Sexual abuse of words – like the \u2018moaning\u2019 of a willow in the wind – will lay\u00a0even the highest Shakespearean song low, as the clown in his third line\u00a0tried to tell all the time. Indeed making this cryptic message some kind of\u00a0crossword. In another context it is allready shown that scanning the\u00a0partsongs for crossreferences is not really a stiff job. And where the clown\u00a0demonstrates his capability to sing low, this has to be taken literally: the\u00a0next lines will demasque\u00a0O Mistress Mine<\/i>\u00a0as downright porn.<\/p>\n
But because in that genre it is all the same whether one knocks, sings,\u00a0comes or dies,\u00a0Sweet Day<\/i>\u00a0has to be placed behind the same decoder, it is no\u00a0\u2018Reduced Virtue\u2019 for nothing. And realising what exactly links them, it is\u00a0evident what the predicted intercourse between SD and OMM really\u00a0involves. Bars 23 to 35 of RVW\u2019s first song are on these lines:<\/p>\n
A box where sweets compacted lie, Which, after bedtime-for-small-children, represent the poetic view on:<\/p>\n A room where sweethearts lie on top of each other,<\/i> Calling this bars 23 to 35 is a little devious, I should have mentioned the\u00a0average instead, because OMM is written in 29 bars. And who stays with them to the\u00a0bitter end (of the cycle), now hears the sweethearts die on music, that by its\u00a0dynamic signs on the five notes of \u2018coming\u2019 (short crescendo, followed by a long decrescendo) fully explains why George\u00a0Herbert never bothered about finding a composer to his music:<\/p>\n As in TWS this reverses chronology (have another look at the dates in the\u00a0prelude now): The \u2018mistress\u2019 being absent, the \u2018true love\u2019 is in this line\u00a0evidently telling he can cope without her. But it is only in the second sextet – porn is what porn does – that he invites a young lady to come\u00a0with him.<\/p>\n —<\/span><\/p>\n —<\/span><\/p>\n go to next chapter<\/a>\u00a0– – – – – – – – – – – – – – – – – – – – –<\/span>\u00a0back to the previous chapter<\/a><\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" Sexual abuse of words – like the \u2018moaning\u2019 of a willow in the wind – will lay\u00a0even the highest Shakespearean song low, as the clown in his third line\u00a0tried to tell all the time. Indeed making this cryptic message some … Continue reading
\nMy music shows ye have your closes,
\nAnd all must die.<\/span><\/em><\/p>\n
\nMy music reveals your secrets,<\/i>
\n\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0And all must \u2018die\u2019.<\/i>
\n<\/span><\/p>\n\u2018<\/i><\/span>O<\/i>(oooh<\/i>)!\u00a0<\/i>(…)\u00a0your true love\u2019s<\/i>\u00a0coH<\/strong><\/i>O<\/i><\/strong><\/span>ho<\/i><\/span><\/strong>homing<\/span><\/span><\/i><\/span>\u2019<\/i><\/h3>\n