Monday, January 25, 2010

Elizabeth's English Literature Essay

Midsummer’s Night Dream
Notes: After much experimenting, I decided that all references should simply be typed in bold font, to avoid confusion.
Several assumptions should be made. References are made to the entirety of the play, and not merely the lines before the breaking off into an alternate universe, as the characters’ temperament are only revealed in the later lines and character research is essential for authencity.
A latter chart is made for relatively easier note reading, as frequent scattering of notations on the essay text is aesthetically displeasing.
Situation:
Puck is ranting in a clearing. Helena enters and hides until a certain moment- when she realizes that this strange faerie is responsible for the bizarre affection she received from Lysander. Her upset gets the better of her, and the debate begins.


Puck:








Helena:







Puck:





















Helena:





Puck:















Helena:









Puck:




Helena:

























Puck





Helena:








Puck:

Helena:



Puck:
Helena:



Puck:
(flies into another grove and continues his soliloquy)
Lord what fools these mortals be,

Their love and lives are all too swift to sunder
Tis plain that all their love be in their eyne,
And that a newer love will act as thunder
To whom their will and reason act as hyne


(enters)
Methinks that this be no mortal youth here,
I avow his head be in eldritch birth,
So should one as immortal fae appear,
If not damned ghost shackled to this earth.

(Helena steps behind the brakes, Puck continues)

Their lovers lost they promptly lose their wits,
In verse full to Calliope unseat.
As o’er all their sport dark Eris sits,
Their fickle love translates- and new loves meet.

Hark these mortal follies, cast stranger sort!
That their vaunted passions, sacred lusts
I might with single flower singly thwart
And all their vows, troth-plighted trusts

Make fruitless, held naught but vexing dreams,
The oaths afore, the vows sworn undying
Now change owners. ’Tis clear that love beteems
Brief moments only, and no defying


May salvage briefer mortal lives from death.
So all their quaint passion and their lust,
Their amorous sport be consigned to Lethe,
The ruddy cheeks and lips from dust to dust.


To love, dark stranger, thou art forspoken.
Make acknown, pray, if thou wilt thy fee-grief,
That driv’st thou to rail against troth broken,
For I am amazed at thy manner so unlief.


(mocking)
Hark at woodhind feigning manner meek-
For the sake of spotted inconstancy,
The callous Demetrius whomst thou seek-
Hast thou not abandoned virtue, modesty?

He gave thou gauds and nosegays sweet,
And now Hermia he woos with ardour.
His former love he now views as vile surfeit,
And treats contemptuously with reddour.

Feckless Lysander, who oft vaunts his love
Within the halls of Eros speaks treason.
By seeking to one maid his false love prove,
He spurns true love to uphold false reason

Dusky Hermia is more fair than I,
So love’s endarkened view did’st shift its choice;
Better Hermia, beheld by his eye
Sweet; whilst I made lesser to Echo’s voice,

Will as to follow hard heart willingly.
For reason holds she is the better maid.
So with lingering sighs, still in amity
As sisters, our bond yet not unmade.

Yet mortals hold their love dear, verily
Beyond all Hades’ vast and jeweled wealth.
So they price the passing- sweet rarity!
That does not long linger, beseeming health.

Thou art faerie, thy life a strand
Made adamant strong, confounding the Fates.
Beyond their severance and Plutos’ hand
Thine measure, which no lengthy span abates.

Yet Charon’s vessel, thought of those Tartarus-grasped-
For immortal fae they rob no pleasure.
Yet mortal men, we by Atropos clasped
And broken, hold our lives in scanty measure.

Encandled flame made brief, we brighter burn,
In the final moments enflamed, still
Leap the higher, ere wick to ashes burn,
To be immortal through valorous will.

So passion burns, th' animating spark,
That driv'st the will past the graven bounds
Of chastecast duty, as mariners mark
Bright Aurora's cast. Thus are barrowmounds

Deprived, forsooth, of all their richer worth.
As loves entwined, made brief by earthly haste
Are still giv'n sorrow, made to mirth,
By the resounding ages made full fast.


What of blind Lysander, that sightless lob
Who to Hermia vowed hearts’ constancy?
Not content with her, your heart too must he rob,
And confess all his promised love as heresy.


Methought Lysander was in thralldom held,
So his eyne both latched with enchanted juice-
Mad’st love translate, and all his reason felled
By Eros’ tincture his love like tethers loose,
Didst latch on unfortunate Helena.
Against fey charm made to o’er love prevail-
Twould be to match that headed hypsiglena,
Its venom’d strength with mortal arms and mail.

So done to purge all grossness fondly held,
So’st both youths madly dote on all parts thine.
Yet long he was to Hermia enspelled.
Though now returned to me, he is not mine.

Now thou mayst witly pluck their puppet strings,
To see who shalt jump for thee, and who shalt kneel.
I cannot conceive such fanciful things:
My lover wilt to single blissful seal,

And evermore my love return to me?
Fond mortal, though it be that you have crept,
From yonder brakes, abide this charmed decree,
To return thence, with no remembrance kept.


(Exeunt all, play resumes without interruption)

Footnotes:
Eyne

Thunder



Hyne








Head

Fae
Damned ghost




fickle love translates




cast-

vaunted passions-


sacred lusts



single flower



troth-plighted

vexing dreams







sworn undying
change owners.










quaint passion (NOT ESSAY PART, JUST FOR YOUR PERSONAL INFORMATION)
amorous sport


Lethe,









forspoken.
Acknown
fee-grief,
unlief.

woodhind









feigning





spotted inconstancy,
callous








abandoned virtue, modesty













gauds and nosegays






woos







vile surfeit-

treats contemptuously with reddour.




vaunts


treason.




false love prove
false reason (with above)







Dusky Hermia is more fair













love’s endarkened view





Echo
hard heart



reason holds she is the better maid






our bond


hold their love dear







Hades


strand
Fates.
Severance



Plutos
Charon

Tartarus

immortal fae
Atropos

chastecast duty





barrowmounds
earthly haste




giv'n sorrow, made to mirth,




full fast








blind






sightless (lob)
hearts’ constancy

confess all his promised love as heresy.





latched

translate







reason felled







headed hypsiglena




venom’d strength

mortal arms and mail.







grossness fondly held






madly dote on all parts thine

to Hermia enspelled



Though now returned to me, he is not mine



puppet strings


shalt jump for thee… shalt kneel.


single blissful seal,






Evermore my love return to me



Fond
A reference to the eye motif in the play. Of particular note is Lysander.
An indirect reference to the supernatural/divine intervention that is throughout this play, as thunder is within the domain of Zeus, Father God.
An archaic word meaning servant. This is to explicate Lysander’s reason being totally overcome by the love potion, to the point that he is subject to Helena’s speech, going so far as to be in perfect rhyme and rhythm with her.
Act II: And run through fire I will for thy sweet sake
Is the line in question, as it perfectly rhymes with ‘awake’ and shows how Lysander’s will is overpowered by the love potion to be dominated by love for Helena.
Meaning fountainhead or source. In this case, the root of Puck’s lineage is clearly fey in nature.
Adj., meaning fae, fey, faerie and fairy
To further emphasize Puck is not an evil spirit (Shakespeare refers in MND to them as ‘ghosts’) and hence why Helena is not overly afraid to talk to Puck.
Puck here is speaking on the lovers’ foolishness, as they boast of their inconstant love (which they claim is undying). It’s this paradox that Puck finds foolish, as their claims are swiftly disproved by love-in-idleness.
Means moulded from. Puck is saying how strange mortals are.
Refers to both Lysander and Demetrius, who melodramatically proclaim their love for Hermia and Helena in varying combinations.
Marriage- See how eager Theseus is to consummate the marriage in the final Act, as he immediately calls for bed as the mechanicals’ play is over.
Love-in-idleness- Puck deliberately emphasizes how a small and frail flower can totally change Lysander and Demetrius’ affections to further his point.
Married, or at least vows implying romantic love and a bond of unity.
In reference to Oberon (Act IV):
And think no more of this night's accidents
But as the fierce vexation of a dream
Implying both the frivolity of love in Puck’s eyes (as these dreams of love are swiftly passing and illusions) and also the connection between dreams, illusion and love as seen in this play, as the lovers believe their encounters are but dreams.
Lysander in particular vaunts his love (i.e. speaks of it in a bragging manner), as he protests his love for Helena to be true (holding his tears as a ‘badge of faith’ Act III). Yet he also claims the same to Hermia- ‘Two bosoms interchained with an oath;
So then two bosoms and a single troth.’ (Act II)- this is also the reference I make whenever I use the word troth in the essay, as the lovers frequently refer to troths, plighted or otherwise. Puck points out that these promises, sworn eternal, are broken easily as soon as Lysander wakes.
Both this and the below are in reference to Marvell’s To My Coy Mistress, which inspired Prufrock. I pay my homage. Though you would be interested



The river of forgetfulness in Hades. Refers to how the vows promised to former lovers are so easily forgotten by Lysander and Demetrius, and also how mortal lives are swiftly deprived of love- how foolish it is that mortals prize love so highly. My basis for this is that the fairies do not- Oberon is willing to expose his wife to an unusually well-endowed monster (Bottom- asses are known for their large phalluses) in order to achieve petty revenge.
Speak against
Let it be acknowledged
Grievance or feud
Lief is to be in willing manner (i.e. pleasant)- unlief is that Puck is obviously vexed.
Both reference to Shakespeare’s pun: And here am I, and wood within this wood (Demetrius, Act II), Puck mocking Helena as mad/insane/FOOLISH (very important, as this is the meaning I use to strengthen the connection between this stanze and the point Puck makes of mortal foolishness, and also a reference to Helena’s character as a demure maiden, as she refers to herself as a gentle female deer- ‘the mild hind/ Makes speed to catch the tiger’ (Act II).
In reference to Helena’s maidenly soft voice, and also the fact Puck thinks she’s deceiving him here, as Shakespeare also uses this double meaning for Lysander- this is to emphasize Lysander’s previous love to Hermia, and how his love is changeful.
‘Upon this spotted and inconstant man’ (Act I)
Although used to refer to Demetrius, this is also applicable to Lysander, as they are both guilty of ill-treating their former lovers, Helena and Hermia respectively, with verbal abuse and loathing them. Demetrius says in Act II that he is sick when he sees Helena, while Lysander says his love for Hermia is transformed to ‘deepest loathing’, as though it were a ‘surfeit’ of ‘the sweetest things’.
This is a mocking reference to Helena’s foolishness in being alone in the woods at night with Demetrius; an untenable situation for her as she is a virginal maiden. In ancient times this would be more than enough reason for her father to press marriage. Demetrius himself makes this point:
You do impeach your modesty too much,
To leave the city and commit yourself
Into the hands of one that loves you not;
To trust the opportunity of night
And the ill counsel of a desert place
With the rich worth of your virginity.

Tokens of affection and little trinkets- readers will realize the parallels between these actions of Demetrius (based on the fact that he wooed her, according to Lysander in Act I, and wooing as Lysander did includes lovegifts, as per Greek custom) and those of Demetrius- as they both wooed, won and changed their affections.
To elaborate on earlier points of Demetrius also vaunting his love, see Act III: ‘O, why rebuke you him that loves you so?’ and this (same Act):
‘Yet you, the murderer, look as bright, as clear,
As yonder Venus in her glimmering sphere.’- he also partakes in melodrama, by comparing the target of his affections to the goddess of love, and hence he is also mocked roundly by Puck.
See reference to Lysander in callous
Equally applicable as the above, as Lysander reddour means violence. Lysander physically restrains Hermia from clawing out Helena’s eyes, while Demetrius nearly kicks Helena with his foot- ‘The more you beat me, I will fawn on you’ (Act II)- clearly shows that Helena is used to Demetrius being violent towards her.
To boast or brag. Puck is referring to Lysander’s oaths of love, which are many and varied (referenced throughout, e.g. false love prove)
It is treason to Eros, the god of love, as he has already promised devotion to Hermia and is now reneging on his vows by claiming love for Hermia.

In particular his reasoning that his tears are proof of his new devotion, which is a masterpiece of Shakespean dramatic irony, as his love is only due to artificial means (not real)- the love potion. As Oberon puts it, it is not now that his reason has become true, but rather ‘Some true love turn'd and not a false turn'd true.’ (Act III) Hence, his reasoning is actually flawed due to his senses being hindered by enchantment.
To refer to the play, this heightens the contrast-
Hermia short and dark, Helena tall and fair, as well as Helena’s feelings of inferiority. ‘What wicked and dissembling glass of mine
Made me compare with Hermia's sphery eyne?’ (Act II) especially shows how she feels herself uglier that Hermia, who Demetrius loves (at that moment). She truly believes that she is not worthy of Demetrius as Hermia is, so it is not foolish that Demetrius is inconstant. She is alone when she says this, so it is not a bid to win the youths’ sympathy. Perhaps there is an element of self-pathos, but that is hardly to be wondered at in her despair as a maiden to be alone in a wood.
Cupid was usually depicted blind, as seen in Act I ‘Love looks not with the eyes, but with the mind/ And therefore is wing'd Cupid painted blind’ Which echoes the eye motif, as the play concentrates on blindness caused by magical mischief, and infatuation.
A nymph, who gave her name to echoes.
Referring to Helena, Act II: ‘You draw me, you hard-hearted adamant’ and how she foolishly chases after a man even she realizes is hard-hearted and uncaring towards her.
Helena truly believes it at that moment, as seen in
Dusky Hermia is more fair, but this is also a mocking echo of Lysander- Helena is right in saying that his love was true, as his love was turned not by an defect of inconstancy on his part, but by magical means. Lysander, then being enchanted, had no idea that his love was untrue- hence his statement was incorrect.
As Helena puts it, she are Hermia are close friends, like a ‘double cherry’. This is the bond of platonic friendship and sisterly love as referred.
Hermia, for example, values her love shared with Lysander above her father’s wishes by eloping with him. Helena values her love for Demetrius beyond her personal safety and reputation by following him into the woods at night, and above the bond of friendship she shares with Hermia, by telling her love the secret of Hermia’s planned elopement (Act I).
Hades is the Greek ruler of the underworld, and also the god of wealth, as gold and gems are mined from the earth that is his domain.
See Fates.
The Moirae were ‘sisters three’ (Act V)- Clotho, Lachesis and Atropos. They measured mortals’ fate and lives, spun them and cut them. Atropos was the one who severed lives.
see Fates
Roman name for Hades, ruler of the underworld.
He who rowed the river Styx, ferrying souls to Hades.
When evil mortals died, their souls went here to be creatively and cruelly punished for eternity.
Helena is emphasizing their different lineage, and hence the different ways mortals and faeries view love.
A reference to the moulding Theseus said Hermia was of her father, as it was Hermia’s duty to her father to abide by him and marry Demetrius. It is a chastecast duty, as her only other legal option under Athenian law is to become a virgin priestess (Act I).
Burial mounds, where the noble dead lie in state.
A reference to Lysander’s speech in Act I, as he’s dwells upon the briefness of love. Helena points out that the briefness of love is due to the short span of mortal life, and that it is held more precious due to its short span.
Helena here is referring to plays upon which the subject of romance is key- such as Midsummer’ Night Dream. She is also, unknowingly referring to the mechanicals’ farce of Pyramus and Thisbe, as it is a tragic-comedy- or rather a tragedy comically played.
Helena also argues that the romantic ballads, plays and songs (examples in Midsummer’s Night Dream include the play itself and the play-with-the-play Pyramus and Thisbe) serve to immortalize love, and the lovers, although brief, have become famous through the ages due to their passion. Hence love is not foolish as it is the only vehicle, to her, that can serve to overcome mortals’ inevitable death.
Referring to the recurrent eye motif- Lysander’s eyes are daubed with juice, so his judgment is unsound- he is ‘blinded’, and thus he is both sightless physically (due to enchanted juice, his interpretation of vision is physically altered so that Helena is enhanced in his eyes), and blind in reason.
See blind.
Contrasting to the present inconstancy displayed by both male lovers, especially in their vows.
Direct reference to the insubstantiality of Lysander’s vows, as in Act II when right before he sleeps he says to Hermia, vowing his love ‘And then end life when I end loyalty!’ but he wakes he instantly denounces his love for Hermia in favor of Helena, calling his former beloved ‘So thou, my surfeit and my heresy’.
Using the more common meaning here of fastened, secured.
Transformed- also indicates the abruptness of chance, which Helena argues is proof that it’s unnaturally fast. And hence Lysander’s inconstancy cannot be proof of the lovers’ foolishness in love, as his foolishness was caused by the faeries in the first place and that his love for Hermia did not stem from a character flaw, and that it did not shift by itself.
His reason was no longer present according to Helena, as it was overcome by the love potion. Evidence can be seen in Oberon’s speech of its properties, as it is so strong it can cause its victim to become a zoophile- ‘Will make or man or woman madly dote/ Upon the next live creature that it sees.’- In short, the potion is so strong, necrophilia is the only barrier.
Hypsiglena- night snake. Helena is comparing this destroyer of true love to a venomous snake, in this case that of the nine-headed hydra, which ties into the snake motif symbolizing betrayal of love in the Act II (Hermia’s nightmare of a snake eating her heart).
See headed hypsiglena
Helena’s case is that as a mortal, it is futile to think Lysander is immune to it- in fact, she is right, as even Titania, a regal faerie queen of ‘no common rate’ fell in love with an ass-headed commoner due to the potion. The hydra was only slew by Heracles, who was a demi-god fathered by Zeus and highly favored by him. Heracles was also granted immortality in several tales.
Puck is referring to the infatuation held by Demetrius which was unsound, as it was only due to physical appearance (Hermia’s eyes, as stated by Act II) and was only infatuation. Hence, the infatuation which is ‘false’ is termed ‘grossness’, and ‘fondly’ indicates both Demetrius’ affection and the foolishness of his feelings.
Bluntly, that Lysander and Demetrius are both madly in love with Helena, such that even her upraised hand is termed a ‘seal of bliss’ (Act III).
Not to be taken literally- a way of saying he was infatuated with her such that it was like a spell, as his feelings were unreasonable as he only loved her for superficial reasons (her attractiveness).
Although she will happily lay claim to Demetrius’ love, she cannot truly believe, after being so abused by him, that he truly loves her, as Puck has undone the imperfection of his eyes- the groundless infatuation Demetrius had for Hermia.
Puck is referring to the influence of the love potion, by which she dominates the Athenian youths’ wills.
A reference to how the two youths are willing to fight for her- as Lysander wishes to be Helena’s knight (Act II) and the oaths of fealty are tken while kneeling.
An indirect reference to Demetrius’ change of heart, as instead of spurning her he now views even her hand as ‘a seal of bliss’ (Act III), and how her lips are tempting cherries, when previously he loathed the sight of her. Helena is thinking of marriage, as indicated by the words to mean lasting unity.
This line shows Helena wishing that he will return her feelings. This line shows her hopefulness and her disbelief that his love will last ‘evermore’, as she thinks this is but a fancy of her mind. And that her love will be returned- i.e. reciprocated.
Affectionate (towards Demetrius) and foolish (for valuing this inconstant and somewhat violent man so highly)


More references:
http://www.william-shakespeare.info
Bullfinch’s Mythology
A Guide to The Gods by Richard Carlyon
Gods and Heroes of Ancient Greece by Gustav Schwab
Elizabethan England
The New Cambridge Shakespeare
The England of Elizabeth- A.L. Rowse
A History of Everyday Things in England- Marjorie & C.H.B. Quennell

Saturday, January 23, 2010

Non, Je ne regrette rien

Non Je Ne Regrette Rien lyrics

Paroles : Michel VAUCAIRE
Musique : Charles DUMONT
(c) 1961 -ditions Eddie Barclay
droits trasnfÚrÚs aux -ditions SEMI.

R1 Non ! Rien de rien...
Non ! Je ne regrette rien
Ni le bien qu'on m'a fait
Ni le mal, tout ?a m'est bien Úgal !
Non ! Rien de rien...
Non ! Je ne regrette rien
J'ai payÚ, balayÚ, oubliÚ
Je me fous du passÚ !

1 Avec mes souvenirs
J'ai allumÚ le feu
Mes chagrins, mes plaisirs
Je n'ai plus besoin d'eux !
BalayÚs mes amours
Et tous leurs trÚmolos
BalayÚs pour toujours
Je repars Ó zÚro...

R2 Non ! Rien de rien...
Non ! Je ne regrette rien
Ni le bien qu'on m'a fait
Ni le mal, tout ?a m'est bien Úgal !
Non ! Rien de rien...
Non ! Je ne regrette rien...
Car ma vie, car mes joies
Aujourd'hui, ?a commence avec toi !



Edith Piaf – Non, Je ne regrette rien ♫ http://blip.fm/~jmci4

Sempre libera from La Traviata

http://blog.naver.com/undeuxtrois/120100136103

[Violetta:]

Sempre libera degg´io
folleggiare di gioia in gioia,
vo´che scorra il viver mio
pei sentieri del piacer.
Nasca il giorno, o il giorno muoia,
sempre lieta ne´ ritrovi,
a diletti sempre nuovi
dee volare il mio pensier

[Alfredo:]

Amor e palpito
dell´universo intero,
misterioso, altero,
croce e delizia al cor.

[Violetta:]

Oh!
Oh! Amore!
Follie!
Gioir!

Sempre libera degg´io, ecc...


English Translation
[Violetta:]
Free and aimless I frolic
From joy to joy,
Flowing along the surface
of life's path as I please.
As the day is born,
Or as the day dies,
Happily I turn to the new delights
That make my spirit soar.

[Alfredo:]
Love is a heartbeat throughout the universe,
mysterious, altering,
the torment and delight of my heart.

[Violetta:]
Oh! Oh! Love!
Madness! Euphoria!



Link: Sempre Libera – Traviata Contest - Ileana Cotrubas ♫ http://blip.fm/~jlyih

Monday, January 11, 2010

"Ich Liebe Dich" by Ludwig van Beethoven

Ich liebe dich, so wie du mich,
Am Abend und am Morgen
Noch war kein Tag, wo du und ich
Nicht teilten unsre Sorgen

Auch waren sie für dich und mich
Geteilt leicht zu ertragen;
Du tröstetest im Kummer mich
Ich weint’ in deine Klagen,
In deine Klagen.

Drum Gottes Segen über dir,
Du meines lebens Freude;
Gott schütze dich, erhalt dich mir,
Schütz und erhalt uns beide.

Gott schütze dich, erhalt dich mir,
Schütz und erhalt uns beide.
Schütz und erhalt uns beide.
Schütz und erhalt uns beide.


Beethoven "Ich liebe dich" (Wunderlich) ♫ http://blip.fm/~j0dtt

Patricia Kaas : Je voudrais la connaître

Je Voudrais La Connaître lyrics

(Jean-Jacques Goldman)
Je voudrais la connaître
Savoir comment elle est
Est-elle ou non bien faite
Est-elle jolie, je voudrais
Oh, je voudrais la voir
Longtemps la regarder
Connaître son histoire
Et son décor et son passé
C'est étrange peut-être
Cette curiosité
Voir enfin pour admettre
Et pour ne plus imaginer
Oh je voudrais comprendre
Même si ça me casse
Puisqu'elle a su te prendre
Puisqu'elle a pris ma place
J'sais déjà son parfum
Aussi son écriture
Ce mot doux chiffonné
Oublié dans notre voiture
J'veux voir aussi l'hôtel
Si t'y a mis le prix
Si la chambre était belle
Et si c'était un grand lit
C'est peut-être pas normal
C'est fou comme ça m'attire
Cette envie d'avoir mal
Oh jusqu'au bout, jusqu'à mourir
Oh j'voudrais tout savoir
Et son âge et sa peau
Tout ce qui nous sépare
Et nous ressemble, c'est idiot
Et te surprendre avec elle
Quand t'es drôle, quand t'es doux
T'écouter lui promettre
Et quand tu lui parle de nous
Je veux te voir encore
T'observer dans la glace
Et quand tu l'embrasses
Rentrer ton ventre, oh matador
Je veux vos corps à corps
Tous ces gestes oubliés
Te retrouver encore
Telle que je t'avais tant aimé
Dans ce froid dans ces cendres
Je voudrais rester là
Juste voir et comprendre
Tout ce que je ne suis pas
oh, ce que je ne suis pas


Patricia Kaas – Sexe Fort Tour : Je voudrais la connaître ♫ http://blip.fm/~izwaq

Friday, January 8, 2010

Do you want to evolve or devolve?

We try to compare with one another in everything we do, but I would say it's a delusion. How can you compare you with others. We don't start at the same starting point. Whatever people say, we aren't the same. We have different qualities. We look at different things. We see differently. We think different things. We think in different ways. We listen different things. We hear differently. We want different things. We take things differently. We like different things. We love different things. We are simply different. Some people start much ahead of others, it's because we were born differently. I don't know the reason why. It can be explained by karmic reasons. I can't say it definitely, because it's an assumption.

We compete with others; but to me it's absurd and I think it's only a manifestation of an inferiority complex. We feel inferior, that's why we like to compare with others. Do I look better? Do people think I am better? Am I smarter? Why do we need to reassure ourselves? It's because we don't feel secure. Why don't we feel secure? It's because we feel inferior. Why do we feel inferior? It's part of our inborn nature, I think. What do we do with it? Well, get rid of it. How?

Try to compare yourself today with yourself yesterday. Where are you going? Are you on the right track? This, I would like to call absolute competition. Compete by placing yourself today against yourself yesterday. By doing so, you are improved. You are advanced. You are evolved. Do you want to evolve? Or do you want to devolve?

Just a thought while doing gym this morning.

Thursday, January 7, 2010

No'goh'dan



읍내에서 마을로 돌아 오는 길.
느닷없이 우뚝한 노고단을 만나면
가슴이 철렁한 경우가 있다.
그것은 언제나 새롭고 경이롭다.
김광석에게.

A letter from Jirisan.com

On the way back from the town,
All of a sudden the towering No'goh'dan appears to me.
I then get a sudden sinking feeling in the pit of my stomach.
Always New, Always Extraordinary.
To KwangSuk Kim

*No'goh'dan is the name of one of the peaks in Mt Jiri, Korea

Translated by Aejin

Tuesday, January 5, 2010

Haydn – The Seven Last Words

I.
And they took Jesus, and led him away. And, bearing his cross, he went to a place called the place of skulls, which in Hebrew is called Golgotha, where they crucified him / and the criminals, one on the right hand, and one on the left. Then Jesus said: “Father, forgive them; for they know not what they do.”

(John, 19: 17, 18, 23, 33, 34)


II.
One of the criminals who were hanged railed at him, saying, “Are you not the Christ? Save yourself and us!” But the other rebuked him, saying, “Do you not fear God, seeing you are under the same sentence of condemnation? And we indeed justly, for we are receiving the due reward of our deeds, but this man has done nothing wrong.” And Jesus said to him, “Verily; I say unto you today you will be with me in paradise.”

(Luke, 23: 39-43)


III.
But standing by the cross of Jesus were his mother, and his mother’s sister, Mary, the wife of Clopas, and Mary Magdalene. When Jesus saw his mother, and the disciple whom he loved standing near, he said to his mother, “Woman, behold your son!”

(John, 19: 25-27)


IV.
Now, from the sixth hour there was darkness over all the land until the ninth hour. And about the ninth hour Jesus cried with a loud voice, “My God, my God, why hast thou forsaken me?”

(Matthew, 27: 45, 46)


V.
After this, Jesus, knowing that all ws now finished, said, in fulfillment of the scripture, “I thirst.”

(John, 19: 28)


VI.
A bowl full of vinegar stood there; so they put a sponge full of the vinegar on hyssop and held it to his mouth. When Jesus had received the vinegar, he said, “It is finished.”

(John, 19: 29, 30)


VII.
And there was darkness over the whole land, and the sun’s light failed. The scurtain of the temple was torn in two, and Jesus, crying with a loud voice, said, “Father, into thy hands I commend my spirit!”

(Luke, 23: 44-46)

The karmic attachment

I expected... I let myself trapped into the illusion. Why did I do that? After suffering for a few days I started thinking how did it start? Why this unbearable suffering had to start?

Yes, I expected. I had an illusion which is totally against the fact, the reality. But why? Is it a karmic attachment? If so, or even so, should I let myself attached to the karma? Should I let myself suffer from the karmic attachment?

It was really easier said than engaged myself into the theory. I had a illusion. It just was an illusion. I hung onto the illusion. And when the illusion burst, I got crashed. I became helpless and went straight to the downhill.

It was all ME doing all this. The whole cycle started by me. It then should be ended by me. I have to let it happen. I have to let the cycle stop. I should get out of this hamster wheel. It's only I who can do it.

It's good. Let me breathe. It's all good.

Monday, January 4, 2010

白孔雀_年年好運!事事順心

有人說看到白色的孔雀開屏 ,能帶來好運﹗
收到此Mail年年好運!!!







我的朋友,願你年年好運!事事順心!

"Der Abschied" from Mahler's Das Lied von der Erde

"Der Abschied" combines poems by Mong Hao-Ran and Wang Wei, plus several additional lines by Mahler himself.

Der Abschied
The final movement, "The Farewell", is nearly as long as the previous five movements combined. Its text is drawn from two different poems, both involving the theme of leave-taking.
"The sun sinks beyond the hills, evening descends into the valleys with its cooling shade. See, like a silver boat the moon sails up into the lake of the sky. I sense a soft wind blowing beyond the dark fir-trees. The brook sings melodiously through the dark. The flowers grow pale in the twilight. The earth breathes a deep draught of rest and sleep. All longing now will dream: tired people go homewards, so that they can learn forgotten joy and youth again in sleep! Birds sit motionless on their branches. The world is slumbering! It grows cool in the shade of my fir-trees. I stand and await my friend, I wait for him for our last farewell. O friend, I long to share the beauty of this evening at your side. Where do you linger? Long you leave me alone! I wander here and there with my lyre on soft grassy paths. O Beauty! O endless love-life-drunken world!
He dismounted from the horse and handed to him the drink of farewell. He asked him where he was bound and why it must be so. He spoke, and his voice was muffled: 'You, my friend, Fortune was not kind to me in this world! Where do I go? I am departing, I wander in the mountains. I am seeking rest for my lonely heart. I am making my way to my home, my abode. I shall never stray far away. My heart is still and awaits its moment.'
The beloved Earth blooms forth everywhere in Spring, and becomes green anew! Everywhere and endlessly blue shines the horizon! Endless... endless..."

Kathleen Ferrier 'Der Abschied' (Part 1) from Gustav Mahler's 'Das Lied von der Erde' ♫ http://blip.fm/~iorkp

Kathleen Ferrier 'Der Abschied' (Part 2) from Gustav Mahler's 'Das Lied von der Erde' ♫ http://blip.fm/~iorqw

Kathleen Ferrier 'Der Abschied' (Part 3) from Gustav Mahler's 'Das Lied von der Erde' ♫ http://blip.fm/~iorx4

Friday, January 1, 2010

Le Petit Prince/The Little Prince

Chapter II
J'aurais dû la juger sur les actes et non sur les mots.
I ought to have judged by deeds and not by words.

Chapter VIII
Il est bien plus difficile de se juger soi-même que de juger autrui. Si tu réussis à bien te juger, c'est que tu es un véritable sage.
It is much more difficult to judge oneself than to judge others. If you succeed in judging yourself rightly, then you are indeed a man of true wisdom

Chapter XXI
Le langage est source de malentendus.
Language is the source of misunderstandings.

Tu deviens responsable pour toujours de ce que tu as apprivoisé.
You become responsible, forever, for what you have tamed.

On ne voit bien qu'avec le cœur.
It is only with the heart that one can see rightly.

L'essentiel est invisible pour les yeux.
What is essential is invisible to the eye.

On n'est jamais content là où l'on est.
No one is ever satisfied where he is

Chapter XXIV
Ce que je vois là n'est qu'une écorce. Le plus important est invisible...
What I see here is nothing but a shell. What is most important is invisible

Il faut bien protéger les lampes: un coup de vent peut les éteindre.
The lamps should be well protected as a little breeze can extinguish the flame.

Chapter XXV
Mais les yeux sont aveugles. Il faut chercher avec le coeur.
But the eyes are blind. One must look with the heart.

Chapter XXVI
Ce qui est important, ça ne se voit pas.
The thing that is important is the thing that is not seen.