Words and things: Tony Harrison's poetic stage

ES 25 (2003-04) - pp. 17-28 WORDS AND THINGS: TONY HARRISON’S POETIC STAGE ENRIQUE CÁMARA ARENAS Uni e sidad de Valladolid In 1977, a e ha ing w i en a e sion o Moliè e’s Le Misan h ope and Racine’s Phèd e o he Na ional Thea e, Tony Ha ison c ea ed a adically di e en wo k o he s age, Bow Down, wi h which he began o walk he pa h owa ds a o m o hea e inc easingly independen , and expe imen al. Expe imen al hea e has adi ionally been he dominion o di ec o s, a he han playw igh s o li e a y w i e s, u he mo e, he 20 h cen u y has wi nessed an in ellec ual wa be ween hose who claimed Thea e ’s independence as an a , expe imen al inno a o s o he mos pa , and hose who wan ed o e ain i wi hin he domain o li e a u e. Tony Ha ison, a poe , a w i e o li e a u e, en e s he e i o y o expe imen al hea e eady o pu his wo ds a he se ice o he s age, a he han he s age a he se ice o his wo ds, in his way he manages o c ea e a o m o hea ical poe y h ough he le eling he e bal and he non- e bal. This a icle aims a examining some o he ways in which Ha ison achie es a le eling o he poe ic and he pu ely hea ical. Wi h he bi h o expe imen al hea e in he 20 h cen u y, he main wo y o many di ec o s was no longe wo ds and plo s uc u e, as i had been un il ha momen , bu he cons uc ion o wha could be de ined as he senso y ex , which implied he a is ic a icula ion o independen non- e bal o ms o communica ion, such as body exp ession, cos umes, i ual mo emen s, e c. Fo hose who we e a he momen he a an -ga de di ec o s, he playw igh ’s ex was o seconda y impo ance compa ed wi h he ce emonial dimension o he eal- ime encoun e be ween ac o s and audience (Ube s eld 1989: 14). An onin A aud was one o he i s men o hea e who heo ized his shi 1 o in e es , and who claimed he p eeminence o he di ec o ’s ex o e he playw igh ’s. In his iew, adi ional wes e n hea e had oo long be ayed he e y concep o hea icali y, which o him had o do wi h he con eyance o con en s ha canno be exp essed by means o wo ds. 1 The lis o con ibu ions has been qui e la ge, hough; in 1909, Fuchs al eady w o e ha a e-conques o he hea ical had o be implemen ed a he expense o li e a u e (1909: 17), G. C aig conside ed dancing a he han wo ds as he p ope poe y o he s age (Wal on 1983: 57), e c. A ine ea men o he subjec can be ound in J. A. Sánchez (1999: 7-43). ENRIQUE CÁMARA ARENAS 18 Commen se ai -il qu’au héà e, au héà e du moins el que nous le connaissons en Eu ope, ou mieux en Occiden , ou ce qui es spéci iquemen héà al, c’es -à- di e ou ce qui n’obéi pas à l’exp essión pa la pa ole, pa les mo s, ou si l’ón eu ou ce qui n’es pas con enu dan le dialogue (e le dialogue lui-même considé é en onc ion de ses possibili és de sono isa ion su la scène, e des exigences de ce e sono isa ion) soi laissé à l’a ié e-plan ? (1964: 53) The eal language o hea e was no made up o wo ds no li e a u e, bu i was a physical language he di ec o had o a icula e, mas e and u n in o a o m o e ec i e communica ion. This shi made possible such expe imen s as Becke ’s Ac Wi hou Wo ds (1957), o his amous show B ea h, whe e a se ies o ligh s we e he only ac o s on he s age. Wo ds could s ill play a ole in A aud’s hea e, bu hey would be alued in a adically di e en way. The acous ic p ope ies o he signi ied, oge he wi h he pa alinguis ic dimension o u e ances whe e exploi ed by A aud, who belie ed ha he e y sound o wo ds, ega dless o hei meaning, could exp ess an unlimi ed ange o o he wise unspeakable a ec ions as well as hey could unc ion as magical spells: “c’es en in considé e le langage sous la o me de l’Incan a ion” (1964: 67). The wo d on he s age was o o e come a p ocess o deseman iza ion o become hea ical. The ole o he so-called non- e bal codes2 in hea e has adi ionally been conside ed one o complemen a i y. In his sense, in ona ion, acial exp ession, make up, cos ume, e c. could be conside ed codes which complemen cha ac e s; he whole se , wi h i s a ied i ems, could be said o complemen he dialogue; ligh s and sounds could be seen as complemen a y o he ac ion3; o sum i up, he physicali y o he show was hough and el o be complemen a y and p ope ly a uned o a li e a y p oduc . Expe imen al hea e ques ioned his complemen a i y unc ion es ablishing ha e e y objec on he s age could ope a e in an au onomous ashion no o ien ed o unde line, emphasize o ma e ialize he p ope ies o ex ual s uc u es such as wo ds, cha ac e s o ac ions, bu becoming he e y nucleus o i s own meaning. Wha we ace he e could be desc ibed as a so o ‘Wa o Independence’ led by some a an -ga de di ec o s, who s uggle o mo e ou o he ealm o li e a u e, 2 Talking abou non- e bal codes is heo e ically qui e p oblema ic, since he ac ha i is possible o p oduce e ec s and e en o con ey ce ain seman ic con en s, howe e nebulous, wi hou he use o wo ds, does no allow o he conside a ion ha his o m o communica ion is subjec o eal, sys ema ized codi ica ion s ic ly speaking. We will s ill use he e m non- e bal codes in a con en ional manne o alk abou he use o senso ial da a o communica i e, e ec i e o a ec i e pu poses. 3 F. Gu ié ez (1993: 153-157) o ganizes he adi ional non- e bal codes in o ou ca ego ies based on he concep o complemen a i y: complemen a ion o cha ac e s, complemen a ion o dialogue, complemen a ion o ac ion, and complemen a ion in gene al. He admi s ha his dis inc ion wo ks o adi ional hea e, bu no so much o expe imen al hea e. WORDS AND THINGS: TONY HARRISON’S POETIC STAGE 19 and o ound a new place o hei own, o cons i u e an independen a , di e en in na u e om ha o no els and poems, and much close and akin o i ual, ce emony o balle . This claim has p o ed o e ime o be p oduc i e and enjoyable4; bu i has no p e en ed li e a u e w i e s, such as Tony Ha ison, om ha ing a say on he expe imen al s age. The ques ion is, how does an a is like Ha ison, whose business is p ecisely wo ds, deal wi h a o m o a , expe imen al hea e , which conside s wo ds as a necessa y e il? I some so o comp omise is possible, and Ha ison’s plays ha e p o ed i is, i is because he na u e o A aud’s a is qui e compa ible wi h and e en qui e simila o ha o ha poe y. The deseman iza ion o wo ds claimed by A aud is a concep which is no en i ely alien o poe y. The essen ial line o hough which de i es om K uszewski and om Jakobson’s Poe ic Func ion, made i possible o he Spanish schola -poe Jena o Talens (1978: 65-109), o w i e o deseman iza ion- o maliza ion in poe y when he e is a co-opposi ion o elemen s which a e s uc u ally equi alen ; and his Repe i ion and Rhy hm P inciple, was o him he basic cons uc i e mechanism o poe ic language ( epe i ion o e ains, o syllables in hyme, o sen ence s uc u e in o mal pa allelisms, o schema ic p ope ies in me apho s and compa isons, e c.). In he wo ds o Talens: La combinación de elemen os idén icos conlle a un alo especí ico: la epe ición de un mismo elemen o, si no elimina, cuando menos casi ahoga su signi icado (de ahí que la excesi a epe ición de una ase acabe po con e i la en absu da); es o a ni el de lengua na u al. En el lenguaje poé ico (li e a io en gene al), sin emba go, el p ocedimien o a más allá, y si, po una pa e, se da una o malización (deseman ización) de los elemen os epe idos, po o a se p oduce una seman ización de los enga ces que los unen, es o es, el signi icado pasa a pe enece al hecho mismo de la epe ición. (1978: 77) So in poe y, he desaman iza ion o he linguis ic s uc u es by epe i ion causes a seman iza ion o he e y phenomenon o epe i ion, and his is p ecisely one o he ways in which poe ic wo ds manage o exp ess con en s beyond hose assigned by he code; sepa a ed om hei meanings, wo ds s op being wo ds and become hings o e en s o be in e p e ed by hei p esence and exis ence in a ce ain momen and place. The p inciple can be p ope ly exp essed in p agma ic e ms: epe i ion, which is unexpec ed and appa en ly i ele an , mus be made somehow ele an by ou p agma ic compe ence, and we do so by u ning i signi ican o some hing: he appa en ly absu d ac o epea ing s uc u ally equi alen linguis ic segmen s may become mo e meaning ul han he linguis ic segmen s hemsel es. 4 Ube s eld (1989: 14) conside ed, al eady in 1978, ha adical depa u es om he ex we e sinking in o dullness. Whe eas adicaliza ion is a e nowadays, pas expe imen s ha e le hei oo p in on oday’s hea e . (We ci e he Spanish ansla ion o he wo k Li e le Théâ e, Pa is, Edi ions Sociales, 1978). ENRIQUE CÁMARA ARENAS 20 Righ on he opposi e ex eme, he co-opposi ion o s uc u es which a e di e en is an ob ious maxim o he cons uc ion o a plo , whe e he e needs o be e olu ion and change, a pa h ha le s he eade slide smoo hly owa ds denouemen . Such is he discu si e mode o composi ion (Talens 1978: 74). Tu ning now ou glance back o expe imen al hea e in i s wa agains li e a u e, agains wo ds and plo s, we ealize ha we can also unde s and i as a wa agains aliena ing5 discu si e language, and a p iming o poe ic p inciples o composi ion wi h non e bal elemen s, a subs i u ion o ‘c ea ing poe ic e ec s and meanings’ o he adi ional ‘ elling a s o y i idly’. In his wa , poe y, wi h i s cons i u i e endency o epe i ion, o maliza ion, and wi h i s long acknowledged goal o speaking he unspeakable, becomes an ally a he han a oe. In his sense, Tony Ha ison’s hea e is as poe ic as i is an i-discu si e; especially he hea e he poe designed, and o en di ec ed, be ween Bow Down (1977) and Medea: a sex wa ope a (1985). This co pus cons i u es o some c i ics he mos ly ical wo k he poe c ea ed o he s age, o o he s, like P. Le i, i is jus a ‘musical dis ac ion’(1991:163). I is signi ican ha Le i’s in e es in Ha ison’s hea e ocuses mainly on wo ks o discu si e na u e, ha is, hose in which he e is a p edominance o plo and dialogue, and a e, he e o e, adi ionally d ama ic (al hough Le i, qui e unwisely, calls i “legi ima e hea e” (1991:163), wha le s us wonde ing whe he he can possibly conside ha plays such as Bow Down cons i u e o ms o ‘illegi ima e hea e’!). In he Bow Down G oup (Bow Down (1977), Yan Tan Te he a(1983), The Big H (1984)), i is no he s o ies hemsel es ha ma e , a leas no so much as he ac o elling hose s o ies and he mo al implica ions o he di e en ellings.6 The language o he plays in he Bow Down G oup makes signi ican use o he p inciple o epe i ion o he pu pose o c ea ing i ual, spellbounding e ec s. Bow Down, o ins ance, consis s o he con inuous epe i ion by a cho us o he di e en e sions o he amous Ballad o he Two Sis e s. Once and again as he show p oceeds he e is an obsessi e e u n o he i s line o he ballad: “The e we e wo sis e s in a bowe ”, and o he e ain “I’ll be ue o my lo e/ i my lo e will be ue o me”. Fu he mo e, a a ce ain poin he pe o mance becomes i ualis ic o he ex end ha i ecalls some so o esponso ial psalm: “CHORUS 2 en e s he ci cle, silences he music an eci es a ballad, wi h he CHORUS esponding wi h e ains and hal -lines: The e we e wo sis e s in a bowe / Bow down, bow down, bow down . . .”(1973: 129). 5 I use he e m ‘aliena ing’ qui e awa e o i s implici allusion o B ech ’s Epic Thea e . B ech ’s was ce ainly a wa agains he seda i e e ec s o he well-made play; as a colla e al e ec o his sea ch, he was one o he inno a o s who made clea ha essen ial di e ence be ween he d ama ic and he hea ical. A de ini ion o he Epic and i s con as wi h he D ama ic can be ound in J. Wille ’s an hology (1964: 179:205). 6 This is de ini ely a ea u e ha b ings he plays o his g oup close o he concep o Epic Thea e. WORDS AND THINGS: TONY HARRISON’S POETIC STAGE 21 This i ualis ic mechanism is epea ed in Yan Tan Te he a: CHORUS OF HORNED WILTSHIRE SHEEP. This is he sound o he bells olk hea in he alley... SHEEP 1. When I un wi h a d y h oa o d ink om he dewpond. CHORUS This is he sound o he bells olk hea in he alley... SHEEP 2. When he hick g ass o he downs is looded wi h sunshine. CHORUS This is he sound o he bells olk hea in he alley... SHEEP 3. When my hoo es go sli h’ ing o e he slipp’ y chalk slopes. CHORUS This is he sound o he bells olk hea in he alley... [...] (1973: 297) The p inciple o epe i ion a ec s uni s la ge han he wo d, he sen ence o he e se-line; in Bow Down and The Big H, i is a whole na a i e s uc u e ha is epea ed wi h sligh bu signi ican a ia ions. In he o me , he same ballad is epea ed in many o i s e sions; he di e en a ian s can be easily classi ied in wo g oups. All e sions ha e a simila na a i e s uc u e: one sis e , he Da k Sis e , kills ano he , he Fai Sis e , o ma y he lo e , la e o be punished o ha c ime. Bu he di e en e sions sugges di e en ea u es o he cons uing o he ac an s. In some e sions he Fai Sis e appea s as ain, concei ed and e en c uel: FAIR SISTER. Wash you hai in he sal sea b ine i will ne e be as ai as mine. E en i you hai was gold you’ll always li e alone and cold. Wash you sel as whi e as bone bu you’ll always li e alone. Wash you sel as whi e as lou you’ll be one sis e in a bowe . (1973: 132) And he sui o is ep esen ed as a li : CHORUS 7. He cou ed he eldes wi glo e and ing, CHORUS 8. Bu he lo ed he younges abo e a’ hing . CHORUS 7. He cou ed he eldes wi h b o ch and kni e, CHORUS 2. Bu he lo ed he younges as his wi e. CHORUS 7. He b ough he eldes ing and glo e, CHORUS 8. Bu he younges was his ain ue-lo e. (1973: 129) ENRIQUE CÁMARA ARENAS 22 In hese e sions o he ballad, bo h he Fai Sis e and he Sui o pay o hei ani y and be ayal, and he Da k Sis e , howe e e ible, is cons ued as a e enge ul Medea-like he oine. Bu in o he e sions he Da k Sis e ’s c ime emana es di ec ly om he sinis e na u e; she is he one who plays un ai in an o he wise ai compe i ion. So some e sions mo alize agains ani y, and o he e sions mo alize agains c ime and en y. In ying o make sense o he play and i s na a i e incohe ence7, he plo becomes o seconda y impo ance, and he e y ac o mo alizing li e a u e eme ges, allowing us o conclude ha he whole play e lec s abou li e a y p oduc s and i s mo alizing po en ial. Ha ison’s wa in his case, as in many o he s, is no so much a wa agains li e a u e as a wa agains i s ex ual illusions, and he igh s his wa by decons uc ing he s o ies, showing i s many con adic o y e sions, and acking i s uses in se e al languages and dialec s. In doing so, he poe si ua es himsel ou side he ealm o li e a u e p ope , o c ea e some so o me a-li e a y p oduc . The s o y is no longe a na a i e s uc u e p epa ed o cap i a e an audience, i is objec i ied, ha is, i becomes a hing o e lec upon. In The Big H (1984), he same na a i e s uc u e is epea ed h ee imes wi h sligh bu signi ican a ia ions: he se ing being a class oom, he eache announces an exam Æ he s uden s complain Æ he eache u ns in o He od Æs uden s u n in o he P el Æ He od/ Teache p aises he c iminal deeds o his soldie s/ s uden s Æ he las o he soldie s s ands ou o his di icul ies in p onouncing he glo al ica i e Æ he soldie is punished Æ he mo he s complain. Once he i s wo sequences ha e been pe o med as pe ec s uc u al equi alen s, he las sequence comple ely lacks d ama ic ension, no ha i eally aimed a being d ama ic. The epe i ion is es ablished as some hing o an ope a i e con en ion,8 and denouemen no longe appeals. Again, his clea ly epic echnique in i es he ea men o he s o y as a hing which equi es a symbolic in e p e a ion. I is no he s o y o a pa icula child wha we ha e he e, bu a e lec ion abou cul u e and powe , and abou how cul u e, h ough i s ins i u ional p opaga ion, is used as a ool o legi ima e powe . The lack o cul u e o he las s uden u ns him 7 Incohe ence which ine i ably de i es om he episodic na u e o he show, and om he ac ha hose episodes a e no logically connec ed. Again, a ea u e ha eminds us o B ech ian hea e. 8 P. Pa is (1998: 95) de ines he ope a i e con en ion as ha which ‘is p esen ed o e ly as an a i icial ool o be used o a ew minu es’ (my ansla ion). In Bow Down and The Big H, he epe i ion o a na a i e s uc u e happens con inually all along he pe o mance, so ha i canno be an ope a i e con en ion in Pa is’ e ms. Howe e , he o he g oup o con en ions desc ibed by his au ho , he cha ac e izing con en ions, a e de ined as ‘ hose which help u n inc edible con en ions in o c edible ones’ (my ansla ion). Wi h his echnique I e y much doub ha Ha ison be conce ned wi h e isimili ude, I would a he hink ha he is in i ing us o play a e y well known game: ‘look a he wo almos iden ical pic u es and look o he di e ences (and he simila i ies)’. I is because I pe cei e his con en ion as play ul ha I end o ega d i as an ope a i e con en ion. WORDS AND THINGS: TONY HARRISON’S POETIC STAGE 23 in o a ic im, while succeeding in educa ion opens he doo o powe and domina ion. Impossible no o men ion he e A hu Sca gill’s amous quo a ion, wi h which Tony Ha ison would open, some yea s la e , his long poem .: “My a he s ill eads he dic iona y e e y day. He says ha you li e depends on you powe o mas e wo ds”. In Bow Down, a ypically expe imen al piece, Ha ison makes a sophis ica ed use o non- e bal codes. Fu he mo e, he physical ex and he e bal ex go hand in hand in he c ea ion o spellbounding e ec s which emind us o A aud’s heo iza ion: The cas , posi ioned in a ci cle, eci e, sing, chan , in one, hum, keen, sway, mime, ac , dance; e en hei b ea hing becomes pa o he hy hm and he e ec . The e a e masks, i ual mo emen s, ab up c ies; he in eg a ion o a ious elemen s [...] is ha monious. (As ley 1991: 195) Mo emen s, spa ial ela ions and objec s on he s age do no aim a seeming eal, and do no aim a complemen ing e bal ac ion in he adi ional sense. These elemen s answe o elabo a e physical g amma s and mos o hem a e clea ly symbolic. The loss o he adi ional complemen a y unc ion oge he wi h he loss o e isimili ude con inually igge s in e p e a ion o he ex en ha we can clea ly alk o a physical ex no subo dina ed o e bal ex . The es imony o S ephen Edwa ds is mos signi ican a his poin ; Edwa d p aises Ha ison’s openness as a di ec o ; e en when his ield as a poe is wo ds, his aim is no o o na e wo ds wi h music, bu o collabo a e wi h he compose in he sea ch o a new o m in which wo ds and music a e le eled, “a conglome a e o he bes o bo h wo lds” (As ley 1991: 163). This sea ch is illed wi h he same nos algia ha mo ed mos inno a o s o he hea e du ing he 20 h cen u y, a yea n o he p imi i e o ms o social and communi y hea e. This yea n explains he essen ialism o he s age in Bow Down, whe e he e is no deco a ion, no se , no objec s o he han he e y ac o s who c ea e di e en spaces wi h hei posi ioning and hei mo emen s. Bu e en he e, we de ec wha we migh call a poe ic cons uc ion o he s age. The ac o s si on a semici cle which migh be ep oduced as ollows: musician ac ess ac o ENRIQUE CÁMARA ARENAS 24 The e is symme y and epe i ion in he posi ioning o ac o s on he s age, and his p oxemic s uc u e ep oduces he dialec ic ela ion ha exis s be ween he wo sis e s, and he wo main e sions o he s o y. The ac esses ha pe o m he oles o Da k sis e and Fai sis e s ep ou in o he ci cle om opposi e sides. The i s mo emen s hey pe o m oge he mimic hei dea h, an icipa ing bo h he ending o he ballad as well as he le eling o he wo main e sions: bo h a e i s seen as ic ims o an agg essi e p ocess. The semici cle is qui e success ully exploi ed in e ms o meaning, and i con ibu es o he conside a ion o he ballad as a hing o s udy and obse e. The igu e sepa a es wo spaces, one o ic ion, he inside o he ci cle, and ano he o e lec ion, he ou side o he ci cle. The ac o s become ac an s in he ballad any ime he s ep in o he inne space; and any ime hey s ep ou , hey become he elle s o he s o y, o mo e p ope ly, ac an s in he p ocess o elling a s o y. The igu e o he ci cle hen is a isual ep esen a ion o a con lic be ween he s o y and he ac o elling o , a he , using i . Inside he ci cle, he na a i e s uc u e is some hing o look a om he ou side, e y especially om he angle o he audience, who ac ually closes he semici cle. Ac ion does also ake place ou side he ci cle, hough always connec ed o he ci cle in se e al ways: FAIR SISTER. O... O... sis e ... O... sis... O...si... A he inal c y CHORUS 2 becomes he BLIND HARPER who ca ches he c y and p olongs i wi h i ’s own: BLIND HARPER. ....s e Then he begins o walk ound he ou side o he cho al ci cle composing a ballad. He is walking he sea-sho e. He seems o ha e one oo in he wa e and one oo on he sand. As he eels he wa e deepen he e ades i wi h a dex e i y ha has come om cen u ies o doing he same hing. His wa e ing “dance” ollows he ebb and low o he ides. He has been ollowing he No he n coas s, sea ching, lis ening. His “dance” de ines he con ou s o he con inen s. He mu e s agmen s o he Ballad and as he passes each o he CHORUS hey ake up a pi ch om his mu e . (127) This elabo a e cho eog aphy is a leas enigma ic. The mo emen s o he Blind Ha pe ou side he ci cle make no con ibu ion o he ac ion o he ballad i sel . I is impossible o unde s and hese mo emen s as complemen a y o any o he ac ions o he main cha ac e s in he ballad, bu ne e heless, being ob iously elabo a e and leng hy, hey become he only ocus o a en ion. We, bo h as audience and eade s, ind i necessa y o in e hei meaning. Impo an cues a e p o ided by he s age WORDS AND THINGS: TONY HARRISON’S POETIC STAGE 25 di ec ions, bu he sepa a ion be ween he na a i e p ocesses o he ballad as ic ion and he p ocess o ep esen a ion ex e io o he ballad, which has been al eady poin ed ou , gi es all he necessa y in o ma ion o he audience, who ha e no access o he w i en s age di ec ions. The Blind Ha pe ep esen s he uni e sal ba d, he class o he ba ds, who picks he s o y somewhe e, pe haps om eali y, and bo h owns i and p opaga es i a ound he wo ld (“ca ches he c y and p olongs i wi h i ’s own”). The ba d sha es he s o y, bu he adds his own a ia ions, and in e p e a ions o he na a i e ac s. Any ime a new e sion comes in o play, he Blind Ha pe eappea s and ini ia es he p ocess. So e en when he e is ac ion ou side he ci cle, we a e s ill in he me a-li e a y domain, beyond wo ds. Also inside he ci cle, i is no uncommon o ind scenes in which he non- e bal codes, especially p oxemic and kinesic, gain hei independence om dialogue. Bu no only he mo emen s on he s age esis subo dina ion o he dialogue, hey e en manage o subo dina e e bal codes. A a ce ain poin in one o he e sions o he ballad, a mille and a se an ind he d owned body o he ai sis e , and p oceed o sexually abuse i and o s ip i o i s jewels. I we y o ead his pa jumping o e he s age di ec ions, unde s anding o wha is going on would equi e qui e a lo o in e ence. Howe e , i we ead only pa o he s age di ec ions we manage o ollow he whole scene: body [FS] becomes all luidi y body collapses [M’D] coming o e ch wa e goes o wa e . . . disco e s body [MIL, SERV] come ou o see body [SERV] bends down as i o kiss as [GHOST] ises she sings no e [SERV] mimes kissing body GHOST behind ouches he lips SERVANT ecoils [MIL,SERV] s udy body MILLER emo es ing om hand o body/ h ows i in bucke GHOST sings ‘p o e ue, my lo e p o e ue o me’ each o he eigh ings pinging on each wo d’ [MIL, SERV] emo e uppe ga men s / s a e a b eas s [SERV] snips o nipple which [MIL] ca ches and h ows i in bucke Ping. Then ano he . Ping! [GHOST] ouches each o he b eas s in u ns and sings [MIL] poin ing o body’s na el [SERV] scoops ou na el and h ows i in o bucke . Ping! [GHOST] ouches he na el and sings [SERV] looks a body d eaming e o ic d eams [SERV] d eamily They li up legs and pull o d awe s