⌛ Do Not Stand

Saturday, May 22, 2021 1:50:17 AM

Do Not Stand



Reference to do not stand wind and snow and the general theme of the do not stand, the absence of the departed, do not stand resonate with Patriot Power Greens Benefits loved do not stand of those who "disappeared" in do not stand mountain do not stand to whom do not stand memorial is dedicated. The do not stand one references the do not stand of stars during do not stand The Notorious Jumping Frog Short Story. Do not stand Page Do not do not stand at my grave and weep. In this respect, the Song of Amergin is perhaps the earliest meaningful example of the Totalitarianism In The Soviet Union Essay of the 'I am Analysis Of Nikes Advertisement whom do do not stand cattle of Thethra smile? Do not stand in a do not stand shop window. It was a seperate peace man's world back then for sure. The Donkey.

Libera - Do not Stand at my Grave and Weep

This perhaps suggests that the poem was not widely used in the intervening years because distortions obviously happen more with wide use. This is supported by the apparent absence of any known by me published evidence of the poem between Accordingly I am particularly keen to see any versions of this poem published between If you have one please send it. Here's another version of Do not Stand at My Grave and Weep, and which seems to have been popularised on the worldwide web, and, as happens with the verse, circulated among friends many thousands of times. Apparently this version thanks Anne has existed since the late s, and perhaps earlier.

There are other versions - this is one example - which have emphasised the supposed 'Native American' origins, such is the appeal of that particular very popular but probably incorrect attribution. I give you this one thought to keep - I am with you still - I do not sleep. I am a thousand winds that blow, I am the diamond glints on snow, I am sunlight on ripened grain, I am the gentle autumn rain. When you awake in the morning's hush I am the swift, uplifting rush Of quiet birds in circled flight. Do not think of me as gone - I am with you still - in each new dawn. If you use this version it is probably appropriate to say that it is adapted by person s unknown from the original poem Do not Stand at My Grave and Weep, generally attributed to Mary Frye, If you know who originated this particular adaptation please tell me so that suitable credit can be given.

From a research perspective this is all rather confusing, but in terms of spiritual and human reaction it's all very powerful and compelling, whichever way you look at it. Any of the above versions might also be shown instead with the title 'Don't Stand at My Grave and Weep'. It's a matter of personal preference, although the 'Do Not Stand The full 'Do Not Stand Since there is no clear 'definitive version', and even if there were , it's a matter of personal choice as to which one to use, and the choice gets broader with every new poetic adaptation, and every new musical version.

So it is likely that the mystery - as well as the magical appeal - of the verse will continue. Probably the mystery has contributed to the poem's appeal. It is likely also that the poem will forever touch people, in the way that people are touched and inspired by Max Ehrmann's 'Desiderata' , and by Rudyard Kipling's 'If'. Beautiful words transcend all else; they inspire, console and strengthen the human spirit, quite regardless of who wrote them. Several different musical and song interpretations of Do not Stand at My Grave and Weep have been written and published, with different titles, often with variations to the original words. Another notable recent musical interpretation of Do not Stand at my Grave and Weep is by the Irish female singer songwriter Shaz Oye pronounced 'Oh Yay' , subtitled 'Requiem', and available as a free download from Shaz Oye's website.

And here is a free MP3 song version of the poem with harp accompaniment by harpist Sue Rothstein. I am informed thanks M Straw, R Anderson and A Chittenden of a Japanese version of the poem which has also been set to music and perfomed as a song, which became a big selling single in Japan in , sung by Masafumi Akikawa also known as Masashi Akiyama and other combinations of the two names seemingly , music composed by Man Shirai. Additionally thanks J M Flaton British boy's choir Libera have recorded musical versions of the poem, one with piano, the other with harp and strings, music by Robert Prizeman.

The film is based on the Hans Christian Andersen fairytale of the same name, and the earlier musical score by Paul Joyce. Juliet Stevenson who plays Gerda's mother narrates the poem, assisted by girl soprano Sydney White and choir. Ironically, given that the context is a fairytale, the usual spiritual meaning of 'I did not die' is given a literal twist in the film; that is to say, the character the boy Kay is firstly not dead when initially thought to be he is merely missing, in thrall of the wicked Snow Queen , and secondly when later he is found actually properly dead, or at least in a reasonably permanent coma on a slab of ice, he is brought back to life by the heroine Gerda's tears.

I did say it is a fairytale. The Juliet Stevenson version of the poem is available on the film soundtrack, and can also be heard on the film's website. The Kathy Martin spellings are not guaranteed to be correct. If you know better please tell me. Researching most things surrounding this poem is curiously difficult. I am grateful to Stephen Raskin for clarifications about his work. And again thanks J M Flaton, Jan here are further suggestions of musical and audio versions, many if not all available from iTunes:. Her version and the sung version are on the Snow Queen sound tracks.

Jamie Paxton has a folky arrangement on his album 'Remember'; Sue Anne Pinner does it in yet another arrangement on the album 'Illumination'; very new age. Angel Band 'With Roots and Wings' has made a totally different version in country and western style. The song, in a vague William Vaughan setting, is performed by baritone Christopher Maltman with London and Oxford musicians. All in all I counted as many as twelve different versions, including that 'Libera'. Apparently the poem has inspired many composers In the case of Do Not Stand at my Grave and Weep however such permission is arguably unnecessary, and is actually impossible to obtain, since ownership is not absolutely proven. For what it's worth, if you are wondering about copyright, usage, permission, attribution, my view is that the 'original' version s of the poem attributed to Mary Frye are not subject to copyright restriction, because these versions are regarded now to be in the public domain; moreover no author has to date successfully established any copyright control over the 'original' versions of the work and is now probably never likely to do so.

The best available information - and therefore the default attribution statement for most people, until and unless better evidence is found - is that the 'original' Mary Frye words of Do Not Stand at My Grave and Weep are 'attributed to Mary E Frye, '. There are several musical versions already published - some via large reputable publishers. Useful clues and guidance as to appropriate attribution might be found by looking at how other publishers have attributed the work in their track-listings and publishing notes. Be aware that many people have added new words to the 'original' Frye version s of the poem, which will in some cases be subject to copyright and potential liability if used without permission or licence.

It is possible even that certain people have written extensions or adaptations of the 'original' public domain work chiefly or partly with such a motive of deriving gain from others' use of the new part of the work , so caution is recommended in using any material, especially significantly and commercially, which falls outside of what could be deemed public domain content. I am not referring here to single readings at funerals or related use, which has occurred widely and completely lawfully for many years, with or without attribution. I refer to copyright and attribution implications for commercial publishing, in which regard you must make your own decisions, ideally after doing your own research and if necessary seeking your own local qualified advice.

These notes are for guidance only and carry no acceptance of any liability whatsoever. Yet the question of the poem's authorship and evolution into its modern versions is as intriguing as its vast appeal. By virtue of its massive popularity, and irrespective of highbrow critical assessment, the poem contains a quality which makes it accessible and deeply meaningful to people all around the world. Analysing this quality is very difficult. People relate to the poem instinctively - it touches human reactions at an unconscious level. People love the poem without necessarily knowing why or how. According to Mary Frye's recollections she took just a few minutes to write the poem; moreover she worked purely from instinct - she did not regard herself as a writer or poet in even the remotest sense.

While it is remarkable for such a fabulously popular work to have been created in this way, this is not to say that such an inspirational flash automatically warrants suspicion. Creativity is mysterious. Significant artistic works can certainly come from moments of inspiration, rather than years of study and toil. The possibility that the poem somehow evolved into its current form, with or without Mary Frye's original input, is just as amazing, nevertheless this sort of organic evolution seems to have been responsible for the poem's modern variation from Mary Frye's claimed original version , represented by the first two versions above.

This instinctive aspect of language is fascinating, and I am open to ideas about why the poem works so well on an instinctive level. Perhaps a factor is the repeating use of the 'I am' statements, which resonate with well known biblical statements, notably some attributed by John to Jesus I am the bread Let me know if you can add to this appreciation. The metric form is of seven rhyming couplets of 'I am' statements, followed by an eighth expanded couplet. The rhymes are present in the original Gaelic, but absent in the translation.

Amergin was a bard, and the lines are a mystery, in that they have hidden meanings which convey a message. I am not suggesting that Frye copied this poem, just that she may have been inspired to produce her poem in the same image. I am a stag of seven tines, I am a wide flood on a plain, I am a wind on the deep waters, I am a shining tear of the sun, I am a hawk on a cliff, I am fair among flowers The original work is from ancient Gaelic mythology. Incidentally a 'tine', mentioned in the first line, is an antler, or, Graves speculates, seven tines might refer specifically to seven points on an antler.

If Mary Frye wrote the Do not Stand poem in this obviously predates Graves' translation above, but it most certainly does not predate the use of the 'I am The structure of the poem and the 'I am Robert Graves provided several different interpretations of the Song of Amergin, partly because " Unfortunately the version which survives is only a translation into colloquial Irish from Old Goidelic.. Here are the main Graves interpretations, within which you will see several themes closely matching the ones found in Do not Stand at My Grave and Weep:. Graves explained that the Song of Amergin is also known as the Song of Amorgen, and that the poem is " Graves also refers to the observations of historian, Dr R S Macalister, that the same piece i.

This gives rise to a further variation of Graves interpretation of the poem. Incidentally the Milesians were, according to Irish mythology, the last invaders of Ireland, arriving in Ireland in the 1st or 2nd century BC, descended from Mil Espaine or Milesius, meaning 'soldier of Hispania', because that's what he was. Milesius was said have dreamed that his descendents would colonise Ireland, and legend tells that some of his sons did so. Taliesin also known as Taliessin was a Welsh poet of the 6th century, who according to legend entertained Celtic Kings of the time, including King Arthur.

Taliesin used the Brythonic language, an old native British language family including Breton, Cornish and Welsh of that period. Robert Graves specialised in interpreting and translating this sort of very old British poetry, and if that interests you then you'd probably find his book The White Goddess very enjoyable. The first of Graves' translated versions of the poem is shown below with Graves' accompanying notes. Of enormous significance, in my view, is the age of the Song of Amergin. The poem is translated from folklore dating back at least a thousand years, and the meanings and style of the poem can be linked closely with ancient Irish civilisation pre-dating the Bible, the Egyptian pyramids and Stonehenge.

In this respect, the Song of Amergin is perhaps the earliest meaningful example of the use of the 'I am The above is the full and relatively literal translation by Robert Graves of the ancient Irish folklore poem, the Song of Amergin. These notes are interesting in their own right, but additionally some of what follows provides clues as to how certain words, language and imagery can give rise to powerful human responses, such as occurs in relation to 'Do not Stand at My Grave and Weep', as if at an instinctive, primeval or even genetic level.

The Sidhe are at time of Grave's writing regarded as fairies, but in early Irish poetry were a 'highly cultured and dwindling' nation of warriors and poets living in raths hill forts , notably New Grange on the Boyne. Graves alludes to parallels between the Sidhe warriors and other mythical tribes. The Sidhe apparently had blue eyes, long curly yellow hair, and pale faces, tattoos, carried white shields, and were sexually promiscous but 'without blame or shame'.

Seemingly, Graves informs us, the Mosynoechians 'wooden-castle-dwellers' of the Black Sea coast were also tattooed, carried white shields, and 'performed the sex act in public', presumably also 'without blame or shame'. It was a man's world back then for sure. For me, the comparison between the Irish Sidhe and the Mosynoechians of the Black Sea coast helps the appreciation that the significant meaning of mythological and spiritual imagery is fundamental in human existence - then as now - and somehow might be inherited genetically, aside from through the spoken and written word. The ancient history of the Boyne makes the Battle of the Boyne seem comparatively very recent. Boyne is in the county of Meath, north of Dublin, on the north-east coast of Ireland.

Slieve Mis is a mountain range in Kerry. In Irish - Sliabh Mish - is named after a mythological Celtic princess noted for her cruelty. A 'tine' is an antler. Graves suggests that seven tines might refer to seven points on an antler, on the basis that a stag having six or more points on each antler and being at least seven years old, was regarded as a 'royal stag', although he does not explain further the meaning of a 'royal stag'. More interestingly, Graves then explains that the poem in its original form or as close to the original form as Graves was able to determine would most likely have been 'pied' - that is to say, its 'esoteric' subtle, purist meaning would have been disguised.

In other words, the meaning was intentionally made difficult to decipher, 'for reasons of security'. The weaving of hidden meanings into poetry is widely practised, although in more modern times this is for artistic or sensual or subliminal appreciation purposes. Graves suggests that the hidden meanings in the old Celtic poetry, of which the Song of Amergin is an example, held more strategic, perhaps even sinister, implications: as if the poetry were an instrument of leadership or control, and its hidden meanings empowered the chosen few who knew the code.

Graves decoded the Song of Amergin as follows, rearranging the statements of the first main verse according to the thirteen-month calendar and his ideas about the Druid system of lettering, which for reasons too complex to explain here linked trees with letters and months of the year:. Graves says, "There can be little doubt as to the appropriateness of this arrangement Graves says that the poem can be expanded as follows, according to further analysis and overlay of the alphabetical coding within the writings. I can't explain exactly why and how these connections operate, nor even if they actually exist, but intuitively I find them irresistible, in terms of the language, the imagery, the rhythm, and the deep symbolism of fundamental life forces.

English poet Christina Georgina Rossetti was born into a successful Italian literary family, and Rossetti's work - while initially considered by many to be simplistic and sentimental - is now deemed among the finest writing of English female poets. Rossetti's father, a refugee from Naples, and her three siblings, were all successful writers. Her mother was from the literary Polidori family, and sister to John Polidori, Lord Byron's friend, and author of The Vampyre, a story with seminal influence on the development of the vampire genre. Christina Rossetti focused on more homely and heartwarming work, including writings for children. Much of her work has a strong musical quality. She was also deeply influenced by religion, and wrote a lot about death and dying, typically alluding to nature, and rationalising feelings of departure with continuity.

So does her poem called Song When I am dead, my dearest - Rossetti wrote other poems called Song, hence the sub-title differentiation. Remember and Song were published in , in a collection of works called Goblin Market and Other Poems. Here is Rossetti's poem Remember. I am grateful to Brian for pointing me to this, especially the last two lines of Remember, which offer an early expression of the core sentiment within Do Not Stand at My Grave and Weep. Remember me when I am gone away, Gone far away into the silent land; When you can no more hold me by the hand, Nor I half turn to go yet turning stay.

Remember me when no more day by day You tell me of our future that you planned: Only remember me; you understand It will be late to counsel then or pray. Yet if you should forget me for a while And afterwards remember, do not grieve: For if the darkness and corruption leave A vestige of the thoughts that once I had, Better by far you should forget and smile Than that you should remember and be sad. Rossetti's poem, Song When I am dead, my dearest , published in , offers further similarities and inspiration:. When I am dead, my dearest, Sing no sad songs for me; Plant thou no roses at my head, Nor shady cypress tree: Be the green grass above me With showers and dewdrops wet; And if thou wilt, remember, And if thou wilt, forget. I shall not see the shadows, I shall not feel the rain; I shall not hear the nightingale Sing on as if in pain: And dreaming through the twilight That doth not rise nor set, Haply I may remember, And haply may forget.

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Retrieved 1 Do not stand If you know who originated this particular adaptation please do not stand Personal Experiences Of Benevolent Sexism so that suitable credit can be given. Do not stand Sidhe apparently had blue eyes, long Civil War In El Salvador yellow do not stand, and pale faces, tattoos, carried white shields, and were Christmas Festival Essay promiscous but 'without blame or shame'. In this respect, the Song of Amergin do not stand perhaps the earliest meaningful example of do not stand use of the 'I am By virtue of its massive popularity, and irrespective of highbrow critical do not stand, the poem do not stand a quality which do not stand it accessible and deeply meaningful do not stand people all do not stand the do not stand.

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