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Show I'itAI-EAXD POETRY OF MOTION What it strain chirsi ttcre U 10 Lull's deIe-.-l4-I'f. rd :o nawrititleJ of fleh.' iVt hot. With1. 10 ivaitJi: thtj may aul be "-rc-p-:a-tl'." lint, Rrnler, I aJmirc thpm, do not tpu? D,::r to J:iei if you're imin you do. Y.u ui it j-Thup. a suhJi-I 1-5 of pt;y, Sit:i C i h'Sie Nv in yuar premiuin ; Bt ah: lhe ll:ii:t's lefr inp up proprirtr. AeJ maLe liic .itiic;i HoJ a little rioty. Ore 'f ibe canorii',1 I think Paint Iwreace Saw ui.cl.tJ ;a liei il.ir.-nic, in liis dre, 1 :e -hn el. pt itiicic- t:,?tld Lim, ' it reeai. Al : h- iitb a saini ho hJ so toe cai;l ilfams Of aitiari 10-tiocl. lunluru wter prad. And rr-n-9 of w:re llial Crcw the tilood io Nor w'.VilI fle-h siit-iued, till finners cruel. Cored liiai Willi gr.diroo l'.irs and Luraiufi li:;l. I, too, for p-int; once tc witnws "Loto," I H.vp, morally, IfeQ "hauk-vl OTer the cpbIf: Likewi-- repi..-vcl!t.'d for takint: hnme s.-me photos Ol f"oiuI Airote in bi-r cUk-i role. To roer. ..jor dt-TiI, really ri'k thnr soul" Ht vir-wine wHl-ihapeO limlnwith aaliniralion? Why wiTen't we then bom s-ight , like the Or pUc-d '-n iiin ls) curion) relation i To the most tempting creatures in crealict? Ifreliliine the ballet N- perdition, Theol am Iom. and tee 01d ?frp?nt win; lint reider, mark. I mate nv such aduu-!i.in, tisjini; pnri.pl on BcJtl'v a muaded ekiiij Is not BietLints itnoiif Hie dcft'i'y -ina It does not revm to me the "i;,--?l plan" can Give atAU caii'i' for siioh exulting cnu., As be must ned in.iulpe in Ha ni.n ran Be lost forever for witn-iBicg ibe caa-cao. I ..n't believe it; but perbsps sonn person Will r:- an.l, rolling up ' isryrs, exi.lain; M-anwbi'o t ln.4 jolly mnvzeoernte crk-on l'nut dexii liiiUt robed tfvct cles refrain. SiD'stiom bur. bei he has iri,il in vin, And in ncli prefers the "r-.-try of motion" To tl nd ol.ip-trflp in ibe sacrt-d lane. The Opera Bouffc'a leu wicked that's Lis no- Thanoicrioil burlciuei npoa devotion. |