is copyright by its author, Gordon R. Dickson;
is used by permission by Poul Anderson in his novel, Starfarers;
is sung by the Kithman, Kenri Shaun, when he has heard the Star-Free, Nivala Tersis, playing "Sheep May Safely Graze" (see here);
establishes a rapport between Kenri and Nivala;
has a theme similar to Robert Heinlein's story, "The Green Hills of Earth."
Dickson and Heinlein have in common that parts of their series were planned but never written.
6 comments:
Kaor, Paul!
These notes of yours about the Gordon Dickson ballad quoted by Poul Anderson in both the original version of "Ghetto" (1954) and the revised text seen in Chapter 21 of STARFARERS (1998) reminded me of how he made many changes to the story, both stylistically and modifications of the plot so it would fit in with the book. Stylistically one change I noticed was how Anderson chose to remove much of the italicized text seen in "Ghetto" in the later version. The italicized text in "Ghetto" was used to show how the relationship between Kenri Shaun and Dorthy from Canda developed. Apparently, the author may have thought he overused italics in the earlier form and removed it for the version in Chapter 21 of STARFARERS.
Another change from the earlier form of "Ghetto" to what we see in Chapter 21 was changing Dorthy's name to "Nivala." And, getting back to the Dickson ballad, Kenri chose to sing that ballad after hearing Dorthy/Nivala a very old violin tune: "It was a very old melody, older than man's starward wish, unbelievably old, and still it was young and tender and trustful, still it was everything which was good and dear in man" (Italicized in "Ghetto"). A little later we see Dorthy telling Kenri the melody she had played was Beethoven's "Kreutzer Sonata." But, in Chapter 21 of STARFARERS Anderson changed this to Nivala informing Kenri the recording she had played was Johan Sebastian Bach's "Sheep May Safely Graze."
I thought it might interest some readers if I touched lightly on some of the differences to be seen in the two versions of "Ghetto." I'm by no means familiar with the musical works of Bach and Beethoven, but I have wondered why Anderson changed the music mentioned in "Ghetto" from Beethoven's "Kreutzer Sonata" to Bach's "Sheep May Safely Graze." It's possible Anderson came to prefer Bach's music over that of Beethoven. And I recall favorable mentions of Bach's works in others of Anderson's stories.
Sean
Back to Bach. (Not a very good pun but it proves that I am out of bed and having breakfast.)
Kaor, Paul!
Ha, ha!!! And a night owl like me really should go to bed!
Sean
Sean,
Thank you for comparing the two versions which was outside my remit right now. In fact, it is taking me like forever to work my way back to the point that I was trying to make.
Paul.
Kaor, Paul!
I'm simply glad my brief comments interested you. And, considering how busy you are in Earth Real, it's understandable why you are having some trouble making the point you want to make. Only 24 hours to a day, after all!
Sean
Kaor, Paul!
The recent mentions of Gordon R. Dickson, mostly because of how Anderson quoted his "Ballad of Jerry Clawson" in both versions of "Ghetto," reminded me of how many more of his works I really should have read. But it's been mostly stories he co-authored with Anderson which sticks in my mind (such as the Hoka tales). I have read some solo works of Dickson, such as "Call Him Lord" and WAY OF THE PILGRIM," but not enough. Last, I have not read one story Dickson co-authored with Anderson called "Trespass" (at least I simply don't recall it!), pub. in 1950.
Sean
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