Two tiny specks in the ocean

Two tiny specks in the ocean merging into The One in Infinity.
Scary. Will they come back?


CLEANING OUT THE BLOG-ATTIC...


They did come back.

Hadrian in Baiae

Hadrian in Baiae

When the waters of his body started to overflow, drown and suffocate him, Hadrian retired reluctantly and secluded himself in Baiae. The empire was secure on all frontiers; Egyptian bread and foreign gladiators in abundance in Rome, senators pacified and locked in a respectful silence.
He released his physicians in disgust, muttering angrily: "Thy art is devoid of knowledge..." He studied it himself and knew it too well.
He also knew who poisoned him: the old Hebrew with empty sunny eyes, whom he rewarded so generously. His unusual exotic fruits were too sweet and too delicious and caused an insatiable deep thirst which could never be quenched. So they could repeat for centuries: "May his bones rot!"
He tried to kill himself three times and each time his vigilant servants wrestled the knife out of his hands. Servianus' prayer thus turned into a curse and a prophesy: "Wish your own death but do not get it!"
His memories became his lonely walking paths, his thoughts - his only delight and entertainment. He contemplated the nature of gods and men and the fate of The Empire.


A bust of Hadrian, National Archaeological Museum of Athens.

To all my friends

To all my friends:
You all are so wonderful, and I feel so happy and so proud to be with you and to be a part of you! I love you all, Michael.

"We have the honor and privilege to walk hand-in-hand..."

Fernando

Fernando

 

¿Puedes escuchar, Fernando?

Me recuerda tiempo atrás,
estrellas y una noche allá
En la lumbre azul, Fernando
tarareabas tu canción
con ese suave guitarrear
Yo podía escuchar esos
tambores con un sordo redoblar

Se acercaban más, Fernando
y el momento que pasaba
parecía eternidad
Y sentí temor, Fernando
Por la vida y juventud nadie
pensaba en morir
y no siento hoy vergüenza al
confesar que tuve ganas de llorar

Algo había alrededor, quizá,
de claridad, Fernando
que brillaba por nosotros dos
en protección, Fernando
No pensábamos jamás perder,
ni echar atrás
Si tuviera que volverlo a hacer,
lo haría ya, Fernando
Si tuviera que volverlo a hacer,
lo haría ya, Fernando

La vejez llegó, Fernando
y con ella una paz que hoy
logramos disfrutar
¿Se durmió el tambor, Fernando?
Pareciera que fue ayer
que lo vivimos tú y yo
y en tus ojos veo aún aquel
orgullo que refleja tu valor.

Algo había alrededor, quizá,
de claridad, Fernando
que brillaba por nosotros dos
en protección, Fernando
No pensábamos jamás perder,
ni echar atrás
Si tuviera que volverlo a hacer,
lo haría ya, Fernando
Si tuviera que volverlo a hacer,
lo haría ya, Fernando

Algo había alrededor, quizá,
de claridad, Fernando
que brillaba por nosotros dos
en protección, Fernando
No pensábamos jamás perder,
ni echar atrás
Si tuviera que volverlo a hacer,
lo haría ya, Fernando
Si tuviera que volverlo a hacer,
lo haría ya, Fernando

 

________________________________________

 

 

Can you hear the drums Fernando?

I remember long ago another starry night like this
In the firelight Fernando
You were humming to yourself and softly strumming your guitar
I could hear the distant drums
And sounds of bugle calls were coming from afar

They were closer now Fernando
Every hour every minute seemed to last eternally
I was so afraid Fernando
We were young and full of life and none of us prepared to die
And I'm not ashamed to say
The roar of guns and cannons almost made me cry

There was something in the air that night
The stars were bright, Fernando
They were shining there for you and me
For liberty, Fernando
Though I never thought that we could lose
There's no regret
If I had to do the same again
I would, my friend, Fernando
If I had to do the same again
I would, my friend, Fernando

Now we're old and grey Fernando
And since many years I haven't seen a rifle in your hand
Can you hear the drums Fernando?
Do you still recall the frightful night we crossed the Rio Grande?
I can see it in your eyes
How proud you were to fight for freedom in this land

(Repeat x2)
There was something in the air that night
The stars were bright, Fernando
They were shining there for you and me
For liberty, Fernando
Though I never thought that we could lose
There's no regret
If I had to do the same again
I would, my friend, Fernando

Yes, if I had to do the same again
I would, my friend, Fernando...

_______________________________________

 

 

Fernando (song) - From Wikipedia

 



Pomegranate Songs

Pomegranate Grove

(http://www.artflakes.com/en/products/pomegranate-grove-1)

*

We'll plant the trees
Tall will they grow and strong
And will bear the fruits:
One lithe red kernel next to the other
Ready to bleed, ready to die
For nothing less would do.


( How to eat a pomegranate )

We'll put them together
And will extract the Truth
For nothing less would do.

We'll plant the trees
Sweet will be the juice.

*



( The pomegranate boasts of a long and romantic history, featured in Egyptian art and mentioned in the Old Testament. It is native from Iran to the Himalayas. With sufficient space, you can set up a grove to create a commercial quantity of the ruby-red, seeded fruit. Well-maintained trees can live for centuries, as witnessed by pomegranates living at Versailles.

Does this Spark an idea? 

Instructions

1. • 1
     Site the grove in full sun, in an area containing well-drained soil.
   • 2
     Create trees by following the standard process for hardwood cuttings to produce sufficient plants for the grove. In late winter, take cuttings measuring 10 to 20 inches long with pruning shears from an existing tree. Set the cuttings in beds with one or two buds above the soil. Leave in place for one year.

3

Move the rooted cuttings to a pit 2 feet deep and wide, spacing them 12 to 18 inches apart. Water deeply. Allow the plants to grow for two more years, removing suckers and lower branches to create a main stem. Fertilize the pomegranates with 1 or 2 cups of ammonium sulfate, applied into three applications in February, May and September.

4

Locate the 3-year-old pomegranates to their permanent grove. Dig up the trees, creating a substantial root ball. Space them 12 to 20 feet apart; the pomegranates will grow up to 20 or 30 feet tall. Water the trees thoroughly.

5

Harvest the grove’s fruits in summer and into the fall. Apply copper fungicide according to the manufacturer’s instructions if you see signs of fruit splitting.

Read more: How to Grow a Pomegranate Grove | eHow.com )

*

On Nations and "Nationalism"

On Nations and "Nationalism":
Language is just a vehicle for communications. The love for your country can be expressed in any language, and many great countries and empires used two or more languages for their various communications. "Nationalism" (in quote marks because many different people mean many different things by it) is the love for your country and your people taken into extreme, and like all "extremes" is too far off the mark, besides being intellectually quite limited, to put it mildly; in difference with "patriotism" which is a healthy and mature such love. For example, there is no inherent contradiction in being a Puerto Rican and an American at the same time. Just the opposite: this is exactly where the "synergy" is.

Spider Bite

Spider Bite turns you into a Spider.
"What does not kill us makes us stronger."
Because the venom is absorbed and incorporated.

It gets more refined and more concentrated
With each passage from spider to spider
And from target to target.

True Spiders are immune to it.

It is a wine to a friend
It is a death to a foe.

Communications have to be beautifully simple, meaningful, direct and clear, whenever it is possible

I think that one of our problems is excessive self-referential perceptions and ideation as a product of "psychoanalytic mentality and process". It became ingrained in our both everyday and intellectual cultures and became one of its main poisons and schizophrenias, leading to misunderstandings, confusions, insecurities and conflicts. Communications have to be beautifully simple, meaningful, direct and clear, whenever it is possible. This is not to say that complexities and references do not exist. They do, but they should not mudden the picture. The most successful communicators are those who are able to clear and navigate these, sometimes almost impassable jungles easily, make a sense of it all at a first glance and to make a way for others, their followers. Someone said that about a half of all confusion and misunderstandings in science is due to its imprecise, confused and overlapping terminology. To continue this thought, we can say that about a half of all misunderstandings and confusion in social communications are due to their misunderstood, misapplied and misinterpreted references and self-references.

Why don't we get together and call ourselves an Institute? (Re - a - lly?)

Why don't we get together and call ourselves an Institute?

 (Re - a - lly?)

 

Paul Simon- I Know What I Know

 

 

 

 She looked me over

And I guess she thought
I was all right
All right in a sort of a limited way
For an off-night
She said don't I know you
From the cinematographer's party
I said who am I
To blow against the wind
I know what I know
I'll sing what I said
We come and we go
That's a thing that I keep
In the back of my head

She said there's something about you
That really reminds me of money
She is the kind of a girl
Who could say things that
Weren't that funny
I said what does that mean
I really remind you of money
She said who am I
To blow against the wind

I know what I know
I'll sing what I said
We come and we go
That's a thing that I keep
In the back of my head

She moved so easily
All I could think of was sunlight
I said aren't you the women
Who was recently given a Fulbright
She said don't I know you
From the cinematographer's party
I said who am I
To blow against the wind

I know what I know
I'll sing what I said
We come and we go
That's a thing that I keep
In the back of my head

 

_______________________________________________

 

 

Gumboots Paul Simon

 

 

Lyrics:
I was having this discussion
in a taxi heading downtown
rearranging my position
on this friend of mine
who'd had a little bit of a breakdown
I said hey you know breakdowns come
and breakdowns go so
what are you gonna do about it,
that's what I'd like to know

You don't feel you could love me
but I feel you could

It was in the early morning hours
when I fell into a phone call
believing I had supernatural powers
I slammed into a brick wall
I said hey is this my problem
is this my fault?
if that's the way it's gonna be
I'm gonna call the whole thing to a halt

You don't feel you could love me
but I feel you could

I was walking down the street
when I thought I heard this voice say
say, ain't we walking down the same street
together on the very same day?
and I said hey senorita
that's astute, I said
why don't we get together and call ourselves an institute now?
You don't feel you could love me
but I feel you could

I was having this discussion
in a taxi headed downtown...

Category:

Music





I love you all, my dear girls and boys

I love you all, my dear girls and boys; my most sincere greetings and deepest thanks to all who came to say hello to me. I did not have much of chance to talk to you, but I hope that gradually we all will get acquainted with each other; these gatherings are probably long overdue and are a very healthy sign. My special greetings to Christina, I enjoyed chatting with you. See you all again soon.

Just the same old Michael

Whatever I write in this poor little blog of mine and what is mostly purely a "literature" or some amateurish attempts at its imitation due to my fascination with words and sounds might get misinterpreted in most wild and weird ways. Therefore I will try to constrain myself with this unruly verbal production. I want to assure everyone that I remain just the same old Michael; very sane, non-crazy, non-bimbo, rational, kind, loving, appropriate and loyal. I will always love my friends and people who are close to me and will always be in. Little insignificant things in life do not upset me. Please, trust my sanity.

I am a Bullet now

I am not a man
I am not "Michael"
I am not "Dr. Novakhov"
I am a Bullet now
Till the day I die.

O Sole Mio

O Sole Mio - Google Search         o sole mio - YuoTube Search

Uploaded by maschioangioino on Sep 6, 2007
 

Luciano Pavarotti - 'O sole mio

O sole mio

Che bella cosa na jurnata 'e sole
n'aria serena doppo na tempesta
pe ll'aria fresca pare già na festa
che bella cosa na jurnata 'e sole.
Ma n'atu sole cchiu' bello, oi ne'
'o sole mio sta nfronte a te
'o sole, o sole mio
sta nfronte a te
sta nfronte a te.
Quanno fa notte e'sole se ne scenne
me vene quase 'na malincunia
sotto a fenesta toia restarria
quanno fa notte e 'o sole se ne scenne.
Ma n'atu sole cchiu' bello, oi ne'
'o sole mio sta nfronte a te
'o sole, o sole mio
sta nfronte a te
sta nfronte a te.

*

English Translation
What a wonderful thing a sunny day
The serene air after a thunderstorm
The fresh air, and a party is already going on…
What a wonderful thing a sunny day.But another sun,
that’s brighter still
It’s my own sun
that’s in your face!
The sun, my own sun
It’s in your face!
It’s in your face!When night comes and the sun has gone down,
I start feeling blue;
I’d stay below your window
When night comes and the sun has gone down.But another sun,
that’s brighter still
It’s my own sun
that’s in your face!
The sun, my own sun
It’s in your face!
It’s in your face!

*

Neapolitan Italian Text

Che bella cosa na jurnata 'e sole,
n'aria serena doppo na tempesta!
Pe' ll'aria fresca pare già na festa...
Che bella cosa na jurnata 'e sole.

Ma n'atu sole
cchiù bello, oje ne'.
O sole mio
sta 'nfronte a te!
O sole
O sole mio
sta 'nfronte a te!
sta 'nfronte a te!
Quanno fa notte e 'o sole se ne scenne,
me vene quase 'na malincunia;
sotto 'a fenesta toia restarria
quanno fa notte e 'o sole se ne scenne.

Ma n'atu sole
cchiù bello, oje ne'.
O sole mio
sta 'nfronte a te!
O sole
O sole mio
sta 'nfronte a te!
sta 'nfronte a te!

*

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Black Crab I am

 

Black Crab I am,

A slow charging lobster:

Back and forth I go,

Back and forth;

Searching for my circle of understanding.

Charge along, baby; charge, charge.

The only way is forward now:

Charge, charge...

Gaywardly forward,

Uncrabbily straight;

As an arrow,

As my beloved bullet.

Royalty Free Angry Black and Whtie Crab Logo

To The Dark Lady-Demiurge

To The Dark Lady-Demiurge:

. . .

*

Links

All you ever wanted to know about…. SONNET 130 

SONNET 130	PARAPHRASE
My mistress' eyes are nothing like the sun;	My mistress's eyes are not at all like the sun;
Coral is far more red than her lips' red;	Coral is much more red than her lips;
If snow be white, why then her breasts are dun;	If snow is white, then her breasts are certainly not white as snow;
If hairs be wires, black wires grow on her head.	If hairs can be compared to wires, hers are black and not golden.
I have seen roses damask'd, red and white,	I have seen roses colored a combination of red and white (thus pink),
But no such roses see I in her cheeks;	But I do not see such colors in her cheeks;
And in some perfumes is there more delight	And some perfumes give more delight
Than in the breath that from my mistress reeks.	Than the breath of my mistress.
I love to hear her speak, yet well I know	I love to hear her speak, but I know
That music hath a far more pleasing sound;	That music has a more pleasing sound than her voice;
I grant I never saw a goddess go;	I also never saw a goddess walk;
My mistress, when she walks, treads on the ground:	But I know that my mistress walks only on the ground.
And yet, by heaven, I think my love as rare	And yet I think my love as rare
As any she belied with false compare.	As any woman who has had poetic untruths told about her beauty with false comparisons.

ANALYSIS Sonnet 130 is Shakespeare's rather lackluster tribute to his Lady, commonly referred to as the dark lady because she seems to be non-white (black wires for hair, etc). The dark lady, who ultimately betrays the poet by loving other men, appears in sonnets 127 to 154. Sonnet 130 is clearly a parody of the conventional and traditional love sonnet, made popular by Petrarch and, in particular, made popular in England by Sidney's use of the Petrarchan form in his epic poem "Astrophel and Stella". If you compare any of the stanzas of that poem with Shakespeare's sonnet 130, you will see exactly what elements of the conventional love sonnet Shakespeare is light-heartedly mocking. In sonnet 130, there is no use of grandiose metaphor or allusion -- he does not compare his love to Venus; there is no evocation to Morpheus, etc. The ordinary beauty and humanity of his lover are what is important to Shakespeare in this sonnet, and he deliberately uses typical love poetry metaphors against themselves. In Sidney's work, for example, the features of the poet's lover are as beautiful and, at times, more beautiful than the finest pearls, diamonds, rubies, and silk. In sonnet 130, the references to such objects of perfection are indeed present, but they are there to illustrate that his lover is not as beautiful -- a total rejection of Petrarch form and content. Shakespeare utilizes a new structure, through which the straightforward theme of his lover’s simplicity can be developed in the three quatrains and neatly concluded in the final couplet. Thus, Shakespeare is using all the techniques available, including the sonnet structure itself, to enhance his parody of the traditional Petrarchan sonnet typified by Sidney’s work. But Shakespeare ends the sonnet by proclaiming his love for his mistress despite her lack of adornment, so he does finally embrace the fundamental theme in Petrarch's sonnets -- total and consuming love. One final note: Shakespeare's reference to hair as 'wires' confuses modern readers because we assume it to mean our current definition of wire -- a thread of metal -- which is hardly a fitting word in the context of the poem. However, to a Renaissance reader, wire would refer to the finely-spun gold threads woven into fancy hair nets. Many poets of the time used this term as a benchmark of beauty, including Spenser: "Her long loose yellow locks like golden wire" (Epithal).

2) Shakespeare’s Sonnet 130

*Petrarchan - Italian poet, scholar, and humanist who is famous for Canzoniere, a collection of love lyrics

Traditional readings of Shakespeare's "Sonnet130" argue that Shakespeare cunningly employs Petrarchan* imagery while deliberately undermining it. As Stephen Booth says, this "winsom trifle, is easily distorted into a solemn critical statement about sonnetconventions." He argues, Shakespeare "does gently mock the thoughtless mechanical application of the standard Petrarchan metaphors," although he appears to have "no target." Although Booth asserts that Shakespeare is not responding directly to another sonneteer, he must have them (and their ladies' virtues) squarely in mind. Unlike Sidney, whose "Stella's eyes" were Nature's "chief work," that "sun-like should more dazzle than delight," Shakespeare claims that his "Mistress' eyes are nothing like the sun." Whereas Stella's "porches rich (which name of cheeks endure)" are gleaming "marble mixed red and white," Shakespeare's dark mistress has "no such roses" in her cheeks. The negative correspondences between Shakespeare's lady and Sidney's go on and on.

In fourteen lines of "Sonnet130," Shakespeare seems to undo, discount, or invalidate nearly every Petrarchan conceit about feminine beauty employed by his fellow English sonneteers. In the concluding couplet, he relents and admits that "by heav'n, I think my love as rare / as any she belied by false compare" (lines 13-14). That final line, read through the traditional critical lens, works only if we impose very non-Shakespearean syntax on it. If we allow Shakespeare's typical syntax to breath free, however, a much more interesting (and exceptionally more problematic) reading emerges. I propose that we consider such an alternate reading, if for no other reason than to further problematize Shakespeare's dark lady, who, by all accounts, already poses a problem for Shakespeare's poetic voice and for critics. Considerations of alternate readings will not only enrich our understanding of early modern syntax in general (and Shakespeare's in particular) but also demonstrate Shakespeare's facility with poetic subtlety even on the most basic level.

In his critical edition of the Sonnets, Booth glosses "she" as "woman," asserting that the pronoun stands as a substantive, a fully realized nominal that can be modified by the "any," which precedes it. I would like to contest that reading. To analyze the final lines of "Sonnet130" completely, I must break the concluding couplet into its phrasal constituents. Shakespeare clearly intends the couplet to "undo" the potential damage done to his reader's faith that he indeed loves his dusky mistress by the ostensibly denigrating remarks in the previous twelve lines. Therefore, he begins the couplet with a coordinating conjunction, followed immediately by a contrastive adverb that suggests the concluding couplet only appears to contradict the rest of the poem. The first two words of the couplet, "And yet," delay his statement of love, and the oath, "by heav'n." which Booth asserts is a "blunt country cousin to the rhetorical gestures of elegant courtly poets," further delays the declaration to the middle of the line. Not until the second beat of the fourth foot does Shakespeare begin his genuine statement of love: "I think my love as rare / As any she belied with false compare." The grammatical complexity becomes daunting after the first comparative adverb "as."

If we were to rephrase the line according to this parsing, we would have "I think that my love is as rare as any woman (substituting the noun Booth claims "she" replaces) belied by false compare." Although the resulting line is clunky and uneven, it foregrounds the relationship that Helen Vendler asserts in her postulated source sonnet. If Shakespeare is indeed responding to a sonnet,Vendler asserts that the final couplet of this sonnet would read "more or less" in this way: "In all, by heaven I think my love as rare/As any she conceivèd for compare."Vendler's poem presents the same grammatical structure, with the same reading of "any" as an adjective that modifies the pronoun "she" that follows it. These two critical readings from Booth and Vendler, assert that the whole phrase "any she" is further modified by "belied," a past participle. Vendler offers "conceived" in her model poem. Although this reading foregrounds Shakespeare's response to Petrarchan imagery, implying that other sonnetteers actively misrepresent or "belie" their mistresses' beauty, it represents a strangely non-Shakespearian construction.

Moreover, Shakespeare uses "belie" as a past participle only two other times in his poetic corpus (if we discount its appearance in "Sonnet130")--once as an apparent attibutive adjective and once as part of a passive construction. In Sonnet 140, Shakespeare uses "belied" in a parallel structure that requires repetition of the main verb of the sentence to be complete. In the closing lines of the poem, the poetic voice demands that "mad slanderers by mad ears" should not be believed. After an abrupt grammatical break, the poem concludes with an admonition for honorable behavior, addressed to his beloved: "That I may not be so, nor thou belied, / Bear thine eyes straight, though thy proud heart go wide". The couplet, dependent upon the previous two lines, demonstrates clearly the vulnerability that the poetic voice feels to "mad slanderers" who might actively misrepresent him or his beloved. Thus, although apparently an attributive adjective on first reading, "belied" acts as the past participial complement of "may not be so"; thus "I" and "thou" are linked together in a compound subject. More frequently in Shakespearean diction, "belie" appears in complete passive constructions.

If read with these Shakespearian tendencies, the final couplet of "Sonnet130" changes dramatically. It changes from a (pro)nominal phrase modified by a past participle to a relative clause with the relative pronoun deleted: "And yet, by heaven, I think my love as rare / As any [whom] she belied with false compare." Although a zero-relative was "rarely found in the sixteenth century," it was possible and is found regularly inSidney. This alternative reading changes the focus of the poem dramatically: she (the mistress) becomes an agent of misrepresentation and potentially a poet herself--or at least a speaker who "belies" others "with false compare." The question becomes whom has she belied? Is this the reason that the poet says, "I love to hear her speak"? Does she belie others as she speaks? Although this alternative reading presents an interesting possibility, which could feed debate about the identity of Shakespeare's dark lady, it also opens up another potential reading. Whereas Booth asserts that Shakespeare has "no target" and Vendler must imagine a poem to which Shakespeare replies, the peculiar use of "she" in the final couplet of "Sonnet130" might hint at a direct link between Shakespeare's poem and that of another sonnetteer.

The characteristically non-Shakespearian use of "she" in the final line of "Sonnet130" creates an ambiguity that will most likely not be resolved by simple grammatical analysis and comparison with other occurrences in Shakespeare's corpus, but neither should it be overlooked just because it might disrupt conventional readings of the poem. Although this proposed alternative reading does not invalidate the premise that Shakespeare pokes fun at the--by his time--sorely overused Petrarchan conceits, it does open up two potential avenues for further scholarship: that the dark lady may actually be a speaking subject rather than simply an object of visual desire and that Shakespeare may have Astrophil and Stella specifically in mind as he composes some of his sonnets.

3) Commentary on Sonnet 130

This sonnet, one of Shakespeare's most famous, plays an elaborate joke on the conventions of love poetry common to Shakespeare's day, and it is so well-conceived that the joke remains funny today. Most sonnet sequences in Elizabethan England were modeled after that of Petrarch.Petrarch's famous sonnet sequence was written as a series of love poems to an idealized and idolized mistress named Laura. In the sonnets, Petrarch praises her beauty, her worth, and her perfection using an extraordinary variety of metaphors based largely on natural beauties. In Shakespeare's day, these metaphors had already become cliche (as, indeed, they still are today), but they were still the accepted technique for writing love poetry. The result was that poems tended to make highly idealizing comparisons between nature and the poets' lover that were, if taken literally, completely ridiculous. My mistress' eyes are like the sun; her lips are red as coral; her cheeks are like roses, her breasts are white as snow, her voice is like music, she is a goddess. /PARAGRAPH In many ways, Shakespeare's sonnets subvert and reverse the conventions of the Petrarchan love sequence: the idealizing love poems, for instance, are written not to a perfect woman but to an admittedly imperfect man, and the love poems to the dark lady are anything but idealizing ("My love is as a fever, longing still / For that which longer nurseth the disease" is hardly a Petrarchan conceit.) Sonnet 130 mocks the typical Petrarchan metaphors by presenting a speaker who seems to take them at face value, and somewhat bemusedly, decides to tell the truth. Your mistress' eyes are like the sun? That's strange--my mistress' eyes aren't at all like the sun. Your mistress' breath smells like perfume? My mistress' breath reeks compared to perfume. In the couplet, then, the speaker shows his full intent, which is to insist that love does not need these conceits in order to be real; and women do not need to look like flowers or the sun in order to be beautiful.

The rhetorical structure of Sonnet 130 is important to its effect. In the first quatrain, the speaker spends one line on each comparison between his mistress and something else (the sun, coral, snow, and wires--the one positive thing in the whole poem some part of his mistress is like. In the second and third quatrains, he expands the descriptions to occupy two lines each, so that roses/cheeks, perfume/breath, music/voice, and goddess/mistress each receive a pair of unrhymed lines. This creates the effect of an expanding and developing argument, and neatly prevents the poem--which does, after all, rely on a single kind of joke for its first twelve lines--from becoming stagnant.

4)Shakespeare's 154 sonnets, taken together, are frequently described as a sequence, and this is generally divided into two sections. Sonnets 1-126 focus on a young man and the speaker's friendship with him, and Sonnets 127-52 focus on the speaker's relationship with a woman. Many of Shakespeare's themes are conventional sonnet topics, such as love and beauty, and the related motifs of time and mutability. But Shakespeare treats these themes in his own, distinctive fashion—most notably by addressing the poems of love and praise not to a fair maiden but instead to a young man; and by including a second subject of passion: a woman of questionable attractiveness and virtue. In Sonnet 130, the speaker describes the woman that he loves in extremely unflattering terms but claims that he truly loves her, which lends credibility to his claim because even though he does not find her attractive, he still declares his love for her. The sentences of Sonnet 130 are written in iambic pentameter, with ten syllables and a pattern of unstressed and stressed syllables. Writing the poem in iambic pentameter gives rhythm to the poem and helps it flow smoothly.

References:

<!--[if !supportLists]-->1)<!--[endif]-->Mabillard, Amanda. "An Analysis of Shakespeare's Sonnet 130". Shakespeare Online. 2000. http://www.shakespeare-online.com (day/month/year).

<!--[if !supportLists]-->2)<!--[endif]-->Shakespeare's SONNET 130 , By: Doe, Jane, Scholarly Journal, number, Date, Vol. #, Issue #

<!--[if !supportLists]-->3)<!--[endif]-->Sparknotes.com – commentary on sonnet 130

<!--[if !supportLists]-->4)<!--[endif]-->Google search

shakespeare dark lady sonnets - GS

shakespeare dark lady sonnets analysis - GS

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Shakespeare's sonnets - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Shakespeare's_sonnetsCached - Similar

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Jump to The Dark Lady‎: "The Dark Lady" redirects here. For other uses, see Dark Lady. The Dark Lady sequence (sonnets 127–152), distinguishes itself ...

 

Analysis of Shakespeare's Sonnet 130 - My mistress's eyes

www.shakespeare-online.com/sonnets/130detail.htmlCached - Similar

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Shakespeare's sonnet 130 - My mistress' eyes are nothing like the sun - with ... The dark lady, who ultimately betrays the poet, appears in sonnets 127 to 154.

 

BEHAVIOR AND LAW - General, Forensic and Prison Psychiatry News: Criminal cultures, criminal societies and their de...

BEHAVIOR AND LAW - General, Forensic and Prison Psychiatry News: Criminal cultures, criminal societies and their de...: Criminal subcultures , criminal societies and their decriminalisation working draft outline

Big coqui I am too, that's true

Big coqui I am too, that's true. I liked how you put it.
Co-qui, co-qui!

 Coquí

 

Coqui (Photo courtesy of Photos of Puerto Rico.com)

The Puerto Rican coquí is a very small - tiny - tree frog about one inch long. Some coquíes look green, some brown and some yellowish - actually they are translucent. Coquíes have a high pitched sound and can be heard from far away.

The coquíes begin to sing when the sun goes down at dusk. Their melody serenades islanders to sleep. Coquíes sing all night long until dawn when they stop singing and head for the nest. Puerto Ricans love their coquíes and have written poems, stories, and Aguinaldos about them.

During the time of the Taíno Indians trillions of coquíes serenated our ancestral home. Many Taíno Indian myths surround the coquí. Coquíes are found in much of the Taíno art like pictographs and pottery.

In Puerto Rico all coquíes are called coquí even though not all sing ''co-quí''. Only two of the species the ''Coquí Común'' and the ''Coquí de la Montaña or Coquí Puertorriqueño'' actually sing ''co-quí''.

Puerto Rican coquíes have relatives all over Latin America. The coquí genre is found in all the Caribbean Islands, and in Central and South America. But again, the only ones that make the sound ''co-quí'' are Puerto Rican.

The scientific name for the coquí is Eleu-thero-dactylus, characterized because they have no webbed toes. There are 16 different species in Puerto Rico and all of them have padded discs at the end of their toes which helps them climb. Coquíes are classified as amphibians - a grouping for cold blooded vertebrates that includes frogs, toads, or newts -that are able to live in both water and land.

Contrary to frogs, the coquíes do not go through a tadpole stage and break out of their egg - a small replica of their parents. Some coquíes are terrestrial some are arboreal. The Coquí Dorado is the only specie in the world that bears live young.

The male coquí sings - not the female. That means that in Puerto Rico we hear only half the coquíes singing. The male coquí watches over the eggs. The eggs hatch in 28 days and the young coquíes remain in the nest for an additional 5 days. Again the male coquí watches over them until they leave the nest.

When there is more light either from the moon or from street lights, there are less coquíes to be heard. Therefore there are more coquíes in isolated areas like the mountains. The specie ''Puerto Rican coquí'' sings co-quí, co-quí, co-quí at dusk and changes to co-quí-quí-quí, co-quí-quí-quí, co-quí-quí-quí, at dawn. It is arboreal - climbing to the top of trees in search of insects. There it remains until dawn when it changes its song and jumps down nesting until the evening.

Coquíes are in danger of extinction and actually two of them are already extinct - the Coquí Dorado and the Coquí Palmeado. Others are endangered species like the Coquí Caoba and the Coquí de Eneida. Why are coquíes in extinction? Because of deforestation. People have destroyed their habitat or homes (nests) destroying their eggs and destroying their source of food and nourishment.

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Rachmaninov: The Isle of the Dead, Symphonic poem Op. 29 - Andrew Davis

Rachmaninov: The Isle of the Dead - YouTube Search

Rachmaninov: The Isle of the Dead, Symphonic poem Op. 29 - Andrew Davis

Uploaded by Nocturne331 on Nov 23, 2011

Royal Stockholm Philharmonic Orchestra
Sir Andrew Davis, conductor

 

Не пой, красавица, при мне - Playlist

Не пой, красавица, при мне - Playlist

 

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100 videosTop Tracks for Sergey Rachmaninov

Vishnevskaya sings Rachmaninov op.4 №4

Uploaded by Fleur192 on Feb 14, 2009

"O cease thy singing, maiden fair "
"Не пой, красавица при мне..."
"Ne poy krasavitsa pri mne..."

Не пой, красавица, при мне
Ты песен Грузии печальной:
Напоминают мне оне
Другую жизнь и берег дальный.

Увы! напоминают мне
Твои жестокие напевы
И степь, и ночь — и при луне
Черты далекой, бедной девы.

Я призрак милый, роковой,
Тебя увидев, забываю;
Но ты поешь — и предо мной
Его я вновь воображаю.

Не пой, красавица, при мне
Ты песен Грузии печальной:
Напоминают мне оне
Другую жизнь и берег дальный.

Oh, cease thy singing maiden fair Those songs of Georgian land, I pray thee; What e'er recall our life to me on foreign strand I fain would banish. And, ah! thy haunting lay brings back remembrance of days, long, long departed, I see the moon, the desert night and her sad face and eyes imploring. Ah! fond one, gently, ever near A youth forever doth behold thee. Yet when your face is always there It will not waver, will not vanish. Oh, cease thy singing maiden fair Those songs of Georgian land, I pray thee; What e'er recall our life to me on foreign strand I fain would banish.

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4:49Надежда Фесенко-Не пой,красавица-С.Рахманиновby

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Thank you, The People of Puerto Rico!

Thank you, The People of Puerto Rico! It is impossible not to love you.
Ich bin ein BORICUA!



http://www.myspace.com/ur_sexy_borican