstone inscription that simply reads: Never for Ever Kate Bush
The NFE Back Cover ("concept and photography, John Carder Bush") has a very similar 'sun set meeting moon' theme to the Back cover of The Kick Inside ("original ideas: John Carder Bush and Del Palmer"). Both the NFE and TKI back covers feature a sunset sky with moon and flying creatures. Even the sloping horizon line hill is similar. On NFE, KaTe takes to the sky as vampire bats out of hell.
The original 1980 French Pathe Marconi/EMI 7" vinyl single for BREATHING has the unique 'Bat-Wings' Kate Bush picture sleeve with lyrics on the reverse. On the front cover, Kate is all masked up like a Bat out of Hell.Kate: I want people to know the record's out there [Aerial]. And so I have to let people know that it's out there. But I know, I just get on with my life, and so this for me is just a very small part of it. And yet for people standing at the outside looking in, this is a bit that they see and then they have this impression of me just retreating away into you know, some sort of big... vampire castle or something. BBC Radio 2, "Talking with Kate", August 5, 2006www.gaffaweb.org/reaching/iv06_bbc2_Mark_Radcliff_Talking_with_Kate.html Unique amongst mammals, the common vampire bat feeds entirely on blood sucked from its warm-blooded prey. Bat out of Hell is a 1977 album by singer Meat Loaf, songwriter Jim Steinman, and producer Todd Rundgren that became one of the best-selling albums worldwide. The album developed from a musical, Neverland, a sci-fi update of Peter Pan, which Steinman wrote for a workshop performed at the Kennedy Centre in 1977. Steinman is credited with the album cover concept, which was illustrated by Richard Corben. The cover depicts a motorcycle, ridden by a long-haired male, bursting out of the ground in a graveyard. In the background, a large bat perches atop a mausoleum that towers above the rest of the tombstones.So maybe KT took inspiration from the cover of Meat Loaf's Bat out of Hell for the cover of Never For Ever ... at least the idea of a Bat out of Hell! The phrase "Bat out of Hell" can be traced back to the Greek playwright Aristophanes' 414 BC work entitled The Birds. In it is what is believed to be the first reference to a bat out of Hell: "Near by the land of the Sciapodes there is a marsh, from the borders whereof the unwashed Socrates evokes the souls of men. Pisander came one day to see his soul, which he had left there when still alive. He offered a little victim, a camel, slit his throat and, following the example of Odysseus, stepped one pace backwards. Then that bat of a Chaerephon came up from hell to drink the camel's blood."
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Post by tannis on Apr 15, 2009 20:27:17 GMT
AS FAR AS THE FALL
He got her drunk very quickly Holding hands, they found the broom-cupboard Where he had control as far as the fall ~ Organic Acid The cover sleeve to Kate Bush's Never For Ever seems to show a Bruegelian shower of fallen angels. So is KT a true Poet, and after the Devil's party? ... Pieter Bruegel the Elder, The Fall of the Rebel Angels, 1562, Royal Museums of Fine Arts of Belgium, Brussels KT: "I would want to be Bruegel, definitely". Melody Maker, "Fairy Tales & Nursery Rhymes", Ted Nico, August 24, 1985www.gaffaweb.org/reaching/i85_mm2.html"The reason Milton wrote in fetters when he wrote of Angels & God, and at liberty when of Devils & Hell, is because he was a true Poet, and of the Devil's party without knowing it." That was William Blake's view of Milton's Paradise Lost. Is the same true of Bruegel – a true artist, and on the Devil's side?
At first it seems unlikely. Look at his Fall of the Rebel Angels. Milton's fallen angels have grandeur and dignity in their defiance. They have ranks and echelons. They have some sort of human form. Bruegel's fallen angels are an appalling shower.
Falling from grace, they have lost their angelic natures and turned into a menagerie of yucky, hybrid critters and beasties. Bizarre, absurd, unpleasant things, they seem neither powerfully dangerous nor deeply evil. They are essentially ridiculous. It is a most unromantic embodiment of sin. Who could be tempted by a devil half-made of seafood?
They plunge in a fizzing swarm, like anti-moths, away from the disc of divine light. They spread out to fill the whole lower half of the picture in a dense and chaotic throng. At the bottom right corner they're being sucked down a fiery plughole to hell.
Bruegel presents these devils as a domestic nuisance, an infestation. The "war in heaven" is a hygiene operation. The task of St Michael, the skinny golden knight, and his fellow loyal angels in white robes, is the kind of disgusting, necessary job that might confront any countryman or town dweller – getting rid of a plague of vermin, beating the things out, driving them away.
But the story isn't straightforward. Bruegel is an artist who believes in multitudes and masses more than individual figures. This seething infestation of devils is pictorially more than a match for the handful of squeamish-looking beaters with their tiny shields held at arm's length. It's full of energy, and imaginative energy, too.
What an eyeful! It's an extraordinary miscellany, made of scattered bits of the world – sea creatures, butterflies, poultry, armoured knights, tentacles, tails, eggs and fruit. You can pick out an inflated puffer fish, a sycamore seed, a mushroom cup, a skeleton.
It's natural to think of an earlier artist, Hieronymus Bosch. His work was clearly an inspiration to Bruegel. But the similarity holds a big difference. It's the difference between two kinds of fantasy art. One is devoted to sheer invention. The other brings its inventions to life.
Bosch's phantasmagoria have casts of thousands. He has an endless ability to make things up, to coin weird and queasy combinations. But his creatures remain figments of his imagination. Looking at them, you think of the mind that so ingeniously devised them. Looking at Bruegel's, you think of the creatures themselves.
What Baudelaire said of Goya is also true of Bruegel: "Goya's great merit consists of making the monstrous plausible. His monsters were born viable. Nobody has managed to surpass him for a sense of the possible absurd. All these contortions, these bestial faces, these diabolical grimaces are pierced with humanity."
Bruegel's monsters, more monstrous than Goya's, have life burgeoning in them– yelling, writhing, growling, colliding. The struggle of wild, revolting devils against lean, dainty, tidying angels, is the kind confrontation Bruegel is often drawn to: fat vs thin, gluttons vs prudes. He's not quite of the Devil's party, but he can certainly feel with both sides.The Independent's Great Art serieswww.independent.co.uk/arts-entertainment/art/great-works/bruegel-pieter-the-fall-of-the-rebel-angels-1562-897006.html[/b][/center] KT: "A lot of people think it's hilarious that all the ideas are coming out from under my skirt. But the good and bad things pour out of me in the form of music. It's terrible, it comes out like diarrhoea! And it's to hint that so much of it comes from a sexual need, from inside me, though it could also be from my stomach, my side . . . excretions. We had to be careful with the title because of all that, there was my skirt blowing about, but there couldn't be anything about 'wind' in it or that would make the whole album one big fart." Sounds, "Labushka", Phil Sutcliffe, August 30, 1980 www.gaffaweb.org/reaching/i80_so.htmlThe Manneken Pis is a very famous Brussels landmark. It is a small bronze fountain sculpture depicting a naked little boy urinating into the fountain's basin. On many occasions, the statue is dressed in a costume. His wardrobe now consists of several hundred different costumes. The costumes are changed according to a schedule managed by the non-profit association The Friends of Manneken-Pis, in ceremonies that are often accompanied by brass band music. KaTe adopts a masculine showering stance on NFE, so maybe they should consider an aerial NFE dress costume... Jeanneke Pis is a modern fountain and statue in Brussels, which forms a counterpoint in gender terms to the city's trademark Manneken Pis at the Grand Place (Grote Markt). It was made by Denis-Adrien Debouvrie in 1985 and erected in 1987 and endowed with its own instant legend, the better to amuse strollers. This half-metre-high statue of blue-grey limestone depicts a little girl with her hair in short pigtails, squatting and urinating, apparently very contentedly.
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Post by tannis on Jun 2, 2009 23:27:27 GMT
~ Kate Bush "Breathing" French picture sleeve ~ 'Girl in Fancy Dress', Museum Victoria Collections, Australia ~ Cabaret Fledermaus Poster, Josef von Diveky, 1907 ~ Les Vampires (Louis Feuillade, 1915)Musidora (February 23, 1889 – December 11, 1957) was the stage name of Jeanne Roques, a popular French silent film actress. She became famous for her vamp roles in such film serials as Les Vampires and Judex. In addition to acting she directed and wrote many of her films.
Beginning in 1915, Musidora began appearing in the hugely successful Feuillade-directed serials Les Vampires as Irma Vep (an anagram of "vampire"), a cabaret singer, opposite Édouard Mathé as crusading journalist, Philippe Guerande. Contrary to the title, the Les Vampires were not actually about vampires, but about a criminal gang cum secret society inspired by the exploits of the real-life Bonnot Gang. Vep, besides playing a leading role in the Vampires' crimes, also spends two episodes under the hypnotic control of Moreno, a rival criminal who makes her his lover and induces her to assassinate the Grand Vampire.
The somewhat surreal series was an immediate success with French cinema-goers and ran in ten installments until 1916. After the Les Vampires serial, Musidora starred as 'Diana Monti' in another popular Feuillade serial, Judex opposite René Cresté, filmed in 1916 but delayed for release until 1917 because of the outbreak of World War I. Though not intended to be "avant-garde," Les Vampires and Judex have been lauded by critics as the birth of avant-garde cinema and cited by such renowned filmmakers as Fritz Lang and Luis Buñuel as being extremely influential in their desire to become directors.
The Kate Bush 'Breathing - Bat-Wings Sleeve' was a France-only single release (1980 French Pathe Marconi/EMI 2C008-07.286). Was this a nod to Irma Vep and the Les Vampires (Louis Feuillade, 1915) silent film serial? Or is the cover just a coincidence?see more: Les Vampires - Ep. 2 - Louis Feuilladewww.youtube.com/watch?v=o9KTaZff9JM&feature=related4:00...Crowley Trivia ~ Bat Wife: At one point he became convinced his wife was a bat, Crowley forced her to sleep tied upside down in a closet at nights... www.lashtal.com/nuke/Article238.phtml
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Post by tannis on Jun 18, 2009 13:27:24 GMT
NICK PRICE and THE SKY LADY [/b] Nick Price profile[/center] Nick Price's work has been used in many different areas and you are bound to have seen some of his posters for advertising companies at some time. From elephant aeroplanes to cans of beer by cosy fires, from the hilarious camel bursting though the cigarette packet to book jackets for John Irving's best selling novels. He has worked on many childrens' illustrations and he is busily involved at present in cartoon animation. Some of his animations can be seen in the Dr. Snuggles series - one of those people whose doodles are so exciting you want to pocket them before he screws them up and chucks them in the bin. He first worked with Kate on the '79 Tour Programme and poster which we came to know as The Sky Lady. KBC Mag 07 ( KBC Issue 7, Sept 1980)[/color]
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Post by tannis on Sept 14, 2009 12:27:38 GMT
Never for Ever [/center] Never here, forever there, Where all parting, pain, and care, And death, and time shall disappear,-- Forever there, but never here! The horologe of Eternity Sayeth this incessantly,-- "Forever--never! Never--forever!"KB: "Its name is Never For Ever, and I've called it this because I've tried to make it reflective of all that happens to you and me. Life, love, hate, we, are all transient. All things pass, neither good or evil lasts. So we must tell our hearts that it is "never for ever," and be happy that it's like that!" Kate's KBC article (1980)gaffa.org/garden/kate8.htmlKT seems to be claiming the idea of 'Never For Ever' as her own. Has she been caught plagiarizing? After all, she has in the past admitted to artistic theft. Apparently, there is an unreleased, unheard Never For Ever song which was left off the album. So maybe KT met with copyright problems à la The Sensual World? ... The Old Clock on the Stairs, Edward Lamson Henry, 1868 The Old Clock on the Stairs by Henry Wadsworth Longfellow (November 1845)
Somewhat back from the village street Stands the old-fashioned country-seat. Across its antique portico Tall poplar-trees their shadows throw; And from its station in the hall An ancient timepiece says to all,-- "Forever--never! Never--forever!"
Half-way up the stairs it stands, And points and beckons with its hands From its case of massive oak, Like a monk, who, under his cloak, Crosses himself, and sighs, alas! With sorrowful voice to all who pass,-- "Forever--never! Never--forever!"
By day its voice is low and light; But in the silent dead of night, Distinct as a passing footstep's fall, It echoes along the vacant hall, Along the ceiling, along the floor, And seems to say, at each chamber-door,-- "Forever--never! Never--forever!"
Through days of sorrow and of mirth, Through days of death and days of birth, Through every swift vicissitude Of changeful time, unchanged it has stood, And as if, like God, it all things saw, It calmly repeats those words of awe,-- "Forever--never! Never--forever!"
In that mansion used to be Free-hearted Hospitality; His great fires up the chimney roared; The stranger feasted at his board; But, like the skeleton at the feast, That warning timepiece never ceased,-- "Forever--never! Never--forever!"
There groups of merry children played, There youths and maidens dreaming strayed; O precious hours! O golden prime, And affluence of love and time! Even as a Miser counts his gold, Those hours the ancient timepiece told,-- "Forever--never! Never--forever!"
From that chamber, clothed in white, The bride came forth on her wedding night; There, in that silent room below, The dead lay in his shroud of snow; And in the hush that followed the prayer, Was heard the old clock on the stair,-- "Forever--never! Never--forever!"
All are scattered now and fled, Some are married, some are dead; And when I ask, with throbs of pain. "Ah! when shall they all meet again?" As in the days long since gone by, The ancient timepiece makes reply,-- "Forever--never! Never--forever!
Never here, forever there, Where all parting, pain, and care, And death, and time shall disappear,-- Forever there, but never here! The horologe of Eternity Sayeth this incessantly,-- "Forever--never! Never--forever!"
-THE END-Notes: i) The house commemorated in the poem is the Gold house, now known as the Plunkett mansion, in Pittsfield, Massachusetts, the homestead of Mrs. Longfellow's maternal grandfather, whither Mr. Longfellow went after his marriage in the summer of1843. The poem was not written, however, till November, 1845, when, under date of the 12th of the month, he wrote in his diary: `Began a poem on a clock, with the words "Forever, never," as the burden; suggested by the words of Bridaine, the old French missionary, who said of eternity, c'est une penduledont le balancier dit et redit sans cesse ces deux mots seulement dans le silence des tombeaux,--Toujours, jamais! Jamais, toujours! Etpendant ces effrayables révolutions, un réprouvés'écrie, "Quelle heure est-il?" et la voix d'un autre misérablelui répond, "L'Eternité."' (Editor, p. 231.) The French passage reads, in English: "This is a clock of which the pendulum says and repeats endlessly those two words only in the tombs' silence, -- Always, never! Never, always! And during these frightening changes, a condemned one cries out, `What time is it?' and the voice of another wretched one replies, `Eternity.'" ii) “for ever” and “forever” are the same, it’s just a matter of nationality (UK= for ever; US= forever). In British usage, for ever means for eternity (or a very long time), as in "I have been waiting for you for ever." Forever means continually, always, as in "They are forever arguing." Forever prevails in all senses in Canada, Australia and New Zealand.The Captive Heart - Brendan Perry - DEAD CAN DANCE - Eye of the Hunter (2003)www.youtube.com/watch?v=91FEKnVaCu0see more: Paranoid Fun: I found a book on how to be invisible...katebush.proboards.com/index.cgi?board=partone&action=display&thread=429
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