EVERy Will Shakespeare line ought to be you.
Art Neuendorffer
Track Title: Cherry Pies Ought To Be You
Prime Artist: Frank Sinatra
Vocal: Rosemary Clooney
Written by: Cole Porter (C. Albert P.)
From the Album: Columbia Years, 1943-1952 (A)
From the Show: Out Of This World 1951 (S)
Lyrics:
with (Rosemary Clooney) [both Frank and Rosemary]
Oh by Jove and by Jehovah, you have set my heart aflame,
(And to you, you Casanova, my reactions are the same.)
I would sing thee tender verses but the flair, alas, I lack.
(Oh go on, try to versify and I'll versify back)
Well, let me see now, Cherry Pies ought to be you,
(Autumn skies ought to be you)
The Pulitzer prize ought to you,
(Romeo in disguise ought to be you,)
Columbine ought to be you,
(Sparkling wine ought to be you)
All of Beethoven's Nine ought to be you
(Every Will Shakespeare line ought to be you.)
You are so enticing, I'm starting to shake,
(You are just the icing to put on my cake)
You mean I'm yummy, heaven's blue ought to be you
(Heaven too ought to be you.)
Everything super-do ought to be you.
Ashe Pudells ought to be you
(Orson Wells ought to be you)
Uncles like Kip Cornell ought to be you.
(Towels from Ritz hotel ought to be you)
Each Snow White ought to be you
(Ambrose' light) hey, that's good (ought to be you)
Eleanor wrong or right ought to be you.
(Errol Flynn loose or tight) watch it ( ought to be you)
You are so exciting, I can't even laugh, wanna top that one
(If you're fond of biting, I'll bite you in half.)
To continue, Whistler's ma ought to be you
(Eliot's pa ought to be you)
Everything hip-hurrah ought to be you
(Ought to be you), ought to be you, (ought to be you)
Ought to be you (ought to be you) ought to be you (ought to be you)
[Ought to be you!]
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http://math.boisestate.edu/gas/pirates/p13.mid
The Pirates of Penzance
Song No. 13 -- Act I
by Gilbert and Sullivan, 1879
I Am The Very Model of a Modern Major-General
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GENERAL:
I am the very model of a modern Major-General,
I've information vegetable, animal, and mineral,
I know the kings of England, and I quote the fights historical
From Marathon to Waterloo, in order categorical;
I'm very well acquainted, too, with matters mathematical,
I understand equations, both the simple and quadratical,
About binomial theorem I'm teeming with a lot o' news,
With many cheerful facts about the square of the hypotenuse.
ALL:
With many cheerful facts about the square of the hypotenuse.
With many cheerful facts about the square of the hypotenuse.
With many cheerful facts about the square of the hypotenuse.
GENERAL:
I'm very good at integral and differential calculus;
I know the scientific names of beings animalculous:
In short, in matters vegetable, animal, and mineral,
I am the very model of a modern Major-General.
ALL:
In short, in matters vegetable, animal, and mineral,
He is the very model of a modern Major-General.
GENERAL:
I know our mythic history, King Arthur's and Sir Caradoc's;
I answer hard acrostics, I've a pretty taste for paradox,
I quote in elegiacs all the crimes of Heliogabalus,
In conics I can floor peculiarities parabolous;
I can tell undoubted Raphaels from Gerard Dows and Zoffanies,
I know the croaking chorus from the Frogs of Aristophanes!
Then I can hum a fugue of which I've heard the music's din afore,
And whistle all the airs from that infernal nonsense Pinafore.
ALL:
And whistle all the airs from that infernal nonsense Pinafore.
And whistle all the airs from that infernal nonsense Pinafore.
And whistle all the airs from that infernal nonsense Pinafore.
GENERAL:
Then I can write a washing bill in Babylonic cuneiform,
And tell you ev'ry detail of Caractacus's uniform:
In short, in matters vegetable, animal, and mineral,
I am the very model of a modern Major-General.
ALL:
In short, in matters vegetable, animal, and mineral,
He is the very model of a modern Major-General.
GENERAL:
In fact, when I know what is meant by "mamelon" and "ravelin",
When I can tell at sight a Mauser rifle from a javelin,
When such affairs as sorties and surprises I'm more wary at,
And when I know precisely what is meant by "commissariat",
When I have learnt what progress has been made in modern gunnery,
When I know more of tactics than a novice in a nunnery--
In short, when I've a smattering of elemental strategy,
You'll say a better Major-General has never sat a gee.
ALL:
You'll say a better Major-General has never sat a gee.
You'll say a better Major-General has never sat a gee.
You'll say a better Major-General has never sat a gee.
GENERAL:
For my military knowledge, though I'm plucky and adventury,
Has only been brought down to the beginning of the century;
But still, in matters vegetable, animal, and mineral,
I am the very model of a modern Major-General.
ALL:
But still, in matters vegetable, animal, and mineral,
He is the very model of a modern Major-General
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http://math.boisestate.edu/gas/pirates/discussion/9.html
Neil Ellenoff asked:
What is the connection between "The Pirates of Penzance "
and Cole Porter's "Out of this World"?
Arthur Robinson replied:
The opening song of Porter's Out of this World contains
the phrase "Brek-ek-ek-ek coax," which is straight from
"the croaking chorus of the Frogs of Aristophanes."
Henry A. Stephens Jr. asked:
Now the next question: I assume the speaker is stuttering,
so what is a Brek coax?
Arthur Robinson replied: "Brek-ek-ek-ek co-ax co-ax"
(co-ax is two syllables) is what the frogs sing in Aristophanes'
comedy FROGS, ca. 405 BC (I should have checked the
Greek before writing this, but I think this is right). Apparently
Greek frogs, instead of saying "Ribbet ribbet," croak this way.
Greek frogs, of course, croak in the Greek alphabet,
which I can't do on e-mail (I transliterated the above).
Other Fun Frog Facts: "Brek-ek-ek-ek co-ax" etc. apparently became
the chant (or cheer?) for the Yale rowing (?) team. Cole Porter was
a Yale student (also Harvard, I believe), which is probably why
he incorporated this into his song in Out of this World.
Also, when Burt Shevelove (also a Yale grad, I believe) & Stephen
Sondheim
adapted Aristophanes' Frogs for a performance in the Yale swimming pool
in 1974, I assume part of the joke was that this chant was familiar to
Yale students; the croaking chorus was sung while Charon was rowing
Dionysus across the pool. (If anyone is interested in how
Sondheim translated "Brek-ek-ek-ex co-ax co-ax,"
I believe it was "Brek-ek-ek-ek co-ax co-ax.")
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http://www.discoverfrance.net/France/Theatre/Moliere/moliere.shtml
<<Molière, whose real name was JEAN BAPTISTE Poquelin, advanced
from being a gifted adapter of Italian-derived sketches and a showman
who put on extravaganzas to a writer whose best plays had the lasting
impact of tragedies. Unwittingly, he made many enemies. The clergy
mistakenly believed that certain of his plays were attacks on the
church. Other playwrights resented his continual experiments with comic
forms (as in The School for Wives) and with verse (as in AMPHITRYON).
In the late 1660s, Molière developed a lung ailment from which he never
recovered, although he continued to write, act, direct, and manage his
troupe as energetically as before. He finally collapsed on Feb. 17,
1673, after the fourth performance of The Imaginary Invalid, and died at
home that evening. Four days later, on the night of February 21, he was
interred in Saint Joseph's Cemetery. Church leaders refused to officiate
or to grant his body a formal burial.
He created a gallery of incisive portraits: Tartuffe the religious
hypocrite, and Orgon, his dupe; Jourdain the social climber; Don Juan
the rebel and libertine; cuckolds such as Arnolphe, Dandin, and
AMPHITRYON; Alceste the stony idealist; Harpagon the miser; Scapin the
trickster; Argan the hypochondriac; Philaminte the pretentiously
cultured lady; and many more.>>
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Jonathan FENNO Pindar's Streams of Song:
Musical Memory and Theban DIRCE
http://www.apaclassics.org/AnnualMeeting/98mtg/abstracts/fenno.html
<<Wise Alcmena lay with AMPHITRYON and with Zeus, and bore in a single
birth twin sons, strong and victorious in battle. Only a mute man does
not have Heracles' name on his lips, and does not always remember the
waters of DIRCE, which reared him and Iphicles.>>
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OUT OF THIS WORLD
http://www.nodanw.com/shows_o/out_world.htm
Based on Plautus AMPHITRYON.
Music & Lyrics - Cole Porter: Book by Dwight Taylor & Reginald Lawrence
New Century Theatre - Broadway - 21 December, 1950 (157 perfs)
<<Out Of This World begins with Mercury asking the audience to
suspend logic and accept the story that is to unfold. Peeping around the
portico Jupiter, surrounded by his lesser gods, announces his need for a
little extracurricular activity among mortals. Looking down to earth he
sees the lovely Helen, newly wed to Art O'Malley and immediately send
Mercury to arrange for a tryst with her. Helen and Art are on their way
to Greece in search of a news story about a harmlessly snarling gangster
from Chicago, Niki Skolianos, who has fled to Athens to escape the law.
Mercury, dressed only so that his silver sandals reveal that he is a
god, offers to be their guide and off the trio go.
In Jupiter's gymnasium on Mount Olympus, the gods and goddesses prepare
to welcome Juno, Jupiter's wife and mother of most of them. When Juno
arrives with a peacock under her arm, she immediately becomes suspicious
of Jupiter's antics and wonders why he is so faithless to her. She
guesses what his plans are and remembering the fabled tale of Leda and
Europa she descends to earth to pursue him. Meanwhile, Helen, Art and
Mercury have reached Greece and start out for Athens. But, thanks to the
machinations of Mercury, end up in the mountains at the ARCADIA Inn.
There they find Niki, sitting at ease in the garden with Chloe and an
entourage of serving girls. Niki's occupation is the manufacture of
cigarettes made from poppies. Chloe, although courted by a handsome
young shepherd, is dreaming of a lover who will combine romance with
financial security. Tired of travelling, Helen and Art decide to stay at
the Inn.
Mercury, flirting madly with the serving girls, lists the great women
of history whom he has known but a thunderclap from Jupiter reminds him
of his duties. With Niki's help, Mercury sends Art off the Athens on a
false lead for his news story. Helen is furious.
Arriving on Earth, Jupiter sends for Night and requests she bring the
longest darkness the world has known. She carries out his request and,
thanks to his godly powers, Jupiter assumes the appearance of Art and
enters Helen's room. Juno, unaware of Jupiter's trickery, guards the
door to their rooms so that later, when Helen emerges rapturously, the
pagan gods celebrate.
Juno thinking Niki is Jupiter in disguise decides to take him back to
Olympus with her but he escapes. She goes after him. In the morning
Helen tells Chloe how happy she is but is totally bewildered when Art
reappears and tells her that he had been on the road from Athens all
night. He convinces Helen that she must have dreamed everything. Chloe
abandons her shepherd for Mercury.
On Midsummer's Eve, Jupiter returns to the Mountain Shrine to take
Helen back with him to the world of the gods but Helen, realising what
is happening refuses: she prefers her mortal man. Jupiter sadly admits
defeat.
In another part of the forest, Juno laments the fact she has been
unable to find a little affection either in heaven or on earth. She
finally catches up with her chastened Jupiter on Mount Olympus. As the
fantasy ends, Helen and Art are reunited and Art gets his story. Chloe
decides in favour of her shepherd and a golden cloud floats down from
Olympus bearing Juno and Jupiter with words of advice for mortals.>>
Musical Numbers:
Prologue - Mercury
I Jupiter, I Rex - Jupiter
Use Your Imagination - Helen
Hail, Hail, Hail - Ensemble
I Got Beauty - Juno
Where, Oh, Where? - Chloe
I Am Loved - Helen
They Couldn't Compare To You - Mercury
What Do You Think About Men? - Helen Chloe and Juno
I Sleep Easier Now - Juno
Climb Up the Mountain - Juno & Ensemble
No Lover For Me - Helen
Cherry Pies Ought To Be You - Mercury & Chloe
Hark To the Song of the Night - Jupiter
Nobody's Chasing Me - Juno
Finale - Company
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MISTRESS PAGE He is a better scholar than I thought he was.
SIR HUGH EVANS He is a good SPRAG MEMORY.
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SPRAG, a. [Cf. Icel. spr[ae]kr sprightly, dial.]
QUICK; lively; alert. [Prov. Eng. & Scot.]
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<<The Muses: These Greek deities of art and inspiration are among
the most familiar of the ancient divinities. Originally there
were only 3, at Mount HELICON: Melete, M N E M E , and Aoide.
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Dear son of *MEMORY*, great HEIR of FAME,
TOT HEONL IEBE
GET TEROF THES
EIN SVING [S] ONN
ETS [M] R WHA [L] LHA
PPI [N] E SS E [A] NDT
HAT [E] T ER N [I] TIE
PRO [M] I SE D [B] YOV
REV [E] R LI V [I] NGP
OET WISH E [T] HTH
EWE LLWI [S.] [H.] ING
ADV ENTV [R.] [E.] RIN
SET TING [F.] [O.] RTH
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F.R.S.: [F]ellowship of the [R]oyal [S]ociety.
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PUCK And now they never meet in grove or green,
By fountain clear, or spangled starlight sheen,
Jonathan FENNO Pindar's Streams of Song:
Musical Memory and Theban DIRCE
http://www.apaclassics.org/AnnualMeeting/98mtg/abstracts/fenno.html
<<Pindar often draws water as a metaphor for his poetry. Victory thirsts
after song, and epinician quenches this Musical thirst. Our poet, often
boasting of his role as a foreign guest-friend, proudly brings or sends
bowls of song from his native Thebes. DIRCE, the Theban fountain,
whether named or not, sometimes serves as Pindar's seal, his watermark,
so to speak. The ancients, who had access to more of Pindar than we,
certainly connected Pindar's Musical art with the waters of Theban
DIRCE. When distilling poetry, Pindar blends DIRCE's water
in differing proportions with the Muse, daughter of Memory,
and with Thebe, daughter of a river.
The successful athlete stirs the streams of the Muses, the daughters of
MNEMosynE or Memory; in response, the foreign praise-poet brings song
to his friend like streams of water. Even if Pindar has forgotten his
poetic obligation, the Muse and Aletheia or Un-Forgetfulness protect him
from the charge of being a false guest-friend; in the end, a surging
strain of songs will appear at famous DIRCE. Pindar opens another ode
with drinking imagery, preparing a wine-bowl and libation of the Muses'
songs (I.6.1-9); in the closing lines, he reveals the source of his
liquid poetry by offering his beloved host a drink from the holy water
of DIRCE which Memory's daughters caused to spring forth at Thebes.
Pindar does not absentmindedly dip his ladle into just any jar!
In one Cyrenaean ode, a lengthy catalog of Theban heroes culminates in
DIRCE: only a dumb man does not always remember Dircaean waters, which
nourished Heracles and Iphicles; this is how Theban Pindar slakes his
thirst for songs. Another Cyrenaean ode concludes with Apollo's fountain
at Cyrene and a spring of ambrosial verses associated with Thebe (dat.
sg.), each portrayed as the community's center of music and hospitality.
As nurturer of Thebans and their poetry, DIRCE's water is thematically
connected in several Theban songs with the eponymous nymph Thebe, who
not only nurtures and raises Thebans, but also serves as their
metaphorical mother. Thebe's identity as the poet's nourishing well is
reinforced by her Pindaric genealogy: she is the daughter of the
river-god Asopus and the water-nymph Metope, and the sister of Aegina.
Pindar drinks this maternal water as he weaves his hymn; and, continuing
the fluid metaphor, he expects to disprove the gibe "Boeotian Sow" by
sending his message from the Muses, a sweet mixing-bowl of song. In
Aeginetan odes, Pindar exploits this liquid genealogy to enhance his own
authority as Musician and to suggest a closer bond with his audience
through Thebe's sister Aegina. Even Bacchylides, when lauding the heroes
descended from Asopus, admits that everyone knows the nymphs Thebe and
Aegina. But only a Theban like Pindar can claim a special duty and
right to celebrate them with unforgettable streams of song.>>
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Art Neuendorffer