Verse:
If you love me like you tell me
Please be careful with my heart
You can take it just don’t break it
Or my world will fall apart
Chorus:
You are my first romance
And I’m willing to take a chance
That ’till life is through
I’ll still be loving you
I will be true to you
Just a promise from you will do
From the very start
Please be careful with my heart
Verse II:
I love you and you know I do
There’ll be no one else for me
Promise I’ll be always true
For the world and all to see
Love has heard some lies softly spoken
And I have had my heart badly broken
I’ve been burned and I’ve been hurt before
Verse III:
So I know just how you feel
Trust my love is real for you
I’ll be gentle with your heart
I’ll caress it like the morning dew
I’ll be right beside you forever
I won’t let our world fall apart
From the very start
I’ll be careful with your heart
Chorus II:
You are my first (and you are my last) romance
And I’m willing to take a chance
(I’ve learned from the past)
That ’till life is through
I’ll still be loving you
I will be true (I will be true) to you
Just a promise from you will do (only to you)
From the very start (from the very start)
From the very start (from the very start)
From the very start
Please be careful with (I’ll be careful with) my heart (your heart)
Sing me a song again, Daddy Sing me a happy verse. Teach me those clever lines you sang As you carried me on your shoulders. Sing me that hymn that you so loudly Sang in church with mom. Sing it again to me and fill me With all your words of wisdom.
Comforting words of love when I
Would get home from school in tears.
Somehow your songs have stayed within me
Down through all the years.
Once when my younger heart was broken
Your shoulder was there to cry on.
Sing me those songs I know will linger
Long after you have gone.
I am standing at the threshold
Of a chapter in my life
I am asking for your blessing
As I’m about to be the wife
Of a man I know who loves me
And I’m proud to be his bride.
Dad the time has come for me to leave your side.
So, sing me a song again, Daddy.
Sing me a lullaby.
Wrap me inside your arms, Daddy,
‘Though this is not goodbye.
Your songs will live forever
In my heart. When times get rough
The ones I’ll most remember
Are your songs of love.
JOSE:
Your songs will live forever
In my heart. When times get rough
CHERI:
The ones I’ll most remember
Are your songs of love.
Lead me Lord, lead me by the hand
And make me face the rising sun
Comfort me through all the pain
That life may bring
There's no other hope
That I can lean upon
(Chorus)
Lead me Lord
Lead me all my life
Walk by me, walk by me across
The lonely road that I may face
Take my arms and let your hand
Show me the way
Show the way to live inside your heart
All my days, all my life [ Lyrics from: http://www.lyricsmode.com/lyrics/g/garml ] Refrain: You are my light You're the lamp upon my feet All the time my Lord I need You there You are my light I (just) cannot live alone Let me stay By Your guiding love All through my life (Chorus) Lead me Lord Lead me Lord Even though at times I'd rather go alone my way Help me take the right direction Take Your road Lead me Lord And never leave my side All my days All my life You are my light You're the lamp upon my feet All the time my Lord I need You there You are my light I (just) cannot live alone Let me stay By Your guiding love All through my life You are my light You're the lamp upon my feet All the time my Lord I need You there You are my light I (just) cannot live alone Let me stay By Your guiding love All through my life All through my days Lead me, Oh Lord
Lead me Lord
HAIKU - a simple typical Japanese poem of unique 3 lines seventeen syllables pattern. It has no rhyme, no meter and its purpose is to communicate the feeling of a single moment through using images/mental pictures. It sketches a quick picture of a scene from everyday life by using a “kigo”(seasonal word) that suggests/hints the feeling being conveyed. It is noted for its brevity, beauty, intensity of emotion being conveyed and the use of nature to convey a passing moment in life. Here, noble subjects are treated indirectly with delicacy of touch and tenderness.
EUPHONY – is the use of a pleasant, harmonious-sounding combination of words, especially in poetry. Since poems are meant to be read for full enjoyment, their sound should ne pleasing to the ear. The sound should be musical. The musical sound is achieved by the repetition of syllables and phrases.
TANKA - a classic Japanese verse form expressing intense emotion in 5 lines comprising 31 syllables following 5-7-5-7-7 syllables pattern. It is a brief but beautiful poem that describes strikingly beautiful scenery that appeal to the senses. They originally developed from songs.
From the solitary desert Up to Baghdad came a simple Arab; there amid the rout Grew bewildered of the countless People, hither, thither, running, coming, going, meeting, parting, Clamor, clatter, and confusion, All about him and about.
Travel-wearied, hubbub-dizzy, would the simple Arab fain Get to sleep - "But then, on waking, How," quoth he, "amid so many Waking, know myself again?"
So, to make the matter certain, Strung a gourd about his ankle, And, into a corner creeping, Baghdad and himself and people Soon were blotted from his brain.
But one that heard him and divined His purpose, slyly crept behind; From the sleeper's ankle clipping, Round his own the pumpkin tied, And laid him down to sleep beside.
By and by, the Arab waking, Looks directly for his signal - Sees it on another's ankle - Cries aloud, "Oh, good-for-nothing Rascal to perplex me so! That by you I am bewildered, Whether i be I or no! If I - the pumpkin why on you? If you - then where am I, and who?"
(Jami, dervish and mystic philosopher, 1414 – 1492)
The
innermost narrative kernel of the Mahābhārata tells the story of two sets of
paternal first cousins—the five sons of the deceased king Pāṇḍu [pronounced
PAAN-doo] (the five Pāṇḍavas [said as PAAN-da-va-s]) and the one hundred sons
of blind King Dhṛtarāṣṭra [Dhri-ta-RAASH-tra] (the 100 hundred Dhārtarāṣṭras
[Dhaar-ta-RAASH-tras])—who became bitter rivals, and opposed each other in war
for possession of the ancestral Bharata [BHAR-a-ta] kingdom with its capital in
the "City of the Elephant," Hāstinapura [HAAS-ti-na-pu-ra], on the Gaṅgā
river in north central India. What is dramatically interesting within this
simple opposition is the large number of individual agendas the many characters
pursue, and the numerous personal conflicts, ethical puzzles, subplots, and
plot twists that give the story a strikingly powerful development.
The five sons of Pāṇḍu were actually
fathered by five Gods (sex was mortally dangerous for Pāṇḍu, because of a
curse) and these heroes were assisted throughout the story by various Gods,
seers, and brahmins, including the seer Kṛṣṇa Dvaipāyana Vyāsa [VYAA-sa] (who
later became the author of the epic poem telling the whole of this story), who
was also their actual grandfather (he had engendered Pāṇḍu and the blind Dhṛtarāṣṭra
upon their nominal father's widows in order to preserve the lineage). The one
hundred Dhārtarāṣṭras, on the other hand, had a grotesque, demonic birth, and
are said more than once in the text to be human incarnations of the demons who
are the perpetual enemies of the Gods. The most dramatic figure of the entire
Mahābhārata, however, is Kṛṣṇa, son of Vasudeva of the tribe of Andhaka Vṛṣṇis,
located in the city of Dvārakā in the far west, near the ocean. His name is,
thus Kṛṣṇa Vāsudeva [Vaa-su-DAY-va]. But he also a human instantiation of the
supreme God Vāsudeva-Nārāyaṇa-Viṣṇu descended to earth in human form to rescue
Law, Good Deeds, Right, Virtue and Justice (all of these words refer to
different facets of "dharma," the “firm-holding” between the ethical
quality of an action and the quality of its future fruits for the doer). Kṛṣṇa
Vāsudeva was also a cousin to both Bhārata phratries, but he was a friend and
advisor to the Pāṇḍavas, became the brother-in-law of Arjuna [AR-ju-na] Pāṇḍava,
and served as Arjuna's mentor and charioteer in the great war. Kṛṣṇa Vāsudeva
is portrayed several times as eager to see the purgative war occur, and in many
ways the Pāṇḍavas were his human instruments for fulfilling that end.
The Dhārtarāṣṭra party behaved
viciously and brutally toward the Pāṇḍavas in many ways, from the time of their
early youth onward. Their malice displayed itself most dramatically when they
took advantage of the eldest Pāṇḍava, Yudhiṣṭhira [Yu-DHISH-thir-a] (who had by
now become the universal ruler of the land) in a game of dice: The Dhārtarāṣṭras
'won' all his brothers, himself, and even the Pāṇḍavas' common wife Draupadī
[DRAO-pa-dee] (who was an incarnation of the richness and productivity of the
Goddess "Earthly-and-Royal Splendor," Śrī [Shree]); they humiliated
all the Pāṇḍavas and physically abused Draupadī; they drove the Pāṇḍava party
into the wilderness for twelve years, and the twelve years had to be followed
by the Pāṇḍavas' living somewhere in society, in disguise, without being
discovered, for one more year.
The Pāṇḍavas fulfilled their part of
that bargain, but the villainous leader of the Dhārtarāṣṭra party, Duryodhana
[Dur-YODH-ana], was unwilling to restore the Pāṇḍavas to their half of the kingdom
when the thirteen years had expired. Both sides then called upon their many
allies and two large armies arrayed themselves on 'Kuru's Field' (Kuru was one
of the eponymous ancestors of the clan), eleven divisions in the army of
Duryodhana against seven divisions for Yudhiṣṭhira. Much of the action in the
Mahābhārata is accompanied by discussion and debate among various interested
parties, and the most famous sermon of all time, Kṛṣṇa Vāsudeva's ethical
lecture accompanied by a demonstration of his divinity to his charge Arjuna
(the justly famous Bhagavad Gītā [BHU-gu-vud GEE-taa]) occurred in the
Mahābhārata just prior to the commencement of the hostilities of the war.
Several of the important ethical and theological themes of the Mahābhārata are
tied together in this sermon, and this "Song of the Blessed One" has
exerted much the same sort of powerful and far-reaching influence in Indian
Civilization that the New Testament has in Christendom.
The
Pāṇḍavas won the eighteen day battle, but it was a victory that deeply troubled
all except those who were able to understand things on the divine level
(chiefly Kṛṣṇa, Vyāsa, and Bhīṣma [BHEESH-ma], the Bharata patriarch who was
emblematic of the virtues of the era now passing away). The Pāṇḍavas' five sons
by Draupadī, as well as Bhīmasena [BHEE-ma-SAY-na] Pāṇḍava's and Arjuna Pāṇḍava's
two sons by two other mothers (respectively, the young warriors Ghaṭotkaca
[Ghat-OT-ka-cha] and Abhimanyu [Uh-bhi-MUN-you ("mun" rhymes with
"nun")]), were all tragic victims in the war. Worse perhaps, the Pāṇḍava
victory was won by the Pāṇḍavas slaying, in succession, four men who were
quasi-fathers to them: Bhīṣma, their teacher Droṇa [DROE-na], Karṇa [KAR-na]
(who was, though none of the Pāṇḍavas knew it, the first born, pre-marital, son
of their mother), and their maternal uncle Śalya (all four of these men were,
in succession, 'supreme commander' of Duryodhana's army during the war).
Equally troubling was the fact that the killing of the first three of these
'fathers,' and of some other enemy warriors as well, was accomplished only
through 'crooked stratagems' (jihmopāyas), most of which were suggested by Kṛṣṇa
Vāsudeva as absolutely required by the circumstances.
The ethical gaps were not resolved to
anyone's satisfaction on the surface of the narrative and the aftermath of the
war was dominated by a sense of horror and malaise. Yudhiṣṭhira alone was
terribly troubled, but his sense of the war's wrongfulness persisted to the end
of the text, in spite of the fact that everyone else, from his wife to Kṛṣṇa
Vāsudeva, told him the war was right and good; in spite of the fact that the
dying patriarch Bhīṣma lectured him at length on all aspects of the Good Law
(the Duties and Responsibilities of Kings, which have rightful violence at
their center; the ambiguities of Righteousness in abnormal circumstances; and
the absolute perspective of a beatitude that ultimately transcends the
oppositions of good versus bad, right versus wrong, pleasant versus unpleasant,
etc.); in spite of the fact that he performed a grand Horse Sacrifice as
expiation for the putative wrong of the war. These debates and instructions and
the account of this Horse Sacrifice are told at some length after the massive
and grotesque narrative of the battle; they form a deliberate tale of
pacification (praśamana, śānti) that aims to neutralize the inevitable miasma
of the war.
In the years that follow the war Dhṛtarāṣṭra
and his queen Gāndhārī [Gaan-DHAAR-ee], and Kuntī [Koon-tee], the mother of the
Pāṇḍavas, lived a life of asceticism in a forest retreat and died with yogic
calm in a forest fire. Kṛṣṇa Vāsudeva and his always unruly clan slaughtered
each other in a drunken brawl thirty-six years after the war, and Kṛṣṇa's soul
dissolved back into the Supreme God Viṣṇu (Kṛṣṇa had been born when a part of
Nārāyaṇa-Viṣṇu took birth in the womb of Kṛṣṇa's mother). When they learned of
this, the Pāṇḍavas believed it time for them to leave this world too and they
embarked upon the 'Great Journey,' which involved walking north toward the
polar mountain, that is toward the heavenly worlds, until one's body dropped
dead. One by one Draupadī and the younger Pāṇḍavas died along the way until
Yudhiṣṭhira was left alone with a dog that had followed him all the way. Yudhiṣṭhira
made it to the gate of heaven and there refused the order to drive the dog
back, at which point the dog was revealed to be an incarnate form of the God
Dharma (also known as Yama, the Lord of the Dead, the God who was Yudhiṣṭhira's
actual, physical father), who was there to test the quality of Yudhiṣṭhira's
virtue before admitting him to heaven. Once in heaven Yudhiṣṭhira faced one
final test of his virtue: He saw only the Dhārtarāṣṭras in heaven, and he was
told that his brothers were in hell. He insisted on joining his brothers in
hell, if that be the case. It was then revealed that they were really in
heaven, that this illusion had been one final test for him. So ends the
Mahābhārata!
