[Allen continues with his review of his classroom anthology]
AG: And the Sapphic Catullan form was picked up by, as we have in here [in this xerox anthology], Sir Walter) Raleigh and (Sir Philip) Sidney. So, if you continue turning (the pages of the anthology), you'll get up to Raleigh. (If you can find that, it's about three-quarters of the way - okay, let's find the Raleigh first, then we can pay undivided attention) - about two-thirds down - It was called the perfect Sapphic! … here was are - the perfect Sapphic in English) - about two-thirds of the way down, at the bottom...
Student: Did you read this, Monday?
AG: What?
Student: Did you read this, Monday?
AG: Yes, I read it . I just want to get us.. you know, get us all on the same set of papers. Got it? Now you want to.. When you're all settled, we can do that…ok.. shoot.. now which one is that and what's it called?
Student: Ode Five. Book One.
AG: Aha!
Student: (reads the entire poem (of Horace - (Book I - Ode V)) in James Michie's translation) "What slim youngster, his hair dripping with fragrant oil/ makes hot love to you now, Pyrrha, ensconced in a/ snug cave curtained with roses?/Who lays claim to that casually/ Chic blond hair in a braid? Soon he'll be scolding the/Gods, whose promise, like yours, failed him, and gaping at/Black winds making his ocean's/ Fair face unrecognizable./ He's still credulous, though, hugging the prize he thinks/Pure gold, shining and fond, his for eternity./Ah, poor fool, but the breeze plays/ Tricks. Doomed, all who would venture to/ Sail that glittering sea. Fixed to the temple wall,/My plaque tells of an old sailor who foundered and,/Half-drowned, hung up his clothes to/Neptune, lord of the element."
AG: That's not a Sapphic.
Student: Yes it is.
AG: Let's see.. I don't believe it . I think it's…
Student: (It's a bit irregular, but..)
AG: It's an ode… (an example of the) ode-form, which… (John) Milton translated that particular poem. Do we have..? We don't have that, do we, here in the anthology? - A fragment of it is actually printed in one of these...on one of these sheets, just a little fragment of it, the last half. I'll bring it in another time. It's the same form that Milton used and (Andrew) Marvell used for his.. Marvell's ode on Cromwell, - ("An Horatian Ode upon Cromwell's Return from Ireland") ("As if his highest plot/To plant the bergamot")
[John Milton's translation of Horace Book I - Ode V)
"What slender Youth bedewed with liquid odours/Courts thee on Roses in some pleasant Cave,/Pyrrha for whom bind’st thou/In wreaths thy golden Hair,/Plain in thy neatness? O how oft shall he/On Faith and changed Gods complain: and Seas/Rough with black winds and storms/Unwonted shall admire:/Who now enjoys thee credulous, all Gold,/Who always vacant, always amiable/Hopes thee; of flattering gales/ Unmindfull. Hapless they/To whom thou untri’d seems’t fair. Me in my vowd/Picture the sacred wall declares t’ have hung/My dank and dropping weeds/To the stern God of Sea."
Quis multa gracilis te puer in rosa/perfusus liquidis urget odoribus/grato, Pyrrha, sub antro?/Cui flavam religas comam,/ simplex munditiis? Heu quotiens fidem/mutatosque deos flebit et aspera/nigris aequora ventis/emirabitur insolens/ qui nunc te fruitur credulus aurea,/qui semper vacuam, semper amabilem/sperat, nescius aurae/ fallacis. Miseri, quibus/ intemptata nites. Me tabula sacer/ votiva paries indicat uvida/ suspendisse potenti/vestimenta maris deo.
[Audio for the above can be heard here beginning at approximately forty-five-and-a-quarter minutes in, and ending at approximately forty-seven-and-three-quarter minutes in]
Picking up again on Allen's 1980 "Sapphics" class, going through his classoom anthology
AG: So that was.. [Horace and Thomas Wyatt (bemoaning wasted opportunity)] Okay..also, there's a great poem by Francois Villon about an old.. It's called "Ballade de la belle Heaumière aux filles de joie" ( "The Complaint of the Fair Helm-Maker Grown Old")
. It's a real meticulous description, like her lacking her teeth, and the rheum matter of her eye, and the sagging belly collapsed - a really horrific description! This also refers a little bit to the Catullus that we just passed by, that we have all these translations of - So, "Furius and Aurelius..", "Tell her of..." just the page (in your anthologies) before that, if you look - "Furius and Aurelius, True Comrades" (Catullus # 11) You got that there?
Student: (In the) Robert Fitzgerald translation?
AG: Yeah, and there are a couple of other translations of that before, but the angle, or idea, is that - three-quarters of the way down - (Allen begins reading) - "Take a little bulletin to my girl friend,/ Brief but not dulcet:/ Let her live and thrive with her fornicators/Of whom she hugs three hundred in an evening/ With no true love for any, leaving them broken-/Winded the same way./She need not look, as once she did, for my love./By her own fault it died, like a tumbling flower/ At the field's edge, after the passing harrow/ Clipped it and left it."
and if we go back a little more to the Catullus, we'll find some other versions of that ..
James Cranstoun has a terrible Victorian post-Victorian translation - page twenty-two.. twelve pages beyond, twelve pages back..see page twenty two - "The Poet Travels …" - You see that? Anybody not? Anybody can't find it? It's just a few pages
Student: The Poet Travels?
AG: Yea, above that, right above "The Poet Travels..." - two stanzas - (Allen reads from Cranstoun's translation) - "Still let her revel with her godless train,/ still clasp her hundred slaves to passion's thrall,/ Still truly love not one but ever drain/The life-blood of them all"- Not very good. That guy tried to..
Student: (One of the better ones..)
AG: (No, there are ten better ones than that!
Student: Is that the same one?
AG: It's the same one, but he tries to translate it into ten-ten-ten-six, quatrains, ABAB, ten syllables, ten syllables, ten syllables, six syllables. You know, just an approximation o that isn't anywhere near approximate . So that's the trouble with that kind of rhyme. There is.. And then (if) we go back further, you'll find.. how many pages back?, oh, about..
Isn't that bad! - See how bad it can get!
If you go back to the Loeb, there's this little tiny-type Latin on one side, English on the other. [Allen displays] - "This is the way the page looks" - Go back to those. Another ten (pages) back, (eight back, I don't know). It begins "Furius Aurelius.." - on the the right hand side of the page - "Furius Aurelius" - Got it? - Right hand side of the page - "Furius Aurelius"
Student: Oh, there's the original Latin.
AG: Yeah, there's the original Latin.
Furi et Aureli, comites Catulli,
sive in extremos penetrabit Indos,
litus ut longe resonante Eoa
tunditur unda,
omnia haec, quaecumque feret voluntas
caelitum, temptare simul parati,
pauca nuntiate meae puellae
non bona dicta.
cum suis vivat valeatque moechis,
quos simul complexa tenet trecentos,
nullum amans vere, sed identidem omnium
ilia rumpens;
nec meum respectet, ut ante, amorem,
qui illius culpa cecidit velut prati
ultimi flos, praetereunte postquam
tactus aratro est.
And this is the Loeb library literal translation. "Bid her go and be happy with her paramours, three hundred of whom she holds at once in her embrace, not loving one of them really, but again and again, draining the strength of all."
And a translation by Horace Gregory - I don't think you've got it here..let me see.. (going) further back…
Student: No, below, right below (it).
AG: Really? By Horace Gregory? - No, this, of that same poem .. Well, it's a couple back, two back, you'll find the (Roy Arthur) Swanson version - One page.. page eleven (it says page eleven on the top), it's just a couple down… Find it? - "Furius, Aurelius, friends of Catullus.." and, on the right, "That fellow seems to be the same as God"' [a translation of Sappho]/ Yes? You've got that?
"Furius Aurelius, friends of Catullus" (says one). So it says -"..tell her to live with her rakes and be well,/ hugging three hundred or more at a time,/ loving not one but, in favor to all,/ pumping their loins."
And then there is a translation, another translation around, let's see if I can find it.
Student: There's the Michie one in there.
AG: Yeah, that's what we just.. where's the Michie?, yeah… Do we have the Michie translation of that tho'? - Yeah - ((a) couple (of pages) before, you'll find Michie - "Good luck to her.." - It's about three from the top, three or four from the top . It's right after the Latin, right after the Greek, right after the Greek stuff, three from the top - "Furius Aurelius, loyal comrades".. - "translated", at the bottom, "by James Michie". Got that? Three from the very top. Got it? -
So the line there is "Good luck to her, let her enjoy her lovers,/ the whole three hundred that she hugs together,/ loving none truly, by grim repetition/Wringing them all sperm-dry" - I think I read that one before
and in Horace Gregory's transation of that is "Live well and sleep with adulterous lovers./ Three hundred men between your thighs embracing all love turned false again, again and breaking their strength, now sterile..."
Well, I think, "wringing them all sperm-dry" is pretty good. What the… I don't know what the (word) "rumpens" means - break? ilia rumpens - the Latin means breaking, I think.
Okay, lets see going on what else have we got here? - Why don't we do another one, a nice Sapphic. Is there a nice Sapphic there that might...? - By Horace? - (yes) - A little bit more of Horace now, something different.
[Audio for the above can be heard here, beginning at approximately thirty-seven-and-a-quarter minutes in, and concluding at approximately forty-two-and-a-half minutes in]
AG: Pardon me?
Student: ("Thracian") (What's the origin of "Thracian"?)
AG: Thrace - part of Greece. (Where is that, where Thrace is, mind you) - Thrace? What part of Greece is Thrace? - Orpheus lived in Thrace wasn't it? The worst part.. (Pelopponesian Islands?) Who knows Thrace?
Student (1): Thrace is in Macedonia.
Student (2) : Sparta?
AG: No, Sparta's down south.
Student: Sparta's down South…
AG: Oh god, we should all know this! - Thracia! - Oh - [Allen consults, again, his classical dictionary] - "In earlier times the name of the vast space of country bounded on the north by the Danube, in the south by the Propontis and the Aegean, on the East by the Pontus Euxinus, and on the West by the River Strymon and the easternmost of the Ilyrian tribes.." (I don't know where that is)
Student Ilyrian's.. Yugoslavia
AG; Yeah.. Well, I don't know. [continues consulting] - So, (I guess we're taking about) Byzantium - the Thracian Bosphoros - so . towards the East.. Yes?
Student: Okay, two, I notice.. how come two, out of three (translators of Horace I --25) mention a specific character by name, Lydia, and one leaves it out?
AG: One didn't feel it was necessary. I mean, they're adapting the poems. None of them are translating them one-to-one word-for-word, they've got to fit it and squeeze them in the way they want to squeeze them in
Student; It seems like an important oversight to leave out…
AG: Maybe not..
Student (2): - They're already new poems , from...
AG: Yeah, you find if you do see a lot of translations..If you look through these translations you'll see that they're all different . You know, some people leave out the names, some people don't keep the rhythmic form…. Okay, yes, the (Fitzgerald translation) - "The young men…."
[Pompeiian fresco - First Century A.D.]
Student 3: [begins reading Horace - Book I - Ode XXV (translated by Robert Fitzgerald]
- "The young men come less often - isn't it so -/ To rap at midnight on your fastened window;/ Much less often. How do you sleep these days?/ There was a time your door gave with proficiency/On easy hinges; now it seems apter at being shut./I do not think you hear many lovers moaning./ "Lydia, how can you sleep?"/ "Lydia, the night is so long!" /"Oh, Lydia, I'm dying for you!"/ No. The time is coming when you will moan /And cry to scornful men from an alley corner/In the dark of the moon [AG: Wow!] - when the wind's in a passion/ With lust that would drive a mare wild/Raging in your ulcerous old viscera/You'll be alone and burning then/ To think how happy boys take their delight/In the new tender buds the blush of myrtle, /Consigning dry leaves to the winter sea."
AG: What is this myrtle? What's the significance of myrtle? Does anybody know? I'l look it up (It's useful to have a little classical dictionary when you're dealing with these people) - M-Y-R.. no.. how do you spell myrtle?
Student: M-Y-R-T-L-E….
AG: I don' t have it in here. What was a myrtle anyway?
Student: It's connected with the poetic laurel. It doesn't seem to be (however, with) this one.
AG: But laurel is laurel and myrtle is myrtle, or something. "They must have the myrtle brow for the young maidens!" - "the myrtle brow of the young maidens"..
Student: ((So) maidens clothe themselves (then) in leaves of myrtle?)
AG: (No, palm leaves... - "myrtle brow for the young maidens"...
Student: Oh sorry
AG: … so myrtle must be for the virgin - virginal myrtle?
["of myrtle: dry old leaves" - dried myrtle]
Okay, then, another translation of it, by Joseph P Clancy, which is done also in Sapphics and the.. just to give you the adonics within that, it's "door hugs its threshold", "and the moon is dark", "can you stay sleeping" "and you will complain to the winter wind" - "and you will complain" "to the winter wind" (two, separate)
Student: This was written in Sapphics? - the original?
AG: Yeah well, The original is translated Sapphics, the original is Latin Sapphics - from Sappho to Catullus - Archaeus and Sappho to Catullus - to Horace. Horace was maybe twenty years later than Catullus
AG (reads the entire poem) : "Less and less often the roaring boys/toss their pebbles against your closed shutters/they don't rob you of sleep any more and the/door hugs its threshold/ that once turned gladly all night on its/ hinges..." - (talking about her cunt actually, "the door that once turned gladly all night on its hinges"! ) - "You hear fewer and fewer wailing:/ "While I spend the long night dying for you, Lydia,/ can you stay sleeping?"/ Your turn is coming: a crone alone in the street/You will cry that your lovers all hate you,/as the Northwind howls like a bacchante/and the moon is dark,/ and the fire of love and longing is in you,/the itch that drives a mare mad for a stallion,/you will rage with the lust that gnaws your belly/and you will complain/ that the goodtime boys now find their fun/with the green ivy and the dark green myrtle,/and the withered leaves are tossed away/ to the winter wind."
Now what do you have for yours for that one? - That's 1-25 - Let's see what they''ve got (as long as we're on this particular one. The one I just did was Joseph P Clancy - The Odes and Epodes of Horace, that was 1-25. You want to read that?
Student (reads entire poem, in different translation, by James Michie) - Yeah -
"The young bloods come round less often now,/Pelting your shutters and making a row/And robbing your beauty sleep. Now the door/Clings lovingly close to the jamb - though before. It use to move on its hinge pretty fast./ Those were the days - and they're almost past -/ When lovers stood out all night long crying,/"Lydia, wake up, save me, I'm dying!"/ Soon your time's coming to be turned down/ And to feel the scorn of the men about town -/ A cheap hag haunting alley places/On moonless nights when the wind from Thrace is/ Rising and raging, and so is the fire/in your raddled loins, the brute desire/That drives the mothers of horses mad./You'll be lonely then and complain how sad/ That the gay young boys enjoy the sheen/Of ivy best or the darker green/Of myrtle: dry old leaves they send/As a gift to the east wind/winter's friend."
AG: Does that remind you of any poem that we touched on during the year? Because remember (Sir) Thomas Wyatt? - "Vengeance shall fall on thy disdain that makest but game on earnest pain.." [Allen reads from Wyatt's poem,"My Lute Awake"] - "Think not alone under the sun/Unquit to cause thy lovers plain: Although my lute and I have done./Perchance thee lie withered and old/The winter nights, that are so cold,/Plaining in vain unto the moon./ Thy wishes then dare not be told:/Care then who list as I have done./And then may chance thee to repent/The time that thou hast lost and spent,/To cause thy lovers sigh and swoon;/Then shalt thou know beauty but lent/And wish and want as I have done."
[Audio for the above can be heard here, beginning at approximately thirty-one minutes in and concluding at approximately thirty-seven-and-a-quarter minutes in]
AG: Then Horace. Now Horace was the next of the Romans that picked up on the Catullun line and from Sappho. And we didn't actually get to that, did we, at all? - did we ever bring up Horace, yet? [to "Mike"] - Do you have any Horace that you're prepared to chuck out? or is it too sudden? - We have some in here [pointing to the classroom anthology], so maybe do one (from) in here? - Can we find the first page of Horace translations? It's abour half-way through.. half-way..a third of the way down maybe.. at the end of the Catullus.
Student: "Less and less often now…?"
AG: Yes. "Less and less often now the horny young men…" - [to "Mike"] Who did your translation?
Student (JB): Who did it? I'll have to look that up.. it's Michie..
AG: (James) Michie, again, yeah, same guy that did the Sappho. Has anybody got that? Lower left-hand side of the page - "Less and less often now". It's three different translations of the same poem, so, actually - lucky!.
See, it'd (be) (number) one-twenty-five. [to "Mike"] If you have that one too, Mike (sic)?, do you have one-twenty-five prepared? Book One - twenty-fifth ode in Book One….Is that one of them that you have found)?
Student (JB): Yeah, it's here but I didn't have it to (recite)...
AG: I see. You didn't do that one. Okay. Well, that's one we do have so I'd like to check it out . John Frederick Nims was a modern poet, did a really..... if you look at the adonics - "firm in its framework", "You - you- you just lie there", "wind from the mountain", "not without heartache", "figure the hell with" . And then, the next guy, Rolfe Humphries says.. one has "firm in its framework ", one has "faith with the threshold" "Thracian comes brawling" "not without anguish", " "chilly old Eurus".. The other one by Robert Fitzgerald isn't done in literal Sapphics.
This is, again, sort of a ribald poem (so apparently the Sapphics do go along with, like, frank statements). Anybody want to read that? Anybody got a good voice? From the top of (page) one-twenty-five. John Frederick Nims' translation? Come on, some cocksman!
Student: Okay.. The first one?
AG: Yeah
Student [reads the John Frederick Nims' translation of Horace 1-25 in its entirety]: "Ribald romeos less and less and less berattle/your shut window with impulsive pebbles./Sleep - who cares? - the clock around/The door 's stuck/firm in its its framework,/ which once, oh how promptly it popped open/ easy hinges. And so rarely heard now/ "Night after night, I'm dying for you, darling!,/ You - you just lie there"/Tit for tat. For insolent old lechers/ you will weep soon on the lonely curbing/while, above, the dark of the moon excites the/ wind from the mountain./ Then, deep down, searing desire (libido /that deranges too, old rutting horses)/in your riddled abdomen is raging/ not without heartache/ that the young boys take their solace rather/ in the greener ivy, the green myrtle;/ And such old winter-bitten sticks and stems they/figure the hell with."
AG: Okay, somebody else want to read the second translation of that, by Rolfe Humphries?
Student (2): [reads Rolfe Humphries' translation of Horace 1-25 in its entirety]:
"Less and less often now, the horny young men rattle your bolted shutters, and the door/ That used to turn on easy hinges keeps/ Faith with the threshold./ Seldom. or never, now, you hear them crying/Across your sleep, "Lydia, let me in,/ The nights are long, and wasted, and your lover/ Is dying for it."/ Finally, never,/ an old woman living/ Unnoticed in an alley, all alone,/ You grieve for those hot rowdies, while a cold/ Thracian comes brawling, Rattling the shutter/ a cold Thracian wind/ No good for you, in whom the heat drives/ Mares to the stud-horse, burns the ulcered loins/Not without anguish./ That high young men go happily elsewhere/For their green ivy and dark myrtle, leaving/The withered leaves to winter's boon companion, /chily old Eurus"
AG: Eurus? Eurus? What is Eurus? Does anybody know? - I have a classical dictionary here. Anybody know?
Student (3): (Might be the) North Wind?
AG: E-U.. E-U-R-U-S …. Yeah, [Allen consults the dictionary] the South-East wind, the Latin Anemoi - hmm..
And then there's a third translation by Robert Fitzgerald. Well, we'll see what that's like. Anybody want to read it?
[Audio for the above can be heard here, beginning at approximately twenty-seven minutes in and concluding at approximately thirty-one minutes in]
[Gaius Valerius Catullus (c. 84 – 54 BC)]
AG: So shall we go on.. [to John Burnett, Naropa student] - [did you prepare (φάινεταί μοι κῆνοσ ἴσοσ τηέοισιν)
the phainetai moi (a) second Sappho poem) too?]
Student (John Burnett): No..
AG: Okay. Lets get on (then) to the…Catullus. On your way to the Catullus [in your xerox Sapphics anthology} you'll run across (Louis) MacNeice , after about eight pages or so - you see that MacNeice? - and Vernon Watkins? , two pages, about eight pages in - June Thunder…. you see that? Everybody see that? It belongs towards the bottom. You might as well shuffle it down to the bottom, towards the end, because that's the contemporary stuff, you want to get it out of your way. And then you will find Catullus -"Furius and Aurelius",and then, right after that - Catullus # 51 - "Fifty One" - got it? Everyone got that? - "Ille mi par esse.." - "To me he seems god-like.." Everybody got it? - Any problems? ok...
[Student (John Burnett) then recites Catullus #51 in its entirety, in the original Latin]
"Ille mi par esse deo videtur,/ille, si fas est, superare divos" - I'll do that again - ("Ille mi par esse deo videtur)/ ille, si fas est, superare divos/qui sedens adversus identidem te/spectat et audit/dulce ridentem, misero quod omnis/eripit sensus mihi: nam simul te, Lesbia, aspexi, nihil est super mi/vocis in ore,/lingua sed torpet, tenuis sub artus/flamma demanat, sonitu suopte/tintinant aures, gemina teguntur/lumina nocte…."
Student (JB): ..and this last verse has nothing to do with the previous three, it's from a different poem:
"Otium, Catulle, tibi molestum est:/otio exsultas nimiumque gestis:/otium et reges prius et beatas/perdidit urbes."
AG: And if you have trouble reading what that is - James Michie is the translator - M-I-C-H-I-E, if you want to write it in.
Student (JB): I notice in Catullus.. - Sappho's real concerned in a lot of her lines about the caesura - but I notice that Catullus, if you look in the second line….
AG: Yeah, there's always a .. the first three verses, there's always a… "Iridit fasces".. "eripit sensus mihi", "flamma dement" - the lines are broken in the middle. Yeah, there is that emphasis on the caesura in the middle of the line. Generally, as you can see, in the metrical paradigms given, from the dictionaries and the encyclopedias, there's some element of the use of caesura, or break in the middle of the line, a little a gap in the middle of the line, to syncopate, or give some kind of little quick shift in the emphasis.
Student (JB): It usually happens in the middle of the foot too
AG: Aha Well, okay, let's just go through these. I think we looked through almost everything (and) I think everything is identified here. Some of them are irregular and some of them are regular translations and some of them will have eleven-syllable lines and some of them won't have eleven-syllable lines..
Student: (JB): I think I'm going to leave you.. Something came up..
AG: Okay, well, take one of those…[Allen points to the xerox anthologies] So there are more translations here than any of us have read in class, so you might look through. It might be interesting to try your own adaptation by putting all these translations together. One problem in an English translation, that you may have noticed, is that very few people have tried to translate it (except for (Richmond) Lattimore) into the original meters, using the original meters.Sometimes they're very lax. So if you want to, on your own, make a translation of that one poem, or an adaptation, for your own purposes, that might be an interesting exercise - I'm looking through and seeing if there's any… We also have prose, further on down you'll find a prose translation from the Loeb Library of both of the two…
[Mike (sic) arrives - AG - "(Mike). Finally! You're late! - There's an anthology and an index. Two books. We haven't gotten to Horace yet. You can do it later. There's an index there too…]
The F(rancis) Warre-Cornish translation is in prose. Do you know the Loeb series? - there's a thing called the Loeb Library series, which have all of classical literature, Greek and Latin, from the very beginning, from the very beginning, Hesiod, the Greek bucolic poets, the fragments of Greek lyric poetry, Sappho, polemic…er... Herodotus.. I mean, anything that you want, all the poetry and all of Plato, and it's all in the Loeb Classical Library series, a series of small pocket books which are relatively inexpensive, if you can find them anywhere, and if you ever want to read ancient poetry, that's a really convenient way of getting to it. It's all translated into prose paragraphs,to get the (matter), it's like a pony, or trot, that is to say, exact, literal translations, as much as possible. So you get some samples here for… Catullan poems that are written in Sapphic meters. I don't know if you've found them [in the anthology] but they're in small type, they're labeled "Loeb Library". Mixed in the middle of that are some… a little set of.. an anthology of translations of other poems of Catullus, by such people as (Richard) Crashaw, (Jonathan) Swift.. it's called "from translations from Catullus" - Classics of Roman Literature, Philosophical Library" (labeled on the top). They aren't the same poem, but they are good translations of Catullus, so you'll get the.. some sense of what went on. There's (Walter Savage) Landor, Abraham Cowley, a lot of the people we've run across.
Lets see what else? And further on.. So, basically, what you have here for Catullus is mainly many translations (plus the original Latin of two seperate poems that he did - the one "Furius and Aurelius", the one about the.."My friends, if you see my girlfriend at Rome, tell her.. I don't love her anymore.. and she's sleeping with three hundred men by the arches… by the arches… by the gateways.." - and the little love poem about his girlfriend.
[Audio for the above can be heard here, starting at approcimately twenty minutes in and concluding at approximately twenty-seven minutes in]
