Ballad Song Quotes

The great Gaels of Ireland are the men that God made mad, For all their wars are merry, and all their songs are sad.

By the Angel, Bridget’s depressing,” said Henry, setting down his newspaper directly on his plate and causing the edge to soak through with egg yolk. Charlotte opened her mouth as if to object, and closed it again. “It’s all heartbreak, death and unrequited love.” “Well, that is what most songs are about,” said Will. “Requited love is nice, but it doesn’t make much of a ballad.

O stand, stand at the window As the tears scald and start; You shall love your crooked neighbour With your crooked heart.

As I walked out one evening, Walking down Bristol Street, The crowds upon the pavement Were fields of harvest wheat. And down by the brimming river I heard a lover sing Under an arch of the railway: 'Love has no ending. 'I'll love you, dear, I'll love you Till China and Africa meet, And the river jumps over the mountain And the salmon sing in the street, 'I'll love you till the ocean Is folded and hung up to dry And the seven stars go squawking Like geese about the sky.

I don’t think anybody’s ever written a song called, “There’s urine on the couch, and the remote control is in the shower.” I would write it myself, but I’ve never been very good at writing love ballads.

The faery lords are immortal. Those who have songs ballads and stories written about them never die. Belief worship imagination we were born of the dreams and fears of mortals and if we are remembered even in some small way we will always exist.

I wanted to be in love like in the storybooks and songs and ballads. Love that hits you like a lightning bolt. And I'm sorry, because yeah, I get that you think I'm ridiculous. I get that you think I'm hilarious. I know, I get that you're mocking me. I get how stupid I am, but at least I know.

I laughed and pointed out that "Hash Browns Mean Nothing Without You" was a pretty good name for a band. "Or a song," the Duke said, and then she started singing all glam rock, a glove up to her face holding an imaginary mic as she rocked out an a cappella power ballad. "Oh, I deep fried for you / But now I weep 'n' cry for you / Oh, babe, this meal was made for two / And these hash browns mean nothing, oh these hash browns mean nothing, yeah these HASH BROWNS MEAN NOTHIN' without you.

There are, of course, inherent tendencies to repetition in music itself. Our poetry, our ballads, our songs are full of repetition; nursery rhymes and the little chants and songs we use to teach young children have choruses and refrains. We are attracted to repetition, even as adults; we want the stimulus and the reward again and again, and in music we get it. Perhaps, therefore, we should not be surprised, should not complain if the balance sometimes shifts too far and our musical sensitivity becomes a vulnerability.

The crack in the tea-cup opens A lane to the land of the dead.

It's the ballads I like best, and I'm not talking about the clichéd ones where a diva hits her highest note or a rock band tones it down a couple of notches for the ladies. I mean a true ballad. Dictionary definition: a song that tells a story in short stanzas and simple words, with repetition, refrain, etc. My definition: the punk rocker or the country crooner telling the story of his life in three minutes, reminding us of the numerous ways to screw up.

Life remains a blessing Although you cannot bless.

He presses my hand and he says he loves me, Which I find an admirable peculiarity.

His girl. His. Here in the Capitol, it was a given that Lucy Gray belonged to him, as if she’d had no life before her name was called out at the reaping. Even that sanctimonious Sejanus believed she was something he could trade for. If that wasn’t ownership, what was? With her song, Lucy Gray had repudiated all that by featuring a life that had nothing to do with him, and a great deal to do with someone else. Someone she referred to as “lover,” no less. And while he had no claim on her heart — he barely knew the girl! — he didn’t like the idea of anyone else having it either. Although the song had been a clear success, he felt somehow betrayed by it. Even humiliated.

There's a song for every feeling, Bee. Every tear, every smile, every heartbreak and every victory. Music ignites the soul and strips us bare. It's our very essence. Even if you have no one else to turn to and you feel all alone, remember that you can always find comfort in ballads and melodies, serenades and love songs.

Is this the part where we die well?"... "No, this is the part where the king of Ravka surrenders himself, and the love we never had lives on in ballads and song." "Nikolai," snapped Zoya, "don't you dare.

They are . . . in their own, unspectacular way, to which no ballads are written or songs sung, in a domestic, daily, life-being-lived way, . . . happy

Here am I, Here are you: but what does it mean? What are we going to do?

, suddenly opened its wings to reveal two patches of dazzling white as it lifted its beak in song. Coriolanus felt sure he’d spotted his first mockingjay, and he disliked the thing on sight.

What's the deal with the bossman?" Urian asked him. Alexion shrugged. "I don't know. He came in last night with a book, went to his room to read, I suppose, and then he came out here this morning and has been playing . . . those songs ever since." Those songs were ballads, which Acheron never played. God-smack, Sex Pistols, TSOL, Judas Priest, but not . . . "Is that . . ." Urian physically cringed before he spat out the name, "Julio Iglesias?" "Enrique." Urian grimaced in horror. "I didn't even know he knew any mellow shit. Dear gods . . .is he ill?" "I don't know. In nine thousand years, I've never seen him like this before." Urian shuddered. "I'm beginning to get scared. This has to be a sign of the Apocalypse. If he breaks out into Air Supply, I say we sneeak up on him, drag him outside and beat the holy shit out of him.

Melody perfected was a song in itself – a ballad between notes that held all notes together. It was emotion unfurled and impeccably orchestrated, and if it did its job right, it would have no sense of itself. Melody became the story; its song and the singer, one force.

Endymion The rising moon has hid the stars; Her level rays, like golden bars, Lie on the landscape green, With shadows brown between. And silver white the river gleams, As if Diana, in her dreams, Had dropt her silver bow Upon the meadows low. On such a tranquil night as this, She woke Endymion with a kiss, When, sleeping in the grove, He dreamed not of her love. Like Dian's kiss, unasked, unsought, Love gives itself, but is not bought; Nor voice, nor sound betrays Its deep, impassioned gaze. It comes,--the beautiful, the free, The crown of all humanity,-- In silence and alone To seek the elected one. It lifts the boughs, whose shadows deep Are Life's oblivion, the soul's sleep, And kisses the closed eyes Of him, who slumbering lies. O weary hearts! O slumbering eyes! O drooping souls, whose destinies Are fraught with fear and pain, Ye shall be loved again! No one is so accursed by fate, No one so utterly desolate, But some heart, though unknown, Responds unto his own. Responds,--as if with unseen wings, An angel touched its quivering strings; And whispers, in its song, "Where hast thou stayed so long?

I On the calm black water where the stars are sleeping White Ophelia floats like a great lily; Floats very slowly, lying in her long veils... - In the far-off woods you can hear them sound the mort. For more than a thousand years sad Ophelia Has passed, a white phantom, down the long black river. For more than a thousand years her sweet madness Has murmured its ballad to the evening breeze. The wind kisses her breasts and unfolds in a wreath Her great veils rising and falling with the waters; The shivering willows weep on her shoulder, The rushes lean over her wide, dreaming brow. The ruffled water-lilies are sighing around her; At times she rouses, in a slumbering alder, Some nest from which escapes a small rustle of wings; - A mysterious anthem falls from the golden stars. II O pale Ophelia! beautiful as snow! Yes child, you died, carried off by a river! - It was the winds descending from the great mountains of Norway That spoke to you in low voices of better freedom. It was a breath of wind, that, twisting your great hair, Brought strange rumors to your dreaming mind; It was your heart listening to the song of Nature In the groans of the tree and the sighs of the nights; It was the voice of mad seas, the great roar, That shattered your child's heart, too human and too soft; It was a handsome pale knight, a poor madman Who one April morning sate mute at your knees! Heaven! Love! Freedom! What a dream, oh poor crazed Girl! You melted to him as snow does to a fire; Your great visions strangled your words - And fearful Infinity terrified your blue eye! III - And the poet says that by starlight You come seeking, in the night, the flowers that you picked And that he has seen on the water, lying in her long veils White Ophelia floating, like a great lily.

Songs and ballads”—the musician bowed—“never end, dear lady, because poetry is eternal and immortal, it knows no beginning, it knows no end—

I tell her how sorry I am, and as I speak my words feel inadequate and pathetic.

How to wrangle some success from a dress, a snake, a song?

I wanted the gift of forgetting. Boozy love songs and brokenhearted ballads know the torture of remembering. If drinking don't kill me, her memory will, George Jones sang, and I got it. The blackouts were horrible. It was hideous to let those nights slide into a crack in the ground. But even scarier was to take responsibility for the mess I'd made. Even scarier was to remember your own life.

The music was loud but mellow. It was a mix-tape of ballads but by heavy metal artists. All the songs said the same thing: it’s okay to take a three-minute break from fighting and fucking and drinking; love your girlfriend and be sad; unclench your fist and hold someone until it’s time to rock again.

I’ll be as loving as you will be, as stubborn as I know you are, as passionate as I’m thankful you are and as supportive and understanding as I’ve known you to be. You are my best friend and I love you

All night i have been making songs for you in my head. A lay for your eyes, a ballad for your lips, a duet to your breasts. I will ot sing them, through. They were poor things, unworthy of such beauty.

Is this the part where we die well?"... "No, this is the part where the king of Ravka surrenders himself, and the love we never had lives on in ballads and song." "Nikolai," snapped Zoyz, "don't you dare.

The song was wistful as the ballads Slidell and the Clayton brothers played, except words weren't needed to feel the yearning. That made the music all the more sorrowful, because this song wasn't about one lost love or one dead child or parent. It was as if the music was about every loss that had ever been.

Sirs, I am but a nameless man, A rhymester without a home, Yet since I come of the Wessex clay And carry the cross of Rome, I will even answer the mighty earl That asked of Wessex men Why they be meek and monkish folk, And bow to the White Lord's broken yoke; What sign have we save blood and smoke? Here is my answer then. That on you is fallen the shadow, And not upon the Name; That though we scatter and though we fly, And you hang over us like the sky, You are more tired of victory, Than we are tired of shame. That though you hunt the Christian man Like a hare on the hill-side, The hare has still more heart to run Than you have heart to ride. That though all lances split on you, All swords be heaved in vain, We have more lust again to lose Than you to win again. Your lord sits high in the saddle, A broken-hearted king, But our king Alfred, lost from fame, Fallen among foes or bonds of shame, In I know not what mean trade or name, Has still some song to sing. Our monks go robed in rain and snow, But the heart of flame therein, But you go clothed in feasts and flames, When all is ice within; Nor shall all iron dooms make dumb Men wandering ceaselessly, If it be not better to fast for joy Than feast for misery. Nor monkish order only Slides down, as field to fen, All things achieved and chosen pass, As the White Horse fades in the grass, No work of Christian men. Ere the sad gods that made your gods Saw their sad sunrise pass, The White Horse of the White Horse Vale, That you have left to darken and fail, Was cut out of the grass. Therefore your end is on you, Is on you and your kings, Not for a fire in Ely fen, Not that your gods are nine or ten, But because it is only Christian men Guard even heathen things. For our God hath blessed creation, Calling it good. I know What spirit with whom you blindly band Hath blessed destruction with his hand; Yet by God's death the stars shall stand And the small apples grow.

For lo, what changes time can bring! The cycles of revolving years May free my heart from all its fears, And teach my lips a song to sing. Before yon field of trembling gold Is garnered into dusty sheaves, Or ere the autumn’s scarlet leaves Flutter as birds adown the wold, I may have run the glorious race, And caught the torch while yet aflame, And called upon the holy name Of Him who now doth hide His face. ARONA.

Renée and I met at a bar called the Eastern Standard in Charlottesville, Virginia. I had just moved there to study English in grad school. Renée was a fiction writer in the MFA program. I was sitting with my poet friend Chris in a table in the back, when I fell under the spell of Renée’s bourbon-baked voice. The bartender put on Big Star’s Radio City. Renée was the only other person in the room who perked up. We started talking about how much we loved Big Star. It turned out we had the same favorite Big Star song – the acoustic ballad Thirteen. She’d never heard their third album, Sister Lovers. So naturally, I told her the same thing I’d told every other woman I’d ever fallen for: “I’ll make you a tape!

Talking with her was like listening to a ballad on a radio station that fades in and out as you drive, sometimes clear and sentimental and tuned perfectly to the passing land, sometimes filled with static, lost, a song played too many times.

Between the sleeping and the waking, it is there. Between the rising and the resting, it is there. It is always there. It gnaws on my heart. It chews on my soul. I turn aside and see it. I stop my ears and hear it. I cover myself and feel it. There are no human words for what I mean. It is the language of the bare bough and the cold stone, pronounced in the fell wind's sullen whisper and the metronomic drip-drip of the rain. It is the song the falling snow sings and the discordant clamour of sunlight ripped apart by the canopy and miserly filtered down. It is what the unseeing eye sees. It is what the deaf ear heres. It is the romantic ballad of death's embrace; the solemn hymn of offal dripping from bloody teeth; the lamentation of the bloated corpse rotting in the sun; the graceful ballet of maggots twisting in the ruins of God's temple. Here in this gray land, we have no name. We are the carcasses reflected in the yellow eye. Our bones are bleached within our skin; our empty sockets regard the crow. Here in this shadow country, our tiny voices scratch like a fly's wing against unmoving air. Ours is the language of imbeciles, the gibberish of idiots. The root and the vine have more to say than us.

The Man of Science seeks truth as a remote and unknown benefactor; he cherishes and love it in his solitude: the Poet, singing a song in which all human beings join with him, rejoices in the presence of truth as our visible friend and hourly companion.

they did not tell me it would hurt like this no one warned me about the heartbreak we experience with friends where are the albums i thought there were no songs sung for it i could not find the ballads or read the books dedicated to writing the grief we fall into when friends leave it is the type of heartache that does not hit you like a tsunami it is a slow cancer the kind that does not show up for months has no visible signs is an ache here a headache there but manageable cancer or tsunami it all ends the same a friend or a lover a loss is a loss is a loss - the underrated heartache

The knowledge both of the Poet and the Man of science is pleasure; but the knowledge of the one cleaves to us as a necessary part of our existence, our natural and unalienable inheritance; the other is a personal and individual acquisition, slow to come to us, and by no habitual and direct sympathy connecting us with our fellow-beings. The Man of science seeks truth as a remote and unknown benefactor; he cherishes and loves it in his solitude: the Poet, singing a song in which all human beings join with him, rejoices in the presence of truth as our visible friend and hourly companion. Poetry is the breath and finer spirit of all knowledge; it is the impassioned expression which is in the countenance of all Science. Emphatically may it be said of the Poet, as Shakespeare hath said of man, ‘that he looks before and after.’ He is the rock of defence for human nature; an upholder and preserver, carrying everywhere with him relationship and love. In spite of difference of soil and climate, of language and manners, of laws and customs: in spite of things silently gone out of mind, and things violently destroyed; the Poet binds together by passion and knowledge the vast empire of human society, as it is spread over the whole earth, and over all time. The objects of the Poet’s thoughts are everywhere; though the eyes and senses of man are, it is true, his favourite guides, yet he will follow wheresoever he can find an atmosphere of sensation in which to move his wings. Poetry is the first and last of all knowledge—it is as immortal as the heart of man.

A singer was playing the high harp and reciting a ballad, but down at this end of the hall his voice could scarcely be heard above the roar of the fire,

He took them, and shaped them into a song. They become his, because he made them lovely. They were built out of music, and so not built at all, and therefore built for ever.

It's all heartbreak, death, and unrequited love." "Well, that is what most songs are about," said Will. "Requited love is ideal but doesn't make much of a ballad

Well, bugger me," cried Jonas when he saw Richie with his bow, "is it Robin Hood or Adam Bell come to save us? Nay, it's Richie O'the Bow, hero of ballad and song!

It's a mystery sweetheart. Just like me. That's why it's my song.

He sat through at least three songs of this kind before he realized it reminded him of the mockingjays.

I may not be able to play a harp again, or sing for the clan,” he said. “But I have found that this is my song. This is my music.” And he framed her face in his hands. “Months ago, I told you that I was a verse inspired by your chorus. I thought I knew what those words meant then, but now I fully understand the depth and the breadth of them. I want to write a ballad with you, not in notes but in our choices, in the simplicity and the routine of our life together. In waking up at your side every sunrise and falling asleep entwined with you every sunset. In kneeling beside you in the kail yard and leading a clan and overseeing trade and eating at our parents’ tables. In making mistakes, because I know that I’ll make them, and then restitution, because I’m better than I once ever hoped to be when I’m with you.” Adaira turned her face to kiss his palm, where his scar from their blood vow still shone. When she looked at him again, there were tears in her eyes. “What do you think, Heiress?” Jack whispered, because he was suddenly desperate to know her thoughts. To know what she was feeling. Adaira leaned forward, brushing his lips with hers. “I think that I want to make such music with you until my last day when the isle takes my bones. I think you are the song I was longing for, waiting for. And I will always be thankful that you returned to me.

She didn’t fall off the bridge! The snow would look different where she was standing!” Maude Ivory insisted. “Lucy Gray, which is it?” “It’s a mystery, sweetheart. Just like me. That’s why it’s my song,” Lucy Gray answered.

There are moments on one's existence when you connect with another in a mere second, something sinks deep into your soul, planting a yearning that may never fade. A song that chills your bones and rattles the blood in your veins.

Coriolanus moved back to his seat - she knew where to find him now - to listen and to savor their actual reunion, which was only a song away. His eyes teared up when she began the song from the zoo. "Down in the valley, valley so low, Late in the evening, hear the train blow. The train, love, hear the train blow. Late in the evening, hear the train blow." Coriolanus felt an elbow nudge his ribs and looked over to see Sejanus beaming at him. It was nice, after all, to have someone else who knew the significance of the song. Someone who knew what they'd been through. "Go build me a mansion, build it so high, So I can see my true love go by. See him go by, love, see him go by. So I can see my true love go by." That's me, Coriolanus wanted to tell people around him. I'm her true love. And I saved her life. "Go write me a letter, send it by mail. Bake it and stamp it to the Capitol jail. Capitol jail, love, to the Capitol jail. Bake it and stamp it to the Capitol jail." Should he say hello first? Or just kiss her? "Roses are red, love; violets are blue. Birds in the heavens know I love you." Kiss her. Definitely, just kiss her. "Know I love you, oh, know I love you, Birds in the heavens know I love you. "Good night, everybody. Hope we see you next week, and until then, keep singing your song," said Lucy Gray, and the whole Covey took one final blow.

A black bird, slightly larger than the jabberjays, suddenly opened its wings to reveal two patches of dazzling white as it lifted its beak in song. Coriolanus felt sure he’d spotted his first mockingjay, and he disliked the thing on sight.

Guthrie is best known for “This Land Is Your Land,” his ballad about the Dust Bowl, which gave farmers in his native Oklahoma an extra kick in the pants during the Great Depression. He set his thoughts about Trump’s rental policies to a song he titled “Old Man Trump.” The lyrics continue with this: Beach Haven ain’t my home! No, I just can’t pay this rent! My money’s down the drain, And my soul is badly bent! Beach Haven is Trump’s Tower Where no black folks come to roam, No, no, Old Man Trump! Old Beach Haven ain’t my home! More

Now, the only song a woman knows is the song she learns at birth, a sorrowin’ song, with the words all wrong, in the many tongues of Earth. The things a woman wants to say, the tales she longs to tell . . . they take all day in the tongues of Earth, and half of the night as well. So nobody listens to what a woman says, except the men of power who sit and listen right willingly, at a hundred dollars an hour . . . sayin’ “Who on Earth would want to talk about such foolish things?” Oh, the tongues of Earth don’t lend themselves to the songs a woman sings! There’s a whole lot more to a womansong, a whole lot more to learn; but the words aren’t there in the tongues of Earth, and there’s noplace else to turn. . . . So the woman they talk, and the men they laugh, and there’s little a woman can say, but a sorrowin’ song with the words all wrong, and a hurt that won’t go away. The women go workin’ the manly tongues, in the craft of makin’ do, but the women that stammer, they’re everywhere, and the wellspoken ones are few. . . . ’Cause the only song a woman knows is the song she learns at birth; a sorrowin’ song with the words all wrong, in the manly tongues of Earth. (a 20th century ballad, set to an even older tune called “House of the Rising Sun”; this later form was known simply as “Sorrowin’ Song, With the Words All Wrong”)

the ballad written hundreds of years ago in England told of heartbreak experienced then, and now, in Sophie’s own heart. It was universal, being cast away; it surpassed time and space. It was said that Henry VIII composed the song for Anne Boleyn. Another discarded wife.

As we have seen, French culture and language interacted with native English culture for several generations after the Norman Conquest. A common word such as 'castle' is a French loan word, for example; and the whole romance tradition comes from the French. But this sensibility, culture, and language becomes integrated with native culture. As well as the beginnings of what came to be called a courtly love tradition, we can find in Early Middle English (around the time that Layamon was writing Brut) the growth of a local tradition of songs and ballads.

I loved these songs and could still hear them in my head long after and into the next day. They weren't protest songs, though, they were rebel ballads... even in a simple, melodic wooing ballad there'd be rebellion waiting around the corner. You couldn't escape it. There were songs like that in my repertoire, too, where something lovely was suddenly upturned, but in stead of rebellion showing up it would be death itself, the Grim Reaper. Rebellion spoke to me louder. The rebel was alive and well, romantic and honorable. The Grim Reaper wasn't like that.

Thankfully the song that’s now playing is some cheesy Beyoncé ballad that we don’t have to dance to—and you could not pay me enough to dance to this song. Ever. “Oh, I love this song!” she exclaims, turning to me. Her eyes are all lit up. “Can we slow-dance to this?!” “Okay!” Fuck.

Yes, Phebe was herself now, and it showed in the change that came over her at the first note of music. No longer shy and silent, no longer the image of a handsome girl, but a blooming woman, alive and full of the eloquence her art gave her, as she laid her hands softly together, fixed her eye on the light, and just poured out her song as simply and joyfully as the lark does soaring toward the sun. "My faith, Alec! that's the sort of voice that wins a man's heart out of his breast!" exclaimed Uncle Mac, wiping his eyes after one of the plaintive ballads that never grow old. "So it would!" answered Dr. Alec, delightedly. "So it has," added Archie to himself; and he was right: for just at that moment he fell in love with Phebe. He actually did, and could fix the time almost to a second: for at a quarter past nine, he thought merely thought her a very charming young person; at twenty minutes past, he considered her the loveliest woman he ever beheld; at five and twenty minutes past, she was an angel singing his soul away; and at half after nine he was a lost man, floating over a delicious sea to that temporary heaven on earth where lovers usually land after the first rapturous plunge. If anyone had mentioned this astonishing fact, nobody would have believed it; nevertheless, it was quite true: and sober, business-like Archie suddenly discovered a fund of romance at the bottom of his hitherto well-conducted heart that amazed him. He was not quite clear what had happened to him at first, and sat about in a dazed sort of way; seeing, hearing, knowing nothing but Phebe: while the unconscious idol found something wanting in the cordial praise so modestly received, because Mr. Archie never said a word.

they did not tell me it would hurt like this no one warned me about the heartbreak we experience with friends where are the albums i thought there were no songs sung for it i could not find the ballads or read the books dedicated to writing the grief we fall into when friends leave it is the type of heartache that does not hit you like a tsunami it is a slow cancer the kind that does not show up for months has no visible signs is an ache here a headache there but manageable cancer or tsunami it all ends the same a friend or a lover a loss is a loss is a loss - the underrated heartache

Worse, in the video for it (which is also played everywhere constantly), Boris is singing to a girl who is dying in a hospital bed, and Boris is telling her (lyrically) that he'll give her a million stars (plus his love) if she'll find the strength within herself to not die, and love him forever. Of course the girl is so moved by this hot rocker dude's amazing song that she doesn't die. Because it is a medical fact that people with fatal diseases only need a hot rocker dude to sit on the edge of their hospital bed and sing them a rock ballad in order to give them the strength to go on living.

Lucy Gray's fate was a mystery, then, just like the little girl who shared her name in that maddening song. Was she alive, dead, a ghost who haunted the wilderness? Perhaps no one would ever really know. No matter — snow had been the ruination of them both. Poor Lucy Gray. Poor ghost girl singing away with her birds.

There's a song for every feeling, Bee. Every tear, every smile, every heartbreak and every victory. Music ignites the soul and strips us bare. It's our very essence. Even if you have no one else to turn to and you feel all alone, remember that you can always find comfort in ballads and melodies, serenades and love songs.

And he married the Echo one fortunate morn, And Woman, their beautiful daughter, was born! The daughter of Sunshine and Echo she came With a voice like a song, with a face like a flame; With a face like a flame, and a voice like a song, And happy was Man, but it was not for long! For weather's a painfully changeable thing, Not always the child of the Echo would sing; And the face of the Sun may be hidden with mist, And his child can be terribly cross if she list. And unfortunate man had to learn with surprise That a frown's not peculiar to masculine eyes; That the sweetest of voices can scold and sneer, And cannot be answered - like men - with a spear

This is the work of a junior scribe, One of the many bards, balladeers and storytellers who walk the earth. We weave poems, songs and stories out of every breath. May you remember us. This is a rather unusual thing for a scribe to add, but it is the dedication that follows that is even more disturbing: Now and always, Praise be to Nisaba

Probably your biggest mistake was doing funk-dance to Unchained Melody,” the dog offered earnestly. “It’s a ballad, Alf, and to be honest, it’s one of the slowest songs I can think of. You’d have been better off doing a slow waltz to something with that tempo. The other factor may have been the large amount of beer you consumed beforehand.

And the talk, the wonderful talk flowed on—or was it speech entirely, or did it pass at times into song—chanty of the sailors weighing the dripping anchor, sonorous hum of the shrouds in a tearing North-Easter, ballad of the fisherman hauling his nets at sundown against an apricot sky, chords of guitar and mandoline from gondola or caique?

I am slowly learning to disregard the insatiable desire to be special. I think it began, the soft piano ballad of epiphanic freedom that danced in my head, when you mentioned that "Van Gogh was her thing" while I stood there in my overall dress, admiring his sunflowers at the art museum. And then again on South Street, while we thumbed through old records and I picked up Morrissey and you mentioned her name like it was stuck in your teeth. Each time, I felt a paintbrush on my cheeks, covering my skin in grey and fading me into a quiet, concealed background that hummed everything you've ever loved has been loved before, and everything you are has already been on an endless loop. It echoed in your wrists that I stared at, walking (home) in the middle of the street, and I felt like a ghost moving forward in an eternal line, waiting to haunt anyone who thought I was worth it. But no one keeps my name folded in their wallet. Only girls who are able to carve their names into paintings and vinyl live in pockets and dust bunnies and bathroom mirrors. And so be it, that I am grey and humming in the background. I am forgotten Sundays and chipped fingernail polish and borrowed sheets. I'm the song you'll get stuck in your head, but it will remind you of someone else. I am 2 in the afternoon, I am the last day of winter, I am a face on the sidewalk that won't show up in your dreams. And I am everywhere, and I am nothing at all.

he was beginning to weary of the infusion of music into his life. Invasion might be a better word. It seemed to be everywhere these days: birdsong, Covey song, bird-and-Covey song. Perhaps he did not share his mother's love of music after all. At least, such a quantity of it. It consumed his attention greedily, demanding to be listened to and making it hard to think.

he was beginning to weary of the infusion of music into his life. Invasion might be a better word. It seemed to be everywhere these days: birdsong, Covey song, bird-and-Covey song. Perhaps he did not share his mother's love of music after all. At least, such a quantity of it. It consumed his attention greedily, demanding to be listened to and making it hard to think.

he was beginning to weary of the infusion of music into his life. Invasion might be a better word. It seemed to be everywhere these days: birdsong, Covey song, bird-and-Covey song. Perhaps he did not share his mother's love of music after all. At least, such a quantity of it. It consumed his attention greedily, demanding to be listened to and making it hard to think.

Oh, a ghost story. Ugh. Boo. So ridiculous. Well, he'd try hard to love it when he saw the Covey tomorrow. But, really, who named their child after a ghost girl? Although, if the girl was a ghost, where was her body?Maybe she got tired of her negligent parents sending her into blizzards and ran off to live in the wild. But then, why didn't she grow up? … What a dreadful song.

Both were ballads about a woman "marked by the moon." In them, the Song Mage praised his muse, describing her midnight hair, her rosebud mouth, her rocky spine. They were odes to her unparalleled beauty. "He's a little obsessed," said Emeline when she finished singing. "Even her teeth enchant him." She browsed through the next ballad---also about his moon-marked woman. "And she must have had some pretty sexy ankles, because there's an entire verse devoted to them in the next song...." The corner of Hawthorne's mouth turned up. "Maybe ankles were his weakness." Emeline glanced up at the boy cooking her dinner. He was like the forest, she thought. Quiet and steadfast in the way he held himself, with secrets hidden beneath. What's your weakness? she wondered.

If I could write an autobiography for fear, it would read like this: __________ Hi, my name is Fear. F-E-A-R. But you are going to call me a lot of other things as you start to get closer to me. I’m terribly unoriginal. I’m like every has-been out there, but you give me way more credit than I deserve. You should keep doing that. I like it when you make me bigger than I actually am. I’m going to make you feel alone, and I like it when you believe you’re the only one who’s ever felt this way. You think I’m custom-catered to fit you, but I’m really no different than the brand of me your best friend wears. I’m a ballad lurking in the hearts of a billion people, and I will do anything to keep you from realizing that I am just the same song on repeat. You all know all my words. I’m pretty jealous though. I want you alone with me at night. I’m not afraid to say I’m greedy or that I don’t want to share you. I’m a territorial lover, and I would rather you not have solid and deep conversations at dinner parties or find a community that doesn’t leave your side. I wrote you a story a long time ago, and I don’t want you to figure out that you’ve outgrown the plotline. I wonder why you don’t get over me sometimes, but then the realization hits me: You come back because you know I want you. You come back because you know the sound of my voice. You come back because you know the way I move and how I shut you down. You’ve stood face-to-face with me so many times and I have told you who you are. The crazy thing is, you’ve believed me.

Libraries are medieval forests masking opportunity and danger; every aisle is a path, every catalog reference a clue to the location of the Holy Grail. It is here that I become privy to the sacred songs of kings and the ballads of rogues. Here are tales of life-and-death struggles of other wayfarers as they battle personal dragons and woo fair maidens. Walking down this hallway, I am a knight entering the forest in search of the truth...

The word for teardrinkers is lachryphagous, and for the eaters of human flesh it is anthropophagous, and the rest of us feed on sorrow all the time. It is the essence of many of the most beautiful ballads and pop songs, and why sorrow and heartbreak are so delicious might have to do with the emotions it stirs in us, the empathy for others' suffering, and the small comfort of not being alone with our own. With a sad song we feel a delicate grief, as though we mourn for three minutes a loss we can't remember but taste again, sorrow like salt tears, and then close it up like a letter in the final notes. Sadness the blue like dusk, the reminder that all things are emphemeral, and that because there is time there is change and that is another name for change, if you look back toward what is vanishing in the distance, is loss. But sadness is also beautiful, maybe because it rings so true and goes so deep, because it is about the distances in our lives, the things we lose, the abyss between what the lover and the beloved want and imagine and understand that may widen to become unbridgeable any moment, the distance between the hope at the onset and the eventual outcome, the journeys we have to travel, including the last one out of being and on past becoming into the unimaginable: the moth flown into the pure dark.

What hasn’t she done to me? She’s the most beautiful woman I’ve ever met in my entire life. She has a passion about other people’s happiness that is simply inspiring. She rose from her own ashes and became an even better person when most would have stayed in the dark,” I tell her, looking straight into her eyes. “And when she dances, sings or plays an instrument…she’s a completely out of this world artist and I can’t take my eyes…and hands off her,

She set out for revenge, to run them through, to do what an elf, an elf must do.” The next verse was Merill’s to improvise. “Climbed that roost, alighted right there. Made mush of his head for the onlooker bears.” “A two-pronger her prize, a meat most rare. Do-gooders will pay. Do-gooders will fear.” “Ballad of the loneliest ones,” lamented Merill. “The loneliest ones,” said Almi. She accepted that title; they were the loneliest. The elf gloomed.

The Garden of Proserpine" Here, where the world is quiet; Here, where all trouble seems Dead winds' and spent waves' riot In doubtful dreams of dreams; I watch the green field growing For reaping folk and sowing, For harvest-time and mowing, A sleepy world of streams. I am tired of tears and laughter, And men that laugh and weep; Of what may come hereafter For men that sow to reap: I am weary of days and hours, Blown buds of barren flowers, Desires and dreams and powers And everything but sleep. Here life has death for neighbour, And far from eye or ear Wan waves and wet winds labour, Weak ships and spirits steer; They drive adrift, and whither They wot not who make thither; But no such winds blow hither, And no such things grow here. No growth of moor or coppice, No heather-flower or vine, But bloomless buds of poppies, Green grapes of Proserpine, Pale beds of blowing rushes Where no leaf blooms or blushes Save this whereout she crushes For dead men deadly wine. Pale, without name or number, In fruitless fields of corn, They bow themselves and slumber All night till light is born; And like a soul belated, In hell and heaven unmated, By cloud and mist abated Comes out of darkness morn. Though one were strong as seven, He too with death shall dwell, Nor wake with wings in heaven, Nor weep for pains in hell; Though one were fair as roses, His beauty clouds and closes; And well though love reposes, In the end it is not well. Pale, beyond porch and portal, Crowned with calm leaves, she stands Who gathers all things mortal With cold immortal hands; Her languid lips are sweeter Than love's who fears to greet her To men that mix and meet her From many times and lands. She waits for each and other, She waits for all men born; Forgets the earth her mother, The life of fruits and corn; And spring and seed and swallow Take wing for her and follow Where summer song rings hollow And flowers are put to scorn. There go the loves that wither, The old loves with wearier wings; And all dead years draw thither, And all disastrous things; Dead dreams of days forsaken, Blind buds that snows have shaken, Wild leaves that winds have taken, Red strays of ruined springs. We are not sure of sorrow, And joy was never sure; To-day will die to-morrow; Time stoops to no man's lure; And love, grown faint and fretful, With lips but half regretful Sighs, and with eyes forgetful Weeps that no loves endure. From too much love of living, From hope and fear set free, We thank with brief thanksgiving Whatever gods may be That no life lives for ever; That dead men rise up never; That even the weariest river Winds somewhere safe to sea. Then star nor sun shall waken, Nor any change of light: Nor sound of waters shaken, Nor any sound or sight: Nor wintry leaves nor vernal, Nor days nor things diurnal; Only the sleep eternal In an eternal night.

And as we take up our positions on the stage, we call upon the nine Muses for assistance, Calliope, who helps with the epic ballads, Euterpe, who helps with the sad songs, Erato, who helps with the confessional songs, Clio, who helps with the oldies, Melpomene, who helps with the super-tragic stuff, Polyhymnia, who helps with the religious songs, Terpsichore, who helps with the dance numbers, Thalia, who helps with the funny songs, And Urania, who helps when it gets spacey and psychedelic.

Coriolanus acted engrossed in the show as 8, 6, and 11 called their tributes, but his brain spun with the repercussions of landing Lucy Gray Baird. She was a gift, he knew it, and he must treat her as such. But how best to exploit her showstopping entrance? How to wrangle some success from a dress, a snake, a song? The tributes would be given precious little time with the audience before the Games began. How could he get the audience to invest in her and, by extension, him, in just an interview? He half registered the other tributes, mostly pitiful creatures, and took note of the stronger ones. Sejanus got a towering fellow from District 2, and Livia’s District 1 boy looked like he could be a contender as well. Coriolanus’s girl seemed fairly healthy, but her slight build was more suited to dancing than hand-to-hand combat. He bet she could run fast enough, though, and that was important. As the reaping drew to a close, the smell of food from the buffet wafted over the audience

I made it my mission to help him see the light, to reveal life has meaning. And in the process, he helped recover the meaning of mine. My world thrived with him in it. I rediscovered my love for music, as he did his appreciation for love songs. We cultivated joy together, God by our sides, learning to combat small town politics and judgment by sticking together. We were Bama Boy and Grandma Emmie, following in the footsteps of my grandparents, playing parts in one of the greatest love stories Grahamwood has ever known.

Whoever has deeply and thirstily drunk, Is pulled down to the wondrous source, And melodically swims along as a wave, On which the world breaks into thousands of sparks. With yearning grows the holy well, crashes, Shines intoxicated, jubilant within, At times forging through the chasm to dazzling light, At times rushing cool then sunken in night. So let it eagerly roar and rush! For upon it floats the poet in golden bark, Himself a holy sacrifice in songs. The ancient rocks split with a crack, From yonder greet us kindred ballads, He guides us back to the eternal sea.

More important for Chime were the ballads that my father sang me. I think that all of those ballads, the structure of them, the bittersweet nature of them, has gone right into my books. I can't thank my father enough; he sang me two songs every night and sometimes they'd be these long ballads with 32 verses. I grew up knowing an amazing number of stories, accompanied by these gorgeous and haunting tunes that aren't part of our modern culture. They're very Gaelic. I think that was really important to me; I would not be the writer I am if he had not sung me all those songs. So, thanks Dad

Anyone who was there that day will tell you the concert really started when Scotty stood up. That’s when he began singing the songs he’d been writing for years underground, songs no one had ever heard, or anything like them—“Eyes in My Head,” “X’s and O’s,” “Who’s Watching Hardest”—ballads of paranoia and disconnection ripped from the chest of a man you knew just by looking had never had a page or a profile or a handle or a handset, who was part of no one’s data, a guy who had lived in the cracks all these years, forgotten and full of rage, in a way that now registered as pure. Untouched.

Farewell, we must part; we have turned from the land Of our cold-hearted brother, with tyrannous hand, Who assumed all our rights as a favor to grant, And whose smile ever covered the sting of a taunt; Who breathed on the fame he was bound to defend— Still the craftiest foe, ’neath the guise of a friend; Who believed that our bosoms would bleed at a touch, Yet could never believe he could goad them too much; Whose conscience affects to be seared with our sin, Yet is plastic to take all its benefits in; The mote in our eye so enormous has grown, That he never perceives there’s a beam in his own.

It's an Irish Republican rebel ballad from the 1840s. The reason I know is because I was once in a bar in Liverpool and a couple of lads started singing it and a couple others objected and a fight broke out. As a loyal subject of the Crown, I was on the side of the objectors. We eventually prevailed, but, even if we hadn't, 'A Nation Once Again' is a fine song to get your head kicked into, at least when compared to 'Believe' by Cher, which would rank pretty high on the list of numbers I'd least like to be listening to as my eye's gouged out and I fall into a coma, although it would be a merciful release.

Lucy Gray Oft I had heard of Lucy Gray, And when I cross'd the Wild, I chanc'd to see at break of day The solitary Child. No Mate, no comrade Lucy knew; She dwelt on a wild Moor, The sweetest Thing that ever grew Beside a human door! You yet may spy the Fawn at play, The Hare upon the Green; But the sweet face of Lucy Gray Will never more be seen. "To-night will be a stormy night, You to the Town must go, And take a lantern, Child, to light Your Mother thro' the snow." "That, Father! will I gladly do; 'Tis scarcely afternoon— The Minster-clock has just struck two, And yonder is the Moon." At this the Father rais'd his hook And snapp'd a faggot-band; He plied his work, and Lucy took The lantern in her hand. Not blither is the mountain roe, With many a wanton stroke Her feet disperse, the powd'ry snow That rises up like smoke. The storm came on before its time, She wander'd up and down, And many a hill did Lucy climb But never reach'd the Town. The wretched Parents all that night Went shouting far and wide; But there was neither sound nor sight To serve them for a guide. At day-break on a hill they stood That overlook'd the Moor; And thence they saw the Bridge of Wood A furlong from their door. And now they homeward turn'd, and cry'd "In Heaven we all shall meet!" When in the snow the Mother spied The print of Lucy's feet. Then downward from the steep hill's edge They track'd the footmarks small; And through the broken hawthorn-hedge, And by the long stone-wall; And then an open field they cross'd, The marks were still the same; They track'd them on, nor ever lost, And to the Bridge they came. They follow'd from the snowy bank The footmarks, one by one, Into the middle of the plank, And further there were none. Yet some maintain that to this day She is a living Child, That you may see sweet Lucy Gray Upon the lonesome Wild. O'er rough and smooth she trips along, And never looks behind; And sings a solitary song That whistles in the wind.

Was it as scary for you as it is for me? Falling for Sawyer?” “Not really, no.” She shakes her head. “I’m sure I had some of the same worries, everyone does. But I’m a leaper. You’re a thinker. We process things differently.” “You didn’t have a panic attack and run away?” I ask sarcastically. “No,” she muses. “Not even that time he refused to have sex with me.” “That was your first date, Everly. And you did have sex,” I remind her. I know, because I heard about it for a week. “Whew.” She blows out a breath. “It was a tough few hours though. How is Boyd’s POD by the way? Can we talk about that?” She leans forward on the couch, looking at me expectantly. “Um, no. I don’t think so.” She shrugs good-naturedly then changes the subject back to me. “Chloe, why didn’t you tell me you were struggling with your anxiety? You know I’m never too busy for you, no matter how many husbands or children I have.” “You have one husband, babe,” Sawyer says, walking into the room at that moment. “You’re still the one, baby.” “We’ve been married for three months, Everly. I sure as hell better still be the one.” “Sawyer,” she sighs. “I was trying to have a moment, okay? Work with me.” “Next time, try waiting more than a day after downloading Shania Twain’s greatest hits to your iPod. You do realize the receipts come to my email, don’t you?” “Um.” Everly looks away and scrunches her nose. “No?” “You’ve been on quite the 90’s love ballads kick this week. Which is weird, because you’re not old enough to have owned the CD’s those songs were originally released on.” He looks at her with amused interest. “What’s a CD?” She blinks at Sawyer dramatically. “Cute. Keep it up.” “Nineties music is all the rage with the millennials,” she tells him with a shrug. “I saw a blog post about it.” “Don’t worry, sweets. We’ll beat the odds together.” He winks and she scowls. “You’re still the only one I dream of,” he calls as he walks into the kitchen and grabs a bottle of water. “See! I don’t even care that you lifted that from a song. It still gave me all the feels!

Meanwhile, as one contemporary noted, the sheer number of British biographies of Napoleon published in the years after 1797 meant that they had ‘to out-Herod each other in the representations they give alike of the hateful and malignant cast of his features, and of the deformity and depravity of his moral character’.55 As well as newspapers, caricatures, books and even nursery rhymes, Napoleon was the regular butt of British ballads, songs and poems. In an age when absolutely everything was regarded as a fit subject for an ode – one was entitled ‘On a Drunken Old Woman Who was Accidentally Drowned on a Ferry Crossing’ – Napoleon’s supposed crimes excited an avalanche of poetry, none of it memorable.

Lucy Gray drew back a bit. “That’s what you think people would do?” “I do. Unless there’s law, and someone enforcing it, I think we might as well be animals,” he said with more assurance. “Like it or not, the Capitol is the only thing keeping anyone safe.” “Hm. So they keep me safe. And what do I give up for that?” she asked. Coriolanus poked at the fire with a stick. “Give up? Why, nothing.” “The Covey did,” she said. “Can’t travel. Can’t perform without their say-so. Can only sing certain types of songs. Fight getting round up, and you get shot dead like my daddy. Try to keep your family together, and you get your head broken like my mama. What if I think that price is too high to pay? Maybe my freedom’s worth the risk.

On the other side of the door, bookshelves, thick and study and packed with ancient tomes, lined the rounded walls, all the way up to a ceiling so high one would need several ladders to reach it. Thankfully, there were indeed multiple ladders of aged rosewood, as well as a number of small balconies that dotted the upper shelves like iron stars. The air shifted as Evangeline entered, redolent of old paper pages that called to her like a siren's song. Like all admirers of fairytales, she'd always loved the scent of books. She loved the paper dust in the air, the way it swirled in the light like little sprinkles of magic. And most of all, she loved the way that fairytales always made her think of her mother and endless possibilities.

I revise my suicide plan to slow death by morphling. I will become a yellow-skinned bag of bones, with enormous eyes. I’m a couple of days into the plan, making good progress, when something unexpected happens. I begin to sing. At the window, in the shower, in my sleep. Hour after hour of ballads, love songs, mountain airs. All the songs my father taught me before he died, for certainly there has been very little music in my life since. What’s amazing is how clearly I remember them. The tunes, the lyrics. My voice, at first rough and breaking on the high notes, warms up into something splendid. A voice that would make the mockingjays fall silent and then tumble over themselves to join in. Days pass, weeks. I watch the snows fall on the ledge outside my window. And in all that time, mine is the only voice I hear. What

He was a strong and noble lord with piercing eyes of grey. He sat upon his noble throne shining like the dawn. His sword flashed like the brightest star. He led our people well. Yet here and now he lays in blood pierced with arrows. He was the friend of many knights. He loved the warrior games. His heart was won by a lady fair for marriage they did wait. A kindly prince, his duty carried him to another's bed. And on her death true love returned, finally they wed. He felt the grief of children lost to murder and to pain. I was the youngest of his blood. I'll never be the same. Here lays my father and my lord. I know not what to say. Except my father and my lord was slain here on this day. Here lays my father and my lord. I know not what to say. Except my father and my lord was slain here on this day….

I continued on my way towards Hexham, very slowly, at what I call hymn-speed. I have not mentioned that I sing as I go along. I always do. Seldom loudly, more often in a murmur. I recognise few limits in my repertoire; I can treat myself to anything. I bellow in opera, warble in ballad. My choice on any particular occasion is governed by my speed, and governs my speed; my feet march in tempo. My favourite uphill song is "Volga Boatman," which suits my movements admirably: I find I can grind out a note with every step, and each verse earns a pause, a brief halt. For slow travel, or when I am tired, hymns are best; not the noisy modern tunes, but the old ones, the softer melodies: "Breathe on me, breath of God." "Jesus, Lover of my Soul." "When I survey the Wondrous Cross." "Nearer, my God, to Thee." "Lead, Kindly Light." and best of all, "Abide with me'" old familiar tunes which can never lapse and be forgotten; quiet tunes and comforting words learnt in childhood, and later loved. . . . Last of all are the rousing marching songs, which usually end the day, unless I am very weary, when my choice is invariably "Lead, Kindly Light.

I played a few rough versions of songs while Chad sat by, looking lost. Mia came in wearing black leather pants and a tight sweater. As I strummed the Gibson, she made her way over to the piano. She smiled and threw her hand up, waving to Chad. He smiled back and then I watched him study her as she passed. Then his dipshit, googly eyes dropped to her ass while she moved the piano bench out. When he looked back at me, I glared at him and began strumming a dreary and much louder tune. His body sank into his chair and he dropped his head down to stare at his fidgeting hands. Mia began playing a sullen little melody in an attempt to accompany the monotonous song I was forming, and then she stopped abruptly and turned toward me. I continued playing. “Is this going to be a ballad?” she asked. Without taking my eyes off of dipshit, I said, “No, baby, this is what’s called a funeral march.” Chad threw his arms up and said, “I get it. I get it. I’m sorry.” “Sorry for what?” Mia asked. “Nothing!” Chad and I both shouted. “Let’s move on,” I said, arching one eyebrow at him. Chad kept his eyes trained on either the ground or me through the rest of the session

Over and over again we find the Church councils complaining that the peasants (and sometimes the priests too) were singing 'wicked songs with a chorus of dancing women,' or holding 'ballads and dancings and evil and wanton songs and such-like lures of the devil'; over and over again the bishops forbade these songs and dances; but in vain. In every country in Europe, right through the Middle Ages to the time of the Reformation, and after it, country folk continued to sing and dance in the churchyard. Two hundred years after Charlemagne's death there grew up the legend of the dancers of Kölbigk, who danced on Christmas Eve in the churchyard, in spite of the warning of the priest, and all got rooted to the spot for a year, till the Archbishop of Cologne released them. Some men say that they were not rooted standing to the spot, but that they had to go on dancing for the whole year; and that before they were released they had danced themselves waist-deep into the ground. People used to repeat the little Latin verse which they were singing: ... Through the leafy forest, Bovo went a-riding And his pretty Merswind trotted on beside him-- Why are we standing still? Why can't we go away?

Now, the only song a woman knows is the song she learns at birth, a sorrowin’ song, with the words all wrong, in the many tongues of Earth. The things a woman wants to say, the tales she longs to tell . . . they take all day in the tongues of Earth, and half of the night as well. So nobody listens to what a woman says, except the men of power who sit and listen right willingly, at a hundred dollars an hour . . . sayin’ “Who on Earth would want to talk about such foolish things?” Oh, the tongues of Earth don’t lend themselves to the songs a woman sings! There’s a whole lot more to a womansong, a whole lot more to learn; but the words aren’t there in the tongues of Earth, and there’s noplace else to turn. . . . So the woman they talk, and the men they laugh, and there’s little a woman can say, but a sorrowin’ song with the words all wrong, and a hurt that won’t go away. The women go workin’ the manly tongues, in the craft of makin’ do, but the women that stammer, they’re everywhere, and the wellspoken ones are few. . . . ’Cause the only song a woman knows is the song she learns at birth; a sorrowin’ song with the words all wrong, in the manly tongues of Earth. (a 20th century ballad, set to an even older tune called “House of the Rising Sun”; this later form was known simply as “Sorrowin’ Song, With the Words All Wrong”)

But this isn't standard Japanese picnic fare: not a grain of rice or a pickled plum in sight. Instead, they fill the varnished wooden tables with thick slices of crusty bread, wedges of weeping cheese, batons of hard salamis, and slices of cured ham. To drink, bottles of local white wine, covered in condensation, and high-alcohol microbews rich in hops and local iconography. From the coastline we begin our slow, dramatic ascent into the mountains of Hokkaido. The colors bleed from broccoli to banana to butternut to beet as we climb, inching ever closer to the heart of autumn. My neighbors, an increasingly jovial group of thirtysomethings with a few words of English to spare, pass me a glass of wine and a plate of cheese, and I begin to feel the fog dissipate. We stop at a small train station in the foothills outside of Ginzan, and my entire car suddenly empties. A husband-and-wife team has set up a small stand on the train platform, selling warm apple hand pies made with layers of flaky pastry and apples from their orchard just outside of town. I buy one, take a bite, then immediately buy there more. Back on the train, young uniformed women flood the cars with samples of Hokkaido ice cream. The group behind me breaks out in song, a ballad, I'm later told, dedicated to the beauty of the season. Everywhere we go, from the golden fields of empty cornstalks to the dense forest thickets to the rushing rivers that carve up this land like the fat of a Wagyu steak, groups of camouflaged photographers lie in wait, tripods and shutter releases ready, hoping to capture the perfect photo of the SL Niseko steaming its way through the hills of Hokkaido.

Cochise Jones always liked to play against your expectations of a song, to light the gloomy heart of a ballad with a Latin tempo and a sheen of vibrato, root out the hidden mournfulness, the ache of longing, in an up-tempo pop tune. Cochise’s six-minute outing on the opening track of Redbonin’ was a classic exercise in B-3 revisionism, turning a song inside out. It opened with big Gary King playing a fat, choogling bass line, sounding like the funky intro to some ghetto-themed sitcom of the seventies, and then Cochise Jones came in, the first four drawbars pulled all the way out, giving the Lloyd Webber melody a treatment that was not cheery so much as jittery, playing up the anxiety inherent in the song’s title, there being so many thousand possible ways to Love Him, so little time to choose among them. Cochise’s fingers skipped and darted as if the keys of the organ were the wicks of candles and he was trying to light all of them with a single match. Then, as Idris Muhammad settled into a rolling burlesque-hall bump and grind, and King fell into step beside him, Cochise began his vandalism in earnest, snapping off bright bunches of the melody and scattering it in handfuls, packing it with extra notes in giddy runs. He was ruining the song, rifling it, mocking it with an antic edge of joy. You might have thought, some critics felt, that the meaning or spirit of the original song meant no more to Cochise Jones than a poem means to a shark that is eating the poet. But somewhere around the three-minute mark, Cochise began to build, in ragged layers, out of a few repeated notes on top of a left-hand walking blues, a solo at once dense and rudimentary, hammering at it, the organ taking on a raw, vox humana hoarseness, the tune getting bluer and harder and nastier. Inside the perfectly miked Leslie amplifier, the treble horn whirled, and the drivers fired, and you heard the song as the admission of failure it truly was, a confession of ignorance and helplessness. And then in the last measures of the song, without warning, the patented Creed Taylor strings came in, mannered and restrained but not quite tasteful. A hint of syrup, a throb of the pathetic, in the face of which the drums and bass fell silent, so that in the end it was Cochise Jones and some rented violins, half a dozen mournful studio Jews, and then the strings fell silent, too, and it was just Mr. Jones, fading away, ending the track with the startling revelation that the song was an apology, an expression, such as only the blues could ever tender, of limitless regret.

Now, who and what is this minstrel in reality? Where does he come from? In what respects does he differ from his predecessors? He has been described as a cross between the early medieval court-singer and the ancient mime of classical times. The mime had never ceased to flourish since the days of classical antiquity; when even the last traces of classical culture disappeared, the descendants of the old mimes still continued to travel about the Empire, entertaining the masses with their unpretentious, unsophisticated and unliterary art. The Germanic countries were flooded out with mimes in the early Middle Ages; but until the ninth century the poets and singers at the courts kept themselves strictly apart from them. Not until they lost their cultured audience, as a result of the Carolingian Renaissance and the clericalism of the following generation, and came up against the competition of the mimes in the lower classes, did they have, to a certain extent, to become mimes themselves in order to be able to compete with their rivals. Thus both singers and comedians now move in the same circles, intermingle and influence each other so much that they soon become indistinguishable from one another. The mime and the scop both become the minstrel. The most striking characteristic of the minstrel is his versatility. The place of the cultured, highly specialized heroic ballad poet is now taken by the Jack of all trades, who is no longer merely a poet and singer, but also a musician and dancer, dramatist and actor, clown and acrobat, juggler and bear-leader, in a word, the universal jester and maître de plaisir of the age. Specialization, distinction and solemn dignity are now finished with; the court poet has become everybody’s fool and his social degradation has such a revolutionary and shattering effect on himself that he never entirely recovers from the shock. From now on he is one of the déclassés, in the same class as tramps and prostitutes, runaway clerics and sent-down students, charlatans and beggars. He has been called the ‘journalist of the age’, but he really goes in for entertainment of every kind: the dancing song as well as the satirical song, the fairy story as well as the mime, the legend of saints as well as the heroic epic. In this context, however, the epic takes on quite new features: it acquires in places a more pointed character with a new straining after effect, which was absolutely foreign to the spirit of the old heroic ballad. The minstrel no longer strikes the gloomy, solemn, tragi-heroic note of the ‘Hildebrandslied’, for he wants to make even the epic sound entertaining; he tries to provide sensations, effective climaxes and lively epigrams. Compared with the monuments of the older heroic poetry, the ‘Chanson de Roland’ never fails to reveal this popular minstrel taste for the piquant.