Queen Jeanie, Queen Jeanie, traveld six weeks and more,

Till women and midwives had quite gien her oer:

O if ye were women as women should be,

Ye would send for a doctor, a doctor to me.'

The doctor was called for and set by her bedside:

'What aileth thee, my ladie, thine eyes seem so red?'

'O doctor, O doctor, will ye do this for me,

To rip up my two sides and save my babie?'

'Queen Jeanie, Queen Jeanie, that's the thing I'll neer do,

To rip up your two sides to save your babie:'

Queen Jeanie, Queen Jeanie, traveld six weeks and more,

Till women and midwives had quite gien her oer.

'O if you were doctors as doctors should be,

Ye would send for King Henry, King Henry to me:'

King Henry was called for and sat by her bedside,

'What aileth thee, Jeanie? what aileth my bride?'

'King Henry, King Henry, will you do this for me,

To rip up my two sides, and save my babie?'

'Queen Jeanie, Queen Jeanie, that's what I'll never do,

To rip up your two sides to save your babie.'

But with sighing and sobbing she's fallen in a swoon,

Her side it was ript up, and her babie was found;

At this bonnie babie's christning there was meikle joy and mirth,

But bonnie Queen Jeanie lies cold in the earth.

Six and six coaches, and six and six more,

And royal King Henry went mourning before;

O two and two gentlemen carried her away,

But royal King Henry went weeping away.

O black were their stockings, and black were their bands,

And black were the weapons they held in their hands;

O black were their mufflers, and black were their shoes,

And black were the chevrons they drew on their luves.

They mourned in the kitchen, and the mourned in the ha,

But royal King Henry mourned langest of a':

Farewell to fair England, farewell for evermore!

For the fair flower of England will never shine more.

"I like late in the day. I like the day to night transfer, I like the desaturation. It’s a high speed eternity.”

In autumn 2014, American artist Trisha Donnelly staged an exhibition at the Serpentine Gallery. The focus was a number of new video works, created by Donnelly for the exhibition. The exhibition had many states, shifting with the time, light and nature of each day.

A series of Saturday Talks took place during the exhibition, including talks from Emma Enderby and Amira Gad.

The Serpentine Galleries autumn programme, including Cerith Wyn Evans exhibition, Bertrand Lavier fountain and Extinction Marathon, were sponsored by Bloomberg Philanthropies, a leading sponsor across the entire autumn season at the Serpentine.

In 2012, Donnelly was the tenth artist to curate Artist's Choice, an exhibition curated by artists of artworks from the permanent collection of the Museum of Modern Art.[7] In the exhibition, "she was after 'striking voices'" she couldn't let go of, "'paths of encounters and building poetic structures... images that go beyond images themselves."'[8] The exhibition included works by artists such as Eliot Porter, Joe Goode, Gertrude Kasebier, Wendy Carlos, and John Whitney.[9] The audio guide provided for the show was art historian Robert Rosenblum discussing MoMA's 1989 Picasso retrospective. Donnelly explained, "The feeling when listening to these audio guides was, this was a great work of art... or work of whatever, work of another entity, or another state and dimension, existing... [They] are so beautiful... It's like the Taj Mahal of languages, building it himself. By the end, I don't need the exhibition at all. I'm awash in this ocean of his funny, brilliant voice."[9] wiki

how the sausage is made

idiomatic phrase

: the practical and often unpleasant or messy aspects of a process that are usually not made public

You would think that being on set, and seeing how the sausage is made, would take the magic away for Mr. McClay.—

Adam Epstein

Both new chairs of their chambers' respective Defense Appropriations panels are well versed in how the budget sausage is made.—

Andrew Clevenger

Offering up vintage backstage footage of Jim Henson and Frank Oz operating the Muppets feels a little like Henry Houdini coming back to reveal all his secrets. … Yet that's almost the least of the pleasures in a highly satisfying HBO documentary … that wisely places roughly equal emphasis on how the sausage was made and how the culture was changed.—

Chris Willman