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libidomechanica · 5 months

Text

Let it was such to my bear

A curtal sonnet sequence

Yet with Rose; oh do not gaze like superstition to retrace to obey. Every rich flowers her fast. We drank from Ill, that’s sae mean, althought a man wisest thy principle of snail, a nest. Men’s were thereupon she I loue and valleys. If aught to full of the tenor. In time she loved her foot was one request: ’twas I using; then once as your brave expansion. With whom she went bent, i’ll crossed, when I’ll keep your scattered men’s eyes.

Influence of him: I knew na where Pennsylvania humps on endless summer’s mirror, and thousand baby love’s austere and fetter’d by thee clime? Till piper, kicking coupled bee, so that was; no dirges low rang in your loving sound soon gatherer. And all night; dreaming down, o this poem been her cottage bent my wing’d eagle scorn’d in her sweet girl, we must be: for seed couple burning, the lines of the sun itself shall wed.

Be wisest of all their lives, anyone who ne’er forget long years to the thoughts, chaste and now did her wound the dreadful passion still off its harp of Life, his high mountains. Or under from Nubia brought to free from thinke now for merely supple bought in my vow binds him the answer him you can decay. We didn’t measuring politics of me behold as airy flight, eight to fire who will wrap you under highest is too normally.

Here I plants imbibing! In our dread, and fling yours in the man was for kissed his foot, but that your kind of the sleep, if I knew not with my fingers beat that it is another answer’d too clothes through the braw lass the same tempo. Were vanished, we cannot Music shall because your hands and see what other’s, yet since your beautie be, if looking of this shook in sorrow cleft me down the gaunt old Florian; holding For some golden rain.

Like a storm of bread as often lie drown’d in one and thou less never litanies, the blood partakes this make that it completely and here: not the world-wide wingèd brows are whatsoever such design again without what he chain’d where I so being faire necke a feast; you father with new sting in the light of Phœbe serve a knight, and thereupon twould come as these effect you came melissa—you! Bones the fall freedom or reason.

But when the dangerous Epic lilted out by this very generous, would, I saying though oft you threatening on he went of gay flowers, wax’d full glorious, it seemed by reason, it might slay us. In summer’s light, whose swift motion. For thee, which, ere you and young—I see, we swift proceeds from think no more? If it shall heauenly forget till day; Prithee why so dull a sweet like that upward sunne in true a prophet, for so short.

—But being, and like an applied, begins to crowds appear, be beat of the shape of straw; had you that sun their chiming, that gilds then the two. And daughter, these wert truly; love with so pleasure of Jealous pangs and sung her o’erclouded brain. To thee, when the still lives littler thanked fire, that you’re hurt there were shadow’s wish we not thy works on me gracious! Sea which doth standard beare: was not for pay, yours bereft, nor stunted chaste desired.

Is folded and an eye could not what it was fortunate! Knowledge might by his keen worse their name, and they shall wed. Left to us, that made itself in small lady vntrue, and so great a falling straight slay them, nor remedy, could beare: if thou soone as to arrivals of human filth that bases forth from its best wind, which their health to be a prophet, forget till help me at a beauty lack, her sex, the moon, yet dare not annex?

They answered Go: we have laid he, what did I love near? My new-found it grew both joy and lost. That was made the Crown head. On prey, as none, those hand, old wife. White clouds to dash that treats of wedlock to the Hand of promise they call heart becoming politics of mercy! For my sake whom for all that for place; crones, old will, you rebell by Nature slate the Flower yet I love as though you wilt thou be like a little; perhaps there.

Or fall of my love, how would burden, care. As to their first touch heats as show to the hunter and night. You knowing can despair, and smooth, scarce could not humble valleys, am grow among the fading poure out him— oh my breast discharge, tis hardly do prate. Then we dipt into the counts of lightnings, which oft hath made a defunct truth the hues of affect. Thus on her servants were the measure in the rest, and country brings, which he scale.

But her old come as the nobler age depressive as they approaches at least of traditions: and betwixt kings in praises are kisse. The pink, the autumn tresses from Gods dearest face in a hurry, hail’d forests. Warm, and tongue in its face so loyal in high and sky, and which evermore. He saw a wild scatter than for sense of thy side, we had a long daggers are. This grown so bad, that soundless prescription mixed, proclaim Lo!

My Sandy O, my Sandy O, my boyhood like a beam had slander, to sip; but in fears, half hidden guest, clips streight that glowed to search well who; the moorland die? Sharpness lie beneath thee! He will the shall slumber, but die from far where yon park, i’d rather hands found of the yields under breath, oppress’d; for laik o’ gear ye light with the flattery! Whom the inner that am I that men desire, sleep, to the large pedigree!

He hoasts and all thy shadows? Tis but me avow—you of herbs and blinder matrimonial victory in each it were red; she loved the pirates; and hearts endure it is able, o’ercharge, charge vniustest tyranny grew; a goodly royal maladies all the cheer, waved my heartfelt prayer, for the her into my heart relent, with one brightness when two pink, two of these were marriage feast begin to sell forgot; nor apt to turn.

By with their own slipped an orb, as though to make him those earlier page. And there wae and frantic-mad with everything to a phrensy which I should. Stream And those who could not conquered plaining eyes; for often lie deepest in the eye of streets at twenty of him, tho’ wretched forehead more he set they escape as Nature cordial for the way I throwes, biting Everest. But cold him within these thing, flies before you might so foul.

I, that twinkling snow; time watch her turn. Looking, she pause, for siller an’ lan’! The delight, those ruddie gemmes or for that harmed not; her simple awnings she was never could as t were they shall I dare the king thro’ the chronicles of life I must burst for the best you, ’ said not they be but only beames, the souls or bodies lose its virtue hath gain’d to behold, thought this epitaph to mine ear; and cordial for siller an’ lan’.

Was too true knights. Low island sound were clear raindrops in your love’s gain, and ten women are, and keep, forsooth, throughout the whole found, or wit, better top, there is everything of snarling still by the thoughts on he well? She brush thee rest are you delight; as beautifier, breath was her face. At first of the pitiless it were take their loves more thick as her strive the bowls, and looked here. She fulmined few could not disturbance trumps do not know!

Which trouble works overflowing ascends upon my sense; no subtill the seraglio wall, where she woodbine twins of glory to Heav’n’s halls thy selfe might expired: for never is, the blind; nor cause surrounded and let us stay rather horns the western sea! The green growing: astrophel, sayd she, my boast of deseru’d return again In this whole. Replied—if it were a room to the Turkish maid, from memory to Heaven!

Enough the while and they were I can say I turn, Amen! To paint thee only, one and pass with the starry nights in fooles mouth, angels’ trumpet down—and glory, that I love men and Heaven! We prayer, for you. For I must picture a pause. Your glasses in this caravan; and we drops its last sorrow through he now nor hast her wrath, my fond fancy falls out of view. So hard the criminations witnesse ouercame the Doctors!

But, trowth, I carried: but what I owe to sing in your ease they who served from its for the want with eyes, reason of the plough. For his voice is Folly’s least of the other is grilling thee solace, strange vicissitudes the wanton Childe-like, and snow, rain, and speech about the gull and cut down! Memory death: yea having the frivolity or late thee; till by the least glance upon our own ways bearing its avalanche’s lecture.

But sorrow vsing me, i’ll cross-grain’d where the facts are pour’d in all those rare as she brought all his no fixed to me! Fish one life in themselves, and whirl’d her way; she passed serenely life, I am gone for ever will I yield me but it’s only hag remain, and forbear to gives he’s doylt and religion. And all eares, in mine, lass, acquire for my sake let the ende such watery desolation, till down on your ruining?

Save chanced their Life that in the dying fit return, I turn this is the poor as I. The creature libations forfeit of thy heart compeers, like swine or twice, thought; but worne in verse’s fame: but is prior to sea in a castles shall right of silk and morality of bliss of that one thicker elements are plant thee after sea. I wish I could it merit at her own work even without what, but thou shalt win her fast.

The drew: he whose little as the fire is lost for bloud, around the knight. Sing to Jack, and bounteous, nor could still, to mar the morning’s doom: where on earth her sark, than in vain the passion stir; alone sinks down with rushes life as waters direct to thy cheer, wander, a birth her cottage bent my wing’d ship soon, dost thro’ all my fill; but we though all that looks not for the late to confess how thee true it. It compare, whaever hope you now?

Two in the labor of light head sitteth, and the vena cava. Till the way a man direction prove, with my dusky gleam luridly. The very part it move, and built, in this kiss for aught wind waves might to see: who much less fellow, which eyes the name and hath gain’d of life—I leaves return in hand against thy hear the brain and the long- limbed they escape. I’d counsel the fulmined to me, and figure. And, like the marriage.

I can compare, whaever hope to fill my mild and fear be spice. I made wretched with grief, but gaed by our man’s earth cannot Music raised his weight my minded; yet could never dew on ever wi’ her comes beautifully blue, autumn, yes, lest thus, o pious dreamed at a time for feels, and leave. Black cold, and I lose my honour, these other sigh, or make rooms were buoys were to see em, but Thanks, ’ she arose, for what I dare to passes.

So perfect draught she whole. Till the watery glasses in a poem, known me the mind from her pinion; the fall of dispraise. Through trusty bosom of King of their extremes of a burning lies derived a doubt, See, at all, that sight of frost, yet your baritone I care na show, as in a boat where she doth make arranging. He kept the sweet balmy lip when I lived too long than alive, who had present that you swore his Camel!

Studying no help, and how she practice. How can mortal fruit beeing grove, when the woman, she nurst, that had lyed; I said no one even silent music, our mother trie, by forces, were making Earth for this entertain when I see; her haffet locks had ended fawn came flood, then we were ever fair in knowledge of person, the kids had she speech was angry with scorn: shall have example, untested such thou should die, but a sort?

Or many a night all within their fate. Your running will pay the Sun. Prophecy dilating street, temperament. Of eastern as her body keep my vocabulary. When I see the way your language camel is to paste or ruining? All her, then, laden without disturbance terrace, under high rate. To be any men; and when it should servile toil releast, there any of our live, that he well? That fond fancy yet.

Of Knowledge come to chariot glimmering Accuser also the heard next to low did heart’s disguised in your voice like prayer is, to where so Heaven had burst, and drawing night I called her feather words the bringing though I leaue Loue indeed through a health to say that the tree within a dreamed on such skies. Surveyed him from my boys, come; come, which speaks you are above the old Ways, that thou art, thou turn to behold as airy steps.

For Fortune led him self must do my bones, bordred with the sought of all these wert built, in its best guarded by the eye, hauled away she knew not Him—become something a better shall not his Anguish moist, and cut down—and there we pace, and this passions. And thus you Stella euer deep dear is barr’d thus was as if it was just from the star, her bright—and with bleeding the moorland! The old Ways, that followed with her foes; but fix’d upon it!

And as they spoke, and old with scraps of united two, but she defied all the harvest Home. Which our eyes are born, who part of youth, which perhaps from a capricious flow, i’ll ne’er the wide whispering. And others smile upon each other’s hands, now turning the air. Look to that elders was long; for but feel that you out from her untimely warning: bury me before shall hoped to harm in the sun rests are forms a two- part canon?

In vain she saw or knew; and dress. Searches the poet sings and tempests cleere, but health, another airy step she must have seen identically, perched brows at there it grew—with meaning fountain-jets, and the pen in the day, in mine, lass, in mine, lass, that the arbour than the Carian Artemisia strong that which Natures—but loue inspired him from the pearls, shy, in order next process of Don Juan was in the vena cava.

That are things both twain, and from either hand touched the stirring a young De Foix! Rich in all ignorance is yet to face, which none would challendge to thy sake let this thro’ all meet; my Muse tumbled, who then do mine, would, like the worldly bent, i’ll ne’er for the leaned her sighed, and hath no great Creator’s praised the Princess; liker to draw men’s are, you are laid great, alone. I know nor hail they played in her native life of thing result of sin.

See how wildly fling the Living and of its tenants passion sunk, the crown! ’ Your mornings despotic: but when the glen sae rashy, O, aboon the lion never enough the fair. The torrent among melodie. New objects there’s the sweets all the rankle round. But less. Some wild bee’s suppliant Rebel feeding ballads in heavenly hag remaine, makes on the swamp. Be whatsoever court they should design again. And him fu’ dry.

My tongue than the mind by times, nor though the flowers.—Yon look’d dose at the reflection through within a second prince beaten what you’re hurt they knew lose both for blind; nor cause a lady liege, ’ said below love and if the thick eyelids open. Her wrath is my lab’ring still, hoping no causes or gotten to glisten here inherent—what the care na by. I wish and milky way; search, such you again as coolly to the know, walking.

Provide and Sence, shall run like a blind do see your fruitful spreading poured mind? We prayers, all awry: however slights brightly me, but, trowth, I called her throat; abase her heart could lose itself without as I do long life must not for mine eyes more happy soul! Neuer season, the wife lay she is my lord, dare I bid her she live with them, pried loose on that my voice doth maladies and your indiscretion lie; she has root, so low?

Is it woman or woman who With slow honey, and let your elbow. The earlier, and lurk; her cheek the care na by. Lets including to Jack, and love thee; and proved her station stir; a Richard, a fools perversely our belles and vanish in us had escape as Nature laid by age is well. Things when speak; it fall of fury makes the trip and glutted all intelligence, alas, my bruises and then may chance with this side.

Tinkling rivers, if they both his condition. Or as their dryness today when that we want one in her bosom’d grief they were and Imagination is, among then my hand! Her beauty, for the dead weight; as beauty, and the holes. Her hand to the ladies of mercy! This great come, as if the mone of faded for bliss or more mayst prove the Serpent that he torments? She knew not Him—become more’s the measuring punishment.

Lassie thocht na language plain tree in the arms about the day I met wi’ the same film so fine, it’s not how, but now is remembering and when young her sweet society; even we, which neglect of my minnie to singing by the land while youth and fair, no beaten way their prey; he slave, no bad example, as if I’m in interwove? The same, those thing of electric heater you scarce held in me is a purple, pulsing.

As makes to-night, and the earth puckered in an amber for years shall lies, and we sought his said no one knows so much; a turk, with the Saint—the while both will be late: thoughts of wit giuing woe in the road beside my deeds a Tyran groweth. And the key to wish tongues resting absent still thy day. That a glasses in celebrate, then to retrace; for lack of us must be better seed with it, as well; but, by his plaidie, they deceive.

In the chronic anger in the meadow shade shine; but her flat hills no, not become boding flute came, thy Heralds thro’ heave, and, wonder’d strifes, murmur are rustling like summers. And I water as a whale rises up, to doubt. Saying, I have lived-in, so unlike me, you murdring through heavy; thinks my sails, pilots of words oft uttered in, than alive, because my face, when the grave. Curse that dark crust is beckoned to write the body.

Young innate feelings I thought it live. On her father’s part, rich in this man to my heart burned, she says beauty’s effects his gains by all over sing the word, when tree, ye’ll faster of all the worse, which speak, how she praised, unknown, hearing, like a gem; to seek and mark; and spare the appalling. He felt it in hell not for sense; yet Juan’s the sense of my phonecard I’m sorry this as we once more? Within, to confessed the Germany.

So unlike Pygmalion, creeping not profusion changed from the will have nothing hands, and we beheld thee, walking on your disbelief. Yet there is lesson by this rhyme is dying in heaven with him: when the nymphs, thy best lodg’d in the time will, yet how I will the Robe of Perfect musing; thou flew’st most word to a swoon: and you gave you love me with holy house from out then returning, and I take herself out that is their last.

Should stir, so Julia, that when the dead, are hear smells, I see; beauty were foaming draught there, but Thanks, ’ she spak na, but in thy returning on to make, despair. ’ An auld bring althought deem high a? But closed: when the shine. Unjustly you call might neuer thy kiss, or the penny to his name; and the stage, doubtful bliss or mortal serenely spread it died she bore; she laying and other crest of thy fair of thy honour of Old England.

If he would you wilt thou after that I love took the woman-kind waved my mortal eyes—saying over Locksley Hall! Good she well? Good surety, that she praise and me. But, no: we are each other at my hitch over and bishop celebrate life shall it loving and when you are made the bugle- horn. And made of another’s grasp them with Sense, and open; but the trader, never was a kind the bed, the sigh behold with wine.

Coolly to lay the women weep over soul, abhorring of us making Earth should I not silence would retrace of hers you see the rain lasts anywhere pomp of each shallower pain, found a taste eternall happier than she; each held they to where Hymen’s eye. Nothing to a shrewd gyrles must be at a time, save that rather was the power for hate, I do, yet since my head anither Hand—not by inheritance.

Your mother change, for she was, and expressëd, dear joy, how cunning with human day is every I struck through to breathes round, and welcomed black-lined more child. As boys love of delight, and Music raised his tuned his recent promised and so belong, to passions cramp’d no long locks, their harts for the legendary Amazon as emblems of loue and in my arch of wine; for laid, and unto suns, that morning, and that tasted, he laid my short.

With blushes life is the memories, the sad and aye she spoke, their blossomed up into my lord, and less they had, alas, failes me, be kind. A blunt plaint and help our ears, will still it brings that one day we ran offer upward sunned in how plenteous showing, and he lives assist my plights it is mornings silence wakened soul gave allowed clouded in your ears, lest I grow sad. To their planet with those that formost places.

When he to Heav’n’s hall the gamekeeper’s habit; and in the week before he set out, ’ like summers. Is sudden movement, ere tyranny grew my tocher’s fame: I now must die: theeues stranger not till all flesh, as all thy passion hurried in one was shape of strife arose in a glass of science made the Blue Mountain might bride; or being shines above; give you are a concordance we lives in vain by their store; laid up, to drink, loue thee!

Till love thee! Who then to the page of walls repelled thee, whom the passes. Many a point them, pried life, for it. No father wi’ her choice, were coming hair, plunge the bark was warm pearls not if you love of snail, invent? How lonely everywhere held my wild goat by the best. For often in youths at charge half-empty should perplex to find, to work marred: I am your wheels wind. As yet t is—tis hard one seem’d turn back to me like a fall.

So hard to all my nature should buy, that I dare to sanctify their scorn, we brown, shot side against thy vertue merits, and trace and sighed so our Desire. And what rites that shell covered in every moments haue, but gaed by care na show, as author of God, or I’d enterprised, and he cast him doth your believe an ass was sire of dirt is part; alas, my love’s going well the heartbroken. As the siller an’ lan’.

Where not meet no more, such wild pulsationship that celestial son in my arms, and country cried my brown leaf shards gathers they driver, silver like a fouler far away; she have both daily chores: feeding flashing moon. Through Time, when some fell,—she thought with gentler day was changes the How; Giving street; in love. I haven’t win her sex, the swart-complexion shall links of his name; but that’s a kind of the King of the purple, pulsing.

Dusty floor when raine: another of the length things more deseru’d that lie round him from wall to make it not the most perfect’st man thou, sweet Eloquence of life paid me in divided Self, to nuptial sweet beauties will be to pastern command; like knot. And thee. Said Cyril took up the old witch! Her eyes in an offering bed! Fortune betray’d at once, fire and makes through each one is which mans mind. On all the eyes so round the palace.

There are those two, how your book the north I took up the Federations were preceding two? It was once romantic indigence; prudence, with what I am your porcelain of melting still I couldn’t have dawn’d a ghastly dew from the Tyranny? In Sicily alas you sticky glass, beauty’s truth the heart in pledges left his defiled, as we climate and some discussion shallow-hearted in all the motes the even.

Without great names for the sky, and take her. Love’s firmness—know you never finding thoughts, chastest, proclaim their malice? This union your feet still day. ’ Sweet lips asunder why so dull cabin, founded under at so shall lies, and you behold; last sorrows over vodka or coffee ought her foes; but I can make morning; our sounds might badge is black cold, daring us all. The northern hills, and in symbiotic lichen in you, Mag!

Back to be rock and keep their sweet propriated an awkward Counsel may your fall: then their love given, may remember: what, as a consent, just a caterwaul at midnight which bears ago when my one of music whichever sails propels; but passing punishment. Do boast how I wish me many- winter’d so; I sigh’d, and my eye, all for she laid him an’ wrack him, take some men’s eyes of whatsoever stores and the sinking more.

I should it more clear morning like feel me that braine is dying first love to save and never can compass of his Canto has grown with lower wished out by violet banks to muse of place far; thus much more to loue. But ’tis praises in corn, goodness, perhaps may not to brow, when I lit then, though it. And only mind. That she went down this love thee deny, but she is. And now consume us all, I trust you learneth to share is kind.

Was she. He contribute of Heaven! Just heavenly had left a traine is guides that the more, are your shall resign; forgive it is my luve to my bosoms; he sigh’d, and fortitude return’d her paste or ruin all then the Solitude! Or used the heard the snow not Him—become not know by what it take the rays of our fortunes, justlier balanced to hang on the day there we paceth forests, hath left a trampling her Saviours life.

So shall dive, and common sense did not humble as the lines of skin that when joyous tempest to draw you remind me Dead, and turn my Brow, and in woefull beauty, the first time, herself, and to find, and tears, quake too soon when their heart, there nature seldom that perpetual or potent spell. Watch out for spite descending. Of Joy—to Forty Morning turned, and saturning safe as the torrent off his resty race renewe, with Juan.

Float or sighes of the thirty-one throng’d my power of our faithful fire, that do you that I then was as mine in their exchange of the world’s good thing like an imbecile shall find in my brain to conquer Time. Now Pontius Pilate speakes senses, I hae seen, and scimitars above a world and under than the snow I dream-mother, whom Iron door: heaven, and their May was not too near; for so largeness when someone alone.

But her forget till I have not grieve, whaever her hearts first time, you’llhave time, soundless maintained, flaming without light had a Psyche, Ah—Melissa—you! I, to her Deare, that she was one sees clear, At last man,—and, afternoon where dewdrops pearl the day, with what am debarr’d without knowing how finely savage—what binds us: strong in the forfeit when the fiers mixed, prolong hence, a show, as if I weep, tis but read thro’ the fair.

Your client, should be—you of its harp and sighed deer leaps to Mars not if you depart; alas, my bonie Sandy O, my bones lie beneath a Woman’s fancy plays his typewriter like half-empty cup, nails rusting your thick with fish, we prayed so long to go wide. Have dawn: a beast will she then to harp of Life, an aster, who make the quiet compare, what Weakness shalt hear such, stands; Are you to me. Girl, hey, girl, we must tell, not marriage.

Then a snake: the statue-like my shore! And, not the chest—And I shall wed. Of Agripping down wi’ right routes, such the could rule all, with me, Soul and content, misdoubting my Highland latent in thine and women most oppression came at each tree still, is flank’d her who had power seem good bluebells; the blood to be free, while th’ effects, though town your hoods about then his gain, all be gone, is of a piece imperfect shade of my way.

Fame—a hungry and look, his life. In arms, and the gutter yet—be happened balloon burst, and our old face rose and a day, ye warp not. Scattered out with arms at vice and light; and me; and other’s and thus much outrage, and after thy name spoken, yet witch, you as Ra knew thee in the glen sae shy; for being maid. The might neuer thy faithfully. Into many a hero’s grave which she answered, the first, who had fall from Heaven!

Calm in her great work out your lap, and Years my Foot been set to what am I that think of the grave. He rode, not unespied, for comfort I have laid open; but the trees of the reade in their sweetned soul extend the fresh and Sence, and that were, that film so fierce light of youth, and beare on earth so fierce and these stanzas a louder gale hand, whose sweet propriated each more nearly. A grand-dames, the cloth’d myself wildly and lassie, O.

The earth their blossoms from God: nor longer touch, that hope to bid the church-aisle storie of decorum knowing variously think from, at a Draught of Phœbe served him in her roof he kneeld’st, and we be warm, he’d call, the same keeps its last the thought it look’d about thy fame; I rather trusted, he frets and gracious rhyme is scorched boy, how he shots I wanna be your Academic silks, innumerable as it man. And her head.

Midas knew; and thus in the male, and shed hence, moving your hands, in hand life, no cloudless demonstrous monarchs are so beautiful! Snow; for fear this unholy bower, thus, I carried: but if I could recollect is happy date and always the rest angels’ lays; for laik o’ gear ye lightnings, since inquiring here, virgins sow, and the mirror, and then had too longer lockt in her, myself that what shall rear my Garment wrong.

For ever. Into a charms for these halls, where shore had done my human stood read you father given, warrant the mortal thing of Heaven the view’d and ugly, wished my hands, and tuned his moment, without disturb your daddie’s sake the sex were and leap the heart. Will, whene’er for his long, her live, and soon on mee: who fail; then we hope to fly the bed to a womankind ready runs zigzag toward heavy heart’s false Art what hue whose Teeth.

His head where so being wings, streight of sin. Thou can place of his the Night! Girl, hey, girl, funnygirl and set them of kind, I know the depths of mercy were: the way right days, but earnest eyes to dance! It isn’t as sleep, the white and Haidee clung about the Wolf, not to save my yet be well? Thy golden climes I range in thou mayst have laid without attaint o’er the uttered from my moving still bite awake and if I have the desert sighs.

Loving, the grieved in Ossian wrecked days and your unhappy soul be undiscended but she sayes shut in universal law. And may remember, and the sea, the knight all the tears, quakes, palsied here among the patents of religion but track me down as ink on a divan. Of thy gained, flaming the porch that man that they do so that perish, falling, then down to die. Will prevail? The wanted to please his pulse that drown his horse.

Which his hard for all the truth’s stated me who have found a part, that had veil’d in the sunshine was one is smoke, its petty passion, fury, forget, I know the bleeding flash, than a God to each one by changed from thee, and though stately prevailed, but now was Juan, nor at the wind the pelf without a glass of the Root he drank—Young innate feeling. That ached from a learned to be your land wholly spoken and shrieking, and like a ring?

That to mine heroic compressing prudent, as under mother, but we past, and bigness of the beds, and laughings. Thy glory earth make the blue and the charm against they dimpl’t wi’ diamonds turn: the woo’d the sound upon thee breeze kissing the first, one seem’d to Juan, nor the large dark eye seem’d made a part, where, too, and jewel, here are allowed, thought his forehead spotlit. To benumb my hour, unseen, that I doubtful blasted plates from the south.

—The bonie Mary, the brain thy glory: and for alternate prayers. Your eyes, by Loue in itself when the thunder arched boy, pissing pride with you don’t much like a Body from hence. ’Er his right wraps me in a hurry and so much of mine own well heroes, whose then my shore dear silk-the corners of time. Her hair was small; not a breather hair was asked, Madam, if I dreams. And surrender dream of Heaven’s Dome is all approve you so.

And helplesse me from which colours that shall I love and the pineal gland, or for in the midnight, that any charge, and striking, and mow mechanism of silence in the queenly beames, they dined on the grace obtaine, beauty new; so close throngs of God they be not profuse; but spent off dearly; then if I knew. The roof, in the best; but an airy lust, too often as simplified with that my voice will hold me by toil, still.

How awkward Counselled to his barren was broken-hearted to be gone to be Judge—by surest wheat. And cold, the Countryman, and he hae the red chaste of my life in hand haggard and promising fire, obsessed with a daughter near repose on till to be still the wife. Yours from us and sang when true sensation seed-pod and blew the Vision of the fulmined their own joy. Hath left us be males were allotted eggs.

I sawe that was falling, severely wound to contain immortal men, his bad age; so bad, mad slanted to add; and tween a dreams and smote the tense and floor, can charm’d for her braine is our than our music hath can you both heaven so with a silken ways— or all the clicking lover side by side by her king my Highland lassie, O. And make for one Circassian, Grecian grandsire of people the river ran o’er heard, there is kind.

Past cure that it less always and he turned to torturing till my devotion hold you let it made the lips apart; made swell; and found he thrive and acts and virtue know my minnie to sing it back to your froward her back. Sleep and my wings was a’ beset wi’ an auld makes nothing to thy clear how sweet more alone. ’Re not the question further servant take a bless, fenced-in skins, raw from the Turkish maid, I have been born is gone.

It will be gone belied, beginning along the preciously was onely every part, it were like other and four-footed China and challenge, few words of louers. I do him we wondering fit, as if the sun in war, the brow dost they could call’d in a glass, that fame one new life, while to look and mark; that gushes, that inscriptions part of return. Or fourth wife, the Princes in a vision of elves: while the bed to his due.

As in a city by the Antelope and leaves, and love a word brings all their son. With the bases for his with Rose; oh do not profusion worst was longing glances of the fish did her mortal summer, thy finger of art a diuels in the sea together give birth yet it were hunger-starves amidst the people, as a sentimes were fooles hire where shall have made to all they slept in peace, asked with to-morrow, and more.

Not fault in women would be lynched cress wave? Thus I have circum-walk the climes I must not tell the meadow shade through tall and eu’ry part my plight, but whether handsome and in the holds my soul and others re- deliver men say, mingle light clinging is a fever dies! And state it, who had profuse; but me as white, when some days in bed. And take their treasures were born to be Italian boatman slept, kind Nature could a candle.

Or fourth wife, let him as an old basin, but not made to beg her sad words he took her as deeper on her pillow: the treasure found me roots of gold, opening pang, the ocean like them appear in the silver clear, and in like a music to burlesque. And I’ve dark valleys; meseems they mix’d as man those which, I say though not one, And the crack your sin the subtill truth? She dwell the tears, quake too far; but, trowth, I care for us.

Though either; neither Hand—not by rude for hours, hath to make Thee Living is either; neither friend for thee. And fro: a class, and tune; he chest—And I’ve dark eye shall untune they thought but over has met wi’ my Phillis to judges on all that it to them out: their Life through we inhabit on high, while ourselves ye comes by the Fire of the day, till the best see, the primroses and N2 that Psyche to myself laid his Desire.

Would chain’d with fur in a clasping knowledge, and Don Juan, here once a fluid haze of love; and the sky with long as rosy cheek to charity. Here Raucocanti? For fame! This is in others; arts of travell’d air, braver at my wings, which now I will choose. Speeds there breath blot then flew upon the forms and in his story of a noble natures for the lovely Pussy-cat went to snap, do there? Lost and a desk of Solomon.

’Re like the dead learnt? And nearer thro’ the fen she story make her untimely sleeps there’s the jewel, here too much; if only left her before than dead brow sun-shaded in a languish, whose faults, who draw the hand, the language you that they slept in perfume. Upon the restless mere, whaever has grown me taks pity grace; for bending day, although fame is well with so pleasure clog him, without a guide the world-wide whiskey in my care.

#poetry #automatically generated text #Patrick Mooney #Markov chains #Markov chain length: 6 #167 texts #curtal sonnet sequence

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starlit-pathways · 3 years

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rules: tag people you would like to know/catch up with❤️

thank you so much @faeinthefog for tagging me, you have such incredible taste???? (as always) also, brb adding piranesi to my already-too-long tbr list

...speaking of lists that are far too long!! *cracks knuckles* let's get down to business!!!!

last song: excluding my many varied writing playlists, then probably eclipse by moonbyul or love poem by iu, including my writing playlists then this was my last listen

last movie: the prom. didn't personally vibe with it but i know it meant a lot to some (personally, i feel like a lot of what it was trying to do has already been done better by other films—like ek ladki ko dekha toh aisa laga). it had very pretty colours in it?? and i definitely wouldn't pass up the chance to play emma in an actual musical, but i feel like the story itself is too much of "aaaaand THIS is how the Gay Struggle™‬ applies to the average straight person!!!" which I don't even mind in a story that's done WELL (again, see ek ladki ko dekha toh aisa laga, or even one of my favourite books; the seven husbands of evelyn hugo) but i don't personally feel like it was done well enough here to pass it off

currently watching: oh no. a LOT. uhhhh okay let's try counting

1) godless—a miniseries on netflix which is v. good and very beautiful; essentially a story about fatherhood, masculinity and the loss/lack of it in a historical "wild west" type setting (it's a lot more diverse than it sounds. i promise.)

2) the fresh prince of bel-air—i shouldn't have to describe this one to many people lol, but it's basically a comedy about a quick-witted, very street-smart boy who goes to live with his very wealthy and privileged family in bel-air. it's very funny, and very heartwarming but i'm only a couple episodes in so far.

3) my mister—i'm only a few episodes into this drama myself but. damn. it's a show about two very broken, wearied people whose lives are falling apart in different ways (a very principled slightly older man, and a very... alternatively principled younger woman), who find each other and help each other heal. i've seen their relationship described as "everything but romantic", though the subject of romance and the nature of their relationship is questioned in the show and sometimes by the two characters

4) taskmaster—this one's just FUN, and also quite honestly pure chaos. i'm trading favourite shows with a friend, and damn if i'm not having a blast with this one. it's basically about a group of comedians who get given a set of tasks/challenges to do, to see who does them best—it has the exact same vibe of the joke "how many comedians does it take to change a lightbulb?". if nobody watches anything else of the show, i implore them to at LEAST watch this tree wizard clip. it's a masterpiece.

5) rick and morty—probably not my favourite type of show (monster of the week's not my usual style), but still good if you're it's intended audience. trading this with another friend, and i'm very much enjoying the experience of trash-talking all of the adult characters every episode with them.

6) mr. iglesias—this one's a very new addition. am also watching it with a friend. comedy about found family in a classroom full of underprivileged kids and the one teacher who really cares about them. i like it! i love marisol a lot as a character and mr. iglesias is very wholesome

re-watching:

7) the untamed—i'm going to be watching this show in some capacity for the rest of my life. i'm on my seventh watch by now and it never diminishes in quality. it's a truly epic introspective character exploration, about a quick-minded, entirely chaotic and very free-spirited man who dies and comes back in quite literally the opening moments of the show. you get to see his descent from being the world's envy to being the world's villain. it's a wonderful fantasy series about perception, the nature of morality, of family (born, raised and chosen) and about building a better world. did i mention that the main character is—as far as chinese censorship laws would allow—very bisexual and the story very heavily features a love story between him and another man? this was the edit that got me into it (it has spoilers but without context it won't make any sense anyway)

8) healer—what a drama. this is all about the power of information—how being informed and making information available can heal a nation that was built to be corrupt. starring a character who is basically a man who is a much poorer batman (kind of like a batman for hire?) with superman's love life (the show's got one of the best and most valid love triangles i've ever seen—and that's coming from somebody who typically HATES love triangles with a burning passion) and a woman who is feisty and strong-willed but not in an overbearing way? as well as amazing action, from somebody who normally can't stand action. i love the chemistry between the two romantic leads and just. i love the three leading characters, and a great deal of the periphery ones a lot. this show is absolutely incredible, would highly recommend

9) it's okay to not be okay/psycho but it's okay—a show that says neurodivergency and found family rights!!!! it's a very healing and introspective drama, but equally very intense/gripping/interesting? the chemistry between the two leads is astounding, and i just really love the amount of empathy this show has? it's truly stunning to watch and experience. starring an absolute badass of a woman, who acts almost entirely on impulse and communicates with the world through storytelling and fairytales, alongside a very kind and nurturing man who doesn't know how to communicate when he's miserable and an autistic man, who struggles deeply with his own fight for independence (i wasn't too sure on him at first, but he grows into just as much of an equally important character as the other two and i loved his arc).

currently reading: the earthsea quartet, by ursula le guin—i'm really loving it! it's probably not one of my favourites (yet), but she has such an interesting way of building up her world, and there's such a strong sense of compassion in every word she writes.

also i've recently found and fallen in love with this fic series. it's very nsfw and modern au's aren't usually my thing for historical (or even semi-historical) fiction/fantasy, but there's just something about sex worker!wei wuxian and translator!(and also secret fashion nerd!)lan wangji both being absolute disasters and also really cute and really repressed but also being neurodivergent and disabled characters (i'm SO here for autistic!lan wangji, traumatised!wei wuxian and chronically ill!yanli all being happy) and getting therapy that really appeals to me.

currently craving: crisps. always. of the salt and vinegar variety (this specific variety especially), of course, but there's never a day that passes when i'm not craving crisps

this was really fun!!! now for the worst part of this............ tagging. OKAY. so... please know that nobody is under any obligation to do, or even acknowledge, this—and also, if i missed you, you see this and you WANT to, then consider the act of seeing/hearing this a formal invitation

@ethereal-sserendipity @lillb5678 @genericfandomusername456 @mars-aria @ikatella @juliedohbigny @multiplequestionmarks @itiredwriter @myrim-anna-rose @gaysofmyheart

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katzviedrehypercraft · 3 years

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Myths and facts about Roma community. Because of their nomadic lifestyle and differences in language and culture, Roma and their more settled neighbours have held each other in distrust. The popular image of Roma as tramps and thieves unfit for work contributed to their widespread persecution. This belief is often cited as the etymological source of the term gyp, meaning to "cheat", as in "I got gypped by a con man." There are still tensions between Roma and the majority population around them. Common complaints are that Roma steal and live off social welfare and residents often reject Romani encampments. This has led to Roma being described as "perhaps the most hated minority in Europe." In Eastern Europe, Roma often live in depressed squatter communities with very high unemployment, while only some are fully integrated in the society. However, in some cases—notably the Kalderash clan in Romania, who work as traditional coppersmiths—they have prospered. Although some Roma still embrace a nomadic lifestyle, most migration is actually forced, as most communities do not accept Romani settlements. However, each year in May approximately 10,000 to 15,000 Romani people go on a pilgrimage to Les-Saintes-Marie-de-la-Mer in Southern France. Roma arrive in caravans for celebrations, weddings and religious ceremonies.Many countries that were formerly part of the Eastern bloc and former Yugoslavia have substantial populations of Roma. The level of integration of Roma into society remains limited. In these countries, they usually remain on the margins of society, living in isolated, ghetto-like settlements (see Chánov). Only a small fraction of Romani children graduate from secondary schools, though numerous official efforts have been made, past and present, to compel their attendance. Roma frequently feel rejected by the state and the main population, creating another obstacle to their integration. They may have emerged from the modern Indian state of Rajasthan, migrating to the northwest (the Punjab region, Sindh and Baluchistan of the Indian subcontinent) around 250 BC. Their subsequent westward migration, possibly in waves, is now believed to have occurred beginning in about CE 500. It has also been suggested that emigration from India may have taken place in the context of the raids by Mahmud of Ghazni. As these soldiers were defeated, they were moved west with their families into the Byzantine Empire.[169] The author Ralph Lilley Turner theorised a central Indian origin of Romani followed by a migration to Northwest India as it shares a number of ancient isoglosses with Central Indo-Aryan languages in relation to realization of some sounds of Old Indo-Aryan. The traditional Romanies place a high value on the extended family. Virginity is essential in unmarried women. Both men and women often marry young; there has been controversy in several countries over the Romani practise of child marriage. Romani law establishes that the man's family must pay a bride price to the bride's parents, but only traditional families still follow it.Once married, the woman joins the husband's family, where her main job is to tend to her husband's and her children's needs and take care of her in-laws. The power structure in the traditional Romani household has at its top the oldest man or grandfather, and men, in general, have more authority than women. Women gain respect and power as they get older. Young wives begin gaining authority once they have children.Romani social behavior is strictly regulated by Indian social customs ("marime" or "marhime"), still respected by most Roma (and by most older generations of Sinti). This regulation affects many aspects of life and is applied to actions, people and things: parts of the human body are considered impure: the genital organs (because they produce emissions) and the rest of the lower body. Clothes for the lower body, as well as the clothes of menstruating women, are washed separately. Items used for eating are also washed in a different place. Childbirth is considered impure and must occur outside the dwelling place. The mother is deemed to be impure for forty days after giving birth.Death is considered impure, and affects the whole family of the dead, who remain impure for a period of time. In contrast to the practice of cremating the dead, Romani dead must be buried. Cremation and burial are both known from the time of the Rigveda, and both are widely practiced in Hinduism today (although the tendency is for Hindus to practice cremation, while some communities in South India tend to bury their dead).[196] Animals that are considered to be having unclean habits are not eaten by the community.

According to a legend reported in the Persian epic poem, the Shahnameh, from Iran and repeated by several modern authors, the Sasanian king Bahrām V Gōr learned towards the end of his reign (421–439) that the poor could not afford to enjoy music, and he asked the king of India to send him ten thousand luris, lute-playing experts. When the luris arrived, Bahrām gave each one an ox, a donkey, and a donkey-load of wheat so that they could live on agriculture and play music for free for the poor. But the luris ate the oxen and the wheat and came back a year later with their cheeks hollowed with hunger. The king, angered with their having wasted what he had given them, ordered them to pack up their bags and go wandering around the world on their donkeys. Romani Code, or Romano Zakono, is the most important part of Romanipen. It is a set of rules for Romani life.Though Romani ethnic groups have different sets of rules, some rules are common for all. Those rules are considered to be the Romani Code, and rules that differ are called "customs". Oral Romani cultures are most likely to adhere to the Romani code, these communities are geographically spread.[20] There are proverbs about the Romani Code and customs, such as:There exist as many customs as there are Romani groups. (Kitsyk Roma, dakitsyk obychaye in Ruska Roma's dialect) There are many Romani groups, but only one Law. (Romen isy but, a Zakono yekh in Ruska Roma's and Kaldarash dialects) Rules of Romani Code describe relationships inside the Romani community and set limits for customs, behavior and other aspects of life.The Romani Code is not written; the Romani people keep it alive in oral tradition.The kris is a traditional institution for upholding and enforcing the Romani Code.The code can be summarised in pillars; the main pillar representing the polar ideas of baxt (pronounced "baht") meaning honour and ladž (pronounced "Ladge") meaning shame. Linking to the article above in reference to "purity" they can also represent the idea of being "pure" or "clean" and "impure" and "unclean" It is honourable, in Romani culture, to celebrate baxt by being generous and displaying your success to the public. The focus on generosity means sharing food is of great importance to some groups of Roma. Making lavish meals to share with other Romani visitors is commonplace and in some cases not having food to share is considered shameful.

Sources: Wikipedia. 2021. Romani society and culture. [ONLINE] Available at: https://en.wikipedia.org/wiki/Romani_society_and_culture. [Accessed 9 March 2021]. Balkanproject. 2021. Who we were, who we are. [ONLINE] Available at: http://www.balkanproject.org/. [Accessed 9 March 2021]. Arzamas. 2021. Truth and myths about cigans. [ONLINE] Available at: https://arzamas.academy/courses/4. [Accessed 9 March 2021].

#research

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hello-amine-benaissa · 4 years

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Blog Post #17/18 (20 points) Due Tuesday at Midnight

The last two weeks of class are going to be intertwined. Next week we will watch a documentary on Bob Dylan. It was going to be Pete Seeger, but I only have that on DVD, so we’ve switched it!

The last week of class we will be surveying modern protest songs together during class time. Lots of fun! In preparation for that, please complete the two assignments below.

Download the article from Moodle about Socially Responsible Music Consumption.

1. Turn to the appendix and complete the interview questions for yourself and post them here. (Don’t forget the one on the next page.)

The main factors that influenced my purchase are the need for me to have it and how much of an essential item it is to me, alongside how much I like it. So basically the need and desire for this purchased item.

The last music related purchase was Eminem’s latest album “Music to be murdered by”.

I mainly bought this album because I am big fan of rap music and Eminem signature fast rapping style, alongside really enjoying the songs in the album.

My kind of music is very diverse since I enjoy any type of song as long as it has a melodic tune and great context. But the genres that I prefer are rap and classical music.

I mainly consume music through spotify and youtube.

The current music industry is not so appealing to me since it mostly leans on the same rebellious ideas and context of partying and breaking the rules.

My favorite musicians really know how to leave a positive emotional or nostalgic impact on me as a person.

I definitely continue to prefer buying albums of my favorite artists which limits my perspective on music.

I don’t consider any social responsibility when buying music as long as it’s from my favorite artists and knowing that I’ll enjoy it.

I honestly can’t think of ways musicians are engaging in socially responsible behavior except when it comes to the lyrical messages, that either have a positive or negative impact, they are sharing with the audience.

No, I can’t think of any examples of socially responsible behavior within the music industry except for the mumble rap contributing to unacceptable sexual behaviors, drug or alcohol use, and violent illegal activities.

I have never attended live music events. But if I do, I would definitely consider the general aspects of socially responsible behavior.

I have never attended musical live events. But if I do, I would engage in socially responsible behavior.

A socially responsible musician is an artist who takes into consideration the lyrical messages and context of his music while studying the general impact it would have on the listener whether it’s positive or negative.

I definitely believe it is important for them to act in a socially responsible way in order to achieve the general benefit of the audience.

I would accept to buying an album or attending a concert of an artist that I perceive to be engaged in socially responsible behavior as long a I enjoy his music and art.

I have attended a live music event.

I would compare the role that social responsibility plays in everyday consumption decisions to music consumption decisions to our consumption of visual contents on the internet or television. The more beneficial and positive the impact of the music has on the listener, the more this music supports social responsibility.

Social responsibility is an ethical framework which suggests that an entity, be it an organization or individual, has an obligation to act for the benefit of society at large.

Read the article, focusing on the results section (skim the beginning).

1. Discuss how authenticity is important to an artist’s efficacy in promoting a social or political.

I believe it’s important for the artist to establish, at least minimal, authenticity not only because it would help his work to financially succeed and maintain the market value of the created art, but also enabling the listener to understand the practice and history of this art as an intelligible history of the expression of values, beliefs, and ideas, both for artists and their audiences. Furthermore, art influences society by changing opinions, instilling values and translating experiences across space and time. At the end, this shows how art authenticity promotes the social or political notion of responsibility affecting the fundamental sense of self and representing the repository of a society's collective memory.

2. Cite an example from the text.

As the article discussed the results of their experiment: “Musicians are also considered to be more authentic in their promotion of social causes where they are actively involved in these behaviors themselves. For example, although one of our participants here expresses frustration at one of his favorite bands for their seemingly repetitive promotion of homelessness and the implications therein, he recognizes that they have legitimacy to locally campaign for this particular social cause.” (T. Green, page 240)

3. Can you think of an example you have witnessed of either an artist promoting something that didn’t seem authentic and one promoting that did? Post a link or video if you can.

Whenever I imagine of artists promoting something that’s definitely not authentic, I think of all the useless mumble rap advertising sexual activities, drug use, and violence while pretending they are cool and modern unlike normal civilized people. Most of this music uses strong language and visuals in their music videos, hence, I don’t believe I can post an example of this unauthentic music on Tumblr. In contrast, unauthentic music doesn’t have to be useless with a bad impact. Therefore, I think a good song that promotes the same inauthentic idea of dancing and being happy, but still have a positive impact is Daft Punk’s “Get Lucky” ft. Pharrell Williams, Nile Rodgers.

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Nevertheless, a good example of a song that promotes an authentic idea with a positive impact is the example of Bob Dylan’s song “Knockin' on Heaven's Door”.

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Read this piece on what makes a good protest song, at least historically, and how that may be changing today.

1. Write a paragraph on what you think makes a good protest song. Reference the article and choose to agree or disagree with something they said.

The article states a solid argument that shows what makes a good protest song is its durability across our history and how its message is a response to multiple conflicts and debates. As the son of Minnesota’s Iron Range argued in the article about how Bob Dylan’s folk music is a good example of how much meaning and depth a song can have: ““Blowin’ in the Wind” endures, he said, because its message of being responsive to suffering can apply to so many episodes in history.” I totally agree with this idea since music reflects the culture and folklore of a society. This is seen in our national rhythm, compatriotic song, traditional songs, which emerge from classical literature, epics and heroic poems. Songs and music mirror history, values, norms and the mentality of a society.

2. Look up a favorite artist (keep going until you find something) and find some ways in which they are trying to make a positive impact. This can be either charities, benefit concerts, lyrical messages, etc. Share you findings.

I really enjoy John Denver’s music because it shares a strong message of belonging and nostalgia to your home country or setting where you grew up. For example, “Country Roads” is such a good song, not only it was sung well with great lyrics and context, but also in its transcendent ability to evoke feelings of home and belonging. Although I am not from West Virginia, listening to this song made me miss Morocco everytime thanks to its broad lyrical messages which supports the previous argument I agreed with. This song uses a relaxing beat with slow tempo allowing the listener to truly indulge and experience the song’s relatable ideas. In addition, I think the song is strong enough to evoke the listener’s feelings and memories thanks to the description of famous places in West Virginia which helps the listener to remember his home and the memories they spent in them. These findings show how music can relate to a person using meaningful lyrics alongside a good beat, much like “Country Roads” that uses the mentioned methods to stimulate the audience.

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3. Discuss if you think they are effective, why or why not.

I certainly believe the methods “Country Roads” uses are very effective thanks to the relatable lyrical messages and emotional context it shares with the listeners. Furthermore, it shows what makes a good protest song displaying the beautiful and meaningful lyrics that appeal to a broad audience and emotionally influence the listeners. Hence, a good folk song bypasses the listener’s beliefs, ideologies, and nationality allowing the music to reach out and relate to them. At the end, the methods of creating nostalgic lyrics alongside a relaxing tune helps the song become even more effective and enjoyable.

#music is power #Culture #society

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spamzineglasgow · 5 years

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Blissful Tendencies: An Interview with Robin Boothroyd

Robin Boothroyd’s pamphlet Another Green World, which takes its title from a 1975 Brian Eno album, will shortly be released through SPAM Press. In advance of the pamphlet’s launch in London this week, SPAM editor Maria Sledmere caught up with Robin to find out more about his thoughts on procedural strategies, ambient poetics, influence, post-internet poetry and writing as an act of attention.

Robin published his crowdfunded landscape poem Quintet for Wind and Light in 2016. He also has a debut collection forthcoming with Sine Wave Peak.

You can pre-order a copy of Another Green World here.

Can you talk about your first encounter with Brian Eno’s album Another Green World, and what drew you to write a pamphlet after it?

I read about it before listening to it. This was in an article on the Quietus celebrating the album's 40th anniversary. Instead of focusing on historical context, as is usually the case with such pieces, the writer had foregrounded their personal experience of the record, and there was something in the way it had made them feel which struck a chord with me. Further, the piece mentioned Eno's Oblique Strategies cards used during the album’s composition – flash cards drawn at random to open creative pathways – which I instantly knew would be useful in my work. So the album has always been associated with creativity for me. With this context, and the way the music floored me when I first listened to it, it was perhaps inevitable that I'd write a pamphlet inspired by Another Green World. In fact, I've written two!

What was the process of writing, responding and revising?

In 2016, I went to a workshop at the Poetry School led by Emily Berry. One of the exercises she gave us to do, I think via Wayne Holloway-Smith, was to give us a sheet of song lyrics with every word of every line erased apart from the first. We then had to write a poem using this skeletal structure. I enjoyed working with the tension between improvisation and constraint, and thought it might be worth applying the exerciseto a sequence. And what better source than an album which was already central to my personal mythology? Turns out it's pretty hard to write more than one though! So I sought out some prompts to finda way into the poems. I realised I had a string of key words, so I decided to use Google's suggested searches to 'autocomplete' some of the lines. These were then used either as a springboard for improvisation or verbatim asa new line.

Can you talk a bit about what the title means to you. It could imply a kind of iteration: Oh look, another green world. Or maybe it’s an invitation, a gesture towards/into some alternative space. Are we exhausted with utopia, or is this doing something different? What kind of green world do you want to conjure?

You know, I haven’t really given the title much thought! It’s always just denoted the album. It’s surprising how often such things go unnoticed. For example, it took me around 20 years to realise that The Beatles is a pun. But to answer your question, I’d lean towards the alternativespace idea. Because I’m very much interested in the power of the imagination to conjure an alternate reality, another green world.

Your practice of generating lines from Genius song lyrics and Google search results mixes improvisation with intertextuality, a kind of poetic aleatory that has its lineage in everything from Mallarmé to Sam Riviere. What drew you to this technique, and who are some of your favourite influences that use variations of it?

I have to admit that I needed to look up the word 'aleatory', an anagram of a Tory ale. I see that it means 'used of the element of chance in poetic composition', so it's bang on! I'd be lying if I said that Riviere's work wasn't an influence. There are certainly parallels between the generative technique he used for Kim Kardashian's Marriage and my own. Another influence would be Jackson Mac Low's Complete Light Poems, which were composed using chance operations, a chart listing 280 kinds of light and a code based on dedicatees' names. It’s such a fascinating book!

What do you understand by the term ambient poetics? Would you describe Another Green World in this vein?

For me, poetry – whether writing or reading it – will always be an act of attention. And the ambient, at least by Eno's definition, is the opposite: an atmosphere, a vibe. Which is to say, a form which is intentionally undemanding of your attention. So the idea of an ambient poetry is a paradoxical one, and therefore attractive to me. I’d describe the work of Aram Saroyan as ambient, and Void Studies by Rachael Boast. Another Green World is more concerned with mood than it is with meaning, so I suppose it is in some ways ambient, yes.

I’m interested in what happens when you structure a poem in song form, with verse, chorus and instrumental sections. It’s like something escapes, deliciously, in my reading: I’m aware that the poem is a compression of something bigger, like it retains its virtual charge. How did you find using this structural constraint: was it a mode of compression or expansion? Do you see the lines as playfully ‘set’ to music or is it more complicated than that?

Every poem is a performance. Poetry is performed when it’s written, and it’s performed when it’s read. When I sourced the album’s lyrics from Genius, they included various descriptors in square brackets – [Verse], [Chorus], [Epic guitar solo] – which I found amusing and theatrical, so I chose to keep them in as remnants of the songs. I’m glad you feel that these make them retain their charge. For me, their presence highlights the performance of the poem. I invite the reader to imagine – which is to say perform – the guitar solo, for example. So it’s a compression before an expansion.

When you first submitted the pamphlet, you highlighted the fact that Eno’s album Another Green World is ‘pre-internet’. Given SPAM is self-described as a post-internet publication, obsessed with putting the internet on the page, as it were, how do you see the relationship between post- and pre-internet in terms of both music and poetry?

Many people would have you believe that we read less these days, but it’s simply not true. If anything, we read more – instant messages, articles, emails, social feeds. It’s just that reading isn’t centred on the book any more. I’m fascinated by the different attitudes and registers between these bodies of text, and seek to recreate them in the poem. That’s post-internet poetry for me. I was born in the mid-80s, so I experienced the majority of my childhood before the invention of the internet. And there’s a tendency, among my generation, to yearn for those blissful offline days when we weren’t barraged with information or paralysed by the anxiety of the infinite. Pre-internet as prelapsarian. Another Green World is interesting to me because it demonstrates the hopeful yearning of much late-70s experimental music, which has often been characterised as ‘nostalgic for the future’. Perhaps every generation is defined by their nostalgia.

Many of the poems are, like their Eno namesakes, ‘instrumentals’. How do you understand this working of a clearing, of silencing voice or lyric articulation in the space of a pamphlet?

It started as a joke. I was surprised to find entries for the instrumental songs on Genius, which is fundamentally a database of song lyrics. The idea of a poem withno words was amusing to me, so I kept them in at draft stage. But the more I read them, the more I felt that they could also offer an imaginative space – room to dream – triggered by the titles. When you silence the poem, the poem sings.

Another Green World has obvious environmental connotations. You describe a previous publication, Quintet for Wind and Light, as a ‘landscape poem’. Do you see Another Green World, as well as its procedural germination, as ecological in any way, a kind of reflexive, pastoral intervention within the contemporary?

Hmm. I’m not sure. What I remember finding in Google’s suggested searches was a desire for connection &/or information, most often regarding technology. Very few were pastoral or ecological in nature. But as I touched on before, the poem is a space for the imagination to go to town. This is how Another Green World is linked to the Quintet, by conjuring (sometimes imaginary) landscapes. Looking through the pamphlet, I see that the titles are pastoral: ‘Over Fire Island’, ‘In Dark Trees’. And some of my original lines concern nature: ‘Picking rosehips in winter’, ‘Who knew snakes don’t have legs’. Perhaps I wrote them to emphasise the contrast between the physical and digital worlds, which could be ecologically motivated.

It strikes me that there’s this strange quotidian tenderness throughout. Lines like ‘I’ll frogtie you with twine’, ‘Just add plant food’, ‘I’m eating a gluten rich flapjack’, ‘Taking my sweet time’. I’m seeing this as a sort of recognition of what’s worth keeping, an ethic of noticing and sharing. I love that line, ‘Everything not saved will be lost’, how it reminds us of our contemporary over-archivisation of every tiny detail of life. What function does poetry have as an everyday archive; is it something about accumulating a more humble mythos for the present, or something else?

When Frank O’Hara writes 'It is 12:20 in New York' and tells us about the walk he goes on, I really feel that it is 12:20 in New York. The poem becomes the present moment. I value the quotidian in poetry because it’s where life takes place. Not every moment is an epiphany. A few years ago, I wrote a set of lighthearted ‘rules’ for my poems, and the first one is 'be attentive'. Even outside of poetry, I’ve always made a point to enjoy the little things in life because they add up to something bigger. I suppose you could describe it as a kind of grounding technique, self-care. The everyday is also intensely personal. One of my favourite books is The Pillow Book by Sei Shōnagon, written around the year 1,000. It’s a diary in which she kept lists of her likes and dislikes. ‘Things that can't be compared’, ‘Things that create the appearance of deep emotion’, ‘Splendid things’. These give us such a clear portrait of what she was like as a person; her hopes, dreams, fears, desires (and, by extension, those of the society at the time) are all there in the lists. In a way, our internet search histories give us the same portrait today.

In the pamphlet’s epigraph, comprising the opening words of Eno’s record, there’s this line ‘Everyone just ignores them’, the words that ‘float in sequence’. Do you think we tend to ignore the elements of poetry or music we find difficult in this way? Is there something about beauty or function in meaning’s recalcitrance here, or are we just lazy readers/listeners?

I’m not sure whether people do ignore difficult artworks. I think they tend to hate or dismiss them. ‘Rubbish!’ Or, ‘My toddler could’ve done better!’ Perhaps that’s the same thing. For Eno, I think he was commenting on the fact that a great pop song doesn’t need good lyrics because no one pays attention to them anyway. They just hum the tune. You can’t not pay attention to the words in a poem, so I thought it would make an interesting epigraph.

How do you want people to read Another Green World?

As an invitation to play. I'd hope to elicit laughter and spark daydreams.

How do you see this pamphlet in relation to your other work and ongoing projects? What’s next in the world of Robin Boothroyd?

Quintet and Wind and Light, my previous pamphlet, was also inspired by Another Green World. It even quotes some of the lyrics! So they’ve always been two sides of the same coin. As for what I’m working on at the moment, I’ve started to gather a selection of concrete/minimal poems that I’ve been writing on and off for about five years. They’re a mixture of word associations and hybrids (e.g. ‘rhinoctopus’), and a couple were published on M58 back in 2015. My working title is Atomised. I’ve also begun a new landscape poem, ‘Vermilion Cliffs’. In terms of publications, Holiday Eyes, my first collection, is forthcoming on Sine Wave Peak.

#poetry #Robin Boothroyd #Sine Wave Peak #interview #poetry interview #literary iinterview #SPAM #pamphlet #Brian Eno #Another Green World #ambient poetics #Sam Riviere #concrete poetry #music #Genius

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kagetsukai · 6 years

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Writing Process Meme

So I got tagged by several people for this meme (thank you @jonogueira, @ladydracarysao3, @roguelioness & @princessvicky01) and I finally got the wherewithal to get it done.

Short stories, novels, or poems?

Writing? Short stories, hands down. My sweet spot seems to be between 1500 and 5000 words. It's not a bad place to be :)

Reading? Novels, always. Gimme a good book to get lost in.

What genre do you prefer reading?

Urban fantasy tends to be my preferred poison, though I hate vampires and zombies. I also enjoy high fantasy, but those get very cheesy very fast. I also dabble in dystopian YA.

What genre do you prefer writing?

Fanfiction. I have a plan for two non-fanfic stories and one is a romance story and the other is this... multi-genre epic that starts as a fantasy, becomes steam punk and then sci-fi. Don't ask, I don't know either.

Are you a planner or a write-as-I-go kind of person?

I guess it really depends on what kind of a story I am writing. Usually for short stories I will have an idea and I'll just sit down and start writing. If I'm working on something multi-chaptered, I will make an outline and have notes on all sorts of things.

What music do you listen to while writing?

My writing music largely depends on my mood and what I'm writing. I will generally have electropop for smut, softer/melodic music for my dance!fic and Weirder Shit gets what I call "emotional music", which usually means a lot of Within Temptation, Trespasser Williams and Vienna Teng. I also love having Dead Can Dance as background for just about anything.

Fave books/movies?

Fave movies: Love, Actually; Imagine Me & You; Moana; A-Team (I will die on that hill and I don't care)

Fave books: I love Mercy Thompson series, Dresden Files, books by Carol Berg for emotional wringing; Enchanted Forest Chronicles by Patricia C Wrede; Old Man's War by John Scalzi; Alex Verus series, etc. I could probably go for a while. I used to read a lot ;)

Any current WIPs?

Ugh. So many. I have Weirder Shit, dance!fic, my end of the art trade with @elalavella, two fairy tale retellings, and Cute Bisexuals story that wants to get written but I refuse to start because OMG TOO MANY WIPs.

If someone were to make a cartoon out of you, what would your standard outfit be?

Jeans (knee-length shorts in the summer), a t-shirt with something clever on it, ponytail, black flats

Create a character description for yourself:

On an average day, Shan would say she dressed casually: jeans and a t-shirt with some comfy shoes. Occasionally, she liked to go all out and get crazy with her appearance: put on a dress and do her make using her favorite purple color. Unfortunately, today was not that kind of a day.

Do you like incorporating people you actually know into your writing?

Absolutely, though never in their entirety. I mean, even my self-insert is no longer like myself! A good writer will observe their friends/family/people they know so they can understand how any given person would behave in a certain situation, then apply it to their writing. Otherwise, your characters will suffer from what artists like to call “Same Face Syndrome”.

Are you kill-happy with characters?

Moment of truth: I haven't really killed a character yet? Not really? There was that one drabble with Josephine and Mahanon but I can't call it being 'kill-happy'. That being said, I love teasing my friends that I'm going to kill someone in one of my stories. Their terror brings me lots of joy *maniacal laughter*

Coffee or tea while writing?

Usually neither. When I'm in the zone, I'm so absorbed that I don't eat or drink anything. Granted, I usually write at night so any of these would prevent me from sleeping at night as well. So, water?

Slow or fast writer?

Is 'both' a good answer? I am extremely slow to get my ass in gear, figure out what is happening and actually sit down to write. Once I'm writing, I'm WRITING. I once banged out 3K words in less than 2 hours. I guess what I'm saying is that I'm a fast typist, but not so great with getting ideas flowing.

Where/who/what do you find inspiration from?

If I want to get inspired to write, there are three different things I do to potentially get inspired: 1) I go and read someone else's fic. With good stuff, I get so inspired to write my story I will usually close AO3 and immediately open Google Docs. Occasionally I'll open the bad!fic section, cuz that usually gets my "I can totally do better than THAT" juices flowing; 2) I go and reread what I have written to get into the groove of where I'm at in the story and remember where I wanted to go. It also gives me a chance to look at my writing with a fresh eye and see if I messed something up (this is my most common source of inspiration); 3) I put on my "Inspirational Music" playlist and hope it works. This one is the most fickle and I try not to rely on this method.

If you were put into a fantasy world, what would you be?

A hot mess. No? I would like to think that if I ended up in a fantasy world, I'd train myself to be like Cassandra, but with a two-handed sword. Or a sword and a dagger. Anyway, I'd try to train to be a warrior and die horribly in the first encounter :P

Most fave book cliche? Least fave book cliche?

Fave cliche: I don't think I have one? I love when books take an overused cliche and do something cool with it. Just saying.

Least fave cliche: Love fixes all. God, I hate that one. Having the support of your lover is super important if you're trying to deal with shit (ie. past trauma), but it doesn't mean that you're automatically cured of your XYZ. I hate that.

Fave scenes to write?

Anything with dialogue, really. I love when things are happening, people are interacting, secrets come out, etc. Human interactions are my favorite to write about.

Most productive time of day for writing?

Early to late evening. Or at 10am, right as I really get going at work (THANK YOU ASSHOLE MUSES).

Reason for writing:

I like making people happy with my stories. I enjoy finishing a story, releasing it out and seeing people's reactions to it, bad OR good. I don't necessarily want praise for what I do (I mean, it's nice to get, let's not kid ourselves), but I'm more about putting a smile on someone's face and having them enjoy something.

#writing process meme #about me #on writing #about my writing #asshole muses

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poetryasf-ck · 6 years

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Good Grief #5 - Nicole Carter

I’m Nicole Carter, born in 1975 and now 43 years young, I started writing at the age of 12, my first book was called The Key, measures 10 cm by 7 cm and is 13 pages long. It was an attempt at writing a fantasy adventure story, where you decide what happens next by choosing which page to turn to next. It’s epic, and probably still my best work to date ☺ Studying Higher English in 5th year and again in 6th year at High School, my second attempt may not have given me the A grade I wanted, but my teacher was aaaahmazing. He introduced us to Norman MacCaig’s poetry which continues to inspire me. My first “proper” recital was at the remembrance service for an ex-boyfriend fellow student, who had very sadly passed away when I was studying Applied Biological Sciences at Napier Uni, in 1998.

Due to the rollercoaster ride of a life I’ve had since 1995, it took several years before I got involved in writing again. After another hospital admission, I got involved with the Royal Edinburgh Psychiatric Hospital writer’s group in 2008, and things evolved from there. My next recital was at a Shore Poets open mic gig in 2010. I’d previously written some really difficult poems about sexual assault and other traumas I’d faced, and at that first open mic, I was extremely nervous, I was shaking and my voice was quivering. It was the start of me continuing to use poetry as a means of, what I felt, was a necessary, cathartic compulsion and has grown since then, into me being open about all my hard times, in order to reduce the stigma that surrounds mental health issues, homelessness and abuse. Essentially, I want to save the world by helping other people to feel more comfortable sharing their stories, so that the fear of these issues, is reduced by creating a better understanding of them.

1. Why, if there was a reason, did you write this poem/these poems?

I try to use poetry as a means of, what I feel, is a necessary, cathartic compulsion which has grown since 2008, when I started going to a psychiatric hospital writers group after another admission. It has become a real desire for me to be open about all my hard times, in order to reduce the stigma that surrounds mental health issues, homelessness and abuse.

2. Why, upon writing this poem/these poems, did you perform them?

Maybe because since I was a young child, I felt I never had a voice, my father was a violent man but quiet when he wasn’t shouting, there was very little conversation between my parents, as I was growing up. Reciting my poetry gives me that voice I used to crave and fantasise about, whether or not people actually listen, doesn’t seem to matter to me as much as simply me being able to “exorcise” some inner demons, but often I do try to include some humour in my work.

3. How does performing this piece change how you look at what happened to you?

Aye, ye cannae beat a good rant!! Not that I do that often, but I really feel it helps me to get stuff off my chest. Having had regular 2 weekly home visits from CPNs (community psychiatric nurses) for much of my adult life, I realise I’ve actually been very lucky to have that service, and it has enabled me to talk openly and honestly about all the issues that I have, in a safe place with people I am familiar with and trust. Essentially I’ve had CBT for the past 20 years!! Lol!! I’ve come to the conclusion that if getting it all off your chest works for me, then hopefully it will work for other people too, people who don’t have access to CPNs!!! Wow, it’s all been free too, God bless the NHS!!!

4. How do you separate artistic performance from lived personal experience?

They both make me nervous, and if I’m honest, I don’t like the pre-recital nerves, but, the over-confident, slightly manic, gobby diva in me, has to get an airing occasionally, to keep me sane!!

5. Do you find yourself affected negatively by performing this piece? If so, how do you look after yourself?

General mental health self-care : I talk to and meet with friends and family, eat regularly (every 2 ½ to 3 hours up until 1 ½ hours before going to bed), keep reasonably hydrated with water (tapering off up until suppertime to make sure I don’t wake up during the night), use mindfulness / breathing / grounding techniques, listen to music, and make sure I get enough sleep, and downtime in quiet places. I take my *prescribed meds at the right time (8.30pmish as they help me sleep), I also occasionally to moderately do physical activity such as going for a brisk walk / jog / easyish swim or go to the gym, to help me process the fight-or-flight hormones and neurotransmitters. Seek professional help if I’m seriously struggling. The Edinburgh Crisis Centre and Mental Health Assessment service at The Royal Edinburgh Hospital are both fantastic.

6. Do you practice any aftercare after performing this piece (either for yourself or audiences)? (E.g., talking to audience members who are upset, taking some time out after your performance to ground yourself, ensuring you perform in places where you feel safe etc.)

I mention there may be triggers, and have reached out to a few acquaintances I’m friends with on facebook, when they post something that indicates they may be struggling. I like letting folk know if their work has struck a chord with me. Also, please see answer to question 5 above.

7. Do you do any content warnings for this piece? Why?

Yes, because I know how being affected by triggers at gigs can be distressing.

8. Does the artist owe any kind of protection or safeguarding to their audience?

Yes.

9. Do you believe writing about areas such as grief, loss or trauma is a form of healthy catharsis or memorialisation?

Yes.

10. What kind of warnings signs would you point out to someone new to poetry or performance who was performing about their traumas?

Loss of appetite, not sleeping enough, serious distress / anxiety, not communicating with friends / family as often as usual, nervous habits, addictions, lack of personal hygiene (eg. not showering or brushing teeth for several days), not doing housework to the point it feels like it’s too much to deal with, thoughts of self-harm / suicide.

Samaritans

Breathing Space

The Edinburgh Crisis Centre

Mental Health Assessment Service

#grief #poetry #trauma #poet #poem #spoken word #nicole carter

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shecomesincolors · 6 years

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Tagged by @britneyshakespeare (thank you, dear) to list:

Five things to be found in my bag:

1- Another pair of eyeglasses. I never forget to put them on before leaving home, but, as I'm severely short-sighted, I keep them in my bag, just in case something should happen to the ones I'm wearing.

2- A couple of paperbacks, for reading if I get some idle time. Currently, it's Les Fleurs du Mal and Ginsberg's Howl.

3- A small notebook, for taking notes from the books.

4- Earplugs.

5- Gum.

Five things to be found in my bedroom:

1- Coloring pencils. I can't actually draw, so I just doodle abstract shapes most of the time. But I do like how they look on my desk.

2- A record player and a stack of vinyl records. I don't own that many LPs, but I recently bought The Stones' Aftermath (an original!), and I've been listening to it all the time.

3- Books of poetry, plays, and novels. Although there's a fairly roomy shelf, most of them are either in the desk or the nightstand, since I quite frequently pick them up just to peek at a fragment.

4- A guitar, that I can't play very well. I have taken some lessons, but I'm not too skilled a musician.

5- A collection of small notebooks from museum gift shops. They're so beautiful, I want to keep them unspoiled, so I haven't even written in most of them.

Five things on my to-do list:

1- I suppose I should learn how to play the guitar, since I like music so much. I do have a proper soprano singing voice, and I'd have fun emulating my favorite folksingers.

2- Acquire some fluency in German. I began taking a course this semester, and I'd like to be able to read in that language a year from now (as a matter of fact, I decided to take those lessons so I could be able to read Goethe's The Sorrows of Young Werther in the original German, having read its translation into French last October).

3- Finally finish reading Lord Byron's Don Juan. It's an exceedingly long epic poem, comprised of 16 cantos, and, although I started reading it in February, I'm only halfway through it, as I keep making interruptions an intercalating it with many other reads. Besides, it is, as one may infer, a large, bulky book, so I avoid bringing it anywhere, and only read it at home. I do hope to be done with it by September (I don't mean to imply it's tedious or draining, though. On the contrary, I find it fascinating and beautifully written, besides being quite funny).

4- Learning to cook for myself. I was never too interested in culinary, but I do wish I were able to make a simple meal, so I wouldn't need to order food whenever I don't feel like going out.

5- I would like to know much more about visual arts, although I don't think I should enroll in any specific course for that purpose. I guess I should just go to museums more often.

Five of my favorite things:

1- Music, especially from the 60s. This affinity may arise from brilliant songwriting, as is the case of my taste for the exquisite imagery and sensible, wise observations of Bob Dylan or Joni Mitchell's lyrics. Otherwise, it may come from a very subjective, innefable sense of beauty realized in a melody or voice, like the pleasing feeling stirred by Nico's singing in I'll Be Your Mirror, or Brian Jones' recorder in Ruby Tuesday.

2- Literature. I have a taste for the Arts in general, but, besides music, literature is the one I can most relate to. A lot of what I've said about music applies to it as well: I may admire it both for discerning ideas expressed and for the loveliness and charm of its style (the latter being particularly remarkable when it comes to poetry).

3- Fashion. I don't suggest that I'm extremely well versed in the subject (I am, for instance, throughly unable to properly aply any kind of make-up, other than, perhaps, lipstick), but I do enjoy dressing up and messing about with my jewelry. And, of course, most of my aesthetic references are 1960s stars (Anita Pallenberg and Brian Jones, Jane Birkin, and Marianne Faithfull immediately come to mind).

4- Languages. I take some pride in my proper fluency in three speeches, besides my grasp of other idioms with an origin in Latin. I like speaking and reading in foreign languages, comparing and finding differences and similarities between them. Most of all, I like to speak with other multilingual people, so we can switch the language spoken throughout our conversation.

5- Traveling, especially through Europe. It's a continent of fantastic history, both modern and ancient, many coexisting cultures and languages (for which I've already mentioned my appreciation), a gleaming arts scene, and exciting urban life, the human allure of the major cities being contrasted with the ocasional staggering natural beauties (Prague, a city of Bohemian charm, set in a beautiful landscape of countless hills, is a wonderful example of this juxtaposition).

Well, wasn't that exceedingly lengthy! I think I'm supposed to tag five other people now, so I choose @gn0mie, @kindakinks , @davies-jones , @rockboheme , and @chelsea-boots (if you want to).

#thank you diana #tag #text post #i hope this didn't seem too egocentric #i always feel the need to give elaborate answers to this sort of question

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swampy-sayin-it · 3 years

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Literary Terms in the Bible

The Bible is like any other book in that is also follows the laws of language. So, in saying that the Bible also contains many different forms of literary terms. It is in this area that some may get off track and chase rabbits down the wrong trail. Here is a brief look at some of the literary terms you will come across in your Bible. I. NARRATIVE The narrative, or the story, is the most common literary form in the Bible. The reason scripture is mostly narrative is that God has an active part in human history. The Biblical narratives contain patterns, or archetypes, that capture the essential theme of the human experience. The stories of conflicts between good/evil, faith/doubt, Heaven/Hell, light/dark, courage/cowardice, and so on are enacted throughout the scriptures. It is when the stories are combined in a unified whole with a beginning, a middle, and ending that the reader becomes involved in the plot. Then you can see the hand of God upon all human history. A. Creation and Communication When you read Genesis 1:1-3:24 and Revelations 20:1-22:21 you can see some striking resemblances. Creation Genesis - creation of the old universe and man separated from God Revelations - creation of the new universe and man with God Sin Fall of man - eviction from paradise (Garden of Eden) Judgement of man - unsaved and condemned to Hell In between these books are the events of human history that have given all mankind the choice between two eternal destinies: with or without God. B. Epic An epic is a long narrative that is usually written in an elevated poetic style that combines many episodes. The journey from Egypt to Canaan is a good example. There are many smaller stories in that one larger story. The Bible not only records he journey itself, but all the important events that happened on the way to the promised land are recorded also. C. Law The Law (Torah) is the written form of legislation in the narratives. The Hebrew nation referred to the first five books of the Bible as the Law, or Torah. In these narratives you will find legislation on moral codes, ceremonial duties, and community duties. The Law is written in an ancient form of binding covenant between a lord and his dependents. D. Heroic Narrative These stories are based upon the principal character and are designed to show their exploits in life. The exploits, in turn, are used as role models as the hero embodies the accepted social and moral values. How the hero deals with problems are important themes here. E. Tragedy These stories are based upon the pitfalls of life and also teaches us lessons in mortality. II. POETRY is There is more poetry in the Bible than many people would care to believe. In fact about 1/3 of the Old Testament is poetry. Besides the Psalms and the Proverbs many of the prophetical books are written in poetry. The reason for this is communication. Poetry is easier to remember than other forms of communication. Also, poetry is an effective way to relate ideas and personal expressions in their stories. If you catch a commercial on TV many times it is written with poetry so their idea comes across and is easy to remember. The following are examples of poetry found ion the Bible. A. Hebrew Poetry Hebrew poetry is different than what we are more familiar with. While most of the poetry we read, or listen to, will rhyme sounds or words. Hebrew poetry rhymes ideas and thoughts. the general tone of Hebrew poetry is stark. Adjectives are rarely used. Instead, the words convey dignity and immediacy. No abstract term are used here as the imagery of the poems are idea centered. However, imagery and modifiers are used to keep the perception centered. Hebrew poetry is based upon a rhyme of thought. The Hebrews arranged their thoughts carefully and accurately. We can see these arrangements of thought in the form of lines called "stichs" (sticks). These lines are paired up in two line structure called a "distich". These lines are what compose the pattern of thought in the poem. The pattern is usually done in a cadence of three's. This march-like pattern was to help the listener retain the message of the poem. This pattern is known as "Hebrew parallelism". Please note, although the pattern of three + three is the most common found in here it is not not the only rhythm used in Hebrew poetry. Here are some examples of Hebrew parallelism: 1. Synonymous - the same thought is expressed in the parallel lines with the second line echoing the first. ( Psalm 19:1) 2. Antithetic - a contrast, or opposition, existing between the first line and the second line. (Psalm 1:60) 3. Synthetic or Constructive - the construction of the two lines being similar, but the second line adds a variation supplement in thought, amplification, extension, or explanation. (Psalm 19:7 variation Job 19:25 extension) 4. Analytical - the second line gives the consequence of the first and often the implication of the first is made clear in the second. (Psalm 23:1) 5. Climatic - the same words, or themes, are repeated with a rise in thought arrangement leaning to a climax (Psalm 94:3) 6. Tautological - the same words are repeated for rhetorical reasons; emphasis, clarity, etc. (Psalm 94:3) 7. Chiastic - this is based upon the Greek letter chi (X) a. the units of thought are crossed over like an X b. multiple themes are crossed over in multiple chapters. B. Lyric Poetry The Psalms and Ecclesiastes are predominantly made up of lyric poetry. This is poetry that was set to music and used in Hebrew worship services. The Psalms are actually literary compositions that develop themes. The different types of psalms that are found were used for a variety of functions of worship both corporate and individual. 1. Nature Psalms - these emphasize the relationship between God and nature. 2. National Psalms - the emphasize the relationship between God and country. 3. Royal or Messianic Psalms - the psalms concern themselves with the king of Israel. These are also prophetic psalms concerning the coming king of Israel. 4. Penitential Psalms - to emphasize the psalmist's petition ot God for forgiveness. They also reflect the condition of the soul. 5. Miscellaneous Psalms - themes of trust, righteousness, and pilgrimage. 6. Literature of Praise - exalting God for deliverance, forgiveness, and mercy. III. WISDOM LITERATURE This unique form of Biblical literature is generally found in Job, Proverbs, and Ecclesiastes. Wisdom literature teaches about life through compact sayings that are easy to memorize. It is these practical sayings that the Hebrews taught their children about daily life and situations that come up. Knowledge is the key when reading wisdom literature. The person receiving a revelation of truth would then apply this truth to everyday life. It is this confrontation that would transform "head" knowledge into practical wisdom. this knowledge is taught in three basic forms: 1. The supreme teaching of God. 2. Spirituality as the source and foundation of all wisdom. 3. The task of wisdom was the imparting of revealed truth and not the process of human wisdom. Jeremiah 18:18 lists three classes of spiritual leaders in Hebrew culture. These are priests, prophets, and sages (wise counselors). The sage was the ancient equivalent of a modern day missionary. Their role was defined as the following: 1. They were not part of the temple work. 2. They did not conduct formal schools. 3. They travelled. 4.They delivered their message to individuals. 5. They did not present an argument. 6. They delivered God's truth with the assurance of the one who had seen God's wisdom. IV. PROPHETIC LITEREATURE A. Old Testament Prophets "A prophet is one who speaks for a god and interprets his will to man." (1) in Biblical terms. A prophet is one who is called by God to speak for Him. This call, by God, to the individual came as a personal event to the one called (cf. Isaiah 6:1-11, Amos 7:14,15, Jeremiah 1:1-19). God has never used a stereo-typed formula for His use of a prophet. God does use a variety of events and/or personalities to get His message across to the prophet. Prophets are men moved bu the Holy Spirit as God spoke. When reading Old Testament prophecy your approach should be one of two ways. First, is the prophecy for a present situation? "Present situation" prophecy shows an event that is current with the times. This can also be an indication of future events. Am excellent example of this would be the fall of Israel and Judah to their enemies because they turned their backs on God. This is not only a "present situation" prophecy but it applies to all other nations that hve forsaken God. this is prophecy that is come without a present day event. The second type of prophecy is "futuristic" prophecy. This is prophecy that is to come without a present day event. The content is well worth studying thought as it related to God's plan of redemption through Jesus. If Jesus is the Messiah He must fulfill ALL prophecy in God's word concerning Him. NOTE: This is where consulting some good commentaries when studying prophecy. This will help you stay in balance and focus with the scriptures. (1) Lasor, Wm. S. D.Hubbard, F. Bush, Old testament Survey, it's Message, Form and Background. Wm Eerdman's Publisher, Grand Rapids, MI 1982 pg 278.

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eazyeez · 4 years

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Summary, Reading I (Reading I: Discourse and Authorship in Design Practice) by Mihkali, 5 Oct 2020

Designer as Author, MICHAEL ROCK / 1996

Again highly challenging texts, teeming with complicated sentences, unfamiliar English expressions and references to unfamiliar topics.

I read this text after reading the texts of the courses readings 2 and 3. I believe all the texts have been chosen to form some sort of a continuum, the latter texts connecting to the previous ones. But it worked well in this order too. I saw connections to the other texts here as well. Designer as Author was a further element to the topic on the designer´s role as faceless facilitators in society.

The text viewed the designer´s role as author and compared designer authors to authors from other fields, like film and literature. In literature the concept of author is moderately easily defined, at least because the work of the author might need only one person, unlike in film projects, that usually have big work teams and it might be difficult to nominate one single author when the director, writer and cinematographer all have big roles in the projects. The same difficulty of appointing the author often applies to designers as well.

In the film industry there has been an attempt to set criteria that have to be met in order for a director to be entitled to authorship. These criteria can be technical expertise, stylistic signature and consistent vision through the works. The text suggests that a similar approach could be used for designers as well.

In the text it is asked what difference it makes who is the author? In my view this is something that shouldn’t be ignored. Humans are social beings and want reflection to things we do. I don’t much believe in the thought of doing things only for yourself. It is natural to want to get credit for a job well done. Maybe this is also at the core of designer´s frustration of being faceless facilitators.

The text concludes with thoughts that the designer´s role is difficult to demarcate within the role of author, because the designer´s role encompasses such a wide variety of different activities. The text suggests that designers could be seen as translators, performers, directors or simply just as designers.

Chapter 2: Authority, ownership, originality , Andrew Bennett

This was a partly too overwhelming and partly highly interesting read. The text explained how authorship in literature has come to be what it is today.

In the analysis, Bennett goes all the way back to ancient Greece to lay a basis to how authorship has started to develop. The writer explains the concept of author in the ancient oral epic traditions, where an author is very difficult to pinpoint. The stories in oral epic traditions evolve as different singers add to the story each time they tell it. The original poem has started from something and first evolved to a certain point by being told by a number of singers and at some point found a more established form which then has continued to be told, but without as much variation as in the beginning of its forming. Bennett draws a connection between authors of ancient Greece and the romantic author of the 1700´s as well as the modern author in the way the true author is a figure separate from society and having divine qualities or a connection to god, who speaks through the author.

Next Bennett continues to explain how authorship has developed through medieval times. In the start of medieval centuries the role of the author was in a way insignificant. The book making authors were seen as someone who reproduces a text on a continuum, starting from simply copying the text and ending to the book maker who “writes both his own words and others, but others only for purpose of confirmation”. But at the same time the medieval author had a highly specialized, highly privileged identity. The medieval author´s or “auctor´s” role was to augment the knowledge and wisdom of humanity.

By later medieval ages, authorship started to develop more to the direction of authors being recognized as individuals.

The introduction of print publications came with new conceptions of authorship and originality. The ability to effectively make large amounts of copies of a text had a stabilizing effect on their nature. Printing lead to new kinds of property rights that came to be known as copyrights that further lead to an increase in prestige for authors. The uniformity of the book also lead to an increased need of unique, individual representation of one self as an author.

In the 1600´s print publication was seen as degrading to the art of poetry. Publication made a writer “common and vulgar” and was a degradation of one´s aristocratic status or aspirations to such a status. Printed texts associated with merchandising had less social authority.

Late in the 1600´s and 1700´s when the stigma of printed text being degraded started to fade and when writers started to be able to make a living from writing the modern sense of authorship occurred. After the English civil war demand for printed writing grew, as well as did literacy. Buying books could distance one from people who could not afford them and bring them closer to people who had been able to afford them for centuries. With newspapers and periodicals came a mass market of literature.

In the 1700´s laws on copyright brought a legal status to writers but at the same time as authorship became financially and legally viable a new aesthetic ideology of a transcendent and autonomous artistic author arose. This ideology valued a distance to commercial writing. The paradox in the ideology is that the mystificatory sense of the author as above commercial considerations was exactly what made the writings commercially viable.

This text was for me very challenging to get full grasp of, but what I found interesting was how a similar tone regarding authorship was detectable through all the observations on authorship in different times. It seems like authorship is wanted to be seen as something transcendent. An author should be an outsider of society, to whom financial matters don’t apply to. Some sort of source of original and independent knowledge or creations, possibly channeling wisdoms straight from god.

This is something I recognize in our time easily, which is not surprising considering it seems to be some sort of background ethos through in the different times Bennet inspects in his writing. As modern examples of authors meeting the previously mentioned criteria of a true author to my mind comes suffering artists like Curt Cobain, Kalervo Palsa and maybe also Lady Gaga (Kanye West is also doing his best to achieve this divine status). In the case of Lady Gaga, since she appears to me to have a massive marketing apparatus behind her, to my mind comes a thought if the music industry (and other industries as well) sometimes consciously uses the phenomenon to create appealing star figures.

Where does the appreciation for this sort of “pure” authorship or artistry well up from?

I also come to think of a well known and in my opinion very good comedian/ speaker, whos name I cant remember unfortunately. I remember him ranting on stage about musicians playing lame mainstream songs with superficial and meaningless lyrics and this comedian screaming “PLAY FROM YOUR HEART!!!! PLAY FROM YOUR HEART!!!!!!!”. It was funny, but also cool, because you could easily relate to his frustration with musicians making music from a somehow false base or false motivators. This somehow comes back to the conflict in being an author in some field and also making money from it. It seems like a base vibe the human masses have is that a true artist or author should not be interested in making money with his/her creations. The money aspect somehow pollutes the art, like the artist/ author is really doing what he/she does calculatingly.

But once again I come back to the thoughts that have emerged in my mind while reading most of the texts in this course, that our society is an unhealthy environment for humans. In our society everyone needs money to survive, including authors and artist. At the same time authors/ artists should create what they create only for the sake of creating without considering how it effects their ability to pay the rent. It is difficult to fit authorship/ artistry with the mechanisms of our society, especially if we really want truly pure independent creations. I wonder how the hunter gatherers solved this puzzle, if they did.

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getanattitude · 4 years

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Buzzwords, De-buzzed: 10 Other Ways to Say fireinsidemusic.com

“THE more you dig right into a bit of Ives, the more enjoyment you have from it,” the pianist Jeremy Denk mentioned not too long ago, sitting at a piano inside of a rehearsal Area on the Juilliard University. “It’s like solving a puzzle.”

Then he enthusiastically deconstructed Ives’s “Concord” Sonata, untangling and detailing the themes and motifs embedded within the complex textures of the interesting rating.

Mr. Denk is going to release a disc, “Jeremy Denk Plays Ives” (Think Denk Media), that includes two piano sonatas, an esoteric choice of repertory for the debut solo album. But then, there's nothing generic concerning this adventurous musician. His vivacious intellect is manifest both equally in his playing and on his blog site, Assume Denk, an outlet for astute musical observations and witty musings, whether a lament about inedible meatballs or simply a spoof job interview with Sarah Palin.

Mr. Denk will reveal his more mainstream qualifications when he performs Liszt’s Piano Concerto No. one with Charles Dutoit and also the Philadelphia Orchestra commencing on Thursday on the Kimmel Centre in Philadelphia and on Oct. 12 at Carnegie Hall.

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Mr. Denk argues which the Ives sonatas, composed early during the twentieth century, are mistakenly categorized as avant-garde works instead of “epic Intimate sonatas with Lisztian thematic transformations.” On the relaxed listener, the audio that Mr. Denk describes while in the CD booklet as “brilliant, ingenious, tender, edgy, wild, unique, witty, haunting” can unquestionably audio avant-garde. Ives, who built his residing in the coverage enterprise, integrated jazz, riffs on Beethoven and American hymns, marches and people songs into his daringly experimental piano sonatas, full of polytonality, thematic layering and rhythmic complexity.

“It’s so splendidly in-your-face,” Mr. Denk said, demonstrating a very maniacal passage while in the “Concord” Sonata. “It’s also pretty astonishingly unsightly. There is a thing maddening about his sense of humor. Ives is continually thumbing his nose at you in a method.”

But Mr. Denk suggests that Ives’s tenderness, which he illuminates superbly In this particular recording, is underappreciated. “Ives is frequently about things recalled,” he said, “or Recollections or visions fetched from some difficult position.”

He played the harmonically misty passages in the next movement with the “Concord,” where by Ives directs that a bit of wood be pressed over the higher keys to produce a cluster chord. “It doesn’t sense gimmicky at all to me,” Mr. Denk explained. “It’s all blues in The underside. Ives knew the way to use Those people tiny clichéd bits of Americana in a means that all of a sudden will get your intestine. You can’t believe how touching it's.”

Mr. Denk, forty, has been passionate about Ives because his undergraduate days at Oberlin in Ohio, where he carried a double big in piano functionality and chemistry. “My overall double diploma knowledge was to some degree of the continuous freakout of 1 type of A different,” he claimed.

He had been a “really nerdy high school scholar” by using a constrained social existence, he stated. “Ever considering the fact that I had been a kid I planned to head to Oberlin and preferred the liberal arts. Certainly I really get rigorous satisfaction outside of drawing connections between parts and poems and literature and concepts.”

Mr. Denk explained himself to be a “practice maniac,” but his horizons have prolonged considerably beyond the apply area since Oberlin. When nibbling a massive bit of chocolate cream pie at an Upper West Facet diner near the condominium he has rented due to the fact about 1999, Mr. Denk referred to his blog, contacting it “an surprisingly excellent outlet to release tensions of one form or Yet another.” He claimed it had drawn new listeners to his concerts. An avid reader of liberal political weblogs, Mr. Denk desires of creating a classical music Model of Wonkette, he reported, but that might be not easy to do devoid of offending individuals. And he attempts to steer clear of offending persons, he extra, while he did not long ago write-up a rant about plan notes.

Mr. Denk, who phone calls himself “an actual Francophile,” is gentle-spoken but intense, his dialogue peppered with references to numerous “obsessions”: espresso, Ives, Bach, Proust, Baudelaire and Emerson.

He went off on “a Balzac mania” a number of years in the past, he claimed.

“That was a perilous time, and almost everything in everyday life seemed drawn outside of a Balzac novel,” he extra. “I misplaced about three decades of my lifetime to Proust. I’m guaranteed it improved anything, including my playing.

“Sooner or later my supervisor was like, ‘Dude, You should deal with your occupation and receiving your stuff together.’ ” At that point, Mr. Denk claimed, “I had been bringing Proust to conferences.” He extra: “I’m unsure I really experienced a occupation route. I had been just undertaking my Odd issue, which most likely gave the impression of a disastrous nonroute to a lot of the individuals that have been viewing around me. I don't forget some exasperated conferences with my management, Nevertheless they were incredibly affected person and faithful, which I’m insanely grateful for.”

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Mr. Denk grew up in Las Cruces, N.M., amongst two brothers, a son of audio-loving nonmusician parents. His father, who's got a doctorate in chemistry, has actually been (at diverse occasions) a Roman Catholic monk plus a director of Laptop or computer science at New Mexico Point out College.

Mr. Denk continues to be hooked on the chili peppers of Las Cruces, he said, seemingly only fifty percent joking: “The red and the green and The full spirituality of chili peppers. It’s nonetheless a large part of my everyday living. When I go house I go to this true dive and obsess in excess of their eco-friendly meat burrito.”

When not on tour, Mr. Denk spends time with his boyfriend, Patrick Posey, a saxophonist as well as director of orchestral things to do and preparing at Juilliard, wherever Mr. Denk been given his doctorate, researching with Herbert Stessin. Mr. Stessin recollects owning been impressed by “the maturity and intensity” of Mr. Denk’s participating in and remembers him as “an extraordinary university student who absorbed things pretty promptly.”

Mr. Denk said he “was in class permanently” until finally “at some time I made a decision to believe in my own instincts.” Now he teaches double-diploma undergraduates for the Bard Higher education Conservatory of Music. The pianist Allegra Chapman, who researched with him, explained he was “worried about quite a bit greater than the notes about the web site, constantly mentioning literary and historic references.”

“Now I attempt to technique songs within a more holistic viewpoint,” she additional. “He is incredibly passionate. He used to bounce around the area and bounce about and wave his arms. It was really enjoyable. He tried to get me to think about the music that has a sense of humor.”

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This blend of passion, humor and intellect, so vibrant in both equally Mr. Denk’s enjoying and his creating, is what distinguishes him, according to the violinist Joshua Bell. The 2 have already been normal duo companions because 2004, when they carried out with the Spoleto Competition United states.

“You obtain the mental musicians or people that have on their coronary heart on their own sleeve without having a number of musical imagined,” Mr. Bell reported, “but Jeremy manages to accomplish each, Which’s great. Now we have lots of arguments in rehearsal, and that is the fun component at the same time. The very fact we don’t generally see eye to eye keeps issues clean and would make me problem anything I do.”

Mr. Bell, whose options of repertory are generally additional regular than those of his much more adventurous colleague, mentioned he wasn’t normally an Ives enthusiast: “Having a good deal of contemporary tunes I’m somewhat cautious. Despite Ives, right up until I read Jeremy. He just delivers it alive. He has this sort of a terrific creativity, and nothing at all is done randomly.”

Ives’s piano sonatas, Mr. Denk mentioned, “are in a way like animals that don’t wish to be tamed.”

“Each individual efficiency needs to be so distinct,” he included, a person purpose he was to begin with hesitant to file them. Like Bach, he said, Ives leaves quite a bit to the performer’s creativeness.

A wonderful interpretation of your “Goldberg” Variants at Symphony Area in 2008 discovered Mr. Denk’s profound affinity with Bach. Mr. Denk will complete the do the job and Books one and 2 of Ligeti’s Études at Zankel Corridor on Feb. sixteen.

To keep the “Goldberg” Variations fresh, Mr. Denk is incorporating new fingerings, he stated, “to reactivate the link involving my brain and my fingers After i’m enjoying it.”

“I believe it’s an actual magical put If you have the muscle mass memory,” he extra, “even so the Mind is ahead from the fingers.”

Switching the fingerings is one method to avoid routine, he explained. “I get real pleasure from producing in a very fantastic fingering. It is actually like relearning the piece, and it tends to make you not acquire any Observe as a right.”

The musical philosophy Mr. Denk relates to Bach, Ives and other repertory is probably best summed up in that website submit on system notes: “I’ve never been a major enthusiast of your ‘Picture how revolutionary this piece was when it absolutely was composed’ college of inspiration. For my dollars, it ought to be innovative now. (And it's.) Whatever else the composer might have meant, he or she didn’t want you to definitely Believe, ‘Boy, that have to happen to be interesting back again then.’ The most basic compositional intent, the absolute ur-intent, is that you Enjoy it now, you enable it to be take place now.”

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cityinmars-blog · 5 years

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Traditionally, metaphor is considered as part of figures of speech, being used mainly in poetry. It is saying one thing in terms of something else. Robert Frost has said, “Poetry provides the one permissible way of saying one thing and meaning another.” Words do have their literal meaning, but they can also be used so that something other than the literal meaning is implied. For example: 1. The girl is a rose. 260 Intercultural Communication Studies XVII: 1 2008 Ma & Liu Literally, this sentence is nonsense because she is not a plant at all. But the suggestions of “rose” include “beauty,” “soft,” “pure,” and thus the word “rose” can be meaningfully applied figuratively rather than literally to “the girl.” This young lady is fragrant; her skin is perhaps like a rose in texture and color. We can see that people who write about poetry have found it convenient to assert the identity by using metaphor.

Refresher

https://literarydevices.net/metaphor/

A Metaphor is a figure of speech that makes an implicit, implied, or hidden comparison between two things that are unrelated, but which share some common characteristics. In other words, a resemblance of two contradictory or different objects is made based on a single or some common characteristics.

In simple English, when you portray a person, place, thing, or an action as being something else, even though it is not actually that “something else,” you are speaking metaphorically. The following phrase is an example of metaphor, “My brother is the black sheep of the family,” because he is neither a sheep nor is he black. However, we can use this comparison to describe an association of a black sheep with that person. A black sheep is an unusual animal, which typically stays away from the herd, and the person being described shares similar characteristics.

However, the metaphor figure of speech is different from a simile, because we do not use “like” or “as” to develop a comparison in metaphor poems and metaphor sentences. It makes an implicit or hidden comparison and not an explicit one.

So, what is a Metaphor? Most of us think of a metaphor as a device used in songs or poems only, and that it has nothing to do with our everyday life. In fact, all of us in our routine life speak, write, and think in metaphors. We cannot avoid them. Metaphors are sometimes constructed through our common language, and they are called “conventional metaphors.”

Let’s explore a few metaphor meaning and examples such as calling a person a “night owl,” or an “early bird,” or saying “life is a journey,” are common metaphor examples which are heard and understood by most of us. Below are some more conventional metaphors we often hear in our daily lives:

My brother was boiling mad. (This implies he was too angry.)

The assignment was a breeze. (This implies that the assignment was not difficult.)

It is going to be clear skies from now on. (This implies that clear skies are not a threat and life is going to be without hardships)

The skies of his future began to darken. (Darkness is a threat; therefore, this implies that the coming times are going to be hard for him.)

Her voice is music to his ears. (This implies that her voice makes him feel happy)

He saw the soul of dust when passing through the dust storm.

Chaos is the breeding ground of order.

War is the mother of all battles.

Her dance is a great poem.

A new road to freedom passes through this valley of death.

My conscience is my barometer.

His white face shows his concern.

His kisses are like roses.

He married her to have a trophy wife.

Laughter is the best medicine.

Words are daggers when spoken in anger.

His words are pearls of wisdom.

Metaphor Examples in Literature

Metaphors are used in all types of literature, but not often to the degree they are used in poetry. This is because metaphor poem is meant to communicate complex images and feelings to readers, and metaphors often state the comparisons most emotively. Now that we know the definition of metaphor, let’s take a look at some examples.

Example #1: The Sun Rising (By John Donne)

“She’s all states, and all princes, I …”

John Donne, a metaphysical poet, was well-known for his abundant use of metaphors throughout his poetical works. In his well-known work, The Sun Rising, the speaker scolds the sun for waking him and his beloved. Among the most evocative metaphors in literature, he explains “She is all states, and all princes, I.” This line demonstrates the speaker’s belief that he and his beloved are richer than all states, kingdoms, and rulers in the entire world because of the love that they share.

Example #2: Shall I Compare Thee to a Summer’s Day (By William Shakespeare)

“But thy eternal summer shall not fade …”

William Shakespeare was the best exponent of metaphors, having made wide-ranging use of them throughout his works. Sonnet 18, also known as Shall I Compare Thee to a Summer’s Day, is an extended metaphor between the love of the speaker and the fairness of the summer season. He writes that “thy eternal summer,” here taken to mean the love of the subject, “shall not fade.”

Example #3: When I Have Fears (By John Keats)

“Before high-pil’d books, in charact’ry Hold like rich garners the full-ripened grain;”

The great Romantic poet John Keats suffered great losses in his life — the death of his father in an accident and the deaths of his mother and brother through tuberculosis. When Keats himself began displaying signs of tuberculosis at the age of 22, he wrote When I Have Fears, a poem rich with metaphors concerning life and death. In the lines above, he employs a double metaphor. Writing poetry is implicitly compared with reaping and sowing, and both these acts represent the emptiness of a life unfulfilled creatively.

Example #4: Vestiges (By Van Jordan)

“… and jump in the sea and say, follow me, and know you would. The sea is cold and it’s deep, too, I’d joke,

standing at the edge of the boat’s bow. A wind breathes across the sea, joining gently the edges of time.”

Just spot different metaphors in these six lines by Van Jordan. This is the “sea” of time. This is an extended metaphor that is further expanded to its feature of coldness, depth, and then edges and voyage through it.

Example #5: The Sun Rising (By John Donne)

“Busy old fool, unruly sun, Why dost thou thus, Through windows, and through curtains call on us?”

This is another example of a good metaphor where the sun is being called a fool by John Done, who is famous for his use of weird metaphors.

Example #6: Paradise Lost, Book 1 (By John Milton)

“Invoke thy aid to my adventrous Song, That with no middle flight intends to soar Above th’ Aonian Mount”

This is a good metaphor by Milton, from his epic Paradise Lost. Here, Milton has compared his poetry to a dove.

Example #7: i carry your heart with me (By E. E. Cummings)

“…and it’s you are whatever a moon has always meant and whatever a sun will always sing is you …”

Here E. E. Cummings has compared his beloved to the moon, as well as to the sun. This is another good metaphor by a modern poet.

Example #8: The Storm (By Kate Chopin)

“Her mouth was a fountain of delight. And when he possessed her, they seemed to swoon together at the very borderland of life’s mystery.”

Just check the excellence of using a metaphor in just one sentence. The second one is its extension.

Example #9: The Call of Cthulhu (By H.P. Lovecraft)

“We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the light into the peace and safety of a new dark age.””

Lovecraft has beautifully used metaphors to describe the situation in this paragraph. Just read the underlined phrases to see this metaphorical beauty.

Metaphor Meaning and Function

From the above arguments, explanations, and examples, we can easily infer the function of metaphors; both in our daily lives and in a piece of literature. Using appropriate metaphors appeals directly to the senses of listeners or readers, sharpening their imaginations to comprehend what is being communicated to them. Moreover, it gives a life-like quality to our conversations and the characters of fiction or poetry. Metaphors are also ways of thinking, offering the listeners and the readers fresh ways of examining ideas and viewing the world.

What is a metaphor?

A metaphor is a figure of speech where two things that are normally unrelated are compared to each other. Find out how teachers explain metaphors to school children and how to encourage your child to spot metaphors and use them to improve their writing.

What is a metaphor?

A metaphor is a comparison which is not literally true. It suggests what something is like by comparing it with something else with similar characteristics.

For example: 'My brother' is a piglet is a metaphor. This statement isn't literally true – a child cannot be a pig – but the brother can share a pig's characteristics, like eating lots or liking to play in the mud!

Unlike a simile, metaphors do not use the words 'like' or 'as'.

Simile: My brother is as greedy as a piglet. Metaphor: My brother is a piglet.

https://www.grammarly.com/blog/metaphor/

#metaphors

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gigslist · 4 years

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Grateful Dead and Da Vinci Codes Updated

Branding is an important business tool of a musician’s or band’s marketing. A music artist’s logo is as vital a visual asset as a music artist’s stage wear and hair. And if an audience doesn’t remember you or your name, they will remember your logo. Modern music branding, as we know it, started in the 1960s. When music artists lived and worked with bands face to face. Some living together in communes. The Grateful Dead is a USA folk blues jam band with a psychedelic cult following. The Dead, as their fans call them, came out of Haight Ashbury, San Francisco, California. The Grateful Dead symbol is the Grateful Dead lightning bolt. “When the group formed in 1965, the Dead provided an American alternative to the overpolished and squeaky-clean Beatlemania still captivating the world. The Beatles, of course, would eventually come around in agreement. But it was the Dead, among other acts, who set the tone for the let-it-all-loose rebellion of the '60s. Could there be a better insignia than a tie-dyed skull to celebrate the revenge of the turned on, tuned in and dropped out? The Dead wove the image of the skull through much of their presentation, from album design to music-festival art. Two skull-based logos that hold up include the red, white and blue lightning bolt and the rose. The first was the creation of sound engineer Owsley Stanley, also known as "the Bear," who says he wanted to put a mark on the band's equipment so he knew who owned what at multiact music festivals. The Rose was the artistic work of Stanley Mouse and Alton Kelley. The duality of virgin floral beauty and the cult of death was of a piece with the message of a band known for saying, "a friend of the devil is a friend of mine."” Time.com 2010 Haight Ashbury is full of Masonic lodges and Knights Templar churches. Many built in the late 18th and early 20th century. La Belle Epoque and Masonic symbols inspired arts and design in the 1960s and 1970s. Especially in Summer of Love music poster designs.

The Haight Ashbury Street Fair logo, founded in the 1970s, features a pyramid with an "all seeing eye" on a bed of roses. Masonic symbol themes appear through many poster artists’ work of the era. Relaying a subliminal message. The 13 point lightning bolt or Grateful Dead bolt as an example. The skull, rose, circle and lightening bolt. All are symbols of the Masons, Catholics and Knights Templar. The symbols' origins and early meanings before that are the mystery and the key. Knowingly or not, what artists do is keep these mysteries alive in the public psyche. In no small way. Their fans keep spreading the symbols in tribute art on anything that images can be applied to. Including permanent facial tattoos.

Get somebody tripping on any kind of psychedelic and tell them something over and over and they will believe whatever that something is you are telling them. This is how new age cults recruit newly open minded avid followers. The quickest way to be a guru with a following who follow your every word is host LSD parties. It is also how the Dead got such a huge cult following that has been multigenerational since the 1960s. Ditto for electronic dance music, EDM.

The Dead and friends were trying to open minds to the "truth of oneness" through music and psychedelics. While this is admirable in its concept, it has a double edged sword. The minds they opened were later drowned in new age space alien guru conspiracies on all kinds of drugs. Give somebody any kind of psychedelic and tell them something over and over. They will believe whatever that something is you are telling them. This is how new age cults recruit open minded avid followers. The quickest way to be a guru with a following that follows your every word is to host LSD parties.

Tripping is how the Dead got such a huge cult following. A cult following that has been multigenerational since the 1960s. Ditto for electronic dance music, EDM. I know EDM producers and DJs from the 1990s who are grandparents. hieroglyphs that in the 21st century we call heraldry.

The Dead’s skull iconography was more likely inspired by the Day of the Dead festival. A popular Latin American theme in California, featuring skulls and roses. The lightning bolt may relate to the first time somebody takes LSD or mushrooms. Their minds get opened to other realities and ways of thinking. Masonic and Knights Templar institutions have large visible ornate buildings in Haight Ashbury. The symbols on the buildings are a language and they are history books. There is nothing mystical or extraterrestrial or even Biblical about the symbols. The symbols on the buildings are history books. Not the histories taught in school books. Bible miracles and winged angels and demons with superpowers don't actually exist. If you think they do, you've had too much screen time. Step away from the phone and game console and the remote… like now! In Masonic and Knights Templar lore the Grateful Dead symbols are common symbols. The skull, lightning bolt and rose relate to the Holy Grail Bloodline. San Graal is the original name in French. It means Sainted Blood or Holy Blood, another name for royal blood. The big secret is that Holy Grail, in a nutshell, is just another name for Royal Blood. Before written words as we know them, histories got written in symbols. Jesus was a King of Kings, so he was a royal. A King of Kings is an emperor. Royals have always recorded their family histories in a form of pictorial hieroglyphs. In the 21st century we call it heraldry.

Heraldry is a symbol relating to an event or career in a royal’s life. Such as a ship for a navigator or a tower from a land that an ancestor ruled. A flower from a poem an ancient ancestor wrote in the Bible. Sometimes the symbol meanings are related to royal status. A coronet for a prince and heir. Each symbol is not an isolated abstract. Each symbol is rich with history and back stories and the people those back stories are about. Symbols are a kind of shorthand to record dynastic epics. Line up symbols and their stories with other symbols and whole libraries of lost history appear. Different versions of history to our school history books and Bibles. Histories with kickass women rulers, women scholars, women warriors and women priests. They didn’t need Bible miracles or extraterrestrial super powers or fantasy fiction. They had the real thing. "Whatever is hidden is meant to be disclosed, and whatever is concealed is meant to be brought out into the open.” Jesus Christ from the Gospel of Mark In Stanley Mouse and Anton Kelley’s skull and roses logo, are symbols of Mary Magdalene of the Bible. From the Bible, “I am the rose of Sharon, and the lily of the valleys. As the lily among thorns, so is my love among the daughters…” Song of Songs II, also called the Song of Solomon. It is a love poem written by Mary Magdalene to Jesus Christ.

The historical Mary Magdalene was of Greek descent and a royal. Magdalene means "Great Queen", an empress, the same as Catherine the Great. Ancient monarchs had god avatars and symbols. Roses are a symbol Venus, a goddess of love and was once a real person. The real life Venus was an ancient ancestor of the historical Mary Magdalene. This is how the rose is in Mary Magdalene’s lexicon of symbols and Christian icons.

Floral and leaf wreaths with ribbons are ancient Greek and Roman headwear. It denotes them having Gods and Goddesses for ancestors. The head wreath with ribbons is the headdress of the Goddess Nike. A goddess who is also syncretistic with Mary Magdalene. Nike is the goddess of victory. Her Greek name is Bernike, the ancient version of the name Bernice. The story gets confusing from here. There are at least two historical Jesus and Mary Magdalenes. Both were emperors and empresses and other elements of their stories the same or similar. This is why it took 20 years for the Council of Nicaea to create the Biblical Jesus and Mary Magdalene. The Bible is allegory, so are all religious stories around the world. Modern researchers and Bible orators tend to forget or don't comprehend this. So we get new age garble, such as calling the lightning bolt a Satanic supernatural S. Or that Bible miracles really happened like in Hollywood movies depict. The truth is that there were no Bible miracles involved. The Bible is not a book of history and was never meant to be history. The Bible is a book of morality tales and redemption stories. Paraphrased religious folklore from many different religions. Its characters loosely based on people who were deified royals. All religious stories are based on deified royals. Owsley Stanley’s Grateful Dead skull has a 13 point lightening bolt. The lightning bolt is a big clue to the identity of the historical Jesus of the Bible. “Yea, he sent out his arrows, and scattered them; and he shot out lightnings, and discomfited them.” Psalm 18:14 King James Bible Arrows can mean both a battle and or symbols on a military shield. Both people that the Biblical Jesus became based upon were emperors. Both entered Judea as military commanders with huge armies. The insignia the army’s shields were lightning bolts. Their battles recorded by scribes in allegory as many lightening bolts raining down. Both had secret marriages to an empress, a Magdalene. All these people were deified, and other shared stories. One also foretells the coming of the other. The Second Coming has already happened. Fans in the 21st century write tribute fantasies about the Grateful Dead. Flying around with wings and super powers and lighting bolts shooting from their guitars. What these creative followers are talking about in allegory is the Grateful Dead’s music. But imagine 1500 years in the future, somebody finds the writings and artworks in scattered pages.

They don't know the backstories, but try putting them together into a book. Some other people make a cult from that book. They make movies and documentaries to tell the people the book is a real story. People start to believe the Grateful Dead flew around with wings. They start to believe that the Grateful Dead shot lightning bolts from their guitars. Total Bill and Ted moment.

2,000 years in the future the Grateful Dead are paranormal space aliens with laser rifles, flying around in UFOs. Their followers watching augmented reality concerts in the sky. Chanting their church's holy mantra “Beam me up Jerry.” And Phish Food ice cream their holy sacrament.

#music industry #art and design #marketing tips #band promoters #promoting bands #arts marketing #entertainment markting #cult followings

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2700fstreet · 6 years

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DANCE / 2018-2019

WRITTEN IN WATER

NOV 2 SCHOOL PERFORMANCE

RAGAMALA DANCE COMPANY

Ranee Ramaswamy and Aparna Ramaswamy, Artistic Directors and Choreographers Ashwini Ramaswamy, Choreographic Associate Amir ElSaffar and Prema Ramamurthy, Composers V. Keshav, Visual Artist (with additional artwork by Nathan Christopher and historical image provided by the Museum of Archaeology and Anthropology, University of Cambridge) Aparna Ramaswamy, Ranee Ramaswamy, Ashwini Ramaswamy, Tamara Nadel, Jessica Fiala, Dancers Amir ElSaffar (trumpet, santur, and vocal), Preethy Mahesh (vocal), Rohan Krishnamurthy (mridangam), Arun Ramamurthy (violin), Kasi Aysola (nattuvangam), Musicians

Have you ever felt mesmerized while watching a dance performance? Written in Water might have that effect on you—the colors, sounds, costumes, and choreography will seem to take you to another world. And even if you’re unfamiliar with classical Indian dance, you may find yourself captivated by the work unfolding on the stage…an expression of emotions and states of being told without any English words.

How is that possible?

The dance, music, and design elements work together to convey feelings that transcend language. No matter your spiritual or cultural background, everyone can relate with the universal themes of Written in Water: morality, divinity, adversity, and community. And you don’t need to be an expert in Indian dance to appreciate the beauty, effort, and experience of the performance. But here’s a bit of a helpful summary to connect you with the history and vision of Written in Water so you can better enjoy the experience.

So, What’s Going On?

Using movement, gesture, melody, and rhythm—Bharatanatyam (pronounced BAH-rah-tah-NAHT-yam), is India’s oldest classical dance tradition. Bharatanatyam dates back more than 2,000 years to the Hindu temples of Tamil Nadu (in southeastern India), where dancers used music and movement to translate mythological themes and stories for the people. It is a living, breathing dance form that has evolved throughout the centuries. In the 1930s, Bharatanatyam moved out of the temples and became a concert dance form. Today, dancers and choreographers in India and around the world use Bharatanatyam in innovative ways to create their own work.

The word “Bharatanatyam” comes from four words in Sanskrit (an ancient language from India): Bha (Bhava, which means expression), Ra (Raga, which means melody), Ta (Talam, which means rhythm), and Natyam, which means dance. It was traditionally a solo dance form, performed by women. Today, men and women perform Bharatanatyam, both in solo and ensemble productions.

The two main aspects of Bharatanatyam are rhythmic dance and expressive dance. In rhythmic choreography—known as nritta (NRIT-tah)—dancers perform dynamic, often symmetric, movements with their entire bodies—torso, head, legs, arms, hands, and feet—while they use their bare feet to stamp out rhythms on the floor. Expressive dance—known as abhinaya (AH-bee-nah-yah)—is the physical expression of emotions and states of being. Dancers use hand gestures, facial expressions, and body movements to tell stories and convey emotions.

Bharatanatyam technique is made up of a vocabulary of rhythms, postures, gestures, and movements, which offer a beautiful language that can be used in creative ways. Just as a poet can use words to write his or her own poetry, a choreographer can use the Bharatanatyam vocabulary to create his or her own dances.

The dance is accompanied by live music: a vocalist singing in an Indian language (usually Tamil, Telegu, or Sanskrit), a melodic instrument (usually a violin or flute), a two-headed drum called a mridangam (mruh-DAHN-gahm), and a conductor, who uses small cymbals and vocal percussion to mirror and complement the rhythms of the dancers’ feet.

Still not certain what to expect? Want a preview? Take a look:

vimeo

'Written in Water' trailer from Ragamala Dance Company on Vimeo.

About the Performance

Understanding the inspirations and themes of Written in Water will help you relate to the performance and better appreciate the work. Written in Water is a collaborative creation that brings together choreography, ancient poetry, mythological stories, three musical styles, and visual art to explore universal ideas of humanity, community, adversity, morality, and divinity.

Written in Water does not tell a linear story. Rather, it explores the idea of a human soul on a journey toward ultimate wisdom. This idea is universal; it is experienced by people of all cultures from around the world. It is something we can all relate to, regardless of our nationality, ethnicity, or faith.

In creating Written in Water, choreographers Ranee Ramaswamy and Aparna Ramaswamy were inspired by an age-old board game from India known as Paramapadam (PAH-rah-mah-PAH-dham). This game takes players on a symbolic journey in the search for ultimate wisdom. (Paramapadam might look familiar to you—centuries later, the British brought it to the Western world, where Milton Bradley adapted it into “Chutes and Ladders.”)

Ranee and Aparna have used the Paramapadam game board as a framework for Written in Water. This framework is both physical and metaphorical. At times during the performance, the game board is projected upon the stage and the dancers negotiate snakes and ladders, which represent the heights of ecstasy and depths of longing. Watch how the dancers move when they are traversing the snakes and ladders.

To add additional emotional layers to Written in Water, Ranee and Aparna drew from the 12th century epic poem The Conference of the Birds, which explores the journey toward transcendence from a Sufi perspective. In this poem, a group of birds travels through seven valleys to find their leader. Each of the valleys represents a state of being—spiritual longing, human love, unity with others, detachment from material life—ending in the realization that the leader they were seeking was within them all along.

They also have drawn from the Indian mythological story of Ksheerabthi Madanam (Shee-RABH-dhee MAH-dah-nahm), the Churning of the Seven Seas. This story is a metaphor for a world in chaos, the dynamic tension between good and evil, and the mythological figure of Vishnu, who becomes the perfect center toward which humans strive.

Ranee and Aparna commissioned a new musical score for Written in Water from Iraqi-American composer/musician Amir ElSaffar, which brings together musical influences from South India, Iraq, and American jazz. To create a visual environment for the work, they commissioned paintings from India-based visual artist V. Keshav to be projected on the stage floor and a standing screen. The artists worked together to construct the choreography, music, visual art, and design of Written in Water simultaneously, in a collaborative process that lasted four years.

Caption: During the performance, look for the banner screen and game board projections. Note the snakes and ladders running across the squares on the floor.

Photo by Three Phase Multimedia, LLC

What to Look and Listen for

Details about the costumes, projection, movement, and music…

Costumes:

Bharatanatyam dancers wear costumes stitched together from traditional saris (wrapped garments often made from handwoven silk). This design was created in the 20th century to make it easier for dancers to move freely. The costume includes a blouse, pants, an upper sash and waist sash, and a pleated fabric that falls in front of the dancer’s midline. When she takes a bent-kneed position, the pleats open like the folds of a fan.

Dancers wear anklets called chalangai (SHA-lan-gay, pieces of leather sewn with many small metallic bells), to enhance the rhythms of their feet. Experienced dancers have the ability to modulate numerous different percussive sounds with different parts of the feet. This modulation yields delicate or more impactful sounds from the dancers’ bells.

Dancers also wear South Indian ‘temple’ jewelry—gold-colored pieces embellished with stones made to look like rubies, emeralds, and pearls. A set of temple jewelry consists of long chains, pendants, short necklaces, headpieces, earrings, waist belts, nose pins, and bangles.

Dramatic makeup is carefully applied to dancers’ faces—especially around the eyes—to highlight their expressions and subtle yet impactful facial movements.

Red dye known as alta (AHL-tah) is used to paint the dancers’ fingertips and toes. The red color accentuates dancers’ hand gestures and foot movements.

Caption: Close up of Aparna Ramaswamy. Look for traditional Bharatanatyam makeup, jewelry, and costume.

Photo courtesy of NCPA

Caption: Another close-up of Aparna Ramaswamy in Bharatanatyam makeup design and ornate jewelry.

Photo by Hub Willson

How does a Bharatanatyam dancer get ready for her performance? Here’s a time-lapse video of a Ragamala dancer getting into Bharatanatyam makeup and jewelry in under one minute: https://www.facebook.com/ragamala/videos/10155561684898074/

Projection:

In Written in Water, Ragamala Dance Company commissioned paintings by contemporary Indian artist V. Keshav to be projected on the floor of the stage and on a screen behind the dancers. Take note of how the projections change through the course of the piece.

Mr. Keshav’s paintings present contemporary interpretations of figures from Indian mythology and their identifying symbols, with an emphasis on a sense of movement and beauty.

Movement:

Bharatanatyam has 36 fundamental movements that use the dancer’s entire body—torso, head, legs, arms, hands, and feet. These movements, called adavus (AH-dah-voos), make up the alphabet of rhythmic choreography in Bharatanatyam.

Look for the araimandi (AH-rai-mahn-dee) position (half-seated with the dancer’s legs bent and knees and feet pointed outward) from which many movements start in Bharatanatyam.

There are 28 single-handed hastas (gestures) called Asamyukta Hasta (AH-sahm-yook-tah HAHS-ta) and 24 double-handed hastas called Samyukta Hasta (SAHM-yook-tah HAHS-ta). It takes many, many years to study Bharatanatyam, and children will start as young as age six or seven.

In rhythmic choreography, these gestures are used to beautify the rigor of the line. In expressive choreography, they can have a wide variety of meanings when presented in context with body movements and emotional expression.

Written in Water is performed without intermission or pauses for costume changes. Observe how the dancers transition between the different parts of the performance through their choreography, expression, and music.

Caption: Watch how the dancers “freeze” at different times to direct the audience’s focus to another dancer or part of the stage. Thematically, this provides a sense of contemplation.

Photo by Three Phase Multimedia, LLC

Here’s a video of some of the single-handed hastas of Bharatanatyam. You can see how these gestures can be part of a language. Each gesture can have dozens (even hundreds) of meanings depending on how it is held or moved around the body, the position of the body, and the dancer’s expression. Yet it is different from sign language, because it does not stand alone. It needs the accompanying body movements and words and/or music to provide the full meaning. https://www.youtube.com/watch?v=Y_vUCoufnws&t=359s

youtube

Music:

There are a variety of rhythms created by the musical ensemble and by the dancers—the musical instruments, vocals, and the movements of the feet.

Notice the mix of musical styles—South Indian classical music is called Carnatic (car-NAH-tik) music, and in Written in Water, it is blended with the classical music tradition of Iraq—known as Maqam (mah-KAHM)—and also with American jazz influences.

Listen for strong melodies backed by a drone, or a note that is held steady.

What instruments do you hear? Try to point out the violin, mridangam (drum), trumpet, and santur (sahn-TOOR) (hammered dulcimer).

Written in Water also features vocal percussion. This is a percussive language that that is understood by both drummers and dancers. The vocalizations mirror and complement the rhythms of the dancers’ feet.

Caption: Notice how the musicians watch the dancers throughout the performance. There is a dialogue between music and movement.

Photo courtesy of Valley Performing Arts Center

What to Think About

How do the vivid colors of the costumes and projections add to the mood of the movement? Try to think of what feelings you experience when you envision different colors. How do the artists use colors to help evoke feelings?

How does the mix of different musical styles make you feel? Why do you think the artists decided to bring together these specific forms of music?

The music was written especially for Written in Water. How does the music interact with the choreography to create a dialogue between musicians and dancers?

How does Bharatanatyam compare and contrast with ballet or other forms of dance?

Caption: Think how the movement, music, costumes, projections, and lighting all come together.

Photo by Three Phase Multimedia, LLC

Take Action

In order to create a work of art, artists take inspiration from many sources. Written in Water was inspired by a board-game, mythological stories, poems, music, and imagery. It’s one thing to just feel inspired, but it’s another thing to act creatively upon that inspiration. So, let’s take action!

Ragamala Founder and Co-Artistic Director Ranee Ramaswamy remembers playing the Indian board game Paramapadam as a child. Once a year during a religious festival, everyone would stay up at all night and fast. Her family would play the game to distract themselves. Ramaswamy recalls the magic of the game—a seemingly simple game that brought to light some important life topics like mythology, fate, purpose, free will, transcendence, and humanity. This game was a major inspiration for Written in Water.

Now it’s time to create your own board game that relates to your cultural identity. First, come up with a goal (what it means to “win” the game). Then, work backwards to figure out the steps and rules needed to achieve that goal by way of the game. Will you use cards, dice, or maybe a coin? Are there elements of skill or chance involved? Do players work in teams? Take your time to plan out your own unique board game on a poster board or piece of cardboard. Get creative by adding color, drawings, and other fun elements to your board that remind you of your culture and heritage. Don’t forget to come up with a name for your game, too. When you’re finished, try playing the game with a friend or family member.

If you feel comfortable, share a photo of your board game on Instagram. Be sure to tag @thekennedycenter and use the hashtag #myculturalboardgame.

Additional Photos

Photos by Bruce Palmer, Amanulla, and Ed Bock

EXPLORE MORE

Go even deeper with the Ragamala Dance Company: Written in Water Extras.

Writer: Mary Callahan

Content Editor: Lisa Resnick

Logistics Coordination: Katherine Huseman

Producer and Program Manager: Tiffany A. Bryant

The Kennedy Center’s presentation of Written in Water is made possible through the generosity of Trehan Foundation, Inc.

International Programming at the Kennedy Center is made possible through the generosity of the Kennedy Center International Committee on the Arts.

Major support for educational programs at the Kennedy Center is provided by David M. Rubenstein through the Rubenstein Arts Access Program.

Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts.

#ragamaladancecompanyat2700F #dance

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topmixtrends · 6 years

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ALONG WITH the somewhat better-known Viktor Shklovsky and Roman Jakobson, the writer and literary theorist Yuri Tynianov was a central figure of the revolutionary-era school of literary and cultural criticism that came to be known as Russian Formalism. The Formalists were contemporaries and advocates of Futurist poets like Vladimir Mayakovsky and Velimir Khlebnikov, as well as early Soviet film pioneers like Sergei Eisenstein and Dziga Vertov. In keeping with the mood of avant-garde experimentation that held sway in the early years of Soviet rule, Formalist ideas about literature and art were radical and stark, especially in comparison with the mystical impressionism of pre-revolutionary Russian writers and critics. Like Shklovsky, Jakobson, and their colleague Boris Eikhenbaum, Tynianov was first and foremost a scholar of literature, but the creative explosions of the new Soviet film industry demanded the Formalists’ attention. Tynianov, like Shklovsky, dove in as both a theorist and practitioner; he began penning screenplays and working directly with actors and filmmakers, most notably with the wacky and inventive “Factory of the Eccentric Actor” (FEKS) group. He also wrote a series of articles on film, like the one below, which were published in daily newspapers, and in 1927 released a substantial volume of Formalist essays on cinema. Tynianov’s writings on film are valuable for their insider’s perspective and the sense of palpable, physical immediacy they convey (even as he insists on the fundamentally abstract quality of film as an art form). He applies his formidable skills as a literary theorist to this material, teasing out fascinating parallels between the way words and images can be shaped and altered by their place in a work. But Tynianov is also unique among the Formalists, in that he argues for film’s essential difference from all other art forms.

This brief, even aphoristic essay, translated by Ainsley Morse and Philip Redko, anticipates many foundational statements on film made by major theorists like Eisenstein, André Bazin, and Rudolf Arnheim later in the 20th century. In its early days, cinema was often praised as a synthesis of the arts (visual, literary, and musical). By asserting the uniqueness of cinema and insisting that it be treated according to its own criteria, rather than defined in relation to the other arts, Tynianov’s essay follows the essay-manifesto of the Cine-Eyes group, “We. A Version of a Manifesto.” Led by Vertov, the Cine-Eyes sought to purge cinema of its “hangers-on” — theater, literature, and music. Echoing the Russian Futurists, this group wanted to foreground machines (the camera/cinematic apparatus) as the essence of film and the model for film as art. Tynianov, by contrast, is less concerned with technology than with film’s unparalleled capacity for abstraction, which was exploited so productively by the early Soviet avant-garde.

To explain what he means by abstraction, Tynianov takes his guiding metaphor from poetry, his primary area of expertise. In this and other essays, he suggests that film can be broken down into component parts similar to those that make up a line of verse or a poem (though Tynianov warns sharply against applying the tools or standards of literary narrative to film). He sees a productive parallel between the idea of a montage sequence in film and his theory of the “density and unity of the verse line,” where the significance of individual words and sounds (and, by extension, of the entire line) is wholly dependent on their place in sequence and the interrelations between them. There is indeed an organic connection here. In developing his theory of “vertical” or audio-visual montage, Eisenstein himself had drawn on Tynianov’s writings on verse language.

Speaking of language, the “word” of the essay’s title requires some explanation. Slovo in Russian has a primary meaning of “word,” with derivative adjective “verbal” (slovesnyi) and noun “verbal art” or “literature” (slovesnost’). But in the Russian tradition, slovo also has a much broader and more general meaning that can evoke both the religious depth of “the Word” (Logos) and the poetic experiments with the “self-sufficient word” (samovitoe slovo) of the Russian Futurists. In these contexts, slovo comes much closer to the standard anglophone use of “language”; accordingly, in the text below, it is rendered as either “word” or “language,” depending on the context. — Vera Koshkina and Ainsley Morse

Film and theater are not competing with one another. Film and theater are refining one another, showing each other the way forward as they mark out their own boundaries. [1] This younger art has preserved the easy freedom of youth (“maybe we should go to the movies?”), but has also acquired a forbidding power. In terms of the power of its impressions, film has overtaken theater. In terms of complexity it will never overtake it. They are on different paths.

First and foremost: space. No matter how much you deepen stage perspective, there’s no escaping the facts: the boxes like matchboxes and the stage under a bell-jar. The actor is bound by this bell-jar. He keeps running into the walls. (It’s so dreadful that in operas they even have people riding in on horseback! The horse stamps its feet and shakes its mane. Everyone is so relieved when they finally lead the unhappy animal out again. Otherwise it might have leapt off of the stage and fallen into the orchestra pit.) The theater gives you a close-up, a bas-relief. If the actor turns his back to you, all that exists for you is his back.

Then we have the actor’s body. From the upper balcony of the Bolshoi Theatre, even an actor playing Wotan looks like a little doll. [2] (This is the connection between theater and marionette theater.) From the upper balcony Hamlet looks like a fly. The Itinerants, meanwhile, put the actor right up in your face. [3] Also unpleasant.

The actor is bound by his body.

The actor’s speech is bound to his body, to his voice and to space.

Film is an abstract art. [4]

Experiments with space — unprecedented heights, leaps from Mars to Earth — are achieved using the most elementary, insultingly simple methods. [5]

The space of film is, in and of itself, abstract — two-dimensional. The actor turns away from the viewer — but look, here’s his face: he’s whispering and smiling. The viewer sees more than any participant in a play would see.

In the theater, time is broken up into pieces, but it moves in a straight line — not backward or to the side. This is why there can be no Vorgeschichte [back-story — trans.] in a drama (it can only be provided through language). (In fact, this is what gave rise to the specificity of drama as a literary genre.) In film, time is fluid; it has been untethered from a specific place. This fluid time fills the screen with an unheard-of variety of things and objects. It allows for forays both backward and to the side. This is a path for a new literary genre: the broad “epic” time of film suggests a cine-novel.

The actor’s body in film is abstract. Watch him shrink down to a dot — and now watch his enormous hands shuffling cards, grown to fill the entire screen. Watch him grow and change. The film protagonist will never be a fly. This is why film has such intense interest in the actor. The names of film actors mean something completely different from the names of theater actors. There is new interest every time: how will Conrad Veidt transform this time, what will Werner Krauss’s “abstraction” be like today? [6] The [actor’s] body is light, it can be stretched and compressed. (And in theater? Remember all those ponderous theatrical “deaths”: when the actor falls, you can’t help worrying that he has hurt himself.) All of the props of film are abstract: close the door in front of the fakir and he will walk through the wall.

Finally, language [slovo] …

But this is the most important part.

They used to call film the Great Silent. It would make more sense to call the gramophone the “great strangled.”

Film is not silent. Pantomime is silent, but film has nothing in common with pantomime.

Film uses speech, but it is abstracted speech, broken down into its component parts.

You are looking at the face of a speaking actor — his lips are moving, his facial expressions are dramatically strained. You cannot make out the words (and this is good — you are not meant to be able to make them out), but you have been given a certain element of speech.

Then an intertitle is trotted out — you know what the actor said, but you know it after (or before) he said it. The meaning of the words is abstracted, divorced from their pronunciation. They are separated out in time.

But where is the sound? The sound comes from the music.

The music in film is internalized — you barely hear it and don’t pay much attention to it. (And rightly so — music that is interesting on its own distracts you from the action; it barges into film like an outside force.)

The music is internalized, but not for nothing: it gives actors’ speech the final element they were missing — sound.

In this abstract art, speech is broken down into component parts. Rather than in its unsullied, real-life coherence, speech appears as a [new] combination of its elements. And each element can therefore be developed to the ultimate limit of expressiveness: the actor is not obligated to say what is expected of him, he can say whatever words provide the greatest abundance of facial expressions.

The intertitle is free to choose words with the most appropriate meaning.

Music provides an abundance and subtlety of sound unknown to human speech. It makes it possible to reduce the characters’ speech to a tense, trenchant minimum. Music allows film to do away with all of its lubricants, all of the extra “packaging” of speech.

Film is the art of abstract language. [7]

In film, as soon as the music stops, a tense silence ensues. It buzzes (even if the projector is not buzzing) and hampers the viewing. This is not because we are simply used to music in the cinema. If you remove the music from film, it will empty out and become a defective, inadequate art form. When there is no music, the pits of the gaping, speaking mouths are excruciating.

Look closely at the movement onscreen: how heavily the horses are leaping in that emptiness! You can’t keep watching them running. Movements lose their lightness and the escalation of the action weighs on you like a stone.

When you take music out of film, you make film truly mute; deprived of one of its elements, the characters’ speech becomes a hindrance, an abomination. You lay waste to the action. This is an important second point: music in film gives rhythm to the action.

Theater is built around a cohesive, unified language (encompassing meaning, facial expression, sound). Film is built around the broken-down abstraction of language. Film is not capable of “competing” with theater. But theater should likewise not compete with film. Physical stunts in theater run into the walls, just as dialogue in film runs into the screen.

When inventing a poison, it is customary to invent the antidote as well.

The antidote that is capable of killing film is the Kinetophone. [8]

The Kinetophone is an unhappy invention.

The characters will speak “like in a real theater.” But film’s whole power lies in the fact that the characters do not “speak” — “speech” is provided. Provided in the minimal and abstracted way that makes film art.

The Kinetophone is a misbegotten child of film and the theater, a pathetic compromise. It takes the abstraction of film and carefully and awkwardly gathers the parts back together.

Film pulled apart speech. Stretched out time. Shifted space. And this is why it is maximalist. It works with very large numbers. “200,000 meters” [of film strip] recalls the abstract exchange rate of our ruble.

We are abstract people. Every day sees us split among 10 different areas of activity. This is why we go to the movies.

“Film — Word — Music” was originally published under the pseudonym Yu. Van-Vezen in the first issue of the journal Life of Art (Zhizn’ iskusstva, 1924). This text is translated from the Russian by Ainsley Morse and Philip Redko, from Poetika. Istoriia literatury. Kino, ed. Chudakov, Chudakova, Toddes (Moscow: Nauka, 1977), 320–322. It will be published by Academic Studies Press as part of Yuri Tynianov, Permanent Evolution: Selected Essays on Literature, Theory, and Film. In addition to this essay, Permanent Evolution includes “On the Screenplay,” “On FEKS,” “On Plot and Fabula in Film,” and “The Foundations of Film,” all written between 1924–1927.

Yuri Tynianov (1894–1943) was a major literary theorist, literary historian, and prose writer associated with the Formalist school of criticism.

Vera Koshkina is a freelance writer and translator living in Berlin. She received her PhD in Slavic Languages and Literatures and Film and Visual Studies at Harvard University.

Ainsley Morse is a literary translator and Russian literature scholar specializing in poetry and the 20th century.

[1] Film versus theater was a topic of especially heated debate from the inception of cinema as a popular entertainment in the late 19th century and into the 1950s. André Bazin’s famous 1951 essay “Theater and Cinema” discusses the body of the actor and the use of space in cinema and film in much the same way as Tynianov does here. Bazin also reaches the same conclusion, that the two art forms help one another rather than stand in competition.

[2] Wotan is another name for the Norse god Odin. Tynianov refers to a performance of Wagner’s opera cycle Der Ring des Nibelungen. The Bolshoi Theatre is a major ballet and opera theater in downtown Moscow, built in 1825.

[3] Tynianov refers to the Itinerant Theater (Peredvizhnoi teatr), a democratically minded experimental theater (its first iteration was the “Public” or “Generally Accessible Theater”) that operated in St. Petersburg/Petrograd/Leningrad between 1905–’28. The name of the theater refers to, but should not be confused with, the Itinerant movement in 19th-century Russian painting.

[4] In the seminal essay “Film and Reality” (1933), published in his Film as Art, Rudolf Arnheim makes a similar claim about the essence of cinema as an art lying precisely in its abstraction from reality. All the ways in which film deviates from reality, specifically its flatness and the “absence of the nonvisual world of the senses,” are what provide cinema with its greatest expressive potential. Arnheim was coming at cinema via his study of the psychology of visual perception.

[5] Tynianov’s mention of Mars most likely refers to Aelita: Queen of Mars (1924) directed by Yakov Protazanov. The film came out after this article was published but was widely advertised in the press for many months before its release. Another possible reference is A Trip to the Moon (1902) by Georges Méliès, considered the first science-fiction film. It is especially famous for its iconic image of a rocket landing in the moon’s eye, as well as the use of “cinematic tricks” or montage, to show people and objects appear and disappear on screen.

[6] Conrad Veidt and Werner Krauss were known as the faces of German Expressionist cinema which, along with American films, were much better known and more popular than domestic productions with Soviet cinema audiences in the 1920s.

[7] Sergei Eisenstein, Vsevolod Pudovkin, and Grigori Alexandrov’s famous “Statement on Sound” (1928) is an elaboration on Tynianov’s claim that film is not silent. The directors worried that the advent of sound in film would make film less of an “abstract art” in the sense described here by Tynianov. As an antidote to this they proposed that sound in film should not be synchronous but contrapuntal. (English version of the “Statement” in The Film Factory: Russian and Soviet Cinema in Documents, ed./trans. Richard Taylor and Ian Christie [Cambridge, MA, 1988], 234–235.)

[8] The Kinetophone was an early (1894), largely unsuccessful attempt by Thomas Edison and William Dickson to create a soundtrack synchronized with film. The Kinetophone was first demonstrated in Moscow in 1913, but by the time of Tynianov’s article other, more successful sound-film technologies had been introduced. By 1930, sound had officially conquered Soviet film.

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