<\/b>What started as lovely music on an haphazard choice of poetry, appeared to\u00a0be a singular box where sweets compacted lie; and dallying with the\u00a0innocence of love, Ralph Vaughan Williams combined this pieces to a\u00a0message for the ears of King Edward VII only.<\/p>\n
So it stands to reason to assume this music was composed to be\u00a0performed in the presence of the adulterous king himself, in order to\u00a0confront him with his guilty concience. But this possibility causes a very\u00a0nasty problem, for things are hidden far to well to serve this purpose. Even\u00a0worse; Vaughan Williams would have served poisoned sweets if he ever\u00a0had informed Edward VII that only a\u00a0virtuous<\/em>\u00a0soul is like seasoned timber:<\/p>\n The woodwork supporting a roof is usually as rigid as a poem\u2019s structure. But at this occasion both the overall song and all three assembling parts are\u00a0equally moving;\u00a0 they spin round like roofs blown away in a tempest. And\u00a0this way at least the shape of the message is straight about the\u00a0consequences of royal misconduct:<\/p>\n the king must go.<\/i><\/p>\n —<\/span><\/p>\n go to next chapter<\/a><\/p>\n","protected":false},"excerpt":{"rendered":" What started as lovely music on an haphazard choice of poetry, appeared to\u00a0be a singular box where sweets compacted lie; and dallying with the\u00a0innocence of love, Ralph Vaughan Williams combined this pieces to a\u00a0message for the ears of King Edward … Continue reading