Ottawa
Hebrews 13:3
"Remember them that are in bonds, as bound with them; and them which suffer adversity, as being yourselves also in the body."
screaming still lifeFall Still Life
Tuesday, October 20, 2009
Stainless Steel
Stainless Steel
Ottawa
Hebrews 13:3
"Remember them that are in bonds, as bound with them; and them which suffer adversity, as being yourselves also in the body."
screaming still life
Fall Still Life
Chess: "stainless steel" "Ottawa"
Ottawa
Hebrews 13:3
"Remember them that are in bonds, as bound with them; and them which suffer adversity, as being yourselves also in the body."
screaming still lifeFall Still Life
Daniel Boone
Angelica
Indiana
Daniel Boone
Hbr 13:2
"Be not forgetful to entertain strangers: for thereby some have entertained angels unawares."
Chess: "Angelica" "Indiana" "Daniel Boone"
Indiana
Daniel Boone
Hbr 13:2
"Be not forgetful to entertain strangers: for thereby some have entertained angels unawares."
Chess: "Angelica" "Indiana" "Daniel Boone"
Monday, October 19, 2009
Colmena
Bee
Calder
Broth
Heb. 13:1
"Let brotherly love continue."
Lake St. George Reflections1
Lake St. George Reflections
Chess: "colmena" Bee" "Broth" "Calder"
Calder
Broth
Heb. 13:1
"Let brotherly love continue."
Lake St. George Reflections1Lake St. George Reflections
Friday, October 16, 2009
Person
Fox-hunt
Person
Vela
statute
Prov.17:28
"Even a fool, when he holdeth his peace, is counted wise: and he that shutteth his lips is esteemed a man of understanding."
person "Shirley" "Patagonia" "FOX NEWS": foxed : discolored with yellowish-brown stains, as an old book or print: "their set of George Eliot was foxed and buckled by the rain" [John Cheever ("Jack in the box")] career: "My hasting days fly on with full career." [Milton ("Chapulin")]
Wordsworth exhibited in his poetry, as they had never before
been exhibited, the permanent absolute relations of nature
to the human spirit, interpreted the relations between
the elemental powers of creation and the moral life of man,
and vindicated the inalienable birthright of the lowliest of men
to those inward "oracles of vital deity attesting the Hereafter."
Introduction to Robert Browning by Hiram Corson
Fox hunting is an activity involving the tracking, chase, and sometimes killing of a fox, traditionally a red fox, by trained foxhounds or other scent hounds, and a group of followers led by a master of foxhounds, who follow the hounds on foot or on horseback.
Fox hunting originated in the United Kingdom in the 16th century, but is practised all over the world, including Australia, Canada, France, Ireland, Italy, Russia, and the United States.[2][3] In Australia, the term also refers to the hunting of foxes with firearms similar to spotlighting or deer hunting.
The sport is controversial, particularly in the UK, where a ban was introduced in November 2004.[4] Proponents see it as an important part of rural culture, vital for conservation and pest control,[5][6][7] while opponents argue that it is cruel and unnecessary.
· The use of scenthounds to track prey dates back to Assyrian, Babylonian and Egyptian times, and is known as venery.
· In England, hunting with Agassaei hounds was popular before the Romans arrived. The The Romans brought their own Castorian and Fulpine breeds.
· The earliest known foxhunt with hounds was in 1534, when farmers in Norfolk, England, began chasing down foxes with their dogs as a means of pest control.
· Half of the 318 registered hound packs in England and Wales were founded before 1869.
· Foxhunts caught 13,987 foxes last season.
· The total attendance at all hunting meets last year was 1.28 million people.
· The total expenditure on foxhunting last year was £243.1m.
· There is still one active hound pack that hunts foxes in India - a legacy of the Raj.
· Russia is keen to attract overseas hunters to enjoy its vast tracts of open land, and foxhunting is on the rise in the US, where there are more than 150 recognised hunts.
· Hunts typically employ "whippers-in", who direct hounds in the course of a hunt. Whippers-in inspired the parliamentary system of whips, who enforce party discipline and ensure the attendance of other members at important votes.
Henry Fielding’s 18th century "Hunting Song" (c.1745) is typical of the mock-heroic style with which hunting has traditionally been treated. The hunter’s devil-may-care dismissal of his wife’s plea to him not to go out; the male bonhomie of carousing and drinking (the promise of which concludes the song); the assurance that there is no need to worry about whether there will be any foxes, since the singer has already released dozens of them into the wood the week before: these all form part of hunting’s particular mythology. And in case we are in any doubt about the reckless bravery of the chase, we are treated to the prospect of riders being hurled into ditches in the thick of the frenzy.
The dusky night rides down the sky,
And ushers in the morn;
The hounds all join in glorious cry,
The huntsman winds his horn:
And a hunting we will go.
The wife around her husband throws
Her arms, and begs his stay;
My dear, it rains, and hails, and snows,
You will not hunt to-day.
But a hunting we will go.
A brushing fox in yonder wood,
Secure to find we seek;
For why, I carry'd sound and good
A cartload there last week.
And a hunting we will go.
Away he goes, he flies the rout,
Their steeds all spur and switch;
Some are thrown in, and some thrown out,
And some thrown in the ditch:
But a hunting we will go.
At length is strength to faintness worn,
Poor Reynard ceases flight;
Then hungry, homeward we return,
To feast away the night:
Then a drinking we will go.
In Fielding’s novel Tom Jones (1749), an impression is given of hunting as a rather rough, vulgar country pursuit that those of fine breeding disdain to engage in, but this is the very heart of its appeal to untutored, true-bred Englishmen. The hunt also provides the plot with its many metaphors of chasing, pursuit and flight.
Hardly any name resonates more vibrantly in the annals of hunting literature than that of Robert Smith Surtees. Born into a Durham land-owning family, he was a passionate huntsman from youth, and his work is almost entirely preoccupied with the business of hunting. Having launched the New Sporting Magazine in 1831, Surtees went on to become a novelist. His most memorable creation is Mr John Jorrocks, a Cockney grocer whose every waking hour is filled with thoughts of hunting. "I’m a sportsman all over, and to the backbone," he declares. "’Unting is all that’s worth living for – all time is lost wot is not spent in ’unting – it is like the hair we breathe ..."
Surtees’ works include Jorrocks’s Jaunts And Jollities (1838), Handley Cross (1843), Mr Sponge’s Sporting Tour (1853), and the posthumous Mr Facey Romford’s Hounds (1865). An integral part of the books’ charm is the illustrative work by John Leech, principal cartoonist for Punch, who was recommended to Surtees by Thackeray.
Surtees’ work initially fell between two stools, having little appeal to a general audience for whom the world of hunting was a closed book, yet managing to alienate the hunting community, who saw his portrayal of the hapless, coarse and accident-prone Jorrocks as faintly insulting to their dignity. Jorrocks is a deliberately working-class character at a time when hunting was beginning to turn elitist. His manservant and sidekick, James Pigg, is an obtuse Northern tippler, and the dialogue between them provides much of the novels’ merriment.
Lovers of Dickens’ early works (there is a theory that Mr Pickwick owes more than a little to Huntsman Jorrocks) may well find these works unexpectedly rewarding.
Anthony Trollope was another 19th-century writer who insisted on the social inclusivity of hunting. It embraces, he claimed, "attorneys, country bankers, bakers, innkeepers, auctioneers, graziers, builders, retired officers, judges home from India, barristers who take weekly holidays, stockbrokers, newspaper editors, artists and sailors".
This is our heritage; the far-flung grass,
The golden stubble and the dark-red moor;
Men pass and perish as the swift years pass,
But wide and wind-swept still the fields endure.
This is our heritage; the love of sport,
A fair ambition and a friendly strife,
The rivalry of farm and camp and court,
The keen endeavour of a clean, hard life.
The hoofs of horses on the trampled lea,
The crash and rattle of the broken rail
Where the first flight ride reckless, knee to knee,
And bold men face the dangers of the vale.
The cry of hounds, the holloa and the horn;
The lean red shadows where the foxes run;
To these and all their challenge we were born,
And these we leave behind us, sire to son.
This is the heritage that none can take,
The gift we hold, the gift we give again,
And this the spirit that no Time can break,
So long as England and her fields remain.
Then every road was made a rink
For Coroners to sit on;
And so began, in skid and stink,
The real blood-sport of Britain!
"Yet I find it easy enough to recover a few minutes of that grey south-westerly morning, with its horsemen hustling on in scattered groups, the December air alive with the excitement of the chase, and the dull green landscape seeming to respond to the rousing cheer of the huntsman’s voice when the hounds hit off the line again after a brief check. Away the stream, throwing up little splashes of water as they race across a half-flooded meadow."
By the end of the volume, these memories have begun to be obliterated by the all-consuming experience of action on the battlefields of the Great War. The narrator remarks how the war, driving all before it, appears to drain the present life out of his memories:
"Looking round the room at the enlarged photographs of my hunters, I began to realise that my past was wearing a bit thin. The War seems to have made up its mind to obliterate all those early adventures of mine. Point-to-point cups shone, but without conviction."
In the title poem of a wartime collection, The Old Huntsman (1917), an ageing country type, full of phlegmatic, defiant regret for life’s missed chances, recalls the atmosphere of the hunts, which may have been the only times in his life that made him feel truly alive:
It’s queer how, in the dark, comes back to mind
Some morning of September. We’ve been digging
In a steep sandy warren, riddled with holes,
And I’ve just pulled the terrier out and left
A sharp-nosed cub-face blinking there and snapping,
Then in a moment seen him mobbed and torn
To strips in the baying hurly of the pack.
I picture it so clear: the dusty sunshine
On bracken, and the men with spades, that wipe
Red faces: one tilts up a mug of ale.
And, having stopped to clean my gory hands,
I whistle the jostling beauties out of the wood.
More reflective moments reveal a suspicion that there might have been more to life than hunting, and that the thrill of the chase was perhaps a way of substituting for an essential emptiness:
’Tis little enough I’ve understood my life,
And a power of sights I’ve missed, and foreign marvels.
I used to feel it, riding on spring days
In meadows pied with sun and chasing clouds,
And half forget how I was there to catch
The foxes; lose the angry, eager feeling
A huntsman ought to have, that’s out for blood,
And means his hounds to get it!
There was indeed another world for the young Sassoon, but it lay not in sun-dappled fields, but in the carnage of the Western Front.
Person
Vela
statute
Prov.17:28
"Even a fool, when he holdeth his peace, is counted wise: and he that shutteth his lips is esteemed a man of understanding."
The Mesmerizing Badlands
Badlands National Park
Badlands National Park
Chess: "fox-hunt" "person" "Vela" "statute"
We may regard fiction…as the vehicle of a certain philosophy of life" [J.B. Priestley ("451 Fahrenheit")]
Vela: a constellation of the Southern Hemisphere in the Milky Way, near Antlia ("the Pump") and Carina ("the Keel")person "Shirley" "Patagonia" "FOX NEWS": foxed : discolored with yellowish-brown stains, as an old book or print: "their set of George Eliot was foxed and buckled by the rain" [John Cheever ("Jack in the box")] career: "My hasting days fly on with full career." [Milton ("Chapulin")]
Wordsworth exhibited in his poetry, as they had never before
been exhibited, the permanent absolute relations of nature
to the human spirit, interpreted the relations between
the elemental powers of creation and the moral life of man,
and vindicated the inalienable birthright of the lowliest of men
to those inward "oracles of vital deity attesting the Hereafter."
Introduction to Robert Browning by Hiram Corson
Fox hunting is an activity involving the tracking, chase, and sometimes killing of a fox, traditionally a red fox, by trained foxhounds or other scent hounds, and a group of followers led by a master of foxhounds, who follow the hounds on foot or on horseback.
Fox hunting originated in the United Kingdom in the 16th century, but is practised all over the world, including Australia, Canada, France, Ireland, Italy, Russia, and the United States.[2][3] In Australia, the term also refers to the hunting of foxes with firearms similar to spotlighting or deer hunting.
The sport is controversial, particularly in the UK, where a ban was introduced in November 2004.[4] Proponents see it as an important part of rural culture, vital for conservation and pest control,[5][6][7] while opponents argue that it is cruel and unnecessary.
Ten things you didn't know ...
... about hunting with hounds· The use of scenthounds to track prey dates back to Assyrian, Babylonian and Egyptian times, and is known as venery.
· In England, hunting with Agassaei hounds was popular before the Romans arrived. The The Romans brought their own Castorian and Fulpine breeds.
· The earliest known foxhunt with hounds was in 1534, when farmers in Norfolk, England, began chasing down foxes with their dogs as a means of pest control.
· Half of the 318 registered hound packs in England and Wales were founded before 1869.
· Foxhunts caught 13,987 foxes last season.
· The total attendance at all hunting meets last year was 1.28 million people.
· The total expenditure on foxhunting last year was £243.1m.
· There is still one active hound pack that hunts foxes in India - a legacy of the Raj.
· Russia is keen to attract overseas hunters to enjoy its vast tracts of open land, and foxhunting is on the rise in the US, where there are more than 150 recognised hunts.
· Hunts typically employ "whippers-in", who direct hounds in the course of a hunt. Whippers-in inspired the parliamentary system of whips, who enforce party discipline and ensure the attendance of other members at important votes.
The Hunt in Literature
Not surprisingly for an activity that is so deeply embedded in the traditions of pastoral England, fox-hunting has been very much in evidence in the national literature, perhaps even more so than such other iconic pursuits as cricket. The forms in which it has been celebrated range from Henry Fielding's blood-and-thunder heroics to the mistily romantic nostalgia of Siegfried Sassoon.
"The Nobel Science, Jorrocks", 1865. Illustration by John Leech
© The Art Archive / Harper Collins Publishers
© The Art Archive / Harper Collins Publishers
The dusky night rides down the sky,
And ushers in the morn;
The hounds all join in glorious cry,
The huntsman winds his horn:
And a hunting we will go.
The wife around her husband throws
Her arms, and begs his stay;
My dear, it rains, and hails, and snows,
You will not hunt to-day.
But a hunting we will go.
A brushing fox in yonder wood,
Secure to find we seek;
For why, I carry'd sound and good
A cartload there last week.
And a hunting we will go.
Away he goes, he flies the rout,
Their steeds all spur and switch;
Some are thrown in, and some thrown out,
And some thrown in the ditch:
But a hunting we will go.
At length is strength to faintness worn,
Poor Reynard ceases flight;
Then hungry, homeward we return,
To feast away the night:
Then a drinking we will go.
In Fielding’s novel Tom Jones (1749), an impression is given of hunting as a rather rough, vulgar country pursuit that those of fine breeding disdain to engage in, but this is the very heart of its appeal to untutored, true-bred Englishmen. The hunt also provides the plot with its many metaphors of chasing, pursuit and flight.
Robert Smith Surtees and Anthony Trollope
"Mr Jorrocks's Hunt", 1854, from "English Humour" by JB Priestley
© TopFoto.co.uk
© TopFoto.co.uk
Surtees’ works include Jorrocks’s Jaunts And Jollities (1838), Handley Cross (1843), Mr Sponge’s Sporting Tour (1853), and the posthumous Mr Facey Romford’s Hounds (1865). An integral part of the books’ charm is the illustrative work by John Leech, principal cartoonist for Punch, who was recommended to Surtees by Thackeray.
Surtees’ work initially fell between two stools, having little appeal to a general audience for whom the world of hunting was a closed book, yet managing to alienate the hunting community, who saw his portrayal of the hapless, coarse and accident-prone Jorrocks as faintly insulting to their dignity. Jorrocks is a deliberately working-class character at a time when hunting was beginning to turn elitist. His manservant and sidekick, James Pigg, is an obtuse Northern tippler, and the dialogue between them provides much of the novels’ merriment.
Lovers of Dickens’ early works (there is a theory that Mr Pickwick owes more than a little to Huntsman Jorrocks) may well find these works unexpectedly rewarding.
Anthony Trollope was another 19th-century writer who insisted on the social inclusivity of hunting. It embraces, he claimed, "attorneys, country bankers, bakers, innkeepers, auctioneers, graziers, builders, retired officers, judges home from India, barristers who take weekly holidays, stockbrokers, newspaper editors, artists and sailors".
Will H Ogilvie
Hunting has a habit of utterly consuming those who enjoy it, as Surtees’ novels prove. In the 1920s, it acquired its own poet laureate, Will H Ogilvie, a turgid, pseudo-Victorian rhymester whose several volumes of hunting verse cover all aspects of the activity, from correct horsemanship to the exercising of hounds. In Our Heritage, Ogilive waxes indignantly sentimental over the mere idea that any temporal law could ever deprive country folk of their proudest tradition.This is our heritage; the far-flung grass,
The golden stubble and the dark-red moor;
Men pass and perish as the swift years pass,
But wide and wind-swept still the fields endure.
This is our heritage; the love of sport,
A fair ambition and a friendly strife,
The rivalry of farm and camp and court,
The keen endeavour of a clean, hard life.
The hoofs of horses on the trampled lea,
The crash and rattle of the broken rail
Where the first flight ride reckless, knee to knee,
And bold men face the dangers of the vale.
The cry of hounds, the holloa and the horn;
The lean red shadows where the foxes run;
To these and all their challenge we were born,
And these we leave behind us, sire to son.
This is the heritage that none can take,
The gift we hold, the gift we give again,
And this the spirit that no Time can break,
So long as England and her fields remain.
Rudyard Kipling
Rudyard Kipling also gloomily foresaw a world in which hunting would have no place, giving way in his nightmare vision to country roads overrun with the new-fangled motor car and its attendant dangers, as outlined in the closing lines of a late poem, Fox Hunting (1933):Then every road was made a rink
For Coroners to sit on;
And so began, in skid and stink,
The real blood-sport of Britain!
Siegfried Sassoon
The great war poet's Memoirs Of A Fox Hunting Man (1928) is a fictionalised autobiographical portrait of a lost England wiped away by the disaster of the first world war. The hunt doesn’t form anything like as central a role in the book as the title would suggest, but is nevertheless one of the pursuits by which Sassoon, in the persona of George Sherston, marks the carefree quality of his early years:"Yet I find it easy enough to recover a few minutes of that grey south-westerly morning, with its horsemen hustling on in scattered groups, the December air alive with the excitement of the chase, and the dull green landscape seeming to respond to the rousing cheer of the huntsman’s voice when the hounds hit off the line again after a brief check. Away the stream, throwing up little splashes of water as they race across a half-flooded meadow."
By the end of the volume, these memories have begun to be obliterated by the all-consuming experience of action on the battlefields of the Great War. The narrator remarks how the war, driving all before it, appears to drain the present life out of his memories:
"Looking round the room at the enlarged photographs of my hunters, I began to realise that my past was wearing a bit thin. The War seems to have made up its mind to obliterate all those early adventures of mine. Point-to-point cups shone, but without conviction."
In the title poem of a wartime collection, The Old Huntsman (1917), an ageing country type, full of phlegmatic, defiant regret for life’s missed chances, recalls the atmosphere of the hunts, which may have been the only times in his life that made him feel truly alive:
It’s queer how, in the dark, comes back to mind
Some morning of September. We’ve been digging
In a steep sandy warren, riddled with holes,
And I’ve just pulled the terrier out and left
A sharp-nosed cub-face blinking there and snapping,
Then in a moment seen him mobbed and torn
To strips in the baying hurly of the pack.
I picture it so clear: the dusty sunshine
On bracken, and the men with spades, that wipe
Red faces: one tilts up a mug of ale.
And, having stopped to clean my gory hands,
I whistle the jostling beauties out of the wood.
More reflective moments reveal a suspicion that there might have been more to life than hunting, and that the thrill of the chase was perhaps a way of substituting for an essential emptiness:
’Tis little enough I’ve understood my life,
And a power of sights I’ve missed, and foreign marvels.
I used to feel it, riding on spring days
In meadows pied with sun and chasing clouds,
And half forget how I was there to catch
The foxes; lose the angry, eager feeling
A huntsman ought to have, that’s out for blood,
And means his hounds to get it!
There was indeed another world for the young Sassoon, but it lay not in sun-dappled fields, but in the carnage of the Western Front.
Tuesday, October 13, 2009
En Vela
St. Augustine
Bloomberg
Prov. 29:8
"Scornful men bring a city into a snare: but wise men turn away wrath."
Chess: "St.Augustine" "Michael Bloomberg" "Natalia y Julio" "Mitsubishi"
excerpt:
En Vela
Julio Rodríguez | envela@nacion.com
“Dios, que te creó sin ti, no te salvará sin ti”. Es una de las tantas sentencias de uno de los más grandes genios de la humanidad y, además, experto en humanidad: San Agustín.
Bloomberg
Prov. 29:8
"Scornful men bring a city into a snare: but wise men turn away wrath."
Chess: "St.Augustine" "Michael Bloomberg" "Natalia y Julio" "Mitsubishi"
excerpt:
En Vela
Julio Rodríguez | envela@nacion.com“Dios, que te creó sin ti, no te salvará sin ti”. Es una de las tantas sentencias de uno de los más grandes genios de la humanidad y, además, experto en humanidad: San Agustín.
Esta sentencia es aplicable a toda actividad humana pues se trata de la cuestión suprema: la relación entre la verdad y la libertad. “Yo quiero”, como se ha dicho, significa “yo elijo”, “yo me esfuerzo”, “yo consiento”(yo me comprometo). Se trata, en suma, de la cuestión moral, pues la cuestión moral comienza con la libertad y solo cuando hay libertad. Como estas son cuestiones básicas del cristianismo, me imagino que si un partido se llama socialcristiano, sus dirigentes deben conocer los principios del cristianismo y, además, practicarlos.
También deben saber que el único pecado que no tiene perdón es el pecado contra el Espíritu Santo, consistente en cerrar la mente y el corazón a la acción de Dios, por falta de arrepentimiento, pues sin arrepentimiento no hay perdón. También en el Derecho Penal si el imputado no reconoce su culpa y no se arrepiente, no disfruta de determinados beneficios. Constituye, entonces, una aberración moral (anticristiana) invocar públicamente el nombre de Dios, como garante de una buena conducta, si los hechos, confirmados en una sentencia, más allá de toda duda, proclaman la culpabilidad y el culpable no manifiesta el menor sentimiento de culpa y de arrepentimiento.
Monday, October 12, 2009
New Mexico
Georgia O'Keeffe
Conservatorio
New Mexico
Apocalypse Now
Prov. 29:6
"In the transgression of an evil man there is a snare: but the righteous doth sing and rejoice."
Puppy on pumpkin
Chess: "Georgia O'Keeffe" "Conservatorio" "New Mexico" "Apocalypse Now"
Conservatorio
New Mexico
Apocalypse Now
Prov. 29:6
"In the transgression of an evil man there is a snare: but the righteous doth sing and rejoice."
Puppy on pumpkin
Chess: "Georgia O'Keeffe" "Conservatorio" "New Mexico" "Apocalypse Now"Georgia O`Keeffe
Georgia O`Keeffe
Conservatorio
New Mexico
Apocalypse Now
Prov. 29:6
"In the transgression of an evil man there is a snare: but the righteous doth sing and rejoice."
Chess: "Georgia O`Keeffe" "Conservatorio" "New Mexico" "Apocalypse Now"
Conservatorio
New Mexico
Apocalypse Now
Prov. 29:6
"In the transgression of an evil man there is a snare: but the righteous doth sing and rejoice."
Chess: "Georgia O`Keeffe" "Conservatorio" "New Mexico" "Apocalypse Now"
Friday, October 9, 2009
The Bridge
Bridge
Spanning
Madison
Mark 3:28-29
"Verily I say unto you, All sins shall be forgiven unto the sons of men, and blasphemies wherewith soever they shall blaspheme:
But he that shall blaspheme against the Holy Ghost hath never forgiveness, but is in danger of eternal damnation:"
Prov. 29:4
"The king by judgment establisheth the land: but he that receiveth gifts overthroweth it."
GGB nights
Chess: "bridge" "Kwai" "spanning" "Madison"
Spanning
Madison
Mark 3:28-29
"Verily I say unto you, All sins shall be forgiven unto the sons of men, and blasphemies wherewith soever they shall blaspheme:
But he that shall blaspheme against the Holy Ghost hath never forgiveness, but is in danger of eternal damnation:"
Prov. 29:4
"The king by judgment establisheth the land: but he that receiveth gifts overthroweth it."
GGB nightsWednesday, October 7, 2009
Las Águilas
Manchester
Earnest
Alpino
Montenegro
Rohrmoser
Larsen effect
Prov. 29:5
"A man that flattereth his neighbour spreadeth a net for his feet."
fall waterfalls.tif
Autumn Beauty
Chess: "Manchester" "Earnest" "Alpino" "Montenegro""Castle Stalker" "Rohrmoser" "Larsen effect" "cornfeed" "Cotopaxi" "Chimborazo"
Castle Stalker (Scottish Gaelic: Caisteal an Stalcaire) is a four-storey tower house or keep picturesquely set on a tidal islet on Loch Laich, an inlet off Loch Linnhe. It is located about 1.5 miles (2.5 km) north east of Port Appin, Argyll, Scotland and visible from the A828 main road about mid-way between Oban and Glen Coe. The islet is accessible (with difficulty) from the shore at low tide. The name 'Stalker' comes from the Gaelic Stalcaire, meaning 'hunter' or 'falconer', and should therefore be pronounced 'stal-ker', with the 'l' sounded, not as in the pronunciation of the English word 'stalker'. In recent times the castle was brought to fame by the Monty Python team, appearing in their film Monty Python and the Holy Grail. It also appeared in the film Highlander: Endgame. The Castle's implausibly picturesque appearance, with its bewitching island setting against a dramatic backdrop of mountains, has made it a favourite subject for postcards and calendars, and something of a cliché image of Scottish Highland scenery. Castle Stalker is entirely authentic; it is one of the best-preserved medieval tower-houses surviving in western Scotland.
Earnest
Alpino
Montenegro
Rohrmoser
Larsen effect
Prov. 29:5
"A man that flattereth his neighbour spreadeth a net for his feet."
Manchester Town Hall
PART I
ON either side the river lie |
Long fields of barley and of rye,
|
That clothe the wold and meet the sky;
|
And thro' the field the road runs by
|
To
many-tower'd Camelot;
|
And up and down the people go,
|
Gazing where the lilies blow
|
Round an island there below,
|
The
island of Shalott.
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fall waterfalls.tifAutumn Beauty
Castle Stalker (Scottish Gaelic: Caisteal an Stalcaire) is a four-storey tower house or keep picturesquely set on a tidal islet on Loch Laich, an inlet off Loch Linnhe. It is located about 1.5 miles (2.5 km) north east of Port Appin, Argyll, Scotland and visible from the A828 main road about mid-way between Oban and Glen Coe. The islet is accessible (with difficulty) from the shore at low tide. The name 'Stalker' comes from the Gaelic Stalcaire, meaning 'hunter' or 'falconer', and should therefore be pronounced 'stal-ker', with the 'l' sounded, not as in the pronunciation of the English word 'stalker'. In recent times the castle was brought to fame by the Monty Python team, appearing in their film Monty Python and the Holy Grail. It also appeared in the film Highlander: Endgame. The Castle's implausibly picturesque appearance, with its bewitching island setting against a dramatic backdrop of mountains, has made it a favourite subject for postcards and calendars, and something of a cliché image of Scottish Highland scenery. Castle Stalker is entirely authentic; it is one of the best-preserved medieval tower-houses surviving in western Scotland.
silk
canvas
canvass
navy
yogurt
Prov. 29:3
"Whoso loveth wisdom rejoiceth his father: but he that keepeth company with harlots spendeth his substance."
The Hawaiian Chieftain
The Hawaiian Chieftain
"Oh! The canvas can do miracles!"- Christopher Cross (a singer, a painter and a sailor)
Chess: "silk" " yogurt" "canvas" "cloth" "tanga" "bikini" "sloth" "canvass" "navy" "membrane" "granito" "maize" "EL laberinto de la soledad" (Octavio Paz)
Art: Naked Pic of Brooke at the Tate Museum (no skirt, only make-up)
canvass
navy
yogurt
Prov. 29:3
"Whoso loveth wisdom rejoiceth his father: but he that keepeth company with harlots spendeth his substance."
The Hawaiian ChieftainThe Hawaiian Chieftain
"Oh! The canvas can do miracles!"- Christopher Cross (a singer, a painter and a sailor)
Art: Naked Pic of Brooke at the Tate Museum (no skirt, only make-up)
Coatlicue
El laberinto de la soledad
El laberinto de la soledad es un libro de Octavio Paz publicado en 1990. Consta de nueve ensayos: "El pachuco y otros extremos", "Máscaras mexicanas", "Todos santos, día de muertos", "Los hijos de la Malinche", "Conquista y Colonia", "De la Independencia a la Revolución", "La inteligencia mexicana", "Nuestros días" y como apéndice: "La dialéctica de la soledad".La soledad del laberinto
por Enrique Krauze
El laberinto de la soledad es el ensayo más original de Octavio Paz: lectura crítica de la historia de México y de su idiosincrasia, es también una visión poética de su naturaleza más profunda. En los cinco años de la muerte de Octavio Paz, le rendimos este homenaje a través de la lectura crítica de uno de sus títulos más señeros y reveladores.Coatlicue, also known as Teteoinan (also transcribed Teteo Inan), "The Mother of Gods" (Classical Nahuatl: Cōhuātlīcue [koːwaːˈtɬiːkʷe], Tēteô īnnān), is the Aztec goddess who gave birth to the moon, stars, and Huitzilopochtli, the god of the sun and war. She is also known as Toci (Tocî, "our grandmother") and Cihuacoatl (Cihuācōhuātl, "the lady of the serpent"), the patron of women who die in childbirth.
The word "Coatlicue" is Nahuatl for "the one with the skirt of serpents". She is referred to variously by the epithets "Mother Goddess of the Earth who gives birth to all celestial things", "Goddess of Fire and Fertility", "Goddess of Life, Death and Rebirth", and "Mother of the Southern Stars".
She is represented as a woman wearing a skirt of writhing snakes and a necklace made of human hearts, hands and skulls. Her feet and hands are adorned with claws and her breasts are depicted as hanging flaccid from nursing. Her face is formed by two facing serpents, referring to the myth that she was sacrificed during the beginning of the present creation.
Most Aztec artistic representations of this goddess emphasize her deadly side, because Earth, as well as loving mother, is the insatiable monster that consumes everything that lives. She represents the devouring mother, in whom both the womb and the grave exist.
According to Aztec legend, she was once magically impregnated by a ball of feathers that fell on her while she was sweeping a temple, and subsequently gave birth to the gods Quetzalcoatl and Xolotl. Her daughter Coyolxauhqui then rallied Coatlicue's four hundred other children together and goaded them into attacking and decapitating their mother. The instant she was killed, the god Huitzilopochtli suddenly emerged from her womb fully grown and armed for battle. He killed many of his brothers and sisters, including Coyolxauhqui, whose head he cut off and threw into the sky to become the moon. In one variation on this legend, Huitzilopochtli himself is the child conceived in the ball-of-feathers incident and is born just in time to save his mother from harm.
A new article by Cecelia Klein (2008) argues that the famous Coatlicue statue in the National Museum of Anthropology in Mexico, and several other complete and fragmentary versions, may actually represent a personified snake skirt. The reference is to one version of the creation of the present Sun. The myth relates that the present Sun began after the gods gathered at Teotihuacan and sacrificed themselves. The best known version states that Tezzictecatl and Nanahuatzin immolated themselves, becoming respectively the moon and the sun. But other versions add a group of female deities to those who sacrificed themselves, including Coatlicue. Afterwards the Aztecs were said to have worshipped the skirts of these women, which came back to life. Coatlicue thus has creative aspects, which may balance the skulls, hearts, hands, and claws that connect her to the earth deity Tlaltecuhtli. The earth both consumes and regenerates life.
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