Amedeo Modigliani

Buena Vista Social Club - Chan Chan live

De Alto Cedro voy para Marcan
Llego a Cueto, voy para Mayar

El cario que te tengo
No te lo puedo negar
Se me sale la babita
Yo no lo puedo evitar

Cuando Juanica y Chan Chan
En el mar cernan arena
Como sacuda el jibe
A Chan Chan le daba pena

Limpia el camino de paja
Que yo me quiero sentar
En aqul tronco que veo
Y as no puedo llegar

De alto Cedro voy para Marcan
Lleg a Cueto voy para Mayar


ENGLISH:

From Alto Cedro, I go to Marcan
I arrive in CUeto, and then I go towards Mayar.

The love I have for you
is something I cannot deny
I drool all over
I cannot help it.

When Juanica and Chan Chan
sifted sand at the beach
...
Chan Chan felt sorry/shame

Clean the path of straw
cause I want to sit down
on that tree trunk I see
and that way I'm never going to arrive

From Alto Cedro, I go to Marcan
I arrive in CUeto, and then I go towards Mayar

SUNCANI SAT-Sundial

                                                                 Suncani sat je srusen prilikom jednog zalaska sunca.

                                                                          Na mesto njega postavljen je pescani.

                                                                      Prigodna svecanost odrzana je sledeceg jutra,
                                                                                           koje nije doslo....
                                                                                         ni sunce nije doslo.

                                                                         Vrpcu je presekla zadrigla bogatasica.
                                                             Ona je konacno bila u crnini,zahvaljujuci odsustvu svetlosti
                                                                       ....vec do kolena u pesku ''Miticeve rupe''
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

                                                      

                                                                              Sundial was destroyed during a sunset.
                                                                                        In its place is a sandy set.
                                                                 The opening ceremony was held the next morning,
                                                                                        that did not come ....
                                                                                     the sun did not come.
                                                                         The ribbon was cut thick rich women.
                                                           She finally was in mourning, due to the absence of light
                                                             .... already knee-deep in the sand''holes Mitic''
                                                                                                    ------     Tatjana 23.04.1993.

O pomracenjima Meseca

nesto iz istorije

Najstarije pomracenje Meseca o kome postoji pisani trag dogodilo se 29. januara 1135. pre n.e. a zapis je sastavljen u Kini.
Cini se da je pravu prirodu pomracenja prvi otkrio Anaksagora, filozof iz Jonije (500-428. g. pre n.e.),  koji je ucio da do Mesecevih pomracenja dolazi kada Mesec udje u Zemljinu senku, a da njegova senka opet proizvodi pomracenje Sunca na Zemlji. 
Tukidid pominje slucaj iz vremena peloponeskog rata kada Atinjani jedom prilikom nisu isplovili sa sidrista u bitku (iako im je oklevanje moglao naneti samo stetu) jer je u presudnom momentu doslo do pomracenja Meseca.
Aristotel iz posmatranja pomracenja Meseca zakljucuje u svom cuvenom delu O nebu (zapravo sva Aristotelova dela su cuvena:) da je Zemlja loptasto telo jer je senka koju baca na Mesec prilikom pomracenja zaobljena.
U staro vreme Srbi su, ako je suditi po nekim starim zapisima, znali za uzrok pomracenja jer se u tim pisanim spomenicima objasnjava da je Zemlja manja od Sunca i da zato ona ima iza sebe kupastu senku, a Mesec se pomraci kada udje u tu senku i tada on gubi svetlost pa se ne vidi, za razliku od Sunca koje se pomraci kada ga pokrije Mesec i koje ne gubi svetlost.  Postoji inace dosta belezaka u srpskim zapisima o pomracenjima Sunca i Meseca. 
Prvo i najstarije pomracenje Meseca koje se spominje u starim srpskim zapisima dogodilo se 22. juna 1461. Zatim slede pomracenja iz 20. februara 1570. pa 16. avgusta 1598. itd.
predanja

Ale hoce ponekad, govorilo se u nasem narodu, da navale na Mesec i da ga jedu i otuda mrlje na Mesecu. Prema nekim pricama to se ustvari desava svakog tridesetog dana (tj. kad je Mesec pun) samo se taj dogadjaj ne vidi uvek.

I kod nekih drugih naroda do pomracenja Meseca, a i Sunca dolazi na slican nacin, samo sto je predator razlicit. Tako kod Indusa Sunce ili Mesec proguta demon Ruhaj, kod Egipcana Mesec guta neka vodena zivotinja a Sunce zmijurina Apopi. Kod Kineza je za pomracenja je kriv strasni zmaj.

Zaprvo sto se Srba tice citava stvar oko pomracenja nije bas tako jednostavna jer sem ala postoje i druge nemani koje kidisu na Sunce i Mesec. Nekad je to vukodlak, nekad vestice, a desi se da i djavo tu umesa svoje vrazije papke.

Vestice to rade planski. Prvo jedna doleti, otkine parce Meseca i sakrije ga. Zatim navali druga, pa treca i tako redom. Medjutim Bog onda posalje svoje andjele koji savladaju prvo jednu vesticu i ona onda vrati parce Meseca koje je ukrala, zatim andjeli isto postupe sa drugom vesticom i tako redom sve dok Mesec opet ne postane ceo.

Zna se desiti da od silnih rana Mesec pusti krv, pa se vidi crven. Medjutim neki misle da ova crvena boja potice od krila ala. Ova krila su naime crvena i delimicno providna pa kad ale zaklone Mesec on sa Zemlje izgleda crven. (Prilikom pomracenja Mesec zaista zna biti crven, medjutim naucnici to objasnjavaju drugacije i sasvim suvoparno o cemu mozete citati ovde).

A prica se da djavo iz obesti i vec ne znajuci ni sam kakvo zlo da napravi, pridje krisom Mesecu i hoce da ga ukrade. Samo, andjeli uvek odbrane Mesec.

Ponekad sveti Arandjeo odbrani Mesec od nemani tako sto ga zakloni skutom svoje haljine.

Neki opet misle da je za pomracenje Meseca kriv sveti Ilija (jer je on jednom od gladi jeo Mesec).  

Neposredno posmatranje pomracenja je i stetno i to ne samo kad se radi o pomracenju Sunca vec i kad je u pitanju pomracenje Meseca, jer, tvrdi se, i to coveku donosi zlo.

Kako i kod posmatranja pomracenje Sunca za posmatranje pomracenja Meseca koristi se jedana posuda sa vodom u kojoj se zatim uhvati odraz Meseca, i pomracenje se posmatra kao u ogledalu. Posuda naravno treba da bude ćasa. Tako je navodno radila neka baba u okolini Loznice i postigla izvanredne rezultate. Ponegde se zahteva da ćasa bude gledjosana, ali opet u nekim drugim krajevima umesto ćase koristila se tepsija. Rezultati su, kazu, bolji ako se radi otepsiji koju je nekome o svadbi doneo na poklon kum udovac. Sa takvom tepsijom su obicno radile vracare. Neki su trazili da i voda u kojoj se hvata odraz bude narocito, ali se na tome ipak ne insistira suvise.

Nekada je posmatranje pomracenja putem hvatanja odraza Sunca i Meseca u vodi bilo siroko rasprostranjeno u narodu. Cak je i sama rec “hvatanje” ili “uhvatiti” postalo sinonim za pomracenje Sunca odnosno Meseca. Danas sve to tone polako u zaborav i pmracenja se posmatraju kroz zatamnjena stakla, specijalnim teleskopima i drugim instrumentima. I sigurno je bas to glavni razlog sto niko vise nije u stanju da vidi sva ona cudesa koja su videli nasi stari kada su se Sunce i Mesec “hvatali”. 

Na srecu, o tim prizorimma imamo sacuvana neka svedocanstva starih vracara. Scene koje one opisuju su dramaticne i okrutne. Veliko crno june, tako kazu, dugih rogova, usiju i repa, ogroman crni vepar duge njuske, krupan crni vuk velikih celjusti i duga repa - svi sa po sest prstiju na nogama - kidisu naizmenicno, u bezumnom besu na Mesec, trgaju ga i odlamanu njegovu parcad. A posle treceg napada sve zivotinje se pretvaraju u ljude sa po sest prstiju i ti ljudi neodoljivom snagom, gvozdenim vilama navaljuju na Mesec i drobe ga.

Ponekad se, opet kazu, mogu ale videti kako se zalecu na Mesec, grizu ga, a njegovi delovi odlecu na sve strane.

A druge vracare i babe vele da vide djavole oko Sunca kad se Sunce pomracuje i da djevoli navaljuju da ga rastrgnu.

I za celo to vreme i Mesec (i Sunce kad se ono pomracuje) trpi uzasne muke i u velikoj je opasnosti. Ljudi se trude da mu pomognu i odbrane ga i zato udaraju u zvona, vicu, galeme, pa i pucaju puskama ne bili oterali nemani[1]. Sigurno je jedno: ovako krupni dogadjaji kao sto su pomracenja Sunca i Meseca ne desavaju se u prirodi bez znacajnih posledica po ljude. U vecini slucajeva oba pomracenja losi su znaci. Pomracenje Meseca predskazuje rat, a pomracenje Sunca i rat ali i druge posasti: glad, kugu, ustanak. Uopste, pomracenje Sunca je znak nevolje za sve hriscane, narocito za Srbe, dok pomracenje Meseca predskazuje zlo za Turke.

Love is Divine-- Seal

PROCOL HARUM

We skipped a light fandango,
Turned cartwheels 'cross the floor.
I was feeling kind of seasick,
But the crowd called out for more.
The room was humming harder,
As the ceiling flew away.
When we called out for another drink,
The waiter brought a tray.

And so it was that later,
As the miller told his tale,
That her face at first just ghostly,
Turned a whiter shade of pale.

She said there is no reason,

And the truth is plain to see
That I wandered through my playing cards,
And would not let her be
One of sixteen vestal virgins
Who were leaving for the coast.
And although my eyes were open,
They might just as well have been closed.

And so it was later,
As the miller told his tale,
That her face at first just ghostly,
Turned a whiter shade of pale.

Procol Harum | Biography
Procol Harum are a British rock band, formed in the 1960s, who contributed to the development of progressive rock, and by extension, symphonic rock. Their best-known recording is their 1967 single "A Whiter Shade of Pale." Although noted for its classical influence, Procol Harum's music also embraces the blues and pop.

History

Origins
Based in Southend, Essex, The Paramounts, led by Gary Brooker and Robin Trower and including Chris Copping, scored a moderate British success in 1964 with Jerry Leiber and Mike Stoller's "Poison Ivy," which reached number 35 in the UK singles chart. Unable to generate any follow-up success, the group disbanded in 1966.

Early years
In April 1967, Brooker began working as a singer/songwriter and formed Procol Harum with non-Paramounts Keith Reid (poet), Hammond organist Matthew Fisher, guitarist Ray Royer and bassist David Knights. Guy Stevens, their original manager, named the band after a friend's Burmese cat. The name has been said to be Latin for "beyond these things", but the correct Latin translation of "beyond these things" is Procul His. Alternatively, the name has been translated as "of these far off things" (harum is in the feminine, genitive, plural). However, procul would not be followed by a genitive in Latin. The name of the band is frequently misspelled; often with Procul, Harem, both, or other variations.

At Olympic Studios, with session drummer (and non-Paramount) Bill Eyden, producer Denny Cordell, and sound engineer Keith Grant, the group recorded "A Whiter Shade of Pale" and officially released on . With the sudden success of this single and The Moody Blues' "Nights in White Satin", their label Deram Records became known as a premier progressive rock label .

With a structure reminiscent of Baroque music, a countermelody based on J.S. Bach's cantata no.140 assigned to Fisher's Hammond organ, Brooker's soulful vocals and Reid's mysterious lyrics, "A Whiter Shade of Pale" reached #1 on the British charts and did almost as well in the United States, reaching #5. In the years since, it has become an enduring classic, placing on several polls of the best songs ever.

After "A Whiter Shade of Pale" became a hit, the band set out to consolidate their studio success by touring; their live debut was opening for Jimi Hendrix in 1967.

The group's follow-up single, "Homburg", with a lineup change of former Paramounts B.J. Wilson on drums and Robin Trower on guitar, was almost as successful in the UK as it reached #6, but the LP Procol Harum, was less successful (it was recorded soon between the two hit singles, but was held back until early 1968 and in mono and phony stereo, which was unusual by that time). A series of singles charted lowly in the US and UK, though rarely both at the same time. A Salty Dog (1969; see 1969 in music) was popular among fans, and was their first album to sell well in the UK; it is still regarded as one of their finest albums. The title track in particular gained a good deal of US FM radio airplay, with Reid's ominous lyrics in the forefront. However, Fisher, who produced this album, departed the band soon after its release.

The group would have many personnel changes , but their lineup for their first three albums was Gary Brooker (piano and lead vocals), Robin Trower (guitar and lead vocals), Matthew Fisher (organ and lead vocals), David Knights (bass), B.J. Wilson (drums), and Keith Reid (lyricist). Former Paramount Chris Copping joined on organ and bass in 1970, and from late 1972 till 1977, the group's guitarist was Mick Grabham.

DOSITEJ OBRADOVIC

Dositej Obradović je rođen oko 1739. godine u Čakovcu. Ostao je bez roditelja, školovali su ga rođaci. Mladi Dimitrije bio je vrlo marljiv đak i revnostan čitalac crkvene literature. Dečak se toliko zaneo ovom literaturom da je počeo pomišljati da se posveti asketskom životu. Da bi ga odvojili od takvih knjiga i vratili stvarnosti, rodbina ga daje da izuči zanat. Dečak je toliko bio zanet mislima o asketskom zivotu da je napustio zanat, pobegao u manastir Hopovo, zakaluđerio se i dobio monaško ime Dositej. U manastiru je njegov verski zanos odudarao od načina života manastirskih ljudi i delovao kao anahronizam. Iguman manastira Teodor Milutinović odvraćao je dečaka od verskog zanosa i upućivao ga na drugačiju literaturu i nauku. Dositej se polako treznio, počeo je da čita literaturu istorijskog karaktera sa racionalističko-prosvetiteljskim idejama, teološku literaturu polemičkog karaktera, Ezopove basne, Zakonik cara Dušana. U njemu se sada javlja želja za putovanjem da bi što više video, pročitao, čuo i naučio.
	Radoznao duh i žedan nauke i znanja, Dositej se otisnuo u svet 1761.godine: njegova putovanja trajala su četrdeset godina - živeo je i radio, učio i studirao, prevodio i pisao u mnogim zemljama i gradovima: Dalmaciji, Krfu, Grčkoj, Ugarskoj, Turskoj, Nemačkoj, Rumuniji, Francuskoj, Rusiji, Engleskoj, Italiji. Po više godina proveo je na Krfu, u Smirni, Beču,Bratislavi, Haleu, Lajpcigu, Parizu, Londonu, Trstu. Trst je bio poslednje odredište njegovog stranstvovanja- odatle je došao u ustaničku Srbiju i tu umro 1811.godine.
Dositej je učio celog svog zivota: on nije samo putovao i učio na putovanju, nego je učio jezik, slušao predavanja, upoznavao se sa novim političkim, socijalnim, filozofskim i pedagoškim idejama. U Haleu, u Nemačkoj, skida kaluđersku odeću i oblači svetovnu, na univerzitetu sluša filozofiju i estetiku. Ovde prihvata prosvetiteljsku krilaticu "prosvetom ka slobodi". To ga opredeljuje da svoja znanja praktično primeni u prosvećivanju naroda. Počinje da piše knjige u prosvetiteljskom duhu i zaokupljen je mišlju o izdavanju knjiga na srpskom jeziku. Sva Dositejeva putovanja nisu bila baš ugodna. Putovanja i život su iziskivala materijalna sredstva. Sam ih je obezbeđivao radeći kao fizički radnik, učitelj , lektor, korektor, besednik, predavač u vojnoj akademiji. Postao je poliglota: naučio je klasične jezike grčki i latinski, novogrčki, nemački, engleski, francuski, ruski, albanski, rumunski, talijanski. U ustaničku Srbiju, u Beograd, došao je u poznim godinama, slabog zdravlja. Došao je da poradi na prosveti. Otvorio je veliku školu u Beogradu, a kasnije i bogosloviju. Bio je ministar prosvete, diplomata, član Praviteljstvujuščeg sovjeta. Smrt ga je snašla 1811. godine kada je uveliko radio na osnivanju štamparije u Beogradu. Dositej je vrlo plodan pisac, pisao je imajući na umu svoj narod, njegovu prosvetu: sve što je pisao namenio je srpskom narodu: Pismo Haralampiju, 1783.  Život i priključenija, 1783. ; 1788.  Sovjeti zdravog razuma, 1784.  Basne, 1788.  Pesma o izbavljenju Srbije, 1789.  Sobranije, 1793.  Etika, 1803.  Dositej Obradovic was born around the 1739th in Čakovec. Lost his parents, were educated by relatives. Dimitri Young was a very diligent student and ardent reader of religious literature. The boy was so carried away that this literature has begun to devote himself to contemplate the ascetic life. To set it apart from such books and return to reality, it gives the family to learn how to operate. The boy was so absorbed by thoughts of the ascetic life that he left the craft, fled to the monastery Hopovo,  become a monk,and received the monastic name Dositej. The monastery is its religious fervor stand out from the monastic way of life of people and acted as an anachronism. Abbot Theodore Milutinovic discouraged the boys from the religious fervor and instructed him to different literature and science. Dositej sober slowly, he began to read literature historical character with the rationalist-Enlightenment ideas of the theological literature of polemical character, Aesop's fables, the Code of Emperor. It is now the desire to travel to as many videos, read, heard and learned. Inquisitive mind, and thirsty for science and knowledge, Dositej embarked into the world 1761.godine: his journey lasted forty years - he lived and worked, taught and studied, translated and wrote in many countries and cities of Dalmatia, Corfu, Greece, Hungary,Turkey, Germany, Romania, France, Russia, England, Italy. For several years he spent on Corfu, in Smyrna, Vienna, Bratislava, Halle, Leipzig, Paris, London, Trieste. Trieste was the last destination of his life abroad-there came the period of the rising and died there 1811.godine. Dositej taught all his life: he not only traveled and taught during the trip, but learned the language, listened to lectures and meeting up with new political, social, philosophical and pedagogical ideas. In Halle, Germany, takes off his friar's clothes and puts on a secular, at the University listens to philosophy and aesthetics. Here enlightening accept the motto "Education for freedom." That it chooses to practically apply their knowledge in educating the people. Started writing the book in the spirit of Enlightenment and he is preoccupied with the thought of publishing books in Serbian language. All Dositejevs trips were not very pleasant. Travel and life necessitated expensive. I have provided is working as a laborer, teacher, lecturer, concealer, orator, lecturer at the military academy.It became a polyglot: he learned the classical languages ​​of Greek and Latin, Greek and German, English, French, Russian, Albanian, Romanian, Italian. The Rebel Serbia, in Belgrade, came to old age, poor health. He came to work on education. He opened a large school in Belgrade, and later the seminary. He was education minister, diplomat, member ''Praviteljstvujusci Soviets''. The death hit him 1811th, when it is already working on establishing a printing press in Belgrade. Dositej was a prolific writer, he wrote keeping in mind his people, his education: all that is written is intended to Serbian people: Written Haralampi, 1783rd Life and Adventures, 1783rd , 1788th Soviets common sense, 1784th Fables in 1788. Song of redemption of Serbia, the 1789th Assemblies, 1793rd Ethics, 1803rd

Indexi-Zute Dunje~yellow quinces

Voljelo se dvoje mladih

šest mjeseci, godinu

kad su htjeli da se uzmu, da se uzmu aman, aman

dušmani im ne dadoše

Razbolje se lijepa Fatma

jedinica u majke

poželjela žute dunje, žute dunje aman, aman

žute dunje iz Stambola

Pođe dragi da donese

žute dunje Carigradske

al' ga nema tri godine, tri godine aman, aman

nit' se javlja, niti dolazi

Dođe dragi sa dunjama

nađe Fatmu na nosilima

dvjesta dajem spustite je, trista dajem otkrijte je

da još jednom Fatmu ljubim ja

Michel Maurice Lode

Ben & me, Amos

Aleksandar Aleksandrovič Blok

Aleksandar Blok
(1880-1921 )

Ruski liričar, predstavnik ruskog simbolizma. Odrastao u intelektualnoj sredini, sve do revolucije 1917. živi otuđeno od društvenoga kretanja, ali revolucionarno zbivanje 1905—1917. odjekuje u slutnjama, nagovještajima, muzici i napokon — temama njegovih pjesama. Od prvoga zbornika Pjesme o divnoj dami (Stihi o
prekrasnoj dame, 1898—1904) B. je prvenstveno lirski pjesnik, koji, stvarajući zagonetne osobne simbole, od apstraktnog lika "divne dame" prelazi na gradske
teme i motive u Nehotičnoj radosti (Nečajannaja radost, 1907) i oblikuje lik "neznanke", zagonetne stanovnice gradske periferije. Ujedno u melodioznim stihovima, punim nedorečenosti, slutnji i simbola, razvija svoju metaforičnost, ironiju i groteskni duh, kada je riječ o stvarnosti;mijenja i ritmičke osobine ruskoga stiha. Treći je veliki ciklus njegove lirike posvećen socijalnim temama, a prije svega domovini — Rusiji. Sadržava liriku
u Na Kulikovu polju (Na pole Kulikovom, 1908), nezavršenu poemu Osveta (Vozme^die, 1910—19) i Jambe (1907—14). U tematski, motivski i ritmički raznolikoj poemi Dvanaestorica (Dvanadcat', 7918) oko fabule o jednom ubojstvu B. oblikuje i zločine i patetiku revolucije, njene pijane poskočice i veličanstveni marševski ritam, da bi je blagoslovio simboličkim Kristom koji se pojavljuje pred dvanaestoricom crvenogardista. Iskoristivši tekovine prijašnje ruske lirike (Žukovski, Fet) i prvih ruskih simbolista (v. Brjusov), vezan za "duh njemačke romantike", B. je razvio emocionalnu sadržajnost, lirizam i muzikalnost ruske poezije. Njegova je lirika— poezija raspadanja "staroga
svijeta" i iščekivanja nečega novoga, što će nadoći, a što pjesnik može izraziti samo muzikom stihova. Uz lirske pjesme i poeme napisao je i niz malih "lirskih" drama, koje su tematski u uskoj vezi s njegovom poezijom.

DANAS SI IŠLA POSVE SAMA

 Danas si išla posve sama,
I ja ne vidjeh Tvojih čuda.
Na gorskom Tvome visu, tamo,
Zupčasta šuma bješe svuda.

 I ta šuma krošanja zbitih,
I ti putovi gorski tmasti
Smetahu mi se s neznanim sliti
I plavetnilom tvojim cvasti.

''Uzasne su veceri hladne''

Uzasne su veceri hladne, 

Vetar sto drhti od nespokoja,
I drumom uznemirijuci sum
Nestvarnih koraka bez broja.

Ko secanje na bolest skorasnju
Hladna je svitanja pruga,
Pouzdan znak da smo u vlasti
Neraskidivog nekog kruga.

DVANAESTORICA
... I državnim idu krokom ...
- Tko je tamo? Hajde van!
Crven barjak je visoko
Sprijeda vjetrom razigran ...

Pred njima je - nanos hladni,
- U nanosu tko je - van!
To skitnički tek pas gladni
Za njima šepesa sam...

- Bocnut ću te bajonetom,
Bjež odavde, šugavi!
Stari svijete, kužno pseto,
Bježi - da ne udarim!

... Vuk se gladni dalje vuče,
Ceri zube - rep podaviv -
Pas ozebli - pas bez kuće ...
- Hej, tko ide, daj se javi!

- Tko barjakom tamo maše?
- Gledaj samo, kakva tmina!
- Tko to žurnim trkom kaše,
Krijuć se za uglovima?

- Svejedno je, bit ćeš moj,
Bolje predaj nam se sam!
- Hej, ti druže, bit će zlo,
Izlazi da ne pucam!

Trah-tah-tah! - I samo eho
Po kućama zvoni plah ...
A mećava dugim smijehom
Zavija kroz snježni prah . ..
Trah-tah-tah!
Trah-tah-tah......
I državnim krokom tako
Idu - pas ih slijedi tragom,
Sprijeda, s krvavim barjakom,
S vijavica nedoglediv,
Od taneta nepovrediv,
Nad mećavom hodom nježnim,
I bisernim prahom snježnim,
Na njem vijenac ruža čist -
Pred njima je - Isus Krist.

PJESMA FAINE


Kad u te oko moje sije,
To usko oko, oko zmije,
I kad te Ijubim, mazim,

Ej, pazi, pazi! zmija sva sam!
Gle: samo na čas tvoja ja sam
I preko tebe gazim!

Dosadio si! Možeš poći?
Sa drugim bit ću ove noći,
Ti svoju ženu išti!

Otiđi, nek te tuge riješi,
I nek te Ijubi, nek te tješi,
Otiđi & ; bič moj zviždi!

U vrt nek dođe tko od vas,
Moj uzak crn nek vidi stas!
Izgorjeti će, neka!

Ja proljeće sam sva i plam!
Ne prilazi mi i ti sam,
Kog Ijubim, koga čekam!

Tko sijed je, tko u cvijetu Ijeta,
Tko više zvonkih da moneta,
Uz poziv može ući!

Pod mladom, lijepom - starom, sijedom"
Nad vašom glupom glavom bijednom
Ti, biču moj, fijuči! 

The Russian poet, Aleksandr Blok, died eighty-nine years ago today on 7th August 1921 at the age of forty-one. A visionary and prophet, Blok believed that the poet’s role was to serve as a conduit between this and “other worlds” and thus reveal the purpose and directions of humanity (much as Rimbaud defined this duty in his Letter of the Seer). And for his brave sojourns into “other worlds”, Blok was ably assisted by two unique and distinctive muses.

Blok first came to my attention via his Romantic-influenced poetry, Stikhi o Prekrasnoy Dame (Verses on a Beautiful Lady) – his first published collection of poems. Inspired by the woman who would be his wife, Lyubov Mendeleeva, Blok follows the tradition of poets that began with Dante and Petrarch to depict his beloved as a woman both earthly and divine, a living Sophia, and through whom is revealed a beauty which transcends her and which the poet serves through his art. Yet her beauty brings the poet little peace (indeed, the marriage between Blok and Lyubov would prove to be turbulent and doomed): “Are you evil or good? You are altogether from another world /They say strange things about you / For some you are the Muse and a miracle/ For me you are torment and hell”.

But what might have been a deathblow to another poet – the abandonment of his Muse Incarnate – signified for Blok instead a new beginning. Deeply moved by the events of World War I, the Russian Revolution and ensuing Civil War, he found a new muse in Russia herself. Blok would use his love for his country, its legends and the momentous changes that were occurring to develop the rhythmic style characterized by the symbolic and metaphysical imagery for which he is best remembered.

Unlike the majority of the Russian intelligentsia, Blok supported the 1917 Revolution which he foresaw as a spiritual awakening. It inspired his best-known poem, the twelve-part Dvenadtsat (The Twelve) – but, as would be the case with many idealists, Blok was quickly disillusioned with the Bolsheviks and Soviet bureaucracy. After the Revolution, things started well enough when throughout 1918 he was commissioned for government editorial and theatrical work. By 1919, however, he was arrested for supposed counter-revolutionary activities and nearly executed. From there it was a downward spiral of disappointment exacerbated by his lifelong vice, alcohol. By 1921 he stopped writing poetry. “I’m suffocating, suffocating, suffocating. We’re suffocating, we will all suffocate,” he wrote to a fellow artist and friend.

Aware that he was indeed suffocating, suffocating, suffocating, he made a last plea for life and applied to leave Russia. But Lenin – who was familiar with Blok’s poetry and perhaps feared the Poet’s Truth – refused to grant permission. The loss of faith proved to be the final blow and, physically and mentally unable to continue, Blok died in Petrograd from malnutrition.

Ever the prophetic poet, he penned his own epitaph.

Oh, I madly want to live,
To immortalize the fleeting,
To humanize the impersonal
To realize what was a dream.
Let the life’s heavy dream suffocate me
Let me die in this dream
Perhaps, a happy youth
Will say in the future about me
“Let us forgive his melancholy
Was it his inner essence?
He was all a child of kindness and light
He was all the triumph of freedom.” 
- Aleksandr Blok

Bob Dylan - A Hard Rain's A-Gonna Fall.&...Eddie Brickell and New Bohemians

Oh, where have you been, my blue-eyed son ?
And where have you been my darling young one ?
I've stumbled on the side of twelve misty mountains
I've walked and I've crawled on six crooked highways
I've stepped in the middle of seven sad forests
I've been out in front of a dozen dead oceans
I've been ten thousand miles in the mouth of a graveyard
And it's a hard, it's a hard, it's a hard, and it's a hard
It's a hard rain's a-gonna fall.

Oh, what did you see, my blue eyed son ?
And what did you see, my darling young one ?
I saw a newborn baby with wild wolves all around it
I saw a highway of diamonds with nobody on it
I saw a black branch with blood that kept drippin'
I saw a room full of men with their hammers a-bleedin'
I saw a white ladder all covered with water
I saw ten thousand talkers whose tongues were all broken
I saw guns and sharp swords in the hands of young children
And it's a hard, it's a hard, it's a hard, and it's a hard
It's a hard rain's a-gonna fall.

And what did you hear, my blue-eyed son ?
And what did you hear, my darling young one ?
I heard the sound of a thunder, it roared out a warnin'
I heard the roar of a wave that could drown the whole world
I heard one hundred drummers whose hands were a-blazin'
I heard ten thousand whisperin' and nobody listenin'
I heard one person starve, I heard many people laughin'
Heard the song of a poet who died in the gutter
Heard the sound of a clown who cried in the alley
And it's a hard, it's a hard, it's a hard, it's a hard
And it's a hard rain's a-gonna fall.

Oh, who did you meet my blue-eyed son ?
Who did you meet, my darling young one ?
I met a young child beside a dead pony
I met a white man who walked a black dog
I met a young woman whose body was burning
I met a young girl, she gave me a rainbow
I met one man who was wounded in love
I met another man who was wounded in hatred
And it's a hard, it's a hard, it's a hard, it's a hard
And it's a hard rain's a-gonna fall.

And what'll you do now, my blue-eyed son ?
And what'll you do now my darling young one ?
I'm a-goin' back out 'fore the rain starts a-fallin'
I'll walk to the depths of the deepest black forest
Where the people are a many and their hands are all empty
Where the pellets of poison are flooding their waters
Where the home in the valley meets the damp dirty prison
Where the executioner's face is always well hidden
Where hunger is ugly, where souls are forgotten
Where black is the color, where none is the number
And I'll tell and think it and speak it and breathe it
And reflect it from the mountain so all souls can see it
Then I'll stand on the ocean until I start sinkin'
But I'll know my songs well before I start singin'
And it's a hard, it's a hard, it's a hard, and it's a hard
It's a hard rain's a-gonna fall.
                        by Bob Dylan

Pieter Bruegel the Elder

Work location

Antwerp (1551-1563), Italy (1553), Brussels (1563-1569)

The peasant wedding

The triumph of Death

Land of cockaigne / Schlaraffenland

Die Elster auf dem Galgen (1568)

The Tower of Babel (now in Vienna)

The fall of Icarus. 1558.

‘Bezoek aan de pachthoeve’. ca. 1568.

The temptations of St. Anthony.

1556.

 The Painter and The Buyer.

ca. 1565.

The Tower of Babel (now in Rotterdam)