A Second Try

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Image: Wikimedia Commons

In a 1977 letter to Nature, University of Malaya geologist N.S. Haile observed the poor quality of an 1818 paper by one P.B. Shelley and presented this improvement:

Twin limb-like basalt columns (‘trunkless legs’) near Wadi Al-Fazar, and their relationship to plate tectonics

Ibn Batuta and P.B. Shelley

In a recent field trip to north Hadhramaut, the first author observed two stone leg-like columns 14.7 m high by 1.8 m in diameter (medium vast, ASTM grade scale for trunkless legs) rising from sandy desert 12.5 km southwest of Wadi Al-Fazar (Grid 474 753). The rock is a tholeiitic basalt (table 1); 45 analyses by neutron activation technique show that it is much the same as any other tholeiitic basalt (table 2). A large boulder 6 m southeast of the columns has been identified as of the ‘shattered visage’ type according to the classification of Pettijohn (1948, page 72). Granulometric analysis of the surrounding sand shows it to be a multimodal leptokurtic slightly positively skewed fine sand with a slight but persistent smell of camel dung. Four hundred and seventy two scanning electron photomicrographs were taken of sand grains and 40 are reproduced here; it is obvious from a glance that the grains have been derived from pre-cambrian anorthosite and have undergone four major glaciations, two subductions, and a prolonged dry spell. One grain shows unique lozenge-shaped impact pits and heart-like etching patterns which prove that it spent some time in upstate New York.

There is no particular reason to suppose that the columns do not mark the site of a former hotspot, mantle plume, triple junction, transform fault, or abduction zone (or perhaps all of these).

Haile added, “I pass this on in the hope that it will be of value to authors in preparing papers for publication.”

“Hence These Rimes”

Tho’ my verse is exact,
Tho’ it flawlessly flows,
As a matter of fact
I would rather write prose.

While my harp is in tune,
And I sing like the birds,
I would really as soon
Write in straightaway words.

Tho’ my songs are as sweet
As Apollo e’er piped,
And my lines are as neat
As have ever been typed,

I would rather write prose —
I prefer it to rime;
It’s less hard to compose,
And it takes me less time.

“Well, if that be the case,”
You are moved to inquire,
“Why appropriate space
For extolling your lyre?”

I can only reply
That this form I elect
‘Cause it pleases the eye,
And I like the effect.

— Bert Leston Taylor

“Tudor Aspersions”

“Thou jestedst when thou swor’st that thou betrothedst
The wench thou boastedst that thou lustedst for!
Thou thwartedst those thou saidst thou never loathedst,
But laudedst those that thou distrustedst more!
Ah, if thou manifestedst all thou insistedst,
Nor coaxedst those that thou convincedst not,
Nor vex’dst the ear thou wish’dst that thou enlistedst …”

“Thou’dst spit upon me less, thou sibilant sot!”

— R.A. Piddington

“Moonshine”

A double limerick by Walter de la Mare:

There was a young lady of Rheims,
There was an old poet of Gizeh;
He rhymed on the deepest and sweetest of themes,
She scorned all his efforts to please her:
And he sighed, “Ah, I see,
She and sense won’t agree.”
So he scribbled her moonshine, mere moonshine, and she,
With jubilant screams, packed her trunk up in Rheims,
Cried aloud, “I am coming, O Bard of my dreams!”
And was clasped to his bosom in Gizeh.

DIY

In 1888, on reading that the villanelle requires “an elaborate amount of care in production, which those who read only would hardly suspect existed,” British philologist W.W. Skeat tossed off this one:

It’s all a trick, quite easy when you know it,
As easy as reciting A B C,
You need not be an atom of a poet.

If you’ve a grain of wit, and want to show it,
Writing a villanelle — take this from me —
It’s all a trick, quite easy when you know it.

You start a pair of rimes, and then you “go it”
With rapid-running pen and fancy free;
You need not be an atom of a poet.

Take any thought, write round it and below it,
Above or near it, as it liketh thee;
It’s all a trick, quite easy when you know it.

Pursue your task, till, like a shrub, you grow it,
Up to the standard size it ought to be;
You need not be an atom of a poet.

Clear it of weeds, and water it, and hoe it,
Then watch it blossom with triumphant glee.
It’s all a trick, quite easy when you know it;
You need not be an atom of a poet.

“Ascot Waistcoat”

Prescott, press my Ascot waistcoat —
Let’s not risk it
Just to whisk it:
Yes, my Ascot waistcoat, Prescott.
Worn subfusc, it’s
Cool and dusk: it
Might be grass-cut
But it’s Ascot,
And it fits me like a gasket —
Ascot is the waistcoat, Prescott!
Please get
Off the spot of grease. Get
Going, Prescott —
Where’s that waistcoat?
It’s no task at
All, an Ascot:
Easy as to clean a musket
Or to dust an ivory tusk. It
Doesn’t take a lot of fuss. Get
To it, Prescott,
Since I ask it:
We can’t risk it —
Let’s not whisk it.
That’s the waistcoat;
Thank you, Prescott.

— David McCord

Chamber Music

First Violin: I, in love with the beauty of this world, endow it with my own beauty. The world has no abyss. Streaming out, my heart spends itself. I am only song: I sound.

Second Violin: For me, beside your more ethereal being, it is forbidden to have an I. Not the world — but more firmly and substantially: the earth has taught me. There it is growing dark. Let me accompany you, sister!

Viola: My grey hair makes it my duty to name the abyss for you. As you two childlike kindred spirits skim along, even the quarrel about nothing becomes attractive. But I suffer.

Cello: I know in my heart of hearts, that all is fate, the finely done and the unrelieved. I am true to the whole: enjoy life and repent! I do not warn. I weep with you. I console.

— Josef Weinheber (translated by Patrick Bridgewater)