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Sixteen Lines: Ninth Line

The Child has just said that her name is Pearl, which leads to more jocularity, and then a turn:

A pearl? A red rose, at least! But where is this mother of thine, eh? Eh? Ah, this is the self-same child of whom we spoke, and behold, her unhappy mother.

So. I begin this line as a continuation of the last, in a stiffly jocose manner—again, I am notionally speaking to the Child, but actually speaking for the other men in the room. The Child, naturally, flees from my patronage back to her mother’s arms, which precipitates the second half of the line.

The for and against, then, is complicated. I am essentially pretending to be for this pearl, while being against children and other disruptive elements. Then, again, I am against a Mother that lets her Child run loose (and dressed like that), but am covering it in hilarity. Then, as I the Child with the Mother, I am very clearly against them both (but for beholding them).

The music of the line shifts entirely with that percussive Ah that begins the second half of the line. No, it’s not actually percussive; you can’t actually make the sound ah percussive, but it is metaphorically percussive, and I mean to convey the sound as being sudden and sharp, and not at all a reflective Ahh-h-hh-h. Just Ah following the ehs that…

Here, I’ll record the thing:

Tolerabimus quod tolerare debemus,