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A man--seemingly deranged and filled with horror--sits by a dead body in
a bath with lysol and waits for the police to come, hearing the sounds
of his own horror.  I think if they are laughing, they do not understand
it and have certainly never heard or seen it performed.
Nancy

>>> [log in to unmask] 04/07/05 12:03 AM >>>
Also more entertaining.
At  least in my experience with students.
It tends to cause laughter.
P.

Nancy Gish wrote:

>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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