ŠTO TE NEMA (Aleksa Šantic)

ŠTO TE NEMA via Branimir Štulic

Kad na mlado poljsko cvijece

biser niže ponoc nijema,

kroz grudi mi želja lijece:

što te nema, što te nema?

Kad mi sanak pokoj dade

i duša se miru sprema,

kroz srce se glasak krade:

što te nema, što te nema?

Vedri istok kad zarudi

u trepetu od alema,

i tad duša pjesmu budi:

što te nema, što te nema?

I u casu bujne srece,

i kad tuga uzdah sprema,

moja ljubav pjesmu krece:

što te nema, što te nema?

E moj konjicu bijeli, moje desno krilo!

Gdje je doba ono, gdje su dani oni, kad je

srce puno rahatluka bilo? Znaš li case

one: pozno sunce grije, vrhovi munara

kao vatra gore; a svuda iz baštica miris

dula vije. Mi se povracamo iz lova, iz

gore; a ona na svojim demir-pendzerima

stoji ljepša od veceri i od sabah zore:

na me ceka, gleda i casove broji kad cu

proci. A ja, kad bih blizu bio, slao bih joj

pozdrav kuburlija svojih. Ona sa pendzera

dul i behar mio prosula bi hitro, i ko

snijeg na me pahuljice meke padale su

tiho, kao da su sevdah cutile i same.

O kako je tada puno sunca bilo! A sad?

Svuda mutni oblaci i tame?

Kako mi je srce jadno, kao da ga neko

bode, te sve place i sve pita: kuda moja

mladost ode? Je li griješna sabah zora,

il nebeska sjajna zvijezda; je li griješna

ljubav moja, kao ptica iz gnijezda, ko glas

ptice iz gnijezda? Je li grešna sabah zora,

il nebeska sjajna zvijezda; de mi to prode

ljubav moja, kao ptica iz gnijezda, ko glas

ptice iz gnijezda?...

***

WHY YOU AREN'T HERE

(Aleksa Šantic)

When on the young field-flowers

mute midnight strings the pearl,

desire flies through my chest:

Why aren't you here, why aren't you here?

When a dream gave me repose

and the soul is preparing for peace,

through heart the voice is sneaking:

Why aren't you here, why aren't you here?

When the serene east glows

in the wink of knowledge,

and the soul is awaking the song:

Why aren't you here, why aren't you here?

And in the moment of dense happiness,

and when the sorrow's preparing a sigh,

my love is starting a song:

Why aren't you here, why aren't you here?

O thou my horsee bright, my right-hand wing!

Where have those times gone, where are those

days, when a heart was full of sweetness either?

Do you know those hours: late sun is warming,

tops of minarets lighting like a fire, and everywhere

from the gardens smell of the roses swirling. We are

returning from hunting, from a mountain; and there

she stands at her oriels prettier than evening and

the morning dawn: waiting for me, overlooking

and counting hours when I will pass by. But me,

when I was nearby, I would send her a regards

of my holsters. And from her windows she will

dear rose blossom quickly spill, and like a snow

soft flakes were falling down silently on me,

as if they feel the blues of itself. Oh, it was much

sunshine then! And now? All hazy clouds and darkness...

How my heart is miserable, like someone is sticking

into it, it cries and asks all over again: where my

youth did go? Is it the mourning dawn sinfull, or

a sky shining star; is my love sinfull, like a bird

from a nest, like a voice of a bird from a nest?

Is it the dawning gold sinfull, or a sky shining

star; where my love did go, like a bird from

a nest, like a voice of a bird from a nest?...

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.