Nyns eus goon heb lagas, na ke heb scovarn

There is no down without an eye, nor hedge without an ear

STAR INTERVIEW: CHEBNEY QUISTLE

Artist, poet, and musician Chebney Quistle speaks to the Roundup

The Relubbus Roundup will be running a series of "big name" interviews and, to launch the series, is proud to be able to publish an interview between none other than Renaissance man, Chebney Quistle (64), and star Roundup reporter, Loveday Liddicoat (34). As Mr Quistle is resident near Vaduz, Lichtenstein, Ms Liddicoat availed herself of the new Western National Bus Services from Relubbus to Vaduz Station, taking a day return saver ticket at the incredible price of only £4 15s 3d.

Mr Quistle, an Englishman who has come to love Cornwall, has through his numerous paintings, musical compositions, prose and poetry written to the glory of Cornwall, made himself dear to many a true Cornishman.

He came to live in Boskednan near New Mill as a young man of 23 back in 1932. He acquired his great love of the Cornish natural world by walking in the hills around his new home.

It was only the dark clouds of scandal that forced him to move abroad, following the alleged incident in a field near Heamoor two years ago. However, despite lengthy painstaking investigations by both police and the RSPCA, no charges were ever brought against Mr Quistle and, indeed, milk yields in that particular herd went up and not down...

Although he chose to remain a confirmed bachelor, Chebney was a very keen participant in many aspects of local life. He was an officer in the Boys' Brigade and a leader in the Scouts and could always be relied upon when it came to taking boys away to camp. He was also a Choirmaster at his local Church, spending extra time with the owners of his treble voices to ensure the piping quality of their performance.

However, the bulk of his time was spent with the brush or the pen or with his beloved xylophones.

Pictured on the left is Chebney's most famous (and valuable) painting, entitled My House. It cost him some 8 months of tortured work and perfectly captures the atmosphere of Boskednan in the early 1830s, when he first came to live there. This great work was purchased at a price of some £55 for the Tate by Sir Richard Branson, who was a great friend and admirer of Chebney before the incident in Heamoor.

Leaving his very considerable achievements with the brush aside, Chebney was a maestro with the pen and is acknowledged to be one of the greatest English poets.

His poem I am is reckoned to be one of the finest statements of the human spirit in print.

I am -- I am what it is to be,
Because I am what it is to feel.
So ask, please, no more of me!

Ask ye no hedgehog, ask ye no eel!
Just ask Elizabeth to show you -- her spot!
That tender centre of her innermost being --
That is a wonder to behold and not to share!

Brake markings on my underpants --
They are proof of my being there!
They will fade, as do all marks of human kind,
But when fresh, they are proof to the curious nose.

There are, grant you, prettier things -- like daffodils;
Like wandering trees on distant hills:
They summon up images of years gone by,
And of happy peoples whose smiles are no more.

I tire of musing and must close down
Or we will both wear your worried frown.
So go now away and leave me alone,
To play my wondrous Xylophone!

This phenomenally great work was purchased by Roman Abramski for the Russian Nation at a price of 76 billion roubles in 1995.

Chebney was never happier that when playing on his Xylophone. His favourite work, which he played for hours on end, was The three mice, who couldn't see! Like all great works, this too was subject to much plagiarism -- a popular version of it now circulating as "The three blind mice".

The Star Interview went as follows:

Loveday Liddicoat: "Mr Quistle, I do not wish to embarrass you, but could you tell us in your own words just what was happening in that field in Heamoor?"

The great man: " You little bugger! You...you....you....". Gasping for breath," You....". Eyes swimming, he then expired. Since no further words came from the great man, we must let his works alone speak for him.

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