The Jolly Swagman

Oh, he was old and he was spare; His bushy whiskers and his hair Were all fussed up and very grey He said he'd come a long, long way And had a long, long way to go. Each boot was broken at the toe, And he'd a swag upon his back. His billy-can, as black as black, Was just the thing for making tea At picnics, so it seemed to me. 'Twas hard to earn a bite of bread, He told me.  Then he shook his head, And all the little corks that hung Around his hat-brim danced and swung And bobbed about his face; and when I laughed he made them dance again. He said they were for keeping flies - "The pesky varmints" - from his eyes. He called me "Codger". . . "Now you see The best days of your life," said he. "But days will come to bend your back, And, when they come, keep off the track. Keep off, young codger, if you can." He seemed a funny sort of man. He told me that he wanted work, But jobs were scarce this side of Bourke, And he supposed he'd have to go Another fifty mile or so. "Nigh all my life the track I've walked," He said.  I liked the way he talked. And oh, the places he had seen! I don't know where he had not been - On every road, in every town, All through the country, up and down. "Young codger, shun the track," he said. And put his hand upon my head. I noticed, then, that his old eyes Were very blue and very wise. "Ay, once I was a little lad," He said, and seemed to grow quite sad. I sometimes think: When I'm a man, I'll get a good black billy-can And hang some corks around my hat, And lead a jolly life like that.

Donna's Ascent

Allegro di molto e con brio

fur es

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International Journal of Psycho-Analysis

(1927). International Journal of Psycho-Analysis, 8:534-536

Sexuality: Guy B. Johnson. Double Meaning in the Popular Negro Blues. The Journal of Abnormal and Social Psychology, Vol. XXII, No. 1, 1927.

Abstract by: D. B.

The author presents certain data to show the undoubted presence of double meanings of a sexual nature in the blues. He says that the blues arising originally from the common negro folk have been widely exploited as a form of popular song. The blues deal with the man-woman relation, and the double meanings may be divided into two general groups:—

1. Those meanings pertaining specifically to the sex organs.

2. Those relating to the sex act or to some other aspect of sex life.

Relatively few symbols for the sex organs are found in the blues, and by far the most common of these terms is jelly roll. This term as used by the lower class negro stands for the vagina, or for the female genitalia in general, and sometimes for sexual intercourse. The following lines illustrate the use of jelly roll in these songs:—

1. I ain\'t gonna give nobody none o\' this jelly roll.
Nobody in town can bake sweet jelly roll like mine.
Your jelly roll is good.

2. I don\'t know but I\'ve been tol\',
Angels in heaven do the sweet jelly roll.

3. Dupree was a bandit,
He was brave an\' bol\',
He stole that diamon\' ring
For some of Betty\'s jelly roll.

Another term for the female organs is cabbage. Other symbols are keyhole and bread. The latter, sometimes found as cookie and cake, is almost as common as jelly roll in everyday negro slang.

Symbols for the male organs are more difficult to find and it is doubtful, the author says, if there is a clear-cut example of male symbolism in the blues.


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- 534 -

Expressions with double meanings which relate to the act of sexual intercourse are much more numerous in the blues than are symbols for the sex organs. The word jazz heads this list. It is used both as verb and noun to denote the sex act among the negroes of the South. In a footnote the author says that jazz music originated in negro pleasure houses, \'jazz houses\', as they are sometimes called by negroes.

The majority of the expressions in the blues relating to the sex act are sung from the point of view of the woman, and are mostly concerned with the quality of the movements made by the male during coitus. The following expressions are frequent. \'My man rocks me with one steady roll\'. Here are some folk stanzas which show the line of thought in the undeleted versions:—

Looked at the clock, clock struck one,

Come on, daddy, let\'s have some fun.

Looked at the clock, clock struck two,

Believe to my soul you ain\'t half through.

Looked at the clock, clock struck three,

Believe to my soul, you gonna kill poor me.

Looked at the clock, clock struck four,

If the bed breaks down we\'ll finish on the floor.

My daddy rocks me with one steady roll,

Dere ain\'t no slippin\' when he once takes hold.

\'Do it a long time, papa\'. In the popular song one is led to believe that \'do it\' refers to something innocuous like kissing or dancing, but this is not the case amongst the negroes. \'Daddy, ease it to me\', \'Play me slow\', and \'Easy rider\', are frequent expressions. The last one is frequently met with both in negro folk songs and in formal songs. \'I wonder where my easy rider\'s gone\', is a sort of by-word with Southern negroes.

\'Shake it\', \'Shake that thing\', etc., are very frequent in the blues. Ostensibly they refer to dancing, but they are really negro vulgar expressions relating to coitus. The following is a stanza from a recent popular piece:—

Why, there\'s old Uncle Jack,

The jelly-roll king,

Got a hump on his back

From shakin\' that thing,

Yet he still shakes that thing.

For an ole man how he can shake that thing!

An\' he never gets tired o\' tellin\' young folks how to shake that thing.

In a footnote the author refers to the expression \'shake the shimmy\'. Chemise is pronounced \'shimmy\' by most negroes and a great many whites in the South. In its original meaning it described the effect produced


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- 535 -

when a woman made a movement or did a dance step which caused her breasts to shake. This caused her \'shimmy\' to shake.

\'Mama\'s got something I know you want\'. This meaning is clear from the concluding stanza of the popular song:—

Mama\'s got something sho\' gonna surprise you,

Mama\'s got something gonna hypnotize you,

Mama\'s got something I know you want.

The following lines from the popular blues are obviously of a sexual nature:—

It\'s right here for you; if you don\'t get it, \'tain\'t no fault of mine.

I\'m gonna see you when your troubles are just like mine.

If I let you get away with it once, you\'ll do it all the time.

You\'ve got what I\'ve been looking for.

How can I get it when you keep on snatching it back?

Put it where I can get it.

If you don\'t give me what I want, I\'m gonna get it somewhere else.

The author mentions another point that tends to substantiate the origin of some of the blues from the songs of the negro underworld. He says that negro churchmen and educators vigorously oppose the singing of the blues. Their opposition is undoubtedly due to the fact that they are fully acquainted with the undercurrent of vulgarity which runs through many of these songs.

The author thinks that the popularity of these songs is evidently due to the fact that the white man enjoys seeing the other meaning in them.


WARNING! This text is printed for the personal use of the subscriber to PEP Web and is copyright to the Journal in which it originally appeared. It is illegal to copy, distribute or circulate it in any form whatsoever.
- 536 -

TC - Turkish Language Lessons

Turkish is from a different language family called Ural-Altaic languages. Some languages similar to Turkish are \'Finnish, Hungarian, Estonian, Japanese, Korean, Mongolian, Kazak, Uzbek, Tatar, Manchu\'. Compared to English, the most fundamental differences in Turkish grammar can be listed as:

*

Ordering of sentence parts
o

A typical Turkish sentence is ordered as (subject + object + verb)
+

Arkadaşım [My friend --> subject] araba [car -->object] aldı [bought-->verb].
*

No gender
o

There are no articles in Turkish, and no gender associated with words
o

No gender in personal pronouns (the Turkish word for \'he\', \'she\' and \'it\' is \'o\')
*

Vowel harmony
o

Harmony of vowels is a very fundamental property of Turkish. The rules concerning vowel harmony need to be learned as one of the first steps because they affect the way almost all the other rules are applied.
*

Use of suffixes
o

Suffixes are very widely used in Turkish. The meaning of prepositions, personal pronouns and tenses are all countered by adding suffixes to word roots.
+

Kalbimdesin [You are in my heart]

Three letters of the English alphabet are missing in the Turkish alphabet.

1. (Q-q)
2. (W-w)
3. (X-x)



There are seven additional characters not found in the English alphabet.

1. (Ç-ç)
2. (Ğ-ğ)
3. (I-ı)
4. (İ-i)
5. (Ö-ö)
6. (Ş-ş)
7. (Ü-ü)


Letter Pronunciation
A, a

like the a in car
B, b like the b in bet
C, c like the g in gender
Ç, ç like the ch in chance
D, d like the d in debt
E, e like the e in less
F, f like the f in felony
G, g like the g in game
Ğ, ğ this is a very weak sound, not pronouncing at all will be ok
H, h like the h in hello
I, ı like the e in halted
İ, i like the ee in keen
J, j like the ge in garage
K, k

like the k in kelly
L, l like the l in lamb
M, m like the m in man
N, n like the n in neighbor
O, o like the a in ball
Ö, ö like the u in urge
P, p like the p in pen
R, r like the r in rent
S, s

like the s in send
Ş, ş like the sh in shed
T, t like the t in tennis
U, u like the oo in good
Ü, ü like the u in nude
V, v like the v in vent
Y, y like the y in yes
Z, z like the z in zen
++++

i ben i am adjective ben adjective-im
you sen you are adjective sen adjective-sin
he

she

it
o he \

she | is adjective

it /
o adjective
we biz we are adjective biz adjective-iz
you siz you are adjective siz adjective-siniz
they onlar they are adjective onlar adjective-ler

güzel --> beautiful

I am beautiful. --> Ben güzel-im. --> Güzelim. (Personal pronoun is implied)

You are beautiful. --> Sen güzel-sin. --> Güzelsin.

He/she/it is beautiful. --> O güzel. --> Güzel.

We are beautiful. --> Biz güzel-iz. --> Güzeliz.

You are beautiful. --> Siz güzel-siniz. --> Güzelsiniz.

They are beautiful. --> Onlar güzel-ler. --> Güzeller.



kötü --> bad

I am bad. --> Ben kötü-y-üm. --> Kötüyüm. (Note how kötü and -üm are connected with the fusion consonant 'y'.)

You are bad. --> Sen kötü-sün. --> Kötüsün.

He/she/it is bad. --> O kötü. --> Kötü.

We are bad. --> Biz kötü-y-üz. --> Kötüyüz.

You are bad. --> Siz kötü-siniz. --> Kötüsünüz.

They are bad. --> Onlar kötü-ler. --> Kötüler.



geliyor --> coming (present continuous tense)

I am coming. --> Ben geliyor-um. --> Geliyorum.

You are coming. --> Sen geliyor-sun. --> Geliyorsun.

He/she/it is coming. --> O geliyor. --> Geliyor.

We are coming. --> Biz geliyor-uz. --> Geliyoruz.

You are coming. --> Siz geliyor-sunuz. --> Geliyorsunuz.

They are coming. --> Onlar geliyor-lar. --> Geliyorlar.

For nouns other than these pronouns, you must use the third person case.

Marzena is beautiful. --> Marzena güzel.

Marzena is very beautiful. --> Marzena çok güzel.

Joe is bad. --> Joe kötü.

Joe is coming. --> Joe geliyor.
Demonstrative pronouns

These are the pronouns used for obects instead of people.
this bu
that (between this and that) şu
that o
these bunlar
those (between these and those) şunlar
those onlar

kitap --> book

Bu bir kitap. --> This is a book.

Şu bir kitap. --> That is a book.

O bir kitap. --> That is a book.

Bunlar kitaplar. --> These are books.

Şunlar kitaplar. --> Those are books.

Onlar kitaplar. --> Those are books.


Possessive Pronouns
Personal posessive pronouns:
my ben-im my noun ben-im noun-im
your sen-in your noun sen-in noun-in
his
her
its
o-n-un his \
her | noun
its /
o-n-un noun-i
our biz-im our noun biz-im noun-imiz
your siz-in your noun siz-in noun-iniz
their onlar-ın their noun onlar-ın noun-leri

Notice his/her/its is o-n-un instead of o-un. Since two vowels don't come together in Turkish, one fusion consonant is added in between. It is 'n' in this case. Either a fusion consonant is added in between, or one of the vowels is dropped whenever a vowel is followed by another vowel.

ev --> house

my house --> ben-im ev-im --> evim (personal pronoun is implied)

your house --> sen-in ev-in --> evin

his/her/its house --> o-n-in ev-i --> onun evi --> evi

our house --> biz-im ev-imiz --> evimiz

your house --> siz-in ev-iniz --> eviniz

their house --> onlar-ın ev-leri --> evleri



araba --> car

my car --> ben-im araba-m --> arabam (the suffix -im becomes -m when added after a vowel, since two vowels don't come together in Turkish)

your car --> sen-in araba-n --> araban

his/her/its car --> o-n-in araba-s-ı --> onun arabası --> arabası (Instead of dropping one vowel, here the fusion consonant 's' is added between vowels since the suffix is only a single vowel.)

our car --> biz-im araba-mız --> arabamız

your car --> siz-in araba-nız --> arabanız

their car --> onlar-ın araba-ları --> arabaları



For nouns other than these pronouns, always the third person form is used.

Gizem's house --> Gizem'in evi

Gizem's car --> Gizem'in arabası

My mother's house --> Annemin evi
Demonstartive posessive pronouns:
of this bu-n-un
of that (between this and that) şu-n-un
of that o-n-un
of these bunlar-ın
of those (between these and those) şunlar-ın
of those onlar-ın

Bunun evi --> The house of this

Şunun evi --> The house of that

Onun evi --> The house of that

Bunların evleri --> The house of these.

Şunların evleri --> The house of those.

Onların evleri --> The house of those.

++++
For nouns other than these pronouns, always the third person form is used.

The room of the house --> Evin odası

Cat's food --> Kedinin yemeği


Reflexive Pronouns

The way reflexive pronouns are constructed in Turkish is very similar to the way we do it in English. The Turkish word for self is kendi. The reflexive pronouns hence are as follows:
myself kendi-im kendim
yourself kendi-in kendin
himself
herself
itself
kendi-si kendisi
ourselves kendi-imiz kendimiz
yourselves kendi-iniz kendiniz
themselves kendi-leri kendileri

+++

:

*

Personal pronouns (ben, sen, o, biz, siz, onlar)
*

Demonstrative pronouns (bu, şu, o, bunlar, şunlar, onlar)
*

Possessive pronouns
o

Personal possessive pronouns (benim, senin, onun, bizim, sizin, onların)
o

Demonstrative possessive pronouns (bunun, şunun, onun, bunların, şunların, onların)
*

Reflexive pronouns (kendim, kendin, kendisi, kendimiz, kendiniz, kendileri)

There are also other pronouns used for many different situations, like everybody, nothing... Let's now see the Turkish meanings for these pronouns.
English Turkish
Basic components of these pronouns
every her
thing şey
none hiç
any herhangibir
one, a bir
some bazı
all bütün
Pronouns
everything herşey
something birşey (singular)

birşeyler (plural)
nothing hiçbir şey
anything herhangibir şey
everybody herkes
somebody birisi (singular)

birileri (plural)
nobody hiç kimse
anybody herhangi birisi
all of these (bunların) hepsi
all of those (onların) hepsi
all of us hepimiz
all of you hepiniz
none of these (bunların) hiçbiri
none of those (onların) hiçbiri
none of us hiçbirimiz
none of you hiçbiriniz
some of these (bunların) bazıları
some of those (onların) bazıları
some of us bazılarımız
some of you bazılarınız



In English, some of these pronouns that have negative meanings are used in positive sentences. For example,

There is nobody here. (Instead of there isn't nobody here)

In Turkish, you never do this. If the meaning of a pronoun is negative, it must always be used in a negative sentence. Similarly, pronouns with positive meanings must always be used in positive sentences.

There is nobody here. --> Burada hiçkimse yok.



Now, let's use some of these pronouns in sentences:

Every flower does not smell. --> Her çiçek kokmaz.

What is this thing? --> Bu şey ne?

There is none left. --> Hiç kalmadı.

Some students are here. --> Bazı öğrenciler burada.

All students are here. --> Bütün öğrenciler burada.

Everything's ok. --> Herşey yolunda.

Everything is here. --> Herşey burada.

Ask something. --> Birşey sor.

I saw nothing. --> Hiçbir şey görmedim.

Is there anything? --> Herhangibir şey var mı?

Is everybody here? --> Herkes burada mı?

Somebody came. --> Birisi geldi.

Nobody came. --> Hiç kimse gelmedi.

Anybody can come. --> Herhangi birisi gelebilir.

All of these are mine. --> Bunların hepsi benim.

καλὸν γὰρ τὸ ἆθλον καὶ ἡ ἐλπὶς μεγάλη

I'm the boy, that can enjoy invisibility
I'm the boy, le garçon qui a le don d'invisibilité,
Ombre parmi les ombres des nocturnes torrides,
Je me perds dans mon ombre pour atteindre au sordide
Masque parmi les masques, tragique ou d'amertune,
Le cuir noir et les casques, scintillant sous la lune,
Ame parmi les ames, febriles dans leur angoisse,
Lorsque brille lame ou un regard salace
Homme parmi les hommes, dans le noir ou l'ivoire,
Recherchant les symptomes d'orgasmes illusoires,
Putain parmi les putes, j'enfonce dans la fange,
Ou s'etreignent les brutes et se saignent les anges,
I'm the boy, that can enjoy invisibility
I'm the boy, le garçon qui a le don d'invisibilité.