• J.S
  • Unriddling Came Ye o'er frae France? - James Prescott
  • TLK Script (HTML 3.0 Version) - The Lion King

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Coinciding with the FS pickup in the eighth bar, we first view the giraffes, panning to a long shot of all the animals in their procession} [The Circle of life text] {Camera is panning and jumping to elephants, zebras, ants, birds, storks, etc...

Corrections expected and areencouraged.

This is meant just as a fun wayto review the movie and a source to quote from.
The first stanza savagely attacks King George I of England, who had been imported from Hanover in Germany in 1714, who never learned English, and who was never very popular -- even in England. It also attacks his mistresses.

 

Offsets Shenzi and Ed quite well.

All flames will turn on tiny sprinklers in your computer andflood your hard drive.
As to the author, I am convinced that the song was written by one person, and that that person was a witty, well-educated and experienced songsmith who was closely involved with the Rising. In view of the very short period of one or two months within which the song must have been written, I think that someone specializing in the Rising might even be able to come up with a list of likely names.

Too stupid or slow to lie at the right time.
Meanwhile other songs on the album serve to remind us of Eleanor Rigby’s bleak message: the desperate emptiness presented by the death of love in For No One, and the difficulty of communication that prevents attachment in I Want To Tell You. It is not until the album’s extraordinary climax, Tomorrow Never Knows, that we finally get an answer, one that transcends the failure of the Christian Church in Eleanor Rigby by re-asserting a progressive belief in universal love.


Outwardly he appears to be crazy, but in reality he is very wise.

Positioned as the second song on , Eleanor Rigby casts a shadow over the whole album. We already have a hint of death in the opening track Taxman (‘my advice for those who die…’), but here we have an all-encompassing despair. As Jonathan Gould says in his book :

His claws are always partly extended.

The novelist AS Byatt remarked that it has ‘the minimalist perfection of a Beckett story’, pointing out that had Eleanor Rigby’s face been kept in a jar by the mirror, it would suggest the less disturbing idea of make-up, but behind the door, inside her house, it suggests she ‘is faceless, is nothing’ (from a talk on BBC Radio 3, 1993, quoted by Ian MacDonald, Revolution in the Head).

Probably the smartest and deals the best with Scar.

MacKenzie’s sermon won’t be heard – not that he cares very much about his parishioners – because religious faith has perished along with communal spirit (‘No one was saved’).

Initially a cub, later an adult.

But the song suggests even greater despair. We learn that Eleanor dies in church, which ought to be a comfort, and ‘was buried along with her name.’ Even Hodge, in Thomas Hardy’s war poem , leaves his name behind. In Eleanor Rigby’s death we see the death of hope itself. As Ian MacDonald says in :

Very self-reliant, quite a fast talker (like a used car salesman).

This song marked a sudden break with the optimism that was a hallmark of The Beatles’ earlier work, and in its place presented an almost unbearably dark cynicism. Two lonely people, living in a church community, cannot find a way to connect and end up living their entire lives alone and apart. Their destiny is not that they will end up together, but that one buries the other, a grim irony that would be humorous if it weren’t tragic (the poet Ezra Pound is said to have ‘smiled lightly’ when he first heard the song).