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The 10 Most Expensive Vehicles of U.S. Military

01. Northrop Grumman B-2 Spirit

The Northrop Grumman B-2 Spirit, better known as the Stealth Bomber, can launch conventional and nuclear weapons against the most heavily protected enemy lines on earth thanks to its ability to evade radar detection. Originally, it was supposed to be manufactured in a run of 132, but it was so expensive that the initial 1987 order was slashed to 21. The cost of the B-2 program in 1997 was $737 million, or just over $1 billion today. Combined with procurement costs, the B-2 Spirit costs over $2 billion. The craft was first used during the Kosovo War in 1999, and it has been used successfully in Iraq and Afghanistan as well. They have also been used during the 2011 Libyan uprising, according to the BBC.No other country on earth has a larger defense budget than the United States. According to the Department of Defense, its base budget for fiscal year 2010 is over $500 billion, with another $130 billion to bolster the War on Terrorism and another $33 billion in supplemental spending on top of that. And that’s not to mention Homeland Security or nuclear arsenal maintenance.A lot of this money is spent on aircraft, tanks and ships, all of which are top – of – line and represent the furthest advances in military technology. In other words, they cost a lot of money. 09 more after the break...

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Bluebeard and the Child Ballads

Bluebeard Tales From Around the World also contains several Child Ballads. Why? Here's an excerpt from my introduction:

The second section of this collection is comprised of many of Child’s ballads classified commonly as Child Ballad 4: Lady Isabel and the Elf-Knight which fits most comfortably in the ATU 955 classification, but not perfectly. This is not the most accurate name for this family of ballads found in many areas across Europe, but it is the most convenient thanks to Child’s influence. This ballad group is considered to be one of the largest. Over the many decades of folklore scholarship, connections and relations between this ballad family and Bluebeard variants have been discussed. While some scholars believe the connections between the tales and the ballads to be tenuous, there are also many who consider them to be closely related despite their differences. While it is certainly debatable how much Perrault’s Bluebeard was influenced by the ballad group, it is easier to suppose a relation between it and many of the literary tales, especially those classified as ATU 311 and ATU 955. Francis Child makes the following point in his discussion of the ballad group:

In places where a ballad has once been known, the story will often be remembered after the verses have been wholly or partly forgotten, and the ballad will be resolved into a prose tale, retaining, perhaps, some scraps of verse, and not infrequently taking up new matter, or blending with other traditions. Naturally enough, a ballad and an equivalent tale sometimes exist side by side.

Child offers examples of this phenomenon by referencing several works including that of Anton Birlinger whose three Bluebeard related tales have been newly translated for this collection.
Despite whichever theory dominates, the ballads bear some comparison to the Bluebeard tales and so representative examples are provided here for just such an exercise. Unfortunately, the examples are from the United Kingdom and North America since the oldest known versions, especially the Dutch “Ballad of Heer Halewijn,” are not readily available in English translation. However, a prose version of the tale from Belgium is given as “Wine-Crust, the Blue-Beard of Flanders” in this collection. To learn more about the ballad group, I highly recommend Holger Olof Nygard’s book, The Ballad of Heer Halewijn (1958).

And since we are here, I will share one of the ballads, May Colven, variant 4C:

1. FALSE Sir John a wooing came
To a maid of beauty fair;
May Colven was this lady’s name,
Her father’s only heir.

2. He wood her butt, he wood her ben,
He wood her in the ha,
Until he got this lady’s consent
To mount and ride awa.

3. He went down to her father’s bower,
Where all the steeds did stand,
And he’s taken one of the best steeds
That was in her father’s land.

4. He’s got on and she’s got on,
And fast as they could flee,
Until they came to a lonesome part,
A rock by the side of the sea.

5. “Loup off the steed,” says false Sir John,
“Your bridal bed you see;
For I have drowned seven young ladies,
The eight one you shall be.

6. “Cast off, cast off, my May Colven,
All and your silken gown,
For it’s oer good and oer costly
To rot in the salt sea foam.
7. “Cast off, cast off, my May Colven,
All and your embroiderd shoen,
For they’re oer good and oer costly
To rot in the salt sea foam.”

8. “O turn you about, O false Sir John,
And look to the leaf of the tree,
For it never became a gentleman
A naked woman to see.”

9. He turnd himself straight round about,
To look to the leaf of the tree;
So swift as May Colven was
To throw him in the sea.

10. “O help, O help, my May Colven,
O help, or else I’ll drown;
I’ll take you home to your father’s bower,
And set you down safe and sound.”

11. “No help, no help, O false Sir John,
No help, nor pity thee;
Tho seven king’s-daughters you have drownd,
But the eight shall not be me.”

12. So she went on her father’s steed,
As swift as she could flee,
And she came home to her father’s bower
Before it was break of day.

13. Up then and spoke the pretty parrot:
“May Colven, where have you been?
What has become of false Sir John,
That woo’d you so late the streen?

14. “He woo’d you butt, he woo’d you ben,
He woo’d you in the ha,
Until he got your own consent
For to mount and gang awa.”

15. “O hold your tongue, my pretty parrot,
Lay not the blame upon me;
Your cup shall be of the flowered gold,
Your cage of the root of the tree.”


16. Up then spake the king himself,
In the bed-chamber where he lay:
“What ails the pretty parrot,
That prattles so long or day?”

17. “There came a cat to my cage door,
It almost a worried me,
And I was calling on May Colven
To take the cat from me.”

The Outlandish Knight: Child Ballad 4E

I included several Child Ballads in Bluebeard Tales From Around the World. For the reasons, stay tuned tomorrow. Since I am late posting today, I thought I would simply share one of the ballads, Child Ballad 4E, from Scotland:

The Outlandish Knight

1. AN outlandish knight came from the north lands,
And he came a-wooing to me;
He told me he’d take me unto the north lands,
And there he would marry me.

2. “Come, fetch me some of your father’s gold,
And some of your mother’s fee,
And two of the best nags out of the stable,
Where they stand thirty and three.”

3. She fetched him some of her father’s gold,
And some of her mother’s fee,
And two of the best nags out of the stable,
Where they stood thirty and three.

4. She mounted her on her milk-white steed,
He on the dapple grey;
They rode till they came unto the sea-side,
Three hours before it was day.

5. “Light off, light off thy milk-white steed,
And deliver it unto me;
Six pretty maids have I drowned here,
And thou the seventh shalt be.
6. “Pull off, pull off thy silken gown,
And deliver it unto me;
Methinks it looks too rich and too gay
To rot in the salt sea.

7. “Pull off, pull off thy silken stays,
And deliver them unto me;
Methinks they are too fine and gay
To rot in the salt sea.

8. “Pull off, pull off thy Holland smock,
And deliver it unto me;
Methinks it looks too rich and gay
To rot in the salt sea.”

9. “If I must pull off my Holland smock,
Pray turn thy back unto me;
For it is not fitting that such a ruffian
A naked woman should see.”

10. He turned his back towards her
And viewed the leaves so green;
She catched him round the middle so small,
And tumbled him into the stream.

11. He dropped high and he dropped low,
Until he came to the side;
“Catch hold of my hand, my pretty maiden,
And I will make you my bride.”

12. “Lie there, lie there, you false-hearted man,
Lie there instead of me;
Six pretty maids have you drowned here,
And the seventh has drowned thee.”

13. She mounted on her milk-white steed,
And led the dapple grey;
She rode till she came to her own father’s hall,
Three hours before it was day.

14. The parrot being in the window so high,
Hearing the lady, did say,
“I’m afraid that some ruffian has led you astray,
That you have tarried so long away.”


15. “Don’t prittle nor prattle, my pretty parrot,
Nor tell no tales of me;
Thy cage shall be made of the glittering gold,
Although it is made of a tree.”

16. The king being in the chamber so high,
And hearing the parrot, did say,
“What ails you, what ails you, my pretty parrot,
That you prattle so long before day?”

17. “It’s no laughing matter,” the parrot did say,
“That so loudly I call unto thee,
For the cats have got into the window so high,
And I’m afraid they will have me.”

18. “Well turned, well turned, my pretty parrot,
Well turned, well turned for me;
Thy cage shall be made of the glittering gold,
And the door of the best ivory.”

Ardiane and Barbe Bleue or, The Useless Deliverance by Maurice Maeterlinck

Ardiane and Barbe Bleue or, The Useless Deliverance by Maurice Maeterlinck is the last of six plays offered in Bluebeard Tales From Around the World. The heroine's name varies from Ariane to Ariadne to Anne to Adriane which was used in the translation from the French by Bernard Miall that appears in the book. The play is very different from anything else in the collection and thus fascinated me as I read and reread it during editing. The play was adapted into the opera Ariane et Barbe-bleue (Ariadne and Bluebeard) by Paul Dukas.

First, here's a short bio about Maeterlinck from the Nobel Prize site since he won the medal in 1911:

Maurice Maeterlinck (1862-1949), born in Ghent, Belgium, came from a well-to-do family. He was educated at a Jesuit college and read law, but a short practice as a lawyer in his home town convinced him that he was unfit for the profession. He was drawn toward literature during a stay in Paris, where he associated with a number of men of letters, in particular Villiers de l'Isle Adam, who greatly influenced him. Maeterlinck established himself in Paris in 1896 but later lived at Saint-Wandrille, an old Norman abbey that he had restored. He was predominantly a writer of lyrical dramas, but his first work was a collection of poems entitled Serres chaudes [Ardent Talons]. It appeared in 1889, the same year in which his first play, La Princesse Maleine, received enthusiastic praise from Octave Mirbeau, the literary critic of Le Figaro, and made him famous overnight. Lack of action, fatalism, mysticism, and the constant presence of death characterize the works of Maeterlinck's early period, such as L'Intruse (1890) [The Intruder], Les Aveugles (1890) [The Blind], and the love dramas Pelléas et Mélisande (1892), Alladine et Palomides (1894), and Aglavaine et Sélysette (1896). The shadow of death looms even larger in his later plays, Joyzelle (1903) and Marie Magdeleine (1909), Maeterlinck's version of a Paul Heyse play, while L'Oiseau bleu (1909) [The Blue Bird] is marked by a fairy-tale optimism. Le Bourgmestre de Stilemonde (1919) [The Burgomaster of Stilemonde] was written under the impact of the First World War.

Maeterlinck developed his strongly mystical ideas in a number of prose works, among them Le Trésor des Humbles (1896) [The Treasure of the Humble], La Sagesse et la destinée (1898) [Wisdom and Destiny], and Le Temple enseveli (1902) [The Buried Temple]. His most popular work was perhaps La Vie des abeilles (1900) [The Life of the Bee], which was followed by L'Intelligence des Fleurs (1907) [The Intelligence of the Flowers], studies of termites (1927), and of ants (1930). In later life, Maeterlinck became known chiefly for his philosophical essays. In 1932 he was given the title of Count of Belgium.

From Nobel Lectures, Literature 1901-1967, Editor Horst Frenz, Elsevier Publishing Company, Amsterdam, 1969

Maeterlinck later tainted his career with an act of academic plagiarism which can be read about on Wikipedia.

His play of Ardiane and Barbe Bleue or, The Useless Deliverance is fascinating and definitely anticipates the 20th century trends and sensibilities. You can read a synopsis of the operatic adaptation (which changed almost nothing from Maeterlinck's original) at Wikipedia.

It's hard to talk about the play without revealing its twisty ending, so SPOILERS here. Ardiane ends up trying to rescue the wives, who are not dead, only imprisoned, as well as Bluebeard. Ultimately, they refuse to be helped, to change their circumstances, to move forward. They stay behind with the wounded Bluebeard. Ardiane departs, free herself, but defeated in her efforts.

Yes, there is all kinds of analysis and symbolism here--Maeterlinck is considered a pioneer of the Symbolist movement. It makes for a great paper and comparison to the other tales in Bluebeard's history.
Here is a short piece on the play from The Academy, Volume 61 (I'm not going to blockquote it):

As to Ariane et Barbe Bleu, M. Maeterlinck warns us against taking them too seriously. They do not claim to convey deep moral or philosophic ideas, but are of the nature of little texts begged from him by musicians as subjects for lyric embroidery. According to Mr. Miall, they are actually being set to music by a M. Gilkas. They are, in fact, slight enough, and although they are marked by many of the familiar features of M. Maeterlinck's manner, the symbolism is simple and less clouded than usual. They require a somewhat spectacular setting, such as an exceptionally poetic opera-comique might perhaps afford. In one there are showers of jewels—emeralds, amethysts, sapphires, pearls, rubies, and diamonds—over the stage; in the other a sudden magical and luminous efflorescence of divine flowers. The more charming of the two—in its unpretending way—is Ariane et Barbe Bleu. The basis of the plot is, of course, our childhood's ancient fairy-tale of Blue-Beard. But Ariane does not go the way of her predecessors. She is the modern woman, ardent for light and knowledge. She goes to set her sisters free, and they will not be set free. The play, by the way, has as subtitle, La Delivrance Inutile. She enters the castle, with the deliberate purpose of disobedience:

Before all things we must disobey. That is the primal duty, when an order comes with threats and is unexplained. The others were wrong, and if they were lost, it was because they hesitated.

She is an indomitable and baffled spirit. Passing the jewels by, she goes straight to the forbidden door and penetrates to the hidden caverns beneath. There she finds all her sisters, all the dear, sad, loving women of the earlier plays, Selysette and Melisande, Ygraine and Bellangere and Alladine. She embraces them, and bids them take heart.

Can you not laugh yet—laugh and clap your hands?
And all the rest are silent! What is this?
What are you? Will you live in terror thus
Always? I do not see you smile at all,
While with your eyes—incredulous eyes !—you watch
My every gesture. Will you not believe
The joyful news? O do you not regret
The light of day, the birds among the boughs,
The high green gardens blowing overhead?
Do you not know the world is in the Spring?
I yester-morning, wandering by the way,
Drank in the light, the sense of space of dawn,
So many flowers beneath my every step,
I knew not where to set my careless feet
Have you forgot the sunlight and the dew,
Dew in the leaves, and laughter of the sea?
The sea but now was laughing as it laughs
On days whereon it knows the wind of joy,
And all its thousand ripples approved my feet,
Its ripples singing on the sands of light ....

She puts herself at their head, teaches them to break out of their dungeon, herself bursts the bars and lets the light, the divine light which they had falsely taken for a superincumbent ocean, flood in. She decks and adorns them, hangs the jewels upon them, frees them even from the constraint of their raiment, bares Selysette's arms and lets the marvel of Melisande's hair flow loose. Her passion and audacity master them for a while. They are on the point of leaving the castle, and then they fail her. The peasants, angered at Barbe Bleue's wickedness, have attacked him. He is brought in wounded, and the women cluster round with soft hearts and tears of pity. Ariane is herself the first to cut his bonds. But her purpose has not changed. Can they be brought to leave him?

Selysette (running after her, and stopping her.)
Ariane, Ariane
Where are you going?

Ariane.
Far away from here.
Down yonder, where I am awaited still. . . .
Do you come with me, Selysette?

Selysette.
I too?
But when will you return?

Ariane.
I shall not.

Melisande.
O!
Ariane!

Ariane.
Are you coming, Melisande?
(Melisande looks to and fro, from Ariane to Barbe Bleue, and does not reply.)
O see the open door, the far blue hills!
Ygraine, are you not coming?
[Yraine does not turn her head.]
Now the moon,
The stars, illumine every road. And you,
Bellangere, do you come?

Bellangere (shortly.)
No. . . .

Bluebeard by George Colman the Younger

We often accuse Hollywood of being uncreative and unimaginative, constantly recycling popular films with sequels or remakes. It's a valid accusation but not a new one. It's been a trend with those who produce theatre and entertainment (books included) for centuries. Bluebeard provides a great example of this.

When I started out making editorial decisions for Bluebeard Tales From Around the World I had no intention of including plays in the mix. Then I started reading them and reading about them and I knew I had to include some for they play an important role in Bluebeard's history. One could easily argue that the many, many productions of Bluebeard stories on the stage maintained its visibility and popularity in the 1800s. One of the most important and influential is Bluebeard by George Colman the Younger. From my introduction:

George Colman the Younger’s Blue-beard; or, Female Curiosity! A Dramatick Romance (1798) is often credited with popularizing the portrayal of Bluebeard as a Turk in future literature and illustrations. It didn’t create the trend but built upon the Turkish elements in a French production, Raoul Barbe Bleue (1789) by André Modeste Grétry and Paul Sedaine as well as the growing popularity of the Arabian Nights during that era. Colman’s play served as inspiration to many burlesques and operettas that followed in the 1800s, a few of which are included here.

There were many reasons for giving the production a Turkish setting--too many to discuss here or in my introduction--but it proved an unforgettable choice. The play was a smash hit and cemented the perception of Bluebeard as a Turk--turban, scimitar, and all. I'm oversimplifying the play's influences for the sake of brevity, but there were countless productions of Colman's play--musical actually--as well as remakes and rewrites and spoofs and references throughout the 19th century. Just as Disney influences what we see today about the fairy tales it has produced, Colman's Bluebeard influenced several generations and their perception of Bluebeard to the point where Perrault's popular tale was not as well known as this play by the less literate. There was clever writing and fun songs and a thrilling story.

To read more about the work as well as what it influenced, I highly recommend Bluebeard: A Reader's Guide to the English Tradition by Casie E. Hermansson. (It's about much more than that, so I recommend it all around.) And of course, I included the full text of several of the plays in Bluebeard Tales From Around the World.

You can hear piano only renditions of the music from the play at Romantic-Era Songs and even over two centuries later one can understand how this musical caught the public's attention. Never underestimate the power of some catchy tunes. The score was by Michael Kelly.


And here is a very short excerpt from the play, a piece that is often collected in poetry anthologies that was extracted from the play:

Bluebeard
by George Colman the Younger
(1762–1836)

A FOND husband will, after a conjugal strife,
Kiss, forgive, weep, and fall on the neck of his wife.
But Abomelique’s wife other conduct may dread;
When he falls on her neck, ’tis to cut off her head.

How many there are, when a wife plays the fool,
Will argue the point with her calmly and cool;
The bashaw, who don’t relish debates of this sort,
Cuts the woman as well as the argument short.

But whatever her errors, ’tis mighty unfair
To cut off her head just as if ’twere all hair;
For this truth is maintained by philosophers still,
That the hair grows again but the head never will.

And among all the basest, sure he is most base
Who can view, then demolish, a woman’s sweet face!
Her smiles might the malice of devils disarm:
And the devil take him who would offer her harm!