I see London, I see France
I see (your name)'s underpants.
But that seems an awfully short selection for the day, and I thought perhaps something other than nonsense verse would better suit my mood. I thought "O body swayed to music, o brightening glance,/How can we know the dancer from the dance?" but, alas, Yeats's "Among School Children" is still under copyright. And thus it was that I looked past the dance to the music, and came to William Shakespeare and one of the songs from Twelfth Night of which I am enamored.
O Mistress Mine
by William Shakespeare
from Twelfth Night, Act I, sc. 3
O mistress mine, where are you roaming?
O, stay and hear; your true love's coming,
That can sing both high and low.
Trip no further, pretty sweeting;
Journeys end in lovers meeting,
Every wise man's son doth know.
What is love? 'Tis not hereafter;
Present mirth hath present laughter;
What's to come is still unsure.
In delay there lies no plenty,
Then come kiss me, sweet and twenty;
Youth's a stuff will not endure.
Discussion and analysis:
The structure of the song is as follows: It is rhymed AABCCB DDEFFE, and it uses a mix of meters. The first two lines of each stanza are in iambic tetrameter (although in the first stanza, there's an extra "feminine" ending resulting in nine syllables in a line that has 4 iambic feet: taDUM taDUM taDUM taDUM(ta)). The third and sixth lines of each stanza are trochaic trimeter (with an extra stressed syllable at the end of the line: DUMta DUMta DUMta DUM), for a total of seven syllables per line. And the fourth and fifth lines of each stanza are in trochaic tetramter (four trochaic feet per line: DUMta DUMta DUMta DUMta).
Of course, when I sing this to myself (which is far more often than most of you would guess), I sing the alto part to a choral setting that I cannot find on YouTube. Alas. I can share with you this clip from the 1996 movie version of Twelfth Night, with Sir Ben Kingsley as Feste, which includes a nice performance (interrupted by some dialogue between Viola and Orsino):