CONTENTS<\/p>\n
Part 1 ;\u00a0The Art of Phrasing<\/a>\u00a0<\/span><\/p>\n Part 2 ;\u00a0The Art of Making Sense<\/a><\/p>\n Part 3 ; The Art of Song Writing<\/p>\n Part 4 ; The Art of Reading Attentively<\/span><\/p>\n \u2014<\/span><\/p>\n \u2014<\/span><\/p>\n Due to a barrage of spam, the comment option had to be disabled.<\/p>\n Serious reply\u2019s will be copied to this page from the link below<\/p>\n enter a comment<\/a><\/p>\n \u2014<\/span><\/p>\n \u2014<\/span><\/p>\n or :\u00a0the art of song writing<\/i><\/span><\/p>\n —<\/span><\/p>\n Heart, we will forget him, When you have done pray tell me, Emily Dickinson<\/i><\/span><\/p>\n —<\/span><\/p>\n a bone chilling tale<\/b><\/span><\/p>\n In \u2018A narrow Fellow\u2019 looms a potentially deadly hazard, that tightens the breath of the narrator. Not to mention the \u2018zero at the bone\u2019. The image of death as it rose from the dotted lines on \u2018Let down the bars\u2019, must have that same effect to be in line with my interpretation. If not, at least one of us has it all wrong. But don\u2019t worry, for the moment there is no need to reconsider findings that are out of this line. This because my interpretation is only reliable if and when another explorer arrives independently at the same point of view. With the emphasis on independently. In case you have followed the marked discovery route, the resulting consensus is in terms of science therefore not as convincing as it should be.<\/p>\n Meanwhile, there is no harm in putting your account of the story, whether it tightens the breath or not, to the test. To which purpose we have an excellent touchstone in the culmination of metaphors at the entrance to the discovery route :<\/p>\n if \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Death<\/span>\u00a0 \u00a0\u00a0= \u00a0\u00a0the unilateral lover<\/span><\/strong> This sample of logic is the keystone of my interpretation. Refute it, and my interpretation is refuted. Yet, the only way to refute logic, is by better logic. If your gut feeling tells you to refute, then go with it – intuition is even in science a better guide than reason – but its reliability has at every point to be confirmed by hard evidence. Which in this case comes down on proving either that Death goes in this poem for mutual consent, or that Dickinson\u2019s choice for \u2018Oh\u2019 instead of \u2018O\u2019 is not intended to turn Death into ‘Oh’s standard metaphor. You are welcome to place your well founded\u00a0refutation on this page.<\/span><\/p>\n When reliable, this touchstone leads to a simple, single, and unquestionably correct interpretation of \u2018Let down the bars\u2019. If it doesn\u2019t, your interpretation may deviate in some major respect from mine, as presented in the discovery route, without failing the test. In which case the proper procedure is to report the failure to have occurred, and on which line(s). In order not to spoil the experiment, or Dickinson\u2019s poetry, this page will respond in general terms only. Allowing the deviation to prove itself by being repeated independently.<\/p>\n As long as this touchstone remains unchallenged, Literature Studies is in serious trouble. A simple, single, and unquestionably correct interpretation of even one isolated piece of poetry, is, after all, enough to prove all its methods and traditions of literary criticism good for the paper bin. And why being satisfied with just one isolated sample of poetry, if this touchstone can be applied on any poem with the word \u2018death\u2019 in it?<\/p>\n —<\/span><\/p>\n murder by suicide<\/b><\/p>\n Dido\u2019s Lament by Nahum Tate (1652 – 1715) makes no exception. If only to produce the negative test result on metaphorical death that the context of the libretto for Purcell\u2019s opera Dido & Aeneas predicts. But\u00a0this lament<\/a>\u00a0appears to be surprisingly suggestive for a straightforward suicide note :<\/p>\n Dido<\/b><\/em><\/p>\n Thy hand Belinda, darkness shades me, Chorus \u00a0<\/b><\/em><\/p>\n With drooping Wings ye Cupids come, Cupids Dance.<\/p>\n<\/blockquote>\n The \u2018Oh\u2019 that stands for metaphorical death may not be there, the \u2018Ah\u2019 in its stead cannot be told apart by its expression in Purcell\u2019s music (\u2018Oh\u2019 is melismatic by nature). And the metaphor of the Last Lover is evidently strong enough to charge Dido\u2019s parting from Belinda with suggestion. The more because the dance of the cupids was to all likelihood performed by pupils of the girl\u2019s school that hosted the opera\u2019s original production. This while the roses that these cupids are scattering around can be seen as powerful symbols of metaphorical death. In such a setting Dido\u2019s lament makes a worthy expression of a young lover\u2019s death wish. At least as far as the original audience was concerned : unnatural rather than unilateral. One should almost forget that Dido kills herself because her heart is broken by Aeneas.<\/p>\n Having escaped the burning ruins of Troy, this hero is to become a founding father of the Roman empire, and Carthage is to him just a temporary place of refuge. Even if he needs Dido’s enemies to remind him of his destiny.<\/span><\/p>\n Act Three ; scene one<\/span><\/em><\/p>\n<\/blockquote>\n The massacre he survived, interestingly, was triggered by a certain Paris, who eloped with another man\u2019s wedded wife. And Nahum Tate therefore knew exactly what he was doing, when he referred to the final scene of Shakespeare\u2019s\u00a0Romeo & Juliet.<\/em><\/p>\n Once again logic arrives at a simple, single, and irrefutably correct interpretation of a piece of poetry. Even if the touchstone proves its message slightly different from the one of\u00a0Let down the Bars<\/i>\u00a0:<\/p>\n if \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Death<\/span>\u00a0 \u00a0\u00a0= \u00a0\u00a0better than \u00a0 \u00a0<\/span>\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0the unilateral lover<\/span><\/strong> Cutting short some increasingly intimate touches, the Last Lover appears, as far as the original audience was concerned, just in time to save Dido – or rather Belinda – from worse. Which softens the impact of her fate with the notion that even the darkest cloud has a silver lining. But dark clouds only feature in a tragedy, and under the fair blue sky of comedy fate can be merciless.<\/p>\n —<\/span><\/p>\n a\u00a0fate worse than death<\/b><\/p>\n Next song from Shakespeare\u2019s\u00a0Twelfth-Night<\/i>\u00a0is introduced as a traditional. To\u00a0be sung by women at their daily labour when the weather is bright. Three of\u00a0these working women, however, can scare the living daylight out of even Zeus\u00a0himself. These are the\u00a0Moirai<\/i>, or \u2018spinsters\u2019.<\/p>\n And when they dally with \u2018the\u00a0innocence of love\u2019, their song is bound to make real death look like a picnic.\u00a0<\/span><\/p>\n —<\/span>\u00a0Duke<\/strong>\u00a0\u00a0 \u00a0 \u00a0: O fellow come, the song we had last night: Musicke.<\/i><\/p>\n The Song.<\/i><\/p>\n Come away, come away death, Not a flower, not a flower sweete This song is in outlines\u00a0Dido\u2019s Lament all over again. And the ‘if’ is accounted for. These outlines, however, justify a little adjustment to the touchstone.<\/span><\/p>\n if \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Death<\/span>\u00a0 \u00a0\u00a0= \u00a0\u00a0(better than) \u00a0<\/span>\u00a0\u00a0 \u00a0 \u00a0 \u00a0\u00a0the unilateral lover<\/span><\/strong> At this occasion Death comes too late to the rescue. If he comes at all. Which\u00a0makes the opening identical to\u00a0Let down the Bars.<\/i>\u00a0An observation that cannot\u00a0fail to suggest a very similar story. And because of that story’s particular effect on its audience, a sharp listener may have heard the Duke to\u00a0introduce this song as ‘a chilly truth’.<\/span><\/p>\n The \u2018and\u2019 is not exactly in line, because the 1623 First Folio does not provide\u00a0an \u2018Oh\u2019. Judged by context, the \u2018O\u2019 in the song\u2019s fifth line might be one, but one\u00a0better resists the temptation to correct accordingly, because it is the sole piece of evidence that the \u2018\u00f4\u2019 in line eleven should not sound like a regular \u2018O\u2019.\u00a0And that is the one that comes with \u2018a thousand sighes\u2019. It also is\u00a0the one that is misplaced at the cost of its functionality : it should be moved\u00a0forward by two positions if it is supposed to serve any linguistic purpose. And\u00a0with three old spinsters prepared to vouch for the \u2018than\u2019, the touchstone\u00a0seems once more the proper device to narrow the range of possible\u00a0interpretations down to one. But, with the \u2018and\u2019 open to question, arguments to\u00a0the contrary are welcome as comments on this page.<\/p>\n The same for reports of malfunction : the touchstone is designed to rule out\u00a0far-fetched and complicated interpretations. If it fails to do a proper job, it is\u00a0not suited for this particular song.<\/p>\n When accepted as useful, the touchstone is rather suggestive on words like \u2018cypresse\u2019, \u2018greet\u2019 and \u2018shrowd of white\u2019 when looking for substitutes. And be aware of the song\u2019s context as well. When it comes to interpretation, the comedy that surrounds it can be expected to be as good a guide as the touchstone. The song\u2019s introduction does in any case not quite agree with regarding it as a mere interlude :\u00a0Twelfth-Night<\/em>\u00a0is one great dalliance with the innocence of love.<\/p>\n Alongside the exercise of reading attentively, the second method of interpretation, my old school\u2019s \u2018text explanation\u2019, is useful as well. Finding the correct answers is usually not much of a problem, but finding the right questions is the real name of the game. The first one that springs to mind concerns the narrator : male or female?<\/p>\n answer :\u00a0…………………………………………………………………………………………………………………….<\/span><\/p>\n The song is introduced by a Duke who identifies himself with the narrator. This because he is love-sick, and love poetry habitually defines the cruel lady as the cause of his malady. And of the suicidal mood that comes with unanswered love. He should have known better : Shakespeare deals in his \u2018sugared\u2019 sonnets with a lady whose proves most cruel in denying the narrator her favours after a first amazing night.<\/p>\n Apart from that mistake, the Duke\u00a0identifies himself with a lament that he explicitly mentions to be a woman\u2019s\u00a0song.\u00a0Its hired performer, however, is supposed to be a baritone. And this singer is with\u00a0certainty a professional jester. In which capacity he makes his money by\u00a0showing his audience a mirror. Because Cesario, the Duke\u2019s companion, has as \u00a0little reason to identify himself with the narrator as the Duke himself, the\u00a0mirror must be showing them the future. The next question therefore is :\u00a0whose future?<\/p>\n answer :\u00a0…………………………………………………………………………………………………………………….<\/span><\/p>\n Both the Duke and Cesario will be engaged before the play is over, the mirror can therefore show either of them during the first wedded night. It also can show both of them in equal circumstances. Either as the narrator, or as seen from the narrator\u2019s point of view. And it evidently is a future of unilateral love. Which may be a seamless fit with the Dickinson poem, but not with the setting of two lovers at their first wedded night. The mirror therefore shows a very strange future indeed. Strange enough even to dismiss it as impossible. But sometimes not even the strangest of foretellings is as strange as reality. And many a riddle concerning Shakespeare\u2019s marriage would dissolve at the instant if this mirror actually shows its first night through the eyes of Anne Hathaway. Or even through Shakespeare\u2019s own, in case the \u2018Annam Whateley of Grafton\u2019 who he was licenced to marry on 27 November 1682, is not the \u2018Anne Hathwey of Stratford\u2019 who he was legally bound to marry on the 28th<\/p>\n The jester\u00a0therefore knows his business, and the third question must be : whose point of\u00a0view does he represent?<\/p>\n answer :\u00a0…………………………………………………………………………………………………………………….<\/span><\/p>\n Unless it answers both the opening questions correctly, your interpretation of the song is bound to be troubled with inconsistencies. The moment everything falls into place, however, the third answer can be trusted to come up even before asking the question. A convicing indication of being correct. But the real proof is in the context : your interpretation must be in line with the story that leads up to the mirror\u2019s future. This may establish a serious problem, because\u00a0Twelfth-Nigh<\/em>t has no story-line that covers the narrator\u2019s dealings with a cruel lady. Not at its surface at least, where the fair lady is cruel by keeping her distance. In the case of Cesario and the Duke the play even rules those dealings out. And the same for their respective lovers. This, however, makes the song inconsistent with the context in which it is performed, and can\u2019t be true. The final question therefore is : what does the play hide from view, that allows to identify either of them with the song ?<\/span><\/p>\n Quite a lot, actually. And most of it is hiding in plain sight. Which, by the way,\u00a0makes it rather difficult to spot.\u00a0As Death demonstrates in his habit of\u00a0being too close to be noticed. But seek and you will find. And in case you won\u2019t,\u00a0there is always the the option to place a comment to refute a seemingly unfounded claim.<\/span><\/p>\n —<\/span><\/p>\n the german style of comedy<\/b><\/p>\n From an invisible murder to an invisible murderer is just a step. One that brings\u00a0us to the moonlit countryside of Thuringia. Or more precise ; to the park of\u00a0Tiefurt Palace at Weimar. There to hear star singer Corona Schr\u00f6ter,\u00a0under the alders (Erlen) along the river Ilm,\u00a0<\/span>in the\u00a0nightly prelude<\/a>\u00a0to her 1782 semi-opera\u00a0Die Fischerin<\/i>\u00a0(The Fisherwoman):<\/p>\n Wer reit(e)t so sp\u00e4t durch Nacht und Wind? Mein Sohn, was birgst du so bang dein Gesicht? \u2014\u00a0<\/span> \u201eDu liebes Kind, komm geh\u2019 mit mir!<\/span>\n
Untill Death Us Do Part<\/b><\/h2>\n
\nYou and I, tonight!
\nYou must forget the warmth he gave,
\nI will forget the light. <\/span><\/p>\n
\nThen I, my thoughts, will dim.
\nHaste! \u2018lest while you\u2019re lagging
\nI may remember him!\u00a0<\/span><\/p>\n
\nand \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Death \u00a0 \u00a0<\/span>= \u00a0\u00a0the \u2018Oh\u2019 in \u2018love\u2019<\/span><\/strong>
\nthen \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Death<\/span>\u00a0 \u00a0\u00a0= \u00a0\u00a0worse than Death<\/span><\/strong><\/span><\/p>\n<\/div>\n\n
The first option seems unlikely, but proving the text consistent with a suicidal mood will be\u00a0sufficient to do the trick. The second option needs to prove Dickinson clumsy in a punctuation\u00a0that fits seamlessly in with a deliberate choice for \u2018Oh\u2019 instead of \u2018O\u2019. And that in more than one\u00a0way. If this approach does not lead to a result that agrees with your intuition, there is always\u00a0the possibility to declare both presumptions (the \u2018if\u2019 & \u2018and\u2019) correct, but the conclusion\u00a0wrong. In which case you have to explain what makes the \u2018Oh\u2019 in unilateral love at least as good\u00a0as the \u2018Oh\u2019 of mutual consent. Only if logic is to fail you on all three counts, there will be\u00a0nothing for it but to accept the touchstone as reliable. Whether your intuition likes it or not.\u00a0<\/span><\/em><\/h5>\n<\/blockquote>\n
\n
\nOn thy Bosom let me rest,
\nMore I would but Death invades me.
\nDeath is now a Welcome Guest,
\nWhen I am laid in Earth, may my Wrongs create
\nNo trouble in thy Breast.
\nRemember me, but ah! forget my Fate.<\/span><\/em><\/p>\n
\nAnd scatter Roses on her Tomb.
\nSoft and Gentle as her Heart,
\nKeep here your Watch and never part.<\/span><\/em><\/p>\n\n
Come away, fellow sailors, your anchors be weighing.
\nTime and tide will admit no delaying.
\nTake a bouzy short leave of your nymphs on the shore,
\nAnd silence their mourning
\nWith vows of returning
\nBut never intending to visit them more.<\/span><\/em><\/h5>\n\n
In the famous tragedy\u2019s original 1594 production (faithfully copied\u00a0by the\u00a0‘corrupt’ Q1-edition), the flowers were\u00a0apparently strewn by a boy soprano. This \u2018cupid\u2019 probably was thirteen year old Thomas Belte.\u00a0<\/span><\/em><\/h5>\n
Klaas Alberts :\u00a0The Original Romeo & Juliet<\/a>\u00a0 a\u00a0reconstruction of the play’s first night<\/span><\/em>.\u00a0<\/span><\/em><\/h5>\n<\/blockquote>\n
\nand \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Death \u00a0 \u00a0<\/span>= \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0the \u2018Oh\u2019 in \u2018love\u2019<\/span><\/strong>
\nthen \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Death<\/span>\u00a0 \u00a0\u00a0= \u00a0\u00a0still \u00a0 \u00a0 \u00a0 \u00a0<\/span>\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0worse than Death<\/span><\/strong><\/span><\/p>\n<\/div>\n\n
Moirai is the plural of Moira, the Trinity Goddess of Destiny<\/span><\/em><\/span><\/span><\/h5>\n
Klotho first the work begins,<\/span><\/em>
\nLachesis ever further spins,<\/span><\/em>
\nCuts Atropos the thread at last,<\/span><\/em>
\nYour days, o mortal man, have passed.<\/span><\/em><\/span><\/span><\/h5>\ntranslated from Gustav Schwab :\u00a0<\/span><\/em>Die Sch\u00f6nsten Sagen des Klassischen Altertums –\u00a0<\/span>The Finest Sagas of the Classical Age<\/span><\/em><\/h5>\n<\/blockquote>\n
\nMarke it Cesario, it is old and plaine;
\nThe Spinsters and the Knitters in the Sun,
\nAnd the free maides that weaue their thred with bones,
\nDo vse to chaunt it: it is silly sooth,
\nAnd dallies with the innocence of loue,
\nLike the old age.
\n—<\/span>\u00a0Clowne<\/strong>\u00a0\u00a0 : Are you ready Sir?
\n—<\/span>\u00a0Duke<\/strong>\u00a0\u00a0 \u00a0 \u00a0:\u00a0I prethee sing. \u00a0<\/span><\/p>\n\n
In the oldest Greek mythology Moira is also known as Aphrodite.<\/span><\/em>\u00a0<\/span><\/h5>\n<\/blockquote>\n
\nAnd in sad cypresse let me be laide.
\nFye away, fie away breath,
\nI am slaine by a faire cruell maide:
\nMy shrowd of white, stuck all with Ew, O prepare it.
\nMy part of death no one so true did share it.<\/span><\/p>\n
\nOn my blacke coffin, let there be strewne:
\nNot a friend, not a friend greet
\nMy poore corpes, where my bones shall be throwne:
\nA thousand thousand sighes to saue, lay me \u00f4 where
\nSad true louer neuer find my graue, to weepe there.\u00a0<\/span><\/p>\n\n
In modernized spelling the third line, as a rule, is corrected to \u2018fly away breath\u2019. Which makes the line a sort of repetition of\u00a0\u2018come away death\u2019. Just like the third line in the second stanza is a sort of repetion of its first\u00a0one. Yet, \u2018fie\u2019 allows the use of \u2018breath\u2019 in its ancient meaning of \u2018scent\u2019 or \u2018smell\u2019. And that\u00a0possibility alone is all the reaon one needs to dismiss the editor\u2019s interference as an improvement that\u00a0may have deleted the underlying message.\u00a0<\/span><\/em><\/h5>\n<\/blockquote>\n
\nand \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Death \u00a0 \u00a0<\/span>= \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0the \u2018Oh\u2019 in \u2018love\u2019<\/span><\/strong>
\nthen \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Death<\/span>\u00a0 \u00a0\u00a0= \u00a0\u00a0(still) \u00a0 \u00a0 \u00a0<\/span>\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0worse than Death<\/span><\/strong><\/span><\/p>\n<\/div>\n\n
Be aware of the danger of interpreting the song with a biassed mind. The bias itself seems\u00a0reliable enough, but that is always the problem with a bias.\u00a0<\/span><\/em><\/h5>\n<\/blockquote>\n
\n
The standard Shakespearean comedy is ruled by Aphrodite. But in\u00a0<\/span><\/em>Twelfth-Night<\/span>\u00a0she habitually\u00a0casts a shadow on the various love affairs that is shaped like Moira. The sudden urge of the Duke\u00a0to kill Cesario in scene 5 ; 1 is just the tip of that icebergh : the play hides an equally strong motive\u00a0for the Duke to lash out at Cesario\u2019s predecessor in his favour (last seen alive in scene 1 ; 4).\u00a0<\/span><\/em><\/h5>\n<\/blockquote>\n
\n
A cruelty that casts its shadow on the occasional play as well. As if reflecting Shakespeare\u2019s personal experience with married life:\u00a0<\/span><\/em><\/h5>\n
Hamlet \u00a0 \u00a0: I’st a prologue, or a poesie for a ring?
\nOphelia \u00a0 : T’is short my Lord.
\nHamlet \u00a0 \u00a0: As womens loue.<\/span><\/em><\/h5>\n<\/blockquote>\n\n
The names on the marriage licence from the 27th. seems to have been mixed up with that of a\u00a0certain William Whateley of Crowle. Who features on a legal deed from the same day, and from\u00a0the same clerk\u2019s hand. The licence itself was for a marriage by a couple from Stratford at the\u00a0parish church of Temple Grafton.<\/span><\/em><\/h5>\n
Ian Wilson :\u00a0<\/span><\/em>Shakespeare – the Evidence<\/span>\u00a0\u00a0 pp. 56 – 57<\/span><\/em><\/h5>\n<\/blockquote>\n
\n
Guided by Shakespeare’s intentions with the play, it was evident \u00a0for me where to look, and what to look for. But still ; at the first go, nothing. At\u00a0the second go faint outlines only. And from the third go omward I couldn\u2019t understand how on\u00a0earth I had been that blind. The murder of Cesario’s predecessor as the Duke’s go-between, by the way, took me a plenty a year more to notice. Its trace is faint, and has been deleted from many a modern edition anyway.\u00a0<\/span><\/em><\/h5>\n<\/blockquote>\n
\nEs ist der Vater mit seinem Kind.
\nEr hat den Knaben wohl in dem Arm,
\nEr fa\u00dft ihn sicher, er h\u00e4lt ihn warm.<\/span><\/p>\n
\nSiehst Vater, du den Erlk\u00f6nig nicht!<\/span>
\nDen Erlenk\u00f6nig mit Kron\u2019 und Schweif? \u2014<\/span>
\nMein Sohn, es ist ein Nebelstreif. \u2014<\/span><\/p>\n
\nGar sch\u00f6ne Spiele, spiel ich mit dir,<\/span>\u00a0
\n<\/span>Manch bunte Blumen sind an dem Strand,<\/span>\u00a0