DIVINE OR WISE OR AT LEAST INTELLIGENT WORDS: “FOR YOU THIS VERSE FROM HOMER”
ΤΟ ΑΧΡΟΝΟΛΟΓΗΤΟ ΠΟΙΗΜΑ ΤΟΥ ΔΗΜΗΤΡΙΟΥ ΑΝΤΩΝΙΟΥ “ΓΙΑ ΣΕΝΑ Ο ΣΤΙΧΟΣ Ο ΟΜΗΡΙΚΟΣ” (ΣΕΛ. 312)
Για σένα ο στίχος ο Ομηρικός
μακαριστά τη φέρνει
τη θεία συγκινημένη απλότη.
Για Σένα κ’ ο Στίχος ο Σαικσπηρικός
Της χάρης Του τ’ αφρόγελα μου σπέρνει
τα λόγια της Μπεατρίκας, ώ νιότη
πάνω σ΄ ένα χορό· γύρω από του ωραίου το άνθι
που παντού είναι στο φούντωμα της
η συνονόματη σου από τις Εννηά αισθάνθη
το πάλεμα σου στη σύλληψη του Έρωτα της
Πλάσμα Εσύ· και Ιδέα Εκείνη νάναι
Ώ Καλλιόπη κι η καρδιά σου χτυπάει
ως καινούργια πρωτονοιώθοντας ακρούλα
στο χάδι των μυροπέταλων του είναι της ανατριχίλα
κ΄πως πριν δεν ήξεραν την χάρη ως τα φύλλα
της καρδιάς που κρύβει-η αγαπούλα
η τόσο απλή που ανεβάζει […] τα δάκρια
Άκου πλάσμα σε Ιδέα έχει φτάσει της ζωής μου
κ’ το ερώτημα όλο κ΄πειό με πάει
σε Ονείραμα της πρώτης ύπαρξης μου
μα τα ξόμπλια σου να κεντήσω δεν είμαι
τ΄αργαλειό του Εγκώμιου μου είναι φτωχό δεν μπορώ
στο βαρύτιμο πέπλο σου με τις χαρές του κόσμου
που ανεβάζει στ’ απάντημα σου.
@ Δ. Ι. ΑΝΤΩΝΙΟΥ, ΠΟΙΗΜΑΤΑ, ΣΠΟΥΔΑΣΤΗΡΙΟ ΝΕΟΥ ΕΛΛΗΝΙΣΜΟΥ, ΕΚΔΟΤΙΚΗ ΕΡΜΗΣ ΕΠΕ, 2009.
Η ΜΕΤΑΠΟΙΗΣΗ ΤΟΥ ΑΠΟ ΤΟΝ ΚΑΡΑΓΚΙΟΖΗ:
“ΘΕΙΑ ΛΟΓΙΑ”
Σπέρνεις πλάσμα εσύ τις ιδέες εκείνες
ω νιότη από λόγια θεία χάρη συγκινημένη
η συνονόματή σου Μπεατρίκα
στο πάλεμα κάποιου στίχου φούντωσε
αισθάνθηκε παντού αφρόγελα
πρωτόνοιωσε χάρη ωραία
καινούργιους έρωτες μυροπέταλους
την άκουσαν τα φύλλα
πλάσμα ανατριχίλας και δακρύων/
απλή ερώτηση κι απάντημα
φτωχά κεντημένο
φτάσαμε ως εδώ
υπάρξεις κρυμμένες
σε μια ακρούλα ψυχής
βαρύτιμο χτύπημα καρδιάς
που με πάει το πρώτο ονείραμα ιδέας;/
ανέβηκες εννιά έρωτες
κατέβα δυο σκαλοπάτια χορού
και κρύψου όπου και να ‘ναι
κι ας μην ξέρεις
πως όλες οι χαρές του κόσμου
σ΄ έναν λυπητερό αργαλειό
φτιαχτήκαν.
@MENELAOS KARAGIOZIS, HELLENIC POETRY, 2016
ΚΑΙ ΤΩΡΑ ΘΕΙΑ, ΣΟΦΑ Η ΤΟΥΛΑΧΙΣΤΟΝ ΕΞΥΠΝΑ ΛΟΓΙΑ:
ΔΕΝ ΤΙΜΩΡΕΙ Ο ΘΕΟΣ
ΑΛΛΑ Η ΔΙΚΗ ΜΑΣ ΚΑΚΗ ΔΙΑΘΕΣΗ
ΜΕΤΑΔΙΔΕΤΑΙ ΣΤΗΝ ΨΥΧΗ ΤΟΥ ΑΛΛΟΥ
ΜΥΣΤΗΡΙΩΔΩΣ ΚΑΙ ΚΑΝΕΙ ΤΟ ΚΑΚΟ.
Ο ΧΡΙΣΤΟΣ ΠΟΤΕ ΔΕΝ ΘΕΛΕΙ ΤΟ ΚΑΚΟ.
ΤΟ ΠΙΟ ΚΟΥΡΑΣΤΙΚΟ ΤΑΞΙΔΙ ΤΟ ΕΚΑΝΑ ΒΑΘΙΑ ΜΕΣΑ ΜΟΥ
ΝΑ ΘΥΜΑΣΑΙ ΠΩΣ ΔΕΝ ΕΧΕΙ ΜΕΓΑΛΗ ΣΗΜΑΣΙΑ
ΤΟ ΑΝ ΖΕΙΣ Ή ΑΝ ΠΕΘΑΙΝΕΙΣ
ΑΥΤΟ ΠΟΥ ΠΡΑΓΜΑΤΙΚΑ ΜΕΤΡΑΕΙ ΚΙΑ ΘΑ ΕΠΡΕΠΕ ΝΑ ΜΕΤΡΑΕΙ
ΕΙΝΑΙ Α ΣΚΟΠΟΣ ΓΙΑ ΤΟΝ ΟΠΟΙΟ ΖΕΙΣ
ΚΑΙ ΓΙΑ ΤΟΝ ΟΠΟΙΟ ΕΙΣΑΙ ΕΤΟΙΜΟΣ ΝΑ ΠΕΘΑΝΕΙΣ.
Ο ΘΕΟΣ ΔΕΝ ΕΧΕΙ ΘΡΗΣΚΕΙΑ
LISA GERRARD (DEAD CAN DANCE)
ΓΙΝΕ ΜΑΖΙ ΜΟΥ ΠΑΙΔΙ ΚΙ ΟΤΙ ΣΟΥ ΛΕΙΠΕΙ
ΕΓΩ ΘΑ ΤΡΕΞΩ ΠΑΝΤΟΥ
ΓΙΑ ΝΑ ΤΟ ΒΡΩ…
ΕΙΝΑΙ Η ΚΑΡΔΙΑ ΜΟΥ
ΑΝΟΙΧΤΗ ΚΑΙ ΣΟΥ ΑΝΗΚΕΙ…
ΙΗΣΟΥΣ ΧΡΙΣΤΟΣ
Ο ΥΙΟΣ ΚΑΙ ΛΟΓΟΣ ΤΟΥ ΘΕΟΥ
ΚΑΠΟΙΕΣ ΦΟΡΕΣ ΔΕΝ ΚΑΤΑΛΑΒΑΙΝΕΙΣ
ΤΗΝ ΑΞΙΑ ΤΗΣ ΣΤΙΓΜΗΣ,
ΜΕΧΡΙ ΝΑ ΓΙΝΕΙ ΑΝΑΜΝΗΣΗ.
HANS ZIMMER AND LISA GERRARD: SORROW
ΤΟ ΝΑ ΕΙΣΑΙ Ο ΕΑΥΤΟΣ ΣΟΥ
ΚΑΙ ΜΟΝΟ Ο ΕΑΥΤΟΣ ΣΟΥ ΣΕ
ΕΝΑΝ ΚΟΣΜΟ ΠΟΥ ΠΑΣΧΙΖΕΙ
ΜΕΡΑ-ΝΥΧΤΑ ΝΑ ΣΕ ΚΑΝΕΙ ΣΑΝ
ΟΛΟΥΣ ΤΟΥΣ ΑΛΛΟΥΣ,
ΣΗΜΑΙΝΕΙ ΝΑ ΔΩΣΕΙΣ ΤΗΝ ΠΙΟ
ΣΚΛΗΡΗ ΜΑΧΗ ΠΟΥ ΜΠΟΡΕΙ ΝΑ
ΔΩΣΕΙ ΕΝΑΣ ΑΝΘΡΩΠΟΣ ΚΑΙ
ΝΑ ΜΗ
ΣΤΑΜΑΤΗΣΕΙΣ
ΠΟΤΕ ΝΑ
ΜΑΧΕΣΑΙ.
E. E. CUMMINGS (14/10/1894-3/9/1962)
HARRY GREGSON WILLIAMS & LISA GERRARD
ΔΕΝ ΜΠΟΡΕΙΣ
ΝΑ ΚΟΛΥΜΠΗΣΕΙΣ
ΓΙΑ ΝΕΟΥΣ
ΟΡΙΖΟΝΤΕΣ
ΕΝΑ ΔΕΝ ΒΡΕΙΣ
ΠΡΩΤΑ ΤΟ
ΚΟΥΡΑΓΙΟ
ΝΑ ΑΦΗΣΕΙΣ
ΑΠΟ ΤΑ ΜΑΤΙΑ
ΣΟΥ
ΤΗΝ ΑΚΤΗ.
WILLIAM FAULKNER (25/9/1897-6/7/1972)
Ladies and gentlemen,
I feel that this award was not made to me as a man, but to my work – a life’s work in the agony and sweat of the human spirit, not for glory and least of all for profit, but to create out of the materials of the human spirit something which did not exist before. So this award is only mine in trust. It will not be difficult to find a dedication for the money part of it commensurate with the purpose and significance of its origin. But I would like to do the same with the acclaim too, by using this moment as a pinnacle from which I might be listened to by the young men and women already dedicated to the same anguish and travail, among whom is already that one who will some day stand here where I am standing.
Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it. There are no longer problems of the spirit. There is only the question: When will I be blown up? Because of this, the young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat.
He must learn them again. He must teach himself that the basest of all things is to be afraid; and, teaching himself that, forget it forever, leaving no room in his workshop for anything but the old verities and truths of the heart, the old universal truths lacking which any story is ephemeral and doomed – love and honor and pity and pride and compassion and sacrifice. Until he does so, he labors under a curse. He writes not of love but of lust, of defeats in which nobody loses anything of value, of victories without hope and, worst of all, without pity or compassion. His griefs grieve on no universal bones, leaving no scars. He writes not of the heart but of the glands.
Until he relearns these things, he will write as though he stood among and watched the end of man. I decline to accept the end of man. It is easy enough to say that man is immortal simply because he will endure: that when the last dingdong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny inexhaustible voice, still talking.
I refuse to accept this. I believe that man will not merely endure: he will prevail. He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance. The poet’s, the writer’s, duty is to write about these things. It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poet’s voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.
LISA GERRARD AND PIETER BOURKE
THERE ARE VERY FEW
PEOPLE WHO ARE GOING
TO LOOK INTO THE MIRROR
AND SAY, “THAT PERSON I
SEE IS A SAVAGE MONSTER,”
INSTEAD, THEY MAKE UP
SOME CONSTRUCTION
THAT JUSTIFIES
WHAT THEY DO.
LISA GERRARD AND PIETER BOURKE: SACRIFICE
SOMA: DREAMTIME
ΕΓΩ ΚΑΙ ΝΑ ΘΕΛΩ, ΔΕΝ ΜΠΟΡΩ ΝΑ ΚΑΝΩ ΔΙΑΚΡΙΣΕΙΣ,
ΕΙΤΕ ΕΧΩ ΜΠΡΟΣΤΑ ΜΟΥ ΕΝΑ ΥΨΗΛΑ ΥΣΤΑΜΕΝΟ ΠΡΟΣΩΠΟ,
ΕΙΤΕ ΕΝΑΝ ΤΑΠΕΙΝΟ ΣΚΟΥΠΙΔΙΑΡΗ, ΕΙΝΑΙ ΤΟ ΙΔΙΟ. ΚΙ ΑΥΤΟ
ΑΠΟ ΜΙΑ ΠΑΙΔΙΚΗ ΣΥΣΤΟΛΗ ΠΙΣΤΕΥΩ.
ΣΥΧΝΑ ΔΥΣΚΟΛΕΥΟΜΑΙ ΝΑ ΜΙΛΗΣΩ ΣΤΟΝ ΕΝΙΚΟ ΣΕ ΣΚΥΛΟ,
ΑΥΤΗ ΤΗ ΣΥΣΤΟΛΗ ΤΗΝ ΕΧΩ ΟΧΙ ΜΟΝΟ ΜΕ ΑΝΘΡΩΠΟΥΣ,
ΑΛΛΑ ΜΕ ΚΑΘΕ ΖΩΝΤΑΝΟ ΠΛΑΣΜΑ.
Π.Π. ΠΑΖΟΛΙΝΙ
SOMA: THE INNER CINEMA
ΜΗ ΜΟΥ ΜΙΛΑΣ
ΕΜΕΝΑ ΓΙΑ ΚΑΝΟΝΕΣ
ΑΓΑΠΗΤΕ ΜΟΥ.
ΟΠΟΥ ΚΑΙ ΑΝ ΠΑΩ,
ΦΤΙΑΧΝΩ ΕΓΩ Η ΙΔΙΑ
ΤΟΥΣ ΑΤΙΜΟΥΣ
ΤΟΥΣ ΚΑΝΟΝΕΣ.
MARIA CALLAS (2/12/1923-16/9/1977)
SOMA: ALCHEMICAL NUPTIAL
ANIMALS, WHOM WE HAVE MADE OUR SLAVES
WE DO NOT LIKE TO CONSIDER OUR EQUAL.
CHARLES DARWIN BIOGRAPHY
SOMA: THE OLMEC ENIGMA
MONEY IS THE GOD
OF OUR TIME,
AND ROTHSCHILD
IS HIS PROPHET.
BIOSPHERE: DOWN AT VARA
THE DUTY OF A TRUE
PATRIOT IS TO PROTECT
HIS COUNTRY FROM ITS
GOVERNMENT.
MOTION SICKNESS OF TIME TRAVEL: LATE DAY SUN SILOUETTES
THE FUNNY-MAN ACTOR,
RESPONDED “WHY NOT, AFTER ALL,
IT BELONGS TO HIM,” AFTER A PRIEST SAID
“MAY THE LORD HAVE MERCY ON YOUR SOUL”
TO HIM.
CHAPLIN WAS HARDLY LAID TO REST IN PIECE,
AS HIS BODY WAS EVENTUALLY STOLEN
AND HELD RANSOM FOR 600,000$.
PYRAMIDS WITH NADJA: INTO THE SILENT WAVES
IGNORANT CITIZENS, YOU ‘RE GONNA GET SELFISH,
IGNORANT LEADERS.
GEORGE CARLIN (1938-2007)
I spoke to Carlin only once, in 1999, and pressed him on a school shooting bit, which he did the night of the Columbine High School massacre in Littleton, Colo.
“How can you still do that joke?” I asked.
“Boy, you need that joke more than ever now,” he said. “The artificial weeping in this country, this nationwide mourning for dead people is just embarrassing, and these ribbons and these teddy bears and these little places where they put notes to dead people and all this s—. This is embarrassing and unnecessary, and it just shows how immature, how emotionally immature the American people as a class are.”
ANGELIC PROCESS: THE PROMISE OF SNAKES
INTELLIGENT PEOPLE TEND TO HAVE LESS FRIENDS
THAN THE AVERAGE PERSON. THE SMARTER YOU ARE,
THE MORE SELECTIVE YOU BECOME.
THE ELECTRIC RISE AND FALL OF NICOLA TESLA
NADJA: NOW I AM BECOME DEATH THE DESTROYER OF WORLDS
TAKE A STEP FORWARD LADS-IT’LL BE EASIER THAT WAY
MONOLAKE: GOBI
YOU ARE ONLY GIVEN ONE LITTLE SPARK OF MADNESS,
YOU MUST NOT LOSE IT
ROBIN WILLIAMS PARKINSON INTERVIEW
ROBERT HENKE: INDIGO_TRANSFORM
Christian leaders, stand on our soil and claim: ‘gay marriage’ has never occurred here. Over 130 tribes in every region of North America performed millions of same-sex marriages for hundreds of years. Their statements are both hateful and ignorant. Your ‘homosexual,’ was our ‘Two Spirit’ people… and we considered them sacred.”
The person pictured here is Pretty Shield (1866-1944), who was a medicine woman of the Crow Nation. To the best of our understanding, these are not her words.
Two-spirit was their version of transgender, but for them it meant having both a male and female spirit inside. The person could live as either male or female and wasn’t bound by traditional gender roles.
Whether Two-Spirit means gay, lesbian, bisexual, transsexual, or hermaphroditic (it obviously refers to sexual minorities), it means there are people who are not necessarily attracted to members of the procreative sex.
The emphasis of Native Americans is not to force every person into one box, but to allow for the reality of diversity in gender and sexual identities.
Another word is ‘Berdache’ – among certain Native American peoples, a person, usually a male, who assumes the gender identity and is granted the social status of the opposite sex. Among the alternatives in current use, the most widely employed is two-spirit. Other scholars use specific native terms, such as winkte (from Lakota) or nadle (from Navajo), or else use a literal translation, such as “man-woman,” of a native word.
After the death of Goes Ahead, Pretty Shield raised her daughters and nine grandchildren on her own. Talking to Linderman, Pretty Shield expressed a sadness over the disappearing Crow culture. She believed her people would follow the buffalo herds on the plains forever, as they had done for centuries:
“The whole country there smelled of rotting meat. Even the flowers could not put down the bad smell. Our hearts were like stones. And yet nobody believed, even then, that the white man could kill all the buffalo. Since the beginning of things there had always been so many! Even the Lakota, bad as their hearts were for us, would not do such a thing as this; nor the Cheyenne, nor the Arapahoe, nor the Pecunnie; and yet the white man did this, even when he did not want the meat.“
RETHINKING GENDER AND SEXUALITY
AS I WALKED TOWARD MY FREEDOM,
I KNEW IF I DIDN’T LEAVE
MY BITTERNSESS AND HATRED BEHIND,
I’D STILL BE IN PRISON.
NELSON MANDELA
AND IDEAL FOR WHICH I AM PREPARED TO DIE
JOHN BALDESSARI: ART IS WHO I AM
“My perception of the city is very ugly. But that’s attractive too. It’s very seductive.”
In this interview John Baldessari reflects upon his long artistic career, his beginning and cultural influences, and why in the 1960’s he gave up painting for mixing the narrative potential of photographic images with the associative power of language.
Just before his 85th birthday, Baldessari here defends the cultural and social importance of art. “It seems to be a nutritional need for the public. We build museums, people go there with their kids. The bad thing is the connection with money now. They look at a Rembrandt and ask how much it costs. We are looking at art with the wrong eyes and values.”
MAKING ART IN THE AGE OF TRUMP
THE BELIEF THAT THERE WAS NOTHING
AND NOTHING HAPPENED TO NOTHING
AND THEN NOTHING MAGICALLY
EXPLODED FOR NO REASON, CREATING
EVERYTHING AND THEN A BUNCH OF
EVERYTHING MAGICALLY REARRANGED
ITSELF FOR NO REASON WHAT SO EVER
INTO SELF-REPLICATING BITS WHICH
THEN TURNED INTO DINOSAURS
MAKES PERFECT SENSE.
WHEN YOU FINISH THE SCRIPT,
THE FILM IS PERFECT. BUT IN
SHOOTING IT YOU LOOSE PERHAPS
40 PERCENT OF YOUR ORIGINAL
CONCEPTION.
ALFRED HITCHCOCK
ISHQ: THE INVISIBLE LANDSCAPE
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