Planet Rugby Forum

shanky wrote:Given the recent silliness, I had the idea to bow out and move on, but with perhaps a meaningful parody of something famous...!

The below was my choice...’An Australian poster foresees his banning’ or somesuch.

As it turns out, and not being Softie, or Tah, or JMK, or any of those blokes, I (perhaps wisely) chose to leave the words alone. They wouldn’t be improved by me. LOL

Ladies and Gentlemen - if you didn’t already know - meet WB.



An Irish Airman foresees his Death

I know that I shall meet my fate
Somewhere among the clouds above;
Those that I fight I do not hate,
Those that I guard I do not love;
My country is Kiltartan Cross,
My countrymen Kiltartan’s poor,
No likely end could bring them loss
Or leave them happier than before.
Nor law, nor duty bade me fight,
Nor public men, nor cheering crowds,
A lonely impulse of delight
Drove to this tumult in the clouds;
I balanced all, brought all to mind,
The years to come seemed waste of breath,
A waste of breath the years behind
In balance with this life, this death.





Feel free to add your own favourites.

shanky wrote:LOL cammy. Aimed at me? Or you? Or ‘the bored?

camroc1 wrote:

shanky wrote:LOL cammy. Aimed at me? Or you? Or ‘the bored?

A tout le monde.

shanky wrote:An Irish Airman foresees his Death

I know that I shall meet my fate
Somewhere among the clouds above;
Those that I fight I do not hate,
Those that I guard I do not love;
My country is Kiltartan Cross,
My countrymen Kiltartan’s poor,
No likely end could bring them loss
Or leave them happier than before.
Nor law, nor duty bade me fight,
Nor public men, nor cheering crowds,
A lonely impulse of delight
Drove to this tumult in the clouds;
I balanced all, brought all to mind,
The years to come seemed waste of breath,
A waste of breath the years behind
In balance with this life, this death.

Mahoney wrote:

shanky wrote:An Irish Airman foresees his Death

I know that I shall meet my fate
Somewhere among the clouds above;
Those that I fight I do not hate,
Those that I guard I do not love;
My country is Kiltartan Cross,
My countrymen Kiltartan’s poor,
No likely end could bring them loss
Or leave them happier than before.
Nor law, nor duty bade me fight,
Nor public men, nor cheering crowds,
A lonely impulse of delight
Drove to this tumult in the clouds;
I balanced all, brought all to mind,
The years to come seemed waste of breath,
A waste of breath the years behind
In balance with this life, this death.

One of my favourites.

I once googled it to remind myself of the text, and nearly had an apoplexy at the comments I found, which seemed to be entirely by moronic teenagers asked to comment on it in their English lesson, probably after a potted history of 19th & early 20th century Irish history, and all saying how the poor man had been forced to fight by the evil British.

It's 16 f*cking lines. Just 16. They are almost entirely about his reasons for fighting. How exactly can you get it so wrong?!

johnuknow wrote:This sometimes feels quite apt.
ITs from The Second Coming

"Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity"

Mahoney wrote:Not Yeats, but another Irish WWI poem:

CROCKNAHARNA

On the heights of Crocknaharna,
(Oh, the lure of Crocknaharna)
On a morning fair and early
Of a dear remembered May,
There I heard a colleen singing
In the brown rocks and the grey.
She, the pearl of Crocknaharna,
Crocknaharna, Crocknaharna,
Wild with girls is Crocknaharna
Twenty hundred miles away.


On the heights of Crocknaharna,
(Oh, thy sorrow Crocknaharna)
On an evening dim and misty
Of a cold November day,
There I heard a woman weeping
In the brown rocks and the grey.
Oh, the pearl of Crocknaharna
(Crocknaharna, Crocknaharna),
Black with grief is Crocknaharna
Twenty hundred miles away.

Francis Ledwidge

From Meath, killed at Passchendaele. Personal bet that camroc provides these details.

Mahoney wrote:Not Yeats, but another Irish WWI poem:

CROCKNAHARNA

On the heights of Crocknaharna,
(Oh, the lure of Crocknaharna)
On a morning fair and early
Of a dear remembered May,
There I heard a colleen singing
In the brown rocks and the grey.
She, the pearl of Crocknaharna,
Crocknaharna, Crocknaharna,
Wild with girls is Crocknaharna
Twenty hundred miles away.


On the heights of Crocknaharna,
(Oh, thy sorrow Crocknaharna)
On an evening dim and misty
Of a cold November day,
There I heard a woman weeping
In the brown rocks and the grey.
Oh, the pearl of Crocknaharna
(Crocknaharna, Crocknaharna),
Black with grief is Crocknaharna
Twenty hundred miles away.

Francis Ledwidge

From Meath, killed at Passchendaele. Personal bet that camroc provides these details.

shanky wrote:Come on lads

Let’s play a reel

Bokkom wrote:Bugger the patriotic/jingoistic crap.
The Song of Wandering Aengus is my cup of tea.

camroc1 wrote:

Bokkom wrote:Bugger the patriotic/jingoistic crap.
The Song of Wandering Aengus is my cup of tea.

The difference between the two :


The Ghost Of Roger Casement
Poem by William Butler Yeats


O WHAT has made that sudden noise?
What on the threshold stands?
It never crossed the sea because
John Bull and the sea are friends;
But this is not the old sea
Nor this the old seashore.
What gave that roar of mockery,
That roar in the sea's roar?
The ghost of Roger Casement
Is beating on the door.

John Bull has stood for Parliament,
A dog must have his day,
The country thinks no end of him,
For he knows how to say,
At a beanfeast or a banquet,
That all must hang their trust
Upon the British Empire,
Upon the Church of Christ.
The ghost of Roger Casement
Is beating on the door.

John Bull has gone to India
And all must pay him heed,
For histories are there to prove
That none of another breed
Has had a like inheritance,
Or sucked such milk as he,
And there's no luck about a house
If it lack honesty.
The ghost of Roger Casement
Is beating on the door.

I poked about a village church
And found his family tomb
And copied out what I could read
In that religious gloom;
Found many a famous man there;
But fame and virtue rot.
Draw round, beloved and bitter men,
Draw round and raise a shout;
The ghost of Roger Casement
Is beating on the door.
William Butler Yeats

WHEN YOU ARE OLD
BY WILLIAM BUTLER YEATS
When you are old and grey and full of sleep,
And nodding by the fire, take down this book,
And slowly read, and dream of the soft look
Your eyes had once, and of their shadows deep;

How many loved your moments of glad grace,
And loved your beauty with love false or true,
But one man loved the pilgrim soul in you,
And loved the sorrows of your changing face;

And bending down beside the glowing bars,
Murmur, a little sadly, how Love fled
And paced upon the mountains overhead
And hid his face amid a crowd of stars.

Where dips the rocky highland
Of Sleuth Wood in the lake,
There lies a leafy island
Where flapping herons wake
The drowsy water rats;
There we've hid our faery vats,
Full of berrys
And of reddest stolen cherries.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world's more full of weeping than you can understand.

Where the wave of moonlight glosses
The dim gray sands with light,
Far off by furthest Rosses
We foot it all the night,
Weaving olden dances
Mingling hands and mingling glances
Till the moon has taken flight;
To and fro we leap
And chase the frothy bubbles,
While the world is full of troubles
And anxious in its sleep.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world's more full of weeping than you can understand.

Where the wandering water gushes
From the hills above Glen-Car,
In pools among the rushes
That scarce could bathe a star,
We seek for slumbering trout
And whispering in their ears
Give them unquiet dreams;
Leaning softly out
From ferns that drop their tears
Over the young streams.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world's more full of weeping than you can understand.

Away with us he's going,
The solemn-eyed:
He'll hear no more the lowing
Of the calves on the warm hillside
Or the kettle on the hob
Sing peace into his breast,
Or see the brown mice bob
Round and round the oatmeal chest.
For he comes, the human child,
To the waters and the wild
With a faery, hand in hand,
For the world's more full of weeping than he can understand.

PourSomeRuggerOnMe wrote:His brother Jack was quite the artist as well. Here's one of his, Grief.

Jack also holds the distinction of being Ireland's first Olympic medallist.

Spoiler: show

PourSomeRuggerOnMe wrote:Sailing to Byzantium
BY WILLIAM BUTLER YEATS

I

That is no country for old men. The young
In one another's arms, birds in the trees,
—Those dying generations—at their song,
The salmon-falls, the mackerel-crowded seas,
Fish, flesh, or fowl, commend all summer long
Whatever is begotten, born, and dies.
Caught in that sensual music all neglect
Monuments of unageing intellect.

II

An aged man is but a paltry thing,
A tattered coat upon a stick, unless
Soul clap its hands and sing, and louder sing
For every tatter in its mortal dress,
Nor is there singing school but studying
Monuments of its own magnificence;
And therefore I have sailed the seas and come
To the holy city of Byzantium.

III

O sages standing in God's holy fire
As in the gold mosaic of a wall,
Come from the holy fire, perne in a gyre,
And be the singing-masters of my soul.
Consume my heart away; sick with desire
And fastened to a dying animal
It knows not what it is; and gather me
Into the artifice of eternity.

IV

Once out of nature I shall never take
My bodily form from any natural thing,
But such a form as Grecian goldsmiths make
Of hammered gold and gold enamelling
To keep a drowsy Emperor awake;
Or set upon a golden bough to sing
To lords and ladies of Byzantium
Of what is past, or passing, or to come.

Mahoney wrote:Not Yeats, but another Irish WWI poem:

CROCKNAHARNA

On the heights of Crocknaharna,
(Oh, the lure of Crocknaharna)
On a morning fair and early
Of a dear remembered May,
There I heard a colleen singing
In the brown rocks and the grey.
She, the pearl of Crocknaharna,
Crocknaharna, Crocknaharna,
Wild with girls is Crocknaharna
Twenty hundred miles away.


On the heights of Crocknaharna,
(Oh, thy sorrow Crocknaharna)
On an evening dim and misty
Of a cold November day,
There I heard a woman weeping
In the brown rocks and the grey.
Oh, the pearl of Crocknaharna
(Crocknaharna, Crocknaharna),
Black with grief is Crocknaharna
Twenty hundred miles away.

Francis Ledwidge

From Meath, killed at Passchendaele. Personal bet that camroc provides these details.

I

I walk through the long schoolroom questioning;
A kind old nun in a white hood replies;
The children learn to cipher and to sing,
To study reading-books and history,
To cut and sew, be neat in everything
In the best modern way—the children's eyes
In momentary wonder stare upon
A sixty-year-old smiling public man.


II

I dream of a Ledaean body, bent
Above a sinking fire, a tale that she
Told of a harsh reproof, or trivial event
That changed some childish day to tragedy—
Told, and it seemed that our two natures blent
Into a sphere from youthful sympathy,
Or else, to alter Plato's parable,
Into the yolk and white of the one shell.


III

And thinking of that fit of grief or rage
I look upon one child or t'other there
And wonder if she stood so at that age—
For even daughters of the swan can share
Something of every paddler's heritage—
And had that colour upon cheek or hair,
And thereupon my heart is driven wild:
She stands before me as a living child.


IV

Her present image floats into the mind—
Did Quattrocento finger fashion it
Hollow of cheek as though it drank the wind
And took a mess of shadows for its meat?
And I though never of Ledaean kind
Had pretty plumage once—enough of that,
Better to smile on all that smile, and show
There is a comfortable kind of old scarecrow.


V

What youthful mother, a shape upon her lap
Honey of generation had betrayed,
And that must sleep, shriek, struggle to escape
As recollection or the drug decide,
Would think her son, did she but see that shape
With sixty or more winters on its head,
A compensation for the pang of his birth,
Or the uncertainty of his setting forth?


VI

Plato thought nature but a spume that plays
Upon a ghostly paradigm of things;
Solider Aristotle played the taws
Upon the bottom of a king of kings;
World-famous golden-thighed Pythagoras
Fingered upon a fiddle-stick or strings
What a star sang and careless Muses heard:
Old clothes upon old sticks to scare a bird.


VII

Both nuns and mothers worship images,
But those the candles light are not as those
That animate a mother's reveries,
But keep a marble or a bronze repose.
And yet they too break hearts—O Presences
That passion, piety or affection knows,
And that all heavenly glory symbolise—
O self-born mockers of man's enterprise;


VIII

Labour is blossoming or dancing where
The body is not bruised to pleasure soul,
Nor beauty born out of its own despair,
Nor blear-eyed wisdom out of midnight oil.
O chestnut tree, great rooted blossomer,
Are you the leaf, the blossom or the bole?
O body swayed to music, O brightening glance,
How can we know the dancer from the dance?

Al Davis 2 wrote:He would be considered a joke today

iarmhiman wrote:

Al Davis 2 wrote:He would be considered a joke today

Are you an expert on poetry?

DOB wrote:My kids have been building fairy castles in the backyard recently hoping to catch a couple of them in the morning somehow. I don’t know how this got into their heads, but it’s fun to watch them.

Where dips the rocky highland
Of Sleuth Wood in the lake,
There lies a leafy island
Where flapping herons wake
The drowsy water rats;
There we've hid our faery vats,
Full of berrys
And of reddest stolen cherries.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world's more full of weeping than you can understand.

Where the wave of moonlight glosses
The dim gray sands with light,
Far off by furthest Rosses
We foot it all the night,
Weaving olden dances
Mingling hands and mingling glances
Till the moon has taken flight;
To and fro we leap
And chase the frothy bubbles,
While the world is full of troubles
And anxious in its sleep.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world's more full of weeping than you can understand.

Where the wandering water gushes
From the hills above Glen-Car,
In pools among the rushes
That scarce could bathe a star,
We seek for slumbering trout
And whispering in their ears
Give them unquiet dreams;
Leaning softly out
From ferns that drop their tears
Over the young streams.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world's more full of weeping than you can understand.

Away with us he's going,
The solemn-eyed:
He'll hear no more the lowing
Of the calves on the warm hillside
Or the kettle on the hob
Sing peace into his breast,
Or see the brown mice bob
Round and round the oatmeal chest.
For he comes, the human child,
To the waters and the wild
With a faery, hand in hand,
For the world's more full of weeping than he can understand.