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Few other features are more characteristic of Beowulf than the use of numerous digressions and distinct episodes. While some scholars have made attempts to show that the digressions, or some of them at least, have something in them which is inappropriate to the main narrative and are detrimental to the poetic value of Beowulf, this essay will argue that the digressions and episodes provide a conscious balance and unity and, in fact, contribute to the artistic value of the poem. Beowulf scholar Adrien Bonjour divides the digressions and episodes into four categories: the Scyld episode; digressions concerning Beowulf and the Geats; historical or legendary digressions not connected with Beowulf and the Geats; and Biblical digressions. It is within this structure where we will explore specific digressions and determine their role in the poem.

Before we inspect specific digressions, it is important to provide a brief justification for their presence in general. As Bonjour observes, the poet adeptly uses digressions to add to the coloring of the poem, to serve as a foil to a given situation, to contribute to the historical interest and significance, to provide symbolic value which contributes to the effect and understanding of the poem, and to heighten artistic effect. In addition, the digressions contain welcome information about the hero’s life. It is through digressing that the poet presents the values and perspectives that are to be understood. Action is, after all, only action.

In his division of the digressions and episodes, Bonjour gives the Scyld episode its own category, probably because it is the longest digression from the main narrative in the poem, and possibly because it raises so many questions. At first glance, the opening of the poem with Scyld and the genealogy of the Danish kings seems strangely out of place in a poem about Beowulf, a Geatish hero. But upon further study, a significant parallelism can be found between Scyld and Beowulf. First, both Scyld and Beowulf came miraculously to liberate the Danes. Scyld, being the first liberator in the poem, foreshadows Beowulf who comes later. A second touch of parallelism between the two kings can be found in their inglorious youth. Scyld was found a wretched and abandoned child and Beowulf is conspicuous for his inglorious youth. The striking reversal in their fortunes is clearly stressed by the poet.

Bonjour points out that another artistic purpose in this episode is the glorification of the Scyldings. Had the distressing condition at Heorot served as the only introduction to Beowulf’s mission, this may have created an impression of weakness on the part of the Danes. As we will see later, if the Danes had not been glorified at the beginning of the poem, the greatness of Beowulf may have been diminished.

Finally, the striking contrast of the funeral scenes are endowed with a “symbolic value which heightens the artistic value” and the unity of the entire poem. The beautiful description of Scyld’s funeral suggests a beginning and is the symbol of a glorious future. In contrast, Beowulf’s funeral symbolizes the end of a glorious past while the future is fraught with foreboding.

The Scyld episode allows the poet the use of two of his favorite devices: parallelism and contrast. The contrast between Scyld and Beowulf is perhaps one of the finest artistic achievements in the poem, and the parallelism between the two kings may well be summed up in the legendary epitaph of a cowboy as indicated by J.D.A. Ogilvy and Donald Baker: “Here lies Bronco Bill. He always done his damnedest”.

The next of Bonjour’s categorical divisions regards the digressions concerning Beowulf and the Geats. The first of this group that we will examine is Beowulf’s fight against giants. This digression serves a twofold purpose: it allows the hero his convention of boasting, and it also, however subtly, allies the hero with God. The immediate purpose of this mention of a glorious feat in Beowulf’s early life is to give us an illustration of his uncommon strength, and to give at the same time a justification for his arrival at the Danish court. It also sets Beowulf up as a specialist in fighting monsters: “I came from the fight where I had bound five, destroyed a family of giants…”. The art of boasting is important in an epic hero as it showcases his accomplishments and glorifies his name. As Victor Bromberg denotes, a man’s name is very important in epic poetry because it becomes equal to the sum of his accomplishments.

The second function of this digression is to surreptitiously ally Beowulf with God. When Beowulf pits his strength against the giants, he is unwittingly allying himself with the true God of Christianity. This lends dignity to the heathen hero who, without knowing it, is fighting on the right side after all.

In the Ecgtheow digression we learn that Beowulf’s father has killed Heatholaf, a member of the powerful Wilfing tribe, and has begun a feud from whose consequences the Geats cannot protect him, and he has fled to the court of Hrothgar. Hrothgar, consequently, pays his wergild to the Wilfings. Bonjour asserts that this digression serves two purposes: first, it creates one more bond between Beowulf and the Danes; second, it counterbalances the fact that the Danes are accepting help from Beowulf.

The Unferth episode serves primarily as a foil to emphasize Beowulf’s greatness. In spite of the sinister overtones of Unferth’s reputation, the poet also shows him as a distinguished thane. Had Unferth been reduced to a mere swashbuckler, Beowulf’s superiority over him would not have meant so much as it actually does. In his essay “Beowulf: The monsters and the Critics”, Professor J.R.R. Tolkien suggests that Beowulf’s conquest of the nicors in his youth are referred to [in this digression] as a presage to the kind of hero we are dealing with. Beowulf’s answer to Unferth’s criticism also establishes him as a man to reckon with in words as well as with his sword. So, from this digression we learn Beowulf’s qualifications for cleansing Heorot, and also that the hero is not only a great warrior, but a man capable of delivering a coup de grâce in a battle of wits.

Bonjour notes that the first allusion in the poem to the fall of Hygelac gives us a fine instance of a particular use of contrast characteristic of Beowulf. It is ironic that the first hint of Hygelac’s fall should be called up by the description of the treasures given to Beowulf by Queen Wealtheow after Beowulf’s victory over Grendel. It looks as if there are already some implications of the same nature as those to be met with in the Dragon story where, as Bonjour remarks, the beauty of the treasure of the Dragon’s hoard stands out in contrast to the curse attached to it. Here, the necklace is among “[the finest] under the heavens”, yet Hygelac had it when he was slain.

Next, we will look at the digression on Beowulf’s inglorious youth and Heremod’s tragedy in conjuntion with one another. Heremod’s tragedy actually falls outside the structure proposed by Adrien Bonjour as it has nothing to do with Beowulf and the Geats directly. However, we will bring the Heremod digression out of the proposed structure since it provides such an important contrast to Beowulf’s inglorious youth.

The short digression on Beowulf’s inglorious youth is but another touch that contributes to the glorification of the hero. The inglorious youth heightens the effect of his later glorious deeds and makes them all the more remarkable by way of contrast. But this digression reaches its full effect when contrasted with the tragedy of Heremod. In Hrothgar’s speech to Beowulf, we learn that Heremod was a strong, valiant hero whose career showed great promise, but that he subsequently proved to be a bad ruler. Beowulf, on the other hand, is first despised but he has now grown into a glorious hero. Heremod’s tragedy redefines, though negatively, what a good king should be. Thus we have a poor beginning (by Beowulf) followed by a prodigious ascent contrasted with a brilliant promise (by Heremod) ending in a miserable downfall.

The next digression to be examined concerns Hygelac’s death in Friesland and Beowulf’s return by swimming and his subsequent guardianship of Heardred. The poet tells us how Beowulf escapes from Friesland, where Hygelac is slain, by swimming back to his country with thirty to panoplies of armour on his arm. Obviously, this part of the digression serves to further glorify Beowulf’s extraordinary abilities. Later, we learn that Beowulf turns down Queen Hygd’s offer of the Geatish throne in favor of acting as counsel to Heardred, the rightful heir. Beowulf’s refusal of the crown illustrates his moral greatness. Here, the Geats present a striking contrast to the Danes. Ogilvy and Baker suggest that unlike Wealtheow, who is obsessed with securing the succession of her sons to the throne, Hygd asks Beowulf to take the throne in favor of her own son for the good of the people. This contrast is made even greater when compared to the situation at the Danish court where Hrothulf seizes his uncle’s throne. The story of the Danish succession serves as a foil: on the one side we have a treacherous usurpation, and on the other, a refusal to accept the crown out of sheer loyalty. Along with the glorification of Beowulf, this digression brings the theme of loyalty to the forefront.

In seeking the Dragon’s den, Beowulf makes a long speech in which he looks back over his life from the time when, at the age of seven, he came to the court of his grandfather, King Hrethel. The immediate purpose of Beowulf’s long speech appears to be a pause so that the hero can gather strength and resolution by looking back over a life of valiant deeds. But this digression goes much deeper when we read into King Hrethel’s angst over his eldest son, Herebeald, who is accidentally slain by his brother Hæthcyn. The accidental killing suggests the inexorability of wyrd (fate), and on the other hand, the poignant lament of Hrethel prepares the dominant mood of the end of the poem (Bonjour 34). This thematic “Christian” acceptance of earthly woes anticipates the rationale of Beowulf’s actions. He, too, will accept his fate. Bonjour states that the appearance of wyrd here is of great importance as it gives us the keynote of not only the digression, but of the whole ending of the poem.

The Last Survivor’s Speech is an elegy cut from the same cloth: “Baleful death has sent away many races of men”. Tolkien states that here, the poet is handling an ancient theme: that man, each man and all men, and all their works shall die.

In the short digression on Weohstan (Wiglaf’s father) and his slaying of Eanmund, we learn of the history of Wiglaf’s sword. The primary purpose of this digression is to give us something of Wiglaf’s pedigree, and to establish that Wiglaf is not ordinary, he is of the same blood as Beowulf. The establishing of Wiglaf’s history is important, because if this part were played by any other Geat, Beowulf’s heroic courage would appear to have been matched by an ordinary human. Also, there is a definite parallel between Wiglaf’s loyalty to Beowulf, and Beowulf’s loyalty to Hygelac.

The last digression that we will look at in this division deals again with Hygelac’s fall and the battle at Ravenswood. Since Hygelac’s raid, the enmity between Franks and Geats has remained. The Swedes are not to be trusted either since Beowulf’s death is likely to rekindle their memory of the feud between them and the Geats. With the opening of this last digression, Bonjour observes that the poet allows us to catch a glimpse of what the future has in store for the Geats. Plainly, the author is using Wiglaf’s messenger as a means to foreshadow the fate that awaits the Geatish nation.

The third category of digressions concerns historical or legendary digressions not directly connected with Beowulf and the Geats. The first digression in this category concerns the fate of Heorot. No sooner has the poet described the glorious building of Heorot than he concludes, “it would wait for the fierce flames of vengeful fire”. The allusion is to the feud between Ingeld and Hrothgar. This illustrates another example of the poet telling his story with a kind of structural irony which alternates prosperous with tragic events. Here, William Alfred remarks that Hrothgar is set up as the heroic king of a loyal comitatus, but suddenly, what begins as a description of the impressive halls of Heorot breaks down into an account of its destruction by fire in a feud. On this point, Bonjour mentions that the contrast inherent between a harmonious situation and a brief intimation of disaster adds to the impression of melancholy in which so much of the poem is steeped.

After Beowulf has killed Grendel, a scop improvises a lay in honor of Beowulf and compares him to Sigemund and Heremod. Sigemund was a great slayer of monsters and the greatest adventurer since the unfortunate Heremod. Beowulf, they say, is comparable to Sigemund. Sigemund and Heremod are inroduced to give us a standard of comparison for Beowulf. Bonjour surmises that this whole digression is certainly intended to praise the hero.

The next digression we will examine begins abruptly as Beowulf is returning home from Hrothgar’s court. We are given a description of Hygelac’s court before Beowulf’s arrival, and here begins the digression. The passage is devoted to a comparison between Hygd, Hygelac’s queen, and Modthryth, queen of Offa, king of the Angles before their migration to England. At first glance, Modthryth may seem, like Heremod, to be merely a bad character introduced to heighten the virtues of a good one (Hygd) by contrast. Modthryth, however, is more complex than that. She begins as a cruel and tyrannous princess, but redeems herself once on the Anglican throne at Offa’s side. This opposition provides a connecting link between this episode and Heremod’s tragedy. However, the respective careers of Heremod and Modthryth run exactly opposite courses. This digression serves several purposes: Modthryth serves as a foil to Hygd; the connection to Heremod again stresses the “abuse of power” theme, and Modthryth’s beginning could also be viewed as a parallel to Beowulf’s inglorious youth; an unsavory beginning which blossoms into a glorious end.

We will examine the Finn and Ingeld episodes together since the parallelism between the two is unmistakable. The Finn episode is an account of a blood-feud between the Danes and the Frisians. Hnæf’s sister, Hildeburh is a Danish princess who was married to King Finn of the Frisians in order to bring an end to the feud. The peace, however, is short-lived and the Finn episode points directly to the theme of the precarious truce between the two peoples. The prophetic telling of the tale of Ingeld by Beowulf suggests that the martial alliance between the Danish princess, Freawaru, and Ingeld, prince of the Heathobards will yield similar results. Bonjour claims that the central theme of the two episodes is exactly the same, that tribal enmity sooner or later sweeps away all attempts at human compromise. Indeed, this also proves to be a central theme of the entire poem.

The final category in which to make note is the digressions of Biblical character. Owing to their Christian element, the Song of Creation as well as the allusion to the Giants’ war against God and the allusions to Cain all take a front row seat.

The Song of Creation appears almost simultaneously with the introduction of Grendel, “There he spoke who could relate the beginning of men far back in time, said that the Almighty made earth…”. The Song of Creation goes back to the Biblical account in Genesis. Its immediate purpose is clear enough-it is a matter of contrast. The rare note of joy in the beauty of nature contrasts deeply with the melancholy inspired by the dreary abode of Grendel.

We will now look at the allusions to Cain and the Giants, and in doing so, it is important to note that the monsters are presented from two points of view. To the pagan characters, these creatures are eotenas [giants], and scuccan [evil spirits]-all terms from Germanic demonology. But the poet in his own voice tells us of the true genealogy of the Grendelkin: they are the monstrous descendents of Cain. This two-leveled portrayal of the monsters places them on one level like the dragon that Sigemund slew, and on another level it has connotations of Satanic evil which the Bible invests in them. At this point, new Scripture and old tradition unite.

The destruction of the Giants is said to be carved on the hilt of the magic sword which allows Beowulf to slay Grendel’s mother. Beowulf’s fight is now felt to partake of the struggle between the powers of good and evil. We were told earlier that both monsters were of the same kind as the Giants, but as Bonjour shows, we now know that God himself actually helps the hero by directing his attention to the magic sword which depicted God’s own action against the accursed race. Now, it is almost as if Beowulf has been raised to the rank of God’s own champion. Beowulf, for all that he moves in the world of the primitive Heroic Age, nevertheless is [for a moment] almost a Christian knight.

Bonjour concludes that Beowulf, once in the position of a king actually transcends the picure of an ideal king by sacrificing his life for his people, the significance of which is stressed by the very contrast with Hrothgar’s own attitude towards Grendel. But Hrothgar is already the figure of an ideal king, so now it becomes easier to compare Beowulf to the Savior, the self-sacrificing king, the prototype of supreme perfection.

Scholar B.J. Timmer sees the form of the poem as a failure because of the poet’s compromise in an attempt to glorify both pagan and Christian elements. John Leyerle echos this view when he describes the theme of the poem as “the fatal contradiction at the core of heroic society” in which the impelling code demands for the hero individual achievement and glory, whereas society demands a king who achieves for the common good. But why should there be a necessary separation here? Would it not require a heroic individual to achieve for the common good? The Beowulf poet, rightly, does not perform this separation.

In conclusion, it should be stated that whether or not we admire the digressions, we should recognize that they are part of the poet’s method, not the results of ineptitude. Here, I agree with Bonjour that the links of the digressions and episodes to the main story are extremely varied but, as we have seen, they are all links of relevance that weave the main theme and its background into an elaborate tapestry. Theodore M. Anderson sums up the significance of the digressions when he writes:

The poet drew his settings from the scenic repertory of the older heroic

lay, but he strung the traditional scenes together with a moralizing

commentary in the form of digressions, flashbacks, boasts, reflective

speeches, and a persistent emphasis on unexpected reversals-all tending

to underscore the peaks and valleys of human experience.

A good dose of common sense should expel any lingering beliefs, on the part of skeptics, that the poet’s digressions are reckless or that they diminish the value of the poem. As we have seen in this essay, there are simply too many instances of foreshadowing, careful contrast, and parallelism for the digressions to have been carelessly thrown into the mix. So, we shall draw the conclusion that behind all the digressions is found a definite artistic design clear enough to allow us to agree with Bonjour that each one plays a useful part in the poem. In other words, we have found that all of the digressions, in varying degrees, are artistically justified.

Rick Huffman is a National long-haul driver who spent 20 years in the broadcasting industry before becoming a trucker. He describes the career change as, “…the best decision I ever made on one day, and the worst one I ever made on the next.”

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spanFrequently asked questions (FAQ) from Charles Congdon on multi-core, parallelism and multithreading. Please let us know if you have more questions for Charles. If we get enough, we’ll do a Charles FAQ pt. II. Enter your comments below or email us at webcasts@intel.com. For more information on Multi-Core, visit our community at www.intel.com/software/mcdeveloper./span

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Segment 3 of 3 – Whether an application is serial, partially parallel, or fully parallel it can get significant benefit from parallelism. New Intel® Parallel Studio tools provide Windows* developers with the keys to get the most out of parallelism. Gain an in-depth understanding of when, where, and how much to use parallelism to achieve optimal results. Microsoft* Visual Studio C/C++ developers will learn how to identify and safely design applications that can scale with increasing processor core counts. Recommended companion technical webinar: Identify and Address Threading Opportunities.

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We so often get caught up in defining God. Through the centuries the perception of God has changed for man. Man has usually bestowed the characteristics that he admires or fears on his God. I hear people call God vengeful, jealous, loving, and benevolent and any other number of human characteristics. God can lift you up, God can strike you down. God can Bless you God can curse you. So it got me to thinking, who or what is God? I mean really. If I go by the characteristics placed oh him by different people I would have to say God suffers from multiple personality disorder. According to people God changes at a whim, so he has to also be bi-polar with bouts of mania and depression. Is God a person that sits on high, or is he/she/it something else?

Science is now acknowledging that there is an intelligent field that permeates all of creation. Stephen Hawking a world famous physicist calls it the mind of God, Greg Braden a philosopher and scientist calls it the divine matrix. Max Planck, the father of modern physics, in 1944 identified this field as the matrix,” he says that all matter the stuff our world is made of originates and exist by virtue of a force, we must assume behind this force is the existence of a conscious and intelligent mind. This mind is the matrix of all matter.” Max Planck is one of the most renowned physicists to ever live. Was this science acknowledging the existence of God? They all agree that it is not a being.

Jesus had a name for this divine mind. John 14:24 “God is spirit, and his worshipers must worship in spirit and in truth.” He called it spirit. Genesis 1:2, “Now the earth was formless and empty, darkness was over the surface of the deep, and the Spirit of God was hovering over the waters.” Of course Jesus spoke of it parables and figuratively as “father”. The Genesis story of creation is another parable and spirit is mentioned here (Genesis 1:2) the very first time in the bible.

The New Catholic Encyclopedia: “The O[ld] T[estament] clearly does not envisage God’s spirit as a person . . . God’s spirit is simply God’s power. If it is sometimes represented as being distinct from God, it is because the breath of Yahweh acts exteriorly. … The majority of N[ew] T[estament] texts reveal God’s spirit as something, not someone; this is especially seen in the parallelism between the spirit and the power of God. … On the whole, the New Testament, like the Old, speaks of the spirit as a divine energy or power. … Nowhere in the Old Testament do we find any clear indication of a Third Person.”

We may be comfortable to think of God in an anthropomorphic form. But when we do that we make the essence of the intelligence of this force less than it is. We make it human and with all the failings of human beings. We call for it to be selfish and as arrogant as we mere mortal being can be. This is not the stuff of the force. Science and religion seem to now agree that God is not a he or a she, but an it. As stated above in the New Catholic Encyclopedia, “God or spirit is something, not someone. It is a divine energy.” Science has for years said that every thing at a base level is energy. Religion has said that God created us in its own image. Since God is a non-physical force then what is the image that we copy? Hmmm.

At some point mankind will have to shed its outdated and egocentric view of who God is. The force can not condone any of the isms that plague the world. It can not side with either destructive force in a war. It can however set forth laws and technologies that we can use to access it. The ancients knew about these laws. As mankind developed and became more sophisticated we have given credence to only that which our 5 senses can detect. Even with evidence to the contrary. Some day we will have to realize that God is not on the side of the righteous Christian, Muslim or Jew. God/spirit/force/universal consciousness is the same with each and every one of us. At that time, we realize this we will stop creating a God especially for us. We are all special when we learn to access the divine.

Are you a brave soul?

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Charles discusses some of the terms used when people talk about parallelism and concurrency.

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Writing parallelism refers to the repeated usage of words and grammatical structures in a well-designed pattern. Parallel structures assist the comprehension of the reader and provide a memorable rhythm to the writing.

All good writing is structured and writing parallelism improves writing structure. The structure changes according to the domain of the writing, but when an author consistently follows a plan, the reader can clearly follow what the author intends to share or to prove.

Hints to Improve Writing Parallelism

Repeat key words throughout an essay to help the reader maintain focus. Use the same grammatical structures for phrases within lists, for example, verb endings. Repeated transitions can also produce interesting writing parallelism.

One of the greatest examples of writing parallelism in American literature is Lincoln’s Gettysburg Address

Carefully read the address and then examine the phrases listed below to identify the writing parallelism Review the text to see how the parallel structures are repeated.

Four score and seven years ago, our fathers brought forth upon this continent a new nation: conceived in liberty, and dedicated to the proposition that all men are created equal.

Now we are engaged in a great civil war. . .testing whether that nation, or any nation so conceived and so dedicated. . . can long endure. We are met on a great battlefield of that war.

We have come to dedicate a portion of that field as a final resting place for those who here gave their lives that that nation might live. It is altogether fitting and proper that we should do this.

But, in a larger sense, we cannot dedicate. . .we cannot consecrate. . . we cannot hallow this ground.

a new nation

conceived in liberty

we are engaged

so conceived

that nation

we can not dedicate

Now, pick out the writing parallelism in the remainder of the text on your own.

The brave men, living and dead, who struggled here have consecrated it, far above our poor power to add or detract. The world will little note, nor long remember, what we say here, but it can never forget what they did here. It is for us the living, rather, to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced. It is rather for us to be here dedicated to the great task remaining before us. . .that from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion. . . that we here highly resolve that these dead shall not have died in vain. . . that this nation, under God, shall have a new birth of freedom. . . and that government of the people. . .by the people. . .for the people. . . shall not perish from the earth.

Mark Pennington is an educational author, presenter, reading specialist, and middle school teacher. Mark is committed to differentiated instruction for the diverse needs of today’s remedial reading students. Visit Mark’s website at http://www.penningtonpublishing.com to check out his free writing parallelism teacher resources and books: Teaching Reading Strategies, Teaching Essay Strategies, Teaching Grammar and Mechanics, and Teaching Spelling and Vocabulary.

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May 9, 2007 lecture by Catherine Crawford for the Stanford University Computer Systems Colloquium (EE 380). Catherine reviews a history of programming paradigms and models, as well as workloads and subsequent programming issues from current market growth segments; she combines this review with a software view of technology and system advances to develop a sense of “what’s missing” in current art for developers to engage in pragmatic parallelism in application development. EE 380 | Computer Systems Colloquium: www.stanford.edu Stanford Computer Systems Laboratory: csl.stanford.edu Stanford Center for Professional Development: scpd.stanford.edu Stanford University Channel on YouTube: www.youtube.com

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Prompted by the changing landscape and by active encouragement from our corporate partners, the Purdue University Department of Computer Sciences has created a Multicore Initiative to substantially increase the multicore content in our curriculum. The most innovative element of the Multicore Initiative is a course for first or second semester freshmen designed to teach the fundamentals of programming with concurrency integrated into as many topics as possible. The course fulfills our CS1 requirement but ranges a little beyond a typical CS1 course in difficulty. Students are eligible to enroll with either a strong high school background in programming or successful completion of our CS0 course. Our course is taught in Java, and all concurrency is based on threading. We have faced challenges in fitting both the traditional CS1 material and concurrent topics into our course. Because some programming experience is a prerequisite, we have accelerated the first month of Java fundamentals and left out some of the more obscure features of the language. Having no textbook which unites introductory programming with concurrency, we were forced to write our own. We are excited to share our experiences of wrestling with the design of this course for over a year and the results of teaching the course for the first time in fall 2008. Barry Wittman, Department of Computer Science, Purdue University West Lafayette, IN 47907 bwittman@purdue.edu

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Third single from her sixth full-length studio album Volta. Director: Michel Gondry. Website: www.michelgondry.com Release 01 January 2008.

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Billy Bragg’s materpiece from 1997 about football and a parallelism with a boy meets girl story (Bragg is a big fan of West Ham), co-wrriten with Johnny Marr. Played live (solo). Strange as it may seem, I once had my football dreams But I was always the last one, the last to get chosen When my classmates picked their teams I guess that was the way it stayed in every game I played Life just kicked me, clattered and tripped me Till you picked me from the parade Now I feel like I’ve won the cup every time that we make love Forty-five minutes each way, at halftime I hear a brass band play The boy done good, the girl done better, The seasons turn and we’re still together, The sky’s still blue and tomorrow is another day You weren’t that kind of a bird who likes her studs to be covered in mud Taking you to the pictures was a regular fixture For one of life’s eternal subs Though I tried hard acting tough, I just can’t stand the taste of that stuff Like some macho park player I got in the way of In some grudge match against his club Still I’m happier how I am today now I’ve put my boots away I guess I’ll never get picked to play my song on Match of the Day

Thanks To : Fujitsu ScanSnap S1300 Deluxe http://haroldreichert.canadaspolitics.com/