Showing posts with label Paul Simon. Show all posts
Showing posts with label Paul Simon. Show all posts

Sunday, October 13, 2013

Richard Cory: Issa's Sunday Service, #180

E. A. Robinson

Richard Cory by Simon & Garfunkel on Grooveshark
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If it lacks the subtlety of Paul Simon's own later work, "Richard Cory," by Simon and Garfunkel, has some of the power of the original Edwin Arlington Robinson lyric. Still, it is remarkable how little of that original is retained: more the idea of the poem than the actual words themselves. Like a screenplay for a popular novel, the song itself is, if anything, a translation, a rendition of the poem. 

First comes Arlington's poem, than Simon's song. Comparing them is a real lesson in process.


Richard Cory By Edwin Arlington Robinson


Whenever Richard Cory went down town,
We people on the pavement looked at him:
He was a gentleman from sole to crown,
Clean favored, and imperially slim.

And he was always quietly arrayed,
And he was always human when he talked;
But still he fluttered pulses when he said,
"Good-morning," and he glittered when he walked.

And he was rich—yes, richer than a king—
And admirably schooled in every grace:
In fine, we thought that he was everything
To make us wish that we were in his place.

So on we worked, and waited for the light,
And went without the meat, and cursed the bread;
And Richard Cory, one calm summer night,
Went home and put a bullet through his head.  



Richard Cory (song) - Paul Simon

They say that Richard Cory 

owns one half of this whole town,
With political connections

to spread his wealth around.
Born into society, 

a banker’s only child,
He had everything a man could want: 

power, grace, and style.

But I work in his factory
And I curse the life I’m living
And I curse my poverty
And I wish that I could be,
Oh, I wish that I could be,
Oh, I wish that I could be
Richard Cory.

The papers print his picture 

almost everywhere he goes:
Richard Cory at the opera, 

Richard Cory at a show.
And the rumor of his parties 

and the orgies on his yacht!
Oh, he surely must be happy 

with everything he’s got.

But I work in his factory
And I curse the life I’m living
And I curse my poverty
And I wish that I could be,
Oh, I wish that I could be,
Oh, I wish that I could be
Richard Cory.

He freely gave to charity, 

he had the common touch,
And they were grateful for his patronage

and thanked him very much,
So my mind was filled with wonder 

when the evening headlines read:
Richard Cory went home last night 

and put a bullet through his head.

But I work in his factory
And I curse the life I’m living
And I curse my poverty
And I wish that I could be,
Oh, I wish that I could be,
Oh, I wish that I could be
Richard Cory 


About Robinson's poem, Ellsworth Barnard cuts to the chase:

We need not crush this little piece under a massive analysis; a few more or less obvious comments will suffice to show how carefully the poem is put together. The first two lines suggest Richard Cory's distinction, his separation from ordinary folk. The second two tell what it is in his natural appearance that sets him off. The next two mention the habitual demeanor that elevates him still more in men's regard: his apparent lack of vanity, his rejection of the eminence that his fellows would accord him. At the beginning of the third stanza, "rich" might seem to be an anticlimax—but not in the eyes of ordinary Americans; though, as the second line indicates, they would not like to have it thought that in their eyes wealth is everything. The last two lines of the stanza record a total impression of a life that perfectly realizes the dream that most men have of an ideal existence; while the first two lines of the last stanza bring us back with bitter emphasis to the poem's beginning, and the impassable gulf, for most people—but not, they think, for Richard Cory—between dream and fact. Thus the first fourteen lines are a painstaking preparation for the last two, with their stunning overturn of the popular belief.  

I do love Barnard's caution that we need not crush the poem.

Simon is arguably the finest popular songwriter of his generation, a success that stands up remarkably well over the years. In "Richard Cory (the song)," the listener realizes right away one of the central points that Barnard makes: the distinction between Cory and regular folk. In fact, Simon brilliantly telescopes this into a first person narrator in the chorus. In so doing, he simultaneously captures the essence of the poem, pulls the reader in, and retains the big shoe drop ending.

Thanks so much for the reader suggestion of this song.

~~~~~~~ 

Woodblock by Yoshitoshi Tsukioka




nightingale--
for the emperor too
the same song
Issa
translated by David G. Lanoue





best,
Don
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Go to the LitRock web site for a list of all 180 songs 

Sunday, September 30, 2012

The Afterlife: Issa's Sunday Service #137

Artwork from Vermin on the Mount


 
 
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If you still haven't heard Paul Simon's last album, So Beautiful Or So What, treat yourself. "The Afterlife," from that album and featured this week on the Sunday Service, is Simon for the ages, quite literally this time: witty, ironic, sardonic, lyrical, and, well, Simonesque. Buddha and Moses (and both their noses) take a lyrical, literary bow, hence the songs inclusion.

The Afterlife
After I died and the makeup had dried
I went back to my place
No moon that night, but a heavenly light
Shown on my face
Still I thought it was odd there was no sign of God
Just to usher me in
Then a voice from above sugarcoated with love
Said, "Let us begin"

You got to fill out a form first
And then you wait in the line
You got to fill out a form first
And then you wait in the line

Okay, new kid in school
Got to follow the rule
You got to learn the routine
Whoa! There's a girl over there
With the sunshiny hair like a homecoming queen
I said "Hey, what'cha say, it's a glorious day
By the way, how long you been dead?"
Maybe you, maybe me, maybe baby makes three
But she just shook her head

You got to fill out a form first
And then you wait in the line
You got to fill out a form first
And then you wait in the line

Buddha and Moses and all the noses
From narrow to flat
Had to stand in the line
Just to glimpse the divine
What'cha think about that?
Well, it seems like our fate
To suffer and wait for the knowledge we seek
It's all His design
No one cuts in the line
No one here likes a sneak

You got to fill out a form first
And then you wait in the line
You got to fill out a form first
And then you wait in the line

After you climb up the ladder of time
The Lord God is near
Face-to-face in the vastness of space
Your words disappear
And you feel like you're swimming in an ocean of love
And the current is strong
But all that remains when you try to explain
Is a fragment of song
Lord, is it Be Bop a Lula? Or ooh Papa Doo?
Lord, Be Bop a Lula? Or ooh Papa Doo?
Be Bop a Lula

And, in case you were wondering, this is how us old farts rolled back when we were able (now we just waft, if in time, sort of ...)


 
 
 
 
 
 
my dead mother--
every time I see the ocean
every time...
Issa
translated by David G. Lanoue





best,
Don 

Send a single haiku for the Wednesday Haiku feature. Here's how.

Go to the LitRock web site for a list of all 137 songs