The Tears of a Clown – Smokey Robinson and The Miracles

 

Now if there’s a smile on my face
it’s only there trying to fool the public
but when it comes down to fooling you
now honey that’s quite a different subject

But don’t let my glad expression
Give you the wrong impression
really I’m sad, oh sadder than sad
you’re gone and I’m hurting so bad
Like a clown I pretend to be glad

Now there’s some sad things known to man
But ain’t too much sadder than
the tears of a clown
When there’s no one around

Oh yeah baby, now if I appear to be carefree
It’s only to camouflage my sadness
In order to shield my pride I try
To cover this hurt with a show of gladness

But don’t let my show convince you
That I’ve been happy since you decided to go
Oh, I need you so, I’m hurt and I want you to know
But for others I put on a show

Now there’s some sad things known to man
But ain’t too much sadder than
the tears of a clown
When there’s no one around, oh yeah

Just like Pagliacci did
I try to keep my sadness hid
Smiling in the public eye
But in my lonely room I cry
the tears of a clown
When there’s no one around

Oh, yeah baby
Now if there’s a smile upon my face
Don’t let my glad expression
Give you the wrong impression
Don’t let the smile I wear
Make you think that I don’t care
Really I’m sad I’m hurting so bad.

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Smokey Robinson

From Wikipedia, the free encyclopedia

 

William “Smokey” Robinson, Jr. (born February 19, 1940) is an AmericanR&B/pop singer-songwriter, record producer, and former record executive. Robinson was the founder and front man of the Motown vocal group the Miracles, for which he also served as the group’s chief songwriter and producer. Robinson led the group from its 1955 origins as the Five Chimes until 1972 when he announced a retirement from the stage to focus on his role as Motown’s vice president.

However, Robinson returned to the music industry as a solo artist the following year, later scoring Top 10 solo hits such as “Cruisin’” (1979), “Being With You” (1981) and “Just to See Her” (1987). Following the sale of Motown Records in 1988, Robinson left the company in 1990. He was inducted into the Rock and Roll Hall of Fame in 1987.

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Clown

From Wikipedia, the free encyclopedia

A clown is a comic performer who employs slapstick or similar types of physical humour, often in a mime style. Clowns have a varied tradition with significant variations in costume and performance. The most recognisable clowns are those that commonly wear outlandish costumes featuring distinctive makeup, colourful wigs, exaggerated footwear, and colourful clothing. Their entertainment style is generally designed to entertain large audiences, especially at a distance.

Clowns are most often associated with the circus where they have performed a comedic role linking other acts in the circus performance since the late 18th century. Many circus clowns have become well known and are a key circus act in their own right. The first mainstream clown role was portrayed by Joseph Grimaldi (who also created the traditional whiteface make-up design). In the early 1800s, he expanded the role of Clown in the harlequinade that formed part of British pantomimes, notably at the Theatre Royal, Drury Lane and the Sadler’s Wells and Covent Garden theatres. He became so dominant on the London comic stage that harlequinade Clowns became known as “Joey”, and both the nickname and Grimaldi’s white face make-up design were, and still are, used by other types of clowns.

The comedy that clowns perform is usually in the role of a fool whose everyday actions and tasks become extraordinary—and for whom the ridiculous, for a short while, becomes ordinary. This style of comedy has a long history in many countries and cultures across the world. Some writers have argued that due to the widespread use of such comedy and its long history it is a need that is part of the human condition.

Some people have expressed a fear of clowns, circus clowns in particular. The term coulrophobia has been coined to describe this fear.

Etymology

The origin of the word “clown” is uncertain. It first appears around the 1560s and may come from a Scandinavian linguistic root meaning “clumsy, boorish fellow” (Icelandic klunni and Swedish kluns). A similar term also exists in North Frisian — klönne and in Dutch-“kluns”, meaning “clumsy person”. The meaning of clown as a fool or jester is c. 1600. “Clown” as a verb appears much later — the early 20th century — and may be linked to music hall.

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Pagliacci

From Wikipedia, the free encyclopedia

Pagliacci (Italian pronunciation: [paʎˈʎattʃi] clowns) is an Italian opera in a prologue and two acts, with music and libretto by Ruggero Leoncavallo. It is the only Leoncavallo opera that is still widely staged.

Pagliacci premiered at the Teatro Dal Verme in Milan on 21 May 1892, conducted by Arturo Toscanini (who did not like it), with Adelina Stehle as Nedda, Fiorello Giraud as Canio, Victor Maurel as Tonio, and Mario Ancona as Silvio. Nellie Melbaplayed Nedda in London in 1892, soon after its Italian premiere, and was given in New York on 15 June 1893. The Metropolitan Opera‘s staging on 22 December of that year was the first time that it appeared along with Pietro Mascagni‘s Cavalleria rusticana.

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Thomson Smillie

Opera Explained – Pagliacci

Read by David Timson

UNABRIDGED

Source: http://www.naxosaudiobooks.com/558143.htm

 

Pagliacci may be the most completely compelling short opera in the repertory and owes much of its impact to a brilliant story based, it is said, on true life and told through the device of a play-within-a-play. The action is set in Calabria in the deep south of Italy where the jealousies and illicit passions of a troupe of strolling actors precisely intersect with the play they are performing – to both touching and tragic effect. Leoncavallo was his own librettist, and his literary skills, allied to great melodic creativity, guarantee that in its two short acts Pagliacci – ‘Clowns’ – delivers an overwhelming emotional experience. Find out more about Opera Explained – Pagliacci below.

ABOUT OPERA EXPLAINED – PAGLIACCI

The word ‘opera’ is Latin and means ‘the works’; it represents a synthesis of all the other arts: drama, vocal and orchestral music, dance, light and design. Consequently, it delivers an emotional impact which none of the others can match. The only one of the arts whose origins can be precisely dated, it was ‘invented’ in Italy in 1597 as part of the Renaissance – the rebirth of interest in classical values. As an art form it is truly international, crossing all linguistic and cultural barriers, and it is probably the only one whose audience continues to expand, not in spite of, but because of developments in entertainment technology.

From its early origins in Italy opera spread across Europe, establishing individual and distinctive schools in a number of countries. France had an early and long- standing love affair with it – hence the term grand opéra, referring to the massive five-act creations that graced the Paris Opéra in the nineteenth century. Germany had an excellent school from as early as Mozart’s time, and opera perhaps reached its highest achievement with the mighty music dramas of Richard Wagner. Russia, Great Britain and the Americas have also made their contributions.

In the popular imagination, however, opera remains an Italian concept – and no wonder. From its earliest years Italians dominated the art: Cavalli and Monteverdi were among the first to establish its forms; there was a golden age, called the bel canto, at the beginning of the nineteenth century when Bellini, Donizetti and Rossini ruled supreme; Giuseppe Verdi was probably the most revered artist in musical history; and, for many, Puccini represents in every sense the last word in this beloved genre.

Although the twentieth century has not been as lavishly endowed with opera composers, it can still boast a few, including Richard Strauss, Igor Stravinsky and

4Benjamin Britten – and, maybe most significantly in the long run, those errant step- children of opera, the Broadway musical and the Lloyd Webber spectacular.

 

Pagliacci – Players

Opera in a prologue and two acts by Ruggiero Leoncavallo. Libretto by the composer. First performance: Milan, Teatro dal Verme, 21 May 1892. First UK performance: London, Covent Garden, 19 May 1893. First US performance: New York, Grand Opera House, 15 June 1893.

Undeniably one of the most powerful short operas in the international opera repertory, Leoncavallo’s Pagliacci – which simply means ‘Players’ – has come recently into a life of its own in a very interesting way. For over a century it was invariably paired in performance with Mascagni’s equally powerful Cavalleria rusticana, leading to the slightly irreverent nickname of opera’s ‘Heavenly Twins’.

Nowadays Pagliacci is often given alone. Cynics may say that this reflects the shorter attention-spans of current audiences: our grandparents would have felt short-changed if an evening at the theatre lasted less than three hours, and their grandparents if it lasted less than five. But modern audiences respond strongly to the musical and dramatic values of Pagliacci when it stands alone.

These values include one of the most effective stories in the operatic canon, a score which is as skilful as it is melodically inspired, and that very rare fusion of a brilliant libretto with a tailor-made score – the librettist, in this case, being the composer himself.

The story is set in the very south of Italy in the nineteenth century and tells of a troupe of travelling clowns headed by Canio, one of opera’s great dramatic roles.

He has a wife, Nedda, who is lusted after by the villain Tonio and truly loved by a local boy called Silvio. When Nedda rejects Tonio’s advances and is spied in Silvio’s embrace, Tonio tells all to husband Canio and the stage is set – literally – for double murder and deep tragedy.

What gives the action such power and cohesion is the device of the play-within- the-play, of which Shakespeare showed mastery in both A Midsummer Night’s Dream and Hamlet. As the actors of the troupe – the clowns – act out the night’s play using the STOCK heroes, heroine and villains of the old commedia dell’arte, their comic stage lives and tragic true lives precisely intersect in a devastating fashion.

So Nedda/Columbine’s love for Silvio/Harlequin has tragic consequences when her husband Canio/Pagliaccio ‘breaks role’ and confronts her on-stage with demands for her lover’s name. The mounting tension of the extraordinary finale – short but intense – is heightened by music of overwhelming power.

Leoncavallo was deeply influenced by Wagner, who also wrote his own libretti, and like many others he struggled to absorb the lessons of the master while establishing an independent voice. The success of Mascagni’s Cavalleria rusticana (1890) inspired Leoncavallo to write this masterpiece (1892), which many believed would herald a new dawn, as opera emerged from the shadows of the nineteenth century’s giants Verdi and Wagner. But it was not to be, and it is more reasonable to see Pagliacci as a superb last triumph of an art form – Italian opera in decline, later to reach its final apotheosis in Puccini’s Turandot. For young Leoncavallo, too, this was a false dawn, as he was never again to achieve a success to equal this masterpiece of music theatre.

 

Synopsis

Montalto, Calabria. Feast of the Assumption, about 1865–70.

Prologue

Tonio, an actor in a troupe of strolling players, comes in front of the curtain to tell the audience that the performance is about to begin. He hints at the story, saying that the play is about real people with everyday human feelings.

 

Act I

The village inhabitants enthusiastically welcome a company of actors, just arriving in the village square. Tonio goes to help Nedda down from the carriage but is pushed aside by her jealous husband Canio, who will not let anybody near her. The actors head towards the inn, and Nedda is left alone, disturbed by her husband’s words. She envies the freedom of the birds. Tonio approaches her, declaring his feelings, and when he becomes too insistent Nedda strikes him across the face with a whip. He stumbles out, focused on revenge. He then eavesdrops on a conversation between Nedda and her young peasant lover Silvio, whom she finally agrees to elope with that very evening. Canio interrupts the conversation, having been alerted by Tonio, and Silvio escapes. Canio threatens Nedda with a knife, demanding to know the name of her lover. But it is almost time for the performance to begin, so Canio must hide his agitation and despair behind his mask.

 

Act II

People stream in to watch the performance, Silvio among them. The play begins: Columbine, here Columbina, (Nedda) is waiting for her lover Harlequin, here Arlecchino, (Beppe). Instead of Harlequin, however, the foolish Taddeo (Tonio) enters and declares his love to Columbine, who rejects him. Harlequin then arrives, but soon has to leave again because Pagliaccio, Columbine’s husband, returns unexpectedly. Pagliaccio hears his wife’s farewell to Harlequin – the same words that Nedda herself spoke to Silvio before the play. Canio is transported to a real-life situation and becomes confused. His lines are no longer part of the play. He demands to know the name of her lover, and when she refuses to tell him he stabs her. When Silvio rushes onto the stage to help Nedda, Canio kills him too. He then addresses the audience with ‘La commedia è finita’ (‘The comedy is ended’).

Notes by Thomson Smillie

 

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How to Be Sensitive to Other People’s Feelings

Source: http://www.wikihow.com/Be-Sensitive-to-Other-People%27s-Feelings

There are always going to be people in your life that irritate, annoy, and baffle you as to why they do and say the things they do. Sometimes you want to snap back at them about how pestering they are, or ignore them because you don’t particularly like them, but remember, you have to be considerate of how that person feels and why they do and say certain things. Before you can judge, you need to understand that person’s feelings and thoughts.

Before you judge them, step into their shoes. This is especially important. Maybe this person is constantly sitting by his/her self and doesn’t like to talk to others. Maybe this person is cold to you when you talk to them or says things that might seem a little rude. Before you judge them and label them, think about how he/she feels—“Maybe s/he is always by him/her self because s/he doesn’t feel comfortable around others. Maybe s/he isn’t used to talking to people so s/he is a little cold. Maybe s/he wasn’t feeling well on the day I talked to him/her and that’s why s/he seemed to be in a bad mood.” Before you allow yourself to label this person, imagine why they act or say the things they do.

Think about how you’d feel if you were treated the way you may treat this other person. It is necessary to think about this before you say something to another person. How would you feel if someone you weren’t familiar with came up to you and said something mean to you, just because you looked/sounded/acted differently from what they expected or thought you should have? You would be pretty hurt, wouldn’t you? Don’t put someone through that kind of pain if you wouldn’t want to be put through it yourself.

Don’t let one encounter ruin your perception of that person. Just because someone seemed to be in a bad mood when you talked to them doesn’t mean they are constantly angry and depressed. Maybe they were having a bad day when you talked to them, or they weren’t feeling well. Try to speak to them more often and see how they act; don’t let one time ruin how you see that person. You have to be around them frequently to see how they really are.

When you talk to them, don’t let your insecurities or beliefs get in the way. It’s very common to meet people with different beliefs, likes and dislikes than you, so don’t be put-off if the person you’re talking to doesn’t like something you do, or likes something you do not. Don’t let their belief in God (or no God) make you feel any different about them. Remember, being sensitive to their feelings means accepting what they like/dislike and who/what they believe in. It’s how they feel for a reason, and you should respect that.

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5 Gifts of Being Highly Sensitive

By THERESE J. BORCHARD
Associate Editor

Source: http://psychcentral.com/blog/archives/2010/03/28/5-gifts-of-being-highly-sensitive/

 

Today I have the pleasure of interviewing Douglas Eby,
M.A./Psychology, who is a writer and researcher on the psychology of creative
expression, high ability and personal growth. He is creator of the Talent
Development Resources series of sites (including HighlySensitive.org)
at http://talentdevelop.com. I know many of you are “highly sensitive” and enjoy articles on that topic, so I am excited to pique his highly-sensitive brain today!

Question: If you had to name the top five gifts of being highly sensitive, what would they be?

Douglas:

1. Sensory detail

One of the prominent “virtues” of high sensitivity is the richness of sensory detail that life provides. The subtle shades of texture in clothing, and foods when cooking, the sounds of music or even traffic or people talking, fragrances and colors of nature. All of these may be more intense for highly sensitive people.

Of course, people are not simply “sensitive” or “not sensitive” — like other qualities and traits, it’s a matter of degree.

Years ago, I took a color discrimination test to work as a photographic technician, making color prints. The manager said I’d scored better, with more subtle distinctions between hues in the test charts, than anyone he had evaluated.

That kind of response to color makes visual experience rich and exciting, and can help visual artists and designers be even more excellent.

2. Nuances in meaning

The trait of high sensitivity also includes a strong tendency to be aware of nuances in meaning, and to be more cautious about taking action, and to more carefully consider options and possible outcomes.

3. Emotional awareness

We also tend to be more aware of our inner emotional states, which can make for richer and more profound creative work as writers, musicians, actors or other artists.

A greater response to pain, discomfort, and physical experience can mean sensitive people have the potential, at least, to take better care of their health.

4. Creativity

Psychologist Elaine Aron, author of The Highly Sensitive Person,estimates about twenty percent of people are highly sensitive, and seventy percent of those are introverted, which is a trait that can also encourage creativity.

As examples, there are many actors who say they are shy, and director Kathryn Bigelow, who recently won an Academy Award, has said, “I’m kind of very shy by nature.” The star of her movieThe Hurt Locker, Jeremy Renner (who was reportedly shy as a child), has commented that “in social situations she can be painfully shy.”

5. Greater empathy

High sensitivity to other people’s emotions can be a powerful asset for teachers, managers, therapists and others.

Question: And, if you had to name five curses, what would they be? And how best do we overcome them or co-exist with them?

Douglas:

1. Easily overwhelmed, overstimulated

The biggest challenge in high sensitivity is probably being vulnerable to sensory or emotional overwhelm. Taking in and processing so much information from both inner and outer worlds can be “too much” at times and result in more pain, fatigue, stress, anxiety and other reactions.

An intriguing neuroscience research study I came across that may explain some of this said people with nervous systems having decreased latent inhibition are more open to incoming stimuli. Which can be a good thing, or not so good.

Actor Amy Brenneman once commented, “I’m too sensitive to watch most of the reality shows. It’s so painful for me.”

That kind of pain or discomfort can mean we don’t choose to experience some things that might actually be fun or enriching. Though I don’t mean reality shows.

2. Affected by emotions of others

Another aspect of sensitivity can be reacting to the emotions — and perhaps thoughts — of others. Being in the vicinity of angry people, for example, can be more distressing.

As actor Scarlett Johansson once put it, “Sometimes that awareness is good, and sometimes I wish I wasn’t so sensitive.”

3. Need lots of space and time to ourselves

We may need to “retreat” and emotionally “refresh” ourselves at times that are not always best for our goals or personal growth. For example, being at a professional development conference, it may not be the most helpful thing to leave a long presentation or workshop in order to recuperate from the emotional intensity of the crowd.

4. Unhealthy perfectionism

There can also be qualities of thinking or analyzing that lead to unhealthy perfectionism, or stressful responses to objects, people or situations that are “too much” or “wrong” for our sensitivities.

5. Living out of sync with our culture

Living in a culture that devalues sensitivity and introversion as much as the U.S. means there are many pressures to be “normal” — meaning extroverted, sociable and outgoing.

Dr. Ted Zeff, author of The Highly Sensitive Person’s Survival Guide, points out that other cultures, such as Thailand, have different attitudes, with a strong appreciation of sensitive or introverted people.

Jenna Avery, a “life coach for sensitive souls,” counsels people to accept or even pursue being “out of sync” with mainstream society, and be aware of other’s judgments of people as too sensitive, too emotional, or too dramatic.

And if we are sensitive, we may use those kinds of judgments against ourselves, and think, as Winona Ryder said she did at one time, “Maybe I’m too sensitive for this world.”

Certainly, there are extremes of emotions that are considered mood disorders, for example, and should be dealt with as a health challenge.

But “too emotional” or “too sensitive” are usually criticisms based on majority behavior and standards.

Overall, I think being highly sensitive is a trait we can embrace and use to be more creative and aware. But it demands taking care to live strategically, even outside popular values, to avoid overwhelm so we can better nurture our abilities and creative talents.

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Are Appearances Really Deceptive?

Ever Wondered sent Raj Persaud out to discover why first impressions might be more important than you think

By: Dr Raj Persaud (Guest)

Source: http://www.open.edu/openlearn/body-mind/psychology/are-appearances-really-deceptive

Raj Persaud is one of the most successful psychiatrists in the country. He has appeared in numerous programmes and has published many popular pieces in the national press. He has been described as the most eminent psychiatrist of the age.

“We spend a lot of time checking our appearance in the mirror. Is that because our appearance is important to us or to other people? The very fact that so many of us are trying to change our body shape, by going to the gym and dieting, suggests that we have a very strong idea of a particular body image that others might find attractive.

But why do we like certain faces, is it just because of personal preference and taste? How then do we explain that certain faces are found universally attractive?

Physiologists suggest that this is because of our genetic programming. We are genetically programmed to find babies attractive. If we didn’t, we wouldn’t look after them and they then wouldn’t pass our genes on to the next generation.

The baby face look is characterized by large eyes. This might explain why women wear make-up to make their eyes larger, as they are trying to achieve this baby face look.

The problem with babies is that they need a lot of looking after. In American research, Hollywood actresses that look more baby face are only popular in times of economic boom, when a man can afford to look after a dependent woman. Hollywood starlets who look less baby face are more popular in an economic recession, so it appears that when men are on hard times they prefer women who can look after themselves.

What we find attractive depends to some extent on what we need and as our needs vary over time this explains what we find during good times is different to what we find during bad times.

Although a baby face is found attractive not everyone can look like a baby. Could there, therefore, be some situations where it’s a positive advantage to have a facial appearance characterised by being stern and intimidating?

A study at the top US military academy at West Point found that the facial appearance of the graduates in the final year photos more accurately predicted the subsequent success of becoming generals in their final year.

The facial appearance that the study found to be the most likely in helping you to become a General was the one described as being dominant, characterized by low eyebrows and a square jaw. In other words, having a dominant look actually helps you achieve a dominant position in the army. In other words your face really is your future”.

Appearances often are deceiving (Aesop)

Published on Friday, 17 April 2009 21:49

Written by Chuck Gallozzi

Source: http://www.personal-development.com/chuck/appearances.htm

The shimmering surface of a lake, glowing in the evening sun, may inspire us with its beauty. Yet, hidden beneath its surface may be an ugly blanket of toxic sludge. On the other hand, the ocean surface that is marred by unsightly patches of oil spilled by a tanker, may conceal within its depths animal life of great beauty. Can it be that we often misjudge what we see because we merely skim the surface and fail to penetrate the depth of matters? Yes, the truth is often hidden from us. That’s why we are warned by Aesop (620-560 B.C.) that “Appearances often are deceiving.” We are also cautioned by Christ who taught, “Do not judge by appearances, but judge with right judgment.” (John 7:24)

Why is it that we often fail to use right judgment and arrive at false conclusions? The reasons are many. First, before any information arrives at our intellect for analysis it must pass through our preconceptions, assumptions, beliefs, opinions, prejudices, selective memory, and feelings. Also, our body not only collects data, but influences it. For example, our hormones and blood sugar levels can affect our moods, thinking, attitude, and behavior. In other words, we see what we feel instead of feeling what we see. Our mind is also a master of deception. For instance, we may judge someone to be intellectually inferior to us simply because they share another opinion.

No, things are not always what they appear to be. The ‘drunk’ sleeping on the sidewalk across the street may be an exhausted construction worker taking a noon nap. The ‘stupid’ student may be a bright, but poor, child that is too hungry to focus on the words of his teacher. And the ‘imbecile’ that simply stares and smiles at me when I ask her for directions may be a foreigner that doesn’t understand our language and culture.

Be slow to judge others, for appearances can often be deceptive. Edwin Hubbel Chapin (1814 ~ 1880) offers this same advice in very elegant terms, “Do not judge from mere appearances; for the lift laughter that bubbles on the lip often mantles over the depths of sadness, and the serious look may be the sober veil that covers a divine peace and joy. The bosom can ache beneath diamond brooches; and many a blithe heart dances under coarse wool.”

Another powerful example was given by Sir Arthur Conan Doyle (1859 ~ 1930) who wrote, “The most winning woman I ever knew was hanged for poisoning three little children for their insurance-money, and the most repellent man of my acquaintance is a philanthropist who has spent nearly a quarter of a million upon the London poor.”

Imagine someone seeing the moon for the first time. They may falsely conclude it has a crescent shape or that it is always veiled in mist. Just as the moon appears in various ways, depending on the weather and season, the appearance and behavior of people change according to their moods and experiences. Although their air, body language, and mannerisms may reveal some information, it is information on how they are feeling NOW. All of that is subject to change.

The lesson, then, is clear; in dealing with others we need to withhold judgment and question our conclusions. We are quick to label people as uncooperative or as ‘jerks.’ But that is just because we skim the surface and ignore the depths of their souls. Are we aware of the emotional pain that they are in? Do we know about the struggles they are going through? If not, how can we rush to judgment?

The secret of living a successful life is to live a life of balance. For example, although we must avoid misjudging others, we must be equally vigilant in avoiding being misled by others. Young women, for example, may be too generous in judging their boyfriends. An experienced and rational person may see Sally’s boyfriend as an unambitious freeloader. However, in the eyes of Sally, he may be a ‘free and independent spirit.’ He may also be, if Sally marries him, the cause of many heartaches in the future. It’s time for Sally to realize that if a bird waddles like a duck, swims like a duck, and quacks like a duck, it, indeed, may be a duck!

Although appearances can be deceiving, they can also be revealing. The book that our new acquaintance is reading, for instance, may reveal a common interest. If they smoke, it may display a lack of regard for their health, and if they’re carrying a gym bag, it may suggest they’re interested in physical fitness. The point is to always strive to take a balanced approach, garnering useful information while guarding against drawing false conclusions.

Another cause for arriving at incorrect conclusions is lack of knowledge and experience about the circumstances of others. Herman Melville (1819 ~ 1891) gives a perfect example, “Of all the preposterous assumptions of humanity over humanity, nothing exceeds most of the criticisms made on the habits of the poor by the well-housed, well-warmed, and well-fed.” It’s easy for those of us who have a job to tell a panhandler, “Get a job!” It’s just as easy for those of us who have never experienced mental illness, to tell a patient living on the street, “Go to work!” So, to prevent us from turning into crass, cold-hearted, and insensitive people, we need to educate ourselves on the suffering of others.

Alas, still another reason for making mistaken assumptions is because of the fact that much of the work that is done in the world is to make things appear what they are not. Consider the lies perpetrated by advertisers. Here’s an example. I recently bought some paper for my computer printer. The attractive package boldly proclaims the paper is “Coated on both sides for durability,” and the paper is called “Sharprint.” Did they say durable? It was the flimsiest paper I ever used. Did they say “Sharprint?” It produced the blurriest text and graphics I have ever seen (blurry because of ‘bleeding;’ that is, the ink spreads throughout the paper). Fortunately, I had a few sheets of my regular paper left and it delivered its usual, spectacular results. I pity the person who just bought their first computer printer and a box of “Sharprint” paper. When they see the horrible results they get, they will probably think it is the fault of the printer! Can you see how easy it is to arrive at a false conclusion?

Before ending, let’s also consider our concern for our appearance. At times, people are more interested in correcting their image than they are in correcting themselves. What is it that we want? To SEEM or to BE? I turn to Socrates (469 ~ 399 BC) for the answer, “The shortest and surest way to live with honor in the world, is to be in reality what we would appear to be.” Finally, let’s remember that our reasoning power is of no value if our conclusions are based on faulty assumptions, so let’s be ever on the alert, carefully substituting appearances for facts.

© Chuck Gallozzi

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“The Tears of a Clown” tells the story of a clown who overtly looks happy all the time – in fact, it is only because it is his job to be so. People never seem to realize that they should not be fooled by the glad expression of the clown – a smile can hide many sorrows. Appearances can be very deceptive. The clown – in the song – mourns the loss of his lady-love. He tells a sad story – it is his lot to make other people laugh but inwardly, his soul cries with the pain that he feels.

 

This song is an eloquent expression of how we should all learn to be more sensitive to the feelings of others. It is a ‘learned art’ that should be practiced by one and all – without exception – for a healthier and happier life.