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*LASZLO * *Play the Marseillaise! Play it! * *Members of the orchestra glance towards the steps, toward Rick, who nods to them. As they start to play... * and I weep. On 11/14/07, Martin Dolan <[log in to unmask]> wrote: > > From what I recall of my studies of Eluard, this was originally > intended as a love poem (to Gala, perhaps?). Interesting how the simple > substitution of a personal name with the abstraction of freedom can > produce something capable of being parachuted in to resistance fighters... > > Martin > > Frederick Pollack wrote: > > [snip] The choral movement of Beethoven's Ninth, words by Schiller, is > > a march. > > > > And if you want to avoid the following, or the spirit that gave rise > > to it (in 1942), you're welcome to. But I think an aesthetic that > > can't strike this note, or can't imagine striking it under certain > > circumstances, is lacking something. > > > > Liberté > > > > Sur mes cahiers d'écolier > > Sur mon pupitre et les arbres > > Sur le sable sur la neige > > J'écris ton nom > > > > > > Sur toutes les pages lues > > Sur toutes les pages blanches > > Pierre sang papier ou cendre > > J'écris ton nom > > > > [snip] > > > > Liberté. > > Paul Eluard > > in Poésies et vérités 1942 > > Ed. de Minuit, 1942 > -- Joseph Green The Pleasant Reviewer Headmaster, St. John Boscoe Laboratory School Switchboard Captain, Hollywood Colonial Hotel All complaints shall be directed to: Camelopard Breathwaite The Fallows, 200 Fifth Avenue, Fredonia City "That's Double Dependability" Brought to you by Zenith Trans-Cosmic Radio