EARLY AUTUMN Lyrics By JOHNNY MERCER

EARLY  AUTUMN

 

When an early autumn walks the land and chills the breeze
and touches with her hand the summer trees,
perhaps you'll understand what memories I own.

There's a dance pavilion in the rain all shuttered down,
a winding country lane all russet brown,
a frosty window pane shows me a town grown lonely.

That spring of ours that started so April-hearted,
seemed made for just a boy and girl.

I never dreamed, did you, any fall would come in view
so early, early.

Darling if you care, please, let me know,
I'll meet you anywhere, I miss you so.
Let's never have to share another early autumn.

September 25 A Beautiful Poem

This wonderful poem was written for me for my Birthday, which is Today. Thank You, Love.

 

 

Abyss 

 

 O intrepid sojourner

in the labyrinth  

 

No timorous soul yours

careening into the abyss  

 

Explore the depths

Gather sharp objects  

 

With effort

Emerge courageous still  

 

With hunger devour

Beauty  

 

With wisdom

appreciate Love  

 

c 2004 Cass, S.

KIsmet Alfred Drake Doretta Morrow Richard Kiley

 KISMET

"And This Is My Beloved"

Lyrics: Robert Wright + George Forrest

Book: Luther Davis + Charles Lederer

Premiere: Thursday, December 3, 1953  

Dawn's promising skies

Petals on a pool drifting

Imagine these in one pair of eyes

And this is my beloved

Strange spice from the south

Honey through the comb sifting

Imagine these in one eager mouth

And this is my beloved

And when s/he speaks and when s/he talks to me

Music! Mystery!

And when s/he moves And when s/he walks with me

Paradise comes suddenly near

All that can stir All that can stun

All that's for the heart's lifting

Imagine these in one perfect one

And this is my beloved

And this is my beloved.

W. H. Auden "FUNERAL BLUES"

At the Request of sistercdr, here is a favorite poem by W.H. Auden.

 

Funeral Blues

Stop all the clocks, cut off the telephone,

 Prevent the dog from barking with a juicy bone,

Silence the pianos and with muffled drum

 Bring out the coffin, let the mourners come.

 

 Let aeroplanes circle moaning overhead

Scribbling on the sky the message He Is Dead,

 Put crepe bows round the white necks of the public doves,

 Let the traffic policemen wear black cotton gloves.

 

 He was my North, my South, my East and West,

 My working week and my Sunday rest,

 My noon, my midnight, my talk, my song;

 I thought that love would last for ever; I was wrong.

 

 The stars are not wanted now: put out every one;

Pack up the moon and dismantle the sun;

 Pour away the ocean and sweep up the wood,

For nothing now can ever come to any good.

 

 

W. H. Auden

Poem "The Heaven of Animals" James Dickey

 

The Heaven of Animals

Here they are. The soft eyes open.
If they have lived in a wood
It is a wood.
If they have lived on plains
It is grass rolling
Under their feet forever.

Having no souls, they have come,
Anyway, beyond their knowing.
Their instincts wholly bloom
And they rise.
The soft eyes open.

To match them, the landscape flowers,
Outdoing, desperately
Outdoing what is required:
Thr richest wood,
The deepest field.

For some of these,
It could not be the place
It is, without blood.
These hunt, as they have done
But with claws and teeth grown perfect,

More deadly than they can believe.
They stalk more silently,
And crouch on the limbs of trees,
And their descent
Upon the bright backs of their prey

May take years
In a sovereign floating of joy.
And those that are hunted
Know this as their life,
Their reward: to walk

Under such trees in full knowledge
Of what is in glory above them,
And to feel no fear,
But acceptance, compliance.
Fulfilling themselves without pain

At the cycles center,
They tremble, they walk
Under the tree,
They fall, they are torm,
They rise, they walk again.


James Dickey 1961

PAINTING "Trilectric"

c 2004  Deabler, V.T.

NFL FOOTBALL OPENING WEEKEND!!!!!!!!!!!!!!

Finally, The Philadelphia Eagles` Year!!!!!!

{ We Hope }!!!!!!!!!!!!!!!!!!!!!!!!!

 

Graphic courtesy of my son, Sean.

A WOMAN

To rise above

the storming winds

beset

by circumstance.

 

The measure of a woman

if all were fashioned

with equal measure.

 

If not for a poem

is suffering worthwhile.

 

C 2004  Deabler, V.T.

BARBPINION "The Rest Of The Story"

For only the second time, I`d like to pimp a journal. My favorite AOL Journal fiction writer. She is starting a new story, this one more personal [ though all of her tales are personal ]. I hope you`ll take the time for her writing....It`s wonderful!

Vince

here is the link.

http://journals.aol.com/barbpinion/THERESTOFTHESTORY/entries/1280

HENRI MATISSE

  Matisse, Master of Color

The art of our century has been dominated by two men: Henri Matisse and Pablo Picasso. They are artists of classical greatness, and their visionary forays into new art have changed our understanding of the world. Matisse was the elder of the two, but he was a slower and more methodical man by temperament and it was Picasso who initially made the greater splash. Matisse, like Raphael, was a born leader and taught and encouraged other painters, while Picasso, like Michelangelo, inhibited them with his power: he was a natural czar.

Matisse's artistic career was long and varied, covering many different styles of painting from Impressionism to near Abstraction. Early on in his career Matisse was viewed as a Fauvist, and his celebration of bright colors reached its peak in 1917 when he began to spend time on the French Riviera at Nice and Vence. Here he concentrated on reflecting the sensual color of his surroundings and completed some of his most exciting paintings. In 1941 Matisse was diagnosed as having duodenal cancer and was permanently confined to a wheelchair. It was in this condition that he completed the magnificent Chapel of the Rosary in Vence.

Matisse's art has an astonishing force and lives by innate right in a paradise world into which Matisse draws all his viewers. He gravitated to the beautiful and produced some of the most powerful beauty ever painted. He was a man of anxious temperament, just as Picasso, who saw him as his only rival, was a man of peasant fears, well concealed. Both artists, in their own fashion, dealt with these disturbances through the sublimation of painting: Picasso destroyed his fear of women in his art, while Matisse coaxed his nervous tension into serenity. He spoke of his art as being like ``a good armchair''-- a ludicrously inept comparison for such a brilliant man-- but his art was a respite, a reprieve, a comfort to him.

Matisse initially became famous as the ``King of the Fauves'', an inappropriate name for this gentlemanly intellectual: there was no wildness in him, though there was much passion. He is an awesomely controlled artist, and his spirit, his mind, always had the upper hand over the ``beast'' of Fauvism.

• Notre-Dame, une fin d'après-midi (A Glimpse of Notre Dame in the Late Afternoon)
  1902 (130 Kb); Oil on paper mounted on canvas, 72.5 x 54.5 cm (28 1/2 x 21 1/2 in); Albright-Knox Art Gallery, Buffalo, NY
  

• Green Stripe (Madame Matisse)

• Le bonheur de vivre (The Joy of Life)
  1905-06 (150 Kb); Oil on canvas, 175 x 241 cm (69 1/8 x 94 7/8 in); Barnes Foundation, Merion, PA
  

• Flowers in a Pitcher
  1906 (100 Kb); Canvas, 21 1/2 x 18 in; Barnes Foundation
  Photograph by Charalambos Amvrosiou
  

• Mme Matisse: Madras Rouge (The Red Madras Headress)
  Summer 1907 (120 Kb); Oil on canvas, 99.4 x 80.5 cm (39 1/8 x 31 3/4 in); Barnes Foundation, Merion, PA
  

• Le Rifain assis (Seated Riffian)
  Late 1912 or early 1913 (130 Kb); Oil on canvas, 200 x 160 cm (78 3/4 x 63 in), Barnes Foundation, Merion, PA
  

• La leçon de musique (The Music Lesson)
  1917 (160 Kb); Oil on canvas, 244.7 x 200.7 cm (96 3/8 x 79 in); Barnes Foundation, Merion, PA
  

• Seated Figure, Tan Room
  1918 (110 Kb); 16 x 13 in; Barnes Foundation
  Photograph by Charalambos Amvrosiou
  

• Two Figures Reclining in a Landscape
  1921 (150 Kb); 15 x 18 3/8 in; Barnes Foundation
  Photograph by Charalambos Amvrosiou
  

• Robe violette et Anemones
  1937; Purple Robe and Anemones; Cone Collection, Baltimore Museum of Art
  (thanks to Daniel Egret, egret@simbad.u-strasbg.fr and Howard Harawitz, harawitz@fox.nstn.ns.ca)
  

• La Musique
  1939 (180 Kb); Oil on canvas, 115.2 x 115.2 cm (45 3/8 x 45 3/8 in); Albright-Knox Art Gallery, Buffalo, NY
  

• Deux fillettes, fond jaune et rouge (Two Girls in a Yellow and Red Interior)
  1947 (160 Kb); Oil on canvas, 61 x 49.8 cm (24 x 19 3/8 in); Barnes Foundation, Merion, PA
  
• Please click on any Painting for a large presentation.