-Caveat Lector- This literary theory is presented to you via www.mfhr.org URL...it compares Burn's poetry with JD Salinger's...bringing up, more explicitly than usual, dark-side workings.
E. Murray... ________________________________________________ A BODY CATCH A BODY, COMIN THRO' THE RYE (vs.) THE CATCHER IN THE RYE Burns, Robert. 1968. "Coming Thro' the Rye." Oxford: Clarendon Press (from The Poems and Songs of Robert Burns. The original poem was written by Burns in Scotland from 1770 - 1780. He died an untimely death at the age of 37 from pleurisy in 1796). Salinger, J. D. 1951. The Catcher in the Rye. NY, NY: Little, Brown & Co. _________________________________________________ COMPARATIVE REVIEW: This particular Burn's poem caught my attention after reading Salinger's Catcher in the Rye. The protagonist quote by young teen Holden Caufield from this Salinger novel which applies to the meaning of this novel's title is brought out in a rousing conversation between he and his bright, sprite-ly sister, Phoebe. This citation begins with Holden: I wasn't listening though. I was thinking about something else -- something crazy. "You know what I'd like to be?" I said. "You know what I'd like to be? I mean if I had my goddam choice?" "What? Stop swearing." "You know that song. 'If a body catch a body coming' through the rye? I'd like ---" "It's 'If a body meet a body coming through the rye!" old Phoebe said. "It's a poem. By Robert Burns." "I know it is a poem by Robert Burns." "She was right though. It is "If a body meet a body coming through the rye." I didn't know it then, though. "I thought it was 'If a body catch a body,'" I said. "Anyway, I keep picturing all these little kids playing some game in this big field of rye and all. Thousands of little kids, and nobody around -- nobody big, I mean -- except me. And I'm standing on the edge of some crazy cliff. What I have to do, I have to catch everybody if they start to go over the cliff -- I mean if they're running and they don't look where they're going I have to come out from somewhere and catch them. That's all I'd do all day. I'd just be the catcher in the rye and all. I know it's crazy, but that's the only thing I'd really like to be. I know it's crazy." Old Phoebe didn't say anything for a long time. Then, when she said something, all she said was, "Daddy's going to kill you." "I don't give a damn if he does," I said. (...) p. 173. ______________________________________________________ Deciphering what Salinger and Burns meant with the use of the term "rye" was my goal when I looked it up in the most well-respected academic dictionary of the current day, "1. rye(2) - (ri). n. [See Romany Rye} a Gypsy gentleman," from Neufeldt, V. (ed.) 1997. Webster's New World College Dictionary, Third Edition. NY, NY: Macmillan Co. So applying this definition could possibly translate to "the catcher in the gentleman gypsy." Could "the catcher" apply to a specialized use of in body implant in sex slaves? Could "the rye apply to the use of hybrids humans in these pimp games, possibly called today "wares games," And could the references to actual grain in these particular references of the poems be mishaps, translations by editors/printers who did not understand the meaning of the original verse? Burn's poem follows, for clarification I am including the two earliest known renditions of it along with the plausible American English interpretations: Original (Suggested translations): Comin thro' the rye, [Coming through the rye,] She draigl't a' her petticoatie, [She dragged two of her petticoats] Comin thro' the rye. [Coming through the rye.] Chorus: Oh Jenny's a' weet, poor body, [Oh Jenny is a wet, poor body,] Jenny's seldom dry; [Jenny is seldom dry;] She draigl't a' her petticoatie [She dragged two of her petticoats,] Comin thro' the rye. [Coming through the rye.] Gin a body meet a body, [Can a body meet a body,] Comin thro' the glen; [Coming through the glen;] Gin a body kiss a body, [Can a body kiss a body,] Need a body cry. [Need a body cry?] Chorus: Gin a body meet a body, [Can a body meet a body,] Comin thro' the glen; [Coming through the glen;] Gin a body kiss a body, [Can a body kiss a body,] Need the warld ken! [Need the world in!] SECOND RENDITION OF THE SAME SONG from the Merry Muses (earlier rendition): Chorus: Comin' throu the rye; [Comin through the rye;] Gin a body f--k a body, [Can a body find a body,] Need a body cry. [Need a body cry?] Chorus: Comin' thro' the rye, my jo, [Coming through the rye, my Jo,] An' comin' thro' the rye; [And coming through the rye;] Comin' thro' the rye. [Coming through the rye.] Gin a body meet a body, [Can a body meet a body,] Comin' thro' the glen; [Coming through the glen;] Gin a body f--k a body, [Can a body f--k a body,] Need the warld ken. [Need the world in?] Chorus: Gin a body meet a body, [Can a body meet a body,] Comin' thro' the grain; [Coming through the grain,] Gin a body f--k a body, [Can a body f--k a body,] C--t's a body's ain. [Can't if a body is in?] Chorus: Gin a body meet a body, [Can a body meet a body,] By a body's sel [By a body's sell,] What na body f---s a body, [What nobody f---s a body,] Wad a body tell. [What a body can tell.] Chorus: Mony a body meets a body, [Many a body meets a body,] They dare na weel avow; [They dare not well avow,] Mony a body f---s a body, [Many a body f---s a body,] Ye wadna think it true. [You would not think it was true.] _______________________________________________________ Certainly there is not a doubt about the sexual, even lewd, comments Burns is making in this poem. While scholars appear to ignore or overlook the implications in this poem's meaning, preferring instead to focus upon other poems that are not so potentially controversial, this may be an intentional oversight because of the secret meanings embedded into this verse. It may be that Burns was asking significant questions about the workings of pimps sex trade games upon victims of sex trade abuses and possibly their use of victims in the workings of the "wares games" even so far back as 15th C. Scotland. He may have been asking questions such as ..."Can a body meet a body, by a body's sell?" Certainly a reference to either prostitution or other similar sex slavery scenes. And he states "They dare not well avow," as this is a situation must be kept quiet, clandestine. Salinger's interpretation may be a reference to pimps' wares games workings...and this has more to do with feeding hidden sex elements in society and providing certain elements in society with human body byproducts, specially-obtained body products which provide life-giving cures. The "wares" obtained through torturing individuals are actually captured plasma/blood products which are obtained through sweating implant victims in frequency torture games. It is these "wares" byproducts, obtained clandestinely, which are then used to feed or sustain others. They are highly sought after, even though their procurement is a vicious, torturous process against the implanted human slaves so victimized for them. The whole process is somewhat complex and hidden by pimps from mainstream society. It is obviously terribly illegal, and thus is hidden from mainstream society unless one is on the inside workings of it. It is a situation very difficult to prove which is probably why it has perpetuated for hundreds, possibly thousands of years in Western Civilizations. The workings of these pimp wares games are part and parcel of the workings of the snuff take-out trade, the making of snuff videos, laden with specialized audio frequencies to appease and/or excite certain living elements which are affiliated with pimps. So, sometimes prostitutes wind up as implanted sex slaves, used in the rounds of these wares games workings. Jenny, indeed, appears to be in this predicament. "Jenny is a wet, poor body...as she is seldom dry.." indicates that she is either a prostitute or being sweated for use by a pimp with the wares games, this being a frequent predicament of those being used. Victims of the wares games workings sweat and often call out for relief during the torture sessions. The poem is obviously not a situation of a romantic liaison with a man Jenny might like, she is not having fun here, this is a situation of abuse. And the word "wraith" is a Scottish term which refers to "ghost-like person," or even a "guardian angel" seen before someone dies (1). This phrase probably refers to the use of clandestine elements in the procurement of the wares substances...which may have meant Jenny was haunted by a silent enemy, using her in the situation or that she was possibly going to die soon. The wares games And Burn's points about this situation "Many a body f--s a body, you would not think it was true"...bellies up the fact that this is a strange scene and one which is difficult to either prove or understand because it is handled clandestinely and there is little proof. There is enough evidence in the discernable phraseology of the poem for this author to conclude that H. Caufield knew what he was referring to when he proclaimed that there was "a catcher in the rye" or in this case "the catcher IN Jenny" -- a poor, bedraggled girl who was being violently, viciously harmed by those in the know who had implanted and targeted her. Burns felt badly enough to write her song. And, if I am correct in this assumption, then the pimps' psycho wares games workings and implantations of sex slaves date at least back to Burn's day in Scotland, the 1770's. Judith ABR, MFHR, 2002 __________________________________________ ENDNOTE 1. "wraith (rath) n. [Scot, earlier warth, guardian angel < ON vorthr, guardian <vartha, to ward, guard: for IE base see ward] 1. a ghost, 2. the spectral figure of a person supposedly seen as a premonition just before that person's death -- wraith-like adj." (Webster's New World College Dictionary, p. 1541). ____________________________________________ 1999 - 2005 c MFHR.ORG _______________________________ Do you Yahoo!? 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