Anyone for Tennyson; So That's Where It's From!

<v Announcer>The following presentation of Anyone for Tennyson is a production <v Announcer>of the Nebraska Educational Television Network. <v Cynthia Herman>What a marvelous dinner, Jane, you've done it again. <v Norman Snow>I'm stuffed. <v Jill Tenor>You made all the things I love. Vichyssoise, ?gooey base? <v Jill Tenor>terrapin mousse, cucumber Hollandaise, Staffordshire Goose. <v Jane>I'm glad you enjoyed it. I've been cooking all week. <v Jane>We'll have some coffee and maybe Larry Lane will play a couple of tunes for us. <v All>Oh, Larry. <v Larry Lane>Always invite a pianist to dinner. <v Norman Snow>Unless you don't have a piano, then they get very frustrated. <v All>[Laughs]. <v Robin>All right. Tell me, when are you in the mood for charades? <v Speaker>Well, we did that last time. <v Speaker>Then who's for Bridge? <v Speaker>Oh I'd love to play. <v Cynthia Herman>Wait. Anyone for Tennyson? <v Speaker>I'm sorry, Cynthia. I forgot my racket.

<v Cynthia Herman>No. Tennyson. <v Robin>But that's your series. It isn't a game. <v George Backman>Sure it's a game. Somebody gives a book title, a movie title or a <v George Backman>well-known quote. And you have to give the poem it's from, and at least one <v George Backman>other line. <v Robin>That sounds much too difficult. <v Robin>I try to stay away from games like that. <v Robin>My motto is A little learning is a dangerous thing. <v Norman Snow>Drink deep or taste not the Pierian spring. <v Jill Tenor>Alexander Pope. <v George Backman>Essay on criticism. <v Cynthia Herman>See how easy it is. <v Norman Snow>Oh, you're a natural for this game, Robin. <v Robin>Oh, yes. That's me, a born genius. <v Robin>Look, I can handle bridge, but when it comes to poetry, believe me, ignorance is bliss. <v George Backman>That's Thomas Gray. <v George Backman>His ode on a distant prospect of Eton College. <v Robin>Oh, I think I just did it again. <v Norman Snow>You sure did. I told you you were good. <v Robin>Come on. Bridge players. <v Speaker>Ignorance is bliss. Did you say Thomas Gray?

<v George Backman>From one of his poems. <v Speaker>I've often wondered. <v Speaker>So that's where it's from. <v Announcer>Tonight, the members of the first poetry quartet invite you to join them as <v Announcer>they explore some familiar quotes and titles from the world of poetry. <v Announcer>Here are Cynthia Herman, Jill Tenor, George Backman and Norman <v Announcer>Snow. The First Poetry Quartet. <v Cynthia Herman>It's amazing to realize how important poetry is to our lives. <v Norman Snow>It's all around us. <v Cynthia Herman>Just think where we'd be without it. <v Cynthia Herman>No popular songs, no nursery rhymes, no commercial jingles for television. <v Jill Tenor>Well, that might be an improvement. <v Cynthia Herman>Not even a jump rope songs that we used as kids. <v Cynthia Herman>Gene Gene made a machine. Joe. Joe made it go. <v Cynthia Herman>Frank. Frank turned the crank. His mother came out, gave him a spank, threw him over <v Cynthia Herman>a riverbank. <v George Backman>Or, Marguerite go wash your feet. The border health's across the street.

<v Norman Snow>There wouldn't be any of the good old school cheers. <v Norman Snow>Like hit him with a battleaxe. <v Norman Snow>Burn 'em with a fire. Put a load of thumbtacks underneath their tires. <v Norman Snow>We're number one, boys. We can never lose. <v Norman Snow>So fight, fight, fight for the mauve and chartreuse. <v Cynthia Herman>Mauve and chartreuse? <v Norman Snow>Our school colors. <v Cynthia Herman>What school was that? <v Jill Tenor>Sounds like the school for scandal. <v George Backman>Poetry really is a big part of our lives. <v Cynthia Herman>Just think of all the song titles and movie titles and plays that come from poems. <v Norman Snow>There's a good example right now, Cynthia. Remember that song? <v Speaker>[Singing Catch a Falling Star] <v Speaker>Perry Como made it popular around 1957 or so. <v George Backman>Yes, but John Donne made it popular 350 years earlier. <v George Backman>Go and catch a falling star. <v George Backman>Get with child a mandrake root. <v George Backman>Tell me where all past years are.

<v George Backman>Or who cleft the devil's foot. <v George Backman>Teach me to hear mermaids singing or to keep off envy stinging <v George Backman>and find what wine serves to advance an honest mind. <v George Backman>If thou beest born to strange sights. <v George Backman>Things invisible to see. <v George Backman>Ride ten thousand days and nights till age. <v George Backman>Snow. White hairs on thee. <v George Backman>Thou when thou returnst will tell me all strange wonders <v George Backman>that befell thee. And swear nowhere lives <v George Backman>a woman true and fair. <v George Backman>If thou findst one. <v George Backman>Let me know. Such a pilgrimage where sweet yet <v George Backman>do not. I would not go, though, at next door we might meet. <v George Backman>Though she were true when you met her. <v George Backman>And last till you write your letter. <v George Backman>Yet she will be false ere I come to two <v George Backman>or three.

<v Jill Tenor>That's one of my favorite poems. <v Norman Snow>And not a bad song. <v Cynthia Herman>George. What would you say is the greatest source for quotes in our language? <v George Backman>Probably the Bible, especially the King James version. <v George Backman>There are chapters in it that can be read just for the beauty of their poetry. <v Norman Snow>And writers draw on the Bible constantly for titles. <v Cynthia Herman>That's right. There's a passage I like from The Song of Solomon that provided <v Cynthia Herman>the titles for two famous plays, my beloved <v Cynthia Herman>Spake and said unto me, Rise up, my love, my fair one, and <v Cynthia Herman>come away. For lo. <v Cynthia Herman>The winter is past. <v Cynthia Herman>The rain is over and gone. <v Cynthia Herman>The flowers appear on the earth. <v Cynthia Herman>The time of the singing of birds is come, and the voice of the turtle is heard in <v Cynthia Herman>our land. The fig tree put it forth, her green things <v Cynthia Herman>and the vines with the tender grape give a good smell. <v Norman Snow>Arise, my love, my fair one and come away. <v Norman Snow>Oh, my dove right in the collapse of the rock in the secret places of the stairs.

<v Norman Snow>Let me see thy countenance. Let me hear thy voice for sweet as thy voice and they <v Norman Snow>countenances come take us the foxes, the little foxes <v Norman Snow>that spoil the vines or our vines have tender grapes. <v George Backman>I recognized the voice of the turtle. That's John Van brewton. <v Cynthia Herman>That's right. And the other one? <v Jill Tenor>The little foxes. Lillian Hellman. <v Cynthia Herman>You score one hundred. <v Norman Snow>Actually, that same chapter has another title in a Peter De Vries book, Stay me with <v Norman Snow>Flagons Comfort Me- <v Quartet>With Apples. <v Norman Snow>For I am sick of love. <v Jane>Anyone for coffee? <v Jill Tenor>Comfort me with coffee. <v Cynthia Herman>As ?Julia Child? Said coffee, coffee, I cry for coffee. <v George Backman>Usually I insist on coffee with, coffee with, coffee with <v George Backman>the meal. <v Jane>Don't know how you remember so many quotes. <v George Backman>Actually, poetry is the greatest day, but the memory you can find. <v Jill Tenor>Better than a string around the finger. I can never remember what the string is for. <v Cynthia Herman>If you put your shopping list into poetry, you'd never have any trouble remembering your

<v Cynthia Herman>groceries. <v Jane>What do you mean? <v Cynthia Herman>Well, a typical list might be peanut butter, bread and jam. <v Norman Snow>Oats, peas, beans and candied yams. <v George Backman>Mustard custard, leg of lamb. <v Jill Tenor>Half a pound of thinly sliced Italian imported prosciutto ham. <v Jane>I'll have to try that! <v Norman Snow>Don't buy any oranges. They're hard to rhyme. <v Jane>Unless you buy them with lemons, oranges and lemons, <v Jane>say the Chimes of St. Clements. <v Jill Tenor>Oh, Hostess provides poetic competition! <v Jane>No, I just like nursery rhyme. <v Cynthia Herman>Nursery rhymes. Now there's a good source for titles. <v Cynthia Herman>Agatha Christie's Ten Little Indians or the Neil Simon play Come Blow Your Horn. <v George Backman>Jeanne cur- wrote a comedy called Mary Mary. <v Cynthia Herman>Quite contrary. How does your garden grow? <v Norman Snow>Out of Humpty Dumpty came the great Robert Penn Warren novel and Academy Award picture <v Norman Snow>All the King's Men. <v Jill Tenor>And what did London Bridge is falling down give us? <v Quartet>[Singing] My fair lady.

<v Jane>I think we're all children at heart. <v Jane>Let me know when you want some coffee. <v George Backman>What about some of the other play titles that come from poetry? <v Jill Tenor>Well, one that I can think of right off is no coward's blithe spirit is from Shelley's to <v Jill Tenor>a Skylark. <v Jill Tenor>Hail to the Blithe Spirit. <v Jill Tenor>Bird thou never wert. <v Jill Tenor>That from heaven or near it. Pourest thy full heart in profuse strains <v Jill Tenor>of unpremeditated art. <v Cy>I once did a Paul Osborne play Mornings at 7:00. <v Cy>And that's Robert Browning. <v Cy>The years at the spring and days at the morn. <v Cy>Mornings at seven. The hillsides dew pearled the larks <v Cy>on the wing. The snails on the thorn. <v Cy>God's in his heaven. All's right with the world. <v Norman Snow>Here's one you might not know: More Stately Mansions is a play by Eugene O'Neill. <v Norman Snow>What's the poem?

<v Jill Tenor>Sounds like the Bible again. <v Norman Snow>Wrong! It's a poem by Oliver Wendell Holmes called The Chambered <v Norman Snow>Nautilus. Build thee more stately mansions Oh, my soul <v Norman Snow>as the swift seasons roll. <v Norman Snow>Leave thy low vaulted past. <v Norman Snow>Let each new temple nobler than the last shut thee from heaven, with a dome more <v Norman Snow>vast till thow at length art free, leaving thine outgrown shell <v Norman Snow>by life's unresting sea. <v George Backman>Try this. A play by Samuel Taylor that later became a movie <v George Backman>with Audrey Hepburn and Humphrey Bogart. <v Cynthia Herman>A poem that became a Bogey movie? <v George Backman>Give Up? <v Quartet>Yeah. <v George Backman>It's from John Milton Sabrina Fair. <v George Backman>Listen Where Thou Art sitting under the glassy, cool translucent wave <v George Backman>in twisted braids of lilies, knitting the loose train of thy amber <v George Backman>dropping hair.

<v George Backman>Listen, for dear honor's sake, goddess of the Silver <v George Backman>Lake, listen and say. <v Jill Tenor>All right, you stumped us with a Bogart movie, now try Edward G. <v Jill Tenor>Robinson and Gail Russell, 1948. <v Cynthia Herman>Hm! You really are giving obscure. <v Cynthia Herman>What is it? <v Jill>The Night has a Thousand Eyes from a poem by Frances Bourdillon. <v Jill>The night has a thousand eyes and the day but one. <v Jill>Yet the light of the bright world dies with the dying sun. <v Jill>The mind has a thousand eyes and the heart but one. <v Jill>Yet the light of a whole life dies when love is done. <v George Backman>I like the poem. How was the movie? <v Jill Tenor>Hated it. <v Cynthia Herman>You know, for a real goldmine of quotes and titles, there's nothing like Shakespeare. <v Norman Snow>You're right. <v Cynthia Herman>Just think of the titles alone. The Play's The Thing by Molner.

<v Cynthia Herman>Hamlet. <v Norman Snow>The play's the thing wherein I'll Catch the conscience of the King. <v Cynthia Herman>And there's Tomorrow and Tomorrow by Philip Barrett. <v Norman Snow>That's Macbeth. <v Jill Tenor>Maxwell Anderson won a Pulitzer Prize for a play called Both Your Houses. <v George Backman>A plague on both your houses. <v George Backman>They made worms meat of me. <v George Backman>Romeo and Juliet. <v Norman Snow>There's a lovely song lyric from Twelfth Night that gives the title of <v Norman Snow>a Terence Rattigan comedy, O Mistress Mine and a War Tragedy <v Norman Snow>by R.C. Sheriff. <v Norman Snow>It's called Journey's End. <v Norman Snow>Oh, mistress mine, where are you roaming? <v Norman Snow>I'll stay in here, your true love's coming that can sing both high and low <v Norman Snow>trip no further. Pretty sweet. <v Norman Snow>Journey's end in lovers meeting every wise man's son doth know. <v Norman Snow>What is love? Is not hereafter present mirth at present laughter. <v Norman Snow>What's to come is still unsure. <v Norman Snow>In delay there lies no plenty.

<v Norman Snow>Then come kiss me sweet and 20. <v Norman Snow>Youth's a stuff will not endure. <v Jill Tenor>There's another title in that poem. <v Jill Tenor>Present laughter. A play by Noel Coward. <v George Backman>There's a present laughter at the bridge table. <v Norman Snow>I'll see what the conversation is about. <v Jill Tenor>Do you remember what Ogden Nash said about the art of conversation? <v Jill Tenor>If anybody says conversation and our day is as good as it was in Dr Johnson's, <v Jill Tenor>but that's a lot of nonsense. <v Jill Tenor>The art of conversation has been lost or at least mislaid and no <v Jill Tenor>modern phrase coined. I can think of a fresher word for spade a spade. <v Jill Tenor>Take the course three of the most effervescent Kothari. <v Jill Tenor>It sounds like something sworn to before a notary. <v Jill Tenor>Where yesterday's epigrams, banter and badinage. <v Jill Tenor>All you hear is who behave scandalously at the club dance. <v Jill Tenor>And how hard it is to get a new card into an old garage.

<v Jill Tenor>The maxim the epithet yea, even the aphorism die <v Jill Tenor>like echoes in the distance. Overwhelmed by such provocative topics as <v Jill Tenor>clothes, beauticians, taxes, and the scarcity of competent <v Jill Tenor>domestic assistance. <v Jill Tenor>Come sprinkle ashes and coffee substitutes upon my head. <v Jill Tenor>I weep for the art of conversation. It is dead. <v Jill Tenor>But wait a minute. The art of conversation is not dead. <v Jill Tenor>See it arise, vigorous, stimulating and untroubled. <v Jill Tenor>Just as you start to play six spades. <v Jill Tenor>Vulnerable. Doubled and redoubled. <v Norman Snow>Bridg is all right, I guess. But frankly, I prefer a good conversation. <v George Backman>What was all the racket? <v Norman Snow>A difficult hand. I don't completely understand the game. <v Cynthia Herman>How did it go?

<v Norman Snow>Well, I can only tell you what I saw. <v Norman Snow>Behold four kings and majesty, revered with hoary whiskers and a forked beard. <v Norman Snow>And four fair queens whose hand sustained a flower, the expressive <v Norman Snow>emblem of their softer power. <v Norman Snow>Four knaves in garb succinct to trusty band caps on their heads and halberds <v Norman Snow>in the hand and party colored troops, a shining train draw forth to combat <v Norman Snow>on the velvet plane. The skillful nymph reviews her force with care. <v Norman Snow>Let Spates be Trump, she said. At Trump's they were. <v Cynthia Herman>How many were bid? <v Norman Snow>Six. Spades. Vulnerable. Doubled and redoubled. <v Cynthia Herman>That's what I thought. What happened? <v Norman Snow>Clubs, diamonds, hearts and wild disorder seen, with throngs, promiscuous strow the level <v Norman Snow>green. Thus, when dispersed a routed army runs, of Asia's troops and Afric's sable <v Norman Snow>sons. With like confusion different nations fly, of various habit <v Norman Snow>and a various dye. The pierced battalions disunited fall. <v Norman Snow>In heaps on heaps; one fat o'erwhelms them all. <v Norman Snow>And Knave of Diamonds tries his wily odds and wins (oh shameful

<v Norman Snow>chance!) The Queen of Hearts. <v Norman Snow>And now (as oft in some distemper state) on one nice trick depends the general <v Norman Snow>fate. An ace of hearts steps forth the king <v Norman Snow>unseen lurked in her hand, and mourned his captive queen. <v Norman Snow>He springs to vengeance with an eager pace, and falls like thunder on the prostrate ace, <v Norman Snow>the nymph exulting fills with shouts the sky, the walls the woods, <v Norman Snow>the long canals reply. <v Cynthia Herman>Norman, the king of hearts, took the ace. <v Norman Snow>Yes. That's why she went down 1. <v Cynthia Herman>Oh [laughs]. <v George Backman>Who wrote that? <v Norman Snow>Alexander Pope. The rape of the lock. <v George Backman>So that's where it's from. <v Norman Snow>Actually wasn't describing bridge. at all, but an 18th century game called omber. <v Cynthia Herman>Oh, no wonder the king took the ace! <v Jill Tenor>It's a strange thing, but people don't read much Pope today. <v Jill Tenor>I'd think that after the Bible and Shakespeare, he's the most quoted poet in the <v Jill Tenor>language.

<v Jill Tenor>In words, as fashions, the same rule will hold a light fantastic <v Jill Tenor>if two new or old. <v Jill Tenor>Be not the first by whom the new are tried, nor yet the last to lay the old <v Jill Tenor>aside. <v George Backman>What future bliss he gives not to know, but gives that hope to <v George Backman>be thy blessing now. <v George Backman>Hope springs eternal in the human breast. <v George Backman>Man never is, but always to be less. <v Cynthia Herman>Good nature and good sense must ever join to Earth is human, to forgive, <v Cynthia Herman>divine. <v Norman Snow>True wit is nature too advantage dressed. <v Norman Snow>What oft was thought but ne'er so well expressed. <v Cynthia Herman>Nay fly to altars. There they'll talk you dead. <v Cynthia Herman>The fools rush in where angels fear to tread. <v Jill Tenor>Pope even has an influence on Larry Lay. <v Robin>Who's winning the Tennyson game. <v Cynthia Herman>We're all winning. We all love poetry. <v George Backman>How about giving us a quote from Tennyson himself? <v Robin>Something I would recognize. <v Norman Snow>Umm loxley Hall. Well, that's good.

<v Norman Snow>In the spring, a fuller crimson comes upon the Robin's breast. <v Jill>In the spring the wanton Letwin gets himself another crest. <v Cynthia Herman>In the spring a livelier iris changes on the burnished dome. <v George Backman>In the spring, a young man's fancy lightly turns to thoughts <v George Backman>of love. <v Robin>So that's where it's from. <v Larry Lane>I've got one for you. <v George Backman>Okay, Larry. <v Larry Lane>What line goes with this. <v Larry Lane>I have a little shadow that goes in and out with me. <v Norman Snow>And what can be the use of him is more than I can see. <v Norman Snow>Robert Lewis Stevenson, a child's garden of verses. <v Larry Lane>That's not it. <v George Backman>It isn't? <v Larry Lane>No. The one I'm thinking of is. <v Larry Lane>I have a little shadow that goes in and out with me. <v Larry Lane>It's only when it's dark that I have the slightest privacy. <v Jill Tenor>I'll bet that's a Richard Armor. Armour. <v Jill Tenor>He also did my candle burns at both ends. <v Jill Tenor>Where can I set it down, my friend? <v Cynthia Herman>And you know his treatment of Robert Burns? <v Cynthia Herman>My heart's in the Highlands. My heart is not here.

<v Cynthia Herman>All the doctors are puzzled. I think it is queer. <v Speaker>Come on Robin, it's your deal. <v Cynthia Herman>Larry. I've got an idea. You play us a theme from a movie and we'll see if we can <v Cynthia Herman>provide a quote for it. <v Larry Lane>Okay. <v Jill Tenor>Make it easy. <v Larry Lane>All right. Come on over the piano. I'll think of one you can't miss. <v Cynthia Herman>Okay. <v Bridge Players>[Chatter.] <v Cynthia Herman>Oh Rett! How you do run off, teasin' a country girl like me? <v Norman Snow>Really, Scarlett? I can't go on my life waiting to catch you between men. <v George Backman>Now, the question is what poem did Margaret Mitchell draw upon <v George Backman>when she wrote. Gone with the Wind?

<v Norman Snow>And the answer is A Poem about Cynara by <v Norman Snow>Ernest Downson. <v Norman Snow>Last night ah yesternight, betwixt her lips and mine <v Norman Snow>there fell thy shadow, Cynara! Thy breath was shed upon my soul. <v Norman Snow>Between the kisses and the wine. <v Norman Snow>And I was desolate and sick of an old passion. <v Norman Snow>Yea I was desolate and bowed my head. <v Norman Snow>I have been faithful to thee Cynara in my fashion all <v Norman Snow>night upon mine heart. I felt her warm heart beat, night-long within mine arms, <v Norman Snow>in love and sleep. She lay. <v Norman Snow>Surely the kisses of her bought red mouth were sweet. <v Norman Snow>But I was desolate and sick of an old passion. <v Norman Snow>When I awoke and found the dawn was a gray. <v Norman Snow>I have been faithful to thee Cynara, in my fashion. <v Norman Snow>I have forgot much Cynara, gone with the wind, flung roses, roses <v Norman Snow>riotously with the throng dancing to put thy pale, lost lilies out of

<v Norman Snow>mind. But I was desolate and sick of an old passion yea <v Norman Snow>all the time, because that dance was long. <v Norman Snow>I have been faithful to this Cynara in my fashion. <v Norman Snow>I cried for madder music and for stronger wine. <v Norman Snow>But when the feast is finished and the lamps expire, then falls, thy shadows <v Norman Snow>Cynara. The night is thine and I am desolate <v Norman Snow>and sick of an old passion. Yea, hungry for the lips of my <v Norman Snow>desire. <v Norman Snow>I have been faithful to thee Cynara. <v Norman Snow>In my fashion. <v Jill Tenor>That relationship could be Scarlett and Rhett. <v Jill Tenor>Who was Cynara? <v Norman Snow>She was supposedly an Inn keeper's daughter in London. <v George Backman>She was only an Inn keeper's daughter but-. <v Cynthia Herman>George. <v Jill Tenor>You know, there's another poem by the same writer that provided the title for a famous <v Jill Tenor>movie and song.

<v Jill Tenor>They're not long. The Weeping and the laughter, love and desire and hate. <v Jill Tenor>I think they have no potion in us after we pass the gate. <v Jill Tenor>They are not long. The days of wine and roses <v Jill Tenor>out of a misty dream our path emerges for a while, <v Jill Tenor>then closes within a tree. <v George Backman>Ernest Dowson Well, I'll know where to turn if I ever need a surefire title. <v Jane>You four do so much poetry, you must encounter famous lines and titles all the time. <v Cynthia Herman>Oh, that's part of the fun of it. Coming upon a familiar line, I remember when George <v Cynthia Herman>was doing Wordsworth's intimations of immortality in the Lake District of England. <v Cynthia Herman>Suddenly there was a reminder of a Natalie Wood Warren Beatty movie. <v Cynthia Herman>You know the part, I mean, George? <v George Backman>Sure. <v George Backman>What does the Radiance, which was once so bright, be now forever taken <v George Backman>from my sight, though nothing can bring back the hour of splendor <v George Backman>in the grass of glory in the flower.

<v Jill Tenor>When I was learning Gray's Elegy, I discovered the title of one of my favorite films, <v Jill Tenor>Paths of Glory. <v Jill Tenor>The boast of heraldry, the pomp of power and all that beauty, <v Jill Tenor>all that wealth e'er gave awaits alike the inevitable <v Jill Tenor>hour, the paths of glory lead but <v Jill Tenor>to the grave. <v Norman Snow>Don't forget that other stanza from the elegy, the one that gave Thomas Hardy a title, <v Norman Snow>and Alan Bates and Julie Christie a film. <v Norman Snow>Far from the madding crowd is ignoble strife, their sober wishes never learned to stray <v Norman Snow>along the cool, sequestered veil of life they kept the noiseless tenor <v Norman Snow>of their way. <v Robin>The one that surprised me was when you did. <v Robin>The Whiffenpoof song is a poem. <v George Backman>You mean Kipling's Gentlemen Rankers? <v George Backman>Yes. It gave a title for one of the Great War novels and films of all time, <v George Backman>as well as a song for Yale. <v All>[Singing Gentleman Rankers].

<v Speaker>That's Kipling. <v Cynthia Herman>Now you see what pleasure and inspiration come from poetry. <v Norman Snow>Reading prose is wonderful, of course, but give me poetry every time. <v Jill Tenor>When the ways are heavy with mile and rut, in November fogs in December <v Jill Tenor>snows, when the north wind howls and the doors are shut. <v Jill Tenor>There is place and enough for the pains of prose. <v Cynthia Herman>But whenever a scent from the whitethorn blows, and the jasmine-stars at the casement <v Cynthia Herman>climb and a Rosalind face at the lattice shows, then hey!

<v Cynthia Herman>For the ripple of laughing rhyme! <v Cynthia Herman>When the brain gets dry as an empty nut, when the reason stands on its squarest <v Cynthia Herman>toes. <v George Backman>When the mind, (like a beard) has a "formal cut," there is place and enough <v George Backman>for the pains of prose. <v Norman Snow>But whenever the May-blood stirs and glows, and the young year draws to the "golden <v Norman Snow>prime," and Sir Romeo sticks in his ear a rose, then hey! <v Norman Snow>For the ripple of laughing rhyme! <v Jill Tenor>In the workaday world, for its needs. <v Jill Tenor>And, woes,. <v George Backman>There is place and enough for the pains of prose. <v Cynthia Herman>But whenever the May bells clash and chime,. <v Norman Snow>Then hey! For the ripple of laughing rhyme! <v Speaker>Now finale to the shore.

<v Speaker>Now land and life, finale, and farewell! <v Speaker>Now voyager depart! <v Cynthia Herman>Now Voyager! <v Robin>Walt Whitman! <v Norman Snow>Leaves of grass! <v Cynthia Herman>That is Benny Davis' Walt Henry! <v Cynthia Herman>Do you remember how he lit those cigarettes two at a time? <v Announcer>Major funding for Anyone for Tennison was provided by public television stations.

<v Announcer>Additional support was provided by unrestricted general program grants from the <v Announcer>Corporation for Public Broadcasting and the Ford Foundation.