Poem of the Masses - Pangloss Wisdom

i'm listening...
Bringing back lonely memories
Bringing back lonely memories
'm so cold and alone, in my soul it's snowing
my smile melts with confusion
the ignorance you've shown, It is so hard knowing
come come
why you do not give me a good hard fucking
it's when you bend down and tie your shoes
can you take a swing without ducking?
that you should make sure your pants aren't low-waist
or a duck without eating
remains crystal, a battered shard of light
i had sex with my friends brother
Like the 711 sign that stays on all night
Like the 711 sign that stays on all night
I blaze, all unseen, with the glow of what's right.
d'ja my love
Smoking Pot until the dawn of light
yellos as the sun and bright as the day
smoking pot on the lawn till we're caught but we'll put up a fight
mellow as i run i was right all along on the ground she lay
joking alot like a pawn kill the queen because my rhymes is tight
as the shadows die
I'm better then you
what is going on here
this takes more than i care to think
a project
it takes more than what in wine I can sink
Work you idiot
smelling my butt is fun with sticky fingers
what the fuck?
are forenever
are covered in blood
we are freinds forever
Your nose is long
But thee are not exactly clever
So let's all sing along
With a sore troat
roses are red
i find a dictionary
napolian's dead *sniff*
the color of a canary
what is it you are trying to convey to me,,,find out on your own time
the color of a canary
which is yellow and merry
Like two doves
whos names are ashly and larry
whose fathers are awful and hairy
I soon shall be in Suffolk
Ticker belonged to that race of men
where I grew up, you know
Time and tick will never beat that stick
king prawn madoo
supreme monks vegetable
supreme monks vegetable
The horses in the stable
Ruuning Right Along
Were Getting It On One From ehind, And The Other Straight On, As The Mare Neighed And Cried For More, The stallion Gave It To Her, And She Had An Orgasm Once More
i love horses
There's something strange about this.
I'm tired of divorces
Stop having marriages
cheese is glamorous and brave, cheese i see in my own grave.
I'm the murderer who killed me
Cheese in all it's might, I like to hold tight.
even though i still am thee
robots are both friend and foe
Thee stil esteemed in mine
i meant to do my work today
In the world's wide mouth live scandaliz'd and foully spoken of
his real name is donny
the bitter halitosis of the unexamined though
we were all tired
he is married to bonny
Thank you for the Dots
A bonny bonny is bonny
the game of the garbage men
"I'm known for causing spontaneous combustion, constantly jumping through miscellaneous subjects
its the boy kenny
See, it's just too much for one small cauliflower to handle
Crackers and fennel
French revolution
Standing alone along the edge of the sea
my education was always based on which girl i was dating
oh my, the day has cast a ray
I love Matt
I love Matt
i love
i love
wearing cats fur
the way we've all be come so nice and shiny in our hearts
is cruel and unusual
is cruel and unusual
the moon
i am insulal
what is it in the moon, that gives such illustruous light?
j'ai chanté dans le jardin
I'm a thug that always selling drugs
i beam like the sunshine
i'm an emcee who spits bars to split mugs
still living life spitting slugs
Some things just don't fit.

It was published as part of his collection Songs of Experience in 1794

"The success of the Elegy was remarkable. The Monthly Review iv 309, for Feb. 1751 (published at the end of the month), commented that 'This excellent little piece is so much read, and so much admired by every body, that to say more of it would be superfluous'. John Hill, in the first of his series of contributions to the Daily Advertiser entitled 'The Inspector' on 5 March 1751 praised the Elegy enthusiastically, asserting that it 'comes nearer the manner of Milton than any thing that has been published since the time of that poet' and comparing it favourably with Lycidas. In 'The Inspector' No. 4 he printed a complimentary poem to the author of the Elegy by 'Musaphil'. The 4th quarto edn of G.'s poem had been published by 7 April and there was a 5th before the end of 1751. By 1763 twelve edns based on Dodsley's quarto had appeared. Inevitably the literary periodicals felt free to publish so celebrated a poem and, apart from the Magazine of Magazines, it had appeared in the London Mag., the True Briton and the Scots Mag. by April 1751. M. Rothkrug, in the article mentioned above, pointed out that the Elegy also appeared in Poems on Moral and Divine Subjects, by Several Celebrated English Poets (Glasgow, 1751); and confirmed that, as had been suspected but not established, it had been published in the Grand Magazine of Magazines in April 1751. Apart from these two publications, the frequent appearances of the Elegy in G.'s lifetime are described in detail by F. G. Stokes in his edn of the Elegy (Oxford, 1929). Stokes, Times Lit. Supp. 1937, p. 92, made an addition to his bibliography of the poem when he noted the inclusion of ll. 1-92 in the 4th edn of a volume of Miscellaneous Pieces, apparently published in 1752 by R. Goadby and W. Owen, the publisher of the Magazine of Magazines. See A. Anderson, The Library, 5th series, xx (1965) 144-8, for a refutation ofStokes's argument for the importance of this text, which was probably not printed in fact until late 1753.
In spite of, or perhaps because of, its popularity, G. rarely mentioned the Elegy after its publication. He made a few comments on it in a letter to Christopher Anstey, who published a Latin translation of the poem in 1762 (Corresp ii 748-9) but otherwise tended to be cynical about its celebrity. During a visit to Scotland in 1765, he spoke to Dr John Gregory of the Elegy: 'which he told me, with a good deal of acrimony, owed its popularity entirely to the subject, and that the public would have received it as well if it had been written in prose' (Sir William Forbes, Life of James Beattie (1806) i 83). Mason also believed this to be G.'s opinion, as he recalled in his 'Memoirs of William Whitehead', in Whitehead's Poems iii (1788) 84: 'It spread, at first, on account of the affecting and pensive cast of its subject, just like Hervey's Meditations on the Tombs. Soon after its publication, I remember that, sitting with Mr. Gray in his College apartment, he expressed to me his surprise at the rapidity of its sale. I replied: ''Sunt Lachrymae rerum, mentem mortalia tangunt.'' He paused awhile, and taking his pen, wrote the line on the title of a printed copy of it lying on his table. ''This,'' said he, ''shall be its future motto.'' ''Pity,'' cryed I, ''that Dr. Young's Night Thoughts have preoccupied it.'' ''So,'' replied he, ''indeed, it is.'' He had still more reason to think I had hinted at the true cause of its popularity, when he found how very different a reception his two odes at first met with.'
Yet if G. at times disliked being a popular author, the 'affecting and pensive' Mr Gray, he was not entirely indifferent to the Elegy's success. A marginal note (apparently added to from time to time) in the transcript of the poem in his Commonplace Book lists, with evident satisfaction, the various edns it passed through, as well as the two Latin translations by Lloyd and Anstey. And he can hardly have been unimpressed by the spate of imitations, parodies and translations into other languages which was already in full flow in his own lifetime; see Northup, Bibliography of G. (1917) pp. 123-45, H. W. Starr's continuation (1953) pp. 33-8, and W. P. Jones, 'Imitations of G.'s Elegy, 1751-1800', Bulletin of Bibliography xxiii (1963) 230-2. This aspect of the Elegy's popularity and influence can be illustrated by John Langhorne's remarks, in his review of An Elegy, Written among the Tombs in Westminster Abbey (Monthly Review xxvi (1762) 356-8), on the number of G.'s imitators: 'An Undertaker was never followed by a more numerous or a more ridiculous tribe of mourners, than he has been; nor is the procession yet over, for, behold, here is another Gentleman in black, with the same funereal face, and mournful ditty; with the same cypress in his hand, and affecting sentence in his mouth, viz. that we must all die! Hark! the Dirge begins.' Langhorne's next review was of Edward Jerningham's The Nunnery, an Elegy, in Imitation of the Elegy in a Churchyard."

On "The Road Not Taken" - Department of English

"There are numerous variations in the readings of this poem; they will be found in Gosse's Edition of the works of Gray (Macmillan). The poem was sent to Walpole, who was so delighted that he handed it round to his friends. The publisher of the Magazine of Magazines wrote to Gray informing him he was printing the poem. Gray thereupon wrote to Dodsley asking him to print it, which he did, anonymously. The London Magazine then stole it, and others followed the bad example. It is not its brilliancy and originality, but its balanced perfection that is its chief quality. Many of its phrases have become integral parts of our language. The form, the historic quatrain, is not new and may have been suggested by Dryden's Annus Mirabilis, but it lacks the latter's hard, metallic tone, and it is no exaggeration to say that Gray has handled the metre form with an infinite variety and charm unequalled by any other writer."