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Pretty accurate.

SWEENEY:  I knew a man once did a girl in
     Any man might do a girl in
     Any man has to, needs to, wants to
     Once in a lifetime, do a girl in.
     Well he kept her there in a bath
     With a gallon of lysol in a bath
*************************

The play/poem gets more sinister and disturbing as it goes on.
Nancy




>>> [log in to unmask] 04/06/05 1:48 AM >>>
Then there is the line from SWEENEY AGONISTES:
"Every man has to, wants to, needs to,
 once in his life time, do a girl in."
(from memory, so it may be a bit inaccurate, but not much.)

Cheers,
Peter

Peter Montgomery wrote:

> Not to mention:
>      I think that from Baudelaire I learned first a precedent for the
>      poetical  possibilities, never developed by any post writing in
my
>      own language, of the more sordid aspects of the modern
metropolis,
>      of the possibility of fusion between the sordidly realistic and
the
>      phangtasmagoric, the possibility of the juxtaposition of the
matter
>      of fact and the fantastic. From him, as from Laforgue, I learned
>      that the sort of  material that I had, the sort of experience
that
>      an adolescent had had, in an indus trial city in America, could
be
>      the material for poetry; and that the source of new poetry might
be
>      found in what had been regarded hitherto as the impossible, the
>      sterile, the intractably unpoetic. That, in fact, the business of
>      the poet was to make poetry out of the unexplored resources of
the
>      unpoetical; that the poet, in fact, was committed by his
profession
>      to turn the unpoetical into poetry. A great poet can give a
younger
>      poet everything that he has to give him, in a very few lines. It
may
>      be that I am indebted to Baudelaire chiefly for half a dozen
lines
>      out of the whole of Fleurs du Mal; and that his significance for
me
>      is summed up in the lines:
>           Fourmillante Cite, cite pleine dereves,
>           Ou le spectre en plein jour raccroche le passant...
>      I knew what that meant, because I had lived it before I knew that
I
>      wanted to turn it into verse on my own account.
>      ------------------------------------------------------------
>      Eliot, T.S. "What Dante Means to Me." TO CRITICIZE THE CRITIC.
>         London: Faber, 1965.
>
> or even:
>
>      When Baudelaire's Satanism is dissociated from its less
creditable
>      paraphernalia, it amounts to a dim intuition of a part, but a
very
>      important part, of Christianity. Satanism itself, so far as not 
> merely
>      an affectation, was an attempt to get into Christianity by the
back
>      door. Genuine blasphemy, genuine in spirit and not merely verbal,
is
>      the product of a partial belief, and is as impossible to the com-
>      plete athiest as to the perfect Christian.
>      
>
------------------------------------------------------------------------
>      Eliot, T.S. "Baudelaire." SELECTED ESSAYS. London: Faber, 1963.
> Cheers,
> Peter
>
> Rickard A. Parker wrote:
>
>> Peter Montgomery wrote:
>>  
>>
>>>      It is an advantage to mankind in general to live in a beautiful
>>>      world;that no one can doubt. But for the poet is it so
important?
>>>      We mean all sorts of things, I know, by Beauty. But the
essential
>>>      advantage for a poet is not, to have a beautiful world with
which
>>>      to deal: it is to be able to see beneath both beauty and
ugliness;
>>>      to see the boredom, and the horror, and the glory. (126)
>>>      
>>> -------------------------------------------------------------------
>>>      Eliot,T.S. "Matthew Arnold." THE USE OF POETRY AND THE USE OF
>>>          CRITICISM. London: Faber, 1933.
>>>   
>>
>>
>>
>> The contemplation of the horrid or sordid or disgusting, by an
artist,
>> is the necessary and negative aspect of the impulse toward the
pursuit
>> of beauty.
>>                                  T.S. Eliot, "Dante," The Sacred Wood
>>
>>
>>  
>>
>
>


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