{"id":8,"date":"2015-06-29T19:06:33","date_gmt":"2015-06-29T17:06:33","guid":{"rendered":"http:\/\/www.elizabethanpartsongs.nl\/wordpress\/?page_id=8"},"modified":"2016-09-24T21:20:03","modified_gmt":"2016-09-24T19:20:03","slug":"5-english-folksongs","status":"publish","type":"page","link":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/contents-summaries\/5-english-folksongs\/","title":{"rendered":"Five Songs of Symmetry"},"content":{"rendered":"

Somewhere in the nineteenth century, the Grimm brothers set out to put\u00a0Germany’s heritage of old folk stories on record, that untill then had\u00a0been passed down the generations by word of mouth. The result was a\u00a0still popular book, that has prevented many a classic from dropping out\u00a0of our collective memory. The brothers were just in time: the\u00a0disappearance of the story telling tradition is not to be blamed on the\u00a0rise of radio broadcasting and television, but on the disintergration of traditional\u00a0society as a result of the industrial revolution. A gradual process of\u00a0social and cultural unrooting from mankind out of the soil of the\u00a0eighteenth century, that was at its end merely accelerated by some new\u00a0ways of entertainment. By the time that traditional story telling was in\u00a0a state uncanningly alike the one that polar ice, and the bear that goes with it, are in today (not\u00a0yet beyond rescue, but we have to act without delay), the Grimm example\u00a0got a worldwide follow up. Not just for the preservation of folk\u00a0stories, but of folk songs as well. And they were not the least of their\u00a0profession who travelled across their countries to preserve their\u00a0musical heritage: in Hungary, for instance, it was Zolt\u00e1n Kod\u00e1ly\u00a0(1882-1967), who could compose a rather good song of his own.<\/p>\n

In England it was Ralph Vaughan Williams (1872-1958), in his time\u00a0regarded as the country’s leading composer, to take up the task. It may\u00a0have been done at the cost of a couple of symphonies, but from December\u00a01903 onward, he wrote down some eight hundred songs, recorded from the\u00a0mouth of the last and rapidly dwindling generation that stood in the\u00a0tradition. A part of his collection he adapted for performance by choir.\u00a0“Five English Folksongs”<\/em>\u00a0was first published in 1913, when the work was\u00a0largely done. The five songs selected for this particular cycle,\u00a0however, are not merely for their charm selected to celebrate the\u00a0completion of the project in a choral setting. The sequence of texts\u00a0constitutes a coherent unity.<\/p>\n

“Five English Folksongs”<\/i>\u00a0is a cycle of four love songs, with a coda on\u00a0the ancient English tradition of helping the poor through the Christmas period.\u00a0In this Wassail Song, ‘wassail’ stems from ‘wess hael’ (on your health),\u00a0and means ‘drinking session’. It is traditionally sung by the poor when\u00a0proceding from one house to another with a modest sized cup, and the\u00a0‘wassail’ at the beginning is both begging call and the traditional\u00a0name for the booze donated. This coda, as we in due time will recognize,\u00a0is far closer related to the previous love songs than one might expect\u00a0from a time honoured christmas tradition. So let us have a look at the opening text. A\u00a0song on Shakespeare’s immortal observation that yourneys end in lovers meeting:<\/p>\n

The Dark Eyed Sailor<\/strong><\/p>\n

It was a comely young lady fair,
\nWas walking out for to take the air,
\nShe met a sailor all on her way,
\nSo I paid attention to what they did say.<\/p>\n

Said William, ‘Lady, why walk alone?
\nThe night is coming and the day neare gone.’
\nShe said, while tears from her eye did fall,
\n‘It’s a dark-eyed sailor that’s proving my downfall.<\/p>\n

It’s two long years since he left the land;
\nHe took a gold ring from of my hand,
\nWe broke the token, here’s part with me,
\nAnd the other lies rolling at the bottom of the sea.’<\/p>\n

Then half the ring did young William show,
\nShe was distracted midst joy and woe.
\n‘O welcome, William, I’ve lands and gold
\nFor my dark-eyed sailor so manly, true and bold.’<\/p>\n

Then in a village down by the sea,
\nThey joined in wedlock and well agree.
\nSo maids be true while your love’s away,
\nFor a cloudy morning brings forth a shining day.<\/p>\n

Apparently a rather straightforward story about the reunion of a fair lady with her\u00a0beloved sailor, who she believed death. But two lines deserve a closer\u00a0look: the ones of the fourth verse in which the lady offers the sailor\u00a0land and gold. The donated booze of the final song is in comparision\u00a0less of a sacrifice, but the intention is the same. And this connects\u00a0the love of the fair lady for her William to the spirit of christmas by\u00a0means of charity. But in search for overall unity we find the next song\u00a0refusing to fit in on this theme. It is clearly out of season to begin with:<\/p>\n

The Spring Time of the Year<\/strong><\/p>\n

As I walked out one morning,
\nIn the springtime of the year,
\nI overheard a sailor boy,
\nLikewise a lady fair.
\nThey sang a song together,
\nMade the valleys for to ring,
\nWhile the birds on spray
\nAnd the meadows gay
\nProclaimed the lovely spring.<\/p>\n

The lovers, however, are the very ones I overheard in the previous song,\u00a0and this time they are singing. Just as the beggars will do in the coda.\u00a0This singing also features in next song, but this time there is a change\u00a0of perspective, as there is nobody around to overhear our lovers:<\/p>\n

\u00a0<\/span>Just as the Tide was Flowing<\/strong><\/p>\n

One morning in the month of May,
\nDown by some rolling river,
\nA jolly sailor, I did stray,
\nWhen I beheld my lover.
\nShe carelessly along did stray,
\nA-picking of the daisies gay;
\nAnd sweetly sang her roundelay,
\nJust as the tide was flowing.<\/p>\n

O! her dress it was so white as milk,
\nAnd jewels did adorn her.
\nHer shoes were made of the crimson silk,
\nJust like some lady of honour.
\nHer cheeks were red, her eyes were brown,
\nHer hair in ringlets hanging down;
\nShe’d a lovely brow, without a frown.
\nJust as the tide was flowing.<\/p>\n

I made a bow and said; ‘Fair maid,
\nHow came you here so early?
\nMy heart, by you it is betray’d
\nFor I do love you dearly.
\nI am a sailor come from sea,
\nIf you will accept of my company
\nTo walk and view the fishes play.’
\nJust as the tide was flowing.<\/p>\n

No more we said, but on our way
\nWe’d gang along together,
\nThe small birds sang, and the lambs did play,
\nAnd pleasant was the weather.
\nWhen we were weary we did sit down
\nBeneath a tree with branches round;
\nFor my true love at last I’d found,
\nJust as the tide was flowing.<\/p>\n

Again journeys end in lovers meeting, and, judged by their descriptions,\u00a0they are the very lovers of the opening song, only this time at the\u00a0earlier occasion of breaking a ring of gold. As we know, he is to sail\u00a0shortly afterwards, and will not return for a long time. Long enough in\u00a0any case to be assumed dead:<\/p>\n

The Lover’s Ghost<\/strong><\/p>\n

Well met, well met my own true love;
\nLong time I have been absent from thee,
\nI am lately come from the salt sea,
\nAnd ’tis all for the sake, my love, of thee.<\/p>\n

I have three ships all on the salt sea,
\nAnd one of them has brought me to land,
\nI’ve four and twenty mariners on board,
\nYou shall have music at your command.<\/p>\n

The ship wherein my love shall sail
\nIs glorious for to behold,
\nThe sails shall be of shining silk,
\nThe mast shall be of the fine beaten gold.<\/p>\n

I might have had a King’s daughter,
\nAnd fain she would have married me,
\nBut I forsook her crown of gold,
\nAnd ’tis all for the sake, my love, of thee.<\/p>\n

In the sequence of this four songs we now find both unity and symmetry.\u00a0Which should be basic features of any song cycle anyway, as one can\u00a0learn from both Schubert’s masterpieces in this field:\u00a0Winterreise<\/em>\u00a0and\u00a0Die Sch\u00f6ne M\u00fcllerin<\/em>. And even from RVW’s miscellanious set of Three\u00a0Elizabethan Part Songs, if one takes the trouble to read parts two &\u00a0three of\u00a0The Art of Ralph Vaughan Williams<\/em>. This time the lay-out is in\u00a0comparision with that elusive composition rather straightforward: unity\u00a0is established by the sailor boy, who for the sake of symmetry is\u00a0presumably dead in both opening and closing song. His love is arranged\u00a0with re-union on the corner parts, and union in the centre. Symmetry is a\u00a0specific type of balance, but the sequence shows the general type as\u00a0well, in a way that involves development: Before the symmetry axis the\u00a0storyteller is an outsider, afterwards it is the sailor boy himself. The\u00a0outsider\u00a0restricts him-\/herself to reporting on what (s)he heard and saw, the\u00a0sailor boy follows up with a description of the lady, his courting , and her response. He concludes with\u00a0adressing her directly, to return her favours to the dark-eyed sailor. Which charity results in this composition scheme:<\/p>\n

—<\/span><\/p>\n\n\n\n
story \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0communi- \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0lover \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<—charity—> \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0lover \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 teller \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0cation \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0I \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0season \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 II \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0between \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<—destiny—> \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0lovers<\/p>\n
\n

out-\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>dialogue\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>sailor\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/span><—land & gold—-\u00a0 \u00a0 \u00a0 \u00a0<\/span>fair \u00a0 \u00a0 \u00a0\u00a0 \u00a0 \u00a0 \u00a0 <\/span>sider \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 boy \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 —-landbound—-> \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 lady<\/p>\n

out- \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 duet \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0sailor \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 spring* \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0fair
\nsider \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 boy \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0lady<\/p>\n

symmetry axis
\n——————————————————————————————————————-
\nsymmetry axis<\/p>\n

sailor\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/span>monologue \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>sailor\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/span>spring\u00a0 \u00a0 \u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u00a0fair
\nboy \u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>boy\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span> lady<\/p>\n

sailor \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>monologue\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u00a0 sailor\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u00a0 —-ship & music—>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/span>fair
\nboy\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span> boy\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/span> <—seabound—-\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u00a0\u00a0<\/span>lady<\/p>\n

Coda<\/p>\n

the econo-\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span><———– matter (spiritual refreshments) ———— \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0mically \u00a0 \u00a0 \u00a0\u00a0<\/span>monologue \u00a0\u00a0 \u00a0 \u00a0<\/span>the ec. chall.\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span> midwinter** \u00a0 \u00a0 \u00a0 \u00a0the ec. strong
\nchallenged\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u00a0<\/span>\u00a0———– spirit (God’s blessing with matter) ———-><\/p>\n

\n

story \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0communi- \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0lover \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<—charity—> \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0lover \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 teller \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0cation \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0I \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0season \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 II \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0between \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<—destiny—> \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0lovers<\/span><\/p>\n

—<\/span><\/p>\n

* \u00a0 \u00a0<\/span>the season of love
\n** \u00a0high tide of God’s love = God gives us his son<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

—<\/span>
\n<\/span><\/span><\/p>\n

The coda hides yet another contrast: while the pre-christian Old\u00a0Testament of the Holy Bible teaches us that the just (Abraham, Isaac,\u00a0Job) receive the blessing of God in the form of earthly treasure (Pray God\u00a0send our master a good…), the christian sequel revolves around the\u00a0message that wealth isn’t everything at all. And this little Christmas\u00a0song therefore doesn’t fail to bring one of the sharper edges of the Messiah’s\u00a0gospel unobtrusively to the attention of the possessing class.<\/p>\n

Whoever has ears, let them hear<\/span>:<\/p>\n

—<\/span><\/p>\n

Wassail Song<\/strong><\/p>\n

Wassail, Wassail, all over the town,
\nOur bread it is white and our ale it is brown:
\nOur bowl it is made of the green maple tree;
\nIn the Wassail bowl we’ll drink unto thee.<\/p>\n

Here’s a health to the ox and to his right eye,
\nPray God send our master a good Christmas pie,
\nA good Christmas pie as e’er I did see.
\nIn the Wassail bowl we’ll drink unto thee.<\/p>\n

Here’s a health to the ox and to his right horn,
\nPray God send our master a good crop of corn,
\nA good crop of corn as e’er I did see.
\n\u00a0<\/span>In the Wassail bowl we’ll drink unto thee.<\/p>\n

Here’s a health to the ox and to his long tail,
\nPray God send our master a good cask of ale,
\nA good cask of ale as e’er I did see.
\nIn the Wassail bowl we’ll drink unto thee.<\/p>\n

Come butler, come fill us a bowl of the best;
\nThen I pray that your soul in heaven may rest;
\nBut if you do bring us a bowl of the small,
\nMay the devil take butler, bowl and all!<\/p>\n

Then here’s to the maid in the lily white smock,
\nWho tripp’d to the door and slipp’d back the lock;
\nWho tripp’d to the door and slipp’d back the pin,
\nFor to let these jolly Wassailers walk in.<\/p>\n

—<\/span><\/p>\n

enter your comment under this link<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Somewhere in the nineteenth century, the Grimm brothers set out to put\u00a0Germany’s heritage of old folk stories on record, that untill then had\u00a0been passed down the generations by word of mouth. The result was a\u00a0still popular book, that has prevented … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":358,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages\/8"}],"collection":[{"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/comments?post=8"}],"version-history":[{"count":18,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages\/8\/revisions"}],"predecessor-version":[{"id":1349,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages\/8\/revisions\/1349"}],"up":[{"embeddable":true,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages\/358"}],"wp:attachment":[{"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/media?parent=8"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}